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緣來私藏II - 古今人文藝術專場

LITERATI II : ENCOUNTER WITH A COLLECTOR

SPRING AUCTION 3 JUNE 2017


Ravenel 2


Literati II : Encounter with a Collector


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IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the rules and regulations set out by Ravenel Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required. 2. Security deposit in the amount of NT $400,000. 3. The security deposit must be transferred to Ravenel's specified Bank account prior to 31st May 2017, details as follow: Beneficiary's Bank: HSBC BANK (Taiwan) Limited. SWIFT Code: HSBCTWTP Beneficiary's Name:  Ravenel Ltd. Beneficiary's Account No: 001-234830-031 Beneficiary Bank Address: 14F, No. 333, Sec 1, Keelung Road, Taipei 110, Taiwan The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees. 4. After the 31st May 2017, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 1st to 2nd, June 2017). Acceptance will cease on 2nd of June by 6 pm (No other forms of payment will be accepted). 5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 31st May 2017. 6. If the security deposit has been transferred prior to the 31st May 2017, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her paddle number. 7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification. 8. Return of the Security Deposit: (1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. For bidders with security deposit made by Cash, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (2) Nil Transaction: For individuals with a security deposit transferred by wire, the security deposit will be returned within 14 business days through means of a wire transfer. Cash security deposit will be returned to individuals on the same day after the auction. 9. Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the security deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment in NTD 1,000,000. (2) A credit or China UnionPay payment: The credit payment must not exceed NTD 1,000,000. The holder of the credit card or China UnionPay must be the s uccessful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted. 10. Ravenel Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

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

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給予買家的重要通知

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

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

2.

保證金 : 新台幣肆拾萬元。

3.

保證金需於 2017 年 5 月 31 日以前完成匯款至本公司指定帳號如下 : 銀行: 匯豐(台灣)商業銀行 - 台北分行 銀行代碼:0810016 戶名:羅芙奧股份有限公司 帳號:001-234830-031 地址:台北市基隆路一段 333 號 14 樓 匯款時請指示銀行本公司需實收保證金全額 , 銀行手續費請匯款人負擔。

4.

2017 年 5 月 31 日之後,若欲參與競投領取牌號者需於台北拍賣預展期間 (2017 年 6 月 1 日至 2 日 ) 以 新台幣現鈔支付 ( 恕不接受除現金之外之其他繳納方式 ),收款將於 6 月 2 日下午 6 點截止。

5.

電話/書面/網路競投 : 競投者如不能出席拍賣會,可透過電話/書面/網路方式進行競投。登記申請 手續以及保證金之繳納亦需在 2017 年 5 月 31 日以前完成匯款至本公司指定帳號。

6.

如於 2017 年 5 月 31 日以前完成保證金匯款,請提供我方可證明已匯款的證明文件。確認收到保證金匯 款後,我們將與競投者聯繫並與之確認其競標牌號。

7.

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

8.

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

9.

若成功得標買方欲現場取貨,買方之應付款項 ( 落槌價與佣金 ) 金額超過保證金金額時,買方得以下列 方式結清帳款 : (1) 現鈔:上限新台幣壹百萬元。 (2) 信用卡與銀聯卡 : 刷卡上限為新台幣壹百萬元。信用卡與銀聯卡持有人必需是買家本人 , 本公司不接 受他人之信用卡。

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

諮詢 香港 何

vivihe@ravenel.com +852 2889 0859


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RAVENEL SPRING AUCTION 2017 Literati II : Encounter with a Collector

羅芙奧 2017春季拍賣會

緣來私藏 II - 古今人文藝術專場

AUCTION

拍賣日期 / 地點

Saturday, 3 June 2017, 4:00 pm Taipei Marriot Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road,, Zhong Shan District, Taipei

2017年6月3日(六)下午4:00 台北萬豪酒店三樓(博覽廳) 台北市中山區樂群二路199號3樓

PREVIEWS

預展日期 / 地點

Taichung

台中 2017年5月13日(六) 下午1:00至下午6:00 2017年5月14日(日) 上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號

Taipei

台北 2017年6月1日(四)上午10:00 至 下午6:00 2017年6月2日(五)上午10:00 至 下午6:00 2017年6月3日(六)上午10:00 至 下午4:00 台北萬豪酒店三樓(博覽廳) 台北市中山區樂群二路199號3樓

Saturday, 13 May 2017, 1:00 pm - 6:00 pm Sunday, 14 May 2017, 11:00 am - 6:0 pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Thursday, 1 June 2017, 10:00 am - 6:00 pm Friday, 2 June 2017, 10:00 am - 6:00 pm Saturday, 3 June 2017, 10:00 am - 4:00 pm Taipei Marriot Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road,, Zhong Shan District, Taipei

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: NT$ 1,800 per copy


Arthur WANG 王鎮華

Chairman 董事長

Clara KUO 郭倩如

Vice Chairman 副董事長

Wendy LEE 李雅欣

Chief Operation Officer 營運長

何瑩 Vivi He 古文物部 總監 Director, Head of Department

朱毅 Walter Zhu

吳博峯 Tommy Wu

業務代表 北京

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

Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai

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目次 / Contents 6

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 8

羅芙奧春季拍賣會

SALE INFORMATION 12

羅芙奧之服務

RAVENEL SERVICES 14

緣來私藏 II – 古今人文藝術專場

Literati II: Encounter with a Collector

179

委託競投表格

ABSENTEE BID FORM 181

業務規則

TRANSACTION AGREEMENT 185

中國歷代年表

CHRONOLOGY 189

畫家索引 INDEX


RAVENEL STAFF AND SERVICES FOR THIS SALE

CONSULTANTS

the bidding.

Director, Head of Department Works of Art Department Vivi He

Taiwan

Taiwan

Carol Yu

Tommy Wu

Tel: +886 2 2708 9868 ext. 880 Email: carolyu@ravenel.com

Tel: +886 2 2708 9868 ext.885 Email: tommywu@ravenel.com

Hong Kong, International

Hong Kong, International

Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

Eric Siu Tel: +852 2889 0859 Email: ericsiu@ravenel.com

Beijing

China

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

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

Tel: +852 2889 0859 Email: vivihe@ravenel.com Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com

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

CATALOGUE SUBSCRIPTION

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

Taiwan Carol Yu Tel: +886 2 2708 9868 ext. 880 Email: carolyu@ravenel.com

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

Shanghai

COLLECTION AND SHIPPING

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

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

Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

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

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

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

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of

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

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羅芙奧2017春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

古文部總監 何瑩 電話:+852 2889 0859 電子信箱:vivihe@ravenel.com

台灣

台灣

游景涵 電話:+886 2 2708 9868 轉 880 電子信箱:carolyu@ravenel.com

吳博峯

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

香港.國際

香港.國際

邵俊豪 電話:+852 2889 0859 電子信箱:ericsiu@ravenel.com

邵俊豪 電話:+852 2889 0859 電子信箱:ericsiu@ravenel.com

電話書面競標聯絡人

北京

中國

香港.國際

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

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

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

電話:+886 2 2708 9868 轉 885 電子信箱:tommywu@ravenel.com

上海 李政希 電話:+86 21 6228 2883 電子信箱:xiulee@ravenel.com

北京

註一:所有拍品在貨款結清後,即可取貨; 買家請儘早通知安排取貨事宜,以利倉庫存 貨流通和集中安排辦理,本公司接受個人及 公司支票付款,惟需在兌現後始能提貨。恕 不接受旅行支票付款。其他各項貨品可在羅 芙奧辦公室提領,上班時間為週一至週五上 午9:30至下午6:30。

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

註二:我們的專業行政部門可為您建議或安 排最適當的運輸方式。

台灣 游景涵 電話:+886 2 2708 9868 轉 880 電子信箱:carolyu@ravenel.com

上海 李政希 電話:+86 21 6228 2883 電子信箱:xiulee@ravenel.com 註一:如您無法親臨拍賣現場,可以電話投 標方式競標;亦可利用附在此目錄後面之委 託競投表格;或可參與網上競投,詳情請洽 羅芙奧官方網頁。 註二:鑑於拍賣現場電話有限,欲以電話投 標方式競標的投標者,請於拍賣前24小時通 知我們為您安排,尤其對需用外國語言服務 之投標者。

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

本目錄開放各界訂閱,詳細訂閱辦法,請參 照目錄之說明或請洽上述聯絡人。

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


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LITERATI II : ENCOUNTER WITH A COLLECTOR Saturday, 3 June 2017 4:00 pm Taipei Marriott Hotel Literati II : Encounter with a Collector

Lots 601 – 696

Literati II : Encounter with a Collector


601 A DING WHITE-GLAZED FOLIATE-RIM DISH Northern Song Dynasty (AD 960-1127) D: 14.5 cm H: 2.5 cm PROVENANCE: Private collection, Asia

This dish has rounded sides rising from a flat base, applied overall with an ivory-tinged glaze, including the underside of the base. An unglazed rim with a copper band results from Ding’s upsidedown firing technique. This Ding dish is glazed pure and white and preserved in a perfect condition, making it a valuable addition to the collection of Ding wares. 盤六瓣花口形製,盤壁微斜,通體施白釉,底部亦施有釉水,平

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,700 北宋 定窯白釉 花 口 盤 來源: 亞洲藏家舊藏

Ravenel 18

底,口沿一周無釉鑲嵌有銅口,為北宋時期覆燒工藝燒製。此器釉 色純淨,白若堆雪,花口器物傳世較少,器型周正完整者更稀有, 所以此件定窯花口盤釉色白皙勻淨,保存完整,當為一件可遇而不 可求的定窯佳品。


602 A PAIR OF SHADOWY-BLUE SAUCERS Song Dynasty (AD 960-1279) D: 11 cm H: 2.8 cm D: 11.3 cm H: 3 cm PROVENANCE: Private collection, Asia

NT$ 10,000 - 20,000 HK$ 3,000 - 5,000 US$ 300 - 700 宋 影青小盤( 一 對 ) 來源: 亞洲藏家舊藏

Literati II : Encounter with a Collector


603 FOUR HUTIAN FOLIATE-RIM DISHES Song Dynasty (AD 960-1279) D: 11 cm x 4 PROVENANCE: Private collection, Hongkong

NT$ 300,000 - 500,000 HK$ 77,000 - 129,000 US$ 9,900 - 16,600 宋 湖田窯花口 盤 ( 四 只 ) 來源: 香港藏家舊藏

Ravenel 20


604 JU LIAN (Chinese, 1828 -1904) Peonies and Bird 1891 Ink and color on paper 163 x 85.5 cm Signed JULIAN in Chinese With two seals of the artist PROVENANCE: Private collection, Hongkong

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900 居廉 玉堂春色 1891 設色 紙本 163 x 85.5 cm 款識: 玉堂春色正繁華,偏用胭脂畫此花。 花茗也知應 我,不離筆墨作生涯。 仿今夕庵詩句,並撫甌香館畫本。 時辛卯秋月,隔山老人居廉古泉。 鈐印:古泉、古泉 來源: 香港藏家舊藏

Literati II : Encounter with a Collector


605 A LONGQUAN MOULDED WASHER Southern Song Dynasty (AD 1127-1279) D: 12.5 cm PROVENANCE: Private collection,Hongkong

NT$ 80,000 - 180,000 HK$ 21,000 - 46,000 US$ 2,700 - 6,000 南宋 龍泉窯印 花 洗 來源: 香港藏家舊藏

Ravenel 22

This washer is potted with a slightly flared rim and a deep belly, covered overall with a smooth plum-green glaze thinning to the rim, revealing the body, the center of the washer moulded with a lotus flower and two lotus petals. Longquan ware reached its height during the Southern Song Dynasty with well-defined shapes and various glaze colors such as holly green, light greenish blue and plum green. 此洗口沿微外撇,深底。通體施青釉,釉面細膩,釉色溫潤。洗心 刻畫一朵荷花與兩片荷葉。南宋時期龍泉窯得到空前的發展,龍泉 青瓷進入鼎盛時期。這一時期器物造型規整,釉色有冬青、粉青、 梅子青,此洗色澤就屬於梅子青。


606 A PAIR OF DING FOLIATE-RIM DISHES Northern Song Dynasty (AD 960-1127) D: 10.5 cm PROVENANCE: Private collection, Hongkong

NT$ 320,000 - 480,000 HK$ 82,000 - 123,000 US$ 10,600 - 15,900 北宋 定窯花口 盤 ( 一 對 ) 來源: 香港藏家舊藏

Literati II : Encounter with a Collector


607 A JIZHOU PAPER-CUT BOWL Song Dynasty (AD 960-1279) D: 12.5 cm H: 6.5 cm PROVENANCE: Private collection, America

NT$ 200,000 - 360,000 HK$ 51,000 - 93,000 US$ 6,600 - 11,900 宋 吉州窯剪紙 貼 花 碗 來源: 美國藏家舊藏

Ravenel 24


This bowl has a wide mouth and a globular body tapering towards

碗侈口,斜鼓腹,矮圈足。外施醬黑釉,點灑黃褐釉,旋坯痕跡明

the short round foot, the exterior covered with a lustrous black

顯,釉薄處略顯醬黃色弦紋。其斑點黃釉,潑灑自如。剪紙貼花卉

glaze infused with russet-toned speckles, russet bowstring patterns

紋,線條流暢細膩,構圖清新雅麗,實為剪紙貼花盞上乘之作。唯

revealed where the glaze is thinner, showing features of the jigger

有吉州窯的剪紙貼花,別開生面,獨樹一幟,成為市場的寵兒。

technique. The flowing lines of glaze and elegant composition of the floral-patterned papercut decoration make it stand out among papercut bowls. Jizhou vessels decorated in papercut enjoyed a high level of popularity because of its uniqueness.

Literati II : Encounter with a Collector


608 A SMALL LUSHAN WATER POT Tang Dynasty (AD 618-907) D: 13.5 cm H: 7.8 cm PROVENANCE: Private collection, America

NT$ 30,000 - 80,000 HK$ 8,000 - 21,000 US$ 1,000 - 2,700 唐 魯山窯小罐 來源: 美國藏家舊藏

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609 A PAIR OF YUE COSMETIC BOX AND XING COSMETIC BOXES Five Dynasties Period (AD 907-960) 邢窯D:7cm 越窯D:7cm PROVENANCE: Private collection, Hongkong

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900 五代 越窯粉盒 及 邢 窯 粉 盒 來源: 香港藏家舊藏

Literati II : Encounter with a Collector


610 A PAIR OF YAOZHOU CELADON-GLAZED 'CHRYSANTHEMUM' DISH Song Dynasty (AD 960-1279) D1: 10 cm H1: 3cm D2: 10.5 cm H2: 3cm PROVENANCE: Private collection, Asia

NT$ 150,000 - 200,000 HK$ 39,000 - 51,000 US$ 5,000 - 6,600 宋 耀州窯青釉 菊 瓣 盤 ( 一 對 ) 來源: 亞洲藏家舊藏

Ravenel 28

Chinese Ceramics from the Meiyintang Collection, Volume 3b, p.488 《玫茵堂 - 中國瓷器》第三卷 第二冊 488頁


As a representative work of chrysanthemum dishes, this pair of dish

這對北宋耀州窯青釉菊瓣盤,是菊花形制瓷器的一個代表。此對菊瓣

has a small and delicate shape resulting from exquisite craftsmanship.

盤精致小巧,可見窯工的精巧用心。臥足挖底,通體施耀州窯特有的

The body rises from a countersunk base, glazed overall with a

橄欖色青釉,釉色沉靜,釉光清潤可人。「采菊東籬下,悠然見南

sedate olive-green glaze unique to Yaozhou kilns. Tao Yuanming, a

山。」晉陶淵明獨愛菊,自此以後,中國文人皆以菊花風骨高標,千

Chinese poet lived in the Eastern Jin dynasty had a preference for

古吟詠。菊花不僅見於詩畫,也多見於器物之上,菊花紋樣十分普

chrysanthemums as he stated in one of his famous poems, ‘While

遍。以菊為形,製瓷為菊花形制 更成為中國古代製瓷工藝的傳統。

picking chrysanthemums beneath the Eastern fence, my gaze

而這對耀州窯菊瓣盤,恰似一朵盛放於掌中的綠菊,觀之可喜。然菊

upon the Southern mountain rests’. Since then, Chinese poets and

瓣脆弱極易受損,此成對出現保存相對完好更是殊為難得。

scholars used chrysanthemum as a symbol of virtue and uprightness in their works spread through ages. Besides poets and paintings, design of chrysanthemum was also largely applied to wares, making chrysanthemum shaping a tradition of ancient Chinese wareproducing procedure. This pair of dish is fascinating as it seems to be a green chrysanthemum blooming in the palms of people’s hands. The fragileness of leaf-shaped rim makes this complete pair all the more valuable.

Literati II : Encounter with a Collector


611 A LONGQUAN CELADON-GLAZED TRIPOD CENSER Southern Song Dynasty (AD 960-1279) D: 15.6 cm PUBLISHED: Longquan Ware : Chinese Celadon Beloved of the Japanese , Aichi Prefectural Ceramic Museum, 21st January - 31st March, 2012, pp.48, no.40. (this lot) EXHIBITED: Hagi Uragami Museum, 23rd June-23rd August, no.40. PROVENANCE: Private collection, Japan

NT$ 2,600,000 - 3,600,000 HK$ 668,000 - 925,000 US$ 86,100 - 119,300 南宋 龍泉窯青 釉 鬲 式 爐 著錄: 《日本人の愛した中國陶磁龍泉窯青磁展》,愛知陶磁資料館, 2012 年 1 月 21 日 -3 月 31 日,頁 48,編號 40 ( 此件拍品 ) 展覽: 山口立萩美術館、浦上記念館, 2012 年 6 月 23 日 - 8 月 23 日,圖錄圖版 40 號 來源: 日本藏家舊藏

Longquan Ware : Chinese Celadon Beloved of the Japanese , Aichi Prefectural Ceramic Museum, 21st January - 31st March, 2012, p.48, no.40. 《日本人の愛した中國陶磁龍泉窯青磁展》,頁 48,編號 40

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The censer is covered overall with a translucent and crackled celadon

此龍泉青釉三足鬲式爐通體滿飾青釉,釉質緊密而均勻,釉層略帶

glaze of even tone, potted with a bombé body rising to a short

透明,釉色清亮而光滑,色澤照人,器身開片滿布,直頸,鼓腹,

constricted neck and supported on three splayed but strong legs

底部略微下垂,底部三足,略為外撇且剛勁有力,而是向下漸收呈

which taper off to form the pointed and unglazed tips, recovering

尖,設無釉尖足,有返璞歸真之氣。此器整體造型流線柔和光滑。

a sense of simplicity. With a soft and luminous design, this censer

為典型的三足鬲式爐造型。香爐,是「香道」必備的器具,造型多

is a classic example of its type. Censer is an indispensable part of

樣,但萬變不離其器型用意,此件龍泉青釉三足鬲式爐在保證器具

the ‘incense lore’. It has various shapes but they all serve the same

用途的前提下,整體氣質淡雅,實符禮佛所需的清淨素雅之氣,不

purpose. This censer, while still functioning as an incense lore utensil,

失為一件龍泉青瓷佳作。

showcases sedateness and elegance which are required elements of Buddha worship, making it a valuable addition to the collection of Longquan wares.

Literati II : Encounter with a Collector


612 A SANCAI-GLAZED CENSER Tang Dynasty (AD 618-907) H: 6 cm L: 6.5 cm PROVENANCE: Private collection, Mayuyama & Co., Japan

NT$ 460,000 - 600,000 HK$ 118,000 - 154,000 US$ 15,200 - 19,900 唐 三彩香爐 來源: 日本繭山龍泉堂舊藏

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Sancai is a representative work of ceramics during the Tang Dynasty.

唐三彩可以說是唐朝陶瓷文化的代表,能夠折射出唐文化的博大精

Its magnificent glaze and unique style had been sought after by

深。因其華麗的釉色和獨特的造型,受到當時達官顯貴的追捧。此

officials and aristocrats at that time. This censer in bell form is potted

形狀成鐘型,頂部圓口,口部下豐腴,鼓腹,圈足,肩部處有長方

with a globular body rising from a round foot to a circular rim,

形鏤空。外壁施加黃綠色為主的低溫三彩釉,流淌自然;圈足處露

fashioned with rectangular openings on the shoulder. The exterior is

白胎,此器三彩色調鮮艷和諧,變化莫測,狀似潑墨水彩畫,工藝

applied overall with a sancai glaze mainly of a yellowish green tone

水平相當純熟,其日本繭山龍泉堂的來源更是增色不少。

save for the round foot, revealing the white body. Such a glaze with various but harmonious colors resembling watercolor paintings makes the censer a worthy collection of Sancai ceramics.

Literati II : Encounter with a Collector


613 A DING WHITE-GLAZED QUADRIPOD WATER POT WITH PROTRUDING ROPE PATTERNS Northern Song Dynasty (AD 960-1127) H: 9 cm D: 9 cm PROVENANCE: The Aiehi Society for the Study of Chinese Ceramics

NT$ 60,000 - 160,000 HK$ 15,000 - 41,000 US$ 2,000 - 5,300 北宋 定窯白釉 粘 繩 紋 四 足 水 盂 來源: 愛知中國古陶磁研究會会

Pleasure of White Ceramics, from Private Collections in Japan, p.37, No.53 《白瓷的觀賞 - 中國新石器 - 明代》,頁 37,編號 53

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Water pot was used to contain water for the ink slab. Produced

水盂為置於書案上的貯水器,以備磨墨時為硯池添水之用。此件定

during the Northern Song Dynasty, this vessel is potted with a

窯白釉水盂燒造時間為北宋時期,器身飽滿,圓口鼓腹,器身下部

globular and tapering body rising from four legs to a rounded rim

漸收至底,下承四足,腹身由上至下裝飾四道對稱凸出的繩紋,頂

with a lid, with four protruding rope patterns beginning at a ridge

部配有蓋,蓋頂裝飾有一個花瓣型小鈕。水盂通體施釉至足,釉水

on the shoulder and trailing down towards each leg. A petal-shaped

潔淨瑩潤,此水盂器形古拙典雅,實乃定窯文房用器當中的一件佳器。

small button was made to decorate the lid. The vessel is applied overall with a glaze bright and smooth, the shape crude but graceful, making it a worthy addition to the collection of Ding stationary accessories.

Literati II : Encounter with a Collector


614 A DING BLACK-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 12 cm H: 6 cm PROVENANCE: Private collection, Hongkong

NT$ 650,000 - 900,000 HK$ 167,000 - 231,000 US$ 21,500 - 29,800 宋 定窯系黑定 茶 盞 來源: 香港藏家舊藏

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Literati II : Encounter with a Collector


615 A LARGE YAOZHOU ‘CHRYSANTHEMUM’ BOWL Song Dynasty (AD 960-1279) D: 14.5 cm H: 7.5 cm PROVENANCE: Private collection, America

NT$ 300,000 - 500,000 HK$ 77,000 - 129,000 US$ 9,900 - 16,600 宋 耀州窯團菊 紋 大 碗 來源: 美國藏家舊藏

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Potted with deep arched sides rising from a round foot to a slightly

此碗器形碩大,深弧腹,口部略外撇,圈足。碗內壁模印纏枝團菊

flared rim, this large bowl is moulded with entwined chrysanthemums

紋,底部為兩朵團菊相背。通體施耀州窯青釉,釉色深沉、典雅,

on the interior and two bifarious chrysanthemums in the center,

造型簡約。耀州窯瓷器中,印花為主要的一種裝飾手法,紋飾多模

covered overall with a sedate and elegant celadon glaze of Yaozhou

印花卉、動物、人物等。而此碗造型碩大較為罕見,為耀州窯瓷器

kilns. Yaozhou kilns feature an important decoration technique

中值得收藏的一件。

of moulded design which has various patterns including flowers, animals and human figures. This bowl is large in size, making it an exceptional addition to the collection of Yaozhou wares.

