水流雲在－江兆申、李義弘、周澄書畫專場；翰墨丹青－中國書畫專場

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

翰墨丹青 中 - 國書畫

Refined Brushwork: Fine Chinese Paintings

Ravenel 178

IMPORTANT NOTICE TO BUYERS

The auction will strictly abide by the Transaction Agreement 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 bidding deposit are required.

2.

Bidding deposit in the amount of NT$ 600,000 or US$ 20,000.

3.

The bidding deposit must be transferred to Ravenel's specified Bank account prior to 29th May 2019, 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（NT$）或 001-234830-061（US$） 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 bidding deposit. The payer will be responsible for any associated bank service fees.

4.

After the 29th May 2019, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 30th May to 1st June 2019). Acceptance will cease on the 1st June by 12 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 bidding deposit transferred to Ravenel's specified Bank account before the 29th May 2019.

6.

If the bidding deposit has been transferred prior to 29th May 2019, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her/its paddle number.

7.

If the payment of the bidding deposit is made on the day of the auction, the payer may obtain his/her/its 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: (a) For successful bidder with a bidding deposit made through wire transfer, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. (b) For successful bidders with bidding deposit made by Cash, the hammer price, buyer's premium and other expenses will be deducted from the bidding deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (c) If the Buyer, without any good cause, fails to pay any and all payment (including but without limitation, hammer price, buyer's Premium, and other expenses) of the Lot to the Company within 7 days after the auction date, the Buyer shall not claim for the return of the bidding deposit.

(2) Nil Transaction: If the bidder is not able to purchase any lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder. For individuals with a bidding deposit transferred by wire, the bidding deposit will be returned within 14 business days through means of a wire transfer. Cash bidding 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 bidding deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment must not exceed NT$ 1,000,000.

(2) A credit or China UnionPay payment: The credit payment must not exceed NT$ 1,000,000. The holder of the credit card or China UnionPay must be the successful 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.

Ravenel 4

給予買家的重要通知

本拍賣會依據「羅芙奧股份有限公司業務規則」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競投保證金。

2.

競投保證金 : 新台幣陸拾萬元或貳萬美金。

3.

競投保證金需於 2019 年 5 月 29 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（新台幣）或 001-234830-061（美金） 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競投保證金全額，銀行手續費請匯款人負擔。

4.

2019 年 5 月 29 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 ( 2019 年 5 月 30 日至 6 月 1 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 2019 年 6 月 1 日中午 12 點截止。

5.

電話／書面／網路競投 : 競投者如不能出席拍賣會，可透過電話／書面／網路方式進行競投。登記申請手續以及競投保證金之繳納亦需在 2019 年 5 月 29 日以前完成匯款至本公司指定帳號。

6.

如於 2019 年 5 月 29 日以前完成競投保證金匯款，請提供我方可證明已匯款的證明文件。確認收到競投保證金匯款後，我們將與競投者聯 繫並與之確認其競標牌號。

7.

拍賣當天已繳納競投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.

競投保證金退還方式 : (1) 有成交 : (a) 競投保證金以「匯款」方式完成者，扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 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。 (b) 競投保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、服務費及其他費用 ) 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。 (c) 若買家無正當理由未於成功拍賣日期後七天內支付全部應支付之款項（包含落槌價、服務費及其他費用）予本公司，買家不得請 求返還競投保證金。 (2) 未成交 : 若競投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證金。競投保證金以「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。競投保證金以「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 ) 金額超過競投保證金金額時，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（包含競投保證金）保留全部的決定權。

RAVENEL SPRING AUCTION 2019 Paintings and Calligraphy of Chiang Chao-Shen Lee Yih Hong and Zhou Cheng Refined Brushwork: Fine Chinese Paintings

羅芙奧 2019春季拍賣會 水流雲在 — 江兆申、李義弘、周澄書畫專場 翰墨丹青 — 中國書畫專場

AUCTION

拍賣日期 / 地點

Saturday, 1 Jun 2019, 3:30 pm Taipei Marriott Hotel 3F (Grand Space Hall) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

2019年6月1日（六）下午3:30 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 2019年5月11日（六） 下午1:00 至 下午6:00 2019年5月12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

Kaohsiung

高雄 2019年5月18日（六）上午11:00 至 下午6:00 2019年5月19日（日）上午11:00 至 下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓

Hong Kong

香港 2019年5月26日（日）上午10:00 至 下午7:00 香港君悅酒店11樓 The Poolhouse 香港灣仔港灣道1號

Taipei

台北 2019年5月30日（四）上午10:00 至 下午7:00 2019年5月31日（五）上午10:00 至 下午7:00 2019年6月1日（六）上午10:00 至 下午3:30 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, 11 May 2019, 1:00 pm - 6:00 pm Sunday, 12 May 2019, 11:00 am - 6:00 pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung

Saturday, 18 May 2019, 11:00 am - 6:00 pm Sunday, 19 May 2019, 11:00 am - 6:00 pm J.P. Art Center 8F, No.63, Wufu 3rd. Rd., Qianjin Dist., Kaohsiung

Sunday, 26 May 2019, 10:00 am - 7:00 pm The Poolhouse 11/F, Grand Hyatt Hong Kong 1 Harbour Road Wanchai, Hong Kong

Thursday, 30 May 2019, 10:00 am - 7:00 pm Friday, 31 May 2019, 10:00 am - 7:00 pm Saturday, 1 Jun 2019, 10:00 am - 3:30 pm Taipei Marriott 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$ 2,000 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 Executive Officer 執行長

何瑩 Vivi He

周媛玲 Connie Chau

古文物部 總監 Director, Head of Department

執行長 特助 Executive Assistant

陳砥翰 Masa Chen

林美夆 Annika Lin

古文物及書畫部 經理 Manager, Fine Chinese Works of Art and Paintings Department

客戶發展部 經理

陳姿穎 Zin Chen

朱毅 Walter Zhu

業務助理 台北 Sales Assistant Taipei

Manager, Client Development Department

業務代表 北京 Representative Beijing

李政希 Xiu Lee 業務代表 上海 Business Representative Shanghai

Ravenel 8

目次 / Contents 4

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 8

羅芙奧秋季拍賣會

SALE INFORMATION 10

羅芙奧之服務

RAVENEL SERVICES 12

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

68

翰墨丹青 - 中國書畫 Refined Brushwork: Fine Chinese Paintings

113

委託競投表格

ABSENTEE BID FORM 115

業務規則

TRANSACTION AGREEMENT

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Director, Head of Department Vivi He

Taiwan

Taiwan

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

Zin Chen

Tommy Wu

Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com

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

Hong Kong, International

Hong Kong, International

Connie Chau Tel: +852 2889 0859 Email: conniechau@ravenel.com

Connie Chau Tel: +852 2889 0859 Email: conniechau@ravenel.com

Beijing

China

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

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

Masa Chen Tel: +886 2 2708 9868 ext. 588 Email: masachen@ravenel.com Annika Lin Tel: +886 2 2708 9868 ext. 909 Email: annikalin@ravenel.com Connie Chau Tel: +886 2 2708 9868 ext. 908 Email: conniechau@ravenel.com

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

Remarks:

Vivi He

The catalogues are available for subscription. For details

circulation and centralize management. We accept person-

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

of subscription, please refer to the explanations of the cat-

al and corporate checks, however collection may be made

alogue or contact the above persons.

only when such checks are honored. We apologize for no

PHONE BIDS AND WRITTEN BIDS Hong Kong, International

Taiwan Zin Chen Tel: +886 2 2708 9868 ext. 585 Email: zinchen@ravenel.com

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

Shanghai Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements, including any foreign language assistance for the bidding.

ONLINE BIDS Register at Invaluable www.invaluable.com

Ravenel 10

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

acceptance of traveler's checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

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

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

Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

羅芙奧2019春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

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

台灣

台灣

陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@ravenel.com

吳博峯

香港．國際

香港．國際

周媛玲 電話：+852 2889 0859 電子信箱：conniechau@ravenel.com

周媛玲 電話：+852 2889 0859 電子信箱：conniechau@ravenel.com

北京

中國

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

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

陳砥翰 電話：+886 2 2708 9868 轉 588 電子信箱：masachen@ravenel.com 林美夆 電話：+886 2 2708 9868 轉 909 電子信箱：annikalin@ravenel.com 周媛玲 電話：+886 2 2708 9868 轉 908 電子信箱：conniechau@ravenel.com

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

台灣 陳姿穎 電話：+886 2 2708 9868 轉 585 電子信箱：zinchen@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

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

本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之

可在羅芙奧辦公室提領，上班時間為週一至週五上午

說明或請洽上述聯絡人。

9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安排最適當 的運輸方式。 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

北京 朱毅 電話：+86 10 8587 8099 電子信箱：yizhu@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 Invaluable 註冊 www.invaluable.com

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。

PAINTINGS AND CALLIGRAPHY OF CHIANG CHAO-SHEN LEE YIH HONG AND ZHOU CHENG

水流雲在—江兆申、李義弘、周澄書畫專場

水流雲在 － 江兆申、李義弘、周澄書畫專場

PAINTINGS AND CALLIGRAPHY OF CHIANG CHAO-SHEN, LEE YIH HONG AND ZHOU CHENG

文：蔡耀慶博士 江兆申先生，字茮原，1925年出生於安徽歙縣的書香世家。幼受

象，再借鑒北碑以展姿態，成功地將碑味融入到了帖中，文而不

庭訓，由雙親啟蒙讀書習字，並由舅父指導作畫，傳統家庭教育

弱，勁而不野。最有代表性和個性的是行書，其小字行書作品筆

薰陶，孕育日後藝術創作基礎。1949年間，渡海來台後被舉薦進

勢流轉多姿，風流超邁，大字則拙重渾樸，氣象萬千。結字獨

入台北故宮博物院服務。1991年退休之後，移居南投埔里的鯉魚

特，往往在單字結構上做文章，諸如抑左揚右，長撇短捺，或左

潭，該地田園山光水色，讓先生將中國的山水繪畫，與文人的雅

粗右細，左濃右枯，反之亦是。經過一番處理和表現，書法作品

趣美學，推展出一番新面貌。這時期的江先生創作力旺盛，作品

具有了很強的視覺效果，體現了追求空間表現意識和畫家對形式

質量俱佳，並且經常受邀參展與講學。遺憾的是，1996年5月12

的掌握。

日，在東北瀋陽的學術演講會中，因心肌梗塞而離開人世。 江兆申先生詩、書、畫、印，無一不精，藝評家推崇他為「中國 江先生少年時居古徽州，是程朱理學始祖的故鄉，加上鄰近黃山

