Ravenel Autumn Auction 2012 Hong Kong: Modern and Contemporary Art Evening Sale

AUTUMN AUCTION 2012 HONG KONG

Modern and Contemporary Art Evening Sale

RAVENEL AUTUMN AUCTION 2012 HONG KONG Modern and Contemporary Art Evening Sale

羅芙奧香港 2012 秋季拍賣會 現代與當代藝術晚間拍賣

AUCTION

拍賣日期 / 地點

2012年11月25日（日） 下午 7:30 香港君悅酒店（宴會大禮堂） 灣仔港灣道一號

PREVIEWS

預展日期 / 地點

台中 2012年11月10日（六） 下午2:00至下午7:00 2012年11月11日（日） 上午11:00至下午7:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口

Sunday, 25 Nov 2012, 7:30pm Grand Hyatt Hong Kong - Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

Taichung

Saturday, 10 Nov 2012, 2:00pm - 7:00pm Sunday, 11 Nov 2012, 11:00am - 7:00pm Pao-huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Taichung, Taiwan

Taipei

台北 2012年11月17日（六） 上午10:00至下午7:00 2012年11月18日（日） 上午10:00至下午7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Hong Kong

香港 2012年11月23日（五） 下午2:00至下午9:00 2012年11月24日（六） 上午10:00至下午7:00 香港君悅酒店（宴會大禮堂） 灣仔港灣道一號

Saturday, 17 Nov 2012, 10:00am - 7:00pm Sunday, 18 Nov 201, 10:00am - 7:00pm Fubon National Conference Centre B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan

Friday, 23 Nov 2012, 2:00pm - 9:00pm Saturday, 24 Nov 2012, 10:00am - 7:00pm Grand Hyatt Hong Kong – Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee.

This auction catalogue: HK$ 400 per copy.

Arthur Wang 王鎮華

Chairman 董事長

Clara Kuo 郭倩如

Vice Chairman 副董事長

Lorries Chang 張增偉

C.E.O. 執行長 傅斐郡 Flora Fu

陳惠黛 Odile Chen

張雁茹 Virginia Chang

藝術部總經理 President, Art Department, Taipei

藝術部總經理（海外拓展） Chief Specialist, Art Department, Taipei

客戶發展與服務部總經理 President, Client Development & Services Department

何杏淇 Elaine Holt

黃詩涵 Stella Huang

藝術部副總經理 Vice President, Art Department Hong Kong

中國區總監 Director, China

符穎錚 lya Fu

曾欣怡 Emmy Tsang

公關與市場部總監 Director, Press and Marketing Department, Asia

香港營運部經理 Manager, Operation Department Hong Kong

Contents 1

Sale Information 羅芙奧秋季拍賣會

4

Ravenel Services 羅芙奧之服務

8

Modern and Contemporary Art 現代與當代藝術

196

Transaction Agreement 業務規則

201

Absentee Bid Form 委託競投表格

203

Index 畫家索引

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS President, Art Department Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com

Chief Specialist Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com

Vice President Art Department, Taipei Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Vice President Art Department, Hong Kong Elaine Holt Tel: +852 2889 0859 Email: elaineholt@ravenel.com

PHONE BIDS AND WRITTEN BIDS Taiwan

COLLECTION AND SHIPPING Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots.

Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements.

Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan Jessie Jiang Tel: +886 2 2708 9868 ext. 880 Email: jessiejiang@ravenel.com

Hong Kong

Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

Miranda Kong Tel: +852 2889 0859 Email: artsaleshk@ravenel.com

Hong Kong

China

Elaine Holt Tel: +852 2889 0859 Mobile: +852 9381 1886 Email: elaineholt@ravenel.com

Helen Zhang Tel: +86 10 8587 8099 Email: helenzhang@ravenel.com

Beijing

Ariel Conant Tel: +852 2889 0859 Email: artsaleshk@ravenel.com

Helen Zhang Tel: +86 10 8587 8099 Email: helenzhang@ravenel.com

Shanghai Echo Yang Tel: +86 21 2411 9575 Email: echoyang@ravenel.com

International Jessica Leung Tel: +852 2889 0859 Email: artsaleshk@ravenel.com

Online BidS Register at LiveAuctioneers www.liveauctioneers.com/sign-up

International

The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

PAYMENT Rachel Chuang Tel: +886 2 2708 9868 ext. 682 Email: rachelchuang@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 589 Email: tommywu@ravenel.com

Hong Kong / International Jessica Leung Tel: +852 2889 0859 Email: artsaleshk@ravenel.com

China Jason Dong Tel: +86 10 8587 8099 Email: jasondong@ravenel.com

Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

羅芙奧香港 2012 秋季拍賣會服務部門及連絡人

藝術品諮詢專家 藝術部總經理 傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：florafu@ravenel.com

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藝術部副總經理

目錄訂閱

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取貨及運輸事宜

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羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況報告書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

Modern & Contemporary Art Evening Sale Sunday, 25 Nov 2012 7:30pm Grand Hyatt Hong Kong

Lots 501—547

Taiwanese EXPRESSIONS 台灣大師 Lot 501 - Lot 508 PANG Jiun CHENG Tsai-tung JU Ming LI Chen

501

PANG Jiun (Chinese, b. 1936) Spring Flowers 2009 Oil on canvas 175 x 175 cm Signed lower right Pang Jiun in Chinese and dated 2009 With one seal of the artist PROVENANCE

Yan Gallery, Hong Kong Private collection, Asia This painting is to be sold with a certificate of authenticity issued by Yan Gallery, Hong Kong and a certificate of authenticity signed by the artist.

HK$ 750,000 - 950,000 NT$ 2,850,000 - 3,610,000 US$ 96,200 - 121,800

龐均 春到我家 2009 油彩 畫布 175 x 175 cm 簽名右下：龐均 2009 鈐印右下：均 來源： 一畫廊，香港 私人收藏，亞洲 附香港一畫廊開立之原作保證書 附藝術家親筆簽名之原作保證書

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Spring Flowers PANG Jiun

Characterized by a unique use of color and form, Pang Jiun’s captivating oil paintings exhibit a sophisticated composite of European and Asian artistic influences and traditions. Granted his first exhibition at just 11 years old alongside his sister, Pang Jiun’s earliest works were shown in Guangzhou and Shanghai from 1947-1948. This artistic immersion from a young age stemmed from the artist’s parents, themselves deeply engaged in the arts and painting. Pang Jiun’s father, Pang Xunqin, was among the first generation of Chinese artists to conduct his artistic education abroad, studying in Paris from 1925-1930. Upon his return to China, Pang Xunqin founded the revolutionary Storm Society, issuing a declaration calling for Chinese artists to develop modern art movements distinctive to China, setting the scene for emerging artists, including his own son. Combined with this established encouragement and knowledge of European artistic trends gained from his father’s experience, Pang Jiun also received an inundation of Japanese artistic and cultural influences from his mother, Qiu Ti, who spent several years engaged in artistic study in the Japanese capital of Tokyo. With this rich background in various global artistic influences, Pang Jiun began to develop a uniquely universal aesthetic, melding his own Chinese cultural heritage with inspiration from both Western and other east Asian artistic traditions.

Striking in its depth and dimension of thickly layered paint, and quick, lively strokes, Spring Flowers demonstrates Pang Jiun’s undeniable mastery of both his medium and aesthetic. With vibrant, luminous colors reflecting Fauvist influences, Spring Flowers presents a purity of emotion and passion Ravenel 12

through the joyously sculptural application of oil onto the canvas. Never correcting an existing stroke, Pang has developed a free style of brush strokes which the artist feels reflects the subjective nature of his art. Explaining the spontaneous method of his creative process, Pang states, “I just paint what is inside my own heart.

Whatever commonplace object or scene I am painting, it is not form that determines how the painting turns out, but my emotions and the way I feel about it.” This emotional determination emanates clearly from Spring Flowers , as each spray of brightly hued blossoms bursts across the canvas in a jubilant arrangement of artistic exuberance.

Combining the passionate expression and instinctive nature of Chinese literati painting with a Western Impressionist form and application, the artist establishes a composition captivating in its exploration of color and textural elements. The radiant yellows at once compete and harmonize with the vivid reds and subtler greens, imbuing the work with an arresting sense of movement and elation.

For Pang Jiun, artistic expression stems from personal emotional development, which the artist should then reflect on the canvas. Exhibited in each of his works, Pang Jiun has adopted a wealth of internationally cultural influences to establish a unique and emotive personal aesthetic. As the artist himself explains, “The creative process is integrated with personal inspiration, emotion, personality and traditional culture.

A painter’s artistic expression will inevitably be sublimated to a true artistic realm, because this extraordinary art is destined to touch people’s hearts.”

龐均的獨一無二調色運用及畫面結構，可以見得畫家蘊含著歐洲藝術 與亞洲藝術的傳統及影響，不落窠臼，令人嘆為觀止。他最早期的畫 作在1947及1948年間於廣州及上海首次展出，正是這位十一歲少年 首次與姊姊舉行的聯展。這種從小受到濡染的藝術修養源自龐均的雙 親，因為他們曾深深投入繪畫藝術之中。龐均的父親龐薰琹曾於1925 至1930年間留學法國巴黎，是中國第一代遠赴海外深造的藝術家。學 成歸國後，龐薰琹創立了「決瀾社」，並發表聲明，鼓吹發展具有中 國特質的現代藝術，為新一代藝術家開闢天地，當中也包括了他的兒 子龐均。受到父親根據過往經歷而確立的一套西方藝術知識的薰陶及 鼓勵下，龐均同時也受到日本的藝術及文化的影響，因為他的母親丘 堤曾留學東京多年。龐均紮根於從不同地域衍生出來的藝術生命力， 逐漸開拓個人獨特的世界性美學觀，既繼承了自身的中國文化特質， 也結合了來自西方和亞洲的藝術傳承。 《春到我家》運用了凌厲閃快而生動的筆觸，在厚厚重疊的顏料上勾 畫出不同的深度與線條，恰好展露龐均確能掌握與駕馭這一類媒體； 他的美學能力不容否定。作品用色大膽鮮豔，處處反映著二十世紀野 獸派的風格；油彩愉悅地像雕刻般鋪排在油畫布上，作品呈現出純淨

的感情與激情。龐均從不修改畫布上的一筆一劃，建立了他自由狂放 的獨特筆法，他認為這樣的風格最能體現作品本質的主觀性。關於他 自然而優美的創作過程，龐均這樣說道：「我只是將我心中的東西畫 出來而已。不論我所畫的是怎樣平凡普通的物件或風景意象，都是 我情感之所繫與感覺之所在，而不是它們的形體注定最終畫成的模 樣。」《春到我家》清晰地散發出這種堅定的情感：畫布上每一點由 色彩鮮明的盛放花卉爆發出來的浪花，都充溢著藝術家喜氣洋洋的情 感。結合了熱情的表達、東方文人與生俱來的詩情畫意及西方印象派 的畫風，龐均成功地建立起那些令人讚歎、探索色彩及質感組合的拼 圖。明亮照耀的金黃立時與強烈的鮮紅及隱約的微綠相互媲美，又互 為和諧共融，使作品充滿了動感與歡欣。 對龐均來說，藝術表現隨著他個人的心路歷程而反映於畫布上。他的 每一幅畫作都富有國際化的文化藝術色彩，也從而建立了他獨特的個 人化情感式的美學觀。誠如藝術家所言：「創作過程融合了個人的靈 感、感情、個性及文化傳承，無可厚非；畫家的藝術表現可以昇華至 真正的藝術領域，因為這獨特的藝術注定要進入人們的心坎中。」

502

CHENG Tsai-tung (ZHENG Zaidong) (Taiwanese, b. 1953)

Nocturne 2006 Oil on canvas 120 cm (diameter) Signed lower left Cheng Tsai-tung in Chinese and dated 06

HK$ 75,000 - 95,000 NT$ 285,000 - 361,000 US$ 9,600 - 12,200

鄭在東 月夜山水 2006 油彩 畫布 120 cm (直徑) 簽名左下：鄭在東06

"The appearance of the mountains and rivers is associated with the dialogue between the ancients and the modern, it is already not merely a visual landscape." 「山與水的外表連接著古今間的對話，已不僅是視覺上的風景。」 — Cheng Tsai-tung 鄭在東

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503

CHENG Tsai-tung (ZHENG Zaidong) (Taiwanese, b. 1953)

Moonlight in the Lily Pond 2006 Oil on canvas 80 x 239.5 cm Signed lower right Cheng Tsai-tung in Chinese and dated 06

HK$ 130,000 - 180,000 NT$ 494,000 - 684,000 US$ 16,700 - 23,100

鄭在東 荷塘月色 2006 油彩 畫布 80 x 239.5 cm 簽名右下：鄭在東 06

"Art comes from a kind of subjective perception and feeling and an expression of self-emotion, yet the artist also needs to imbibe nutrients from his own culture." 「藝術是一種主觀的感悟和自我情感的抒發，但也要從自己文化中吸取養份。」 — Cheng Tsai-tung 鄭在東

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504

JU Ming (Taiwanese, b. 1938) Taichi Boxing (a set of 2) 1984 Bronze 24(L) x 17(W) x 23(H) cm (left) 13(L) x 17(W) x 12(H) cm (right) Engraved JU MING in English on the underside (each) This sculpture is to be sold with a certificate of authenticity issued by Hanart 2 Gallery, Hong Kong.

HK$ 360,000 - 500,000 NT$ 1,368,000 - 1,900,000 US$ 46,200 - 64,100

朱銘 太極系列─對招（二件一組） 1984 銅雕 24(長) x 17(寬) x 23(高) cm (左) 13(長) x 17(寬) x 12(高) cm (右) 簽名雕刻底部：JU MING (每件) 附香港漢雅軒2畫廊開立之原作保證書

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505

JU Ming (Taiwanese, b. 1938) Taichi Bronze, edition no. 18/20 71(L) x 46(W) x 44.5(H) cm Engraved on the reverse Ju Ming in Chinese and numbered 18/20 This sculpture is to be sold with a certificate of authenticity issued by Hanart 2 Gallery, Hong Kong.

HK$ 800,000 - 1,200,000 NT$ 3,040,000 - 4,560,000 US$ 102,600 - 153,800

朱銘 太極 銅雕 18/20 71(長) x 46(寬) x 44.5(高) cm 簽名雕刻後側：朱銘 18/20 附香港漢雅軒2開立之原作保證書

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Taichi Series JU Ming

Considered among the most distinguished contemporary Asian sculptors in the world, Ju Ming rose to prominence early in the 1970s when his highly acclaimed Taichi series captivated audiences in Taiwan.

International fame and recognition ensued over the following years as Ju moved to New York and held exhibitions abroad.

Ju Ming’s work has been widely sought by global collectors and dealers, and has continually appreciated in market value over recent years. Additionally, his works have witnessed a growth rate in value of over 300 percent within the past decade alone. This tremendous ascension has secured Ju Ming’s placement on the auction market’s list of the world’s top 100 selling artists, a remarkable status that no other living Taiwanese artist has achieved.

An important milestone in Ju Ming’s development, the Taichi series exhibits the maturity of the artist’s sculptural language and aesthetic style. The series epitomizes the transformation from his previously meticulous and formal craftsmanship to a sculptural aesthetic characterized by complete ease and freedom, achieving a stage that transcends the self. Ju’s selection of the ancient martial art of Taichi as his subject matter was not premeditated. During his apprenticeship with Yuyu Yang, Ju was encouraged by his mentor to adopt exercise in Taichi as means of increasing the artist’s strength to sculpt. After several months of study, Ju became so absorbed with Taichi that he continually visualized various moves in his mind. These visualizations inspired the artist to translate the fluid motions of Taichi

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into static sculptures. Ju Ming believed that sculpting and practicing Taichi both derived from the same source of self-cultivation and exploration. For more than two decades, Ju Ming created numerous sculptures under the Taichi series. From early individual figurines to pairs of boxers, to exceedingly abstract arches in later years, the Taichi series demonstrates the evolution of Ju Ming’s artistic pursuit in terms of stylistic development, exploration of medium, and advancement in sculpting technique.

In his Taichi series, Ju Ming embodies the serenely powerful ambiance of oriental philosophy and traditional culture. A spiritual practice, Taichi allows practitioners to connect deeply with nature, and achieve a balance between the opposing cosmological forces of yin and yang . Imbued with spiritual power, Ju Ming’s Taichi sculptures epitomize the mystifying essence of nature.

Ju Ming masterfully articulates this abstruse traditional Chinese spirit through an aesthetic inspired by Western Modernist expression.

While distinct in form, each exploration in Ju Ming’s Taichi series contains inspiration from traditional Chinese aesthetics. Deliberately departing from his highly meticulous and realistic sculpting techniques, Ju instead elects to imitate the traditional Chinese painting and calligraphic aesthetic of qiyun shengdong —“spiritual resonance and lifelike motion”—as a means of articulating a sense of liveliness and vitality. Ju Ming’s Taichi series also displays a direct influence from his master Yuyu Yang’s works. Yang’s Taroko

series, created in the 1970s during Ju’s apprenticeship, possesses a corresponding impression of nature. Both series share the stylistic qualities of artificial mountains and rocks in traditional Chinese gardens, with the rough textures and simplified abstract forms merging into natural scenes.

JU Ming, Taichi Series - Single Whip , 1981 bronze, edition no. 13/20, 75 x 40 x 44.5 cm Ravenel Spring Auction 2010 Taipei lot 183, US$390,456 sold 朱銘《太極系列－單鞭下勢》1981 銅雕 13/20 75 x 40 x 44.5 cm 羅芙奧台北2010春拍 編號183，39萬456美金成交

Ju Ming’s unrestricted and unintentional sculpting technique emanates clearly from works such as Taichi Series—Single Whip (Lot 507), where the wooden medium prominently displays each carved stroke.

As seen in this piece, Ju Ming’s artistic style shares similarities with the dafupicun technique of Chinese painting, where strokes are applied with the intention of resembling

the cuts made by a large axe. In this wooden Single Whip , the artist has allowed each stroke to remain visible, therefore combining with the finished form as an integral part of the sculpture itself. Here, the negative space created by act of sculpting and the wooden body which remains merge together as an embodiment of yin and yang which the artist continually celebrates throughout his sculptural series. In keeping with the ideals of this technique, Ju Ming believes that when sculpting, there is no reason to think. Only the most direct way of sculpting can create the most genuine piece of art.

In Taichi (Lot 505), Ju has similarly allowed the texture of the mold to remain macroscopic. Single Whip is perhaps the most frequently explored position in Ju Ming’s Taichi series.

An example of Ju’s early Taichi sculptures, this lot depicts an individual figure lowering his body with one leg deeply bent and the other gracefully straightened.

The figure raises his hands in a wide gesture implying readiness, a stance appropriate for both offence and defence.

The elegant poise with which Ju has expertly sculpted this staunch figure signifies the harmony and balance between the dualities of strength and tenderness, as well as motion and stillness. Despite its size, energy and contemplation exude from the refined figure. Such fluidity of form comes in spite of a relatively angular and hard-edged contour; Taichi retains a certain degree of steadfast weightiness, attributed to the influence of ancient Roman architecture from Ju’s visit to Europe in 1976. While in Europe, the artist found himself entranced by how the arrangement of large rocks had constructed such magnificent architecture, inspiring him to simplify excessive details and produce clean contours in order to express a sense of monumentality.

Taichi exhibits other such qualities of Ju’s Western art influences, especially in its vitality and dynamism, which compares to Italian futurist Umberto Boccioni’s Unique Forms of Continuity in Space created in 1913. Regarded as a prototype of Western sculpture in motion, Boccioni’s figure strides forth, emanating a sense of strength and speed, while the simple and curvaceous contours extend the movement into infinite space. Ju Ming’s Taichi carries a similar potency and

dynamic quality, claiming an imaginary space greater than its physical volume.

In his continuing exploration of Taichi movements, Ju Ming created a series of Sparring Taichi (also called Boxing ) based on the spirit of the confrontational yet harmonious duality of yin and yang . Taichi Boxing (Lot 504) is a rare piece within this dynamic series. This lot depicts a complementary pair of boxers engaged in fluid combat. One captured mid-strike, the other in protective defence, the pair expresses a sense of balance and harmony in spite of the disparity in their relative sizes.

Pushing and pulling at the same time, the two boxers are in concert with each other, signifying the flowing exchange of the yin and yang forces. This exploration in expressing

the flow of energy would later evolve into Ju’s final array of his Taichi series – the Arches .

T h e Taichi Arches e x e m p l i f y J u M i n g ’ s ultimate abstraction in his sculptures. In this series, Ju simplifies the combatant movements into sheer abstract forms, emphasizing the animation of the progression of force rather than delineating the perceivable actions. “In the past, there is a distance between two individuals pushing hands,” Ju explains, “Now, I connect the hands. Once connected, the flow of energy and the sway of muscles will merge as one, then transform into the form of an arch.”

Taichi Series—Taichi Arch (Lot 506), created in 2000, epitomizes the conceptual nature of the series with a form more abstract and consolidated than earlier sculptures.

Unfett er ed fr om t he limitations of bodily shapes, this lot vividly exhibits the tranquil yet forceful intentions of Taichi.

In his later series, Ju Ming adopted Styrofoam as his molding material, going so far as to rip the Styrofoam to create textural depth, a technique clearly visible in works such as Taichi Series—Taichi Arch . Ju Ming’s rapid and unintentional sculpting technique imbues his Taichi series with miraculous vitality, further illustrating his unique artistic style.

A diligent artist who has never stopped producing artworks, Ju Ming, undeterred by his age, still perpetually creates his Living World series, which continues to demonstrate the artist’s indomitable creativity. Nevertheless, the Taichi series remains as the most representative and valuable series within Ju’s large body of works. Since 2002, when Ju Ming ceased production of his Taichi series, the market value for these works has been rising steadily, and is believed to continue its ascent in the global market.

“I understood the motion from one form to another, so I've got more than sixty-four positions to choose from.”

早於1970年代已在台灣獨當一面的當代雕塑大師朱銘，憑藉其 舉世聞名的「太極」系列成為國際藝壇上舉足輕重的亞洲藝術 家。朱銘的作品在世界各地被廣泛收藏，價值亦有增無減。在過 去十年間，朱銘的作品增值率以倍數增長，鞏固了他在國際拍賣 市場上的地位，更成為唯一一位能夠躋身世界百大銷量藝術家行 列的在世台灣藝術家。 「太極」系列是朱銘發展藝術事業的一個重要里程碑。從「太 極」系列可以看到朱銘的藝術創作及雕塑風格漸趨成熟，他摒 棄了精細而寫實的雕刻技法，反而從容、大膽地雕塑，達到忘我 的境界。朱銘選擇太極作為他創作的題材實為偶然。在拜師楊英 風的早期，楊氏認為朱銘不夠力量雕塑，便建議他練習太極拳強 身。經過數月的練習，朱銘漸漸沈迷，在腦袋內反覆出現太極招 式。朱銘決定把太極融入其創作當中，以此為主題，創造一系列 由基本招式，到雙人對招，以至抽象至拱門形態的「太極」雕 塑，從此亦聲名大噪。對朱銘而言，練習太極拳和雕塑都同源於 自我修煉與探索。在創作「太極」系列的過程中，朱銘嘗試了各 種風格、物料及雕塑技巧，由此可以表現朱銘在藝術生涯中的蛻 變。 太極是一種精神的修煉，修煉者與大自然的聯繫互動，以達至陰 陽兩極平衡。朱銘的「太極」系列隱藏了此強烈的傳統東方哲學 思想，象徵大自然神祕的本質。朱銘的作品充滿力量與靈魂，氣 勢磅薄，其造型及材質亦能與大自然融為一體，達至天人合一的 境界。朱銘亦巧妙地運用西方現代雕塑的風格與技巧表達如此深 邃的中華文化，反映藝術家對中西文化融合的意象理解。

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朱銘的「太極」系列蘊含著許多傳統中國美學元素。朱銘脫離了精細而 寫實的雕塑技巧，反而講求中國傳統書畫所追求的「氣韻生動」。朱銘 深受其師父楊英風的影響，有學者更把「太極」與楊英風的早期作品作 比較。楊英風的「太魯閣」系列創作於朱銘拜師學藝的期間，粗獷的質 感及抽象簡潔的造型與自然景觀融合，充滿中國園林假山石的概念，深 深影響朱銘「太極」系列崇尚自然和諧的理念及造型。

此《太極》銅雕充滿活力與動感，極具西方藝術的特徵。未來主義先鋒 薄丘尼(Umberto Boccioni) 於1913年創作的《空間連續的獨特形體》 創立了西方現代雕塑呈現動感的典範。此雕像造型簡約，大步踏前，其 形態配以流動的曲線把空間感無限延伸，散發無窮力量與速度感。朱銘 的《太極》呈現相若的效果，有效捕捉並描繪動作的瞬間，可見朱銘的 「太極」作品充滿西方現代感。

傳統書畫中的「大斧劈皴」之法亦可見與這兩位大師的作品。朱銘創作 的過程是「縱手放意，無心而得」，他說：「所謂『無心』，就是沒有 經過思考，這是我的主張，在創作中，不必想，也不可以想，則堅守了 創作的嚴肅性，因為他不變質。」由早期以木頭為創作素材的時候，朱 銘已用斧頭隨心地創作。《單鞭下勢》（拍品編號507）中，藝術家在 木頭上刀劈斧削的痕跡清晰可見，反映其縱手放意的雕塑技法。這些痕 跡形成雕塑的負空間，發揮太極陰陽協調的效果。

太極精神在於陰陽兩股力量的抗勢與和諧，因此朱銘亦創作了一系列 《太極系列－對招》的雕塑。拍品504是市場上極度罕有的銅雕。這雙 「太極」雕塑一攻一守，互相切磋，一方起勁出拳，一方俯臥順勢；雖 然體積不一，但體勢與力道卻能達至平衡與和諧。兩方互相呼應，彰顯 太極陰陽互濟的本質，並展現陰陽循環，形成一股無形的電流。此流動 的力量亦即將演化為朱銘「太極」系列中最後一組作品－「拱門」。� �

《太極》（拍品編號505 ）雖然已鑄銅，但原模的肌理紋路仍清晰可 尋。在「太極」系列中，「單鞭下勢」可算是最廣為人知的作品，而此 拍品便是當中的典範。此件作品捕捉了一個蓄勢待發的姿勢，雕像雙腳 一曲一直，雙手張開，重心墮下，形成一個可攻可守的姿態。這作品動 靜兼備、剛柔並重，充分表現出太極的和諧思想。此拍品雖然體積不 大，但當中的精神及力量仍得以表露無遺。朱銘的「單鞭下勢」具有西 方現代雕塑的厚重感，其實是受古羅馬建築的影響。朱銘於1976年隻身 遠赴歐洲，被由巨大石頭堆砌而成的宏偉建築物所震憾，啟發他捨棄以 往細緻的雕工，加大了人物的衣袖，增添作品的動態和重量感。

《太極系列－太極拱門》（拍品編號506）是朱銘把他的太極雕塑抽象 化至極致之作。朱銘解釋：「以前的推手，兩個個體間還有間距，而現 在，我讓雙手連接起來，一連接，氣的流動、肌肉的牽動，就互相貫 通、活絡，合為一體，轉化成拱門的造型。」朱銘把太極對招的動作簡 化到只剩抽象的形體，從有形回歸無形，達到神似而非形似的境界。此 拍品是朱銘後期的「太極」作 品，此2000年創作的拍品比較早期的雕塑 更為抽象及連綿，淋漓盡致地表現太極流轉不息的氣韻。 朱銘後期改用保麗龍創作，更喜歡隨手撕裂創作物料。在《太極系列－ 太極拱門》中，保麗龍的質感及痕跡清晰可見，可以從作品看出藝術家 創作的過程。朱銘所堅持的這種「縱手放意，隨心而得」的創作心態， 令「太極」系列中的雕塑充滿生命力，也樹立了藝術家的個人風格。 儘管朱銘現時已屆高齡，但他仍不斷創作。近年的「人間」系列充分展 現這位藝術家的無窮創意。但說到藝術及投資價值，不論學界、收藏界 及投資界人士，都不得不同意「太極」系列才是朱銘創作的高峰，亦是 最能代表藝術家的系列。朱銘2002年起停止創作「太極」系列，自此 「太極」在市場上的價格便節節上升。如此珍貴的藝術品，非常值得收 藏。

506

JU Ming (Taiwanese, b. 1938) Taichi Series ﹣ Taichi Arch 2000 Bronze, edition no.1/8 81(L) x 34.5(W) x 44.3(H) cm Engraved on the reverse Ju Ming in Chinese, numbered 1/8 and dated 2000 ILLUSTRATED:

Ju Ming , Singapore Art Museum, Singapore, 2004, color illustrated, p. 48 (another edition ill.)

Ju Ming Taichi Sculpture, Guangxi Fine Arts Publishing House, Nanning, 2006, color illustrated, p. 96 (another edition ill.)

This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

HK$ 750,000 - 1,100,000 NT$ 2,850,000 - 4,180,000 US$ 96,200 - 141,000

朱銘 太極系列—太極拱門 2000 銅雕 1/8 81(長) x 34.5(寬) x 44.3(高) cm 簽名雕刻後側：朱銘 2000 1/8 圖錄： 《朱銘 》，新加坡美術館，新加坡，2004， 彩色圖版，頁48 (另一版次) 《朱銘：太極雕塑 》，廣西美術出版社， 南寧，2006，彩色圖版，頁96 (另一版次) 附台北真善美畫廊開立之原作保證書

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507

JU Ming (Taiwanese, b. 1938) Taichi Series - Single Whip 1992 Wooden sculpture 48(L) x 30(W) x 49(H) cm Engraved on the underside Ju Ming in Chinese and dated '92 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation - Juming Museum.

HK$ 2,600,000 - 3,400,000 NT$ 9,880,000 - 12,920,000 US$ 333,300 - 435,900

朱銘 單鞭下勢 1992 木雕 48(長)x 30(寬)x 49(高) cm 簽名雕刻底部：朱銘 '92 附財團法人朱銘文教基金會開立之作品鑑定報告書

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508

LI Chen (Taiwanese, b. 1963) Causal 2008 Bronze, edition no. 8/8 46(L) x 40(W) x 69(H) cm Engraved on the lower back Li Chen in Chinese and English, numbered 8/8 and dated 2008 ILLUSTRATED:

Li Chen: In Search of Spiritual Space, Solo Exhibition at National Art Museum of China , Asia Art Center, Taipei, 2008, color illustrated, p. 190

HK$ 600,000 - 750,000 NT$ 2,280,000 - 2,850,000 US$ 76,900 - 96,200

李真 菩提 2008 銅雕 8/8 46(長) x 40(寬) x 69(高) cm 簽名雕刻背面下方：李真 Li Chen 8/8 2008 圖錄： 《李真：中國美術館個展—尋找精神的空間》， 亞洲藝術中心，台北，2008，彩色圖版，頁190

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Causal LI Chen

The sun shines by day, the moon shines by night...But the Buddha shines resplendent all day and all night. 「太陽在白天光芒萬丈，月亮在夜晚明亮⋯佛佗則不分日夜，光明普照。」 — Siddharta Gautama 釋迦牟尼

Exuding a serenity and lightness of being in direct contrast to the heavy, metallic materials from which they are produced, Li Chen’s celestial sculptures bring the ideals of traditional Buddhist and Taoist philosophy into the modern era. A selftaught artist, Li first developed his sculptural technique in the creation of Buddha and bodhisattva sculptures for temples in his hometown of Yunlin, Taiwan. Inspired by the plump, rounded forms from Tang dynasty sculpture, Li then expanded his aesthetic to establish his own unique sculptural style, seeking a new artistic lexicon to express the quintessence of this philosophical thought.

With direct influence from Buddhist philosophic ideals, Causal exhibits Li Chen’s singular skill in crafting forms of tranquil weightlessness to convey the transcendence of enlightenment. Supported by shining, ethereal figures, a meditative figure floats with eyes closed in peaceful contemplation.

The central figure’s gently clasped hands and

feet reflect the posture of the five behind, whose faces Li has rendered in exultant jubilation. Complex and multifaceted in composition, Causal reveals various aspects of Buddhist philosophy when viewed from different angles.

When viewed from the front, the tranquil darkness of the central subject complements the brilliant vibrancy of the five figures behind; when viewed from the side, however, the layered construction becomes apparent.

Finally, the view of the reverse obstructs the central figure, as the five golden extensions now take the form of a holy Bohdi tree, branching from a sturdy, deeply rooted trunk. An exploration in the beauty of contrast, in Causal , Li juxtaposes light with shadow, texture with smoothness, buoyancy with mass, each antithetical element combining with melodious harmony to create a work of captivating calm and serene weightlessness.

《菩提》一詞源於佛教字彙，即姻緣、因果之 義。若以此義觀之，作品中之孩童即因緣而 生，佇立於孩童後方的則為菩提樹。李真以五 修行羅漢的圖像來構造菩提樹，讓圖像和樹之 姿相輔相容，產生出微妙的雕塑體。此雕塑有 趣之處在於李真的處理方式，用以樸拙的雕塑 技巧卻安上了金箔，更加突顯雕塑的價值，彷 彿在詮釋菩提精神，給予生命重生的暗示。 從另一個面向來看，後方的菩提樹也宛若是一 碩大的手掌，保護、托拱著純真的孩童。這種 呵護與關愛的表現，不無啟發了良善慈悲的菩 提心。 從雕塑的各個角度加以欣賞，可見不同層次： 正面望去孩童懸浮於樹體上，如在母親子宮裡 的嬰孩，安詳而愉悅，充滿新生的生命力；側 面望去，則見到雕塑前與後兩層結構；背後望 去，則是那棵菩提樹和那大手。用「菩提」一 詞作為隱喻，此雕塑呈現了無窮的生命力，同 時留給觀者無 限的想像與可能，這是李真創作 的目的。

INTERNATIONAL ICONS 國際巨擎 Lot 509 - Lot 518 Yoshitomo NARA Bernard BUFFET Auguste RODIN Fernando BOTERO Andy WARHOL Damien HIRST

509

Yoshitomo NARA (Japanese, b. 1959) Chinese Girl on the Dish 1993 Acrylic on canvas 130 x 100 cm Signed on the reverse YOSHITOMO NARA and titled chinese girl on the dish in English, dated '93 PROVENANCE:

Acquired directly from the artist by Galerie Tokyo Humanité, Tokyo, Japan Private collection, Asia EXHIBITED:

Be Happy , Galerie Tokyo Humanité, Tokyo, Japan, November 29 - December 18, 1993 ILLUSTRATED:

Yoshitomo Nara: The Complete Works , Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 86

HK$ 3,600,000 - 4,200,000 NT$ 13,680,000 - 15,960,000 US$ 461,500 - 538,500

奈良美智 碟子上的中國娃娃 1993 壓克力 畫布 130 x 100 cm 簽名畫背：YOSHITOMO NARA chinese girl on the dish '93 來源： 東京人文畫廊直接購自於藝術家 私人收藏，亞洲 展覽： 「要快樂」，人文畫廊，東京，日本， 展期自1993年11月29日至12月18日 圖錄： 《奈良美智作品全集》，紀事報叢書，三藩市， 2011，彩色圖版，頁86

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Chinese Girl on the Dish & Puff Marshie Mini Yoshitomo NARA

The diversity of Yoshitomo Nara’s followers is an achievement seldom reached by a living artist. With a strong sub-culture cult following across the globe, combined with fine art pieces realizing prices of over one million US dollars, Nara’s meteoric rise to prominence within the past decade comes as no surprise. With this growth in status comes growth in value; Nara’s works have more than doubled in investment worth since 2004, and continue to thrive in a demanding world market.

Nara began his rapid ascension within the art world in the 1990s, and is often closely associated with Japanese artistic movements of that period. His work is commonly attributed as belonging to Takashi Murakami’s “Superflat,” an artistic theory which draws clear inspiration from Japanese manga and anime, with ties and forays into otaku pop-culture fanatic obsession. However, while Nara’s works share characteristics of Superflat in the use of simple lines and lack of visual dimension, the subject matter vastly differs from that of most Superflat artists. Murakami developed the theory as a mocking critique for consumerism and cultural objectification within the society around him, and often employs the sexualization reminiscent of fetishist Lolita culture, along with playful and childish imagery.

In such subject matter, Nara takes a distinct departure from the movement. His works do not focus on a consumerist culture, and the children he depicts are neither sexual nor childish. Indeed, Nara himself rejects the clichéd association of his work with Superflat, distancing himself by stating: “the entire 1990s, the entire decade, I was not even in Japan. I was absent. It’s a mystery to me why I’m so often associated with a movement that is so specific to that time and to that place.”

While rejecting affiliation with Superflat, Nara openly acknowledges the influence on his artwork from another genre of artistic expression— children’s picture books. Within such a seemingly innocent medium, Nara recognized the potential for greater visual impact, asserting that “in a picture book you have a single image that can contain an entire narrative.” While deceptively simple in form, Nara emulates this theory of a condensed, yet fully formed story conveyed through a solitary impression.

Throughout his works, Nara utilizes the depiction of children as a conduit for the expression of his ideals. Nara’s children form the perfect amalgam, imbued with the subtle ire and rebellious nature of Nara’s thematic approach, while maintaining the outward innocence of his stylistic inspiration. With their comically oversized heads placed upon petite and fragile frames, Nara’s children stare out at the world around them through enormous eyes narrowed in suspicion and distrust. Often armed with miniature knives, or with glowingly lit cigarettes dangling dangerously from their fingers or lips, these children stand defensively alone against the menacing expanse of nothingness surrounding them. Nara plays on the collective perception of innate innocence in children. Speaking in reference to his own childhood, he states simply, “when you are a kid, you are too young to know you are lonely, sad, and upset.” The children in his work, however, are clearly cognizant of their discomfort. They stand at attention, glaring up in accusation at the audience placed in the position of the adults that control their world.

From this vantage point, the audience takes on the role of the oppressive society that Nara, from the eyes of the children, rebels against.

children. Puff Marshie Mini exhibits all the qualities which its name evokes. Lacking in sharp angular lines, each plane of the sculpture appears gently inflated, from the softly swollen cheeks and brow to the ropes of thickly defined locks of hair which curve around the face like a defensive cushion, shielding the subtly smiling child in a cocoon of plush protection.