Literati II : Encounter with a Collector


616 A YUE RAM-SHAPED SCULPTURE Jin Dynasty (AD 265–420) H: 10 cm L: 11 cm W: 7 cm PROVENANCE: Private collection, America

NT$ 1,200,000 - 1,800,000 HK$ 308,000 - 463,000 US$ 39,800 - 59,600 晉 越窯青瓷羊 形 器 來源: 美國藏家舊藏

Chinese Ceramics from the Meiyintang Collection, Volume 3b, p.329 《玫茵堂 - 中國瓷器》第三卷 第二冊 329頁

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Literati II : Encounter with a Collector


This type of ram-shaped vessel is a representative work of ceramic

兩晉時期雕塑類的生活器物有所增加,雞頭壺、虎子等均有出現,

sculptures during the Jin Dynasty (AD 265–420). The lamp is carved

此種羊型器物也是一個代表。羊仰首平視,作跪臥狀。長角下卷似

in the round to depict a recumbent ram detailed with curled grooved

彎月,眼神平靜。豐胸曲背,四腳內跪。腹側刻有羽翅紋,可見不

horns and its head held high, gazing forward calmly, its four legs

同凡羊。這是漢晉時期人們道教羽仙思想的反映。古代「羊」即

tucked in beneath the body, its body further carved with patterns of

「祥」字,多見於漢代銅器銘文,羊形器即取吉祥之意,兩晉時期

wings, indicating the goal of achieving immortality in Taoism. The

尤為突出。此件拍品可作擺設,此器品相完美,現已很難尋覓。

word for ram was considered the same as that for auspicious in ancient Chinese, thus used broadly in inscriptions on bronze wares during the Han Dynasty. Ram-shaped vessel representing auspiciousness reached its height during the Jin Dynasty (AD 265–420). Such a decorative vessel preserved in a perfect condition is extremely rare, suggesting high value.

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Other view

Literati II : Encounter with a Collector


617 A JIAN DOULI-SHAPED PERSIMMON-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 13.1 cm H: 5.8 cm

PROVENANCE: Private collection, Taiwan Botton 底圖

NT$ 260,000 - 400,000 HK$ 67,000 - 103,000 US$ 8,600 - 13,300 宋 建窯柿釉斗 笠 茶 盞 來源: 台灣藏家舊藏

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This persimmon glaze funnel tea bowl is openmouthed with a straight sloped body and a thick, solid structure. The persimmon glaze has a moist look and is applied inside and outside, except for the base which has been left unglazed. Running in a thick vertical pattern, the glaze condenses into beads in places and reveals a yellow brown hue on the surface. From a distance the effect is reminiscent of the color and texture of tea leaves. The evenly distributed spotting creates a natural beauty highlighting the excellence of the Jian kiln.

此件建窯柿釉斗笠茶盞敞口,斜直腹,胎骨厚硬堅實,釉色黃而潤 澤,器內外施柿黃釉,底部露胎,釉汁垂流厚掛,有的凝聚成滴珠 狀,釉面呈現褐黃色。遠觀之,猶如茶葉末釉的質感,斑點呈繁星 分佈,給人一種自然的美感,為建盞中的極品。

Literati II : Encounter with a Collector


618 A SMALL YAOZHOU ‘CHRYSANTHEMUM’ BOWL Song Dynasty (AD 960-1279) D: 10 cm H: 4.2 cm PROVENANCE: Private collection, America

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 宋 耀州窯團菊 紋 斗 笠 盞 來源: 美國藏家舊藏

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This bowl has an everted rim, applied overall with a celadon glaze

盞撇口,內外施青釉,圈足無釉。造型紋飾皆與北京故宮博物院原

save for the round foot. It’s shape and patterns all resemble the

清宮舊藏耀州窯模印團菊紋盞相同,盞內以模印技法飾纏枝菊六

YAOZHOU MOULDED ‘CHRYSANTHEMUM’ BOWL formerly collected

朵,以其中一枝條彎成曲線,將六朵菊花連於一體,與盞心的團菊

in the Qing Palace and preserved now in the Palace Museum, Beijing.

紋遙相呼應,極富裝飾效果。紋飾清晰,構圖飽滿,為耀州窯同類

On the interior, patterns of six entwined chrysanthemums are

器物中之精品。

impressed down, with one curvy stem connecting all the six, echoing the chrysanthemum pattern in the center of the bowl. The distinct motifs and rich content make it stand out among similar Yaozhou wares.

Literati II : Encounter with a Collector


619 A LONGQUAN CELADON-GLAZED PETAL-LOBED TEA BOW Southern Song Dynasty (AD 1127-1279) D: 9.8 cm H: 5.6 cm

PROVENANCE: Private collection, Asia

NT$ 700,000 - 1,200,000 HK$ 180,000 - 308,000 US$ 23,200 - 39,800 南宋 龍泉窯青 釉 花 口 盞 來源: 亞洲藏家舊藏

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Chinese Ceramics from the Meiyintang Collection, Volume 3b, p.583 《玫茵堂 - 中國瓷器》 第三卷 第二冊 583頁


This tea bowl is finely potted in low relief, the deep rounded sides

器身呈菊瓣狀,花口,弧腹,小圈足,底部有乳狀形突出。胎質灰

rising from a small foot, the exterior subtly molded with a band of

白細膩,通體施青釉,凸棱處色淺淡為「出筋」,積釉處色深濃,

overlapping petals, covered overall with a soft celadon glaze, save for

釉面光潤堅致細密,伴有開片,是宋代龍泉窯精品之作。此盞整器

the unglazed footring revealing the brown-grey body. This lot is small

小巧玲瓏,釉色晶瑩如碧,集欣賞與實用於一體,其釉水質感更是

and exquisite, with both the merits of aesthetics and utility, a truly

可遇而不可求。

valuable addition to the collection of Longquan ware.

Literati II : Encounter with a Collector


620 A JIAN PERSIMMON-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 12.3 cm H: 6.9 cm

PROVENANCE: Private collection, Asia

NT$ 500,000 - 800,000 HK$ 129,000 - 206,000 US$ 16,600 - 26,500 宋 建窯柿釉茶 盞 來源: 亞洲藏家舊藏

Ravenel 50

The collection of The Tokugawa Art Museum, Japan, Temmoku Bowl, the charm of Tang Dynasty Temmoku Bowl, p.15 日本德川美術館館藏灰被天目, 《天目- 唐物天目的魅力》,頁15


This tea bowl, in the classical style of the Jian kiln, has an inward

茶盞為建窯經典款造型,斜鼓腹,口沿至圈足的線條成曲形,修美

sloping belly and a progression of lines from the mouth to the base,

流暢。內外壁施釉,發色如霜柿,色澤沉鬱古穆,盞口掛釉稀薄,

yielding a smooth and beautiful curve. The inner and outer glaze is a

幾類胎色,釉水下流沉積,至下腹凝結,愈近下腹愈是肥潤。下腹

frosty persimmon color in somber hues that has been applied more

及圈足露胎,胎色鐵青,質地堅實,削足平整,乃典型建窯系特

thinly around the mouth. The different colors applied run downward,

徵。柿釉盞在日本稱為「灰被天目」,質樸古雅,品相完整,是難

becoming thicker near the base. The base of the bowl to the foot is

得的飲茶佳器。

unglazed revealing a deep chestnut color. The solid texture and flat base are characteristic of the Jian kiln works. The persimmon glaze bowl is called Tenmoku in Japan. This rustic and quaint tea bowl is a rare find.

Literati II : Encounter with a Collector


621 A YUE FOLIATE-RIM DISH Five Dynasties Period (AD 907-960) D: 13.5 cm PROVENANCE: Private collection, Hongkong

NT$ 60,000 - 160,000 HK$ 15,000 - 41,000 US$ 2,000 - 5,300 五代 越窯花口 盤 來源: 香港藏家舊藏

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Literati II : Encounter with a Collector


622 A SANCAI-GLAZED MOULDED ‘FLORAL’ CUP Tang Dynasty (AD 618-907) D: 9.6 cm H: 3.5 cm PROVENANCE: Private collection, Asia

NT$ 200,000 - 280,000 HK$ 51,000 - 72,000 US$ 6,600 - 9,300 唐 三彩模印寶相花紋杯 來源: 亞洲藏家舊藏

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The interior of the cup is applied with a running yellow glaze while

杯內以黃釉彩呈流淌狀,杯外呈綠釉印花,這是一種金屬器物樣

the exterior a green-glazed moulded pattern, a typical style of metal

式。腹壁近於豎直,自下腹壁處內收,其形製有大唐金銀器的氣

utensils. With a cylindrical body tapering toward the bottom, the cup

息,凝重中見靈巧,握於手中合於手緣,體積大小適中,分量輕重

has the feature of gold and silver wares from the Tang Dynasty. This

適度,穩貼合手,外壁和底部模印纏枝紋,底部中心印有一寶相

cup of moderate size and weight looks both dignified and delicate.

花。此器型完整,彩色艷麗,美觀可愛。

When held in hand, its rim presses on one’s hand, fitting perfectly with the hand shape. The exterior and the base is moulded with interlaced floral patterns with a lotus flower in the center of the base, making this well-preserved cup colorful and lovely.

Literati II : Encounter with a Collector


623 AN IMPERIAL STYLE SANDAL WOOD FIGURE OF AMITABA Ming Dynasty (AD1368-1644) H: 31 cm L: 22 cm W: 20 cm PROVENANCE: Private collection, Asia

NT$ 1,800,000 - 2,400,000 HK$ 463,000 - 617,000 US$ 59,600 - 79,500

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明 檀香木京工阿彌陀佛坐像 來源: 亞洲藏家舊藏


This figure is seated in dhyanasana, the hands held in front joined in dhyanamudra, in loose robes, sashed at the waist and falling from the shoulders over the arms and onto the ground, covered overall with a finely chased lotus pattern, the hem with scrolling lotus, all on a stippled ground, the large head with fine features, downcast eyes under high arching brows, round cheeks, wide forehead, the mouth slightly upturned in a beatific smile, all below tightly curled hair set in the center with the ushnisha, traces of gilding and polychrome on the rich brown patina. The overall structure and visual effect demonstrate the exquisite craftsmanship of ancient artists. The growth of sandalwood takes of as long as ten-year time and hence very precious. Its famously strong fragrance makes it a fine material for daily objects, medicine and also for Buddhist temples. Sandalwood is mentioned in various suttas of the Pāli Canon. In Buddhist traditions, sandalwood is considered to be of the padma (lotus) group and attributed to Buddha Amitabha. Sandalwood scent is believed by some to transform one's desires and maintain a person's alertness while in meditation. It is also one of the more popular scents used when offering incense to the Buddha and the guru. 此尊阿彌陀佛頭飾螺髮,排列規整,額頭寬頤,面頰豐滿, 雙目低垂,鼻型圓潤挺拔,面含笑意,雙耳飽滿伏貼,神情 肅穆安定,尊貴之神韻,雙手結禪定印,雙腿結跏趺坐,這 是一尊典型的漢地氣質宮廷風格造像,整體氣息內斂,袈裟 曹衣出水的線條如一氣呵成一直貫穿到盤腿處,衣褶線條簡 約有力,凸顯了身軀的健碩感, 漆質工藝達到極致,讓整體 的協調性和視覺效果得到最好的表現, 顯現了古代藝術家的 高超水准和精湛技藝。 檀香,佛教稱為「栴檀」,有「香料之王」的美譽。檀香木 生長緩慢,十年成材,木材極香,可製器物,亦可入藥,寺 廟中用以燃燒祀佛。《佛說戒香經》中說世間所有檀香等的 香味非常微少,無法普遍熏聞,如果有清淨持戒者,此戒香 不但能普遍熏聞,而且能得到諸天愛敬,具足清淨戒行,乃 至佛常行種種善法,一切諸魔悉皆遠離。由此也可見檀香木 與佛教密切的關係。

Literati II : Encounter with a Collector


624 A MING IMPERIAL STYLE GUILT-LACQUERED WOOD FIGURE OF BUDDHA GAUTAMA Ming Dynasty (AD1368-1644) H: 55 cm PROVENANCE: Private collection, Asia

NT$ 6,500,000 - 8,000,000 HK$ 1,671,000 - 2,057,000 US$ 215,400 - 265,100 明 宮廷風格木 胎 髹 漆 金 釋 迦 牟 尼 來源: 亞洲藏家舊藏

A Early Ming Gilt-Bronze Figure of Buddha Gautama,Lvshun Museum 明早期銅鍍金釋伽牟尼佛 旅順博物館藏

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A Ming Imperial Style Guilt Lacquered Wood Figure of Buddha Gautama Ming Dynasty This is a late ming imperial style wood figure of Buddha Gautama,

這是晚明時期京工地區宮廷風範的釋迦牟尼佛像,兼有漢藏特點,實

embodied with the features of both Han and Tibetan styles, a truly

為傳世中的精品。傳世的各類造像中,精品木胎造像大多已於晚清民

handed down masterpiece. Most of the wood figures of Buddha

國時期流失海外,加之歷史上綿延不斷的戰火和社會動亂,能留存

handed down were lost overseas during the time of late Qing and the

至今的實為彌足珍貴。木胎造像遍布中國各個地區,各地造像風格不

Republic of China. Moreover, with the catastrophe of wars and social

同,形成獨自的地域特色,而京工地區宮廷風範的造像,則是集合了

upheavals, a well-preserved piece is extremely rare to see nowadays.

各個地區的能工巧匠並且在不惜成本的工藝下製作完成。

The imperial style combined the quintessence of the craftsmanship from different major districts and the aesthetics of the capital,

該尊佛像其螺形髮髻細密規整,大耳垂肩,面形圓潤,額部寬廣;

creating precious pieces with no regard of the cost.

雙目低垂,眉眼到鼻翼的處理過渡得自然流暢;兩頰隆滿,下頜圓 凸,顯現了佛陀超於凡俗的莊嚴和寂靜的圓滿法相。其上身著袈

The Buddha is portrayed seated in dhyanasana with left hand

裟,下身著僧裙,整體渾厚健碩,身姿挺拔,腹部束腰,上身的衣

in dhyanamudra and right hand in Bhumyakramanamudra,

紋翻卷猶如絲織物般有質感,靈動飄逸,極富層次感,突出軀體的

the sanghati drawn across the left shoulder and over the right,

自然起伏變化;左手置於膝上,結禪定印,右手置右膝結觸地印,

falling in folds over the neatly pleated antaravasaka, the full, solemn

正是釋迦牟尼佛於菩提樹下降魔成道的姿勢和形像;手臂圓潤自

face with downcast eyes flanking a straight angular nose with a

然,柔然而富有彈性,下身呈跏跌座,盤腿的處理健碩有力。

round, protruding jaw and cheeks, beneath hair piled over the jewel-crowned ushnisha. This piece precisely depicts when Buddha

整尊造像工藝精湛,製作考究,內披麻掛灰,外上大漆貼金箔,乃

Gautama attained Enlightenment under a pipal tree—now known as

典型木質宮廷風格造像。因年歲久遠漆質開片呈蛇腹紋,整身體量

the Bodhi tree—in Bodh Gaya, India.

巨大,品相完美,雕刻藝術水平極高,更完美詮釋了佛陀「相好」 的特征,不僅面部神態莊嚴、慈祥,身姿同樣富有美感。流暢的服

Ming imperial figures of Buddha were all executed by the special

飾線條與斑駁的歲月之痕,盡顯佛像歷經的悠悠歲月,成就了一件

institution established by the court, which is recorded in details by

典型的宮廷風格古代雕塑藝術品。

Ming officer Liu Ruoyu in his book. The technique of coating carved wood figures with gilt-lacquer appears to have emerged during the

明代宮廷造像由宮廷專設的造像機構——御用監「佛作」具體承

early part of the Ming dynasty and continued into the Qing. The

辦,明人劉若愚《酌中志》中有御用監造辦佛像的明確記載。在中

physical characteristics of the present lot echo those of Tibetan gilt-

原佛教藝術的基礎上融入了藏傳和尼泊爾造像的特點形成了學術上

bronze images and reflect the influence of Tibetan Buddhism on

所說的漢藏風格,這一類漢藏風格多為金銅造像。佛作造像機構除

Chinese art. The wood figures of Buddha combined the quintessence

了制作金銅也會有木胎、脫胎夾苧、泥塑等等材質,這些材質多見

of the craftsmanship from different major districts including Shanxi

為漢傳氣息更濃郁,造型風格更豐富多變,部分兼融入有藏傳或尼

district of the north and Jiangzhe district of the south, with the

泊爾的味道。木胎宮廷風格造像因為集合各個主流地區工藝之精

aesthetics of Beijing district and came out the unique imperial style,

華,北方主要為山西地區,南方主要為江浙地區,又以北京地區的

different from local styles. This lot precisely fuses the styles of South

審美情趣交融形成獨具特色又豐富多變的木胎宮廷風格,與地方造

China, Nepal, and Beijing district. Such pieces with the material of

像區別開來。此尊造像正是交融了南方造像、尼泊爾和北京地區的

gilt-lacquered wood were mainly possessed by the court or princes,

審美而塑造的這樣一尊漢藏風格的宮廷風格釋迦牟尼佛。此類材質

rarely gifted to Tibetan monks.

造像多為宮廷或親王所供奉,用予賞賜西藏僧侶則不多。

Chinese believe that wood has life itself and gives a sense of intimacy

木質本身具有生命力,與人一種親近感,中國人對木也有一種特殊

to human beings, harboring special sentiments towards this kind

的情感,如同中華文化賦予造像藝術特有的意像性特征,數百年的

of material. Just like how Chinese culture gives figures of Buddha

時光也如賦予木材質獨特的韻味,這種韻味封存在木造像的「包

spiritual content, hundreds of years of time also sires the wood a

漿」或「皮殼」中。塵灰、汗水、空氣中的水分、經久的摩挲擦

unique appeal, reserved in the wrapped slurry and cot. Dust, sweat,

拭、煙熏火燎,在木質上層層積澱,逐漸形成表面的皮殼。這些以

humidity in the air, countless times of stroking and scrubbing, and fire

造像為載體的歲月留痕,顯露出溫存的舊氣,更自然溫潤,更能打

and smoke, layered upon the wood, creating the cot on the surface,

動心靈。

making the piece bear the traces of time and making it that more moving to the soul.

Literati II : Encounter with a Collector


625 A QIANLONG PERIOD GILT BRONZE FIGURE OF GREEN TARA Qing Dynasty Qianlong Period (AD 1736 - 1795) H: 18 cm W: 9 cm L: 12 cm PROVENANCE: Private collection, Asia

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,200 -29,800 清乾隆 銅鎏金 綠 度 母 像 來源: 亞洲藏家舊藏

Tara, also known as Jetsun Dölma in Tibetan Buddhism, is a female

綠度母,梵名Tara,在藏傳佛教中為觀世音菩薩的化身,全稱聖救

Bodhisattva in Mahayana Buddhism who appears as a female Buddha

度佛母,我國古代稱多羅菩薩、多羅觀音,《度母本源記》中記

in Vajrayana Buddhism. She is known as the "mother of liberation",

載:觀音菩薩在無量劫前,已普救了無數終生,於一日,菩薩用其

and represents the virtues of success in work and achievements.

慧眼觀察六道,發現受苦終生並未減少,頓生憂傷,雙眼流出眼

She is known as Tara Bosatsu in Japan, and occasionally as Duō luó

淚,眼淚變成蓮花,蓮花又變成綠度母,接著又變出二十一尊度

Púsà in Chinese Buddhism. The emergence of Green Tara, according

母。因而綠度母為所有度母之源,為傷心之淚幻化而成,也是最為

to the holy script, comes from the time when Avalokiteshvara saw

慈悲之母。總攝其余二十尊化身之所有功德,在古印度和藏地,度

the anguish of the myriads of being, and tears sprang to his eyes.

母法門非常興盛,許多大德都造有度母儀軌,信仰度母的人就像信

A teardrop from his left eye fell upon the plain and became the

仰文殊菩薩、觀音菩薩的人一樣非常多,綠度母以救人脫離災難著

reverend Green Tara. Therefore Tara also became to be seen as an

稱。來藏傳法的印度大師阿底峽尊者以此尊作為守護神。

expression of the compassion. 該尊綠度母頭戴五葉花冠,發髻高束呈葫蘆形態,耳側繒帶上飄, This figure is seated in lalitasana  on a double-lotus base, the

圓形耳環垂於耳下。面形豐滿,眉弓如月,鼻樑高挺,鼻翼內縮,

right hand held in varadamudra  and the left raised to the chest

微微上提,嘴唇周邊區域內凹,嘴小唇厚,嘴角上揚,露出和熙的

in vitarkamudra , both supporting uptala lotuses rising to the

微笑。整體面容莊重典雅,又帶有女性的溫和嫵媚。脖頸處刻有蠶

shoulders along the elbows, wearing a dhoti and a loose shawl over

節紋,雙乳隆起含蓄,比例完美。頭略偏右,身軀左傾,腰肢稍

the shoulder, adorned with bejewelled necklaces around the waist

扭,手足皆飾釧鐲,上身袒露,胸飾項圈,長鏈垂落至腹中,肩披

and the chest, the face with a benevolent expression, crowned with

帔帛,聖帶繞過雙肩且纏繞雙臂自然垂落,飄逸靈動。下著長裙,

a five-leaf tiara in front of a high chignon. The serene expression is

表面光滑,裙帶邊處以陰線刻紋裝飾,絲絲精細。半跏趺安坐於蓮

flanked by a pair of long pendulous earlobes and surmounted by

座之上,伸右腿,下踏小蓮台,左手結說法印於胸前,右手於膝頭

tightly knotted hair and an ushnisha . On her head she wears a five-

結與願印,雙手皆拈蓮莖。雙肩側的烏巴拉花枝粗葉盛,具大氣堂

pointed crown and a stupa atop the high jatamukata , the figure

皇之美,蓮蕾含苞欲放,雕飾極為精細。蓮座為雙層仰覆束腰式,

elaborately adorned with beaded jewelry including necklaces and

上層邊緣飾連珠紋,蓮瓣寬長,表面平滑,瓣尖微略上翹,上下對

bracelets. This figure of Green Tara is exquisitely made with dynamics

稱分布,環繞蓮座四分之三周。該尊綠度母整像清雋秀氣,動態優

and fluid posture and the elegant beauty of femininity, her expression

美,將其女性的柔美,以及她慈悲普度的情懷表現的淋漓盡致,為

full of compassion portrayed so vividly that makes it a truly valuable

清乾隆時期,原封底中不可多得的佳品。

addition to any collection of Qianlong period figures of Buddha.