傳統文人的新典型」、與「中國現代藝術史上的奇才」，充分的

勝景，文物藝術風氣盛行，可謂地靈人傑。由於環境薰陶，理解

顯示出江先生在繼承傳統，開創現代中國山水畫上的卓越貢獻。

製墨工序與特質，對於墨與紙使用有深刻認識，畫面墨色的變

成功是基於自身的才氣與不斷的努力，因為「沒有天才，絕對不

化，總能揮灑自如。山水畫中悠然清秀的氣質、多遍染色等筆墨

可能成為一個好的藝術家；可是只有天才而不努力，也不可能成

技法方面甚得溥心畬心傳。是以清人運用生紙的滋潤松秀韻味與

為一個畫家。」七十餘年的歲月，先生留下了精采傑作值得我們

宋人那種寬博宏大的結構章法結合起來，用富於金石味的線條與

一再欣賞玩味。

淡雅清秀而層次豐富的色彩暈染諧調配合，使作品獨樹一格。 跟隨江先生學藝者眾，靈漚館中英才濟濟，不僅尊師重道，更於 從筆墨趣觀之，江先生深浸於傳統，但是「師心不蹈跡」。他曾

書畫藝術努力不懈，引領臺灣藝壇。

說：「我認為學古人的字，是學他的用筆，一定要非常認真追求 它的極細微處，非像不可，但如果自己在寫的時候跟古人完全一

其中周澄先生為江兆申入室弟子，書法承襲筆墨金石根基的勤力

樣，等於是複印一次，那麼這個新的書家出來有什麼用呢？」這

鍛練，不論篆隸楷行，各體兼備，皆有深厚功力。山水畫注重寫

體現在他的繪畫表現上，畫面是傳統山水皴法及點線，讓人聯想

生，體現「飽游飫看」，畫中布置周詳，點染設色穩重，筆墨出

起范寬、元人乃至石濤來，但仔細一看，又全是自家江家風格。

神而意境深邃。篆刻從漢印入手，初以溫厚清麗為主，又精研書

因為筆墨與傳統保持不即不離的狀態，在構圖上則表現出了極大

法金石，鐵筆縱橫，蒼勁古樸。以行萬里路，讀萬卷書之功，涵

的創造性。他的立軸畫或開闔縱橫，表現咫尺千里之勢；或危崖

泳於豐碩的典籍詞章，融合詩書畫印於一爐。

高聳、奇峰突兀；或渾厚華滋、鬱鬱蒼蒼。 李義弘先生早年拜師江兆申「靈漚館」門下，以攝影、繪畫、書 黃賓虹曾說：「中國畫訣在書訣，不觀古人所論書法不能明，不

法等記錄自然，更以攝影入畫，層次精準，意象奇特且創新。早

考金石文字無以知造字之源流，即不知書畫之用筆。」書畫同源

期關注於南台灣鄉土情懷，刻畫至真情趣；後足跡踏至印度、尼

並非一句空泛的理論認識，也是傳統水墨的要旨。傳統繪畫中的

泊爾、中國大陸等地，行旅寫景壯闊宏大；近年來的山水創作，

線條就是書法線條，對書法的理解決定了繪畫表現。江先生自幼

著力將山色、光影、雲氣、質感兼容於一，已然演繹出自我存在

習字，終其生涯臨字不輟。幼時寫「鐘鼎款識」看出他具有很強

於自然狀態下的體悟。

的模仿力和悟性，是天資與才情；後來的成就則建立於勤奮與不 斷自我要求。書法方面，行、楷、篆、隸、草等各體兼備，字體 的書寫安排，婀娜多姿，整篇充滿活潑生氣，自是獨具一格。一 生重視歐陽詢書法，以此立下根基，又臨篆、隸以增古樸雄渾氣

Ravenel 14

Abe, Tsai Yao-Ching PhD Born in 1925, Chiang Chao-Shen was brought up in a literati

age, followed by diligent studies and continuous refinement in his

family, thus learnt literature from his parents and painting from his

adulthood. In terms of calligraphy, Chiang excelled in all scripts and

uncle. After arriving in Taiwan in 1949, he took up prominent roles

spatial arrangement of the calligraphy. Ouyang Xun’s calligraphy

in the National Palace Museum. After his retirement in 1991, he

served as a key reference to Chiang, followed by the Northern

moved to Nantou Puli and Liyu Lake, which became Chiang's main

stone rubbings, enabled Chiang to write with an ancient and sturdy

subject of depiction. Sadly Chiang died of heart attack during an

tone. Running script is the style most unique to Chiang. Small

academic lecture in 12 May, 1996.

characters express high level of fluidity, while larger characters are robust in character. Every stroke in the character was planned,

Chiang spent his adolescence in Ancient Huizhou, the birthplace

space in between are controlled with careful consideration.

of Cheng-Zhou School of philosophy and a place rich in cultural heritage. During his stay, he learnt the production of ink and their

Chiang was an all round scholar and was praised as one of the

characteristics, along with his private training from Pu Hsinyu,

new literati of modern times. With diligent study and practice,

which refined his skills in his early paintings, which carries the

along with his gifted talent, Chiang is now a well-acclaimed artist

style of Pu Hsinyu. Adopting the Qing’s use of paper and Song’s

in art history. Throughout the 70 years, Chiang has left us with a

structural composition, his paintings reflect the broad brushstrokes

bountiful number of masterpieces for our appreciation.

of Jinshi and a graceful way of applying colour to the painting, making the work unique to Chiang’s style.

Followers of Chiang Chao-Shen were plenty, till today, they still live on Chiang’s aesthetic standards, passing on to the new generation

With regard to brushstrokes used, Chiang took reference to the

of Taiwanese artists.

essence of traditions. He once mentioned, “Treatment of brush should be learnt from ancient masters, and not the form. Mere

Zhou Cheng is one of the students of Chiang Chao-Shen. His

copying of ancient masters would lose the meaning of nurturing

calligraphy has strong influence from the practice of Jinshi script.

new artists.” This philosophy is shown in his works of traditional

Zhou believed in observation of landscapes through live sketches.

brushstrokes similar to Fan Kuan, Yuan painters and Shitao,

Composition of his paintings and application of colour and the

however becomes unique to the Chiang style. Adopted from

brush undergo careful consideration. As for seal carving, Zhou

traditions yet transcends tradition, Chiang’s paintings are unique

started learning through Han carvings, then Jinshi Script, allowing

in composition, revealing majestic mountain ranges, cliffs and

his calligraphy to possess a graceful yet sturdy style. Through his

luscious forests.

travels, Zhou has a rich experience in observation, making him yet another all round scholar.

Huang Binhong once said, “The essence of Chinese paintings is that ancient calligraphy especially Jinshi script require intense

Lee Yih Hong is admitted as Chiang’s student since an early

studies and understanding of the origins of characters, otherwise

age, and is renowned for his documentaries of nature through

one won’t understand its use of brush. Calligraphy and Paintings

photography, sketches and calligraphy. His skills in photography

share the same origin. This philosophy speaks of the essence of ink

enables him to create with unique composition and structure. His

art. Lines used in paintings are the same as those in calligraphy,

early works were based on his passion for rural Taiwanese lifestyle

thus the understanding of calligraphy is essential to the expression

and prints. Later after his journey to Northern India and China, he

in paintings. Chiang learnt calligraphy since little and continuously

started devoted his lifetime to record the grandiosity of landscape.

practised calligraphy till his elderly age. Chiang’s power of

Recent works are mostly based on composition of landscape, light,

understanding from ancient scrolls was demonstrated in his early

mists and depiction, fully show the artist’s experience of nature.

江兆申．惠風和暢

CHIANG CHAO-SHEN IF THE BRUSH WAS HELD CORRECTLY, ONE COULD WRITE NICE CALLIGRAPHY 江兆申曾言：「筆 拿 對 了 ， 字 就 對 了 。 」

江兆申曾言：「筆拿對了，字就對了。」簡單幾句卻將他一生深

江兆申善作榜書大字，〈聽水〉（編號602）一幅揮就酣暢淋

厚的書法功力道盡：基礎要穩。江氏自小勤勉練字，特別是拿筆

漓、墨色飽滿，觀之如聽流水翻騰，大字與款識之間結構密實、

的方法，知道若懂得中鋒執筆的要訣，便能夠將字寫好。欣賞江

寬綽有餘；「聽」字豪勁，運筆穩健有致、意隨筆到，「水」

兆申先生的字，特別能從其中領會每一個字形結體的神態風韻，

字斜倚，婉若遊龍、矯健有力，轉折中帶圓筆，為江氏行楷書

轉折間若不經意卻意氣勃發；江氏對於楷書、行書、隸書、篆

法特色，啄磔落筆氣勢雄渾，筆力發於指趣，收尾的「捺」方整

書、小字到大字榜書均有所成就。

端正，不僅平衡了「水」字斜倚的姿態，更將行間的力道凝聚成 一，與「聽」字相互輝映，為難求之佳作。

楷書是江兆申書法的基礎，經常臨寫唐代歐陽詢〈九成宮醴泉 銘〉，旁博歐體筆法的字帖如〈化渡寺碑〉等，字體變化如草裡

《行書七言句》（編號601）乃宋代陳與義詩，為江兆申晚年書法

驚蛇、雲間電發。歐體用筆變化多、不易掌握，江氏嚴格訓練自

力作，字行間架高長、字形細瘦清勁；行距間隙疏緩得宜，字體

己記下筆法與走勢，而成就其險絕奇極的楷書樣態；江氏寫字作

結構穩健平衡，自帶文人風韻，運筆嫻熟流轉，更顯拙樸靜氣。

畫僅用狼毫筆，特別講究腕力的鍛鍊與發揮，而此用筆習慣才讓 其書畫有挺勁清剛的筆力。行書則是受其詩溥心畬的影響，臺靜

明清成扇流行，乃雅士隨身之物，不僅成為藝術品，更是一種文

農先生曾稱江兆申行書：「行書則不衫不履，蕭散自然，令人意

人趣味的象徵。江兆申所作成扇《圯橋進履》（編號605）書面

遠。」而江兆申的隸書由〈史晨碑〉入手，其隸書用功至深，臨

為唐代胡曾〈詠張良〉詩，行書小字飄逸明快，畫面則以石綠渲

〈張遷碑〉帖無數，更得漢隸屈折筆意，逸趣橫生。

染，山間蒼翠之氣油然而生，掩於山石後的屋舍雅緻幽深，書畫 兩面齊觀頗能得張良詩中寓居鄉野之情。成扇《湖橋策杖》（編

拍品作書法組件：行書寫陶淵明雜詩（白日淪西河）（編號

號606）畫中林木疏朗、用墨淡雅清潤，款識題蘇東坡〈湖橋〉

607），融歐體的骨勁筆力於行書體，碑刻之痕轉為溫潤的「江

詩句，與扇面中心文士策杖獨立相應，畫意安靜閒適；書面寫唐

體」，墨色的濃淡隨字體線條的粗細變化而產生錯落有致的立體

代張祜〈題善權寺〉詩，筆墨厚實、左右搖曳，行氣連貫。成扇

感，線條中鋒挺拔、側鋒蒼拙，字句安排巧妙、或緊或鬆，行距

《江南春》（編號603）畫面摹文徵明〈江南春圖〉，江氏畫山水

組成因書寫的過程而產生輕重快慢的節奏感，兼用澀筆、顫筆，

春景碧朗，綠蔭釣船之景也是浙派常用之構圖，與題詩「吳中諸

其書體於近代書家中辨識度極高。

子屬和」兩相呼應，頗得前人畫意；書面題杜審言詩，字體飛揚 工拙、結構沉著，有江體風格之況味。成扇《森林草居》（編號

另幅寫〈相景碑〉（編號607）之隸書字體稍長，一改漢隸方扁的

604）書面題寫王維詩句，所謂如詩如畫、畫中有詩，與畫作深林

特徵，江生寫來帶楷書筆法，筆化轉折間平直帶圓，更現方勁之

草居兩相合宜，佈局雖綿密但氣透清疏，筆墨間極盡溫潤醇厚，

力；綜看碑文書法結構醇厚古樸、丰神飄逸，線條的結構上加入

即便人在俗世，但能題詩嚮往閒適園居之情，其行書之美，實在

了篆書的金石氣質，如「祐」、「祉」字豎筆如懸針，通幅字體

妙不可言。

方穩有度，即知篆隸兩體在江氏的書法上過渡與融合，觀之勁健 古雅，筆勢間頓挫有致，顯露出不即不徐的穩重感，雖然字幅中 題款自嘲筆力生疏，但習隸書有如此功力者，實屬難得。

