心道澄懷－古今人文藝術專場 Literati Sublimation - Oriental Arts for the Chinese Scholars

SPRING AUCTION 2 JUNE, 2015 HONG KONG

心道澄懷 - 古今人文藝術專場

LITERATI SUBLIMATION - ORIENTAL ARTS FOR THE CHINESE SCHOLARS

I N T E R N A T I O N A L

A R T

G R O U P

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IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the rules and regulations set out by Ravenel Auction Hong Kong Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required.

2. Security deposit in the amount of HK $100,000.

3. The security deposit must be transferred to Ravenel's specified Bank account prior to 26th May 2015, details as follow: Beneficiary's Name: Ravenel Auction Hong Kong Limited Beneficiary Bank's Name: Â The Hongkong and Shanghai Banking Corporation Limited Beneficiary Bank Address: 1 Queen's Road Central, Hong Kong SWIFT Code: HSBCHKHHHKH Beneficiary's Account No:Â 808-347959-292 (HKD) The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees.

4. After the 26th May 2015, parties interested in obtaining a paddle number must submit a cash security deposit during the Hong Kong previews (From 1st to 2nd, June 2015). Acceptance will cease on 2nd of June by noon (No other forms of payment will be accepted).

5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 26th May 2015.

6. If the security deposit has been transferred prior to the 26th May 2015, suitable proof or documentation is required.

Once this information is verified, the payer will be contacted for details of his/her paddle number.

7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification.

8. Return of the Security Deposit:

(1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. For bidders with security deposit made

by Cash, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund.

(2) Nil Transaction: For individuals with a security deposit transferred by wire, the security deposit will be returned within 14 business days through means of a wire transfer. Cash security deposit will be returned to individuals on the same day after the auction.

9. Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the security deposit, the successful bidder may settle the outstanding balance through the following means:

(1) A cash payment in HKD. (2) A credit or China UnionPay payment: The credit payment must not exceed HK$500,000. The holder of the credit card or China UnionPay must be the s uccessful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted.

10. Ravenel Auction Hong Kong Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

Contact Person HONG KONG Vivi He vivihe@ravenel.com +852 2889 0859 ext.711 |

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給予買家的重要通知

本拍賣會依據「羅芙奧香港拍賣有限公司拍賣規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下 規則： 1.

有意參與競投的買家需事前辦理登記申請手續：請出示有效證件 ( 如：身份證明、護照…) 並填寫登記 文件以及繳納保證金。

2.

保證金 : 港幣拾萬元。

3.

保證金需於 2015 年 5 月 26 日以前完成匯款至本公司指定帳號如下 : Beneficiary's Name: Ravenel Auction Hong Kong Limited Beneficiary Bank's Name: The Hongkong and Shanghai Banking Corporation Limited Beneficiary Bank Address: 1 Queen's Road Central, Hong Kong SWIFT Code: HSBCHKHHHKH Beneficiary's Account No: 808-347959-292 (HKD) 匯款時請指示銀行本公司需實收保證金全額 , 銀行手續費請匯款人負擔。

4.

2015 年 5 月 26 日之後，若欲參與競投領取牌號者需於香港拍賣預展期間 (2015 年 6 月 1 日至 2 日 ) 以 港幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 )，收款將於 6 月 2 日中午 12 點截止。

5.

電話 書面 網路競投 : 競投者如不能出席拍賣會，可透過電話 書面 網路方式進行競投。登記申請 手續以及保證金之繳納亦需在 2015 年 5 月 26 日以前完成匯款至本公司指定帳號。

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如於 2015 年 5 月 26 日以前完成保證金匯款，請提供我方可證明已匯款的證明文件。確認收到保證金匯 款後，我們將與競投者聯繫並與之確認其競標牌號。

7.

拍賣當天已繳納保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以 確認身份。

8.

保證金退還方式 : (1) 有成交 : 保證金以「匯款」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其他費用 ) 後 , 若有餘額需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。保證金以「現 金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其他費用 ) 後 , 若有餘額需退還， 本公司將於拍賣當日以現金退還給買家。 (2) 未成交 : 保證金以「匯款」方式完成者 , 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。 保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。

9.

若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過保證金金額時，買方得以下列 方式結清帳款 : (1) 港幣現鈔。 (2) 信用卡與銀聯卡 : 刷卡上限為港幣伍拾萬元。信用卡與銀聯卡持有人必需是買家本人 , 本公司不接受 他人之信用卡。

10. 羅芙奧香港拍賣有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包 含保證金）保留全部的決定權。

諮詢 香港 何

瑩

vivihe@ravenel.com +852 2889 0859 ext.711

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RAVENEL SPRING AUCTION 2015 HONG KONG Literati Sublimation - Oriental Arts for the Chinese Scholars

羅芙奧香港 2015 春季拍賣會 心道澄懷 – 古今人文藝術專場

AUCTION

拍賣日期 / 地點

Tuesday 2 June 2015, 3:30pm Renaissance Hong Kong Harbour View Hotel (Mezzanine Floor) 1 Harbour Road, Wanchai, Hong Kong

2015年6月2日（二） 下午 3:30

PREVIEWS

預展日期 / 地點

Taipei

台北

Saturday, 9 May 2015, 10:00am - 6:00pm Sunday, 10 May 2015, 10:00am - 6:00pm Fubon National Conference Centre B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan

香港萬麗海景酒店閣樓 香港灣仔港灣道1號

2015年5月9日（六） 上午10:00至下午6:00 2015年5月10日（日） 上午10:00至下午6:00 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

Sunday, 31 May 2015, 2:00 pm - 8:00 pm Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong (WOA only)

香港 2015年5月31日（日） 下午2:00至下午8:00 香港君悅酒店 宴會大禮堂 香港灣仔港灣道1號 ( 器物部分）

Monday, 1 June 2015, 2:00pm - 8:00pm Tuesday, 2 June 2015, 10:00am - 12:00pm Renaissance Hong Kong Harbour View Hotel (Mezzanine Floor) 1 Harbour Road, Wanchai, Hong Kong

2015年6月1日（一） 下午2:00至下午8:00 2015年6月2日（二） 上午10:00至下午12:00 香港萬麗海景酒店閣樓 香港灣仔港灣道1號

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 noguarantee. This auction catalogue: HK$ 300 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

何瑩 Vivi He 業務發展部 總監 Head of Business Development Department

朱毅 Walter Zhu

吳博峯 Tommy Wu

業務代表 北京

總務處 協理 營運部 Senior Manager, General Affairs Operation Department

Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai

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目次 / Contents 2

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 4

羅芙奧春季拍賣會

SALE INFORMATION 6

羅芙奧之服務

RAVENEL SERVICES 16

心道澄懷 – 古今人文藝術專場

Literati Sublimation Oriental Arts for the Chinese Scholars 173

業務規則

TRANSACTION AGREEMENT 179

委託競投表格

ABSENTEE BID FORM 181

中國歷代年表

CHRONOLOGY 186

畫家索引 INDEX

RAVENEL STAFF AND SERVICES FOR THIS SALE

CONSULTANTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Head of Business Development Department Vivi He

Taiwan

Taiwan

Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com

Carol Yu Tel: +886 2 2708 9868 ext. 146 Email: carolyu@ravenel.com

Angela Liu Tel: +886 2 2708 9868 ext.881 Email: angelaliu@ravenel.com

Hong Kong, International

Hong Kong, International

Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com

PHONE BIDS AND WRITTEN BIDS Hong Kong, International Vivi He Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com

Aly Choi Tel: +852 2889 0859 ext.763 Email: alychoi@ravenel.com

Aly Choi Tel: +852 2889 0859 ext.763 Email: alychoi@ravenel.com

Beijing

China

Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com

Shanghai Xiu Lee Tel: +86 21 2411 9575 Email: xiulee@ravenel.com

Taiwan Carol Yu Tel: +886 2 2708 9868 ext. 146 Email: carolyu@ravenel.com

Beijing Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com

Shanghai

The catalogues are available for subscription.

For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

Jason Dong Tel: +86 10 8587 8099 ext.22 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.

Xiu Lee Tel: +86 21 2411 9575 Email: xiulee@ravenel.com

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

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.

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”.

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.

ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up

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羅芙奧香港 2015 春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

何瑩 電話：+852 2889 0859 轉 711 電子信箱：vivihe@ravenel.com

台灣

台灣

游景涵 電話：+886 2 2708 9868 轉 146 電子信箱：carolyu@ravenel.com

劉佩姍 電話：+886 2 2708 9868 轉 881 電子信箱： angelaliu@ravenel.com

香港．國際

香港．國際

蔡梓軒 電話：+852 2889 0859 轉 763 電子信箱：alychoi@ravenel.com

蔡梓軒 電話：+852 2889 0859 轉 763 電子信箱：alychoi@ravenel.com

北京

中國

朱毅 電話：+86 10 8587 8099 轉 23 電子信箱：yizhu@ravenel.com

董戈 電話：+86 10 8587 8099 轉 22 電子信箱：jasondong@ravenel.com

朱毅 電話：+86 10 8587 8099 轉23 電子信箱：yizhu@ravenel.com

電話書面競標聯絡人 香港．國際 何瑩 電話：+852 2889 0859 轉 711 電子信箱：vivihe@ravenel.com

上海 台灣 游景涵 電話：+886 2 2708 9868 轉 146 電子信箱：carolyu@ravenel.com

北京 朱毅 電話：+86 10 8587 8099 轉 23 電子信箱：yizhu@ravenel.com

李政希 電話：+86 21 2411 9575 電子信箱：xiulee@ravenel.com 本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領，上班時間為週一至週五上 午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。

上海 李政希 電話：+86 21 2411 9575 電子信箱：xiulee@ravenel.com 註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之委 託競投表格；或可參與網上競投，詳情請洽 羅芙奧官方網頁。 註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。

網上競投 請前往 LiveAuctioneers 註冊 www.liveauctioneers.com/sign-up

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。

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LITERATI SUBLIMATION ORIENTAL ARTS FOR THE CHINESE SCHOLARS Tuesday, 2 June 2015 3:30 pm Renaissance Harbour View Hotel Hong Kong, Mezzanine Floor

Lots 6001 – 6094

6001 KE WEIGUO (Ke Wei-kuo,Taiwanese, b.1976) Looking forward 2008 Ink on paper 138 x 27.5 cm With one seal of the artist

HK$ 10,000 - 30,000 NT$ 40,000 - 121,000 US$ 1,300 - 3,900 柯偉 國 心眺 2008 水墨 紙本 138 x 27.5cm 鈐印：柯

A mountain seen is a mountain being, a mountain seen is no mountain being, a mountain seen remains a mountain being.

Scientific interpretation: Seeing is perceiving; thinking critically; perception verified. 「見山是山，見山不是山，見山還是山。」禪語

Ke Wei-kuo was born in the rainy town with mountains and water called Ruifang in the New Taipei City. The greenery scene of this rural place brings Ke Wei-kuo to his childhood memories. Geographically located in the Northeast in Taiwan makes Ruifang rainy and hazy, from which Ke Wei-kuo always gets inspired.

The creations of Ke's are sophisticated. The little spots with different size and contrast shown on the painting reflect the skill of ink-chapping. Together with the use of light ink, ink overnight and the humid effect on the paper, a mutation of ink-trace is composed. This connotes a change of time and climate, and one's emotion. 柯偉國自小生長在台灣新北市瑞芳，這個有山有海的雨鄉小鎮，鄉間的山石草木，有許多 童時的記憶，因地處台灣東北角而常有的煙雨迷漫，沉澱了不少創作上的靈思與想像。 柯偉國的作品是細膩的。畫面中深淺大小不一的細點營造出水墨表現的皴法，透過層次不 同的淡墨、宿墨, 以及紙張上的乾濕效果，製造出千變萬化的墨點痕跡，因為不同時間、 不同氣候，不同心境，墨在紙張上醞釀出不同的筆墨。

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Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6002 TIAN XUTONG (Chinese, b.1962)

田旭桐

Meditation with Scholar's Rock

太湖石趣

2010 Ink on paper 95 x 88 cm Signed Tian Xutong in Chinese and dated 2010 With one seal of the artist

HK$ 40,000 - 80,000 NT$ 162,000 - 324,000 US$ 5,200 - 10,300

2010 水墨 紙本 95 x 88 cm 簽名：田旭桐 2010 鈐印：田旭桐

As a native of Guangdong province, Guo Hanshen graduated from the Fine Art Department of National Taiwan Normal University in the 1970's and later studied ink brush painting at the Chinese University of Hong Kong. He was a student of Liu Guosong in Taipei and as an artist, his painting took a distinctive turn towards spiritual symbolism. Guo presents the essence of the world and its natural phenomenon with traditional ink painting, from which the spirit of plain silence and harmony is shown. He is innovative towards the style and topic of paintings, and his creations are intrinsically-orienteering.

In Guo's paintings, unconventional medium other than brush pen are applied. He is inspired by the concept of "root" and "water" as he believe they are the bonanza of life. The natural phenomenon of "snow", "mist", "cloud", and "glow" are always used to reflect the virtue, experience, belief, and philosophy in one's subconscious mind, and by combining with the snippets of daily lives, Mr. Guo lauds the holy nature so as to pay his respect towards life. This Lot: Pine Tree in the Snow, the land is covered with winter snow; The tree stems loom and struggle in between the mountain and rocks show a sense of perseverance by their steadfast roots; The vitality of the tree stems implies that people in adversity have to resort to the natural power of university, as only it will make things get through easier.

By showing the context of the sublime of nature, a new tradition of Chinese ink painting is created. And in such context of nature, the interdependence and cohesion of things culminate to a moment of eternal beauty. 郭漢深祖籍廣州，1970年代於國立臺灣師範大學藝術系畢業，後往香港中文大學 研習水墨。在台北時曾師從劉國松並隨其潛心鑽研和推廣現代水墨。選擇以傳統 水墨形式呈現純粹世界與自然之象，簡潔無華，安寧靜謐，彩墨作品富有深刻的 精神意義。積極從事創作，特別是在水墨技巧，畫面表現形式和題材元素方面作 出種種新嘗試。其創作明顯轉向內省之精神層面象徵。 在其水墨畫創作過程中，運用了毛筆以外的非傳統途徑繪製而成。其創作靈感源 自生活中緊扣著其思維情懷的「根」與「水」，因其深感「根」與「水」同時隱 藏著「生命之源」的含意。在作品中，他也經常運用到自然形態，如「雪」、 「霧」、「雲」、「霞」等表達途徑來引發儲藏在腦海中潛意識層面之個人學 養、繪事經驗、信仰背景、人生哲理，配合相關生活片段的點滴內涵元素，舒發 其內心對大自然的熱愛和歌頌，讓心靈上那貫徹生命的高逸意境得著釋放。在繪 描那蒼茫茫的冬雪景象，大地一片冷漠，幹根瑟縮於被皚皚白雪所覆蓋的嶙峋狹 窄的山石之間，掙扎求存，又彷彿為了保護著擁纏其根下疏鬆的土石而顯得挺 拔，堅強不屈。藉此可感受到樹根那頑強的生命力量，諭示人在逆景中，若要度 過那苦寒的時刻，便得仰望創造宇宙萬物的恩主賜力量，因衪那無法測度奇妙的 作為和創造的大能可幫助我們輕輕鬆鬆地走過。 對自然物象窺貌取神，開創現代水墨新風，建立中國繪畫新傳統，呈現出空靈清 妙的意境。在這樣的藝術意境之中，一切都如同天珠交涉，互映互證，融徹貫 注，一切都在對剎那永恆的本真之美的體驗中高度融合統一。

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Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6003 GUO HANSHEN (Kwok Hon-Sum, Chinese, 1949-2004)

Pine Tree in the Snow 1985 Ink and color on paper 138 x 68 cm Signed Hanshen1985 in Chinese PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 75,000 - 100,000 NT$ 304,000 - 405,000 US$ 9,700 - 12,900 郭漢深 雪松 1985 彩墨 紙本 138 x 68 cm 款識：漢深 一九八五 來源： 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

6004 FENG YONGJI (Fung Wing Kee Raymond, Chinese, b.1952) Whisper in Winter 2014 Ink and color on paper 28 x 180 cm Signed Yongji in Chinese With one seal of the artist

HK$ 75,000 - 100,000 NT$ 304,000 - 405,000 US$ 9,700 - 12,900 馮永基 寒冬細說 2014 彩墨 紙本 28 x 180 cm 款識：永基 白沙灣 鈐印：馮

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"I pursue disciplined compositions and distinctive layers in my paintings, deliberately leaving large piece of void, much like having a courtyard in architectural context. It is a visual arrangement and a spiritual retreat, a void to leave viewers with borderless freedom for monologue."

"My paintings may appear to resemble a particular mountain or sea, but my content does not derive from any actual scenery. I like to make use of an open scenery to create a space, allowing the feelings a scenery offers me to portray a utopia I always long for – to represent Hong Kong, which I was born and raised in, as a nature of poignant mountain ranges and flocking islands which can not be restored in reality."

"The implications of my selected colors sometimes depict Hong Kong islands in swaddling mists, sometimes represent the delicate and simplicity of Song Dynasty ceramics. They all represent my strong feelings toward this place in a period before it is polluted. Through overlapping brush strokes, especially the density, gloomy, grandeur and gasp created by the balancing of solid and void, my romantic senses for pursuing the ideal can be realized."

——Fung Wing Kee Raymond

「我追求的構圖嚴謹而層次鮮明，畫面刻意留下大幅的空白，猶如建築語境所彰顯的中庭，既是一種視覺的層次，又或 是心靈所依，讓『留白』給觀賞者自有無垠的獨白。」 「我的畫面形式雖擬似那山那水，內容卻非取材實景。我喜愛以借景來營造空間，借空間的感覺來描繪一直期待的烏托 邦，反映所生長的香港，在無法還原底下巒山群嶼的淒美浮光。」 「我的色彩蘊含背後意義，有時描繪暮色迷茫的香江島嶼，有時呈獻宋代陶瓷的樸拙輕柔，代表內心強烈追憶往昔未污 染的吾土吾鄉情。透過重疊交疊的墨觸，尤其在虛實對比所營造的厚重、陰鬱、雄邁、疑霾、嘆息，釋放出一個終日沉 湎於追求理想的浪漫情懷。」 ——馮永基

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6005 AN EXTREMELY RARE JUNYAO PURPLE SPLASHED CENSOR Song or Jin Dynasty (AD960-1234) H: 9.5 cm PROVENANCE: Old Private Japanese Collection

HK$ 350,000 - 450,000 NT$ 1,417,000 - 1,822,000 US$ 45,100 - 58,000

This censor has a wide mouth with an outwardly folded and flattened rim, and a curved belly that rests on three legs. It is covered inside and out with sky blue glaze with splashes of purple. Since the Jun kilns generally used an opaque finish, the glaze would run when the vessel was burned at high temperatures. Consequently, the glaze is thinner at the edges, where some of the amber body can be glimpsed. At the bottom, however, the glaze is particularly thick and smooth. The pure azure glaze and the splashes of purple merge harmonically for a glowing sunset type of visual effect, very pleasing to the eye. Design and glaze clearly identify this a piece of Yuzhou's Jun kiln, and the exceptional color and beauty of its finish will delight any collector of rare and valuable ceramics. 爐敞口、折沿、短頸、鼓腹，底部下承三足，爐體內外皆施天藍釉

宋/金 鈞窯天 藍 釉 紫 紅 斑 三 足 香 爐

紫紅斑，紫紅斑點綴香爐器身，由於鈞窯為乳濁釉，釉水高溫後融

來源： 日本資深藏家舊藏

部時會有積釉，凝於底部肥潤似乳。天藍釉發色純正，與紫紅斑過

化流淌，所以口沿處釉水微薄，露出黃色的胎骨，而釉水流淌至底 渡自然，渾然天成，頗似絢爛的晚霞，給人以無限的遐想。造型與 釉色均為宋金時期典型器物，釉色醇美，是一件十分珍貴的鈞窯珍 品，殊為稀有。

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6006 CHEN JINGTIAN (Chan Kengtin, Chinese, b.1979) Moon on the River 2012 Ink and color on paper 96 x 37 cm Signed Jingtian in Chinese With two seals of the artist

HK$ 28,000 - 38,000 NT$ 113,000 - 154,000 US$ 3,600 - 4,900 陳鏡田 江月初照 2012 彩墨 紙本 96 x 37 cm 款識：鏡田 鈐印：陳、鏡田（右下）

From Chan Kengtin's work, we can witness the fascinating clash of modern city life with the ideals of traditional Chinese landscape painting. Chan's imagery is usually a reflection of his inner world, and his paintings often have a feeling of vagueness about them, as if showing a kind of primeval chaos. His "shards of glass" method of depicting rocks and mountains has become a main element of his artistic language over the past five years, and the inspiration for this distinctive technique came from the crackle glaze found in Song dynasty Guan ware. This lot, "Moon on the River," gives the impression of a landscape after snowfall, its many shades of white and silver mirroring the vastness and magnificence of the universe. But ultimately, the expressive imagery and composition serve to depict the artist's inner moods and vistas. 陳鏡田的繪畫裡，我們看到了都市生活和傳統山水精神的 對撞。畫中的山水畫往往是他內心世界的寫照，畫面中常 有天地初開般的朦朧感，「玻璃碎片狀」的山石畫法是他 近五年創作中慣用的藝術語言，靈感來源於中國宋代名 窯——官窯的開片。本件拍品《江月初照》：峻峭的山嶽 銀裝素裹，透射出宇宙的博大恢宏，在意象與構造雙重語 境下，描繪出他心中的風景。

6007 A RARE XINGYAO WHITE GLAZED EWER Tang Dynasty (AD618-907) H: 13.5 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 140,000 - 180,000 NT$ 1,417,000 - 1,822,000 US$ 18,100 - 23,200 唐 邢窯白磁小 執 壺 來源： 香港資深藏家舊藏

This ewer has outwardly arched edge, a short neck, and a long, rounded belly. Attached to the neck and belly on one side is an elongated curved rattan design handle. On the opposite side of the handle is a short, round spout.

Most Tang dynasty zhihu ewers show this kind of design.

The whole vessel is glazed pure white. The finish has a smooth, glossy luster, and is free of impurities. A very fine and representative specimen of a white glazed ewer from the Tang dynasty's Xingyao kiln. 壺撇口，短頸，長圓腹，一端飾有藤柄，另一端配有一 短流。唐代執壺多為此造型。器身通體施白釉，釉色潔 白，無雜質，釉光瑩潤。為唐代邢窯白釉執壺的典型器 物。

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6008 ZHAO LU (Chinese, b.1980) Dancer No. 2 2014 Ink on paper 122 x 60 cm With one seal of the artist EXHIBITED: Another World：Zhao Lu's ink art, WE SPACE, Xiamen, China 2014 Insulated in between, China National Convention Center, Beijing, China 2014

HK$ 70,000 - 120,000 NT$ 283,000 - 486,000 US$ 9,000 - 15,500 趙露 舞者 No. 2 2014 水墨 紙本 122 x 60 cm 鈐印：露 展覽： 「另一個世界——趙露水墨作品展」 喂空間，中國廈門 2014 年 「隔・寂之境——趙露水墨作品展」 國家會議中心，中國北京 2014 年

6009 A RARE DINGYAO WHITE GLAZED FLORAL BOWL CARVED WITH HIBISCUS PATTERN

Ding ware is one of the five great ceramic styles of the Song dynasty,

Song Dynasty (AD960-1279) MD: 10 cm

a light body with compact texture and a smooth, glossy luster. The

PROVENANCE: Old Private Hong Kong Collection

and is best known for its white porcelain produced in large quantities for the Northern Song imperial court. This lot, a Ding ware plate with a cotton-rose hibiscus floral design and a scalloped rim, combines glazing is white with a subtle tint of ivory, as is standard for Northern Song Ding ware. The plate's lip is executed in a stylized blossom shape, while its center features an engraving of a hibiscus flower broken at the stem. More commonly seen motifs are day lily or similar conventional floral patterns, giving this item an additional touch of

HK$ 250,000 - 320,000 NT$ 1,012,000 - 1,296,000 US$ 32,200 - 41,300

rarity. The elegant design shows smooth and highly practiced craftsmanship, making this a fine example of the superior quality associated with Northern Song Ding ware. 定窯為宋代五大名窯之一，以白瓷聞名於世，為北宋宮廷燒制大量

宋 定窯劃花芙 蓉 紋 花 口 盌 來源： 香港資深藏家舊藏

瓷器。此件定窯劃花芙蓉紋花口盌胎體輕薄，質地堅致，色澤瑩 潤，釉色白中微泛牙黃，為北宋時期定窯的標準色澤。盤口呈花 形，碗心刻畫折枝芙蓉花，紋飾相對定窯萱草紋等常規紋飾更為難 得，其刻畫刀法嫺熟，行雲流水，則展現出北宋定窯工匠的高超技 藝水準。

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6010 WANG WUXIE (Wucius Wong, Chinese, b.1936)

王無邪

Calligraphy

潑彩書法合璧 - 劉永傾杯詞摘句

1988 Ink and color on paper 138 x 68 cm Signed Wang Xuxie in Chinese and Dated 1988 With three seals of the artist PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 130,000 - 200,000 NT$ 526,000 - 810,000 US$ 16,800 - 25,800

王無邪 書法作品《早秋》1985 年，本件作品與拍品亦是 創作於這一時期。 Wucius Wong Calligraphy Early Autumn 1985, this Lot is also created in this period.

