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AUTUMN AUCTION 2013 TAIPEI


羅芙奧台北 2013 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2013 TAIPEI Modern and Contemporary Asian Art 拍賣日期/地點 2013年12月1日(日)下午 2:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 預展日期/地點 台中 2013年11月9日(六)下午 1:00 至下午 6:00 2013年11月10日(日)上午 11:00 至下午 6:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口 香港 2013 年11月22日(五)下午 2:00 至 7:00 2013 年11月23日(六)上午 10:00 至下午 7:00 香港君悅酒店(M樓茶園) 香港灣仔港灣道 1 號 台北 2013年11月29日(五)至11月30日(六)上午 10:00 至下午 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

AUCTION Sunday, December 1, 2013, 2:30pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 9, 2013, 1:00pm – 6:00pm Sunday, November 10, 2013, 11:00am – 6:00pm Pao-Huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Xitun District, Taichung, Taiwan

Hong Kong

Friday, November 22, 2013, 2:00pm - 7:00pm Saturday, November 23, 2013, 10:00am - 7:00pm Grand Hyatt Hong Kong - Tiffin, 1 Harbour Road, Hong Kong

Taipei

Friday, November 29 – Saturday, November 30, 2013, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan 拍賣目錄每本售價:NT$2,000 This auction catalogue: NT$2,000 per copy


王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman 張增偉 Lorries Chang 執行長 C.E.O.

傅斐郡 Flora Fu

陳惠黛 Odile Chen

藝術部總經理 President, Art Department

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

林慧菁 Maggie Lin

黃詩涵 Stella Huang

藝術部副總經理 Vice President, Art Department

藝術部經理 Manager, Art Department

張淳茹 Sabrina Chang

吳博峯 Tommy Wu

營運部協理 Senior Manager Operations Department

總務處協理 Senior Manager, General Affairs


羅芙奧台北 2013 秋季拍賣會服務部門及連絡人

藝術品諮詢專家

網上競投

付款事宜

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藝術部專家

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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

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

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

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CATALOGUE SUBSCRIPTION Taiwan

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Hong Kong

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.

Raze Kan Tel: +852 2889 0859 ext. 732 Email: razekan@ravenel.com

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PAYMENT Tina Lin Tel: +886 2 2708 9868 ext. 685 Email: tinalin@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.


目次 / Contents

6

羅芙奧秋季拍賣會

Sale Information 8

羅芙奧之服務

Ravenel Services 11

藝術家索引

Index 12

亞洲現代與當代藝術

Modern and Contemporary Asian Art 289

委託競投表格

Absentee Bid Form 291

業務規則

Transaction Agreement


藝術家索引 / Index

A

Yoshitaka AMANO

天野喜孝

768, 769, 770

C

CAI Guo-Qiang CHANG Wan-chuan Chang-Ling George CHANN CHAO Chung-hsiang CHEN Ching-jung Caroline Yu Yin CHIU CHIU Ya-tsai

蔡國強 張萬傳 常陵 陳蔭羆 趙春翔 陳景容 趙汝賢 邱亞才

CHU Teh-chun CHUA Hu CHUANG Che

朱德群 蔡雲程 莊喆

738 641, 654 601 661 619 616, 645 760 624, 625, 626, 627 633, 658 649, 665, 666 646, 653 636, 656, 713

D

DU Xi

杜溪

750, 753

F

Alixe FU

傅慶豊

611

G

GAO Xiaohua GU Wenda

高小華 谷文達

752 728

H

HE Wei HO Kan HONG Lei HONG Ling HSIAO Chin HSIEH Hsiao-De HSIEH Tong-liang HUA Qing HUANG Gang HUANG Ming-chang Michell HWANG

何偉 霍剛 洪磊 洪凌 蕭勤 謝孝德 謝棟樑 華慶 黃鋼 黃銘昌 黃銘哲

757 643, 644 761 723, 730 705 642 785 749 729 628, 635 620, 776

JAN Chin-shui JI Dachun JI Yong Ho JIA Gang JIANG Jianqiu JU Ming

詹金水 季大純 池龍虎 賈剛 蔣建秋 朱銘

613, 614 724 773 741 777 668, 669, 670, 671 789

K

J. C. KUO KUO Wei-kuo Yayoi KUSAMA

郭振昌 郭維國 草間彌生

606, 617 621, 632 771, 772

L

LI Chen LI Chun-shan LI Kai LI Shan LIAO Te-cheng LIAO Yu-an LIEN Chien-hsing Max LIU LIU Kuo-sung LIU Shih-tung LIU Wei LO Chan-peng LU Hsien-ming LU Shun

李真 李仲生 李凱 李山 廖德政 廖堉安 連建興 劉其偉 劉國松 劉時棟 劉煒 羅展鵬 陸先銘 呂順

667 608 756 725 651 640 631 609 717, 718, 719, 721 638, 639 734 602 622 745

M

MA Pai-sui MIAO Jingchang Takashi MURAKAMI

馬白水 苗景昌 村上隆

706, 714, 715 743 762, 763

O

OUYANG Chun

歐陽春

742

J

P

PANG Jiun PENG Kuan-jun

龐均 彭光均

623, 629, 657 783, 784

Q

QI Zhilong

祁志龍

727

R

REN Zhe

任哲

787

S

Masaru SCHICHINOHE 七戶優 SHIY De-jinn 席德進

767 675, 676, 677, 678 679, 680, 681, 682 683, 684, 685, 686 687, 688, 689, 690 691, 692, 693, 694 695, 696, 697, 698 699, 700, 701, 702 703, 704 634 754

SU Wong-shen SUN Lisha

蘇旺伸 孫立沙

TAI Hoi Ying Hisaya TAIRA T’ANG Haywen TIAN Yibin Walasse TING

戴海鷹 平久彌 唐海文 田益賓 丁雄泉

Tomoya TSUKAMOTO

塚本智也

605 766 707, 708, 709, 712 759 603, 604, 612, 615 618, 650, 652, 662 672, 673, 674 764

W

WANG Guangyi WANG Pan-youn John WAY WU Dechun WU Tien-chang

王廣義 王攀元 魏樂唐 武德淳 吳天章

726 607 660 774, 775 758

X

XIA Junna XU Jiang

夏俊娜 許江

746, 751 733, 739

Y

Ai YAMAGUCHI YANG Chihung YANG Mao-lin YANG San-lang YANG Shaobin Yuyu YANG YE Yongqing Tzu-chi YEH YU Cheng-yao YU Peng YUAN Jai YUE Minjun

山口藍 楊識宏 楊茂林 楊三郎 楊少斌 楊英風 葉永青 葉子奇 余承堯 于彭 袁旃 岳敏君

765 610, 630 788 659, 663 731 778, 779, 780, 786 747, 748 637 710, 720, 722 711, 716 655 735, 755

Z

ZAO Wou-ki ZHANG Yu ZHOU Chunya

趙無極 張羽 周春芽

647, 648, 664 744 732, 736, 737, 740 781, 782

T


601 Chang-Ling

(Taiwanese, b. 1975)

Pork Belly Series: Flesh Weapons – Multiple Wheeled Armored Vehicle 2005 Oil on canvas 130 x 130 cm Signed on the reverse Chang-Ling and titled Pork Belly Series – Flesh Weapons Multiple Wheeled Armored Vehicle both in Chinese, dated 2005

NT$ 180,000-280,000 US$ 6,100-9,500 HK$ 47,000-74,000

12

常陵 五花肉系列—肉兵器—多輪裝甲車 2005 油彩 畫布 130 x 130 cm 簽名畫背:五花肉系列—肉兵器 多輪裝甲車 常陵 2005


602 LO Chan-peng (Taiwanese, b. 1983)

Ashen Face – Understand 2011 Oil on canvas 72.5 x 91 cm

NT$ 180,000-280,000 US$ 6,100-9,500 HK$ 47,000-74,000

羅展鵬 白面者—瞭解 2011 油彩 畫布 72.5 x 91 cm

她回頭看了一眼,然後瞭解了,在遺憾、恐 懼、憤怒、絕望還沒湧上心頭前的那一刻的 靜默。就想捕捉這個感覺。 (藝術家自述) She looked back, and then understood, before she felt regret, fear, angry and despaired. I just want to capture the feeling. (the artist’s statement)


603 Walasse TING

(Chinese-American, 1929-2010)

Two Nudes with Fans Acrylic on paper mounted onto canvas 21.5 x 31 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 140,000-220,000 US$ 4,700-7,500 HK$ 37,000-58,000

丁雄泉 持扇雙裸女 壓克力 紙本裱於畫布 21.5 x 31 cm 鈐印右上:採花大盜 來源: 私人收藏,歐洲

604 Walasse TING

(Chinese-American, 1929-2010)

Girl with Flowers Acrylic on paper mounted onto canvas 43.5 x 29 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 160,000-240,000 US$ 5,400-8,100 HK$ 42,000-63,000

丁雄泉 戴花女孩 壓克力 紙本裱於畫布 43.5 x 29 cm 鈐印左下:採花大盜 來源: 私人收藏,歐洲

14


605 TAI Hoi Ying

戴海鷹

(Chinese-French, b. 1946)

畫室中的女子

Femme assise dans l'atelier

1981 卵彩 油彩 畫布 92 x 73 cm 簽名左下:Tai 81 簽名畫背:FEMME ASSISE DANS L'ATELIER 1981 73x92 TEMPER et HUILE

1981 Tempera and oil on canvas 92 x 73 cm Signed lower left Tai in English and dated 81 Titled on the reverse FEMMME ASSISE DANS L'ATELIER and inscribed TEMPER et HUILE 73x92 in French, dated 1981

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000


606 J. C. KUO (Jen-chang KUO)

Gaze

1994 壓克力 畫布 53 x 45 cm 簽名右下:郭振昌 '94 J. C. KUO

1994 Acrylic on canvas 53 x 45 cm Signed lower right J. C. KUO in Chinese and English, dated '94

NT$ 100,000-200,000 US$ 3,400-6,800 HK$ 26,000-53,000

16

郭振昌

(Taiwanese, b. 1949)


607 WANG Pan-youn

王攀元

(Taiwanese, b. 1911)

Yearning

油彩 紙本 55 x 39 cm 簽名左上:P.Y.

Oil on paper 55 x 39 cm Initialed upper left P.Y. in English

NT$ 110,000-220,000 US$ 3,700-7,500 HK$ 29,000-58,000


608 LI Chun-shan

(Taiwanese, 1912-1984)

Abstract 1960 Oil on paper 24 x 35 cm

NT$ 160,000-220,000 US$ 5,400-7,500 HK$ 42,000-58,000

18

李仲生 抽象 1960 油彩 紙本 24 x 35 cm


609 Max LIU

劉其偉

(Taiwanese, 1912 - 2002)

婆憂鳥與小女孩

Little Girl with Poyo Bird

1983 綜合媒材 畫布裱於紙本 38 x 27 cm 簽名左下:ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〣

1983 Mixed media on canvas mounted onto paper 38 x 27 cm Signed lower left Liu Chi-wei in Chinese phonetic alphabet and dated 1983 (Chinese numerals)

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000


610 YANG Chihung (Taiwanese, b. 1947)

Untitled 1991-1992 Acrylic on canvas 79.5 x 65 cm Signed lower left C. Yang in English and dated 91-92 Signed on the reverse Chihung Yang in English and dated 1991-92

NT$ 200,000-400,000 US$ 6,800-13,600 HK$ 53,000-105,000

20

楊識宏 無題 1991-1992 壓克力 畫布 79.5 x 65 cm 簽名左下:C. Yang 91-92 簽名畫背:Chihung Yang © 1991-92


611 Alixe FU

(Qingli, Ching-Fong) (Chinese-French, b. 1961)

Le ballon ne quitte pas la jupe rouge 1990 Oil on canvas 100 x 80 cm Signed lower left Alixe Fu in English and dated 90 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 47

NT$ 220,000-380,000 US$ 7,500-12,900 HK$ 58,000-100,000

傅慶豊 紅裙上的氣球 1990 油彩 畫布 100 x 80 cm 簽名左下:Alixe Fu 90 圖錄: 《傅慶豊》,東之畫廊,台北;派帝克畫廊,巴黎, 1990,彩色圖版,頁47


612 Walasse TING

丁雄泉

(Chinese-American, 1929 - 2010)

最愛的女人

Favorite Woman

壓克力 紙本 44 x 52 cm 鈐印右上:採花大盜

Acrylic on paper 44 x 52 cm With one seal of the artist

NT$ 260,000-400,000 US$ 8,800-13,600 HK$ 68,000-105,000

22


613 JAN Chin-shui (Taiwanese, b. 1953)

Mountain Ranges 2008 Mixed media on canvas 112 x 162 cm Signed lower right Chin-shui in Chinese and dated 2008 Signed on the reverse Jan Chin-shui, titled Mountain Ranges both in Chinese, inscribed 100P and dated 2008

NT$ 300,000-500,000 US$ 10,200-16,900 HK$ 79,000-132,000

詹金水 綿綿無盡峰連白 2008 綜合媒材 畫布 112 x 162 cm 簽名右下:金水 2008 簽名畫背:詹金水 2008年 100P 綿綿無盡峯連白


614 JAN Chin-shui (Taiwanese, b. 1953)

Abstract Atmosphere 2009 Mixed media on canvas 130 x 162 cm Signed lower right Chin-shui in Chinese and dated 2009 Signed on the reverse Jan Chin-shui in Chinese and dated 2009

NT$ 300,000-500,000 US$ 10,200-16,900 HK$ 79,000-132,000

詹金水 大氣無象 2009 綜合媒材 畫布 130 x 162 cm 簽名右下:金水 2009 簽名畫背:詹金水 2009

24


615 Walasse TING

(Chinese-American, 1929-2010)

Nude with Red Hair Acrylic on paper mounted onto canvas 56.5 x 80 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 380,000-600,000 US$ 12,900-20,300 HK$ 100,000-158,000

丁雄泉 紅髮裸女 壓克力 紙本裱於畫布 56.5 x 80 cm 鈐印左方:採花大盜 來源: 私人收藏,歐洲


616 CHEN Ching-jung (Taiwanese, b. 1934)

Still Life with Roses Oil on canvas 61 x 50 cm Signed lower right Ching-jung in Chinese

NT$ 320,000-500,000 US$ 10,800-16,900 HK$ 84,000-132,000

陳景容 玫瑰花靜物 油彩 畫布 61 x 50 cm 簽名右下:景容

26


617 J. C. KUO (Jen-chang KUO) (Taiwanese, b. 1949)

Couple 2009 Mixed media on canvas 98 x 86 cm Signed lower right J. C. KUO in Chinese and English, dated 2009

NT$ 360,000-460,000 US$ 12,200-15,600 HK$ 95,000-121,000

郭振昌 定 2009 複合媒材 畫布 98 x 86 cm 簽名右下:郭振昌 2009 J. C. KUO


618 Walasse TING

(Chinese-American, 1929-2010)

Reclining Nude with Flowers Acrylic on paper mounted onto linen 61 x 91 cm With one seal of the artist PROVENANCE: Private collection, Amsterdam

NT$ 380,000-480,000 US$ 12,900-16,300 HK$ 100,000-126,000

丁雄泉 斜倚裸女與花朵 壓克力 紙本裱於亞麻布 61 x 91 cm 鈐印右上:採花大盜 來源: 私人收藏,阿姆斯特丹

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619 CHAO Chung-hsiang (Taiwanese, 1910-1991)

Celebrating Life's Cycles Acrylic, ink and color on paper mounted onto board 45 x 45 cm Signed upper right Chung-hsiang in Chinese and Chao in English

NT$ 400,000-600,000 US$ 13,600-20,300 HK$ 105,000-158,000

趙春翔 循環不息 壓克力 彩墨 紙本裱於木板 45 x 45 cm 簽名右上:春翔 Chao


620 Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Woman of Eastern District Series (King) 1993-1995 Oil on canvas 116.5 x 90.6 cm Signed lower center Che in Chinese and dated 1995 Signed on the reverse Che, titled Woman of Eastern District Taipei both in Chinese, inscribed 50F and dated 1993 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

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NT$ 420,000-550,000 US$ 14,200-18,600 HK$ 111,000-145,000

黃銘哲 台北東區的女人系列(國王) 1993-1995 油彩 畫布 116.5 x 90.6 cm 簽名中下:哲 1995 簽名畫背:台北東區的女人 1993 50F 哲 附印象畫廊開立之原作保證書


621 KUO Wei-kuo (Taiwanese, b. 1960)

Staring 2000-2002 Oil on linen 80 x 100 cm Signed on the reverse Kuo Wei-kuo, titled Staring both in Chinese, inscribed 80 x 100 cm and dated 2000.3 Signed on the back board Kuo Wei-kuo, titled Staring in Chinese, inscribed 80 x 100 cm "40F" and dated 2002 finished ILLUSTRATED: Kuo Wei-kuo - Diagram of Commotion and Desire 3 - Collect Memory and Situation, Lin & Keng Gallery, Taipei, 2002, color illustrated, p. 16 Diagram of Commotion and Desire - Towards a Bright Start from the Deep Forest, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 42

NT$ 500,000-600,000 US$ 16,900-20,300 HK$ 132,000-158,000

郭維國 凝視 2000-2002 油彩 亞麻布 80 x 100 cm 簽名畫背:郭維國 凝視 80 x 100 cm 2000.3 簽名背板:郭維國 畫題:凝視 80 x 100 cm 《40F》2002完成 圖錄: 《暴喜圖 3:記憶與情境的堆疊—郭維國》,大未來畫廊, 台北,2002,彩色圖版,頁16 《暴喜圖:柳暗花明—郭維國》,大未來畫廊,台北, 2005,彩色圖版,頁42


622 LU Hsien-ming

陸先銘

(Taiwanese, b. 1959)

紫橋

Purple Bridge

1994 油彩 畫布 170.5 x 170.5 cm 簽名畫背:陸先銘 1994 紫橋

1994 Oil on canvas 170.5 x 170.5 cm Signed on the reverse Lu Hsien-ming, titled Purple Bridge both in Chinese and dated 1994

NT$ 550,000-700,000 US$ 18,600-23,700 HK$ 145,000-184,000

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623 PANG Jiun

龐均

(Taiwanese, b. 1936)

白色蝴蝶蘭

White Phalaenopsis

2007 油彩 畫布 72.5 x 60.5 cm 簽名右下:龐均 2007 手繪鈐印:均

2007 Oil on canvas 72.5 x 60.5 cm Signed lower right Pang Jiun in Chinese and dated 2007 With one painted seal of the artist

NT$ 700,000-900,000 US$ 23,700-30,500 HK$ 184,000-237,000


624 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Lady Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 650,000-900,000 US$ 22,000-30,500 HK$ 171,000-237,000

邱亞才 仕女 油彩 畫布 130 x 97 cm 簽名右下:邱亞才

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625 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Man Walking in the Rain Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 650,000-850,000 US$ 22,000-28,800 HK$ 171,000-224,000

邱亞才 風雨中人 油彩 畫布 130 x 97 cm 簽名右下:邱亞才

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626 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Running Oil on canvas 130 x 97 cm Signed lower center Chiu Ya-tsai in Chinese

NT$ 650,000-900,000 US$ 22,000-30,500 HK$ 171,000-237,000

邱亞才 奔 油彩 畫布 130 x 97 cm 簽名下方:邱亞才

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627 CHIU Ya-tsai

(Taiwanese, 1949 - 2013)

Years 1989 Oil on canvas 117 x 91.4 cm Signed lower right Chiu Ya-tsai in Chinese EXHIBITED: Portrait - Chiu Ya-tsai Solo Exhibition,Triumph Art Space, Beijing, May 9 - Jun 10, 2013 ILLUSTRATED: Chiu Ya-Tsai, Goethe Art Center, Taipei, August 2006, color illustrated, pp. 104-105

NT$ 700,000-1,400,000 US$ 23,700-47,500 HK$ 184,000-368,000

邱亞才 歲月 1989 油彩 畫布 117 x 91.4 cm 簽名右下:邱亞才 展覽: 「肖像—邱亞才個展」,藝.凱旋藝 術中心,北京,展期自2013年5月9日 至6月10日 圖錄: 《邱亞才》,哥德藝術中心,台北, 2006年8月,彩色圖版,頁104-105


628 HUANG Ming-chang (Taiwanese, b. 1952)

Tang Lady and Matisse 2002 Oil on linen 91 x 65 cm Signed on the right edge Huang Ming-chang in Chinese and Huang m. c. in English, dated '02

NT$ 750,000-1,000,000 US$ 25,400-33,900 HK$ 197,000-263,000

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黃銘昌 唐妞與馬諦斯 2002 油彩 亞麻布 91 x 65 cm 簽名右下側:黃銘昌 Huang m.c.'02


629 PANG Jiun

龐均

(Taiwanese, b. 1936)

古鎮小路(宏村)

Old Town Alley (Hong Village)

2013 油彩 畫布 72.5 x 60.5 cm 簽名左下:龐均 2013 手繪鈐印:均

2013 Oil on canvas 72.5 x 60.5 cm Signed lower left Pang Jiun in Chinese and dated 2013 With one painted seal of the artist

NT$ 800,000-1,000,000 US$ 27,100-33,900 HK$ 211,000-263,000


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630 YANG Chihung (Taiwanese, b. 1947)

Bubbling Spring 2012 Arcylic on canvas 113 x 160 cm Signed on the reverse Chihung Yang in English

NT$ 800,000-1,800,000 US$ 27,100-61,000 HK$ 211,000-474,000

楊識宏 泉湧 2012 壓克力 畫布 113 x 160 cm 簽名畫背:Chihung Yang

楊識宏,1947年生於台灣。1980年代與紐約知名的西葛(Ruth Siegel)畫廊合作,1990年代在多家主流畫廊展出,是繼華人抽象表 現主義大師趙無極、朱德群之後受矚目的抽象畫家。他在藝術的知 性和個人的感性上不斷琢磨,將具象轉變為的抽象。作品《泉湧》 融合水墨筆法及西畫著重之色彩及光線,在二度空間中將「時間」 及「速度」視覺化,呈現了猶如山澗迸發、擊碎冰河的力度與美 感。楊識宏的創作孕育自東方,旅居西方時投入抽象藝術創作的泉 源來自生活的汲引,關心生活中自然的更迭、生命的興衰及時間的 消逝。畫中隱隱透露出來的東方神秘人文氣息耐人尋味,近年作品 中可以發現中西的結合越發純熟。 Yang Chihung was born in Taiwan in 1947. He collaborated with the wellknown Ruth Siegel Gallery in New York in the 1980s, and in the 1990s his work was exhibited by a number of leading galleries. Following in the footsteps of noted Chinese abstract expressionists such as Zao Wou-ki and Chu Teh-chun, Yang established himself as a highly-regarded exponent of abstract painting, one who works constantly to refine his artistic sensibility and his emotional perceptiveness so as to be able to skillfully transform the concrete into the abstract. This particular work, "Bubbling Spring," represents a fusion of the brushwork techniques of traditional Chinese inkbrush painting and Western art's emphasis on color and light. Working within a two-dimensional space, Yang is able to achieve the visualization of both time and speed, bringing across the power and beauty of a spring bursting forth into a mountain stream and breaking up the ice that has formed on the river-surface. While deriving his creative inspiration from Asia, during his years in the West, Yang was led to take up abstract art by his fascination with life in all its aspects, and particularly the natural cycle - the process of birth, life and death, and the passage of time. Much of the impact of this painting derives from the influence of East Asian mysticism. Yang's recent works, such as this one, display an impressive maturity in the way Chinese and Western elements are blended together.


631 LIEN Chien-hsing (Taiwanese, b. 1962)

In the Deep 1995 Oil on canvas 96.5 x 194 cm Signed lower right Lien Chien-hsing in Chinese and dated 1995 Signed on the reverse Lien Chien-hsing, titled In the Deep both in Chinese, inscribed 120M and dated 1995 EXHIBITED: Smoke of Cloud Gate Dance, National Theater Hall, Taipei, November 2002 (Stage background image) ILLUSTRATED: C.H. Lien, Cherng Piin Gallery, Taipei, 1995, color illustrated, pp. 54-55 Chuang Su-yu, ‘Surrealist Artist-Lien Chien-hsing and Magic Fields’, Global Views Monthly, Taipei, September 2001, no.183, illustrated and cover Lien Chien-hsing, Keelung Municipal Cultural Center, Keelung, 2004, color illustrated, p. 28 Lien Chien-hsing, Eslite Corp., Taipei, 2012, color illustrated, p. 45

NT$ 950,000-1,200,000 US$ 32,200-40,700 HK$ 250,000-316,000

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舞台劇場似的魔幻魅力,耀眼又迷離,空蕩迴旋廊柱間的曾經,是 無限幽思,是無盡遐想…池底金光點點閃爍如星芒,桀傲的豹子也 不禁探身取飲。 欲拾級而下,踏進一池清涼沁心,入目之色是青還是藍?是金還是 綠?水中月搖曳,黃金山城一夢從未盡。 彷彿熟悉的場域,來自連建興的故鄉基隆。漁業、運輸、採礦帶來 的繁華已如煙飄散,留下惹人濃濃依戀的舊景物。穿梭在這樣的地 點,特別容易讓人產生時空交錯的感覺,賦予故事絕佳的展演空 間。大自然中人類因活動所需而建造的各形各式建築,在人們離去 後又漸漸回歸於大自然,無人的秘境,寧靜又充滿想像力。連建興 的作品總是乾淨,遠景式的完整構圖,細膩描繪的筆觸,奇幻的用 色,結合個人生活經驗和記憶,與二十世紀初超現實主義大師們遙 相呼應,成為獨樹一格並具代表性的畫家。連建興另於2001年創 作了同尺幅的《探II》,為國立台灣美術館珍藏,更顯出此件拍品 《探》之難得。 This painting embodies a “theatre-like” magical ambience that is dazzling yet somehow indistinct. The past that threads through the empty spaces between the pillars constitutes a boundless meditation, an endless reverie … the golden spots of light in the depths of the pool shine like stars; the magnificent leopard is drawn irresistibly to the pool to drink from it. If you climbed down into the clear waters of the pool, would the water appear green or blue? Gold or green? The flickering moonlight on the water speaks of a never-ending dream of a golden city on a hill.

連建興 探 1995 油彩 畫布 96.5 x 194 cm 簽名右下:連建興 1995 簽名畫背:1995 探 連建興 120M 展覽: 「雲門舞集2002作品—烟」,國家戲劇院,台北,2002年11月(影像作 為舞台背景) 圖錄: 《連建興》,誠品畫廊,台北,1995,彩色圖版,頁54-55 莊素玉,《超現實畫家—連建興導覽魔幻境地》,遠見雜誌,台北, 2001年9月號 第183期,圖版與封面 《抽象與寫實的對話—連建興作品集 》,基隆市立文化中心,基隆, 2004,彩色圖版, 頁28 《連建興》,誠品股份有限公司,台北,2012,彩色圖版,頁45

This somehow familiar scene takes its inspiration from Keelung, the city in Taiwan where Lien Chien-hsing was born and grew up. The prosperity that the fishing industry, the shipping industry and mining formerly brought to the city is now long gone, leaving behind sights that fill the viewer with nostalgia. When walking through a place such as this, one often experiences a sense of spatial/temporal dislocation; such places seem ideally suited to the unfolding of a “story” of some kind. The various kinds of buildings that humans construct in the midst of the natural world gradually regress to a state of nature after the people that built them are gone. These uninhabited, secret places are tranquil and yet bursting with imaginative potential. Lien Chien-hsing’s paintings always take the form of neat, “clean” compositions in which the subject matter is seen from a distance. The detailed, precise brushstrokes and fantastical figures combine with the artist’s own life experience and memories to create an effect reminiscent of the surrealist masters of the early twentieth century, making Lien an artist with a truly unique style. Lien followed up this work with “In the Deep II” (2001), which has the same dimensions. “In the Deep II” was acquired by the National Taiwan Museum of Fine Arts, a fact which pays tribute to the value of the original “In the Deep.”


632 KUO Wei-kuo (Taiwanese, b. 1960)

In Memory of Philip 2003 Oil on canvas 180 x 150 cm Signed lower right Kuo. Wei Kuo in English and dated 2003.12 Signed on the reverse Kuo Wei Kuo, titled In Memory of Philip both in Chinese, inscribed 180 x 150 cm and dated 2003.12.12 ILLUSTRATED: Diagram of Commotion and Desire - Towards a Bright Start from the Deep Forest, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 19

NT$ 1,100,000-2,200,000 US$ 37,300-74,600 HK$ 289,000-579,000

郭維國 懷念菲利普 2003 油彩 畫布 180 x 150 cm 簽名右下:Kuo. Wei Kuo 2003.12 簽名畫背:郭維國 懷念菲利普 2003.12.12 180 x 150 cm 圖錄: 《暴喜圖:柳暗花明—郭維國》,大未來畫廊,台北,2005,彩色 圖版,頁19

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633 CHIU Ya-tsai

(Taiwanese, 1949-2013)

A Man Wearing a Hat 1995 Oil on canvas 130 x 97 cm Signed lower rihgt Chiu Ya-tsai in Chinese EXHIBITED: Literati Elegance – Solo Exhibition of Chiu Ya-Tsai, Galerie Elegance, Taipei, November 16 - 30, 1996 ILLUSTRATED: Literati Elegance, Galerie Elegance, Taipei, 1996, color illustrated, no. 001, p.11

NT$ 1,300,000-2,400,000 US$ 44,100-81,400 HK$ 342,000-632,000

邱亞才 戴帽的男人 1995 油彩 畫布 130 x 97 cm 簽名右下:邱亞才 展覽: 「儒雅—邱亞才個展」,愛力根畫廊,台北,展期自1996年11月16至30日 圖錄: 《儒雅》,愛力根畫廊,台北,1996,彩色圖版,編號001,頁11

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634 SU Wong-shen

蘇旺伸

(Taiwanese, b. 1956)

輪椅三部曲(三聯幅)

Wheelchair Trilogy (triptych)

2007 油彩 畫布 80 x 270 cm

2007 Oil on canvas 80 x 270 cm EXHIBITED: Su Wong-shen, Eslite Gallery, Taipei, November 8 - December 7, 2008 ILLUSTRATED: Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, p. 240

NT$ 1,500,000-2,600,000 US$ 50,800-88,100 HK$ 395,000-684,000

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展覽: 「蘇旺伸個展」,誠品畫廊,台北,展期自2008年11月8日至12月7日 圖錄: 《蘇旺伸—雲與雲之間》,誠品畫廊,台北,2008,彩色圖版,頁240


635 HUANG Ming-chang (Taiwanese, b. 1952)

Golden Fields 1995 Oil on canvas 141 x 202 cm Signed on the right edge Huang Ming-chang in Chinese, Huang m. c. in English and dated '95 EXHIBITED: The Invisible Medium, Metaphysical Art Gallery, Taipei, April 20 - May 26, 2013

NT$ 2,800,000-3,800,000 US$ 94,900-128,800 HK$ 737,000-1,000,000

黃銘昌 河西走廊(金色田園) 1995 油彩 畫布 141 x 202 cm 簽名右側:黃銘昌 Huang m. c. '95 展覽︰ 「看不見的中間」,形而上畫廊,台北,展期自2013年4月20日至5月26日

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636 CHUANG Che (Taiwanese, b. 1934)

Abstract (triptych) 1982 Acrylic on canvas 126 x 383 cm Signed lower left Chuang Che in Chinese and dated 82

NT$ 2,600,000-3,800,000 US$ 88,100-128,800 HK$ 684,000-1,000,000

莊喆 抽象(三聯幅) 1982 壓克力 畫布 126 x 383 cm 簽名左下:莊喆 82

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莊喆繪畫的一大特色,即是他淵源於故宮珍藏畫作之用墨技法的渲染,將此神髓淺移默化植於西方 現代繪畫之中,中國繪畫的「筆法」,他有意的滲入了西畫的創作,於是中西渾融,自創一格。此 東方書藝自藝術的角度審視,不外乎剛柔、疏密、陰陽、濃淡、枯潤。莊喆是一位非常著重於「筆 勢」的畫家,此種在中國繪畫上極講求的技法,對一般從事西方繪畫之東方藝術工作者,或許可說 未能得到一定的重視。(曾長生,〈從中國的現代畫到現代的中國畫〉,《莊喆》,亞洲藝術中心,台北,2005,頁4) One major characteristic of Chuang Che’s paintings is contributed to the influence of splashing technique found in many of the works in the collection of the Beijing Palace Museum, in a sense, he has subtly applied the essence of this unique attribute to western contemporary painting. It was his intention to incorporate brushwork of Chinese painting in the creation process of western painting as an effort to introduce a unique style by merging east and west. From an artistic perspective, the eastern elements pertain to a range of contradictive natures of painting such as concrete and abstract, loose and condense, yin and yang, intense and mild, withered and prosperous. As a painter, Chuang Che pays close attention to brushwork momentum, which is considered a critical technique for Chinese painting; nevertheless, it probably did not receive the amount of attention it deserves from the Eastern artists of Western painting. (Pedro Tseng, ‘From Modern Painting of China to Modern Chinese Painting’ Chuang Che, Asia Art Center, Co. Ltd, Taipei, 2005, p.4)


萬水千山縱橫─看葉子奇的風景 年輕時的葉子奇常哼唱一首歌,是當年港劇「天龍八部」裡的主題曲:「萬水千山縱橫,豈 懼風急雨翻,豪氣吞吐風雷,飲下霜杯雪盞」。當時他正身處台灣80年代新藝術革命的領 軍陣營,卻在革命浪頭過後,決心千山獨行,走一條屬於他自己極度個人化的道路。爾後多 年,葉子奇以他個人的情感和美學與自然展開了長遠的對話,從「獨白」的靜物到「心象」 的風景。 生長在台灣後山中的後山—花蓮縣玉里鎮,葉子奇有他特立獨行的人生價值觀,「山」是一 個鑲嵌在葉子奇生命成長中難以磨滅、也難以取代的心靈圖像,是他追憶成長軌跡的一種自 然圖騰。許多人因為看了葉子奇的「山」而學會了方法去欣賞台灣的「山」。從十多年前的 「台北邊緣」、「山在花蓮」,到後來的「紗帽山」、「陽明山」、以及太魯閣的「霧在山 間」,葉子奇開啟了台灣山林前所未見的美與精神。 葉子奇十五歲那年,離開了縱谷玉里的家到花蓮唸高中,獨自在外租屋、覓食、初嚐鄉愁的 苦澀。從縱谷的深處到海口開闊的太平洋,大海不但慰藉了他年少離家的孤獨,也激發了他 潛藏的熱情。海的神秘,澎湃出他對生命探索的好奇,山的屹立,則回應了他對成長已知與 未知的期待。

637 Tzu-chi YEH

(Taiwanese, b. 1957)

Mountain by Lao River, Hualien 2013 Tempera and oil on linen 102 x 203 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2013

NT$ 3,800,000-4,800,000 US$ 128,800-162,700 HK$ 1,000,000-1,263,000

葉子奇 山在花蓮.荖溪 2013 卵彩 油彩 亞麻布 102 x 203 cm 簽名右下:葉子奇 2013

在山、海、雲、樹之間,葉子奇逐漸淬鍊出屬於他個人獨特的詮釋語彙,創造出一種既寫實 又包含隱喻手法的「心象風景」,我們看見他縱橫於萬水千山之間的創作能量,也感受到他 隱身其間那富涵寓意的執著與深情。 文/張金催(東華大學民族藝術研究所助理教授兼代理所長)

CROSSING OVER MOUNTAINS AND RIVERS-APPRECIATING TZU-CHI YEH’S LANDSCAPES In his youth, Tzu-chi Yeh often sang the theme song of a Hong Kong drama, “Demi-Gods and SemiDevils”: “After the long and arduous journey, I fear not the strong wind and heavy rain. My pride swallows thunder and lightning, and drinks from the frosty, snowy cup.” At the time, he was at the forefront of Taiwan’s new art movement in the 1980s. However, after the artistic revolution had settled down, he decided to move on alone, to walk a path that belonged completely to him alone. Years later, from his still lifes “in soliloquy” to his landscapes reflecting “the mind,” Yeh called upon his sentiment and aesthetics to launch a lengthy dialogue with nature. Born in Yuli, Hualien, hidden in the mountains of Taiwan, Yeh holds his own unique view of life. The mountains are an indelible and irreplaceable spiritual image engraved in his life, a natural map for the memories of his growth and development. Many people learn how to appreciate Taiwan’s mountains by seeing Yeh’s mountains. From “The Fringe of Taipei” and “Mountain in Hualien” he created decades ago to the later “Mt Shamao,” “Yang-Ming Mountain” and “The Fog in the Mountains” of Taroko, Yeh shows the hitherto unseen beauty and spirit of Taiwan’s mountains. At the age of 15, Yeh left his home in the rift valley of Yuli for Hualien to attend high school. He had to rent a house and learn to take care of himself, experiencing for the first time the bitterness of being away from home. He traveled from the depths of the rift valley to the wide open Pacific, and not only did the ocean relieve his loneliness but also ignited his inner passion. The mystery of the ocean stimulated his curiosity toward life while the tall, steadfast mountains responded to his expectations for the known and the unknown as he grew up. Yeh’s unique language in interpreting nature was gradually derived from the mountains, the ocean, the clouds, and the trees, creating a sort of “mind landscape” that is both realistic and metaphorical. We see the creative energy through his brushes passing over mountains and rivers, experiencing the fabled persistence and passion hidden in his works. Written by Chang Chin-tsui Assistant professor and acting director of Graduate Institute of the Indigenous Art, National Dong Hwa University

56


638 LIU Shih-tung (Taiwanese, b. 1970)

山頭的風;一張網(兩件一組)

Wind Passes across the Mountain; A Net (a set of 2)

2007 壓克力 畫布 拼貼 65 x 65 cm(每件) 簽名畫背:劉時棟 2007(每件)

2007 Acrylic on canvas, collage; 65 x 65 cm (each) Signed on the reverse LIU Shih-tung in Chinese and dated 2007 (each) These paintings are to be sold with certificates of authenticity issued by Main Trend Gallery, Taipei.