Ravenel 16

江兆申

Chiang Chao-Shen once said, “If the brush was held correctly, one

yet sturdy characters. Clerical script in this work possesses an

could write nice calligraphy.” This alone shows Chiang’s essence

ancient tone with a style of seal script. Characters were sturdy

in calligraphy – a solid foundation of skills. Chiang was diligent

and rectangular, even though Chiang was mocking himself of his

in practising calligraphy, especially his skills of holding the brush.

calligraphy.

Nice calligraphy could be written with perfect centered brush. To appreciate Chiang’s calligraphy, one could appreciate the structure of each word. Chiang excelled in all kinds of scripts, including standard, running, clerical and seal scripts in all font sizes.

Standard script forms the foundation of Chiang’s calligraphy.

Having copied Ou Yangxun’s script, his calligraphy was vibrant in

Chiang Chao-Shen was skillful in writing large character.

Calligraphy (Lot 602) was a perfect example to the statement.

With saturated ink, the two characters sprang to life with carefully planned spatial structure. In this work, Chiang added the style of standard script, adding balance to the elusive quality of running script.

character. Ou’s calligraphy was elusive, allowing Chiang to study every detail in the movement of the brush, thus creating variety in Chiang’s standard script. With only Langhao brush, Chiang paid particular attention towards the training of the wrist, thus creating calligraphy with strong sense of movement and force of the brush.

Chiang’s running script was heavily influenced by Pu Hsinyu. Tai Jing-nong once mentioned that Chiang’s running script was natural in character. Chiang’s clerical script was learnt through study of

Calligraphy (Lot 601) was a poem from Chen Yuyi of Song dynasty.

This was a work of Chiang’s mature artistic career. Characters were elongated with structured spacing in between, slowing the pace of calligraphy and creating a literati touch to the work.

Fan leaf was popular in the Ming and Qing dynasties as a scholarly accessory, if not, a piece of art. Chiang’s Landscape (Lot 605) wrote

stone rubbings, thus possessing an ancient tone.

a Tang poem in small running script. The painting was coloured in

In this sale, Calligraphy (a set of two) (Lot 607) feature a running

cottages behind the hills. Strolling by the Lake (Lot 606) pictured

script in Ou’s script with a touch of stone rubbing style, creating

woods in light ink, featured with a poem from Su Dongpo, echoing

a style unique to Chiang. Saturated ink was used with various

with the two scholars. Running script was used for the poem to

thickness of brushstroke, enhancing the form of the script. Lines

enhance variance of the painting. Spring Outing by the Lake (Lot

were sturdy in form, written in centered and slanted brush.

603) featured Wen Zhengming’s poem with spring scene of a

Characters were arranged in varied spatial depiction, creating

fishing boat. This is a typical composition from the Zhejiang School,

rhythm.

echoing with the poem. In Residing in the Woods (Lot 604),

cream enhancing the lusciousness of the greenery, veiling over the

Chiang wrote a poem of Wang Wei, echoing with the dense forest Another work in clerical script (Lot 607) was elongated, as a

and a hut. The composition was dense yet fresh in the overall tone,

variation from the Han style. Chiang added the qualities of

suggesting the artist’s yearn for rural village lifestyle.

standard script to each character, creating round and smooth

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

601 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Calligraphy in Running Script 1992 Ink on paper, framed 34 x 136 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000

Ravenel 18

江兆申 行書七言句 1992 水墨 紙本 鏡框 34 x 136 cm 釋文：過峽新圖世所傳，峽中猶說泛舟仙，拄天勲業須君了， 借我茅齋看十年。 款識：後山居士句，連生先生正。壬申孟冬，茮原江兆申書。 鈐印：江兆申（白文）、茮原（朱文） 註： 上款人「連生先生」即為張連生先生，曾任第五任航警局局長。

602 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Calligraphy 1985 Ink on paper, framed 28 x 61 cm Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist

NT$ 60,000 – 120,000 HK$ 15,000 – 31,000 US$ 2,000 – 3,900 RMB 13,000 – 26,000

江兆申 聽水 1985 水墨 紙本 鏡框 28 x 61 cm 釋文：聽水 款識：乙丑初冬，豐堃先生屬書，茮原江兆申。 鈐印：江兆申（白文）、物外真游（朱文） 註： 上款人「豐堃先生」即為吳豐堃先生，第一屆僑選立法委員， 前中華日報常駐監察人。

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

603 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Spring Outing by the River Ink and colour on paper, folding fan 18 x 46 cm Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 江兆申 江南春 水墨 設色 紙本 成扇 18 x 46 cm 釋文： ( 一 ) 倪高士有江南春詞，吳中諸子屬和並作圖者一時甚盛， 所見內藏文衡山之作最佳逐一顰效焉。 ( 二 ) 北斗掛城邊，南山倚殿前，雲標金闕迴，樹抄玉堂縣， 半嶺通佳氣，中峰繞瑞煙，小臣持獻壽，長此戴堯天。 款識： ( 一 ) 茮原江兆申 ( 二 ) 初唐，杜審言蓬萊三殿侍宴詠終南山，茮原江兆申。 鈐印： ( 一 ) 兆申（白文）、茮公（朱文） ( 二 ) 江兆申印（白文）、大方無禺（白文）

Ravenel 20

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

604 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Residing in the Woods 1980 Ink and colour on paper, folding fan 18 x 46 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 江兆申 深林草居 1980 水墨 設色 紙本 成扇 18 x 46 cm 釋文： ( 一 ) 園居鮮人事，閒適如此，何時可得。 ( 二 ) 空山不見人，但聞人語響。返影入深林，復照青苔上。 秋山斂餘照，飛鳥逐前侶。彩翠時分明，夕嵐無處所。 款識： ( 一 ) 庚申兆申 ( 二 ) 唐王摩詰輞川詩句，庚申秋江兆申。 鈐印： ( 一 ) 江兆申印（白文） ( 二 ) 江兆申印（白文）、略無丘壑（白文）

Ravenel 22

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

605 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Landscape 1980 Ink and colour on paper, folding fan 18 x 46 cm Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 江兆申 圯橋進履 1980 水墨 設色 紙本 成扇 18 x 46 cm 釋文： ( 二 ) 廟算張良獨有餘，少年逃難下邳初。逡巡不進泥中履，爭得先生一卷書。 嬴政鯨吞六合秋，削平天下虜諸侯。山東不是無公子，何事張良獨報仇。 款識： ( 一 ) 庚申秋日，茮原江兆申寫 ( 二 ) 兆申書 鈐印： ( 一 ) 江印兆申（白文）、茮原私記（朱文） ( 二 ) 江印兆申（白文）、略無丘壑（白文）

Ravenel 24

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

606 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Strolling by the Lake 1980 Ink and colour on paper, folding fan 18 x 46 cm Signed CHIANG CHAO-SHEN in Chinese With five seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 江兆申 湖橋策杖 1980 水墨 設色 紙本 成扇 18 x 46 cm 釋文： ( 一 ) 橋下龜魚晚無數，識君拄杖過橋聲。 ( 二 ) 碧峰南一寺，最勝是仙源。峻阪依岩壁，清泉泄洞門。 金函崇寶藏，玉樹閟靈根。寄謝香花叟，高蹤不可援。 款識： ( 一 ) 庚申兆申 ( 二 ) 盛唐，張承吉題善權寺詩，江兆申書 鈐印： ( 一 ) 雙谿（朱文）、江兆申印（白文）、略無丘壑（白文） ( 二 ) 江兆申印（白文）、略無丘壑（白文）

Ravenel 26

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

607 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Calligraphy (A set of two) 1972 Ink on paper, scroll 132 x 20.5 cm; 123 x 39.5 cm Signed CHIANG CHAO-SHEN in Chinese With six seals of the artist

NT$ 150,000 – 260,000 HK$ 38,000 – 66,000 US$ 4,900 – 8,500 RMB 33,000 – 57,000 江 兆申 書法（兩件一組） 1972 水墨 紙本 立軸 132 x 20.5 cm; 123 x 39.5 cm 釋文： （一）輕黠踰竟。鴞梟不鳴，子還養。元鰥寡，蒙祐以寧。 蓄道脩惪，祉以榮。 （二）白日淪西河，素月出東嶺。遙遙萬里輝，蕩蕩空中景。 風來入房戶，夜中枕夕冷。氣變悟時易，不眠知夕永。 欲言無予和，揮杯勸孤影。日月擲人去，有志不獲騁。 念此懷悲悽，終曉不能靜。 款識： （一）戲臨北海相景碑廿五字，手底荒蕪而筆不聽使，人皆恃 熟，我獨用生也。兆申解謿。 （二）陶淵明雜詩有子在川上之慨。壬子初夏，茮原江兆申 書於外雙溪。 鈐印： （一）目送歸鴻（白文）、牛馬走（白文）、江兆申印（白文）、 椒原（朱文） （二）兆申（白文）、江氏（朱文）

Ravenel 28

李義弘．遷想妙得

LEE YIH HONG FIVE PAINTINGS TO LEE YIH HONG'S MATURE STYLE OF THE 1980S 五精外一章，集其 成 熟 淬 煉 的 1980 年

李義弘，字在川，在1969年底拜入「靈漚館」江兆申門下，此後

李義弘堅實的傳統功底及對古代畫作的精熟深刻見解，以實證性

將近十年間是其藝術生命由生澀走向成熟的重要階段。1980年

的科學之眼，重新體會古代畫作的真髓。1986年印北行腳，再次

代，李義弘畫作呈顯受教於江兆申的豐碩成果，然其風格更顯活

提升境界。在傳統、自然、個性中融合，結合攝影物眼、文人詩

潑靈巧，墨韻更具清新，突破舊文人畫過分強調筆墨程式和滿足

情，且致力於對筆墨、媒材、技法的開拓與實驗，也正是這重要

於表現客觀外貌的桎梏，他透過相機觀景窗的明確與穩練，精確

的歷程階段，李義弘的水墨繪畫可謂從傳統內的變革維新走向現

融會主客觀意象，豐富構圖的形質，以文人筆墨別構出一種具現

代性的確立，藝評家蕭瓊瑞將其視為「民國以來水墨創作三大路

代性的奇境，個人風格與特色卓然而立。

向的集大成人物」（中國水墨創作在脫離「臨摹」的階段後，主 要分為「革新水墨」、「文人水墨」和「現代水墨」三路創作途

他在1980年畫作中題跋：「近人論畫厚寫生而薄臨古，此矯枉過

徑），更認為他標示出一種時代階段性的創作成果，具有重大里

正也。寫生僅得其外貌而不能立意其中；臨古得其筆墨運用而不

程碑的意義。

能心手相貫。寫生與臨古皆習作之階段，進而棄寫生而登臨山林 之間體會自然，則筆底之變化足矣！識者以為否？」可視為其畫

Lee Yih Hong was a student of Chiang Chao-Shen since 1969

學實踐認識，「臨古」與「寫生」皆需齊備，進而踏查山林，以

and spent around 10 years to reach his mature stage. Lee shows

蒙養內蘊、深化感受，在畫作上也就呈現出不同的兩大面向，既

close resembles to Chiang's paintings with a lively and light tone,

有著承續歷史傳統經典的胸中山水〈赤壁泛舟〉（編號611）、

contrary to the saturated ink depiction of traditional paintings.