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1988 彩墨 紙本 138 x 68 cm 鈐印左下：王（白） 無邪（朱） 鈐印右下：詩情畫意 釋文： 楚峽雲歸，高陽人散，寂寞狂縱跡。望京國，空目斷遠峰凝碧。 款識： 柳永傾杯詞摘句。雪碧潑彩造境、王無邪書。一九八八年新州。 來源： 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6011 LIN ZHENHUI (David Lam, Chinese, 1932 - 2013)

Cheung Chau Island 1988 Ink and color on paper 47 x 63 cm With one seal of the artist PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 40,000 - 80,000 NT$ 162,000 - 324,000 US$ 5,200 - 10,300 林鎮輝 長洲島 1988 彩墨 紙本 47 x 63 cm 鈐印右下：林氏 來源 : 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

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6012 CHEN JINGTIAN (Chan Kengtin, Chinese, b.1979) Green Lotus Deep Spring 2014 Ink and color on paper 50 x 47 cm x 2 Signed Jingtian in Chinese With three seals of the artist

HK$ 38,000 - 60,000 NT$ 154,000 - 243,000 US$ 4,900 - 7,700 陳鏡田 碧荷幽泉 2014 彩墨 紙本 50 x 47 cm x 2 鈐印左上：陳 鏡田 鈐印中間：濯流館 鈐印右下：研癖 款識：鏡田 二零一四年

[唐] 李白《古風．碧荷生幽泉》 [Tang dynasty] LI BAI Lotus beside the Secluded Spring 碧荷生幽泉，朝日豔且鮮。 Lotus in bluish green grows beside the secluded spring. 秋花冒綠水，密葉羅青煙。 The blossom beams in the rising sun. 秀色空絕世，馨香為誰傳 It cranes over the teal water, with the bushy leaves flourish in the mist. 坐看飛霜滿，凋此紅芳年。 Unprecedented charm, the pretty flowers with a delicate scent; 結根未得所，願托華池邊。 but who can help disseminate its fragrance?

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6013 A VERY RARE YAOZHOU TEABOWL Tang Dynasty (AD618-907) MD: 12 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 80,000 - 120,000 NT$ 324,000 - 486,000 US$ 10,300 - 15,500 唐 耀州窯褐彩 小 茶 盞 來源： 香港資深藏家舊藏

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It is well known that the Yaozhou kiln is most renowned for its cel-

眾所周知耀州窯瓷器中青瓷最為著名，而耀州窯唐代創始之初而多

adon ware. This kiln was established during the Tang dynasty, and at

燒制素地黑彩、白釉黑彩等釉色，該器物就唐代耀州窯的一件茶

first produced mainly plain or white-glazed ceramics with splashes of

盞。盞敞口，弧腹，圈足。盞為素胎，盞內芯墨彩繪有六枝植物造

black. This lot is a Tang Yaozhou teabowl with a wide mouth, round-

型，散發出唐代一小盞的古拙之氣。

ed belly, and circular foot. The body is unglazed, but the bowl's inside is decorated with a black ink floral design of six blossoms whose stems meet roughly in the floor's center. This is a lot emanating the classic elegance characteristic of Tang dynasty teaware.

6014 A RARE DINGYAO FLORAL BRUSHWASH Five Dynasties (AD907-960) MD: 14.5 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 300,000 - 400,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300 五代 定窯仿金 銀 器 花 口 小 洗 來源： 香港資深藏家舊藏

This brushwash has a five-petaled scalloped rim and a very gently curved belly, with tears on the surface where the glaze has run.

The piece is entirely covered with white glaze of a pure, snowy tint and smooth luster, with the exception of the round foot, where the ceramic body is visible. This kind of flower-shaped scalloped rim is frequently seen in Ding ware from the Five Dynasties period, but usually the edge is four-lobed, and five petals as in this lot are much less common. The overall design is imitative of precious metal vessels popular during the Tang dynasty, and this early Dingyao brushwash with its evenly applied, snow-white hue and exquisite workmanship is truly a rare specimen of Five Dynasties Ding ware. 此洗五瓣菱形花口，腹部微斜，洗口流釉如淚，通體施白釉，圈足 處露胎，釉質細膩潔白。釉色純淨，白若堆雪。菱形花口器形常見 於五代定窯，多為四瓣，而此洗為五瓣，更為稀少，器形模仿於唐 代時期流行的金銀器物。此件定窯早期小洗釉色白皙勻淨，燒造工 藝講究，為五代定窯不可多得的一件雅器。

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6015 LIU DENG (Chinese, b.1979)

劉鄧

Myths and Mountains

山水迷思

2014 Ink on paper 90 x 97cm Signed 'LD 2014' (lower right)

HK$ 15,000 - 30,000 NT$ 61,000 - 121,000 US$ 1,900 - 3,900

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2014 水墨 紙本 90 x 97cm 簽名：LD2014（右下）

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6016 A RARE DINGYAO WHITE GLAZED BRUSHWASH CARVED WITH FLOWERS

The production of white ware at the Ding kiln began during the Tang

Song Dynasty (AD960-1279) MD: 11.5 cm

rative day lily design is engraved at the bottom of the floor. The lines

PROVENANCE: Old Private American Collection

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300

dynasty. Ding ware is known for its firm and yet light and delicately worked ceramic body. The colors are pure, and the vessels highly vitrified. This brushwash has a wide mouth and slanting walls. A decoare succinct and flowing, and the craftsmanship is meticulous and mature. The pattern is carved into the surface with a great sense of spacing and composition, achieving a highly stylized and aesthetically pleasing visual effect. A good example for the excellent workmanship of Song dynasty potters. 定窯白瓷的燒造始於唐代，胎骨堅致且輕薄精細，顏色潔淨，瓷化 程度高。此洗敞口，斜壁。內底採用刻花技法飾萱花紋，線條簡潔 流暢，刀法嫻熟，刻畫精細。紋飾陰刻，佈局疏朗有序，追求寫意 的神韻，展現了宋代製瓷工匠瓷技藝水平。

宋 定窯劃花萱 花 紋 小 洗 來源： 美國資深藏家舊藏

6017 ZHENG MING (Cheng Ming, Chinese, b.1949)

鄭明

Spring

春色

1988 Ink and color on paper 59 x 85 cm Signed Cheng Ming in Chinese and dated 1988 With two seals of the artist PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 30,000 - 50,000 NT$ 526,000 - 810,000 US$ 3,900 - 6,400

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1988 彩墨 紙本 59 x 85 cm 鈐印右下：鄭明 不黯 題識：岸邊春色曉，水影夕陽微。寂寂深煙裡， 漁舟夜不歸。一九八八年一月，鄭明。 來源： 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6018 A VERY RARE SHANXI CARVED BOX AND COVER

The black-glazed cover fits snugly on the box and has an attractive

Jin Dynasty (AD1115-1234)

away parts of the glaze to reveal the desired design. The burning

W: 12.5 cm PROVENANCE: Old Private Hong Kong Collection

decorative tihua pattern. The tihua technique involves covering the ceramic body with engobe, then glazing it black, and finally chipping process makes the contrast between the black glaze and the white engobe even more pronounced, creating a lively visual appeal. The center of the cover is adorned with a chrysanthemum design, surrounded by a tendril vine pattern running along the edge. As an everyday utensil, this item allows us to catch a glimpse of life in old

HK$ 120,000 - 160,000 NT$ 486,000 - 648,000 US$ 15,500 - 20,600

China. 香盒子母口相對接，蓋為黑釉剔花手法裝飾，通體施化妝土後，罩 黑釉，剔除多餘黑釉後凸顯紋飾，燒制後黑釉與白色化妝土相襯 托，對比強烈。蓋中心為菊花紋，一圈纏枝環繞，傳遞出古人的生 活美學。

金 山西窯刻花 香 盒 來源： 香港資深藏家舊藏

6019 ZHONG MING (Chinese, b.1949) Moon Night 1988 Ink and color on paper 92.5 x 68.5 cm With two seals of the artist PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 40,000 - 60,000 NT$ 162,000 - 243,000 US$ 5,200 - 7,700 鍾鳴 月夜 1988 彩墨 紙本 92.5 x 68.5 cm 鈐印左下：鍾鳴 鈐印右上：古月閣 來源： 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

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6020 A VERY RARE AND SMALL YAOZHOU BLACK GLAZED CENSOR

This censor has a lipped rim, a straight neck, and a rounded belly, and

Jin Dynasty (AD1115-1234) H: 6.5 cm

colored body. The glaze was allowed to run during the manufacturing

PROVENANCE: Old Private Hong Kong Collection

and slightly thicker at the bottom. This was a very popular design for

HK$ 120,000 - 160,000 NT$ 486,000 - 648,000 US$ 15,500 - 20,600

此爐唇口，直頸，鼓腹，下承三足，器物內外皆施黑釉，器物邊緣

金 耀州窯黑釉 小 香 爐 來源： 香港資深藏家舊藏

46

it rests on three feet. The entire vessel has a black glaze finish, inside and out. The finish is thinner at the edges, partly revealing the russet process, and is therefore somewhat thinner around the rim and neck, censors during the Song and Jin dynasties, similar to those found in Jun ware.

釉薄處略顯鐵銹色。釉水在燒制的過程中流動，所以呈現器身口 部、頸部略薄，底部較厚。此種器形為宋金代時期香爐的流行造 型，亦有鈞窯香爐類似器形可做參照。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6021 ZHONG MING (Chinese, b.1949)

鍾鳴

Mountains

山間

1988 Ink and color on paper 67.5 x 45 cm With one seal of the artist PROVENANCE: Alisan Fine Arts, Hong Kong Acquired by the present owner from the above in late 1980's

HK$ 18,000 - 30,000 NT$ 73,000 - 121,000 US$ 2,300 - 3,900

1988 彩墨 紙本 67.5 x 45 cm 鈐印右下：鍾鳴 題識：戊辰年製 來源： 香港藝倡畫廊 現藏者八十年代末購自上述畫廊

6022 A VERY RARE DINGYAO BOWL Northern Sony Dynasty (AD 960-1127) MD: 14 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 250,000 - 350,000 NT$ 1,012,000 - 1,417,000 US$ 32,200 - 45,100 北宋 定窯深腹 盂 出處： 香港資深藏家舊藏

This bowl has a wide, slightly flaring mouth, curved belly, and round foot. The faintly visible lines wrapping around the outer wall are not decorations, but traces of the casting process. The vessel is completely covered with white glaze, except for the round foot, where the ceramic body is visible, also of a pure white color and smoothly worked. This bowl is comparatively large, and its body is somewhat thinner than the norm. Its snow-white finish and soft luster are still as attractive as they were almost a thousand years ago. 此盂敞口，斜壁，深腹，圈足。外壁依稀可見拉坯的痕 跡，周身施白釉，圈足處露胎，潔白細膩。該器物胎體 較輕薄，白釉潔淨，釉光亮麗。經歷近千年的洗禮依然 風采依舊。

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6023 A RARE JUNYAO CENSOR WITH LAVENDER BLUE GLAZE Song or Jin Dynasty (AD960-1234) H: 11 cm PROVENANCE: Old Private Japanese Collection

HK$ 400,000 - 500,000 NT$ 1,619,000 - 2,024,000 US$ 51,600 - 64,500 宋/金 鈞窯天 青 釉 香 爐 來源： 日本資深藏家舊藏

This censor has a thick body, a mouth with a lipped edge, a short neck, and a round belly. It is completely covered in a sky blue glaze, with the exception of the three feet on which the vessel rests. The glaze shows fine crackling from rim to base, and the finish is thinner on top of the mouth, revealing the brown color of the ceramic body.

The glaze was allowed to run from the edge of the mouth towards the foot. As a result, the finish is thicker at the bottom, and its luster is particularly smooth and vitreous. Overall, this lot is highly representative of censor style and design during the Song dynasty. 爐厚唇口出沿，短頸，鼓腹，底部承三足，通體施天藍釉。三足底 無釉。釉面開片遍佈器物全身。口部邊緣釉薄處微微顯露胎骨的黃 色。釉水在燒制的過程中流動，口沿處釉水向下流淌，所以底部釉 水厚於口部，釉面呈現很強的玻璃質感。此種器形為宋代時期香爐 的經典造型。

Other view

6024 WU GUANLIN (Ng Kwun Lun Tony, Chinese, b.1964)

吳觀麟

Reflection I

冥思(一)

2004 Ink and color on paper 50 x 92 cm EXHIBITED: 10th National Exhibition of Fine Arts, China 2004 LITERATURE: Collection of Awarded works of 10th National Exhibitionof Fine Arts

HK$ 50,000 - 80,000 NT$ 202,000 - 324,000 US$ 6,400 - 10,300

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2004 彩墨 紙本 50 x 92 cm 展覽： 第十屆全國美術作品展覽 2004 出版： 《第十屆全國美術作品展覽——獲獎作品集》

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6025 AN EXTREMELY RARE JUNYAO LAVENDAR BLUE GLAZED TEABOWL WITH COVER

The entire teabowl is covered with lavender blue glaze of a particu-

Northern Song Dynasty (AD960-1127) H: 11 cm

ware. At the rims of the bowl and cover, the opaque glaze is slightly

PROVENANCE: Old Private Hong Kong Collection

HK$ 200,000 - 280,000 NT$ 810,000 - 1,134,000 US$ 25,800 - 36,100 北宋 鈞窯天青 釉 茶 入 出處： 香港資深藏家舊藏

larly bright color, and comes with a snugly fitting cover. The round foot has a finish of protective glaze typically seen in top-grade Junyao thinner, revealing the ocher body underneath. Around the outer side of the round foot the glaze is thicker, because the opaque finish was allowed to run and form tears. This is typical for the Northern and Southern Song, an attempt to recreate the texture and appeal of jade. The bowl's design is simple and elegant, and there are no decorative designs of any kind. Its appeal rests entirely on the color and luster of the celadon glaze, and its understated beauty and refinement are expressive of the aesthetic ideals of the Song literati class. 器身施天藍色釉，顏色亮麗，茶入分蓋與罐兩部分，圈足有典型鈞 窯高檔次產品之護胎釉。通體施鈞窯天藍乳濁釉，口沿處微微露出 黃褐色胎骨，圈足處釉層較厚，為乳濁釉在燒制過程中流淌所致， 為兩宋時期追求玉質感的特徵。茶入造型簡潔，未有其他紋飾裝 飾，只以青釉詮釋器物是神韻，從一方面也看出宋人內斂的性格。

6026 FENG YONGJI (Fung Wing Kee Raymond, Chinese, b.1952)

Only God Knows 2009 Ink and color on paper 14 x 140 cm with one seal of the artist EXHIBITED: Hong Kong Lyric: Ink Paintings by Raymond Fung , University Museum & Art Gallery, the University of Hong Kong, Hong Kong, January 29 to April 11, 2010

HK$ 32,000 - 48,000 NT$ 130,000 - 194,000 US$ 4,100 - 6,200 馮永基 問蒼天 2009 彩墨 紙本 14 x 140 cm 鈐印：馮 展覽： 「香江戀曲：馮永基水墨畫」香港大學博物館 香港 展期 2010 年 1 月 29 日至 2010 年 4 月 11 日

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Fung Wing Kee Raymond, born in Hong Kong in 1952, is a famous

馮永基是香港著名的建築師、設計師及水墨畫家，1952年於香港出

architect, designer, and ink painter. The architecure works of Mr.

生。馮永基的建築設計獲獎無數，但畫筆下的香港，卻將建築棄若

Fung's had been awarded for times, however, the Hong Kong under

敝屣。既是建築師、又是水墨畫家，他眼中最美的，是「沒有建築

his painting, is a city which disregards the existence of architectures.

的香港」，因此多年來致力為都市「留白」，實踐「大空間，小建

Being both an architect and water-ink painter, Mr. Fung thinks Hong

築」的美學理念。他的作品揉合中國傳統的水墨技巧及西方繪畫的

Kong shows her most beautiful side without having any architecture,

色彩和構圖，並受到本身的建築專業及視覺環境的觸覺所啟發，而

and for the same reason, he strived to leave blank for the city so as to

成功創作了富抒情色調、以香港風景為題材的水墨系列。

construct the aesthetics of "Big space, small architecture" for years.

His pieces comprise with skills and color-combination of both tradi-

馮永基的作品以富抒情色調、及香港風景為主的水墨畫。透過墨、

tional Chinese water-ink and Western painting. Also, being inspired

毛筆、紙張、顏色，它們相互之間會產生一種感覺。這一種手藝感

by his architectural profession and perception to the visual environ-

是無法形容的， 你必須親身來參與，才能夠體會它的奧妙之處。」

ment, the element of Hong Kong's landscape is found in his painting

馮永基說，「水墨」二字，可能會為欣賞水墨畫的人帶來一些限

with an expressive color-tone.

制，所以他也勸喻欣賞者要釋放自己：「不用當水墨有一套特定的 規矩，因為現代水墨，也不再純粹用毛筆，或只重視它筆墨上的技

The sentiment towards Hong Kong's landscape is reflected by the color used in Mr. Fung's paintings. A subtle relationship is built by the cross-using of ink, brush pen, paper, and color. This is nearly indescribable while you can only feel it by perceiving the paintings in person. Mr. Fung explained that the word "Shuimo/water-ink" may bring restraints to some people's conventional thoughts. He suggest viewer emancipate themselves from the restraints -"there are no rules to modern water-ink painting as it is not confined to the use of brush pen, but only the painting skill itself is emphasized. Water-ink painting is more like a medium for the transcending of art."

巧。它已成了一種媒界，做了很多出神入化的藝術。」

6027 TIAN XUTONG (Chinese, b.1962) Spring 2014 Ink on paper 180 x 23.5 cm Signed Tian Xutong in Chinese and dated 2014 With one seal of the artist

HK$ 20,000 - 40,000 NT$ 81,000 - 162,000 US$ 2,600 - 5,200 田旭桐 春綠怡心 2014 水墨 紙本 23.5 x 180 cm 款識：田旭桐 2014 鈐印：田旭桐

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Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6028 A VERY RARE YUEYAO CELADON BOX WITH COVER

The cover of this box, which fits snugly onto the bottom part, is very

Five Dynasties (AD907-960) MD: 9.5 cm

without any decorative designs. At the rims and the bottom of the

PROVENANCE: Old Private Japanese Collection

slightly arched. Below the edge of the cover's flat top a protruding decorative line runs all around. Box and lid have a smooth surface foot the yellow-brown ceramic body is visible, but the rest of the object is covered in celadon glaze of a rich and full color. The simple design and uniform tint give this lot a classic, understated elegance. 香盒子母口，蓋頂微拱，蓋邊緣起一道旋紋。器物光素無紋飾，除

HK$ 150,000 - 200,000 NT$ 607,000 - 810,000 US$ 19,300 - 25,800 五代 越窯青瓷 香 盒 來源： 日本資深藏家舊藏

58

緣口底足露灰白色胎骨，其餘全身施青釉，釉色深沉，完全憑藉釉 色凸顯此器物的高雅與含蓄。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6029 A VERY RARE YAOZHOU TEABOWL Northern Song Dynasty (AD960-1127) MD: 8.8 cm PROVENANCE: Old Private Japanese Collection

This teabowl has a wide mouth, a deep, curved belly, and a round foot which arches slightly outwards. It is completely covered with celadon glaze of a light hue, and where the finish is thinner, one can see the traces left by the final touches to the body. The glaze has a highly vitreous texture and was allowed to run, leaving visible marks on the surface. The shape is very similar to the dunshi ("broad-bellied") variety, and a decorative band wraps around the bowl directly under the

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300

lip. Teabowls from the Yaozhou kilns are most commonly of the douli ("bamboo hat") type, and dunshi specimens are rare, making this a worthy addition to any connoisseur's collection. 茶盞敞口，深弧腹，圈足微外撇，通體施青釉，釉色清淡，釉薄處 可見修胚痕跡，釉面玻璃質感強，器身可見釉水垂流痕跡，器形類

北宋 耀州窯小 茶 盞

似敦式盞，口沿下方刻旋紋一道點綴。耀州窯茶盞中斗笠盞為常見

來源： 日本資深藏家舊藏

物。

器形，而此種敦式盞殊為罕見，是耀州窯茶盞中值得收藏的一件器

6030 A VERY RARE NORTHERN KILN TEABOWL WITH BRONZE IMITATION GLAZE Song Dynasty (AD960-1279) MD: 11 cm PROVENANCE: Old Private Japanese Collection

HK$ 55,000 -70,000 NT$ 223,000 - 283,000 US$ 7,100 - 9,000 宋 北方窯口內 外 鐵 鏽 斑 茶 盞 來源： 日本資深藏家舊藏

Russet-colored glaze was a specialty of the northern Cizhou kilns

contests were a very popular pastime, and the southern kilns, such as

during the Song, Jin, and Yuan dynasties. It involves glazing an object

Jianyao, could not satisfy the huge demand for exquisite tea utensils.

black, and then applying an extra layer of coloring agent made from

Northern kilns picked up the slack, successfully imitating southern

banhuashi, an ore high in iron oxide, to add patterns as an adorn-

styles and design, such as tuhao and tietai. This bowl has a northern

ment. When the vessel is burned at high temperatures, the iron crys-

flair, combining rustic charm with fine craftsmanship.

tals will give the decorative designs their characteristic russet color and mottled appearance. This teabowl is in a shape frequently seen in

鐵鏽斑為北方磁州窯系宋、金、元時期特有的工藝，在施好的黑釉

Song dynasty Jian ware, and these type of teabowls were so popular

的胎體上用含有氧化鐵的斑花石作著色劑紋飾裝飾，在高溫的燒製

that both northern and southern kilns manufactured them. This bowl

過程中，紋飾中的鐵晶體呈現出斑斕的鐵鏽斑。此茶盞形式為宋代

has an inwardly curved mouth, a deep, wide belly, and a round foot.