NT$ 80,000-150,000 US$ 2,700-5,100 HK$ 21,000-39,000

639 LIU Shih-tung (Taiwanese, b. 1970)

Floral Encounters No. 4 2004-2005 Acrylic on canvas, collage; 140.5 x 80 cm Signed on the reverse LIU Shih-tung in Chinese and dated 2004-2005 This painting is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei.

NT$ 100,000-200,000 US$ 3,400-6,800 HK$ 26,000-53,000

劉時棟 遇見花之四 2004-2005 壓克力 畫布 拼貼 140.5 x 80 cm 簽名畫背:劉時棟 2004-2005 附大趨勢畫廊開立之原作保證書

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劉時棟

附大趨勢畫廊開立之原作保證書


640 LIAO Yu-an

(Taiwanese, b. 1979)

Love Biting No. 1 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao Yu-an in Chinese and English, titled Love Biting No. 1 in Chinese, dated 2007 ILLUSTRATED: Taiwan Contemporary Art in Wonderland, National Taiwan Museum of Fine Arts, Taichung, 2007, color illustrated Fondle Without Tenderness: 2008 Yu-an Liao Solo Exhibition, Asia Art Center Co. Ltd., Taipei, 2009, color illustrated, p. 59

NT$ 160,000-240,000 US$ 5,400-8,100 HK$ 42,000-63,000

廖堉安 種草莓 1 2007 壓克力 畫布 162 x 130 cm 簽名畫背:廖堉安 Liao Yu an 2007 《種草莓1》 圖錄: 《綠野仙蹤—台灣當代藝術的奇想世界》,國立台灣 美術館,台中,2007,彩色圖版 《不溫柔的愛撫—2008廖堉安個展》,亞洲藝術中心 有限公司,台北,2009,彩色圖版,頁59


641 CHANG Wan-chuan (Taiwanese, 1909-2003)

Vase of Chrysanthemums 1972 Oil on wooden board mounted onto canvas 39 x 26.5 cm Signed upper left CHANG in English, Wan in Chinese and dated 1972

NT$ 90,000-180,000 US$ 3,100-6,100 HK$ 24,000-47,000

張萬傳 瓶菊 1972 油彩 木板裱於畫布 39 x 26.5 cm 簽名左上:CHANG. 万. 1972

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642 HSIEH Hsiao-de

謝孝德

(Taiwanese, b. 1940)

瓶花靜物

Still Life with Flowers

油彩 畫布 53 x 64 cm 簽名左下:HSIEH HSIAO DE 手繪鈐印:德

Oil on canvas 53 x 64 cm Signed lower left HSIEH HSIAO DE in English With one painted seal of the artist

NT$ 100,000-200,000 US$ 3,400-6,800 HK$ 26,000-53,000


643 HO Kan

無題

Untitled

1983 油彩 畫布 80 x 70 cm 簽名畫背:HO-KAN 霍剛

1983 Oil on canvas 80 x 70 cm Signed on the reverse HO KAN in English and Chinese

NT$ 130,000-200,000 US$ 4,400-6,800 HK$ 34,000-53,000

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霍剛

(Taiwanese, b. 1932)


644 HO Kan

(Taiwanese, b. 1932)

Untitled 1964-1965 Oil on canvas 90 x 70 cm Signed lower left Kan in Chinese, Ho in English and dated 64-65 Signed on the reverse HO-KAN in English and Chinese, dated 1964-65

NT$ 130,000-200,000 US$ 4,400-6,800 HK$ 34,000-53,000

霍剛 無題 1964-1965 油彩 畫布 90 x 70 cm 簽名左下:剛 Ho 64-65 簽名畫背:HO-KAN 霍剛 1964-65


645 CHEN Ching-jung

陳景容

(Taiwanese, b. 1934)

黎明

Dawn

1993 油彩 畫布 45.5 x 53 cm 簽名左下: 景容 1993

1993 Oil on canvas 45.5 x 53 cm Signed lower left Ching-jung in Chinese and dated 1993

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

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646 CHUA Hu

(TSAI Yun-cheng) (Chinese-Philipino, 1929-2009)

Landscape 2000 Crayon on paper 54 x 78 cm Signed lower left CHUA HU in English, Cheng in Chinese and dated 2000 This painting is to be sold with a certificate of authenticity issued by Tenpo Art Center, Hsinchu.

NT$ 220,000-320,000 US$ 7,500-10,800 HK$ 58,000-84,000

蔡雲程 風景 2000 油性蠟筆 紙本 54 x 78 cm 簽名左下:CHUA HU 呈 2000 附天寶藝術中心開立之原作保證書


647 ZAO Wou-ki

(Chinese-French, 1921-2013)

Composition 353; Sans titre (a set of 2) 1991 (upper);1986 (lower) Lithograph printed in 10 colors on Rives Paper, edition no. 65/99 (upper) Etching with aquatint printed in 5 colors, 3 copper plates on Guarro Paper, edition no. 95/99 (lower) 46 x 66 cm (image); 56 x 76 cm (paper) (upper) 63 x 41 cm (image); 76 x 56 cm (paper) (lower) Signed lower right Wou-ki in Chinese, ZAO in French, numbered 65/99 and dated 91 (upper) Signed lower right Wou-ki in Chinese, ZAO in French, numbered 95/99 and dated 86 (lower) ILLUSTRATED: Yves Rivière ed., Zao Wou-ki: The Graphic Work, A Catalogue Raisonné, 1937-1995, Edition Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 353, p. 196 (upper) Zao Wou-ki: The Graphic Work, A Catalogue Raisonné, 1937-1995, Edition Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 329, p. 183 (lower)

NT$ 180,000-280,000 US$ 6,100-9,500 HK$ 47,000-74,000

趙無極 構圖 353;無題(兩件一組) 1991(上);1986(下) 石版畫 65/99(上);銅版畫 95/99(下) 46 x 66 cm(圖);56 x 76 cm(紙)(上) 63 x 41 cm(圖);76 x 56 cm(紙)(下) 簽名右下:無極 ZAO 91;版次左下65/99(上) 簽名右下:無極 ZAO 86;版次左下95/99(下) 圖錄: 《趙無極版畫集1937-1995》,黑德與莫斯特魯普出版社, 哥本哈根,1994,彩色圖版,編號353,頁196(上) 《趙無極版畫集1937-1995》,黑德與莫斯特魯普出版社, 哥本哈根,1994,彩色圖版,編號329,頁183(下)

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648 ZAO Wou-ki

趙無極

(Chinese-French, 1921-2013)

無題

Sans titre

1958 石版畫 E.A. 39 x 61.5 cm(圖) 50 x 65 cm(紙) 簽名右下:無極ZAO 58 版次左下:Epreuve d'Artiste(藝術家試版)

1958 Lithograph printed in 10 colors on Rives Paper, edition no. E.A. 39 x 61.5 cm (image) 50 x 65 cm (paper) Signed lower right Wou-ki in Chinese, ZAO in French and dated 58 Numbered lower left Epreuve d'Artiste ILLUSTRATED: Yves Rivière ed., Zao Wou-ki, Les éstampes, 1937-1974, Arts et Métier Graphiques, Paris, 1975, color illustrated, p. 70 Zao Wou-ki, The Graphic work A Catalogue Raisonné 1937-1995, Edition Heede & Moestrup, Copenhagen, 1994, color illustrated, no. 115, p. 75

NT$ 180,000-280,000 US$ 6,100-9,500 HK$ 47,000-74,000

圖錄: 里維埃編輯,《趙無極版畫集1937-1974》, 藝術與工藝圖案出版社, 巴黎,1975,彩色圖版,頁70 《趙無極版畫集1937-1995》,黑德與莫斯特魯普出版社,哥本哈根, 1994,彩色圖版,編號115,頁75


649 CHU Teh-chun

朱德群

(Chinese-French, b. 1920)

藍季(七件一組)

Saison bleue (a set of 7)

2006 石版畫 紙本 19/99 (內含六件石版畫,一件書法集) 簽名右下:朱德群 CHU TEH-CHUN(版畫) 版次左下:19/99(版畫) 鈐印左上:有居園(書法) 鈐印左下:天門居士 朱德群(書法)

2006 Lithographs, calligraphy of poems, edition no. 19/99 41 x 30.5 (cover and back cover); 45 x 35 cm (lithographs x4); 45 x 69.5 cm (calligraphy x1) Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left 19/99 With three seals of the artist (calligraphy)

NT$ 280,000-400,000 US$ 9,500-13,600 HK$ 74,000-105,000

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650 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

香扇美人

Women with Fans

壓克力 紙本裱於畫布 55.5 x 81 cm 鈐印右下:採花大盜

Acrylic on paper mounted onto canvas 55.5 x 81 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 380,000-600,000 US$ 12,900-20,300 HK$ 100,000-158,000

來源: 私人收藏,歐洲


651 LIAO Te-cheng (Taiwanese, b. 1920)

Oilfishes 1972 Watercolor on paper 38.2 x 54.2 cm Signed lower left Te in Chinese and dated 1972 ILLUSTRATED: Yen Chuan-ying, Liao Te-cheng (Taiwan Fine Arts Series No. 18), Artist Publishing Co., Taipei, 1995, color illustrated, no. 30, p. 81; black and white illustrated, p. 206 Chen Shu-ling ed., A Retrospective:Liao Te-cheng at Age of Eighty, Taipei Fine Arts Museum, Taipei, 2001, color illustrated, no. 29, p. 70 Li Chin-hsian, Green Fields-Classics-Liao Te-cheng, Hsiung Shih Books Pte.Ltd., Taipei, 2004, color illustrated, p.104 This painting is to be sold with a certificate of authenticity issued by Ever Harvest Art Gallery, Taipei.

NT$ 460,000-650,000 US$ 15,600-22,000 HK$ 121,000-171,000

70

廖德政 油魚 1972 水彩 紙本 38.2 x 54.2 cm 簽名左下:德 1972 圖錄: 顏娟英,《台灣美術全集第18卷:廖德政》,藝術家出版社,台北, 1995,彩色圖版,編號30,頁81:黑白圖版,頁206 陳淑鈴編,《人生四季:廖德政八十回顧展》,台北市立美術館,台 北,2001,彩色圖版,編號29,頁70 李欽賢,《綠野、樂章、廖德政》,雄獅圖書股份有限公司,台北, 2004,彩色圖版,頁104 附日升月鴻畫廊開立之原作保證書


652 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

美女與鸚鵡

Ladies with a Parrot

壓克力 紙本裱於畫布 58 x 88.5 cm 鈐印右方:採花大盜

Acrylic on paper mounted onto canvas 58 x 88.5 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Tenpo Art Center, Hsinchu.

NT$ 460,000-600,000 US$ 15,600-20,300 HK$ 121,000-158,000

附天寶藝術中心開立之原作保證書


653 CHUA Hu

(TSAI Yun-cheng) (Chinese-Philipino, 1929-2009)

Landscape 1975 Oil on canvas 90.5 x 120.5 cm Signed center right CHUA in English This painting is to be sold with a certificate of authenticity issued by Tenpo Art Center, Hsinchu.

NT$ 600,000-800,000 US$ 20,300-27,100 HK$ 158,000-211,000

72

蔡雲程 風景 1975 油彩 畫布 90.5 x 120.5 cm 簽名右方:CHUA 附天寶藝術中心開立之原作保證書


654 CHANG Wan-chuan

張萬傳

(Taiwanese, 1909-2003)

魚與菜

Still Life with Fish and Vegetables

1990 油彩 畫布 38 x 45.5 cm 簽名右下:CHANG. 万. 簽名題識畫背:魚與菜 CHANG. 万. 1990.8.

1990 Oil on canvas 38 x 45.5 cm Signed lower right CHANG in English and Wan in Chinese Signed on the reverse CHANG in English, Wan in Chinese, titled Still Life with Fish and Vegetables in Chinese, and dated 1990.8.

NT$ 600,000-800,000 US$ 20,300-27,100 HK$ 158,000-211,000


655 YUAN Jai

(Chinese, b. 1941)

Insatiable 2004 Gouache on silk 61 x 95 cm Dated lower left jiashen year (2004) in Chinese With one seal of the artist EXHIBITED: Selection of Yuan Jai, My Humble House Art Gallery, Taipei, August 4-16, 2012 A Visionary Mind: The Art of Yuan Jai in a Quarter Century, Kaohsiung Museum of Fine Arts, Kaohsiung, March 24-June 24, 2012 ILLUSTRATED: Yuan Jai, My Humble House Art Gallery, Taipei, 2011, color illustrated, pp. 172-173 A Visionary Mind: The Art of Yuan Jai in a Quarter Century, Kaohsiung Museum of Fine Arts, Kaohsiung, 2012, color illustrated, pp. 86-87

NT$ 750,000-950,000 US$ 25,400-32,200 HK$ 197,000-250,000

袁旃 不厭 2004 重彩 絹本 61 x 95 cm 簽名左下:甲申 鈐印左下︰袁旃 展覽︰ 「袁旃精選作品展」,寒舍藝術中心,台北,展期自2012年8月4日至16日 「戲古幻今—袁旃創作25年歷程展」,高雄市立美術館,高雄,展期自2012年 3月24日至6月24日 圖錄︰ 《袁旃》,寒舍空間,台北,2011,彩色圖版,頁172-173 《戲古幻今—袁旃創作25年歷程展》,高雄市立美術館,高雄,2012,彩色圖 版,頁86-87

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656 CHUANG Che (Taiwanese, b. 1934)

Abstract Landscape 1983 Oil on canvas 106 x 137.5 cm Signed lower right Chuang Che in Chinese and dated 83

NT$ 850,000-1,200,000 US$ 28,800-40,700 HK$ 224,000-316,000

莊喆 抽象風景 1983 油彩 畫布 106 x 137.5 cm 簽名右下:莊喆 83

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657 PANG Jiun

(Taiwanese, b. 1936)

Landscape with Clouds 1987 Oil on canvas 88 x 72 cm Signed lower right Pang Jiun and dated dinmao year (1987) in Chinese Signed on the stretcher Pang Jiun in Chinese and English, titled Landscape with Clouds in Chinese With one painted seal of the artist EXHIBITED: Pang Jiun's Oil Painting, Lung Men Art Gallery, Taipei, June 20 - 30, 1987 ILLUSTRATED: Pang Jiun's Oil Painting, Lung Men Art Gallery, Taipei, 1987, color illustrated and the inside page of the invitation Pang Jiun, Techniques for Oil Painting, Artist Publishing Co., Taipei, 1988, color illustrated, no. 26, p. 215

NT$ 950,000-1,800,000 US$ 32,200-61,000 HK$ 250,000-474,000

龐均 雲深不知處 1987 油彩 畫布 88 x 72 cm 簽名右下:龐均丁卯年 簽名畫背框架:雲深不知處 龐均 PANG JIUN 手繪鈐印:均 展覽: 「龐均油畫展」,龍門畫廊,台北,展期自1987年6月20日至30日 圖錄: 《龐均油畫展》,龍門畫廊,台北,1987,彩色圖版,邀請卡內頁 龐均,《油畫技法哲學》,藝術家出版社,台北,1988,彩色圖版,編號26, 頁215

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658 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Spring Outing with My First Love 1991 Oil on canvas 162 x 130 cm Signed lower right CHIU Ya-tsai in Chinese Signed on the stretcher CHIU Ya-tsai and titled Spring Outing with My First Love both in Chinese, dated 1991 This painting is to be sold with a certificate of authenticity issued by Stone Woods Art Co., Taipei.

NT$ 1,200,000-2,200,000 US$ 40,700-74,600 HK$ 316,000-579,000

邱亞才 伴初戀的情人.流下歡欣的淚水,東至春日壯麗的草山 1991 油彩 畫布 162 x 130 cm 簽名右下:邱亞才 簽名畫背框架:邱亞才 1991 伴初戀的情人.流下歡欣的淚水,東至春日 壯麗的草山 附木石緣畫廊開立之原作保證書

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659 YANG San-lang (Taiwanese, 1907-1995)

Landscape in Spain Oil on canvas 65.5 x 81 cm Signed lower left S.Yang in English PROVENANCE: Acquired directly from the artist by the present owner ILLUSTRATED: Yang San-lang, Liang Gallery, Taipei, 2011, color illustrated, p. 288

NT$ 1,600,000-2,600,000 US$ 54,200-88,100 HK$ 421,000-684,000

楊三郎 西班牙小景 油彩 畫布 65.5 x 81 cm 簽名左下:S.Yang 來源: 現任藏家得自藝術家本人 圖錄: 《楊三郎畫冊》,尊彩藝術中心,台北,2011,彩色圖版,頁288

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660 John WAY

(Chinese-American, 1921-2012)

Scarlet Square in Orange 2000 Oil on canvas 127 x 152 cm Signed lower right John Way in English and dated 2000 Signed on the reverse John Way in English, titled RETITLED AS SCARLET SQUARE IN ORANGE in English, inscribed 50" x 60", 127 x 152 cm, and dated JULY NO.1 2000 in English

NT$ 800,000-1,600,000 US$ 27,100-54,200 HK$ 211,000-421,000

魏樂唐 橙色中的紅色方塊 2000 油彩 畫布 127 x 152 cm 簽名右下:John Way 2000 簽名畫背:JULY NO.1 2000 50" x 60" 127 x 152 cm RETITLED AS SCARLET SQUARE IN ORANGE John Way

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661 George CHANN

(Chinese-American, 1913-1995)

Lake of Light c. 1980 Mixed media on canvas, collage 132 x 179 cm

NT$ 3,000,000-4,000,000 US$ 101,700-135,600 HK$ 789,000-1,053,000

陳蔭羆 光之湖 約1980 綜合媒材 畫布 拼貼 132 x 179 cm

86


88


662 Walasse TING

(Chinese-American, 1929-2010)

I Love Watermelon 1986 Acrylic on canvas 76 x 100.5 cm Signed on the reverse Ting and titled I Love Watermelon in English, inscribed Amsterdam and dated 6.7.86

NT$ 2,800,000-4,000,000 US$ 94,900-135,600 HK$ 737,000-1,053,000

丁雄泉 我愛西瓜 1986 壓克力 畫布 76 x 100.5 cm 簽名畫背:I Love Watermelon Ting 6.7.86 Amsterdam


663 YANG San-lang (Taiwanese, 1907-1995)

Snow Landscape 1976 Oil on canvas 90.5 x 117 cm Signed lower right S. Yang in English and dated 1976 ILLUSTRATED: Yang San-lang, Liang Gallery, Taipei, 2011, color illustrated, p. 88

NT$ 4,000,000-6,000,000 US$ 135,600-203,400 HK$ 1,053,000-1,579,000

楊三郎 雪景 1976 油彩 畫布 90.5 x 117 cm 簽名右下:S.Yang 1976 圖錄: 《楊三郎畫冊》,尊彩藝術中心,台北,2011,彩色圖版,頁88

在台灣早期藝術家中知名度最高,對台灣美術推動有直接的 貢獻(台陽展),楊三郎為代表之一,早年離鄉背井,飄洋 過海至日本習畫,進入關西美術學院,之後曾遊學歐洲,並 入選法國秋季沙龍。之前國民黨主席連戰破冰之旅便是攜帶 一幅楊三郎的畫作《野柳奇岩》贈予中國國家主席胡錦濤, 可見楊三郎在美術史的重要地位。 楊三郎一生奉行印象派,注重戶外寫生、著重日光、時序下 的光影變化,在台灣前輩藝術家中聲望及地位崇高,對於藝 術推動更是不遺餘力,創立「台陽美術協會」,獲頒象徵藝 術最高榮耀的「國家文化勳章」,在華人世界大師當中,其 捕捉大自然瞬間感動的生命力、空間上的層次運用,及透過 作品深刻表現藝術家豐富的內在心靈,是其他藝術家所不及 的。 Yang San-lang is a founding member of the Taiyang Artist Association, a group of famous early Taiwanese artists who made direct and lasting contributions to the development of the arts in Taiwan. He left home in his youth, travelling to Japan, where he entered the Kansai Art Institute, and then on to Europe for further studies, eventually entering the Autumn Salon in France. When Kuomintang Party Chairman Lien Chan travelled to Mainland China for the historic ice-breaking visit, he presented Chinese President Hu Jintao with Yang's painting "Yeliu Rock Formations." We can see his important position in art history. Yang San-lang is a true believer of impressionism; he paid a lot of attention to paint or sketch nature and always took notice on the sunlight as well as different shades in different times. He has high prestige among senior artists in Taiwan, makes every endeavor for art movements and established "Tai-yang Art Society". He received "National Culture Medal", it is the highest honor of art one could receive in the country, his ability capturing touching moments and vitality in nature, his utilizing the space through different layers, and his presenting his mind through art, is the best in all artists.

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664 ZAO Wou-ki

(Chinese-French, 1921-2013)

19.7.63 1963 Oil on canvas 114 x 75 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki in French and titled 19.7.63 PROVENANCE: Kootz Gallery, New York Private collection, Asia

NT$ 50,000,000-80,000,000 US$ 1,694,900-2,711,900 HK$ 13,158,000-21,053,000

趙無極 19.7.63 1963 油彩 畫布 114 x 75 cm 簽名右下:無極 ZAO 簽名畫背:ZAO Wou-ki 19.7.63 來源: 庫茲畫廊,紐約 私人收藏,亞洲

在趙無極的個人回憶錄裡,有一段記述他買 下位於巴黎中貴街寓所的點滴。在他幾本大 畫冊的插圖照片裡,常常留下他在畫室或庭 院過往的剪影和蹤跡。這間小樓在他精心規 劃下,1961年修竣完工,他和妻子美琴隨之 遷入,他們對房子的設計十分滿意。趙無極 說他的樓上規劃成畫室,一樓外有小花園, 引水進來砌成小池塘,養幾尾金魚。他的畫 室不對街開窗,大片水泥牆把屋內一切遮掩 起來,外人看不到畫室,它像是個隱密的盒 子。光線只會從北方來,帶點灰色調,永遠 穩定,使他能精確掌握每個色彩的密度,不 至於讓日光扭曲了色彩的細緻變化。 在新的畫室裡作畫,趙無極能感到完全自 在,他可以把自己關閉在樓上畫室,不見任 何人,當然有時也包括親密的家人。這間畫 室幫助他創作無數色彩細膩的作品,直至今 日此處仍是藝術家的生活與工作所在。新畫 室容許他創作大幅的作品,當然除此之外, 有一個人對他產生關鍵性的影響。 「我的新畫室讓我能畫很大的畫:有足夠的向後退和搬畫的空間,可以毫無困難的拉前或退後 畫架。我發現了畫筆可以大啟大闔的酣暢。庫茲喜歡大畫,很鼓勵我作大畫,這在畫商中是很 少見的,因為大畫既難展覽也難...賣!大筆塗抹讓我感到一種極大的肉體的暢快,到了幾乎只 想作大畫的地步!庫茲塊頭高大,出生於美國維吉尼亞州,帶著濃重南方口音,曾當過律師, 是位傑出的鑑賞家,但除了畢卡索和杜布菲,他只喜歡抽象畫。1947年,他在紐約開第一家 畫廊,後來關閉一個時期,1955到1956年間又重新開張,第一次展覽就展出了帕洛克(19121956)、馬哲威爾(1915-1991)、羅斯科(1980-1966)、德庫寧(1904-1997)、紐曼(19051970)和克萊恩(1910-1962)等人的作品。當時他們那時都還是年輕畫家。庫茲對他們就像一 個父親,他為人極為慷慨,常花許多時間帶我們這批年輕畫家上飯館、通過他,我認識了很多 美國藝術家和美術館主管,像蒙德里安的大收藏家史威尼就是其中之一。」(趙無極、梵思娃.馬凱 著,劉俐譯,《趙無極自畫像》,藝術家出版社,台北,1993年初版,1996年再版,頁134)

趙無極自傳裡念念不忘的傑出鑑賞家—山姆.庫茲(Samuel Kootz, 1899-1982),從1950年代 起即贊助馬哲威爾、霍夫曼(1980-1966)、葛特列柏(1903-1974)、羅斯科和德庫寧等一流 抽象表現主義大師。1966年的《時代雜誌》以「抽象表現主義者的總部」形容庫茲畫廊,在此 之前,庫茲也是畢卡索在美國最重要的經紀商,人脈很廣。庫茲對來自法國的趙無極的藝術賞 識有加,曾經在1958、1959、1960、1964幾年為他舉辦四次個展,又在1958、1959、1962、 1963、1965年舉辦五次聯展。庫茲不僅為趙無極成功地打開美國的知名度,因為有庫茲的鼓勵 和推薦,後人才得以看到1960年代之後趙無極暢快淋漓的大幅創作,因為他的慧眼,使得趙無 極的畫進入許多美國美術館和大收藏家之手。傳奇性的庫茲畫廊,1966年因庫茲夫人的去世而 宣佈停業,此後庫茲專注於寫作,把他的藝術經歷集結成冊。1982年8月23日《時代雜誌》庫茲 的訃告上,他被稱譽為「美國有真知灼見的藝術經紀商、抽象表現主義的聖騎士」。

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完成於1963年的油畫作品《19.7.63》,曾是庫茲畫廊經紀的藝術品,庫茲的眼光與專業早已建立口碑,他和其他畫商不同,鼓勵年輕的趙無極 儘可能去創作,無須顧忌畫作的尺幅囿限,此一時期作品風格才得以呈現飛揚、奔放的動勢。《19.7.63》作品裡,趙無極飛快的筆鋒,首先吸 引了觀者的目光,這幅充滿文字揮毫的軌跡,乃是來自中國書法的傳統。趙無極出身書香世家,自幼景仰米芾(1051-1107)的書法及繪畫,他 認為米芾是最偉大的書法家。他也推崇范寬(c. 990-1030)的自然觀。在他的眼中,他們的字或畫裡的空間都有塞尚的味道。法國藝術評論家 雷馬利(Jean Leymarie),則指出趙無極此時畫作「結合了書法的鋒利與繪畫的風味」。 畫家蕭勤曾讚揚趙無極是「第一個將中國傳統美術帶入世界畫壇的畫家」,他認為美國的托比、克萊恩,法國的馬修,和許多行動繪畫及非形 象主義的藝術家們,都從中、日書法中汲取養分,甚至中、日書法決定了1950至1960年間大部分西方抽象畫的演變,而其中集大成者,就是趙 無極。(參閱袁德星編,《趙無極》,源成出版有限公司,台北,1980,頁7) 台灣知名的美術史學者蕭瓊瑞在《中國巨匠美術週刊—趙無極》一書也指出趙無極此階段的特色:「1960年代的作品,是以黃褐色為主調,散 發著一種金銅般的光芒,一些細膩、尖銳、又帶點神經質的纖維性線條,在畫面上自由的揮灑、組合,擺脫題材、法則的限制,一切遵從內在 的需求。趙無極呈顯一個深邃、富有動力、荒原中透露著華麗的世界。」這段文字也凸顯出《19.7.63》的某些特色。 1950年代趙無極曾在中國甲骨、青銅器中發現中國文字的造型形式美,金銅色象徵神聖、古典與文明,華麗世界表現了藝術家揚升中的成就及 生活幸福感,而神經質的纖維性線條,有著狂亂的內心糾葛和苦悶,應是畫家對罹病妻子美琴的隱性擔憂及壓力。趙無極用大筆揮灑,他說有 時會用畫刀把顏料壓進畫布,像是使顏料能更穿透到空間去,在紛亂的色彩和重重疊加的筆觸間,他感到從容自在。他還在自傳裡寫道:「強 烈的和喧囂的,對我的吸引力遠過於靜默。征服空間成了我腦中裡日夜縈繞的問題。」1960年代對趙無極繪畫像是一場新的戰鬥,這是他進入 感覺與空間的時期。因為充滿生命力與創造力,無怪乎,西方的評論家和畫商經紀人都要為此時的創作所折服,他秉持奮發直追的信念,亦激 起觀者無比飛揚的意志。

趙無極《19.7.63》1963 油畫 畫布 羅芙奧2013年秋季台北拍賣會 預估價:NT$50,000,000-80,000,000 ZAO Wou-ki, 19.7.63, 1963, oil on canvas, 114 x 75 cm Ravenel Autumn Auction Taipei 2013 Estimate: US$1,694,900-2,711,900

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趙無極《3.4.60-1.2.69》1969 油畫 畫布 香港蘇富比2013年秋季拍賣會,成交價:HK$ 70,680,000 ZAO Wou-ki, 3.4.60-1.2.69, 1969, oil on canvas, 195 x 130 cm Sotheby's Hong Kong, Autumn 2013, US$9,114,893 sold

趙無極《16.5.66》1966 油畫 畫布 香港蘇富比2013年秋季拍賣會,成交價:HK$79,640,000 ZAO Wou-ki, 16.5.66, 1966, oil on canvas, 195 x 130 cm Sotheby's Hong Kong, Autumn 2013, US$10,270,374 sold


In his personal memoirs, there is a passage in which Zao Wou-ki looks back on how he acquired his house in the Rue Jonquoy in Paris, a place that frequently appears in the photographs inserted in several of his big picture albums, showing past scenes and impressions from his studio or the yard. Zao and his wife, May, moved into the little house in 1961, after it had been renovated according to the painter's own meticulous blueprints, and they were both very happy with the design and layout of the house. Zao recalls how he had made the entire second floor into an atelier, with a small garden outside and a little fishpond with some goldfish in it. He never opened the studio's windows on to the street, and the entire interior of the house was shaded off from the outside world by a large concrete wall, ensuring that none could look inside. So the atelier was like a well-concealed little "box", into which daylight fell only from the north, creating a stable, grayish kind of lighting that formed the backdrop for Zao's work. It allowed him a firm grasp of his colors' intensity without having to worry that the quality of their most subtle shades and nuances might be distorted by the irregular play of sunlight. When painting in his new studio, Zao felt completely at ease. He would shut himself in his second-floor atelier and refuse to see anybody, sometimes including even close family members. It was here that he created countless of his most delicately hued pieces, and the place remains his studio and living room to this very day. Its spaciousness also allowed him to work in large formats, something he was encouraged to do by Sam Kootz. "In my new atelier I could work in large formats: there was enough space to take several steps back from the painting, or to move it around the room a bit, or to adjust the easel as required. I discovered the pleasures of big, sweeping strokes, their verve and beauty. Kootz was very fond of big paintings, and encouraged me a lot to work in big formats, which was very unusual for an art dealer. After all, large paintings are both difficult to put on show and difficult to...sell! I experienced intense physical joy from painting in large brushstrokes on large surfaces, and I reached a point where I virtually didn't want to paint anything but large format pictures. Kootz was a big fellow who originally came from Virginia in the United States. He spoke with a heavy southern drawl and had once been a lawyer, but he was also a true connoisseur of art, and quite an expert on painting. It has to be said, though, that apart from Picasso and Dubuffet, he was only interested in abstract painting. In 1947, he opened his first gallery in New York, which he later closed down for a while before reopening it between 1955 and 1956. His inaugural exhibition featured works by Jackson Pollock (1912-1956), Robert Motherwell (1915-1991), Mark Rothko (1903-1970), William de Kooning (1904-1977), Barnett Newman (1905-1970), and Franz Kline (1910-1962). At the time, all of them were still young painters at the beginning of their careers, and Sam was like a father to them. He was extremely generous with his time and money, and would often take us young folks to restaurants or concerts. Through him, we made the acquaintance of numerous American artists, as well as museum directors and curators. One of them was James Sweeney, the great Mondrian collector." "Ce nouvel atelier me permettait enfin de peindre des grands formats. Il m'offrait de l'espace pour avoir du recul et déplacer les tableaux. Je pouvais à ma guise avancer et reculer le chevalet sans trébucher. Je découvrais l'amplitude des gestes. Sam Kootz aimait les grands tableaux et m'y encouragea, ce qui est peu commun pour un marchand, car difficile à exposer, et... à vendre ! J'éprouvais une grande joe physique à tartiner de très grandes surfaces, au point d'en devenir obsédé et de ne faire plus que cela! De taille immense, avec un fort accent du sud, Sam Kootz était avocat. Originaire du Virginie, grand amateur de peinture, il ne s'intéressait qu'à l'abstraction, en dehors de Picasso et de Dubuffet. Il eut une première galerie a New York, en 1947, fermée puis réouverte en 1955-1956, où il exposa pour la première fois Pollock, Motherwell, Rothko, De Kooning, Newman, Kline. Ils étaient tous bien sûr de jeune peintres et permettaient à Sam de jouer le rôle d'un père. Sam était d'une grande générosité, il nous consacrait son temps en nous emmenant au restaurant ou au concerte. Grâce à lui j'ai recontré beaucoup d'artiste américains ou de conservateurs de musées comme James Sweeney, grand collectionneur de Mondrian." (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 136-137) In the 1950s, Sam Kootz (1899-1982), the accomplished art dealer and collector who Zao Wou-ki remembers so fondly in his autobiography, became a sponsor of a number of first-rate abstract expressionist artists, including Motherwell, Hans Hofman (1880-1966), Adolph Gottlieb (1903-1974), Rothko, and de Kooning. His importance for the movement was such that in 1966 Time Magazine described the Sam Kootz Gallery as the "headquarters of the abstractexpressionist school". Before that, Kootz had already been Picasso's number one agent for the US market, and generally was very well connected. From the beginning, he was deeply impressed with France-based Zao Wou-ki's art, and he organized as many as four solo exhibitions of his work in 1958, 1959, 1960 and 1964, respectively. In addition, Kootz featured Zao's works in a total of five joint exhibitions in the years 1958, 1959, 1962, 1963 and 1965. Kootz not only helped Zao to make a name for himself on the American art market, he was also the one who kept encouraging the Chinese-French painter to try his hand at large formats. If it hadn't been for this farsighted art dealer from Virginia, the richly expressive, free-flowing compositions on large canvas that Zao began to paint from the 1960s onwards might never have come into existence. Thanks to Kootz's discerning eye and tireless promotion, Zao's paintings soon found their way into the collections of many museums, galleries and private collectors in the United States. The legendary Kootz Gallery was closed permanently in 1966 due to the death of Mrs. Kootz, after which her husband devoted his energies to writing, putting to paper his many observations and experiences in the world of art. The obituary in Time Magazine on August 23, 1982, praised Kootz's achievements and called him a "foresighted art dealer and paladin of abstract expressionism in America".


This lot, Zao Wou-ki's "19.7.63", was also once on sale in the Kootz Gallery when the art dealer's professionalism and discriminating eye were already widely known. Unlike most other gallery owners, Kootz encouraged the young Zao to follow his inspiration and paint whatever he liked, without regard for size or format. This shows in Zao's output of that time, as he began to develop his typical unrestrained and dynamic style. These are the bold, sweeping bushstrokes that first attract the observer's eye in "19.7.63", and at a closer look one finds that the interconnected powerful lines that dominate the picture are very reminiscent of traditional Chinese calligraphy. Zao originally came from old literati family, and from his early childhood he was a great admirer of the painting and calligraphy of Song Dynasty literati artist Mi Fu (1051-1107), whom he considered as the most outstanding calligrapher in Chinese history. Another painter he held in high esteem was Fan Kuan (c. 990-1030), particularly admiring his conception of nature. In Zao's view, the use of space in both Mi's calligraphy and Fan's landscape paintings has a lot in common with the work of Paul Cézanne. As for Zao's own work, French art critic Jean Leymarie describes it as "combining the poignancy of calligraphy with the flavor of painting." Chinese-born painter Hsiao Chin once praised Zao as "the first painter to introduce the aesthetics of traditional Chinese art into the world of international painting". Hsiao also feels that painters such as America's Marc Tobey and Franz Kline, or France's Georges Mathieu, as well as numerous artists involved with action painting and non-objective representation, all derived much inspiration from Chinese and Japanese calligraphy. He even goes so far as to claim that much of the evolution of abstract painting between 1950 and 1960 was determined by the influx of calligraphic concepts from China and Japan, and that Zao Wou-ki was the epitome of this new direction in art. (cf. Yuan Teh-hsing, ed., Zao Wou-ki, Taipei: Yuan Cheng Publishers, 1980, p. 7)

北宋畫家范寬《谿山行旅圖》 絹本 淺設色 畫軸,206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm Collection of National Palace Museum, Taipei

In his book Masters of Chinese Painting: Zao Wou-ki, renowned Taiwanese art historian Hsiao Chong-ray analyses the characteristics of Zao's style in the 1960s: "Brown and yellow tones dominate in Zao's work from the 60s, colors emanating a bronze-golden glow that are applied across the canvas with vigorous abandon to form lines and shapes of both refined subtlety and keen intensity - filamentary and just a touch frantic in quality. These lines are assembled in a free fashion without any concern for motif or preconceived notions. Zao shakes off all formal restraints and follows his inner vision, thereby revealing a profound and rich imagination that fills his compositions with primal energy and creates a world where the most dazzling beauty bursts from a wasteland." Undoubtedly, these words also capture many of the qualities of "19.7.63".