〈曲水流觴〉（編號612），也有著描繪現實生活旅途的眼域景色

From the viewpoint of a camera, Lee arranged figures to create a

〈清風輕汗圖〉（編號610）、〈山中古城〉（編號618）、〈愛

unique modern character in his artwork.

的花園〉（編號609）。 He once mentioned in one of his 1980 works, "Nowadays, 〈赤壁泛舟〉及〈清風輕汗圖〉刊載於《李義弘近作》，為此書

artists put emphasis on life sketches instead of copying ancient

第一張畫及最後一張畫作。此書為李義弘1981年自行出版的第一

masters. Life sketches could only show an object’s form but not

本畫集，共選印其1978年至1981年27件作品彩圖，具標誌性意

its expression. Copying works from old masters could practise

義，雖言「近作」，但絕對可視為其操持書畫生涯多年來之集結

the use of brushwork but cannot express one’s state of mind. In

精品。〈山中古城〉及〈愛的花園〉則刊載於《李義弘畫展》，

fact, life sketches and copying masters are only a stage of learning,

此書為1986年初，李義弘遊歷印度、尼泊爾，而後發表「印北行

exploring through nature instead could change one’s experience

腳」的專題展覽，引發畫壇高度矚目，論者吳繼濤評述：「這一

as an artist! Don’t you think so too?” Lee thinks all three stages

個超脫當下環境的人文情思，使他從攝影與實境開出高遠壯麗的

are essential to an artist’s training. All of the works from this

格局。」李義弘受訪表示：「這次，當我要自拍作品局部時，發

sale shows both styles - following tradition and exploring nature

現不能切呀！一『切』就削弱了；切後不能看了。拍的局部，僅

through experience. Sailing along the Red Cliff (Lot 611) and Scholars in the Woods (Lot 610) were recorded as the first and last painting of Recent Works of Lee Yih Hong - Annual Edition from the Artist's Studio . This book was published by the artist himself in 1981, showcasing 27 recent yet important works from 1978 to 1981.

能告訴別人，我這顏色疊得有多好，筆墨渾融的有多好，卻拍不 出『景』了。」他自述在個人的要求上已有改變。在筆墨的堅實 基礎上，又更進一步地渾然而成整體畫境，增強視覺表達力量與 人文情調氛圍，已然獨立為無法切割的完整畫作，迎來大開大闔 的宏闊格局。 回顧李義弘的1980年代，藝評家蕭瓊瑞、吳繼濤等論者皆表示為 其筆墨成熟且自我風格完全建立的重要時期。1980年獲頒中山文 藝創作獎，1983年獲吳三連文藝創作獎。不可不提的是，1985年 出版著作《自然與畫意》，以攝影實景驗證古代畫境，清晰可見

Ravenel 30

Ancient Kingdom in the Mountains (Lot 608) and Imperial Garden of the Mughal Empire (Lot 609) were listed in Solo Exhibition of Lee Yih Hong in 1986. The two works were made after the artist’s travel to India and Nepal, and were shown in the exhibition

李義弘

entitled “Travel to Northern India”, which aroused great attention

Lee’s development of art towards individuality and uniqueness. Lee

from the art community. Wu Jitao once mentioned, “In such

got the Sun Yat Sen Academic and Cultural Foundation Award

celestial grounds, this visit opened the artist’s mind through the

in 1980 and the Wu Sanlien award in 1983. In the book Nature

lens of a camera”. Lee also mentioned in an interview, “During

and Aesthetic Sense published in 1985, the artist juxtaposed

this visit, while I was taking photos as materials for my paintings,

photography against ancient paintings. One could see Lee’s solid

I realized once I cut part of the scene, the grandeur of this land

practice in traditional paintings and the experimental curiosity

disappeared. If only part of the scene is depicted, a painting could

towards ancient art. After the 1986 journey, Lee achieved a new

only show the layering of colours, not the scenery itself.” Lee said

milestone. Nature, traditions, individuality were matched against

he was transformed after this journey. With further refinement in

with photography and poetic nature of a painting, through

brushwork, his paintings had enhanced its depiction of grandiosity

material, ink and techniques. This period marks an important

and aesthetic quality from a scholar’s point of view.

milestone of the artist from traditional practise to experimental modern approach. Critic Hsiao marked this as a revolutionary

Looking back to Lee’s paintings in the 1980s, art critics such as

milestone for Chinese paintings towards experimental, literati and

Hsiao Qiongrui and Wu Jitao all agreed, this period is crucial to

modern ink paintings.

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

608 LEE YIH HONG (Taiwanese, b.1941)

Ancient Kingdom in the Mountains 1986 Ink and colour on paper, framed 85 x 92 cm Signed LEE YIH HONG in Chinese With two seals of the artist ILLUSTRATED: Solo Exhibition of Lee Yih Hong , Cave Gallery, Taipei, 1986

The Artist Magazine, The Artist Publishing House, Taipei, 1986, Series No. 137, p. 191 Lion Art Magazine , Lion Art Publishing House, Taipei, 1986, Series No. 188, p. 106

李義弘 山中古城 1986 水墨 設色 紙本 鏡框 85 x 92 cm 釋文：塔廟高聳，白雪橫空，此初臨天竺，我心為之一濶， 我情為之一變，雖圖之，亦未有其八方九垓之境也。 款識：丙寅仲夏，李義弘。 鈐印：李義弘（朱文）、水流雲在（朱文） 著錄： 《李義弘畫展》，敦煌藝術中心，台北，1986 年 《藝術家雜誌》，藝術家雜誌社，台北，1986 年 10 月，第 137 期， 頁 191 《雄獅美術》，雄獅美術，台北，1986 年 10 月，第 188 期， 頁 106

NT$ 180,000 – 360,000 HK$ 46,000 – 92,000 US$ 5,900 – 11,700 RMB 39,000 – 79,000

李義弘的1986年印北之旅，使其眼界大開，進入新的藝術探

1986 was a crucial year for artistic creation for Lee Yih Hong

索創作。印北歸來後，他發表〈寒山古國〉：「陽光是大自然

with his journey to Northern India. After the journey, Lee wrote,

的最佳詮釋者。止於看廟，薄霧清晨或朗朗斜陽，都是好時

"Sunlight is the greatest channel of artistic expression from Mother

刻。」畫中描繪正是薄霧清晨中的尼泊爾斯瓦揚布那斯佛塔

Nature. Thin morning mist and bright sunset are greatest moments

（Swayambhunath，俗稱「四眼天神廟」），這座世界文化遺產

for appreciation." Depicted in this work was Swayambhunath of

聖地建在加德滿都西部的小山頂上，俯瞰整個加德滿都谷地。前

Nepal under thin morning mist. This majestic holy land listed as

景高山自畫面底端拔地而起，雄奇巍峨，在微露的晨曦照耀中，

World Heritage lies on a hill in the west of Kathmandu, looking

呈現逆光的透亮感，在光影的變化中形塑出山體的質感與豐富的

over the city. Foreground was a mountain soaring with rocky relief,

層次；有別於將景點拉近特寫，畫家將塔廟置於中段右側的平緩

light perpetuates through a thin morning mist casting light the

山台最高處，白色塔廟聳立於紅牆黑頂屋舍的村莊間，為本幅

hill. A temple was put in the middle right of the painting. White

彩度最高處，聚焦視點，遠眺山嵐氤氳，烟霧交融橫絕畫面，嵐

temple looking over the red walled black roof village. On the top

氣流動其間，生機流轉不息；遠景白雪群峰連綿起伏，層巖重

shows layers of mountains under a veil of mist which shows the

疊，山勢崢嶸，天地無盡。畫家將題跋置於山坳暗處，低調且融

movement of humid air. Layers of mountains highlighted the vast

合，以求畫面完整感，言：「我心為之一闊，我情為之一變。雖

majestic scene of Nature. The artist carved the doldrum of the hills

圖之，亦未有其八方九垓之境也。」這前所未有的視覺與心靈

to balance the tone of the whole painting. He mentioned "My

感受，在李義弘筆下心胸開闊、情思化變，他將畫幅天地空間壓

heart becomes relaxed and mind changed with the scene. Though

縮，層巒疊嶂的渾然厚重與山嵐雲霧的輕靈縹緲形成對比，光影

depicted the scene, one couldn't fully justify the grandiosity of this

流淌，氣脈貫通。置身其中，且見景象開闊壯麗，攝山靈氤氳自

land." Through this visit, one can understand the change inside

然，亟得天地蒼茫之感。

the artist's minds. Through focusing on the depiction of layering mountains, morning mist and the movement of light, audience could experience the grandiosity of Nature of Nepal.