建窯常見的器形，故此種茶盞型製廣為流行，南北方窯口均燒製此

The entire vessel is covered in black glaze, and adorned with elon-

器形。此盞斂口，深弧腹，圈足。通體施黑釉鐵鏽斑，斑塊呈條

gated stripes of a rusty color that extend from the rim to the bottom,

狀，內外皆自盞口至圈足、盞心均勻分佈，底足有紫黑色護胎釉，

inside and out. The underside of the foot has a finish of purple-black

為山西窯口（或懷仁地區）重要特徵；宋時因鬥茶之風甚盛，南方

protective glaze, which is an important distinguishing characteristic of

生產之建窯茶盞不敷供應全國需求，故有北方瓷窯，其模仿出南方

Shanxi kilns (or Huairen ware). During the Song dynasty, tea-tasting

建窯的兔毫和鐵胎之獨有韻味，此盞同時兼具了出北方文化粗中有 細的風格。

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6031 A VERY RARE HENAN CARVED BOWL

This bowl has a curved belly, and its mouth is embellished with a

Song Dynasty (AD960-1279) MD: 13 cm

of the bowl and reminiscent of a woven wicker design. The entire

PROVENANCE: Old Private Hong Kong Collection

ed by chipping away the finish. The ceramic body is a light gray hue,

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300 宋 河南窯柳斗 缽 來源： 香港資深藏家舊藏

decorative band wrapping around the vessel. Below that, the belly is adorned with vertical, semicircular lines running towards the center body is glazed white inside and out, and the wicker stripes were addand has a tight texture. The bowl's shape and decorative patterns are imitative of a wickerwork basket, giving this type of vessel its name: liudou bowl. Liudou designs first appeared in Henan ware around the late Tang, and became popular during the Five Dynasties period. Originally, liudou ware was known for the realism of the wicker weave designs, but by the Song dynasty the figurative patterns had become much stylized and simplified. 此缽弧腹，缽口一道旋紋，旋紋下的鼓圓腹上刻滿象徵柳條編織紋 的同心半圓弧紋。缽通體內外飾白釉，柳條紋飾為剔除白釉所呈 現，胎淺灰色，質地細密。該缽的造型和紋飾與柳條編織的籮筐相 似，故名柳斗缽。柳斗紋飾在該窯始出現於晚唐，五代時流行，且 以寫實性的柳斗編織紋為主。到宋代紋樣簡化，不見寫實編織紋， 改以象徵紋為表現。

6032 AN EXTREMELY RARE AND LARGE RAOZHOU QINGBAI GLAZED FLORAL PILLOW Northern Song Dynasty (AD960-1127) L 28 cm x H 16.5 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 650,000 - 850,000 NT$ 2,632,000 - 3,441,000 US$ 83,800 - 109,600 北宋 饒州窯刻 花 大 枕 來源： 香港資深藏家舊藏

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The pillow's surface is shaped like the traditional Chinese ruyi motif, with an arched edge that is cocked up on three sides. The oval body is much narrower than the surface, with the walls slightly slanted and engraved all round with a floral design. The entire pillow is glazed celadon, with a green shimmer to the predominantly white finish. The celadon hue is more pronounced where the glaze is more thickly applied. Where the body is exposed, the pure white of the china clay dominates. The surface has a kaiguang border, but no decorative design of any kind in the center. However, a floral pattern runs along the outer edge of the border, featuring raised and recessed parts to create a bas-relief effect. This large piece of Raozhou ware, preserved without flaw or damage, is highly representative of Northern Song celadon glazed pillows. 枕面如意形，邊緣出簷，三端上翹，枕體內斂，壁微 斜，枕體為橢圓形，雕刻有花卉紋飾繞枕體一周，通體 施青釉，釉色白中閃青，積釉處青色更加明顯，露胎處 呈現潔白瓷土。枕面如意開光，開光內無紋飾，圍繞開 光外側雕刻有花卉紋。紋飾雕刻凹凸有致，淺浮雕的效 果。此枕器形碩大，保存較為完整，亦為宋代饒州窯青 釉瓷枕的代表之作。

6033 AN EXTREMELY RARE DINGYAO WHITE GLAZED PILLOW CARVED WITH LION PATTERN Song Dynasty (AD960-1279) L 22.5 cm x H 12.5 cm PROVENANCE: Old Private Japanese Collection

HK$ 400,000 - 500,000 NT$ 1,619,000 - 2,024,000 US$ 51,600 - 64,500 宋 定窯刻花瑞 獸 枕 來源： 日本資深藏家舊藏

Detail 局部

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The surface of this roughly kidney-shaped pillow is very slightly

枕呈腰圓形，枕面微微下凹，前低後高。灰白色胎，質地堅致。枕

slanted from the lower front to the higher back. Its body has a gray-

面和四周通體施白釉，白釉下預先施一層黑釉，將紋飾部分白釉刻

ish-white hue and a robust texture. The top and all sides have a white

畫掉，便凸顯出刻畫的紋飾。此瓷枕刻畫枕面中心開光刻畫一只瑞

glaze finish with a layer of black glaze underneath. For the decorative

獸，瑞獸呈奔跑狀，雄壯有力，面容、毛髮刻畫清晰。開光外側為

pattern, the white glaze was carved out, and the engraved design

梅花紋環繞開光一周。枕側面數道旋紋將枕面分為兩層，圓形紋飾

consists of an outer border with a plum blossom motif, which frames

環繞瓷枕上層，三層梅花紋飾規律的分佈瓷枕下層。枕面的梅花與

a lion in the center. The animal is captured in a jumping pose, pow-

側面的梅花紋飾相呼應，做工極其講究，紋飾清晰，為宋代瓷枕中

erful and impressive, and its face, mane, and bushy tail are shown

上乘之作。

in fine detail. The pillow's sides are visually divided into two parts by several swirl-grained patterns, the top one showing a band of round designs, and the bottom three consisting of a regular arrangement of plum blossoms. The plum blossom patterns on the top and the sides nicely complement each other. Overall, this is a piece of masterly craftsmanship with exquisitely drawn decorative patterns, putting it in the top range of Song dynasty porcelain pillows.

6034 AN EXTREMELY RARE YAOZHOU MOLDED FLORAL BOWL

This bowl in the shape of a ten-petaled blossom has a wide belly, and

Song Dynasty (AD960-1279) MD: 12.6 cm

dril vine patterns, while the bottom shows a chrysanthemum design.

PROVENANCE: Old Private Hong Kong Collection

HK$ 120,000 - 160,000 NT$ 486,000 - 648,000 US$ 15,500 - 20,600

its scalloped rim curves inwards very slightly. The vessel rests on a round foot, and its interior walls are decorated with imprints of tenThe whole bowl is covered with Yao ware celadon glaze of a deep, comparatively opaque hue and refined aesthetic appeal. In its entirety, the bowl is designed to resemble a blooming chrysanthemum. Floral imprints are the main type of decorative design used in Yaozhou ceramics, although other motifs, such as animals or human figures, are also used, especially for more stylized designs. Bowls of this particular shape are very rare, making this a very valuable addition to any collection. 此盌器形為花瓣狀，深弧腹，口部略內斂，圈足，盌內壁模印纏枝

宋 耀州窯印花 花 口 盌 來源： 香港資深藏家舊藏

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花卉紋，盌底部為團菊紋。通體施耀州窯青釉，釉色深沉、典雅。 此盌造型獨特，整體一朵綻放的菊花。耀州窯瓷器中，印花為主要 的一種裝飾手法，紋飾多模印花卉、動物、人物等。而器形非常罕 見，為耀州窯瓷器值得收藏的一件。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6035 A VERY RARE WHITE GLAZED JAR Tang Dynasty (AD618-907) H: 16 cm

HK$ 180,000 - 220,000 NT$ 729,000 - 891,000 US$ 23,200 - 28,400 唐 白瓷大罐

This jar has a lipped rim and a bulbous belly. It is completely covered

罐唇口，鼓腹，通體施白釉，器形周正，製作精細，胎質堅實，釉

with white glaze of a pure tint, and has a very regular shape. The

色潔白，器形碩大，相對小件器物而言燒制難度更大。罐體可見拉

craftsmanship is excellent, the ceramic body firm and well worked.

坯時留下的旋紋痕跡。保存之完好更是難能可貴，釉光亦是殊為難

Manufacturing a vessel of this considerable size is rather difficult, and

得，是一件不可多得的唐代器物。

the round lines running around the belly reveal traces from the casting process. It is especially rare to see a Tang jar of these proportions, and with such an attractive glaze, preserved in such good condition, making this a very valuable addition to any collection.

6036 A VERY RARE NORTHERN KILN CELADON BOX AND COVER

The cover of this box, which fits snugly onto the bottom part, is

Song Dynasty (AD960-1279) MD: 9.5 cm

yellow-brown ceramic body is visible, but the rest of the object is

PROVENANCE: Old Private Hong Kong Collection

design and uniform tint give this lot a classic, understated elegance.

very slightly arched. Box and lid have a smooth surface without any decorative designs. At the rims and the bottom of the foot the covered in celadon crackle glaze of a rich and full color. The simple

香盒字子母口，蓋頂微拱，器物光素無紋飾，除緣口底足露黃褐色 胎骨，其餘全身施青釉，釉色深沉，釉面有微小開片，完全憑藉釉

HK$ 120,000 - 160,000 NT$ 486,000 - 648,000 US$ 15,500 - 20,600

色凸顯此器物的高雅與含蓄。

宋 北方青瓷香 盒 來源： 香港資深藏家舊藏

Other view

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6037 AN EXTREMELY RARE DINGYAO PURPLE-RED GLAZED TEABOWL Northern Song Dynasty (AD960-1127) MD: 11.5 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 600,000 - 700,000 NT$ 2,429,000 - 2,834,000 US$ 77,400 - 90,300 北宋 定窯紫釉 小 茶 盞 來源： 香港資深藏家舊藏

This teabowl has a gently curved belly and a round foot.

The white body is comparatively thin, yet smooth and firm. It is covered with glaze inside and out, with the exception of the underside of the foot. The finish is evenly applied, and has a glossy luster free from impurities, giving the bowl an exquisite texture and feel. Purple-red glaze is a relatively rarely seen type of finish in Ding ware, and was praised even in Song dynasty poetry, showing how highly it was valued by people at that time. 盞弧腹，圈足。白胎較薄，胎質細膩堅致，內外滿釉， 足底無釉，施釉均勻，釉面光潔無雜質，呈現漆器的質 感。定窯中的紫釉是定窯瓷器中較為少見的品種，宋代 就有詩句描述紫定的器物："定州花瓷琢紅玉"，可見宋 人對此類紫釉器物的追捧。

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6038 A RARE AND SMALL DINGYAO FLORAL TEABOWL

Shaped like a blossom, this teabowl has a lobed rim and is covered

Song Dynasty (AD960-1279) MD: 10 cm

wall ware involves a more complex manufacturing process than other

PROVENANCE: Old Private Hong Kong Collection

In the Song dynasty, people enjoyed modeling objects and utensils on

entirely with white glaze of a smooth, glossy luster. There are no decorative designs of any kind. This type of petaled-edge and ridgedround vessels, and is most commonly seen in late Tang metal objects. classic designs, and this brushwash is a good example. 盞花口，全器呈現花瓣狀，通體施白釉，釉色瑩潤。全器無紋飾，

HK$ 35,000 - 45,000 NT$ 142,000 - 182,000 US$ 4,500 - 5,800 宋 定窯花口小 盞 來源： 香港資深藏家舊藏

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此種器形制作工藝難度高於一般圈口器形。此種器物多見於唐代時 期的金屬器物，宋人模仿古人所燒制。亦為宋人的摹古情結。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6039 A RARE CIZHOU BLACK GLAZED CONICAL TEABOWL Song Dynasty (AD960-1279) MD: 13 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 42,000 - 55,000 NT$ 170,000 - 223,000 US$ 5,400 - 7,100

This teabowl has a conical shape reminiscent of a bamboo hat (douli), with a lip that is curving outwards, and a wide belly tapering towards the relatively small round foot. The bowl is covered inside and out with black glaze, a dark hue looking somewhat like black paint.

Among Song dynasty teabowls, the douli is easily the most famous and widely recognized design. Simple yet elegant, douli bowls were very much favored by the Song literati class. This particular item features a classic design and an attractive color suggestive of lacquerware. 盞斗笠型制，盞口外撇，深腹斜收，底部小圈足。盞口至圈足皆施 黑釉，釉色黑如漆。斗笠盞為宋代最為著名的茶盞造型，因造型酷 似斗笠而得名。器形優雅，頗受宋代文人的喜愛。此盞造型經典， 釉色古樸，有漆器的效果。

宋 磁州窯黑釉 斗 笠 盞 來源： 香港資深藏家舊藏

6040 AN EXTREMELY RARE AND SMALL HUTIAN TEABOWL CARVED WITH DRAGONS Northern Song Dynasty (AD960-1127) MD: 12.5 cm PROVENANCE: From the collection of Mr Mitsuru Uragami, an important Japanese collector in Song ceramics

HK$ 140,000 - 180,000 NT$ 567,000 - 729,000 US$ 18,100 - 23,200 北宋 湖田窯內 外 刻 海 水 摩 羯 魚 紋 小 盞 來源： 日本資深宋瓷收藏家 Mitsuru Uragami 先生舊藏

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This teabowl has a gently arched belly and a round foot.

盞弧腹，圈足，通體施青白釉，釉色青綠，內外皆刻畫

It is completely covered with bluish-white glaze, and both

海水紋，在刻畫海浪紋的輪廓裏用篦刀刻畫更為細的水

its inside and outside are decorated with an ocean wave

波紋，做工極其講究。盞壁刻畫摩羯兩只，摩羯為生活

design, with more finely chiseled water ripples incised

在水中的一種神獸，龍神魚尾狀，紋飾寓意吉祥，也展

within the deeper grooves of the swell. The carving is me-

示了宋人富足的生活。

ticulous and detailed, and there are two sea dragons engraved on the inside, mythical creatures with a dragon's body and a fish's tail. This auspicious design symbolizes the prosperity and refined lifestyles of the Song dynasty.

6041 A RARE YAOZHOU CELADON TEABOWL

During the Jin dynasty, Yaozhou kilns began to increasingly produce

Jin Dynasty (AD1115-1234) MD: 12.5 cm

and out, with a particularly vitreous texture and luster. The vessel is

PROVENANCE: Old Private Hong Kong Collection

rounded belly rests on a round foot. Overall, a decorous design with

ceramics with a bluish-white glaze (called yuebai or "moon-white").

This teabowl is a typical specimen. It has an yuebai finish inside broad-bellied, and its lip is very slightly curved inwards. The deep, a classical elegance; the workmanship is excellent. 耀州窯瓷器到金代開始呈現月白釉，此盌為此時期典型釉色，釉水

HK$ 50,000 - 65,000 NT$ 202,000 - 263,000 US$ 6,400 - 8,400 金 耀州窯月白 青 瓷 敦 式 盌 來源： 香港資深藏家舊藏

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玻璃質感強。內外皆為青釉，器形為墩式盌。口沿略微內斂，圈 足，深弧腹，整體造型端莊、古樸、規整、製作精良。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6042 A VERY RARE DINGYAO DISH CARVED WITH PEONY Northern Song Dynasty (AD960-1127) MD: 22 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 300,000 - 400,000 NT$ 1,215,000 - 1,619,000 US$ 38,700 - 51,600

The imperial Ding kiln was one of the five most important kilns during the Song dynasty, and it is best know for its white porcelain.

This rare Dingyao dish with a peony design and widely flaring sides is entirely covered with pure, snow-white glaze, which is among the best found among all Ding ware. The walls are decorated with stylized floral designs, and the center of the dish is embellished with an engraving of a peony broken at the stem. The flower dominates the overall design, and the carving shows smooth and highly practiced craftsmanship. The texture is firm, and the glaze has a glossy luster. A piece that should easily find a buyer. 定窯為宋代五大名窯之一，以白瓷聞名於世，此件定窯牡丹花卉紋 折腰花口盤胎體輕薄，釉色潔白純淨，宋代定窯白釉的上流釉色。 碗口呈花形，碗心刻畫折枝牡丹花，一朵牡丹花充滿整個盤心，其

北宋 定窯刻牡 丹 紋 折 腰 盤 來源： 香港資深藏家舊藏

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刻畫刀法嫺熟，行雲流水，質地堅實，色澤瑩潤，為北宋定窯瓷器 中路份較高的一件。

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

6043 A RARE HENAN TEABOWL Jin Dynasty (AD1115-1234) MD: 12 cm PROVENANCE: Old Private Taiwan Collection

This teabowl is shaped like a douli bamboo hat, its rim is curving slightly outwards, and it rests on a small round foot. The inside of the bowl is finished with black glaze grained with rust-colored streaks, brought out by burning the high-iron glaze at high temperatures. The visual effect is pleasant to the eye and invites fancy reveries. On the outside, the textured black glaze extends one third downwards from the edge. This kind of decorative streaked black glaze is typical for

HK$ 45,000 - 65,000 NT$ 182,000 - 263,000 US$ 5,800 - 8,400

Song dynasty Cizhou ware, and during the Song/Jin period this technique had reached a high level of maturity and popularity. 此盞撇口，呈現斗笠形，小圈足，碗內通體施黑釉，釉中含有鐵元 素，高溫燒制過程中，呈現鐵銹色不規則分佈在盞中，猶如浩瀚宇 宙，給人帶來無限的遐想。盞外施黑色鐵銹斑釉至盞身的三分之二

金 當陽峪窯茶 盞

處。此種鐵銹斑為宋代磁州窯創新的裝飾手法，宋金時期足見此種 釉色工藝已經被成熟掌握，鐵銹斑這種釉色更為宋人所喜愛。

來源： 臺灣資深藏家舊藏

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6044 HUANG XIAOKUI

黃孝逵

(Wong Hau Kwei, Chinese, b.1946)

漁火

Lights on Fishing Boats 2015 Ink and color on paper 33 x 33 cm With four seals of the artist

HK$ 10,000 - 20,000 NT$ 40,000 - 81,000 US$ 1,300 - 2,600

2015 彩墨 紙本 33 x 33 cm 鈐印四枚

6045 HUANG XIAOKUI

黃孝逵

(Wong Hau Kwei ,Chinese, b.1946)

華嶽之雄

Top of the Huashan Mountains 2014 Ink and color on paper 28 x 28 cm With two seals of the artist

HK$ 10,000 - 20,000 NT$ 40,000 - 81,000 US$ 1,300 - 2,600

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2014 彩墨 紙本 28 x 28 cm 鈐印左下：墨禪 孝逵

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

Collection of Dr K. T. Lin 林光大醫師舊藏 Lot 6046 - 6054

Dr. K. T. Lin, Master of Juxi Hall, graduated from the National Defense

of Yaozhou ware. For this auction, we have assembled many wonder-

Medical Center's Department of Medicine, and previously held posi-

ful lots from a collection that was built over more than 30 years, and

tions at the University of Texas Medical Branch and the University of

Literati Sublimation - Oriental Arts for the Chinese Scholars is also a

Washington School of Medicine. He holds US professional licenses in

great opportunity for the larger community to experience firsthand

the fields of nuclear medicine, diagnostic radiography, and therapeu-

the charm and beauty of these artifacts that communicate the es-

tic radiology and oncology. His outstanding medical career continued

sence of Chinese culture.

after his return to Taiwan, when he became Head of Education and Dean of the Medical Department at the National Defense Medical

林光大醫師(Dr K .T .Lin), 祖籍浙江巨溪人， 齋號"巨溪堂主人"，臺

Center, as well as Head of the Therapeutic Radiology and Medical

灣國防醫學院醫學系畢業，曾任職美國德州大學醫學院，及華盛頓

Department at the Tri-Service General Hospital. Dr. Lin has educated

大學醫學院，並擁有美國核子醫學，放射診斷，放射腫瘤等專家執

many generations of young talents in the field of medicine, and at

照，在醫學事業上頗有建樹。回臺後曾任國防醫學院教育長，醫學

the same time his tireless work has benefited countless patients. Hav-

系主任，三軍總院放射治療部，醫療部主任等職。林醫師教育醫學

ing earned an outstanding domestic and international reputation, and

界學子無數，桃李滿門；同時亦造福無數病友，飲譽海內外，並曾

having received many awards and recognitions, he currently enjoys

獲受國家嘉許，目前榮休身居海外。

his retirement abroad. 過著退休生活的林醫師，平時深居簡出一直鍾愛自幼學習的書法， Now leading a secluded life, Dr. Lin continues to practice Chinese

對碑帖、書畫、古陶瓷器尤甚喜好，潛心收藏曆三十餘年，藏品日

calligraphy, which he began to study in early childhood. He is also

豐。其收藏的中國古代陶瓷藏品中數量與品質上都不可小視，名品

an expert in ancient stone rubbings and traditional Chinese paint-

濟濟。上溯遠古時期，下迄明清。其中唐宋時期的瓷器最為經典，

ing. Ancient chinaware was always a particular favorite of his, and

涵蓋中國南北重要窯口，且都蘊含著極高的文化內蘊，以傳承悠久

he has spent more than three decades of his life building a rich and

璀璨的中國文化為終生孜孜不倦之志。

varied collection. Both in terms of quantity and quality, his collection of ancient Chinese ceramic artifacts deserves serious attention, and

此次羅芙奧藝術集團有幸徵集到林醫師的九件高古瓷器，尤以宋代

it contains many renowned pieces. While it contains items spanning

湖田窯嬰戲瓷塑最為重要，據考證，為目前已被發現的同類作品中

all of Chinese history, from the earliest times to the Ming and Qing

體積最碩大的。另外，北宋定窯刻荷花紋大枕也為定窯瓷器中殊為

dynasties, the best and most representative pieces are mostly from

珍貴的一件，代表了定窯燒制工藝的最高水準。宋金時期的耀州窯

the Tang and Song dynasties. There are specimens from all the major

黑釉魚簍雙系罐製作精細，器形殊為少見，更是耀州窯當中的珍

kilns in both northern and southern China, and all of them are of

品。這批窮三十餘年積累下來的藏品，豐富了本季度羅芙奧藝術集

great cultural and historical value. Dr. Lin continues to devote his time to passing on the glorious heritage of Chinese culture to coming generations.

On this occasion, Ravenel International Art Group has been fortunate to secure a total of nine valuable lots from Dr. Lin's collection, all of them chinaware. The focus is on ceramics from the Song dynasty, in particular an extremely rare Hutian porcelain sculpture of a reclining young boy, which research has shown to be the very largest of its kind. In addition, there is a Northern Song Ding ware lotus pillow that is also a very rare and valuable specimen among Dingyao artifacts, epitomizing the highest degree of craftsmanship ever reached at the Ding kiln.

Furthermore, there is a very rare Yaozhou black glazed jar from the Song or Jin dynasty, a so-called "fish basket jar" that has a unique shape and design, and is of excellent workmanship: a gem

團為大家精心策劃呈獻的"心道澄懷"藝術專 場，讓社會大眾有機會近距離的感受箇中 神韻與精髓。

6046 A VERY RARE YAOZHOU BLACK GLAZED JAR Song or Jin Dynasty (AD960-1234) H: 17.5 cm PROVENANCE: Collection of Dr K. T. Lin

HK$ 140,000 - 180,000 NT$ 567,000 - 729,000 US$ 18,100 - 23,200 宋 /金 耀 州 窯 黑 釉 魚 簍 雙 系 罐 來源： 林光大醫師舊藏

The jar has a round-rimmed, oblate mouth, a thick neck, and a round foot. Two lugs are attached to the sides at shoulder height. The vessel's belly is decorated with dozens of crisscrossing diagonal lines, creating the impression of a woven bamboo basket. For this reason, this type of ware is also called "fish basket jar." A finish of black glaze is applied to the whole body, with the exception of the mouth's rim, where the white ceramic body is visible, and the round foot, which is covered with a light brown protective glaze. This type of vessel required a complex manufacturing process. Combining classical, unpretentious beauty with an attractive, lively design, this jar is a piece of top-notch Yao ware from the Song/Jin era. 口為侈，圓唇，束頸，圈足，肩部置雙耳。罐腹裝飾幾 十條斜線交錯，呈現藤編的竹簍效果，故名魚簍罐。通 體施黑釉，口沿處無釉，露出白色胎骨，圈足一周露胎 處塗有褐色護胎釉。此罐造型古樸，寫實效果強烈，製 作工藝繁複，為宋金時期耀州窯的精品之作。

Other view

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6047 AN EXTREMELY RARE YUEYAO DISH CARVED WITH PEONY Northern Song Dynasty (AD960-1127) MD: 17.5 cm PROVENANCE: Collection of Dr K. T. Lin

HK$ 220,000 - 280,000 NT$ 891,000 - 1,134,000 US$ 28,400 - 36,100 北宋 越窯刻花 牡 丹 紋 盤 來源： 林光大醫師舊藏

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This dish has wide, rounded sides tapering towards the small, round foot. The entire vessel is covered with a light celadon glaze, a hue reminiscent of the surface of a lake. A floral design showing peonies is carved into the inside, and the veining of the petals incised with a smaller grating knife. The finish is thicker in the pattern's grooves, highlighting the darker lines in a naturally elegant fashion. The glaze has a smooth, clean luster, and the decorative design is of exquisite workmanship: the simple and concise lines effortlessly convey the distinguished beauty and noble refinement associated with the peony. The outer side under the dish's rim is adorned with two rows of simply executed curly cloud patterns wrapping around the whole vessel. Its fine craftsmanship and delicate artistic design put one in mind of Tang dynasty precious metal artifacts, since the Song literati class much admired the aesthetic ideals of earlier periods. This Yue ware dish will make a worthy addition to any aficionado's collection. 盤弧壁，至圈足漸斂，小圈足。全身施淡綠釉，淡綠釉色如湖水 藍，盤心先用刀陰刻牡丹紋輪廓，在用篦刀刻畫花卉的經絡，釉水 積於刀痕處，自然形成深色線條，釉光澄淨，刀法嫺熟，雖紋飾線 條簡潔，仍可顯牡丹的雍容華貴。口沿外壁雕刻有兩圈旋紋，旋紋 中簡筆刻畫如意雲紋環繞盤口一圈。此盤製作工藝極其講究，器形 周正，或為模仿唐代金銀器物，展現出宋人對古人的追求與崇拜， 為宋代越窯瓷器中一件值得收藏的珍品。

6048 AN EXTREMELY RARE HUTIAN PORCELAIN SCULPTURE Song Dynasty (AD960-1279) L: 28 cm H: 15 cm PROVENANCE: Collection of Dr K. T. Lin REFERENCE: 1. "Zhongguo de Ciqi", Light Industry Press, P.184, 1983 2. "Zhongguo Taoci", by Feng Xianming, Cultural Relic Press, P.403, 2003

HK$ 2,500,000 - 3,200,000 NT$ 10,121,000 - 12,955,000 US$ 322,400 - 412,600 宋 湖田窯娃娃 瓷 塑 來源： 林光大醫師舊藏 參考： 1.《中國的瓷器》輕工業出版社，第 184 頁，1983 年 2. 馮先銘《中國陶瓷》文物出版社，第 403 頁，2003 年

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1

2

3

Song Dynasty porcelain figurines had a number of symbolic

details are added by carving or engraving. This new method of

meanings, such as praying for a woman to give birth to a boy, or

"three-dimensional sculpting" enabled artists to achieve an even

denoting a desire for peace, prosperity, and harmony. They were

more natural and lifelike appearance in terms of posture, dress,

also meant to ward off evil. This lot was mainly a bibelot, meant

and facial expression.

to be displayed on a desk or shelf to supply a sense of aesthetic refinement. It has a highly artistic flair and is quite large—in fact,

宋代時期娃娃瓷塑像，除了有祈佑婦人生育男嬰外，更有和

it is the largest of its kind. The figurine was originally colorfully

諧、吉祥、辟邪的寓意。這件屬於案頭清供的瓷娃娃擺件，藝

painted, but over long centuries the paint has flaked off, leaving

術感強烈，器形碩大，是目前已知該類型器物中最大者，此素

only the exquisitely worked, pure white ceramic body. Overall,

胎娃娃擺件，原有彩繪，歷經歲月的侵蝕已脫落。塑像胎質潔

the sculpture is meticulously crafted, capturing the innocent air

白細膩，整體工藝構思縝密，孩童容貌天真，髮髻系飄帶，眼

of a child. The bun is bound with a ribbon, the eyes are expres-

有神，福鼻小嘴，大耳下垂，胸前配帶珠玉瓔珞，手帶環，側

sive; the well-rounded nose, small mouth, and big earlobes are

身倚靠球體，呈休憩姿態。在衣著上；內肚兜，外長袖短衫，

all considered to be auspicious features. On the chest lies an

穿開襠長褲，腳踏一布鞋，私密處可見男娃兒特徵。最後在工

elaborate necklace of jade and pearls, the arms are adorned with

藝上；不同於北方窯口製作的瓷俑，大多采合模接合，姿態也

bracelets, and the body rests on a globe: the child is in a resting

以俯臥為主，景德鎮窯則多以手捏和線刻的方式分段接合處

pose. Under the long-sleeved shirt he wears an apron and pants

理，這種類似"立體面塑"的新技法，尤其在雕塑人物體態，衣

with an open crotch, allowing a glimpse of the privates. He is

著，面部表情上，表現更的為生動自然。

also wearing cloth shoes. As for its craftsmanship, this sculpture differs from the porcelain figurines of northern kilns, which are m o s t l y a s s e m b l e d f ro m molds and tend to favor prone postures. By contrast, Jingdezhen ware is usually kneaded into shape by

1.