During the 1950s, Zao discovered the visual appeal and formative beauty of Chinese oracle bone and bronze inscriptions. There is some symbolism in the golden hues of bronze, suggesting the sacred, classical and cultured, as well as an atmosphere of bliss and prosperity. But in Zao's work, things are more complex than that: while the immediately appreciable aesthetic charm of his paintings speaks of the artist's success in sublimating his inner life, the somewhat frenzied fibrous lines responsible for much of the dynamic impetus also reveal a darker side dominated by ravaging turmoil and gloomy inner conflict. Some of this may be explained as an indirect expression of Zao's worries about the health of his wife, May. The pressure and melancholy he probably felt because of her sickness can be guessed from the way Zao, as he himself explains, frequently uses the palette knife to squeeze the paint firmly into the canvas, as if this would create an even more plastic effect of depth. But mostly, so the artist, the uninhibited application of color in sweeping strokes and spattered dabs, overlapping and chaotic, makes him feel calm and at ease. As he writes in his autobiography, "The fierce and intense, the clamorous and passionate have always attracted me much more than the quiet and the stationary. How to conquer space, how to shape and enliven it is a problem that is constantly on my mind." In the 1960s, for Zao painting meant meeting new challenges. It was a struggle to find his voice, his way of getting "inside space" and exploring his emotions. Since his 60s paintings are particularly brimming with vitality and creative energy, it is not surprising that Western art critics and dealers find Zao's output from this period among the most impressive in his entire oeuvre. It was a time of departure for the artist, of embarking on the pursuit of his ideals without looking back. This new hope and determination is communicated to the observer with almost painful poignancy, uplifting to heart and mind.

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665 CHU Teh-chun

(Chinese-French, b. 1920)

Force d'âme (Fortitude) (quadriptych) 2004-2005 Oil on canvas 195 x 456 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 2004-05 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled Force d'âme in French and Chinese, inscribed QUADRIPTYQUE, dated 2004-05 EXHIBITED: Chu Teh-chun, Shanghai Art Museum, Shanghai, October 12 - November 10, 2005 Chu Teh-Chun: Paintings, Marlborough Gallery, New York, May 17 - Jun 17, 2006 ILLUSTRATED: Chu Teh Chun, Shanghai Bookstore Publishing House, Shanghai, 2005, color illustrated, pp. 106-107 Pierre-Jean Rémy, Chu Teh-Chun, La Différence, Paris, 2006, color illustrated, pp. 286-287 Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, pp. 370-371

NT$ 68,000,000-88,000,000 US$ 2,305,100-2,983,100 HK$ 17,895,000-23,158,000

朱德群 意志堅強(四聯幅) 2004-2005 油彩 畫布 195 x 456 cm 簽名右下:朱德群 CHU TEH-CHUN 2004-05 簽名畫背:"Force d'âme" "意志堅強" CHU TEH-CHUN 朱德群 2004-05 四連作 (QUADRIPTYQUE) 展覽: 「朱德群近作展」,上海美術館,上海,展期自2005年10月12日至11月10日 「朱德群油畫展」,瑪博洛畫廊,紐約,展期自2006年5月17日至6月17日 圖錄: 《朱德群》,上海書店出版社,上海,2005,彩色圖版,頁106-107 皮耶-尚.雷米,《朱德群畫集》,拉迪夫羅斯出版社,巴黎,2006,彩色圖版,頁286-287 《大象無形—朱德群作品展》,上野之森美術館,東京;台灣馨昌股份有限公司,台北,2007,彩色圖 版,頁370-371

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朱德群的畫作具有高度精神性,構圖徬若磅礡而出的宇宙,其所引起的審美感受異常宏觀,直達人性的精神本源。前法國文化部部長雅克.朗 (Jacques Lang)指出,朱德群的作品傳達出身為宇宙中唯一主人的空靈感受。此幅四聯作《意志堅強》是2004-2005年間的作品,可視為兩百 年來首位華裔法蘭西學術院院士晚年代表作之一。畫面中依稀可見其潛藏其中、湧動不息的靈魂。朱德群極愛藍色, 2005年肖小蘭女士為上 海美術館策劃的「朱德群近作展」,展場內深深淺淺的藍,遠看像一片海洋。朱德群認為,顏色中最富有表現力的就是藍色。藍色的包容、凝 練,可以將內心的力量在畫布上發揮到極致。 朱德群1920年出生於江蘇,1941年畢業於國立杭州藝專(今中國美術學院),師承林風眠。林風眠認為中西繪畫的融合要義在於「形式與情緒 之表達」,這對朱德群影響深遠,讓他繼承師後踏上西方新世界,也讓他到了巴黎馬上被抽象繪畫吸引,進而展開一生探索抽象繪畫的旅程。 初始學習以西方的眼睛觀察對象物,試圖以「非」或「去」的哲學,將自然剝離、簡化外部世界、慢慢體會到抽象的內涵不在抽離,而是對 「外部世界」的「肯定」。而後內化和交融,「心」與「境」合一,使其深知回到中國文化的養分中找尋創作內涵與動機。漸漸地,由描寫對 象進而內化對象,於是他開始訴說存於心底的自然。

朱德群《白色森林之二(雙聯作)》1987 油彩 畫布,香港佳士得2012年秋季拍賣會6020萬港元成交 CHU Teh-chun, La forêt blanche II, 1987, oil on canvas 130 x 390 cm, Christie's Hong Kong, Autumn 2012, US$ 7,780,915 sold

擅長書法藝術之故,用筆、筆觸的表現,一直是朱德群的油畫特色之一。他謹記古代畫家的格言,用毛筆令世事從渾沌中脫穎而出。他的筆觸 無所忌憚,大筆刷出濕潤的韻律,在畫面上形成優美、富涵力度的肌理。光線的運用,讓他的作品有一種古典氣勢,像古典繪畫般的莊嚴、神 聖(朱德群自稱他的「光」來自於林布蘭的啟發)。他的光線除了具有光源的性質外,也與印象派相關。光線決定了畫面的色彩和結構,形成 色暈的交輝和意境的生成。閔希文認為,「朱德群七十年代之後許多作品中的『光』可視為中國傳統文化中『陰』與『陽』的關係......『光』已 從『光源』散落開來,撒到畫面的每一個角落,使世界在『陰』與『陽』的互補中獲得生機。同時,這些『光』還以『留白』的方式創造了空 間,它在『空無』中放飛人的想像,在『無』中催生了『有』——朱德群將中國的智慧與西方的眼睛有機地結合在一起,在一個有限的空間中 創 造了無限。」 巴黎評論家夏布朗(Jean-François Chabrun)評論朱德群為20世紀的「宋代畫家」,此評價讓世人看到朱德群在「中體西用」、 「西體中用」 的辯正中一個巧妙而獨特的切入點。閔希文認為,「 表面看,他以西方之『體』(眼睛)來駕馭中國之『用』(智慧),實質卻是以中國之 『體』(智慧)來調動西方之『用』(眼睛)。在這裡,『西方的眼睛』是他的形式,『中國的智慧』是他的內涵,他以西方之『眼睛』來把 握和認識這個世界,而以中國之『智慧』來充實和豐富這個世界。因此,朱德群的作品仍然是油畫(不僅是材料上的),在這一點上他已超越 了整個中國當代油畫中的『融合主義』取向,甚至已超越了傳統的『體用論』,而讓我們看到了中國藝術新的希望和可能。」(參考:閔希文,〈旅 法著名抽象畫家朱德群〉,《烽火藝程》,中國美術學院出版社,1998年4月版;《朱德群》,上海書店出版社,上海,2005,彩色圖版,頁106-107〔原標題為法文〕)


莫內《睡蓮》,1920-1926,油彩 畫布 ,橘園美術館藏,巴黎 Claude MONET, Water Lilies, 1920-1926, oil on canvas, 219 x 602 cm, collection of Musée de l'Orangerie, Paris

Paintings of Chu Teh-chun are highly spiritual. The composition of his works is like a great universe. They enhance the imagination of the sense of beauty, sometimes the imagination reaches deep inside. The former French Minister of Culture, Jacques Lang once pointed out that, Chu's works express a feeling of loneliness; a feeling like, you are the only creature in the whole world. This 4 panel work "Force d'âme" was created during 2004-2005. It can be seen as one of the most important works of Chu's late age. We can feel his lively soul in the painting. Chu Teh-chun loves the color blue. There were plenty of blue paintings in the exhibition named "The Recent Works of Chu Teh-chun", curated by Ms. Xiao Xiaolan in 2005. When people saw the paintings from far away, the exhibition venue looked like an ocean. Chu believes that, the most expressive color is blue. It can be used to express the power inside his mind. Chu Teh-chun was born in Juangsu in 1920. He graduated from Hangzhou National College of Art (the former China Academy of Art) in 1941. His teacher was Lin Fengmian. Lin believed that the point of combining the style of Chinese and Western painting is to emphasis "the expression of form and emotion". This influenced Chu Teh-chun deeply, and influenced him to go to the West to explore the new world. After he went to Paris, he was attracted by abstract paintings immediately. As a result, he started his journey of exploring abstraction. In the beginning, he learned to use a western perspective to observe the environment. For example, he tried to simplify the outside world. Gradually, he realized that the meaning of abstraction is not deduction, or simplification. It should be a positive attitude towards the outside world. After his true understanding of the outside world, he knew he had to get back to Chinese culture to find out the motivation for his creativity. As a result, he changed his style from illustrating the true outside world, to expressing the imagination of Mother Nature. Since he was well versed in calligraphy, one of the characteristics of his paintings is the use of brush strokes. He remembered the words from ancient painters, saying that the function of a brush is to make things stands out from a chaotic world. His brush has a fluid rhythm, creating beautiful, powerful lines on the paintings. On the other hand, his use of light makes his works look classical. (He said the light in his paintings is inspired by Rembrandt.) His use of light is also influenced by Expressionism. The light decides the arrangement of color and structure in his paintings, it constructs the atmosphere of the images. His fellow artist, Min Xiwen once said, "The light in Chu Teh-chun's works can be seen as the expression of Yin and Yang. It also creates spaces in the paintings. He uses Chinese wisdom to fulfill the physical world." The Paris Critic, Jean-François Chabrun said Chu Teh-chun is a "Song-Dynasty Painter in the Twentieth Century." It points out the specialty of Chu's paintings as a theory of "Western and Eastern style combined". Min Xiwen believes that, "We can see a new pathway from Chu Teh-chun's Paintings." (References: Min Xiwen, Chu Teh-chun The Famous Abstract Painter, Chu Teh-chun Living in France, A Shining Artistic Career of Art, China Academy of Art Press, April, 1998; Chu Teh-chun, Shanghai Bookstore Publishing House, Shanghai, 2005, graphic version, pp. 106-107)

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666 CHU Teh-chun

(Chinese-French, b. 1920)

Instants d'allégresse 1992 Oil on canvas 130 x 96.5 cm Singed lower right CHU TEH-CHUN in Chinese and English, dated 92 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled Instants d'allégresse in French, dated 1992 ILLUSTRATED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 252

NT$ 9,000,000-18,000,000 US$ 305,100-610,200 HK$ 2,368,000-4,737,000

朱德群 喜悅之瞬 1992 油彩 畫布 130 x 96.5 cm 簽名右下:朱德群 CHU TEH-CHUN 92 簽名畫背:Instants d'allégresse CHU TEH-CHUN 朱德群 1992 圖錄: 《大象無形—朱德群作品展》,上野之森美術館,東京;台灣馨昌股份有限公 司,台北,2007,彩色圖版,頁252

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1990年代的朱德群,已經歷抽象風格的轉換、成名與榮耀,畫筆的揮灑更顯 自在、游刃有餘。在這幅1992年創作的《喜悅之瞬》中,通透的空間感,晶 瑩跳耀的色塊,光影對比的活力,大氣流動的勢態,在有如天地初開的磅薄 渾沌中,躍有形與無形之界線,暢所欲書,快意淋漓!朱德群曾自述他的創 作靈感源於大自然,他專擅將其豐富無窮的雄偉壯麗,以翻飛的動感與華麗 的色彩展演出不曾停歇的奧妙變化。韻律性以及時間感的協調,引人入勝。 朱德群在1955年抵達巴黎,親身體驗當代藝術的豐富與多采,尤以巴黎市立 現代美術館於1956年舉辦的「尼古拉.德.史塔耶爾回顧展」,為他開啟了 自由表現的另一種方式,也是他登上藝術創作顛峰的楔子。步入抽象畫風初 期的作品,帶有深沉濃重的色彩與張力。而明確的色塊與書法線條,果斷結 實的構圖,則是一向貫穿朱德群不同年代作品中的特色。千里馬還需伯樂, 天賦的才氣讓朱德群一進入巴黎藝術圈即與現代藝術守護神-巴聶主持的勒 讓特畫廊簽訂了六年合約,推動他站上國際舞台,並成為巴黎畫派的重要一 員。來自世界各地接連的展覽邀約與成功,幸福的家庭生活,朱德群的畫風 亦隨心境愈加成熟,流暢的筆法與空靈之氣,奔騰捲湧,氣象萬千。中國詩 詞書畫的情境意象、運筆勁道,完美結合並流露在畫面中。 在他62歲時,法國勒哈佛市的安德烈.馬勒侯現代美術館為他舉辦第一次的 大型回顧展;五年後,回到久違的台灣,於國立歷史博物館展出重要回顧 展。創作此幅《喜悅之瞬》的1992年,朱德群赴美旅遊,途中的尼加拉瓜大 瀑布予他豐沛的靈感泉源,為這時期的許多作品鋪上一層氤氳水氣,薄暮輕 盈,剔透無暇。閃耀的色彩濺射,光線漫射開來,與堅實沉穩的深色調形成 輕重並濟,和諧又強烈的樂章。 1997年榮登法蘭西研究院美術院士。進入2000年代後,大師以八十高齡的姿態,旺盛的創作力絲毫不減,彷彿集大成的自由揮灑,又再度開創 抽象繪畫的新格局。長居法國的朱德群,不脫其東方靈魂與文人精神,他深厚的中國傳統藝術內蘊與紮實的繪畫技巧,於二次戰後興起「抒情 抽象」的歐洲畫壇融匯出鶴立於群的個人風格而備受矚目,被喻為二十世紀華人畫家中最傑出之抽象主義大師。 朱德群的一生皆繫於他的藝術,他專注、堅持、單純地一路直行,觀者從他的畫中,點點滴滴分享了他生活裡的枝微末節與重要篇章,儘管畫 面是抽象,那情緒的起伏悸動、那思潮的湧現、那面對宇宙大地的省思與心靈感受…一再一再引領觀者神遊其中,感動久久。老子:「大音希 聲,大象無形」,如此富於詩意的哲思,朱德群在他的作品中,已向全世界的藝術愛好者盡顯這至高的美感境界。 After having experienced transitions in his abstract style, fame, and glory, Chu Teh-chun became even more comfortable handling his paint brush in the 1990s. Created in 1992, “Instants d'allégresse” gives a transparent sense of space, with scintillating crystal color blocks, a dynamism between light and shadow, and momentum from the flowing air. Within an immense chaos similar to the beginning of the world, the painting leaps across the boundary between the visible and the invisible. The artist fully expresses his ideas through his work and does so with such willful delight! Chu once said that his inspiration comes from nature. He is expert at using dynamic momentum and luxuriant color to express the eternal change of the magnificence of nature. The harmony he achieves in his brush between rhythm and time is simply fascinating. Chu arrived in Paris in 1955 and experienced the city’s abundance of contemporary art in person, especially the retrospective exhibition of Nicolas de Staël (1914-1955) at the Musée de l’Art Moderne de la Ville de Paris in 1956. It opened for him another window of free expression. The exhibition, moreover, became the wedge that would open the way to his artistic pinnacle. His early abstract works were filled with dark tones and strong tensions. However, clear color blocks, calligraphic line, and straightforward, solid composition have been the constant characteristics running through his works in different periods. A man of talent still needs a wise headhunter to discover his gift. After Chu entered the Paris art circle, he signed a six-year contract with Galerie Henriette Legendre, which was run by the guardian of modern art, Maurice Panier. The gallery successively introduced him to the world and made him an important member of the School of Paris. Receiving various invitations for exhibitions around the world, Chu enjoyed his success and led a happy life with his family. His style, meanwhile, became even more mature: his smooth brushstrokes and ethereal air surged and swirled with an imposing manner. On his canvas, he perfectly combined the artistic conception and the solid brushwork that are emphasized in Chinese poetry and painting.

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At the age of 62, the Musée des Beaux Arts André Malraux in Le Havre, France, hosted his first large retrospective exhibition. Five years later, he returned to Taiwan and held an important retrospective exhibition at the National Museum of History. In 1992, the year he created “Instants d'allégresse,” Chu traveled to the US and was deeply inspired by the Niagara Falls. Many of his works during this period are covered with a veil of vapor, light, pure and transparent. Shiny color spatters all over. The emitting light and the heavy, dark tones play together in a harmonious and powerful melody. In 1997, Chu was elected as a member of l’Institut des Beaux-Arts de l’Académie Française. After 2000, in his eighties, the master’s abundant creativity did not slacken. His free, artistic expression that seemed to be accumulated from past glories once again created a new dimension in abstract painting. Chu, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of “Lyrical Abstract” that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century. Chu dedicates his life to art. He is focused and committed to art without distraction. Through his paintings, he shares with the viewers his life: the small pieces as well as the important chapters. Even though they are abstract, the surging emotions, powerful concepts, and his spiritual contemplation of the universe over and again lead the viewers to travel into his works and leave feeling deeply touched. The ancient philosopher Lao Tzu once said, “The most beautiful sound is soundless; the most beautiful image is without an image.” Within and through his works, Chu has expressed exactly this poetic and aesthetic concept to art lovers around the world.


667 LI Chen

(Taiwanese, b. 1963)

Pure Land 1998 Bronze, edition no. 5/8 130(L) x 41(W) x 75(H) cm Engraved Li Chen in English and Chinese, numbered 5/8, dated 1998 EXHIBITED: Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 Li Chen - Mind-Body-Spirit, Singapore Art Museum, Singapore, September 25 - December 9, 2009 Greatness of Spirit - Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-Shek Memorial Hall / Road of Democracy, Taipei, November 6 December 4, 2011 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Beijing, 2004, color illustrated, pp. 40-42 Li Chen Energy of Emptiness 52nd International Art Exhibition – La Biennale di Venezia, Asia Art Center Co., Ltd., Taipei, 2007, color illustrated, pp. 30–31; black and white illustrated, p. 216 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 194 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 5,000,000-6,000,000 US$ 169,500-203,400 HK$ 1,316,000-1,579,000

李真 無憂國土 1998 銅雕 5/8 130(長) x 41(寬) x 75(高) cm 簽名雕刻:Li Chen 5/8(臀部) 李真 1998(底座) 展覽: 「第52屆威尼斯國際藝術雙年展—尋找精神的空間.虛空中的能量:李真雕 塑展」,未來展望美術館,威尼斯,展期自2007年6月10日至11月21日 「李真:精神.身體.靈魂」,新加坡美術館,新加坡,展期自2009年9月25 日至12月9日 「大氣—李真台灣大型雕塑首展」,中正紀念堂─民主大道、兩廳院藝文廣 場(自由廣場),台北,展期自2011年11月6日至12月4日 圖錄: 《1992-2002李真雕塑》,亞洲藝術中心,北京,2004,彩色圖版,頁40-42 《李真—虛空的能量:第52屆威尼斯國際藝術雙年展》,亞洲藝術中心有限 公司,台北,2007,彩色圖版,頁30-31;黑白圖版,頁216 《李真—尋找精神的空間》,亞洲藝術中心,台北,2008,彩色圖版,頁194 附亞洲藝術中心開立之原作保證書

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李真涉略佛道學等經典、物外尋真,在藝術作品的追求上,是 以雕塑來傳達東方文化的精神與內涵。李真以「虛空」為其 重要的創作美學概念,「空」與「虛」是中國文化中佛學及道 學的重要思想,佛學中的「空」並不是代表沒有,而是代表一 個巨大寂靜的生滅智慧境界,在道家思想有兩句話:「虛空粉 碎,大地平沉」,就是描述一個破與靜的極點狀態,在「易」 之中求道。李真的雕塑是在探討虛空的能量,但他所表現出的 雕塑實體,卻是空於外,道氣入內而充塞,一點也不空,原因 是李真再現能量是以一種精神的形式,用誇張、通體漆黑的 實體來表現攝人的物質精神,但雕塑所傳達確是甜美、浪漫、 喜悅與滿足的精神概念,正因如此,即便他的部分作品巨大無 比,但卻不顯壓迫笨重,似漂浮於空中,令人有「既重又輕」 的感覺,這正是精神能量與物質能量完美的結合所致。不但如 此,李真竟能突破千年佛教雕塑既有的形式藩籬,轉化唐代佛 教造像的豐厚飽滿,以及宋代俊美秀麗的精神暨形象特質,將 雕塑的開臉與線條減至極簡,並且萃取中國五千年歷史文化的 元素,如中國的仙、佛、龍、神話、民間故事等,更進一步注 入當代藝術的元素及物件,成功的結合古典與當代,使其作品 呈現一種前所未見的獨特型態及樣貌,賦予東方雕塑新的生 命。 Li Chen has acquired Buddhism, Taoism, and other classics to search for truth, which transmitted into his sculpture in an attempt to represent the Oriental spirit and essence. Li Chen uses "emptiness" as his important aesthetic concept in creation. Emptiness and nonbeing are the major concepts of Buddhism and Taoism in the Chinese culture. Emptiness embedded in Buddhism does not refer to nothing, but signifying a grand serene life and dead witty stage. Similarly, the Taoism saying goes, "Emptiness breaks; Silence resumes," suggesting a perfect moment of breaking and silencing, in search of a way in the moderation. Li Chen's sculpture conveys the energy of emptiness in a sculpture object, empty outside but filled up with energy inside. Owing to Li Chen's rebirth of energy in a spiritual form, the sculpture is highlighted in an exaggerated and lacquered black object to display a sweet, romantic, joyful, and satisfactory spiritual concept. Hence, despite Li's art is in gigantic form, but never heavy but flowing in the sky to transmit a "heavy and light" feeling, and a perfect fusion of spiritual energy and material energy. Li Chen's art, determined to break from the traditional thousand-year religious Buddhist formality of its structures, results in transforming Tang Dynasty's Buddhist round and complete figurative sculpture and the Song Dynasty's beautiful spirit and unique characteristics into simplistic sculpture's smiling face and lines. In addition, Li obtains the cultural elements from the 5000 years of Chinese history, such as spirits, Buddha, dragon, fables, and legends, blending contemporary artistic elements and materials into fusion of tradition and modernity. Hence, Li's work displays an unprecedented unique style and panorama to endow the Eastern sculpture with a new life.


668 JU Ming

朱銘

(Taiwanese, b. 1938)

太極系列—單鞭下勢

Taichi Series – Single Whip

1975 銅雕 1/16 57.3(長) x 28(寬) x 34.7(高) cm 簽名雕刻後側:朱銘 '75 1/16

1975 Bronze, edition no. 1/16 57.3(L) x 28(W) x 34.7(H) cm Engraved on the back Ju Ming in Chinese, dated '75 and numbered 1/16 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 5,000,000-7,000,000 US$ 169,500-237,300 HK$ 1,316,000-1,842,000

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附財團法人朱銘文教基金會開立之作品鑑定報告書


太極拳講究剛柔相濟、陰陽平衡、有輕有沉、急應緩隨、動靜合宜,充分體現美學思想,給人帶來一種美的視覺享受,這更是代表朱銘 美學觀念。朱銘「太極系列」作品中,最為國內外熟知的姿態首推「單鞭下勢」。 朱銘刀下的「單鞭下勢」,本身具有力度與造型的美感,在動靜之間,讓人感到綿綿不絕的形意流轉,因其式有起伏,不拘泥於外在形 態的雕琢,只追求意識流轉的完整呈現,誠如太極拳宗師王宗岳所強調的「力由脊發,步隨身換。收即是放,斷而復連,往復須有折 疊,進退須有轉換」,於單鞭下勢中可獲得最好的詮釋。 細看「單鞭下勢」的動作,其根在腳,發於腿,主宰於腰,形於手,周身節節貫串,完整一氣。力量由下而上地傳遞,由腳而腿而腰, 武者進退靈活、得機得勢。其次,武者沒有面目神態,但作品依然傳神。靠的是以氣傳神。太極系列凝結的不僅是武者的動作、呼吸, 還有武者的意識。朱銘匠心獨具只見輪廓不見五官呈現出武者內斂的神情。所謂「氣宜鼓蕩,神宜內斂」的武術家用語來形容朱銘的作 品似乎比一般的藝術風格論更貼切。 Taichi boxing examines the fusion of strength and tenderness, the balance of ying and yang, light and heavy at the same time, rush actions and slow responses, achieving harmony between movement and stillness. This fully manifests esthetics thought, bringing us a beautiful vision to enjoy. Moreover, this represents Ju Ming's concept toward esthetics. In all the works of “Taichi” series by Ju Ming, “Single Whip” is the most well-known form around the world. Ju Ming’s “Single Whip” epitomizes the fascinating tension between inner tranquility and outward action characteristic of most Taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how Taichi allows the life force to circulate freely through the adept’s body, just as Taichi grandmaster Wang Zongyue put it, “The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats.” Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept’s movements and breathing, but reveal his very mind. Ju Ming does not bother-does not need to bother-with a detailed depiction of facial features, because his concern is the performer’s “inner expression”, the face of his soul as seen through the movements. “The chi should flow freely and the mind be calm.” nothing could describe the art of Ju Ming better than this old Taichi adage.


669 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Arch 1987 Wooden sculpture 38(L) x 46(W) x 54(H) cm Engraved Ju Ming in Chinese and dated '87 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 5,000,000-7,000,000 US$ 169,500-237,300 HK$ 1,316,000-1,842,000

朱銘 太極系列—拱門 1987 木雕 38(長) x 46(寬) x 54(高) cm 簽名雕刻:朱銘 '87 附真善美畫廊開立之作品保證書

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670 JU Ming

(Taiwanese, b. 1938)

Living World Series 2006 Wooden sculpture 33(L) x 46.3(W) x 86(H) cm Engraved on the top Ju Ming in Chinese and dated 2006 This sculpture is to be sold with a certificate of authenticity signed by the artist and issued by Kalos Gallery, Taipei.

NT$ 3,000,000-5,000,000 US$ 101,700-169,500 HK$ 789,000-1,316,000

朱銘 人間系列 2006 木雕 33(長) x 46.3(寬) x 86(高) cm 簽名雕刻上方:朱銘 2006 附真善美畫廊開立之藝術家簽名保證書

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671 JU Ming

(Taiwanese, b. 1938)

Water Buffalo 1985 Wooden sculpture 56(L) x 35.2(W) x 46.4(H) cm Engraved on lower back Ju Ming in Chinese and dated 85 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 1,900,000-2,800,000 US$ 64,400-94,900 HK$ 500,000-737,000

朱銘 水牛 1985 木雕 56(長) x 35.2(寬) x 46.4(高) cm 簽名雕刻後側:朱銘 '85 附財團法人朱銘文教基金會開立之作品鑑定報告書

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672 Walasse TING

(Chinese-American, 1929-2010)

I Love You 1985 Acrylic on canvas 61 x 76 cm Signed on the reverse Ting, titled I Love You in English and dated 1985 PROVENANCE: Private collection, Amsterdam

NT$ 1,800,000-2,800,000 US$ 61,000-94,900 HK$ 474,000-737,000

丁雄泉 我愛你 1985 壓克力 畫布 61 x 76 cm 簽名畫背:I Love You Ting 1985 來源: 私人收藏,阿姆斯特丹

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673 Walasse TING

(Chinese-American, 1929-2010)

Kiss My Nipples 1975 Acrylic on canvas 61 x 76 cm Signed on the reverse Ting, titled Kiss My Nipples in English and dated '75 PROVENANCE: Galerie Nord, Randers, Denmark Private collection, Amsterdam

NT$ 1,700,000-2,600,000 US$ 57,600-88,100 HK$ 447,000-684,000

丁雄泉 親親咪咪 1975 壓克力 畫布 61 x 76 cm 簽名畫背:Kiss My Nipples Ting '75 來源: 北畫廊,蘭訥斯,丹麥 私人收藏,阿姆斯特丹

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674 Walasse TING

(Chinese-American, 1929-2010)

Guilin, China 1991 Ink and color on paper 126 x 197 cm With four seals of the artist This painting is to be sold with a certificate of authenticity issued by Lung Men Art Gallery, Taipei.

NT$ 1,300,000-2,000,000 US$ 44,100-67,800 HK$ 342,000-526,000

丁雄泉 桂林(彩墨-24) 1991 彩墨 紙本 126 x 197 cm 鈐印左下:採花大盜(四個) 附龍門畫廊開立之原作保證書


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摯友三十年珍藏:山水.席德進 文/陳惠黛 為了紀念席德進九十歲冥誕,羅芙奧於2013年6月曾在台北籌辦了「席德進藝術專拍:摯友的三十年珍藏」,該場專拍展覽漸漸喚起藝術愛好者 的記憶,追憶起曾經活躍於台北文藝圈的席德進,那位詩人余光中筆下「你一走台北就空了」的偉大藝術家。席德進承繼傳統卻也超越傳統、 勇於創新,畢生努力走出自己的道路。這批由摯友費心蒐藏多年的珍稀繪畫,使眾人重新看見大師的生命熱情與風采。 約莫從1960年代開始,席德進的名字宛如明星一般,孤傲而堅毅的形象深植人心。他的畫是那麼地有色有彩、與眾不同,恬淡與豪氣兼具。若 不是這場專拍,新世代的收藏家,恐怕難得一次見到如此豐富精采的席氏精品。 摯友L君為了使藝術界重視席德進的藝術成就,回復其應有的價值,幾乎釋出了所有家藏席氏作品收藏,先後在2013春、秋兩季的羅芙奧台北藝 術拍賣會現身。羅芙奧有幸接受L君的重大負託,繼續於2013年12月1日推出第二場席德進藝術專拍,主題訂為「摯友三十年珍藏:山水.席德 進」,介紹了23幅席德進晚年之重量級畫作,多幅現代山水畫代表作,精心描繪台灣各地風景名勝,美不勝收;另有數幅花卉、鴨禽與書法作 品,皆為佳作上選。 1966年席德進自歐美遊歷返台,與藝文人士往來,因緣聚會結識L君,結為忘年之交。只要時間許可,L君經常陪伴席德進郊遊寫生,在畫家生 命最後幾年與L君家人互動熱絡,如同親人。甚至至席德進的生命最後一刻,也是L君陪伴在側,兩人友誼真摯深刻。1981年畫家過世後,L君 和友人為他張羅後事,並依照遺願成立「席德進基金會」,管理他遺留人間的豐沛寶藏,而將最好的油畫、水彩各 10 幅,贈與將落成的台北市 立美術館;其它的大多數作品暨收藏,則悉數捐贈予台中的國立台灣美術館。 根據摯友L君的說法,這批陪伴自己三、四十年的席大師畫作,原本也曾考慮要捐贈給博物館,然而目前博物館的典藏維護觀念及作為仍未達 預期,據館內職員透露部分席氏作品因保存不當而導致損傷,類似情況使他重新思考藏品的最佳去處。若是有人願意像他一樣珍視席德進的藝 術,妥善保存、鑑賞,何不割愛給懂得它們價值的有緣人。 「摯友三十年珍藏:山水.席德進」專拍,介紹多幅畫家遊歷台灣山水美景而寫生的漂亮水彩畫與莊嚴的水墨畫。因為透徹的瞭解東西文化, 席德進成為華人的水彩畫大家及先驅,晚年建立了所謂「台灣山水,中國意境」的獨特席氏水彩畫風格。線條、渲染、沾著水的靈動,畫裡有 空濛的水氣、層次感。席德進以水彩作為表現中國水墨的傳承,表現出現代中國畫的新風格。他自己為這樣的風格下了一段註解:「尋找新的 題材,新的構圖,新的意境,以水彩色感融和於水墨,使國畫的色彩更具有新鮮的活力。」 此次專拍中特別介紹席德進其具有「台灣山水,中國意境」特色的畫作,將中國畫重新帶回眼前現實的生活,貼近你我的生活。大多數作品 的創作時間為1970年代初期至1980年代初,乃為席氏藝術最成熟的階段:有《玉山雪景》、《梨山一景》、《山水景色》(台中)、《九九 峰》、《海山相照》(九份)、《埔里山色》、《火炎山景》(苗栗)、《新竹海濱一覽》、《山中老屋》、《淡江一景》、《淡水雙舟》、 《水邊歸舟》,一一是膾炙人口的山水圖畫。墨與彩互為對比、融合,有時汲取中國文人畫的筆墨情趣,有時注入民間藝術的艷麗顏色,將台 灣亞熱帶的地域色彩,使其畫作別具有時代感。 席德進藝術專拍中亦將介紹幾幅席氏擅長的花卉、禽鳥畫。海棠與水仙,常見於席 德進1970年代前後的作品中,它們是具有東方特色的花卉,然而表現手法卻不同於 傳統。他以淺影為背景,使筆下的花沉浸在一種陰柔裡,姿態秀麗,生機盎然;綠 葉陪襯著花,朦朦朧朧得像溫柔的夢,舒緩了原本枝葉線條的銳利感。畫家藉由花 卉的盛放歌頌生命的豐盛,詠嘆青春的美好。專拍中亦收入兩幅採用沒骨法的番鴨 圖,表現畫家對鄉土風情的關懷,造型單純構圖簡練,去蕪存菁,將常民生活化的 素材,賦予浪漫的懷鄉情思,非常具有個人風格。 「摯友三十年珍藏:山水.席德進」藝術專拍的23幅作品(Lot 675-Lot 697),再次 呈獻畫家精湛的寫生功力與巧思創作,珍稀畫作不遜於博物館藏品。「席德進把台 灣畫進中國的山水」,新的詮釋豐富了中國現代繪畫的面貌,好山好水彩繪生命, 為後世留下瑰麗的文化遺產。


HIS CLOSE FRIEND'S COLLECTION OF 30 YEARS: LANDSCAPES OF SHIY DE-JINN Text / Odile Chen To commemorate the 90th birthday of late Shiy De-jinn, Ravenel organized in Taipei the "Special Auction of Shiy De-jinn's Works: His Close Friend's Collection of 30 years" in June, 2013. The auction recalls art lovers' memories of Shiy, the painter who was once so active in the cultural circle of Taipei. The artist poet Yu Kuang-chung even lamented that "Taipei became empty after you left." Shiy transmitted and surpassed traditions. He dared to bring forth new ideas and live his life by walking his own path. Through these rare and precious paintings that were carefully kept by his close friend, his admirers have rediscovered the master's passion in life and elegance in demeanor. Ever since the 1960s, Shiy De-jinn's name, on par with that of a movie star, rooted itself in people's minds with its accompanying aloof and resolute image. His paintings are so colorful, unique, and breathe the breath of tranquility and pride. If not for this special auction, collectors in the younger generation might not have had the opportunity to see so many remarkable works by Shiy. To attract attention to Shiy's artistic achievement and restore the value proper to his works, his close friend, L, released nearly all of his collection, bringing them to the 2013 spring and autumn auctions of Ravenel in Taipei. Ravenel is honored to be entrusted with this task again with its hosting of the second special auction of Shiy De-jinn, "His Close Friend's Collection of 30 Years: Landscapes of Shiy De-jinn," on December 1, 2013. The auction will present 23 important paintings created in Shiy's later years. There will be included many modern landscape paintings depicting the scenic uniqueness of Taiwan, which are stunning in their depictions. Several great works of flowers, ducks, and Chinese calligraphy have also been included. When Shiy returned to Taiwan from Europe and the US in 1966, he began to make friends in the literary and artistic communities. It was then that he became acquainted with L, and the two developed a precious friendship that survived generations. When time allowed, L would accompany Shiy in his travels and sketch scenes from nature. The artist established a warm relationship with L's family and was seen as one of their own. Even at the end of Shiy's life, it was L who stood beside him. They shared a very deep and sincere friendship. When the artist died in 1981, L and other friends arranged his funeral and established the "Shiy De-jinn Foundation" to manage his abundant treasures in respect of his last wish. They gave 10 of his best oil paintings and watercolors to the Taipei Fine Arts Museum, which was then reaching completion. Most of the other works and collections were donated to the National Taiwan Museum of Fine Arts in Taichung.