Ravenel 32

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

609 LEE YIH HONG (Taiwanese, b.1941)

Imperial Garden of the Mughal Empire 1986 Ink and colour on paper, framed 85 x 93 cm Signed LEE YIH HONG in Chinese With two seals of the artist ILLUSTRATED: Solo Exhibition of Lee Yih Hong , Cave Gallery, Taipei, 1986

The Artist Magazine , The Artist Publishing House, Taipei, 1986, Series No. 137, p. 189 Lion Art Magazine , Lion Art Publishing House, Taipei, 1986, Series No. 188, p. 112

李義弘 愛的花園 1986 水墨 設色 紙本 鏡框 85 x 93 cm 款識：丙寅仲夏，李義弘畫蒙兀兒王朝愛的花園。 鈐印：義弘之印（白文）、在川小鉢（朱文） 著錄： 《李義弘畫展》，敦煌藝術中心，台北，1986 年 《藝術家雜誌》，藝術家雜誌社，台北，1986 年 10 月， 第 137 期，頁 189 《雄獅美術》，雄獅美術，台北，1986 年 10 月， 第 188 期，頁 112

NT$ 180,000 – 360,000 HK$ 46,000 – 92,000 US$ 5,900 – 11,700 RMB 39,000 – 79,000

1986年初，李義弘遊歷印度、尼泊爾。畫中描繪印度北疆邊境

In early 1986, the artist travelled to India and Nepal. The

的喀什米爾，在喜馬拉雅山南麓下的「蒙兀兒王朝愛的花園」，

painting depicts Kashmir, the Northern border of India. Under

宛如攝影的觀景窗看去，主題直接明確，由塊面構成紅壁白頂的

the Himalayas is the Imperial Garden of the Mughal Empire. The

王宮建築沉穩地置於正中，四周圍繞著印度特有的高大秦納樹

painting leads straight to the subject as if one is looking from a

（CHINAR），體幹粗壯枝密繁多，其葉秋時由黃轉紅，冬日凋

window. The imperial structure of red walls and white roof stands

零，畫中唯留數點紅葉，稀落散布，高低遠近樹梢間，掩映在建

at the center, surrounded by intermingling Chinar from India with

築體之前與後，聯繫起紅牆之色，使建築體不孤立於景中；高聳

thick stems and dense branches. Autumn leaves turned red and

直挺的粗幹杈出細繁枝枒，在蕭瑟冷空中伸向那迷濛的雪霧，灰

already started to fall with the coming of winter. Trees soar in the

青色的冷冽空氣感與溫暖古雅的紅牆相互襯映。畫家巧妙地運用

midst of chilled snow, the frost of winter echoes with the warmth

樹木的聚散交錯及背景濃淡設色，營造出近中遠的景深變化層

of the ancient red structure. The artist cleverly uses trees and

次，讓平面化的簡單主題，「景奇境實」，立體地跳映入眼簾，

tonality of the background to highlight the layering structure and

開啟的大門成為奇幻鑰匙，引導著觀者的眼去探幽尋訪，走進那

the subject matter, leading the audience into the tranquility of the

堵紅牆後的深邃秘境。在靜謐安適的氣氛中不得不嘆服畫家之

garden.

眼，將乍看為攝影的「物眼」，透過錘煉的筆墨，豐富層次意 象，營造實境中的奇幻感，提升為獨到的「造化心源」。

Ravenel 34

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

610 LEE YIH HONG (Taiwanese, b.1941)

Scholars in the Woods 1981 Ink and colour on paper, framed 101 x 69 cm Signed LEE YIH HONG in Chinese With one seal of the artist ILLUSTRATED: Recent Works of Lee Yih Hong - Annual Edition from the Artist's Studio , Lee Yih Hong Artist Studio, Taipei, 1981, p. 32

李義弘 清風輕汗圖 1981 水墨 設色 紙本 鏡框 101 x 69 cm 款識：辛酉仲冬畫，清風輕汗圖，李義弘。 鈐印：李氏義弘（白文） 著錄： 《李義弘近作—笛音凝室辛酉年輯》，笛音凝室， 台北，1981 年，頁 32

NT$ 180,000 – 360,000 HK$ 46,000 – 92,000 US$ 5,900 – 11,700 RMB 39,000 – 79,000

畫家精心筆煉，溪岸旁柳蔭成林，右側屋舍儼然，景物安排錯落

The painter painstaking structures this painting with willows by

有致，環抱構築出畫幅之中央舞台，將造景聚焦於中間的人物對

the stream and houses on the edge. These elements lead the

坐茗閒情，著淨白短衫的中年男子對坐，描繪出台灣常見的鄉間

eye to the center where two figures in white were enjoying tea.

人文景色，筆調清新自在。而看似清雅的柳綠色，是多次以淡淡

This structure and tonality depict a harmonious scene in a local

顏料層層暈染的效果，顏色方能通透醇美，遠近景之綠色亦皆不

Taiwanese village. Such light tonality was in fact depicted using

同，層次變化自然。這般工夫，可溯及其師江兆申向溥心畬學習

layers of light green, achieving richness and depth of colour. Such

之故實。溥心畬曾拿出一幅山水長卷，要江兆深細細觀察，最後

technique could be traced to his masters Chiang Chao-Shen and

問：「你看這幅畫染了幾遍？」江兆申答：「至少三遍。」溥師

Chiang's master Pu Hsinyu. Pu once asked Chiang to observe a

回說：「一共十遍。」這「染色十遍」 的設色心法，江兆申謹

landscape scroll painting closely and guess the number of colour

記在心，實踐於畫作，也傳承給了江門弟子李義弘。他承接著傳

application. Chiang guessed three, while Pu replied ten. Such

統筆墨，並能突破創新，這取材自生活的場景，真實並富人味，

method was repeatedly employed by Chiang ever since and

不論就構圖布局或人物衣裝，均打破了傳統水墨畫難以表現現

passed down to his student Lee Yih Hong. Lee further create by

代人物與生活的困境，符合當代人文情趣。自題畫名《清風輕汗

using traditional ink subjects and materials from Taiwan. Structure

圖》，寓唐代詩人盧仝《走筆謝孟諫議寄新茶》喫茶詩意，「四

and clothing of Lee's painting reflect modern literati elements.

碗發輕汗，平生不平事，盡向毛孔散」，「兩腋習習清風生」，

The Chinese title reflects Lu Tong's poem from Tang dynasty,

與友晤對且坐來茗茶，身心清爽祥和自在，足稱人生之快活樂

suggesting the pleasure of tea appreciation.

事！

Ravenel 36

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

611 LEE YIH HONG (Taiwanese, b.1941)

Sailing along the Red Cliff 1981 Ink on paper, scroll 69 x 135.5 cm Signed LEE YIH HONG in Chinese With three seals of the artist ILLUSTRATED: Recent Works of Lee Yihong , Diyin Workshop, Taipei, 1982, p.1

Rocks in the Rolling Waves - Album of Lee Yihong's Ink Paintings , Artist Co. Ltd, Taipei, 2015, p.62 Taiwan Fine Arts Series 32 , Artist Co. Ltd., Taipei, 2016, p.62

NT$ 240,000 – 480,000 HK$ 61,000 – 122,000 US$ 7,800 – 15,600 RMB 53,000 – 105,000

李義弘 赤壁泛舟 1981 水墨 設色 紙本 立軸 69 x 135.5 cm 釋文：赤壁賦。壬戌之秋，七月既望，蘇子與客泛舟遊於赤壁之 下。清風徐來，水波不興，舉酒屬客，誦明月之詩，歌窈窕之章。 少焉，月出於東山之上，徘徊於斗牛之間，白露橫江，水光接天； 縱一葦之所如，凌萬頃之茫然。浩浩乎如憑虛御風，而不知其所止； 飄飄乎如遺世獨立，羽化而登仙。 於是飲酒樂甚，扣舷而歌之。 歌曰：「桂棹兮蘭槳，擊空明兮泝流光。渺渺兮予懷，望美人兮 天一方。」客有吹洞簫者，倚歌而和之，其聲嗚嗚然，如怨如慕， 如泣如訴，餘音嫋嫋，不絕如縷。舞幽壑之潛蛟，泣孤舟之嫠婦。 蘇子愀然，正襟危坐，而問客曰：「何為其然也？」 客曰：「『月 明星稀，烏鵲南飛。』此非曹孟德之詩乎？西望夏口，東望武昌， 山川相繆，鬱乎蒼蒼，此非孟德之困於周郎者乎？方其破荊州， 下江陵，順流而東也，舳艫千里，旌旗蔽空，釃酒臨江，橫槊賦詩， 固一世之雄也，而今安在哉？況吾與子，漁樵於江渚之上，侶魚 蝦而友麋鹿；駕一葉之扁舟，擧匏樽以相屬。寄蜉蝣於天地，渺 滄海之一粟。哀吾生之須臾，羨長江之無窮。挾飛仙以遨遊，抱 明月而長終。知不可乎驟得，託遺響於悲風。」 蘇子曰：「客亦 知夫水與月乎？逝者如斯，而未嘗往也；盈虛者如彼，而卒莫消 長也，蓋將自其變者而觀之，則天地曾不能以一瞬；自其不變者 而觀之，則物與我皆無盡也，而又何羨乎！且夫天地之間，物各 有主，苟非吾之所有，雖一毫而莫取。惟江上之清風，與山間之 明月，耳得之而為聲，目遇之而成色，取之無禁，用之不竭，是 造物者之無盡藏也，而吾與子之所共適。」 客喜而笑，洗盞更酌。 餚核既盡，杯盤狼藉，相與枕藉乎舟中，不知東方之既白。 款識：辛酉在川李義弘讀之，再三進而繪之，並錄其文於笛音凝室。 鈐印：李印義弘（白文）、在川（朱文）、笛音凝室（白文） 著錄： 《李義弘近作—笛音凝室辛酉年輯》，笛音凝室，台北，1982 年， 頁1 《磊石縱浪—李義弘水墨畫集》，藝術家出版社，台北，2015 年 初版，頁 62 《臺灣美術全集 第 32 卷》，藝術家出版社，台北，2016 年初版， 頁 62

資深藝評家蕭瓊瑞：「1981年的《赤壁泛舟》，是這個時期重要 的代表之作。」面對此文人喜愛且膾炙人口的經典題材，李義弘 「讀之再三進而繪之並錄其文於笛音凝室」，證見其構思用心， 造境新奇且扣合文賦，洵為傑作。主體為巨大山石巍然矗立，其 上臥松橫展壓頂，其下江面空闊一葉扁舟，蘇軾與客泛遊其間， 在高聳險峻的對比下而有著「寄蜉蝣於天地，渺滄海之一粟」的 遺世獨立之感，橫出的多姿紅葉增添生機，既點醒畫面也點出 「壬戌之秋」的季節背景，整體畫作體現出文賦精髓， 藉著「蓋 將自其變者而觀之，則天地曾不能以一瞬」的哲理情思。細筆小 字抄錄《前赤壁賦》款題於山壁右側，融入畫中不礙於景且恢宏 氣勢。值得一提的是，此畫繪於「台灣波蘿宣」，張大千曾高度 讚譽此紙「滑能駐毫、凝能發墨，直與元明以來爭勝」，「潑墨 留筆不減乾隆內庫御用」，筆觸歷歷分明，墨韻極佳，備增精 彩。

Ravenel 38

Art Critic Prof. Hsiao Chong Ray once said, "Sailing along the Red Cliff from 1981 was one of the most significant works during the period." After reading such well-known classic, the artist "re-read it three times before constructing this painting, and wrote the passage at his studio." This proves the artist's scrupulous attention placed on the composition of the painting, making this oeuvre a masterpiece.