北宋 定窯白釉孩兒枕 現藏北京故宮博物院 Northern Song Dingyao White Glazed Pillow (currently in the collection of the Palace Museum, Beijing)

2.

北宋 蘇漢臣 灌佛戲嬰圖軸 現藏國立臺北故宮博物院 Northern Song Su Hanchen: "Children Bathing an Image of the Buddha" (currently in the collection of the National Palace Museum, Taipei)

3.

北宋 蘇漢臣 秋庭戲嬰圖 絹本設色 現藏國立臺北故宮博物院 Northern Song Su Hanchen: "Children at Play in an Autumnal Garden" (currently in the collection of the National Palace Museum, Taipei)

hand, after which the finer

4.

4

北宋 定窯白釉孩兒荷葉枕

Northern Song Dingyao White Glazed Pillow

6049 AN EXTREMELY RARE DINGYAO PILLOW CARVED WITH LOTUS PATTERNS Northern Song Dynasty (AD960-1127) L: 27 cm PROVENANCE: Collection of Dr K. T. Lin

HK$ 550,000 - 700,000 NT$ 2,227,000 - 2,834,000 US$ 70,900 - 90,300 北宋 定窯荷花 紋 瓷 枕 來源： 林光大醫師舊藏

The upper surface of this waist-shaped pillow curves slightly upwards from front to back. The entire object is covered with tihua carving. The top shows a lotus flower with leaves. The veining of the leaves is meticulously worked, and the central design is surrounded by a wavy pattern running along the top's edge. The body is unglazed. The tihua method involves covering the ceramic body with engobe, then outlining the desired patterns on the surface, incising the fine veining, and finally chipping away the areas that are not part of the design. This results in the white body and the light brown engobe patterns forming a wonderful contrast.

At the time, this was a revolutionary technique, which pioneered a whole new type of Ding ware porcelain pillows. 枕形腰圓形，枕面前低後高，通體剔花裝飾；枕面為一朵荷花與荷葉， 脈絡清晰，荷花與荷葉周圈環繞波浪紋，素底無釉。從製作工藝上看， 剔花系先在胎上施化妝土，然後勾勒出花紋輪廓，再在紋飾上刻畫葉 脈，最後剔去紋飾以外的地子，形成白地襯托淺褐色花紋。引領了定窯 瓷枕中一類新品種，開定窯瓷器之先河。

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故宮博物館藏定窯白釉剔花卷草紋腰圓枕 Dingyao White Glazed Pillow (Palace Museum Collection)

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6050 AN EXTREMELY RARE JIZHOU PORCELAIN SCULPTURE Southern Song Dynasty (AD1127-1279) L: 11.3 cm PROVENANCE: Collection of Dr K. T. Lin

HK$ 55,000 - 70,000 NT$ 223,000 - 283,000 US$ 7,100 - 9,000 南宋 吉州窯瑞 鹿 瓷 塑 來源： 林光大醫師舊藏

Jizhou, located in what is today Ji'an's Yonghe Township, was a famous private kiln of the Song dynasty. (During the Sui, Tang, and Song dynasties, Ji'an was called Jizhou.) Most of the ceramics made there were everyday utensils with glazes in a large variety of colors. On the other hand, Porcelain sculptures from Jizhou, such as this lot, are comparatively rare. This item is an auspicious deer in a lying position, its entire body covered with brown spots. The head looks very animated, and the facial features, horns, and ears are meticulously carved. The sculpture exudes a naïve charm. As a rare porcelain figurine from Jizhou, this lot makes a worthy addition to any collection. 吉州窯為宋代著名的民間瓷窯，窯址在吉安永和鎮，吉 安在隋、唐、宋三朝均稱吉州，故名。主要燒制日用的 瓷器，釉色種類也繁多。此種瓷塑相對少見。此拍品為 瑞鹿臥息狀，全身點綴褐色斑點。頭部雕刻生動，五 官、鹿角、鹿耳雕刻清晰，整體身軀憨態可掬，為宋代 吉州窯罕見瓷塑精品。

6051 A RARE HENAN BLACK GLAZED JAR Tang Dynasty (AD618-907) MD: 7.8 cm PROVENANCE: Collection of Dr K. T. Lin

The Gong County kiln is one of the renowned kilns of the Tang dynasty, producing a wide variety of items, many of which were everyday utensils. It is also known for its sancai ware. Most Gong ware has a white, black, or sancai finish. This jar has a curved belly, and two lugs are attached to its sides. About two thirds of the vessel are covered with black glaze, which was allowed to run from the edge towards the foot without reaching it. Instead, it dried into distinct tears

HK$ 65,000 - 80,000 NT$ 263,000 - 324,000 US$ 8,400 - 10,300

on the body's surface. The finely worked ceramic body, visible in the lower parts of the jar, is of a near-white hue. 鞏縣窯為唐代著名的瓷窯，燒制品種豐富，多為日用器物，也燒制 大量三彩器物，釉色以白色、黑色與三彩最多。此拍品為弧腹，罐 體系雙耳。罐體施黑釉，釉水施至離罐底三分之一處，而燒制過程

唐 鞏縣窯黑釉 雙 耳 罐 來源： 林光大醫師舊藏

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中釉料融化流淌，形成淚痕，部分露胎，胎土潔白細膩。

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6052 A RARE AND SMALL YAOZHOU CARVED TEABOWL Song Dynasty (AD960-1279) MD: 10.5 cm PROVENANCE: Collection of Dr K. T. Lin

HK$ 50,000 - 65,000 NT$ 202,000 - 263,000 US$ 6,400 - 8,400

The teabowl has an outwardly curved rim and an arched belly tapering towards the round foot. The decorative designs are a combination of carvings and impressions. The interior has delicately carved veining, while the outer walls feature a curved-stalk lotus design. Of all the different types of embellishment found in Yaozhou ware, carvings are the most vivid and lifelike, and the technique reached its maturity during the Northern song. The engravings on this bowl show deft and well-practiced craftsmanship. The lines are smooth, lucid, and elegantly flowing. The curved lines in particular bring out the beauty of the glazing, making the decorative designs even more aesthetically pleasing. 撇口，弧腹內斂，圈足，刻畫與印花相結合，盞內壁出筋，外壁為 卷枝蓮花紋。在耀州窯瓷器的各種裝飾中，刻劃裝飾最為生動，北

宋 耀州窯刻花 小 茶 盞

宋中期發展成熟。此盞上的刻花紋刀法明快，刀刀見泥，線條流

來源： 林光大醫師舊藏

紋飾的力度。

暢，紋飾刻畫清晰，特別是有斜度的刀痕與裝飾釉色相襯托，凸顯

6053 A RARE CELADON BOX AND A RARE RED GLAZED BOX

Ceramic cosmetics boxes can be divided into several categories,

Song Dynasty (AD960-1279) 青 :L 4.6 cm 紫 :L 4.3 cm

other red glazed. The cover of the celadon specimen is adorned with

PROVENANCE: Collection of Dr K. T. Lin

HK$ 45,000 - 60,000 NT$ 182,000 - 243,000 US$ 5,800 - 7,700 宋 青釉、紫金 釉 香 盒 來源： 林光大醫師舊藏

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including ones for cream, powder, and rouge. The lid generally fits snugly onto the box. Of these two lots, one is celadon glazed and the a five-petaled flower of concise design; around the edges of the petals, the color of the glaze is darker. The other box is entirely covered with red glaze without any decorative designs. The glaze is evenly applied, and the colors are very pure. 瓷質容器，按功能可分為盛裝化妝品的油、粉盒、胭脂盒、香盒 等；蓋與盒以子母口扣合。拍品兩盒為青釉與紫金釉；青釉粉盒蓋 刻五瓣花一朵，紋飾簡單，部分積釉處呈現深綠色。另一粉盒通體 施紫金釉，無其他雕刻紋飾，釉面均勻，釉色純正。

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6054 A VERY RARE HUTIAN DISH MOLDED WITH PHOENIX

This dish has a wide mouth, a gently curved belly, and an unglazed

Southern Song Dynasty (AD1127-1279) MD: 19 cm

a floral design of peonies with densely arranged stems and leaves,

PROVENANCE: Collection of Dr K. T. Lin

HK$ 65,000 - 85,000 NT$ 263,000 - 344,000 US$ 8,400 - 11,000

rim. The inner wall of the plate is decorated with various designs.

A meandering pattern runs along the inner side of the rim. Inside is amongst which there are two phoenixes soaring elegantly in a counterclockwise direction. At the center of the floor is a lotus design. The compact composition with various floral patterns and the harmonic phoenixes creates a pleasant overall visual effect. The veining of the leaves is finely carved; the two birds are natural and lively. A true treasure of Song dynasty Hutian ware. 敞口弧腹，芒口，小圈足，盤內壁飾印花紋飾，盤口回字紋，內壁 印鳳凰、牡丹環繞，牡丹枝葉密集，畫面緊湊，兩只鳳凰逆時針方 向飛翔，盤心為蓮花圖案。此盤內花團錦簇，鳳凰和諧，遙相呼

南宋 湖田窯印 花 雙 鳳 紋 盤 來源： 林光大醫師舊藏

應。花葉脈絡清晰，鳳凰生動自然，為宋代湖田窯印花瓷器的珍 品。

6055 AN EXTREMELY RARE AND VERY LARGE DINGYAO BOWL CARVED WITH FLOWERS Northern Song Dynasty (AD960-1127) MD: 23 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 1,600,000 - 2,000,000 NT$ 6,478,000 - 8,097,000 US$ 206,300 - 257,900 北宋 定窯萱花 紋 大 缽 來源： 香港資深藏家舊藏

This open-mouthed bowl has deep, rounded sides and a round foot, and is covered inside and out with white glaze. The outside is smooth without any decorative design, while the inside is engraved with a floral pattern showing day lilies, broken at the stem, with crisp, plump blossoms and unfolded leaves. The bowl is somewhat unusual in that it has a decorative design on its interior, extending from the center all the way up the sides. Traditionally, Ding ware is most commonly embellished at the object's bottom or outer sides. In China, day lilies have been auspicious symbols since ancient times, and they are frequently seen in Song dynasty pottery. 缽敞口，深弧腹，圈足，內外皆施白釉，外壁光素無紋，內壁刻畫 折枝萱草紋，花朵飽滿，花葉舒展，此缽的圖案在定窯裝飾手法中 也算是一個突破，多數定窯瓷器的紋飾在器物底部或側壁，而此件 拍品缽內部裝飾圖案由內底延伸至內壁。萱花紋自古即是一種帶有 吉祥寓意的植物，宋代瓷器裝飾中常有所見。

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6056 A VERY RARE CIZHOU WHITE GLAZED JAR Song Dynasty (AD960-1279) H: 11 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 40,000 - 50,000 NT$ 162,000 - 202,000 US$ 5,200 - 6,400 宋 磁州窯白釉 瓜 棱 罐 來源： 香港資深藏家舊藏

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The jar has a lipped edge, round belly with a melon ridge design, and a fairly broad round foot curving slightly outward. The body is white, compact, and robust, and has a finish of white glaze that is firmly attached to the ware, except at the round foot and the lowest part of the belly just above the foot, where the body is visible. The walls of the jar are somewhat thicker than usual. The jar's distinctive design and excellent craftsmanship make it a topgrade specimen of Northern Song Cizhou ware. 罐唇口，鼓腹，瓜棱形，圈足微微外撇。胎質細白堅 致，通體多覆蓋白釉，圈足及底部部分露胎，胎釉結合 緊密。胎體較為厚實，器形精巧別致，屬於北宋磁州窯 精品器物。

Other view

ZENG YANG：

Zeng Yang was once known for his whimsicality of the spin of black

THE WORLD OF INFINITE LIFE

Since 2013, Zeng has depicted on pure gold foil western Elysium

曾揚的無量壽世界

world's dimensions; a wonderful world which is the door to eternity.

and white as well as composition of a logical continuous narration. i.e"Amitayus: the world of infinite life", a world exists beyond our As is described by Zeng, "there will be no sufferings but happiness.

Treasures like diamond and gold are used as stones to pave the roads, scattering everywhere. Palaces and houses are made of 'seven treasures' (tridacna stone, agate, crystal, coral, amber, pearl, musk). The view is fantastic, in which one can always feel the Buddha's words in the water, in the chirping of the birds, which delights one both physically and mentally. No alternations of seasons, no press from age and illness, no soldiers, farmers, industries or business but that which men learn while they teach. Men live infinitely and learn endlessly there to the ultimate eternity." Zeng wishes that the series of work could help other Buddhists to foster a joyful heart, and a longing for utmost happiness.

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Zeng tries to help us find the way to the Elysium of "reality"and

曾揚從2013年至今，在純金箔上繪制的西方極樂世界圖，即《無

"brightness". In the artist's opinion, the universe we live in is made

量壽世界》系列。這一系列的作品由許多小的佛教中的物象構成，

of ideas, which the good minds would come up with good faiths

那是一個存在於我們這個世界空間維度之外的，能讓人忘掉現實痛

while the evil minds would end up with evil ones. Therefore, one

苦,彷彿虛擬著又令人嚮往又亦真亦幻的世界，是一個通往永恒之門

needs to change one's thoughts in order to attain happiness. And the

的美好之境。《無量壽世界》正是通向這一過程的中轉站，那裏沒

world of infinite life serves as the transition of this process. Different

有苦，只有樂。那裏黃金鉆石用來鋪設道路，到處都是一片祥和之

from the previous independent narrative units, the continuous and

氣。宮殿房屋都是七寶所做。景色美不可及，水鳥皆流法音，令人

circular narrative mode of Infinite Life Series bears more resemblances

開神悅體。沒有寒暑代謝，沒有老病相催。那裏沒有士農工商。只

to an open-ended and diffuse image and text, and a world that leads

有教學相長。那裏人壽命無量，學無止境，最終通向無量永恒。正

to the spiritual awakening of the Great Harmony.

如曾揚所言：「希望這個系列能讓人看了產生歡喜心，產生向往極 樂的願心」。 曾揚試圖通過這一主題帶領我們走向一條尋找「真實」和「光明」 的極樂世界。在藝術家的世界觀裏，我們生存的宇宙是由意念變 現。善生善念，惡生惡念，若想幸福快樂，就改造「我」的念頭。 與以往獨立的敘事單元所不同《無量壽系列》連續回環的敘事更 像一個開合擴散的圖像文本，一個通往心靈覺醒的內在世界。

6057 ZENG YANG (Chinese, b.1981) Amitayus 8 2014 On gold paper 80 x 80 cm PROVENANCE: Space Station Gallery, Beijing Acquired by the present owner from the above

HK$ 38,000 - 60,000 NT$ 154,000 - 243,000 US$ 4,900 - 7,700 曾揚 無量壽世界8 2014 金箔 手繪 絹本 80 x 80 cm 來源： 空間站畫廊 現藏者購自上述來源

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6058 AN IMPORTANT AND FINELY CARVED GRAY SCHIST OF STANDING BUDDHA, ANCIENT REGION OF GANDHARA Circa 2nd / 3rd Century H: 105 cm PROVENANCE: From the collection of Mr Mikio Shimizu, an important Japanese collector in Gandharan Art, since 1990's

HK$ 600,000 - 800,000 NT$ 2,429,000 - 3,239,000 US$ 77,400 - 103,200 西元2/3世紀 犍 陀 羅 地 區 灰 片 岩 雕 佛 陀 立 身 站 像 來源： 犍陀羅佛教藝術日本資深藏家 Mikio Shimizu 先生，自 1990 年代之舊藏

1.

Detail of the plinth 基座局部

2.

Detail of a Figured Stelae Northern Wei Dynasty (AD386-534) Collection of the Metropolitan Museum of Art, New York 北魏 造像碑局部， 紐約大都會博物館收藏

1

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The Buddha wears a loose coat covering both shoulders and falling

Even though China today is one of the main centers of Buddhist cul-

in folds over the body. He stands barefooted on a square plinth, and

ture in Eastern Asia, Chinese knowledge and understanding of Gand-

his facial features are both delicately handsome and solemn. His wavy

hara and its culture is still very much in its infancy. However, the deep

hair is combed back and gathered into a bun ("ushnisha") on the top

influence Gandhara has had on China's ancient art and culture, as

of his head. In the middle of his forehead, between the eyebrows, is

well as the aesthetic values it imparted on the Middle Kingdom, will

the baihao ("white hair"), a little round spot or curl which is a symbol

certainly be recognized and acknowledged by collectors once they set

of the Buddha. His almond-shaped eyes are looking downward, and

their sights on these artifacts which are part of the world's cultural

his mouth is firmly closed. Behind and above him is a disc-shaped

heritage. Together with China's ancient art and culture, Gandhara

halo without any decorative patterns.

forms an important building block of ancient Buddhist civilization.

The ancient Gandhara region is one of the cradles of Buddhism,

佛陀穿通肩式大衣，衣褶深重，跣足站立在方台之上，面容俊秀、

roughly located in the area of modern Pakistan. The statues from this

肅穆，波浪狀的頭髮向後梳去，頭頂髮髻高聳，眉心有凸起的小圓

region blend the aesthetic styles of ancient Greece, Rome, and India,

點-白毫，為佛陀的標誌之一，杏仁狀的眼睛垂視，嘴角緊抿，有圓

and are important historical, religious, and artistic artifacts. During

盤狀無飾頭光。

the past 100 years, Japanese, European, and North American museums and collectors have been shelling out large sums of money to

古代犍陀羅地區是佛教的發源地之一，即今日的巴基斯坦，犍陀羅

acquire Gandhara statues. Unfortunately, Chinese collectors have not

造像融合了希臘、羅馬和印度本地的藝術風格，具有非常重要的歷

been aware of this development so far. These statues are also seminal

史、宗教和藝術價值，在過去的一百件間，被日本和歐美博物館與

artifacts in the context of Buddhist art along the Silk Road: with their

重要藏家大肆重金收購，可惜中國的古玩收藏界對此一無所知。犍

magnificent beauty and brilliant splendor, they have had a consider-

陀羅造像同時也是絲綢之路佛教藝術的開端，壯麗輝煌，它啟發與

able impact on the development of Buddhist art in China.

影響了中國佛教藝術的發展。

This sculpture of a standing Buddha from a private Japanese collec-

這件來自日本私人珍藏的佛陀站相，是一件非常稀有的犍陀羅藝術

tion is an extremely rare and fine specimen of Gandhara art. Judging

精品，從藝術風格和雕刻手法來看，應該出自公元二世紀晚期，正

by its artistic style and sculpting technique, it probably stems from

是犍陀羅藝術的高峰年代，不但尺寸罕見，而且雕工精湛，屬於博

the late second century A.D., which was the golden age of Gandhara

物館級別的藏品，尤其底座上雕刻的雙弟子像，極為精緻細膩，可

sculpture. It is not only rare, but also boasts excellent workmanship,

以聯想到北魏時期造像的風格，可見犍陀羅對中國佛教造像藝術深

a combination of characteristics that would make it a major piece

遠影響。

in any museum collection. In particular, the images of two disciples carved into the plinth are painstakingly executed, and show an ar-

作為東亞最重要的佛教文化為核心的國家，中國對於犍陀羅佛教的

tistic refinement which brings to mind the style of statues from the

認識可以說才剛剛開始，但犍陀羅對中國古代藝術和文化的影響，

Northern Wei dynasty—another sure indicator of the big influence

以及它所承載的美學價值，肯定會很快受到中國收藏界的關注，這

that Gandhara Buddhist art had on Buddhist sculpture in China.

個屬於世界性的藝術品類，將在不久的將來，與中國古老的藝術和 文化連接起來，成為一個完整的佛教藝術文明體系。

6059 ZENG YANG (Chinese, b.1981) Amitayus 2 2014 On gold paper Diameter 48 cm PROVENANCE: Space Station Gallery, Beijing Acquired by the present owner from the above

HK$ 28,000 - 48,000 NT$ 113,000 - 194,000 US$ 3,600 - 6,200 曾揚 無量壽世界2 2014 金箔 手繪 絹本 直徑：48 cm 來源： 空間站畫廊 現藏者購自上述來源

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6060 AN IMPORTANT PAINTED STUCCO HEAD OF BUDDHA, ANCIENT REGION OF GANDHARA, CIRCA 4TH/5TH CENTURY Circa 4rd/5rd Century H: 14.5 cm PROVENANCE: From the estate of Peter K. Warren (1920-2014), President of Pepsi, USA

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300 西 元 4/5世 紀 犍 陀 羅 地 區 佛 陀頭像 來源： 美國彼得華倫氏（1920-2014）舊藏， 美國百事可樂集團總裁。

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A very rare piece. Crisply modeled and carved with wide set almond shaped eyes, a straight nose and full lips, all below wavy hair gathered into a domed ushnisha and between elongated earlobes, traces of pigment.

This rare painted stucco head of the Buddha is an early piece of Gandhara art. The Buddha's expression is solemn and peaceful, and the shape of the head is oval and comparatively short, after the fashion of the Afghan area. The almond-shaped eyes are open, with heavy eyelids. The nose is high and straight, and the full lips are slightly pursed. A faint smile is playing around the Buddha's lips. His wavy hair is combed back and gathered into a domed ushnisha, symbol of his spiritual attainment. Traces of pigment can be seen in parts of the face, such as red on the lips and baihao, and black for the pupils.

Stucco sculptures burned at a high temperature first appeared about A.D. 25-60 in Taxila, the capital of Gandhara, even earlier than the schist sculptures that are so famous today. Since the material was comparatively cheap and convenient to come by, and could easily be shaped with the help of molds, the art and manufacture of stucco sculptures developed rapidly, spreading across all of Afghanistan and neighboring areas. The style and appearance of this lifelike Buddha head was obviously influenced by Afghan art. The head's short, rounded shape and the polychrome painting, most likely place the piece in the early or middle period of Gandhara art. 此件珍貴的泥塑佛陀頭像來自中早期犍陀羅地區，神情肅穆安詳， 面型偏圓而短，呈現阿富汗地區的風尚，張開的杏仁式雙眼，眼皮 厚重，高直鼻樑，豐滿的雙唇微抿，嘴角有淺淡的笑意。波浪式頭 髮向後梳理，頭頂凸起佛陀為聖人標誌之一的肉髻。面部可見殘留 的淺赭紅彩，雙唇及白毫塗紅彩，瞳孔為黑彩。 高溫焙燒的灰泥塑像首先於公元25年-60年間出現在鍵陀羅首都之 一塔克西拉（Taxila），比著名的片岩雕刻還要稍早一些。由於材料 相對廉宜方便，又能使用模具來提高效率，故灰泥雕塑迅速發展起 來，並擴散到阿富汗及其他周邊地區。這件生動的泥塑頭像，風格 明顯受到阿富汗地區的影響，面型呈短圓狀，彩繪豐富，應該是犍 陀羅中早期的作品。

6061 ZHAO LU (Chinese, b.1980) Zen 2014 Ink on paper 70 x 70 cm With one seal of the artist

HK$ 40,000 - 80,000 NT$ 162,000 - 324,000 US$ 5,200 - 10,300 趙露 淡-定 2014 水墨 紙本 70 x 70 cm 鈐印：露

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6062 AN EXTREMELY RARE AND WELL CARVED STONE FIGURE OF STANDING BODHISATTVAS Northern Qi Dynasty (AD550-577) H: 48 cm EXHIBITION & LITERATURE: 1. "Qian Gu Fo Yan - Traditional Sculptures Exhibition", Kaohsiung Museum of Art, May 2000.