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According to L, he had once entertained thoughts of donating theses paintings that accompanied him for 30 to 40 years to art museums. However, the levels of maintenance and treatment in museums fall well below L’s expectations. Some of Shiy's works have been damaged from poor preservation according to the museum employees, which led L to reconsider the destination of his collection. If there are people who cherish Shiy's art as he does, people who will preserve and appreciate them properly, why not give the works to those who understand the true value of art? This special auction, "His Close Friend's Collection of 30 Years: Landscapes of Shiy De-jinn," introduces many beautiful landscapes and solemn watercolors and ink wash paintings drawn from the landscape of Taiwan. Fully grasping the essence of Eastern and Western culture, Shiy became both master and pioneer in Chinese watercolor by establishing late in his career a unique style in watercolor called “Taiwanese landscape, Chinese artistic concept.” He added line, washes of ink and color, as well as the vibrations of water to his paintings with airy vapors and a sense of layering. Watercolor became the inheritor of Chinese ink wash and became a new style in modern Chinese painting. Shiy explained his new style thus: “It is about searching for new topics, new compositions, and new concepts; blending the textures of watercolor into ink wash and thereby adding vitality to the colors of Chinese painting.” This special auction especially introduces works embodying the concept of “Taiwanese landscape, Chinese artistic concept.” It brings Chinese painting back to reality and back to our lives. Most of the works were created in the period between the early 1970s and the early 1980s, a period when Shiy reached maturity in artistic creation. Among these much-praised landscapes are “Snowscape of Jade Mountain”,“Landscape in Lishan”, “Landscape” (Taichung), “Jioujiou Peaks”, “A Delightful Contrast of Sea and Mountain” (Jioufen), “Mist over Pu-Li”, “Landscape of Mountain Houyan” (Miao-li), “A View of the Coast in Hsinchu County”, “Old Houses in the Mountains”, “Landscape of Tamsui River”, “Two Boats over Tamsui River”, “Boats by the Riverbank”. With the contrast and the combination of ink and color, he sometimes shows touches of the Southern, "literati," School of Chinese painting, while at other times he invokes the gorgeous tones of folk art with Taiwanese subtropical landscapes. Together, they create a contemporary feeling in his art. Some paintings of flowers and ducks, Shiy's specialty, will also be introduced at this special auction. Chinese flowering crabapple and narcissus often appear in his works from the 1970s. Considering that the flowers are of a particular Eastern flavor, they are presented in a very unconventional way. Shiy uses light shadow in the background to immerse his flowers in a kind of feminine gentleness. There they are given a handsome posture that is full of vitality. As a foil to the flowers, the hazy leaves are gentle dreams, softening the sharpness of the twigs. The artist celebrates the abundance of life and praised the beauty of youth with the full bloom of flowers. This special auction also includes two paintings of Muscovy ducks painted with the “no lines technique.”They represent the artist's concern for the land of his hometown. In composition and form, they are simple and straightforward without redundancy. He confers a romantic or nostalgic sentiment to the materials seen in everyday life, which is a very personal mark of his style. The 23 lots of “His Close Friend's Collection of 30 Years: Landscapes of Shiy De-jinn” (Lot 675-Lot 697) present the artist's superb skill in sketch and his remarkable creativity overall. These rare paintings are no less than his museum pieces. "Shiy De-jinn brought Chinese landscape into Taiwanese painting,” and his new interpretation enriched the scope of modern Chinese painting. Setting his life within beautiful landscapes, Shiy leaves us a precious cultural heritage for later generations.


摯友三十年珍藏:山水.席德進

675 SHIY De-jinn

(Taiwanese, 1923-1981)

Calligraphy 1980 Ink on paper 61 x 120.5 cm Dated upper right 7/27 1980 With three seals of the artist With one seal of the collector

NT$ 200,000-400,000 US$ 6,800-13,600 HK$ 53,000-105,000

席德進 篆書 1980 水墨 紙本 61 x 120.5 cm 題識右上:7/27 1980 鈐印右上:席氏書畫 席德進篆 鈐印左下:四川南部縣人 藏印中上:同聲相應

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His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

676 SHIY De-jinn

(Taiwanese, 1923-1981)

Calligraphy – Su Dongpo's Poem 1977 Ink on paper 69 x 133.5 cm Signed lower center Shiy De-jinn in Chinese With two seals of the artist

NT$ 280,000-400,000 US$ 9,500-13,600 HK$ 74,000-105,000

席德進 千里共嬋娟 1977 水墨 紙本 69 x 133.5 cm 簽名下方:席德進 鈐印下方:席德進印 鈐印右方:席氏書畫


摯友三十年珍藏:山水.席德進

677 SHIY De-jinn

(Taiwanese, 1923-1981)

The Poem Man Jiang Hong in Seal Script 1974 Ink on paper 135 x 34.5 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist

NT$ 280,000-420,000 US$ 9,500-14,200 HK$ 74,000-111,000

席德進 滿江紅─待從頭收拾舊山河朝天闕 1974 水墨 紙本 135 x 34.5 cm 簽名左下:席德進 鈐印左下:席德進印 鈐印右上:席氏書畫

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His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

678 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape 1981 Ink and color on paper 33 x 46.5 cm Signed upper left Shiy De-jinn and dated 1981 in Chinese With one seal of the artist

NT$ 300,000-500,000 US$ 10,200-16,900 HK$ 79,000-132,000

席德進 山水景色 1981 彩墨 紙本 33 x 46.5 cm 簽名左上:席德進 一九八一 鈐印左上:席德進

《山水景色》作品是席德進病逝前不久到摯友L君台中家中作客時,在他的畫冊上 信手創作。此幅畫作以水彩畫的著色法,將彩色調和至接近墨灰,然後上色暈染, 灰色中還透過其他的顏色,富有餘味。 畫筆掃過的痕跡,在紙上形成煙雲般的留白。席德進指出毛筆的破筆法優點:「一 筆掃過呈現出飛白,即由無數細線排列組合而成的自然紋理,具有速度感,又似一 片光的閃耀。」此作前景幾株紅樹,點出季節時令,增添亮麗的現代感,整幅畫面 既有水彩的色感,也有水墨的韻味。 “Landscape” was created when Shiy De-jinn was visiting Mr. L in Taichung just not long before he passed away. The main hue of this watercolor painting is dark grey with touches in other inks. It is enchanting to see other colors revealed in the gray hue. Brush strokes leave flying white blanks on the paper. Shiy De-jinn pointed out the advantage of Chinese calligraphy strokes: "A stroke flies over the canvas and leaves on the picture a strip of white. The natural texture combined with countless threads shows a sense of speed and shines as a spark of light." Some red trees in the foreground not only indicate the season of this painting but also add brightness and modernness to its presentation. Watercolors figure predominantly in the work, though ink wash is also present in a sense of component of the work.


摯友三十年珍藏:山水.席德進

679 SHIY De-jinn

(Taiwanese, 1923-1981)

Snowscape of Jade Mountain 1972 Watercolor on paper 45.5 x 53 cm Signed lower right Shiy De-jinn in Chinese and dated 1972

席德進於1966年從歐洲回來,此後更加喜愛民間藝術,原本畫西洋畫的他,更在創作時加入民 族的色彩。藝術評論家認為,從1972年開始,席德進的水彩與水墨形質逐漸交匯在一起。他從 廟宇藝術的線條與色彩,找出中國人自在的語言。 席德進曾說:「在那個環境裡,就畫那樣的畫,在巴黎,畫巴黎派:在紐約,畫紐約派:在台 北,畫台北派。」他又說:「我以前是在西方繪畫傳統裡接著走下去,現在我要從中國繪畫傳 統接著走出來。」 《玉山雪景》採用水墨與水彩交融的方式來詮釋,不用皴法,省略輪廓線,平面剪影重重的方 式處理風景畫的寫生。冬日的玉山,白雪皚皚,宛如透著光亮的青花瓷色彩。

NT$ 400,000-600,000 US$ 13,600-20,300 HK$ 105,000-158,000

Shiy De-jinn had a fondness for folk art ever since he came back from Europe in 1966. Having created Western paintings for years, he started to blend some elements of folk art into his later creations. Some art critics believe that Shiy began combining watercolor techniques with Chinese ink-wash painting in 1972. Through the lines and colors of Chinese temples, he discovered the spirit of ease of Chinese art.

席德進

Shiy once said, "Paint for your environment. In Paris, paint in the Parisian style; in New York, paint in the New York style; in Taipei, paint in the Taipei style." He also added, "I used to follow in the footsteps of the Western tradition in painting. Now, I am going to find my own way in traditional Chinese painting."

玉山雪景 1972 水彩 紙本 45.5 x 53 cm 簽名右下:席德進 1972

132

“Snowscape of Jade Mountain” is illustrated in a mixture of ink and watercolor. Without wrinkle and contour, the snowscape is presented with various silhouettes of distant mountains. The winter snowcapped Yushan (Mt. Jade) glows in the bright blue-and-white of beautiful porcelain.


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

680 SHIY De-jinn

(Taiwanese, 1923-1981)

Two Boats over Tamsui River 1980 Watercolor on paper 55.8 x 75.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1980

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

席德進 淡水雙舟 1980 水彩 紙本 55.8 x 75.5 cm 簽名左下:席德進 1980

「我鍾愛那殘破的古船,傾斜而帶著勞累地躺在淺水 灣中。它們往日英勇的事蹟,已不復記憶,他們神翼 般的風帆,永不復再現,而淡水的夕照,是永恆的燦 爛。對岸的觀音山色,是永恆的壯麗。」(席德進語) "I love those broken and abandoned old boats that lean with the fatigue of time in the shallow bay. Their heroic deeds are by no means remembered; their wing-like sails will never fly again. However, the sunset in Tamsui remains forever bright; the lofty scene of Mt. Guanyin on the opposite bank is forever majestic." (Text by Shiy De-jinn)


摯友三十年珍藏:山水.席德進

681 SHIY De-jinn

(Taiwanese, 1923 - 1981)

Landscape in Lishan

根據摯友L君的印象,《梨山一景》是他陪同席大師到武陵農場、梨山附近寫生時所畫, 他最喜歡此幅作品的清新意境,畫中呈現與所見實景神似。 席德進的文稿中,曾如此形容梨山地區的景致:「這時我們羨慕住在高山的人,梨花為 他們的村落而開,清溪為他們的赤足而流,蒼松藍天白雲與他們作伴,而我們竟久久地 沒有親近這些天賜的恩物了。」席德進為梨山清雅秀麗而流連忘返。

1971 Watercolor on paper 45.5 x 53 cm Signed center left Shiy De-jinn in Chinese and dated 1971

梨山、武陵相鄰,位於台灣中部山區,為遊客攬勝的去處。梨山景致四季皆美,有所謂 春之花海、夏之果蔬、秋之楓紅、冬之瑞雪。席德進的《梨山一景》水彩畫,以簡單 的幾重山影,暈染出遠山的微妙色感,淡淡楓紅點染有致,赤松蒼勁聳立,高山雲霧縹 緲,在畫家筆下呈現清新宜人的優雅空間。

NT$ 400,000-600,000 US$ 13,600-20,300 HK$ 105,000-158,000

According to Mr. L, “Landscape in Lishan” was completed when Shiy De-jinn and L went to visit Wuling Farms and Lishan. Mr. L likes the fresh and detached air illustrated in this painting, which is similar to what they actually saw in Lishan.

席德進 梨山一景 1971 水彩 紙本 45.5 x 53 cm 簽名左中:席德進 1971

134

Shiy De-jinn described the scenery of Lishan thus: "We are so envious of those who live in the high mountains, for they have pear blossoms, clear brooks, green pine trees, blue skies and white flowing clouds to keep them company. However, we have not been close to these precious treasures given by God for quite some time." Shiy De-jinn was so fascinated by the elegance and tranquility of the scenery at Lishan that he did not want to return home. Located in the mountainous area of central Taiwan, Lishan and Wuling are famous tourist destinations. The scenery of Lishan is captivating no matter the season, with beautiful blossoms in spring, abundant fruits and vegetables in summer, red maple trees in autumn, and white snow in winter. Shiy's watercolor "Landscape in Lishan" presents the clear, pleasant, and elegant scenery of Lishan through the shading of the mountain, flowing clouds in the background, and red maple trees and tall pine trees dotting the foreground.


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

682 SHIY De-jinn

(Taiwanese, 1923-1981)

Duck 1976 Watercolor on paper 49 x 69 cm Signed lower left Shiy De-jinn, inscribed Sichuanese in Chinese and dated 1976

NT$ 550,000-850,000 US$ 18,600-28,800 HK$ 145,000-224,000

席德進 單鴨圖 1976 水彩 紙本 49 x 69 cm 簽名左下:蜀人 席德進 畫 1976 題識右方: 幽林歸獨臥 滯慮洗孤清 持此謝高鳥 因之傳遠情

《單鴨圖》描繪一隻雁鴨的剪影,墨色暈染別有韻味,煞是好看。 在畫面的一側留白,席德進以個人獨特的書法,題寫了一段詩句: 「幽林歸獨臥,滯慮洗孤清。持此謝高鳥,因之傳遠情。」這些文 字出自唐朝詩人張九齡的五言古詩《感遇》其三,寄語澹泊明志, 寧靜致遠的情懷。 "Duck" delicately portrays the silhouette of a duck through the controlled, yet charming, smudging of the ink. It truly is a fine-looking piece. On one blank section of the canvas, Shiy De-jinn wrote down some lines of poetry in his singular hand: "As hermit I recline in isolation; clear my thoughts in lone reclusion. That do I give the wild birds passing, entrusting to them my far-away feeling." The five-character verse poem quoted above, "Thoughts: III of IV," was written by the poet Zhang Jiuling of the Tang Dynasty; it reveals the poet's simple life and his calm and distant feelings.


摯友三十年珍藏:山水.席德進

683

展覽: 「席德進遺作展」,台北市立美術館,台北,1983

SHIY De-jinn

(Taiwanese, 1923-1981)

Mist Over Pu-li 1981 Watercolor on paper 56 x 75 cm Signed lower left Shiy De-jinn in Chinese and dated 1981 EXHIBITED: Shiy De-jinn Memorial Exhibition, Taipei Fine Arts Museum, Taipei, 1983 ILLUSTRATED: Shiy De-jinn Memorial Exhibition, Taipei Fine Arts Museum, Taipei, 1983, color illustrated, p. 26 5,000 copies of the painting issued by Taipei Fine Arts Museum, Taipei

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

席德進 埔里山色 1981 水彩 紙本;56 x 75 cm 簽名左下:席德進 1981 136

圖錄: 《席德進遺作展》,台北市立美術館,台北,1983,彩色圖版,頁26 台北市立美術館以此圖像製作五千件複製畫 摯友L君曾經在《台灣日報》以專文發表與席德進一同出遊寫生的經驗。他如此寫 道:「記得有一年,我陪他到埔里寫生,在郊外看到一處風景,他突然大叫停車, 急忙的背起畫具,衝到路邊田埂間去,一會兒就不見人影了。待我停妥車,尋索了 許多纔在一排木麻黃樹下找到他,一看到我,就大呼小叫地,像指揮勤務兵似的要 我幫他換洗筆水,按住畫板,而他全神貫注,畫筆如飛地,勾畫起眼前的景緻,過 了十幾分鐘,畫得差不多了,他纔停下筆來,為他剛纔粗暴的神情解釋道:『那麼 美的景象!尤其風在吹,雲在動,景象隨時在變,要是不能及時捉捕到,怎麼能畫 出好東西來!』為了抓住那美好的片刻,他必須快速作畫,一氣呵成。」 His close friend, Mr. L, once published an article about his trip with Shiy De-jinn in the "Taiwan Daily." Mr. L wrote, "I remember one year I accompanied him to do some painting in Pu-li, Nantou. We were driving through a rural area when he glimpsed a beautiful scene. He suddenly called out in a loud voice to pull the car over. He then picked up his materials and rushed to the bank at the roadside, where he immediately disappeared. I pulled over and looked for him for a long time until, finally, I found him underneath the boughs of some horsetail trees. As soon as he saw me, he began barking out orders like some drill sergeant, pointing me to various tasks like changing the brush water or holding the drawing board. He then plunged into painting the scene in front of him. About ten minutes later, after a flurry of brush strokes, he set down his brush and explained why he was in such a hurry just then: 'Look how beautiful it is! The scene was constantly changing with the blowing of the wind and the movements of the clouds. If I fail to capture this, I cannot paint anything good!' To capture that wonderful moment, he had to work quickly and finish it right then and there."


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

684 SHIY De-jinn

席德進喜愛在大自然中寫生,先與大自然有了情感,受了感動才開始去畫。有時候 會把情緒提高到如初戀時候的激情,獨自在曠野中作畫,彷彿也與天地合一。

Landscape of Tamsui River

淡水景色靜謐美好,經常出現在他的水彩作品中。他曾經寫道:「為的是去畫淡水 景色,我常常在日落之前趕往淡水,看那退潮後浮現的沙灘,水流走後枯竭的河 床。徘迴在白鷺群棲息的江畔一片水草與雜樹叢旁。沒有人跡的沙洲,如身臨洪荒 時的大地,將自我遺忘。這時,觀音山一筆青翠從平直的沙洲昇起,又投影在靜止 的水面,水就是天。」

(Taiwanese, 1923-1981) 1977 Watercolor on paper 57 x 76 cm Signed lower left Shiy De-jinn in Chinese and dated 1977

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

Shiy De-jinn liked to draw in nature as well as about nature. He insisted that only when close to nature can one gain the inspiration to create a work that truly moves its viewers. Sometimes, he would even find in painting the excitement of a tryst. When he painted alone in the wild, he seemed to be united with nature.

席德進

The tranquility and elegance of the scenery of Tamsui River is an often-seen topic in his watercolors. He once wrote, "To paint the landscape of Tamshui River, I often rush there before the sunset so that I can see the emerging beach and the drained river bed after the tide recedes. I often wander along the bank where flocks of egrets alight, where the grass and bush thrive. I often find an abandoned sandbank and plant myself there as if I were deserted in a more primitive era. I lose myself there. Then, Mt. Guanyin rises from the plain sandbank and projects itself on the still water. The water is the sky, the sky is the water."

淡江一景 1977 水彩 紙本 57 x 76 cm 簽名左下:席德進 1977


摯友三十年珍藏:山水.席德進

685 SHIY De-jinn

(Taiwanese, 1923-1981)

Old Houses in the Mountains 1980 Watercolor on paper 56.5 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1980

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

席德進 山中老屋 1980 水彩 紙本 56.5 x 76.5 cm 簽名左下:席德進 1980

138

席德進偏愛風景寫生,他曾經寫道:「我堅持直接面對自然作畫。是因為自然的千 變萬化莫測。那種氣候,那種微妙的彩色,非呆在畫室中用一套公式來界限自然, 反覆製造風景的畫家所能夢想得到。」 畫家以寫生展開其「發現台灣」的生命旅程,上山下鄉遊歷創作,不感倦怠。《山 中老屋》是完成於1980年左右的創作,以青綠和紫色為主調。畫中描繪高山原野, 有三兩老屋座座落其間,優閒靜謐,綠意盎然。 Shiy De-jinn favored landscape painting. He once wrote, "The reason I insist on painting in the face of nature is because of the changes that occur there. In that kind of atmosphere, magical colors exist that can never be painted or confined as in a studio; it can never be dreamt of by painters who recreate nature. " Shiy went to many places—mountains, rural areas—to create the landscape paintings and sketches of his life journey “Discovering Taiwan.” He never tired from his artistic journey. Completed around 1980, “Old Houses in the Mountains” is tinted primarily in hues of green and purple. The painting illustrates well a couple of quiet and graceful houses located in green high mountains and on the lush green plain.


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

686 SHIY De-jinn

(Taiwanese, 1923-1981)

Boats by the Riverbank

遠山幾重重,扁舟一葉葉。在《水邊歸舟》作品,黛綠山色煙雲籠罩,彷彿雨後的 大地,飽含清新的詩意。小舟停泊靠岸,岸邊兩座古老的紅磚瓦屋,情韻十足的樸 素鄉景,是席德進喜愛駐足寫生的去處。

1979 Watercolor on paper 56.5 x 76.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1979

「我浸在愛與激動之中。在寂靜、荒漠、莊嚴的天幕之下,啜飲那一片沉鬱的綠 色,輝煌的夕陽,磚屋的古紅….。我的藝術就在這兒。不在古畫中,不在夢幻裡, 更不會在國外的潮流裡。」席德進讓自己的藝術在泥土扎根,作品中帶有濃厚的民 族情感,情感豐沛令人動容。

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

There are several mountains in the distance and small boats in the foreground. In "Boats by the Riverbank", dark green mountains are poetically veiled by mist and clouds, as if it had just rained. Small boats rest by the bank where two ancient red bricks houses stand. The simplicity of the countryside is what attracts Shiy De-jinn's brush to rural scenes.

席德進

"I was immersed in love and excitement. Under the grey, lonely sky, I sipped the melancholy green of the grass, the brilliant gold of the sunset, and the rich old red of the brick houses..., and this is my art, it doesn't live inside ancient paintings or dreams, and never in Western trends." Shiy De-jinn rooted his art in the soil of his native land, bringing rich and touching national sentiment into his works.

水邊歸舟 1979 水彩 紙本 56.5 x 76.5 cm 簽名左下:席德進 1979


摯友三十年珍藏:山水.席德進

687 SHIY De-jinn

(Taiwanese, 1923-1981)

Hibiscus 1975 Watercolor on paper; 76.5 x 56.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1975

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

席德進 芙蓉花 1975 水彩 紙本;76.5 x 56.5 cm 簽名左下:席德進 1975 芙蓉,中國獨有的花卉,因其諧音, 素有「富貴榮華」的象徵。芙蓉亦有 文人潔身自好的寓意,因此自古以來 嬌美的芙蓉花常常成為書畫中的主 角,借其吉祥之意。由於日常生活中 少見芙蓉花,席德進也極少描繪芙 蓉,此幅綠葉暈染有致、花顏綻放的 《芙蓉花》顯得十分彌足珍貴。 The Chinese hibiscus has come to symbolize wealth and prosperity (because its Chinese name, fu-rong, sounds the same as the word for wealth and prosperity). The hibiscus also symbolizes the need for an upright person to maintain their own personal probity and decency. For these reasons, the hibiscus has for many centuries been a popular, auspicious subject for paintings. Having few opportunities to see hibiscus flowers during his daily life, Shiy De-jinn rarely painted them, a fact which makes this particular painting – “Hibiscus” – with its elegant green leaves and spectacular blossoms all the more precious.

140


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

688 SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1979 Ink and color on paper 45 x 106 cm Signed lower left Shiy De-jinn in Chinese and dated 1979 With two seals of the artist

NT$ 600,000-1,000,000 US$ 20,300-33,900 HK$ 158,000-263,000

席德進 海棠 1979 彩墨 紙本 45 x 106 cm 簽名左下:席德進 1979 鈐印左下:席德進印 鈐印右上:席氏書畫

席德進曾寫道:「人的一生僅有一季青春期可度。而藝術家卻能在修練中,培養出 反覆返回青春季,觸及那永恆的春天。」 感受青春的美好,席德進也常喜愛畫花。他的彩墨海棠,枝葉挺秀,蘊藏著書法的 遒勁筆鋒。海棠乃是中國名花之一,四川的海棠名聞天下,正有所謂的「岷蜀地千 里,海棠花獨妍」的詩句。來自四川的席德進或許也以畫海棠,化為思鄉的憑寄。 Shiy De-jinn once wrote, "Youth appears only once in one's life. However, through the practice of their art, artists can recreate that youthful period several times in their lives and thus come into contact with an endless spring." Shiy De-jinn liked to paint flowers as a way of enjoying the abundance of youth. In this ink and color painting of the Chinese flowering crabapple, strong calligraphic strokes are revealed in the straightness of its stems and the lushness of its leaves. As one of famous flowers of China, Chinese flowering crabapples are a famous treasure of Sichuan, which is celebrated in the saying, "In the vast land of Sichuan, the Chinese flowering crabapples are singular in their beauty." Shiy De-jinn, himself from Sichuan, perhaps tried to express his affection for his birthplace by painting these famous flowers.


摯友三十年珍藏:山水.席德進

142


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

689 SHIY De-jinn

(Taiwanese, 1923-1981)

Muscovy Ducks c. 1979 Ink and color on paper 81.5 x 154 cm Signed lower left Shiy De-Jinn in Chinese With two seals of the artist

NT$ 650,000-1,300,000 US$ 22,000-44,100 HK$ 171,000-342,000

席德進 群鴨 約1979 彩墨 紙本 81.5 x 154 cm 簽名左下:席德進 鈐印左下:席德進印 鈐印右上:席氏書畫

席德進的《群鴨》,直接用彩、用墨,保有 傳統國畫「沒骨畫」的技法。不過,他將造 型化繁為簡,群鴨化為簡約的視覺符號,空 間布局活潑帶有趣味。番鴨,象徵鄉土的樸 素形象,乃是藝術家在現代化城市生活情境 的另一種慰藉。 Shiy's "Muscovy Ducks" preserves the traditional "no-lines technique" of Chinese painting by directly coloring and inking on the canvas. However, he simplifies the shapes of the ducks into simple visual signs, bringing liveliness into the spatial organization of the painting. Muscovy ducks are the symbol of the plainness and simplicity of rural life, thus they are a comforting symbol to artists living in this metropolitan modern life.


摯友三十年珍藏:山水.席德進

690 SHIY De-jinn

(Taiwanaese, 1923-1981)

Jioujiou Peaks 1979 Watercolor on paper 65 x 102 cm Signed lower left Shiy De-jinn in Chinese and dated 1979

NT$ 850,000-1,400,000 US$ 28,800-47,500 HK$ 224,000-368,000

席德進 九九峰 1979 水彩 紙本 65 x 102 cm 簽名左下:席德進 1979 席德進曾說:「我經由中國人含蓄溫儒的生命態度中,將絢爛轉為平淡,並且 經由無限延伸的水平線中,體悟到台灣平凡山水魅力。我的水彩追求撲拙,意 圖拋棄文明虛飾的外衣,同時也追求現代美,在墨分五色的微妙變化中,顯出 盎然的生趣與無窮的變化。」 九九峰是台灣南投縣境內的名山,據說有九十九座壯麗山峰,因而得名。席德 進在山谷間眺望九九峰,以寫生方式完成《九九峰》水彩畫,大筆渲染,水氣 淋漓,表現飄逸秀麗的山水風光。 Shiy once said, "I turn glamour into plainness through the gentle attitude of Chinese culture. Moreover, I understand the simple allure of nature in Taiwan through its endlessly extending horizons. My watercolors aim at plainness, pursuing modernity while abandoning the fake exterior of civilization. Endless change and joyful spirit are then born from the wondrous interaction of the five techniques of coloring." Jioujiou (99) Peaks is a famous mountain in Nantou County, Taiwan. It came by its name from its 99 magnificent peaks. Shiy De-jinn painted his "Jioujiou Peaks" watercolor while viewing the peaks from a distant valley. The detached and graceful scenery is illustrated by heavy brushwork and the quality of the water in the scene.

144


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

691 SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1977 Watercolor on paper 101.5 x 68.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1977

NT$ 900,000-1,400,000 US$ 30,500-47,500 HK$ 237,000-368,000

席德進 海棠 1977 水彩 紙本 101.5 x 68.5 cm 簽名左下:席德進 1977

146

水彩畫《海棠》是一幅表現席德進在中西繪畫素養的 美麗圖畫,枝葉茂盛、生機勃勃。他將花、枝、葉融 入意念,結合書法手法表現出來。他賦予傳統題材花 卉畫以新的生命力及創造力。詩人畫家羅青曾如此讚 譽席德進:「在眾多的水彩畫家中,以席德進的畫風 最為多變,最可以看出台灣近三十年繪畫思潮的演進 與發展。」席德進將墨韻轉為色韻,以自我的思索、 佈局空間,沉穩的筆勢,抒發逸氣。 This watercolor painting – “Chinese Flowering Crabapple” – is a beautiful work that demonstrates Shiy De-jinn’s expert mastery of both Chinese and Western painting styles. The verdant leaves exude vitality; Shiy employs a combination of calligraphic and painting brush techniques to present flowers, branches and leaves as a complementary, unified whole, giving new life, and new creativity, to the traditional Chinese flower painting genre. In praising Shiy’s work, the poet and artist Lo Ch’ing commented that: “Of all the many artists who paint in watercolors, Shiy De-jinn displays the most variation in style, and his work gives the best picture of how Taiwanese art has evolved over the past three decades.” Shiy succeeded in transforming the monochrome “rhythm” of traditional Chinese ink-brush painting into a color “rhythm,” combining this with careful composition based on deep contemplation, and with deep, powerful brushstrokes, to create work that exudes mastery of his art.


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

692 SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1976 Watercolor on paper 102 x 65 cm Signed lower left Shiy De-jinn in Chinese and dated 1976

NT$ 900,000-1,400,000 US$ 30,500-47,500 HK$ 237,000-368,000

席德進 海棠花 1976 水彩 紙本 102 x 65 cm 簽名左下:席德進 1976

海棠花,是中國傳統名花之一,自古騷人墨客為她題 詠作畫。席德進也多次為海棠作畫,他曾經在其中一 幅海棠花的畫上題寫泰戈爾的詩句「生如夏花之絢 爛」,寄語無限的情懷。 在此幅《海棠花》作品中,席德進以淺影作為背景, 使筆下的花沉浸在一種陰柔裡,姿態秀麗,生機盎 然;綠葉陪襯著花,朦朦朧朧得像溫柔的夢,舒緩了 原本枝葉線條的銳利感。畫家藉由花卉的盛放歌頌生 命的豐盛,詠嘆青春的美好。 As one of famous flowers of Chinese art, Chinese flowering crabapples are an often-seen topic in Chinese artistic works. Shiy De-jinn used Chinese flowering crabapples as the theme in several paintings. His affection was once reflected in the lines of the Indian poet Rabindranath Tagore (1861-1941), “Let life be beautiful like summer flowers and death like autumn leaves,” which he included on one of his paintings of Chinese flowering crabapples. In this “Chinese Flowering Crabapple”, Shiy De-jinn employed light shade as the background, making the flowers stand out vividly in the dark, soft atmosphere. As a foil to the flowers, the hazy leaves are gentle dreams, softening the sharpness of the twigs. The artist thus celebrates the abundance of life and praises the beauty of youth with the full blooms of the flowers.

148


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

150


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn

693 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

水仙

Narcissus

1979 彩墨 紙本 69.5 x 136.5 cm 簽名左下:席德進 鈐印右上:席氏書畫 鈐印左下:席德進印

1979 Ink and color on paper 69.5 x 136.5 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist

NT$ 950,000-1,600,000 US$ 32,200-54,200 HK$ 250,000-421,000 純粹以花為繪畫的主題,席德進認為只有在中國畫中獨有。西方人畫花, 是插在瓶中,已加了人工的改變,而中國人尊重自然,追求天趣。 席德進用「現代眼」來觀察花,用不同的素材去表現,賦以新的意義與生 命。水仙,冬末初春的花卉,中國詩人黃庭堅以「凌波仙子」形容。在席 德進的筆下,水仙的姿態清盈優雅,堅毅自戀。他精心布局繪畫的空間, 將墨韻轉化為色韻,以沉穩的筆勢勾勒,充實的內蘊,水仙花開,展現著 茂盛的生機。 Shiy De-jinn indicated that the use of flowers as theme in painting is unique to Chinese art. In Western art, the flowers are often intentionally arranged in a vase; in Chinese art, however, the artist holds to natural representations and pursues the pleasures that nature Herself has to offer. Shiy De-jinn observed flowers with a "modern eye" and presented them from different sources; this gives the flowers in his paintings a new life as well as a new meaning. The narcissus, a bloom of late winter and early spring, was described as the "Fairy of the Waves" by the Chinese poet Huang Tingjian. In Shiy's painting, the narcissuses are clear and elegant, persevering and—as the name implies—self-centered. In his delicate composition, the harmony of the ink is transformed into a harmony of color; the narcissus is outlined with steady, strong brushstrokes that speak to their inner fullness and lush vitality of the bloom.


摯友三十年珍藏:山水.席德進

694 SHIY De-jinn

(Taiwanese, 1923-1981)

Chinese Flowering Crabapple 1979 Ink and color on paper 137.8 x 35 cm Signed lower left Shiy De-jinn in Chinese and dated 1977 With two seals of the artist

NT$ 1,000,000-2,000,000 US$ 33,900-67,800 HK$ 263,000-526,000

席德進 海棠 1979 彩墨 紙本 137.8 x 35 cm 簽名左下:席德進 1977 鈐印右上:席氏書畫 鈐印左下:席德進印

152

晚年的席德進以他通透西畫的技法與精神,融入中國 畫的改革與創新。以此幅立軸構圖的《海棠》為例, 花朵豔燦,墨葉樸拙,筆法老辣自信、風格新潮大 膽,畫家逃開前人的束縛,以現代的觀點詮釋這傳統 的書畫題材,不落俗套。姿態萬千的海棠花,在席德 進的眼中是春天的象徵,人的一生僅有一季青春期, 席德進透過藝術的修練,畫花、寫花,不斷返回青春 季,將自然的春天永久留存。 In his later years, Shiy De-jinn embarked on a process of innovation in which he fused the techniques and spirit of Western painting with Chinese traditional painting. In this particular painting – “Chinese Flowering Crabapple” – which uses a compositional structure based on traditional Chinese vertical scroll paintings, the bright flowers and dark leaves reflect the skill and assurance of the artist. The style is bold and innovative; Shiy has sought to break away from the constraints of artistic convention, adopting a modern perspective to interpret this traditional subject matter in a way that is not hackneyed or banal. The Chinese flowering crabapple, which can take so many different forms, appears in Shiy’s eyes as a symbol of spring. In every human life, there is only one period of “springtime”; Shiy De-jinn used his artistic skill to paint and draw flowers in a constant return to spring, so that spring as it occurs in nature can be preserved eternally.


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

695 SHIY De-jinn

(Taiwanese, 1923-1981)

A Delightful Contrast of Sea and Mountain c. 1980-1981 Ink and color on paper 115.5 x 105.5 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist

NT$ 1,200,000-2,200,000 US$ 40,700-74,600 HK$ 316,000-579,000

席德進 海山相照 約1980-1981 彩墨 紙本 115.5 x 105.5 cm 簽名左下:席德進 鈐印右上:席氏書畫 鈐印左下:席德進印

1979年席德進在遊歷過山城九份之後,創作了一系列「海山相 照」的水墨畫。他在此系列其中一幅畫上題寫著:「遊九份,得 此景,始知台灣山水不能以傳統皴法寫之,蜀人席德進客居寶島 卅又二年矣。」他捨棄傳統國畫的皴法,選擇以墨法取勝,濕潤 飽滿的色感,巧妙運用畫中留白,將空白當作一種色、光、空 間,重新和諧墨與色的相互和諧關係。 前半生畫西洋畫,在生命最後的幾年,席德進喜愛書法與中國文 人畫,他用心投入中國水墨畫的創新。以《海山相照》為例,表 現山水畫裡群山聳立的蒼鬱宏遠,用色濃重,大塊塗抹,有幾分 向前輩李可染致敬之意。然而他以現代的眼睛看山水,創造新的 造型與意志。 In 1979, on a visit to the northern, mountain town of Jiufen, Shiy painted “A Delightful Contrast of Sea and Mountain,” a series of ink wash paintings. On one of the paints, he inscribed: “Traveling to Jioufen to capture this landscape finally made me realize that Taiwanese scenery cannot be depicted using traditional techniques. Shiy De-jiin of Sichuan, a guest in Taiwan for thirty-two years.” He abandoned the distinctive texture strokes of traditional Chinese painting and chose ink as his primary medium. Damp brushwork and a keen sense of color, the white space in his paintings becomes a shade of color, light, and emptiness to rebalance the harmonious relationship between ink and color. Having created many Western paintings in the first half of his life, Shiy devoted the later years of his life to calligraphy and traditional Chinese painting. During this time, he was fully engaged in innovating within the field of Chinese ink wash painting. Take “A Delightful Contrast of Sea and Mountain” for example: magnificent lofty peaks and the vibrant life thereon are portrayed through dark colors and thick brush strokes, which show Shiy's respect for the elder artist Li Keran. Yet, from Shiy’s modern view, the landscape is recreated with an innovative form and is given a new meaning.