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626 A KANGXI PERIOD DRAGON-PATTERNED LACQUER WRITING BRUSH Qing Dynasty KangXi Period (AD 1654-1722) L: 31 cm

PROVENANCE: Private collection, Japan

NT$ 1,100,000 - 1,800,000 HK$ 283,000 - 463,000 US$ 36,400 - 59,600 清康熙 剔犀如 意 雲 龍 紋 漆 筆 來源: 日本藏家舊藏

The pen is in a cylinder shape, covered in red lacquer, with the the character “shou” carved on the top. Both the cap and body are covered in patterns of clouds with a dragon circling the body through the clouds, vividly depicted in its powerful glory. The fine craftsmanship can be found in the details of the dragon’s exquisitely carved whisker and claws, with the rich color of the lacquer, making this piece full of solemnity and splendidness at the same time. 筆身呈圓形,通體髹朱漆,頂部雕團壽紋,筆帽及筆身分布祥雲捲 曲聚散、疏密疊壓,雲朵中蒼龍若隱若現,圍繞筆身盤旋而上,張 口吐舌,五爪外揚,昂首翹尾,形貌威風凜凜、強悍威嚴,方寸之 間頗具氣勢。龍身鬃須鱗爪極為刻畫精細,足見功力。漆色純正潤 美,髹漆肥厚,雲龍紋雕琢純熟利落,陰刻線條鋒芒畢露,整體壯 嚴穩重而不失華麗。

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627 A QIANLONG PERIOD AGATE “CHRYSANTHEMUM” BOX Qing Dynasty Qianlong Period (AD 1736 - 1795) H: 4 cm D: 6.5 cm

PROVENANCE: Hanhai Auction Beijing, Spring Auction 1996, Lot 1109 Private collection, Taiwan

NT$ 380,000 - 600,000 HK$ 98,000 - 154,000 US$ 12,600 - 19,900 清乾隆 瑪瑙菊 瓣 紋 印 盒 來源: 瀚海拍賣,北京,1996 年春拍,編號 1109 台灣藏家舊藏

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Botton Mark 底款:大清乾隆年製


Marked as made in Qing Qianlong period, this box shows fine

《大清乾隆年制》篆書刻款,刻工細緻、菊瓣分明,考為當時婦女

craftsmanship in the clearly carved petals, most likely serving as a

用化粧盒瑪瑙選材難得亦難刻工整,為一代表清三代乾隆期繁工簡

cosmetic box. Agate is a rare material, with the artistic value of this

潔工藝表現收藏品。

piece, making this box a highly valuable object to be collected of Qianlong period.

Literati II : Encounter with a Collector


628 AN IMPRESSIVE SOAPSTONE SEAL Qing Dynasty Yongzheng Period (AD 1723 -1735) 9.9x 9.9 x 9.5 cm PROVENANCE: Poly Auction Beijing, June 4, 2013, lot 7634 Sotheby's Hong Kong, October 8, 2010, lot 2625 Charles T. Killie, Presbyterian Mission, Beijing, early 20th century Col. H. M. Boies, Scranton, Pennsylvania, early 20th century. Estimate on request 估價待詢

清雍正 壽山石 和 碩 怡 親 王 龍 紋 印 璽 來源: 北京保利拍賣,北京,2013 年 6 月 4 日,編號 7634; 蘇富比拍賣,香港,2010 年 10 月 8 日,編號 2625 Charles T. Killie 舊藏,北京,二十世紀初 Col. H. M. Boies 舊藏, 美國賓夕尼亞州,二十世紀初

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An Impressive Soapstone Seal Qing Dynasty YongZheng Period 璽是始出於周,到了周朝才有璽和印之分,皇帝用的印叫璽,而臣民所用只能稱為印。故而有:「寶璽者何?天子所佩曰璽,臣下所佩曰 印。無璽書則王言無以達四海,無印章則有司之文移不能行之於所屬,此秦漢以來之事也」之說。(《明清帝后寶璽》弁言 朱家溍) 歷史記載,和碩怡親王督導清造辦處,為雍正皇帝倚重親王,此印刻劃十八隻螭龍盤據,設計巧思,造型優美,與北京故宮藏之雍正印信 一致,因歷史因素流落歐美,經由2008年香港蘇富比拍賣之後,再由藏家於北京保利2013年拍賣取得,珍惜此乃一難得國家級文物藏品。 「周庸恭鐫」款以整塊壽山石雕刻而成,質地細膩,光潤瑩亮,色呈黃褐,沁色自然,包漿古拙。壽山石是中國三大印石品種之一,且乾 隆帝的寶璽中有609方之多,是用壽山石刻制的。此印體量碩大,印紐浮雕螭龍紋,頂部琢一大螭蟠伏其上,雙目圓睜,扭身卷尾,趾爪鋒 利;其旁刻十數隻小螭,大小不一,形態 各異,均雕琢精細,憨實可愛,別饒雅趣。本品印臺光素無紋,打磨光滑;印面呈方形,減地陽文 刻「和碩怡親王章」篆文,獨有一番古拙蒼勁的金石韻味。整個印章,宏觀莊重大氣,微觀精美華麗,皇室氣息不言而喻。 據其印文,可知此為和碩怡親王胤祥之大印。愛新覺羅·允祥(1686-1729),為清康熙帝玄燁第十三子允祥,敬敏皇貴妃烏雅氏所生,努 爾哈赤裔孫。其人「詩文翰墨,皆工敏清新」,「精於騎射,發必命中,馳驟如飛」。弟兄間,惟與雍親王禛關系最密。雍正即位後,胤祥 成為雍正的得力助手,加封為總理事務大臣,先後總理戶部三庫,總理戶部等重任,並被封為「和碩怡親王」,頗受信任。胤祥在雍正朝前 期,起了重要的作用,他克盡臣弟之道,鞠躬盡瘁,幹才卓著而不居功,識人明達,做事老練,為人謙恭謹慎。雍正四年七月,雍正皇帝更 是賜其御書「忠敬誠直勤慎廉明」匾額,諭曰:「怡親王事朕,克殫忠誠,職掌有九,而公爾忘私,視國如家,朕深知王德,覺此八字無一 毫過量之詞。在朝諸臣,於『忠勤慎明』尚多有之,若『敬誠直廉』,則未能輕許。期鹹砥礪,以副朕望」。雍正通過這八各字對胤祥做 事、為人給予了高度的評價。 雍正八年,怡親王薨逝,胤禛悲慟,輟朝三日。翌日,親臨祭奠,諭:「怡親王薨逝,中心悲慟,飲食無味,寢臥不安。王事朕八年如一 日,自古無此公忠體國之賢王」、「王實能佐朕治安天下,朕實賴王翼贊升平」。故有清一代,君臣兄弟之誼莫出其上,「為天潢懿親振古 未有之寵」,堪稱第一人,今日得見其寶,誠屬難得。 縱觀歷史,清代皇家晉封過一百多位王爺,可留下璽印傳世者,卻寥寥無幾,而這些形形色色的清代皇家的王爺印,無論是材質殊同、規格 大小、紐式如何、銘文工否,都是中外藏家競相爭奪的珍品無疑。本件寶璽為親王受封後自刻自用的閑章,而非清廷冊封他們時正式頒發的 親王寶璽。近年所見滿清親王、郡王等皇室貴胄之信物可謂鳳毛麟角,而本品體量碩大,工料俱佳,且為最得雍正帝寵信的怡親王之印,加 之品相完好,殊為可貴。

This seal belonged to one of the four princes in the 19th Century who bore the title of Heshuo Yi Qinwang. Princes of the same rank in the 18th Century bore slightly different titles, hence along with the style of carving, this seal can be firmly dated to the 19th Century. This seal is remarkable for its impressive size and quality of carving, with the chilong dragons emerging and disappearing among clouds in imitation of the Song style of painting dragons. For a soapstone seal with a similarly carved top made for the Jiaqing Emperor in the Palace Museum Collection, see Imperial Seals from the Ming and Qing Dynasties, Beijing, 1996, pl. 239. Another related soapstone seal carved with dragons made for the Qianlong Emperor formerly in the Emile Guimet Collection sold in these rooms, 8th October 2009, lot 1652.

Literati II : Encounter with a Collector


629 A KANGXI PERIOD “FLOWER AND BIRD” DISH Qing Dynasty KangXi Period (AD 1654-1722) D: 21.1 cm

PROVENANCE: Private collection, America

NT$ 6,500,000 - 12,000,000 HK$ 1,671,000 - 3,085,000 US$ 215,400 - 397,600

Soame Jenyns, Later Chinese Porcelain, Faber and Faber, London, 1971, cover Soame Jenyns著《明清瓷器》,Faber and Faber 出版社,倫敦,1971年出 版,封面:清康熙過牆繪壽桃粉彩花

清康熙 過牆繪壽桃粉 彩 花 鳥 盤 「 大 清 康 熙 年 製」 款 來源: 美國藏家舊藏

Ravenel 72

鳥盤


Similar pieces are in the collection of the Beijing Palace museum, as

此物尚有相同一件在北京故宮收藏,及美國沙可樂美術館SACKLER

well as in the Sackler Gallery in the US, and it is featured on the cover

GALLERY一件收藏,並選為沙可樂清代瓷器封面,該書中提及大英博

of Soame Jenyns’ Later Chinese Porcelain. The painting is complete

物館館藏相同物件。本物品相完整,風格明顯,具有康熙時期的粉

and characteristic, highlighting the pastel painting style and technique

彩繪畫特徵,開創過牆畫法先河,並影響雍正、乾隆的瓷器風格,

from the Kangxi period of continuing a painting over the edge of a

一級官窯盤底繪年款,品位等級極高。

porcelain piece. The style influenced Yongzheng Qianlong porcelain and this is a top quality specimen of the bottom-painted kiln fired plates.

Literati II : Encounter with a Collector


630 A BEAST-HANDLED RECTANGULAR CENSER

The entire body of this rectangular censor bearing auspicious beasts has the luster of jing paper, and the auspicious beasts are carved

Qing Dynasty (AD 1644-1911) H: 6.5 cm L: 4.8 cm

in low relief on the body. The censor is rectangular in shape, and the two sides bear beast handles. Low feet support the censor on all four corners, and piece is accompanied by a purple sandalwood base. The top features a decorated cover with openwork carving of

NT$ 200,000 - 300,000 HK$ 51,000 - 77,000 US$ 6,600 - 9,900

intertwining branches, and there is an agate knob in the center of the cover. The body bears a simple, time-worn luster that gives it a timeless fascination. 此瑞獸方爐,通體藏經紙色澤,瑞獸採用淺浮雕方式鏨刻瑞獸於爐

清早期 浮雕獸 耳 四 方 爐

身,爐造型為方形,兩側配飾有獸耳,底足為四角落地,下配有一 紫檀底座,頂端裝飾有蓋,蓋鏤空雕刻纏枝紋,中間裝飾有一瑪瑙 鈕。整體包漿自然古樸,意味深長。

Ravenel 74


631 A CARVED WOOD FIGURE OF GUANYIN

清 木雕觀音菩薩

Qing Dynasty (AD 1644-1911) H: 20 cm L: 13.5 cm W: 10 cm

來源: 亞洲藏家舊藏

PROVENANCE: Private collection, Asia

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600

Collection of Beijing Place Museum 北京故宮藏品

Literati II : Encounter with a Collector


632 A BASIN-STYLE “DRAGON” CENSER

This narcissus basin-shaped censor imitates the narcissus basin form commonly made by the Official and Ru kilns during the Song

Ming Dynasty (AD 1368-1644) H: 7.5 cm L: 16 cm

Dynasty. The ceramics in this form are typically either plain-bodied or have dragon handles, with this piece being an example of the latter. The sides of the piece are slightly drawn in, and the bottom features a protruding rim. There are four feet, and the upper portions of

NT$ 900,000 - 1,600,000 HK$ 231,000 - 411,000 US$ 29,800 - 53,000

the feet are adorned with engraved ruyi and cloud patterns, which were made with a fine knife. The lip bears one cast hornless dragon handle on each side, and the dragons' mouths face each other. With crouching legs, the dragons appear fierce and powerful. The dragons wear ferocious expressions, and their hair is deeply incised. The

明 螭龍水仙盆 式 爐 款識: 大明宣德年製

bottom of the censor bears the open-frame cast inscription "Made in the Xuan De reign of the Great Ming" in standard script, and the strokes of the characters are clear and deep. The surface of this censor has an elegant time-worn appearance, and it is dark green with a hint of purple, giving it the look of an ancient piece. 水仙盆式爐仿自宋代官窯和汝窯常見的水仙盆樣式,一般有素身或 螭耳兩種,此為後者。腰腹斜收,底部凸起一周,下承四板足,板 足之上鏨刻如意雲紋,用刀犀利。唇口兩側鑄螭龍耳,螭龍口匍匐 對望,四肢撲地,惡骨嶙峋,身形窈窕有力。螭龍眉目猙獰,發絲 鏨刻如縷。爐底正中開框鑄「大明宣德年製」六字楷書款,筆劃清 晰,鑄造深峻。此爐皮殼古穆,暗青泛紫,古意盎然。

Ravenel 76


Literati II : Encounter with a Collector


Ravenel 78


Literati II : Encounter with a Collector


633 LONGQUAN CELADON-GLAZED BOTTLE VASE Yuan Dynasty (AD 1729 - 1398) H: 18 cm D: 10.5 cm

PROVENANCE: Private collection, Taiwan

NT$ 460,000 - 700,000 HK$ 118,000 - 180,000 US$ 15,200 - 23,200 元 龍泉窯青釉 飛 青 玉 壺 春 瓶 來源: 台灣藏家舊藏

Longquan ware, Celadon with iron brown spots, Yuan Dynasty,14th Century, The collection of the Museum of Oriental Ceramics, Osaka, Japan, No.00556 龍泉窯飛青玉壺瓶,元,14世紀, 日本大阪市立東洋陶瓷美術館館藏,編號00556

National treasure, Southern Song Dynasty – Yuan Dynasty, Longquan Tobi Seiji Bottle Vases, Ataka korekushon Chugoku-mei sue-ten (Chinese Porcelain Exhibition from the Ataka Collection), Tokyo Hyakkaten Honten, 1979 國寶,南宋至元,龍泉窯,飛青瓷花生, 《安宅コレクション中国名陶展》, 日本經濟新聞社,1979

Ravenel 80


Literati II : Encounter with a Collector


An Extremely Rare Pair of Longquan Tobi Seiji Garlic-mouth Bottle Vases, Yuan dynasty, H: 23.5 cm, Chinese C e r a m i c s F ro m T h e Ya n g d e t a n g Collection, Lot 3133, Christie’s Hong Kong, 30th November, 2016,USD$ 1,562,105 元 龍泉窯「飛青瓷」褐斑蒜頭瓶一 對,23.5 cm,養德堂珍藏中國古陶瓷 專場,拍品編號3133,香港佳士得, 2016年11月30日,HK$ 12,060,000

Ravenel 82


The Longquan kilns are famous among the celadon kilns and were located within present-day Longquan city in Zhejiang province. These kilns fired their greatest works during the Song and Yuan periods. The bottle’s mouth rim is rounded, with sloped shoulders, and a pear shaped body terminating to a circular base. The bottle is both slender and full, standing upright with exquisite curves and beautiful lines. The material is fine and thickly thrown then celadon glaze is applied to the entire body. The glaze, in an olive-green color, is light and glossy. Iron colored spots have been randomly added over the celadon glaze. The size and tone of the spots are also irregular. This glaze is called fei-qing in Japan. This piece is an excellent representative of the Longquan kilns from the Jin Yuan period. The glaze is rich and the craftsmanship shows mastery. This piece is considered to be one of the finer works among the funnel tea bottles from the Longquan kilns, showing excellent production techniques that have been preserved to this day, making it especially precious. 龍泉窯是著名的青窯瓷場,窯址在今浙江省龍泉市境內,宋元時期 燒造盛極一時。此瓶撇口圓唇,溜肩,垂鼓腹,底呈圈足;此瓶器 形修長飽滿,秀美挺拔,曲線玲瓏,線條優美。加之胎質細膩,胎 體較厚,全器施青釉,釉色清淡瑩潤,人稱「橄欖青」者,青釉上 點飾鐵色斑點,斑點不規則分布在瓶身,大小、色澤各異,此品 種在日本被命名為飛青。為金元時期龍泉窯器物的佼佼者,釉水肥 潤,修足工藝講究;在龍泉窯玉壺春瓶中也屬精品之作,製作考 究,保存至今,極為珍貴。

Literati II : Encounter with a Collector


634 A LONGQUAN CELADON-GLAZED TRIPOD CENSER Southern Song Dynasty (AD 1127-1279) H: 11.7 cm D: 15.5 cm

PROVENANCE: Private collection, Taiwan

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,200 - 29,800

Ravenel 84

南宋 龍泉窯青釉鬲式香爐 來源: 台灣藏家舊藏


635 A GROTESQUE WOOD STOOL Qing Dynasty (AD 1636-1912) H: 16.5 cm

清 奇木座 來源: 台灣藏家舊藏

PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000

Literati II : Encounter with a Collector


636 A LONGYAN WOOD STAND Qing Dynasty (AD 1636-1912) H: 6 cm L: 15.5 cm

PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000

清 龍眼木臺座 來源: 台灣藏家舊藏

Ravenel 86


637 ZHA SHIBIAO (Chinese, 1615-1698) Creek Hill and Bookhouse Ink on paper 23 x 14 cm Signed SHIBIAO in Chinese With one seal of the artist

NT$ 180,000 - 260,000 HK$ 46,000 - 67,000 US$ 6,000 - 8,600 查士標 溪山書舍圖 水墨 紙本 23 x 14 cm 題識:溪山書舍圖 黃鶴山樵畫法 士標擬意 鈐印:查士標印

This landscape depicts mighty mountains in the distance with clear outlines. With highly limited brushworks the spirit of prosperous plants is transmitted in a subtle yet flavorful manner. Zha puts great importance on the composition of the far away, the middle land, and the foreground, in order to achieve exquisite balance in the image. Viewers’ eyes, after appreciating the wood bridge in the foreground, drift naturally through the middle land of small villas into the far away mountains rising towards the sky. The effortless and elegant use of brushworks and ink makes this piece a representative works of literati’s paintings and a valuable addition to the collection of Zha Shibiao’s works. 《溪山書舍圖》遠景山體嚴峻,輪廓清晰。寥寥數筆, 淡墨皴擦山石紋理,穿插樹木、苔痕表現草木正茂的 時節,韻味幽靜而清淡。查士標構圖注重遠、中、近三 景間物象聚、散的呼應統一關係。遠景:厚實的山體聚 成石壁,它的整體性凝聚了散落。中景:又打破了遠景 的平整、呆板,屋舍前的掃者和屋中二人,平添了幾分 煙火氣。近景:溪上一高士攜童子踱橋而至,活躍了畫 面。觀者的視線在流覽完前景的木橋後,自然而然地穿 過中景簡單空曠的山石直達天際。擴展了畫面的進深空 間,得高遠、深遠之勢。全圖筆法疏簡,用墨恬淡,風 神懶散之趣溢於筆端,深得文人畫「逸品」之精髓,為 查氏的代表作之一。

Literati II : Encounter with a Collector


638 HUANG JUNBI (Chinese, 1898-1991) Figure in a Mountainous Landscape Ink on paper 82 x 47 cm Signed JUNBI in Chinese With one seal of the artist PROVENANCE: Private collection, Asia

NT$ 1,600,000 - 2,200,000 HK$ 411,000 - 566,000 US$ 53,000 - 72,900 黃君璧 高士觀瀑圖 水墨 紙本 82 x 47 cm 款識:君璧 鈐印:君翁 詩堂:壬寅六月,蟫堪並記。甲辰四月下浣, 老蟫。小魯於瑪瑙溪上,癸卯處暑。 鈐印:伯建四十後作、復求軒、伯建、許、曾小魯 來源: 亞洲藏家舊藏

Ravenel 88


639 HUANG JUNBI (Chinese, 1898-1991) Bamboo and Rock 1972 Ink on paper 91 x 30 cm Signed HUANGJUNBI in Chinese With three seals of the artist PUBLISHED: Three Masters Crossing the Sea –The Essential Exhibition of Color Ink Painting of Zhang Daqian, Pu Ru, and Huang Chunpi , Chan Liu Art Museum, December 2010, p.297

NT$ 850,000 - 1,200,000 HK$ 219,000 - 308,000 US$ 28,200 - 39,800 黃君璧 竹石圖 1972 水墨 紙本 91 x 30 cm 題識:何可一日無此君。壬子秋日畫於香江客次,黃君璧。 鈐印:黃君璧印(朱)、君翁(白)(右中) 鈐印:白雲堂(白)(左下) 著錄: 《渡海三家—張大千、溥心畬、黃君璧彩墨精特展》, 長流美術館,2010 年 12 月出版,頁 297。

Three Masters Crossing the Sea – The Essential Exhibition of Color Ink Painting of Zhang Daqian, Pu Ru, and Huang Chunpi 《渡海三家— 大千、溥心畬、黃君璧彩 墨精華特展》

Literati II : Encounter with a Collector


640 HUANG JUNBI (Chinese, 1898-1991) Chrysanthemum 1965 Ink and color on paper 93 x 30 cm Signed HUANGJUNBI in Chinese With three seals of the artist PROVENANCE: Private collection, Asia

NT$ 1,100,000 - 1,600,000 HK$ 283,000 - 411,000 US$ 36,400 - 53,000 黃君璧 霜落風高 1965 設色 紙本 93 x 30 cm 款識:霜落風高滿徑香 愛他姿致近重陽 一生種得花成癖 妝點秋容傍草堂 乙巳秋日畫於白雲堂黃君璧 鈐印:黃君璧印(白)、君翁(朱) 鈐印:白雲堂(白)(右下) 來源: 亞洲藏家舊藏

Ravenel 90


641 HUANG JUNBI (Chinese, 1898-1991) Plum Blossom and Bamboo 1948 Ink and color on paper 91 x 29 cm Signed JUNBI in Chinese With one seal of the artist PROVENANCE: Private collection, Asia

NT$ 1,000,000 - 1,600,000 HK$ 257,000 - 411,000 US$ 33,100 - 53,000 黃君璧 梅竹雙清圖 1948 設色 紙本 91 x 29 cm 題識:少敏世侄清賞,戊子元旦,君璧戲筆。 鈐印:君翁(朱) 來源: 亞洲藏家舊藏

Literati II : Encounter with a Collector


642 LI JING (Chinese, b.1972) Four Seasons Landscape Screen 2016 Ink and color on paper 95 x 30 cm x 4 Signed LIJING in Chinese With five seals of the artist

In 2016, Li Jing created a screen capturing the four seasons in a landscape scene, with each of the depictions serving as four independent paintings or a single, larger scene. The works can be joined or separated, creating the effect of an illusion alternating between continuity and separation. In terms of brushwork and the use of ink and color, the works display subtle changes, with the whole manifesting a unified rhythm in four different moods. The uninhabited mountains and deserted water scenes of this work evoke a profoundly meditative feeling, embodying the serenity and pure

NT$ 380,000 - 480,000 HK$ 98,000 - 123,000 US$ 12,600 - 15,900

emptiness much sought after in traditional literati paintings. Using the "Four Kings of the Qing Dynasty" as its stylistic basis, this work emphasizes the structural power of the landscape scenery. The delicate ink rendering of the unit structure, especially where the

李凈 四季山水屏

brush lingers in the overlapping shading, makes the arrangement of hills and ravines and the force of the brushwork all the more lyrical, lending the work the distinctive spatial structure and power of traditional Chinese paintings. The quariptych form of the work

2016 設色 紙本 95 x 30 cm x 4 釋文:「第一屏 • 春」丙申夏李淨 鈐印:「第一屏 • 春」李(朱)、淨(白) 「第二屏 • 夏」李淨(朱) 「第三屏 • 秋」李淨(朱) 「第四屏 • 冬」李淨(白)

expresses the four seasons, while the subtle, elegant colors leave a memorable impression. The landscape in the work "Four Seasons Landscape Screen: Spring, Summer, Fall, Winter" combines soft tenderness with raw vigor, achieving the classic expressiveness of an ancient landscape ink painting.