The rigidity of the fiberglass medium, however, creates a stark contrast to this deceptively yielding appearance, undermining the softness of form with a severity of substance. Further reflection upon the sculpture inspires greater unease, as the blank, featureless eyes stare unblinking and gaping over a smile with malicious intent harbored in its subtle curves.

While not as overt in rebellious intent, Puff Marshie Mini still continues Nara’s subversive examination of suppressed conflict.

This underlying rebellious nature comes from Nara’s juxtaposition of the thematic inspiration from children’s books with the altogether contrary stylistic influence of Punk rock. Nara discovered an innate affinity for the dissonant melodies and brash, unrefined nature of the Punk rock movement, and empathized with lyrics saturated with themes of seclusion and angst. The criticisms that the Punk rock artists made concerning society and culture resonated with Nara, already acutely attuned to the inherent isolation he felt around him.

Nara displays this discord with society and culture through his artwork, focusing on isolated figures against blank, featureless backgrounds. His figures seethe with an underlying fury characteristic of the ire and rage which play an intrinsic role in the Punk rock persona.

In keeping with this thematic ideology of rebellious accusation, Chinese Girl on the Dish (Lot 509) exemplifies Nara’s emphasis on isolation. A solitary figure standing proudly in defiance against the expanse of green which surrounds her, she seems to hang precariously in the void, secured only by the small white disk on which she has resolutely planted her tiny, black boots. Her scarlet military-style uniform further differentiates her from the contrasting green, positioning the girl in complete divergence from her surroundings. Hands clenched by her side, she stands vigilantly and stiffly at attention. She gazes steadily and solemnly upward, alert and wary of her isolated position. Her tightly pursed lips betray the tension smoldering beneath her penetrating glare. As the audience looks down on her from the high vantage point of an adult, she scowls out from beneath an expanse of black hair, tied up in symmetrical side buns, as tightly wound

Yoshitmo NARA, Missing in Action , 1999 Acrylic on canvas, 180 x 145 cm Sold at US$1,460,101, London, 2011 奈良美智《行方不明》，1999 壓克力 畫布，180 x 145 cm 2011年在倫敦以146萬101美金拍出

as the girl herself. Her entire being radiates the rebellious indignant ideals of Nara’s Punk rock influence, though sweetly and simply painted with thick, defining lines consistent with the artist’s picture-book style.

Nara further explores his juxtaposition of the soft appeal of child-like imagery with more sinister undertones of rebellion and dissonance in his sculptural series. In Puff Marshie Mini (Lot 510), the over-sized, bulging eyes, petite facial features, and gently contoured cranium all remain consistent with Nara’s emblematic depictions of wide-eyed

Nara’s work constantly balances the conflicting influences which he utilizes to expose the discord inherent in the frequent isolation of an individual within a society seemingly rife with networks and connection. Just as tension teems behind the exterior innocence of his figures, insinuation and intention saturate his deceptively simple paintings and sculpture.

As the artist himself states, “I work very hard to make sure my art does not produce a superficial image, that there is much more depth to it.” It is this depth and implication that draws such a diverse and ardent following across the globe.

"In a picture book you have a single image that can contain an entire narrative." 「圖書內一幅簡單的圖案就包含著一整個故事。」 Yoshitmo NARA, Princess of Snooze, 2001 Acrylic on canvas, 288 x 181.8 cm Sold at US$1,497,000, New York, 2007 奈良美智《貪睡公主》，2001 壓克力 畫布，288 x 181.8 cm 2007年在紐約以149萬7000美金拍出

奈良美智是其中一位最具影響力的日本當代 藝術家，他的作品在亞洲以至國際市場上均 受到收藏家的熱烈追捧。隨著他的名氣日漸 提升，其作品價格也跟著提升，當中更不乏 價值百萬美元的作品。強烈的孤獨感是奈良 美智的創作精神來源，他的作品呈現強烈的 自我意識，很多時反映自身的不安。從宏觀 去看，他的作品流露著日本獨特的文化精 神，也暗示現代人的孤寂感。 奈良美智在九十年代的藝壇迅速冒起，與當 時日本的藝術運動是息息相關的。他的作品 常被歸類為村上隆的「超扁平」風格—一種 由日本動漫文化引申，源自對御宅文化狂熱 愛好的美學概論。儘管奈良美智的繪畫風格 有著「超扁平」藝術的簡約線條和平面構 圖，但其創作題材和方向則不太相似。村上 隆的創作概念源自對日本大眾文化的嘲諷， 他透過幼稚的卡通和動漫人物誇張的造型和 性徵，批評日本次文化的膚淺。從這方面去 看，奈良美智和這股藝術運動相距甚遠。他 的作品沒有諷刺日本文化的傾向，所描繪的 孩童也沒有性的意味。奈良美智拒絕被標簽 為「超扁平」藝術家等一切陳腔濫調的命 名， 他明言道 ：「 在 整個 二十 世 紀九十 年 代，整整十年，我並不在日本。這對於我來 說是一個謎，我不明白為什麼常被關聯到這 個藝術運動中，一個時間和地點都如此明確 的藝術運動。」 拒絕附屬於「超扁平」藝術派系的同時，奈 良美智公開表示兒童圖畫故事對他的影響。 這個看似平凡簡單的媒介，潛藏著影響奈良 美智深遠的視覺元素。他曾說：「圖書內一 幅簡單的圖案就包含著一整個故事。」奈良 美智把訊息濃縮在簡單的線條形體中，透過 卡通圖象傳達出來。 奈良美智筆下的孩童是一個矛盾的混合體， 擁有反叛個性和天真外表。孩童有著誇張 的頭部和弱小的身軀，一雙獰起的大眼晴緊 盯著前方，眼神流露著懷疑和不信任。有時 候，他更手握著利刀，嘴叼著香煙，一個人

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站著抵禦周遭一切看不見的威脅。提到他的 童年，奈良美智簡單說：「當你還年幼時， 你不可能理解你內心的孤獨和傷痛。」然而 他筆下的孩童清楚認識到自身的不安，他們 站立在畫面中心，以凌厲的眼神凝視著成人 觀眾的位置，一個有能力掌控世界的位置。

Yoshitmo NARA, Well, 1999 Acrylic on canvas, 120 x 110 cm Sold at US$909,746, London, 2011 奈良美智《安好》，1999 壓克力 畫布，120 x 110 cm 2011年在倫敦以90萬9746美金拍出

如是者，觀眾被迫置身於這個在孩童視覺下 的優越的位置，扮演著社會壓迫者的角色。 奈良美智筆下的小孩單純可親，卻流露著不 懷好意的情緒，這是龐克搖滾對他的影響的 緣故。奈良美智酷愛搖滾音樂強烈的節奏、 粗俗的旋律和狂傲的歌詞。龐克搖滾歌手對 社會的不滿所表達的情緒，觸動了奈良美智 內心孤獨的感受，他以疏離和孤寂的人物形 象，配上單一的淨色背景，表達這種不安的 感覺。他筆下的人物把怒火蘊結在心頭，處 處散發著搖滾狂迷的憤怒特質。奈良美智 對搖滾的熱愛，更影響他對人物和作品的命 名，由此可見搖滾文化對他的深遠的影響。

根據以上所述以反叛和控訴作為主題的角度 來看，《碟子上的中國娃娃》（拍品編號 509）正好反映奈良美智要表達的孤寂感。 畫中小女孩獨自一人站立在綠色背境前，與 觀者對抗著。她徘徊在這空間，唯一能依靠 的是她腳下的一隻白色小碟。她身上那鮮紅 色的軍服與綠色的背境形成強列的對比，使 她與周遭環境完全割裂。女孩緊握著拳頭， 拘謹地站立著。她堅定的雙目嚴肅地向上 瞧，站在自己的崗位上，彷彿已進入戒備狀 態，她緊閉的雙唇進一步彰顯了她內心的繃 緊。當觀眾置身於成人的角度望向她時，看 見的除了一臉怒容，還有盤繞在頭髮兩旁的 一雙圓髮髻。她整個人流露著龐克搖滾憤慨 的本質，奈良美智透過簡單的圖象和輪廓分 明的線條，以故事書插圖的風格表達出來。 奈良美智作品裡的人物都有一個共同點：他 們都是孤獨的。勿論他們正閉著目或瞪著 眼，都是拒絕與外界交往的表現。《迷你泡 芙》（拍品編號510）呈現的是一個活潑的 女孩頭顱雕塑，面積被誇張放大了好幾倍。 女孩的立體形象與平面造形是一致的，嬌俏 的臉孔、睜著的大眼睛、緊閉的雙唇和靦腆 的微笑，散發著帶有沉鬱的稚氣。這種矛盾 正好反映了奈良美智的心態：「當我創作 時，我很自然地游走於長大成人的我和童年 時候的我。」雕塑女孩流暢的外廓線條和圓 潤飽滿的造型，特別惹人喜愛。渾厚的髮絲 彷似是一個光滑晶亮的蠶繭保護著女孩抵禦 外來的侵擾。淡而柔和的色彩使女孩變得份 外純潔，而剛硬的玻璃纖維正為她提供了充 份的保護。 奈良美智的創作從個人層面出發，畫中反叛 又寂寞的年幼主角彷彿是奈良美智的自我投 射。主角對外界不妥協的態度，是抵御外間 的一種無可奈何的表現。趣致的人物造型吸 引著觀眾的視線，令人聯想到日本的可愛文 化。奈良美智鮮明的風格，為他帶來無數掌 聲和榮譽。同時，他亦確立了成功的典範， 帶領著日本當代藝術走上國際舞台最前線的 席位。

510

Yoshitomo NARA (Japanese, b. 1959) Puff Marshie Mini (yellow) 2006 Urethane paint on fiberglass reinforced plastic 155(L) x 155(W) x 72(H) cm PROVENANCE:

Tomio Koyama Gallery, Japan Private collection, Asia EXHIBITED:

3L4D - 3rd Life 4th Dimension , National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, October 20 - November 8, 2007 ILLUSTRATED:

3L4D - 3rd Life 4th Dimension, Metaphysical Art gallery, Taipei, 2007, color illustrated Yoshitomo Nara: The Complete Works , Chronicle Books LLC, San Francisco, 2011, color illustrated, p. 286

HK$ 1,300,000 - 1,800,000 NT$ 4,940,000 - 6,840,000 US$ 166,700 - 230,800

奈良美智 迷你泡芙（黃色） 2006 聚氨酯漆 玻璃纖維強化塑膠 155(長) x 155(寬) x72(高) cm 來源： 小山登美夫畫廊，日本 私人收藏，亞洲 展覽： 「3L4D動漫美學新世紀」，國父紀念館，台北，台灣， 展期自2007年10月20日至11月8日 圖錄： 《3L4D動漫美學新世紀》，形而上畫廊，台北， 2007，彩色圖版 《奈良美智作品全集》，紀事報叢書，舊金山， 2011，彩色圖版，頁286

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511

Bernard BUFFET (French, 1928-1999) Hortensias Bleus 1958 Oil on canvas 64.5 x 45 cm Signed lower right Bernard Buffet and dated 58 This painting is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris, France.

HK$ 650,000 - 850,000 NT$ 2,470,000 - 3,230,000 US$ 83,300 - 109,000

貝爾納．畢費 藍色繡球花 1958 油彩 畫布 64.5 x 45 cm 簽名右下：Bernard Buffet 58 附巴黎莫里斯．嘉尼耶畫廊開立之原作保證書

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Hortensias Bleus Bernard BUFFET

With a meteoric rise to the forefront of the international art stage, Bernard Buffet became a household name in the 1950s.

Instantly recognizable, the artist’s work was highly sought across Europe and America. Awarded the prestigious Prix de la Critique at only twenty years old, Buffet had accumulated an immense personal fortune by the age of 30, leading to a 1956 feature in Paris Match which presented Buffet as the “young millionaire artist.” For more than a decade after his initial solo exhibition in 1947, unimaginable success followed Buffet, leading to his first major retrospective in 1958, at the young age of thirty.

With an artistic ideal that involved shocking and unsettling viewers, the artist’s distinctive linear style first appeared in 1946, with thin black lines scrawling across his canvases. Adamantly insisting that he was a painter and not an artist, Buffet found a visual lexicon with which to represent the sensitivities of the Post-War generation. With bold, confrontational lines against garish and flamboyant colors, Buffets paintings portrayed an underlying angst and turmoil which resonated with a society recovering from the violence and atrocities of World War II. The clearly apparent aggression within his paintings is tempered, however, by a sense of restriction and suppression; the rage and ire is measured and balanced, left seething under the initial surface. Appealing to a European population which identified closely with his artistic ideals, Buffet’s international breakthrough came when he was only 21 years old, propelling him into the cultural life of Paris and other major world cities throughout the 1950s.

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Painted in the same year as the artist’s premier retrospective, Hortensias Bleus exhibits the stark, harshly linear aesthetic which captivated viewers at the height of Buffet’s celebrity. With thick lines splayed in wild abandon in a central explosion of black, Buffet’s simple still life manages to capture the unsettling quality of aggression and unrest which characterize Buffet’s oeuvre.

Despite a static subject matter, Hortensias Bleus retains a confrontational atmosphere, with rushed lines and bleeding colors exuding a sense of movement and haste.

Against a harshly washed background of light yet garish yellow, the bold black lines seem unable to contain the vibrant green of stems and leaves as it bleeds out from beneath the heavy dark slashes of black. Dashing out in fervent strokes, the green streaks across the background in vertical stripes reinforcing the linear quality of the composition as a whole.

Combining with the stark yellow, this green helps to establish a sickly luminescence, heightening the sense of underlying unease.

In direct divergence, the gentle blues of the flowers themselves sit quietly confined by the nests of thorny black, highlight the surrounding turbulence in their contrasting tranquility. Buffet’s iconic spiked signature, an exalted branding for the artist, completes this sense of abrasive discord, in a piece representative of the enthralling style which propelled Bernard Buffet to his exalted status during the post-war 1950s era.

青年時的貝爾納．畢費意氣風發，他的繪畫在 藝壇上舉足輕重。在20世紀50年代畢費已成 為一個家喻戶曉名字，作品遍佈歐美。1948 年當時僅20歲的畢費獲得了著名的「藝評獎」 （Prix de la Critique），一舉成名。名聲和 極佳的銷情為他帶來了巨大的財富。1956年 他被世界著名雜誌《巴黎競賽》以專題報導， 並形容他為「年輕百萬富翁藝術家」。1958 年，就在他舉辦第一次個展後的十年，以30歲 之齡在著名的巴黎木匠畫廊舉辦首個回顧展。 畢費的作品以獨特的線性風格著稱，他率性下 筆，以濃重的黑色線條勾勒輪廓。這種風格 首現於1946年，為當時的觀眾帶來驚喜和震 撼。畢費強調自己是一個畫家，而不是一個藝 術家。他以敏銳的觸覺和豐富的視覺詞彙，表 達心靈受創 的戰後一代對戰爭的厭惡和恐懼。 他以強韌有力的筆觸，襯托耀眼鮮明的色彩， 畫面流露著當時瀰漫於歐洲社會的沉鬱氣氛。 剛毅的線條為畫面添加了一份侵略感，但這份 霸氣因被抑壓而顯得緩和。畢費以表現性的風 格，透過不同的人物肖像、動物、靜物和城市 風景繪畫，表達二戰後青年的憤懣之情。畢費 才華洋溢，其獨特的畫風在國際藝術界引起了 極大回響，吸引了不少著名的藝術收藏家。 就在畢費舉辦回顧展的同年，他創作了《藍色 繡球花》。他以粗獷有力的黑色線條勾勒繡球 花的輪廓，視覺的集中點在畫中央，熾熱的能 量彷彿要從重心處擴散至四面八方。這無形的 張力滲透在畢費整個藝術生涯的創作中，表現 了戰爭動亂下人民內心的憂鬱情緒。《藍色繡 球花》的題材雖然是靜態的，卻流露著不安份 的律動感。粗黑的線條描繪出繡球花的形態， 葉子和葉柄像要衝破界限的限制，渾身散發著 一般讓人不可小覷的氣燄。藍色的繡球花背靠 在黃色的背境，兩者搭配鮮明，互相映襯。 最後，畢費以獨 特的簽名模式結尾，為每幅作 品提供了完美的註腳。《藍色繡球花》呈現了 藝術家於20世紀50年代的迷人風格，實在是 一幅精彩之作。

512

Bernard BUFFET (French, 1928-1999) Deux Truites Jaunes 1977 Oil on canvas 64 x 98 cm Signed upper center Bernard Buffet and dated upper right 1977 This painting is to be sold with a certificate of authenticity issued by Galerie Maurice Garnier, Paris, France.

HK$ 750,000 - 950,000 NT$ 2,850,000 - 3,610,000 US$ 96,200 - 121,800

貝爾納．畢費 一對金鱒魚 1977 油彩 畫布 64 x 98 cm 簽名中上：Bernard Buffet 標示年代右上：1977 附巴黎莫里斯．嘉尼耶畫廊開立之原作保證書

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Deux Truites Jaunes Bernard BUFFET

Enjoying immense popularity during the 1950s, Bernard Buffet continued to paint prolifically until his death in 1999. Continuing to hone and refine his distinctive aesthetic, Bernard Buffet was respected and honored by renowned artists the world over.

American Pop Art icon Andy Warhol once venerated Buffet as his personal favorite artist, referring to Buffet as the “last famous painter”. Pablo Picasso’s own children once famously hounded Buffet for autographs in the presence of their affronted father, leading to a long-standing rivalry with the Spanish cubist master. Chosen by 100 critics in 1955 as the most impressive young painter in the world, Buffet’s dominating and striking visual style graced solo exhibitions, museum walls, and major retrospectives the world over.

Continuing to paint throughout the following decades, Buffet’s existentialist artistic ideals lead to an exploration of the mundane and common through continued depictions of still-life scenes. While using subjects inherently devoid of sentiment, Buffet nevertheless continued to imbue his paintings with an overwhelming sense o f c on f ron tat ion and angst w hi ch had characterized his work from the onset.

Thin, spindled lines continued to spread across his somber compositions, imparting the sensation of underlying discomfort which had struck such a resonating chord with the post-war generation throughout Europe. Over the following decades, Buffet continued to explore his distinctive aesthetic,

creating scenes which began to subtly blend the serene with the discordant. Throughout his career, the artist employed flamboyantly lurid colors and illustrative thick lines to emphasize the figures and emotions within his paintings, combining soft washes and gentle strokes with heavy deposits of bright color or dark black.

Deux Truites Jaunes demonstrates the continuing refinement of the artist’s signature aesthetic. The strong, bold lines of black accentuate the severe qualities of the arrangement, filling the composition with sharp, angular junctions. Emphasizing visual contradictions, the straight, linear lines on both the fish and drinking glass converge with softer curves, both carrying the same weighted stroke. Providing further contrast, Buffet constructs the leafy fronds of green garnish with airy, thin strokes of alternating black and green. While employing light washes of vibrant yellow, complemented by the rich tone of the underlying greenery, the palette still exudes a bleakness characteristic of Buffet’s enduring aesthetic. The harsh and cheerless wash of whites and grays emphasize the brashness of the colorful display, casting the luminous arrangement in a garish and lurid light. Completing the linearly focused composition, Buffet’s distinctive signature prominently decorates the top center of the canvas. Although painted nearly two decades following the height of his celebrity status, Deux Truites Jaunes maintains the individual aesthetic which distinguished Bernard Buffet’s artistic stardom in the 1950s.

貝爾納．畢費年青時才華盡顯，1950年代已 聲名遠播。他那漫長的創作生涯，留下了一系 列經典之作。有說他曾被美國普普藝術大師安 迪．沃荷尊稱為「最後的名畫家」，而畢加索 的孩子亦曾當著父親面前向畢費索取簽名， 令畢加索情難以堪。1955年他被一百位評論 家選為最耀眼的年輕畫家，奠定了他在畫壇地 位。他在世界各地畫廊及博物館舉辦展覽，廣 受大眾擁戴。無奈他於1999年自殺身亡，震 撼了整個藝術界。 畢費幾十年的創作生涯，努力不懈地探索周遭 的世界，生活上的靜態物件常成為他的描繪對 象。畢費的作品籠罩著憂鬱焦慮的情感，彷彿 瀰漫著戰後歐洲社會困蹇惶恐的氣氛。他的風 格隨著時間的發展而日益成熟，內容亦變得豐 富充實。無論描繪對象是人物或靜物，都散發 著強烈的情感張力。而沉重的線 條和色彩，亦 為作品帶來深沉蘊藉的悲諒之感。 《一對金鱒魚》創作於1977年，當時畢費已 年近五十。畫面上剛勁有力的線條、稜角分明 的形態和渾厚的筆觸，延續了他建立已久的獨 特風格。他以堅韌的線條勾勒魚和酒杯的輪 廓，使之呈現僵硬的狀態，而肅穆的佈局亦帶 給觀者強烈的視覺衝擊。為了加強對比，畢費 以黑綠交替、輕柔幼細的筆觸描繪針葉的形 態。輕淡的黃色，輔以濃厚的綠色襯托，整體 散發著一種耐看的蒼涼和蕭瑟。層層粗糙、沉 鬱而冷清的白與灰，強調了顏色的熾熱，加強 了畫作的感染力。 最後，畢費把他獨具一格的署名置於畫面上頂 端的中心 ，突出此作品強烈的線條性構圖。 畢費的才華，在他創作生涯頂峰過後的二十多 年，仍洋溢於這幅作品上。

513

Auguste RODIN (French, 1840–1917) Galatée (Nu féminin debout appuyé contre un pilier) Conceived before 1889 and cast in 1921 Bronze with dark brown patina, 2nd proof 23.5(L) x 16(W) x 36.8(H) cm

奧古斯特．羅丹

Engraved lower front A. Rodin and 2è EPREUVE, with the foundry mark ALEXIS RUDIER / FONDEUR PARIS on the reverse Inscribed on the interior M / A. Rodin

構思於1889年前，1921年鑄造 銅雕 第二版本 23.5(長) x 16(寬) x 36.8(高) cm

PROVENANCE:

Musée Rodin, Paris, France Maurice Fenaille, Paris, France (acquired from the above, May 1921) M. de Maistre, Paris, France Alex Reid & Lefebvre, London, United Kingdom (acquired from the above, June 1958) Arthur Keating, Chicago, USA (acquired in the 1960s) Private collection, USA (by descent) ILLUSTRATED:

John Tancock, The Sculpture of Auguste Rodin , Philadelphia, 1976, no. 45, pp. 282-285 (another cast ill.)

Antoinette Le Normand-Romain, Rodin et le bronze , tome II, Musée Rodin ed., Paris, 2007, pp. 622-623 (another cast ill.)

簽名雕刻：A. Rodin / 2è EPREUVE 鑄造廠標識：ALEXIS RUDIER / FONDEUR PARIS 內部簽名：M / A. Rodin 來源： 羅丹美術館，巴黎，法國 莫里斯．弗納耶，巴黎，法國 (1921年5月購自於上述) M 先生，巴黎，法國 亞歷克斯．里德及列斐伏爾，倫敦，英國 (1958年6月購自於上述) 亞瑟．基汀，芝加哥，美國 (購於1960年代) 私人收藏，美國 圖錄： 約翰．坦科克著，《奧古斯特．羅丹的雕塑》， 費城，1976，頁282-285 (另一鑄件) 安托瓦內特．諾曼德．羅曼著，《 羅丹之青銅 ／第二冊》，羅丹美術館，巴黎，2007，頁 622-623 (另一鑄件)

This work will be included in the forthcoming Catalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin currently being prepared by the Comité Rodin under the archives number 2011-3627B.

本作品將刊載於《羅丹雕塑編年目錄全集》， 該刊物現正由羅丹委員會籌劃，檔案編號20113627B

Another proof numbered 1ère épreuve cast in September 1920 was donated by Jules E. Mastbaum to the Rodin Museum in Philadelphia, USA in June 1924.

另一版本 1ère épreuve 鑄造於1920年9月，由 朱爾斯．E．瑪斯特姆於1924年6月捐贈予費城 羅丹美術館

These two casts are the only existing proofs.

這兩個版本為現時僅存的鑄件

HK$ 2,000,000 - 3,000,000 NT$ 7,600,000 - 11,400,000 US$ 256,400 - 384,600

Ravenel 52

嘉拉蒂（憑柱而立的裸女）

Galatée Auguste RODIN

Often referred to as the “father of modern sculpture,” Auguste Rodin stands alongside artists such as Michelangelo as one of the greatest sculptors in western artistic history.

Inheriting a tradition of classical art dating back to the Renaissance, Rodin established his own standards for sculptural expression, propelling art in his home country of France forward and paving the way for the modernist movements of the 20th century.

As an artist with an aesthetic and vision ahead of his time, Rodin concerned himself not only with the details and minute aspects of form, but with the release and expression of inner spirit and emotion as well. With an artistic reach extending beyond the practical elements and into the divine nature of art, Rodin’s celebrated artistic career has sought to encapsulate and exhibit the overwhelming capacity for philosophy and reasoning inherent in humanity.

Born in 1840 to an impoverished family in Paris, Rodin began his studies in painting at only 14 years old. Later forming an interest in the sculpted form, the artist studied decorative carving in Brussels, Belgium under the tutelage of established sculptors such as Kaliyebei Cornelius and Albert-Ernest Carrier-Belleuse. It was during this time as an apprentice and assistant that Rodin began to develop his own design aesthetic, stemming from exposure to popular styles which recalled the works of Renaissance masters.

In 1875, Rodin travelled to Italy to witness first-hand the works of the sculptors he most admired. Taking particular inspiration from the art of Michelangelo, Rodin adopted the striking realism which characterized his earlier works.

Exhibiting this arresting realistic aesthetic, in 1876 Rodin created The Age of Bronze , a sculpture depicting a youth following in the Renaissance style. When the work was initially displayed, however, Rodin’s hyperrealism in portraying the human form elicited accusations that the artist had used a life cast of his model as the base for his sculpture. Adamantly denying these allegations, Rodin sought to dispel the rumors, insisting that the work had been completed solely from careful observation

Ravenel 54

and craftsmanship. In 1878, his Saint Jean the Baptist Preaching instigated similar controversy; by this time, however, Parisians had begun to take notice of Rodin, and such disputes over his workmanship only served to promote the artist.

Following this publicity, in 1880 Rodin was granted the commission to design a portal for the Paris Musée des Arts Décoratifs.

The current lot on offe r , Galatée , w a s conceived in 1889 during the period in which Rodin was most active in constructing his design for The Gates of Hell . A rare example of Rodin’s mastery of the human form, only two bronze versions exist including the present lot, which is the second of the two bronze casts. The other edition is currently held in the collection of the Philadelphia Museum of Fine Arts in the United States.

Cast in bronze following Rodin’s death, both proofs were produced by Parisian master craftsman, and Rodin’s favorite founder, Alexis Rudier.

Directly inspired by Rodin’s fondness for Greek mythology, Galatée or Galatea means “sleeping love” in Greek, recalling the romantic mythology of Pygmalion. A legendary sculptor, the Pygmalion of myth carved an exquisite statue resembling Aphrodite, the goddess of love. Instantly enamored with the female figure he had created, Pygmalion prayed at the altar of the goddess to bring this statue to life. Moved by his devotion and love, Aphrodite and Cupid granted Pygmalion’s wish. Upon kissing his beloved statue, the sculptor was stunned to find the marble turned to flesh, and his sculpture animated by the divine power of the Olympian gods.

Auguste Rodin, Pygmalion and Galatea , 1st mold in 1889 executed c. 1908, marble, 97.2 x 88.9 x 76.2 cm Collection of Metropolitan Museum of Art, New York 羅丹《畢馬龍與嘉拉蒂》，1889 初模；約1908創作 紐約大都會美術館收藏

Inspired by Dante’s Divine Comedy and Ghiberti’s Gate of Paradise in Florence, Italy, Rodin began his design for The Gates of Hell , an immensely detailed project on which he would dedicate over 40 years, and never see realized within his lifetime. It was for this enterprise that Rodin crafted his most recognized sculptures, including The Thinker , and The Kiss . The distinction the artist received from these creations elevated Rodin to a prominent position within his own time, and secured his place as one of the most celebrated sculptors in the history of modern sculpture in Europe.

According to the literature of Comité Rodin, this second edition of the bronze Galatée first originated from the Rodin Museum in Paris before being purchased in May 1921 by patron oil company magnate Maurice Fenaille. A well-known art collector and historian, Fenaille was also an established member of the Conseil de Musées Nationaux. Having accumulated a vast collection of works by Rodin, Fenaille also wrote numerous art historical critiques, and published catalogues detailing the 142 individual works created by Rodin from his Gates of Hell sketches and plans.

Collected by art lovers worldwide, and displayed internationally in cities such as Paris, London, and Chicago, Galatée has found its way back to the art market, presented in this singular lot.

沉睡中的愛人－嘉拉蒂

法國藝術家羅丹承繼自文藝復興時期的古典 傳統，突破既有的美學標準，開啟了二十世 紀的前衛創新。羅丹是公認為自米開朗基羅 (Michelangelo)以後最偉大的雕塑家，有「現 代雕塑之父」的美譽。羅丹不僅止於表現客觀 存在的形式，而是發掘內在心靈的內涵與情 感，否定藝術中的功利、實用與目的性，去除 神性與儀式感，傳達更多真實世界的人性思 考。 1840年羅丹出生於巴黎一個貧窮家庭，十四 歲開始學畫，後又學雕塑，到比利時布魯塞爾 研習裝飾雕刻，擔任當時的知名雕塑家卡里耶 貝留斯(Albert-Ernest Carrier-Belleuse)的助

手。1875年赴義大利旅遊，受到米開朗基羅 藝術的啟發，確定他早期寫實主義的風格。 1876年，羅丹以《青銅時代》(T h e A g e o f B r o n z e)作品初試啼聲，黏土捏塑出宛如真實 再現的人體肌肉，傳達自然生動的姿態。此 作品在布魯塞爾展出時，引發真人翻鑄的爭 議，1878年的《施 洗者約翰》(Saint Jean the Baptiste Preaching)也有類似爭議，然而巴黎 人已開始注意到這位在布魯塞爾拜師學藝多 年的雕塑家，1880年為羅丹贏得巴黎裝飾藝 術博物館(Musée des Arts Décoratifs)的《地 獄門》(T h e G a t e o f H e l l)群雕委託案。此後 成就出《沉思者》(The Thinker)、《吻》(The Kiss)、《卡萊市民》(The Burghers of Calais) 等膾炙人口的雕刻作品，羅丹無疑成為歐洲現 代雕塑史上地位最崇高的人物。 此次拍賣難得推薦一件由羅丹創作銅雕作品 《嘉拉蒂》(G a l a t é e)，它構思於1889年，也 正是他在製作《地獄門》鉅作的期間。《嘉拉 蒂》，的靈感出自羅丹鍾愛的希臘神話故事。 羅丹最喜歡的一本書是由奧維德寫於西元八世 紀的《變形記》。內容敘述雕塑家馬畢龍愛上 自己雕刻的人像，她的名字叫作嘉拉蒂。在 維納斯女神的祝福下，雕像後來幻化成人，倚 靠台柱而站立裸女像《嘉拉蒂》，存世僅有兩 件銅雕版本，第一版今為美國費城美術館所收 藏，第二版則為此次的拍品。兩件銅雕皆為羅 丹最倚賴、喜愛的巴黎鑄造師亞歷斯．魯迪耶 (Alexis Rudier)負責翻鑄。

Auguste Rodin, Galatée , 1889, marble, 60.8 x 40.6 x 39 cm Collection of Musée Rodin, Paris 羅丹《嘉拉蒂》，1889 大理石 巴黎羅丹美術館收藏

「嘉拉蒂」(Galatée or Galatea)的希臘文原 意為「沉睡中的愛人」，寄寓著有一段浪漫的 愛情神話。傳說畢馬龍(P y g m a l i o n)是希臘一 位有才華的雕刻家，因為景仰維納斯神殿中美 神的容貌，傾注他所有的熱情和想像，雕刻出 一件神似維納斯的完美裸女雕像，取名為「嘉 拉蒂」。雕刻家對於巧奪天工的美麗雕像產生 了愛情，無法自拔。於是他到維納斯的祭壇祈

求，賜予他一個有如雕像般完美的女人。感念 於雕刻家真誠的愛意，美神維納斯與愛神邱比 特借用神力賦予雕像生命，實現了畢馬龍的愛 情追求。 雕塑家羅丹同樣有自己的創作繆思，學生卡蜜 兒．克勞岱(Camille Claudel)的 美貌、熱情與 不凡的藝術才華，深深打動著他，兩人後來陷 入瘋狂的熱戀。約莫在1884年到1896年十多 年之間，兩人情感最為熾烈，卡蜜兒使羅丹原 本陽剛的風格增添情慾與溫婉的成分。同時 期，羅丹另有兩件以嘉拉蒂為題材的大理石雕 像，一件描寫坐於岩石前的嘉拉蒂，靈感得自 卡蜜兒的作品《背麥捆的少女》(La Jeune fille à la Gerbe or Young Girl with a Sheaf)，現在 藏於巴黎的羅丹美術館；另一件為畢馬龍與嘉 拉蒂的雙人像，為紐約大都會美術館所有，後 者嘉拉蒂為採站姿，手倚靠著柱子，和單人嘉 拉蒂裸女銅雕像一樣。 不過，與上述的大理石雕塑的光滑質地不同， 羅丹的銅雕作品《嘉拉蒂》保有手指捏塑的樸 實感，傳達更多人性的真實溫度。因為藝術家 的愛而生的嘉拉蒂，擁有美神般的美好容顏與 軀體，帶著初生的羞怯與矜持，為羅丹內在情 感的投射。 根據羅丹基金會(Comité Rodin)的文獻，第 二 版銅雕《嘉拉蒂》最早出自於巴黎的羅丹美 術館，1921年5月起為羅丹重要贊助人石油鉅 子莫里斯．佛那葉(Maurice Fenaille, 18551937)所購藏。佛那葉不僅是一位知名收藏 家，也是美術史學家，更是法國國家博物館 理事成員(membre du Conseil des Musées N a t i o n a u x)，曾為羅丹的142件地獄門草圖 素描撰寫論文並出版畫集。他曾向羅丹購買 許多作品，也曾參與巴黎羅丹美術館(M u s é e Rodin)的創建計畫。後來《嘉拉蒂》銅雕輾轉 流至巴黎、倫敦、芝加哥等收藏家之手。如今 此作品重新回到藝術市場，可謂彌足珍貴。

514

Auguste RODIN & Albert CARRIER-BELLEUSE

(French, 1840-1917; French, 1824-1887)

L’Innocence tourmentée par les Amours (Innocence tormented by Love) Conceived in 1871 and executed by the Compagnie des Bronzes de Bruxelles before 1910 Biscuit de Sèvres Porcelain 22.5(L) x 20(W) x 56(H) cm 25.5(L) x 24(W) x 66(H) cm (with base) Inscribed lower front A. CARRIER-BELLEUSE PROVENANCE:

Galerie Giroux, Brussels, Belgium (before 1940) Private collection, Belgium ILLUSTRATED:

Sander Pierron, Francois Rude et Auguste Rodin à Bruxelles , La Grande Revue, Paris, 1902, pp. 138–62 Vers l’Age d’airain: Rodin en Belgique , Musée Rodin, Paris, 1997, pp. 109–110 (another proof ill.)

Rodin, les arts décoratifs , Musée Rodin, Paris, 2010, pp. 15, 22, 23 (another proof ill.)

This work will be included in the forthcoming Catalogue Critique de l'Oeuvre Sculpté d'Auguste Rodin currently being prepared by the Comité Rodin under the archive number 2009-3981B.

HK$ 240,000 - 340,000 NT$ 912,000 - 1,292,000 US$ 30,800 - 43,600

Ravenel 56

奧古斯特．羅丹 及 阿爾貝爾．耶爾內斯特．卡里耶貝留斯 純真女神為愛所圍繞 1871年構思，1910年前由 布魯塞爾青銅公司製作 賽佛勒瓷器 22.5(長) x 20(寬) x 56(高) cm 25.5(長) x 24(寬) x 66(高) cm (含底座) 簽名雕刻正面下方：A. CARRIER-BELLEUSE 來源： 吉胡畫廊，布魯塞爾，比利時 (1940年前) 私人收藏，比利時 圖錄： 桑德．皮隆著，《弗朗蘇阿．呂德和奧古斯特．羅 丹在布魯塞爾》，大評論，巴黎，1902，頁138-62 《青銅時代—羅丹在比利時》，羅丹美術館， 巴 黎，1997，頁109-110 (另一版次) 《羅丹—巴黎裝飾藝術博物館》，羅丹美術館，巴 黎，2010，頁15、22、23 (另一版次) 本作品將刊載於《羅丹雕塑編年目錄全集》，該刊 物現正由羅丹委員會籌劃，檔案編號2009-3981B

L’Innocence tourmentée par les Amours Auguste RODIN & Albert CARRIER-BELLEUSE

One of the most recognizable Modern European sculptors, Rodin spent an early portion of his career as a collaborator in the studios of other well-known and established artists. From 1870 until 1872, Rodin lived in Brussels, where his main employer was Eugène Albert Carrier-Belleuse, a sculptor whose decorative busts and figural groups—which recalled the 18th century Rococco master Clodion— were highly sought after.

While creating several important works during his period in Belgium, Rodin was unable to sign his name to his sculptures, as his official position under Carrier-Belleuse restricted his ability to claim works as his own.

His major work as Carrier-Belleuse's assistant includes the Vase of the Titans ; a group of 4 stately giants from Greek mythology inspired by Renaissance master Michelangelo, the work still carries the signature of Carrier-Belleuse despite having been designed by Rodin. The current lot, Innocence tormented by Love , is now considered in a similar light. Although bearing the signature of Carrier-Belleuse, this sculpture serves as an example of collaborative work, with the design and modeling completed by Rodin. This attribution dates back to the Belgian writer Sander Pierron’s 1902 article on Rodin, and as such Innocence tormented by Love can be seen as an important step in the artistic development of Rodin.

Carrier-Belleuse edited this work with the Compagnie des Bronzes de Bruxelles, who produced an edition the size of which is not yet known. The Compagnie produced examples in terracotta, marble, biscuit de Sèvres, and bronze, each in varying sizes, the last of which is dated circa 1910. Innocence tormented by Love presents a work which exhibits the qualities deemed characteristic of the Compagnie’s efforts in biscuit de Sèvres, and dates before 1910.