154


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

696 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

新竹海濱一覽

A View of the Coast in Hsinchu County

1979 彩墨 紙本 69.5 x 137 cm 簽名右下:席德進 鈐印右下:席德進印 鈐印左上:席氏書畫

1979 Ink and color on paper 69.5 x 137 cm Signed lower right Shiy De-jinn in Chinese With two seals of the artist

NT$ 1,400,000-2,600,000 US$ 47,500-88,100 HK$ 368,000-684,000 「常常,我渴望著海──嚮往那海邊,去舒展我鬱結的心懷。」「一片藍色的波紋,那似靜 止又盪漾的海」感性的畫家席德進常常寫文抒情,文字中透露著心中想望,想一親海與風的 芳澤。《新竹海濱一覽》是一次摯友L君陪同席德進到新竹海邊寫生完成的作品,海邊植有高 聳的木麻黃,點出風城的氣象特色。 《新竹海濱一覽》作品結合了油畫的光感,水彩的渲染特色,水墨的墨韻與橫軸形制,及西 方攝影「三分法」的構圖。參天的防風林,表現出簡約且具有現代感的一幅海景彩墨畫。詩 人畫家羅青指出畫家的風格:「席德進最喜歡用紙上染水之法,如此固然可以盡得山水晨昏 之態,風雨之貌,雲霧之情,朦朧之狀。」畫中的海浪、沙灘與木麻黃,墨色暈染,富有情 致。席德進擷取簡潔的元素入畫,快速地融入自然的情境之中。不成比例的小小紅屋彷彿是 畫家孤獨的化身,在無人的海邊顯得有些蕭瑟,令人動容。 “I often find myself longing for the sea – longing to be at the seaside, where I can find relief from the gloom and despondency that overwhelms me.” “That expanse of blue ripples, the sea that is both still and turbulent.” An artist of great sensibility, Shiy De-jinn often resorted to writing as a means of achieving emotional release, expressing in textual form his hopes and desires, such as a wish to experience the balm offered by proximity to the sea and the ocean breeze. “A View of the Coast in Hsinchu County” was painted on a trip that Shiy and a friend made to the coast in Hsinchu County to paint from life. The coast in this area is dotted with tall iron-wood trees; the waving of their branches in the wind reflects Hsinchu’s status as Taiwan’s “windy city.” “A View of the Coast in Hsinchu County” combines the bright luster of oil paintings with the wash effect of watercolors, together with the “rhythmic” feel and scroll-type composition of traditional Chinese ink-brush painting and the “rule of thirds” precept from photography. The tall windbreak trees help to create an ink-and-color ocean scene that is both stark and modern. The poet and artist Lo Ch’ing commented that “Shiy De-jinn loved to use wash effects on paper, which enabled him to portray dawn or dusk, wind and rain, clouds, mist and haze.” The faint, hazy way in which the waves, beach and iron-wood trees are depicted give this painting a unique appeal. Shiy has successfully captured the essential elements that need to be fused into the natural scene he portrays. The oddly-proportioned small red-roofed building might be taken to represent the lonely artist, giving an intensely moving aspect to this desolate coastal scene.

156


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


摯友三十年珍藏:山水.席德進

697 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape of Mountain Houyan

在一次與建築師李祖原的對話中,席德進曾提到:「中國畫總是要等到畫家七、八十歲時,才能產生最傑出 的爐火純青之作。尤其是書法藝術,更是非到老年,無法達到『人書俱老』的高峰,這是西方畫家的作品之 間所沒有的現象。我想中國畫著重的是個人的修練與提昇,它的境界太高了,最後要達到的渾厚、古樸、蒼 勁、藏而不露和平實,給人突然的震撼和短暫的刺激。」

1979 Ink and color on paper 69 x 137 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist

席德進在生命最後階段側重於水墨畫的探索,個人風格強烈。年少時他歷經過傳統工藝、西洋素描、油畫、 粉彩、水彩等技藝磨練,在畫壇佔有一席之地,隨著年歲的增長,感悟到須以生命體驗為終極關懷。一生致 力於繪畫創新的席德進,在後期的創作益發成熟、多元,席德進式的山水畫,在華人藝壇上獨樹一幟。

NT$ 1,500,000-2,600,000 US$ 50,800-88,100 HK$ 395,000-684,000

1970年代之後,席德進取材台灣山水,將台灣的山水帶入中國水墨畫。席德進認為中國山水畫沒有臨場感, 倡導直接面對自然作畫,寫生之必要,他曾經說道:「我從不閉門作畫,所畫的必是眼前的山水。」他自期 創作能顯現現代感的圖畫,而要超越國界的現代感,則必須從現實生活取得。他的台灣山水畫與人文圖繪, 傳達出對土地的濃厚情感。

席德進 火炎山景 1979 彩墨 紙本 69 x 137 cm 簽名左下:席德進 鈐印左下:席德進印 鈐印右上:席氏書畫

鄭惠美女士在席德進的傳記中寫道:「現代國畫的探索開啟了他『台灣山水,中國意境』水彩獨特風格的建 立。水彩與水墨已成為一體的兩面,水墨的探索成就了水彩的風格。水彩的成就隱含著水墨的光芒。」

火炎山位於台灣苗栗,因山形地貌特殊,酷似火焰而得名,屬於世界奇景之一。作品《火炎山景》取景自山 谷眺望火炎山。在席德進的筆下,陡峭的岩壁像一大片奇異的銀色世界,山下秋樹暖暖綻放橙黃顏色,溪流 的小舟靜靜泊在中央,整幅畫面宛如雪景浮世繪一般綺麗宏偉。新的題材、新的構圖、新的意境,畫家細膩 的觀察與遒勁筆力,為中國水墨畫注入新活力。 In a conversation with the architect C. Y. Lee, Shiy De-jinn said, “In Chinese painting, artists must reach their seventies or eighties in order to produce their most outstanding piece of work. This is particularly true for the art of calligraphy, that one can never reach one’s peak until ‘the person and the work are both in maturity’. This is something that does not exist in the work of Western artists. I think Chinese people value personal cultivation and exaltation, which is an extremely sublime state. Lastly, one has to be immense, humble, vigorous, hidden and modest, giving the viewer a sudden shock and a transient stimulus.” At the last stage of his life, Shiy focused on exploring ink wash with his strong personal style. He had received training in traditional craft, Western sketches, oil painting, pastel, and watercolor when he was young, creating a place for himself in the art scene. As he got older, he began to realize that his ultimate concern should be his own life experience. Having spent his whole life striving for innovation in painting, in his later years Shiy found that his work had reached a new level of maturity, while at the same time maintaining a high degree of diversification. The landscapes that Shiy De-jinn painted during this period are unrivaled by any other Chinese artist. In the biography of Shiy, Cheng Hui-mei writes, “The exploration of modern Chinese painting allowed him to establish ‘Taiwan landscapes, Chinese concepts’–his unique style in watercolor. Watercolor and ink wash became two sides of the same coin. His exploration of ink wash accomplished his unique style of watercolor, while his achievement in watercolor also revealed the spark of ink wash.” In the 1970s, Shiy De-jinn began taking Taiwanese landscapes as subject-matter for his paintings, applying traditional Chinese ink-brush painting techniques to the depiction of these landscapes. Shiy felt that conventional Chinese landscape painting lacked a sense of presence; he advocated a direct contact with nature, and the need to paint from life. Shiy once commented that “I have never shut myself away in a room to paint; what I paint is the landscapes that I see before me.” Shiy sought to create landscape paintings that would have a modern feel to them, a sense of modernity that would transcend national boundaries, and he felt that this could only be achieved by painting directly from life. Both Shiy’s Taiwanese landscapes and his paintings of human scenes reflect a strong attachment to Taiwan. Mountain Houyan is located in Miaoli County, Taiwan. The hills take their name “Landscape of Mountain Houyan” from their distinctive appearance, resembling tongues of flame rising up into the air. Shiy’s painting of the hills was painted from a valley-bottom, looking up at the peaks. As depicted by Shiy, the steep, rocky hillsides resemble a mysterious world of gold, while the trees with their autumnal foliage at the foot of the hills give off a warm, orangeyellow glow, and a small boat silently floats along on the stream in the center of the canvas. The painting as a whole has the same magnificent beauty as a Japanese ukiyoe snow painting. The adoption of new subject matter, new forms of composition, and a new artistic conception, combined with Shiy’s keen observation and powerful brushstrokes, helped to instill new vitality into the Chinese ink-brush painting tradition.

158


His Close Friend’s Collection of 30 Years: Landscapes of Shiy De-jinn


698 SHIY De-jinn

(Taiwanese, 1923-1981)

Portrait of the Painter Tian Man-shi 1961 Oil on canvas 90 x 72 cm Signed center right Shiy De-jinn in Chinese and dated 1961 PROVENANCE: Acquired from a member of the Shiy De-jinn Foundation Private collection, Asia ILLUSTRATED: The Commemorative Collections of Shiy De-jinn (II) Oil Painting, Taiwan Museum of Art, Taichung, 1994, color illustrated, p. 245 (with the title of "Lady in Black")

NT$ 4,600,000-6,500,000 US$ 155,900-220,300 HK$ 1,211,000-1,711,000

席德進 畫家田曼詩像 1961 油彩 畫布 90 x 72 cm 簽名右中:席德進 1961 來源: 原收藏者得自財團法人席德進基金會成員 私人收藏,亞洲 圖錄: 《席德進紀念全集 II 油畫》,台灣省立美術館,台中,1994,彩色圖 版,頁245(原題《黑衣女士肖像》)

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席德進是一位優秀的華人肖像畫家,求學時常為同窗同學或傾慕對象作 畫。早年他常隨身攜帶速寫簿,若發現能打動他的靈魂的對象,即興起 作畫的慾望。他對自己的肖像功力深具信心,曾自詡為「全台灣畫像畫 得最好的」。他在肖像畫上開拓出新鮮的格局,力求發現對象最美好的 角度,他認為偉大的肖像畫即是一張永恆價值的藝術品。 1955年,席德進成為職業畫家,以畫維生,在那個年代此舉誠屬不易, 無怪乎藝評家蕭瓊瑞曾說「席德進是台灣第一位職業畫家」。為人畫像 之餘,而有時他也主動幫朋友畫像,1960-1970年代藝文界的朋友,包括 詩人周夢蝶、作家曹又方、華嚴、明星唐寶雲,畫家李德、吳昊都曾是 他的模特兒,田曼詩的畫像即是在這段期間所作。 田曼詩,既是詩人也是畫家,有「渡海第一代女大師」、「中原女史」 稱號。1926年生於中國河南郾城,2006年卒於台灣台北。她是名門之 後,曾留學德國、韓國,師事黃君璧研習山水畫,是一位才華洋溢、 熱情的藝術家,作育英才,交遊廣闊,曾是台灣藝文界名人。席德進於 1961年完成《畫家田曼詩像》油畫作品,其實當時田曼詩芳齡35歲,然 而畫中的她的裝扮超齡,身穿旗袍、披肩、配戴玉環與翡翠戒指,華麗 貴氣端莊,神情有幾分不讓鬚眉的英氣。 席德進《自畫像》1951 油彩 畫布 裱於木板 羅芙奧台北2013春季拍賣會,成交價:TWD 22,800,000 SHIY De-jinn, Self-portrait 1951, oil on canvas, mounted onto board, 51.5 x 43 cm Ravenel Spring Auction 2013 Taipei, US$ 761,777 sold

席德進在〈肖像畫〉一文指出肖像畫的內涵:「一張照片,只能顯示人 的片面的一瞬間外表現象而已!一張畫像,因為是透過了藝術家的主觀 意識,由兩支眼睛的視點,加上長時間的觀察與領悟,所呈現在畫上的 人像,自然是複雜得多,包涵得廣的。好的肖像畫家能透徹你的心靈, 抓住你的性格,表現你的習性,畫你隱藏著的不曾自覺的神情。一個有

經驗的肖像畫家,像一位看相專家,或算命者,他會用彩筆,道出你在人生中的經歷與遭遇。」 席德進喜歡畫人像,喜歡試探,去揭開人的面具下所存在的真實。他傾其一生地畫像,老少都畫,青春少男、風霜老人或是風 姿綽約的貴婦。但他其實還是選人畫的,若是長相平凡不合喜好,他一輩子也不會想去畫。他認為「人的經歷與歲月的痕跡, 職業、身分、生活背景與智慧,都應該反應在肖像畫上。」《畫家田曼詩像》也是基於這樣的認知所畫,將女畫家的高貴體態 展露無遺,另外他最知名肖像代表作的《紅衣少年》是1962年所畫,席德進一系列肖像畫為台灣風起雲湧的時代留下珍貴的紀 錄。 Shiy De-jinn was an outstanding portrait painter; as a student, he often painted his classmates and the objects of his affections. As a young man, he always carried a sketching pad around with him, so that if he saw anything that moved him, he could sketch it straightaway. Shiy had great confidence in his own ability as a portrait-painter, and is on record as having boasted that he was “the best portrait-painter in Taiwan.” Shiy developed a fresh approach to the creation of portraits, seeking to find just the right angle to display the subject’s beauty to best effect. As he saw it, a great portrait could constitute a genuine, eternal work of art. In 1955, Shiy De-jinn began working full-time as an artist. At the time, this was no easy task; the art critic Hsiao Chong-ray noted that “Shiy De-jinn was actually the first professional artist in Taiwan.” Besides taking on commissions to paint portraits, Shiy also produced portraits of his friends for which he was not paid. Shiy’s friends in Taiwan’s artistic and cultural circles in the 1960s and 1970s included the poet Chou Meng-tieh, the writers Tsao Yu-fang and Hua Yen, the actress Tang Pao-yun, and the painters Lee Teh and Wu Hao. All of these friends and acquaintances became “models” for portraits by Shiy; this portrait of Tian Man-shi is one of the portraits that Shiy produced during this period.

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Tian Man-shi was both a poet and a painter, and was renowned as one of the leading female literary and artistic figures among the large number of Chinese citizens that sought refuge in Taiwan at the end of the Chinese Civil War. Born in Yancheng in China’s Henan Province in 1926, Tian died in Taipei, Taiwan in 2006. Coming from a wealthy family, Tian was able to study in Germany and Korea; she later studied landscape painting under Huang Chun-pi. A multi-talented, highly-cultivated artist with a wide circle of friends, Tian was an important figure in literary and artistic circles in Taiwan. This oil painting, “Portrait of the Painter Tian Manshi,” was completed by Shiy De-jinn in 1961. Tian was 35 at the time, and yet in this portrait she seems somehow ageless, with her chi-pao dress, shawl, jade bracelet and jadeite ring. Refined and elegant, it is clear from her expression that she considered herself the equal of any man. In his article “On Portraiture,” Shiy De-jinn made the following comment: “A photograph can only portray how someone looks from one particular angle at one particular instant in time! A painted portrait is an image based on the artist’s subjective consciousness, and on their observation of the subject from multiple viewpoints over an extended period of time, so of course a portrait is much more complex, and is much broader in scope. A good portrait painter can examine your soul, capture your personality, bring across your character, and reveal those parts of your identity that you yourself are not aware of. An experienced portrait painter is like a fortune-teller, using their brush to trace out the course of your life.” Shiy De-jinn delighted in painting portraits, and in the opportunities that it provided for exploration, and for uncovering the truth behind the masks that people wear over their own identities. He continued painting portraits throughout his life, painting a wide range of different kinds of people – healthy young men, elderly people whose faces show the ravages of time, elegant society women. However, Shiy was actually quite choosy in his selection of subjects for portrait painting; he had no interest in painting someone whose face he felt was too ordinary or commonplace. Shiy felt that “A person’s life experience, the marks of time, their occupation, their social status, their background, and the wisdom that they have accumulated – all of this should be reflected in the portrait.” “Portrait of the Painter Tian Man-shi” reflects this attitude towards portraiture, bringing across the refinement and self-assurance of this female artist to great effect. Shiy’s best-known work, “Boy in Red,” was completed shortly after this painting, in 1962. The series of works that Shiy created around this time constitute a priceless record of an era of cultural and artistic ferment in Taiwan.


699 SHIY De-jinn

(Taiwanese, 1923-1981)

The Landscape of Wu-Ling c. 1979 Ink and color on paper 88.5 x 240 cm Signed lower left Shiy De-jinn in Chinese EXHIBITED: Shiy De-jinn Memorial Exhibition, Taipei Fine Arts Museum, Taipei, 1983 ILLUSTRATED: Shiy De-jinn Memorial Exhibition, Taipei Fine Arts Museum, Taipei, 1983, color illustrated, pp.34-35

NT$ 3,000,000-4,000,000 US$ 101,700-135,600 HK$ 789,000-1,053,000

席德進 武陵勝境 約1979 彩墨 紙本 88.5 x 240 cm 簽名左下:席德進 展覽: 「席德進遺作展」,台北市立美術館,台北,1983 圖錄: 《席德進遺作展》,台北市立美術館,台北,1983,彩色圖 版,頁34-35

席德進曾說:「我從不閉門作畫,所畫的必是眼前的山水。」他堅持現場寫生的 臨場感,認為在大自然裡寫生,面對千變萬化的山林美景能帶給他一股澎湃的力 量。摯友常陪同他一同賞遊作畫。他有善於發現美的眼睛,總會停駐在最美的角 度,等待最合適的雲霧出現,以追求美好的色感氣氛。多位藝術評論家認為他的 藝術成就之一,在於從台灣的山林景色表現出現代中國畫的全新風格。 武陵,位於台灣中部,屬雪山山脈圍繞的高海拔山區,群山環繞、谿谷棋布,四 季分明,秋冬時節楓紅迷人。武陵地區景色優雅,宛如古人陶淵明的桃花源勝 地,經常吸引席德進與友人到此駐足,完成此幅難得一見的巨幅彩畫墨。 迷戀台灣自然美景的席德進曾自豪地說道:「這裡的山是台灣的山,也是席德進 的山,這裡的筆墨是秦漢的書法,這裡的意境是現代中國的意境。因為我的素描 根基好,所以對造型的把握,十分準確,因為我的涉獵廣,所以我的水彩融合了 油畫色彩的豐潤和水墨氣韻的靈動,是一般水彩畫家畫不出來的,也是西方畫家 畫不出來的─這裡山水的稜線是我勤練毛筆所得來,你看每一轉折都有學問在, 每一頓挫都有精神在,這就是現代的中國畫,道道地地的席德進的畫。」(鄭惠 美,《獻祭美神:席德進傳》,聯合文學出版社有限公司,台北,2005,頁257)

Shiy De-jinn once said: “I never draw in an enclosed space. What I paint must be the landscape in front of me.” Insisting on being present at the site where he was painting, Shiy believed that the ever changing landscape always rendered him a powerful strength. His close friends often went along with him. With a pair of sharp eyes that was good at capturing beauty, he always situated himself at the most beautiful area and waited for the perfect amount of fog to appear in order to capture the wonderful color and atmosphere of the scenery. Many art critics believe one of his artistic achievements lies in expressing Taiwan’s mountains in a modern Chinese painting style. In the middle of Taiwan, Wuling is located in the high-altitude region of Syue Mountain. Surrounded by the mountains and valleys, Wuling has four distinct seasons, with red maple trees that are particularly captivating in autumn and winter. The elegant landscape of Wuling can be compared to poet Tao Yuanming’s Peach Blossom Spring. Shiy and his friends often came here to enjoy the beauty, and he also completed his rare, giant color ink painting here. Fascinated by Taiwan’s natural landscape, Shiy once proudly said that “The mountains here are Taiwan’s mountains as well as Shiy De-jiin’s. The strokes and ink here are calligraphy developed in Chin and Han, but it has an artistic concept of modern China. Since I have a good foundation in painting, I can grasp precise shapes. Because I am versatile, my water color combines the richness of oil painting and the spirit of ink wash. Other watercolorists cannot produce such a painting, and Western painters cannot create the ridgeline of my mountains and rivers, either. They are the fruit of my diligent practice in calligraphy. Each turn has its own significance. Each pause possesses its own spirit. This is modern Chinese painting, a typical creation of Shiy Dejinn.” (Cheng Hui-mei, Aphrodite Sacrifice: Shiy De-jinn, UNITAS Publishing Co., Taipei, 2005, p. 257)

164


700 SHIY De-jinn Woman

二次大戰後政治的緊張,造就了1960年代台灣文藝創作的黃金年代,現代主義文學 盛行、抽象主義的繪畫狂飆,畫家席德進也參與這波現代藝術運動。在一次具象畫 家與抽象畫家的激烈辯論中,人們問起既畫抽象畫也畫具象畫的席德進,作畫時可 有不同的感覺。

1961 Oil on canvas 65 x 53 cm Signed lower left Shiy De-jinn in Chinese and dated 1961

「畫寫實的對我是一種享受,畫抽象的對我是一種發洩。」在席德進的心中,沒有 抽象畫與反抽象畫的拉鋸矛盾,他享受畫寫實的美好,也要抒發內在真實的情感, 如此的兩全其美就表現在他此時的繪畫作品中:「具象的人物,抽象的背景」。而 席德進的肖像畫是令人折服,在當時的台灣畫家中最具功力者。

(Taiwanese, 1923-1981)

NT$ 2,800,000-4,000,000 US$ 94,900-135,600 HK$ 737,000-1,053,000

席德進 女仕 1961 油彩 畫布 65 x 53 cm 簽名左下:席德進 1961

創作於1961年的油畫肖像《仕女》,描繪一位面容姣好、儀態端莊的名媛淑女。從 模特兒的髮型、服裝及配件,呈現富貴人家的時代形象。模特兒的背景單純明亮, 帶有朦朧的抽象感,烘托主角的雍容華麗。觀察席德進的一生的肖像畫,除了可欣 賞人物的氣質神韻與造型,其背景色彩造型的處理亦十分有趣,多年來肖像畫的主 題不變,但背景一直在變。 The political tension in the years following the Second World War provided the stimulus for a “golden age” of cultural and artistic creation in Taiwan in the 1960s. The flourishing of modernist literature was paralleled by the growth of abstract painting; Shiy De-jinn was a part of this modern art movement. During one heated discussion between proponents of figurative art and advocates of abstract art, Shiy De-jinn – who produced both types of art – was asked whether painting abstract works and painting realist works induced different sensations in him. Shiy replied that: “For me, creating figurative paintings is a pleasure, while producing abstract paintings is a kind of release.” For Shiy, there was no contradiction in painting both figurative and abstract works. He enjoyed the sense of beauty that creating figurative paintings provided, while also appreciating the opportunity to express true emotion through abstract art. This desire to have the best of both worlds can be seen in one common feature of Shiy’s work during this period – the placing of realistic depictions of human figures in front of an abstract background. Shiy was widely recognized as the most accomplished portrait painter of his generation. This portrait in oil – “Woman,” painted in 1961 – depicts an attractive, statuesque society lady; her hairstyle, clothing and accessories all suggest someone from a wealthy family. The simple, bright colors of the background create a hazy, abstract feel, which serves to further highlight the beauty of the subject. When examining the portraits that Shiy Dejinn produced over the course of his career, besides appreciating the ways in which Shiy brings across the refinement and elegance of his subjects, there is also great pleasure to be had in seeing how Shiy handles the color tones for the background; while the type of subject matter that Shiy chose for his portraits varied relatively little over the years, the backgrounds that he used were constantly changing.

166


701 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

海棠花

Chinese Flowering Crabapple

1974 水彩 紙本 54.5 x 75 cm 簽名左上:席德進 1974

1974 Watercolor on paper 54.5 x 75 cm Signed upper left Shiy De-jinn in Chinese and dated 1974 PROVENANCE:

來源: 私人收藏,台北(直接得自藝術家本人)

Private collection, Taipei (acquired directly from the artist) EXHIBITED: Shiy De-jinn Solo Exhibition, Hong-Lin Gallery, Taipei, 1974

NT$ 600,000-800,000 US$ 20,300-27,100 HK$ 158,000-211,000

168

展覽: 「席德進個展」,鴻霖畫廊,台北,1974


702 SHIY De-jinn

(Taiwanese, 1923-1981)

Eagle 1980 Ink and color on paper 176.5 x 34 cm Signed lower left Shiy De-jinn and dated 1980 both in Chinese With one seal of the artist

NT$ 460,000-650,000 US$ 15,600-22,000 HK$ 121,000-171,000

席德進 鷹 1980 彩墨 紙本 176.5 x 34 cm 簽名左下:席德進 一九八○年 鈐印左下:席德進印


703 SHIY De-jinn

(Taiwanese, 1923-1981)

Foggy River 1972 Watercolor on paper 48 x 59 cm Signed lower right Shiy De-jinn in Chinese and dated 1972

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

席德進 江上煙波 1972 水彩 紙本 48 x 59 cm 簽名右下:席德進 1972

170


704 SHIY De-jinn

(Taiwanese, 1923-1981)

Calligraphy – Seal Script (Lu You's Poem) Ink on paper 127.5 x 33.5 cm Signed lower left Shiy De-jinn in Chinese With one seal of the artist

NT$ 160,000-280,000 US$ 5,400-9,500 HK$ 42,000-74,000

席德進 篆書—陸游治學聯 水墨 紙本 127.5 x 33.5 cm 簽名左下:席德進 篆 鈐印左下:席德進印 題識: 書到用時方恨少 事非經過不知難


705 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

蕭勤

Chi Series

1982 彩墨 紙本 49 x 71.5 cm 簽名右下:Hsiao 勤 八二 鈐印右下:蕭勤畫記 鈐印左方:悟無居

1982 Ink and color on paper 49 x 71.5 cm Signed lower right Hsiao in English, Chin in Chinese and dated 82 in Chinese With two seals of the artist

NT$ 110,000-220,000 US$ 3,700-7,500 HK$ 29,000-58,000

172

炁系列


706 MA Pai-sui

(Taiwanese, 1909-2003)

Ali Mountain 1986 Ink and color on paper 59.5 x 49 cm Signed lower right Pai Sui in Chinese and dated 1986 With one seal of the artist

NT$ 160,000-260,000 US$ 5,400-8,800 HK$ 42,000-68,000

馬白水 阿里山 1986 彩墨 紙本 59.5 x 49 cm 簽名右下:白水 1986 鈐印右下:MA PAI SUI


707 T'ANG Haywen

(Chinese-French, 1927-1991)

Rhythm (diptych) Ink on paper 70 x 100 cm Singned lower right T'ang in English and Haywen in Chinese

NT$ 180,000-300,000 US$ 6,100-10,200 HK$ 47,000-79,000

唐海文 律動(雙聯幅) 水墨 紙本 70 x 100 cm 簽名右下:T'ang 海文

174


708 T'ANG Haywen

(Chinese-French, 1927-1991)

Abstract (diptych) Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 200,000-400,000 US$ 6,800-13,600 HK$ 53,000-105,000

唐海文 抽象(雙聯幅) 水墨 紙本 70 x 100 cm 簽名右下:T'ang 海文


709 T'ANG Haywen

(Chinese-French, 1927-1991)

Abstract (diptych) Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 200,000-400,000 US$ 6,800-13,600 HK$ 53,000-105,000

唐海文 抽象(雙聯幅) 水墨 紙本 70 x 100 cm 簽名右下:T'ang 海文

176


710 YU Cheng-yao

(Taiwanese, 1898-1993)

Calligraphy – Mountain Trip 1988 Ink on paper 136 x 62 cm Signed center left Yu Cheng-yao in Chinese, described 90 years old, and dated end of wuchen year (1993) ILLUSTRATED: A Centennial Retrospective for Yu Cheng-yao – Years of Retreat Where Time Ceases, Taiwan Provincial Museum of Fine Art, Taichung, 1999, color illustrated, p. 151

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

余承堯 書法—游山詩 1988 水墨 紙本 136 x 62 cm 題識: 小徑通幽草樹芬 嶺頭幾見有人群 隨山行到蒼崖斷 流水無聲和白雲 錄舊作游山詩一首 時戊辰歲暮也 余承堯時年九十 圖錄︰ 《余承堯百歲回顧展︰山居歲月不知長》,台灣省立 美術館,台中,1999,彩色圖版,頁151


711 YU Peng

(Taiwanese, b. 1955)

Landscape in Black and White 1988 Ink and color on paper 68.5 x 67 cm Signed upper right Yu Peng and dated 1988 Winter both in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Hanart Gallery, Taipei.

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

178

于彭 黑山白水 1988 彩墨 紙本 68.5 x 67 cm 簽名右上:于彭遊黃山歸來寫此情此景 一九八八年冬天 鈐印右上:于彭 題識: 黑山白水碧樹巔 雲封霧鎖好幾重 何處覓得安閒處 不在千山萬水間 心存一念不在天 附漢雅軒畫廊開立之原作保證書


712 T'ANG Haywen

(Chinese-French, 1927-1991)

Untitled (diptych) Ink on paper 70 x 100 cm Signed lower right T'ANG in English and Haywen in Chinese

NT$ 260,000-360,000 US$ 8,800-12,200 HK$ 68,000-95,000

唐海文 無題(雙聯幅) 水墨 紙本 70 x 100 cm 簽名右下:T'ANG 海文


713 CHUANG Che (Taiwanese, b. 1934)

Abstract 1992 Ink and color on paper 93 x 115 cm Signed lower right Chuang Che in Chinese and dated 92

NT$ 260,000-400,000 US$ 8,800-13,600 HK$ 68,000-105,000

莊喆 抽象 1992 彩墨 紙本 93 x 115 cm 簽名右下:92 莊喆

180


714 MA Pai-sui

(Taiwanese, 1909-2003)

View of Mount Huang 1982 Ink and color on paper 92.5 x 58.5 cm Signed lower left Pai Sui in Chinese and dated 1982 With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Apollo Art Gallery, Taipei.

NT$ 260,000-400,000 US$ 8,800-13,600 HK$ 68,000-105,000

馬白水 黃山一角 1982 彩墨 紙本 92.5 x 58.5 cm 簽名左下:白水 1982 鈐印左下:MA PAI SUI 附阿波羅畫廊開立之原作保證書


715 MA Pai-sui

(Taiwanese, 1909-2003)

Moon Night in Mount Hua 1983 Ink and color on paper 117.5 x 58.5 cm Signed lower left Pai sui and dated 1983 both in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Apollo Art Gallery, Taipei.

NT$ 360,000-500,000 US$ 12,200-16,900 HK$ 95,000-132,000

馬白水 華山月夜 1983 彩墨 紙本 117.5 x 58.5 cm 簽名左下:白水 一九八三 鈐印右下:MA PAI SUI 附阿波羅畫廊開立之原作保證書

182


716 YU Peng

(Taiwanese, b. 1955)

Landscape 1990 Ink and color on paper 137 x 68 cm Signed upper right Yu Peng and dated Summer 1990 both in Chinese With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Hanart Gallery, Taipei.

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

于彭 心平波更靜 1990 彩墨 紙本 137 x 68 cm 簽名右上:一九九〇于彭寫于平陽堂夏日 鈐印右上:于彭 題識: 晴空碧如洗 水光逐銀波 放舟沿荷翠 遠亭崖邊立 心平波更靜 附漢雅軒畫廊開立之原作保證書


717 LIU Kuo-sung (Taiwanese, b. 1932)

Dawn 2000 Ink and color on paper 61 x 39 cm Signed lower left Liu Kuo-sung and dated 2000 both in Chinese With one seal of the artist

NT$ 650,000-800,000 US$ 22,000-27,100 HK$ 171,000-211,000

劉國松 晨曦 2000 彩墨 紙本 61 x 39 cm 簽名左下:劉國松 二〇〇〇 鈐印左下:劉

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718 LIU Kuo-sung (Taiwanese, b. 1932)

Landscape in Spring 1999 Ink and color on paper 59.5 x 34.5 cm Signed upper right Liu Kuo-sung and dated 1999 both in Chinese With one seal of the artist

NT$ 700,000-900,000 US$ 23,700-30,500 HK$ 184,000-237,000

劉國松 春之氣息 1999 彩墨 紙本 59.5 x 34.5 cm 簽名右上:劉國松 一九九九 鈐印右上:劉國松


719 LIU Kuo-sung (Taiwanese, b. 1932)

Day Break 1980 Ink and color on paper 88 x 74.5 cm Signed center left Liu Kuo-sung and dated 1980 both in Chinese Titled on the back board Day Break in Chinese, inscribed 88 x 74.5 cm and dated 1980 With one seal of the artist EXHIBITED: Vision-Soka Art 20th Anniversary, Soka Art Center, Taipei, May 5-July1, 2012 ILLUSTRATED: Universe in the Mind, A Retrospective of Liu Kuo-sung's Seventy Years, Core Pacific City Living World, Taipei, 2002, color illustrated, p. 33 Modern Impulse – Liu Kuo-sung, Soka Association, Taipei, 2005, color illustrated, p. 40 Notebook, Cheng Yin Culture Co., Taipei, 2005, color illustrated, cover Universe in the Mind, A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan County, Taiwan, 2007, color illustrated, p. 55

NT$ 1,400,000-2,400,000 US$ 47,500-81,400 HK$ 368,000-632,000

劉國松 晨曦 1980 彩墨 紙本 88 x 74.5 cm 簽名左方:劉國松 一九八〇 鈐印左方:劉國松 簽名背板:晨曦 1980 88 x 74.5 cm 展覽: 「索卡視界:索卡20週年大展」,索卡藝術中心,台北,展期自2012年5月5日至7月1日 圖錄: 《宇宙心印—劉國松七十回顧展之京華城特展》,京華城,台北,2002,彩色圖版,頁33 《現代的衝擊—劉國松》,日本創價學會,台北,2005,彩色圖版,頁40 《筆記本》,正因文化,台北,2005,彩色圖版,封面 《宇宙心印:劉國松回顧展》,桃園縣政府文化局,桃園,2007,彩色圖版,頁55

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720 YU Cheng-yao

(Taiwanese, 1898-1993)

Precipitous Mountain Ink and color on paper 113.5 x 43.5 cm Signed upper left Yu Chang-yao and titled Precipitous Mountain both in Chinese With one seal of the artist

NT$ 1,200,000-2,200,000 US$ 40,700-74,600 HK$ 316,000-579,000

余承堯 劍門天下險.偶爾記前遊 彩墨 紙本 113.5 x 43.5 cm 題識左上:劍門天下險 偶爾記前遊 簽名左上:余承堯 鈐印左上:余承堯印

188


721 LIU Kuo-sung (Taiwanese, b. 1932)

Mountain: Tibetan Conto 48 2003 Ink and color on paper 183 x 91 cm Signed lower left Liu Kuo-sung and dated 2003 both in Chinese With two seals of the artist EXHIBITED: Drawing from Nature - Retrospective Exhibition of Liu Kuo-sung, Zhejing Provincial Museum, Zhejiang; West Lake Gallery, Zhejiang, April 28 - May 20, 2006 ILLUSTRATED: Drawing from Nature - Retrospective Exhibition of Liu Kuo-sung, Zhejing Provincial Museum, Zhejiang; West Lake Gallery, Zhejiang, 2006, color illustrated, p. 10

NT$ 2,600,000-3,600,000 US$ 88,100-122,000 HK$ 684,000-947,000

劉國松 山之嶺:西藏組曲四十八 2003 彩墨 紙本 183 x 91 cm 簽名左下:劉國松 二〇〇三 鈐印左下:劉國松印 山東青州 展覽: 「心源造化—劉國松創作回顧展」,浙江省博物館;浙江西湖美術館,浙江,展期 自2006年4月28日至5月20日 圖錄: 《心源造化—劉國松創作回顧展》,浙江省博物館;浙江西湖美術館,浙江, 2006,彩色圖版,頁10

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722 YU Cheng-yao

(Taiwanese, 1898-1993)

Landscape Ink and color on paper 82 x 42 cm Signed upper right Yu Cheng-yao in Chinese With one seal of the artist EXHIBITED: A Centennial Retrospective for Yu Cheng-yao - Years of Retreat Where Time Ceases, Taiwan Provincial Museum of Fine Arts, Taichung, March 20 - June 20, 1999 A Survey of 20th Century Chinese Ink Painting, National Museum of History, Taipei, September 2 - 28, 1999 Recall Ink Painting – Exhibition of Min's and Taiwanese Painting, Xiamen Culture & Art Center, Xiamen, June 15 - 21, 2013 ILLUSTRATED: A Centennial Retrospective for Yu Cheng-yao - Years of Retreat Where Time Ceases, Taiwan Provincial Museum of Fine Arts, Taichung, 1999, color illustrated, p. 74 A Survey of 20th Century Chinese Ink Painting, National Museum of History, Taipei, 1999, color illustrated, p. 104 Recall Ink Painting – Exhibition of Min's and Taiwanese Painting, Xiamen Chinese Culture Friendship Association, Taiwan Cultural Relics Protection Association, 2013, color illustrated, p. 118

NT$ 650,000-850,000 US$ 22,000-28,800 HK$ 171,000-224,000

余承堯 山水 彩墨 紙本 82 x 42 cm 簽名右上:余承堯作 鈐印右上:余承堯印 展覽: 「余承堯百歲回顧展︰山居歲月不知長」,台灣省立美術館,台中,展期自1999年3月20日至6月20日 《二十世紀中國水墨畫大觀》,國立歷史博物館,台北,展期自1999年9月2日至28日 「情憶丹青—閩台緣書畫展」,廈門市文化藝術中心,廈門,展期自2013年6月15日至21日 圖錄: 《余承堯百歲回顧展︰山居歲月不知長》,台灣省立美術館,台中,1999,彩色圖版,頁74 《二十世紀中國水墨畫大觀》,國立歷史博物館,台北,1999,彩色圖版,頁104 《情憶丹青—閩台緣書畫展》,廈門市中華文化聯誼會、中華文物保護協會,2013,彩色圖版,頁118

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723 HONG Ling

洪凌

(Chinese, b. 1955)

積淡

Composition with Light Colors

2006 油彩 畫布 60 x 60 cm 簽名左上:洪凌 06 簽名畫背:《積淡》洪凌 2006 60x60 cm

2006 Oil on canvas 60 x 60 cm Signed upper left Hong Ling in Chinese and dated 06 Signed on the reverse Hong Ling and titled Composition with Light Colors in Chinese, inscribed 60x60 cm, and dated 2006 This painting is to be sold with a certificate of authenticity issued by Soka Art Center, Taipei.