2. "Fo Shui Yuan Tou - Early Buddhist Sculptures Exhibition", National Museum of History, Taiwan, 2001

HK$ 550,000 - 700,000 NT$ 2,227,000 - 2,834,000 US$ 70,900 - 90,300 北齊 菩薩立身像 展覽及出版： 1.《千古佛顏 - 傳統雕刻特展》，高雄市立美術館，2000 年 5 月。 2.《佛水緣投 活水源頭 - 高古佛像石雕展》， 臺灣國立歷史博物館 / 台中縣立港區藝術中心，2001 年 5 月。

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Much of the arms of this back screen style stone Bodhisattva is lost, so we do not know what he was holding in his hands. The lower part of his skirt (below the knee) is also gone. Overall, it is likely that this was originally an item showing three or more Bodhisattvas in front of a back screen. Judging from the damaged fragments at both sides, as well as the fact that the Bodhisattva's appears to be slightly inclined to the left, we can conclude that originally he was standing to the right of the main statue.

Looking at the artistic approach, we find that the Bodhisattva is wearing a coronet adorned with some kind of vine pattern, with the hair bun kept flat and close to the head. The Bodhisattva's face is long, but round and full, and his features are carved with simple lines that yet manage to convey both dignity and kindness. He is wearing light and short garments, in addition to which a cape is draped over his shoulders, segueing into a floating celestial dress that falls over the arms at the elbows. He wears a long skirt gathered at the waist with a rope, and the upper part of the skirt is embellished with decorative knots and patterns. The folds of the skirt are falling vertically towards the lower seam of the garment, adding to the visual impression of height and erect posture. Even though this is only a side statue, it is very finely modeled with mature technique, leaving one to suspect that the original main statue was probably executed with even more exquisite craftsmanship. 石造背屏式菩薩立像，雙手殘損而持物不明，膝部以下的 裙褶也已缺失，推測該像之原件為三尊以上之背屏式造 像，由目前兩側殘存以及菩薩側面像，可見此尊菩薩像 微微向左偏斜，換言之就是主尊像的右側菩薩位置。 就菩薩的表現手法來看，頭像部分帶有花蔓寶冠，冠下 髮髻呈現平貼，菩薩的臉型長圓豐腴，在五官刻劃上崇 尚簡潔，使得氣宇更為平易近人。菩薩像的上身似著輕 盈短衣，雙肩部位側披披肩，披肩的綿延為 垂飄天衣，懸繞肘臂處。下半身穿著束腰 束帶長裙，上端裙結緣系結帶裝飾，長 裙之褶直瀉而下，產生修長直挺的視覺 效果，此尊菩薩像為侍從像，但其雕刻 手法嫻熟精巧，故若能一睹此尊造像原 像，其主尊造像想必更有精湛的表現。

6063 ZENG YANG (Chinese, b.1981) Amitayus 10 2014 On gold paper Diameter 48 cm PROVENANCE: Space Station Gallery, Beijing Acquired by the present owner from the above

HK$ 28,000 - 48,000 NT$ 113,000 - 194,000 US$ 3,600 - 6,200 曾揚 無量壽世界10 2014 金箔 手繪 絹本 直徑：48 cm 來源： 空間站畫廊 現藏者購自上述來源

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6064 TAI XIANGZHOU (Chinese, b.1968) Celestial [2015.1] 2015 Ink on paper 40 x 178 cm With one seal of the artist

HK$ 260,000 - 350,000 NT$ 1,053,000 - 1,417,000 US$ 33,500 - 45,100 泰祥洲 天象[2015.1] 2015 水墨 紙本 40 x 178 cm 鈐印 : 祥洲

"A faint wind through the fine grass on the shore; high mast and lonely boat in the night. The stars reach down to the wide level fields; the moon rushes on in the swing of the Great River."

–- Du FU [Tang Dynasty] Thoughts While Traveling at Night 「 細草微風岸， 危檣獨夜舟。 星垂平野闊， 月湧大江流。」 ─ 杜甫《旅夜書懷》

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Tai Xiangzhou, styled Xiao Yang, was born in 1968 in Yinchuan, Ningxia

employs the swift and bold strokes of Yuan dynasty painting to create

Province. In 2012, he received his PhD from the Academy of Art and

works filled with the majesty and splendor. At the same , he manages

Design, Tsinghua University. He studied and practiced calligraphy from

to inject his oeuvre with a sense of great depth and serenity. This lot, ti-

early childhood, learning from masters such as Wang Wenjun and Hu

tled"Celestial [2015.1]," uses compositional elements and aesthetic im-

Gongshi. This was the starting point of a long and multifaceted career

agery inspired by Oriental traditions to create a meditative atmosphere.

in calligraphy and painting. In 2003 he made the acquaintance of the

His deft spatial arrangements and smooth, ethereal palette invite us to

renowned contemporary Chinese painter Liu Dan, an encounter that

lose ourselves in the vastness of his cosmos. At first glance, this piece

encouraged him to further explore the techniques and styles of tradi-

seems to be on the figurative side in showing celestial formations, but

tional landscape paintings from the Song and Yuan dynasties. Meeting

the longer we look, the more we become immersed in the abstract

the famous astronomer Yi Shitong in 2006 inspired Tai to explore the

beauty of a great river rolling towards the sea, and enjoy the rhythmical

spiritual and cultural aspects of Chinese cosmology and shanshui (land-

undulations fed by the artist's inner world of warmth and emotion.

scape) painting, and to complete his PhD dissertation, titled"Phenomena of the Universe—The Concepts and Structure of Chinese Landscape

Tai Xiangzhou's works are collected by numerous museums and aca-

Painting," the preface to which was written by well-known art historian

demic institutions, including the following:

Wen Fong. The paper closely examines how composition and visual ele-

Arthur M. Sackler Museum of Art and Archeology, Beijing

ments in shanshui painting evolved through the dynasties, and seeks to

Harvard's Arthur M. Sackler Museum of Art

establish a connection between the development of landscape painting

Yale University Art Gallery

and astronomical insights. In his creative work, Tai Xiangzhou aspires

Nasher Museum of Art at Duke University, North Carolina

to the ancients' worldview and artistic ideals, and his own landscape

Nelson-Atkins Museum of Art, Kansas City

paintings are brimming with metaphorical elements and metaphysical

Princeton University Art Museum, New Jersey

beauty.

The Art Institute of Chicago

Tai set out by imitating the styles of old masterpieces, but soon proceeded from copying to developing his own approach, which ingeniously

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泰祥洲，字曉陽，1968年生於寧夏銀川，2012年畢業於清華大

泰祥洲作品廣獲學術單位垂青，被以下公共機構及博物館收藏：

學美術學院，獲得博士學位。祥洲自幼學習書法，先後師從王文

北京大學賽克勒考古與藝術博物館，中國

鈞、胡公石。幼年與筆墨奠定的緣分，開展迢遙的藝術志業。

哈佛大學賽克勒博物館，美國

2003年相識劉丹，得劉丹先生指點，繼續在宋元繪畫傳統上用

耶魯大學藝術博物館，美國

功。2006年，泰祥洲得到天文學家伊世同先生的啟蒙，從天文學

杜克大學Nasher博物館，美國

的維度，重新內省中國山水畫的宇宙觀和精神脈絡，並完成自己

尼爾森阿特金藝術博物館，美國

得博士論文《仰觀垂象——山水畫得觀念與結構》，該著作由藝

普林斯頓大學藝術博物館，美國

術史家方聞先生作序。在這本著作中泰祥洲試圖尋找歷代山水畫

芝加哥藝術學院，美國

形態變遷之圖式根源，並尋求天文學與中國山水畫之間的聯繫。 泰祥洲希望自己的創作能回到先賢的宇宙原理中，並開展創作蘊 含豐富隱喻的山水畫。 泰祥洲的作品從摹寫古代山水畫起步，學習了五代、宋元筆墨， 同時環抱寧靜幽遠意境。本拍品《天象[2015.1]》以東方意象圖 誌形式開啟了禪定，沈潛高妙的空間佈局，色彩傾向於輕盈、潤 澤，開啟觀者可遨遊其間的宇宙。看似具體臨摹天象之景，但同 時流露抽象畫中大江大海的悠悠氣質，畫面呈現前所未有的輕透 悠揚氣息，溫潤細緻的情感與作品共治一爐。

6065 A RARE BLACK GLAZED WATERPOT Northern Song Dynasty (AD960-1127) H: 29 cm PROVENANCE: Informative Museum of Art, Totomi City, Shizuoka County, Japan

HK$ 300,000 - 400,000 NT$ 1,215,000 - 1,619,000 US$ 38,700 - 51,600 北宋 黑釉淨瓶 來源： 日本靜岡縣遠江美術資料館舊藏

A jingping, or waterpot, is one of the 18 things a Buddhist monk should carry. It was used to carry a water supply during travels, both for drinking and for washing hands.

These vessels originated in India, the home of Buddhism, but were later brought to China, Japan, Korea, and other places as the religion traveled east. The Chinese term jingping is a phonetic rendering of the original Sanskrit words.

The waterpots that were popular during the Tang and Song dynasties had long, tubular necks, elongated round bellies, round feet, and short, upright spouts attached to the vessel's shoulder. This item is entirely covered in dark tea dust glaze, and has a long neck, elongated bulbous belly, and a round, outwardly curved foot. The spout is attached to the upper half of the belly, with its upper part shaped like an alms bowl or teacup. Unlike commonly found everyday utensils, the jingping falls in the category of specialized Buddhist items, making this black glazed waterpot from the Song dynasty a particularly rare and attractive lot. 淨瓶為佛教僧侶"十八物"之一，遊方時可隨身攜帶以儲 水或淨手。它淵源於佛國印度，後隨佛教傳入中國、日 本、朝鮮等地，梵語音為"捃雅迦"、"軍持"，中國翻 譯為淨瓶，唐宋時期流行的的淨瓶造型為管狀細長頸， 頸中部突出如圓盤，長圓腹，圈足，肩部上翹短流。此 淨瓶，通體施茶葉末狀黑釉，長頸，腹部長圓，圈足外 撇。短流通於腹部一側，流口為一小缽形。淨瓶異於常 見的日常器物，為佛教所專用，傳世到今天的更是鳳毛 麟角，是一件值得收藏的宋代器物。

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6066 TAI XIANGZHOU (Chinese, b.1968) Deng Guan 2013 Ink on paper 127 x 40 cm Signed Xiangzhou in Chinese With two seals of the artist

HK$ 100,000 - 180,000 NT$ 405,000 - 729,000 US$ 12,900 - 23,200 泰祥洲 等觀圖 2013 水墨 紙本 127 x 40 cm 款識：祥洲 鈐印左上：祥洲 鈐印右下：泰

6067 ZHANG DAWO (Chinese, b.1943) Life Archeline No. 001 2011 Chinese ink on xuan paper 68 x 136cm Signed Zhang Dawo (lower left)

HK$ 140,000 - 200,000 NT$ 567,000 - 810,000 US$ 18,100 - 25,800 張大我 生命玄線001 2011 水墨 紙本 68 x 136cm 簽名右下：Zhang Dawo

Zhang Da-wo, Style-name: Wei Gong, Pseudo-name: Bo Bing, start-

ink-trace with uneven shades and powerful strokes is composed. In

ed transforming the expression of traditional Shuimo/water-ink by

Zhang's 30 years of art-experiment, he established himself an import-

exploring the ink and lines within Chinese calligraphy since 1982.

ant place in the contemporary transformation of Shuimo/water-ink.

Zhang's art pieces are regarded as unsurpassable eastern modernism consisting of a liberal style. They are of elegant and vitalizing, yet

From the abstraction expressed in his collection "Miaomo" in 1982,

full of Eastern romanticism and mysticism at the same time. Among

to the collection started emerging in 2010 named "Touched", they all

many other works of traditional calligraphy from contemporary

go well beyond the specific Taoist ethereal realm of "emptiness". This

Chinese abstract painters, Zhang's works are of unique yet popular.

was the period of time that "Life archeline 001"was created. Zhang's

Being a well performer of traditional calligraphy in his young age,

abstract painting deviated from the traditional black and white colour

Zhang was deeply influenced by the "85 new wave art", and inspired

of Shuimo/water-ink so as to express his feeling towards the passion

by the reform and innovation of Japanese calligraphy, he then went

and vitalizing rhythm of life. By applying the characteristics of con-

on the journey to explore modern calligraphy with great passion.

temporary context into traditional calligraphy, the Chinese tradition of "Shuxie" and aesthetics of "lines" are then reflected.

The first work named "Life archeline 001" in the collection "Life

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archeline" is a unique art piece that remarks Zhang Da-wo's inno-

Zhang Da-wo cultivated a new energy to the Chinese calligraphy

vative breakthrough in his painting style. The progressiveness of the

which it was highly commended by the Western critiques. His art

work made others in the same collection uncompetitive. Zhang Da-

pieces are collections of both the British Museum's and National

wo regards his creation as "holding a pen sleepwalking". As Zhang

Gallery of Victoria's. International tycoon Rupert Murdoch is also a

wields his 30cm long brush with a 1 meter pen rod on xuan paper,

collector of Zhang's works.

Literati Sublimation | Hong Kong 2 June 2015 | Ravenel

張大我字唯公，號伯冰。自1982年起即從事書法方面的探索以墨線

顯抽象性，2010年開始陸續露面的系列「感觸」抽象繪畫完全超越

為基本線索，總體性地轉化了傳統水墨作品的表現形態。被認為是

了中國傳統繪畫特有的空靈虛靜的老莊境界，《生命弦 001》也正

「不可超越的東方現代主義的藝術形式」作品呈現「自由多變」的

是在這一時被創作出來，畫家轉向了對澎湃的生命激情和永不枯竭

形式，典雅生動，充滿強烈的東方浪漫主義和神秘主義色彩。在眾

的生命律動的熱烈表達，抽象繪畫走出了書法和水墨繪畫的黑白世

多從傳統書法藝術中，尋找抽象繪畫門徑的中國當代畫家中，張大

界，打破水墨的拘囿，以傳統的書法和當代的語境作「寫神」的表

我的抽象繪畫創作是一個既具獨特性又有普遍性的範例,青年時就對

達特色，藉此重現中國文化對於「書寫過程」的看重以及圓熟的的

傳統書法的研習已經小有成績，他深受85新潮美術的影響，又受日

線性美學傳統。

本現代書法革故鼎新的啟示，帶著渴望創新的激情走上了現代書法 的探索之路。

張大我為中國書體開創出的嶄新活力也獲得西方評論者高度的評 價，他的作品為大英博物館以及澳洲墨爾本國立美術館所典藏，國

「生命玄線」系列中以極具藝術性又有獨創性的首作《生命弦 001》是畫家經過長時間洗練後，再度創新以實驗的畫風，尋求自我 的突破的作品，其藝術的試探性是同一系列中後來的作品所不能比 擬的。張大我戲稱自己的創作是「握著一隻筆夢遊」，而這只被賦 予靈性的筆則是長三十多厘米的超長鋒，配以一米多長的筆桿，一 邊在平舖於地面的宣紙上肆意舞動，製造出各種各樣疏密濃淡和輕 重緩急的筆觸。張大我在其三十多年的藝術實踐中，在水墨書寫性 的當代轉換中具有重要的地位。自1982年的「妙墨」系列作品的凸

際著名傳媒大亨梅鐸（Rupert Murdoch）亦是他的藏家。

6068 YU PENG (Taiwanese, 1955 - 2014) Hope & Moutainscape 2000 Ink on paper 38 x 176 cm Signed Yu peng in Chinese and dated 2000

HK$ 160,000 - 240,000 NT$ 648,000 - 972,000 US$ 20,600 - 30,900 于彭 慾望山水 2000 水墨 紙本 38 x 176 cm 款識：于彭 兩千

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Yu Peng's ink painting is predicates upon the merit of tradition that also speaks to a broad contemporary audience. Yu's signature unorthodox brushwork transpires the aesthetics of the traditional literati.

Yu Peng is one of the most important ink painters of his generation in Taiwan, his solo and group exhibitions in both Taiwan and abroad include a number of major exhibitions: En Transe, Bateau-Lavoir Art Gallery (Paris, France, 2004); Mapping the Earth and Mind in Chinese Art, Metropolitan Museum of Art (New York, United States, 2007); The New Aspect 2009 Exhibition of Contemporary Cross-Strait Ink Paintings, National Taiwan Museum of Fine Arts (Taichung, Taiwan, 2008) just to name a few. The artist's works are presently residing in the collections of major museums and art galleries worldwide, including the British Museum in London. 于彭具有非凡的藝術天賦， 對創作孜孜不倦。其水墨作品載古通 今，備受觀眾賞識。于氏繪畫自成一格，筆法精奇，重現傳統文人 畫的審美意境。于彭是台灣同期水墨畫家中的重要一員，曾多次於 台灣及海外參與個展及聯展，其中包括以下一些的大型展覽；「魂 遊象外個展」，蒙馬特洗滌船畫廊（法國巴黎，2004）;「行旅－美 國紐約大都會博物館特展」，大都會博物館，（美國紐約，2007）; 「新象－2009兩岸當代水墨展」，國立台灣美術館，（台灣台中， 2008）。于彭的作品分別被世界各地的主要美術館及畫廊收藏，其 中包括大英博物館。

6069 A VERY RARE CARVED CELADON OCTANGULAR JAR Sui Dynasty (AD581-618) H: 23 cm

HK$ 250,000 - 350,000 NT$ 1,012,000 - 1,417,000 US$ 32,200 - 45,100 隋 青釉劃花八 棱 穿 帶 壺

This jar has a small mouth, short neck, bulbous belly, and octangular shape. A pair of lugs is attached to both the shoulder and the round foot. The protruding ridgelines divide the belly's surface into distinct sections, which are embellished with simple floral patterns that are pleasing to the eye. There also are rope-like designs made up of curved lines reaching from the top to the bottom of the vessel. No finish was applied to the round foot, where the ocher tint of the clay is showing. This jar was used as a water container, and ropes could be passed through the lugs for carrying it around. More than a millennium old, this utensil is preserved in a very good condition, still bearing witness to the ancients' ideal of sophisticated living. 壺小口，短頸，鼓腹，壺身為八棱形，肩部與接近圈足 處各有系耳兩只，棱線凸起明顯，清晰的將壺身分數部 分，壺身刻畫有花卉紋飾，線條簡單，追求寫意的效 果，亦有曲線條組成的繩索狀紋飾貫穿壺體上下。圈足 處不施釉，露出黃褐色胎骨。此壺應為古人的承裝液體 的實用之器，兩端的系可穿帶繩索，便於攜帶。此壺雖 經歷千年之久，保存依然完好，傳遞出古人對精緻生活 的追求。

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6070 LIANG LANBO (Leong Lampo, Chinese, b.1961)

Starscape I 2015 Ink on paper 147 x 80 cm Signed lower right Lanbo in Chinese and lower middle Lampo Leong With one seal of the artist

HK$ 30,000 - 50,000 NT$ 526,000 - 810,000 US$ 3,900 - 6,400 梁藍波 星象 I 2015 水墨 紙本 147 x 80 cm 款識右下：藍波 款識中下：Lampo Leong 鈐印左下：藍波

6071 A PAIR OF EXTREMELY RARE YAOZHOU CARVED MEIPING VASE Song Dynasty (AD960-1279) H: 21 cm x 2 PROVENANCE: Old Private Hong Kong Collection

HK$ 2,000,000 - 2,500,000 NT$ 8,097,000 - 10,121,000 US$ 257,900 - 322,400 宋 耀州窯刻花 梅 瓶 一 對 來源： 香港資深藏家舊藏

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At first glance, these two Yaozhou Carved Meiping vases look very similar, but in fact their decorative patterns are not the same. Both vases have a small mouth with a rolled lip, broad shoulders, and a belly that tapers towards the bottom. Both are long and narrow, standing tall and erect, and are embellished with unique designs.

The decorative patterns consist of straight, smoothly flowing lines that are skillfully drawn, giving them a rather modern feel. One vase has a sort of web design made up of crossing lines, while the other features abstract mountain patterns. Both vases are covered in green glaze, with the finish thicker in the line grooves, further accentuating the design. The walls of the vases are robust and slightly thicker than usual. This pair of vases displays all the typical characteristics found in Yaozhou celadon ware, while at the same time boasting distinctive decorative designs, making this a very special set. 此對耀州窯刻花梅瓶從型制上看極為相似，而紋飾略有不同，兩件 梅瓶均小口，卷沿，豐肩，腹部向下漸收。器身修長，造型別致， 健碩挺拔。外壁均用線條刻畫紋飾，一瓶身線條交叉成網狀，一瓶 線條組成山的形狀。線條極為簡單、流暢，刻工嫺熟，極富現代 感。兩瓶均施青釉。線條處微積釉水色澤較深，更增強了圖案的表 現力。瓷胎燒制堅致，胎體略厚。這對器物具有典型的耀州窯青瓷 特徵，而在造型和紋飾設計上又有特色，獨樹一幟。

6072 AN EXTREMELY RARE AND VERY LARGE YAOZHOU CELADON BOWL

This bowl with a flaring rim is the biggest currently known specimen

Song/Jin Dynasty MD: 25 cm

six symmetrically placed thin decorative stripes, running vertically

PROVENANCE: Old Private Japanese Collection

HK$ 250,000 - 350,000 NT$ 1,012,000 - 1,417,000 US$ 32,200 - 45,100 宋/金 耀州窯 出 筋 青 瓷 大 盌 來源： 日本資深藏家舊藏

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of this particular design from the Yao kiln. It is completely covered with celadon glaze of a lucid hue, and its inside is embellished with from the lip to the circle at the center. The belly arches towards the small round foot, which is very neatly worked. Overall, the design is simple yet classically elegant, as befits a major specimen from northern China's Yao kiln. 盌撇口，為目前已發現的耀州窯此器型最大的一例。通體施青釉， 釉色清澈，盌口內出筋六道，優美勻稱。斜鼓腹，小圈足，圈足修 葺工整，器形端正，樸實大方。尤為展現出北方耀州窯瓷器的簡 約。

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6073 A RARE CELADON TEAWARE WITH COVER

The object is entirely covered with sky blue celadon glaze of a pure

Sui Dynasty (AD581-618) MD: 12.5 cm

where they meet. This teaware has a simple yet appealing symmetri-

and elegant hue. It comes with a lid that fits snugly onto the bowl, and a protruding round band wrapping around bowl and cover cal design and is adorned with four lugs. A plain decorative band runs around the bowl right under the lugs, while the cover is surmounted

HK$ 150,000 - 200,000 NT$ 607,000 - 810,000 US$ 19,300 - 25,800

with a pumpkin-shaped knob. In terms of both design and color, this set exudes a classic simplicity that is bound to attract connoisseurs of simple elegance. 全器施天藍色青釉，純淨淡雅。茶入分蓋與罐兩部分，子母口對

隋 青瓷茶入

接，口沿對接處起一道凸起，罐身對稱有系四個，造型簡單。系下 旋紋一道環繞罐體，蓋頂部置有一瓜形紐。茶入造型整體古樸簡 潔，只以青釉做裝飾，造型古拙而高雅。

6074 A VERY RARE DINGYAO BLACK GLAZED FLORAL TEABOWL Five Dynasties (AD907-960) MD: 12 cm

HK$ 250,000 - 350,000 NT$ 1,012,000 - 1,417,000 US$ 32,200 - 45,100 五代 定窯黑釉 海 棠 杯

This floral teabowl has a smooth surface that is completely covered in black glaze, except at the bottom of the round foot, where the ceramic body is visible. The subtly scalloped rim opens out wide. The bowl's interior walls are embellished with for decorative lines, and the bottom features an imprint of two fishes facing each other within an ocean wave design that covers the entire floor. The imprint is very clear, with the fish scales and the lines of the waves lucid and distinctive. The fishes' eyes in particular are little strokes of genius, looking vivid and true to life.