At the center is a lofty mountainous rock with a wide stretching pine tree. Looming over the river is a boat, where Su Shi and his guests were taking. The loftiness of the cliff and the small boat enhance the contrast against the grandiosity of Nature. Red leaves add vibrancy to the painting and highlight the autumn season. The painting echoes directly with the poem of elusiveness. The poem was harmonious written next to the mountain. This work was painted on a Taiwanese paper Boluoxuan , which received high recognition from Zhang Daqian, for its well-balanced absorption of ink.

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

612 LEE YIH HONG (Taiwanese, b.1941)

Scholars along the River 1987 Ink and colour on paper 142 x 373 cm Signed LEE YIH HONG in Chinese With five seals of the artist PROVENANCE: Acquired directly from the artist

李義弘 曲水流觴 1987 水墨 設色 紙本 142 x 373 cm 釋文：曲水流觴圖 款識：丁卯立冬畫於笛音凝室明窗，在川李義弘。 鈐印：山水有靈（白文）、性情所得（朱文）、笛音凝室（白文）、 義弘之鉢（朱文）、在川（白文） 來源： 現藏家直接得自藝術家本人

NT$ 800,000 – 1,600,000 HK$ 204,000 – 408,000 US$ 26,100 – 52,100 RMB 175,000 – 351,000

「曲水流觴」句出王羲之〈蘭亭集序〉，為永和九年（353年） 三月初三日，東晉王羲之與名流謝安、孫綽、高僧支遁等41位名 士，在浙江會稽山陰的蘭亭曲水邊舉行修禊雅集，感興賦詩的故 實。此會之風雅情韻使歷代文人神往，以此為主題的繪畫作品， 盛於明代吳門畫派，歷經千年而不衰。本幅作於1987年，乃今 藏家向畫家本人訂製，為1980年代最大尺幅作品，為142×373 公分，也是目前市場流通所見最大尺幅作品，珍藏逾卅年，首度 曝光，殊為難得；同此主題，與此構圖相似者，刊載於《臺灣 美術全集32李義弘》重要圖錄之圖11，創作於1986年，尺幅為 144×370公分。

The title of this work was extracted from Wang Xizhi's Lantingji Xu , about Wang and 40 scholars' gathering by the river composing poems. Such gathering was welcomed by scholars for centuries, thus became a common subject in Chinese literati paintings throughout history, especially Wu School of Art in the Ming dynasty. This work was commissioned by current collector in 1987, and is regarded as the largest painting made in 1980s (142 x 373cm). It is still one of the biggest paintings by Lee Yih Hong ever seen in the art market after 30 years. Similar work was published by the Taiwan Artist Magazine No. 32 Lee Yih Hong , made in 1986 (144 x 370cm).

二件作品相隔一年。奠基於傳統筆墨與圖式，與先前一年的創作 原型，本幅更顯精湛，以「此地有崇山峻嶺，茂林修竹，又有清

These two works were made in two consecutive years. Comparing

流激湍，映帶左右。引以為流觴曲水，列坐其次」為場景。左側

the two paintings, the painting offered in this sale is more mature

高處為侍童正將酒杯放於盤中，將其置於水面，盤杯順曲水漂流

in terms of brushwork and composition. Servants on the left

而下，右側亭中畫王羲之坐於案前展卷，將寫下千古傳唱〈蘭亭

place wine cups onto the water, to allow cups float down the

集序〉，諸人列於曲水兩岸「一觴一詠」暢幽情，隱含著敘事

stream. On the right sat Wang Xizhi by the desk, writing Lantingji Xu . Scholars compose poems while drinking wine. In this later painting, the artist pulled the scene closer to enrich the frame.

Running stream, serene and dense woods was expressed through meticulous details and layers of coloured ink. The whole painting depict the thriving spring. Using the composition of the painting and meticulous depiction of figures, this painting has its grandeur from a distance and its amusing details up close, expressing the scholarly pleasure from Lantingji Xu .

性。相較此前，畫家將視覺感拉近，增益故事臨場感，俯清流而 弗湍，仰茂林而幽靜，參天林木蔭翳，氣勢渾然，叢竹修篁泛 翠，筆墨變化層次細節豐富，色墨交融，渾厚華滋，全圖設色更 是明快活潑，一派惠風和暢的春日爛漫景象；人物分群更見靈 活，41人或醉或眠，或俯或仰，或起或坐，曲盡情態，變化多 姿，生動有趣，既「雅」且「集」。透過構圖布局的調整與人物 數量的減省及精準呈現，本幅經畫家千錘百鍊，既可細觀且可遠 觀，並較此前畫面整體感更佳，直是前人句意與山水意象經提煉 重現筆端，並轉化〈蘭亭集序〉文意之末「故列時人，錄其所 述，雖世殊事異，所以興懷，其致一也。後之覽者，亦將有感於 斯文。」相信觀覽斯圖者，將有感於前賢風流雅集之情韻，游目 騁懷，快然自足！

Ravenel 40

江兆申．潤物無聲

CHIANG CHAO-SHEN PREMIER SCHOLAR IN CHINA AND TAIWAN 張大千讚江氏為「海峽兩岸第一人」。

江兆申一生的成就，集「書、印、詩、畫」四絕於一身，可謂中

回的面授機宜，對於江兆申日後在水墨的創作上產生了無比的影

國傳統文人藝術之大成。江兆申藝術啟蒙於書法，得力於歐陽

響，江氏水墨之精在於「筆簡墨澹」：讀書習字讓他下筆若不經

詢〈九成宮醴泉銘〉，後精行、楷、隸、篆等體；篆印則早慧於

意、但恰到好處是為筆簡；多層次的墨色烘染則成江氏畫中澹墨

徽派印風，十歲起即能刻印碑文養家；抵臺後學畫之心強烈，拜

橫掃的功力。

於溥儒門下，但溥儒重學問與書法，故江兆申謹遵師訓，勤於詩 書；隨後進入故宮書畫處任職，直至副院長一職退休，期間學術

1965年，江兆申任職故宮，勤於書畫與中國傳統美術史研究，尤

地位越發崇高，由明、清畫派研究起始，回溯推及元代、乃致宋

長時間投入文徵明、唐寅乃至宋畫的研究，其相關著書都成為美

朝之書畫無不專精；更因遍覽群畫之故，涵養默化於自己的水墨

術史研究經典；江氏籌辦的「吳派畫九十年展」，以專題的策展

創作，將書、印、詩三藝凝結成一，繪畫變成為了他畢生藝術造

方法更為博物館的展覽形式另闢新境。此時期江兆申的繪畫，擁

詣的總集，成為「中國文人畫的最後一筆」。

有多樣的筆法與墨韻，因在故宮博覽專研而得了文徵明、唐寅及

江兆申生於安徽，得益自淵博的家學，自幼讀詩文、臨書法、刻

以北宗山水鉤斫為主，南方水墨的墨色烘染兼之；同時江氏仍勤

印等；寓居上海期間更拜謁了黃賓虹，雖不曾真正得教於黃氏，

練書法，行書楷書不輟，在筆墨之間遊走於工筆與寫意。

吳派等筆意，更揉和了黃賓虹的水墨淋漓及溥心畬的清雅秀潤；

但藝術的種子已悄然種於心中。江兆申早年水墨創作在於筆墨的 摹仿，除了黃賓虹的影響外，明末新安畫派也對他起了作用，特

江兆申於故宮任職期間早與張大千來往甚密，一是因對書畫癡

別是明末的漸江，筆法冷傲荒絕，影響了江氏山水中的墨線，不

迷、二是文人氣味相投而成為知己；江氏《靈漚類稿》中收錄

帶章法的背分倚側，成為他畫中層次分明的特色。

了三篇紀念張大千的文章，另張大千也曾讚江氏為「海峽兩岸第 一人」，更可知曉他們對於彼此情誼的重視。江、張兩人痴愛書

篆印藝術則始於年少時期的徽州；江兆申的印法近於鄧派，但因

畫，言談間多關注古書畫的真偽及鑑賞之上，張大千也曾向其講

其書法功力深厚，對於篆印的手法更了然於心，除了技藝上的勤

述敦煌摹壁畫的經歷，江兆申經年浸淫、得大師提點進而習得古

進之外，對於印文的收集與臨摹更是窮盡其力，「做足學問」的

畫中繁複的筆墨技法，後江氏博取各家之長，上至北宋、元四

堅持，讓江兆申對於篆印文的造詣無人可及；故宮任職時，更勘

家、明代文徵明與唐寅、清代石濤、漸江，甚至大千潑墨山水的

誤補充了《明清畫家印鑑》一書，對於日後書畫鑒定的助益甚

風格，皆內化成自己藝術創作的養分；江兆申把詩文、學問、書

深；印法之難，在於佈局及側款，江氏印鑑的邊款更是其書法、

法等融為一體，文人畫自此為江氏所用，其繪畫忠於自我、追求

文采、刀法的綜合表現，更影響了他在未來水墨創作上的佈局造

內在精神，「造境」而後「丰神」，並給予了傳統水墨新的視覺

境。

體驗：「師古生新」，即是江兆申一生繪畫創作最佳的註解。

1950年，江兆申求拜溥心畬先生門下，溥氏讚其詩文「真如星 鳳」，後隨溥氏讀書，只論詩文不作畫。這段時期江兆申對於繪 畫，只純粹欣賞而未曾得藝；至1963年夏，溥心畬才以手卷示 於江氏，觀畫並授其染畫法，未料溥儒不久與世長辭，但僅此一

Ravenel 42

張大千與江兆申

Chiang Chao-Shen was an all rounded scholar practising all four

did not practise the art. One summer in 1963, Chiang received a

essential elements: calligraphy, seals, literature and paintings.

scroll from Pu and started learning from him till his death. Despite

Chiang's aesthetic sense was inspired from calligraphy, from Ou

the limited time, Pu's teaching affected Chiang the most in his later

Yangxu to various scripts. Seal scripts were first learnt from Hui

works. Chiang was keen on depicting landscape using light ink

style and could carve seals from as early as 10 years old. After

with few brushstrokes but in multiple layers.

arriving in Taiwan, his urge to learn paintings grew and followed Pu Hsinyu to learn Chinese literature and calligraphy. Chiang was

In 1965, Chiang started serving in the National Palace Museum

studious in his scholarly practice. He worked in Chinese Paintings

(NPM) studying Chinese literature and paintings. During such

and Calligraphy department in the National Palace Museum (NPM),

period, Chinag studied Wen Zhengming, Tang Yin and Song's

later took the role of Assistant Director. Until his retirement, he

paintings, and written books which become important references

studied works from Song till Qing dynasty as part of his scholarly

in art history. Chiang organized "Exhibition of Wu School of Art

refinement, thus received acclamation of bring the last all rounded

Celebrating its 90 Years of Anniversary", which was a revolutionary

scholar.

concept in curating. His paintings during this period was mature

Born in Anhui, Chiang received his early education from home

school of sketches and the Southern school of ink depiction.

in brushwork and the use of ink. His style combines the Northern including literature, seal carving and calligraphy. He visited Huang

Chiang never ceased his calligraphy practice, allowing him to

Binhong during his stay in Shanghai and thus ignited his passion

continuously refine his skills.

towards arts. Xinan School of Art from Ming dynasty affected him in brushstrokes and layering used in his later landscape paintings.