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

194

附索卡藝術中心開立之原作保証書


724 JI Dachun

季大純

(Chinese, b. 1968)

丁香浴

Lilac Bath

1998 綜合媒材 畫布 111 x 111 cm 簽名上方:大純製九八

1998 Mixed media on canvas 111 x 111 cm Signed upper center Made by Dachun and dated 98 both in Chinese EXHIBITED: Ji Dachun, Base Gallery, Tokyo, 1999

NT$ 500,000-800,000 US$ 16,900-27,100 HK$ 132,000-211,000

展覽: 「季大純」,BASE畫廊,東京,1999年


725 LI Shan

(Chinese, b. 1942)

Rouge Series (Double Mao) 2005 Oil and silkscreen on canvas 56 x 45.5 cm Signed on the reverse Li Shan in Chinese and English, dated 2005

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

196

李山 胭脂系列 2005 油彩 絹印 畫布 56 x 45.5 cm 簽名畫背:李山 Li Shan 2005年


726 WANG Guangyi

王廣義

(Chinese, b. 1957)

福特

Ford

2003 油彩 絹印 畫布 50 x 40 cm 簽名畫背:2003 Wang Guangyi 王廣義

2003 Oil and silkscreen on canvas 50 x 40 cm Signed on the reverse Wang Guangyi in English and Chinese, dated 2003

NT$ 750,000-1,000,000 US$ 25,400-33,900 HK$ 197,000-263,000


727 QI Zhilong

(Chinese, b. 1962)

China Girl Series 2009 Oil on canvas 162 x 130 cm Signed lower right Qi Zhi-long in Chinese and dated 2009 PROVENANCE: Acquired by the present owner directly from the artist

NT$ 850,000-1,500,000 US$ 28,800-50,800 HK$ 224,000-395,000

祁志龍 中國少女系列 2009 油彩 畫布 162 x 130 cm 簽名右下:祁志龍 2009 來源: 現有收藏者直接購自藝術家本人

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728 GU Wenda

(Chinese, b. 1955)

Pseudo Character Series Ink on paper 285 x 178 cm (image) 312.5 x 192 cm (paper) With two seals of the artist EXHIBITED: Wenda Gu: From Middle Kingdom to Biological Millennium, University of North Texas Art Gallery, Denton, Texas; H&R Block Artspace at the Kansas City Art Institute, Kansas City, Missouri; Institute of Contemporary Art at Maine College of Art, Portland, Maine, 2003-2004

NT$ 1,700,000-2,700,000 US$ 57,600-91,500 HK$ 447,000-711,000

谷文達 虛構文字系列 水墨 紙本 285 x 178 cm(畫心) 312.5 x 192 cm(紙) 鈐印右下:文達 谷文達 展覽: 「谷文達:從中原王國到生物千禧年」,北德州大 學藝術畫廊,丹頓,德州;H&R 藝術空間,堪薩斯 城藝術學院,堪薩斯城,密蘇里州;緬因藝術學院 當代藝術研究所,波特蘭,緬因州,2003-2004年

200

谷文達1955年生於上海,1979年考入浙江美術學院,師從中國畫大師陸儼少。自1981年 畢業後,谷文達留校任教,並開始實驗水墨創作,他1985年參展「湖北中國畫邀請展」 造成轟動,並是他首次於國內大型公共展覽中發表他偽文字、改體字、錯體字、漏體字 和印刷體字的一套大型水墨書畫繪畫作品《暢神》,開展中國當代觀念水墨的先河。 《虛構文字系列》屬於谷文達實驗水墨的代表作品,這個系列的創作以偽篆字為主體, 並穿插入一部分真篆字而成,作品由頭髮、水墨、麻線、膠水等綜合材料創作而成。在 這幅作品中,他想表現的是鴻蒙初開,山水在外,暢於萬物的浩大場面,並通過大面積 的潑墨,拼貼的方式烘托氣氛。文字的使用部分觸及了符號與意義之間的對立關係,但 是主要是通過對文字的拆分,重組,錯位,遺漏等形式製造視覺形象的衝擊力,並且通 過這種類似於「看圖說話」的方式將藝術家所想表達的內涵進行「直觀顯示」。在谷文 達的作品中,文字已經不再是原先的文字,也不是交流體系中的符號,而是一種通過文 字形象直接表意的「完美抽象畫」。 Gu Wenda, born in Shanghai in 1955, was admitted to Zhejiang Academy of Fine Arts in 1979 under the tutelage of a Chinese painting master, Lu Yanshao. After graduating in 1981, Gu stayed and taught at his school and began his experimental creations on ink wash. His work caused a great sensation in the 1985 “Invitational Exhibition of Hubei Chinese Painting”. He then published his first big domestic ink wash project, “Chang Shen”, which centered on the presentation of false characters, altered characters, misprinted characters, omitted characters and printed characters, making him the pioneer of the contemporary concept ink wash in China. The “Pseudo Character series” is a representative work of Gu’s experimental ink wash. This series centers on false seal characters intertwined with real seal characters inserted inside. They are made of multiple materials from hair to ink, linen, and glue. In this piece, Gu sought to express the magnificence of the beginning, the vastness that is beyond mountains and the sea, and the grandeur than all things. He heightens the atmosphere through collage art with large splashed-ink. Gu touches the conflicting relationship between the symbols and meanings and further creates a powerful visual impact through the deconstruction, reconstruction and displacement of the characters. By “telling stories through images,” the artist uses a kind of “intuitive presentation” to express his ideas. In Gu’s work, characters no longer possess their original property or serve as symbols of communication but a “perfect abstract painting” that directly express meaning through the images of the character.


729 HUANG Gang (Chinese, b. 1961)

Red Star 2002 Mixed media on board 180 x 180 cm Signed lower right Huang Gang in English and Chinese

NT$ 3,000,000-5,000,000 US$ 101,700-169,500 HK$ 789,000-1,316,000

黃鋼 紅星 2002 綜合媒材 木板 180 x 180 cm 簽名右下:Huang Gang 黃鋼

202

黃鋼從80年代開始研究西藏藝術產生的社會、宗教、哲學背景。之後,他以 一種不同於其他藝術家,前所未有的藝術方式創作一系列作品。他的畫總是 不滿足於平面的視覺層次,有著很厚重的感覺。但在作品的表現上,又簡單 直接、自由揮灑,東方精神在這種衝突的風格下得到了新穎與深刻的表達。 《紅星》畫面上強烈的紅五星呈現在雪景與經文版之間,畫面協調,但意義上 有著衝突。在他的作品之中,衝突無處不在,這種衝突,強調力量與和諧的相 關性和對比度,從書法系列,到曼陀鈴系列、經版系列、雪域系列、紅五星系 列,一方面是高昂的鬥爭精神,一方面又試圖回歸內心,獲得平衡。完全不同的 道理,人生的紅與黑,都容納其中。藝術家將西藏古藝術融入當今的時代語言, 營造現代裝置的格調。在動感的筆觸與溫暖的色調下,表現了強烈的人文關懷。 Huang Gang started studying the social, religious and philosophical background for creation of Tibetan art in the 1980s. Then, he created a series of artworks in an unprecedented style not ever used by other artists. In his works, he is never satisfied with the visual aspect of planes, attaching importance to intensive feeling. However, the expression of his works is simple, direct, and free. The Eastern spirit is disclosed innovatively and deeply in this contradictory style. "Red Star" depicts a traditional, ancient Tibetan recital in the context of a grandiose snow scene with a shining red pentacle, representing the warmness of family and passing years. This is the metaphor of philosophies of human life and the religious philosophy across the entire image. The picture is harmonious and yet full of contradictions. Conflicts are often found in Huang Gang's works. This kind of conflict emphasizes the relevancy and contrast of strength and harmony. Those works, from his calligraphy series to mandolin series, recital series, snow region series, and red pentacle series, highlight an elated struggling spirit on the one hand and try to return to the inner side and achieve leverage on the other hand. Absolutely different rules and the red and black of human being are all included. The artist integrates ancient Tibetan arts into today's language of time, creating the style of modern deco. Amid dynamic brushwork and warm tone, intense cultural care is extended and revealed.


730 HONG Ling (Chinese, b. 1955)

Snowland 2005 Oil on canvas 170 x 170 cm Signed center right Hong Ling in Chinese and dated 05 Signed on the reverse Hong Ling and titled Snowland in Chinese, inscribed 170x170 cm, and dated 2005 EXHIBITED: Any Scene You Want – Hong Ling Solo Exhibition, Soka Art Center, Taipei, August 21-October 24, 2010 ILLUSTRATED: Xing Ling Shan Shui – Hong Ling You Hua Zuo Pin Ji, Hebei Education Press, Shijiazhuang, 2008, color illustrated, pp. 170-171

NT$ 4,000,000-6,000,000 US$ 135,600-203,400 HK$ 1,053,000-1,579,000

洪凌 雪國長風 2005 油彩 畫布 170 x 170 cm 簽名右中:洪凌 05 簽名畫背:《雪國長風》洪凌作于2005年 170x170 cm 展覽: 「呼峯喚語:洪凌個展」,索卡藝術中心,台北,展期自2010年8月21日 至10月24日 圖錄: 《性靈山水—洪凌油畫作品集》,河北教育出版社,石家莊,2008,彩 色圖版,頁170-171

204

洪凌是一位抒情和表現的畫家,近年來的日常生活和創 作心境,都具有「散淡懷抱」的特點,沒有焦慮、張 揚,沒有明確的功利目標,但有一種藝術上的方向感, 知道自己要走的路是一個漫長的過程。所以他待人處 事、畫畫都是思慮平和,這樣的人生態度決定了洪凌對 於山水的態度,那就是尊重自然,順其自然。在他的作 品中,有北方山水的粗獷,也有南方山水的秀潤,此件 作品《雪國長風》畫面反覆堆積拖曳,使色彩層層重疊 又層層襯托輝映,造成色層斑駁之美。這與中國的積墨 法有些暗合,卻是在凝重中求空靈,在斑駁中求閃爍。 洪凌注意的是虛實相生的氣韻,所以在作品中,雲、 霧、水、雪,穿插形體,組織畫面,形成整體性的基調 氛圍,使洪凌的作品虛實掩映、剛柔相濟、空靈透氣而 有看場。 Hong Ling is a lyrical and expressive painter whose daily life and creative moods in recent times have all emitted a sense of "casual endeavor." Free of anxiety, self-advertising or a clear target, there is nevertheless an artistic direction that suggests the path he has chosen will be a long road. His approach to life and art therefore all emphasize harmony, and this approach decided Hong Ling's attitude to the landscape which is one of respecting nature and flowing with nature. Within his works, there is the Northern landscape school's lack of inhibition, but also the Southern school's polish. In this " Snowland" the accumulation of repeated strokes across the scene create layers upon layers of mutually supporting colors, creating beauty out of the dappled color layers. This resembles China's ink build up technique, but within the weightiness is a search for lightness, and within the dappling a search for a glimmer of light. Hong Ling's emphasis is on the ambience created by the interaction between the solid and the intangible, so in the work the clouds, mist, water and snow pass through objects to become woven into the theme and set the overall tone. This gives Hong Ling's work an interesting interplay of opposites.


731 YANG Shaobin (Chinese, b. 1963)

Red No. 2 2000 Oil on canves 230 x 178 cm Signed lower right Yang Shao Bin in English, numbered No. 2 and dated 2000 PROVENANCE: The Estella Collection ILLUSTRATED: Yang Shaobin, Essence of Violence, Hebei Education Press, Hebei, 2006, color illustrated, p. 135 Yang Shaobin, Xin Dong Cheng Publishing House, Paris, 2007, color illustrated, p. 168

NT$ 4,200,000-6,000,000 US$ 142,400-203,400 HK$ 1,105,000-1,579,000

楊少斌 紅色二號 2000 油彩 畫布 230 x 178 cm 簽名右下:No. 2 Yang Shao Bin 2000 來源: 仕丹萊收藏基金 圖錄: 《暴力的本質—楊少斌》,河北教育出版社, 河北,2006,彩色圖版,頁135 《楊少斌》,程昕東出版公司,巴黎,2007, 彩色圖版,頁168

206

1990年代初期,與方力均同屬「玩世現實主義」的楊少斌,在藝壇初試 啼聲。在他「玩世」風格的作品中,已經顯示出他最感興趣的,是圍繞 在與「暴力」有關的題材上,這來自藝術家個人生活經驗,也來自對外 在社會與世界的關注。而到了1990年代末期,楊少斌徹底轉變而醞釀成 熟的「紅色系列」作品,讓他成為蜚聲國際的當代中國代表藝術家之 一。 畫中的大筆刷表現出人物突浮的肌肉正經受一陣劈哩啪啦的對打,滴 流的顏料更加深了暴力的場面。臨場的速度感與作品反映出的心境是 狂亂、粘連、模糊的,這種異樣的不真實具有直擊心靈的刺激,非常 震撼。「鋼鐵般的意志」與「脆弱的肉身」構成了楊少斌繪畫的主 題。作品《紅色二號》原收藏於知名的仕丹萊收藏基金(The Estella Collection)。被譽為收藏最豐、最重要當代中國藝術品的仕丹萊收藏基 金,囊括了當代中國藝術中最著名及新生代藝術家的美術館級創作,完 整呈現文化議題以及藝術風格的演變。楊少斌與《紅色二號》併入其收 藏之列,實為相互輝映。 Yang Shaobin, who like Fang Lijun was a member of the ‘Cynical Realist’ movement, first came to prominence in the Chinese art scene in the early 1990s. In Yang’s Cynical Realist paintings from this period, one can already detect the interest in themes relating to violence that runs throughout Yang’s work. This concern with violence derives partly from Yang’s own personal experience, and partly from his engagement with society and the wider world. By the late 1990s, Yang’s art had undergone a thorough transformation and maturation, leading to the creation of the “Red” series, which made him one of the most internationally-renowned contemporary Chinese artists. Using bold brushstrokes, the painting depicts a human figure whose protruding, flabby flesh is being beaten back and forth; the drip effect that Yang has employed with the paint intensifies the sense of violence. The feeling of immediacy and speed, and the emotional state reflected by the work, are chaotic, viscous, and blurred. The distinctive non-realism of the work strikes the soul of the viewer with powerful effect. Strength of will and the weakness of the flesh are two of the most important themes in Yang Shaobin’s art. “Red No. 2” was part of the Estella Collection, which was generally considered to be one of the richest and most important collections of contemporary Chinese art, including outstanding works by leading and upand-coming Chinese contemporary artists, and which effectively documented the changes in subject matter and style in Chinese art in recent years. The inclusion of Yang Shaobin’s “Red No. 2” in the Estella Collection can fairly be said to have added extra luster to the collection.


732 ZHOU Chunya (Chinese, b. 1955)

Mountain Rock Series 1990 Oil on canvas 150 x 120 cm Signed upper right Zhou Chunya in Chinese and dated 1990

NT$ 7,500,000-15,000,000 US$ 254,200-508,500 HK$ 1,974,000-3,947,000

周春芽 雲煙山石圖 1990 油彩 畫布 150 x 120 cm 簽名右上:1990 周春芽

1955年出生於四川重慶的周春芽,現居重慶,是中國當代藝術中最富有才情和表現力的藝 術家之一。其作品從早期的《剪羊毛》,直至德國留學歸國後「山石」、「風景」、「黑 根」、「綠狗」、「紅人」、「桃花」等一系列富有變化與激情的畫作,都是當代藝術市 場中備受青睞的成功作品。 1986年至1988年間,周春芽遠赴德國留學,深受德國表現主義,新表現主義的薰陶和震 撼。因為看過了世界,才認識了自己的根源,認識到在中國傳統繪畫藝術中,有取之不盡 的源泉。90年代初,在開始對傳統國畫的研究之後,在醉心於王蒙、八大山人和黃賓虹等 中國古典文人畫的這些傳統水墨藝術中所呈現出的磅礡大氣與細膩精深的同時,這些古典 文人的傳統精華、精神和高度,也深刻的刺激和活化了他的創作思維。他體悟到中國文人 畫傳統發展脈絡裡,和西方藝術發展中比較一致的法門—透過對前人極致地摹寫仿效致敬 後,從中發展出獨立完整而成熟的自我風格。 周春芽開始借助全新技巧重新詮釋傳統的中國山石。山石是中國繪畫的傳統題材,是文人 的精神折射和自由靈魂的依託。在周春芽的畫中,山石表現出一種迥然相異的面貌,石頭 的顏色很特殊,用跟自然不相接近的顏色詮釋本質的東西。周春芽將截然不同的新表現主 義手法、中國傳統的筆墨意趣和水墨觀念融入作品、構成、筆觸、色彩、肌理及畫面主題 完美結合,把這兩種文化糅合在一起,融會貫通,造就了他之後的「山石」及「風景」一 系列作品,是他個體情感的真實體驗,也造就了他獨特的繪畫語言。 「石頭」系列將這兩種來自不同時空的文化概念有機的結合,形成周春芽獨特的繪畫語言 體系。談及「山石」這個系列的作品時,周春芽說:「我在創作『石頭』的時候,正研究 文人山水畫,我並沒像國畫家那樣在材質屬性和圖示形態上去理解,而是按照我的表現意 志去尋找那些令我覺得陌生又能帶來驚喜的東西。我在激勵和質感上花費了很大功夫,近 似於強迫症似的去捕捉和玩味那些潛藏在石頭自然屬性中的視覺因素,把這些東西強化, 放大本身就是形式,而視覺呈現的本就是內容,已經不需要你進行更多解釋和引申,我們 從觀念、方法出發,看到和理解到的石頭更讓人驚訝、震撼。」 這幅《雲煙山石圖》創作於1990年,正是早期山石系列的代表作。周春芽力圖在方寸畫面 間,作品既汲取了中國傳統繪畫的佈局以及注重意境的表現手法,又融入了西方表現主義 的濃郁色彩,將西方表現主義和中國傳統文人畫的趣味融會貫通。整幅作品以黃褐色做 底、典雅的畫面構圖以及和諧色彩的層層過渡,配合油畫的特殊筆觸和機理,動靜之間, 張力互現。在大片的磅礡山石中,透過對質地、肌理的精準掌握和描繪,挖掘出這種有機 生命的內在精神靈魂和獨有的美感特徵,籍著表現主義的筆觸堆積出來的肌理質感,運用 水墨寫意的流動速度和展現力度,同時將兩種方式在畫面上交互使用著,呈現了作品的畫 中有畫的豐富性。

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Born in Chongqing, Zhejiang in 1955, Zhou Chunya now lives in Chongqing and is one of the most talented and representative artists in the field of contemporary Chinese art. From his early "Sheep Shearing" to the later passionate and changing "Mountain and Rocks," "Landscape," "Green Dog," "Red Man" and "Peach Blossom" series completed when he returned to China from Germany, his work has been widely accepted and successful in the market of contemporary art. Zhou studied art in Germany from 1986 to 1988. He was amazed and deeply influenced by German Expressionism and Neo-Expressionism. During the early 90s, he began to study traditional Chinese painting. While indulging himself in the majestic atmosphere and exquisite deepness of the Chinese literati paintings of Wang Meng, Bada Shanren and Huang Binhong, he was also stimulated and inspired by the essence, spirit and depth of tradition. Seeing the world, Zhou eventually recognized his roots and regarded traditional Chinese paintings as source of endless inspiration. Zhou blends Neo-Expressionism and traditional Chinese ink wash into his work, composition, strokes, colors, texture and the presentation of the picture. As a result of his mastery of these two completely different cultures, Zhou combined his techniques to create in the remarkable "Mountain and Rocks" and "Landscape" series. His artistic practice is a veritable expression of his personal emotion and has established his unique art language.  When speaking about his "Mountain and Rocks" series, he said, "I was studying literati landscape painting when working on ‘Rocks'. I didn't try to understand literati from its material properties and forms like Chinese painters once did, but I tried to look for those unfamiliar yet surprising objects with my own will for artistic expression. I spent a lot of effort on passion and quality, almost obsessively trying to capture and explore the visual elements hidden in the natural properties of rocks. By strengthening these elements, enlargement itself is the form while the visual presentation is the content: no further explanation or implication is required. We began from the concept and the method, and the rocks that were seen and understood became somehow more surprising, more moving." Painted in 1990, "Mountain Rock Series" is a representative of the early "Mountain and Rocks" series. It draws from the layout of traditional Chinese painting, the technique of expression that focuses on artistic concept, and blends the thick color of Expressionism. This piece shows a majestic composition and layers of harmonious tones with the special texture of oil painting. In the gargantuan and breathtaking mountains and rocks, the artist excavates the organic inner spirit in life as well as a sort of unique aesthetics through his precise grasp and depiction of quality and texture. The flow of Zhou's strokes and his use of ink reveal a unique texture of Expressionism. By using two techniques, Chinese ink wash and Western oil painting, Zhou demonstrates his profound ability to create a painting within a painting on the canvas.

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733 XU Jiang

(Chinese, b. 1955)

Rhyme of Spring (quadriptych) 1992 Oil on canvas 100 x 148 cm Signed on the reverse Xu Jiang and titled Rhyme of Spring both in Chinese

NT$ 7,500,000-12,000,000 US$ 254,200-406,800 HK$ 1,974,000-3,158,000

許江 春霏(四聯幅) 1992 油彩 畫布 100 x 148 cm 簽名畫背:許江《春霏》

1980年代末期,許江到德國公費留學。德國的留學經 歷,為他打開了另一扇窗,西方前衛藝術思潮和經典 藝術令人目不暇接。根植於心中的中國傳統精神卻從 未磨滅。回到中國後,他曾用「返鄉的遠遊者」來形 容自己,在其藝術創作上也曾經歷類似的歷程:從早 期的繪畫到裝置新媒體的實踐,再重歸,加上繪畫; 從西方的藝術思維到東方古典詩意繪畫的雙重回歸。 許江的作品往往以宏大的構圖,厚重有力的色彩和形 體給觀者留下深刻印象。其作品中呈現的對歷史,文 化的隱喻及思索總能把人深深吸引。恢弘的氣勢之 下,畫面中詩意的表達則更加觸動心弦。《春霏》作 品中,藝術家用他的畫筆將人帶入了春雪落後的純淨 世界,綠色的背景中,雪霏紛紛,漸次點綴的黃色溫 暖了整個畫面。作品超越了對景繪物的景觀繪畫,所 描繪的不僅是眼前的落雪的森林,也是藝術家內心的 春意。 In the late 1980s, Xu Jiang studied in Germany on public scholarship. His experience in Germany opened another door for him—Western avant-garde and classic art were unbelievably fascinating. However, the traditional Chinese spirit was deeply rooted in his heart and never disappeared. After going back to China, he described himself as “a returning traveler” ; his artistic creation also experienced a similar course: from painting in his early years, to installation of new media, and finally returning to painting. It was a double return from Western art to Eastern poetic painting. The grand composition and heavy colors and forms of Xu’s works leave his viewers with a strong impression. The metaphors and contemplations on history and culture in his works always draw people’s attention. Under his majestic force, the poetic expression on canvas is even more powerful and touching. In “Rhyme of Spring”, the artist brings his audience into a pure world after the spring snow. In the green background, snow swirls through the air while dots of yellow warm the entire picture. This work has exceeded a common landscape painting that simply depicts objects in the landscape; this is not simply a snowy forest, but the sense of spring inside the artist’s heart.

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734 LIU Wei

(Chinese, b. 1965)

Who Am I ? 1999 Oil on canvas 150 x 130 cm Signed lower left Liu Wei in Chinese and English, dated 1999 Signed on the reverse Liu Wei, titled Who am I ? in English and Chinese, inscribed 130 x 150 cm, and dated 1999 PROVENANCE: Jack Tilton Gallery, New York Private Collection, USA

NT$ 12,000,000-22,000,000 US$ 406,800-745,800 HK$ 3,158,000-5,789,000

劉煒 我是誰 1999 油彩 畫布 150 x 130 cm 簽名左下:劉煒 Liu Wei 1999 簽名畫背:《我是誰?》Who am I ? 劉煒 Liu Wei 1999 130 x 150 cm 來源: 傑克.提爾頓畫廊,紐約 私人收藏,美國

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作為「玩世現實主義」的領軍人物之一,劉煒一直以其特立獨行的藝術語彙,在中國 當代藝術的發展歷程中留下重重的印記。他的作品美術的政治宣傳功用和教育功用, 從官方主流美術所崇尚的宏大敘事,轉向關注自身無意義的現實和個體自身的體驗。 原本嚴肅刻板的題材被輕易地顛覆,戲謔,充滿了對歷史和現狀的諷刺和嘲弄。綜覽 其藝術創作的歷程,他的創作沒有定式,沒有規矩,一切由心而發。作品風格變化極 快,數量不多,沒有重複。 從1990年代初期的《革命家庭》系列中目光呆滯,嘴角歪斜的軍人家庭合影;到《游 泳》系列中褪去神壇光環的毛澤東;再到近年來《不准吸煙》,《豬肉》,《你喜歡 我》等以潰爛的人物形象為主題的作品。每一次的轉變都足以顛覆自己的過去,大膽 的嘗試,使得他的作品線條由清楚到模糊,由寫實到寫意。到1990年代末期,劉煒開 始逐步放棄政治波普和特定符號,不再關注政治形勢和中國大歷史,轉而關注日常生 活中的微觀情緒。他以藝術家的直覺來實踐藝術,這種直覺根植於真實的生活中。他 曾說:「我畫畫非常尊重自己的心理感受,用自己的方式、方法解讀我眼中的風景, 大家一看就知道是我畫的,只有畫家畫得有感覺,才能觸動觀者,才談得上美。」 作為第一批躋身國際藝術大展的中國當代藝術家,劉煒的作品記錄著中國改革開放後 的新生代的價值觀的變化,反映出政治局勢和經濟環境波動給普通人帶來的深刻影 響。對於物欲的關注貫穿在藝術家近年來的作品創作之中。對於人物傳統的關注也是 其作品創作的主線之一。繼「革命家庭」,「游泳」系列之後,他將目光從革命軍人 和政治人物轉向了沒有特定指向的人物。此次拍賣的作品《我是誰》便是這一時期的 佳作。作品以灰色基調鋪底,面容模糊潰爛的人物立於畫面中央,下部鮮豔模糊的粉 色花束格外引人注目,抽煙的骷髏呼應著畫面中心的人物。構圖飽滿有層次。顏料看 似隨意的流淌使得畫面有序過渡,似有塗鴉戲謔之意,頹敗而消極。 從畫面上部的人物的髮型看,彷佛一張的毛主席肖像,五官扭曲,表情呆滯,面容 潰爛。人物面部的黃色高亮區域如潰爛的皮膚膿包一般,腐麋的形象似在代言藝術 家對急速轉變的中國資本主義以及消費社會的精神墮落感到幻滅的感受。畫面下方的 鮮花和骷髏的對照更是發人深省,神壇上的偉人雖已在人們的精神世界中潰敗,卻依 然高高在上,享受鮮花的祭拜。花朵中僵死的骷髏叼著煙頭更為畫面平添許多神秘 氣息。畫面中央用漢字和英文分別塗寫上了「我是誰」,「Who am I」,以及「No Smoking」,「No Fire」等詞句和英文標語。「我是誰」是畫面中人物的自我反省,也 是藝術家對於大時代中迷惘的社會價值觀的思索和拷問。之於文字與畫面的關係,劉 煒在1990年代初期的作品中就有過深入的探索和思考。文字在畫面中顯得突兀又不乏 點睛之意。


One of the leading figures in China’s “Cynical Realism” (“Popi”) movement, Liu Wei has for many years now exerted a considerable influence over the development of contemporary Chinese art through his unique artistic lexicon. In Liu’s works, the propaganda and educational function of art is shifted away from the mainstream, adulatory depiction of big events advocated by officialdom towards a focus on the “meaningless” reality of the self and the personal experience of the individual. What might seem at first glance to have been serious, hackneyed subject matter is smoothly and efficiently overturned by Liu to become something comic or satirical, full of ironic mockery of both history and the present. When looking back over Liu Wei’s artistic career, there is a noticeable absence of any consistent formula or pattern; everything comes straight from the heart. The combination of a rapidly changing style and relatively limited output means that Liu has hardly ever repeated himself. Starting from the “Revolutionary Family” series in the early 1990s, with their “group photos” of the dead-eyed, deformed-mouthed members of a military family, through the “Swimming” series with its images of Chairman Mao without his mystical “halo,” to the deformed, suppurating figures depicted in recent works such as “No Smoking,” “Pork” and “You Like Me,” every change in Liu Wei’s style has seemed to case aside his own past work in a bold, new program of experimentation. As a result, Liu’s use of line can be precise or blurred, and his art can be realist or expressionist. In the late 1990s, Liu began to gradually move away from “political pop art” and the use of set symbols; he shifted his attention away from politics and Chinese history towards the tiny details of everyday life. Liu uses the artist’s instinct to realize his art, an instinct that has its roots in the realities of life. As Liu himself once put it: “In my paintings, I respect my own psychological reactions; I use my own methods to interpret the scenes that present themselves to me. Anyone who looks at one of my paintings can tell immediately that I painted it. An artist needs to paint with feeling if they are going to move the viewer, and if they want to produce something that can really be called beautiful.” Liu Wei was one of the first Chinese work featured in major international the changes in young people’s values reflecting the pronounced impact that environment had on ordinary people’s runs through much of Liu’s recent an interest in how the human figure After the “Revolutionary Family” and his attention away from the military Revolution towards anonymous Am I” included in this auction is period. On a gray background, a figure erect in the center of the scene. The of pink flowers at the bottom of the while the smoking skull seems to middle of the painting. The picture the seemingly random streaks of transition,” creating a sense of graffitidecadence and nihilism.

劉煒《革命家庭系列—晚宴》1992 油彩 畫布 香港蘇富比2012年秋季拍賣會,成交價:HK$ 17,460,000 Liu Wei, Revolutionary Family Series – Invitation to Dinner 1992, oil on canvas, 183 x 163 cm Sotheby's Hong Kong Autumn Auction 2012, US$ 2,238,462 sold

contemporary artists to have their exhibitions. Liu’s paintings depict that emerged in China’s Reform Era, changes in the political and economic lives. A focus on material desires work; another underlying theme is has traditionally been portrayed. “Swimming” series, Liu transferred an d p o litica l p ers o n ag es o f th e human figures. The painting “Who one of Liu’s finest works from this with a blurry, misshapen face stands bright, colorful (yet blurred) bouquet canvas catches the viewer’s attention, complement the human figure in the has a strongly layered composition; paint actually provide an “orderly like bantering discourse, a feeling of

Judging from the hairstyle of the figure shown in the painting, it appears to be a portrait of Chairman Mao that has had the features distorted and been given a disfigured face and the expression of a simpleton. The bright, protruding, yellow portion of the face resembles a suppurating pustule; this putrid image appears to represent the artist’s sense of disappointment at the spiritual degradation accompanying China’s rapid transformation into a capitalist, consumerist society. The counter-posing of the flowers and the skull in the lower part of the canvas is thoughtprovoking; it seems that, while the great man whose image is positioned above the “altar” may have already lost any significance within people’s spiritual world, he still holds a position of authority sufficient to warrant offerings of flowers. The placing of the cigarette-smoking skull among the blossoms adds a particularly mystical touch to the painting. A set of Chinese and English signs/slogans have been scrawled onto the middle of the canvas: “Wo shi shui (Who am I?)” in Chinese, and “Who am I?” “No Smoking” and “No Fire” in English. “Who am I?” represents the self-reflection of the figure shown in the painting, but also the artist’s own questioning of the social values of an age in which people appear to have lost their way. The relationship between the picture and the words reflects the intense, in-depth exploration and thought characteristic of Liu Wei’s works from the early 1990s; as such, the words enhance the overall effect of the work.