Most Ding ware, especially from the Five Dynasties period, has a white glaze finish, making this black specimen a true rarity. 此海棠杯釉面平整，通體施黑釉，圈足處露胎。口沿飾 葵口，做敞開狀。杯內壁出筋四道，杯底內模印兩魚對 遊，海浪波紋，畫面將底部是飾滿。模印清晰，魚鱗、 海浪均模印清晰，魚眼更是點睛之筆，顯得活靈活現。 定窯瓷器白瓷居多，而五代時期的定窯黑釉瓷器更是殊 為難得。

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6075 AN EXTREMELY RARE YUEYAO JAR CARVED WITH MANDRAIN DUCKS Northern Song Dynasty (AD960-1127) H: 13 cm

HK$ 380,000 - 500,000 NT$ 1,538,000 - 2,024,000 US$ 49,000 - 64,500 北宋 越窯刻花鴛鴦紋小罐

The mouth is slightly bent outwards, the neck short, and the shoulder has a very slight sideways slant. Four decorative extensions are attached to the shoulder, half resting on the conspicuous transition to the belly. The latter is long, slightly rounded, and tapers towards the broad round foot. The belly is engraved with lotus blossoms and leaves, with mandarin ducks swimming in between. The lotus blossoms show delicate veining, as do the leaves. The feathers and bodies of the ducks are carved in a similarly meticulous fashion, and are embellished with fine parallel lines and semicircular designs.

The birds are captured in motion, wriggling and apparently in pursuit of each other. The lower part of the jar's belly is adorned with two rows of a lotus petal pattern, giving the design a clear structure. The taut overall composition and scrupulously executed details imbue the decorative design with depth and vivid complexity, which is particularly rare in a vessel of such small proportions. Altogether, a piece of topgrade Yue ware. 罐微撇口，短頸，肩部微下斜，置有四小系，肩下折明顯， 長腹，微鼓至圈足內斂。器身雕刻有荷花與荷葉，鴛鴦戲水 與其間。花瓣上劃有細排線，刻畫植物的葉脈莖絡。鴛鴦羽 毛與身體均刻畫細排線與半圓形紋飾規則排列，身軀扭動極 富動感，呈現追逐的姿態。腹下部刻畫兩圈蓮瓣紋，層次分 明。畫面整體構圖緊湊，刻畫深淺各異，給人以強烈的立體 感，器形雖小，但裝飾複雜，非常精巧美觀，為越窯的精品 之作。

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6076 A RARE LONGQUAN CELADON BOWL

Historically, the Longquan kiln was one of the most important man-

Southern Song Dynasty (AD1127-1279) MD: 17.5 cm

design. A wide range of different objects was made by Longquan

ufacturers of celadon ware, with items stemming from the Southern Song enjoying the highest reputation for outstanding quality and potters, with many distinct types of glaze being used, such as pastel green (fenqing), plum green (meiziqing), and winter green (dongq-

HK$ 350,000 - 400,000 NT$ 1,417,000 - 1,619,000 US$ 45,100 - 51,600

ing). This bowl has a broad mouth, arched belly, and rests on a small round foot. The entire vessel is covered with a fenqing celadon glaze, and the finish is thick and smooth, and has a sheen and luster reminiscent of jade. In the protruding parts, the color is particularly light and delicate, while it is somewhat deeper and fuller in the grooves.

南宋 龍泉窯大 盌

All this adds to the impression of refinement, as does the lotus petal pattern engraved on the bowl's outer wall. The foot is very cleanly and neatly worked, and the ceramic body showing underneath is of a gray-brown hue. All in all, a very characteristic specimen of Southern Song Longquan ware, with an appeal that is highly suggestive of green jade. 龍泉窯為歷史上重要的青瓷窯口，尤其以南宋時期燒製的最為著 名，質量最優。燒製的器物也豐富多彩，釉色也分為粉青、梅子 青、冬青等釉色。此盌敞口，弧腹，下承小圈足。通體施粉青釉， 釉質肥潤若瑩玉，其釉色凸出處清淡，凹處微微積釉，積釉處顏色 略深，顯得更加優雅，外壁刻蓮瓣狀紋飾，圈足修削工整，足底露 胎呈現灰褐色，為南宋時期龍泉窯的特徵，如半透明的青玉。

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6077 A VERY RARE AND LARGE YAOZHOU CELADON BOWL Jin Dynasty (AD1115-1234) MD: 18 cm

HK$ 200,000 - 280,000 NT$ 810,000 - 1,134,000 US$ 25,800 - 36,100

The larger size of this vessel distinguishes it from standard liudou ("wicker basket") style cups, and this bowl was probably used to keep liquor or food warm. It has an outwardly extended edge, slightly narrowed neck, ample belly, and round foot. Its shoulder is embellished with two parallel bowstring patterns, while the round belly boasts a carved concentric design of rounded arcs that loosely resembles a wicker weave. The entire body, inside and outside, has a finish of dark celadon glaze with a relatively glassy luster and many minute bubbles. The body has a light gray hue and a fine texture. The shape and decorative patterns of this bowl are reminiscent of a wicker basket, thus the Chinese designation liudou bowl. Liudou motifs first

金 耀州窯柳斗 大 盌

appear in Yaozhou ware during the late Tang dynasty, and became very popular during the Five Dynasties era. Originally, liudou ceramics were known for the realism of the wicker weave designs, but by the Song dynasty the figurative patterns had become much simplified. 此盌的器型碩大，區別於柳斗杯，應為保溫酒或食物所使用的溫 盌。厚圓唇外翻卷，束頸，鼓腹，圈足。在溫盌的肩部飾有兩條刻 劃花平行線弦紋，弦紋下的鼓圓腹上刻滿象徵柳條編織紋的同心圓 弧紋。溫盌通體內外飾青釉，釉色青綠，玻璃質感較強，富含氣 泡。胎淺灰色，質細密。該溫盌的造型和紋飾與柳條編織的籮筐相 似，故名柳斗盌。柳斗紋飾在該窯始出現於晚唐，五代時流行，且 以寫實性的柳斗編織紋為主。到宋代紋樣簡化，不見寫實編織紋， 改以象徵紋為特徵。

6078 A VERY RARE YUEYAO CELADON CARVED JAR WITH COVER Northern Song Dynasty (AD960-1127) H: 14.5 cm

HK$ 400,000 - 500,000 NT$ 1,619,000 - 2,024,000 US$ 51,600 - 64,500 北宋 越窯刻花 小 蓋 罐

A jar with a lipped rim, straight neck, and slightly slanting shoulders that are adorned with four evenly spaced ring-shaped handles that are purely decorative.

From the shoulder downwards, the belly at first curves slightly outwards, but then slants back inwards at an increasing angle. The body is embellished with an elaborate flower pattern. The veining of the petals is delicately carved, and the floral design wrapping around the entire jar is highly representative of Yue ware. The jar is covered in a celadon glaze, except at the rim and the round foot, where the brown-gray body shows. As is not often the case, the lid was preserved together with the jar, giving this item additional rarity value. 器物唇口，直頸，平肩微下斜，肩部置四小系，肩下 折明顯，長腹，微鼓，下腹收。器身上剔刻有團花， 花瓣上刻畫有畫的筋脈。花卉圍繞器物一周，為越窯 典型裝飾工藝，通體施青釉，口沿和圈足不施釉，棕 灰胎，較為堅實。難能可貴的是此物蓋子一併保存至 今，為一件不可多得的越窯蓋罐。

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6079 A VERY RARE LONGQUAN DRAGON PATTERN JAR WITH COVER Song Dynasty (AD960-1279) H: 25 cm PROVENANCE: 1. Frank Caro, New York, the successor to C. T. Loo (No. FC 249) 2. Previous Collection from Ann C.Woolworth

HK$ 750,000 - 950,000 NT$ 3,036,000 - 3,846,000 US$ 96,700 - 122,500 宋 龍泉窯龍紋 貼 塑 蓋 罐 來源： 1. 紐約 Frank Caro 繼承盧芹齋的舊物 ( 編號 FC249) 2. 伍爾沃斯舊藏

The jar's mouth is staggered in three decreasing levels, and a sculpted dragon figurine is attached to the shoulder, with its body and claws hugging the vessel tightly as it crouches near the rim. The dragon, in particular its head and body, is executed in fine and vivid detail, as is the upturned lotus petal design engraved on the jar's belly. The entire jar is glazed celadon, and in places where the finish is more thickly applied, it segues into a sky blue hue. Crackle glaze is evident in both jar and cover. The cover is surmounted with a little swallow figurine, and fits snugly onto the jar. This kind of Longquan dragon jar with a cover requires a complex manufacturing process, and the number of finished products is quite small, making this a truly rare item. 罐口部下分為三層，逐漸遞減，肩部貼有模塑螭龍一只，螭龍身 體、爪緊貼罐體，盤踞罐口處。螭龍刻畫精細，軀體與頭部貼塑清 晰，生動自然。罐腹部處為仰蓮紋，紋飾刻畫清晰。通體施青釉， 器物積釉處釉水泛有天藍色，釉面有開片現象。罐配有一蓋，蓋紐 為雁形，與罐身子母口相對接。此種貼塑的龍泉蓋罐製作繁複，成 品率低，所以能夠流傳到今天更是殊為難得。

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6080 A RARE DINGYAO DISH CARVED WITH FLOWERS Song Dynasty (AD960-1279) MD: 16.5 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 220,000 300,000 NT$ 891,000 - 1,215,000 US$ 28,400 - 38,700

The production of white ware at the Ding kiln began during the Tang dynasty. Ding ware is known for its firm and yet light and delicately worked ceramic body. The colors are pure, and the vessels highly vitrified. This brushwash has a wide mouth and slanting walls. A decorative day lily design is engraved at the bottom of the floor. The lines are succinct and flowing, and the craftsmanship is meticulous and mature. The pattern is carved into the surface with a great sense of spacing and composition, achieving a highly stylized and aesthetically pleasing visual effect. A good example for the excellent workmanship of Song dynasty potters. 定窯白瓷的燒造始於唐代，胎骨堅致且輕薄精細，顏色潔淨，瓷化 程度高。此盤敞口，斜壁。內底採用刻花技法飾萱草紋，線條簡潔 流暢，刀法嫺熟，刻畫精細。紋飾陰刻，佈局疏朗有序，追求寫意

宋 定窯劃花 萱 花 紋 小 盤 來源： 香港資深藏家舊藏

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的神韻，展現了宋代制瓷工匠瓷技藝水準。

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6081 A VERY RARE AND SMALL JUNYAO TEABOWL Song Dynasty (AD960-1279) MD: 11 cm PROVENANCE: Old Private Hong Kong Collection

This teabowl has a flaring lip, curved walls, and a round foot. It is completely covered with sky blue glaze, except for the round foot.

Jun ware comes in an incredible variety of beautiful colors, and this bowl with its very evenly applied azure finish is a prime example. The glaze is thinner at the rim, where some of the ceramic body's ocher hue is revealed. Close to the round foot, the finish is somewhat thicker than elsewhere, because the opaque glaze was allowed to run. A simple yet attractive design that is certain to find its admirers.

HK$ 80,000 - 120,000 NT$ 324,000 - 486,000 US$ 10,300 - 15,500 宋 鈞窯天青釉 小 盞 來源： 香港資深藏家舊藏

盞撇口，弧壁，圈足。通體施天藍釉，圈足無釉，鈞窯釉色變化多 端，美不勝收，此盞釉色屬於天藍釉色系，器物施釉均勻，口沿一 周釉水略薄，微露出胎骨的黃褐色，接近圈足處一周釉色略深，為 其乳濁釉流淌後的效果，樸素大方。

6082 A RARE CIZHOU BLACK GLAZED CARVED MEIPING VASE Jin Dynasty (AD1115-1234) H: 27 cm

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300 金 磁州窯黑釉 刻 花 梅 瓶

During the Song and Jin dynasties, craftsmen at the Cizhou kilns began to employ a new technique called tihua, which involved glazing an object black and then creating decorative patterns by chipping away parts of the glazing to reveal the white clay underneath. The strong contrast of black and white makes for a vivid visual effect. Most tihua ware was made in northern China, especially in the Cizhou kilns and in the Western Xia (Tangut) Empire. This Meiping vase has an outwardly curved lipped edge, a short neck, sloping shoulder, and gently curved belly. The entire vase is glazed black, with the exception of the round foot, where the finish was scraped away to avoid that the vessel would became attached to the kiln equipment.

Several horizontal lines divide the decorative design into two parts, with the upper showing a curly cloud design going all around the vase, and the lower a lively floral design that has a strong visual impact and also wraps around the whole vase.

The black glaze has a smooth, glossy sheen, while the raised and recessed parts of the tihua approach create a pleasant bas-relief effect. Overall, this vase is a good example for the bold craftsmanship and rough beauty of Cizhou ware. 宋金時期磁州窯剔花工藝開始推廣，將器物通體施黑釉，然 後刻劃紋飾時將多餘的黑釉剔掉，露出白色化妝土，黑白對 照，對比強烈。這種裝飾手法多見於北方的磁州窯與西夏窯 口。此梅瓶唇口外翻，短頸，溜肩，弧腹。通體施黑釉至圈 足，圈足一周將黑釉刮削，避免與窯具粘連。數道旋紋將器 身紋飾分為上下兩層，上層為卷雲紋，相互連接一周。下層 刻畫一周花卉紋，紋飾立體生動。釉色烏黑亮麗，有淺浮雕 的質感，凸凹有致。彰顯了磁州窯器物粗獷豪邁的性格。

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6083 A VERY RARE DINGYAO BOWL CARVED WITH FLOWERS Northern Song Dynasty (AD960-1127) MD: 20 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 500,000 - 650,000 NT$ 2,024,000 - 2,632,000 US$ 64,500 - 83,800 北宋 定窯劃花 萱 花 紋 大 盌 來源： 香港資深藏家舊藏

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This bowl has an outwardly curved rim and wide rounded sides rising from a round foot. It is glazed white inside and out. The finish on the outside is smooth without any decorative design, but the inside is carved with a pattern of day lilies. The body is thin and light, and the elegant floral design consists of simple but expertly drawn expressive lines. The bottom and foot in particular bespeak superior workmanship, while the floral pattern is compactly composed to extend from the center to the rim in a naturally flowing flourish. A very good example of the classical and refined beauty that is a trademark of Ding ware. In spite of its great age, the item is in an excellent condition. 盌撇口，深弧壁，圈足，裏外滿釉，釉質白潤。外壁光素無紋，盌 內刻畫萱草紋。胎體輕薄，紋飾構圖簡練，劃花線條疏朗清晰。修 足工藝講究，此盌的圖案佈局緊湊，盌內紋飾圖案由內底延伸至內 壁，更顯灑脫自然。體現出定窯典雅秀麗之美，雖歷經多年，但依 舊保存完整，殊為難得。

Other view

6084 A RARE JUNYAO LAVENDER BLUE GLAZED CENSOR Song Dynasty (AD960-1279) H: 8.5 cm

HK$ 300,000 - 400,000 NT$ 1,215,000 - 1,619,000 US$ 38,700 - 51,600 宋 鈞窯天青釉 香 爐

The censor has a mouth with an outwardly curved edge, a short neck, and a bulging belly. It rests on three feet, with neck, belly, and feet well proportioned. The censor's overall dimensions give a well-rounded and smooth impression, and it lies pleasantly in the hand. A thick layer of lavender blue glaze is applied to the entire vessel, giving the body fullness and finish. This lot is an exquisite and highly representative specimen of Song Junyao pottery. 此爐口沿外翻，短頸鼓腹，下承三足，頸腹足三部分比 例勻稱，顯得此香爐體量輕巧圓潤，把玩手中，更是愛 不釋手。爐通體施青釉，釉水肥潤，胎質堅致，為宋代 鈞窯典型代表器物。

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6085 A VERY RARE LONGQUAN FLORAL TEABOWL Song Dynasty (AD960-1279) MD: 11 cm

HK$ 100,000 - 150,000 NT$ 405,000 - 607,000 US$ 12,900 - 19,300 宋 龍泉窯貼塑 花 口 小 盞

The entire body is glazed in bluish-green monochrome, and the bowl's rim arched outwards. The inside of the bowl is engraved with a decorative tree leaf design, outlining in a few masterful, expressive strokes the shape and venation of the leaves. The color of the glazing is deep and on the dark side, yet refined and elegant. The bowl rests on a round foot, and the center of its interior is embellished with a neatly carved little turtle. 此盞通體施青釉，口沿為花式翻口，盞內刻畫樹葉紋， 寥寥數刀刻畫樹葉的形狀與葉脈，刀法嫺熟簡練。釉色 深沉，色澤優雅。底部小圈足，盞心內貼塑烏龜一只， 小巧可愛。

6086 A RARE CELADON LION MOLDED SCULPTURE Western Jin Dynasty (AD266-316) H: 13.5 cm

HK$ 300,000 - 400,000 NT$ 1,215,000 - 1,619,000 US$ 38,700 - 51,600 西晉 越窯辟邪

During the Western Jin dynasty, pottery and ceramics manufacturing techniques matured considerably. Pieces from this period boast a smooth, refined body and a lustrous glaze, and they come in all kinds of shapes and designs. Utensils such as censors and water-pots were produced in large numbers, and were often embellished with a wide range of patterns and designs. This was facilitated by the improvement of carving, sculpting, and molding techniques, allowing the manufacture of items both useful and aesthetically pleasing. This lot is a sculpture of a lion, usually meant to ward off evil and bad luck. It has an impressive mane, a pair of eyes looking straight ahead, and two ears cocked in attention. The teeth are exposed in a threatening fashion. The animal is crouching on the ground with bent legs, and its body is surmounted with a round knob that is flattened at the top. Such sculptures were quite common during the Western Jin, but more research is needed to determine precisely why they were so popular, or what they signified and how they were used. 晉代制瓷技術日漸成熟，此時的器物胎質細膩，釉色瑩 潤，造型十分豐富，香薰、水呈等器物也大量燒制，裝 飾技法也多種多樣，刻劃、堆塑等工藝手法日趨成熟， 取得很好的藝術效果。此件辟邪為獅子狀，鬃毛凜凜， 雙目前視，雙耳警覺，牙齒外露，四肢彎曲跪於地，背 部置一圓口。該器物多見於晉代，而具體為何種器物、 如何使用更需進一步的研究。

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6087 A RARE YAOZHOU BLACK GLAZED AND RUST-COLORED JAR

Rust-colored glaze is a special technique associated with northern

Song or Jin Dynasty (AD960-1234) H: 13.5 cm

terns as an adornment. When the vessel is burned at high tempera-

PROVENANCE: Old Private Hong Kong Collection

China's Yaozhou kiln during the Song and Jin dynasties. It involves glazing an object black, and then applying an extra layer of coloring agent made from banhuashi, an ore high in iron oxide, to add pattures, the iron crystals will give the decorative designs their characteristic russet color and mottled appearance. This jar has a deep, curved belly, a lipped edge, and a round foot. Two miniature handles are attached to the shoulder. The body has a finish of black glaze, and is embellished with broad, rusty-colored vertical stripes all round the

HK$ 250,000 - 350,000 NT$ 1,012,000 - 1,417,000 US$ 32,200 - 45,100

bowl. The item boasts an unpretentious beauty, and is a genuinely unique specimen of russet-splashed black-glazed Yaozhou ware. 鐵銹花是北方磁州窯宋金時期特有的工藝，在施好黑釉的胎體上用 含有氧化鐵的斑花石著色劑繪紋飾，高溫燒制過程中，紋飾中的鐵

宋/金 耀州窯 黑 釉 鐵 鏽 斑 雙 系 罐

雙耳。通體施黑釉，器身黑釉上點綴有多條鐵銹斑，規則的貫穿罐 體環繞一周，古樸大方，為耀州窯鐵銹斑器物中有特點的一件。

來源： 香港資深藏家舊藏

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晶體呈現斑斕的鐵銹紅色。此罐深腹，唇口，曲腹，圈足，肩部置

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6088 A RARE SANCAI GLAZED PLATE Five Dynasties (AD907-960) MD: 16 cm PROVENANCE: Old Private Hong Kong Collection

HK$ 40,000 - 50,000 NT$ 162,000 - 202,000 US$ 5,200 - 6,400 五代 三彩小盤 來源： 香港資深藏家舊藏

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Sancai ceramics were produced in large amounts during the Tang

三彩器物在唐代時期大量燒制，而進入宋代以後銳減。此拍品為唐

dynasty, but in the Song era their popularity decreased rapidly. This

宋過渡階段五代時期所燒制。釉面較薄，無明顯的流淌痕跡，盤中

lot stems from the Five Dynasties, which marked a transition period

為三彩的最為代表的三種顏色綠黃白三色裝飾，錐形的黃色與綠色

between the Tang and the Song eras. The glaze is relatively thinly ap-

圖案指向盤心，黃綠之間點綴白色斑點，規則的分佈於盤身。盤心

plied, without any obvious traces of running, such as tears. The plate

五朵花卉，白色花瓣，黃釉為花蕊，綠地襯托

shows the three most commonly used colors in Sancai pottery: green, amber, and white. The awl-shaped green and yellow elements point towards the middle of the plate, and are interspersed with white dots, evenly distributed across the design. The center of the plate features six blossoms on green ground, each with white petals and amber-glazed pistils.

6089 ZENG YANG (Chinese, b.1981) Amitayus (nine palaces) 2013 On gold paper 13 x 13 cm x 9 PROVENANCE: Space Station Gallery, Beijing Acquired by the present owner from the above

HK$ 54,000 - 80,000 NT$ 219,000 - 324,000 US$ 7,000 - 10,300 曾揚 無量壽世界（九宮格） 2013 金箔 手繪 絹本 13 x 13 cm x 9 來源： 空間站畫廊 現藏者購自上述來源

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6090 WANG BINGFU (Chinese, b.1936) Lessons of Antecedents 2002 - 2014 Ink on paper 34 x 46 cm (pair) With one seal of the artist

HK$ 15,000 - 30,000 NT$ 61,000 - 121,000 US$ 1,900 - 3,900 王秉复 龍文鞭影系列：《法善觀燈》、《試子夷簡》 2002 - 2014 水墨 紙本 34 x 46 cm（一組兩件） 鈐印：畫史氏

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6091 WANG BINGFU (Chinese, b.1936) Lessons of Antecedents 2002 - 2014 Ink on paper 34 x 46 cm (pair) With one seal of the artist

HK$ 15,000 - 30,000 NT$ 61,000 - 121,000 US$ 1,900 - 3,900 王秉复 龍文鞭影系列：《魏野艸堂》、《佐卿化鶴》 2002 - 2014 水墨 紙本 34 x 46 cm（一組兩件） 鈐印：畫史氏

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6092 WANG BINGFU (Chinese, b.1936) Lessons of Antecedents 2002 - 2014 Ink on paper 34 x 46 cm (pair) With one seal of the artist

HK$ 15,000 - 30,000 NT$ 61,000 - 121,000 US$ 1,900 - 3,900 王秉复 龍文鞭影系列：《曾辭溫飽》、《龐公休暢》 2002 - 2014 水墨 紙本 34 x 46 cm（一組兩件） 鈐印：畫史氏

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6093 WANG BINGFU (Chinese, b.1936) Lessons of Antecedents 2002 - 2014 Ink on paper 34 x 46 cm (pair) With one seal of the artist

HK$ 15,000 - 30,000 NT$ 61,000 - 121,000 US$ 1,900 - 3,900 王秉复 龍文鞭影系列：《玩月知徽》、《管通鵲語》 2002-2014 水墨 紙本 34 x 46 cm（一組兩件） 鈐印：畫史氏

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6094 KE WEIGUO (Ke Wei-kuo, Taiwanese, b.1976) Seeking Simplicity 2008 Ink on paper 138 x 27.5 cm With one seal of the artist

HK$ 10,000 - 30,000 NT$ 40,000 - 121,000 US$ 1,300 - 3,900 柯偉國 回樸 2008 水墨 紙本 138 x 27.5 cm 鈐印：柯

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CHINESE WORKS OF ART (HONG KONG)

The following provisions are entered into by and between Ravenel Auction Hong Kong Limited, , as the auctioneer(hereinafter referred to as “the Company”) and the Seller (hereinafter referred to as the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter referred to as the “Buyer”). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 2, Section 5which provides limitations as to the legal responsibilities of the Company.

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

2. “The Prospective Buyer”shall mean any potential bidder willing to attend the auction sale hosted by the Company.

3. “The Seller”shall mean the mandator who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company.

4. “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.

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

6. “The Buyer’s Premium 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 2, Section 4a.

7. “The Reserve Price”shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price.

8. “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).

9. "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).

Article 2.The Buyer 1. The Company 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 including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the 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 does not 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 the 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 the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties.

The Prospective Buyer completely understands and acknowledges that 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 conditions of any of the items. Unless otherwise stated in laws of Hong Kong, 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 The Company such necessary financial references, guarantees, deposits and / or such other security as The Company’s may in its absolute discretion require for your bid. The Companydecision whether to accept any pre-registration 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 the Company 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. The Company 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 Buyer’s Premium.