2016年夏李淨試作四季山水屏,構圖上四件作品既可獨立成畫, 又可併成一幅,作品之間的銜接處,既可連接又有斷開,形成一種 似斷似續的錯體效果。作品無論在用筆、用墨、用色方面均變化 微妙,整體統一在一個韻律中,又有四個不同感覺。空山無人水自 流,一股襌味撲面來,深得傳統文人畫之虛靜、清空之境。 「春」擬雲林,乾筆折皴,淡墨潤之,春意初萌; 「夏」擬巨然,淡墨披麻,飾以汁綠,夏風習習; 「秋」擬王蒙,牛毛密聚,赭顯金華,秋意盎然; 「冬」擬李成,簡筆勾皴,白雪漫漫,寒氣襲人。 作品筆墨以「清·四王」為根砥,著重畫面的結構氣勢,墨色間對單 元結構的細緻刻畫,尤在進行重疊的漸次中推延,畫面丘壑佈置和 筆墨功力則更顯韻味,形成了中國畫獨特的空間結構和氣勢。四聯 幅形式表達四季的更迭,用色清雅、秀麗,令人留下深刻印象。作 品《四季山水屏:春·夏·秋·冬》畫面或鬆潤中和,或渾厚生拙,達 到了古代山水畫筆墨表現的一個境界。

Ravenel 92


Literati II : Encounter with a Collector


643 LIU DANZHAI (Chinese, 1931-2011)

劉旦宅

The Pipa Tune

琵琶行

1980 Ink and color on paper 63.5 x 40 cm Signed LIUDANZHAI in Chinese With three seals of the artist

1980 設色 紙本 63.5 x 40 cm

PROVENANCE: Collection of Dr. Miao Tingjie.

NT$ 850,000 - 1,000,000 HK$ 219,000 - 257,000 US$ 28,200 - 33,100

Ravenel 94

題識: 予昔作琵琶行圖題以此時無聲勝有聲而橫遭荼毒, 然廷杰醫師好之,今重繪奉教以紀感念,庚申秋月劉旦宅。 鈐印左上:劉(朱)、旦宅(白) 鈐印右下:知白堂(朱) 來源: 繆庭杰醫生舊藏 ( 書畫收藏家,謝稚柳伉儷好友,中國著名泌尿外科專家 )


644 CHEN TINGSHI (Chen TING-SHIH, Taiwanese, 1916-2002)

Landscape 1936 Ink on paper 181.1 x 181.1 cm Signed CHEN Ting-shih in Chinese on the right With two seals of the artist With two seals of the collectors With an inscription of An exhibited painting of Ministry of Transportation Art Exhibition in 1975 on the scroll PROVENANCE: Collection of Chiang Sen-nang, Taiwan (the artist's friend who was a stone collector)

NT$ 180,000 - 260,000 HK$ 46,000 - 67,000 US$ 6,000 - 8,600 陳庭詩 層層山巒 1936 水墨 紙本 181.1 x 181.1 cm 題識:與偁先生雅正 丙子歲暮 庭詩 鈐印:陳庭詩 長樂老人(右上) 鈐印:黃氏家福收藏用印(右中) 卷軸題簽「六十四年參加交通部藝展品」 (藝術家親簽 ) 展覽: 「六十四年交通部藝展」,台灣交通部,1975 圖錄: 六十四年交通部藝展折頁,1975 來源: 江森男先生舊藏,台灣 (江森男為陳庭詩收藏雅石的同好友人)

Literati II : Encounter with a Collector


645 BAI XUESHI (Chinese, 1915-2011)

白雪石

Lijiang River

漓江圖

1981 Ink and color on paper 29 x 42 cm Signed XUESHI in Chinese With two seals of the artist PROVENANCE: Private collection, Asia

NT$ 480,000 - 600,000 HK$ 123,000 - 154,000 US$ 15,900 - 19,900

Ravenel 96

1981 設色 紙本 29 x 42 cm 款識:亞蘭同志方家指教,辛酉春三月雪石寫。 鈐印:雪石(朱) 鈐印:待細把江山圖畫(白) 來源: 亞洲藏家舊藏


646 A YUE CELADON-GLAZED FOLIATE-RIM DISH

The Yue kiln complex was the most famous producer of celadons

Five Dynasties Period (AD 907-960) D: 15.5 cm H: 4 cm

gradually improved in quality, gaining itself a good reputation of

PROVENANCE: Private collection, Europe

NT$ 500,000 - 600,000 HK$ 129,000 - 154,000 US$ 16,600 - 19,900

during the Tang Dynasty, Five Dynasties Period and early Northern Song Dynasty. Since the middle of the Tang Dynasty, Yue ware has being similar to ice and jade as well as ‘thousand peaks in emerald color’. As Yue kilns thrive in the late Tang Dynasty and the Five Dynasties Period, vessels mimicking the shapes of gold and silver ware mushroomed. This dish is the most representative work of Yue kilns which has five bracket-lobes decorated with stem patterns in between, highlighting the feature of a foliate rim. 越窯是唐、五代及北宋初期最著名的青瓷瓷窯。唐代中期以後越窯 產品的質量逐漸提高,有「類玉」、「類冰」及「千峰翠色」之 譽。至晚唐、五代越窯更加興盛,出現多種仿金銀器造型的器物, 此葵口盤即為越窯最具代表性的一件,盤葵口五瓣型,每瓣間隔有

五代 越窯青釉 葵 口 盤

出筋裝飾,更增添了葵口型制的特色。

來源: 亞洲藏家舊藏

Literati II : Encounter with a Collector


647 A YAOZHOU MOON-WHITE-GLAZED CARVED 'PEONY' DISH Jin Dynasty (AD 1115-1234) D: 19 cm H: 3.5 cm PROVENANCE: Private collection, Asia

NT$ 220,000 - 300,000 HK$ 57,000 - 77,000 US$ 7,300 - 9,900 金 耀州窯月白 釉 刻 牡 丹 紋 盤 來源: 亞洲藏家舊藏

Ravenel 98

With shallow and arched sides rising from a countersunk base to an everted rim, this dish is finely carved on the interior with a medallion enclosing two large peony pads and blooms borne on extending branches and leaves. The base is faintly incised with a circular swirl, the body applied overall including the countersunk base with a moon-white glaze, the shape sedate and elegant. Yaozhou decoration features flower incising with oblique cuts, creating a stereoscopic effect. 耀州窯月白釉青瓷盤,口沿外翻,弧壁,臥足內挖,挖處亦施有釉 水,盤內刻花兩株,花朵碩大,枝葉舒展,刀法嫻熟,刻畫精細。 內外施月白釉,製造講究,造型穩重,氣質高貴。耀州窯裝飾工藝 以刻花為特色,傾斜剔刻,極具立體感。


648 A DING WHITE-GLAZED ‘CHILDREN AT PLAY’ DISH Song Dynasty (AD 960-1279) D: 13.5 cm H: 1.5 cm PROVENANCE: Private collection, Asia

As one of the “Five Great Wares” during the Song Dynasty, Ding ware is highly valued by collectors. This gracefully shaped dish has an everted rim divided into six bracket-lobes each centered with a sharp point. The rim, with a protruding band, is finely moulded with ruyiform clouds, the interior shaped to echo the rim, the flat center of the interior skillfully carved with a ruyi-form clouds band encircling a child at play. The child wearing a bellyband with a bowknot behind the neck is turning his/her head and stretching out over a group of

NT$ 300,000 - 400,000 HK$ 77,000 - 103,000 US$ 9,900 - 13,300

lotus leaves, two lotus flowers moulded beside the child’s head and feet. Applied overall with a white glaze bright and smooth, this dish is unusually rare and valuable among Ding wares. 定窯作為宋代五大名窯之一,歷來為藏家所重。谷應泰《博物要 覽》卷二《志窯器》云:「定窯器皿以宣和、政和年造者佳。時為 御府燒造。色白質薄,土色如玉,物價甚高。」拍品造型優雅,器

宋 定窯白釉嬰 戲 紋 印 花 盤

形呈現菱口型,口沿外翻,一周起線條凸出,口沿上模印如意雲紋

來源: 亞洲藏家舊藏

裝飾,內壁模製菱型與口沿相呼應,盤內底模印如意雲紋開光,開 光內一孩童成嬰戲狀態,回頭遙望,四肢舒展自然,身穿肚兜,頸 後系蝴蝶結,五官刻畫清楚,顯得孩童憨態可掬,孩童下有一荷葉 紋,頭與腳部裝飾有荷花各一朵,紋飾疏密有致,布局飽滿。滿施 白釉,釉質晶瑩,是一件定窯瓷器中傳世較為罕見的器物,在市場 中更是可遇不可求。

Literati II : Encounter with a Collector


649 YUNG CHEE-MUN (Simon YUNG, Chinese, b.1968)

Rocks Emerge when Spring Subsides 2016 Ink and color on paper 136 x 34 cm x 2 Signed RONGZIMIN in Chinese With nine seals of the artist

PROVENANCE: BLINK GALLERY, Hongkong

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,300 - 13,300 容子敏 水落石出 2016 設色 紙本 136 x 34 cm x 2 款識:容子敏畫 鈐印 ( 右 ):水落石出(朱)、 容(朱)、子敏(白)、SIMON YUNG( 朱 )、自家山水(白) 鈐印 ( 左 ):SY(朱)、 清(朱)、閒(白)、容子敏(白) 來源: 齊亮畫廊 , 香港

Ravenel 100


Yung Chee-mun, Simon focused on ink painting. The creative concept of landscape painting has always been used to hold together the ancient scholars' philosophy about life, and has been viewed as the portrayal of their personality. With the use of ink, he integrated the invisible spiritual realm into the visible landscape, turned the real life's hustles and bustles into a world of quietness and serenity, and pursued the philosophy of leisure and free spirit inspired by Du Fu's poetry. His landscapes depict a fairy tale - like Chinese utopia based on natural scenes from his recalled memory. The other iconic symbol found in Simon's artwork is the waterfall. He feels that unlike trees and buildings which grow up vertically, water quietly flows downwards to nourish life on earth. As we lived in a rapid city, it is good for one to slow down and focus on a moment of quietness. Simon was inspired and influenced by Romantic English artist William Turner and Impressionist French artist Claude Monet. He uses Eastern and Western art materials and techniques to create his own rich colorful ink paintings imbued with a sense of Chinese fusion. His ink works "Rocks Emerge when Spring Subsides no.26" is collected by Hong Kong Museum of Art in 2013. 容子敏專注水墨藝術創作,其作品訊息是要將社會世俗的煩囂轉移到靜謐的心靈, 把無形的精神境界以筆墨表現在有形的山水之中,追求詩人杜甫的「水流心不競, 雲在意俱遲」這樣的人生哲理。山水意境一向是古代文人生命理念的維繫,是人性 的寫照,是心靈寄託的家園。其畫中的風景有如人間仙境,暮色蒼茫、煙雨淒迷, 然而又並非是一個渺無人煙、不存在的世外桃源,而是一個世人可以踏足的美景; 因此在其作品的一角,偶爾仔細觀察會看到小屋、小徑等,若隱若現在迷濛之間, 恍如深入其中,令觀者在喧囂的生活中感悟到在僻靜之境休憩及享受。另一特色是 流水、瀑布隨處滿佈,容氏認為我們的世界被許多向上生長的物件包圍,如大廈、 高山、樹木等,唯獨水是向下流,靜靜地為萬物提供養份,不與他物相爭,流水能 穿透亂石,不受時間限制,靜靜地配合大自然的規律,是美,是永恆。我們活在急 速的城市,也許需要緩下來,寄情於一刻的恬靜。容氏受英國浪漫主義畫家William Turner及法國印象派Claude Monet的影響,畫風揉合了中西技法,既有豐富鮮明的色 彩,又不失傳統水墨之淡然物外的氣魄,其中作品「水落石出no.26」於2013年獲香 港藝術館永久收藏。

Literati II : Encounter with a Collector


650 A TIELI WOOD LONG CORNER LEG TABLE

Mesua ferrea ironwood enjoys a long history in Chinese furniture. It is still found in well preserved heavy pieces and is an important

Ming Dynasty (AD 1368–1644) L: 189 cm W: 44.5 cm H: 82.5 cm

material for those researching the origins of classical furniture. The

PROVENANCE:

is slender and the top material solid, presenting a beautifully crafted

texture of the ironwood used in this table suggests ripples in water. The legs drop straight down terminating in an internally turned foot characteristic of works from the 16th to the 17th century. The body

Private collection, Taiwan

quaint and concise design. This table is representative of Ming

NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200

中國使用鐵梨木製傢俱歷史悠久,至今常有大型重器保存完好出

ironwood furniture.

現,成為研究古典傢俱起源的重要實物。此案鐵梨木製,紋理猶如 水波紋,腿直下至內翻馬蹄足為十六至十七世紀的特色。體型修 長,案用料厚重,造型古樸簡潔,製作工藝精美。不失為明代鐵梨 木傢俱的代表。

明 鐵梨木長條 案 來源: 台灣藏家舊藏

Ravenel 102


Literati II : Encounter with a Collector


651 A RED LACQUER WINE TABLE Ming Dynasty (AD 1368–1644) L: 96.5 cm W: 46.5 cm H: 86 cm

PROVENANCE: Private collection, Taiwan

NT$ 700,000 - 1,200,000 HK$ 180,000 - 308,000 US$ 23,200 - 39,800 明 紅大漆酒桌 來源: 台灣藏家舊藏

Classical Chinese Lacquered Furniture, No.18 《大漆家具》,編號18

Ravenel 104


The overall sense of this table is both dignified and elegant. The piece

此桌整體造型端莊秀美,通體施披麻、掛灰、鬃朱紅大漆,絛環板

is entirely rendered with vermillion lacquer applied with the linen and

處雕刻門窗中常見的網紋圖案。因年代久遠,光澤含蓄,胎骨為杉

plaster technique. The contour screens are carved in the textured

木或榆木,鬃漆工藝考究,桌面漆斷紋如冰裂。壺門牙板彭出,與

pattern commonly used in Chinese doors and windows. The original

花腿足平接,腿直下至內翻馬蹄足,此種樣式為明式傢俱的一個典

glossy finish has matured to sublime with age. The brush work on

型特徵,漆面保存相對完好更是十分少見。

this fir and elm wood table is refined, revealing a surface pattern of broken lines suggesting cracks in ice. The outward curving apron edging meets the legs evenly and the legs descend strait to inwardlyturned feet, both of which are features characteristic of Ming furniture. The paint is unusually well preserved.

Literati II : Encounter with a Collector


652 A LARGE YAOZHOU CELADON-GLAZED CARVED ‘FLORAL’ BOWL Jin Dynasty (AD 1115-1234) D: 19 cm H: 7 cm PROVENANCE: Private Asia Collection

NT$ 360,000 - 550,000 HK$ 93,000 - 141,000 US$ 11,900 - 18,200 金 耀州窯青釉 刻 花 大 碗 來源: 亞洲藏家舊藏

Ravenel 106

Chinese Ceramics from the Meiyintang Collection, Volume 1b, p.232 《玫茵堂 - 中國瓷器》第一卷 第一冊 232頁


Potted with deep arched sides rising from a small round foot to an

碗圓口微斂,深弧腹,下承小圈足。器身通施金代耀州窯特有的青

incurved rim, this bowl is covered overall with a celadon glaze of a

釉,綠釉中略帶黃色,釉水豐厚,潤澤細滑。碗內壁劃花裝飾蓮花

yellowish-green tone unique to Yaozhou kilns. The interior is incised

紋,外壁口沿處是結繩紋,圈足修削工整,露出灰色胎。拍品青釉

with two wheel-shaped petal lappets each radiating out from the

薄而透明,發色淺淡,雅致清心。

center, the exterior with knotted rope patterns. The round foot is neatly worked, with the foot’s unglazed underside revealing the grey tint of the body. This celadon glaze is thin and transparent, giving a sense of elegance and pleasance.

Literati II : Encounter with a Collector


653 A BAMBOO BRUSH POT CARVED WITH THE IMAGE OF “SCHOLAR VIEWING THE WATERFALL” Qing Dynasty Qianlong Period (AD 1736-1795) H: 14.7 cm

NT$ 650,000 - 750,000 HK$ 167,000 - 193,000 US$ 21,500 - 24,900 清乾隆 竹雕高 士 觀 瀑 圖 筆 筒 款識:白雪陽春期龢者,高山流水感知音。 乙卯伏日為慎亭先生鑒,大昕。

Ravenel 108


The surface of this brush pot is carved with the image of “Scholar

竹製筆筒取竹節成器,筒身外壁精鐫高士觀瀑圖,圖中,一高士攜

Viewing the Waterfall”. Within the image, a scholar, accompanied

一童子一船夫身處山巒之間,位於水面之上遠觀飛瀑。遠處蒼山聳

by his boy servant and the boatman, enjoys the view of the waterfall

立,溝壑縱橫,煙雲裊裊。主僕三人正在觀看飛流而下的瀑布,其

on a boat, with high mountains and misty fog in the background.

高士面目清朗,寬衣博帶,童子頭梳雙髻,懷抱古琴,有攜琴訪友

The jagged rhythms of the pine tree and mountains contrast with

含義。主人陳說著眼前流瀑飛泉的壯觀景像,船夫則悄然立於主人

the quiet mood of the scholar, who gazes pensively into the bubbling

和童子身後,躬身搖曳,一副小心翼翼的模樣。整個香筒以全景的

rapids of the cascade. The gestures, expressions and even details of

形式表現了這一畫面,人物形象各具特色,神情自然,五官及服裝

the clothes of the three characters are all vividly depicted with fine

線條雕刻流暢,山石、雲霧鐫刻刀法犀利爽快,工藝嫻熟,生動的

craftsmanship.

再現了主僕三人江面觀瀑、攜琴訪友的場景。其呈色褐紅美艷,呈 相精熟,包漿亮麗,不愧為竹器中的經典名作。

Signed with poets of Qian Daxin. Qian Daxin (1728–1804) was a historian and linguist of Qing Dynasty China, who served as a

款識為大昕,即錢大昕(1728-1804),字曉征,號辛楣,又號竹

commissioner of education and examinations in Guangdong Province.

汀,漢族,江蘇嘉定人(今上海嘉定),清代史學家、漢學家。錢

As the proponent of kaozheng approach, Qian Daxin criticized

大昕是18世紀中國最為淵博和專精的學術大師,他在生前就已是飲

moralizing ("praise and blame") interpretations of the Chunqiu and

譽海內的著名學者,王昶、段玉裁、王引之、凌廷堪、阮元、江藩

argued that the importance of history should be deemed as valid as

等著名學者都給予他極高的評價,公推錢氏為「一代儒宗」。

importance of classics.

Literati II : Encounter with a Collector


654 AN INSCRIBED CIZHOU BLACK-GLAZED FAMILLE ROSE JAR Jin Dynasty (AD 1115-1234) H: 9 cm D: 10 cm PROVENANCE: Private collection, Asia

NT$ 70,000 - 120,000 HK$ 18,000 - 31,000 US$ 2,300 - 4,000 金 磁州窯黑釉 剔 花 填 粉 小 罐 來源: 亞洲藏家舊

Ravenel 110


655 A JUN SKY-BLUE-GLAZED TEA BOWL

This is a sky-blue glazed tea bowl of Ding ware. The small vessel is covered on the exterior with glaze except for the round foot, while

Song Dynasty (AD 960-1279) D: 6.6 cm H: 3.4 cm

PROVENANCE: Private collection, Asia

the underside of the foot is also applied with glaze. This kind of practice is considered as the characteristic feature of Song Dynasty Jun ware. Jun ware uses opaque glaze, which makes distinct flowing traces. The glaze is especially thin around the rim, showing the dark color of the body, and close to the foot it becomes thicker. The exquisiteness of this lot's calcination craft shows Jun ware's status as one of the“Five Great Wares”.

NT$ 180,000 - 360,000 HK$ 46,000 - 93,000 US$ 6,000 - 11,900

此盞為鈞窯所燒製的天藍釉茶盞,器型十分小巧,外壁施釉到茶盞 圈足處,圈足一周無釉,盞底部亦覆蓋有釉水。此種燒製方式被認 定為宋代時期鈞窯特征。鈞窯釉水為乳濁釉,燒製時流淌痕跡明 顯,口沿一周釉水略薄,可見深色胎體的顏色,接近底足處釉色有 微微堆積痕跡。其燒製工藝的精細程度顯示其出身宋代五大名窯鈞

宋 鈞窯天藍釉 茶 盞

窯的身份。

來源: 亞洲藏家舊藏

Literati II : Encounter with a Collector


656 A BAMBOO BRUSH POT CARVED WITH THE IMAGE OF “THE SEVEN SAGES OF THE BAMBOO GROVE ” Ming Dynasty (AD 1368–1644) H: 16 cm

NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,500 - 39,800 明 竹雕竹林七 賢 圖 筆 筒

Ravenel 112


This Qing Dynasty brush pot is carved with images of “The Seven

筆筒表現「竹林七賢」之典故,鏤空透雕一片竹林,由遠及近,在

Sages of the Bamboo Grove”. The bamboos and pine trees where

有限的空間中營造出茂林修竹的山野之趣。浮雕兩棵參天古松,怪

the seven sages are roaming and traveling are exquisitely engraved

石嶙峋,七名高士悠游於竹林之下,人物雖多,各具姿態,均惟妙

with a powerful sense of three-dimensional dynamics, u sing

惟肖,生動自然。整體雕飾大膽,在深挖與鏤雕之下,將松柏之層

sophisticated techniques of deep relief carving and piercing carving,

迭與挺拔,峭壁,刻畫的淋漓盡致。整器雕刻重深挖,鏤雕之技

even the facial expressions of the characters vividly portrayed. “The

法,使得器物雖為平面雕刻,卻如同一片竹林躍然其上,立體感十

Seven Sages of the Bamboo Grove”were a group of Chinese

足。筆筒歲久年深,表面呈紅褐色,包漿滋潤,光澤如玉。刀工精

scholars, writers, and musicians of the 3rd century CE, namely Ji

湛,玲瓏細膩,截取圓潤的竹材,施以深浮雕兼鏤雕技法,刻刃精

Kang (aka Xi Kang), Liu Ling, Ruan Ji, Ruan Xian, Xiang Xiu, Wang

深,同時作者通過細膩的刀法將眾多人物表情生動的表現出來,在

Rong and Shan Tao. They found their lives to be in danger when the

濃厚的自然包漿之下,更顯得古韻盎然。

avowedly "Confucian" Jin Dynasty (Sima clan) came to power, and as is traditionally depicted, the group wished to escape the intrigues,

竹林七賢是三國魏末七位名士的總稱,即譙國嵇康、陳留阮籍和阮

corruption and stifling atmosphere of court life during the politically

鹹、河內山濤和向秀、沛國劉伶、琅琊王戎。魏晉易代之際,朝中

fraught Three Kingdoms period of Chinese history. They gathered

鬥爭激烈,時局紛紜多故,七人標榜老莊,崇尚清談,志趣相投,

in a bamboo grove near the house of Ji Kang in Shanyang (now in

常集於竹林之下,肆意暢飲,為時人所推崇。筆筒以此為題,整器

Henan province) where they enjoyed, and praised in their works, the

造型瑰麗自然,將高逸之士以概念化的形像置於山水林泉之間,像

simple, rustic life. They stressed the enjoyment of Chinese alcoholic

征士大夫歸隱後的生活,同時抒發他們希冀縱情於物外的情致。

beverages, personal freedom, spontaneity and a celebration of nature. This brush pot is especially valuable for its old but beautiful wrapped slurry with a tinge of russet color, also with the charming spirit of literati embodied in carved bamboo.