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735 YUE Minjun (Chinese, b. 1962)

Hats Series – Welcome 2005 Oil on canvas 170 x 140 cm Signed lower left Yue Minjun in English and dated 2005 Signed on the reverse Yue Minjun, titled Hats Sersies both in Chinese and dated 2005 EXHIBITED: Reproduction Icons: Yue Minjun Works, 2004 - 2006, He Xiangning Art Museum, Shenzhen, June 1 - 11, 2006 ILLUSTRATED: Collected Edition of Chinese Oil Painter Volume of Yue Minjun, Sichuan Publishing Group Co. LTD, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, p. 93 Reproduction Icons: Yue Minjun Works, 2004-2006, He Xiangning Art Museum, Shenzhen, 2006, color illustrated, p. 98

NT$ 12,000,000-22,000,000 US$ 406,800-745,800 HK$ 3,158,000-5,789,000

岳敏君 帽子系列─邀請 2005 油彩 畫布 170 x 140 cm 簽名左下:Yue Minjun 2005 簽名畫背:岳敏君 2005年 帽子系列 展覽: 「2005複製的偶像:岳敏君作品2004-2006」,何香凝美術館,中國深圳,展期自2006年6月1日至11日 圖錄︰ 《中國油畫家全集-岳敏君》,四川出版集團,四川美術出版社,成都,2006,彩色圖版,頁93 《複製的偶像:岳敏君作品2004-2006》,何香凝美術館,深圳,2006,彩色圖版,頁98

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岳敏君是1989後「玩世現實主義」成員之一。「玩世現實主義」於1989年創傷性事件(北京中國美術館舉辦的首屆先鋒藝術展開 幕日當天即宣告結束,及隨後在6月發生天安門廣場事件)的兩年後產生的,是中國當代的主要藝術運動之一。 對於岳敏君和他同時代的人而言,他們在文化大革命的混亂中長大,隨即接受中國向西方世界的開放,並探索所有他們在風格和 內容上發現的新的藝術形式。他們曾被迫為宣傳海報作畫,因此非常雀躍於自由的表現形式,並在作品中探求代表不安,憤怒和 困惑的個人主義世界。1989年新世界轟然倒塌,隨後兩年是全然的沉默及被孤立。後來,他們找到了一個極具中國特色的答案。 解決這種社會荒誕性的途徑是採用幽默與諷刺。幽默成為了「玩世現實主義」的武器,而岳敏君是最重要的支持者之一。 岳敏君出生於1962年,他的父母在石油業工作,不斷地在全中國的油田間遷移。他在石油公司的封閉環境中長大,幾乎與外界沒 有聯繫。他就讀河北師範大學,主修油畫,畢業後得到一份穩定的工作:美術教師。然而,他無法從中獲得動力,所以他辭職, 搬到北京近郊破舊的畫家村。大笑還是是哭泣?當他面臨生活的荒誕時,岳敏君開始面對了這個永恆的問題。他說︰「哈哈大 笑,還是放聲大笑,是嘲笑,還是狂笑,是面對死亡的笑,還是面對社會的笑,似乎每一種成份都有。笑就是拒絕思考,就是頭 腦對某些事物感到無以思考,或者難於思考,需要擺脫。這是一個讓人咧嘴笑的時代。」於是他選擇了大笑,從而創造了一個最 成功的形象,甚至是中國當代藝術的象徵,他大笑的自我形象極具誇張意味。人物無由來的嘻笑及對政治建築物的戲謔,顯示了 岳敏君作品中對現實調侃的主調,並有著無所謂、痞氣及玩笑的重要精神特質。大笑臉由此開始,並成為他幾乎所有作品的重要 元素。 自2004年,岳敏君創作《帽子系列》,進一步探討人們在社會系統上的身份和功能角色。他表示,帽子的靈感來自雅典奧運會, 他注意到贏得獎牌的運動員都會帶上橄欖頭冠,從而令他思考帽子對於身分、社會地位及國籍、種族的表述。《帽子系列—邀 請》的這幅作品,岳敏君延續了他一貫的大笑面孔形象︰粉紅的膚色、整齊的牙齒、緊閉的雙眼,並擺出各種怪異、可笑的動作 和嬉皮笑臉的表情,並通過對這些動作和表情的自嘲性描寫,表達出當今空虛無聊的精神世界。岳敏君的作品同時也是最具特色 的是兼有波普和招貼藝術的強烈性和簡潔的視覺力量。 這幅作品描繪了分別為海軍,水手,紳士等四個不同身份的人物,伸出手掌對觀眾做出歡迎的姿勢,藝術家延續以自身的大笑形 象入畫,刻意加入各式各樣的帽子,試圖賦予人物多重的身份。這個系列的作品同時也表現人們生存在這個社會,承擔起不同的 角色,甚至需要掩飾原來的自己。對於岳敏君個人而言,帽子要比任何東西更能表達人的個性,「帽子的選擇從來不是件可以馬 虎的事情。帽子是我們對個人形象、風格的表達」。他幽默地說,大家都應小心謹慎地選擇適合自己的帽子,不要隨隨便便的就 往頭上「亂扣帽子」。 Yue Minjun was a member of the "Cynical Realist" school that emerged over the period 1989 - 1991, following the traumatic events of 1989 (which included the Tiananmen Square massacre, and also the closing after just one day of the China Avant-Garde Exhibition at the National Art Gallery in Beijing). Cynical Realism was one of the most important movements in contemporary Chinese art. Yue Minjun and his contemporaries grew up amidst the chaos of the Cultural Revolution, but then experienced China's opening to the West, which encouraged them to explore different artistic styles and different types of subject matter. Having been forced to produce propaganda posters when they were young, they relished having the opportunity to express themselves freely, and experimented with individualistic depictions of unease, anger and confusion. In 1989, this new world of artistic freedom suddenly collapsed; the following two years were, as might be expected, a period of depression and isolation for them. Subsequently, they found a very "Chinese" solution to the situation they found themselves in; they realized that the best way to counter the idiocy of the society in which they were living was through humor and irony; for the Cynical Realists, humor became a weapon. Yue Minjun emerged as one of the most important members of the Cynical Realist movement. Yue Minjun was born in 1962 to parents who both worked in China's petroleum industry; as a result, he had a peripatetic childhood, moving from one oilfield to another, and growing up in what was a very insular, self-contained environment, more or less cut off from the wider Chinese society. Yue studied at Hebei Normal University, where he majored in oil painting. After graduation, he was able to secure a steady job as an art teacher. However, this job provided Yue with no artistic inspiration, so he resigned, and went to live in a decrepit artists' village on the outskirts of Beijing. Is it better to laugh or cry? As he began to experience the absurdities of life, Yue found himself faced with this age-old question. Yue himself puts it this way: "When you laugh out loud, roar with laughter, laugh at something, or laugh madly, you

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岳敏君《醉人春光》1994 油彩 畫布,羅芙奧香港2008秋季拍賣會,成交價:HK$ 11,500,000 YUE Minjun, Enchanted Spring, 1994, oil on canvas, 150 x 300 cm, Ravenel Autumn Auction 2008 Hong Kong, US$ 1,483,871 sold

are laughing at death, and also laughing at society; there are elements of both. Laughter is a refusal to think; there are some things that your brain just cannot process, and needs to reject. The era that we are living in is a period in which you can only laugh at what is going on around you." Yue Minjun chose to laugh, and in doing so created a highly successful image which, with its incisive exaggeration, has become one of the most recognized symbols of contemporary Chinese art. The human figures shown laughing for no apparent reason, and the bantering raillery directed at political structures, embody the mocking tone that Yue takes towards the realities of contemporary life, as well as the sense that none of it really matters, and that the whole thing is just a big joke. Starting from these beginnings, the laughing face has come to constitute an important element in almost all of Yue's works. In the "Hats" series, on which he began to work in 2004, Yue Minjun undertakes a further exploration of people's identity and roles within society. Yue has stated that the inspiration for the "Hats" series came from seeing the olive wreaths that medal-winners wore at the Athens Olympics in 2004, which got him thinking about how hats and other head-wear denote personal identity, social status, nationality, and ethnic identity. In this particular work - "Hats Series - Welcome" - Yue continues to make use of his laughing face motif. The human figures depicted in the painting have ruddy skin, perfect teeth and tightly closed eyes, and display a range of odd, comical actions and expressions; through the ironic depiction of these actions and expressions, Yue is able to express the spiritual emptiness of contemporary Chinese society. What is most distinctive about Yue's work is the combination of the power of pop art or poster art with a spare, succinct visual impact. The painting shows four human figures with different identities, including a naval rating, a merchant seaman, and a "gentleman." They are shown with their arms extended in a gesture of welcome; each of them has Yue's characteristic laughing face. Giving each of the figures a different hat provides them with different identities. Like the other works in this series, this painting shows how people in society take on different roles, and how they may sometimes need to conceal their real self. Yue believes that hats, more than anything else, serve to express individual personality. "Choosing a hat is not something that has ever been done casually. A hat is an expression of our self-image and personal style." Yue adds that people should think carefully when choosing a hat for themselves; if you are too casual about it, you could end up "wearing the wrong hat" (a Chinese idiom that means being labeled as something you aren't).


736 ZHOU Chunya (Chinese, b. 1955)

Sleeping Beauty 1995 Oil on canvas 130 x 160 cm Signed lower right Zhou Chunya in Chinese and dated 1995 ILLUSTRATED: Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, pp. 156-157

NT$ 16,000,000-24,000,000 US$ 542,400-813,600 HK$ 4,211,000-6,316,000

周春芽 睡美人 1995 油彩 畫布 130 x 160 cm 簽名右下:1995 周春芽 圖錄: 《周春芽》,東八時區,香港,2010,彩色圖版,頁156-157

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是活躍的,是擅變的,是絕頂聰明的,是天真爛漫又忠於自我的… 細讀周春芽的畫,他的性格輪廓就這麼一筆一筆生動地勾勒在眼 前。對於形體的捕捉、色彩的運用、肌理的呈現…等等,任何繪畫 的技巧對他來說早已易如反掌,他的開創、冒險,呈現的是那種離 經叛道、語不驚人誓不休的美,正如他喜愛的說法:「是一種溫和 的暴力」。 創作這幅《睡美人》的1995年,周春芽與黑根過著父子情深的家庭 生活。好友送給周春芽的德國狼犬黑根,是他養的第一隻狗,其實 九十年代的中國城市是禁止飼養寵物的,黑根因此被藏在公寓中, 與周春芽自晨起、用餐、沐浴、作畫、入眠…什麼事都在一起。德 國狼犬本就靈敏通人性,他於黑根,黑根於他,早已超越主人與寵 物的關聯,朝夕相處的深刻情感牽繫著這一人一狗以及女主角共同 組成的小家庭。他畫他的生活,他畫黑根;奔跑的黑根、躺臥的黑 根、跳立的黑根、黑根一家…在留白的畫面上,不羈的快筆流暢, 是他與黑根間的了解和依賴和相愛,描繪成滿滿的情感出口。 《睡美人》裡,既是生活即景,也是永恆的光陰。豐滿橫臥的裸 女,是歷代藝術家一畫再畫、無法割捨的主題,周春芽用單色—當 時他最喜歡的褐色作為主調,再用黑色刷出空間中的虛實輕重、女 體的溫潤、黑根的俊挺。四年的時間,黑根與周春芽睡在同一張床 上,有時夾在兩人中間,分享著呼吸與心跳。1999年黑根病逝,周 春芽說:在他的生活中,至今最傷心的有兩件事,一是1969年他父 親去世,另一件就是黑根去世。這樣濃重的感情,才得出這樣動人 的作品。


1986年,31歲已成名的周春芽拋下一切遠赴德國卡塞爾美術學院。八十年代的德 國,藝術思潮風起雲湧,也正是新表現主義最強大的時候。他在那裡聽到看到的各 種震撼,自由的實驗風格,對他往後的創作理念起了很大的影響。返國後,天賦的 才氣與前衛獨特的畫風,讓他在中國、台灣、歐美等地展出不斷,累積廣大的收藏 群。從頭像、山石圖、黑根、太湖石、綠狗、紅人,再到近年的桃花,看似跳躍式 的各系列作品,其實皆來自於藝術家切身的生活狀態與情感體驗的反映,共通之處 在於其熱情強烈又率直的表達。藝術的創作無法跳脫自身而存在,對周春芽來說, 他的主題、色彩、造型都是從內發生,自然而然地畫了出來:「畫每樣東西都要充 滿感情、充滿愛。」多情的周春芽,還要繼續以豐富紛陳的作品引人期待。 Active, changing, brilliant, innocent and true to the artist himself—analyzing Zhou Chunya’s paintings, stroke by stroke, we see his personality vividly outlined in front of our eyes. From the capture of forms to the manipulation of color and the presentation of texture, all kinds of painting skills have become simply effortless to him. His creation and venture display a kind of deviant and astounding beauty, as he always puts it: "It is a gentle kind of violence."

周春芽《躺著的人體、黑色的石頭》1992 油彩 畫布 香港佳士得2013年春季拍賣會,成交價:HK$ 6,630,000 Zhou Chunya, Rock Series: Lying Nude 1992, oil on canvas, 148.5 x 118.5 cm Christie's Hong Kong Spring Auction 2013, US$ 858,181 sold

"Sleeping Beauty" was created in 1995, a year when Zhou and Heigen lived a happy family life as father and son. Heigen, a German Shepherd that was a gift from Zhou’s good friend, was the artist’s first dog. In the 90s, people were forbidden to have pets in the cities of China, so Heigen remained hidden in the apartment. From waking up in the morning to having meals, taking shower, working on paintings and going to bed, Zhou did everything with Heigen. Since German Shepherds are very smart and sensitive, Zhou and Heigen had long gone beyond the master and pet relationship. A small family formed by a man, a dog and the heroine of this painting was bonded by such a deep attachment that the three of them spent time together from morning until night. Zhou painted his life. He painted Heigen—Heigen running, Heigen lying, Heigen jumping, Heigen's family. On a blank canvas, uninhibited brushstrokes become a powerful emotional outlet that embodies the

understanding, dependence and love between Zhou and Heigen. "Sleeping Beauty" demonstrates both a living landscape and a timeless moment. Painted over and over again, plump and lying nudes have been the indispensable subject of artists from all ages. Zhou used his favorite color, brown, as the main tone, and then brushing the spatial difference with black, and the warm female body and handsome Heigen. For four years, Heigen had slept in the same bed with Zhou, or even between Zhou and his girlfriend, sharing their breath and heartbeats with each other. Heigen died in 1999, and Zhou expressed the two most painful moments in his life: one was the passing of his father in 1969, the other was the death of Heigen. Only with such a powerful emotion can one create such a touching piece of art. In 1986, Zhou already gained fame at the age of 31. He left everything behind and went to Kunsthochschule Kassel, a college of fine arts in Germany. A new wave of artistic movements surged across the German art scene in the 80s, which was also the most prominent period for Neo-expressionism. Zhou’s artistic creations were greatly influenced by the shock and the experimental style he received while studying abroad. After returning home, his exhibitions have been continually held in China, Taiwan, Europe and the Americas due to his outstanding talent and progressive style, which has also earned him a vast following of collectors. From "Portraits" and "Mountains and Rocks," "Heigen," "Taihu Lake Stone," "Green Dog," "Red Men" to the "Peach Blossom" series of recent years, all his work that seems to be unrelated and disconnected reflects the life and emotions of the artist. Zhou's work shares the artist’s passion and straightforward expression. Artistic creation cannot survive alone without the artist. For Zhou, his themes, colors and styles naturally come from inside. He says, "Everything painted must be filled with emotion, full of love." Artist Zhou Chunya will continue to please his audience with his rich and powerful work.

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737 ZHOU Chunya (Chinese, b. 1955)

Green Dog 2002 Oil on canvas 250 x 200 cm Signed lower right ZHOU CHUN YA in Chinese and English, dated 2002 ILLUSTRATED: Michel Nuridsay, China Art Now, Edition Flammarion, Baker & Taylor Books, Paris, 2004, color illustrated, p. 105

NT$ 13,000,000-23,000,000 US$ 440,700-779,700 HK$ 3,421,000-6,053,000

周春芽 綠狗 2002 油彩 畫布 250 x 200 cm 簽名右下:2002 周春芽 ZHOU CHUN YA 圖錄: 米歇.紐里薩尼,《中國當代藝術》,中 澤出版社,貝克及泰勒圖書公司,巴黎, 2004,彩色圖版,頁105

綠狗系列是周春芽最負盛名的代表作,被形容為「畫布上的雕塑」。 藝術評論家呂澎在〈綠狗 敘事〉一文中評述:「狗在畫家的生活中是潛在的需要,這樣與人相比看來似乎無意識的生命成 為逐漸減少自然性的都市環境中人的一種渴望。事實上,只有一種通情理的、具有依附性的生命 也許可以讓人感受到慰藉,使你在枯燥和空乏的社會環境裡沾染一點自然與淳樸的氣息。」 綠狗的創作來自「黑根」,畫家飼養的一隻德國牧羊犬。1997年,周春芽首次將黑根畫成綠色, 推出「綠狗」系列。現實中的狗有很多種顏色,卻獨獨沒有綠色。綠色是怎麼出現在畫布上的? 周春芽自己也說不清楚了,只是綠色是他最喜歡的顏色。或許,只是非常偶然的出現。正因為現 實中的無,對比著創作中的有,而顯得「綠狗」更刺激,主觀的表現更強烈。反自然色彩的運 用,使擁有各種各樣姿勢的狗有著不同的情緒。 周春芽說,綠狗是一個符號,一種象徵,重複畫一隻風格化的狗,變成一種符號,甚至,一隻狗 就是一幅畫。在周春芽看來,綠色是寧靜的、浪漫的、抒情的,包含了爆發前的寧靜意境。但是 這種象徵只在表現黑根時才有具體的意義。1999年,黑根突然病死,周春芽極度痛苦,暫停畫 「綠狗」。2001年初,在心情平復後,周春芽開始新的綠狗創作,則變成了「大綠狗」,圖像更 加醒目刺激。此幅創作於2002年的《綠狗》即是此系列較早期的創作。 在「大綠狗」系列中,畫家進一步放棄對形體的追求,且直接將綠狗置於視覺中心,巨大而空曠 的白色畫布上,綠色的身影、充實的質感和強烈的攻略性,令人久久無法忘懷。狗被色彩和筆觸 虛擬化了,對象的存在與特徵只是通過不同的筆法提示著。綠狗或站立,或打滾,或跳躍,或行 走,在畫面中呼之欲出。另一方面,新綠狗已不實在,牠已經轉變成狗的姿態、畫面結構和畫家 態度的完整整合。 The "Green Dog" series is immediately identifiable as one of Zhou Chunya's most recognized group of works. It has been described as "sculpture on canvas". The art critic Lu Peng says in "Narrating the Green Dog", "His dog was a big responsibility in the artist's life more so than human being. A dog as a companion has become an unconscious desire of many people living in cities and urban areas as they have become divorced and separated from nature. The loyalty and dependability of a dog is a comfort to people, and adds a depth of meaning, bringing color and feeling to an otherwise dull and meaningless life." Zhou's green dog was inspired by Heigen, his close companion during many years. He presented the "Green Dog" series for the first time in 1997. Why a "green" dog? Even Zhou has no answer for this, other than green is his favorite color. Perhaps the color just flowed from his unconsciousness. His paintings are imbued with a strong subjective expression, which is enhanced by the non-realistic use of "green" and the realistic representation of a dog. This contrast creates a great energy both on the canvas and in feeling. This use of "green" has also allowed Zhou to explore different poses and expressions of emotions with his "dog sculptures". Zhou sees the green dog as a symbol, a sign. "Green" represents tranquility, romanticism, lyricism, a state of quietness before an outburst of energy. Such a symbol makes sense when it is understood to represent the image of Heigen, his beloved dog. In 1999, the death of Heigen from illness caused Zhou great pain and he stopped painting green dogs. Then, in early 2001, once he had come to terms with his loss, he began to paint again his green dog. Almost in celebration of Heigen, he painted very big green dogs and the images produced were much more striking and exciting than before. This present painting, created in 2002, is an early work of this big green dog series. Taking a more expressionist viewpoint, Zhou placed the big green dog in the visual center of his canvases. The silhouette of the green dog against a huge white backdrop, the luxuriant texture of the paintwork and the heightened emotional displays of the dog, leave a deep impression on the viewer. The dog is brought into being through color and brush strokes. The pure existence of the subject is not so important anymore, the essence, the spirit of the subject is now express in the brush strokes. Whether the dog is standing, rolling, jumping or walking, its energy is so vividly captured and rendered that it seems the dog will respond immediately to our call, almost ready to bound from the canvas. The big green dog is a true expression of the artists understanding of the meaning of a great friend that he was lucky to encounter in his life.

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738 CAI Guo-Qiang (Chinese, b. 1957)

Drawing for Fireworks from Heaven 2003 Gunpowder on paper 269.5 x 403 cm Signed lower right Cai Guo-Qiang in English, Cai in Chinese, titled Drawing for Fireworks from Heaven, inscribed NY in English and dated 2003 PROVENANCE: Albion Contemporary Art, Ltd., London, UK Christie's New York, 13 May 2008, Lot 1 Acquired from the above by the present owner EXHIBITED: Cai Guo-Qiang: Fuegos Artificiales Negros on Black Fireworks, Institute Valencia d'Art, Mardrid, May 20 - June 12, 2005 ILLUSTRATED: Cai Guo-Qiang: Fuegos Artificiales Negros on Black Fireworks, Institute Valencia d'Art, Mardrid, 2005, color illustrated, p. 178

NT$ 12,000,000-22,000,000 US$ 406,800-745,800 HK$ 3,158,000-5,789,000

蔡國強 來自天上的焰火計劃草圖 2003 火藥爆破 紙本 269.5 x 403 cm 簽名右下:Drawing for Fireworks from Heaven 蔡 Cai Guoqiang 2003 NY. 來源: 艾比安畫廊,倫敦 佳士得拍賣,紐約,2008年5月13日,編號1 現有收藏者購自上述拍賣 展覽: 「蔡國強:黑彩虹」,瓦倫西亞現代美術館,馬德里,展期自2005年5月20日至6月12日 圖錄: 《蔡國強:黑彩虹》,瓦倫西亞現代美術館,馬德里,2005,彩色圖版,頁178

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環顧活躍在當今藝術舞臺上的中國當代藝術家,蔡國強無疑是個特例。他出生在文革前,深 受毛澤東時代的文化和教育影響,卻又游離於主流之外。早年的創作可以回述到1980年代 早期,那時他的作品既不歌頌體制也不反抗或批判體制。蔡國強始終將自己置身旁觀者的角 度,他也曾坦言:「毛澤東的理想完美主義和他的情感影響了我們這代所有的藝術家。」與 他同時代的藝術家常常在毛的形象或文革題材上大做文章,蔡國強的藝術則顯得更加個人 化,且溫和而內斂。

攝影:林毅,蔡工作室提供 Photo by Lin Yi, courtesy Cai Studio

蔡國強在大學學習舞臺美術,畢業後被分配到劇團工作。早在1984年,他便開始了對多種新 材料和技法的嘗試和運用。火藥的運用也在這時進入了他的創作視野。自1980年代末開始, 他已經把火藥和爆炸所營造的效果帶進他所有藝術作品裡。中國歷史和火藥的發展成了他關 注的焦點。火藥的基本化學成分是硫磺、木炭、硝酸鉀、還有從肥料中提煉出來的類似甲烷 的成分。細小的粉末在點燃之後,可以爆發出巨大的能量。儘管在戰爭中使用火藥的歷史很 長,但最大的挑戰是調製火藥時怎樣精確各種成分的比例,以便控制爆炸的效果。正是在配 製上的不同比例導致的不可預測性吸引了蔡國強。他認為製作火藥的這種特性代表了一種自 發性,而這種自發性在我們這個社會恰好是缺失的。舞臺美術的教育和工作背景也為他的創 作提供了不同的思考角度。美國知名藝術評論家丹.卡梅隆在談及蔡國強的火藥爆破作品時 曾這樣解讀:「對於一位後來在藝術生涯中,運用傳統戲劇研究做作品的藝術家,蔡國強發 展出把焦點集中在預先安排的事件上,但又讓觀眾感到有臨場感的理論,並且他堅持認為觀 眾會把注意力集中在幾秒鐘就結束了的事件上,至少這在部分意義上顯現了他對藝術系統的 挑戰。揭開幕布的過程和藝術家點燃火藥馬上離開的過程是相同的,這種過程也類似於魔術 師用一塊手巾變出來一群鴿子。因此要求對話者首先要設計好舞臺,然後退到幕後,讓觀眾 盡情發揮他們的想像力。」(摘自丹.卡梅隆為蔡國強2006年德國柏林德意志古根漢美術館展覽「蔡國強︰撞牆」 所撰評論文章「灼目之光」,原文選自畫冊第20頁)這種預設與未知為蔡國強的火藥爆破藝術增加了很多 不可預知的神秘性。

2003年,蔡國強受邀參加在美國加州柏克萊大學美術館舉辦的個展「矩陣—來自天上的焰火 」。他為展覽特別製作了作品《來自天上的焰 火》,此次拍賣的作品即是為之所做的草圖。《來自天上的焰火》為大型裝置作品,以現代化的電荷和燈光等多媒體材料呈現了中國傳統的焰 火。在草圖的創作中,蔡國強用在紙上操作火藥爆破技術創作出令人歎為觀止的佳作,火藥爆破留下的痕跡如同墨色流過紙面一樣自然。畫面 中一股突如其來的力量從右上方進入,如彗星劃過天際,留下長而有力的拖尾,重重的擲在地上,形成了若干璀璨的蒲公英式的花火。焰火在 天空華麗綻放的瞬間,所呈現出的複雜結構,正呼應了展覽的主題「矩陣」。裝置作品以現代科技元素光和電呈現了稍縱即逝的焰火美感。草 圖的巧妙構思,形象的呈現了火藥爆炸形成煙火的瞬間。 Among the artists active on the contemporary Chinese art scene, Cai Guo-qiang stands out from the crowd. Born before the Cultural Revolution, Cai was deeply influenced by the cultural and educational influences of the Mao era, but disassociated himself from mainstream thought. Cai’s earliest work, from the early 1980s, does not eulogize the establishment, but neither does it demonstrate any particular opposition to or criticism of the powers-that-be. Cai Guoqiang has always positioned himself as a bystander. Cai once admitted frankly that: “Mao Zedong’s idealism and his attitudes exerted a big influence over all the artists of our generation.” While the work of other artists from Cai’s generation devoted considerable attention to Mao’s image and to the Cultural Revolution, Cai’s art was more personal, softer and more introverted. Cai Guo-qiang studied stage design in university; on graduation, he was assigned to work with a theatre troupe. As early as 1984, Cai had begun to experiment with the use of a wide range of new materials and new techniques. By the late 1980s, Cai had started using gunpowder and explosion effects in his art. Chinese history, and the development of gunpowder, became a major focus of Cai’s work. The basic constituents of gunpowder are sulfur, charcoal and potassium nitrate; it may also include other elements refined from fertilizer, such as methane. When ignited, the tiny grains of gunpowder explode with immense power. Gunpowder has been used in warfare for centuries; the biggest challenge was getting the proportions of the different constituent elements right when making the powder, so as to ensure that it would explode in the manner required. It was precisely this unpredictability of gunpowder – with different constituent ratios giving different explosive effects – that attracted Cai Guo-qiang. He felt that this characteristic of gunpowder represented a form of spontaneity, something which is lacking in contemporary society. Cai’s background in stage design, and his work experience, also helped him to approach the creation of art from different perspectives. When discussing Cai’s gunpowder explosion pieces, the leading U.S. art critic Dan Cameron offered the following interpretation: “To an artist whose later challenge to the art establishment would consist, at least in part, of his insistence that viewers devote their full attention to an event that was finished in a matter of seconds, the discipline developed through the study of theater is focused on a staged event that nonetheless appears spontaneous to those in the audience. The impresario whose gestural flourish lifts the theatrical curtain is the same as the

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sculptor of explosions, who lights the fuse and steps away, or the magician who produces a flock of doves from within a pocket handkerchief. In each case, an interlocutor is required first to set the stage, and then to step back and let the human imagination fill in the rest.” (Brief “Blinded by the Light” By Dan Cameron for “Cai Guo-qiang: Head On”, Frankfurt am Main: Deutsche Bank AG, 2006, p. 20) This combination of the planned and the unknown adds an extra touch of mysterious unpredictability to Cai’s explosion art. In 2003, Cai Guo-qiang was invited to hold a solo exhibition – “Matrix – Firework from Heaven” – at the Berkeley Art Museum in California. Cai designed the installation “Firework from Heaven” specially for the exhibition; the drawing included in this auction is one of the drawings Cai produced when designing the work. “Firework from Heaven” is a large installation that uses modern, multimedia materials – including neon lights and electric charges – to represent traditional Chinese fireworks. In this drawing, Cai Guo-qiang has used his skill at exploding gunpowder on paper to create a truly amazing masterpiece; the marks left by the exploding gunpowder appear just as natural as if black ink had been allowed to run over the paper. The sudden burst of power enters the paper from the upper right-hand side, like a comet blazing across the sky with its long tail trailing behind, creating sparks like radiant dandelions. The complex structure of the flames at the point in time when they burst into existence in the sky seems to reflect the exhibition theme of a ‘Matrix.’ The installation for which this drawing formed part of the design uses modern technology to achieve, through ‘photosynthesis,’ a fleeting, transient sense of the aesthetic beauty of flame; the drawing itself employs masterful composition and image technique to show the exact instant when the gunpowder explodes.


739 XU Jiang

(Chinese, b. 1955)

Historical Landscape: Suzhou River 2000 Oil on canvas 180 x 180 cm Signed on the reverse Xu Jiang, titled Historical Landscape: Suzhou River in Chinese, inscribed China Academy of Art in Chinese and dated 2001 ILLUSTRATED: Vistas – The Art of Xu Jiang, China Academy of Art Press, Hangzhou, 2006, color illustrated, p. 227 (with a title of "Great Shanghai, Suzhou River")

NT$ 12,000,000-22,000,000 US$ 406,800-745,800 HK$ 3,158,000-5,789,000

許江 歷史的風景.蘇州河 2000 油彩 畫布 180 x 180 cm 簽名畫背:《歷史的風景.蘇州河》許江 中國美院 2001年 圖錄: 《遠望.許江的繪畫》,中國美術學院出版社,杭 州,2006,彩色圖版,頁227(畫題為《大上海.老 蘇州河》)

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740 ZHOU Chunya (Chinese, b. 1955)

Brotherhood 2006 Bronze, edition no. 7/8 70(L) x 51(W) x 73(H) cm Engraved on the base Zhou Chunya, titled Brotherhood in Chinese, numbered 7/8 and dated 2006 EXHIBITED: Art Shanghai 2011, Shanghai Mart, Shanghai, April 13-17, 2011 Citizen Art Shanghai Hotel Art Fair 2012, Garden Hotel, Shanghai, May 18-21, 2012 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 122-125 Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, p. 407

NT$ 3,200,000-4,200,000 US$ 108,500-142,400 HK$ 842,000-1,105,000

周春芽 桃園結義 2006 銅雕 7/8 70(長) x 51(寬) x 73(高) cm 簽名雕刻台座:7/8 桃園結義 2006 周春芽 展覽: 「2011上海春季沙龍國際藝術博覽會」,上海世貿商城,上海,展期自2011年4月13日至17日 「2012上海城市藝術酒店藝術博覽會」,上海花園飯店,上海,展期自2012年5月18日至21日 圖錄: 《花間記》,四川美術出版社,成都,2007,彩色圖版,頁122-125 《周春芽》,東八時區,香港,2010,彩色圖版,頁407

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741 JIA Gang

(Chinese, b. 1974)

Every One Speaks His Own Words 2007 Oil on canvas 201.5 x 150 cm Signed lower right Jia Gang in Chinese and dated 2007.3 EXHIBITED: The Art of Gestures - Jia Gang's Solo Exhibition, New Age Gallery Beijing, Beijing, October 20 - November 18, 2007

NT$ 1,100,000-2,000,000 US$ 37,300-67,800 HK$ 289,000-526,000

賈剛 各說各話 2007 油彩 畫布 201.5 x 150 cm 簽名右下:2007.3.賈剛 展覽: 「姿態的藝術—賈剛個展」,北京新時代畫廊,北京,展期自2007年10月20日至11月18日

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742 OUYANG Chun (Chinese, b. 1974)

Classroom 2011 Oil on canvas 190 x 150 cm Signed lower left Ouyang Chun in Chinese and dated 2011 Signed on the reverse Ouyang Chun, titled Classroom in Chinese and dated 2011

NT$ 850,000-1,000,000 US$ 28,800-33,900 HK$ 224,000-263,000

歐陽春 教室 2011 油彩 畫布 190 x 150 cm 簽名左下:歐陽春 2011 簽名畫背:教室 歐陽春 2011

238


743 MIAO Jingchang (Chinese, b. 1966)

Four Seasons in Countryside (quadriptych) 2008 Oil on canvas 145 x 60.5 cm (x4) Signed lower right Miao in English and dated 08.1 (on the first painting which depicts "Spring")

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

苗景昌 鄉村的四季(四聯幅) 2008 油彩 畫布 145 x 60.5 cm (x4) 簽名第一幅右下:Miao 08.1

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744 ZHANG Yu

(Chinese, b. 1959) Fingerprints-2008.12-2 2008 Ink and color on paper 69.5 x 45 cm Signed lower left Zhang Yu in English and dated 2008.12-2

NT$ 550,000-650,000 US$ 18,600-22,000 HK$ 145,000-171,000

張羽 指印—2008.12-2 2008 彩墨 紙本 69.5 x 45 cm 簽名左下:Zhang Yu 2008.12-2


745 LU Shun

呂順

(Chinese, b. 1966)

生命的奧妙

Depth of Lives

2007 油彩 畫布 100 x 80 cm 簽名右下:呂順 2007.4

2007 Oil on canvas 100 x 80 cm Signed lower right Lu Shun in Chinese and dated 2007.4 This painting is to be sold with a certificate of authenticity issued by MeiHe Art Gallery, Taipei.

NT$ 420,000-550,000 US$ 14,200-18,600 HK$ 111,000-145,000

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附美和畫廊開立之原作保證書


746 XIA Junna

夏俊娜

(Chinese, b. 1971)

繁華似錦

Blossom Bouquet

2001 油彩 畫布 50 x 50 cm 簽名右下:XJN 2001

2001 Oil on canvas 50 x 50 cm Initialed lower right XJN and dated 2001

NT$ 480,000-700,000 US$ 16,300-23,700 HK$ 126,000-184,000


747 YE Yongqing

無題

Untitled

1991 油彩 紙本 54 x 39 cm 簽名下方:Ye Yongqing 1991

1991 Oil on paper 54 x 39 cm Signed lower center Ye Yongqing in English and dated 1991

NT$ 480,000-700,000 US$ 16,300-23,700 HK$ 126,000-184,000

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葉永青

(Chinese, b. 1958)


748 YE Yongqing (Chinese, b. 1958)

Graffiti Series 2 2005 Mixed media on paper 53.5 x 54.5 cm Signed lower center Ye Yongqing in Chinese and English, dated 2005

NT$ 480,000-700,000 US$ 16,300-23,700 HK$ 126,000-184,000

葉永青 塗鴉系列 2 2005 綜合媒材 紙本 53.5 x 54.5 cm 簽名中下:葉永青 Ye Yongqing 2005


749 HUA Qing

(Chinese, b. 1962)

Analysis of Human Series No. 2 2008 Oil on canvas 180 x 160 cm Signed on right Hua Qing in Chinese and dated 2008 EXHIBITED: The Upanishad of Human Beings – Hua Qing Solo Exhibition, Asian Art Center, Beijing, March 22 - April 20, 2008

華慶 人的解析 No.2 2008 油彩 畫布 180 x 160 cm 簽名右方:華慶 2008 展覽: 「人的奧義書─華慶個展」,亞洲藝術中心,北京,展期自2008年3月22 日至4月20日

ILLUSTRATED: The Upanishad of Human Beings: Paintings by Hua Qing, Asia Art Center, Beijing, 2008, color illustrated, pp. 120-121

圖錄: 《人的奧義書:華慶作品集》,亞洲藝術中心,北京,2008,彩色圖 版,頁120-121

This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

附亞洲藝術中心開立之原作保證書

NT$ 300,000-500,000 US$ 10,200-16,900 HK$ 79,000-132,000

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750 DU Xi

(Chinese, b. 1980)

The War of the Red Cliff 2007 Oil on canvas 100 x 200 cm Signed lower right Du Xi in Chinese and dated 07

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

杜溪 刀馬記—赤壁 2007 油彩 畫布 100 x 200 cm 簽名右下:杜溪 07


751 XIA Junna

(Chinese, b. 1971)

Summer in Florence 2002 Oil on paper 54 x 39 cm Initialed lower right XJN in English and dated 2002

NT$ 200,000-400,000 US$ 6,800-13,600 HK$ 53,000-105,000

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夏俊娜 翡冷翠之夏 2002 油彩 紙本 54 x 39 cm 簽名右下:XJN 2002


752 GAO Xiaohua (Chinese, b. 1955)

A Boy with a Bag 2003 Oil on canvas 45 x 39 cm Signed lower right Gao Xiaohua in Chinese and dated 03

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

高小華 背包男孩 2003 油彩 畫布 45 x 39 cm 簽名右下:高小華 03


753 DU Xi

(Chinese, b. 1980)

Gods of Wealth (a set of 5) 2013 Oil on canvas 53 x 45.5 cm (x5) Signed lower right Du Xi in Chinese and English, dated 2013

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

杜溪 五路財神(五件一組) 2013 油彩 畫布 53 x 45.5 cm (x5) 簽名右下:杜溪 Du Xi 2005

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754 SUN Lisha

孫立沙

(Chinese, b. 1980)

花海 3

Sea of Flowers 3

2012 複合媒材 畫布 155 x 115 cm

2012 Mixed media on canvas 155 x 115 cm

NT$ 260,000-400,000 US$ 8,800-13,600 HK$ 68,000-105,000


755 YUE Minjun (Chinese, b. 1962)

Untitled 2001 Screenprint, edition no. 12/40 105 x 80 cm Signed lower right Yue minjun in English and dated 2001, titled lower left Untitled in Chinese

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

岳敏君 無題 2001 絹印 版畫 12/40 105 x 80 cm 簽名右下:Yue Minjun 2001 題識左下:無題

756 LI Kai

(Chinese, b. 1947)

Gate of the Palace 1998 Oil on canvas 60 x 65 cm Signed lower right Li Kai in Chinese and dated 1998 Titled on the reverse Gate of the Palace in Chinese and inscribed 65 x 60 cm

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

李凱 宮門 1998 油彩 畫布 60 x 65 cm 簽名右下:李凱 1998 簽名畫背:宮門 65 x 60 cm

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757 HE Wei

(Chinese, b. 1980)

Young Artist No. 4; There's No Direction Out There (a set of 2) 2006 Oil on canvas 110 x 80 cm (upper) 100 x 100 cm (lower) Signed lower right He Wei in English and dated 2006 Signed on the reverse He Wei in Chinese and English, titled Young Artist No. 4 in Chinese, inscribed oil on canvas, 110 cm x 80 cm and dated 2006 (upper) Signed lower right He Wei in English and dated 2006 Signed on the reverse He Wei, titled There's No Direction Out There, inscribed oil on canvas all in Chinese, and dated 2006 (lower)

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

何偉 藝術小青年之4;那裡沒有方向(兩件一組) 2006 油彩 畫布 110 x 80 cm(上) 100 x 100 cm(下) 簽名右下:He Wei 2006 簽名畫背:《藝術小青年之4》布面油畫 110 cm x 80 cm 何偉 He Wei 2006(上) 簽名右下:He Wei 2006 簽名畫背:《那裡沒有方向》布面油畫 何偉 2006(下)


758 WU Tien-chang (Taiwanese, b. 1956)

Two Treat Each Other 2001 Digital print on photographic paper, edition no. 8/10 120 x 171 cm EXHIBITED: Art Roaming and Social Sensation - Cultural Observation for 8 Kinds of Art Expressions, Main Trend Gallery, Taipei, January 5 – February 23, 2002 A Strange Heaven: Contemporary Chinese Photography, Galerie Rudolfinum, Prague, Czech, September 4 - November 29, 2003 Spellbound Aura, Museum of Contemporary Art, Taipei, February 14 – May 2, 2004 Four Dimensions – Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau, Hong Kong Arts Centre, Hong Kong, December 4-29, 2010 Ficciones Asiáticas: Fotografia al Arte Contemporaneo (Asian Fictions), El Centro Cultural de la Pontificia Universidad Católica del Perú, Lima, Peru, December 16, 2011 – January 29, 2012 ILLUSTRATED: A Strange Heaven: Contemporary Chinese Photography, Asia Art Archive, Hong Kong, 2003, color illustrated, pp. 132-133 (another edition) Spellbound Aura: The New Vision of Chinese Photography, Museum of Contemporary Art, Taipei, 2004, color illustrated, p. 147 (another edition) Chen Hsin, Studio of Pseudo Photography: Wu Tien-chang (Art Forum Series of Taipei Fine Arts Museum), Taipei Fine Arts Museum and Garden City Publishers, Taipei, 2012, black and white illustrated, cover This lot is to be sold with a certificate of authenticity signed by the artist.