From his work in the NPM, Chiang became close to Chiang DaChien with shared passion in literature and scholarly sharings.

Seal carving was first started in Hui Province during Chiang's

Chiang wrote three passages of Zhang in his published book, while

adolescence. His style was close to Deng School, but with his

Zhang praised Chiang as the premier scholar in China and Taiwan,

practice in calligraphy, his style became unique in character.

thus proved their close relations. Both artists studied ancient

Despite this, Chiang was eager to study works from masters and

paintings and Zhang shared his experience in Dunhuang. With

learn through copying. During his work at the NPM, his years

the great master's teachings, Zhang was able to study brushwork

of study enabled him to correct an ancient seal script study. Seal

of ancient paintings, thus the skills of ancient masters from Song

scripts affected Chiang in all areas of arts, including composition of

dynasty to Zhang's splashed landscape paintings. From years of

paintings, calligraphy and literature.

studies and sharing, Chiang was able to gather essence of all aspects of Chinese art, and expressed them through his works,

In 1950, Chiang followed Pu Hsinyu, who praised him for his poems. During this period, Chiang only appreciated paintings, but

branching out to a nouvel style of painting.

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

613 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Landscape in Four Seasons 1984 Ink and colour on paper, framed 92.5 X 47 cm (each) Signed CHIANG CHAO-SHEN in chinese With eight seals of the artist PROVENANCE: Cave Gallery, Taipei Privare Collection, Asia

NT$ 1,500,000 – 2,000,000 HK$ 383,000 – 510,000 US$ 48,900 – 65,100 RMB 329,000 – 439,000

江兆申 四季山水 1984 水墨 設色 紙本 鏡框 92.5 x 47 cm（每件） 釋文： （一）鵝湖山下稻粱肥，豚柵雞棲半掩扉。桑柘影斜春社散， 家家扶得醉人歸。 （二）翠屏山對鳳城開，碧落搖光霽後來。 回識六龍巡幸處， 飛煙閑繞望春臺。 （三）五柳先生本在山，偶然為客落人間。秋來見月多歸思， 自起開籠放白鷳。 （四）北闕彤雲掩曙霞，東風吹雪舞仙家，瓊章定少千人和， 銀樹長芳六出花。 款識： （一）寫唐人詩句。曩曾旅居鵝湖己人家萬族，非復嚮時景矣， 江兆申。 （二）小杜詩清新中而有遊俠氣，誦之令人神旺。江兆申。 （三）甲子秋日寫此景用，唐人詩句，江兆申。 （四）甲子孟冬歇四景用淨楮蘆簾紙試筆。茮原。 鈐印： （一）江兆申印（白文）、大方無禺（白文） （二）江兆申印（白文）、大方無禺（白文） （三）茮園染翰（白文）、物外真游（朱文） （四）江兆申印（白文）、物外真游（朱文） 來源： 敦煌藝術中心，台北 私人收藏，亞洲

江兆申先生的繪畫藝術，得益自詩文、脫胎於書法，因此對其水

Chiang Chao-Shen's works are based on poetry and calligraphy, thus

墨創作的欣賞，須與畫中筆墨的變化而觀之。此作四季山水連

the interpretation of his works should be made from this angle. This

屏，創作於江氏耳順之年，畫幅中的造境來自遍覽群山名勝後的

work was made at Chiang's prime period. The subject and composition

豐富閱歷，將創意揮灑於紙上，加之精研古書畫的經驗，對於筆

were made based on the artist's experience from his travels, his study

墨技畫與造境方式已在心中瞭若指掌。

of ancient scripts and his mature use of ink and composition.

春景中的山石以細線勾勒出形勢輪廓，後方遠山以墨染呈現出山

In the Spring panel, hills and cliffs were sketched to depict its texture,

脈走勢，畫面中心奇石盤踞並以赭色烘染流露出清剛之氣；山中

whereas mountains from afar were depicted by dashes of ink. A plum

屋舍隱掩在濃墨的綠蔭林中，間有梅樹一株，春意盎然，透露出

blossom blooms in the forest suggesting the arrival of Spring and

江氏對春色的嚮往與鄉間生活的渴望。

Chiang's eagerness towards living in the countryside.

夏景以水色渲染出山勢，雄渾厚重，中景則以雲霧區隔出氤氳的

The Summer panel highlighted the luscious forest. The middle ground

靈山秀色，林木高低排列有致、濃淡相間，林中亭臺建於水瀑之

was separated by heavy mist, adding mysteriousness to the countryside.

上，亭中文人望山閑談，下方溪石以墨色暈染滲出融融水氣，頗

The forest was formed by an array of trees. River and rocks were

有元代吳鎮畫中林風蒼茫的筆意，空靈中帶有輕新。

depicted with rich dense ink, suggesting the style of Yuan scholar Wu Zhen.

秋景設色清朗，畫幅前中後空間的佈局明顯，山巖結構取自溥 儒，率性自然筆意又從吳派的疏朗，佈局平遠渲染且虛無縹緲、

Autumn panel gives a fresh and spacious composition. The composition

飛瀑流翠；楓樹枝幹筆法老辣、以尖筆斜點紅葉，畫中高人歸家

of landscape took reference from Pu Hsinyu, Such scene shows an

見山色秋光興起思懷，盡顯文人典雅風範。

optimistic autumn scene suggesting the elegance of a literati.

冬景以一山高聳呈現雄偉之勢，山石以乾筆皴擦：落筆奇險；淡

The Winter scene feature mountainous relief with rough rocks depicted

青設色林木：筆墨秀潤。構圖脫自唐寅《函關雪霽圖》，全幅

by dried cun strokes. This structure was adopted from Tang Yin,

墨色氣韻淡雅，但布局奇妙、筆法精練，在古人與造化中廣設博

creating serenity in the scene, yet displaying sophisticated knowledge

取、盈然掌中。

and techniques used by the artist.

Ravenel 44

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

614 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Autumn Scenery Ink and colour on paper, scroll 96 x 179.5 cm Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist

NT$ 550,000 – 950,000 HK$ 140,000 – 242,000 US$ 17,900 – 30,900 RMB 121,000 – 208,000 江兆申 沙觜秋林 水墨 設色 紙本 立軸 96 x 179.5 cm 釋文：沙觜參差漲落痕，秋林欹倒出霜根。 扁舟一棹歸何處？家在江南黃葉村。 款識：江兆申 鈐印：江兆申印（白文）、茮園浪墨（朱文）

《沙觜秋林》一作，兼有新安畫派風格與黃賓虹的佈局與筆

The composition and brushwork of this work resemble that of

法，畫右主峰山崖攀高頂立，苔點成樹分出山脈走勢，山腰屋

Xinan School of Art and Huang Binhong. A mountain rises from

舍倚據面臨江景，江水蜿蜒之上有一頁扁舟歸渡，江南水鄉之

the right of the panel, dots representing trees highlight the

景，真趣橫生；右方則用簡澹的披麻皴成山，兼以圓筆畫石，

mountain ranges. Cottages stand by the hill facing a winding river,

逸趣橫生。前景秋樹染霜，赭石設色頗有唐寅畫意，更以濃

where a boat sails. Hemp-fiber strokes were used to depict the cliff,

墨、破墨之法構成林木姿態萬千，承襲自黃氏「黑、密、厚、

where smooth brushstrokes for stones. Frost on autumn leaves in

重」的畫風，特別注重筆線點畫的勢態、方向感、運動感，及

the foreground and ochre rocks resemble the style of Tang Yin.

用筆所體現的一氣呵成，筆筆相生、相應的內在氣魄，使得江

Saturated and splashed ink was used to depict the different types

兆申的山水畫得有清剛爽健、雄偉氣象的關鍵所在。後景遠山

of trees. This resembles the style of Huang and his attention to the

以淡墨暈染、層次分明，渾拙中見其真性。全畫雖摹古但卻處

use of brushstrokes, its direction and speed. Brushstrokes reflect

處新意，透過江氏個人對景物的佈局安排、色彩和墨法的處

an artist's personality, and this painting suggests Chiang's sturdy

理，總引人進入別有一番天地的意境之中，對於繪畫更要求

character. Mountains in the background were painted in light ink,

「自性」、對筆墨要求「簡」、「澹」，並且能讓人感受到一

highlighting the hilly relief in the area. Traditional techniques were

股清新且能洗滌凡塵的氣息。

applied through Chiang's new interpretation and composition, thus creating a fresh style of literati painting.

Ravenel 46

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

615 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Gathering by the River 1982 Ink and colour on paper, framed 69.5 x 136 cm Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist

NT$ 420,000 – 650,000 HK$ 107,000 – 166,000 US$ 13,700 – 21,200 RMB 92,000 – 143,000 江 兆申 臨江清會 1982 水墨 設色 紙本 鏡框 69.5 x 136 cm 釋文：江流去不定，山石來無窮。 步步有勝處，水清石玲瓏。 安得扁舟系絕壁，臥聽漁童吹短笛。 弄水看山到月明，過盡行人不相識。 款識：壬戍之秋寫范石湖詩， 茮原江兆申於靈漚小築。 鈐印：江兆申印（白文）、椒原鉢（朱文）、 雙谿行者（白文）、靈漚館（朱文）

蔣勳曾言江兆申先生的畫和漸江、唐寅頗有淵遠，《臨江清會》

疊出前方一角的山頂古松與房舍，精心的構圖分出前後遠近，讓

一作，看似簡澹輕遠，實則雄俊剛沉，通幅明亮秀麗，以平遠

山舍中對坐的高士能夠遠觀群山之雄偉、俯眺江流之奔騰，筆墨

視角構成；江氏善用長筆，畫遠山以亂筆、枯筆乾擦帶出奇險之

節奏鮮明，閑逸中透剛勁。此畫重心於畫幅右側，本有右重左輕

勢，得自新安畫派的枯澀畫風，但除了墨線之外，以暖色赭石的

之慮，然提范石湖詩於左側，則可讓畫面取出平衡、更與留白處

水色將跌宕的山形烘托出斧鑿之痕、跌宕萬千，更遠處則以石青

相應相生，在虛實之間得到空靈又質樸的效果。江兆申作畫取景

渲染出溫潤，彌補了冷峻乾筆的荒涼。中段山石以實線勾勒、筆

造情感性，認為作畫是為了自己而不為別人，忠於自性，有自己

韻絕險，在雲霧繚繞中的林樹暈染層次分明，兩處山坳由橋樑銜

的人生觀才有繪畫風格，筆墨丰神才能俱足矣。

接，更覺景深；近景以圓筆、赭色烘染為石，自右到左的錯落鋪

Ravenel 48

Zhang Xun once mentioned the references of Chiang's paintings

depth to the painting. The foreground was carefully depicted

to Jian Jiang and Tang Yin. In this work, simple composition, light

with an ancient pine and cottages. Scholars gathered to admire

coloured and flat perspectives were used. Rough rocky hills from

the mountainous relief. Subject matters are put on the right, and

afar were depicted using dried brushstrokes and criss-crossing

a poem by Fan Shihu was then put on the left to maintain the

strokes. This technique was obtained from Xinan School of Art.