Literati II : Encounter with a Collector


657 A YAOZHOU CELADON-GLAZED ‘LION’ LAMP STAND Song Dynasty (AD 960-1279) H: 13.8 cm PROVENANCE: Private collection, Asia

NT$ 550,000 - 800,000 HK$ 141,000 - 206,000 US$ 18,200 - 26,500 宋 耀州窯青釉 獅 子 燈 盞 來源: 亞洲藏家舊藏

The Yaozhou kiln first appeared in the Tang dynasty with various types of wares. Since the Five Dynasties Period, it began to focus on the production of celadons. Celadons, often in shades of pale blue, sometimes azure and light greenish blue as well, were once used in the imperial palace because of high-quality body and glaze. This lamp stand is extremely rare as most Yaozhou productions are in shapes of dishes and bowls, sometimes vases. Only Japan is recorded to obtain a ‘lion’ lamp stand, though the complete product has not been seen yet. This stand is moulded with a perfectly proportional lion figure, covered with a lighter dark green glaze and sophisticated moulded patterns. The lion is depicted standing on a double-layered base supported by four legs, the body of the lion elaborately carved with distinct manes and facial features, the chest adorned with a necklace, the back covered with a blanket-shaped object. On the back rests a floral object connecting the foliate-rim lamp stand which is moulded with floral patterns in the center of the interior and stem patterns around. This lamp stand is delicate and detail-oriented. Though it has rim chips, it is still considered rare and valuable. 耀州窯始燒於唐代,當時的燒製的品種繁多,五代後則逐步形成專燒青瓷的格 局。青瓷釉色以灰青為主,亦有天青、淡青等,釉質細潤光亮。因胎釉俱佳曾被 選中燒造貢瓷。耀州窯胎精釉佳,產品多為碗盤碟缶,少數立件瓶類,似拍品立 獅供佛擺件,非常稀有少見,記錄只有日本某文庫藏立獅油燈一件,完整成品未 見。拍品立獅模制,比例准確精當,釉色青綠偏淡,印花紋繁複,胎質細膩,獅 子四肢站立於雙層台座之上,台座雙層均下承四足。獅子軀干四肢刻畫精細,脖 子一周鬃毛刻畫清晰,獅子頭部刻畫更加精細,清楚可見五官。胸部下方裝飾有 瓔珞裝飾,尾巴末端清晰刻畫毛皮的效果。背部披有一毯子造型物品,上承花狀 物與燈盞連接,燈盞為葵口形制,盞心內部模印花卉紋飾,葵口花瓣形式的燈盞 有出筋裝飾。此件拍品製作講究,諸多細節處理精細巧妙,惜燈盞葵口微磕,但 真無損其珍稀性,值得慧眼購藏。

Ravenel 114


Literati II : Encounter with a Collector


658 A QIANLONG PERIOD GILT BRONZE FIGURE OF HAYAGRĪVA Qing Dynasty Qianlong Period (AD 1736 - 1795) H: 25 cm W: 10 cm L: 20.5 cm PROVENANCE: Private collection, Europe

NT$ 850,000 - 1,200,000 HK$ 219,000 - 308,000 US$ 28,200 - 39,800 清乾隆 銅鎏金 馬 頭 金 剛 像 來源: 歐洲藏家舊藏

Ravenel 116


Literati II : Encounter with a Collector


Ravenel 118


A Qianlong Period Gilt Bronze Figure of Hayagrīva Qing Dynasty Qianlong Period

In Tibetan and Japanese Buddhism, Hayagrīva is an important deity

馬頭金剛亦稱馬頭明王、馬頭觀音、馬頭觀自在。梵語稱「何耶揭

who originated as a yaksha attendant of Avalokiteśvara or Guanyin

梨婆」,藏語稱「丹真」。是觀音千千萬萬化身中的一種化相,是

Bodhisattva. Appearing in the Vedas as two separate deities, he was

幫助修行者降魔除障的憤怒相,他髮上的馬頭形像昭示其為畜生道

assimilated into the ritual worship of early Buddhism and eventually

的教主,畜生道的教主在藏傳佛教中具有廣泛的尊崇,髮際間的三

was identified as a Wisdom King in Vajrayana Buddhism. In Tibet, Hayagriva was promoted especially by Buddhist teacher Atiśa and appeared as a worldly dharmapala . His special ability is to cure diseases, especially skin diseases even as serious as leprosy, which is said to be caused by nāgas.

個馬首為觀音為啖食一切眾生無明業障,摧破諸恐怖而現之形,在 藏傳佛教中具有廣泛信仰,為消除業障消災祈福的化身。 在西藏,馬頭金剛是咒師們的主要本尊。每逢有旱災、水患或任何 大自然災害,咒師以及僧人或者牧民們便會聚集一起,修誦這位本 尊的儀軌,來禳解災難。修持馬頭金剛本尊,不單可以消除業障,

Hayagriva is considered as a Avalokiteśvara with wrathful form, one

而且臨終可以往生於觀音或彌陀的淨土。故此,不僅藏密非常重視

of the six Avalokiteśvaras intended to save the sentient beings of the

馬頭金剛,即使日本的東密也同樣極其青睞。由此可見該尊塑像之

six realms: deities (deva), demons (asura), human beings, animals,

地位的重要性。

hungry ghosts, beings of hell. Hayagriva's sphere is realm of animals (or beings whose state of mind are animal-like). In Folk religion in

此尊馬頭金剛像三頭六臂八足,赤髮衝冠,髮間有馬首,頭戴骷髏

Japan, Hyagriva was also worshipped as the guardian deity for horses

冠,面部猙獰可怖,濃眉大眼、三目圓睜,大口獠牙,表情十分誇

because of its name Horse-head (Batō). The horse was symbolized as

張。馬頭金剛的六臂原應各持法器,右上手持金剛杵,第二手持三

a vehicle, not as one of Hayagriva's heads.

叉戟,最下手持劍;左上手施無畏印,第二手持矛,最下手持索 套。然法器單獨鑄造,持於手中,經久難免散失,通過右側尚余金

This figure of Hayagrīva is portrayed in standing on a single lotus

剛杵與劍柄,依然可見手持法器之精妙。該尊馬頭金剛坦胸赤臂,

throne, resting on the right foot in pratyalidha , crushing intertwined

耳掛圓鐺,胸配繁複瓔珞,臂戴圓珠釧環,腰圍人頭蔓墜飾,繫錦

serpents, a loincloth in tiger skin, a cape in elephant skin and

布,足踏長蛇,表示降服羅剎、鬼怪、天龍八部之一切魔障,消無

ornaments dharmapala , a horse head emerging from his shaggy

名業障、瘟疫、病苦、免一切惡咒邪法等。立於單層覆蓮台座,上

hair. The wrathful protector is depicted with three heads, six arms

下緣飾以清晰的連珠紋。本尊為清乾隆時期造像,通體黃銅鎏金,

and eight legs, standing in alidhasana, holding a khadga in the

鎏金亮麗,做工精細,多處鑲嵌寶石,肢體塑造細膩,動態把握到

primary right hand and a pasha in the primary left hand, holding

位,工藝十分精細,充分體現華貴富麗的效果,為不可多得的精品。

a khatvanga in the secondary right hand and a tomara in the secondary left hand, holding a vajra in the tertiary right hand and the tertiary left hand in tarjani mudra, with three identifying horse heads emerging from the crown of the head. As a Qianlong period work, the whole figure is gilt in shinning golden with fine craftsmanship, exquisite design, and inlaid with precious stones, making it highly worth collecting.

Literati II : Encounter with a Collector


659 A ZANABAZAR SCHOOL GILT ROSE COPPER FIGURE OF BUDDHA GAUTAMA FROM KHALKHA MONGOLS 17th - 18th Century H: 22 cm W: 15.5 cm PROVENANCE: Private collection, Europe

NT$ 2,800,000 - 3,600,000 HK$ 720,000 - 925,000 US$ 92,800 - 119,300 17-18世紀 喀 爾 喀 蒙 古 扎 那 巴 扎 爾 風 格 紅 銅 鎏 金 釋 迦 牟 尼 來源: 歐洲藏家舊藏

Ravenel 120


Literati II : Encounter with a Collector


A Zanabazar School Gilt Rose Copper Figure of Buddha Gautama from Khalkha Mongols 17th - 18th Century

Buddha Dīpankara signifies the “Lamp Bearer”. According to

「過去佛」即為燃燈佛,為釋迦牟尼之前的佛,佛經中記載燃燈佛

some Buddhist traditions, Dīpankara was a Buddha who reached

出生時身邊一切光明如燈,故稱為燃燈佛。佛經中將一個宇宙從生

enlightenment eons prior to Gautama Buddha, the historical Buddha,

到滅稱為一個「大劫」,釋迦牟尼所在的現世即現在的劫稱為「賢

and when he was born the world was lightened and hence the name.

劫」,燃燈佛為賢劫之前「莊嚴劫」的佛。燃燈佛曾預言釋迦牟尼

Buddha Dipankara, who is believed to have lived for 100,000 years,

的前身在賢劫中將成佛,並向他授記,因而燃燈佛也被稱為「過去

is one of the predecessors of the historical Buddha Gautama and is

佛」。

credited for setting the Wheel of Dharma in motion, thus marking the beginning of the Buddhist faith. Dipankara’s prophetic abilities

此尊銅鎏金燃燈佛面相飽滿,面貌刻劃清晰,棱角分明,雙眉間點

are known from a jataka , stories that record events from the Buddha’s

白毫,鼻梁直挺,雙耳垂肩,溫和端祥。身披佛衣,其上刻細密花

past lives, where the ascetic Sumedha, a past incarnation of Buddha

紋。右胸及右臂袒露,雙手於胸前結轉法輪印,即說法印。雙腿結

Shakyamuni, offered to spread his hair and flowers on the ground for

跏趺坐。所穿佛裙亦雕刻精美,層迭有致,鋪於蓮台之上。裙邊在

Dipankara to walk on and avoid the mud.

雙腿前鋪設,展開如扇形。這種扇形裙角以及右肩袈裟覆搭一角, 早在二世紀犍陀羅石雕的佛陀造像就能看見,是為求達至寫實性需

This elegant figure depicts Buddha Dipankara seated on a lotus

要而加上的,這種處理雖在中原及西藏系的佛像上也常見,但喀爾

petalled throne while making the gesture of Turning the Wheel of

喀的造像對此往往進行簡單化處理,袈裟衣薄貼身,僅僅是在衣緣

the Law (dharmachakramudra). He is wearing a shawl with foliate

處作寬邊緣鏨刻處理,明顯地突顯出造像上身的肌肉感,這是來自

hem over his left shoulder revealing a bare chest and bare right arm,

於尼泊爾造像的影響,而札那巴札爾風格的造像往往就在這些微妙

with serene facial expression framed by pendulous ears, the hair

細部讓人覺得非常耐看。

gathered in tight curls surmounted by a domed ushnisa , inscribed on the underside with an undecipherable character. The torso is

整尊造像體碩高大,胎體厚重,金水鋥亮,寬肩細腰,雙臂粗壯有

portrayed with emphasized muscles, influenced by Nepali styles.

力,全身上下透著一種力量之美,是札那巴札爾造像的魅力所在。下

Demonstrating a unique aesthetic of both physical and mental power,

承高大的仰覆式蓮花座,氣勢恢宏,上下層蓮花交錯排列,蓮瓣扁平

this is a superb example of the craftsmanship and elegance of pieces

瓣尖上翹。整像銅質厚實,金光鋥亮,整體雍容華貴,為蒙古造像中

from the ateliers founded by Zanabazar (1635—1723), the renowned

的精品。

Mongolian master craftsman, artist and religious leader. The lithe and youthful treatment of the body, distinctive facial characteristics such as high foreheads, finely arched eyebrows and wide-bridged aquiline noses are all hallmarks of such works. This is undoubtedly a greatly worthy addition to any collection of Mongolian Buddhist artworks.

Ravenel 122


「過去佛」即為燃燈佛,為釋迦牟尼之前的佛,佛經中記載燃燈佛

the beginning of the Buddhist faith. Dipankara’s prophetic abilities

出生時身邊一切光明如燈,故稱為燃燈佛。佛經中將一個宇宙從生

are known from a jataka , stories that record events from the Buddha’s

到滅稱為一個「大劫」,釋迦牟尼所在的現世即現在的劫稱為「賢

past lives, where the ascetic Sumedha, a past incarnation of Buddha

劫」,燃燈佛為賢劫之前「莊嚴劫」的佛。燃燈佛曾預言釋迦牟尼

Shakyamuni, offered to spread his hair and flowers on the ground for

的前身在賢劫中將成佛,並向他授記,因而燃燈佛也被稱為「過去

Dipankara to walk on and avoid the mud.

佛」。 This elegant figure depicts Buddha Dipankara seated on a lotus 此尊銅鎏金燃燈佛面相飽滿,面貌刻劃清晰,棱角分明,雙眉間點

petalled throne while making the gesture of Turning the Wheel of

白毫,鼻梁直挺,雙耳垂肩,溫和端祥。身披佛衣,其上刻細密花

the Law (dharmachakramudra). He is wearing a shawl with foliate

紋。右胸及右臂袒露,雙手於胸前結轉法輪印,即說法印。雙腿結

hem over his left shoulder revealing a bare chest and bare right arm,

跏趺坐。所穿佛裙亦雕刻精美,層迭有致,鋪於蓮台之上。裙邊在

with serene facial expression framed by pendulous ears, the hair

雙腿前鋪設,展開如扇形。這種扇形裙角以及右肩袈裟覆搭一角,

gathered in tight curls surmounted by a domed ushnisa , inscribed

早在二世紀犍陀羅石雕的佛陀造像就能看見,是為求達至寫實性需

on the underside with an undecipherable character. The torso is

要而加上的,這種處理雖在中原及西藏系的佛像上也常見,但喀爾

portrayed with emphasized muscles, influenced by Nepali styles.

喀的造像對此往往進行簡單化處理,袈裟衣薄貼身,僅僅是在衣緣

Demonstrating a unique aesthetic of both physical and mental power,

處作寬邊緣鏨刻處理,明顯地突顯出造像上身的肌肉感,這是來自

this is a superb example of the craftsmanship and elegance of pieces

於尼泊爾造像的影響,而札那巴札爾風格的造像往往就在這些微妙

from the ateliers founded by Zanabazar (1635—1723), the renowned

細部讓人覺得非常耐看。

Mongolian master craftsman, artist and religious leader. The lithe and youthful treatment of the body, distinctive facial characteristics such

整尊造像體碩高大,胎體厚重,金水锃亮,寬肩細腰,雙臂粗壯有

as high foreheads, finely arched eyebrows and wide-bridged aquiline

力,全身上下透著一種力量之美,是札那巴札爾造像的魅力所在。

noses are all hallmarks of such works. This is undoubtedly a greatly

下承高大的仰覆式蓮花座,氣勢恢宏,上下層蓮花交錯排列,蓮瓣

worthy addition to any collection of Mongolian Buddhist artworks.

扁平瓣尖上翹。整像銅質厚實,金光锃亮,整體雍容華貴,為蒙古 造像中的精品。 Buddha Dīpankara signifies the “Lamp Bearer”. According to some Buddhist traditions, Dīpankara was a Buddha who reached enlightenment eons prior to Gautama Buddha, the historical Buddha, and when he was born the world was lightened and hence the name. Buddha Dipankara, who is believed to have lived for 100,000 years, is one of the predecessors of the historical Buddha Gautama and is credited for setting the Wheel of Dharma in motion, thus marking Literati II : Encounter with a Collector


660 A SINO-TIBETAN GILT BRASS FIGURE OF MAITREYA Yuan Dynasty (AD1271-1368) H: 17 cm W: 8 cm L: 12 cm PROVENANCE: Private collection, Europe

NT$ 1,000,000 - 1,500,000 HK$ 257,000 -386,000 US$ 33,100 - 49,700 元 元 大 都 漢 藏 風 格 黃 銅 鎏 金彌勒菩薩 來源: 歐洲私人藏家舊藏

BEFORE YONGLE: Chinese and Tibet-chinese Buddhist Sculpture of the 13th and 14th centuries, Robert R. Bigler, p.11 《永樂之前—13至14世紀中國西藏佛教雕塑》, 作者Robert R. Bigler,頁11

Ravenel 124


This figure represents Maitreya in one of his many artistic

此像為彌勒菩薩眾多藝術形像中的一種。它頭戴花冠,正面中央花

incarnations. The deity is seated in vajraparyankasana  on a double

瓣根部各出一枝花瓣向兩側伸展,形成月牙形狀,為當時宮廷造像

lotus throne, gazing forward in meditation under an elaborate

常見的花冠樣式;頭頂束高髮髻;兩耳邊又各有一條U字形翻卷的繒

foliate crown with a stem rising from the middle and spreading into

帶,耳下垂圓環。面相方正,臉頰豐圓,眉眼上挑,眉間飾白毫,

a crescent shape, which is a commonly seen design of the imperial

面容秀美,神態安詳。肩部寬闊,腰部收束,軀體渾圓,四肢粗壯

figures of Buddha of that time. His long plaited hair cascading down

有力,細部刻畫精細入微,生動傳神。上身胸前飾項圈和長鏈,項

the back, wearing an upper robe and dhoti incised with foliate motif,

圈下綴U字形連珠式瓔珞,下身著長裙,腰間束帶,腰帶下前後左右

with turquoise urna  and jewelry inlaid with semi-precious stones, also

亦有U字形連珠瓔珞裝飾。雙肩披帔帛,帔帛從肩部垂於手臂內側,

wearing long beaded necklaces with matching bracelets and earrings,

然後從內側折回向外搭在手腕上,極富裝飾意味。裙子與帔帛采取

hands raised in dharmachakra mudra , flanked on each side by a tall

寫實手法表現,衣紋流暢,質感較強,特別是腿部衣紋呈對稱狀密

flower, a long ratnopavita  looping around the body and under the

集分布,生動表現出僧裙向內收起的自然狀態,尤為優美大方。手

feet to the lotus pedestal beneath, This figure is exquisitely crafted,

和足部還有釧躅裝飾。跏趺端坐於蓮花寶座上,雙手置胸前結說法

with its origin and artistic style all making it one of the representative

印,兩手各牽一花莖,花朵盛開於雙肩。蓮座為半月狀束腰形式,

works of the Yuan capital.

上下邊緣各飾一周連珠紋,蓮花瓣飽滿,上下對稱分布,周匝環 繞。此像做工精致,產地、風格特點明顯應是元大都造像的典範。

Literati II : Encounter with a Collector


661 A JUN SKY-BLUE-GLAZED ‘LOTUS BUD’ WATERPOT Song Dynasty (AD 960-1279) H: 10 cm D: 10 cm PROVENANCE: Private collection, Asia

NT$ 650,000 - 800,000 HK$ 167,000 - 206,000 US$ 21,500 - 26,500 宋 鈞窯天藍釉 鷄 心 罐 來源: 亞洲藏家舊藏

Ravenel 126


The Jun kilns were important producers of ware in northern areas

鈞窯是宋元時期北方地區規模龐大的重要窯場,其遺址在今河南省

during the Song and Yuan Dynasties. They were located in Yu County

許昌市禹縣境內,自古便有「縱有家產萬貫,不如鈞瓷一片」的說

of Xuchang City in Henan Province. Jun ware was highly luxurious.

法,其名貴程度可見非同一般。鈞窯作為宋代「五大名窯」之一,

As the ancient Chinese saying goes, ‘Better have a piece of Jun ware

其釉面色澤瑰麗,玫瑰紫、海棠紅、茄皮紫、雞血紅、葡萄紫、朱

than a great fortune’. Being one of the “Five Great Wares” during the

砂紅、蔥翠青等不勝枚舉,器形為花盆、花盆托、鼓釘洗、出戟尊

Song Dynasty, Jun ware was brilliantly glazed with colors including

等陳設用瓷,在清宮中多有收藏。此罐斂口,圓鼓腹,重心偏下,

rose violet, begonia red, eggplant purple, chicken blood red, grape

腹壁圓弧,底部內斂,下承圈足。通體施天青色乳濁釉,釉層肥

purple, vermilion and lush green, mostly shaped into flower pots,

潤,勻淨淡雅。口沿處釉水較薄而微顯淺褐色胎體,圈足處露胎。

flower pot holders, bowls and vases, displayed in Imperial Palaces

整體造型敦厚古拙,素面無任何人為修飾,更顯釉色沉靜雅致,古

of the Qing Dynasty.Potted with a globular body rising from a

色古香。肥厚滋潤,不失為文房案頭,清心雅玩之器。

round foot to an incurved rim, this water pot has a lower center of gravity. The entire pot is covered in a thick and lustrous sky-blue glaze which gets thinner around the rim and the foot, revealing the light brown tint of the body. With a crude but graceful overall design, the pot appears to have classic beauty, making it a worthy addition to the collection of elegant stationary accessories.

Literati II : Encounter with a Collector


662 A YUE CELADON-GLAZED ‘LOTUS’ CUP STAND Northern Song Dynasty (AD 960-1127) D: 14 cm H: 5.4 cm PROVENANCE: Private collection, Asia

NT$ 600,000 - 800,000 HK$ 154,000 - 206,000 US$ 19,900 - 26,500 北宋 越窯青釉 蓮 花 盞 托 來源: 亞洲藏家舊藏

Ravenel 128


The stand is potted with a cup-shaped receptacle surmounting a

此盞托呈圓型,中起托杯,內平,托杯處以雙層花蓮紋裝飾,浮雕

circular stepped flange supported on a splayed rounded foot. The

效果突出,托盤底部圈足外撇。整器胎質細膩,通體施青釉,釉色

receptacle is decorated with double-layered lotus patterns, creating

勻淨,積釉處呈碧色,通體有細小開片,如青玉般瑩潤。托盤外沿

an emboss effect. The stand is covered inside and out with a clear

刻畫蓮瓣紋與滋潤的釉色完美和諧,是五代越窯青瓷茶器的代表作

and crackled celadon glaze pooling to an azure green color at the

品。

recesses, the rim of the flange carved with lotus petals in harmony with the glaze, making it a representative work of the Yue kilns.

Literati II : Encounter with a Collector


663 A JIAN SILVER-HARE’S-FUR-GLAZED “TEMMOKU” TEA BOWL

Tea drinking became common in the Song dynasty and tea competition also became popular. Teas were judged on their color and the persistence and quality of the bubbles. Dark brown bowls

Southern Song Dynasty (AD 1127-1279) D: 12.3 cm H: 7.8 cm

PROVENANCE: Collection of Ryoichi Fujioka, Japan

would better set off the white tea bubbles allowing one to note the color and qualities of the tea; so deep cyan hare fur bowls were the most sought after. On the topic of bowls, Song Huizong’s Treatise on Tea explains: “Deep green bowls are the most valuable. The hare lines must be straight, distinct and clear to allow distinguishing the tone of the tea.” Cai Xiang, in the Northern Song’s Chalu explains the degree to which the dark hare glaze bowls were prized at the

NT$ 3,200,000 - 8,000,000 HK$ 823,000 - 2,057,000 US$ 106,000 - 265,100

time: “If the tea is light colored it is best for the bowl to be dark. Jianan fired bowls with dark hare lines are heavier so better hold the temperature of the tea, thus more useful. Tea bowls from other sites are too thin or darkly colored, and none compare with the dark green glazed hare line bowls.”