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d. Catalogue Explanations 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 and certificates thereof 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 and making his/her own judgment or estimation independently regarding the items.

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 The Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. The 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.Commission Bids The Company will make the proper effort to bid for the Prospective Buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the Prospective Buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. 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 makes 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 or any failure to participate in the auction by phone under any circumstances. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. 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 and be revised by the Company from time to time. g. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at the 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 HKdollars. The exchange rate conversion board is not absolutely reliable and for the reference only. 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. h. Recorded Images There is image projection in the 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. i. 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.If the auctioneer announcethe points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. j. Successful Bids Under the sole 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.

The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer.

4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer (1)The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price.

(2)For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 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, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price,

Buyer’s Premium 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 The Company 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 Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hong Kong 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 earlier 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 after expiration of the said 7 days period or from collection of such items(whichever is the earlier), without prejudice to the Company’s right. 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.And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment 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 following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Hong Kong 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 mayoffset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision.

(2)To exercise lien of any items owned by the Buyer and held by the Company for any purposeincluding but without limitations other transactions. 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 make on behalf of others, 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 one or more of the following rights in addition to the aforementioned: (a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)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. (c)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 following 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 in full 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 following the auction date; 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 2, Section 6.

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 impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. 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 or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or 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 after notice and the said notice and the condition of the item must be the same as on the auction day and without any damage.

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 Company has the final and sole discretion and decision and such decision shall not be objected in this regard). 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 on which such Buyer’s name is recorded 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.If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer.

Article 3.The Seller 1. The Company 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, through the agency of the Company on behalf of the Seller. The Seller shall be responsible to the Buyer for performing the obligations and responsibility of a 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 appointed by the Company which the Company believes to be necessary in preparing the catalogue explanations. g. Any independent professional opinions appointed by the Company which the Company deems proper h. The storage, loading and unloading and custody of the Lot after the auction (if applicable) i. The administration cost of the Company reaches the total amount of 10% of all the expenses and 10% of the damages 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 and estimated 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 as the insurance fee. 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, in no event shall the Company be not responsible for any legal responsibilities and liabilities incurred therefrom. c. The Lot will remain insured up to 7 days after the auction date. 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, moisture, force majeure or unforeseeable conditions, or any reason not attributable to the Company.

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 paymentsand the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees 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, without any conditions. The Buyer must be responsible and 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 informby himself/herself the underwriter of the Seller the provision herein.

5. Commitments Made by the Seller with Respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also stipulate and limit the sale 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 legal owner of the Lot and has the unlimited rights to assign his ownership to the Buyer which should not concern any third party right or claim (including but without limitations copyright claims, liens, mortgage). 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 now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds.

6. Auction Arrangements 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 sale of the Lot without obtaining the prior written consent from the Company. The Company reserves the right to withdraw, suspend, or terminate the sale and authorization of 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; or 2. Any violations of the Transaction Agreement; or 3. The Company deems it inappropriate to include the Lot in the auction.

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d. Withdrawal of Mandate or Authorization (1)The Seller may not withdraw, suspend or terminate his/her/its mandate for the Item(s) or the authorization to the Company under this Agreement without prior written consent of the Company.

(2)In the case of such withdrawal, suspending or termination stated in paragraph A, the Seller shall pay the Company an amount equivalent to 40% of the Reserve Price as punitive damages in addition to the compensation for damages or economic loss to the Company.

(3)In case of default or breach of this Agreement, the Company may cancel or terminate this Agreement anytime and the Seller shall also pay all costs and expenses incurred by the Company under this Agreement.

7. Auction Rules a. The Company will auction the item according to the Reserve Price. The Reserve Price may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve Price agreed is in a currency other than HK dollars and the ReservePrice is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve Price agreement day and the auction day. Under such circumstances, except where otherwise agreed by the Company, the ReservePrice shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. b. If the bid price is lower than the ReservePrice, 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 ReservePrice. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the ReservePrice. c. The Seller may not increase the price with his own or other third parties’ name, nor participate in the bidding of his/her/its auction item(s)with his own or other third parties’ name, however, The Company 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 following the auction date, 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 2 of the Transaction Agreement) or other necessary conditions, the Company will remit to the Seller within 60 workdays 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 7 workdays following the payment in full by the Buyer.

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 Hong Kong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Closing of the Transaction and Handling Fee (1)The transaction is closed when the Buyer has paid the Company in full after the auction.

(2)The handling fee is payable to the Company after the closing of the transaction. c. 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.Any and all damages, costs, expenses or fees incurred shall be borne by the Seller. However, the Company is not responsible for making payment 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. d. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the Buyer settles all payments and collects the Lot from the Company, the Company will return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation. The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three (3) days of such notification, and shall pay the Company fees and expenses, and any and all losses, damages or related expenses and fees. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Hong Kong and Shanghai Banking Corporation (HSBC)plus ten percent (10%) per annum.

In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensations for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries’payments due to the Seller in other transactions. e. Items Not Successfully Auctioned (1)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. (2)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 payments due are made.

(3)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.

(4)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 ReservePrice). The Company will pay the Seller the auction proceeds after payments owed are offset.

(5)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 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. The Company has the rights to offset all expenses payable by the Seller in advance. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction.

9. Photographs and Display The Seller agrees the Company have rights to make the photographs, illustration, recordings and other reproduced images of the Lot. The Company owns all rights to the photographs, illustration,recordings and other reproduced images of the Lot made by the Company. All the rights(including but without limitation the copyright) of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate,and the Seller has no objection.

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10. Taxes a. According to the tax laws of Hong Kong, The Company shall submit to the competent revenue agency the name of the Sellerand other relevant documents supplied by the Seller. b. If the Seller 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, The Company shall reserve the rights to claim for the tax amount and other related expenses (including but not limited to interests, penalty) from the Seller if the representation made or document provided by the Seller is not true. c. Where the Seller is a foreigner, the Seller agrees that The Company 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 The Company shall be subject to change once the applicable tax rate is adjusted.

Article 4.Terms Applicable to Both the Buyer and the Seller 1. Intellectual Property Rights Intellectual property rights (including but without limitations, the copyright or patent) 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 a. 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. b. The conditions of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply.

4. This Agreement is entered into the parties in English and Chinese. If there is any conflict with two versions, the Chinese version shall prevail.

5. This Agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer andthe Seller agree to obey the revision or modification.

6. Jurisdiction The Transaction Agreement is 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.

香港古董業務規則

本業務規則，為羅芙奧香港拍賣有限公司 (「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。準買家、買家及賣家務須細讀各項規則並 完全同意遵守本業務規則。準買家、買家請特別留意第二條第5項，其對本公司之法律責任作 了限定。 一. 本業務規則所用詞彙之定義 在本業務規則中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1.「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4.「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。 5.「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。 6.「買家佣金」：指買家按拍賣落槌價之某一百分比而支付之費用；收費率如第二條第4a項 所列。 7.「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。 8.「贋品」：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贗品。 9.「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）。 二.買家 1. 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。 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及其證明文件之真偽對買家作任何 保證。 b. 拍賣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，並非 提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「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 以下為目錄中所載符號之說明 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 交付所需的財務狀況證明、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佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺 寸、材質、歸屬、真實性、產地、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，買家有責任自行查明並了解，並就拍賣 品為自己獨立之判斷及評估，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 競投者將被視為買家而須承擔獨立之法律責任，除非登記時已經與本公司書面協定，競 投者僅為第三人之代理人，且該第三人須為本公司所同意接受者。

d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代 其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個 委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣 品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限， 而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所 述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買 家如希望確保競投成功，應親自出席競投。 e. 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，如未能聯絡或無法參加電話競投，本公司對賣家或任 何準買家均不負任何責任。 f. 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指 定拍品，而承擔買方獨立責任。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，請參閱本公司網頁 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 則所規範，本公司得隨時修改該業務規則。 g. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板，然而競投仍會以港幣進行。匯率轉換顯示 板僅供參考，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。 h. 錄映影像 在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。 i.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拍賣，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。 j. 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，視為賣家與買家之成功拍賣 合約之訂立。買家即應對賣家負擔買受人之義務及責任。 4.拍賣後 a. 買家支付每件拍賣品之佣金費率 (1)買家除支付落槌價外，另須支付買家佣金予本公司，落槌價於港幣捌佰萬元以下 者（含港幣捌佰萬元），以20％計算。 (2)落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以20％計算， 超過港幣捌佰萬元之部份再以12％計算，加總計算佣金金額。 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，自行繳付 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，買方亦須提供付款 銀行之詳情，包含但不限於付款帳號。買方應於拍賣日期後起算七天內悉數支付應付 予本公司之款項（包含落槌價、佣金，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 日後起算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，成功拍賣日後起算七天期滿後或自領取時起，拍賣品之風險全 由買家承擔，但不得損及本公司之權益。 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。買家必須預先繳付運送費用。 g. 不付款之補救辦法 如買家並未有在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權 利或補救辦法： (1)在成功拍賣日後起算七天仍未付款，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。本公司亦得自行選擇將買家未付之款項，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，買方絕無異議。 (2)對任何屬於買家所有而因任何目的（包含但不限於其他交易）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，另有權為下述一項或多項權利或補救辦法： (a)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。 (b)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。 (c)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日後起算七天內領取，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。而買方在付清所引起之貯存、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，買家才可領取已購得之拍賣 品。

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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，並不影響買家在成功拍 賣日後起算七天內付款之責任，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 本公司僅在第二條第6項所列之情況下，得將退還款項予買家。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、產地、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，不論明示或暗示，均無就 任何拍賣品作出任何保證。 6. 贗品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為贗品 或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。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. 證明拍賣品為贗品之方法，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 品乃贗品或贓物之詳細理由及證據，並通知後十四日內及將拍賣品送還本公司，而 其狀況應維持與拍賣當日相同，不得有任何損壞；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贗品或贓物(本公司保 有最終及不可異議的決定權)。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 (該買家名稱確係被記載於發票上)，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贗品，不論該程序在拍賣當日是否已使用或已在使用，如本公司 驗證拍賣品是否屬於贗品之結果與買家出示證據相衝突者，應以本公司驗證結果為準。 三.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出賣人義務及責任。 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. 本公司為擬定目錄說明指定需由外界專家作出之鑑定。 g. 本公司指定之任何外界專家意見。 h. 拍賣品拍賣前後之裝卸、貯存及保管等費用。 i. 本公司之行政費用，金額為因賣家而引致之一切費用及損害金額之10%。 j. 任何市場之推廣及廣告費用。 3. 由本公司安排保險事宜 a. 除非與本公司另有協定外，否則拍賣品將自動受保於本公司藝術品精品保險單，保險 值為本公司自行評估 當時認為適當者。然而保險金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落槌價之1%或若未拍賣成功時以拍賣品底價之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，但不論於何種情 況下，本公司均不承擔任何有關此方面之運送法律責任。 c. 拍賣品在成功拍賣日後起算七天內保險仍然有效。如拍賣品未能成功拍賣，保險屆期 以後風險全由賣家承擔。 d. 由蛀木蟲、空氣、水份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，或其他非可歸責於本公司之事由所致之損壞，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。賣家無條件同意須保障本公司、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。賣家亦同意應本公司、本公司之僱員與代理人，以及買家所要 求，負責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。賣家須自行將本條 條款揭露予賣家之承保人。 5. 賣家就拍賣品所作之承諾 本項列出本公司處理拍賣品之基準，規範賣家與買家之間的買賣關係。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及擔保為基準，賣家承諾及擔保如下： a. 賣家為拍賣品之唯一所有權人及/或合法持有人，具備將其所有權及相關所有權利(於無 質押、無產權負擔及無涉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等三項擔保有任何不確實之處，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、訴訟費、律師費、所有費用及 開支，而不論是因拍賣品還是因拍賣收益而引起。

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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.未得本公司事前書面同意，賣家不可撤回拍賣品之委託。但本公司保留隨時因後述原因 而撤回、中止或終止拍賣品委託授權之權利。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項所指之承諾之準確性有懷疑； 或 (2)有任何違反本業務規則之情況；或 (3)本公司認定將拍賣品納入或繼續執行拍賣並不適當者。 d. 撤銷委託或授權條款 (1)非經本公司事前書面同意，賣家不得撤回、中止或終止對於標的作品之委託或授予 本公司之權利。 (2)賣家依前項規定撤回、中止或終止拍賣品之委託或授與本公司之權利者，委託者除 應對本公司負損害賠償或經濟上損失賠償責任外，尚須支付委託底價之40%作為懲 罰性違約金付與本公司。 (3)如賣家有任何違約情事，本公司有權隨時終止委託事項，賣家須支付本公司所有之 前為履行委託或授權工作所產生之費用及開支。 7. 拍賣守則 a. 本公司將會參照底價進行拍賣品之拍賣程序。底價不得高於拍賣目錄所印登載估價之 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。 b. 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，但本公司有權決定將 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。 c. 賣家不得以自己或第三人名義隨意哄抬競投價格，不得以自己或第三人名義參與競標 拍賣品，亦不得聘請任何人代賣家參與競投，惟本公司有權代理賣家參與競投。 8.成功拍賣後 a. 結算 成功拍賣後，本公司協助賣方要求買家最遲於成功拍賣日後7日內全數付款。在買家付 款後，除非本公司收到通知謂拍賣品為贗品，否則，本公司會於成功拍賣日期後60個 工作天，將一筆相等於成交價減去賣家應支付之所有費用之款額匯予賣家。如遇買家 延遲付款，則本公司將在買家付款後7個工作天內匯款予賣家。如因任何理由而使本公 司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。 但在本公司因拍賣品為贗品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣收 益退還予本公司。 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付款金額。 b.賣家支付每件拍賣品之手續費： (1)本公司之拍賣須至拍賣完成後買家實際付清所有款項予本公司時，視為交易完成。 (2)當交易完成，賣家須依約定支付本公司手續費。 c. 買家不付款 如買家在成功拍賣日後起算7天內未支付應付之全部款項，本公司即有權代理賣家就 付款、貯存與保險而協定特別條款，並有權代理賣家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，因而產生之相關費用及損害，概由賣家自行承擔。但本 公司並未承擔任何付款責任，亦無義務代理賣家採取任何行動(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。 d. 贗品/贓物 如買家於付款領取拍賣品後之十日內，使本公司相信或懷疑拍賣品為贗品或贓物或涉 及任何不法情事者，本公司得自行決定無條件買家交付之拍賣落槌價(本公司得扣處因 此所致之相關處理費用)予買家時，而拍賣品將由本公司退回賣家或送交警方處理，賣 家不得異議或對本公司主張任何權利或請求，賣家並應於本公司通知後，於三日內無 條件退還其所得之全數金額予本公司，賣家並應於十日內付清相關基本支出費用，及 賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另 外支付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。本公司亦得自行選擇將賣 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賣家之款項， 賣家絕無異議。 e. 未能成功拍賣之拍賣品 (1)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、中止或 終止拍賣，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。 (2)任何此等拍賣品如在35天過期後仍未領回，本公司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。 (3)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。 (4)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。 (5)任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司有權代理賣家在拍賣後的兩 個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費 用後之款額），私下出售拍賣品。本公司得事前扣除所致之費用。在此情況下，賣 家就該拍賣品而對本公司所負有之責任、義務及付款條件等，與拍賣品成功拍賣時 一樣。 9. 圖片與圖示 賣家同意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、錄像及影像制品之著作權及其他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，賣家絕無異議。

10.稅制 a. 依香港稅法規定，拍賣品成交後委託者須提供報稅名單及相關資料，由本公司提報稅 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，委託者並同意本公司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，由本公司代為申報並繳交稅捐單位。由本公司 扣除的款項將隨著當時的稅率而調整。 四.買家與賣家均適用之條件 1. 智慧財產權 與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、 專利等)，於任何時候均屬於本公司之財產及所有。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，視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作 天，視為收件人已合法收受。 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 a. 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條款仍繼續有效及可強制執行。 b. 本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家 不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家 間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5. 本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6. 法律及管轄權 本業務規則受香港法律規範，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。

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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: Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 Taipei Tel: +886 2708 9868 Fax: +886 2708 8955 Bidder’s Details Name ID number Address

Auction

Date Sale No. Location

Address

LITERATI SUBLIMATION ORIENTAL ARTS FOR THE CHINESE SCHOLARS Tuesday, 2 June, 2015, 3:30pm HC1501 Renaissance Hong Kong Harbour View Hotel (Mezzanine Floor) 1 Harbour Road, Wanchai, Hong Kong

1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.).

The completion of a registration form and the payment of a security deposit are required.

2. In the event that the bidder chooses not to be present at the venue on the day of the auction, the bidder may place an absentee bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel’s specified Bank account before the 26th May 2015 in order to obtain a paddle number for the purposes of placing a telephone/ written/internet bid(s).

Post code Tel Mobile Fax 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 Buyer’s Premium and any applicable sales tax. The Buyer’s Premium 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 Rules to the Buyer. (4a. The Buyer’s Premium of Each Lot Payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%.)

The bid shall be subject to the Transaction Rules 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 buyer’s premium)

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 Auction Hong Kong Limited Room 1307A, 13/F, 39 Healthy Street East, North Point, 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： 香港 電話：+852 2889 0859 傳真：+852 2889 0850 台北 電話：+886 2708 9868 傳真：+886 2708 8955 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 簽名

拍 賣 名 稱：羅芙奧香港 2015 春季拍賣會 心道澄懷 - 古今人文藝術專場 拍 賣 編 號：HC1501 香港拍賣日期：2015 年 6 月 2 日（星期二） 下午 3:30 香港萬麗海景酒店閣樓 香港灣仔港灣道 1 號

1. 有意參與競投的買家需事前辦理登記申請手續：請出示 有效証件 ( 如：身份証明、護照…) 並填寫登記文件以及 繳納保証金。 2. 競投者如不能出席拍賣會，可通過電話 書面方式進行 競投。登記申請手續以及保証金之繳納亦需在 2015 年 5 月 26 日以前完成匯款至本公司指定帳號。以取得電話 書面競標牌號。

行動電話 電郵

（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買家佣金（連同該最後落槌價及買家佣金之營業稅）買家佣金依最後落槌價乘以 佣金費率得之。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買家佣金費率：（1）買家除支付落槌價外，另須支付買家佣金 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，採分二級計價，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；加總計算佣金金額。） 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） （買家佣金不計在內）

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。

銀行證明 銀行名稱 銀行地址 羅芙奧香港拍賣有限公司 香港北角健康東街39號13樓1307A室 Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com

銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話

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CHRONOLOGY 中國歷代年表

新石器時代 商 周 秦 漢 三國 晉 南北朝 隋 唐 五代 遼 宋 北宋 南宋 西夏 金 元 明 洪武 建文 永樂 洪熙 宣德 正統 景泰 天順 成化 弘治 正德 嘉靖 隆慶 萬曆 泰昌 天啟 崇禎 清 順治 康熙 雍正 乾隆 嘉慶 道光 咸豐 同治 光緒 宣統

10th - early 1st millennium BC NEOLITHIC 16th Century - C. 1050 BC SHANG DYNASTY C. 1050 - 221 BC ZHOU DYNASTY 221 - 206 BC QIN DYNASTY 206 BC - AD 220 HAN DYNASTY AD 220 - 265 THREE KINGDOMS AD 265 - 420 JIN DYNASTY AD 420 - 589 SOUTHERN AND NORTHERN DYNAST1ES AD 581 - 618 SUI DYNASTY AD 618 - 907 TANG DYNASTY AD 907 - 960 FIVE DYNASTIES AD 907 - 1125 LI AO DYNASTY AD 960 - 1279 SONG DYNASTY AD 960 - 1127 Northern Song AD 1127 - 1279 Southern Song AD 1038 - 1227 XIXIA DYNASTY AD 1115 - 1234 JIN DYNASTY AD 1279 - 1368 YUAN DYNASTY AD 1368 - 1644 MING DYNASTY AD 1368 - 1398 Hongwu AD 1399 - 1402 Jianwen AD 1403 - 1424 Yongle AD 1425 Hongxi AD 1426 - 1435 Xuande AD 1436 - 1449 Zhengtong AD 1450 - 1456 Jingtai AD 1457 - 1464 Tianshun AD 1465 - 1487 Chenghua AD 1488 - 1505 Hongzhi AD 1506 - 1521 Zhengde AD 1522 - 1566 Jiajing AD 1567 - 1572 Longqing AD 1573 - 1619 Wanli AD 1620 Taichang AD 1621 - 1627 Tianqi AD 1628 - 1644 Chongzhen AD 1644 - 1911 QING DYNASTY AD 1644 - 1661 Shunzhi AD 1662 - 1722 Kangxi AD 1723 - 1735 Yongzheng AD 1736 - 1795 Qianlong AD 1796 - 1820 Jiaqing AD 1821 - 1850 Daoguang AD 1851 - 1861 Xianfeng AD 1862 - 1874 Tongzhi AD 1875 - 1908 Guangxu AD 1909 - 1911 Xuan tong

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Lot 6005

Lot 6007

Lot 6009

Lot 6013

Lot 6014

Lot 6016

Lot 6018

Lot 6020

Lot 6023

Lot 6025

Lot 6028

Lot 6029

Lot 6030

Lot 6031

Lot 6032

Lot 6033

Lot 6034

Lot 6035

Lot 6036

Lot 6037

182

Lot 6038

Lot 6039

Lot 6040

Lot 6041

Lot 6042

Lot 6043

Lot 6046

Lot 6047

Lot 6048

Lot 6049

Lot 6050

Lot 6051

Lot 6052

Lot 6053

Lot 6054

Lot 6056

Lot 6069

Lot 6071-1

Lot 6071-2

Lot 6065

183

Lot 6072

Lot 6073

Lot 6074

Lot 6075

Lot 6076

Lot 6077

Lot 6078

Lot 6079

Lot 6080

Lot 6081

Lot 6082

Lot 6083

Lot 6084

Lot 6085

Lot 6086

Lot 6087

Lot 6088

184

185

ARTIST INDEX

Lot 6001

Lot 6094

Lot 6002

Lot 6027

Lot 6003

KE Weiguo (Ke Wei-kuo, Taiwanese, b.1976)

TIAN Xutong (Chinese,b.1962)

Born in Ruifang, Taiwan in 1976. Graduated as M.F.A from Institute of Art in Ink Painting of National Taiwan Normal University in 2006, Ke Wei-kuo is a famous Ink painter and artist in Taiwan. His art creations are inspired by childhood memories when growing up in country town and by years of research accumulation. The visual semantic, symbols, and images in his work demonstrate the feeling of illusion and dreamy, passing on the unspeakable enlightenment of life journey.

He has won many awards like 2005 "Keelung city Art Exhibition Ink Painting Category 1st. Place" Keelung, Taiwan. His works have been collected

by National Sun-Yatsen Memorial Hall，Taiwan in 2014 and "Art Bank by Ministry of Culture", Taiwan in 2013 and 2014.

Born in Beijing in 1962, Tian Xutong graduated from the Central Academy of Fine Arts & Craft in 1985 with a major in ink painting. A congenial, spirited and highly creative artist by profession, he is also an art professor in Tsinghua University (Beijing), with 40 over publications – ranging from guides on sketching techniques and innovative design to Chinese decorative art and books on Tian's ink painting collections – to his name. His paintings have received very positive comments from professional art critics in China, Britain and Hong Kong, and this consequently has made his works more widely and internationally recognised, loved and acquired by art collectors.

Art exhibitions:2010" Tian Xutong Ink Painting E x h i b i t i o n",Ta i w a n;2012" T i a n X u t o n g Z e n Ink Painting Exhibition",Singapore;2014" Zen Phantasm - Tian Xutong's Ink Painting Exhibition Asia Tour (Tianjin Stop)"; 2014 "Miao Bi Wu XinExhibition of Tian Xutong's Ink Painting", Beijing.