Well documented in literature as a work by Rodin, the Rodin Museum holds a single copy in collections exhibited as Rodin and Carrier-Belleuse.

A popular theme in late 19th century France, Innocence tormented by Love depicts a scene in which cherubim encourage a young woman into sexual awakening.

純真女神為愛所圍繞 《純真女神為愛所圍繞》為羅丹未成名前的創作，當年巴黎因 普法戰爭之累經濟蕭條，於是他前往繁榮的比利時求發展。 1870年到1877年秋天，羅丹在布魯塞爾研習製作建築雕刻裝 飾。一直到1872年，他主要受僱於雕塑名家卡里耶貝留斯的 門下。卡里耶貝留斯擅長裝飾性胸像以及人體群像，其風格令 人聯想起十八世紀極受歡迎的洛可可大師克羅迪翁(Clodion)。 羅丹在比利時初期(1870-1872)創作多件重要創作，卻無 法簽上自己的名字。擔任助手期間，最具代表性的即是 一組四位天神的群像《諸神之杯》，因受米開朗基羅 的啟發而聞名，但作品仍須刻上卡里耶貝留斯的簽 名。構思於1871年的《純真女神為愛所圍繞》，由 卡里耶貝留斯設計修改、羅丹製模，現在被視為兩 人的合力之作，比利時作家桑德．皮隆在1902年一 篇關於羅丹的文章曾記述此段經歷。 該作在卡里耶貝留斯修改後，與布魯塞爾青銅公 司合作發行過銅雕版本，但尺寸不明。該 公司還發行過不同尺寸的陶土、大理 石、賽佛勒瓷器和銅雕材質作品。最 後的發行時間大約在1910年左右。根 據現有的考證，這件富有特色的賽佛 勒瓷器版本，是在1910年之前所完 成。巴黎的羅丹美術館也收藏了其 中一版，公開展示時，羅丹與卡里 耶貝留斯同時被列名為創作者。 《純真女 神為愛 所圍 繞 》作品 非 常迷 人，故事的典故是愛神邱比特鼓勵少女進 入性的啟蒙，乃為19世紀末法國著名的人文議 題，純真女神像有古典寫實之美，為羅丹早期的 雕塑風格。

515

Fernando BOTERO (Colombian, b.1932) Reclining Woman 1988 Bronze, edition no.1/6 57.5(L) x 28(W) x 26(H) cm Engraved on the base Botero, numbered 1/6, and inscribed with the foundry mark of Fonderia Artistica Da Prato, Italy

HK$ 2,200,000 - 2,800,000 NT$ 8,360,000 - 10,640,000 US$ 282,100 - 359,000

費爾南多．波特羅 側臥的女人 1988 銅雕 1/6 57.5(長) x 28(寬) x 26(高) cm 簽名雕刻底座：Botero 1/6 意大利普拉扥藝術鑄造廠標識

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Reclining Woman Fernando BOTERO

A rising star in a rising market, Fernando Botero has become an emblem of the burgeoning Latin American art world. The continuous steady ascent of the Latin American art market—with a sales increase of over 50% in the past year alone— reflects the flourishing success of its most prominent and recognizable artist. Having nearly doubled in market value since 2004, Botero’s work continues to seize attention internationally. Of the top 10 selling art works for Latin American art world-wide in 2011, two were Botero’s, demonstrating the extent to which the artist has captured the attention and affection of the international art world.

In the 1990s, Botero gained immense international recognition and exposure when several international cities displayed a series of his colossal sculptures along prominent roads and public areas, such as the Champs-Elysees in Paris, the Piazza della Signoria in Florence, and Park Avenue in Manhattan, New York. These monumental displays of Botero’s signature rotund figures provided an initial introduction to the artist’s iconic forms on the international stage, displaying an amalgam of influences ranging

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from his native Colombia to European Renaissance masters. Botero bestows enormous importance on the artistic movements from which he has gained inspiration, asserting, “I have always thought that a painter’s riches lie in his influences.” In addition to incorporating stylistic references to pre-Columbian, Spanish colonial, and traditional Latin-American folk art, Botero spent much of his artistic education studying Renaissance and Baroque masters such as Giotto, Michelangelo, Raphael, and Titian, as well as Old Masters including Caravaggio, Van Eyck, Rubens, and Velazquez. “This important past,” explains Botero, “has nourished me, and has helped me to create an intellectual itinerary in art, which generates restlessness, research, and thus, personal style.”

Whether on the confines of canvas or in the open air of a city block, Botero’s iconic figures dominate their given space. Instantly recognizable, the exaggerated proportions of Botero’s subjects have garnered both praise and criticism from various artistic circles. The rotund, expansive subjects of both his paintings and sculpture challenge current idealizations of aesthetic beauty,

in addition to carrying a satirical element, highlighting the ridiculous within current social standards. “The purpose of my style,” Botero states, “is to exalt volumes because it conveys the sensuality, the exuberance, the profusions of the form that I am searching for.” In his exploration of form and figure when depicting his subjects, Botero has developed a unique signature style, dubbed “Boterismo.”

No other exploration of figure epitomizes Botero’s utilization of the expansive forms of his iconic aesthetic to display an exaggerated sense of sensuality better than his depictions of female nudes. Abounding with voluptuous curves, Botero’s women exhibit their rotund physiques to the fullest, exuding a sensuality that is at once commanding, yet replete with softness. While often positioned in demure poses reminiscent of the Renaissance tradition, Botero’s nudes direct a kind of attention more akin to the eroticism of Manet’s Olympia or Titian’s Venus of Urbino , than the modest and reserved posturing typically associated with Renaissance and Baroque nudes.

Reclining Woman projects this same overt sensuality, filling the space with her curvaceous corpulence as she reclines at her ease. Proudly displaying her rotund femininity, Botero celebrates her exaggerated swells and expanse, as she leisurely gazes out at the world around her, in complete command of both herself and her surroundings. In this piece, Botero has lovingly sculpted his fascination and affection for soft, plump lines, further drawing attention to the spherical nature of these womanly curves by including a small orbicular fruit, grasped casually in a hand draped nonchalantly along the figure’s stout side. Botero completes this ode to rotund beauty with an exaggerated callipygian posterior, the magnitude of which commands as much attention from the viewer as the softly sculpted obverse.

In a society which currently venerates long, lithe female forms, Botero’s Reclining Woman defiantly challenges such sexual mores, emanating an explicit sensual nature through a compact yet capacious form.

Botero’s signature aesthetic challenges societal norms and preconceptions, while at the same time remaining engaging and pleasurable. This indomitable style reflects an equally resolute persona, as Botero insists, “The important thing is having a strong inner feeling and sense of determination, necessary for helping develop your personal style. A strong belief about what you feel is excellence in art.”

Such determination continues to captivate audiences internationally, as Botero remains at the forefront of both the Latin American and international art markets.

要數最耀眼的拉丁美洲藝術家，肯定是費爾南 多．波特羅。自2004年以來，波特羅的市場 價值增加了幾乎一倍。2011年售價最高的拉 丁美洲藝術品中，波特羅佔去了前十位的兩個 席位，引起了國際藝術界的極大關注。 波特羅的雕塑作品在九十年代起得到充份的展 出機會，展出地方包括巴黎香榭麗舍大道、佛 羅倫斯領主廣場、紐約林蔭大道和芝加哥密西 根大街。那些令人驚詫的大型戶外雕塑，洋溢 著熱情奔放的拉丁情懷。法國總統希拉克曾 說：「波特羅的藝術是當代與古典，西方與拉 丁美洲的混合體。」事實上，由於拉丁美洲長 期受到西方殖民統治，拉丁美洲地區的藝術風 格亦沿襲了歐洲的傳統特色，與本土文化交融 而形成了多元混雜的獨有色彩。身在哥倫比亞 的波特羅有感見識不夠博大，便把目光投向歐 洲。1952年當時20歲的波特羅，出發前往西 班牙、法國和義大利遊學。他投放了很多 時間 在美術館和博物館，研究歐洲古典藝術和文藝 復興時期的作品，在佛羅倫斯時他進入聖馬可 藝術學院研究濕壁畫的技法。這個階段對波特 羅非常重要，他確立了具象風格，大量吸收了 文藝復興和巴洛克風格藝術家如邦多納、米開 朗基羅、拉斐爾、提香，卡拉瓦喬、艾克和魯 本斯等傑出藝術家的技法。 研究古典作品之後，波特羅確立了更明確的創 作方向，但最後乃以自己的理解重新演繹作 品。他的作品無論是油畫還是雕塑，都被賦予 厚重的「質量感」，每件作品都擁有豐碩的形 態，呈現一種活潑滑稽的視覺效果。這種被命 名為「波特羅主義」的獨特風格，顛覆了傳統 對美的定義，引起外界極大的回響。對波特羅 而言，藝術是一種表達內心思想的工具。他 解釋：「我創作這種風格的目的是要歌頌豐 富的質量感，我一直尋找的就是飽滿豐盈的形 態。」

裸女一直是波特羅最愛的創作主題，可以說沒 有其他任何主題能比裸女系列演繹得更好。藝 術家不斷反覆創作，把作品誇張變形甚至抽象 化，突出女性 豐腴的體態。波特羅的人物，看 起來總是高貴、靜謐和不帶任何情感，他解 說：「我從不為自己的雕塑添加任何個性的東 西，我不想它們有甚麼個性，而是使他們成為 我創作的一種類型。對我來說，最重要的是形 式，豐滿的體態強調了我作品的感官性。」波 特羅早於五十年代已開始創作裸女的油畫作 品，但直至七十年代才第一次鑄造裸女雕塑。 《側臥的女人》創作於1988年，是波特羅成 熟期的佳作。裸女自豪地側臥著，展示她那婀 娜多姿的身軀；她圓潤的體態，填補了任何多 餘的空間，她悠閒地凝視著在她周圍的世界， 女性的曲線美和柔和特質表露無遺。 波特羅的美學挑戰了當時的社會規範和成見， 他認為：「創作最重要的是有一種強烈的內心 感覺和意志，發展個人風格，還須要有堅定的 信念，要相信自己的感覺。」波特羅的獨特美 學觀，使他在國際舞台上發光發亮，走在拉丁 美洲藝術和國際藝術市場的最前線。

516

Andy WARHOL (American, 1928-1987) Mao 1972 Silkscreen print in colors on Beckett High White, edition no. 90/250 Printed by Styria Studio Inc., New York 91.4 x 91.4 cm Signed on the reverse Andy Warhol in ball point pen, numbered 90/250 and stamped COPYRIGHT © ANDY WARHOL 1972 PRINTED AT STYRIA STUDIO INC .

ILLUSTRATED:

F. Feldmann & J. Schellman (eds.) Andy Warhol Prints: A Catalogue Raisonné 1962-1987 , Distributed Art Publishers, Inc., New York, 1997, color illustrated, p. 79 (another edition ill.)

Andy Warhol "Giant" Size , Phaidon Press, London, 2009, color illustrated, p. 507 (another edition ill.)

HK$ 400,000 - 480,000 NT$ 1,520,000 - 1,824,000 US$ 51,300 - 61,500

安迪．沃荷 毛澤東 1972 彩色絹版畫 90 /250 紐約史提利亞工作室印製 91.4 x 91.4 cm 簽名畫背：Andy Warhol 印鑑畫背：90/250 COPYRIGHT © ANDY WARHOL 1972 PRINTED AT STYRIA STUDIO INC. 圖錄： 費德爾與雪爾曼聯合主編，《安迪．沃荷版畫編年目錄 1962-1987》，分佈藝術出版社，紐約，1997，彩色圖 版，頁79 (另一版次) 《安迪．沃荷巨幅尺寸》，費頓出版社，倫敦，2009， 彩色圖版，頁507 (另一版次)

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517

Damien HIRST (British, b. 1965) Spot Yamaha A set of 12: a bass drum, floor toms x 2, ray-mounted toms x 2, a snare drum, a hi-hat cymbal, crash cymbals x 3, a ride cymbal, and a bass drum pedal 2011 Vinyl on drum-kit Dimensions variable, approximately 230(L) x 170(W) x 125(H) cm Signed on the reverse of bass drum Damien Hirst in English

HK$ 460,000 - 600,000 NT$ 1,748,000 - 2,280,000 US$ 59,000 - 76,900

達明．赫斯特 圓點系列—山葉 十二件一組：低音鼓、落地鼓 x２、筒鼓 X ２、小鼓、 腳踏鈸、碎音鈸 x３、疊音鈸、低音鼓踏板 2011 乙烯基 鼓組 尺寸可變，約 230(長) x 170(寬)x 125(高) cm 簽名低音鼓： Damien Hirst

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Spot Yamaha & Spot Fender Stratocaster Damien HIRST

Each distinct series within the expansive oeuvre of exhibitionist British artist Damien Hirst has, of its own right, become iconic of the ostentatious and grandiose public nature of the artist who has seized the spotlight on the international contemporary art stage.

With works spanning a diverse spectrum of media, function, and social commentary— from dead animals suspended in enormous glass tanks of formaldehyde and diamond encrusted human skulls to colorful

abstractions on canvas and glittering butterflies pinned under glass—Hirst continually pushes the limits of traditional conceptions of art and the artist. At the time already holding the record for the highest sale for a solitary work of art by a living European artist, Hirst broke further records when his 2008 solo auction realized a total sales amount 10 times higher than the previous record for a single artist. With over 80 solo exhibitions and 250 group shows

over the course of his career, this past year Hirst enjoyed his second major retrospective in a decade, held at the Tate Modern in London. Through the varied range of his myriad series, Hirst still manages to maintain a unique signature aesthetic.

“I believe painting and all art should be ultimately uplifting for a viewer,” insists Hirst, “I love color. I feel it inside me. It gives me a buzz.” This celebration of color and its

“I believe painting and all art should be ultimately uplifting for a viewer. I love color. I feel it inside me. It gives me a buzz.”

emotionally elevating effect serves as the primary impetus for Hirst’s ubiquitous spot abstractions. Since its inception in 1986, Hirst has continually expanded this deceptively simple series, with dots ranging in diameter from 1 millimeter to 90 centimeters, on canvases from 18 centimeters to over 12 meters in length. “The grid-like structure creates the beginning of a system,” explains Hirst, “On each painting no two colors are the same. This ends the system; it’s a simple system.” Each painting in the series maintains its own identity, never sharing the same sequence of colors, size, or arrangement. Hirst never replicates a color on the same canvas, avoiding the creation of a chord or obvious pattern within the works. Instead, Hirst explores the concept of each hue individually, finding, as he says, “the harmony of where color can exist on its own, interacting with other colors in a perfect format.” Such interaction of individual colors removes the sensation of a formal boundary, allowing the audience’s attention to wander between individual spots and the arrangement as a whole, meditating on the placement of each singular hue within the diverse spectrum displayed on the vast expanse of white.

Utilizing this internationally recognized series, Hirst joined forces with British band Squeeze in 2011 to create an exclusive set of customized instruments on which the band performed at the charity fundraiser Concerts for Teenage Cancer Trust. Hand-painted and signed by the artist himself, the set includes two electric guitars—a Fender Telecaster and a Fender Stratocaster (Lot 518) —along with a Spot Yamaha drum kit (Lot 517). Following the standardized grid structure of his paintings, Hirst’s diligently arranged, uniquely hued dots march across the blank white body of the guitar and over each individual drum shell, varying in diameter in accordance to the various size of the drums within the kit. A unique and exclusive set of instruments, both Fender Stratocaster and Spot Yamaha embody the playful nature of Hirst’s celebratory exploration of color.

Each series created by Damien Hirst embodies a sense of the immortal, expressing a commentary as unique as the individual spots which file relentlessly across the diversely sized canvases. “I want to make art,” Hirst states simply, “create objects that will have meaning forever. It’s a big ambition, universal truth, but somebody’s gotta do it.”

「英國青年藝術家」自８０年代後期掘起至今已超過二十年，當年就讀 倫敦金匠學院藝術系的達明．赫斯特才嶄露頭角，現在已是享譽國際的 頂級英國藝術家。這位成長於英國工業城市利茲的藝術家，其作品極 具爭議性。他憑藉一系列以動物屍體標本為創作素材的藝術裝置轟動了 整個藝術界，而以鑽石鑲嵌的白金骷髏頭《獻給上帝之愛》亦曾哄動一 時。赫斯特英雄式的崛起吸引著全球的目光，他曾先後兩次被英國《藝 術評論》雜誌甄選為「當代最具影響力的藝術家」。他的作品價格在藝 術市場上亦屢創新高，顯赫地位無庸贅述。至今，他已舉辦超過80場 個展和250場聯展，2012年倫敦泰特現代美術館更為他舉辦了大型回顧 展。 赫斯特的創作，盡顯英國新一輩藝術家活潑而多樣的藝術形態。他既有 純形式的探索，也有回應社會、文化議題的作品。赫斯特說：「我認為 繪畫以至所有類型的藝 術，目的在於振奮人心。我喜歡顏色，我感覺它 就在我的內心深處。」他對色彩的著迷，驅使他創作為人所熟知的「圓 點」系列。「圓點」系列始創於1986年，那些排列整齊的彩色圓點，直 徑由一公釐到90公分不等，以油彩繪畫在20公分到12米高的畫布上。 赫斯特解釋說：「格子狀的結構建立了一個簡單的系統。每幅畫中，沒 有兩枚圓點的顏色是完全相同的，它們各自擁有自己的身份、次序、顏 色、大小和位置。」赫斯特探討每種顏色的色澤、彩度、光暗，在同一 畫布上避免建立相類似的圖案。他說：「每種顏色都能夠獨立地存在， 兩種顏色交織在一個完美和諧的格式編排上，這樣的交錯關係容許觀眾 的注意力停留在畫布上的任何一個點子上，又或者從整體的角度去看畫 面上所有點子的位置和安排。 2011年，赫斯特特別為英國搖滾樂隊Squeeze設計了一組樂器的圖紋， 樂隊使用這組樂器在倫敦「青少年癌症信托基金」慈善籌款音樂會上演 出。這組樂器包括一支芬達泰來電吉 他、一支芬達斯特拉托電吉他(拍品 編號518)和一套山葉鼓組(拍品編號517)，每件樂器均由赫斯特負責繪製 圖案和親筆簽名。赫斯特根據他「圓點」系列的設計概念，以獨特的色 調在鼓輪和吉他外殼上編繪他的點子。他依從樂器的大小，設計直徑不 一、間距不同的圓點圖，使每一件樂器都反映著赫斯特對顏色的獨特探 索。 赫斯特說：「我想製造有永恆意義的藝術，這是一個很大的目標，但放 諸四海而皆準的真理，總須要有人去做。」圓點圖內每枚點子的獨特 性，正好反映出赫斯特希望賦予的永恆意義。

518

Damien HIRST (British, b. 1965) Spot Fender Stratocaster 2010 Acrylic on metal guitar 32.5(L) x 6.5(W) x 97.5(H) cm Signed on the reverse Damien Hirst in English

HK$ 460,000 - 600,000 NT$ 1,748,000 - 2,280,000 US$ 59,000 - 76,900

達明．赫斯特 圓點系列—芬達．斯特拉托 2010 壓克力 金屬結他 32.5(長) x 6.5(寬) x 97.5(高) cm 簽名吉他背：Damien Hirst

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缺圖

East Meets West: CHINESE MODERN MASTERS 經典名家 Lot 519 - Lot 527 Walasse TING ZAO Wou-ki LIN Fengmian CHU Teh-chun

519

Walasse TING (Chinese-American, 1929-2010) Picnic (quadriptych) Late 1980s Acrylic on paper 176 x 47 cm (x4) With one seal of the artist PROVENANCE:

Celebrity Inc, California, USA Private collection, Asia

HK$ 900,000 - 1,200,000 NT$ 3,420,000 - 4,560,000 US$ 115,400 - 153,800

丁雄泉 野餐（四聯幅） 1980年代末期 壓克力 宣紙 176 x 47 cm (x4) 鈐印右上：採花大盜 來源： 名人畫廊，加州，美國 私人收藏，亞洲

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Picnic Walasse TING

A blade of grass A katydid A whale A tortoiseshell butterfly An onion And a bomb Merged like a beef patty.

Add to that A bottle of soy sauce, A pot of piss, A flask of whiskey This is how to Make a Walasse Ting.

Four Phases of Myself Walasse Ting

一根草 一隻蚱蜢 一條鯨魚 一隻蝴蝶 一個洋蔥 一枚炸彈 混在一起像一個牛肉餅 加上 一瓶醬油 一壺尿 一瓶威士忌 就這樣 構成一個丁雄泉 丁雄泉《四種我》(之三)

Renowned for his colorful celebrations of beauty, Walasse Ting infuses all his artwork with an indomitable joie de vivre . Both his artwork and poetry—as with the comedic self-reflection above—display the artist’s playful celebration of life and his hedonistic enjoyment of aesthetics and gratification.

Ting’s involvement and association with modern artistic movements in Paris and New York provided the artist with an array of influences, allowing him to form his own unique and distinctive style.

In Picnic , the vibrant hues recall Fauvist influences, as Ting evokes the provocative and modernist spirit of the movement through the flamboyantly vivid colors which interact to create a bold symphony which plays across the four panels. In this piece, the pertinence of Ting’s selfassigned moniker “Flower Pirate” becomes readily apparent, as a variety of sumptuous blooms sweep across each of the panels in a delightful display of elegant decadence. A standard theme in Ting’s paintings, flowers represent female beauty to the artist. Ting often depicts sensual nudes engulfed in blossoms, enhancing the correlation in his work between the delicacy of feminine grace and the ephemeral splendor of the flowers. In a poem, Ting once wrote, “Love, resembling a butterfly when it comes, and a flower on paper when it goes.” Ting’s flowers signify the artist’s love for life’s pleasures, which Picnic epitomizes in a riotous celebration of effervescent color.

Many of Ting’s paintings display his overt sexuality and delight in erotic indulgence.

In Picnic , Ting has taken a more subtle approach to his presentation of sensual symbolism. Strewn across the soft blue table, Ting ’s plum p pe a c h e s e c h o t h e voluptuous nudes which decorate the paintings arrayed along the background.

The gentle pink of the fruit evokes the impression of an unclothed woman, reclined along the blue wash of the table. Amidst the rolling curves of fruit sits a brightly lit birdcage. The small, brilliantly colored birds sit along the same perch, but gaze at each

other from across the division of two panels.

Although sharing the same cage, they do not occupy the same space, establishing both harmony and tension within the continuum of the piece as a whole.

Along the backdrop, Ting presents in Picnic an encompassing glimpse of his artistic oeuvre. Important subjects and themes are prominently displayed across the four panels, providing the viewer with a full understanding of Ting’s influences and passions. Recurring often throughout the span of Ting’s artistic career, horses and women have provided the artist with a continuous source of inspiration. These two subjects represent the juxtaposition of both the Western modern movements in which Ting participated, as seen through the nudes, along with the influences of Chinese ink painting, where horses have traditionally occupied a dominant thematic

丁雄泉畫風大膽不羈，以艷麗用色著稱，作品 洋溢著浪漫主義的氣息，反映他多姿多彩的絢 爛人生。其熱情奔放的個性，在他的畫作和詩 歌上表露無遺。他喜以歡愉的情色畫面，歌頌 人的情感慾望和現世生活的美好，除了女人， 美酒佳餚同時構成了丁雄泉的生命軌跡，以上 詩歌正好反映他的真性情。丁雄泉先後移居巴 黎和紐約，沒有傳統思想的約束，同時受到當 地藝術文化思潮所熏陶，漸漸發展出灑脫獨特 的自由畫風。 此幅四聯作《野餐》創作於1980年代末期，是 丁雄泉罕見的多聯作品。丁雄泉以宣紙作為創 作素材，是他成熟期的典型作品。大膽鮮豔的 用色，平面化的構圖，彷彿殘留著歐洲野獸派 和眼鏡蛇畫派的氣息。畫面上滿載鮮花，貫徹 了「採花大盜」對花的迷戀。他曾說：「每一 次我看見美麗的女人就會聯想到鮮花，鮮花的 美使我愛，使我新鮮。」他以花比喻女人，而 裸女亦成為他最主要的創作題材，主角常被五 彩繽紛的花圍繞著，散發著動人的美態。 丁雄泉除了以花比喻女人，畫中的鮮桃亦有著 性的象徵意義。中國古人以桃李比喻青春美好 的樣子，成語「艷如桃李」形容女性容顏像成 熟的桃李那樣嬌艷；「桃李年」則是桃李花爭 艷的時期，比喻女子的青蔥歲月；桃色的嬌嫩

position. Ting grants these two examples of artistic influences prominence in Picnic , as they form the primary focus on the flanking panels. These works place all other examples of the artist’s inspirations—birds, insects, fish, and other natural elements—into the context of Ting’s artistic span of expression.

Ting’s inspiration in painting comes from the world around him, as his themes focus on the natural beauty of life’s pleasures. When painting, says Ting, “you just want to wait until your blood courses quickly through your veins, and you can only see the image but not the rush; you can just see the world, not the painting; you just see love but not yourself.”

Ting’s Picnic clearly exhibits this passion and rapture for life, endemic to the artist’s signature luminous aesthetic, and stands as an opulent celebration of all things beautiful.

亦好比女體柔嫩的肌膚。畫中兩隻鸚鵡宛如一 雌一雄深情地對望著，洋溢著情愛之意。然而 牠們的接觸點卻被畫面分隔開，牠們只能邂逅 在分割線上，兩者間的隔閡產生了微妙的情愛 關係。 丁雄泉對女性著迷，從女性裸體廷伸到鮮花、 鮮桃以至其他事物，他透過描繪此等柔性題材 歌頌生命和青春的美好。《野餐》繪畫了餐桌 上盛況，桌上滿佈鮮花，點綴著鮮桃、鸚鵡、 游魚、駿馬和女人。馬是中國歷代畫家喜愛描 繪的傳統題材之一，丁雄泉對駿馬的描繪亦為 作品添加了一點兒中國情懷。丁雄泉在宣紙上 作畫，他那書法般的筆觸散發著中國水墨的逸 趣。但對於長居紐約的丁雄泉而言，美國抽象 表現主義對他的影響最為深遠，這流派的藝術 家們以隨意滴灑顏料產生的偶發效果表達自我 與作品的關係，這種滴灑效果構成了丁雄泉創 作的主要元素。 《野餐》融和了中西繪畫的風格，體現了丁雄 泉強烈的表現手法和獨特的藝術魅力，是他絕 佳的作品。相比起其他華人藝術家，丁雄泉更 關注自身的情感慾望。絢麗的色彩，散發著豐 盈的生命力，難怪愈來愈受到亞洲收藏家的熱 烈追捧。

520

Walasse TING & CORNEILLE (Guillaume CORNELIS VAN BEVERLOO) (Chinese-American, 1929-2010 ; Belgian, 1922-2010)

The Venus of Amsterdam 1987 Acrylic on canvas 124 x 150 cm Signed lower right TING in English and dated 87 Signed lower left Corneille and dated '87 Signed and titled on the reverse The Venus of Amsterdam by Corneille & Ting , inscribed No. II and dated April 28, 1987 PROVENANCE:

Sotheby’s Amsterdam, May 31, 1995 Gallery Delaive, Amsterdam ILLUSTRATED:

Preface of Pierre Alechinsky, Walasse Ting , Guy Pieters Gallery, Belgium & Galérie Guy Pieters, Saint-Paul de Vence, 2005, color illustrated

HK$ 1,100,000 - 1,900,000 NT$ 4,180,000 - 7,220,000 US$ 141,000 - 243,600

丁雄泉 及 柯奈爾 阿姆斯特丹維納斯 1987 壓克力 畫布 124 x 150 cm 簽名右下：TING 87 簽名左下：Corneille '87 簽名畫背：The Venus of Amsterdam

by Corneille & Ting April 28, 1987 No. II 來源： 阿姆斯特丹蘇富比，1995年5月31日 德萊夫畫廊，阿姆斯特丹 圖錄： 皮耶．阿雷欽斯基序言，《丁雄泉》，蓋伊．彼得斯畫廊， 比利時與聖保羅德芒斯，2005，彩色圖版

Ravenel 78

The Venus of Amsterdam Walasse TING & CORNEILLE

The present lot is a wonderful example of Walasse Ting’s fascination for women and flowers, which he usually depicts in fresh, vivid colors. His unique, personal style can be recognised in an instant and expresses his abundant energy and joie de vivre . Starting as an abstract painter, Ting focused on the human figure from the seventies onwards.

By that time he had lived in New York for more than a decade, where he became friends with Andy Warhol, Tom Wesselman and Roy Lichtenstein, founding fathers of American Pop Art. Like them, Ting created iconic subjects to which he stayed true throughout his entire life. The female figure is one of them, flowers another. To Walasse Ting, flowers and women were inseparable.

He once stated that "Whenever I see an attractive woman or a beautiful flower, it always inspires an elusive feeling of sensitivity. Seeing them fills me with energy and vitality, gives me feelings that I usually do not experience, and makes me feel as though I have been reborn. I use a large number of different color tones to let this feeling of energy and love explode on the canvas." Ting sought the same sense of purity and freshness which he admired in the work of Henri Matisse, an artist that influenced him during his years in Paris.

Walasse Ting spent his whole life exploring the alluring beauty of women, captured in abundantly rich and bright images that encapture the viewer. He excelled in depicting the soft and attractive side of women, adding flowers, cats and birds to his pictures to emphasize their sensuality.

It is clear that Walasse Ting’s paintings try

Ravenel 80

to communicate delightful and comfortable feelings. This brings to mind the much quoted statement of Matisse, which is equally applicable to the art of Ting: "What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.”

The present lot, painted in 1987, is the product of a fruitful cooperation between Walasse Ting and the famous Dutch CoBrA painter Corneille. In the early 1950s, when he lived in Paris, Walasse Ting met the members of CoBrA and became friends with Karel Appel, Pierre Alechinsky, Asger Jorn and Corneille. Their quest for a vital renewal of painting in the 1950s appealed to Ting. From 1960 onwards, when he had emigrated to the United States, Ting stayed friends with the CoBrA members.

Most likely the present lot was painted in the Amsterdam studio of Corneille in April 1987.

The largest part of the painting was done

by Walasse Ting, such as the nude female figure and the flowers, while Corneille only added the birds and cat in the background of the picture. It was given the title The Venus of Amsterdam . The number II on the back suggest that there are two versions of the subject, but no other example of this Venus of Amsterdam is known. Most likely Ting and Corneille executed only one version.

"Whenever I see an attractive woman or a beautiful flower, it always inspires an elusive feeling of sensitivity... I use a large number of different color tones to let this feeling of energy and love explode on the canvas." 「無論何時當我見到一位動人的女人或是一朵漂亮的花，總能啟發我難以捉摸的感性。 我用許多不同調性的色彩，讓能量與愛意在畫布上爆發。」

丁雄泉醉心於描繪豔麗生動的女性與花卉題 材，此幅拍品可謂是絕妙的選樣，初看立即可 辨識出藝術家獨特的、個性化的風格，及其精 力豐沛、「生之喜悅」的抒發。丁雄泉原為抽 象畫家，1970年代起專注於人體的題材，當 時他生活在紐約十多年，結識美國普普藝術之 父安迪．沃荷、湯姆．衛塞爾曼以及羅伊．李 奇登斯坦等好友，丁雄泉和他們都創造了真實 反映自我人生的標誌性主題：一為女體，另一 則為花卉。對丁雄泉而言，花與女人是無法分 割的。 他曾說過：「無論何時當我見到一位動人的女 人或是一朵漂亮的花，總能啟發我難以捉摸的 感性。看見她們使我充滿能量與活力，帶給我 有不曾有過的感覺，讓我彷彿有重生的感覺。

我用許多不同調性的色彩，讓能量與愛意在畫 布上爆發。」丁雄泉旅居巴黎期間，鍾情於亨 利．馬諦斯的作品並受其影響，在畫裡亦追求 馬諦斯畫作中同樣具有的純粹感與飽滿度。 終其一生，丁雄泉都在探索女性媚惑之美，豐 盈明麗的形像深深攫住觀者的目光。他擅 長描 寫女性柔和、吸引人的一面，畫裡添上花朵、 貓咪、鳥兒，強調她們的甜美可人。丁雄泉的 畫顯然試著傳達歡愉及舒適的感覺，令人聯想 到馬諦斯所敘述的話，同樣也能適用於丁雄泉 的藝術：「我所夢想的藝術是和諧、純粹、 沉靜而沒有煩惱或憂鬱的，能為心靈帶來平 靜，更像是一張好的扶手椅，能放鬆疲累的身 體。」

此幅作品為丁雄泉與知名荷蘭眼鏡蛇畫派畫 家柯奈爾於1987年的聯手傑作。1950年代初 期，丁雄泉住在巴黎，遇見眼鏡蛇畫派成員， 而與卡爾．阿貝爾、皮耶．阿雷欽斯基、阿斯 葛．瓊恩以及科奈爾等人結為友好。1960年 前後移居美國，丁雄泉與眼鏡蛇畫派成員仍持 續往來。 此幅油畫創作於1987年4月，極可能是在柯奈 爾位於阿姆斯特丹的畫室中共同完成。大部分 由丁雄泉執畫筆，例如裸女的身體、花朵，科 奈爾只在背景中添加鳥與貓，畫的題目取為 《阿姆斯特丹維納斯》。畫背上的N o. I I字樣 暗示著有這個畫題有兩個版本，然而至今還沒 有出現另一件 《阿姆斯特丹維納斯》，推測極 有可能丁雄泉與柯奈爾僅完成一種版本。

521

ZAO Wou-ki (Chinese-French, b. 1921) Sans Titre 1953 Watercolor on paper 37.5 x 47.5 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 1953 PROVENANCE

Collection of Rose Yolanda Guarino Lewitter, New York, USA This painting is to be sold with a certificate of authenticity signed by the artist.

HK$ 2,000,000 - 2,800,000 NT$ 7,600,000 - 10,640,000 US$ 256,400 - 359,000

趙無極 無題 1953 水彩 紙本 37.5 x 47.5 cm 簽名右下：無極 ZAO 1953 來源： 羅絲．尤蘭妲．加里諾．萊威特收藏，紐約，美國 附藝術家親筆簽名之原作保證書

Ravenel 82

Sans Titre ZAO Wou-ki

Zao Wou-ki’s arresting abstractions, including his world-renowned oil paintings— the sales of which have secured him the position as the top-selling living Chinese artist—have laid the foundations for the international perception of Modern Chinese art. Master of modern architecture I.M. Pei once explicitly stated, “I can say now, without any risk of exaggeration, that Zao Wou-ki is one of the greatest artists on the European scene.” Bridging the geographical and cultural divide between East and West, Zao Wou-ki seamlessly blends Chinese traditional sentiment with avant-garde European aesthetics to create compositions with international appeal for discerning collectors the world over. Employing complex layers and a unique mastery of calligraphic technique, Zao’s work presents a singular visualization of light, shadow, and color.

Drawing from a rich cultural history, Zao Wou-ki returns to Chinese painters from the Sung and Yuan dynasties such as Fan Kuan, Zhao Mengfu, and Mi Fu, who focused on capturing the essence of nature through a more impressionist style of ink painting.

Captivated by these technical masters, Zao Wou-ki extended this tradition into the 20th and 21st centuries by melding this ideal with an Abstract Expressionist application of color and manipulation of light. Just as with the Sung and Yuan masters whom he admires, Zao early on sought a new form of expressing nature. With these intentions, Zao once explained that he disliked the Chinese term for landscape (shanshui , literally “mountain, water”) as too restrictive.

“I prefer the word ‘nature’,” Zao said, “because it calls into being a much broader

Ravenel 84

world: the intersection of multiple spaces in a painting creates something like a universe, in which the wind and the atmosphere breathe and flow freely.” This artistic universe clearly radiates from each of Zao’s intensely layered compositions, where the varying tones and rhythmic lines converge to recall imaginative landscapes, capturing the flowing energies of nature and the surrounding atmosphere. For Zao, establishing this harmonious balance was a matter of artistic approach, as he lectures in his autobiography: "When you begin a new painting, ideally you should not start in the middle of the canvas, because that will make it almost impossible to determine the center’s relationship to the rest of the composition. It is better to set out with an eye for the complete layout, overall structures. Colors, too, can never be used on their own; every hue and shade is connected to all other tones. The fact is that every single brushstroke has far-reaching implications for the entire painting, and you should not apply a single fleck of paint without keeping in mind the organic whole that you are about to create."

It is this "organic whole" which emanates from each of the artist’s compositions, encapsulating the sensory perception of a landscape energy within a formless abstraction.

The current lot, Sans Titre , demonstrates the artist’s early efforts to explore this sense of nature and landscape through watercolor, a medium more closely linked to the Chinese literati tradition than Zao’s more common

expressions in oil paint. Zao’s acute attention to color and the reliance and relation of each tone and hue is exhibited in the stunning layers of varying tones within the present, untitled lot. Washes of ink converge in cloudy pools of blue, green, and greyish brown, spreading across the paper, emphasizing the texture of the medium along with the subtle variations in the ink itself. Already forming an abstract landscape of undulating color, Zao further links this composition with Chinese tradition by creating structural figurative elements in finely applied lines of delicate black. Mountains form from the spindled lines, along with houses, humans, and animals, while symbols reminiscent of ancient Chinese oracle bone characters dance along the bottom of the paper .

Painted in 1953, at the same time as Zao was exploring the architectural urban landscapes around him in Paris and other European cities, the present lot demonstrates the artist’s efforts to bring the cultural aesthetics of Chinese tradition into modernist Western movements.

A stunning example of Zao Wou-ki’s early efforts with both watercolor and early abstractions of landscape, the present lot exhibits the undeniable emotional appeal inherent to all of Zao’s works.

When establishing the aesthetic which has propelled him to the forefront of Chinese Modern art, Zao claimed, “what I was really looking for was space, how it develops and folds, and I was groping for an idea in my mind, which was, How to paint the wind? How to express emptiness? How to convey the brilliance and purity of light?”