南宋 建窯蘆花 坪 銀 兔 毫 天 目 茶 碗 來源: 藤岡了一舊藏,日本(藤岡了一題盒) 藤岡了一,日本著名陶瓷研究家,著有「陶器全集 11 卷:元明 初の染付」;「日本の美術 128 正倉院の陶器」等書籍,是宋 元明瓷器國際著名學者,曾長期在中國研究並收集古陶瓷。

Ravenel 130


These tea bowls represent the most classic ceramics produced from

宋代飲茶活動高度發展,其中鬥茶文化盛行,由裁判根據盞內湯色

the Jian kilns. Remarkable features of tea bowls fired in the Jian

泡沫的品質及持久度評選。黑褐盞較能襯托白色茶沫觀察茶色的特

Luhuaping kilns include: the rim of the lip turns out and the outer

點,因此最受歡迎,其中又以紺黑地兔毫盞為貴。宋徽宗《大觀茶

ring pinches in to mark a line used in tea contests. The result is both

論》盞項亦有類似說法:「盞色貴青黑,玉毫條達者為上,取其煥

practical and beautiful, clearly expressing the sublime Song aesthetic.

發茶采色也。」北宋蔡襄《茶錄》載:「茶色白,宜黑盞,建安所

The body is generous, terminating in a shallow ringed base. Glaze at

造者紺黑紋如兔毫,其坯微厚,熁之久熱難冷,最為要用,出他處

the mouth is thinly applied. The highest quality deep green glaze is

者,或薄或色紫,皆不及也。」可見青黑釉地兔毫斑紋盞當時受重

applied to both the inside and outside. Fine defined hare lines drop

視的程度。

from the top edge toward the bottom radiating together. Glaze expression variation depends greatly on conditions of the kiln room,

此樣式茶盞乃建窯最經典器型,其造型特徵為建窯蘆花坪產地所燒

including temperature, placement of the kiln and other factors. These

製;唇口微侈,外壁沿下一圈為束,為鬥茶止水線所設,美觀實用

factors are not controllable by the kiln operator, so each kiln room

並舉,深符宋人藝術美學。深腹、底承淺圈足,口沿釉薄,內外黑

will produce ceramics with unique characteristics, and the unique

釉發青乃上等發色,免毫垂流微細條紋並列,條理清晰。建盞窯變

qualities of a piece do not depend on the craftsmanship of the glaze.

效果的呈現取決於窯室氣氛,窯溫,窯位等諸多要素,非人力所

This tea bowl is finely fired and elegantly formed. It shows obvious

能,故每件建窯均具唯一特性,已不光是手工、胎釉工藝之差異而

marks of use so was not excavated from a kiln site.

已。此茶盞燒製極精美,身形俊秀,由於使用痕跡明顯,排除窯址 所出的可能性。日本學者「藤岡了一」是一專精中國高古瓷器收藏 家,銀色兔毫斑紋突顯所謂銀兔毫的特色及優美品相保存完美,難 得一見。

Literati II : Encounter with a Collector


664 A CARVED BLACK LACQUER GURI CUP Southern Song Dynasty (AD 1127-1279) D: 6.5 cm H: 4 cm

PROVENANCE: Private collection, Asia

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,300 - 13,300 南宋 堆黑屈輪 文 杯 來源: 亞洲藏家舊藏

Ravenel 132

Featuring Lacquerwares, Ceramics and Metalwares (The Colors and Forms of Song and Yuan China) , Nezu Museum, Japan, No.65 《宋元の美─伝 の漆器を中心に》 (宋元之美-以傳來的漆器為中心), 日本根津美術館,編號65


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

Cultivation of Rock Series I 2013 Ink and color on paper 86 x 63.5 cm With one seal of the artist EXHIBITED: "Master Style Art Exhibition"-The 60th anniversary of the establishment of the HKU SPACE, Hong Kong City Hall, 27th – 31st , December ILLUSRATED: The special issue of "Master Style Art Exhibition"The 60th anniversary of the establishment of the HKU SPACE, p.16-17

NT$ 80,000 - 1200,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000

吳觀麟 種石系列之一 2013 設色 紙本 86 x 63.5 cm 鈐印:吳觀麟 展覽: 香港大學專業進修學院成立 60 週年-「大師風範藝術 展覽」,2016 年 12 月 27 日至 31 日 出版: 「大師風範」香港大學專業進修學院成立六十周年藝術 展覽特刊 , 內頁 16 - 17

Literati II : Encounter with a Collector


666 A “MEISOUSHISHENG” ARM REST Qing Dynasty (AD 1644-1911) L: 17.4 cm W: 4.6 cm

PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 50,000 HK$ 8,000 - 13,000 US$ 1,000 - 1,700 清 梅叟石生臂 擱 來源: 台灣藏家舊藏

Ravenel 134


667 A “YEHANGLIANXI” ARM REST Qing Dynasty (AD 1644-1911) L: 27.2 cm W: 6.4 cm

PROVENANCE: Private collection, Taiwan

NT$ 70,000 - 120,000 HK$ 18,000 - 31,000 US$ 2,300 - 4,000 清 野航蓮溪臂 擱 款識:野航蓮溪 野航(1816-1884)清代僧人,江蘇興化人。俗性丁, 自稱俗丁,名真然,字蓮溪、蓮溪,一號野航,又稱 黃山樵子。字痙溪(一作蓮溪),一號野航,又稱黃 山樵子。道光二十四年(1844)同歙人汪仰沾至揚州。 吳幼蓮見所畫盈丈人物、仙佛,不用朽稿,落筆穩成, 驚為絕技,於是知名。亦善禽魚、花卉、走獸,山水 有華喦遺意。畫荷尤蕭然出塵,兼工篆刻。揚州諸畫 人屢邀畫會排擠,而卒不能掖。中年游黃山,縱覽當 地故家所藏宋元名跡,畫藝益進。

來源: 台灣藏家舊藏

Literati II : Encounter with a Collector


668 A HUANGHUALI BRUSH POT Ming Dynasty (AD 1368–1644) D: 17.5 cm H: 15.5 cm

PROVENANCE: Private collection, Taiwan

NT$ 380,000 - 600,000 HK$ 98,000 - 154,000 US$ 12,600 - 19,900 明 黃花梨筆筒 來源: 台灣藏家舊藏

Ravenel 136


669 A TILE-SHAPED INKSTONE

This Octagonal Chengni Inkstone of Tang dynasty was seen as an antique in Qing Qianlong period. The inksone is inscribed with a

Qing Dynasty (AD 1636-1912) L: 15 cm H: 6.5 cm

PROVENANCE: Private collection, Japan

poem composed by Emperor Qianlong who was attracted to its vintage taste, making it a highly worthy addition to any collection of stationary accessories. 瓦型硯為明中期後的流行品種,此瓦硯為清早期作品,古樸細緻、 實用,為少見文房擺設收藏,用古代磚瓦琢磨加工改造而成的硯 台,名曰「瓦硯」,又名「硯瓦」。漢魏未央銅雀台等諸殿瓦,瓦

NT$ 550,000 - 800,000 HK$ 141,000 - 206,000 US$ 18,200 - 26,500

身如半個面至背厚一寸,背平可研墨,唐宋以來,去其身以為硯, 俗呼「瓦頭硯」。硯,也作「研」。

清 瓦型硯 來源: 日本藏家舊藏

Literati II : Encounter with a Collector


670 A SMALL HUANGHUALI RECTANGULAR BOX AND COVER Late Qing Dynasty (AD 1840–1911) L: 41cm W: 21.6 cm H: 14.3 cm

PROVENANCE: Private Collection, Taiwan

NT$ 80,000 - 160,000 HK$ 21,000 - 41,000 US$ 2,700 - 5,300 晚清 黃花梨小 箱 來源: 台灣藏家舊藏

Ravenel 138


671 A TIBETAN PALA STYLE COPPER ALLOY FIGURE OF MANJUSHRI INLAID WITH SILVER AND ROSE COPPER 12th - 13th Century H: 15 cm W: 5 cm L: 7 cm PROVENANCE: Private collection, Europe

NT$ 750,000 - 900,000 HK$ 193,000 - 231,000 US$ 24,900 - 29,800 12-13世紀 西 藏 帕 拉 風 格 文 殊 菩 薩 立 像 來源: 歐洲私人藏家舊藏

The Manjushri is cast standing on a lotus pedestal in an elegant posture, the right hand brandishing a sword, the left hand holding a lotus flower supporting a book, with an ushnisha on his head, wearing a dhoti tightened around the waist by a belt, the swordshaped skirt hanging down naturally. The carving of lines and dots on the legs may seem minimal but precisely show vividly the flimsy texture of the fabric. The fine worksmanship on this small elegant figure is evident from the casting of the petals around the base, the beading, and the sword-tip being integrally cast with the jewel surmounting the topknot to add stability. There is a high chance that this figure with a strong taste of Pala style might be made in Tibet by craftsmen from northeast India. 文殊菩薩以一種優雅的姿態略微傾斜站立,左手拈一 支蓮花盛放於左肩,經書置於蓮花之上,右手高舉, 手中握一把智慧寶劍,這種造型因此也叫仗劍文殊。 菩薩髮髻高聳,衣裙輕薄貼身,以腰帶收緊於髖部, 如長劍似的裙擺自然下垂,墜於腿間。一根寬腰帶松 垮地斜圍在大腿周圍,左側墜下,完美地配合了文殊 略微左傾的柔軟身姿,顯得頗為瀟灑。分布在腿部的 線形和點狀陰刻紋飾盡管只有寥寥數筆之刻痕,但恰 是這種簡潔表現出衣裙輕薄之美的特質,若有若無之 間,魅力盡顯。蓮座花瓣形狀較圓,瓣間向外突起。 這尊帶有強烈帕拉風格的雕像很可能是來自印度東北 部的工匠在西藏製作的。

Literati II : Encounter with a Collector


672 A DAOGUANG PERIOD “TAIHU” STONE (WITH STAND)

Xu Weiren (1788-1855) styled Wen Tai, literary names Zi Shan,

Qing Dynasty (AD 1636–1912) L: 30 cm W: 14 cm H: 35 cm

expert on ancient bronze and stone inscriptions, and painter-

PROVENANCE: Private collection, Taiwan

Zishan, and the unsleeping official in retirement. During the Qing Dynasty, Xu lived in Shanghai, and was a well-known book collector, calligrapher. Xu mastered calligraphy at an early age, and was particularly proficient at Han Dynasty kai script. Xu amassed a large collection of rubbings from stone inscriptions, and became skilled at identifying them, which led to his being called the "Great Eye" by his contemporaries. Xu particularly admired the "Tomb Inscription of the Beautiful Madam Dong" from the Kaihuang period of the Sui Dynasty, which prompted him to refer to himself as "Sui Xuan." He

NT$ 180,000 - 300,000 HK$ 46,000 - 77,000 US$ 6,000 - 9,900

later obtained Jian Zhaoyen's stirrups, which had formerly been in the collection of Wang Chang, and he made a "Room of Western Han Stirrups" in his home. At the age of 38, he suddenly began studying painting, and made paintings of orchids, bamboo, and landscapes. He delved deeply into painting, collected works from past dynasties, and wrote calligraphic dedications on celebrated paintings. Xu

清道光 小洞天 太 湖 石

also took an interest in local literature, and collected copies of the sole existing versions of the Jiajing period (1522-1567) "Shanghai County Gazetteer" and Wanli period (1573-1620) "Shanghai County

款識:小有洞天 道光癸印徐謂仁

Gazetteer."

來源: 台灣藏家舊藏

One of the characteristics of water-carved Taihu stone is a pale color with black marks. This piece has a rugged appearance, with high peaks and deep gorges, undulating ripples, and an otherworldly look. The stone emits a clear sound when struck, and its features include wrinkles, voids, windows, and narrow columns and ribbons. Strange, ugly, clean, uncanny, and resonant aesthetics are combined in the piece; its luster is elegant, and its texture is tough yet delicate. Because strange stones seem to transcend worldliness, they have been prized by literati since ancient times. This Taihu stone mountain bears four seal characters with the meaning of "Small Hidden Cavern," and it also notes Xu Weiren, 1843. This work was perhaps a display piece in Xu's home. Xu kept large numbers of bronze and stone works in his home, and they were designated protected artifacts during the wars and chaos that marked the late years of the Qing Dynasty. Xu reached a compromise with the Small Sword Society at that time, but died while unjustly imprisoned after Qing forces recovered the area. Coming face-to-face with this piece today is like having a personal encounter with someone from ancient times.

Ravenel 140


徐渭仁(1788-1855,清嘉慶道光咸豐時人)字文台,號紫珊、子

太湖石製,色淺石質表面有黑色印跡, 太湖石水石的一個特徵,

山、不寐居士。清著名藏書家、金石學家、書畫家,上海人。早年

體態嶙峋,峰巒洞壑,曲折漣漪,別有洞天,扣之有聲,具有瘦、

善書法,尤長漢隸,收藏碑帖甚豐,並精於鑒別,當時人稱為「巨

皺、透、漏特點,怪、醜、清、奇、形、響諸美於一身,色澤秀麗

眼」。徐得隋開皇《董美人墓誌》,甚珍愛,遂自號「隋軒」。

雅致,質地細膩堅實。因奇石超凡脫塵之質,自古為文人癡愛。此

後又得王昶舊藏之建昭雁足鐙,在宅中辟「西漢金鐙之室」。年

太湖石山子,上鐫刻「小有洞天」四篆字,「道光癸印 徐渭仁」。

三十八,忽又學畫,蘭竹山水,閉門研求,搜羅歷代繪畫,題識名

此物或為徐宅中的一件陳設器物,徐收藏大量金石器物藏於家中,

畫。他還重視地方文獻,藏有孤本嘉靖《上海縣誌》、萬曆《上海

後晚清戰亂時保護文物,與小刀會妥協,後清軍收復後,淪落入獄

縣誌》等。

枉死。如今能再與此物見面,如與古人相晤對之感。

Literati II : Encounter with a Collector


673 A DANGYANGYU TEA BOWL Song Dynasty (AD 960-1279) D: 12 cm H: 4.7 cm PROVENANCE: Private collection, Hongkong

NT$ 240,000 - 380,000 HK$ 62,000 - 98,000 US$ 8,000 - 12,600 宋 當陽峪窯茶 盞 來源: 香港藏家舊藏

Ravenel 142

Botton 底圖


This tea bowl is shaped like an East Asian broad-brimmed hat, or

盞呈斗笠形,敞口外撇,下承小圈足,足胎白褐色。盞外壁施以

douli, with a wide, outward-curving mouth raised on a small round

褐色釉,內施黑釉,且遍布鐵鏽斑,釉色自然流暢,氣質含蓄典

foot. The exterior is covered overall with a brown glaze save for

雅。 鐵鏽花釉製作技法是在施好黑釉的坯體上用含氧化鐵的斑花石

the foot, revealing the white brown tint of the body.The interior is

作著色劑繪紋飾,高溫燒造過程中紋飾中的鐵晶體呈現出斑斕的鐵

glazed black, with iron-rust color splashed as decoration, giving a

鏽紅色。此種鐵鏽斑釉色是宋金時期磁州窯特有的發明的一種裝飾

sense of elegance. This kind of decorative streaked black glaze is

手法,後諸多窯口均有燒製,以河南地區的當陽峪窯燒製的質量上

typical for Cizhou ware, popular among other kilns as well, especially

乘,深受藏家所親睞。

Dangyangyu kilns in Henan.

Literati II : Encounter with a Collector


674 A DING WHITE-GLAZED FOLIATE-RIM BOWL WITH STEM PATTERNS Five Dynasties Period - Northern Song Dynasty (AD 907-1127) D: 15.5 cm H: 5 cm PROVENANCE: Private collection, Asia

NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000 五代-北宋 定 窯 白 釉 花 口 出 筋 碗 來源: 亞洲藏家舊藏

Ravenel 144


Literati II : Encounter with a Collector


675 A CIZHOU BLACK-GLAZED BROWNSPLASHED TEA BOWL WITH WHITE RIM Song Dynasty (AD 960-1279) – Jin Dynasty (AD 1115-1234) H: 4.5 cm D: 10 cm PROVENANCE: Private collection, Asia

NT$ 50,000 - 80,000 HK$ 13,000 - 21,000 US$ 1,700 - 2,700 宋-金 磁州窯黑 釉 褐 斑 白 覆 輪 茶 盞 來源: 亞洲藏家舊藏

Ravenel 146


This douli-shaped bowl was crafted by Cizhou kiln. White glaze is

此盞為磁州窯所燒製的白覆輪斗笠盞,白覆輪其意為口沿一周為白

applied on the mouth with the rim delicately made. Half of the body

釉,口沿製作精細規整。沿以下部分為黑釉,盞心有五處圓形鐵鏽

is covered in black glaze, showing the other half in taupe color to the

斑塊裝飾,均勻分布在盞心內壁,外壁施釉至中部器身,未施釉部

small round foot. Five rounded rust spots are applied evenly on the

分露出灰褐色胎體,小圈足,圈足刮削整齊。白覆輪茶盞模仿定窯

interior. White-rimmed bowls seem to be an imitation of Ding ware’s

瓷器鑲口的特徵,顯示出當時大眾人群跟貴族潮流之風。

feature of lipped rim, representing how the people at that time tended to follow the trend of the aristocracy.

Literati II : Encounter with a Collector


676 A JIZHOU TORTOISESHELL-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 11 cm H: 6 cm

PROVENANCE: Private collection, Asia

NT$ 110,000 - 220,000 HK$ 28,000 - 57,000 US$ 3,600 - 7,300 宋 吉州窯玳瑁 斑 茶 盞 來源: 亞洲藏家舊藏

Ravenel 148


Literati II : Encounter with a Collector


677 A JIAN HARE’S-FUR-GLAZED TEA BOWL Song Dynasty (AD 960-1279) D: 11.2 cm H: 6 cm

PROVENANCE: Private collection, Asia

NT$ 180,000 - 280,000 HK$ 46,000 - 72,000 US$ 6,000 - 9,300 宋 建窯兔毫茶 盞 來源: 亞洲藏家舊藏

Ravenel 150


Literati II : Encounter with a Collector


678 A CIZHOU BLACK-GLAZED LINEPATTERNED ZHADOU

This zhadou’s rim is thin, curving slightly outwards, The upper part shaped as a trumpet, the lower part a jar with a very trim waist and full belly, and with a high foot and no glaze on the bottom. This ware

Song Dynasty (AD 960-1279) D: 13.5 cm H: 10 cm

PROVENANCE: Private collection, Taiwan

is covered in black glaze and decorated evenly in vertical lines. The colors of the glaze and the lines stage a strong contrast. This kind of decoration is commonly seen in northern kilns, mostly on jars but rarely on zhadou, making this piece all the more precious. 此渣斗薄唇,敞口,略微外翻呈喇叭狀,鼓腹下垂,圈足略高。斗 身均勻裝飾多條豎筋線,瀝線為褐白色,全器裡外罩黑釉,釉色如

NT$ 100,000 - 200,000 HK$ 26,000 - 51,000 US$ 3,300 - 6,600 宋 磁州窯黑釉 線 條 紋 渣 斗 來源: 台灣藏家舊藏

Ravenel 152

黑漆質感,和瀝線產生強烈對比。足底露胎,修足精細,露出黃褐 色胎體,質地堅實。瀝線裝飾的作品在北方窯口中頗為常見,以罐 居多,而渣斗這一器形在同類窯系中實屬少見。


679 A GREY ‘YING’ ROCK Qing Dynasty (AD 1636-1912) L: 15.5 cm W: 24 cm H: 17.5 cm (尺寸含底座)

清 英石賞石 來源: 台灣藏家舊藏

PROVENANCE: Private collection, Taiwan

NT$ 150,000 - 300,000 HK$ 39,000 - 77,000 US$ 5,000 - 9,900

Literati II : Encounter with a Collector


680 A CIZHOU BLACK-GLAZED MORTAR Song Dynasty (AD 960-1279) D: 14 cm H: 9.5 cm

PROVENANCE: Private collection, Taiwan

NT$ 30,000 - 60,000 HK$ 8,000 - 15,000 US$ 1,000 - 2,000 宋 磁州窯黑釉 缽 來源: 台灣藏家舊藏

Ravenel 154


681 A PAIR OF HUANGHUALI BRUSH POT Late Ming / Early Qing Dynasty (17th century) H:14 cm W: 12 cm H:14 cm W: 13 cm PROVENANCE: Private collection, Hongkong

NT$ 160,000 - 260,000 HK$ 41,000 - 67,000 US$ 5,300 - 8,600 明末清初 黃花 梨 筆 筒 ( 一 對 ) 來源: 香港藏家舊藏

Literati II : Encounter with a Collector


682 AN OCTAGONAL CHENGNI INKSTONE INSCRIBED BY QIANLONG

This Octagonal Chengni Inkstone of Tang dynasty was seen as an

Tang Dynasty (AD 618-907) D: 10 cm

vintage taste, making it a highly worthy addition to any collection of

PROVENANCE: Private collection, Japan

唐,八方稜型澄泥硯為清乾隆時期視為古玩,醉心於其古味及雅趣

antique in Qing Qianlong period. The inksone is inscribed with a poem composed by Emperor Qianlong who was attracted to its stationary accessories.

乾隆皇帝特題詩刻字於上並印「比德、朗潤」,實為難得方為收 藏。

NT$ 1,100,000 - 1,600,000 HK$ 283,000 - 411,000 US$ 36,400 - 53,000 唐 八方澄泥硯 帶 乾 隆 御 題 詩 來源: 日本藏家舊藏

Ravenel 156


683 A JADE BODHISATTVA Sculpture, Natural Jadeite Jade – Type A 8.5(L) ×4.6 (W) × 17.3 (H) cm (without stand) The sculpture is to be sold with a certificate of Fei Cui ( Jadeite Jade ) Testing

NT$ 800,000 - 1,200,000 HK$ 206,000 - 308,000 US$ 26,500 - 39,800

觀自在翡翠 天然硬玉質翡翠—A 玉 8.5(長)× 4.6(寬)× 17.3(高)cm (不含底座) 附中科研發有限公司鑒定證書

Literati II : Encounter with a Collector


684 JIANG SHENG (Chinese, b.1990) A Cypress Figure Of Bodhisattva In Buddhist Mediatio 2014 Sculpture, Sandalwood, edition no. 1/6 31.8 (L) ×17 (W) ×98.5 (H) cm Signed JIANGSHENG on the base, numbered 1/6, dated 2014 EXHIBITED: A Sole Exhibition of Jiang Sheng, Statues Made for the Buddha, Longling Life, Xiamen, July 16 –August 1, 2015 A Sole Exhibition of Jiang Sheng, The Tranquil Waterfall, Fnji Living Room, Beijing, October 24 – November 15, 2015 The sculpture is to be sold with a certificate of authenticity signed by the artist, issued by the artist's studio.

NT$ 220,000 - 380,000 HK$ 57,000 - 98,000 US$ 7,300 - 12,600

蔣晟 檜木禪定高髻 觀 音 菩 薩 像 2014 檜木雕 版次1/6 31.8(長)× 17(寬)× 98.5(高)cm 簽名雕刻底座:蔣晟 1/6 2014 展覽: 「蔣晟個展:為佛造像」,廈門隆領投資顧問有限公司,廈門, 展期自2015年7月16日至8月1日 「蔣晟個展:安靜的瀑布」,北京梵幾客廳,北京, 展期自2015年10月24日至11月15日 附藝術家工作室開立之原作保證書

Ravenel 158


This updo Avalokitesvara has his hands in the mudra of Meditation and sits in the auspicious semi-lotus position The exquisite statue of crowned Avalokitesvara casts his Eyes difference in a peaceful manner Elegant and graceful and his clothing is light and wavelike, Resembling a stream trickling down from above and Spreading from the inside out.