NT$ 300,000-500,000 US$ 10,200-16,900 HK$ 79,000-132,000

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吳天章 永協同心 2001 數位輸出 相紙 8/10 120 x 171 cm 展覽: 「藝術游牧與社會情愫-八種藝術表現的文化觀察」,大趨勢 畫廊,台北,展期自2002年1月5日至2月23日 「幻影天堂—華人當代攝影展」,魯道夫美術館,布拉格,捷 克,展期自2003年9月4日至11月29日 「出神入畫:華人攝影新視界」,台北當代藝術館,台北,展 期自2004年2月14日至5月2日 「四度空間—兩岸四地當代攝影展」,香港藝術中心,香港, 展期自2010年12月4日至29日 「魔幻亞洲當代攝影展」,天主教大學文化中心,利馬,秘 魯,展期自2011年12月16日至2012年1月29日 圖錄: 《幻影天堂—中華當代攝影集》,亞洲藝術文獻庫,香港, 2003,彩色圖版,頁132-133(另一版數) 《出神入畫:華人攝影新視界》,財團法人當代藝術基金會, 台北,2004,彩色圖版,頁147(另一版數) 陳莘,《偽青春顯相館:吳天章》(台北市立美術館/美術論 叢/藝術家專書首刊),田園城市出版社,台北,2012,黑白 圖版,封面 附藝術家親筆簽名之原作保證書


759 TIAN Yibin

(Lao Liu) ( Chinese, b. 1963 )

Lost 2004 Digital print on photographic paper, edition no. 2/5 180 x 270 cm Signed lower right Lao Liu in Chinese, numbered 2/5, inscribed 180 x 270, and dated 2004.4.23

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

田益賓(老六) 迷失 2004 數位輸出 相紙 2/5 180 x 270 cm 簽名右下:老六 2/5 2004.4.23 180 x 270


760 Caroline Yu Yin CHIU (Hong Kong, b. 1967)

Peony (triptych) 2006 Digital print on photographic paper 66 x 55 cm (image); 70 x 55 cm (photo paper) Signed lower right Caroline Yu Chiu and titled PEONY in English, dated 2006 EXHIBITED: Colour Wunderkammer: Caroline Chiu, Hanart TZ Gallery, Hong Kong, August 3-18, 2007

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

趙汝賢 牡丹花(三聯作) 2006 數位輸出 相紙 66 x 55 cm(畫面);70 x 55 cm(相紙) 簽名右下:Caroline Yu Chiu PEONY 2006 展覽: 「趙汝賢的彩色多寶格」,漢雅軒,香港,展期自2007年8月3日至18日

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761 HONG Lei

洪磊

(Chinese, b. 1960)

我夢見徽宗時代的池塘秋晚

I Dreamed of the Autumn Colors on the Shore at the Time of Emperor Huizong

2000 數位輸出 相紙 9/10 13.5 x 100 cm (影像) 33.5 x 119 cm (相紙) 簽名左下:9/10 我夢見徽宗時代的池塘秋晚 洪磊 鋼印右下:HONG LEI

2000 Digital print on photographic paper, edition no. 9/10 13.5 x 100 cm (image) 33.5 x 119 cm (photo paper) Signed lower left Hong Lei and titled I Dreamed of the Autumn Colors on the Shore at the Time of Emperor Huixzong in Chinese and numbered 9/10 With one seal of the artist EXHIBITED: Always to the Front - China Contemporary Art, Kuandu Museum of Fine Arts, Taipei, April 2005 Not Here: Hong Lei's Photography Exhibition, Zhu Qizhan Art Museum, Shanghai, 2006 Southeast China: Group Exhibition of Hong Lei, Tang Guo and Xu Lei, TS1 Contemporary Art Center, Beijing, April 2006 ILLUSTRATED: Beautiful & Tragic: Photograph Works of Honglei, 1996-2000, Room with a View Gallery, Shanghai, 2001, illustrated, pp. 32-33 Chinese Avant-Garde Photography since 1990, Hunan Publication, Changsha, August, 2004, illustrated, pp. 180-181 Out of the Red – The New Emerging Generation of Chinese Photographers, Damiani Editore Bologna, Italy, 2004, illustrated, p. 54 Always to the Front – China Contemporary Art, Kuandu Museum of Fine Arts, Taipei, April 2005, illustrated, p. 60 Hong Lei, Hebei Education Press, Hebei, January 2006, illustrated, pp. 12-13 Not Here: Hong Lei's Photography Exhibition, Timezone 8 Ltd., Hong Kong, July 2006, illustrated, pp. 40-41 Hong Lei : The Red Should Languish and Green Must Grow, Sichuan Fine Arts Publishing House, Chengdu, 2006, illustrated, pp. 88-89

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

展覽: 「明日,不回眸.中國當代藝術」,關渡美術館,台北,2005年4月 「不在這—洪磊攝影展」,朱屺瞻藝術館,上海,2006 「江南—洪磊、湯國、徐累作品展」, TS1當代藝術中心,北京,2006 年4月 圖錄: 《淒豔:洪磊攝影作品1996 - 2000》,上海頂層畫廊,上海,2001,圖 版,頁32-33 《1990年以來的中國先鋒攝影》,湖南美術出版社,長沙,2004年8月, 圖版,頁180-181 《走出紅色:新—代中國攝影家》,達米亞尼出版社,波隆那,義大 利,2004,圖版,頁54 《明日,不會眸.中國當代藝術家》,關渡美術館,台北,2005年4月, 圖版,頁60 《洪磊》,河北教育出版社,河北,2006年1月,圖版,頁12-13 《不在這—洪磊攝影》,東八時區,香港,2006年7月,圖版,頁40-41 《應是綠肥瘦紅》,四川美術出版社,成都,2006,圖版,頁88-89


762 Takashi MURAKAMI (Japanese, b. 1962)

An Homage to Mono Gold 1960 C; An Homage to Mono Pink 1960 C (a set of 2) 2012 Limited print, edition no. 32/300; 35/300 73 x 52.5 cm (x2) Initialed lower right M and numbered 32/300 (left) Initialed lower right M and numbered 35/300 (right)

NT$ 60,000-180,000 US$ 2,000-6,100 HK$ 16,000-47,000

村上隆 向克萊因致敬:單色金1960C與單色粉紅1960C(兩件一組) 2012 限量版畫 32/300; 35/300 73 x 52.5 cm (x2) 簽名版次右下:M 32/300(左) 簽名版次右下:M 35/300(右)

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763 Takashi MURAKAMI (Japanese, b. 1962)

Reversed Double Helix Mega Power; Melting DOB D (a set of 2) 2005 (upper); 2008 (lower) Limited print 145/300; 189/300 72 x 72 cm (upper) 67 x 67 cm (lower) Initialed lower right M and numbered 145/300 (upper) Initialed lower right M and numbered 189/300 (lower)

NT$ 60,000-180,000 US$ 2,000-6,100 HK$ 16,000-47,000

村上隆 逆轉雙螺旋;DOB D 熔化中(兩件一組) 2005(上);2008(下) 限量版畫 145/300;189/300 72 x 72 cm(上) 67 x 67 cm(下) 簽名右下:M 145/300(上) 簽名右下:M 189/300(下)


764 Tomoya TSUKAMOTO

塚本智也

(Japanese, b. 1982)

紅黃藍(斑馬)

Red Yellow Blue (Zebra)

2011-2013 壓克力 畫布 91 x 73 cm 簽名畫背:"Red Yellow Blue ( Zebra)" 2011-2013 Tomoya Tsukamoto 鈐印畫背:觀心堂

2011-2013 Acrylic on canvas 91 x 73 cm Signed on the reverse Tomoya Tsukamoto, titled "Red Yellow Blue ( Zebra)" in English and dated 2011-2013

NT$ 80,000-160,000 US$ 2,700-5,400 HK$ 21,000-42,000

260


765 Ai YAMAGUCHI (Japanese, b. 1977)

Shobu-san & Kirarimaru (a set of 2) 2000 Acrylic and foam rubber on canvas mounted onto board 24 x 17 cm (x2) Signed on the reverse ai in English and dated 2000 (both)

NT$ 140,000-240,000 US$ 4,700-8,100 HK$ 37,000-63,000

山口藍 菖蒲與武士(兩件一組) 2000 壓克力 海綿橡膠 畫布裱於木板 24 x 17 cm (x2) 簽名畫背:ai 2000(2件)


766 Hisaya TAIRA

平久彌

(Japanese, b. 1960)

新宿

Shinjuku

2005 壓克力 畫布裱於木板 53 x 91 cm

2005 Acrylic on canvas mounted onto wooden board 53 x 91 cm This painting is to be sold with a certificate of authenticity issued by Yoshiaki Inoue Gallery, Osaka.

NT$ 100,000-200,000 US$ 3,400-6,800 HK$ 26,000-53,000

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767 Masaru SHICHINOHE (Japanese, b. 1959)

Sitting on a Box 2000 Arcylic on wooden board 30 x 30 cm Signed lower right Masaru in English ILLUSTRATED: Black Angel, Ping Art Space, Taipei, 2010, color illustrated, pp. 180-181 & p. 211

NT$ 320,000-500,000 US$ 10,800-16,900 HK$ 84,000-132,000

七戶優 坐在箱子上 2000 壓克力 木板 30 x 30 cm 簽名右下:Masaru 圖錄: 《月下紫羅蘭》,藏新藝術有限公司,台北,2010,彩色 圖版,頁180-181與頁211


768 Yoshitaka AMANO (Japanese, b. 1952)

Candy Girl S-4 2008 Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on the lower edge Y. Amano

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

264

天野喜孝 糖果女孩 S-4 2008 汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名底部:Y. Amano


769 Yoshitaka AMANO

天野喜孝

(Japanese, b. 1952)

高空飛翔

Flying High

汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名右側:Y. Amano

Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed on the right edge Y. Amano

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000


770 Yoshitaka AMANO (Japanese, b. 1952)

HERO B/W 1 2012 Acrylic on canvas 150 x 280 cm Signed lower right Y. Amano

NT$ 650,000-850,000 US$ 22,000-28,800 HK$ 171,000-224,000

天野喜孝 黑白英雄 I 2012 壓克力 畫布 150 x 280 cm 簽名右下:Y. Amano

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771 Yayoi KUSAMA (Japanese, b. 1929)

Secret 1986 Mixed media 22(L) x 10(W) x 35(H) cm Signed on the bottom YAYOI KUSAMA in English, titled Secret in Han character and dated 1986 This sculpture is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 900,000-1,600,000 US$ 30,500-54,200 HK$ 237,000-421,000

268

草間彌生 秘密 1986 綜合媒材 22(長) x 10(寬) x 35(高) cm 簽名底部:YAYOI KUSAMA 1986 秘密 附草間彌生工作室開立之原作登錄卡


772 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

南瓜

Pumpkin

1998 銅雕 37/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻:YAYOI KUSAMA 1998 37/100

1998 Bronze, edition no. 37/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 37/100 This sculpture is to be sold with a certificate of authenticity issued by Monnaie de Paris, Paris.

NT$ 600,000-900,000 US$ 20,300-30,500 HK$ 158,000-237,000

附巴黎鑄幣博物館開立之原作保證書


773 JI Yong Ho

(Korean, b. 1978)

Horse Man 1 2009 Used tire, styrofoam (unique) 65(L) x 54(W) x 80(H) cm Initialed in the right eye JYH in English This sculpture is to be sold with a certificate of authenticity issued by Soka Art Center, Taipei.

NT$ 420,000-650,000 US$ 14,200-22,000 HK$ 111,000-171,000

池龍虎 馬男 1 2009 舊輪胎 聚苯乙烯(單一件) 65(長) x 54(寬) x 80(高) cm 簽名眼睛:JYH 附索卡藝術中心開立之原作保證書

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774 WU Dechun

(Taiwanese, b. 1953)

Tripède 1997 Iron (unique) 30(L) x 24(W) x 49(H) cm Engraved on the base PIÈCEC UNIQUE WU DECHUN WU in French and dated 1997

NT$ 70,000-140,000 US$ 2,400-4,700 HK$ 18,000-37,000

武德淳 三足鼎立 1997 鐵雕(單一件) 30(長) x 24(寬) x 49(高) cm 簽名雕刻底座:1997 PIÈCE UNIQUE WU DECHUN WU


775 WU Dechun

(Taiwanese, b. 1953)

Rencontre 2003 Iron (unique) 72(L) x 15(W) x 64(H) cm Engraved on the base PIÈCEC UNIQUE WU DECHUN WU in French and dated 25.10.2003

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 32,000-58,000

武德淳 相聚 2003 鐵雕(單一件) 72(長) x 15(寬) x 64(高) cm 簽名雕刻底座:25.10.2003 PIÈCE UNIQUE WU DECHUN WU

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776 Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Plate 2003 Baked enamel on aluminum alloy, edition no. 14/300 55(L) x 58(W) x 14(H) cm Engraved on bottom Che in Chinese, Huang Ming-Che in English, dated 2003 and numbered 300-014 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 90,000-180,000 US$ 3,100-6,100 HK$ 24,000-47,000

黃銘哲 水果盤 2003 鋁合金 14/300 55(長) x 58(寬) x 14(高) cm 簽名雕刻下方:哲 HUANG MING-CHE 2003-300-014 附印象畫廊開立之原作保証書


777 JIANG Jianqiu (Lao Jiang) (Chinese, b. 1972)

Mr. Red – Love Story No. 1; Mr. Red – The End (a set of 2) 2007-2008; 2007 Oil on canvas; Fiberglass, edition no. 3/8 (sculpture) 80 x 100 cm (painting) Signed on the reverse Lao Jiang in Chinese and English, inscribed oil on canvas, 80 x 100 cm and dated 2007.8 Signed on the stretcher Laojinag in Chinese and dated 2007.8 31(W) x 22(H) x 16(D) cm (toy boy); 35(W) x 35(H) x 180(D) cm (pillar) Signed Lao Jiang in Chinese and English, numbered 3/8 and dated 2007.9 (toy boy) Signed Lao Jiang in Chinese, numbered 3/8 and dated 2007.9 (pillar)

NT$ 220,000-400,000 US$ 7,500-13,600 HK$ 58,000-105,000

蔣建秋(老蔣) 紅先生—愛情故事 No. 1;紅先生—盡頭(兩件一組) 2007-2008;2007 油彩 畫布;玻璃纖維 3/8(雕塑) 80 x 100 cm(畫作) 簽名畫背:老蔣 Lao Jiang oil on canvas 80 x 100 cm 2007.8 簽名背框:老蔣 2007.8 31(長) x 22(寬) x 16(高) cm(公仔)、35(長) x 35(寬) x 180(高) cm(柱子) 簽名:老蔣 Lao Jiang 3/8 2007.9(公仔) 簽名:老蔣 3/8 2007. 9(柱子)

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778 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Shadow Mirror 1983 Stainless steel, edition no. 12/20 43(L) x 140(W) x 77(H) cm Engraved on the left Ying-feng in Chinese, numbered 12/20 and dated '83 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000-320,000 US$ 4,100-10,800 HK$ 32,000-84,000

楊英風 分合隨緣(一) 1983 不鏽鋼 12/20 43(長) x 140(寬) x 77(高) cm 簽名雕刻左側:'83 英風 12/20 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書


779 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Phoenix Rising 1981 Bronze, edition no. 4/20 87.5(L) x 27.5(W) x 74(H) cm Engraved on the back Ying﹣feng in Chinese, numbered 4/20 and dated '81 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000-320,000 US$ 4,100-10,800 HK$ 32,000-84,000

楊英風 神采飛揚 1981 銅雕 4/20 87.5(長) x 27.5(寬) x 74(高) cm 簽名雕刻後側:英風 '81 4/20 附財團法人楊英風藝術教育基金會呦呦藝術事 業有限公司開立之原作保證書

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780 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Unite Efforts 1952 Bronze, edition no. 23/30 195(L) x 6.5(W) x 54(H) cm Engraved lower left Ying-feng, dated November 1952 in Chinese, dated 1952 and numbered 23/30 ILLUSTRATED: Youth (Volume 11, No. 3), Taipei, March 1960, illustrated (different edition) The Young Companion (No. 45), Taipei, June 1960, illustrated, p. 22 (different edition) Yuyu Yang Corpus Volum I, Artist Publishing Co., Taipei, 2005, illustrated, pp. 24-25 (different edition) This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 120,000-320,000 US$ 4,100-10,800 HK$ 32,000-84,000

楊英風 協力(拌水泥) 1952 銅雕 23/30 195(長) x 6.5(寬) x 54(高) cm 簽名雕刻左下:英風作 四一年十一月 1952 23/30 圖錄: 《幼獅》第11卷第3期,台北,1960年3月(另一版本) 《良友》第45期,台北,1960年6月,頁22(另一版本) 《楊英風全集第一卷》,藝術家出版社,台北,2005,頁24-25(另一版本) 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書


781 ZHOU Chunya (Chinese, b. 1955)

Handstanding Heigen No. 2 2007 Bronze, edition no. 1/8 17(L) x 16(W) x 20(H) cm Engraved on the base Zhou Chunya in Chinese and numbered 1/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 116

NT$ 260,000-380,000 US$ 8,800-12,900 HK$ 68,000-100,000

周春芽 倒立的黑根之二 2007 銅雕 1/8 17(長) x 16(寬) x 20(高) cm 簽名雕刻底座:周春芽 1/8 圖錄: 《花間記》,四川美術出版社,成都,2007, 彩色圖版,頁116

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782 ZHOU Chunya (Chinese, b. 1955)

Brotherhood 2006 Bronze, edition no. 2/8 28(L) x 15(W) x 18(H) cm Engraved on the base Z.C.Y in English, numbered 2/8 and dated 2006.3 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 122-125

NT$ 280,000-400,000 US$ 9,500-13,600 HK$ 74,000-105,000

周春芽 桃園結義 2006 銅雕 2/8 28(長) x 15(寬) x 18(高) cm 簽名雕刻底座:2006.3. Z.C.Y 2/8 圖錄: 《花間記》,四川美術出版社,成都,2007,彩色圖版,頁122-125


783 PENG Kuan-jun

彭光均

(Taiwanese, b. 1961)

Stretch

2006 銅雕 琉璃 花崗岩 9/10 90(長) x 53(寬) x 57(高) cm 簽名雕刻:2006 光均 9/10

2006 Bronze, glass, granite, edition no. 9/10 90(L) x 53(W) x 57(H) cm Engraved on the back Kuan-jun in Chinese, numbered 9/10 and dated 2006 This sculpture is to be sold with a certificate of authenticity issued by William Art International, Taipei.

NT$ 260,000-380,000 US$ 8,800-12,900 HK$ 68,000-100,000

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784 PENG Kuan-jun (Taiwanese, b. 1961)

Contemplating with One Leg in the Lap 2007 Bronze, edition no. AP3 40(L) x 40(W) x 102(H) cm Engraved on the lower back Kuanjun in Chinese, numbered AP3 and dated 2007 This sculpture is to be sold with a certificate of authenticity issued by William Art International, Taipei.

NT$ 320,000-480,000 US$ 10,800-16,300 HK$ 84,000-126,000

彭光均 品 2007 青銅 AP3 40(長) x 40(寬) x 102(高) cm 簽名雕刻:2007 AP3 光均 附威廉藝術中心開立之原作保證書


785 HSIEH Tong-liang

謝棟樑

(Taiwanese, b. 1949)

獨行

Walk Along

1984 銅雕 EA 2/3 18.5(長) x 26(寬) x 88(高) cm 簽名雕刻底座:棟樑 一九八四 EA 2/3

1984 Bronze, edition no. EA 2/3 18.5(L) x 26(W) x 88(H) cm Engraved on the base Tong-liang, dated 1984 in Chinese and numbered EA 2/3 EXHIBITED: The Pioneers of Taiwanese Artists, 1941-1950, National Taiwan Museum of Fine Arts, Taichung, June 22 - September 15, 2013 (another cast) ILLUSTRATED: Hsieh Tong-liang Sculpture No. 1, 02 Sculpture Space & TaiChi, Taichung, 1985, color illustrated, pp. 10-11, cover Hsieh Tong-liang Sculpture Exhibition, Chan Liu Art Museum, Taoyuan, 2007, color illustrated, p. 34 The Pioneers of Taiwanese Artists, 1941-1950, National Taiwan Museum of Fine Arts, Taichung, 2013, color illustrated, p. 179

展覽: 「台灣美術家刺客列傳三年級生1941-1950」,國立台灣美術館, 台中,展期自2013年6月22日至9月15日(另一版次) 圖錄: 《謝棟樑雕塑集(一)》,02雕塑空間,台中,1985,彩色圖 版,頁10-11和封面 《謝棟樑:雕塑大觀》,長流美術館,桃園,2007,彩色圖版, 頁34 《台灣美術家刺客列傳三年級生1941-1950》,國立台灣美術館, 台中,2013,彩色圖版,頁179

This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 260,000-400,000 US$ 8,800-13,600 HK$ 68,000-105,000

附藝術家親筆簽名之原作保證書

雕塑大師謝棟樑是首位獲得台灣省全省美展永久免審查資格的雕塑家,當代知名雕刻家李真早年曾在他的門下學習人體雕塑。2013年國立台灣 美術館策畫的「台灣美術家�刺客列傳:1941-1950─三年級生」聯展中,謝棟樑是三年級中唯一的雕塑家代表,而他的1984年銅雕代表作《獨 行》(另一版次)為聯展中受邀的參展作品。 銅雕《獨行》屬於謝棟樑的「變形系列」雕塑(1981-1985),人體造形刻意拉長或壓扁,形成比例特殊的效果。此系列作品暗示都市叢林的現 代人所感受到的壓迫、緊張、茫然及孤獨感。藝術家觀察1980年代台灣經濟起飛,人們忙碌、渾然不知生活樂趣的社會狀態,藉此訴說其心中 感受。該系列代表作有台北市立美術館典藏的《瞻》與《獨行》,以及《蒼茫》、《逸》、《笛音》、《悱》等作。 Master sculptor Hsieh Tong-liang was the first artist in Taiwan to receive the privilege of not having to be examined in the National Art Exhibition. One of his students was the illustrious modern sculptor Li Chen, whom he taught how to sculpt the human body. In the joint exhibition The Pioneers of Taiwanese Artists, 1941-1950, hosted by the National Taiwan Museum of Fine Arts in 2013, Hsieh was the only sculptor of his generation to be invited. His wellknown bronze piece “Walk Alone” (another cast), created in 1984, was featured at the exhibition. The bronze sculpture Walk Alone is a part of Hsieh’s Metamorphosis series (1981–1985). The body is elongated and deliberately flattened, yielding a special proportion. The works in the Metamorphosis series seek to embody the pressure, tension, hollowness, and loneliness of modern man in the urban jungle. Upon witnessing Taiwan’s economic boom in the 1980s, the artist felt that people were too busy to appreciate the joy in life. The most notable works in this series include “Look Forward” and “Walk Alone”, which are in the permanent collection of the Taipei Fine Arts Museum, as well as the pieces “Indistinct”, “Leisure”, “Music from the Flute”, and “Sorrow”.

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786 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Heaven and Earth Destiny 1987 Stainless steel, edition no. 7/10 173(L) x 107.5(W) x 140(H) cm Engraved on the base Yu Yu Yang Ying-feng in Chinese, Yu Yu YANG Feng in English, numbered 7/10 and dated '87 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 320,000-550,000 US$ 10,800-18,600 HK$ 84,000-145,000

楊英風 天地星緣 1987 不鏽鋼 7/10 173(長) x 107.5(寬) x 140(高) cm 簽名雕刻底座:'87 呦呦 楊英風 Yu Yu YANG Feng 7/10 附財團法人楊英風藝術教育基金會呦呦藝術事業有限公司開立之原作保證書

284


787 REN Zhe

任哲

(Chinese, b. 1983)

劍拔弩張

Ready for Action

2007 銅雕 2/AP 70(長) x 60(寬) x 50(高) cm 簽名雕刻後方:2/AP 任哲 Ren Zhe

2007 Bronze, edition no. 2/AP 70(L) x 60(W) x 50(H) cm Engraved on the back Ren Zhe in Chinese and English, numbered 2/AP EXHIBITED: Asian Contemporary Art Fair, New York, November 8-12, 2007 Hong Kong International Contemporary Art Fair, Hong Kong, October 6-9, 2007 ILLUSTRATED: Ren Zhe - Tang Warrior, Ping Gallery, Taipei, 2007, color illustrated, p. 14

NT$ 360,000-500,000 US$ 12,200-16,900 HK$ 95,000-132,000

展覽: 「亞洲當代藝術展」,紐約,展期自2007年11 月8日至12日 「香港國際當代藝術博覽會」,香港,展期自 2007年10月6日至9日 圖錄: 《任哲─盛唐戰士》,藏新畫廊,台北, 2007,彩色圖版,頁14


788 YANG Mao-lin (Taiwanese, b. 1953)

Black Ox Bodhisattva in Pure Land of Maha 2005 Bronze with gold foil, edition no. 3/6 68(L) x 44(W) x 132.5(H) cm Engraved on the base Yang Mao-lin in Chinese, numbered 3/6 and dated 2005 ILLUSTRATED: Canonization of the Gods - The Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, pp. 34-35

NT$ 500,000-700,000 US$ 16,900-23,700 HK$ 132,000-184,000

楊茂林 摩訶極樂世界的黑牛菩薩 2005 銅雕 金箔 3/6 68(長) x 44(寬) x 132.5(高) cm 簽名雕刻底座:3/6 2005 楊茂林 圖錄: 《封神演義.摩訶.極樂世界》,大未來 畫廊,台北,2006,彩色圖版,頁34-35

286


789 JU Ming

(Taiwanese, b. 1938)

Living World Series 1996 Unsaturated polyester resin, calcium carbonate, environmentally-friendly water based mineral paint, edition no.70/300 67(L) x 10.5(W) x 18(H) cm Numbered on bottom 70/300 This sculpture is to be sold with a certificate of limited reproduction issued by Juming Museum, Taipei.

NT$ 70,000-140,000 US$ 2,400-4,700 HK$ 18,000-37,000

朱銘 人間系列 1996 不飽和聚酯樹脂 碳酸鈣 水性環保礦物顏料 70/300 67(長) x 10.5(寬) x 18(高) cm 版次底部:70/300 附朱銘美術館限量複製品保證書


288


藝術家索引 / Index

A

Yoshitaka AMANO

天野喜孝

768, 769, 770

C

CAI Guo-Qiang CHANG Wan-chuan Chang-Ling George CHANN CHAO Chung-hsiang CHEN Ching-jung Caroline Yu Yin CHIU CHIU Ya-tsai

蔡國強 張萬傳 常陵 陳蔭羆 趙春翔 陳景容 趙汝賢 邱亞才

CHU Teh-chun CHUA Hu CHUANG Che

朱德群 蔡雲程 莊喆

738 641, 654 601 661 619 616, 645 760 624, 625, 626, 627 633, 658 649, 665, 666 646, 653 636, 656, 713

D

DU Xi

杜溪

750, 753

F

Alixe FU

傅慶豊

611

G

GAO Xiaohua GU Wenda

高小華 谷文達

752 728

H

HE Wei HO Kan HONG Lei HONG Ling HSIAO Chin HSIEH Hsiao-De HSIEH Tong-liang HUA Qing HUANG Gang HUANG Ming-chang Michell HWANG

何偉 霍剛 洪磊 洪凌 蕭勤 謝孝德 謝棟樑 華慶 黃鋼 黃銘昌 黃銘哲

757 643, 644 761 723, 730 705 642 785 749 729 628, 635 620, 776

JAN Chin-shui JI Dachun JI Yong Ho JIA Gang JIANG Jianqiu JU Ming

詹金水 季大純 池龍虎 賈剛 蔣建秋 朱銘

613, 614 724 773 741 777 668, 669, 670, 671 789

K

J. C. KUO KUO Wei-kuo Yayoi KUSAMA

郭振昌 郭維國 草間彌生

606, 617 621, 632 771, 772

L

LI Chen LI Chun-shan LI Kai LI Shan LIAO Te-cheng LIAO Yu-an LIEN Chien-hsing Max LIU LIU Kuo-sung LIU Shih-tung LIU Wei LO Chan-peng LU Hsien-ming LU Shun

李真 李仲生 李凱 李山 廖德政 廖堉安 連建興 劉其偉 劉國松 劉時棟 劉煒 羅展鵬 陸先銘 呂順

667 608 756 725 651 640 631 609 717, 718, 719, 721 638, 639 734 602 622 745

M

MA Pai-sui MIAO Jingchang Takashi MURAKAMI

馬白水 苗景昌 村上隆

706, 714, 715 743 762, 763

O

OUYANG Chun

歐陽春

742

J

P

PANG Jiun PENG Kuan-jun

龐均 彭光均

623, 629, 657 783, 784

Q

QI Zhilong

祁志龍

727

R

REN Zhe

任哲

787

S

Masaru SCHICHINOHE 七戶優 SHIY De-jinn 席德進

767 675, 676, 677, 678 679, 680, 681, 682 683, 684, 685, 686 687, 688, 689, 690 691, 692, 693, 694 695, 696, 697, 698 699, 700, 701, 702 703, 704 634 754

SU Wong-shen SUN Lisha

蘇旺伸 孫立沙

TAI Hoi Ying Hisaya TAIRA T’ANG Haywen TIAN Yibin Walasse TING

戴海鷹 平久彌 唐海文 田益賓 丁雄泉

Tomoya TSUKAMOTO

塚本智也

605 766 707, 708, 709, 712 759 603, 604, 612, 615 618, 650, 652, 662 672, 673, 674 764

W

WANG Guangyi WANG Pan-youn John WAY WU Dechun WU Tien-chang

王廣義 王攀元 魏樂唐 武德淳 吳天章

726 607 660 774, 775 758

X

XIA Junna XU Jiang

夏俊娜 許江

746, 751 733, 739

Y

Ai YAMAGUCHI YANG Chihung YANG Mao-lin YANG San-lang YANG Shaobin Yuyu YANG YE Yongqing Tzu-chi YEH YU Cheng-yao YU Peng YUAN Jai YUE Minjun

山口藍 楊識宏 楊茂林 楊三郎 楊少斌 楊英風 葉永青 葉子奇 余承堯 于彭 袁旃 岳敏君

765 610, 630 788 659, 663 731 778, 779, 780, 786 747, 748 637 710, 720, 722 711, 716 655 735, 755

Z

ZAO Wou-ki ZHANG Yu ZHOU Chunya

趙無極 張羽 周春芽

647, 648, 664 744 732, 736, 737, 740 781, 782

T


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RAVENEL AUTUMN AUCTION 2013 TAIPEI Modern and Contemporary Asian Art TA1309 Sunday 1 December 2013 at 2:30 pm

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下述規則,為羅芙奧股份有限公司(下稱「本公司」)作為拍賣公司與賣家 訂立合約,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 在下列規定中,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. 「膺品」:指拍賣品構成模仿,而模仿之原構想及其整體執行均具有欺 詐意圖,以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙,而對此等事項之正確描述並未在目錄之描述上反映出來,而拍賣品 在拍賣當日之價值,遠低於按照目錄之描述所應有之價值。按此定義, 任何拍賣品均不會因為有任何損壞及/或任何形式之修整(包括重新上 漆)而成為膺品。 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. 本公司作為代理人 作為拍賣人,本公司以作為賣方代理人之身分行事。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。本公司就任何拍賣品及拍賣證明文件之真偽,均不對買家作任 何保證。 b. 拍品狀況之重要注意事項 請準買家注意,在可能的範圍內,目錄中對於拍賣品特性上之描述, 皆已提及顯著的損壞,惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理,亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏,並不代表拍賣品是為良好狀態。本公司鄭重建議, 準買家在拍賣進行之前,對於有興趣競投之拍賣品狀況應經由親自檢 閱,不應依據目錄中的描述或陳述,因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見,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,本公司對於任何拍出之拍賣 品狀態不作任何承諾或保證。 c. 符號表示 以下為本目錄所載符號之說明 o保證項目 拍賣品編號旁註有o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、出處、保存狀況或估計售 價之陳述,或另行對此等方面之口頭或書面陳述,均僅屬意見之陳 述,不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已,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。

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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 作為指引而已,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 有關物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 瞭解,並就拍賣品為自己獨立之判斷及評估,並確使自己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定,凡進口藝術品由買方在台取貨者,買方需繳 交「落槌價」百分之五的(加值)營業稅。此等進口藝術品(目錄內 有*符號之編號者),若係於中華民國境外交付買方,並由本公司處 理相關之運貨事宜,則買方無須支付營業稅。買方若欲於中華民國境 外取貨,應於拍賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價,僅為參考依據。本拍賣 會須以新台幣結算,買方如須以新台幣之外其他貨幣繳付,請買方核 實繳付拍賣日當日之匯率,折合所繳付之等值貨幣計算。 c. 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。 d. 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。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任,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,且該第三人復為本公司所 接受者。 f. 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。 g. 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。 h. 透過 LiveAuctioneers 進行網上競投 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。 i. 匯率轉換顯示板 拍賣會中,本公司會使用匯率轉換顯示板。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新台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(而非因以新台幣競投)所導致而蒙受之任何損失,本公 司概不負責。 j. 錄映影像 在有些拍賣中會有影像投射,但其操作或會出現錯誤。不論影像是否 與成功拍賣之拍賣品相配合,或是翻版影像之質素,本公司對買家均 不負任何責任。


k. 拍賣官之決定權 拍賣官具有絕對決定權,有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併,以及 如遇有誤差或爭議,將拍賣品重新拍賣。 l. 成功競投 在拍賣官之決定權下,下槌即顯示對最高競投價之接受,亦即為賣家 與買家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外,另須支付佣金予本公司,落槌價於新台幣參 仟貳佰萬元以下者含參仟貳佰萬元以20%計算。 2. 落槌價於新台幣參仟貳佰萬元以上者,採分為二階段計費,其中新 台幣參仟貳佰萬元以20%計算,超過新台幣參仟貳佰萬元之部份 再以12%,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貨物或服務稅或其他增值 稅(不論由台灣政府或別處所徵收)。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 日期後七天內悉數支付應支付予本公司之款項(包含落槌價、佣金, 以及任何適用之增值稅)。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所欠之全部款項,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 為新台幣以外之貨幣,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。以新台幣以外之貨幣付款 予本公司之匯率, 依拍賣日現場公佈之匯率(台灣銀行),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 拍賣項目,直至欠本公司之款項已悉數支付為止。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.不付款或未有領取已購拍賣品之補救辦法 如買家並未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超過七天仍未付款,則按不超過台灣銀行基 本利率加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。 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。

(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 款項後,方可領取已購拍賣項目。 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增值稅。 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、歸屬、真實性或出處之陳述,或任何其他說 明之誤差,任何拍賣品之任何毛病或缺陷,均不負有任何責任。買家、 本公司、本公司之僱員或代理人,不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保,均不包含在本條之內。 6. 膺品/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 報告證實為膺品或贓物,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: 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,或清楚表明有牴觸當時學者或專家普遍接納之意見,或 證明拍賣品為膺品或贓物之方法,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) 買家必須在拍賣日起十日內以書面通知本公司,說明買家認為有 關拍賣品乃膺品之詳細理由及證據;且 (2) 買家需於書面通知後十四天內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 (3) 送還拍賣品後,買家須盡快出示證據,足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權),買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司,而與任何第三 人之索償無涉。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之款項,而買家亦不能索取利息。 本擔保之利益不能轉讓,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膺 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 品是否屬於贗品結果與買家出示證據相衝突者,應以本公司驗證結果為 準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

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Transaction Agreement The following provisions are entered into by and between Ravenel Ltd., 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 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 1, Section 5 which 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 Seller 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 that it is unable to guarantee that the Lots on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend 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 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 condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ 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 Lots. 3. In the Auction a. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. 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. d. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. e. 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. f. 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. g. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if The Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. 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 the Company.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars. 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. j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. 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, reauction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 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 The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the The Buyer’s Premium should be calculated at 20% of the hammer price. 2.For hammer price higher than NT$ 32,000,000, total amount of the The Buyer’s Premium should be that the first NT$ 32,000,000 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 commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). 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, the 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 NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan 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 upon expiration of the said 7 days period or from collection of such items (which 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 or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, 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 may offset 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 purpose including 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 set off 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. 2. The Buyer must return the Lot to the Company within the following 14 days following the said notice and the condition of the item must be the same as on the auction day without any damage. 3. 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 cannot claim interests. The interests of the warranty 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.

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

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羅芙奧台北2013秋季拍賣會:亞洲現代與當代藝術 Ravenel Autumn Auction 2013 Taipei - Modern and Contemporary Asian Art  
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