趙無極擄獲人心的抽象線條，以及舉世知名的 油畫作品，為中國當代藝術的國際觀打下了基 礎。趙無極的作品銷售使其穩坐最暢銷的在世 中國藝術家地位。當代建築大師貝聿銘曾激動 地表示：「我可以毫不誇張的立刻斷言，趙無 極是歐洲數一數二的偉大藝術家。」 趙無極銜 接了東西之間的地理與藝術，完美融合中國傳 統情感與前衛的歐洲美學，打造具有國際魅力 的作品，吸引全球獨具慧眼的收藏家。趙無極 的作品活用繁複的塗層以及獨特的書法技巧， 呈現獨到的光、影和色彩視覺化效果。 趙無極的畫筆背後潛藏豐富的藝術底蘊。他向 宋朝與元代的中國畫家求教，如范寬、趙孟頫 和米芾，他們皆專注於透過印象派水墨捕捉自 然的精髓。趙無極受到這些技巧派大師吸引， 將此傳統延伸至 20 世紀與 21 世紀，結合抽 象表現主義運用色彩和光線的手法。如同他景 仰的宋、元大師，趙無極很早就開始尋找表現 自然的新形式。秉持著這種想法，趙無極曾解 釋他不喜愛中式山水畫，因為限制太多， 他 說：「我偏好使用『自然』一詞，因為這代表

一個更遼闊的世界：畫中多重空間的交疊彷彿 營造出一個宇宙，讓風與大氣自由呼吸、流 動。」 這個藝術的宇宙從趙無極塗層密佈的作 品中放射出來，匯聚各種色調與律動線條，喚 醒想像中的山水景致，捕捉大自然的流動能量 和周遭氛圍。對趙無極而言，建構這種和諧的 平衡即是藝術手法，如同他在自傳中所述： 「開始一幅新畫作時，不該從畫布中央下筆， 因為那會讓你幾乎無法決定畫面中央與其他部 分的關係。最好是從完整的布局與整體架構著 手。同理，顏色也不能單獨使用。每種色彩與 色調都彼此相連。其實每道筆觸都對整幅畫作 有著深遠細微的影響，所以畫下色彩時，應該 將要創作的『有機整體』銘記在心。」 就是這種「有機整體」在畫家的每幅作品散發 光彩，將對於山水能量的感官經驗壓縮進無形 的抽象畫面。 本拍品《無題》展現了畫家早期透過水彩探索 自然與山水體驗的耕耘。比起趙無極常用的油

畫，水彩是更能與中國文人傳統緊密結 合的媒 材。趙無極對色彩和各種色調、色澤間的依存 連結眼光精準。本拍品展現了層次豐富的色 彩。淡色水墨凝聚成一層層藍、綠、灰褐水 雲，佈滿整幅畫紙，強調媒材質感與水墨的微 妙變化。趙無極不僅用層次起伏的色彩形塑抽 象山水，更進一步將作品與中國傳統連結， 使用精緻優美的墨線，創造結構化的象徵元 素。畫面呈現細長錘狀的山形、房舍、人物與 動物，形如古代甲骨文的符號則在畫紙底部躍 動。本畫於 1953 年完成，當時趙無極正在探 索巴黎與其他歐洲城市周遭的都市建築景觀。 本拍品展現畫家將中國傳統美學文化帶入當代 西方運動的努力。 這是展現趙無極早期使用水彩勾勒抽象山水的 搶眼傑作，突顯後期作品傳承的絕對魅力。趙 無極建立將他推上中國當代藝術前線的美學學 說時，說道：「我真正追尋的是空間，看它 如何發展、層疊，我在腦海中摸索，如何畫 風？如何描繪空虛？如何傳達光線的燦亮與純 淨？」

522

ZAO Wou-ki (Chinese-French, b. 1921) Notre-Dame de Paris 1953 Oil on canvas 54.5 x 66 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse Notre Dame and dated 4.53 PROVENANCE:

Cadby-Birch Gallery, New York, USA ILLUSTRATED:

Gérard de Cortanze, Yves Bonnefy, Zao Wou-ki, La Différence / Enrico Navarra , Paris, 1998, color illustrated, p. 88

HK$ 4,200,000 - 5,500,000 NT$ 15,960,000 - 20,900,000 US$ 538,500 - 705,100

趙無極 巴黎聖母院 1953 油彩 畫布 54.5 x 66 cm 簽名右下：無極 ZAO 款式畫背：Notre Dame 4.53 來源： 卡德比．布奇畫廊，紐約，美國 圖錄： 傑哈．德．康坦茲與伊夫．波納菲合著，《趙無極》， 拉迪佛羅斯／安利哥．納瓦哈，巴黎，1998，彩色圖版， 頁88

Ravenel 86

Notre-Dame de Paris ZAO Wou-ki

Among the most well-known cathedrals ever built, Notre Dame de Paris is widely considered one of the finest examples of French Gothic architecture. French for “Our Lady of Paris,” Notre Dame exhibits perfection of form in its symmetrical façade, circular stained-glass window, and majestic pointed arches which tower regally over the streets of Paris. As the true heart of the French capital, all distances within France are measured from place du Parvis Notre Dame, the square located in front of the cathedral.

A bronze star across from the entrance marks the point zéro des routes de France, or “point zero of French roads.” Countless artists, both French and international, have been inspired by the cathedral’s stunning beauty, including French novelist Victor Hugo, pointillist master Georges Seurat, and influential Modern Master Pablo Picasso.

Just as these other artistic minds before him, a young Zao Wou-ki fell in love with the arresting splendor of Notre Dame, and the cathedral became one of his favorite subjects for the study of urban landscapes.

Zao Wou-ki arrived in Paris in 1948, eager to immerse himself in the rich artistic traditions of the European city so far removed from his home city of Beijing.

Spending countless hours admiring the paintings and movements he found in the Louvre, Zao also carefully studied the Western classical architectural structure of the buildings around him. Art critic Daniel Marchesseau says, “He discovered a way for his brush between delicate orientalism and classic architecture.” The sense of space and grandeur Zao found in studying the architecture of Paris directly influenced the artist’s spatial constructions within his own paintings. With a linear structure similar to embroidery, it was during this period that Zao laid the foundation for his unique aesthetic, allowing his later transition to expressive and abstract painting.

Over the course of three years, from 1950 to 1953, Zao Wou-ki painted many urban landscapes featuring architecture from various European cities. Of these, at least six oil paintings depict Notre Dame de Paris, demonstrating the artist’s adoration

Cenni di pepo (Cimabue) The Virgin and Child Enthroned and Surrounded

by Angels , 1270, oil on wood, 427 x 280 cm Collection of Musée du Louvre, Paris 西瑪波《聖母與天使圖》1270 油彩 木板 巴黎羅浮宮美術館收藏

of this august cathedral. The current lot, as one of the largest in the series, serves as a superlative example of Zao’s Notre Dame paintings. Completed in 1953, Notre-Dame de Paris comes to life with the painter’s skilled application of vivid detail. With a certain abstraction of line and form, NotreDame de Paris foreshadows Zao’s later series inspired by Oracle bone inscriptions.

An arresting example of the artist’s exemplary skill, the present lot stands as a masterpiece from Zao Wou-ki’s early career in Paris.

巴黎聖母院是一棟華麗宏偉的大教堂，建造於 西元十二、十三世紀之間，採中世紀哥德式的 建築形式，有嚴謹、完美對稱的建築正面，圓 形的彩繪玫瑰花窗，尖拱高塔風格壯麗獨特， 為巴黎最古老的建築。聖母院的廣場前有一個 象徵原點(P o i n t Z é r o)的銅片紀念物，為法國 全國丈量里程的起測點。以地理而言，巴黎聖 母院居法國的心臟位置；就歷史而言，她則是 法蘭西文明的象徵；在文學上，她是大文豪雨 果的小說場景；於藝術上；她是年輕趙無極最 愛描繪的城市風景。

Mi Fu (1051-1107), Mountains and Pines in Spring ink on paper, 35 x 44.1cm Collection of National Palace Museum, Taipei 米芾《春山瑞松》水墨紙本 台北國立故宮博物院收藏

當趙無極於1948年抵達巴黎時，立刻趕往羅 浮宮欣賞名畫，急於認識這座藝術之都。他遍 訪城市裡的博物館、教堂建築、壁畫裝飾，後 來更到地中海沿岸各國旅行增廣見聞。趙無極 發現，欣賞西方古典建築結構有助於構思他 繪畫裡的空間佈局。法國藝術評論家馬歇索 (Daniel Marchesseau)認為，趙無極「找到一 種東方纖細筆劃和西方古典建築相結合的畫 路。」而刺繡般的線條結構，形成趙無極個人 的獨特風格，此一階段對於後來轉型抒情抽象 發展具有關鍵性意義。

馬歇索曾如此形容趙無極1950年代初期的繪 畫：「點線的畫法與其說是對西歐建築傑作的 描繪，不如說是對它們的變形。巴黎大區或義 大利的奇異光線，如水墨畫一樣輕柔，籠罩著 精妙簡潔的構圖。這些已然迷住克勞德．華、 亨利．米修和皮耶．洛布的精美小畫，彷彿也 是感知停駐的時刻。」趙無極的繪畫迷人之處 在於詩意的空間，得益於兩種文化傳統的巧妙 結合，透過畫家靈性的眼睛，感性的畫筆所成 就而來。 從1950年至1953年間，趙無極創作過多幅歐 洲城市建築與廣場圖畫，以巴黎聖母院為題的 油畫作品至少有六幅，足見畫家對這棟文化建 築的喜愛。其中以此幅拍品的風格最為特殊， 時間最晚，尺幅略大於其他。此幅《巴黎聖 母院》創作於1953年，中國山水畫的多點透 視，結構緊湊豐富，輪廓線樸拙古趣、纖巧靈 動，變形的教堂與山林，平面化的佈局具裝飾 意味，帶有中世紀拜占庭的宗教壁畫風格， 抽象化的線條符號已預見後來甲骨文系列的發 展，為不可多得的1950年代傑作。

523

LIN Fengmian

(Chinese, 1900-1991)

Lady Holding a Fan 1961 Ink and color on paper 68.5 x 68.5 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist EXHIBITED:

Peerless Grace - Hangzhou National Academy of Fine Arts , Tina Keng Gallery, Taipei, Taiwan, March 6-28, 2010 ILLUSTRATED:

History of One-Hundred-Year Chinese Oil Paintings: The Great Epic of Art in 20th Century , Artist Publishing Co., Taipei, 2002, color illustrated, p. 583

HK$ 3,600,000 - 4,600,000 NT$ 13,680,000 - 17,480,000 US$ 461,500 - 589,700

林風眠 執扇仕女 1961 彩墨 設色 紙本 68.5 x 68.5 cm 簽名左下：林風眠 鈐印左下：林風瞑印 展覽： 「風華絕代－杭州藝專展」，大未來耿畫廊，台北，台 灣，展期自2010年3月6日至28日 圖錄： 《中國油畫百年史－二十世紀最悲壯的藝術史詩》，藝術 家出版社，台北，2002，彩色圖版，頁538

Ravenel 90

Lady HOLDING A FAN LIN Fengmian

Known as the “father of modern Chinese painting,” Lin Fengmian’s prodigious career has been celebrated the world over for elevating and promoting a uniquely Chinese Modern Art movement. By introducing elements of Western aesthetics to art with traditional Chinese elements and themes, Lin Fengmian’s work has been widely sought by discerning collectors.

Considered a child prodigy, Lin traveled to France at only 20 years old to study at the École nationale supérieure des Beaux-Arts in Paris.

Returning to China in 1926, Lin quickly established himself as the director of the National Beijing Fine Art School, and by the time he was 29 years old, he had become president of the Hangzhou National College of Art, which later evolved into the prestigious China Academy of Art. Urging his students to explore originality and innovation, Lin called for a promotion of new and modern arts in China, claiming, “Development of national culture comes from the creation of a new era by the absorption of other cultures while basing upon one’s own.” As such, Lin encouraged his students and fellow artists to examine the properties of Western art movements to incorporate new elements into Modern Chinese art. Over the course of the next few decades, however, Lin suffered persecution and destruction at the hands of warring parties and his own Chinese government. In the late 1930s, during the second Sino-Japanese War, soldiers ransacked Lin’s home, ruining many of his paintings in the process. Several decades later in 1966, Lin himself destroyed more than 2,000 of his colored ink paintings, soaking them in water until the delicate paper turned to unrecognizable pulp, in an effort to protect his friends and family from the violent fervor of the Red Guard’s wrath against traditional art and values.

Dated 1961, Lady Holding a Fan serves as a stunning example Lin Fengmian’s work in the early 60s. Arresting in its serene beauty, the present lot exhibits Lin’s European influences in combination with a traditional Chinese subject and aesthetic.

With inspiration from Fauvism, the deep, rich colors in Lady Holding a Fan recall the delineation Ravenel 92

of two-dimensional space often found in works by masters such as Henri Matisse, with the central subject depicted with the elegance and elongation of Modigliani’s lithe figures. Lin utilizes these Western Modernist elements in confluence with the soft translucency of traditional Chinese ceramic arts, specifically Song Dynasty Guan Yao and Long Quan porcelain. With an expert application of line and color, in this painting Lin establishes a luminescent serenity replete with classical grace and refinement. Deftly utilizing fine and balanced lines to establish the central figure, the delicate brushstrokes demonstrate Lin’s meticulous attention to the complexity of the scene. “What we can pay attention to, while speaking of lines, ” explains Lin, “is ‘the line of gracefulness and liveliness’. Curved and straight lines are in opposition, the latter is tranquil and peaceful, which is also a manifestation of continual balance.” Such harmony in the combined usage of both curved and straight lines is readily apparent in Lady Holding a Fan , as gentle arcs interact symphonically with geometric angles to establish space and form. Lin’s singular layering of fine and graceful white lines and transparent white over heavier deposits of darker paint creates a gauzy radiance, illuminating the entire composition. A striking example of the artist’s mastery of line, color, and form, the present lot offers an exceptional construction by this master of Modern Chinese art.

Continually seeking to elevate Chinese art through the introduction of international influences, Lin Fengmian laid the foundation for almost a century of development and innovation for artists in China. Believing in the universality of art, Lin once stated, “As a matter of fact, the shortcomings of Western Arts are exactly where the strengths of Eastern Arts lie, and the strengths of Western Arts are also where the shortcomings of Easter Arts lie.

Complementing each other produces the world’s new arts.”

林風眠被譽為「現代中國繪畫之父」，在藝術 發展過程中，因為革新中國傳統繪畫而受到廣 泛讚頌，地位舉足輕重。林風眠善於融合東西 方美學元素，作品獲得收藏家廣泛蒐集。 林風眠自幼習畫，20歲已旅居法國，就讀巴 黎國立高等美術學院，1926年返回中國後， 就任北京藝術專科學校校長兼教授。29歲時 他成為杭州藝術學院校長，該校後來發展為聲 譽卓著的中國藝術學院。林風眠強調創作的原 創性，主張「國家藝術的發展源於新時代的創 建。我們必須以自身為本，汲取他國文化。」 林風眠鼓勵學生和藝術同好審視西方美術運動 的本質，並把新元素融入中國藝術中。接下來 數十年的授課日子，林風眠不幸遭受到戰爭黨 派和政府的迫害與摧殘。1930年代末抗戰期 間，士兵劫掠林宅，毀壞了林風眠許多畫作。 1966年林風眠為保護親友不受憎恨傳統藝術 價值的狂熱紅衛兵傷害，親手毀掉了一批彩色 水墨畫，而現在出現在市場的，是林風眠精彩 作品的僅餘部份。 《執扇仕女》創作於 1 961年，屬林風眠於60 年代的典型作品。本展品籠罩一股靜謐之美，

把林風眠中西合壁的美學風格，發揮得淋漓盡 致。受野獸派畫風影響，《執扇仕女》有著常 見於馬諦斯等大師作品的豐富色彩，畫中仕女 的身軀典雅而修長，令人聯想到義大利藝術家 莫迪里亞尼 (Modigliani) 筆下的女人。林風眠 活用這些西方藝術素材，同時加入傳統中國瓷 器藝術的輕透美感，在畫中以熟練的技巧運轉 線條與色彩，散發靜謐的幽光和古典雅致的氛 圍。林風眠善於利用細緻的筆觸，勾勒出人物 的外觀輪廓。他解釋道：「說到線條，我們能 留意到的，僅是線條的優美與鮮活。」畫中曲 線與直線互相對比，弧形線條與幾何角度亦相 互輝映，盡顯平恆之美。林風眠在濃厚的深 色顏料上以白色的線條勾勒人物的輪廓，營造 出薄紗般的光采，點亮了整個構圖。這幅精彩 的畫作，展現了畫家獨特的線條與色彩表現手 法，無疑是這位中國當代藝術大師卓越絕倫的 作品。 林風眠不斷尋求提升中國藝術的方法，為 中國 百年的藝術發展與創新奠下了基石。他相信藝 術的普世價值，曾說：「事實上，西方藝術之 短即是東方藝術之長，而西方藝術之長即是東 方藝術之短。兩者互補可創世界之新藝術。」

524

ZAO Wou-ki (Chinese-French, b. 1921) 05.06.53 - Composition bistre, noire 1953 Oil on canvas 89.3 x 117 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki in French, titled V-VI 53 composition bistre, noire in French PROVENANCE:

Galerie Pierre, Paris, France Collection of Mr. & Mrs. Louis E. Kahn, USA Collection of B&W Private Equity Fund, USA EXHIBITED:

The Prints of Zao Wou-ki , Cincinnati Art Museum, Cincinnati, USA, November 22, 1954 - January 4, 1955, No.69 ILLUSTRATED:

The Prints of Zao Wou-ki , Cincinnati Art Museum, Cincinnati, 1954, color illustrated, p. 12 This painting is to be sold with a certificate of authenticity issued by Archives Zao Wou-Ki.

HK$ 16,000,000 - 20,000,000 NT$ 60,800,000 - 76,000,000 US$ 2,051,300 - 2,564,100

趙無極 05.06.53—茶色與黑色的構圖 1953 油彩 畫布 89.3 x 117 cm 簽名右下：無極ZAO 簽名畫背：ZAO Wou-ki V-VI 53 composition bistre, noire 來源： 皮耶畫廊，巴黎，法國 路易．E．康先生夫人收藏，美國 美商私募基金收藏，美國 展覽： 「趙無極版畫展」，辛辛那提美術館，辛辛那提，美國，展 期自1954年11月22日至1955年1月4日，編號69 圖錄： 《趙無極版畫展》，辛辛那提美術館出版，辛辛那提， 1954，彩色圖錄，頁12 附藝術家工作室開立之原作保證書

Ravenel 94

05.06.53 - Composition Bistre, NoirE ZAO Wou-ki

Founded in Paris in 1924 by Pierre Loeb, Galerie Pierre was one of the most active galleries on the European and American art scenes during the 20th century. Attracting avant-garde artists such as Spanish artists Pablo Picasso, and Joan Miró, Surrealist painters Paul Klee, Man Ray, and Max Ernst, along with French artistic icons Marc Chagall and Georges Braque, Galerie Pierre became a hotbed of artistic expression and innovation. Granting exhibitions to new forms of European Expressionism such as Raoul Dufy’s Fauvism and Jean Arp’s Dadaism, in the 1930s Galerie Pierre was also the choice location for displays by Balthus, Victor Brauner, and Wassily Kandinsky. After the end of World War II, Pierre Loeb continued to promote innovation and exploration in European Modernism with prominent displays by Giacometti, Antonin Artaud, Jean-Paul Riopelle, and Georges Mathieu.

Displayed alongside these other masters of Modern expression, Zao Wou-ki was also mentioned by Pierre Loeb in his autobiography, and it is no doubt that the exhibition at Galerie Pierre played a pivotal role in Zao Wou-ki’s artistic development and promotion in the art world at that time.

Initially recommended by the French poet Henri Michaux, in 1951 Pierre Loeb had his first viewing of Zao Wouki’s works after visiting the artist’s studio in Paris. Immediately attracted to the unique Chinese aesthetics inherent in Zao’s work, Loeb proposed an exhibition and exclusive contract with the artist. A secure relationship lasting until 1957, this collaboration allowed Zao security to explore a greater range of personal style, and direct contact with the other avantgarde artists exhibited by Loeb at Galerie

Pierre. This support and experience provided the foundation and a smooth transition for Zao from figurative painting to abstract art, which would later become his main focus in artistic expression. The present lot, 05.06.53 - Composition bistre, noire , is an exclusive work which was first exhibited in Galerie Pierre during this time of collaboration and innovation for the artist.

From 1951-1952, Zao W ou - k i fou n d inspiration from the painting of German Expressionist Paul Klee, seeking to depict poetic scenes which explored both the representation of light and the visualization of the infinite. Klee, who had himself been influenced by Orientalism, provided a clear influence for Zao in combining Eastern aesthetics with Western abstraction. Utilizing lines and symbols from Chinese tradition, Zao began to develop his own unique style of abstraction, using techniques originating from Chinese landscape painting alongside figurative characters, animals, and buildings from the European cities around him to establish his expressive compositions. Beginning in 1953, Zao took further inspiration from Chinese cultural tradition, painting delicate hieroglyphics of early Chinese characters taken from ancient oracle bones, imbuing his canvases with intense spiritual power.

05.06.53 - Composition bistre, noire , completed in 1953, displays this ancient Chinese cultural influence in a composition rife with vitality and a restless atmosphere of elation despite its monochromatic hues. Deceptively simple, 05.06.53 - Composition bistre, noire depicts gracefully painted lines, scrawled across the canvas like delicate embroidery. The undulating

tones of brown and black vaguely recall a mountainous landscape, as shadowy architecture reminiscent of old European church squares emerges from the dark brown depths. The intensity of the layers

started again, something was starting to emerge. It seemed as though my paintings were starting to move, to come to life. Forms burst out of the canvases, and I found that I now dared to use colors that I had previously been nervous about using.” ("Puis, petit à petit, les signes devinrent des forms; les fonds, espace.

A force de reprendre, de détruire de recommencer, quelque chose en moin semblait émerger. Ma peinture semblait se mettre en movement, s'agiter. Des formes surgissaient et j'osais employer des coulers qui jusquelà me faisaient peur.")

(Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, editions Fayard, Paris, 1988 p.

105)

Having studied calligraphy since childhood, and ZAO Wou-ki, Oiseaux volent partout (Birds Fly Everywhere) , 1952 versed in the oil on canvas, 81 x 100 cm t e c h n i q u e s Ravenel Autumn Auction 2009 Taipei, lot 055, US$1,965,174 sold of traditional 趙無極《處處聞啼鳥》1952，油彩 畫布 81 x 100 cm Chinese literati 羅芙奧台北2009秋拍 編號055，196萬5174美金成交 painting after his combined with the soaring effervescence of enrollment at the school of Fine Arts in the thin, dark lines establishes a complex Hangzhou, Zao Wou-ki was able to deftly variance in dimension and perception. This combine this cultural tradition with the new use of simple brown and black as abstract movements he encountered in Europe. As innovation is extremely rare in Zao’s work, the Chinese landscape painter and poet Shi making 05.06.53 - Composition bistre, noire Tao once wrote: “To build up a kind of spirit in an even more exceptional example of the painting, life is thus created under the brush. artist’s mastery of expression.

Trifling matters disappear on the paper and brightness emerges from the chaotic world.”

Such brightness and life radiates from Zao’s Regarding this shift from the figural to compositions, freely expressed in his vivid the abstract in his artistic explorations, abstractions.

Zao Wou-ki once stated, “still life, flowers, animals have all disappeared. I now paint imaginary symbols on a monochrome background.” Although a time of artistic struggle for the artist, it remains the most valuable germination period during which Zao developed his iconic abstract aesthetic.

“Then, gradually, the symbols became forms,” Zao recalls, “and the forms turned into space.

As I painted and re-painted, gave up and

The present lot, 05.06.53 - Composition bistre, noire , named by the artist himself, follows a common trend for Expressionist artists of this period, many of whom included “composition” as part of the monikers for their paintings. Artists such as Kandinsky often numbered their artworks in this vein in an effort to rid their works of

preconceptions, emphasizing the purely abstract nature of their expression. This titling and early date demonstrate Zao Wouki’s initial intent to establish his own voice within the abstractionist movement.

05.06.53 - Composition bistre, noire employs layers of abstract forms to create a mysterious atmosphere complex in its use of light and shade. Such utilization of mood is reminiscent of the “painter of light,” British Romantic landscapist J.M.W. Turner, who blended abstraction and realism in his mastery of watercolors. In the words of Taiwanese art critic Chu Ko, Zao “refined oil into medial ink, an achievement that is unrivaled by any Western painter. Zao’s use of color is philosophical, with a richness that could not be realized by ink.” Following its initial display at Galerie Pierre in Paris, the present lot was also featured at “The Prints of Zao Wou-ki” at the Cincinnati Art Museum in the USA in 1954. Such early exhibition along with the clear progression of innovation demonstrated by this work establishes 05.06.53 - Composition bistre, noire not only as a masterpiece of vibrant abstraction, but also rare in its significant and profound academic value.

Joseph Mallord William Turner Light and Colour (Goethe's Theory) - The Morning after the Deluge - Moses Writing the Book of Genesis, 1843 oil on canvas, 78.7 x 78.7 cm.

Collection of Tate Gallery, London 泰納《光與色彩》1843 油彩畫布 倫敦泰德畫廊收藏

Ravenel 98

皮耶．洛布 (Pierre Loeb) 是活躍於二十世紀歐美藝壇的藝術經紀人， 1924年在巴黎創辦了「皮耶畫廊」(G a l e r i e P i e r r e)。同年即吸引當時 最前衛的畢卡索 (Pablo Picasso)、米羅 (Joan Miró)、超現實主義畫家 如克利 (Paul Klee)、曼．雷 (May Ray)、恩斯特 (Max Ernst) 等在他的 畫廊發表展覽，後來他也為布拉克 (Georges Braque)、夏卡爾 (Marc Chagall)、杜菲 (Raoul Dufy)、阿普 (Jean Arp) 等藝術家舉辦展覽。1930 年代時，皮耶�洛布與巴爾杜斯 (Balthus)、布羅納 (Victor Brauner)、 畢卡索、康丁斯基 (Kandinsky) 都有合作關係。二次世界大戰結束後， 他也為傑克梅第 (Giacometti)、亞陶 (Antonin Artaud)、李歐佩樂 (JeanPaul Riopelle)、馬修 (Georges Mathieu) 與趙無極等人舉辦畫展。趙無 極曾在自傳裡提及，1949年之前所有大畫家都在皮耶．洛布的畫廊展過 畫，在當時的藝壇有舉足輕重的地位。

趙無極自幼習書法，有家學淵源，後在杭州藝專學習國畫、西畫，自然 熟悉中國山水畫的精髓與意境，他追求西方藝術的神聖光輝，也折服於 東方繪畫高妙深遠的層次，結合兩種文化的傳統，帶入現代性，創造出 一種新的抽象視覺。中國畫家石濤有云：「墨海中立定精神，筆鋒下決 出生活，尺幅上換去毛骨，混沌中放出光明。」此可說明藝術家一生歷 經寫實、傳神以臻至妙悟境界，其創作抽象繪畫的過渡歷程。 本拍品《05.06.53─茶色與黑色的構圖》為趙無極自己起的題目，「構 圖」的原文Composition一詞原為「作曲」之意，為康丁斯基以降的西

透過詩人亨利．米修 (Henri Michaux) 的推薦，1951年皮耶．洛布到趙 無極畫室看畫，原本對中國畫家有成見的他立即受到吸引，提議開畫展 並簽署合約，兩人的經紀代理關係維繫到1957年。趙無極能在巴黎一流 畫廊發表展覽，在百花爭鳴的歐洲畫壇建立個人風格，並非偶然可成。 亨利．米修當然是他的知音，更因有皮耶．洛布的支持，進而獲得收藏 家的欣賞，認識藝術家結交摯友，使其從具象繪畫順利過渡至抽象藝 術，獲致成功。根據趙無極工作室 (Archives Zao Wou-ki) 的資料，本次 拍品《05.06.53─茶色與黑色的構圖》最初的來源即出自巴黎的皮耶畫 廊。 1951-1952年間，趙無極受到克利繪畫的啟示，感受其輕盈無比的無限 詩意。克利曾受過東方書藝的影響，他的精巧繪畫引導著趙無極，找回 那原本已然熟悉的表現方法，進入西方的抽象世界。於是，透過線條符 號的使用，趙無極改變了西方觀眾的透視法則，採用中國山水畫裡的多 重透視，將具象的人物、動物、靜物、山脈、建築物等符號，融合在作 品之中。加上之前歐洲旅行途中，教堂建築、宗教壁畫，幫助了趙無極 以平面透視處理空間以及人物的佈局。從1953年開始，趙無極畫中的符 號變得抽象，有些甚至神秘難辨，朝向人類初始文明的文字符號，書畫 之源的甲骨象形文字，探索其背後的巨大精神力量。 創作於1953年的作品《05.06.53 ─茶色與黑色的構圖》，為一幅充滿生 命躍動力的圖畫，以幾近單色畫的形式，對比出歡愉躁動的氣氛。圖畫 中描繪的形體簡約成刺繡般的線條，隱約看出遠方的山、一輪明月，以 及人群奔馳的意象，茶褐色深處浮現古老教堂廣場的莊嚴意象，舞動著 墨黑線條，開展出疏密有致、多重時空的趣味。在諸多1950年代的畫作 裡，《05.06.53─茶色與黑色的構圖》的抽象創新意涵極為難得。 在具象與抽象的繪畫轉折階段，趙無極回憶這段過程：「靜物、花、動 物都消失了，我努力以符號來表現想像，畫在幾乎是單色調的底上。」 這段過程充滿掙扎，卻也是藝術家最寶貴的創新萌發時期。「然後，慢 慢地，符號成了形體，背景形成空間，因為一再重畫、毀棄、再重新來 過，在我心裡的東西好像開始浮現出來，我的畫開始動了起來，活了起 來，我開始敢用一些以前害怕的顏色。」(參閱趙無極、梵思娃著、劉俐 譯《趙無極自畫像》，藝術家出版社，台北，1992初版，頁104)

Calligraphy by Mi Fei (1051-1107) 米芾的書法

方抽象畫常見的命名方式，顯見音樂性對於現代抽象繪畫有巨大的影 響。在經過多年的具象繪畫階段，1953年的趙無極苦思擺脫形象的約 束，大膽朝向抽象繪畫之路，因此完成了此幅以「完成日期」、「色 彩」與「構圖」三種元素所組成的畫題。可見得，此幅畫是趙無極最早 有意朝向抽象繪畫發展的作品之一。 作品《05.06.53─茶色與黑色的構圖》營造出一種西方古典的神秘色 澤，朦朧、暈染的光影，令人聯想到有「光之畫家」美譽的英國畫家泰 納 (John Mallord William Turner)。泰納的風景畫既抽象且真實，用水 彩畫出油彩的效果與質感；而借用已故藝評家楚戈的話，趙無極則是 「把油彩錘鍊成水墨一般中間性的調子，是西方畫家所難以企及的一 項成就。其色彩的含蓄處深得東方水墨哲理之三昧，但色感的豐富又 是真正的水墨所不能夢想的。」此作品或可說明趙無極的抽象藝術轉 折及成就。1954年美國辛辛那提美術館為趙無極舉辦版畫展，特別將 《05.06.53─茶色與黑色的構圖》也納為展品之一。趙無極在1950年代 初期多創作精巧小畫，此幅生意盎然的油畫大作實為難得，其學術價值 亦顯不凡。

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CHU Teh-chun (Chinese-French, b. 1920) Composition No. 503 1974 Oil on canvas 92 x 65 cm Signed lower right CHU TEH-CHUN in Chinese and English Titled on the reverse No. 503

HK$ 1,900,000 - 2,400,000 NT$ 7,220,000 - 9,120,000 US$ 243,600 - 307,700

朱德群 構圖503號 1974 油彩 畫布 92 x 65 cm 簽名右下：朱德群 CHU TEH-CHUN 款識畫背：No. 503

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Composition No. 503 CHU Teh-chun

“The lines and colors in my work are all carefully planned and are to achieve one goal in harmony: to create the ray of light and bring out the image and the rhythm.”

While many contemporary Chinese artists have sought to meld Eastern cultural tradition with modern Western aesthetic influences, none have achieved the level of harmony found in Chu Teh-chun’s elegant abstractions. Taking direct inspiration from the interplay of light seen in works

by Western artists such as Rembrandt and Goya, Chu Teh-chun’s works from the 1970’s explore the balance of illumination across vast expanses of darkened canvas. In paintings from this period, Chu juxtaposes his Western interpretation of light and form with the structure, depth, and spirituality of traditional Chinese painting. Drawing direct inspiration from the two basic elements in I Ching iconography, Chu describes the coherence of yin and yang within his own work as “complementary opposites that interact within a greater whole and constantly evolve.” Approaching the diametrically contradicting aesthetics of his artistic influences in the same manner, Chu explains, “I want to fuse the traditional colors and freely formed abstract works in Western paintings to express the cosmic phenomenon that is constituted by the two

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elements.” Chu Teh-chun’s paintings from this period of artistic exploration rely heavily on subtle harmonies found in the collocation of illumination and darkness, buoyancy and weight, vibrancy and obscurity in an effort to depict a sense of the universal which extends beyond the confines of the canvas.

Composition No. 503 supplies an elegant example of such equilibrium and synchronization of opposing yet congruous forces. While shadowed spires and forms remain shrouded in subtle variations of black and gray along the greater breadth of the composition, a vibrant splash of color bursts forth across the foreground in a luminescent celebration of light and refraction. The soft yellows and elegant pinks radiate from the surrounding darkness, resplendent in their expression of light and form. “The lines and colors in my work,” Chu states, “are all carefully planned and are to achieve one goal in harmony: to create the ray of light and bring out the image and the rhythm.”

Composition No. 503 clearly demonstrates this intention of the artist, with a graceful balance of color, light, and form.

中西文化的交流，促使了近代中國藝術的革 新。西方繪畫語言的多樣性，豐富了華人藝術 家的繪畫技法、用色和表現手法 。1955年赴 法深造的朱德群，在東方文化與西方文化兩條 道路上作深入探討， 把兩種文化的精髓融合在 同一畫面上，以自由奔放的色彩線條，表現大 自然開闊磅礡的氣勢和意象萬千的寫意空間。 朱德群的作品是抽象的，是寫意的，凝聚了他 對自然和人生的深刻體察。反映了一種對崇高 精神的熱切追求。他說；「這是我幻想中的自 然，不是眼睛看到的自然。」本質上，朱德群 所追求的已超越了物象本身所賦予的客觀形 態。他投放了大量情感和主觀情懷，創作出托 物言志、借景抒情的作品。 60年代起朱德群揚棄了學院派的寫實風格，從 具象走向抽象。70年代朱德群受到十七世紀 荷蘭著名畫家林布蘭(Rembrandt) 強烈明暗對 比的聚光法影響，創作出一系列光影起伏強烈 的作品。朱德群曾說：「林布蘭畫中的光，使 他的畫更顯深刻、雄渾和結實。」這幅創作於 1974年的《構圖503號》是這一階段的佳作， 筆法頓挫有力，蒼勁峻拔，散發著中國山水畫 的靈秀韻味。畫面錯綜糾結的線條與色塊，勾 勒出沉穩中帶點律動的虛實空間。明暗強烈的 色彩對比，彷彿散發著中國繪畫中陰陽兩極之 間的變化趣味：黑白、虛實、疏密、剛柔、 遠近、靜動、形成了互相依存的關係。朱德 群說：「陽是熾熱、光明的，陰是幽暗、濕潤 的。這種二元性產生了無窮宇宙，同時這種二 元性也融會了承續自西歐繪畫的鮮豔色彩與抽 象繪畫所開啟的自由形體。」 中國傳統繪畫追求的氣韻和意境。朱德群以西 方現代的表現方式把這種精神發揮至極致。

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CHU Teh-chun (Chinese-French, b. 1920) Forces Verticales 1996 Oil on canvas 92 x 73 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 96 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Forces Verticales in French and dated 1996 ILLUSTRATED:

Liao Chiung Fang, Overseas Chinese Fine Arts Series II: Chu Teh-chun , Artist Publishing Co., Taipei, 1999, color illustrated, numbered 223, p. 282 Solo Exhibition of Chu Teh-Chun , The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 290

HK$ 1,300,000 - 1,800,000 NT$ 4,940,000 - 6,840,000 US$ 166,700 - 230,800

朱德群 垂直之力 1996 油彩 畫布 92 x 73 cm 簽名右下：朱德群 CHU TEH-CHUN 96 簽名畫背：Forces Verticales 朱德群 CHU TEH-CHUN 1996 圖錄： 廖瓊芳，《華裔美術選集II：朱德群》，藝術家出版社，台 北，1999，彩色圖版，編號223，頁282 《大象無形—朱德群作品展》，上野之森美術館，東京； 台灣馨昌股份有限公司，台北，2007，彩色圖版，頁290

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Forces Verticales CHU Teh-chun

Constantly refining and honing his ethereal abstract aesthetic, Chu Teh-chun’s stunning compositions of the 1990s exhibit a dominant yet serene exploration of form and color.

As the artist sought to meld the ideals of traditional Chinese painting with modern Western abstract expressionist movements, Chu Teh-chun expanded his exploration in creating compositions which embodied the aesthetics of both abstraction and Chinese calligraphy. “The concept is quite similar,” states Chu, “Format is not required but rather similarity…the aesthetic factors are what the artist of abstraction is looking for, i.e. lines, colors, and compositions.” Chu Teh-chun’s work from the 1990s demonstrates the calligraphic balance of varying brushstrokes alongside an elegantly refined color palette.

This graceful confluence of technique and aesthetic serves to elevate the harmony and piercing emotional value of the artist’s works.

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An exemplary demonstration of the artist’s skill, Forces Verticales pres ents a level of sophistication in abstract exploration illustrating Chu Teh-chun’s decades of honed practice. With delicate and airy sweeping strokes and stunning tones of opulent vibrancy, Forces Verticales exhibits a sense of sculptural depth within this composition.

Creating a visual landscape in abstraction, columns of streaming light illuminate the darkened depths of the shadowed expanse, with resplendent colors refracted across the expanse of the composition. To create such a rich landscape from abstract forms, Chu Teh-chun melded his explorations in Western abstraction with the spirit and intention of traditional Chinese landscapes. As the artist himself explains, Forces Verticales embodies this sense of reaching beyond accepted forms to convey the sensation of physical landscape and structure within the formless composition of abstraction.