觀世音菩薩,梵文:

,Avalokitesvara,觀世音菩薩是佛

教中慈悲和智慧的象徵,無論在大乘佛教還是在民間信仰,都具有 極其重要的地位。以觀世音菩薩為主導的大慈悲精神,被視為大乘 佛教的根本。佛經上說,觀世音是過去的正法明如來所化現,他在 無量國土中,以菩薩之身到處尋聲救苦。他是西方三聖中的一尊, 也是一生補處的法身大士,是繼承阿彌陀佛位的菩薩,而且還有說 觀世音就是阿彌陀佛的化身。 蔣晟的佛造像,在傳統佛像基礎上融匯了現代風格,表現出優美洗 練、清盈飄逸、形神兼備的形貌。風格上的蛻變,成為現代佛像藝 術新形象的代表。此尊高髻觀音菩薩坐像,手結禪定印,呈吉祥半 跏趺坐。造像構思精巧,頭飾天冠造型簡潔,雙目垂視,面部表情 自然恬靜,體態秀美典雅,衣裙輕舞,如小溪潺潺流水從上而下、 從內到外鋪灑開來。此尊坐像選用檜木製作。一般木製作品會隨溫 度、濕度變化產生輕微開裂又自動收縮復原的現象,此為木材的材 質特徵,屬自然現像。檜木,在木質材料中,密度較高,穩定性較 好。檜木淡雅的紋理,也更好地體現了觀音菩薩大慈大悲的精神內 涵。此尊木質處理上沒有采用漆料封死木質表面,保持了木質的活 性和收縮度,使作品的生命力得以延續。

Literati II : Encounter with a Collector


685 JIANG SHENG (Chinese, b.1990) A White Marble Figure Of Bhaisajyaguru

2017 Sculpture, white marble, edition no. 1/6 15 (L) × 13 (W) × 44 (H) cm Signed JIANGSHENG on the base, numbered 1/6, dated 2017 The sculpture is to be sold with a certificate of authenticity signed by the artist, issued by the artist's studio.

NT$ 260,000 - 380,000 HK$ 67,000 - 98,000 US$ 8,600 - 12,600

蔣晟 漢白玉藥師琉璃光如來像

2017 漢白玉 版次1/6 15(長)× 13(寬)× 44(高)cm 簽名雕刻底座:蔣晟 1/6 2017 附藝術家工作室開立之原作保證書

Ravenel 160


As the hierarch of the oriental Sukhavati, Bhaisajyaguru is the Buddha who rescues all the living creatures from illness and sufferings. This Bhaisajyaguru, sitting on the girdled lotus throne in the fulllotus position, has a fleshy and amiable face and unaffected and quiet look, with a humping spiral coil and in a two-shoulder cassock. Bhaisajyaguru lives in the oriental Sukhavati where the land is covered with pure colored glaze and the watch towers and palaces are composed of the Buddhist seven jewels. The territory is majestic and blissful, so the clothes are engraved to be normative and graceful, as if it is the illumination of the Buddha light. 藥師琉璃光佛又名藥師如來,指藥師佛,梵文: Bhaisajyaguru,全名作:藥師琉璃光如來,以琉 璃為名,乃取琉璃之光明透徹以喻國土清靜無 染。也有人稱大醫王佛、醫王善逝或消災延壽藥 師佛,為藥師本用以比喻能治眾生貪、瞋、痴的 醫師。 蔣晟佛教造像,在傳統佛像基礎上融彙了現代風 格,表現出優美洗練、清嬴飄逸、形神兼備的形 貌。風格上的蛻變,成為現代佛像藝術新形像的 代表。此尊藥師佛全跏趺坐於束腰蓮座上,面部 豐厚慈祥,表情自然恬靜,螺髻微微隆起,身著 通肩袈裟。藥師佛住淨琉璃世界,地為淨琉璃所 敷,城闕宮殿皆由七寶構成,國土莊嚴極樂,故 衣裾塑造線條猶如佛光普照,規範優美。此尊坐 像選用最高級別漢白玉,晶瑩潔白,內含閃光晶 體,顆粒細膩,高白度,高純度,無瑕疵裂紋。 以體現藥師佛國土光明透徹、清靜無染。

Literati II : Encounter with a Collector


686 A WHITE MARBLE FIGURE OF BODHISATTVA South and Northern Dynasties (AD420-589 or after) H: 16 cm (21 cm with stand)

PROVENANCE: Private collection, Taiwan

NT$ 240,000 - 360,000 HK$ 62,000 - 93,000 US$ 8,000 - 11,900 南北朝或以後 漢 白 玉 菩 薩 立 像 來源: 台灣藏家舊藏

The figure is dressed in a long snug robe clinging around the body and draping in loose folds over his legs, the chest detailed with a simple, low relief pointed torque, the round benevolent face finely carved with a broad nose, a meditative expression portrayed with slightly opening hooded eyes and beatific smile set between long earlobes, framed by a parted hairline below the domed ushnisha. This lot shows the characteristics of the figures of Buddha of Northern Qi dynasty, executed with fine craftsmanship. Due to long history the figure is not complete but yet, leaves space for viewers’ imagination with a mysterious vibe not unlike the famous Vénus de Milo. 該石刻造像頭部帶有花蔓寶冠,冠下髮髻呈現平貼,菩薩的臉型 長圓豐腴,在五官刻劃上崇尚簡潔,慈眉善目,嘴角微微上揚, 整體氣宇更為平易近人。菩薩像的上身似著輕盈短衣,雙肩部位 側披披肩,披肩的綿延為垂飄天衣,懸繞肘臂處。此尊菩薩像具 有典型的北齊時期佛造像特徵,其雕刻手法嫻熟精巧,類似的石 刻造像也出現在河北曲陽修德寺遺址。雖因年代久遠,整體造型 未完全呈現,卻給觀者留有遐想的空間,將目光更集中于精美的 臉部刻畫,猶如「斷臂的維納斯」般神秘而美麗。

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Literati II : Encounter with a Collector


687 A LONGQUAN CELADON-GLAZED MAKARA VASE

The vase is well potted with a mallet-shaped body with sides tapering

Song Dynasty (AD 960-1279) H: 26.5 cm W: 11 cm

flared mouth with upturned rim, covered overall with an even glaze

PROVENANCE: Private collection, Hongkong

NT$ 700,000 - 900,000 HK$ 180,000 - 231,000 US$ 23,200 - 29,800 宋 龍泉窯青釉 雙 摩 羯 耳 瓶 來源: 香港藏家舊藏 附中科研發有限公司鑒定證書

towards the short round foot from the canted shoulder. The tall slender neck is flanked by a pair of makara handles below the widely of soft plum-green tone save for the foot which is applied with a reddish-brown wash. The mallet-form vase was greatly admired by Chinese patrons during the Song Dynasty for the fine quality of its celadon glaze. The majority of these vases in Longquan kilns were made with two elaborate handles, either in the form of phoenix or fish, fewer in the form of makara. This plum green glaze is thick but transparent with a tone similar to emerald jade. Ceramics applied with such glaze were only produced during the southern Song dynasty, mostly imitating the shapes of jade and antique bronze wares, making them all the more valuable. 此瓶盤口,長頸,折肩,直筒腹,淺圈足。內外施梅子青釉,胎骨 稍厚,頸部兩側置摩羯耳。足沿呈赭色。此器形制因似造紙打漿所 用槌具,亦稱紙槌瓶,為宋代極為高級之瓶形一類,而於瓶頸兩側 附貼雙耳,則為南宋龍泉窯所特有,普見鳳耳及魚耳兩種,摩羯耳 較少。龍泉窯於南宋時期創燒的品種。釉色濃翠瑩潤,如青梅色 澤,故而得名。燒製梅子青釉時對瓷胎的要求較高,釉料采用高溫 下不易流動的石灰堿釉,以便於數次施釉以增加釉層的厚度。釉層 厚而透明,釉質瑩潤,蒼翠欲滴,色調可與翡翠媲美。梅子青品種 僅在南宋一朝燒造,存世極少,又多為仿古銅器和玉器造型的古雅 之品,彌足珍貴。

Chinese Ceramics from the Meiyintang Collection, Volume 1b, p.304 《玫茵堂 - 中國瓷器》第一卷 304頁

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Literati II : Encounter with a Collector


688 A DING WHITE-GLAZED FOLIATE-RIM BOWL PATTERNED WITH DOUBLE FISH Song Dynasty (AD 960-1279) D: 20 cm H: 6.5 cm

PROVENANCE: Private collection, Asia

NT$ 850,000 - 1,200,000 HK$ 219,000 - 308,000 US$ 28,200 - 39,800 宋 定窯白釉花 口 印 雙 魚 紋 碗 來源: 亞洲藏家舊藏

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The wide sides rising to a six-lobed rim, the cavetto applied with six vertical ribs radiating from the central medallion enclosing a pattern of two fish swimming in ripples, glazed allover in an ivory glaze with characteristic pooling to the exterior. With simple elegant design and fine craftsmanship, making it a highly worthy addition to the collection of Song dynasty Ding ware. 芒口,釉水白中泛黃。碗內中心刻劃水波雙魚紋飾,雙魚相向而 行,篦刀刻劃海水紋為背景,簡約生動。碗壁花口,器型製作精 緻,造型周正。綜合胎釉形及工藝痕跡諸方面判斷,為典型的宋 代定窯製品。


Literati II : Encounter with a Collector


689 GUO HONGWEI (Chinese, b.1982) It’s all about Time No.2 2010 Water color on paper 101 x 67 cm Signed GUOHONGWEI on the bottom and dated 2010 With one seal of the artist

NT$ 280,000 - 400,000 HK$ 72,000 - 103,000 US$ 9,300 - 13,300 郭鴻蔚 時間的#2 水彩 紙本 101 x 67 cm 簽名:Guo Hongwei 2010 ( 底部 )

Ravenel 168


690 CHEN TING SHING (Chen Ting-Shih, Taiwanese, 1916-2002)

Plum Blossoms 1987 Ink and color on paper 68 x 44 cm Signed CHEN Ting-shih in Chinese on the right With one seal of the artist PROVENANCE: Collection of Chiang Sen-nang, Taiwan (the artist's friend who was a stone collector)

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 陳庭詩 梅花 1987 彩墨 紙本 68 x 44 cm 題識:森男吾兄大雅教正 丁卯春日長樂陳庭詩寫 鈐印:陳(右下) 來源: 江森男先生舊藏,台灣 (江森男為陳庭詩收藏雅石的同好友人)

Literati II : Encounter with a Collector


691 A DING WHITE-GLAZED DISH WITH BOWSTRING PATTERNS Song Dynasty (AD 960-1279) D: 12.3 cm H: 2.5 cm PROVENANCE: Private collection, Asia

NT$ 360,000 - 480,000 HK$ 93,000 - 123,000 US$ 11,900 - 15,900 宋 定窯白釉弦 紋 盤 來源: 亞洲藏家舊藏

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Literati II : Encounter with a Collector


Peach Blossoms Festival LI DEZHUANG

Li Dezhuang, Wenchang Guangdong native. Currently based in Shanghai . He was born in Singapore and this special location where eastern and western cultures clashing together gave him a broader vision and a sense of collaboration within artistic creation. He’s spent an almost 20-year time in the international environment including New York City to create, experiment, explore and transfer, his expression skills sharpened, and his aesthetics sophisticated. He combined the languages of the west and the east and came out with his own unique idiom of abstract art. Peach Blossoms Festival adopts bright colors to portray the water with a sense of aggression but also of transparence and purity. Colorful overlapping is full of liveliness and artistic appealing, staging as a sign of endless and boundless joy of the nature, like a vigorous but at the same carefree symphony of lives. Expressionism has long been a major feature of Chinese aesthetics, as well as an essential part of Chinese culture, and this painting is a delicate and powerful example of this aspect. 李德庄祖籍廣東文昌,旅居上海和美國紐約多年。他的出生地新加坡, 在這個東西文明交匯之地,多元文化環境中,造就了一種宏觀視野和藝 術融匯意識。研習水墨20年,他終於成功擺脫抽象表現畫風的局限性, 發展到屬於自己發明獨特的繪畫語言體系,形成了一個全新的創作概 念。提升了對美學的認識,一層層的沉澱與醞釀,一次次的大膽顛覆與 實在的省思,開始通過融合東西方的共通繪畫語言,積極提煉純粹形式 之美,注入全新的概念,形成自己獨到的抽象藝術觀。 李德庄的繪畫藝術飽含著濃郁的東方元素,作品《桃花節》色彩鮮豔 明亮、水意酣暢淋漓。畫面上儘管墨色變幻、氣象萬千,近觀局部卻可 以感受水色在有意無意之間互相滲透產生的美妙肌理,富有張力的筆痕 墨跡,構成充滿藝術趣味的動人魅力。桃色鮮亮的影暈為基底,氣勢撼 人,給人一種澄明純淨的情境。作品的抒情性,向來是在中國美學世界 Li Dezhuang-BEYOND BABEL , 2016 《李德庄——走出巴貝爾》,2016

Ravenel 172

一個主要特質,也是中國文化最精緻的部分。從文學到藝術,所謂意在 言外、畫外情、畫外意,都是人文情思的抒情表達。


692 LI DEZHUANG (Chinese, b.1958)

李德庄

Peach Blossoms Festival

桃花節

2015 Ink and acrylic on paper 68.5 x 142 cm Signed LI DEZHUANG 2015 SHANGHAI PUBLISHED: Li Dezhuang-BEYOND BABEL , 2016

2015 彩墨 壓克力 紙本 68.5 x 142 cm 簽名:李德庄 2015 上海(右下) 出版: 《李德庄——走出巴貝爾》,2016

NT$ 500,000 - 700,000 HK$ 129,000 - 180,000 US$16,600 - 23,200

Literati II : Encounter with a Collector


693 TADAO ANDO (Japanese, b.1941)

Tadao Ando,born in Osaka, Japan in 1941, is a Japanese self-

Architectural Manuscripts (a set of 4)

taught architect whose approach to architecture and landscape

2011 Grand Front Osaka (1) Oil chalks and encre on paper 19 x 12 cm 2014 The Poly Opera (2) Oil chalks and encre on paper 16.9 x 23.3 cm 2001 Hyogo Museum (3) Oil chalks and encre on paper 11.7 x 16.4 cm 2006 Water Temple (4) Oil chalks and encre on paper 17 x 21.4 cm

was categorized by architectural historian Francesco Dal Co as "critical regionalism". He established his own design studio, Tadao Ando Architects and Associates. In 1969, became a professor of the University of Tokyo in 1997. He emphasises the association between nature and architecture. He intends for people to easily experience the spirit and beauty of nature through architecture, interested in ultiizing natural light through the structure of archetecture. Representative projects including Row House in Sumiyoshi, Church of the Light, Chichu Art Meseum, etc.

安藤忠雄,日本著名建築師。1941年出生於日本大阪,以自學方式 學習建築,1969年創立安藤忠雄建築研究所。1997年擔任東京大 學教授。其設計作品充分考慮人與自然,人與社會微妙的關係,對 光、水與建築的處理都透露出日本設計師對自然的敬畏之輕。在建 築結構中深層探討自然光線的使用,與周圍環境和諧共存。代表作 住吉長屋、 光之教堂、地中美術館等。

Signed ANDO on the each paper PROVENANCE: Private collection, Asia

NT$ 80,000 - 120,000 HK$ 21,000 - 31,000 US$ 2,700 - 4,000 安藤忠雄 建築手稿(4 組一件) 1. 大阪梅北廣場 Grand Front Osaka (2011) 2. 上海保利大劇院 The Poly Opera (2014) 3. 兵庫縣立美術館 Hyogo Museum (2001) 4. 本福寺水御堂 Water Temple (2006) 蠟筆油彩 紙本 來源: 亞洲藏家舊藏

Ravenel 174

2

4

1

3


Literati II : Encounter with a Collector


694 HAN MEILIN (Chinese, b.1936)

韓美林

Horse

2001 Ink on paper 55 x 77.8 cm Signed MEILIN in Chinese With one seal of the artist

2001 水墨 紙本 55 x 77.8 cm

PROVENANCE: Private collection, Asia

NT$ 400,000 - 600,000 HK$ 103,000 - 154,000 US$ 13,300 - 19,900

Ravenel 176

款識:辛巳小龍之年八月中秋之後齊魯海右人美林於北京城 鈐印:韓 來源: 亞洲藏家舊藏


695 LUO ZHIHAO (LUO CHIH HAO, Taiwanese, b.1987)

駱志豪

Turtle’s Dream

烏龜的夢想

Ink on paper 25.5 x 34.5 cm

水墨 紙本 25.5 x 34.5 cm

NT$ 120,000 - 180,000 HK$ 31,000 - 46,000 US$ 4,000 - 6,000

Literati II : Encounter with a Collector


696 A PEONY LACQUER BOX AND COVER Ming Dynasty (AD1368-1644) D: 4 cm

NT$ 220,000 - 300,000 HK$ 57,000 - 77,000 US$ 7,300 - 9,900 明 金属胎剔紅 牡 丹 紋 圓 蓋 盒

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Of circular form, finely carved both on the cover and base with a large peony blossom surrounded by leaves and buds, the interior and the base lacquered black. 袖珍蓋盒金屬胎,呈蒸餅式,兩面紋飾雷同,通體外堆朱漆,內 髹深褐色漆,外壁以剔紅技法,滿雕纏枝牡丹朵花,牡丹枝葉繁 茂,朵花綻放,展現盎然活潑的自然生機。


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委託競投表格 委託競投表格須於拍賣24小時前送抵羅芙奧。競投表格可傳真至: 台北 香港

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客戶編號 (如有) 姓名 身份證字號 地址 郵碼 電話 (住宅)    (辦公室) 傳真

電郵

簽名 (注意:本公司在取得閣下之簽名後方才接受競標;閣下所填報之姓名 及地址資料,將會被列印在發票上,隨後將不能更改) 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白,羅芙奧為方便顧客而提供代為投標的服務,羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託, 以最先收到者優先辦理。 本人知悉如投標成功,本人應付之購買價款為最後之落槌價加上服務費,(連同該最後落槌價及服務費之營業稅)服務費依最後落槌價乘以服 務費率得之。詳見業務原則規定第4條a,c,d之規定。(4a.買家支付每件拍品之服務費率:(1)買家除支付落槌價外,另須支付服務費予本公 司,落槌價於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分為二級,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以12%計算。) 本競投,本人同意並遵守本目錄所載所有業務規則(特別是有限保證、不負其他瑕疵擔保等規定)。

請用正楷填寫清楚 拍賣品編號 (按數字順序)

競投價(新台幣) (服務費不計在內)

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

銀行證明 銀行名稱 銀行地址 銀行帳戶名稱

羅芙奧股份有限公司 台北市106敦化南路二段76號15樓之2 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 Fax : +886 2 2701 3306 ravenel.com ravenelart.com.cn

銀行帳號 銀行聯絡者 銀行電話

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ABSENTEE BID FORM The absentee bid forms must be delivered to Ravenel at least 24 hours before the auction begins. The bid forms may be faxed to:

Auction RAVENEL SPRING AUCTION 2017 Literati II : Encounter with a Collector Date Saturday, June 3, 2017, 4:00 pm Sale No. TC1701 Location Taipei Marriott Hotel Address Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

Taipei Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 Hong Kong Tel: +852-2889 0859 Fax: +852-2889 0850 Bidder’s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax Email Signature (Notice: We must have your signature to execute this bid. Billing name and address should agree with your state or local sales tax exemption certificate. Invoice cannot be changed after they have be printed.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

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

I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the

Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

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

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (NT$) (excluding service fee)

Title

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

Bank Reference Approval Name of the bank Address of the bank

Name of the account

Ravenel Ltd. 15F-2, No. 76, Sec. 2, Dunhua S. Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 Fax: +886 2 2701 3306 ravenel.com ravenelart.com.cn

Account number Contact of the bank Tel. No.

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業務規則

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。 1. 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。 2. 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。 3. 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, re-auction 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. 1. 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. 2. 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. 3. 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

186


CHRONOLOGY 中國歷代年表

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

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

187


Lot 601

Lot 602

Lot 603

Lot 605

Lot 606

Lot 607

Lot 609

Lot 610

Lot 611

Lot 612

Lot 614

Lot 618

Lot 619

Lot 620

Lot 621

Lot 622

Lot 633

Lot 634

Lot 646

Lot 647

188


Lot 648

Lot 652

Lot 654

Lot 655

Lot 661

Lot 662

Lot 663

Lot 664

Lot 673

Lot 674

Lot 675

Lot 676

Lot 677

Lot 678

Lot 687

Lot 688

189


190


藝術家簡歷

Lot 693

Lot 645

Lot 644

TADAO Ando (Japanese, b.1941)

BAI Xueshi (Chinese, 1915 - 2011)

Tadao Ando was born in 1941 in Osaka, Japan. Ando is a Japanese self-taught architect whose approach to architecture and landscape was categorized by architectural historian Francesco Dal Co as "critical regionalism". He received a series of World Architecture Awards, including the Pritzker Architecture Prize in 1995. He worked as a truck driver and boxer before settling on the profession of architect, despite never having formal training in the field. He visited buildings designed by renowned architects like Le Corbusier, Ludwig Mies van der Rohe, Frank Lloyd Wright, and Louis Kahn before returning to Osaka in 1968 to establish his own design studio, Tadao Ando Architects and Associates. Ando's architectural style is said to create a "haiku" effect, emphasizing nothingness and empty space to represent the beauty of simplicity. H e h a s a u t h o re d n e a r l y 150 i n t e r n a t i o n a l l y acclaimed architectural works and programs, including " Church of the Light (1989) ", "Row House in Sumiyoshi", " Hyogo Prefectural Museum of Art, Kobe ", etc. He became one of the most active and influential architects of the world today..

Bai Xueshi, formerly known as Zengrui, is a famous Chinese mountain-and-water painter who was born in 1915. Began painting on his own. Later studied with Liang Shuping. After 1949 ,he travelled widely in China, than taught in Beijing Fine Art Normal College. 1982, associate professor of CAAC. Bai widely adopted a variety of knowledge, and absorbed the essence of different types of painting. His paintings have element of the rigorous painting of the Song dynasty, the lively feeling of painting of the Yuan Dynasty, with the richness of watercolor painting. Bai explored famous mountains and rivers such as Huangshan, Mount Taishan, the Three Gorges, Mount Taihang and so on.  He created landscape works with his unique style using traditional techniques. The mountain-and-water painting of Bai Xueshi were collected by different art institutions both domestic and overseas, for giving a comprehensive understanding of the artists, Beijing Fine Art Academy borrowed paintings from Calligraphy and Painting Studio of CPPC, China Art Museum, Beijing Artists Association, Diao Yutai State Guesthouse etc.