柯偉國 (台灣，1976年生)

田旭桐 (中國，1962年生)

郭漢深 (中國，1949-2004)

1976生於台灣瑞芳。 2006畢業於國立台灣師範大學

田旭桐，1962年生於中國北京，1985年畢業於中

1947年出生於中國廣東，於國立臺灣師範大學藝術

美術研究所水墨組，著名水墨畫家，台灣藝術家。

央工藝美術學院（現清華大學美術學院），畢業後

系畢業，後往香港中文大學研習水墨。在臺北時曾

創作靈感來源於在鄉村小鎮成長的童年記憶和多年

留校任教至今，碩士生導師。曾出版個人畫集和著

師從劉國松。1980年代定居美國，其作品在香港及

的研究沉澱。作品重視覺語意、符號圖式的畫面呈

作四十余冊，種類包括從素描技巧道中國裝飾藝術

美國廣泛展出。郭漢深選擇以傳統卷軸水墨形式呈

現迷漓夢幻的感覺, 蘊藏無法言說的悟道的心路歷

之創新設計等等。他的作品受到中國內地、香港和

現藏教之精粹與萬佛之像，簡潔無華，安寧靜謐，

程。個展：2006年「風喧草薰一溪雲」，水墨創作

英國等地的專業藝術評論的廣泛好評，所以其作品

水墨作品富有深刻的精神意義。作品曾在中國、日

個展，基隆市立文化中心；2008年「遠履遊心」，

越發得到國際化認可，也被許多的藝術收藏家收

本、東南亞、英國、俄羅斯、南北美洲等地展出。

台北縣立黃金博物館；2009年「兩個夏天」，台北

藏。畫展有：2010年「田旭桐水墨個展」，台灣；

縣立藝文中心；2013年「澹雨寂光」水墨創作個

2012年「田旭桐禪意水墨畫展」，新加坡；2014年

展，台北市夢十二美學空間；2010年至今參與台灣

「田旭桐禪意水墨作品亞洲巡回展（天津站）」，

和香港多次聯展，如2014 年「亞洲當代藝術博覽

天津；2014年「妙筆無心－田旭桐禪意水墨作品

會」，香港; 2014 年「台中藝術博覽會」,台中；

展」，北京。

曾獲2005年「基隆市美展水墨類第一名」等多個獎 項，入選2012 年新北市創作新人獎。作品被國立國 父紀念與2014年和文化部「ART BANK藝術銀行」 與2013，2014年典藏。

186

GUO Hanshen (Kwok Hon-Sum, Chinese, 1949-2004) Guo Hanshen was a Chinese artist who was born in 1949 and he graduated from the Fine Art Department of National Taiwan Normal University and later studied ink painting at the Chinese University of Hong Kong. He was a student of Liu Guosong in Taipei. He exhibited extensively in Hong Kong and the United States, where he settled in the 1980s. Using brush and ink and traditional scroll mount formats, he depicts the iconography of Tibet and the thousand Buddhas, yet maintains a grounded sense of simplicity in all of his compositions.

藝術家簡歷

Lot 6004

Lot 6026 Lot 6006

Lot 6012

Lot 6008

Lot 6061

FENG Yongji (Fung Wing Kee Raymond, Chinese, b.1952)

CHEN Jingtian (CHAN Kengtin, Chinese, b.1979)

Born in 1952 in Hong Kong, Raymond Fung is a renowned artist and architect in Hong Kong.

He was a recipient of the award Hong Kong Ten Outstanding Young Persons in 1990 and has won five HKIA Annual Awards. His works have been selected in China National Art Exhibition, Hong Kong Art Biennial and HKDA Asia Design Awards multiple times. In 2008, he received the Certificate of Commendation from HKSARG Home Affairs Bureau for his outstanding achievements in the promotion of arts and culture in Hong Kong. In 2011, he was awarded Hong Kong Ten Outstanding Designers and was also appointed Justice of the Peace. Fung has exhibited extensively in New York, Paris, Beijing, Shanghai, Avignon and Hong Kong.

His works are widely collected by international corporations and museums including Asian Art Museum of San Francisco, National Art Museum of China, Shanghai Art Museum, HK Museum of Art, University Museum and Art Gallery, HKU and HK Heritage Museum.

C H A N K e n g t i n w a s b o r n i n 1979. H e w a s graduated from the Fine Arts Department of the Chinese Culture University of Taiwan in 2003. He got a Postgraduate Diploma in Visual Arts from the Faculty of Education of the Chinese University of Hong Kong in 2006. In 2008, he joined LU Yushun Workshop at the China National Academy of Painting. In 2009，his work "Memory for Tour to Tailu Mountain" was awarded the 11th National Art Exhibition, China. In 2011, he held "Men Wai Cang Lang, the art exhibition of CHAN Kengtin" in Guyuan Museum of Art in Zhuhai. In 2012, he joined the 5th Invited Exhibition of Chinese and Cross-Straits Artists' Exhibition

Zhao Lu was born in 1980 in Qingdao, Shandong province.He graduated from the major of oil painting in the Academy of Art & Design, Tsinghua University as master in 2009, and he is the student of Professor Xin Dongwang. He now living and working in Beijing, China. His Works have been collected by a lot of important institutions and individuals in China, America, Italy, Germany, S p a i n, e t c. S e l e c t e d s o l o e x h i b i t i o n s: 2007 Exhibition Hall of Academy of Art & Design, Tsinghua University, Beijing; 2009 He Xiangning Art Museum, Shenzhen, China; 2010 Premio Terna per l' Arte Contemporanea, Rome, Italy; 2011 Huan Tie Times Art Museum, Beijing, China;2014 National Convention Center, Beijing.

馮永基 (中國香港，1952年生)

陳鏡田 (中國，1979年生)

趙露 (中國，1980年生)

1952年生於香港，為香港資深藝術家及建築師。他

陳鏡田，1979年生於浙江紹興，2003年臺灣中國文

1980年出生于山東青島。2009年畢業於清華大學美

為一九九零年度香港十大傑出青年及五度獲香港建

化大學美術系畢業，2006年香港中文大學視覺藝術

術學院油畫專業，碩士研究生，師從忻東旺教授。

築師學會之週年設計獎，並多次入選全國美術作品

教育文憑，2008年入中國國家畫院盧禹舜工作室。

現居住並工作於北京。作品被中國、美國、義大

展，香港藝術雙年展及香港設計雙年展。二零零八

現為，中華海峽兩岸書畫教育文化交流協會常務理

利、德國、西班牙等重要機構與私人收藏。個人展

年獲民政事務局[藝術推廣嘉許狀]，他亦被選為香港

事，中國水墨畫學會(香港)會員，深圳寶安畫院特聘

覽（精選）:2007年清華美院展覽館，北京，中國；

十大傑出設計師及獲委為香港太平紳士。馮氏先後

畫家，香港中文大學專業進修學院導師。近期主要

2009年何香凝美術館，深圳，中國；2010年Premio

在紐約、巴黎、北京、上海、亞維濃、香港等地舉

展出與獲獎：2009年作品《太魯憶遊》獲「第十一

Ternaperl' Arte Contemporanea，羅馬，義大利；

辦個展。其畫作廣為各跨國機構及美術館包括三藩

屆全國美展」優選作品；2011年「門外滄浪－陳鏡

2011年環鐵時代美術館，北京，中國；2014年國家

市亞洲美術館、中國美術館、上海美術館、香港美

田畫展」，珠海古元美術館；2012年陳鏡田受邀參

會議中心，北京，中國。

術館、香港大學美術館、香港文化博物館所收藏。

加第五屆「海峽兩岸著名藝術家邀請展」。

馮氏現為香港中大建築學院客席教授、西九文化區 管理局發展委員會委員、海濱事務委員會委員、康 樂文化署博物館顧問及博物館委員會委員、活化歷 史建築諮詢委員會委員。

187

ZHAO Lu (Chinese,b.1980)

ARTIST INDEX

Lot 6010

Lot 6011 Lot 6015

WANG Wuxie (Wucius Wong, Chinese, b.1936)

LIN Zhenhui (David Lam, Chinese, 1932-2013)

Wucius Wong was born in Dongguan, Guangdong Province in 1936 and moved to Hong Kong in 1946. Fond of literature and art, he started learning western painting on his own in 1956. Two years later, he practiced Chinese painting following Lui Shou Kwan. From 1961 to 1965, Wucius Wong studied in the United States first at Columbus College of Art and Design in Ohio. WANG worked at the Chinese University of Hong Kong, the City Museum and Art Gallery of Hong Kong (nowadays Hong Kong Museum of Art) and Hong Kong Polytechnic. His artworks had been collected by many museums such as Art Institute of Chicago, Arthur M. Sackler Museum, Ashmolean Museum, Asian Art Museum, Boston Museum of Fine Arts, British Museum, and Cleveland Museum, etc.

LIN Zhenhui was born in Hong Kong in 1932, living mainly in Shanghai in his childhood and immigrated to Canada in 1965. He spent his formative years training with the Hong Kong master Lee Byng (1951-1954) and was an active member of artist circles in Hong Kong from the 1950s until 1965. David began to gain recognition for his art in the 1960s and won first prize in the First Hong Kong Open Art Competition. As a founding member of the Circle Art Group, he counted Hon Chi-fun, Wucius Wong, Cheung Yee and Van Lau among his contemporaries. His painting developed in new directions in Canada, and he was finally able to become a full-time artist in 1975. LIN 's work has been featured in museums and galleries worldwide through over 15 solo and 20 group exhibitions.

王無邪 (中國香港，1936年生)

林鎮輝 (中國香港，1932-2013)

劉鄧 (中國，1979年生)

1936年生廣東省東莞市，1949後移居香港。出於對

1932年於香港出生，童年主要生活於上海市，1965

1979年生與重慶，現居北京。 2000年-2004年就讀

文學藝術的熱愛，他開始於1956年學習西方繪畫；

年移民到加拿大溫哥華市。他跟隨藝術大師李秉

於四川美術學院油畫系。以走岔路的方式整理心性

兩年之後，他從師呂壽琨學習東方繪畫。在1961

（1951-1954年）學習繪畫，在50-60年代都是香港

為創作出發點，用線條詮釋時間，用物體，有機變

年至1965年期間，赴美國哥倫布美術及設計學院

藝術圈的活躍成員。 1960年代，他獲得首屆香港公

異體，人工幾何體現趣味性，將過去、現在、未來

學習。返港後任職於香港中文大學、香港博物美術

開藝術比 賽冠軍，又與同輩畫友韓志勳、王無邪、

在此過程中合成永恆。 2005年以來，個展「室內

館、香港理工學院。王無邪的作品被多間博物館收

張義和文樓等聯合創建中元畫會。仍不斷郵寄作品

風景」在TC/G諾地卡畫廊，昆明舉辦。 2012年，

藏，包括芝加哥藝術學院、 阿什莫林美術館、舊

回港參與中元畫會的展覽活動。他遷往加國後在藝

個展「岔路」在「不一藝術」，香港舉辦。作品自

金山亞洲美術館、波士頓美術館、大英博物館、克

術發展方面創出新方向，並於1975年成 全職畫家。

2005年以來在北京，上海，雲南，以及瑞典、香

利夫蘭美術館等。其作品在世界各地舉行畫展有：

曾在世界各地畫廊、博物館舉辦個人畫展15多次，

港、日本等地參與聯展，深得好評。

1961年「聖保羅雙年展」，巴西； 1987年「明尼

參與世界重要聯展20多個。

蘇達美術館聯展」，美國；1998年「所羅門古根漢 美術館聯展」，紐約；2009年「芝加哥美術館聯 展」，美國。

188

LIU Deng (Chinese, b.1979) Born in 1979 in Chongqing, now lives in Beijing.

From 2000 to 2004, he studied in the Oil Painting Department at Sichuan Fine Arts Institute. The original purpose of his painting is to take the branch road to organize mind. Using lines to interpret time and organizing objects, organic variants, and the like artificial geometry to reflect interest, he believes in this process, past, present and future can be combined as eternity. In 2005, his solo exhibition "interior landscape" was held in TC/G Nordica, Kunming. In 2012, solo exhibition "branch road" was held in Edge gallery, Hong Kong. As to Group Exhibition, since 2005, his artistic works were showed in areas including Beijing, Shanghai, Yunnan as well as Hong Kong, Japan, and Sweden with gaining high reputation.

藝術家簡歷

Lot 6024 Lot 6017

Lot 6019

Lot 6021

ZHENG Ming (Cheng Ming, Chinese, b.1949)

ZHONG Ming (Chinese, b.1949)

Born in 1949 in Hong Kong, he moved to and lived in Malaysia between 1956-1967. In 1973, he graduated from Institute of Art of National Taiwan Normal University and returned to Hong Kong the same year. Has taught at Curriculum Department in University of Hong Kong as well as Off-campus Learning Department and Institute of Art in Chinese University of Hong Kong (19772000). He also taught in school of design in Hong Kong Polytechnic University and First Institution of Art & Design, etc. He won the Urban Council Fine Arts Award in 1977 and is a member of Feng Art Association.

Born in 1949. ZHONG Ming used studied in Central Academy of Craft Art (now named The Academy of Arts & Design of Tsinghua University) , Royal College of Art and the Royal Academy and The National Film and Television School. Now he is the member of Royal Society of Arts and has been selected into "Cambridge Who's Who". In the 1980s, ZHONG came to UK to study and worked as television and movie director at home and abroad.

He has participated in many exhibitions in China and other countries and regions. His work has been collected in museums, galleries and private institutions worldwide.

鄭明 (中國，1949年生)

鐘鳴 (中國，1949年生)

吳觀麟 (中國香港，1964年生)

於1949年出生于香港，1956-1967年移居馬來西亞。

1949年出生，曾就讀於中國中央工藝美院(現清華大

1964年生於香港。1986年取得香港中文大學校外

1973年畢業于國立台灣師範大學藝術系，同年返

學美術學院)，英國皇家藝術學院，英國皇家電影學

進修部中國水墨畫課程文憑， 2011年取得澳洲皇

港。曾先後任教于香港大學課程部、香港中文大學

院。現為英國皇家藝術學會會士, 入選劍橋世界名人

家墨爾本理工大學藝術碩士。 個人藝術作品包括

藝術系(1977-2000)及校外進修部、香港理工學院太

錄。1979年12月參加北京中山公園水榭開幕的「新

現代水墨、裝置、攝影、公共藝術、雕塑、 以及

古設計學院、大一設計學院等。1977年獲市政局藝

春畫展」新春畫展，當時參加的畫家有劉海粟、

地景藝術。曾參與超過七十個本地及海外展覽，包

術獎，為鋒美術會會員。

許幸之、龐薰琴、吳冠中、靳尚誼等人。 1979年-

括： 1983年-1994年「香港當代藝術雙年展」; 1989

1983年期間，相繼在中國美術館；日本東京；以及

年-2004年「第七屆、第八屆、第十屆全國美術作品

全國做畫作巡展；其中大部分作品被當時美國、英

展」, 北京中國美術館; 2008年「新水墨藝術：創新

國、法國、瑞士等國的駐京公司及大使館所收藏；

與超越」，香港藝術館; 2010年「承傳與創造—水

1984年英國倫敦皇家水彩畫展獲獎； 1989年在香港

墨對水墨」，上海當代藝術館; 2010年「蒙古360°:

ALISAN FINE ARTS藝倡畫廊舉辦個展；1989年在台

第一屆地景藝術雙年展」，蒙古國立現代美術館。

北皇冠藝術中心舉辦個展；1991年在香港藝術中心

曾獲1994年「香港市政局藝術獎」，繪畫．國畫素

參加聯展，國內參展者包括：韓天衡、方濟眾、趙

材；2004年「第十屆全國美術作品特別獎」等獎

準旺等人；1993年在香港萬玉堂舉辦個展。此後，

項。 作品可見於香港國際機場、 濕地公園、香港警

工作重點轉向影院導演，但個人繪畫創作並無間

察總部、西貢視覺走廊，尖沙咀百年紀念公園和香

斷。 2002年參加紐約藝術博覽會； 2005年11月，

港K11藝術購物商場等，並為香港文化博物館，香港

在中國上海美術館舉辦個人油畫，主要創作被館收

藝術館及私人收藏。

藏。

189

WU Guanlin (Ng Kwun Lun Tony, Chinese, b.1964) Born in Hong Kong in 1964, Ng Kwun Lun Tony obtained a Diploma in Chinese Ink Painting from the Department of Extra-mural Studies of the Chinese University of Hong Kong in 1986 and achieved Master of Fine Art in Royal Melbourne Institute of Technology in 2011. Wu's works include modern ink painting, installation, photography, public art, sculpture and "land art"on site. His art has been featured in more than 70 overseas and local exhibitions. His works have been collected by the Hong Kong Heritage Museum, the Hong Kong Museum of Art and private collectors.

ARTIST INDEX

Lot 6044

Lot 6045

Huang Xiaokui (Wong Hau Kwei,Chinese, b.1946)

Lot 6057

Lot 6059

Lot 6063

Lot 6089

ZENG Yang (Chinese, b.1981)

Lot 6064

Lot 6066

TAI Xiangzhou (Chinese, b.1968)

Born in 1981, Kunming, China. Zeng Yang lives in Beijing now. He graduated from Design College of Beijing Geely University in 2005. He is a modern artist once famous for creating the imaginary space with black and white rotation as well as composition featured by illogical continuous narrative. Notable solo exhibitions include: 2010 "International Art Fair Recommend Unit - Zeng Yang solo exhibition Beijing", World Trade Center, Beijing; 2010 "Consciousness", Space Station, Beijing; 2014 "The World of Infinite Life", Space Station, Beijing.

Tai Xiangzhou, styled Xiao Yang, was born in Yinchuan, Ningxia, China in 1968. He received his PhD degree from the Academy of Art and Design, Tsinghua University in 2012. Tai began his training from Chinese calligraphy at a young age.

In 2006, Tai was profoundly inspired by renowned astrologer, Yi Shitong, and began to explore the view of universe and spiritual world in Chinese landscape paintings from an astrology perspective.

He completed his PhD dissertation entitled, "Phenomena of the Universe-The concepts and structure of Chinese landscape paintings".

黃孝逵 (中國香港，1946年生)

曾揚 (中國，1981年生)

泰祥洲 (中國，1968年生)

1946年生於重慶。1969年畢業於上海中國紡織大

1981年出生與昆明，現居北京。2005年畢業於北

泰祥洲，字曉陽，1968年生於寧夏銀川，2012年

學機械系。70年代曾追隨黃胄先生習畫，深受其影

京吉利大學現代藝術學院。曾揚以黑白旋轉的異想

畢業於清華大學美術學院，獲得博士學位。泰祥洲

響。1978年移居香港。曾為深圳畫院客座藝術家，

空間和無邏輯叙事的構圖人所知。個展有：2010

自幼學習書法。2006年，泰祥洲得到天文學家伊世

現為中國畫學會理事。於「香港當代藝術獎2012」

年「北京國際藝博會推薦單元曾揚個展」，國貿中

同先生的啟發，從天文學的維度，重新內省中國山

獲優秀藝術家獎；之前曾兩次於香港藝術雙年展獲

心，北京；2010年「回頭是岸」空間站，北京；

水畫的宇宙觀和精神脈絡，並完成自己的博士論文

獎；兩次獲香港民政事務局局長嘉許狀；兩次於

2014年「無量壽世界」，北京。

《仰觀垂象——山水畫得觀念與結構》。

Huang Xiaokui was born in Chongqing, China, in 1946 and graduated from China Textile University in Shanghai in 1969. Wong learnt painting from the master Huang Zhou and deeply influenced by him. In 1978, Wong moved to Hong Kong, he was the visiting artist of Shenzhen Fine Art institute and the current board member of Chinese Painting institute. Huang won numerous awards including: Hong Kong Achievement Award in Contemporary Art Awards in 2012; Hong Kong Contemporary Art Award in the years of 2001 and 2009; twice winner of Secretary for Home Affairs' Commendations; and awards in the 9th and 10th in the National Exhibition of Arts in China. Wong has many works collected by various museums and galleries and his work "Moving Clouds and Waters in the Three Gorges" was included in the publication "Chinese Art in the 20th Century" selected by the National Art museum of China.

全國美展獲獎。作品《三峽行雲流水圖》收錄於 《二十世紀中國美術：中國美術館藏品選》

190

藝術家簡歷

Lot 6068

Lot 6067 Lot 6070

ZHANG Dawo (Chinese, b.1942)

YU Peng (Taiwanese,1955-2014)

Born in 1942 in Shanxi, living in Australia since 1994.

Zhang Dawo is a famous visual artist, a member of the Association of Chinese Calligraphers and the committee member of the Society of Modern Calligraphy and Painting (China). He is the founder of the Australian Society of East-West Art, Writing and Modeling and co-founder of the studio "Devil Art". Zhang Dawo's artistic nature is deeply rooted in the family heritage. He learned and grew up in Chinese traditional culture and focused on creating Chinese traditional art in the initial stage. Since 1982, he started to explore the rearrangement of the spatial construction and the use of different tones of ink on special calligraphic paper.

Yu did not enter to any art college and he did not want to submit himself to a formal artistic training.

Yu learned painting under Chen Yi-keng, Teng Kuoching, and Li Chi-mao. Other inluences on Yu's painting, include his woek in clay sculpting and puppetry, both interests since childhood. Yu held his solo and joint exhibition in Taipei in 1980 and since then he has held over twenty solo and joint exhibition in Taiwan and overseas. His works are in the collections of major museums and art galleries in Asia and the West, including the British Museum in London.

張大我 (中國，1942年生)

于彭 (台灣，1955-2014)

梁藍波 (中國，1961年生)

1942年生於陝西，94年至今旅居澳洲。著名視覺藝

自小就對泥塑及傳統皮影戲產生濃厚興趣，對其日

1961年出生於廣州，畫家，書法家，多媒體藝術

術家，中國書法家協會、中國現代書畫協會理事會

後畫作構成極大的影響。由於不甘被傳統學院派所

家。 1983年畢業於廣州美術學院國畫系，後於美國

成員，澳大利亞東西方文字造型藝術委員會、黑色

囿限，故從未曾接受正統學院美術教育。于氏先後

加州美術學院油畫系獲碩士學位、北京中央美術學

藝術中心創辦人之一。幼承家學，在中國傳統文化

隨陳亦耕、鄧國清及李其茂等老師學畫，1980年舉

院獲書法與繪畫比較研究博士學位，現任哥倫比亞

氛圍中成長，最初潛心於創作中國傳統藝術。82年

辦首次個展於台北，之後於國內外參加展覽達二十

密蘇里大學美術系終身教授, 研究生導師。曾任30多

開始探索書法、水墨的抽像藝術。

多次。作品為東西方主要美術館及畫廊收藏，包括

次藝術比賽評委並在美國、中國和台灣的大學、博

大英博物館。

物館和國際研討會作過170多場的演講，曾在世界各

LIANG Lanbo (Leong Lampo, Chinese, b.1961) Born in Guangzhou in 1961, Leong is a painter, calligrapher, and multimedia artist. He graduated from the School of Traditional Chinese Painting in Guangzhou Academy of Fine Arts in 1983 and then gained MFA, California College of the Arts and PhD, Central Academy of Fine Arts. He is currently a Professor of Art and has been named the Weiner Distinguished Professor at the University of Missouri-Columbia. Leong's works are found over 15 museum and art foundation collections and more than 100 notable corporate and private collections, including The Cantor Center for Visual Arts at Stanford University, The Minneapolis Institute of Arts, The Asian Art Museum of San Francisco, Guangdong Museum of Art and Macao Museum of Art. Leong's art and education achievements have been featured in hundreds of publications, such as America's "world who's who", "Cambridge international biographical dictionary "In 1999, the San Francisco Mayor proclaimed November 19th to be "Lampo Leong Day".

地畫廊、博物館舉辦個人畫展60多次，參與世界重 要聯展400多個，60次獲獎，其中書畫作品被史丹福 大學藝術博物館、明尼阿普拉斯藝術博物館、舊金 山亞洲藝術博物館、廣東美術館、澳門藝術博物館 等世界十五個博物館和上百個公共機構所珍藏。他 的藝術與教育成就入載如美國的《世界名人錄》、 英國劍橋的《國際傳記辭典》等世界八十多種名人 辭典。 1999年美國舊金山市政府公告將11月19日定 為"梁藍波日"。

191

ARTIST INDEX

Lot 6090

Lot 6091

Lot 6092

Lot 6093

WANG Bingfu (Chinese, b.1936) Wang Bingfu was born in the year 1936, in Tianjin of China. In the context of contemporary art, his paintings reflects a man's attitude to the changing social landscape. Wang's paintings are about an attitude to live. Selected exhibitions : 2014 "The Time Traveler", Beijing; 2014 "Arts on the papers", Beijing; 2014" Space Station, Art Beijing" Beijing； 2015 "Post-tradition and Its Origins" UCCA, Beijing.

王秉復（中國，1936年生） 1936年生於天津，字常道。1959年至1960年 師從葉 淺予、蔣兆和學習人物畫，師從吳鏡汀、秦仲文、 李可染學習山水畫，師從李苦禪、高希舜學習花鳥 畫。1960年10月 由董希文、李琦、陸鴻年帶領到 敦煌莫高窟臨摹壁畫。1961年9月 畢業於中央美術 學院國畫系，同年被分配到北京市工藝美術學校任 教。1964年至1979年 下放勞動，後期在北京市地毯 廠作圖案設計。1979年 回到美校任教。1983年 完 成白描、技法講義《骨法發威》，在2010年由江西 美術出版社出版。1983年至1984年 繪《世說新語》 三百余幅。1986年 完成《聊齋百圖》1990年 完成 《中國神話》英文版、《三國演義》、《金瓶梅》 韓文版插圖共百余幅，由外文出版社出版。1995年 至今《中國古代陶俑》五百余幅。2002年至今畫 《龍文鞭影》五百余幅。

192

Lot 6010 王無邪 局部 (details)

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