朱德群可算是20世紀華人畫家中最傑出的抽 象主義大師，經過數十年藝術生涯的磨練和演 進，其風格到90年代已臻至圓熟。富有深邃 詩意的幻覺空間、揮灑自如的筆觸和豐富的色 彩表現，處處顯示大師深厚的功力。長居於法 國的朱德群，深受西方藝術影響，作品風格中 西合璧。他把自然景物轉化成抽象的元素，畫 面滲透著西方抽象表現主義奔放的情感和激昂 的氣勢。其恢弘大氣、頓挫分明的筆觸，與 中國的書法繪畫有著密不可分的關係。朱德群 說：「就水墨畫來說，它有很多理念與抽象畫 相接近。國畫讚賞逸筆草草，不求形似，重於 神似，這是很強的抽象傾向。文人畫家講究意 境和筆情墨趣，這和西方抽象畫開創者把線 條、色彩、構圖等繪畫元素當作獨立的審美元 素的追求是一致的。」 《垂直之力》創作於1996年，是朱德群風格 發展成熟的佳作。作品以暗色調為主，整體 上顯得深沉典雅。一道強烈光束劃破畫面，宛 如山澗奔瀉而下的瀑布，氣勢恢宏，構成畫面 的重心。光與暗的明顯交接，為作品帶來靈動 的跳躍感。恣意揮灑的筆觸在簡潔的畫面上躍 動，構成了一幅充滿張力的構圖。這種控制 下的激情，朱德群把握得淋漓盡致。朱德群 的創作靈感多半來自大自然的啟發，曾經表 示：「只畫對自然的體驗，並不試圖去重複自 然。」大自然的生生不息、陰陽相輔相成的哲 理彷彿在他的畫中含蓄呈現。《垂直之力》具 備東方藝術的逸趣和西方繪畫濃重的色彩，是 抽象大師朱德群的精采之作。

527

CHU Teh-chun

(Chinese-French, b. 1920)

Lumière éternelle (diptych) 2003-2004 Oil on canvas 130 x 324 cm 130 x 162 cm (each) Signed lower right CHU TEH-CHUN in Chinese and English, dated 03-04 (right) Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Lumière éternelle and insribed Diptyque A in French, dated 2003-2004 (right) Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Lumière éternelle and insribed Diptyque B in French, dated 2003-2004 (left) EXHIBITED:

Solo Exhibition of Chu Teh-Chun , The Ueno Royal Museum, Tokyo, Japan, June 23 - July 10, 2007 Chu Teh-Chun 88 Retrospective , National Museum of History, Taipei, Taiwan, September 19 November 23, 2008 ILLUSTRATED:

Solo Exhibition of Chu Teh-Chun , The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, pp. 346347 Chu Teh-Chun 88 Retrospective , National Museum of History, Taipei, 2008, color illustrated, pp. 186187

HK$ 18,000,000 - 24,000,000 NT$ 68,400,000 - 91,200,000 US$ 2,307,700 - 3,076,900

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朱德群 永恆之光 （二聯幅） 2003-2004 油彩 畫布 130 x 324 cm 130 x 162 cm (每件) 簽名右下： 朱德群 CHU TEH-CHUN 03-04 (右) 簽名畫背： Diptyque A "Lumière éternelle" CHU TEHCHUN 朱德群 2003-2004 (右) Diptyque B "Lumière éternelle" CHU TEHCHUN 朱德群 2003-2004 (左) 展覽： 「大象無形—朱德群展」，上野之森美術 館，東京，日本，展期自2007年6月23日至 7月10日 「朱德群八十八回顧展」，國立歷史博物館 ，台北，台灣，展期自 2008年9月19日至11 月23日 圖錄： 《大象無形—朱德群展》，上野之森美術 館，東京；馨昌股份有限公司，台北， 2007，彩色圖版，頁346-347 《朱德群八十八回顧展》，國立歷史博物 館，台北； 2008，彩色圖版，頁186-187

Lumière éternelle CHU Teh-chun

An undeniable master of Modern Chinese art, Chu Teh-chun developed his effervescent abstractions in the early 1960s. Continually refining and honing his singular aesthetic, Chu reached a new level of artistic freedom with his stunningly serene explorations of form and color in recent decades. Expanding on the visually arresting artistic language which has earned him a position as one of the most preeminent Modern Chinese artists, Chu’s compositions from the past decade demonstrate the artist’s unmatched elegance of expression which characterized his illustrious career. Continually seeking new means for merging the seemingly diametrically opposed influences of Chinese traditional painting with Western modern abstract expressionist movements, Chu Teh-chun found harmony in exploring the aesthetic ideals of both abstraction and traditional Chinese sentiment and expression.

Uniting contrasting aesthetic influences, Chu Teh-chun has made the melding of tradition with modernity the cornerstone of his artistic development. While creating compositions with a distinctly Western approach to abstraction, the artist has continually enhanced his works with the augmentation of elements inspired by traditional Chinese brush and landscape painting. While outwardly divergent in style, Chu Teh-chun believes the two influences share an underlying essence, arguing, “Chinese painting has much in common with Western abstract painting.

Actually, traditional Chinese painting has already developed its own kind of abstract style.” Chu saw the intentions of Chinese literati painters as capturing the flow of energies within nature and landscape, rather than depicting the realism of a scene, aligning the aesthetic objectives of the literati with modern expressionist painters. Taking his inspiration not only

from the simple stylistic formality of this traditional cultural influence, Chu blended these ideals with European modernist movements and aesthetics. From a deeper spiritual connection as well as his own memories of landscapes and beauty, Chu elevates each aesthetic influence by accentuating the individual inherent qualities in an elegant amalgamation of style and form.

“Chinese paintings are more implicit and poetic,” states Chu, and it is this sense of tacit and embedded meaning that the artist seeks to express through his abstractions. By introducing traditional Chinese ink brush painting techniques to compositions inspired by colorful Fauvism and Expressionist form, Chu’s works establish a harmonious blend of contrasting dualities. Lumière éternelle , an immense diptych completed in the last decade, demonstrates this intermingling

of influences by incorporating bold colors and an Abstract Expressionist form with the fluidity of calligraphic brush strokes. In this piece, the artist transforms the viscous oil paints to achieve a similar texture to the “six graded colors”—black, white, dark, light, dry, and wet—of traditional ink-wash technique. This mastery in rendering the oils to control the weight of the paint and application of color creates sweeps of ethereal lightness across the dark deposits of blackened brown. Deep shadows form depth and dimension across the two panels, establishing a landscape intense in complexity. As the gentle swaths of airy white spread from the contrasting d arkn ess of t h e r i ch b ack gr o und , C hu creates a sense of overwhelming expanse, the sense of space extending beyond the confines of the canvas. Pools of molten golden light emanate vibrantly from the darkened depths of the shadowed expanse, while colors dance across spectrum of illumination. The stunning jewel tones shine vibrantly out from the darkness, blazing across the center of the combined composition in an exultant celebration of color. Each vivid deposit of color creates a new layer of depth and dimension, adding to the visual representation of the infinite within the present lot. When creating these powerful compositions, Chu explains, “It doesn’t matter whether my creative urge is stimulated by the beautiful sights I’ve seen, or old memories and emotions that well up inside of me, as long as I’m in front of the canvas, my sensitivity will be kindled.”

It is this sensitivity and underlying emotion which radiates from Lumière éternelle . Such a sense of subtle yet penetrating insight, clearly demonstrated in works such as the current lot, has elevated Chu Teh-chun to his position of eminence within Modern Chinese art.

T h e c reation of such a r i ch l and scap e from abstract forms stems from Chu Tehchun’s masterful amalgamation of Western abstraction with the spirit and intention of traditional Chinese landscapes. As the artist himself explains, “The landscape portrayed in Chinese paintings is no longer merely the landscape portrayed in reality; the distance between the actuality and the imagination is the realm of the abstraction.”

The present lot, Lumière éternelle , embodies this sense of reaching beyond accepted forms in presenting a standard conception of a landscape, and expanding the aesthetic lexicon with which an artist constructs a scene which is at once idealistic and universal.

朱德群是當世公認的現代中國藝術大師；他那 生氣勃勃的抽象派畫風可以追溯至上世紀六十 年代初。在過去數十年間，他不斷精煉昇華及 啄磨自給獨到的美學觀，發掘出絕妙而寧靜的 構圖與調色組合，再創藝術巔峰。朱德群縱使 已躋身於最卓越的現代中國藝術家行列之中， 他卻不斷擴展自己非同一般的藝術語言。朱氏 過去十年的畫作印證了他那股無可媲美及極其 雅緻的表現力。畫家致力融合中國傳統書畫及 西方現代抽象表現主義的對比，從而探索抽象 意義與傳統中國情懷兩者之間的和諧性。 朱德群個人藝術發展的基石，乃是他結合了相 對的傳統與現代美學觀念。雖然藝術家的創作 以西方抽象油畫派為主，但他同時注入了傳統 中國山水畫的靈感。儘管兩者在表面上格格不 入，朱德群深信它們有著共同的潛在本質。他 解釋道：「中國繪畫與西方抽象畫有很 多共通 之處。其實，傳統中國繪畫一早建立了它獨有 的抽象風格。」朱德群認為中國文人畫家作 畫，是為了捕捉大自然與風景之間能量的對 流，他們的目的不是描述甚麼真實的場景；文 人畫家及現代表現主義畫家的美學因此應該對 齊。朱德群的創作靈感不僅來自傳統文化的簡 約構圖，還結合了西方現代主義的美學觀。介 於他較深層次的靈感聯繫，以及對大自然美景 的回憶，朱德群在風格及構圖上的優美結合突 顯了他個人的特質，也提昇了每一個美學元素 的渲染力。 朱德群表示：「中國畫作較為含蓄，而充滿詩 意。」也因著這種緘默的感情及深藏的意義， 令藝術家傾力於如何以抽象手法把它們表達出 來。朱德群在野獸派畫風及表現主義構圖上引 入中國傳統水墨畫技巧，令本來相對的二元性 變得水乳交融。完成於近十年的《永恆之光》 是巨大的雙連畫，運用了大膽的色彩、抽象表 現主義構圖及筆走龍蛇的書法技巧，正好呈現 了這混合式畫風。在這幅畫作中，畫家把有黏 性的油彩再加提煉，以達到一種 質感相近的 「六層色彩」—黑、白、深、淺、乾、濕—這 些特徵與傳統水墨畫有不少相似之處。畫家充 分掌握塗抹厚薄油彩及調色，讓明亮的光澤飄 逸在沉色的畫面上。深深的陰影貫穿整個雙連 畫，形成極度繁複的風景構圖。當細長的白線 散落在深沉的背景上，朱德群製造出一種不能 抗拒的、甚至超越畫布平面的張力。火熔般的 金光散發自深沉的陰影上，而華麗的色彩同時 也輝映在構圖之中。令人眩目的鑽光鮮明地從 陰暗中發放出來，在雙連畫中央洋溢著歡欣愉 悅的氣氛。每一個鮮艷的色調都建構出新層次 的深度及幅度，畫作猶如一個無限的空間。就 創作這些強而有力的畫作，朱德群說：「不論 我的創作原動力是因美麗的事物所激發，還 是內心隱藏著以往的記憶及情感所致，這並不 重要；重要的是站在油畫布前，我的感情被燃 點起來。」《永恆之光》所展露出來的，正是 畫家的敏銳感及深藏的情感。這種精巧而富有 洞察力的敏銳眼光，在朱德群的作品中表露無 遺；他在現代中國畫壇中的顯赫地位 ，無可厚 非。

朱德群創作這幅令人神往的風景畫，貫通了西 方藝術的靈感抽象化與中國傳統風景畫的意 念。誠如藝術家親自解說：「中國風景畫的描 繪已不再受限於實景的繪畫；真實與想像之間 的差距才是抽象主義的領域。」這幀《永恆之 光》正好體現了超越一般風景畫的構圖模式， 也擴大了美學的領域。藝術家建構出一個充滿 理想主義及富有宇宙宏觀的傑作。

CONTEMPORARY EXPRESSIONS OF CHINA 中國當代巨匠 Lot 528 - Lot 538 HUANG Gang CAI Guo-Qiang ZENG Fanzhi LIU Ye YAN Pei Ming ZHOU Chunya

528

HUANG Gang (Chinese, b.1961) Boat to Ideal (triptych) 2006 Mixed media on board 200 x 373.5 cm 200 x 124.5 cm (each) Signed lower right Huang Gang in English and Chinese, dated 2006

HK$ 1,100,000 - 1,800,000 NT$ 4,180,000 - 6,840,000 US$ 141,000 - 230,800

黃鋼 理想之舟（三聯幅） 2006 綜合媒材 木板 200 x 373.5 cm 200 x 124.5 cm (每件) 簽名右下：Huang Gang 黃鋼 2006

"My works demonstrate a very oriental aesthetic ideal…it is in my blood, I have no choice.” 「我的繪畫表現出東方的精神氣質，它在我的血液裡，我無從選擇。」 - Huang Gang 黃鋼

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529

CAI Guo-Qiang (Chinese, b. 1957) Golden Missile (hexaptych) 1998 Gunpowder and ink on paper 218.5 x 432 cm 218.5 x 72 cm (each) Signed upper right Cai Guo-Qiang in English, titled Golden Missile project for the Taipei Biennial in Chinese and English, and dated 1998 EXHIBITED:

Cai Guo-Qiang: Hanging Out in the Museum , Taipei Fine Arts Museum, Taipei, Taiwan, November 21, 2009 February 21, 2010 ILLUSTRATED:

Cai Guo-Qiang: Hanging Out in the Museum, Taipei Fine Arts Museum, Taipei, 2009, color illustrated, pp. 134-137

HK$ 2,000,000 - 4,000,000 NT$ 7,600,000 - 15,200,000 US$ 256,400 - 512,800

蔡國強 金飛彈（六聯幅） 1998 火藥 水墨 紙本 218.5 x 432 cm 218.5 x 72 cm (每件) 簽名右上：Golden Missile project for the Taipei Biennial 金飛彈 為台北雙年展做的計劃 1998 Cai Guo-Qiang 展覽： 「蔡國強泡美術館」，台北市立美術館，台北，台灣，展期 自2009年11月21日至2010年2月21日 圖錄： 《蔡國強泡美術館》，台北市立美術館，台北，2009，彩色 圖版，頁134 - 137

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Golden Missile CAI Guo-Qiang

Throughout his revolutionary career, Cai Guo-Qiang has stood at the forefront of internationally recognized Chinese artists, continually setting the stage for the acknowledgement and appreciation of contemporary Chinese art both abroad and within his home country. Named four separate times among ArtReview’s annual Power 100, Cai’s accolades include being the first artist from China to win the prestigious Golden Lion award at the Venice Biennale in 1999, the first contemporary artist granted a solo exhibition at a state-operated Chinese museum with his showing at the Shanghai Art Museum in 2002, and the first Chinese artist to hold a solo exhibition at the Guggenheim Museum in New York with his exhibition “I Want to Believe” in 2008. Additionally, this same year he was appointed director of visual and special effects for the opening and closing ceremonies of the Beijing Olympic Games. Adding to this already extraordinary catalogue of achievements, this autumn Cai became the first Chinese artist awarded the Praemium Imperiale, one of the most prestigious awards in the fine arts field, and likened to the Nobel Prize of arts. Cai’s artistic style has yielded individual and unique works that transcend borders, both geographic and cultural, to achieve a universal appeal.

As with many contemporary Chinese artists, Cai’s work seeks to merge and balance an amalgam of often conflicting cultures and ideologies. While believing that art and artists should reflect and comment on the society and cultural

events which surround them, Cai separates himself from overt social activism, preferring instead to focus on the aesthetic rather than the political aspects of his art. Cai blends this aestheticism with inspiration from the mysticism of a Taoist upbringing. First discovered

as he transforms the violence of his controlled explosions into beauty and serenity of expression. Cai’s use of such a temperamental and volatile explosive on delicate and flammable rice paper demonstrates his admir ation of t he unpredictable nature of his medium.

by Taoist alchemists seeking mystical means for preserving longevity, Cai’s preferred medium of gunpowder has had a long traditional association with apotropaic symbolism throughout much of Chinese history and culture. Enamored with the unpredictability and traditional connotations of the medium, Cai has used gunpowder in numerous ways throughout his artistic career. “I see gunpowder as a way of transforming natural energies,” the artist explains, “There’s an impact from the sound; there’s the physicality of the heat. I believe in its mystical properties.”

In his utilization of gunpowder, Cai feels a close affinity with the Taoist alchemists,

While Cai’s gunpowder drawings originally began as abstract experiments, once he initiated his “explosion events” in 1989, he began using his gunpowder on paper creations as a means of recording the experience of these artistic exhibitions, granting permanence to an otherwise transitory event.

Such is the case with Golden Missile ; commissioned by the Taipei Fine Arts Museum for the 1998 Taipei Biennale, the Golden Missile explosion event lasted only 53 seconds. Cai arranged 200 miniature missiles to be released in unison, each with its own unique course of vertical flight. The result of the performance was an intense multitude of elegantly slim rockets, each propelled into the air on its own winding path of ephemeral smoke. With each rocket ejecting its own protective white parachute, the missiles floated softly back to earth as the curving, spiraling arcs of their fleeting trajectories slowly dissipated.

Cai captures this initial explosive excitement followed by serene descent in the six-panel gunpowder drawing created to commemorate the event. Intended to be read from left to right, Golden Missile first captures the moment of ignition as the dense array of missiles departs in a closely packed drove, ascending vertically along the first panel before diverging

中國當代藝術家蔡國強在藝術界有著崇高的地 位，他被《亞太當代藝術》雜誌形容為「中國 最具國際聲譽、最成功、最有天份和挑戰性的 藝術家。」他那氣勢如虹的煙火爆破表演和極 具前瞻性的大型裝置藝術，為他帶來無數的獎 項和榮譽。他曾四次入選英國《藝術評論》雜 誌全球藝術界百大權力名人榜；1999年他獲 得第48屆威尼斯雙年展金獅獎，是首位奪得該 榮譽的華人；同時，他是第一位能在中國國立 美術館舉辦個展的當代華人藝術家；2008年 他舉辦《蔡國強：我想要相信》大型個人回顧 展全球巡展，首站在紐約古根漢美術館展出， 成為該館舉辦的第一個華人藝術家個人展，亦 是美國藝術館有史以來規模最大的中國藝術家 個人展覽。除此以外，蔡國強剛獲得2012年 度日本皇室世界文化獎，這個獎項好比藝術界 的諾貝爾獎，是對藝術家成就的肯定。蔡國強 榮獲的是繪畫類終身成就獎，是首位榮獲該獎 項的中國籍藝術 家，同時也是世界文化獎設置 以來最年輕的終身成就獎獲得者。

into their own unique routes along the greater expanse of white paper spread across the central panels. In the final stages, the oblong charring representative of the rockets disperses into softly scorched puffs expressive of the gentle explosions with which the missiles released their individual parachutes, and quietly begin their gradual decent. In Golden Missile , Cai has expertly juxtaposed the heavy volatile excitement of the explosive nature of his medium with the delicacy and grace reminiscent of traditional Chinese literati painters.

Cai Guo-Qiang’s artistic aesthetic continues to push limits and surpass boundaries as the artist persistently refines his distinctive and singular use of his inimitable medium.

The volatility of his artwork motivates Cai to explore new depths and techniques when working with his signature gunpowder, r ealiz in g f resh di sco ver i es i n cr eati ng innovative art. “Why is it important to make these violent explosions beautiful?” Cai asks, “Because the artist, like an alchemist, has the ability to transform certain energies, using poison against poison, using dirt and getting gold.”

成長於文化大革命時代的新中國，蔡國強對自 身的文化有更深刻的反思。中華文化植根在他 心裡，儘管先後移居日本和美國，他亦多次強 調中國傳統文化對他的重要性。雖然傳統對他 來說非常重要，亦是藝術創作的基礎，但他最 關注的還是當下的社會。他曾說：「我關心 國際政治、兩岸關係。」這種態度使蔡國強 的作品富有濃厚的當代性，我們不難發現他對 各政治和社會議題的關注，例如美國911事件 之後，他發表大型裝置藝術《不合時宜：舞台 一》，作品模仿一輛爆炸的汽車在空中翻騰的 過程，以突破時空限制的手法闡述了現實與 夢幻、感性和理性之間的矛盾和困惑。而他的 《收租院》系列則以寫實的手法重現文革時代 被大地主剝削的窮人生活。蔡國強的作品雖然 經常與政治議題相關連，但其創作旨在諷刺和 批評，並沒有政治宣傳或改變社會的意圖。他 表示如果藝術附有政治或社會的重擔與包袱， 會是一件沉重又痛苦的事。 蔡國 強的創作突破了傳統的框架，同時隱藏 著豐厚的中國文化底蘊和哲學思想。紐約古 根海姆基金會會長托馬斯．克冉斯（T h o m a s K r e n s）評論說：「他自由無羈地從古代神 話、軍事歷史、道家宇宙學說、毛式革命策 略、佛教哲學、煙火技術、中醫以至恐怖分子 暴力活動取材，他的藝術是社會能量的一種 體現，不斷變易。」蔡國強選擇以火藥引爆的

煙火表演作為創作形式，賦予作品獨特的中國 韻味。火藥乃中國古代四大發明之一，源自道 家的煉丹術，乃古人嘗試提煉長生不老藥的意 外發明。蔡國強自1984年在創作中使用火藥 起，便不斷探索它的可能性。火藥不可預測 也無法控制，引發無限的偶然性。蔡國強說： 「人越是想控制它，往往越無從入手。」蔡國 強的作品體現了道家的哲學思想，所謂 「道 」即宇宙萬物的本源，老子提出「人法地、地 法天、天法道、道法自然」。道家的精神影 響到藝術創作則表現出追求自然不造作，豁達 和瀟洒的藝術風格。他曾說：「我把火藥灑出 去， 風就把它們吹散了，我就讓它們保持這樣 自然的樣子。」 蔡國強追求自然，創作是他精 心設計下與自然結合的成果。 1998年的台北雙年展，蔡國強應台北市立美 術館邀請，在美術館旁的廣場上進行一項名為 《金飛彈》的藝術表演，台灣民航局特別為這 場表演關閉航道十分鐘。表演時間為6月30日 下午，整個過程歷時53秒，200枚塗上金漆的 微型降落傘飛彈排列成一個直徑20米的中國 古錢幣形狀，同時被引爆。金飛彈在彈指之間 直衝上天，氣勢銳不可擋。發射後空中留下絲 絲縷縷的白色煙霧軌跡，微風中煙霧裊裊，稍 現即逝，空氣中瀰漫著燃點火藥而留下的硫磺 的氣味，繚繞不散。升空後的降落傘展開並緩 緩地隨風飄落到地面。火藥畫《金飛彈》作為 同名爆破計劃的紀錄，作用是為壯觀但短暫的 爆破表演留下永恆的軌跡。在準備階段，蔡國 強先把日本麻紙鋪在地上，並在白紙上撒上火 藥粉。然後，他用一支香燃點火索，火藥按照 預先設定的路線走動，幾秒間被引爆並發出巨 響。此時 麻紙上的餘燼被迅速壓滅，留下了火 藥在紙上走動過的痕跡。火藥畫《金飛彈》裝 裱於六折的木製屏風，火藥從麻紙左下方燃點 出發，沿著第一個板面向右推進，到達麻紙中 央方向時變得緩和，最後優雅地散落於最後的 板面上。 作為中國當代藝術界頂尖的藝術家，蔡國強不 斷嘗試，不斷前進，突破藝術固有的形式。他 以中國傳統文化作為基礎，獨特的創作媒介， 探索人類社會、自然和宇宙的關系。蔡國強挺 身立足於世界舞台之上， 向世人昭示深厚的中 國文化內涵和當代精神，是不可多得的中國藝 術家。

530

ZENG Fanzhi (Chinese, b. 1964) I, We 2005 Oil on canvas 220 x 150 cm Signed lower right Zeng Fanzh i in Chinese and English, dated 2005 PROVENANCE:

Xin Dong Cheng Space for Contemporary Art, Beijing, China Private collection, Asia

HK$ 8,500,000 - 10,000,000 NT$ 32,300,000 - 38,000,000 US$ 1,089,700 - 1,282,100

曾梵志 我．我們 2005 油彩 畫布 220 x 150 cm 簽名右下：曾梵志 2005 Zeng Fanzhi 來源： 程昕東國際當代藝術中心，北京，中國 私人收藏，亞洲

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I, We

ZENG Fanzhi

O f al l the ar ti s ts f or w hom the r ec ent decades of rapid social evolution and development following the Cultural Revolution in China has provided a focus for critical commentary, the work of Zeng Fanzhi has become perhaps the most internationally recognized for emblemizing the conflicts inherent in a precipitously modernized society. “Every painting of mine puts forward a question,” explains the artist, “a question about men, about the course of living from birth to death…I have been committing to this aspiration, that is, to communicate all the throes of life.” Through this specialized lens, Zeng’s work examines the plight of the individual with viscerally emotional paintings which have struck a collective international chord, garnering intercontinental praise and propelling the artist to the forefront of the Chinese Contemporary art scene.

Zeng’s earliest series exhibits the anguish of his subjects by establishing scenes in macabre settings such as hospitals or butcher shops, focusing on the external and visible manifestations of pain and turmoil. After relocating to the increasingly cosmopolitan capital of Beijing in 1993, however, the artist began turning his focus increasingly inward, exploring the psychological havoc wreaked by urban alienation and anxiety. Utilizing exaggerated, surreal, and misshapen forms influenced

by German Expressionism, Zeng began to reveal the emotional scarring of the individual by shielding his subjects behind the fixed expressions of staring, painted masks. Subtly and hauntingly portraying the social distress of personal disquiet ruthlessly overwhelmed by the uncontrollable tide of modernization, Zeng’s Mask series has become iconic of the underlying afflictions in current society. “The image of the mask is a theme I have worked on for several years,” Zeng reveals. “The paintings are about real

people. I exaggerate and embellish the figures to emphasize the falsity of forced intimacy and laughter… Because false faces exist, people cannot avoid the distance they create between each other. It is almost impossible to confide in each other as everyone hides their true nature, all their true desires, so that when they appear in public, the outer mask is all everyone else sees.” While the figures in these paintings screen their emotions behind the static façade of wide eyes and fixed smiles, Zeng reveals the tension and angst of his subjects in the taught, raw muscles of tightly clenched fists and stiff, defensive bearing of individuals constantly alert under the overwhelming pressure of a continually distancing culture.

Emerging from behind their painted masks, the subjects of Zeng Fanzhi’s portraits after the year 2000 exhibit a more deeply introspective nature. Departing further from realistic depictions, in these portraits Zeng moves closer to his initial Expressionist influences, utilizing garish and disconcerting colors, minimalist lines, and a greater abstraction of form to convey the piercing sentiments previously hidden by the stoically fixed smiles and unseeing eyes of his masks.

With this shift towards an exploration of Expressionist aesthetics, Zeng explains, “the biggest received experience was in using line, color and form to express my response to a topic, form or emotion. I learned to utilize my emotion to produce a deep reflection upon a subject rather than making a painting that merely illustrated something.” In his new stylistic approach for reflecting individual strife, Zeng continued his exag g eration of h a n ds a n d h e a ds , the unveiled faces of his subjects now revealing naked emotions made visible by the removal of the unmoving masks. As though experiencing physical repercussions from this unshielded contact with their

surroundings, Zeng renders the exposed flesh of these figures in grotesque hues of red, recalling untended wounds or raw, torn slabs of meat. Standing against blank backgrounds, the portraits emphasize both the internal and external damage of isolation and anxiety, creating a jarring focal point laden with apprehension.

A disquieting example of this series, I, WE exhibits the Expressionist aesthetic, depth of emotion, and overwhelming isolation characteristic of these portraits. Emerging from the suppressed gray wash of the canvas, the figure appears as though unfinished. Washes of blue and black merge the portrait’s lower half, blending with the gray surroundings and imbuing the subject with an ethereal spectral appearance. The lurid yellow of the figure’s shirt and jacket only serve to emphasize the unnatural redness and inflamed flesh of his face and hands, painted in swaths of varying bruised hues. One large, stray stroke carries this unsettling mixture of reds and purplish pinks up and away from the subject’s head and face, drawing him back into the flat, surrounding gray and emphasizing the surrealism of the figure, as though he were but a projection on a blank screen. The soft, blue smoke billowing gently from a casually held cigarette is echoed by the subject’s exhalation of a similar plume. Providing a cool contrast to the burning crimson of the face, the obscuring column of blue-gray smoke still reveals the naked emotion of the subject’s eyes. Enlarged and staring, the eyes in I, WE provide a stark contrast to the dead, indifferent painted views of Zeng’s masks. An arresting focal point, in this portrait Zeng has illuminated the eyes as a direct expression of the exhausting burden which emanates from the sloped shoulders and tilted, heavy head. “It is the responsibility of the artist,” Zeng once said, “to regulate the form with his spirit and to have the meanings embodied in the form, to an extent that the spirit and the form are perfectly combined and complement each other.” Within this series, I, WE artfully exhibits this combination of spirit and form, which meld to produce a strikingly distressing image of overpowering emotional depth.

新中國成立以來數十年間翻天覆地的改變，為 藝術家提供了豐富的創作土壤和評論焦點，當 中曾梵志的創作可謂最得人心，堪稱最受矚目 的當代中國藝術家。曾梵志畫風細膩，擅長刻 劃現代中國人民的傷痛過去和個人內心矛盾的 情緒。他表示：「生與死、人類和自然的關係

法來描 繪人物的形態。描繪對象的情感傷疤被 埋藏在面具背後，但那焦慮的凝視目光卻掩蓋 不了佩戴者內心的恐懼。「面具」系列微妙地 捕捉城市化下人民的心理障礙與失衝，曾梵志 表示「面具」系列是他努力了多年的一個主 題，用意是諷刺訛虞我詐的人際關係。曾梵志 認為虛假的面孔使人與人之間的關係變得疏 離，因為把真實個性隱藏，其他人就只能看到 一個帶上面具的虛偽人物，彼此間實難以建 立信任。他筆下的人物以空洞的大眼睛和僵硬 的面部表情掩蓋內心的不安。他自我防禦的態 度，隱透出現代社會倫理關係不斷疏遠的現 像。 2000年後曾梵志的「肖像」系列表現出更發 人深省的氣息。面對現實世界的殘酷，畫中人 物流露著更痛苦的表情內。畫像追求的不是真 實的客觀形象，而是內在本質的呈現。飽滿的 色彩、粗獷的線條和那越趨抽象的形態，處處 散發著表現主義的氣息。那沮喪痛苦的情感埋 藏在恬淡的淺笑和焦點模糊的視線中。對於 自己所追求的美學表現形式，曾梵志表示他善 於利用線條 、色彩和形態來表達情感。曾梵志 筆下的肖像都擁有不合比例的頭和碩大突兀的 手，沒有面具的遮掩，人物內心的情感被赤裸 裸地呈現。人物皮膚怪誕的紅色色調，令人聯 想到他早期以人與鮮肉為題的「肉」系列。肖 像中人物站立在空白的背境前，內外都呈現著 孤獨無助的不安感，困守在沉鬱的氛圍中。

ZENG Fanzhi, Woman (Detail) , 2002 oil on canvas, 200 x 145 cm Ravenel Autumn Auction 2011 Taipei, lot 196 US$1,756,551 sold 曾梵志《女人》(局部) 2002 油彩 畫布 200 x 145 cm 羅芙奧 台北 2011秋季拍賣會，編號196 175萬6551美金成交

是我關心的主要問題。」相比起表面的東西， 他更關注人內心深處的情感。現代人的困惑和 不安感，在他的畫筆下發揮得淋漓盡致。 曾梵志早期的作品以可怕冷漠的醫院和肉品市 場為背景，他以一張張抽離的臉，表現人內心 痛苦的掙扎，畫面流露著不安的氣息。2003 年曾梵志來到北京，處身於陌生的大城市環 境，人情的冷暖令他感到孤獨、傷心和無奈。 人生可悲的一面使他的繪畫變得更為內向，他 埋首探索城市的異化帶給人的心理肆虐。受德 國表現主義的影響，他利用誇張扭曲的表現手

《我．我們》展示了表現主義的美學色彩，肖 像人物抽離於現實環境，獨自站著，散發出憂 慮的情緒。西裝革履的他煥發著青春的氣息， 黃色的襯衫和外套突顯了臉和手渾身不自然的 泛紅肌膚。 一抹紫紅色的顏料從肖像人物的頭 部劃伸至主體以外，在空白背景下他更像一幅 不穩定的投影圖像。他左手指縫間夾著香煙， 濃煙除了在煙頭滾滾冒起，亦在他的嘴角徐徐 呼出，灰藍的煙和緋紅的臉互相輝映。與冷漠 的《面具》系列相比，《我．我們》赤裸裸地 展示了肖像人物憂鬱的雙目，那下斜的肩膀、 左傾的頸脖，承擔著頭部沉重的重量。曾梵志 認為藝術家的責任是把精神和形式結合，在一 定程度的規 範上互相補足。在這個系列中，畫 家巧妙地釋放人物的內在精神，意象的結合， 投射了那憂鬱得令人心痛的形象，產生出強烈 的感情深度。 無論以僵化的面具掩蓋背後萎靡的精神，或撕 掉面具後赤裸地展露痛苦的情感，曾梵志都 能細緻地把角色人物焦慮的心理狀態表露。 《我．我們》肖像作品清晰地顯示了人被抑壓 的情感，實為這系列中的佳作。

531

ZENG Fanzhi (Chinese, b. 1964) Warhol 2006 Oil on canvas 80 x 80 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2006 PROVENANCE:

ShanghART Gallery, Shanghai, China Private collection, Asia

HK$ 3,400,000 - 4,000,000 NT$ 12,920,000 - 15,200,000 US$ 435,900 - 512,800

曾梵志 沃荷 2006 油彩 畫布 80 x 80 cm 簽名右下：曾梵志 2006 Zeng Fanzhi 來源： 香格納畫廊，上海，中國 私人收藏，亞洲

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Warhol ZENG Fanzhi

Evolving from his iconic Mask series, in 2003 Zeng Fanzhi began work on a series of portraits depicting celebrities, fellow artists, and political leaders. Departing from the blank, staring visors of the previous series, in these works Zeng instead obscures the features of his recognizable subjects through rash, haphazard, and overlapping brushstrokes. Using up to four brushes of varying size simultaneously, the artist creates a knotted nest of writhing lines, teeming across the canvas and refracting the form of the portrait beneath. “When I paint with two brushes in one hand,” explains Zeng of his unorthodox technique, “I hope the second brush could constantly destroy the lines created by the first brush…one brush to create and another one to destroy. The resultant lines in the painting are extremely complex and embody many unexpected chances and coincidences.” With this process of continual construction and destruction, Zeng emphasizes the true inscrutability of superficially well-known celebrity figures.

Perhaps the epitome of this veiled notoriety, Zeng has aptly chosen Pop Art icon Andy Warhol for several iterations of obfuscated representations, including the eponymous Warhol . As an artistic celebrity personality who once claimed “I am a deeply superficial

person,” Warhol exemplifies the unreality of a public persona, an ideal subject for Zeng’s expression of the opacity that shields an individual’s true emotions. Distorted beneath a twisted mass of seething, frenzied strokes, in Warhol the instantly identifiable face is rendered abstruse, emphasizing at once the spurious fallacy of celebrity and the concealment of personality which accompanies it.

Whether shrouded by a literal mask, or by a more figurative screen of distorting paint, Zeng’s paintings address the anguish of secret personal identity. Embroiled with the emotional scarring of isolation and anxiety, Zeng’s works provide a crucial commentary on an oft-overlooked aspect of current societal distress. Zeng claims, “My paintings usually have a side that’s rather sad, conflicted, worried, and fragile…there’s a power of tragedy within. I don’t particularly like to paint cheerful scenes because those seem too superficial. I prefer to paint deeper and more internal scenes that can touch people.” This ability of the artist to evoke buried emotional concerns has elevated Zeng Fanzhi to his current stature as an icon of Contemporary Chinese art.

告別「面具」之後，曾梵志繪畫了一系列以名 人、藝術家和政治領袖為題的畫作，這些具有 象 徵 意義 的 人 物 形象 ， 旨在 探索一 些社 會議 題。和「面具」系列瞪著眼晴並以面罩遮掩的 形象截然不同，這系列作品的筆觸互相纏繞、 線條放任恣縱，畫面紛亂狂野。曾梵志喜愛同 時使用數支粗幼不同的畫筆進行創作，一枝畫 筆所建立的東西，可能會立刻被另一枝所毀。 畫 面 上糾 結 在 一 起的 線條是 各種機 遇下 的巧 合，在不斷建構的過程中，底下的影像因被干 擾而變得輪廓模糊。人物選材方面，或許美國 普普藝術大師安迪．沃荷的某些特質和曾梵志 筆下的人物相似，曾梵志選擇了他作為其中一 個描繪對象。作為國際知名的藝術家，沃荷郤 毫不忌諱地說：「我是個極度膚淺的人。」這 個有點兒虛幻的公眾人物，正切合曾梵志要表 現的人格特質。在狂亂的筆觸下，沃荷的臉孔 被描繪得幾乎難以辨認，個人情感亦被徹底埋 藏。 無論以刻板的面具覆蓋，或以形象化的抽象線 條掩蔽，曾梵志的作品都能捕捉人精神與肉體 的痛苦。他對周遭環境有著敏銳的洞察力，處 身於這疏離的社會，他深刻地體察了當中的孤 獨和焦慮感。曾梵志愛思考人性特質，作品有 著深刻的哲理意義。他卓越的洞察力和不斷演 變 的 風格 使 他 成 為中 國 當代 藝術領 軍人 物之 一。

532

LIU Ye (Chinese, b.1964) Red, Yellow, Blue (a set of 3) 2002 Mixed media on canvas 45 x 60 cm ( x3 ) Signed lower right Liu Ye in English and Ye in Chinese, dated 2002 (each) ILLUSTRATED:

Liu Ye: Red Yellow Blue , Schoeni Art Gallery, Hong Kong, 2004, color illustrated, pp. 40-41 PROVENANCE:

Schoeni Art Gallery, Hong Kong Private collection, Europe

HK$ 8,000,000 - 9,500,000 NT$ 30,400,000 - 36,100,000 US$ 1,025,600 - 1,217,900

劉野 紅、黃、藍（三件一組） 2002 綜合媒材 畫布 45 x 60 cm ( x3 ) 簽名右下：2002 野 Liu Ye (每件) 圖錄： 《劉野：紅、黃、藍》，少勵畫廊， 香港，2004，彩色圖版，頁40-41 來源： 少勵畫廊，香港 私人收藏，歐洲

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Red, Yellow, Blue LIU Ye

Liu Ye’s palette of playful primary colors and geometrically clean compositions have propelled the artist to the forefront of the international art scene, captivating audiences globally with the indelible appeal of his flawless aesthetic. Vivid yet balanced colors resonate across his canvases, as his innocent child subjects exude emotions all the more potent in their subtlety. With an academic background rooted in industrial design, Liu’s work blends an impressive amalgamation of Classicism, Formalism, and Surrealism to create serene scenes saturated with tension and concentrated emotion.