CHEN Tingshi (CHEN Ting - shih) (Taiwanese, 1913-2002)

安藤忠雄 (日本,1941年生)

白雪石 (中國,1915 - 2011)

陳庭詩 (台灣,1913 - 2002)

安藤忠雄,1941年出生於日本大阪,日本著名建

白雪石,原名增銳,齋號何須齋。中國現代著名

1913年生於福建,1948年來台。年幼失聰,不但

築師。以自學方式學習建築,1969年創立安藤忠

國畫家,中國美術家協會會員,北京山水畫研究

未減少他對藝術之靈敏度,反而使其更專注於藝術

雄建築研究所。獲得了包括有建築界「諾貝爾獎」

會會長。自幼習畫,1932年在中學讀書時受教於

創作,為多才多藝的創作者。三十餘歲活躍於多個

之稱的普利茲克獎等在內的一系列世界建築大獎。

花鳥畫家趙夢朱,後拜梁樹年等為師學習山水畫,

美術團體,諸如五月畫會、現代版畫會及現代眼畫

1997年擔任東京大學教授,之後亦擔任哈佛大學、

一九三三年,經畫界友人推薦,即加入了當年北平

會等。陳庭詩曾多次參與歐美亞等地海外聯展,並

哥倫比亞大學、耶魯大學等的客座教授。在30多年

畫壇頗具影響的繪畫團體——「湖社」。1935年,

定期參與五月畫會展覽以及多項個人展覽。作品

的時間裡,他創作了近150項國際著名的建築作品

從師詩、書、畫、印皆長的著名山水畫家梁樹年先

《蟄》曾獲1970年之韓國國際版畫雙年展「東亞

和方案,作品有「住吉長屋」、「萬博會日本政府

生研習山水畫技法,並於次年與梁樹年先生及畫友

日報大獎」。陳庭詩的版畫,鐵雕,書法及壓克力

館」、「光之教會」等。安藤開創了一套獨特、嶄

郭北巒在中山公園舉辦山水、花鳥作品三人聯展。

畫皆具備中國文人思想,為台灣現代藝術的發展具

新的建築風格,以半制成的厚重混凝土,以及簡約

白雪石的作品清新俊逸,樸秀多姿,題材廣泛,具

有相當的影響力。陳庭詩之版畫作品廣受海內外美

的幾何圖案,構成既巧妙又豐富的設計效果,他的

有濃郁的時代氣息,尤以桂林為題材創作的青綠山

術館及私人團體所購藏,包括洛克菲勒基金會、辛

突出貢獻在於創造性地融合了東方美學與西方建築

水畫最能體現和代表白雪石的繪畫風格。他的一種

辛那提美術館、國立台灣美術館等,以及私人機構

理論;遵循以人為本的設計理念,提出「情感本位

獨具風貌的桂林山水畫法被稱為「白派山水」。

如香港大通銀行、台北花旗銀行和IBM電腦公司等

Born in Fujian, China. Chen lost his hearing at an early age but this did not handicap his artistic abilities. On the contrary, he managed to focus on his art and has come to be known, fittingly, as a "complete artist". Chen left China for Taiwan in 1948 and has participated in various artistic circles such as Fifth Moon, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Salon de Mai, on top of regular solo shows. In 1970, Chen was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. Chen's lithographs, iron sculptures, calligraphy and acrylic paintings are influenced by the Chinese literati's school of thought and have left a lasting impression on 20thcentury Chinese modern art. His works found in major museums like the Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. They have also been collected by corporate institutions such as the Chase Manhattan Bank (Hong Kong), the Citibank and IBM.

等。

空間」的概念,注重人、建築、自然的內在聯系。 成為當今最為活躍、最具影響力的世界建築大師之 一。

191

Lot 690


ARTIST INDEX

Lot 689

Lot 638 Lot 639 Lot 640 Lot 641

Lot 694

GUO Hongwei (Chinese, b.1982)

HUANG Junbi (Chinese, 1898 - 1991)

HAN Meilin (Chinese, b.1936)

GUO Hongwei, born in Sichuan, China in 1982. He graduated from Sichuan Fine Arts Institute, C h o n g q i n g , C h i n a i n 2004 . G U O l i v e s a n d works in Beijing currently. Guo has achieved wide renown for his mastery of the watercolor technique, culminating in large-scale watercolors depicting objects from the natural world depicted with scrupulous fidelity exhibited in Painting is Collecting I, II, III at Chambers Fine Art in 2012. SOLO EXHIBITION:2015 Lustrous and Dazzling, Gal lery 100, Taipei, Taiwan .2014 The Great Metaphorist, Chambers Fine Art, Beijing, China Miss Oyu, Frieze New York, New York, USA. SELECTED PUBLIC COLLECTIONS:DSL Collection, France;White Rabbit Collection, Sydney, Australia

H U A N G J u n b i , f o r m e r l y k n o w n a s Yu n X u a n , w h o s e r e a l n a m e i s  Yu n ' s  N o .  J u n C h o i , G u a n g d o n g N a n h a i  L u Z h o u  p e o p l e , contemporary painter. And Zhang Daqian , Pu Xin She to " crossing the sea three " par. Good at painting landscapes, the traditional foundation of deep, experienced the modern Chinese painting inheritance, evolution, innovation process. He studied Chinese painting from the date of Chinese painting, and was a Chinese painter who was a western painting. The Western art circles called it "Chinese neoclassicism". And has been invited at home and abroad invited lectures and exhibitions dozens of times, international reputation, footprints throughout Asia, Europe, the United States, nonfour continents, the contribution of culture and art outstanding; has won the Taiwan Ministry of education first "Chinese Literature Award The first prize of fine arts "and the" master of painting "plaque in the art world.

Han Meilin was born in 1936 in Jinan, Shandong. He was admitted to the Central Academy of Arts and Design in 1955. He has had a prolific artistic career of painting and sculpture. He was commissioned to create the 10 meter high Five Dragon Clock Tower for the 26th Olympic Games held in Atlanta in 1996. Other monumental sculptures include ‘Tigers’ for Dalian in Liaoning Province, ‘The Bull’ for Jinan, ‘Cock Crows to Herald the Break of Day’ for Zibo in Shandong Province, and ‘Sacred Bull’ for Shekou. Han Meilin also created the Fuwa doll mascots for the 2008 Beijing Olympics. Members of the Bradshaw Foundation were introduced to Han Meilin in China in 2010, whilst attending the Third Annual Rock Art Festival & Seminar, hosted at the Yinchuan World Rock Art Museum located in Helankou, near Yinchuan, the capital of Ningxia Hui Autonomous Region. Han Meilin had been invited as a speaker at the Seminar, where he encouraged artists of China to ‘seek inspiration from the ancient motifs and themes of Chinese rock art, rather than to look elsewhere such as Europe and Russia’. This coincided with an exhibition held in the Yinchuan World Rock Art Museum of recent paintings and sculpture by Han Meilin.

郭鴻蔚 (中國,1982年生)

黃君璧 (中國,1898 - 1991)

韓美林 (中國,1936年生)

郭鴻蔚,1982年生於四川。2004年畢業于四川美

黃君璧(1898—1991)原名允瑄,晚號君翁,廣

韓美林,1936年12月26日生於山東,是第29屆奧

術學院油畫系,學士學位,現生活於中國北京。主

東南海縣人,當代國畫大師。與張大千、溥心畬以

運會的吉祥物福娃的設計者之一。中國當代極具影

要工作涉及繪畫,拼貼,影像及裝置、表演等多

「渡海三家」齊名。自幼受家庭熏陶喜愛書畫,年

響力的天才造型藝術家,在繪畫、書法、雕塑、陶

種媒介,並從2011年開始運營獨立空間分泌場至

輕時即浸淫於古人遺跡中,大量臨摹。其畫風兼取

瓷、設計乃至寫作等諸多藝術領域都有很高造詣,

今。郭鴻蔚以其精湛的水彩畫技藝而聞名,也完美

南北二宗,尤喜石溪等「四僧」,所摹古畫達到以

大至氣勢磅礡,小到洞察精微,藝術風格獨到,個

體現在2012年其在前波畫廊的系列展覽《收集者

假亂真的程度,連精於此道的一代宗師張大千也贊

性特征鮮明,尤其致力於汲取中國兩漢以前文化和

I,I I,I I I》中的大幅作品中。在他的藝術創作中,事

嘆「直可亂真」。早年廣東畫壇「二高一陳」創立

民間藝術精髓,並體現為具有現代審美理念和國際

物的隱喻聯系對他來說尤其重要。而在展覽《大比

新的繪畫技法曾轟動一時,但身處嶺南的黃君璧不

通行語彙的藝術作品,國家一級美術師,清華大學

喻家》中,他將自己對世界的隱喻性理解推向了一

為所動,堅持傳統,堅持尚古摹古。君璧先生26歲

美術學院教授,中央文史館研究員。2015年10月

個新的高潮。離開了其一直以來所熱衷的對自然事

即舉辦個人畫展,40歲被聘為全國美展審查委員,

14日,被授予「聯合國教科文組織和平藝術家」稱

物的描寫。他的作品被國外知名收藏機構所收藏。

50歲去了台灣。在台期間,除筆耕不輟外,長期

號。1980年,韓先生於美國紐約波士頓等21個城市

精選個展: Lustrous and Dazzling,Gallery 100,

擔任台灣師範大學藝術系主任、教授,其白雲堂門

舉辦個人畫展,在美國期間曾接受聖地亞哥市頒發

台北,台灣,2015年;「大比喻家」,前波畫廊,

下弟子遍及海內外,桃李滿天下,同時長期擔任宋

榮譽市民金鑰匙,紐約曼哈頓還宣佈1980年10月1日

紐約,美國,2014年;主要機構及私人收藏:DSL

美齡的國畫老師。黃君璧先生一生是集美術家、教

為韓美林日。在美國期間還應邀為哈佛大學勞倫斯

Collection, 法國;White Rabbit Collection, 悉尼,

育家、鑒定家、收藏家之大成者。黃君璧先生一生

藝術學院講學。他在1983年有六幅作品入選聯合國

澳大利亞。

中,有兩位對其藝術與人生都具重要影響的摯友:

發行之聖誕卡,而1989年至今,已在世界二十多個

徐悲鴻與張大千。

國家舉辦個人畫展。

192


藝術家簡歷

Lot 604

Lot 684 685

Lot 692

JU Lian (Chinese, 1828 - 1904)

JIANG Sheng (Chinese, b.1990)

LI Dezhuang (Chinese, b.1958)

J u L i a n ( C h i n e s e , 1828-1904) , a n a t i v e of Panyu (now Guangzhou),was a Chinese painter in Qing Dynasty. His courtesy name was 'Ancient Spring' -Gu Quan , and self-given pseudonym 'Old Man of the Divided Mountain' (Ge Shan Lao Ren). He was the younger brother (or cousin) of the painter Ju Chao. He was known for his birdand-flower paintings  as well as people and plantand-insect paintings. He was the teacher of the brothers Gao Jianfu and Gao Qifeng.

JIANG Sheng, was born in 1990, Young Buddha Sculptor, graduated from the Fudan University Shanghai Institute of Visual Art、SIVA, lives and works in Xiamen, China. Inspired at an early age by his father JIANG Zhiqiang Sculptor . In 2009, after he Convert to Buddhism, JIANG was willing to carve Buddha statues as a Lay Buddhist. JIANG Sheng set up the sculpture studio "Jiang Jia Ban" in Xiamen 2013 focusing on the study of Buddhism statues. “Giving Buddha a Body on the Earth”, it is the concept throughout Jiang Sheng’s Buddhism statue creations. Based on the traditional Chinese Buddhism sculpture styles and techniques, the “Jiang Jia Ban Buddhism Statues” by Jiang Sheng are an effortless combination of modern minimalism and futuristic point of view. The elegance and simplicity of Jiang Sheng’s works have attracted the attention of people from different industries. JIANG’s works have been collected by many domestic temples and private collector including Fahua Temple and Yongfu Monastery in Shanghai; South Putuo Temple in Xiamen etc. .

Li Dezhuang, born in Singapore, Wenchang Guangdong native, graduated from the Nanyang Academy of Fine Arts. CILT UK Chartered Fellow, China Dalian Maritime University professor. In the early 1980s, Li used mixed media to create "New Water Margin series" and won several international art awards. He has participated in over 30 group exhibitions and has held over ten solo exhibitions. His works have been collected by the Istana (the office and residence of the Singapore President), National Gallery Singapore, National Library Singapore,many leading banks in Singapore and individual collectors in Mainland China, Europe and Saudi Arabia. His most recent exhibition was in Art Paris Art Fair at the Grand Palais in 2013 where he was represented by Jeans Bastien Gallery (Brussels).

居廉 (中國,1828 - 1904)

蔣晟 (中國,1990年生)

李德庄 (中國,1958年生)

居廉,廣東省番禺縣隔山鄉(今廣州市海珠區)人,

蔣晟出生於1990年,青年佛像雕塑家,福建廈門人。

李德庄,新加坡出生,祖籍廣東文昌,畢業於南洋

出生於1828年,字士剛,號古泉、隔山樵子、羅湖

2009年皈依濟群法師後,發願以在家居士身份雕刻

美術專科學校。英國CILT註冊院士,中國大連海事

散人。居廉是中國近代嶺南地區著名的國畫畫家,

佛像。2013年畢業於上海視覺藝術學院雕塑系,之

大學客座教授。80年代初以綜合媒介創作「新水滸

善畫花鳥、草蟲及人物,尤以寫生見長。和其從兄

後回到家鄉廈門工作生活,2013年建 「蔣家班佛教

系列」初闖畫壇獲得了多個國際美術獎。李德庄的

居巢並稱「二居」。他初時學宋光寶和孟麗堂,後

造像」 作室。以遵循漢式多元化的塑造 式「為佛造

畫作在世界各地舉辦了10多次個展和30多次聯展,

吸收各家之長,自成一家。筆法工整,設色妍麗,

像」, 圖延續漢傳佛像藝術的可能性。「給佛一個

他最近的畫作參展活動是在2013年,法國巴黎大

在繼承和發展惲壽平沒骨畫法基礎上,創撞水和撞

人間的身體」,這一理念貫穿在蔣晟的佛像作品中。

皇宮舉辦的「巴黎藝術博覽會」。主要機構及私人

粉法,是嶺南畫派奠基人之一。

在當今藝術界,佛像是蔣晟用來標定自我的符號,也

收藏:總統府,新加坡國家畫廊,新加坡國家圖書

是他與外在世界進行鏈接的最重要媒介。至今,已有

館,美國長榮海運等。

多造像作品被國內寺廟與各地藏家收藏, 並且在世界 各地舉辦了多次展覽。其中,作品「漢白玉自在觀音 像」落座於廈門虎溪岩寺;「檜木智者大師禪定像」 坐落於上海永福庵等。個展:「給佛一個世間的身 體」,中華女兒美術館,厦門,2017年;「安靜的瀑 布」,梵幾客廳,北京,2016年,等。

193


ARTIST INDEX

Lot 643

Lot 642

Lot 695

LIU Danzhai (Chinese, 1931 - 2011)

LI Jing (Chinese, b.1972)

LIU Danzhai, Chinese traditional artist, also known as LIU Xiaosu, LIU Hun and LIU Yunsheng. LIU was born in Wenzhou, Zhejiang Province. When he was only 10 years old, he had his first exhibition in Wenzhou. Because he was from a poor family, he could only draw in his spare time, finding inspiration in portraits from the Han and Tang dynasties, landscapes from the Song and Yuan and works from the Qing-era artist Bada Shanren. In 1951, he went to work for the Great China Poster Publishing House in Shanghai, where he specialized in murals and hanging charts. Later, he worked for the Shanghai People's Fine Arts Publishing House, and took up teaching at the Shanghai Chinese Painting Academy and the Art Department of the Shanghai Normal University.Liu specialties were Chinese painting, New Year pictures and cartoon strips. He became famous for illustrating the classic novel A Dream of Red Mansions.

Li Jing, also known as Mo An and Shi Yue Nan Ying, has been an artist for years, and has the honour of being a student of the great Chinese artist Zhou Kai. The works of Li are rooted from the traditional Chinese styles and search for a natural and fluid flow of the ink.   Li has participated in many national and Hong Kong major exhibitions, and his works are kept in many private collections. JM Culture was established by Li in 2003 with a motto “Cleanse the heart with ink. With a pure heart to write with ink”.  JM Culture aims to pass on the traditional Chinese cultures through ink, purify the heart as well as realizing the truth from the heart.

LUO Zhihao (LUO CHIH HAO, Taiwanese, b.1987)

劉旦宅 (中國,1931 - 2011)

李凈 (中國,1972年生)

駱志豪 (台灣,1987年生)

劉旦宅,原名渾,又名小粟,後改名旦宅,別名海

李淨,字墨盦,號十月南嬰,資深書畫人。師從畫

1987年生,國立嘉義大學水墨組畢業。表現的題材

雲生,浙江溫州人。自幼喜好繪畫,1941年便在溫

壇名宿周凱,得其言傳身教,登堂入室。作品立根

上大多是自然界的景象和動植物,隨著想法的傳達

州舉辦「十齡童劉小粟畫展」。 1949年後,在上

古法,探求自然氣象與墨道氤氳,曾多次入選全國

開始重新排列、組合,由週遭看到的再作轉化。畫

海市大中國圖書局、上海教育出版社、上海人民美

及本港多項大型書畫展,並為私人機構收藏。2003

風穩健,新水墨作品畫工不俗,但部分題材卻跳脫

術出版社繪畫。1985年後任上海師範大學教授。擅

年創立淨墨文化,主張「以墨淨心,淨心寫墨。」

傳統窠臼,值得期待駱氏往後的新作。獲獎記錄:

長中國古典著作人物畫。所繪《紅樓夢十二金釵》

冀透過筆墨延傳中國傳統文人書畫,同時淨化心

2009第八屆彩墨新人獎新人賞,2009 南海扶輪社

郵票,曾獲1981年全國郵票最佳獎。1985年獲中國

靈、證於心源。

水墨獎學金第二名,2010磺溪美展水墨類佳作。精

Born in 1987, graduated from the Ink Painting section of National Chiayi University. His subjects are mainly natural scenery with animals and plants, but he has started to rearrange, re-assemble and transform the edges as his thinking changes. His works are stoic and his modern ink techniques are notable, but some of his subjects defy expectations and make us feel that his later works will be worth waiting for. Awards: Color and Ink Newcomer Aw a rd i n 2009;2n d P l a c e , S o u t h S e a R o t a r y International Ink Painting Scholarship in 2009; Excellence in Ink Painting, Kuangxi Art Exhibition in 2010. Selected Exhibitions: One Hundred People in the Changing Currents, Kaohsiung City Government Marine Bureau, Kaohsiung, 2009.

奧林匹克委員會頒發的《中國體育美術展覽》榮譽

選展覽:「海流意象百人聯展」,高雄市政府海洋

獎。作品有《劉旦宅聊齋百圖》、《石頭記人物畫

局,高雄,2009年;「壹計劃-新銳藝術家聯展」,

冊》等。

台北國際藝術博覽會,2011年。

194


藝術家簡歷

Lot 649

Lot 665

Lot 637

YUNG Chee-mun (Simon YUNG, Chinese, b.1968)

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

ZHA Shibiao (Chinese, 1615 - 1698)

S i m o n Yu n g , g r e w u p i n H o n g K o n g . H e obtained a Diploma in Chinese Painting from HKU SPACE(2006), Bachelor of Arts in Chinese Humanities from OUHK(2011), and also studied Chinese calligraphy and seal engraving under with Master Ou Dawei, Chinese ink painting under with Master Hung Hoi. Simon has participated in numerous local and overseas art exhibitions, and has won numerous awards in different art competitions including "Hong Kong Contemporary Art Awards 2012", "Beyond the Surface~Chinese Abstract Art 2008", Philippe Charriol Foundation Art Competition 2006" and "Hong Kong Art Biennial Exhibition 2005". His ink works are collected by the Hong Kong Museum of Art, enterprises and private collectors. He engaged in design and art education now, and a full member of Hong Kong Designer Association, member of Hong Kong Society for Education in Art.

B o r n i n H o n g K o n g i n 1964, N g o b t a i n e d a D i p l o m a i n C h i n e s e i n k p a i n t i n g f ro m t h e Department of Extra-mural Studies of the Chinese University of Hong Kong in 1986 and obtained Master of Fine Art from Royal Melbourne Institute of Technology in 2011. Ng’s works include modern ink panting, installation, photography, public art, sculpture and “land art” on site. His art has been featured in more than 70 overseas and local exhibitions.His works have also been collected by the Hong Kong Heritage Museum, the Hong Kong Museum of Art and private collectors.

容子敏 (中國,1968年生)

吳觀麟 (中國香港,1964年生)

查士標 (中國,1615 - 1698)

容子敏,香港出生。香港大學專業進修學院中國繪

1964年生於香港。1986年取得香港中文大學校外

查士標(1615--1698),字二瞻,號梅壑散人,懶

畫文憑(2006)、香港公開大學中國人文學科文學士

進修部中國水墨畫課程文憑,2011年取得澳洲皇家

老。新安(今安徽歙縣、休寧)人,流寓江蘇揚

(2011)。師從區大為老師習中國書法及篆刻、熊海老

墨爾本理工大學藝術碩士。個人藝術作品包括現代

州。明末生員,家富收藏,故精鑒別,擅畫山水,

師習中國水墨。容氏多次參與香港及海外展覽,包

水墨、裝置、攝影、公共藝術、雕塑、 以及地景

為海陽四家之一。清初著名畫家,書法家和詩人。

括英國、美國、韓國、新加坡、印尼、台灣、澳門

藝術。曾參與超過七十個本地及海外展覽,包括:

與孫逸、汪之瑞、僧弘仁等書畫家一起被稱為「新

及中國大陸,又取得多個藝術獎項,如「香港當代

「香港當代藝術雙年展」,1983-1994;「第七屆、

安四家」。

藝術獎2012」、「超以象外—中國抽象繪畫作品展

第八屆、第十屆全國美術作品展」, 北京中國美術

2008」、「夏利豪基金會藝術比賽2006」、「香港

館, 1989-2004;「新水墨藝術:創新與超越」,香港

藝術雙年展2005」等。水墨作品獲香港藝術館、企

藝術館,2008;「承傳與創造—水墨對水墨」,上海

業機構及私人收藏。容氏現從事設計和藝術教育,

當代藝術館,2010;「蒙古360°:第一屆地景藝術雙

亦為香港設計師協會全權會員、香港美術教育協會

年展」,蒙古國立現代美術館,2010。曾獲「香港

會員。

市政局藝術獎」,繪畫.國畫素材.1994;「第十 屆全國美術作品特別獎」,2004等獎項。 作品可見 於香港國際機場、濕地公園、香港警察總部、西貢 視覺走廊,尖沙咀百年紀念公園和香港K11藝術購物 商場等,並為香港文化博物館,香港藝術館及私人 收藏。

195

Z h a S h i b i a o w a s a l a n d s c a p e p a i n t e r  a n d calligrapher from Anhui, China. He was affiliated with the Anhui School, also known as the Xin'an School, which is noted for dry brushstrokes and sparse compositions. His family, and himself, were art collectors and Ming dynasty aristocrats. He had studied for the civil service exam under the Ming and received the xiucai degree in his twenties. However he abandoned any attempt at an official career after the Manchu conquest. Subsequent to the 1670s he moved, or fled, depending on the source, to Yangzhou. As a calligrapher he was influenced by Dong Qichang and Mi Fu. His landscapes were more influenced by Hong Ren and Ni Zan. His later works are considered to have had a more moist and expressive feel than those of Hong Ren.


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緣來私藏 II:古今人文藝術專場 Literati II : Encounter With A Collector  

羅芙奧2017春季拍賣會 緣來私藏 II:古今人文藝術專場 Ravenel Spring Auction 2017 Literati II : Encounter With A Collector

緣來私藏 II:古今人文藝術專場 Literati II : Encounter With A Collector  

羅芙奧2017春季拍賣會 緣來私藏 II:古今人文藝術專場 Ravenel Spring Auction 2017 Literati II : Encounter With A Collector

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