Having spent the majority of his early career in Europe, Liu Ye formed an eager attachment to masters of Western artistic tradition, taking particular inspiration from Dutch painter Vermeer and abstractionist Mondrian. Liu refers to his academic background in industrial design as a study in “strictly controlled passion,” and it is this same concept of artistic zeal combined with a rigid and detailed structural format that drew Liu to these two Dutch artists. From Vermeer, Liu appropriated a theatrical use of light from an off-scene source, providing high contrasts and dramatic shadows.

“Vermeer is not only good at humans, or painting reality,” Liu states, “Everything in

his work is beautiful.” Employing this same technique, Liu accentuates the element of fantasy inherent in his works, as well as the heightened emotions of his subjects.

art historical tradition, Liu Ye allows himself to enter into that same lineage, and place himself among his idols.

These explorations in light and shade complement Liu’s perpendicular compositional structure, influenced directly by his affection for Mondrian.

“Mondrian’s elements appear in m y p ainting s as s piritual symbols,” explains Liu, “His paintings are so simply pure: only the basic colors and vertical and horizontal lines. I’d also like to solve the problem of simplicity.” By creating simplified horizons with small vertical figures awash in expanses of primary blocks of color, Liu recalls the restrained Piet Mondrian, New York City I (Detail), 1942 and regulated structure of oil on canvas, 119.3 x 114.2 cm Mondrian’s abstractions within Collection of Musée National d'Art Moderne, Centre his own figurative paintings.

Georges Pompidou, Paris Liu reflects his admiration 蒙德里安《紐約市第一號》(局部) 1942 油彩畫布 of Mondrian’s simplicity and 巴黎蓬皮杜中心國家現代藝術博物館收藏 elegance in the abstract not While acknowledging the formal only by echoing the structural formality, influences of European artists, Liu also but also by incorporating images of succeeds in transforming these aesthetics Mondrian’s paintings within his own to establish an iconic artistic style by artworks. By appropriating aesthetic employing these adopted techniques to elements, allusions, and direct references depict his own unique child subjects. A to recognizable works within the Western

children’s book author during the Cultural Revolution, Liu’s father encouraged his son to immerse himself in the fantastical worlds and adventures of these tales. With enlarged heads and miniature bodies, L iu’ s c hildren ev o k e al l the i nno cence of their cartoon-like appearances, often contrasting with their more adult exploits.

Each small figure both commands and rebels against the overwhelming expanse in which they are placed, inhabiting the space with forlorn determination. “Every artist might be looking for images appropriate for their inner expressions,” Liu explains, “such as Yue Minjun’s smiling faces and Zhou Tiehai’s camels. For me, it’s just these small people.” Liu continues to play on the childlike simplicity of his subjects with his use of bright primary colors, while at the same time staging his figures within stark, perpendicular scenes, the minimal lines enhancing the sense of spacious abandonment.

A set of three, Red, Yellow, Blue exemplifies Liu Ye’s utilization of theatrical lighting, appropriation of art historical images, perpendicular composition, and child protagonists. Atypical on the market, Red, Yellow, Blue is a matchless and valuable three-canvas construction rarely presented at auction. Taking clear inspiration from children’s book illustration, each of the three canvases tells its own individual story,

while also combining to establish a broader, more complex narrative. While using subjects and a structure found throughout the artist’s body of work, the present lot offers an exceptional composition and construction, singular in its quality and distinctive for its narrative carried across the three canvases. In Red , a small roundheaded girl stands in profile against two thin-lined paintings by Mondrian. Each Mondrian painting used across these three canvases refers to an actual piece created by the Dutch abstractionist. The narrow linear patterns accentuate the vast, open space of the composition and emphasize the miniature stature of the eyeless figure.

Standing straight, with feet firmly planted and shoulders squared, the figure herself reflects the vertical lines of the paintings behind her, while a firmly held blade forms a right angle with her upright form. Further extending this horizontal line, the stark lighting throws the girl’s shadow along the length of the floor, drawing the viewer’s gaze across the breadth of the canvas, following the girl’s blind yet poignant line of sight into the next vignette. Illuminating the central panel, Yellow presents a brightly lit scene, and two additional works by Mondrian. With her elongated shadow stretched horizontally behind her, the young girl in Yellow stands again in profile, with an outstretched arm pointing an accusatory finger, extending an invisible link across the canvas borders.

Each line reflecting the perpendicular

structure of the paintings behind her, the girl presents a unifying element joining the series together. In Blue , a similarly coiffed girl turns reflectively away, bathed in striking yet solemn cerulean tones. Two final Mondrian paintings adorn the darkened wall.

Against the overwhelming wash of blue, the paintings’ brilliant yellow rectangles shine in stark contrast to their surroundings, creating a striking visual connection to the previous canvas. With this small, solitary subject, Liu has established an intensely engaging yet minimal composition rife with emotional complexity. An exceptional example of Liu Ye’s mastery of color, line, and ability to capture and convey sensational depth, Red, Yellow, Blue offers a singular opportunity in the current art market.

Liu’s simplicity and choice of child subjects amplifies the concentrated emotions which saturate his work. For Liu, this choice of diminutive protagonists reflects the passion and ardor of youth, sensations which the artist believes are dulled by maturity and the passage of time. “Sometimes,” claims the artist, “I’m really afraid of growing up. For me, the most beautiful time was before, with my family, my father and mother and sister…

I’m a little bit afraid to become an adult, join the adult world.” Liu’s paintings preserve the intensity of youthful emotion, laid bare by the simplicity of composition.

“Mondrian’s elements appear in my paintings as spiritual symbols. His paintings are so simply pure: only the basic colors and vertical and horizontal lines. I’d also like to solve the problem of simplicity.”

劉野憑藉調色板上鮮豔奪目的三原色和完美無瑕的幾何構圖，帶給全 球觀眾深切的感官享受，使他躍上國際藝術舞台的最前線。畫布上那 活潑鮮豔的色彩，天真爛漫的氣息，時刻牽動著成年人的情緒。儘管 屬於文化大革命下成長的新一代中國當代藝術家，但他那獨特的審美 和創作模式仍特立於主流的藝術運動。他專注於構圖和繪畫語言的純 粹性，避免在作品中直接滲透政治元素，堅持「藝術不是武器」。他 說：「藝術本身的功能，對於我來講，我不想把它賦予政治批判的色 彩，這是我比較有意識避免的。」相反，劉野的創作植根於嚴謹的工 業設計學術背景中，作品融合了古典主義，形式主義和超現實主義風 格，創造出寧靜而緊張的場景。 劉野在歐洲度過了他早期的職業生涯，對西方藝術有著一份執摯的情 義結，而影響他最深遠的是荷蘭畫家維梅爾(Vermeer)及抽象派畫家 蒙德里安(M o n d r i a n)。劉野形容他工業設計的學習背景為「嚴格控 制的激情」，那系統性的嚴謹結構和創作 激情同樣體驗在兩位傑出的 荷蘭藝術家身上。劉野欣賞維米爾誇張而富戲劇效果的明暗對比，故 從劉野的畫作中，我們亦可看到維米爾細膩柔和、一絲不苟的繪畫風 格。劉野說：「維米爾那種永恆性的美，是不可言說的。我覺得維米 爾到了一種天上的境界了，是一種安靜的感覺，超脫的感覺。」劉野 畫面上明艷的色彩和光源，讓畫中人物都沐浴在溫暖的陽光中，感覺 是多麼的寧靜，多麼的安詳。劉野明確地突出重點，畫中的情緒和感 覺都從他的油畫中穿透出來。 除了對光和影的探索，蒙德里安那縱橫交錯的結構，對劉野的影響最 為直接和深遠，蒙德里安純粹的色彩應用與幾何抽象，貫穿在劉野的 作品中。他說：「純紅、純黃、純藍，以及把蒙德里安的作品作為符 號出現在我的場景中，這些都是我在某一段時間創作中對一個符號的 應用。」劉野的具象繪畫，以明亮的原色為基礎，以極簡的手法繪畫 而成，透視出蒙德里安冷靜克制和優雅簡潔的結構。劉野對蒙德里安 的欣賞，不局限於對原色和結構的 沿用，蒙德里安廣為人知的作品， 更被歸併入他的創作中。蒙德里安的作品常在劉野的畫面中重現，時 常被懸掛在畫中的外牆或畫廊內，有時只能通過一扇窗口瞥見。劉野 多方面使用蒙德里安的表現手法，更在畫中滲透其創作，無疑是對他 致敬的表現。劉野採用西方美學元素，從西方藝術中引用部份名作， 讓自己進入其偶像的創作世界。

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除了歐洲藝術家的直接影響，劉野的藝術風格乃建基於兒童的人物形 象。劉野的父親是文革期間一位兒童文學作家，他鼓勵劉野閱讀，無形 中使他沉醉於這些故事的幻想世界中。回顧童年時的純真回憶，劉野故 意以兒童形象作為導管，突顯那份純潔的情感。倘大的頭部配以細小的 身軀，劉野筆下的兒童有著卡通人物的天真外表。這些孩子無論以單獨 或群體形式出現，都渾身散發著孤獨感，此情緒比他們的外形更為成 熟。劉野說：「可能每個藝術家都在尋找適合自己內心表達的形象。比 如岳敏君的笑臉，周鐵海的駱駝。對我來說，就是這些小人兒。」劉野 以小孩子作為他的象徵意義的重心，在他的作品中創造一個以孩子們為 中心的世界，吸引觀眾進入他們的感知世界。劉野為純樸的小主角塗上 明亮的原色，配以刻板僵化的背境和簡潔的線條以營造寬敞的空間感。 那對比度高的光線和陰影，把這些孩子置身在戲劇般的幻想世界中，與 場景結合，進一步突顯出藝術家的審美角度和強烈的情感。 以三件為一組，《紅、黃、藍》是藝術家在拍賣場上極為罕見的創作。 戲劇般的燈光、藝術名作、垂直交叉的構圖呈現了劉野典型的創作模 式。受兒童故事書插圖所啟發，每件作品都道出一個故事，結合時訴說 一個更為複雜的情節。《紅》的背景為蒙德里安於1941年創作的《紐 約》和1941-1942年創作的《紐約市》。小女孩側身站立於其中一幅畫 前，幼長的線條突出了廣闊的空間，使注意力集中在那沒有眼晴的小女 孩身上。小女孩筆挺地站立著，肩膀平放，手持小刀，調成水平角度。 光線把小女孩的影子投射在地板上，狹長的影子進一步擴展畫中的水平 線。觀眾的目光首先被吸引在廣闊的畫布上，繼而落在女孩身上，並跟 隨小女孩的視線進入下一個小插曲。《黃》的背景是蒙德里安創作於 1936年的《紅色的構圖》及《白、藍、黃構圖C》。小女孩側身站著， 提起臂膀，似作指責前方之勢。在《藍》畫中，那相同髮型的小女孩把 視線移開，在嚴肅的天藍色的背境中沉思。她站立在蒙德里安於1921 年創作的《構圖2號》前，為漆黑的牆壁添加了點綴。畫作中那燦爛的 黃色矩形份外突出，與四周黑暗的環境形成了鮮明的對比，與其餘兩幅 畫作前後呼應。這三幅作品形成了無形的延伸，廣闊的空間加強了女孩 的孤寂感。《紅、黃、藍》體現了劉野以簡約的線條，嚴謹的構圖上投 放最真誠而複雜的情感。

劉野以簡約的方式，透過孩童的角色把情感隱晦地宣泄。小主角象徵年 青人的激情，而這份熱情感覺卻會因人長大而變淡，但劉野著意保留這 份青春的情感。正如他所說：「有時候，我真的很害怕長大。對我來 說，最美麗的時候是和我的家人，我的父親，母親和妹妹在一起......我 有點害怕成為一個成年人，進入成人的世界。」

533

YAN Pei Ming (Chinese, b. 1960) Paysage International, lieu du crime sur Bourgogne (International Landscape, Crime Scene in Burgundy ) 1995 Oil on canvas 200 x 235 cm Signed on the reverse Yan Pei Ming , titled Paysage International, lieu du crime sur Bourgogne in French, inscribed 200 x 235 cm H.S.T and dated 95 PROVENANCE:

Galerie Rodolphe Janssen, Brussels, Belgium Private collection, Asia

HK$ 2,400,000 - 3,200,000 NT$ 9,120,000 - 12,160,000 US$ 307,700 - 410,300

嚴培明 國際風景—勃艮第之犯罪現場 1995 油彩 畫布 200 x 235 cm 簽名畫背："Paysage International, lieu de crime sur Bourgogne" 95 Yan Pei-Ming 200 x 235 cm H.S.T 來源： 魯道夫揚森畫廊，布魯塞爾，比利時 私人收藏，亞洲

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Paysage International, lieu du crime sur Bourgogne YAN Pei Ming

artist in China.” This fusion of both Eastern and Western cultural inspiration has allowed the artist to form a singular universal visual language within his own aesthetic.

The massive semi-abstractions of Yan Pei Ming transcend international borders to captivate viewers from around the globe.

While born in Shanghai, Yan Pei Ming only began his formal artistic education after relocating to Dijon, France in 1980, a city which has been his artistic base ever since. Initially influenced by Cubist and Expressionist movements through his admiration for artists such as Picasso and de Kooning, Yan consciously elected to diverge from a direct connection with established movements and instead formed his own distinctive aesthetic, separated from the stylistic influences around him. His unique compositions and controlled palette garnered global attention, and in 2009 Yan Pei Ming was honored as the first Chinese artist to exhibit at the Louvre. Speaking on the confusion resulting from the associations regarding his artistic and cultural influences, Yan jokes that, “I am probably the most Chinese artist in France, and the most French

Working in an extremely limited palette of colors, Yan’s choice of restricting his compositions to mono- or bi-chromatic schemes stemmed from his desire to separate himself from the artistic movements around him. “Black and white create a world of one’s own,” Yan claims.

“An artist has to find and create his own world.” By simplifying his selection of hues and employing minimalist strokes, the artist established his own form of visual expression, reaching beyond the superficial to evoke stronger sensational emotions. “When the color is taken away,” explains the artist, “it becomes another world, it creates the distance between the representation and the reality.” In Yan’s paintings, this distance creates an emotional tension which draws the viewer into the work, forming connections that are able to captivate audiences on a deeper level than simple representation might. Yan further elevates this sense of distance by laying his reduced color palette with large, sparing strokes. Selecting the size of his brushes in accordance with the dimensions of his canvases, the artist often uses brushes up to 50 inches in size. The use of such large brushes allows Yan to create large swaths of various tones. Where close inspection turns his paintings to abstractions, only more distant examination reveals the entirety of the composition and allows the viewer to grasp the full extent of emotional depth inherent in each piece. The dark, somber selection of colors combined with the minimalist application of paint imbues Yan’s works with a sense of tragic sorrow.

For the artist, the subject of morose human emotions provides a stronger appeal. Yan

states simply, “it’s more interesting to be melancholic. What’s the point of telling a happy story?” The potency of these darker passions radiates from each of Yan Pei Ming’s canvases, captivating the viewer in deceptively simplistic representations of these hidden sentiments.

Yan Pei Ming’s large-scale work Paysage international, lieu du crime sur Bourgogne serves as an embodiment of these principals of minimalism and emotional representation. Loosely painted in stark tones of black and white, Paysage international, lieu du crime sur Bourgogne presents a bleak, yet oddly serene scene.

With gently dripping paint evoking the sensation of a rain-soaked night, a lone house stands ghostly against the shadows of towering trees. Yan’s broad brushstrokes provide a windswept quality to the clouded expanse of sky, as white paint drips slowly down the watery, reflective scene. With the stormy dark gray tones threatening to overtake the massive canvas, the translucent white forms an illuminated focus, creating the appearance of ethereal reflections on rain-washed surfaces. At once haunting and tranquil, Yan Pei Ming’s Paysage international, lieu du crime sur Bourgogne demonstrates the artist’s singular ability to create expansive scenes which strike a deeply emotional chord.

With only a few strokes of a broad brush in a restrained palette of melancholy colors, Yan Pei Ming manages to reach through the barriers of representation to exude a release of hidden sentiment. For the artist, this unique ability of art to reach into the unknown is his ideal in creating each work.

“Art is about man,” says Yan. “It speaks to people…like a mirror, it reflects to us who we are, what we are.”

“When the color is taken away, it becomes another world, it creates the distance between the representation and the reality.” 「捨棄顏色後就完全變成另一樣東 西，跟現實更加脫離。」

嚴培明所創作富有半抽象意味而面積龐大的油 畫，超越國際界限，深深吸引著全球的觀賞 者，令人目眩。出生於上海的嚴培明，直至 1980年移居法國中部小城第戎後，才接受正 式的藝術教育，而第戎這個地方自此成為他的 「藝術基地」。嚴培明早期欽佩畢卡索及杜． 庫寧等藝術家，嚮往立體主義及表現主義。後 來他有意識地偏離那些固有運動與流派，代之 而起的是充溢著他具個人特色的美學觀。他所 運用的獨特色彩組合，令全球注目。在二零零 九年，嚴培明成為首位在羅浮宮舉辦個人畫展 的中國藝術家，其作品更由羅浮宮永久收藏。 當論及他受到不同的藝術及文化影響下所產生 的困惑，嚴培明打趣地說：「我很可能是在法 國最中國化的藝術家，同時又是在中國最法國 式的藝術家。」這種同時融合東西方文化靈感 的畫風，正好給予藝術家獨特的美學範疇與空 間，讓他建立非凡卓越的環宇性視覺語言。 嚴培明選擇了局限於單色或雙色的組合。他主 張「黑與白較能創造出一個自己的天地，藝術 家必 須尋找並創建自己的一片天地。」通過簡 化的色澤及抽象的筆法，畫家建立他自己的視

覺構圖，以喚起更強烈的官感性情感。嚴培明 這樣解說：「捨棄顏色後就完全變成另一樣東 西，跟現實更加脫離。」在嚴培明的畫作中， 這種脫離營造了一種情感上的繃緊狀態，使觀 者不期然地投入他作品的世界，更形成了彼此 間的連繫，從而令觀者領悟更為深入的層次。 嚴培明以凝重卻疏落的筆法塗抹在細小的調色 板上，他亦會因應畫布的面積而揀選不同尺碼 的畫筆，畫家經常使用長達五十吋的大畫刷， 創造出不同色調的長線條。若我們近距離地欣 賞他的作品，一切會顯得抽象化。只有在一個 適當的距離去鑒賞，才能領會它完整的情感深 度。深沉、樸實的色彩與極簡抽象派藝術結合 的筆觸，使他的畫作充滿著悲劇性的憂傷。嚴 培明認為人性陰鬱一面可以為作品提供更強烈 訴求的題材。他簡要地說道：「憂鬱比較有趣 吧，我們沒有必要硬要把故事講得美好。」這 股酷愛深沉色調的情感，散發自每一幅嚴培明 的油 畫中，隱藏在表面上簡單的感情之內。 嚴培明的大型創作《國際風景—勃艮第之犯罪 現場》融匯了這些簡約主義與情感表現的原 則。雖然畫上只有刻板的黑白色調，《國際風

景—勃艮第之犯罪現場》好像表達了一種單調 乏味，卻又出奇地平靜安穩的意境。輕柔如水 滴般的顏料喚起對綿綿雨夜的感覺，一所孤單 的屋舍像幽靈般孤立在高聳的樹影之下。嚴培 明闊大的筆刷像是為滿佈密雲的天空添上狂風 猛掃的痕跡，白色的油彩淡淡地反照那個充滿 雨水但又使人靜思的場景。像暴風雨般的沉灰 色調覆蓋整幅畫布，半透明的白色在其中形成 了發亮的焦點，產生被雨點沖洗的飄逸場面， 一陣平靜安寧的感覺縈繞著觀眾的心間。嚴培 明《國際風景—勃艮第之犯罪現場》正好顯示 了他能創造出遼闊畫境的非凡能力，敲起人們 內心的共鳴。 憑著數筆以大畫刷沾上憂鬱色彩的筆觸，嚴培 明足以突破形象的界限，釋放內心潛藏的情 感。這種能直達人心深處的獨特藝術力量，正 是嚴培明在創造他每幀畫作時的理想。他說 道：「藝術以人為主，它對人類說話……就像 一面鏡子，它反照我們是甚麼人，反照我們是 怎麼樣的人。」

534

ZHOU Chunya (Chinese, b. 1955) Memory of Lung Chuen Lake 1994 Oil on canvas 72.5 x 60.5 cm Signed lower right Zhou Chunya in Chinese and dated 1994 Signed on the reverse Zhou Chunya and titled Memory of Lung Chuen Lake in Chinese, inscribed 74 x 60 cm and dated 1994

HK$ 1,300,000 - 1,800,000 NT$ 4,940,000 - 6,840,000 US$ 166,700 - 230,800

周春芽 龍泉湖回憶 1994 油彩 畫布 72.5 x 60.5 cm 簽名右下：1994 周春芽 簽名畫背：《龍泉湖回憶》74 x 60 cm 1994 周春芽

Ravenel 138

Memory of Lung Chuen Lake ZHOU Chunya

“I exaggerate the visual forms and purposefully compress the concrete details. To achieve the universal and timeless symbolic character that I am after, I must sacrifice the details.”

In examining the artistic movements and stylistic developments of Chinese artists over the past few decades, Zhou Chunya stands apart from his contemporaries.

In inspiration, symbolism, technique, and purpose, Zhou has effectively developed his own artistic direction, continually diverging from the movements around him to explore and establish his own means of expression through art. Rejecting participation in the politically and ideologically charged artistic theories celebrated by other contemporary artists in China, Zhou instead cultivated his own passions and interests. Zhou’s unique and distinctive voice has earned him recognition throughout his career, culminating in his first retrospective held at the Shanghai Art Museum in 2010. The same year, Zhou was named Artist of the Year at the 2010 Art Power Awards, a title awarded the previous year to his close friend, Zhang Xiaogang. Zhou’s refusal to mold his artistic voice to a discernable movement has set his work apart in originality of both style and expression.

Ravenel 140

Zhou’s first departure from the artistic movements around him came in the aftermath of the Cultural Revolution.

While Zhou’s classmates at the Sichuan Fine Arts Institute united to express the social upheaval and historical trauma of the Cultural Revolution through the newly established Scar Art movement, Zhou elected instead to focus on depictions of idyllic, natural scenes. Zhou explains that while he appreciated the Scar Art narratives of his peers, his artistic interests lay elsewhere, stating, “I only wanted to sketch from life because in so doing I was confronting an immediate, living nature. This allowed my artistic expression to remain at one with my passions.” Zhou continued to explore this interest in natural scenes and compositions throughout his career, seeking to establish an amalgamation of traditional Chinese sentiment with expressionist visual inspiration.

Memory of Lung Chuen Lake engenders Zhou Chunya’s aesthetic experimentation in combining traditional literati refinement with the bolder aesthetics of neo-expressionist influences. The scene emerges from the canvas in the luminous haze of a recalled memory, the figures and features obscured, yet lovingly recalled. The inky, black water and texturally rich, rocky landscape is illuminated by the radiant glow of the seated feminine figure at the center of the canvas.

Her pearlescent white skin juxtaposed against the silken, flowing black of her surroundings establishes a commanding, yet gentle focal point, luring the viewer into the painting as though drawn into a shared nostalgic reminiscence. The featureless swimmer and the abstraction of the landscape serve as appropriate qualities in capturing the essence of memory. As Zhou explains, “I exaggerate the visual forms and purposefully compress the concrete details. To achieve the universal and timeless symbolic character that I am after, I must sacrifice the details.” While incorporating the scholarly compositional elements from his literati influence with a neo-expressionistic aesthetic, Memory of Lung Chuen Lake emblemizes Zhou’s artistic intentions, achieving stunningly haunting results.

Throughout his artistic career, Zhou has continually sought to explore his own orig inality, refu s in g pa r t ic ipa t ion in surrounding trends and movements to instead pursue his own unique representation of aesthetic inspiration. As he continually extends his artistic investigation, he seeks persistently to represent truth. In his own words, Zhou Chunya insists, “True ideas are very important. What is true is more important than what is correct.”

檢視過去數十年中國藝術家的風格發展，周春 芽可謂獨當一面，他的作品明顯有別於同輩的 藝術家。當一眾年輕畫家埋首於反思社會和政 治議題時，周春芽憑藉內心感覺發展出幾個極 具個體意識的創作系列，各個系列都受到外間 極大的關注。2010年周春芽在上海美術館舉 辦了首個回顧展，獲得「2010年中國當代藝 術權力榜」的年度藝術家大獎，此獎在一年前 授予了張曉剛。 1976年文化大革命結束，翌年周春芽便考進 四川美術學院，和他同年入學的還有羅中立、 張曉剛和高小華等。當時很多年輕藝術家都在 創作和文革相關的主題，剖析文革對大眾生活 的影響。四川美院學生更發起了極具歷史意義 的「傷痕美術」運動，他們以現實主義的手法 描繪戰爭的場面，表現民族歷史悲壯的一面。 然而，周春芽沒有被捲入這個思潮當中，當時 最令他著迷的是西藏地區純樸的風土人情。從 1980年第一次走訪藏族地區起至出國前，西 藏一直是周春芽最主要的創作題材。這個不帶 一點歷史包袱和政治 隱喻的系列，揭示了他特 立獨行的個性和不一樣的藝術道路。

《龍泉湖回憶》充分表現了周春芽所受到的中 西方美學影響，當中蘊含中國傳統文人畫的細 膩及西方新表現主義的大膽用色。畫面尤如蓋 上一層薄霧，人與物於朦朧之間隱約可見。一 名女士安坐在畫面正中央，她那充滿珍珠光澤 的肌膚與身後的一片漆黑形成了強烈的對比， 成為畫面的焦點。隨著女士所發出的光芒，緩 緩地把觀者帶入畫面所描繪的回憶之中。周春 芽捨棄寫實的形態，以抽象形式捕捉回憶，他 以肌理豐富、質感厚重的筆觸把龍泉湖的景觀 化為抽象意境，湖中泳者的臉部特徵亦被繪畫 得模糊不清。正如他所言：「我強化了形態， 刻意壓縮了生活的具體細節，為了達到我所追 求的那種普遍、恆定的象徵性格，必須犧牲細 節。」在《龍泉湖回憶》中，周春芽大膽結合 中西方美學，予人強烈的視覺感受。 在周春芽的整個藝術生涯中，他沒有受到主流 社會的政治和藝術思潮所左右，他不斷尋找個 人發展方向，尋找自己獨特的靈感 來源和藝術 道路。正如周春芽所說： 「真實的想法是非 常重要的，真實比正確還要重要。」

535

ZHOU Chunya

(Chinese, b. 1955)

Stone Series - Stone and Tree 1993 Oil on canvas 195 x130 cm Signed lower right Zhou Chunya in Chinese and dated 1993 Signed on the reverse Zhou Chunya and titled Stone Series - Stone and Tree in Chinese, inscribed 195 x 130 cm 120F , and dated 1993 EXHIBITED:

Chinese Arts in 1990s: Chinese Experiences, Sichuan Art Museum, Chengdu, China, 1993 1971-2010 Forty Years Retrospective Review of Zhou Chunya , Shanghai Art Museum, Shanghai, China, June 1323, 2010 ILLUSTRATED:

Wang Lin ed., Chinese Arts in 1990s: Chinese Experience, Sichuan Art Museum, Chengdu, 1993, color illustrated, p. 91 Track Art – Zhou Chunya , Track Art Publishing Center Limited, Hong Kong, 2006, pp. 64-65 Zhou Chunya , Timezone 8, Hong Kong, 2010, color illustrated, pp. 192-193 1971-2010 Forty Years Retrospective Review of Zhou Chunya , Shanghai Art Museum, Shanghai, 2010, color illustrated, p. 193

HK$ 6,500,000 - 10,000,000 NT$ 24,700,000 - 38,000,000 US$ 833,300 - 1,282,100

Ravenel 142

周春芽 石頭系列－與石頭聯接的樹 1993 油彩 畫布 195 x 130 cm 簽名右下：周春芽1993 簽名畫背：《石頭系列－與石頭聯接的樹》195 x 130 cm 120F 1993 周春芽 展覽: 「九十年代中國美術—中國經驗展」，四川美術館，成 都，中國，1993 「1971-2010 周春芽藝術四十年回顧」，上海美術館， 上海，中國，展期自2010年6月13日至23日 圖錄： 王林編，《九十年代中國美術—中國經驗》，四川美術 館，成都，1993，彩色圖版，頁91 《藝術跟蹤月刊—周春芽卷》，藝術跟蹤出版中心， 香港，2006年，彩色圖版，頁64-65 《周春芽》，東八時區，香港，2010年，彩色圖版， 頁192-193 《1971-2010 周春芽藝術四十年回顧》，上海美術館， 上海，2010年，彩色圖版，頁193

Stone series ZHOU Chunya “I have been deeply influenced by Chinese tradition, which I can never be rid of wherever I am.” 「中國傳統文化對我的影響深遠，無論身處何方都無法磨滅。」

Following his time in Tibet after the Cultural Revolution, Zhou left a socially tumultuous China to obtain his master’s degree at the Gesamthochschule in Kassel, Germany.

Of his time in Germany, Zhou claims “the classroom where I really studied was the art museums and galleries of Germany and other European countries.” Exposure to Western artistic movements such as Cubism, Expressionism, Fauvism, and the Neo-Expressionist “Junge Wilde” (Wild Youth) theory expanded Zhou’s aesthetic and stylistically influenced his artistic exploration.

Despite Zhou’s identification with the artistic movements he discovered in Germany, he did not remain there long, returning to his home country in 1989. China has always held certain sway over Zhou, who once stated simply, “I have been deeply influenced

by Chinese tradition, which I can never be rid of wherever I am.” It was in pursuit of this Chinese tradition that Zhou developed his Stone series, combining the visual experimentation of the Western modern movements he had discovered in Germany with the traditional elements of Chinese literati painters. While his contemporaries in China were participating in the New Wave, Cynical Realism, and Political Pop movements saturated with social and political commentary, Zhou chose subject matter quintessential to the literati aesthetic, devoid of the contentious activism inherent in the movements around him.

Zhou Chunya’s Stone series specifically addresses the convergence of Eastern and Western aesthetic traditions, utilizing a

combination of elements to create a more universal composite. Addressing this series, Zhou explains: "When I created these ‘stones,’ I had been studying the landscape paintings of the literati. I didn’t, however, perceive them in a way like the Chinese traditional painters. I did not attempt to scrutinize their material properties and patterns and shapes, but to search, according to my own purposes of expression, for those features that all together estrange and amaze me. I have spent much time studying texture, as I tried compulsively to capture and ponder over the deep-rooted factors that affect our visual perception of the stones. Their augmentation and magnification are in essence the form; their visualization is in essence the content, so they require no further explanation or reference.

These stones are more astounding and startling than those that are viewed and interpreted from a conceptual and technical perspective."

With each construction, Zhou seeks to utilize the framework established by literati compositions and build upon this foundation with Western Expressionist stylistic elements. Often erotic or sensual, Zhou imbues each Stone configuration with an emotional core, animating each static pillar or landscape composition. With particular attention to the multifaceted surfaces of the stones and surrounding elements, Zhou layers colors and stark contrasts to emphasize the sense of dimension and volume for each piece.

Stone Series presents an arresting example of this series as a whole. Standing starkly against a commanding background of opulent shades of blue, the unusually hued stone rises upward in a pitted, textural column on the right side of the composition. With special attention to the surface and details of each carved and hollowed cavity, Zhou has rendered the static stone with the character and animus of a living organism.

Contrasting with the washes of blue along the background, this stone arrests attention, and radiates a sense of deeper visceral emotion. A shadowed tree stands firmly in the foreground, it’s branches curled and twisted upwards with a sinister reach. The gnarled bark reflects the porous surface of the stone, the two elements converging in a surreal expression of landscape structure.

Rare on the market for its size and exploration of colors clearly derived from Western Fauvist influences, the current lot demonstrates a violent, passionate nature inherent in the series. Meticulous attention to subtlety and detail enliven the scene, establishing an arresting composition rife with sensational vibrancy.

文革浩劫結束，高考恢復，周春芽與其同時代藝 術家們又回到校園。畢業后，同齡人都在為生活 奔忙的時候，周春芽選擇遠赴德國卡塞爾繼續深 造。回顧往昔在德求學的歲月，周春芽曾坦言： 「這一時期的學習最大收獲其實都來自德國以及 歐洲的美術館和畫廊。」當時正是西方現代主義 如火如荼的時期，立體派、表現主義、野獸派以 及新表現主義等均曾給周氏的美學認知和風格產 生深遠影響。 歐洲狂熱的藝術運動未能留住他，拿到卡塞爾美 術學院的畢業証書後，毫不稍待，便於1989年初 回到中國。中國，是藝術家繞不開的課題。周春 芽坦言：「中國傳統文化對我的影響深遠，無論 身處何方都無法磨滅。」正是這種對傳統孜孜以 求的渴望，催生了「石頭」系列，他將德國習得 的西方現代主義的視覺手法與中國傳統的文人畫 元素結合。此時八五新潮、政治波普、鄉土美術 等影射政治和社會的藝術運動也在中國大地上如 野草般蔓延，而他 則選擇了與周邊的激進主義絕 緣，投身中國傳統文人畫的意趣的體會和研究。 西方的新表現主義曾讓他心動不已，中國傳統文 人畫的風格也令他心馳神往。「石頭」系列將這 兩種來自不同時空的文化概念有機的結合，形成 周春芽獨特的繪畫語言體系。談及這個系列，他 曾說：「我在創作『石頭』的時候，正研究文人 山水畫，我並沒像國畫家那樣在材質屬性和圖示 形態上去理解，而是按照我的表現意志去尋找那 些令我覺得陌生又能帶來驚喜的東西。我在激勵 和質感上花費了很大功夫，近似於強迫症似的去 捕捉和玩味那些潛藏在石頭自然屬性中的視覺因 素，把這些東西強化，放大本身就是形式，而視 覺呈現的本就是內容，已經不需要你進行更多解 釋和引申，我們從觀念、方法出發看到和理解到 的石頭更讓人驚訝，震撼。」 構圖方面，周春芽力圖在方寸畫面間將西方表現 主義和中國傳統文人畫的趣味融會貫通。藝術家 慣用的反自然色彩使得情與慾溢滿畫面，多層肌 理和複雜的色彩經過精心的處理，動靜 之間，張 力互現。 此件作品堪稱該系列的經典。畫面右側的山石 肌理厚重、色澤豐富，向著空間頑強、突兀的 掘進，與飽滿的藍色背景形成鮮明反差。畫面細 節豐富，藝術家細膩的描繪賦予了石頭鮮活的生 命。對比背景中流淌的藍色，反自然色彩的運 用，使得山石的形象格外突出，深邃的情感溢於 畫面。個人情感與「書寫」被有機地結合起來。 一棵深褐色的樹佔據了畫面的左側，扭曲近乎病 態的枝條欲奪框而出。樹與石頭構成了中國傳統 山水意趣的典型圖景。 此拍品的尺寸在市場上較為少見，用色前衛大 膽，深受西方野獸派影響，乃「石頭」系列中的 上品。

536

ZHOU Chunya (Chinese, b. 1955) Beauty is Like a Fragrant Flower 2011 Oil on canvas 200 x 280 cm Signed lower right Zhou Chunya in Chinese and English, dated 2011 PROVENANCE:

Tang Contemporary Art, Beijing, China Private collection, Asia

HK$ 7,500,000 - 9,500,000 NT$ 28,500,000 - 36,100,000 US$ 961,500 - 1,217,900

周春芽 玉人似花枝 2011 油彩 畫布 200 x 280 cm 簽名右下：2011 周春芽 Zhou Chunya 來源： 唐人藝術中心，北京 私人收藏，亞洲

Ravenel 146

Beauty is Like a Fragrant Flower & Blooming Sky ZHOU Chunya

While unmistakably influenced by traditional literati painters such as Dong Qichang, Shi Tao, Bada Shanren, and Huang Binhong, Zhou’s exploration of traditional themes sought to expand upon existing conventions by incorporating the brash colors and influences of Western artistic movements. Zhou admits, “I liked the forms…of the literati, but wasn’t satisfied with that overly moderate, introspective character, so I thought up a bold and risky experiment—to use that elegant form to convey violent, even erotic overtones.” With such an experiment in mind, the Peach Blossom

series demonstrates Zhou’s aesthetic exploration, imbuing the grace and fluidity of the literati tradition with the power and passion of modern artistic movements.

Taking a subject already replete with significance from mythology and lore, in his Peach Blossom series Zhou augments the inherent symbolism of the peach blossom in his paintings through his striking utilization of color and effect.

Zhou describes these flowers as, “in a fluid emotion and mood of colors, flows indulgence of primitive and sincere imaginations. It is the total release of

human nature against a grand scene, an explosion of gentle violence.” A reoccurring motif in Chinese, Japanese, and Korean art, peach blossoms impart connotations of immortality, femininity, fragility, and sensuality.

In both Beauty Is Like A Fragrant Flower (Lot 536) and Blooming Sky (Lot 538), Zhou Chunya amplifies the traditional Asian motif of the peach blossom, with its associations with femininity and fragility.

In both lots, this symbolism is readily apparent, emanating from the canvas like the wafting perfume of the blossoms.

Beauty Is Like A Fragrant Flower encapsulates the sensual nature of the blossoms, as the delicate shades of pink form an eruption of soft yet commanding color, nearly tangible in depth and elegance.

The gently billowing petals seem to dance effortlessly across the canvas, blown by a temperate breeze. Displaying their fragility against the stiff rough branches, the soft pillows of the blossoms contrast the solidity of the brilliant green leaves. Darker scarlet hues splash across the background, supplying depth and variance, as each bud seems to burst with passion and the forces of nature. Such an example of the series clearly demonstrates Zhou’s spirit in painting the peach blossoms, as he states “the countless hues of red stir up excitement and soothe the soul at the same time…Covertly or overtly, all my work is about sensuality and love, because like the peach blossom, love and eroticism are reverberating with the primeval force of life.” The myriad hues of enveloping pink and passionate red in Beauty Is Like A Fragrant Flower permeate the canvas, radiating the vivacious erogenous nature of the series.

Providing a complementary perspective on the series, Blooming Sky exhibits the more delicate side of Zhou’s Peach Blossoms .

Arranged gracefully across a gentle wash of blue sky, the dainty petals dance joyfully along the slender curves of supple branches.

Tinged with variant hues of soft pinks, the elegant spray of blossoms, subtle splashes of green leaves, and refined brown lines of the twisting branches all harmonize in a symphony of symbolic beauty, redolent of feminine beauty and fragility.

Beauty Is Like A Fragrant Flower and Blooming Sky each display a separate facet of Zhou Chunya’s Peach Blossoms , accentuating the symbolic and connotative nature of the series as a whole. By selecting a subject already steeped in traditional associations, Zhou has found in this series a means of exploring the depth and dimension which lie harbored in the gentle petals of one small flower.

周春芽雖然深受董其昌、石濤、八大山人及黃 賓虹等中國傳統文人畫家影響，但他認為文人 畫的用色都過於含蓄內斂，於是便加入西方藝 術中大膽艷麗的色彩，表達內心的激情和對旺 盛生命的渴求。周春芽從德國回來後，創作了 一系列以花卉為主題的作品，近年周春芽專注 於他的「桃花」系列，作品獲得社會廣泛的好 評。 周春芽以表現性的筆觸創作了扣動人心的「桃 花」系列，主題從男女情愛關係展開。《玉人 似花枝》(拍品編號536) 和《火燒雲》(拍品編 號538) 描繪桃花盛開的樣子，爛漫妖嬈的花 朵彰顯著青春活力的色彩，芬芳的氣息彷彿要 從畫面裡溢出。 《玉人似花枝》為周春芽的新作，畫面中的桃 花艷如紅霞，燦如錦繡，散發著怡人的春日景 色。一朵朵粉紅色的桃花綻放枝頭，為園林添 上一片奼紫嫣紅的色彩。嬌豔的花瓣在微風吹 動下微微顫 動，顯得格外迷人。桃花的柔弱和 枝葉的壯實形成了明顯的對比，使花朵顯得更 為嬌豔。除了盛開的花朵，畫面上還有含苞待 放的花蕾，它們互相偎依，顯得生機盎然。除 了近處怒放的桃花，遠處還可見到深紅色的 花朵群放爭豔，遠近的對比為畫面提供了更豐 富的景深。對於桃花，周春芽有另一番見解： 「桃花色彩曖昧，外圈是白的，中間是紅的， 在中國傳統文化中，桃花和情感、性愛聯繫得 比較緊密，體現生命。走到桃花林裡，我就會 心花怒放，朝氣蓬勃。因為它的紅色，紅得 很舒服。我還畫了很多熱情的紅人，因為人 的性愛，情感和桃花是一樣的，就是生氣勃勃 的。」桃花所蘊含的情感力量，在《玉人似花 枝》中隱晦綻放。 創作於2006年的《火燒雲》，為「桃花」系 列起始階段的佳作。作品以尉藍的天空作為背 景，呈現桃花細膩宜人的一面。樹上的桃花已 全面開放，優雅的花朵彷彿透出醉人的花香； 樹枝上綴點著青蔥的綠葉，在和暖的春日裡顯 得格外清新。 色澤艷麗的 《玉人似花枝》 和秀麗清雅的 《火燒雲》同樣描繪桃花盛開的樣子，其象徵 意義和內涵本質，充份體現了中國傳統文化的 深厚內函，兩者都是周春芽「桃花」系列的絕 佳作品。

537

ZHOU Chunya (Chinese, b. 1955) Green Dog 1998 Oil on canvas 148 x 119 cm Signed lower right Zhou Chunya in Chinese and English, dated 1998

HK$ 2,400,000 - 2,800,000 NT$ 9,120,000 - 10,640,000 US$ 307,700 - 359,000

周春芽 綠狗 1998 油彩 畫布 148 x 119 cm 簽名右下：1998 周春芽 Zhou Chunya

Ravenel 150

Green Dog ZHOU Chunya

“I have endowed all my bold and weird imagination to this dog.” 「只有黑根是我最好的伴侶。而我也將所有大膽離奇的想像賦 予了這條狼狗。」

While the Stones , Flowers, and Peach Blossom series all had their inspiration and origins in the traditions of the Chinese literati painters, Zhou’s Green Dog series came from a directly corporeal muse. Given to the artist in 1994, the spirited German shepherd named Hei Gen became a source of near paternal pride for Zhou. While at first depicting his canine companion in natural brown and black shades, in 1997 Zhou began using hues of bright, bold green to illustrate not only the physical form but the captivating spirit of Hei Gen as well. “Green Dog is a symbol, an emblem,” explains the artist, “The color green is quiet, romantic, and lyric, and it contains in it the tranquility right before an explosion. Though the dog may seem obedient on the surface, its inner nature is filled with passion. Its green body, strong presence and barely suppressed explosive power are unforgettable.” In this guise, Zhou captured the vibrant essence of Hei Gen in his various humors until Hei Gen’s tragic and sudden death in 1999. When Zhou began to paint his Green Dogs again in 2001, the series expanded to a broader study of the canine form. Without the physical presence of his former model, Zhou extended his series to include a prodigious diversity in breed, temperament, attitude, and posture.

Throughout the series, Zhou utilizes the form of the Green Dog as means for exploring tangible depth through his brushwork and technique. Explaining his motivations in creating the series, Zhou states that his primary intention was “to evoke the concise simplicity of traditional literati paintings, as well as a ‘sculpture on canvas’.”

This objective is visibly demonstrated in Green Dog . Painted prior to Hei Gen’s death in 1999, this piece encapsulates the effervescent spirit of the indomitable German shepherd, with a three-dimensional form which seems to extend forward from Ravenel 152

the flat surface of the canvas. The enlarged cavernous maw dominates the columnar figure, with the startling red tongue standing in stark contrast to the brilliant green body, drawing the viewer in to this gaping focal point. While the long, white teeth glisten prominently, the Green Dog here poses no threat in its relaxed, recumbent

position. Here the Green Dog appears joyous rather than menacing, captured in the moment of releasing a celebratory bay in a demonstration of canine delight.

Representing Zhou’s literati influences, the dog is placed squarely in the center of the canvas, surrounded by a subtle, featureless background, a style in keeping with Chinese liubai tradition. Against this void, the Green Dog captivates the viewer’s attention, dominating the composition completely.

Zhou’s dense textural strokes amplify the sense of volume, producing a wild, sculptural form. Captivated by the luminous, bizarre hues, the viewer can clearly see why Zhou once said, “I have endowed all my bold and weird imagination to this dog.”

周春芽的「石頭」、「花卉」和「桃花」系列 都受到文人畫的影嚮，但最著名的「綠狗」系 列則關係到他的生活體驗。綠狗的創作來自他 飼養的一隻純種德國狼狗「黑根」。他與黑根 的感情很好，1997年起他以黑根作為創作題 材，捕捉牠的舉止和神韻。 開始的時候周春芽 是用黑色的，但有次他眸然用上鮮艷的綠色。 想不到瞬間的一個念頭，最終會轉化為他獨特 的標誌。在周春芽看來，綠色是寧靜的、浪漫 的、抒情的，包含了爆發前的寧靜意境。周春 芽重複畫一隻狗，無形中賦予牠多重的象徵意 義。1999年黑根去世，周春芽傷心了一段日 子，並暫停了畫「綠狗」。直到在2001年他 才開始新的綠狗創作。沒有黑根在身邊作為描 繪的實體，他轉而研究犬隻的品種、脾性、態 度和姿勢等，創 作了「大綠狗」系列，而風格 也比從前更寫意和抽象。 周春芽曾說：「只有黑根是我最好的伴侶。 而我也將所有大膽離奇的想像賦予了這條狼 狗。」此幅《綠狗》創作於黑根還在世之時， 是周春芽「綠狗」系列的絕佳創作。這幅作 品描繪黑根剎那間釋放的表情。牠猛地張開大 嘴，雙顎強而有力地支撐著，露出口腔內尖利 的牙齒和殷紅的舌頭。豐富的面部表情為觀眾 視野帶來立足點。牠沒有來勢洶洶，反而安穩 地站著，可見牠當時是處於舒適喜悅的狀態。 綠狗身後的背景是一片虛白，狗在畫布的中 心。這反映周春芽受傳統中國文人畫的影響， 採用了留白的技術，令狗作為觀眾唯一的注視 點。此拍品有著雕塑般的立體感，螢光般的色 彩，實屬周春芽「綠狗」系列不容錯過的上乘 之作。

538

ZHOU Chunya (Chinese, b. 1955) Blooming Sky 2006 Oil on canvas 100 x 120 cm Signed lower right Zhou Chunya in Chinese and English, dated 2006 ILLUSTRATED:

Blooming Stories , Sichuan Fine Arts Publishing House, Chengdu, 2007, color illustrated, pp. 96-97

HK$ 1,300,000 - 1,800,000 NT$ 4,940,000 - 6,840,000 US$ 166,700 - 230,800

周春芽 火燒雲 2006 油彩 畫布 100 x 120 cm 簽名右下：2006 周春芽 Zhou Chunya 圖錄： 《花間記》，四川美術出版社，成都，2007， 彩色圖版，頁96 - 97

“Covertly or overtly, all my work is about sensuality and love, because like the peach blossom, love and eroticism are reverberating with the primeval force of life.” 「走到桃花林裡，我就會心花怒放，朝氣蓬勃。因為它的紅色，紅得很舒 服。我還畫了很多熱情的紅人，因為人的性愛，情感和桃花是一樣的，就是生 氣勃勃的。」 — ZHOU Chunya 周春芽

Ravenel 154

Visualizing Infinity: The Works Of

YAYOI KUSAMA 前衛女王 － 草間彌生 Lot 539 - Lot 543 Infinity﹣Dots Pumpkin Pumpkin (sculpture) Golden-Nets Fruits EPSOB

1929

1958

Born in Matsumoto City, Nagano Prefecture, Japan

Relocates to New York City, USA and begins work on Infinity Nets series

1962-63

1939

Begins Accumulations series, covering objects in soft phallic protuberances Exhibits “Aggregation: One Thousand Boats Show” at Gertrude Stein Gallery in New York, USA as first “environmental” installation

Begins using polka dots and net motifs, from recurring hallucinations which started in her early childhood.

Flowers 花 1983, acrylic on canvas, 45.5 x 38 cm Ravenel Autumn Auction 2012 Taipei, Lot 727

1948-49 Enrolls in Kyoto Municipal School of Arts and Crafts to study Nihonga (Japanese-style painting) Explores the European and American avant-garde

1953 First solo exhibition at the Shirokiya Department Store in Tokyo, Japan

Ravenel 158

1955

Included in the “International Water Color Exhibition: 18th Biennial” at the Brooklyn Museum in New York Begins correspondence with American artist Georgia O’Keeffe, who encourages Kusama in artistic pursuits

1957 Solo exhibition at Dusanne Gallery in Seattle, USA Leaves Japan for the USA, destroying several thousand works

1966 “Kusama’s Peep Show: Endless Love Show” opens at Castellane Gallery in New York, USA featuring installations including the new Infinity Mirror Room series

1967 Begins staging “Body Festivals” art happenings, coating mannequins, models, and animals in polka dots

1973-77 Returns permanently to Japan, voluntarily becoming a permanent resident at an institution for mental health in 1977

1987-1988 First major retrospective of Kusama’s work held at Kitakyushu Municipal Museum of Art in Fukuoka, Japan

1993 First artist granted a solo feature at the Japanese Pavilion at the 45th Venice Biennale

1994

Creates first outdoor sculpture in the form of a large-scale Pumpkin, installed on Naoshima Island, Japan

2001-02 Retrospective exhibiting more than 280 works held at the Matsumoto City Museum of Art in Matsumoto, Japan

2006

Red Pumpkin 紅南瓜 1989, acrylic on canvas, 38 x 45.5 cm Ravenel Autumn Auction 2012 Taipei, Lot 728

Granted two Japanese Lifetime Achievement Awards: The Order of the Rising Sun and the Japan Art Association’s Praemium Imperiale

2011-2012 Major retrospective titled “Yayoi Kusama” sponsored by Louis Vuitton travels to the Museo Reina Sofia in Madrid, Spain; the Centre Pompidou in Paris, France; the Tate Modern in London, United Kingdom; and the Whitney Museum of American Art in New York, USA. Begins collaboration with Louis Vuitton, with pop-up shops appearing in Hong Kong, Tokyo, Singapore, Paris, and London Creates largest outdoor installation to date, “Eyes are Singing Out” at the Queen Elizabeth II Courts of Law in Brisbane, Australia Elected honorary member of the American Academy of Arts and Letters

Yayoi KUSAMA “My mind now searches for all attractive splendors which unfold from the shadow of the obscure world.”

Yayoi Kusama’s indomitable spirit and iconic aesthetic has become ubiquitous, pervading the international art scene, and expanding to commercial and consumer spaces. Her infinite array of flamboyantly colored polka dots and boldly patterned canvases are as unmistakable as they are unique, and have propelled the octogenarian artist to the forefront of the international artistic community. Whether taking interviews from the psychiatric institution in which she has lived for the past 35 years, or from her nearby studio where she still paints prolifically, Kusama epitomizes the public perception of the eccentric artistic persona; dressed in violently vibrant clothing patterned after her own paintings, Kusama peers out from beneath a vividly hued wig to address inquiries regarding her innovative artistic career. The artist recently enjoyed the attention brought by an international retrospective organized by the Tate Museum and sponsored by Louis Vuitton, which began in 2011 and progressed from the Museo Reina Sofia in Madrid to the Centre Pompidou in Paris before moving to the Tate Modern in London and ending at the Whitney Museum of American Art in 2012. Her current collaboration with Louis Vuitton has allowed the artist a foray into the realm of commercial consumerism, with her signature polka dots splashed on everything from pajamas and trench coats to handbags and jewelry. With “pop-up shops” in Hong Kong, New York, Tokyo, Singapore, Paris, and London juxtaposing an exhibition aesthetic with commercial space and purpose, Kusama has reached new heights in international recognition.

Kusama developed her indelible artistic style early on as a means of reconciling the visual and aural hallucinations that had plagued her since childhood. Candidly attributing her artistic themes to her illness,

Kusama describes her creative process by stating, “my mind now searches for all attractive splendors which unfold from the shadow of the obscure world.” In seeking a means to express the experiences of her hallucinations, Kusama was undoubtedly influenced by the ideals of the modernist movements she encountered while living in New York City such as Abstract Expressionism and Monochrome Minimalism.

Kusama, however, rejected affiliation with any specific movement or artistic trend, and instead focused on developing her own unique artistic voice. In each series and artistic experiment, Kusama seeks to conceptualize the infinite and convey an impression of overwhelming disorientation combined with the harmonious acceptance found in merging the individual with the universal. Kusama uses such expression as a means of harnessing the sensations brought on by her illness, during which she felt “my self was eliminated, and I had returned and been reduced to the infinity of eternal time and the absolute of space…This was not an illusion, but reality.” Throughout her career, Kusama has employed various methods to continually explore the thematic symbolism of this ideal.

Kusama’s Infinity Nets was her first series dedicated to expressing this sense of the infinite. After moving to New York in 1958, Kusama began working obsessively on a multitude of large-scale pieces. Using a stepladder to reach the top of room-sized canvases, Kusama painted with a fanatical fixation, covering these vast spaces with her intricate tracts of interconnected lines. The series held deep meaning for the artist, as she explains “the main themes in my art, repetitive vision and accumulation, are born from my experience…They originate from the experience of monotonous and repetitive illusion deriving from

my illness, which I have always had since I was very young.” Kusama’s attempts to capture these illusions resulted in works of dizzying size, where canvases engulf the viewer in a maze created from an elaborate conglomeration of shapes and lines without a focal point, and which extend beyond peripheral vision in the enormity of the canvas. These works impart the visual impact of complete immersion in the infinite, and place the viewer firmly inside the vast unbounded void of the universal. Public recognition for these early Kusama Infinity Nets has grown to where a single work from the series, No. 2 , painted in 1959, sold for US $5,792,000 at auction in New York in 2008—one of the highest prices realized for a work by a living female artist.

As Kusama continued her artistic exploration in expressing the immeasurable, her focus began to shift from the lines of her Infinity Nets to the spaces within them. Kusama explains that her intention was to convey her own position within the universe “with dots—an accumulation of particles forming the negative spaces in the net.” From this examination of negative space, Kusama’s Infinity Nets evolved into an endless array of her now renowned polka dots, as she took the areas within to create a representational, nearly molecular structure with which to depict the world around her. As her artistic aesthetic progressed, polka dots took on a prominent role in much of Kusama’s art, and became mimetic of the artist’s own perception of her role and life. “I wanted to examine the single dot that was my own life,” Kusama reveals, “One polka dot; a single particle among billions.” As an embodiment of the artist herself, polka dots were introduced in each of Kusama’s series and explorations, such as her performance art “happenings” conducted throughout the 1960s. Covering herself,

assistants, and even a horse in paper dots, Kusama staged her happenings as a means of pushing the boundaries of customary explorations regarding the individual as related to society. Her polka dots set the participants apart from their unspotted environment, while at the same time linking them intrinsically through the nets which the dots recalled. As Kusama progressed in her artistic career, her polka dots became iconic of a unique and indomitable personality, earning her international recognition, as well as the epithet “Princess of Polka Dots.” While holding a personally philosophical connection with her circular constructions, Kusama readily acknowledges the popular aesthetic appeal of her signature style, which her collaboration with Louis Vuitton has opened for mass consumption. Unsurprised at the public interest and demand for her polka dots, Kusama simply responds, “Polka dots are fabulous.”

As an artist, Kusama’s voice and purpose have remained constantly individual and unique throughout her prolific career, and her recent paintings have shown a continued refinement and elaboration on the thematic elements and iconic aesthetic for which she has received international acclaim. Kusama’s focus on the transcendence of the individual to realize the universal continues as a central motivation in each of her series. Despite the turmoil of a life laden with trauma, Kusama’s indomitable spirit has propelled her to international prominence, as her artistic voice provided her with means to reconcile the difficulties she encountered. Yayoi Kusama’s unassailable will continues as resolute as ever, as she faces the world and declares, “Bring on Picasso, bring on Matisse, bring on anybody! I would stand up to all of them with a single polka dot.”

Yayoi KUSAMA 「在尋找的過程中，感覺自己被逐漸侵蝕、隕滅， 時間與空間不停地旋轉，自我變得微不足道。」

現年83歲的草間彌生一生都充滿傳奇的色彩。 前衛的造型打扮以及令人目眩神迷的圓點創 作，使她被冠以「圓點女王」的稱號。對藝術 的執著追求使草間彌生創下一個又一個的藝術 高峰，在這個以男性為主導的藝術圈，她的成 就顯得格外突出。年逾古稀，她仍堅持每日往 返其居住的精神療養院和東京的工作室繼續創 作。她堅定地說：「只要我有精力，我就會繼 續進行下去。」正如她自己所說，藝術創作是 她的一切。 草間彌生的創作不但被畫廊、博物館和拍賣行 追捧，更受到聞名遐邇的奢侈品牌路易．威登 青睞。今年路易．威登邀請草間彌生合作推出 一系列的產品，並在香港、紐約、東京、新加 坡、巴黎和倫敦的門市精品店展覽和銷售。藝 術和商業的結合使草間彌生的創作受到更廣泛 的關注。2011至2012年草間彌生更在歐洲與 美國展開了大型的巡迴回顧展，該巡迴展覽從 馬德里蘇菲亞博物館，到巴黎龐畢度中心，再 而到倫敦泰特現代美術館，最後是紐約惠特尼 美術館，而倫敦和紐約兩站 都由「路易．威 登」贊助。 草間彌生藝術生涯的轉捩點是1957年。當年 28歲的草間彌生不理會家人反對，隻身前往 美國，一待便是16年。五、六十年代正值極簡 主義和抽象表現主義的頂盛時期，那個時代的 紐約充滿生機，草間彌生很快便融入了當地的

藝術圈子，卻不願隨波逐流，反而決心創造一 場藝術革命以震驚整個紐約藝術界。草間彌生 的創作風格與她童年患有的神經性視聽障礙有 著莫大關係。她從小看東西就會產生幻覺，甚 至感覺物體會發光。她憶述說：「我常常會跑 到我家後面的河岸平原，盯著一個景象任由時 光溜走，在那個畫面當中，億萬顆粒粒分明的 白色小石頭，汲取仲夏的陽光靜靜『存在』— 這就是我畫這些畫的神秘根源。」她更意識到 這並非只是一種幻覺，而是真實地存在她現實 生活中。她說：「在尋找的過程中，感覺自己 被逐漸侵蝕、隕滅，時間與空間不停地旋轉， 自我變得微不足道。」為了宣洩幻覺帶來的痛 苦，草間彌生便把這些令她暈眩的圓點或花紋 繪畫出來 ，形成她獨一無二的風格。 「無限的網」是草間彌生初到紐約時的創作系 列，她以連綿的網點比喻自己的生命，波爾卡 圓點最後更變成了她的符號。這時期她痴迷地 愛上大型創作，以致要使用梯子來協助自己繪 畫如房間般高的畫布。草間彌生謂：「這些畫 無視於整體構圖，也沒有視覺重心，反覆呈現 千絲萬縷的恆常運動。這種單調會讓觀眾感到 茫然，進而慢慢被一種暗示與沈靜的氣氛感 染，進入『無』的暈眩中。」她最高拍賣紀錄 的作品，便屬於這時期的創作。2008年在紐 約拍賣會上，她創作於1958年的《N o.2》就 以5,792,000美元高價拍出。

草間彌生在紐約時期開始的「無限的網」系 列，奠定了她日後大量以網狀和圓點為基本特 徽的作品。草間彌生漸漸把「無限的網」的重 點從網狀線條轉為線條間的空間，繼而發展出 她舉世聞名的波爾卡圓點畫風。她認為自己的 生命是一個點，也是宇宙裡面億萬粒子中的一 點，她希望從自己的位置，透過圓點量度宇宙 的無限。波爾卡圓點 自此成為草間彌生創作中 不可或缺的部分，她甚至把這些圓點放在自 己、模特兒和動物身上。草間彌生在六十年代 進行了一連串名為「乍現」之藝術表演，她以 即興表演形式反映當代的社會背景與風氣，參 與「乍現」演出的演員們在彼此的裸體上畫 圓點圖案，達致自我消融、回歸宇宙的自然狀 態。波爾卡圓點毋庸置疑是草間彌生的標誌， 這位「圓點女王」最近更與時裝界巨頭路易． 威登合作創作一系列商品，讓全球時尚圈掀起 一股「圓點」風潮。 在藝術史的洪流裡，很難找到與草間彌生相類 似的藝術家。她的幻覺使她產生了獨一無二的 世界觀，賦予她無限的創作力。數十年持續不 輟的創作生涯、豐富而不斷完善的創作系列， 對藝術堅定不移的態度，使她得到國際社會的 讚譽，成為日本當代最具代表性的藝術家之 一。

539

Yayoi KUSAMA (Japanese, b.1929) Infinity﹣Dots QHYO 2005 Acrylic on canvas 162 x 130 cm Signed on the reverse Yayoi Kusama and titled INFINITY-DOTS in English, inscribed QHYO and dated 2005 This painting is to be sold with a certificate of authenticity issued by Jean Art Center, Seoul, Korea.

HK$ 2,800,000 - 3,800,000 NT$ 10,640,000 - 14,440,000 US$ 359,000 - 487,200

草間彌生 無限的點 QHYO 2005 壓克力 畫布 162 x 130 cm 簽名畫背：QHYO INFINITY-DOTS Yayoi Kusama 2005 附首爾珍畫廊開立之原作保證書

Ravenel 164

Infinity﹣Dots Yayoi KUSAMA

“Round, soft, colorful, senseless and unknowing, polka dots become movement. Polka dots are a way to infinity.”

As Yayoi Kusama developed and refined her Infinity Nets series, she began to emphasize and acknowledge the negative space between the lines, eventually rounding this blankness into her iconic polka-dot motif.

Revisiting this early series in later years, Kusama has refined both her conceptual direction and aesthetic ideal to create works which epitomize the sense of boundless space of Infinity Nets . Bringing the round dots to the forefront, in Infinity-Dots QHYO , Kusama has created an expansive cosmos of nets, where the lines have become the negative space in a reversal of her original technique. For Kusama, her dots are intrinsically connected to her visualization of the universe and all that surrounds her.

With unbridled affection, Kusama describes her polka dots as “round, soft, colorful, senseless and unknowing. Polka dots become movement. Polka dots are a way to infinity.” Awash in an overwhelming sea of brightly hued dots, Infinity-Dots QHYO eliminates a focal point, drawing the viewer into the canvas, lost amongst the myriad of spots. Variations in color and size create a topographical landscape of connected circles, giving visual shape to the intangible concept of the infinite. Unusual both for its size and color, the present lot offers a rare opportunity on the arts market.

在草間彌生發展其「無限的網」系列之際， 她漸漸開始注重線條間的空間，並把這些空 間化為圓形，演變成她舉世聞名的波爾卡圓 點。2005年草間彌生重新審視她早年的創作 系列，在意念及視覺上都更能發揮宇宙無限的 感覺。在這件拍品中，草間把視覺重點放在圓 點上，以往作為主體的網線頓時變成了負空 間。草間彌生把圍繞著她的宇宙幻化成環環相 連的圓點，正如她所言：「波點擁有太陽的形 狀，是世界和生命力的象徵；它同時有著月亮 的形狀，散發著安寧靜謐的氣息。圓形、柔 軟、色彩斑斕、無知無覺、不可捉摸，波點成 了一種運動，是通往無限的方式。」《無限的 點Q H Y O》雖然捨棄了視覺焦點，但那些鮮艷 奪目、大小不一的圓點，產生了絕妙的色彩效 果。清新、活潑而富有朝氣的波爾卡圓點為畫 面注入無窮的生命力，營造了一個引人入勝的 空間和意境，透視著畫家夢幻般的精神世界。 此件拍品不 論是尺幅或顏色均是稀有之作，極 具收藏價值。

540

Yayoi KUSAMA (Japanese, b. 1929) Pumpkin 1990 Acrylic on canvas 162 x 130.3 cm Signed on the reverse Yayoi Kusama in English, titled Pumpkin in Japanese and dated 1990 This painting is to be sold with a registration card issued

by Yayoi Kusama Studio.

HK$ 6,000,000 - 8,000,000 NT$ 22,800,000 - 30,400,000 US$ 769,200 - 1,025,600

草間彌生 南瓜 1990 壓克力 畫布 162 x 130.3 cm 簽名畫背：Yayoi Kusama 1990 かぼちゃ 附草間彌生工作室開立之原作登錄卡

Ravenel 168

PUMPKIN

Yayoi KUSAMA

“My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.”

Utilizing her art as means for reconciling the obstacles and traumas of her life, each of Yayoi Kusama’s works conveys a deeply personal attachment and connection.

Pumpkin is no exception, recalling Kusama’s childhood and combining aesthetic elements from each of Kusama’s signature series.

Varying black dots arrange to establish the structural form of the immense, central gourd, marching in hypnotic lines to create the undulating bulbous surface. The negative space left by the dots allows the vibrant, neon yellow to pulsate through, while the deliberate fractal composition of the dots provides depth and dimension. From negative space to layered construction, the luminous yellow becomes the webbed lines of the “infinity nets” which sweep across the background, illuminating and contrasting with the bulbous form of the pumpkin, throwing the spotted vegetable into further

distinction. The subject of the pumpkin originates with Kusama’s childhood spent on a wholesale vegetable farm, where pumpkins were a major local crop. It was during this time that the artist first began to experience the visual and aural hallucinations that would plague her throughout her life. “My art originates from hallucinations only I can see,” Kusama explains, “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.”

By harnessing and addressing the obstacle of mental illness, Kusama creates absorbing works of stunning depth, captivating viewers with their vibrancy and effervescent spirit.

Rare on the market, the current lot is unique as the largest vertical Pumpkin composition ever offered on the market. The unusual scale not only emphasizes the bold, arresting nature of the painting, but makes this lot a highly prized work within Kusama’s oeuvre.

草間彌生以藝術創作來治療她的創傷，因此她 的作品都傳達著她內心深處的情感。《南瓜》 跟草間彌生的其他作品一樣，集合了她各個系 列的視覺元素，呈現自小困擾著這位藝術家的 幻覺。草間以大大小小的黑色圓點排列成南瓜 的形狀，艷麗奪目的黃色欲躍而出，鮮明的對 比帶來了巨大的視覺震憾。背景中黃色的幼細 線條形成了「無限的網」，突顯出南瓜的飽滿 形態。《南瓜》的主題源自草間彌生兒時在農 場所產生的幻覺，當時她看見南瓜跟她說話， 深深被南瓜圓潤的形狀所吸引。草間彌生把自 己的幻覺經歷投射在其作品中，透過攝人心魄 的作品釋放壓抑的情緒。她說：「我就是以這 樣的方式，讓當下感受到的驚嚇和恐懼漸漸沉 澱，這些經歷可以說是我畫畫的初衷。」此件 拍品尺幅碩大，極為罕有，是拍賣市場上尺幅 最大的直式《南瓜》畫作，珍貴非常。

541

Yayoi KUSAMA (Japanese, b. 1929) Pumpkin 2010 Urethane paint on fiberglass reinforced plastic (unique) 120(L) x 120(W) x 125(H) cm Signed Yayoi Kusama in English and dated 2010 PROVENANCE:

Private collection, Asia This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio.

HK$ 4,000,000 - 5,000,000 NT$ 15,200,000 - 19,000,000 US$ 512,800 - 641,000

草間彌生 南瓜 2010 聚氨酯漆 玻璃纖維強化塑膠 (單一件) 120(長) x 120(寬) x 125(高) cm 簽名雕塑：Yayoi Kusama 2010 來源： 私人收藏，亞洲 附草間彌生工作室開立之原作登錄卡

Ravenel 172

PUMPKIN

Yayoi KUSAMA

“A polka dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.”

Leaving the canvas and taking three-dimensional form, Pumpkin brings Yayoi Kusama’s visually stimulating compositions to tangible reality. Carefully sculpted in the asymmetrical imperfection of true life, Pumpkin commands attention and consideration despite its static and deceptively simple nature. Arranged in trooping lines of various size along the swells and valleys of the globular gourd, Kusama’s iconic black dots emphasize the dimensional texture of the sculpture, adding further depth and elevating the form beyond conventional aspect. The spherical nature of the pumpkin’s structure echoes the meticulous stripes of dots, establishing the sculpture as a conceptual emblem of the dot itself. “A polka dot has the form of the sun,” states Kusama, “which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm.” In Pumpkin , Kusama has captured this sensational essence of the polka dot, reflected in the structure, composition, and pattern of the simple pumpkin, creating a vibrant, living form which exceeds the boundaries of its stationary nature. With only three other Pumpkin sculptures comparable in size having ever been offered on the auction market, the current lot stands as a superb and uniquely large example of one of Kusama’s most iconic themes.

畫布以外，草間彌生還以立體進行創作，把她的南瓜呈現在感官所能觸 及的真實空間，提供多一層次的視覺刺激。其色彩斑斕的雕塑釋放著 強韌的生命力，那沒有全然對稱的南瓜造型，更能表現出自然的真我； 儘管以靜態的形式出現，但豐盛的生命力並沒有絲毫減退。和現實中葫 蘆科的南瓜品種一樣，草間彌生的《南瓜》雕塑呈扁球狀，褶曲在表面 上形成了高低起伏的接觸面，凹陷處成溝，隆起處成丘，構成了更豐盈 的立體質感。草間彌生以細膩的筆觸，把密密麻麻的黑點整齊地繪畫在 南瓜上，排成列狀的大小波點形成了細緻的條紋，賦予雕塑極大的感染 力，進一步突顯出南瓜的立體感。草間彌生表示：「波點擁有太陽的形 狀，是世界和生命力的象徵；它同時有著月亮的形狀，散發著安寧靜謐 的氣息。圓形、柔軟、色彩斑斕、無知無覺、不可捉摸，波點成了一種 運動，是通往無限的方式。」草間彌生的《南瓜》雕塑，捕捉了波爾卡 圓點 生動而迷離的本質，她以靈活的結構和佈局，把簡單的南瓜轉化成 一個充滿活力的實體，超越了其性質的界限。過往的拍賣市場上只有三 件南瓜雕塑的大小能與此拍品媲美，此精彩絕倫的雕塑實為草間彌生最 具代表性的立體作品之一。

542

Yayoi KUSAMA (Japanese, b. 1929) Golden-Nets XTWPEO 2007 Acrylic on canvas 130.3 x 162 cm Signed on the reverse Yayoi Kusama in English, titled GOLDEN-NETS in English and Japanese, inscribed XTWPEO and dated 2007 PROVENANCE:

Whitestone Gallery, Tokyo, Japan This painting is to be sold with a registration card issued

by Yayoi Kusama Studio.

HK$ 2,400,000 - 3,000,000 NT$ 9,120,000 - 11,400,000 US$ 307,700 - 384,600

草間彌生 金色的網 XTWPEO 2007 壓克力 畫布 130.3 x 162 cm 簽名畫背：XTWPEO GOLDEN-NETS 金色の網 Yayoi Kusama 2007 來源： 白石畫廊，東京，日本 附草間彌生工作室開立之原作登錄卡

Ravenel 176

Golden-nets Yayoi KUSAMA

“My desire was to predict and measure the infinity of the unbounded universe, from my own position in it.”

Yayoi Kusama returned to her Infinity Nets series in 2005, and although the canvases now lack the mammoth scale of her previous works, the ideal of capturing the beauty of the infinite remains. Kusama has refined her aesthetic, and the new Infinity Nets display a greater sense of harmony and clarity of vision, as seen in Golden-Nets XTWPEO .

Vibrant orange gives subtlety and depth to the brilliantly golden canvas, as swirls and swells take form through expertly placed daubs of acrylic. More reminiscent of her now famous dots, Kusama employs thicklylayered blots of paint in lieu of the thinlypainted lines of her earlier Infinity Nets , creating an eddying pointillist abstraction of a gilded boundless landscape, allowing the

viewer to enter and experience the wash of sensation and emotion which emanates from the radiant canvas. Golden-Nets XTWPEO epitomizes Kusama’s intentions for the series, as she explains, “My desire was to predict and measure the infinity of the unbounded universe, from my own position in it.” In Golden-Nets XTWPEO , Kusama creates a whirling cosmos awash with the brilliant light of a myriad stars.

Though lacking a focal point, Golden-Nets XTWPEO arrests attention, and provides the opportunity for visual exploration as the viewer’s eye moves harmoniously over the canvas, discovering subtle spirals and undulating waves in the daubed details of the nuanced painted layers.

草間彌生2005年重新創作其「無限的網」系 列，雖然這次的尺幅非如早期的龐大，但她銳 意表達「無限」之美卻絲毫不減。這幅《金色 的網XTWPEO》是草間彌生回到日本的後期創 作，是她成名後的佳作之一。這時期的作品更 能發揮和諧和清晰的視覺表現。在這件拍品 中，草間彌生在鮮橙色的畫布上以厚塗的技法 增添閃閃生輝的金色肌理，層次分明，色彩 跳躍。她仿佛創造了一個充滿耀眼星光的無 窮宇宙，把觀眾拉進一個無邊無際的視野之 中。跟其他同系列的作品一樣，《金色的網 XTWPEO》捨棄了視覺焦點，不規則但有條不 紊的網線平均分佈在畫布上，讓觀眾的目光流 暢地在網線之間游走，探索畫面上的細節。

543

Yayoi KUSAMA (Japanese, b. 1929) Fruits EPSOB 2011 Acrylic and oil on canvas 112 x 145.5 cm Signed on the reverse YAYOI KUSAMA and titled FRUITS in English, inscribed EPSOB and dated 2011 PROVENANCE:

Victoria Miro Gallery, London, United Kingdom Private collection, Asia.

EXHIBITED:

New Paintings & Sculptures , Victoria Miro Gallery, London, United Kingdom, June 8 - July 29, 2011 Victoria Miro Gallery, Frieze Art Fair, London, United Kingdom, October 13-16, 2011 This painting is to be sold with a certificate of authenticity issued by Victoria Miro Gallery, London, United Kingdom

HK$ 2,400,000 - 3,200,000 NT$ 9,120,000 - 12,160,000 US$ 307,700 - 410,300

草間彌生 水果 EPSOB 2011 壓克力 油彩 畫布 112 x 145.5 cm 簽名畫背：EPSOB FRUITS YAYOI KUSAMA 2011 來源： 維多莉亞米羅畫廊，倫敦，英國 私人收藏，亞洲 展覽： 「新繪畫和雕塑」，維多莉亞米羅畫廊， 倫敦，英國，展期自2011年6月8日至7月29日 維多莉亞米羅畫廊，弗里茲藝術博覽會， 倫敦，英國，展期自2011年10月13日至16日 附倫敦維多莉亞米羅畫廊開立之原作保證書

Ravenel 180

Fruits EPSOB Yayoi KUSAMA

“Artists do not usually express their own psychological complexes directly. But I use my complexes and fears as subjects.”

Plagued from a young age by visual and aural hallucinations, Kusama faces her mental illness candidly in Fruits EPSOB .

The flamboyant, playful colors of the piece juxtapose sharply with the jarring effect of the fractured lines which recall the Infinity Nets of Kusama’s early series. Creating a mosaic effect, the two dimensional shapes of each individual fruit take shape in cracked, contrasting simplicity. Complementing the two-dimensional flatness of the nets, Kusama adds dimension and variance by echoing the roundness of some fruits with her iconic polka dots. Grapes and cherries take on new dimensions as their orbicular forms are emphasized by the strategically varied dots. The roundness of the fruit bowl is similarly emphasized through a net of polka dots which combine to envelope the scattered fruits, drawing each of the seemingly antithetical compositional elements together in a harmonious confluence of divergent components. The splintered scene of Fruits EPSOB provides the viewer with a glimpse into the fractured yet ultimately connected visualizations of Yayoi Kusama as the artist reconciles her

mental obstacles through her creation of art.

“Artists,” states Yayoi Kusama, “do not usually express their own psychological complexes directly. But I use my complexes and fears as subjects.”

草間彌生認為自己跟其他藝術家不一樣，她會 以自己的心理狀態與創傷作為藝術主題。《水 果E P S O B》正充分反映了草間自小面對的視 聽幻覺與精神病困擾。佈滿畫面的線條與鮮艷 的底色形成了強烈的對比，令人聯想到草間的 「無限的網」系列。網線猶如裂紋一樣，讓畫 面充滿馬賽克的效果。草間以平面的方式繪畫 簡單的水果圖案，而水果上大小不一的圓點則 為這些圖形增添立體感。葡萄與櫻桃因為排列 整齊的大小圓點而顯得格外圓潤飽滿。由圓點 及網線構成的水果盤也充滿立體感，滿載著各 種各樣的水果。《水果EPSOB》雖然有斷裂的 感覺，但網線與圓點又把整體畫面連接起來， 顯現藝術家透過藝術創作來治療精神病的過 程。

Yayoi KUSAMA, Pumpkin B.Q.I. , 1990, acrylic on canvas, 91 x 73 cm Ravenel Spring Auction 2012 Hong Kong, lot 021 US$402,062 sold 草間瀰生《南瓜B.Q.I.》 1990 壓克力 畫布 91 x 73 cm 羅芙奧 香港 2012春季拍賣會，編號021 40萬2062美金成交

544

Yoshitaka AMANO (Japanese, b. 1952) Deva Loka Vert 2010 Automotive paint on aluminum panel 100 x 200 x 10 cm Signed on the underside Y. Amano in English

HK$ 360,000 - 400,000 NT$ 1,368,000 - 1,520,000 US$ 46,200 - 51,300

天野喜孝 天界．綠色 2010 汽車漆 鋁板 100 x 200 x 10 cm 簽名下側：Y. Amano

"I'm having fun creating works based on my own fantasy.

Each work may not represent the entire world in my head, but someday, when seen together, it'll show the core of my imaginative world." 「我的創作乃建基於我的幻想，幻想帶給我極大樂趣。單一件作品未必能代表我 整個腦海的所思所想，但當一起觀看時，卻能彰顯我幻想世界的核心。」 — Yoshitaka Amano 天野喜孝

Ravenel 186

545

WANG Guangyi (Chinese, b. 1957) Art Angle 2005 Oil on canvas 119 x 149 cm Signed on the reverse Wang Guang Yi in Chinese and English, dated 2005 PROVENANCE:

Galerie Urs Meile, Lucerne, Switzerland Private collection, Europe

HK$ 600,000 - 800,000 NT$ 2,280,000 - 3,040,000 US$ 76,900 - 102,600

王廣義 藝術角度 2005 油彩 畫布 119 x 149 cm 簽名畫背：2005年 Wang Guang Yi 王廣義 來源： 麥勒畫廊，盧塞恩，瑞士 私人收藏，歐洲

Ravenel 188

Art Angle

WANG Guangyi

Wang Guangyi once stated, “When you look at an artist’s work, you are seeing a view of his personal history; but it also represents a whole generation.” Creating a visual lexicon with which to express an era of rapid change and political upheaval, Wang Guangyi has stood at the forefront of an artistic movement that in many ways defines a generation of contemporary Chinese artists raised under the red flag of the Cultural Revolution. Wang has utilized an artistic foundation rooted in Socialist Realism, formed from his time spent creating propaganda posters in the 1970s, to create bitingly satirical social commentary on the drastic evolution of current Chinese society.

Visually accessible, yet rife with layers of nuanced intention, Wang’s work epitomizes the self-examination and reflection of Chinese Political Pop. Beginning in 1990, Wang began the process of appropriating the resonating iconography from Socialist Realist propaganda to create his Great Criticism series, blending this antithetical imagery with the structure and form of American Pop Art to create a social commentary tailored for the unique developments within Chinese society. In works such as Great Criticism Series – Pierre Cardin (Lot 546), Wang links the reverence and near idolatry inspired by the complete inundation of propaganda posters and billboards with the current trend of zealous consumerism by replacing—or “correcting”—the political slogans with logos of recognizable Western brands. The vibrant colors and inspirational stature of the Socialist Realist composition combine to create an engagingly comical satire of societal idolatry. Describing the rapid change he observed after the downfall of the Cultural Revolution and the opening of China to the Western world, Wang explains, “China’s cities began to be festooned with commercial billboards. The visual effect of the advertising signs was so strong, it reminded us of the posters in the past…two periods of history had come together.”

Just as state-sanctioned propaganda had saturated society in the decades before, advertising and corporate imagery now flooded public consciousness. Great Criticism effectively links the systematic marketing ploys of the former state with those of current corporations in usage, intention, and clear appeal to the general masses.

In Art Angle (Lot 545), Wang has turned his eye from general consumerism to the growing high-end luxury market in China.

Matching a simple Socialist Realist image of Russian communist leader Vladimir Lenin with bright, eye-catching, neon block lettering, Wang creates clear associations with Lenin’s proclamations on art:

王廣義以其獨特的視覺語彙，昭示新中國成立以來，時代急速的變化和 動盪的政治局勢。他站在藝術運動的最前線，代表著文化大革命旗幟下 成長的新一代中國藝術家。他以20世紀70年代流行的政治宣傳海報作為 創作基礎，諷刺當代中國社會的極變型態，其激盪人心的視覺畫面，除 了是他的自我反思，亦是中國政治波普運動的最佳示範。

"Our opinion on art is not important. Nor is it important what art gives to a few hundreds or even thousands of a population as great as ours.

Art belongs to the people. It must have its deepest roots in the broad mass of workers. It must be understood and loved by them. It must be rooted in and grow with their feelings, thoughts, and desires. It must arouse and develop the artist in them."

Painted in simple grey and black, Art Angle recalls the qualities of a photonegative, with its high contrast, reversed image. In doing so, Wang has created a satirical commentary where Lenin’s quotation becomes subverted by a fine arts market catering to refined and discerning tastes as opposed to the mass appeal of Socialist Realist propaganda. Stamped lines of numbered sequences create further distance between the image of Lenin and the capitalist art market which the great socialist leader unwittingly finds himself abetting.

Works such as Art Angle and others from Wang Guangyi’s Great Criticism series demonstrate the transience of ideology in a society of unremitting change. “Existing iconography is not infallibly correct,” the artist argues, “nor does it retain absolute authority. We might review them with a critical eye and engage in modification if necessary. This very ability to correct confirms the meaning of our existence.”

曾充當政治宣傳海報畫家的王廣義，自1990年起轉而分析宣傳海報上的 圖像，他揉合了美國普普藝術的結構和形式，創作了極具代表性的「大 批判」系列，為中國獨特的社會形態提供了另一層次的實況報導。創作 於2002年的《大批判系列─皮爾．卡登》(拍品編號546) 為王廣義這系 列的典型佳作。王廣義挪用文革宣傳海報上工農兵階級激昂的鬥爭姿勢 和盲目崇拜的心態，配以西方著名品牌的商標，諷刺當代中國社會流行 的消費主義。作品上那著名法國高檔時裝品牌皮爾．卡登象徵著西方資 本主義體制下的消費文化，文革海報上的政治宣傳口號被商標取而代 之，暗示著消費主義的入侵和人民對西方消費品的熱切追求，狂熱程度 猶如過住對革命的熱忱。他指出：「中國的城市開始掛滿了商業廣告招 牌。廣告招牌的視覺效果是如此的強烈，它令人聯想到我們過去的宣傳 海報。」正如中國文革時代那些鋪天蓋地的政治宣傳海報，現在充斥社 會的是企業的廣告和影像，「大批判」系列並置了兩者的宣傳技倆，揭 露了雙方奮力導向普通群眾的意圖。 在《藝術角度》(拍品編號545)中，王廣義把消費主義的討論焦點從普通 商品轉移到中國持續增長的高端奢侈品消費市場。他以俄國社會主義領 袖弗拉基爾．列寧的圖像剪影，配上醒目明亮的霓虹刻字，背後蘊含著 列寧對藝術的主張：「我們對藝術的看法並不重要。那數百以至數千的 一小拙群體對藝術的看法也不是很重要的。藝術是屬於人民的。它植根 於廣大的勞動工人，藝術必須被他們所理解，被他們所熱愛。藝術必須 關聯到大眾的感 情，思想和慾望，最後激發他們的藝術潛能。 」 《藝術角度》簡單的灰色和黑色令人聯想到照片底片的負面影像，圖像 對比度高，正反顛倒。這樣一來，王廣義諷刺現時中國的高檔精緻藝術 市場與社會主義所宣傳的背道而馳，推翻了列寧對藝術的主張。排成列 狀的數線，加深了列寧與資本主義藝術市場之間的洪溝 。 王廣義的《藝術角度》和《大批判系列─皮爾．卡登》都表現了社會出 現的短暫意識形態。王廣義認為現在流行的意識並不是絕對無誤的，也 沒有絕對的權威。我們不妨用挑剔的眼光去看，有必要時須要進行修 改。這糾正能力非常重要，這證明人存在的意義。

546

WANG Guangyi (Chinese, b. 1957) Great Criticism Series - Pierre Cardin 2002 Oil on canvas 50 x 40 cm Signed on the reverse Wang Guangyi in Chinese and English, dated 2002

HK$ 340,000 - 400,000 NT$ 1,292,000 - 1,520,000 US$ 43,600 - 51,300

王廣義 大批判系列─皮爾．卡登 2002 油彩 畫布 50 x 40 cm 簽名畫背：Wang Guangyi 王廣義

"From between the two extremes of Utopia and the material world, I am looking for a space to express my thoughts." 「我只是在烏托邦和拜金社會兩極中，尋找一個空間，表現自己想到的 東西。」 — Wang Guangyi 王廣義

Ravenel 192

547

YANG Shaobin (Chinese, b. 1963) Concussion IV 2005 Oil on canvas 66 x 120 cm PROVENANCE:

Kwai Fung Hin Art Gallery, Hong Kong Private collection, Asia ILLUSTRATED:

Yang Shaobin: Essence of Violence , Hebei Education Press, Hebei, 2006, color illustrated, p. 214

HK$ 340,000 - 400,000 NT$ 1,292,000 - 1,520,000 US$ 43,600 - 51,300

楊少斌 震盪之四 2005 油彩 畫布 66 x 120 cm 來源： 季豐軒畫廊，香港 私人收藏，亞洲 圖錄： 《楊少斌—暴力的本質》，河北教育出版社，河北， 2006，彩色圖版，頁214

"I want to be an onlooker, but I can't bear the lightness which an onlooker bears, because life is ultimately heavy." 「我想作為旁觀者，但又承擔不起旁觀者所承擔之輕，畢竟生活是有重量的」 — Yang Shaobin 楊少斌

Ravenel 194

Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the “Buyer”). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company.

I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such.

The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item’s special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company’s subjective opinion and not a statement of fact.

All of the items on auction are being sold in “as is” condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue.

Premium Lot In order to bid on “Premium Lots” the Buyer must complete the required pre-registration application and deliver to Ravenel such necessary financial references, guarantees, deposits and / or such other security as Ravenel’s may in its absolute discretion require for your bid. Ravenel decision whether to accept any preregistration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact Ravenel at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. Ravenel will provide a special paddle number for the register of “Premium Lot”. ○Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full service fee. d. Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes.

Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions.

3. In the auction a. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration Prior to the Bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. c. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities.

d. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. e. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to ravenel.com.

Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at ravenel.com. f. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions.

The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HK dollars.

The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. g. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. h. Determining Power of the Auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. i. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement.

4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 8,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 8,000,000, the first HK$ 8,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax any commodity or service taxes or any other value added taxes.

The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date.

The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit.

If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees.

The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hongkong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully sold Lots until all payments to the Company are made in full.

The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Hongkong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions.

(2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due.

(3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments.

(4) Refuse the Buyer to make, or to have bids made on the buyer’s belf, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned:

(5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim.

(6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions.

(7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer’s wishes to apply for an export permit does not affect the Buyer’s responsibility to make the payments in 7 days; nor does it affect the Company’s right to impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein.

6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: (1)The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit.The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day.

(2)Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.

Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests.

The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction.

II. The Seller 1. Ravenel as the Agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and between the Buyer and the Seller.

2. Expenses The Seller shall bear costs relating to the following: a. Packing of the Lot and shipping to the Company for the auction b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller. Any applicable custom duties d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any repairs made to the Lot as per prior agreement with the Seller f. Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. g. Any independent professional opinions which the Company deems proper h. The storage of the Lot after the auction (if applicable) i. The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. j. Any marketing and promotional expenses 3. Insurance Coverage to be Arranged by the Company a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the the Company art relic policy in the amount as deemed appropriate by the Company. However, the insured amount is not the amount the Company undertakes to be successfully reached during the auction. b. The Company will collect 1% of the hammer price from the Seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder if necessary. However, the Company is not responsible for any legal responsibilities incurred therefrom. c. The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days. d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions.

4. Insurance Purchased by the Owner If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments. The Seller must indemnify the Company, the employees

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and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim. The Buyer must also pay for the expenses incurred as a result of such claim if requested by the Company, the employees and agents of the Company and the Buyer, even if such expenses are made as a result of negligence by the Company, the employees and agents of the Company and the Buyer without proof of legal responsibility. The Seller must inform the underwriter of the Seller the provision herein.

5. ommitments Made by the Seller with Respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also limit the relationship between the Seller and Buyer. In the event such standards are incorrect in any aspect, the Company or the Buyer may bring legal actions against the Seller.

The Company should base the purchase and handling of auction items on the following undertaking made by the Seller: a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition.

In the event of any inaccuracy of the above a, b and c, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds.

6. Auction Arrangements a. a. The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. b. Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price for the Lot to be sold. c. The Seller cannot withdraw the Lot without obtaining consent from the Company. The Company reserves the right to withdraw the Lots for the following reasons. These reasons include: 1. The Company is doubtful about the definition or authenticity of the Lot or the accuracy of the statement referred to in Articles 5a, b. or c.

2. Any violations of the Transaction Agreement.

3. The Company deems it inappropriate to include the Lot in the auction. d. If the Company wants to withdraws his/her/its mandate for the item(s) or the authorization to Ravenel under this Agreement , the Company shall give Ravenel not less than 30 days’ prior written notice and the Company shall also pay all costs and expenses previously incurred by Ravenel under this Agreement.

7. Auction Rules a. The Company will auction the item according to the Reserve. The Reserve may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve agreed is in a currency other than HK dollars and the Reserve is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve agreement day and the auction day.

Under such circumstances, except where otherwise agreed by the Company, the Reserve shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. If the bid price is lower than the Reserve, the Company is in no way to be held liable; however, the Company is entitled to auction the item at a price lower than the Reserve. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. b. The Seller may not increase the price of sale without fair reasons, nor participate in the bidding of his/her/its auction item(s), however, Ravenel is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price.

8. After the Successful Auction a. Settlement Upon the successful auction, the Company will request the Buyer to make full payment no later than within 7 days, including the compensation payable by the Buyer. Upon payment by the Buyer, unless the Company receives a notice claiming such auction item is a counterfeit (as defined in Article 1 of the Transaction Agreement), the Company will remit to the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. In the event the Buyer delays the payment, the Company will remit to the Seller within 10 days following the payment by the Buyer. If for any reason the Company pays the Seller before the Buyer makes his payments, the Company acquires the full ownership of the item. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company.

Unless otherwise instructed by the Seller in writing, the Company will make its payment in HK dollars. If the Seller requests to pay in currencies other than HK dollars, the exchange rate should be according to what the Hongkong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 7 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act as deemed necessary by the Company to collect payments payable from the Buyer. However, the Company is not responsible for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Counterfeits If the Buyer convinces the Company that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) within 10 days following the auction day, then 1. If the Buyer has not paid all or part of the payment, the Company is entitled to call off the transaction and/or 2. If the Company at that time has paid all or part of the payments payable to the Seller, the Seller must return all the payments made to the Company if requested. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Items Not Successfully Auctioned Any items not successfully auctioned, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller that he must reclaim the Lot. A storage fee of HK$300 per day per piece will be imposed on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Seller may not reclaim such item until all the pay-

ments due are made. Such items may be removed to a third party warehouse if not collected in 60 days after the notification of collection is issued. The expenses arising therefrom shall be borne by the Seller. The Company may dispose of the Lot in the manner it deems appropriate if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier).

Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the auction proceeds after payments owed are offset.

The Company is authorized to act as the sole agent of the Seller within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction.

9. Photographs and Display The Company owns non-exclusive rights to the photographs, recordings and other reproduced images of the Lot. All the rights of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate.

10. Taxes a. According to the tax laws of Hong Kong, Ravenel shall submit to the competent revenue agency the name of the Mandator and other relevant documents supplied by the Mandator. b. If the Mandator is a Hong Kong resident (corporation or individual), according to the tax laws of Hong Kong, no withholding amount of the profit tax will be deducted. However, Ravenel shall reserve the rights to claim for the tax amount and other related expenses (including but not limited to interests, penalty) from the Mandator if the representation made or document provided by the Mandator is not true. c. Where the Mandator is a foreigner, the Mandator agrees that Ravenel may deduct an amount equivalent to 0.5% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) and submit the deducted amount as Profits tax to the competent revenue agency. The amount to be withheld by Ravenel shall be subject to change once the applicable tax rate is adjusted.

III. Definition Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the auctioning party.

2. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue.

3. “Hammer price” shall mean the highest bid with respect to one particular auction item accepted by the auctioning party.

4. “Compensation paid by the Buyer” shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 4a, section I. 5. “The Reserve” shall mean the lowest price agreed by the Company and Seller. the Lot cannot be sold at a price lower than such price.

6. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints).

7. “Insured amount” shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

IV. Terms Applicable to Both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company.

2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail.

3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law.

4. Jurisdiction The Transaction Agreement are governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.

5. Languages This Agreement has been executed in Chinese and English. The Chinese language will control the interpretation of this Agreement. Any translated writing, including this Agreement, will not alter the legal meaning of such writing or the intent of the parties. In the event of a conflict between the Chinese and the English versions, the Chinese language version shall prevail.

Please refer to our website for seller’s Transaction Agreement. http://ravenel.com

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業務規則

本業務規則，為睿芙奧股份有限公司(「本公司」)作為拍賣公司與賣家訂立合約之條款，亦 作為賣家之代理人與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留 意第5條，其對本公司之法律責任作了限定。 Ⅰ.買家 1. 羅芙奧（以下稱本公司）作為代理人 本公司作為賣家之代理人 作為拍賣公司，本公司以作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。在拍賣中，本公司有 權代表賣家參與競投。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。除香港法 例(如商品說明條例)另有規定外，本公司不會就拍賣品是否膺品（如本業務規則第III項 所界定者）對買家作任何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的 損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何拍賣品之描述亦不應視作表示其 無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述或保證。在目錄中若 有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建 議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，不應依 據目錄中的描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主 觀意見。所有拍賣品均以「現狀」售出。除香港法例(如商品說明條例)另有規定外， 本公 司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記表，並向本公 司交付所需的財政狀況證明、擔保、存款證明及／或本公司可絕對酌情要求買家為競 投須作出的其他抵押。本公司對是否接受任何預先登記申請有最終決定權。本公司建 議買家在有關拍賣日期至少五個工作日前聯絡本公司，以進行預先登記。請注意本公 司不能在週末或公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，本 公司將提供特殊的競投牌號參與競投。 ○保證項目 拍賣品編號旁註有○符號者，表示賣家已取得本公司保證，可在一次或一連串拍賣中 得到最低出售價格。此保證可由本公司、第三方或由本公司與第三方共同提供。保證 可為由第三方提供之不可撤銷競投之形式做出。若保證拍賣品成功售出，提供或參與 提供保證之第三方可能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提 供或參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、尺寸、材 質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或 書面陳述，均僅屬本公司主觀意見之陳述，不應依據為確實事實之陳述，亦不應視為 本公司對於任何拍賣品之狀態所作之承諾或保證。目錄圖示亦僅作為參考而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估 計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見 書會提述拍賣品之損壞及／或修整資料。此等資料僅作為參考而已，如未有提述此 等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺 陷。 e. 買家之責任 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任查明並了解，並確使自己 感到滿意。 3. 拍賣時 a. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有 完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣而無須作出任何解 釋。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應 注意，本公司通常會要求對買家作出信用核查。 c. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人為本公司所 接受者，否則競投者將被視為買家而須承擔個人法律責任。 d. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電 話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或任何準買家均不負任何 責任。 e. 即時網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於網上競投部分 拍品。此項服務乃免費及保密。有關透過 LiveAuctioneers 網上競投服務登記，進行 網上競投之詳情，請參閱羅芙奧網頁ravenel.com。使用 LiveAuctioneers 網上競投 服務之準買家須接受透過 LiveAuctioneers 網上競投服務進行即時網上競投之附加條 款（可參閱羅芙奧ravenel.com），以及適用於該拍賣之業務規則所規限。 f.匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天本公司合作銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以港幣進行。匯率轉換顯示 板並非時常可靠，不論是顯示板所示之拍賣品編號或是港幣競投價之相等外匯，其準 確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因 以港幣競投）所導致而蒙受之任何損失，本公司概不負責。 g. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成功拍賣之拍 賣品相配合，或是如翻版影像之質素，本公司對買家均不負任何責任。

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h. 拍賣官之決定權 拍賣官具有絕對決定權，包括但不限於有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤差或爭 議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對應注意事項 作出通告，買家須自行注意此等通告。 i. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買家之成功拍 賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於港幣捌佰萬元以下者含 港幣捌佰萬元20％計算。 （2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％計算，超過港幣 捌佰萬元之部份以12％計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、貨物或服務稅或其他稅 款。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間繳付此稅 款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提供付款銀行 之詳情。然後於拍賣日期後七天內悉數支付應付予本公司之款項（包含落槌價、服務 費，以及任何適用之稅款及其他費用）。即使買家希望將拍賣品出口並需要（或可能 需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付應付之全部款項，則不能取得拍賣品之所有權，即使本公司已 將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外之貨幣，本公司將向買 家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。 以港幣以 外之貨幣付款予本公司之匯率，依拍賣日現場由香港匯豐銀行公佈之匯率，並以本公 司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣品，直至所 有應付予本公司之款項已悉數由買家支付為止。拍賣品在暫時保留期間，由成功拍賣 日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為 止。七天期滿後或自領取時起（以較早者為準），拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下可為買家介紹運輸公司、安排付運及購買特定保險， 但本公司在此方面不負任何法律責任。運送費用買家必須預先繳付。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救辦法： （1）在拍賣日期後超過七天仍未付款，則按不超過香港匯豐銀行最優惠利率加10%之 年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計 算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交 易中欠下買家之款項。 （2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置權，並在給予 買家有關其未付之欠繳之14天通知後，安排將該物品出售並將收益用以清償該未 付之欠款。 （3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何 特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。 （4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何 競投之前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述 者外，另有權： （5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準之 法律程序之訴訟費及律師費等相關費用。 （6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品 之交易。 （7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付 款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有被買家在成功拍賣後七天內領取，則不論是否已付款，本公司 將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保險及任何其他費 用，連同欠本公司之所有其他款項付清後，買家方可領取已購得之拍賣品。 i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買家在拍賣日 後七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請有關之付出 款項及零碎開支連同任何有關之稅款。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買家因此而引 致之任何利息或其他開支。 5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論賣家或本公司，或本 公司任何僱員或代理人，對任何拍賣品之作者、來歷、日期、年代、尺寸、材質、歸屬、 真實性、出處、保存狀況或估計售價之陳述，或任何拍賣品之任何缺陷，均不負有任何責 任。賣家、本公司、本公司之僱員或代理人，均無就任何拍賣品作出任何保證。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品或贓物，則交易將取消，已付之款項則退還予買家。 但如： a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納之意見，或清楚 表明有抵觸當時學者或專家普遍接納之意見，或 b.證明拍賣品為膺品之方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序， 或是一種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述條件下方可 獲得退款： （1）買家必須在付款領取拍賣品後的十日內以書面通知本公司，說明買家認為有關拍 賣品乃膺品或贓物之詳細理由及將拍賣品送還本公司，而其狀況與拍賣當日相同；及

（2）送還拍賣品時，買家須出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司 於這方面的決定乃是最終及不可異議的)。在任何情況下，本公司均毋須向買家支 付多於買家就有關拍賣品而支付予本公司之款項，而買家亦不能索取利息或任何 賠償。 本條款之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買 家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，而且並無將拍賣 品之任何利益讓予任何第三人。本公司有權依據任何科學程序或其他程序確定拍 賣品並非膺品，不論該程序在拍賣當日是否已使用或已在使用。 II.賣家 1. 本公司作為代理人 本公司在公開拍賣會中，以作為賣家代理人身份行事。拍賣品成功拍賣後，即產生賣家通 過本公司之代理與買家達成之合約，由賣家負責向買家履行。 2. 開支 賣家須負責與下述各項有關之費用： a.將拍賣品包裝並運予本公司作拍賣。 b.任何適用之運送保險。 c.如拍賣品交回賣家其包裝與付運。若拍賣品由海外進口，付運費與進口適用之稅項。 d.受保於本公司之精品保險單（下文另有解釋）。 e.預先與賣家協定之對拍賣品作出之任何修整。 f.本公司相信為擬定目錄說明需由外界專家作出之鑑定。 g.本公司相信為適當之任何外界專家意見。 h.拍賣品拍賣前後之貯存。 i.本公司之行政費用，數目為因賣家而引致之一切費用之10%。 j.任何市場推廣費用。 3. 由本公司安排保險事宜 a.除非與本公司另有協定，否則拍賣品將自動受保於本公司藝術品精品保險單，保額為 本公司當時認為適當者。然而保額並非本公司承諾拍賣品會成功拍賣之款額。 b.本公司將向賣家收取拍賣品底價之1%，作為保險費。如由本公司安排運送，本公司將 向賣家收取額外款項，作為運送保險費，款額視每宗拍賣品之特定情況而定。如有需 要，本公司可建議/介紹承運人，但本公司不承擔任何有關此方面之法律責任。 c.拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功拍賣，逾期後風險全由賣家 承擔。 d.由蛀木蟲空氣情況轉變或其他不能預見或人力不可抗拒情況而對拍賣品造成之損壞， 本公司不承擔任何法律責任。 4. 物主購買保險 如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至拍賣品交付予買 家為止。賣家須保障本公司、本公司之僱員與代理人，以及買家（如適用）免負因拍賣品 而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任，而不論索償因何引 起。賣家亦須應本公司、本公司之僱員與代理人，以及買家所要求而償還因此種索償而引 致之開支，縱使本公司、本公司之僱員與代理人，以及買家有疏忽之處，而未證明有任何 法律責任而作出之付款，亦須償還。賣家須將本條條款告知賣家之承保人。 5. 賣家就拍賣品所作之承諾 本條列出本公司處理拍賣品之基準，此基準亦規限賣家與買家之間的關係。如此基準在任 何方面有不確實之處，本公司或買家可採取針對賣家之法律行動。本公司處理拍賣品及購 買拍賣品，均以賣家所作之下述承諾為基準： a.賣家為拍賣品之唯一物主及/或合法持有人，具備將其所有權(於無質押、產權負擔及 第三人權益或申索的情況下)轉讓予買家之無限制權利。 b.賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第 三人未能遵守此等規定之事以書面通知本公司。 c.賣家已將其所知之有關拍賣品之任何重大修改以及第三人就拍賣品之所有權、狀況或 歸屬所表示之任何關注以書面通知本公司。 如上述a、b或c有任何不確實之處，賣家須應本公司及/或買家之要求，完全負責及彌償本 公司及／或買家一切因此而引起之損失索償、費用及開支，而不論是因拍賣品還是因拍賣 收益而引起。 6.拍賣安排 a.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進 場競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有 完全之決定權。 b.任何估價，不論口頭或書面，均只屬意見，而非拍賣品最終可賣得的價錢之保證。 c.未得本公司書面同意，賣家不可撤回拍賣品。但本公司保留隨時因後述原因而撤回拍 賣拍賣品之權利。此等原因為： 1.本公司對拍賣品之界定或真實性或上述第5a、 b或c條所指之承諾之準確性有懷疑； 2.有任何違反本業務規則之情況；或 3.本公司相信將拍賣品納入拍賣並不適當。 d.若委託者要撤回標的作品之委託或授與睿芙奧之權利，委託者除須給予睿芙奧不少於 30日之書面通知外，尚須支付睿芙奧所有之前為履行本授權書所產生的費用及開支。 7.拍賣守則 a.本公司將會參照底價將拍賣品拍賣。底價不得高於目錄所印估價之下限，但如所同意 之底價為港幣以外之貨幣，並因協定底價之日與成功拍賣之日上匯率波動而致底價高 於估價下限，則不在此限。在此情況下，除本公司另行同意外，底價須為相等於以緊 接成功拍賣前一個工作天之收市匯率計算之港幣款項。如競投價不能達到底價，本公 司在任何情況均不負有任何責任。但本公司有權將拍賣品以低於底價拍賣。如本公司 如此將拍賣品拍賣，本公司將有責任向賣家支付成交價與底價之差額。 b.賣家不得隨意哄抬價格，不得參與競標拍賣品，亦不得聘請任何人代賣家參與競投， 惟本公司有權代賣家參與競投。 8.成功拍賣後 a.結算 成功拍賣後，本公司將要求買家最遲於7日內全數付款。在買家付款及領取拍賣品後 的10天內，除非本公司收到買家通知拍賣品為膺品（如本業務規則第III項所界定者） 或贓物，否則，本公司會於買家付款後之60天內，將一筆相等於成交價減去賣家應支 付之所有費用之款額給予賣家。如遇買家延遲付款及在買家沒有於付款及領取拍賣品 後的10天內通知本公司拍賣品為膺品或贓物，則本公司將在買家付款後之60天內付款 予賣家。 除賣家另有書面指示外，本公司將以港幣付款。如賣家要求以港幣以外之貨幣付款， 依拍賣現場由香港匯豐銀行公佈之匯率計算。 b.買家不付款 如買家在拍賣日期後之7天內未有支付應付之全部款項，本公司即有權代賣家就付 款、貯存與保險而協定特別條款，並採取本公司認為適當的任何步驟以向買家收取其 應付之款項。但本公司並無責任向賣家付款，亦無責任代賣家採取任何行動(包括但不 限於法律行動)。但本公司將與賣家討論如何採取適當行動以向買家追討拍賣款額。

c.膺品/贓物 如買家於付款領取拍賣品後之十日內，使本公司相信拍賣品為膺品（如本業務規定第 III項所界定者）或贓物，本公司會無條件退還全數金額予買家，而拍賣品將由本公司 退回賣家或送交警方處理，賣家不得異議。 d.未能成功拍賣之拍賣品 任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，則在 本公司發出通知予賣家要求賣家領回拍賣品後之35天內，賣家必須領回拍賣品。任 何此等拍賣品如在35天過期後仍未領回，睿芙奧可向委託者徵收每天每件標的作品參 佰港元 (HK$300)貯存費，並收取額外費用以購買保險。賣家須在付清所有未付費用 後，方可領回拍賣品。此等拍賣品如在發出領回通知後之60天內仍未領回，則可被移 往第三人之貨倉貯存，開支費用由賣家承擔。 任何此等拍賣品如在拍賣日期後或上述通知日期後之90天內（以較早之日期為準）未 被領回，則本公司可視乎是否合適而將該拍賣品處置。處置包括將拍賣品移往第三人 之貨倉而開支費由賣家承擔，以及將該拍賣品按本公司認為適當之條款（包括有關估 價與底價之條款）公開拍賣。本公司其後會將拍賣收益扣除所有欠款後支付予賣家。 任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司獲賣家授權在拍賣後的兩個月 內作為賣家之獨家代理人，按原定的底價，私下出售拍賣品，或按本公司與賣家另行 同意之較低價格私下出售拍賣品。在此情況下，賣家就該拍賣品而對本公司所負有之 責任，與拍賣品成功拍賣時一樣。 9.圖片與圖示 本公司有權對拍賣品制作照片、圖示、錄像或其他形式的影像制品，此等照片、圖示、錄 像及影像制品之一切權利均屬本公司所有，且本公司有權以任何本公司認為適合之方式使 用之。 10.稅制 a. 依香港稅法規定，標的作品成交後委託者須提供報稅名單及相關資料，由睿芙奧提 報稅捐單位。 b. 如果賣家為香港公司或香港居民，根據香港稅法，本公司毋須向賣家代扣香港利得 稅。如果本公司其後發現賣家之聲明及文件不實，本公司保留向賣家追討香港稅款 及其他相關費用（如利息、罰款及律師費等）的權利。 c. 若委託者非香港本地人士，委託者並同意睿芙奧直接代扣落槌價或底價(如底價高於 落槌價)之0.5%，作為拍出後之利得稅，由睿芙奧代為申報並繳交稅捐單位。由睿芙 奧扣除的款項將隨著當時的稅率而調整。 III.本業務規則所用詞彙之意義 在本業務規則中，某些常用詞彙需加以解釋。此等詞彙如下： 1.「買家」：指本拍賣公司所接受之出價最高之人或公司。 2.「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之 一項或多項物品。 3.「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 4.「買家支付之酬金」：指買家按落槌價之某一百分比而支付之費用；收費率如I項第4a條 所列。 5.「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 6.「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍 賣品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並 未在目錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所 應有之價值。按此定義，任何拍賣品均不會因為有任何損壞及／或任何形式之修整而 成為膺品。 7.「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保 險是否由本公司安排購買）。 IV.買家與賣家均適用之條件 1.版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本公司之財 產。未得本公司事先書面同意，賣家、買家或任何人均不得使用。 2.通知 a.根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付郵寄出後 第二個工作天即當作由收件人收妥；如收件人在海外，則為付郵寄出後第五個工作 天。 b. 本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通 知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳 真號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家 或買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執行，則該部分 可不予理會，而本業務規則之其他部份在法律許可之最大範圍內須繼續有效及可強制 執行。 4.法律及管轄權 本業務規則受香港法律規限，本業務規則之解釋與效力均適用香港法律。賣家與買家 須服從香港法院之排他性管轄權。 5. 語言 此業務規則以中英對照形式簽立，如有不一致，應以中文文本為準。任何譯本，包括 本業務規則的英文文本，將不會影響本規則的法律解釋，與合約各方訂約意圖。 賣方業務規則請參閱羅芙奧網站 http://ravenel.com

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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins.

The bid forms may be faxed to: Art Auction Division Tel: +852 2889 0859 Fax: +852 2889 0850

Auction

Date Location Address

RAVENEL AUTUMN AUCTION 2012 HONG KONG Modern & Contemporary Art Evening Sale Sunday 25 Nov 2012, 7:30pm Grand Hyatt Hong Kong – Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

Bidder’s Details Name ID number Address Post code Tel Fax

Mobile Email

Signature (We must have your signature to execute this bid.)

It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received.

I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax.

The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 8,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than HK$ 8,000,000, the first HK$ 8,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

The bid shall be subject to the Transaction Agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Title

Bid price (HK$) (excluding service fee)

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

Bank Reference Approval Name of the bank Address of the bank

Name of the account Account number Contact of the bank Tel. No.

Ravenel Fine Arts Limited Unit 601-3, 50 Connaught Road Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com

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委託競投表格 委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真 至： 藝術拍賣部 電話：+852 2889 0859 傳真：+852 2889 0850

拍 賣 名 稱： 羅芙奧香港2012秋季拍賣會 現代與當代藝術晚間拍賣 香港拍賣日期：2012年11月25日（星期日） 下午7:30 香港君悅酒店（宴會大禮堂）灣仔港灣道一號

投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 傳真

行動電話 電郵

簽名 （本公司在取得閣下之簽名後方才接受競標）

茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以 最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服務 費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司， 落槌價於港幣捌佰萬元以下者含捌佰萬元以20％計算；（2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％計算，超過港幣 捌佰萬元之部份以12％計算。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚 拍賣品編號 （按數字順序）

名

競投價（港元） （服務費不計在內）

稱

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。

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銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

202

INDEX A 544

Yoshitaka AMANO

天野喜孝

B 515 511, 512

Fernando BOTERO Bernard BUFFET

費爾南多．波特羅

貝爾納．畢費

C 529

CAI Guo-Qiang

514

Albert CARRIER-BELLEUSE

蔡國強

阿爾貝爾，耶爾內斯特．卡里耶貝留斯 502, 503 525, 526, 527 520

CHENG Tsai-tung CHU Teh-chun CORNEILLE

鄭在東

朱德群

柯奈爾

H 517, 518 528

Damien HIRST

達明．赫斯特

HUANG Gang

黃鋼

J 504, 505, 506, 507

JU Ming

朱銘

K

539, 540, 541, 542, 543

Yayoi KUSAMA

草間彌生

L

508

LI Chen

523

LIN Fengmian

532

LIU Ye

李真 林風眠

劉野

N

509, 510

Yoshitomo NARA

奈良美智

P

501

PANG Jiun

龐均

R

513, 514

Auguste RODIN

奧古斯特．羅丹

W

519, 520

Walasse TING

545, 546

WANG Guangyi

516

丁雄泉

Andy WARHOL

王廣義 安迪．沃荷

Y 533

YAN Pei Ming

547

YANG Shaobin

嚴培明 楊少斌

Z 521, 522, 524 530, 531 534, 535, 536, 537, 538

ZAO Wou-ki ZENG Fanzhi

趙無極 曾梵志

ZHOU Chunya

周春芽