balance. Chiang believed painting is not for pleasing viewers but to

A warm ochre colour tone was applied to highlight the depth

create his own style, thus making his paintings unique.

of mountains, accompanied with green to give a balance. Mist concealed forests in the middle ground, bridges creates more

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

616 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Landscape 1964 Ink and colour on paper, scroll 99.5 x 56 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist

NT$ 380,000 – 600,000 HK$ 97,000 – 153,000 US$ 12,400 – 19,500 RMB 83,000 – 132,000 江兆申 飛泉谷舠圖 1964 水墨 設色 紙本 立軸 99.5 x 56 cm 釋文：水閣邀賓鼓一舠，形駭脫略聚人毫； 飛泉振響流雲濕，隱隱高歌伴離騷。 款識：劍芬吟長雅命，甲戊七月，江兆申並題。 鈐印：江兆申印（白文）、略無丘壑（白文）、 丐得青山補畫屏（朱文）。 註： 上款人「劍芬」即為張劍芬先生，任湖南彬州縣長，此後歷任國民 政府秘書等政界公職，更於台灣佛教界享有「湖南才子」之美譽。

江氏山水近擬黃賓虹筆墨，遠取董源皴法，設色方面掌握山水渾

Chiang Chao-Shen’s landscape paintings resembles closely with

厚，草木華滋特點，只於近景叢木，遠景主山及主山後方群山略

Huang Binhong’s, and the skills could be dated back to that of

施花青，中景丘阜，則以赭石帶過，全幅呈現蒼鬱又清明氛圍。

Dong Yuan. Landscapes were depicted with dense ink and luscious

上款人劍芬（詩壇），張齡（1910~1979）湖南湘潭人，字劍芬，

plants. Foreground was depicted with bushes. Distant mountains

號無諍居士。自幼悟性奇佳，九歲能文，鄉裡目為神童。十九歲

at the back was coloured in light ink. Nearer mountains were

時，任湖南彬州縣長。此後歷任國民政府秘書等政界公職。在東

painted in ochre, creating a dense forest. Jianfen, Zhang Ling, was

吳大學、中國文化大學等校執教。張氏自幼崇信佛教，先後皈依

the owner of the painting. Born in Hunan, Zhang was a gifted

太虛、虛雲、南亭等大師，且熱心於佛教弘法事業。其書法所撰

child, composing literature since the age of 9. At the age of 19,

詩、文、對聯頗為佛教界所稱道。台灣各大寺院之碑文、塔銘、

he was appointed as the leader of the Chenzhou province. Since

對聯等，出諸其手者為數甚多。故張氏在台灣佛教界享有「湖南

then, he took up roles in the government. After arriving in Taiwan,

才子」之美譽。民國六十八年逝世，享年七十張齡老居士有佛門

he taught in several universities. Zhang was a devoted Buddhist

聯聖之稱，其作品多署名「張劍芬」。

and followed monks. Under his passion towards the religion, he composed poems and wrote calligraphy works for the religious communities. In the Taiwanese Buddhist communities, Zhang was regarded as the talented scholar of Hunan. Died in 1979, Zhang was respected by the Buddhist believers and had works signed under Zhang Jianfen.

Ravenel 50

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

617 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Lotus 1976 Ink on paper, scroll 136.5 x 68.5 cm Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist

NT$ 240,000 – 360,000 HK$ 61,000 – 92,000 US$ 7,800 – 11,700 RMB 53,000 – 79,000 江兆申 墨荷 1976 水墨 紙本 立軸 136.5 x 68.5 cm 釋文：空翠 款識：丙辰五月，茮原江兆申畫。 鈐印：江兆申（白文）、茮原（朱文）

江兆申此作《墨荷》脫胎自徐渭墨荷的騁筆功力與張大千畫荷的

This work could be compared with brushwork used by Xu Wei

潑墨寫意，張大千於1978年返臺定居於外雙溪，時與在故宮任

and Zhang Daqian's splashed ink. Zhang stayed in 1978 and

職的江兆申來往甚密，除了談論古書名畫之外，更在水墨創作上

was close to Chiang Chao-Shen during his job at the National

多有請益，張大千墨荷聞名於世，喜用濕筆、最重荷葉荷梗，曾

Palace Museum. To draw lotus, Zhang used wet brush and dense

言大幅的荷花枝幹都是兩筆完成「一筆從上至下，另一筆從下至

ink. He once mentioned that ink lotus could be made with two

上，兩筆自然接榫。」可窺其筆力之深厚。

brushstrokes: one downwards to bottom, one upwards from the bottom. This shows his superb control of the brush.

直幅畫作由中下處深至上端淺，水墨淋漓磅礡，荷葉荷花幾乎佔 滿畫幅；左前方水草枝葉以側鋒用筆、效果毛澀變化豐富，頗

The tone of this painting in full frame, varied from top to bottom.

新耳目；荷枝枯澀一筆寫就、由上而下，蒼勁沉著卻不浮，宛如

Slanted brush was used for weeds, creating varieties in their forms.

聳立於水中央，頓挫有勢中可知江氏書法造詣之深厚。卓然飄逸

Lotus stems were drawn in one stroke. This movement could be

的巨型荷葉則以墨色渲染繪成，墨色濃淡、層次搭配豐富，葉脈

credited to Chiang's practice in calligraphy. Huge lotus leaves are

則以掠、磔筆法揮就；荷花以渴筆擦出形態，或含苞或綻放，筆

light, depicted with different shades of ink. Veins were drawn with

墨酣暢，疏密有致，用筆豪放大氣，神韻天成；畫面精到之處

quick strokes. The various forms of flowers were sketched from

在於荷花掩映於荷葉之後，彷彿在風中搖曳生姿。所謂「風吹荷

dried brush, matched by bold brushwork and extraordinary skills.

葉十八變」，畫荷難於落筆無悔、無法重描，倚仗的是畫者的才

Movement of the lotus was depicted. Such majestic lotus paintings

氣與靈性，荷花濯清漣而不妖，寓有孤傲於世之意，不奢世人瞭

are unique to the artist's character and skills. Lotus stands for

解，但求紅塵知音一人。

abstinence from distraction, and this painting directly suggests the ascetic life of the artist.

Ravenel 52

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

618 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

Pine and Rock 1976 Ink and colour on paper, framed 45.5 x 60 cm Signed CHAO-SHEN in Chinese With three seals of the artist ILLUSTRATED: The Paintings of Chiang Chao-Shen and His Students, The General Association of Chinese Culture, Taipei, 2014, p.47

江兆申 危巗掛松 1976 水墨 設色 紙本 鏡框 45.5 x 60 cm 款識：丙辰冬，用明琢端溪硯古隃麋墨黑谷楮紙， 寫於雙溪，兆申。 鈐印：江兆申印（白文）、略無丘壑（白文）、 伯時過目（朱文） 著錄： 《靈漚館風 : 江兆申的創作與傳承》，中華文化總會， 台北，2014 年 4 月初版，頁 47

NT$ 220,000 – 340,000 HK$ 56,000 – 87,000 US$ 7,200 – 11,100 RMB 48,000 – 75,000

江兆申先生作畫不打草稿，只在心中琢磨佈局，《危巗掛松》一

Chiang Chao-Shen paints without sketches. In this work, sketches

作以背分倚側的墨線在畫面定出輪廓，將其用筆與章法：承自清

were made on the rocks, resembling works of Jian An from

初畫家漸安的奇險線條，依附在矗立的巖崖之上，忠實地將山石

Qing dynasty. Rough surface was depicted with sharp lines and

的量感與表面的粗礪質感表現出來，線條剛勁有力、疾中帶澀，

angles, suggesting Chiang's skillful use of brush in calligraphy.

轉折間筆法方勁，盡顯其精於行、楷、隸體的書法造詣；色彩使

Layers of ink were used in the style of Wen Zhengming and Tang

用上則得益於文徵明與唐寅的墨色渲染，江氏沿著主要的線條以

Yin. A touch of green was applied to enhance the lusciousness

墨色暈染分出層次結構，畫中山石壁面蒼勁有力，兼用石青渲染

of the plants and the painting. A pine near a cliff was depicted

出秀潤的水色，一改畫面線條的荒冷、而讓畫面清雅且透明，畫

primarily with leaves. Brushwork from this painting shows strong

面右方的奇松懸於峭壁，只見枝葉不見主幹的畫法更顯奇趣，此

correlations between art and calligraphy. Poem on the painting

作明白道出書畫運筆方法與脈息相通的概念，進而到達「丰神」

describes Chiang's use of Duanxi inkstone, Guyumei ink, which

的境界。另一可觀之處在於畫中提字，說明了此作的紙墨使用：

are the best of their kinds in the Ming and Qing dynasties. Heigu

江氏用的是明朝的端溪名硯，乃硯中之上品，有澀不留筆、滑不

mulberry paper from Japan was used, making the painting with

拒墨的特點；古隃麋墨則是清朝方密菴製作的名貴老墨，墨質精

dense and saturated ancient ink. This shows Chiang's strong

良、墨色細膩滋潤；用紙則是來自日本京都的黑谷楮紙，紙張做

preference of stationery, to uphold a scholar's standard.

工繁複、保留了纖細的植物纖維，平滑之外還有結實的優點，特 別能夠凸顯古硯老墨的溫潤墨色；江兆申對於文房用品的使用毫 不吝惜，除了突顯其文人雅好的審美趣味之外，更可知曉江氏對 此畫的用心與重視。

Ravenel 54

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

619 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

AU HO-NIEN

(Taiwanese, b.1935)

Bee and Butterfly Ink and colour on paper, framed 111 x 39.5 cm Signed AU in Chinese With two seals of the artist

NT$ 180,000 – 280,000 HK$ 46,000 – 71,000 US$ 5,900 – 9,100 RMB 39,000 – 61,000 江 兆申；歐豪年 一蜂隨蜨上花梢 水墨 設色 紙本 鏡框 111 x 39.5 cm 釋文：一蜂隨蜨上花梢 款識：天祐先生屬正，茮原秋海棠，歐介補成並識。 鈐印：江氏（朱文）、兆申（白文）

江兆申先生家學深厚，家族均擅書畫丹青，其祖父工仕女、翎

Chiang was born to the family of rich literati background. His

毛、花卉，江父則善作沒骨花卉；然少時際遇讓他汲汲營生，除

grandfather practised ladies, flowers and birds paintings, while

作詩文、練書法外，繪畫方面也只停留在畫松柏的階段；隨後拜

his father excelled at boneless flower paintings. Chiang started

溥儒門下，才專注其水墨繪畫的創作，但總多作山水、琢磨於筆

learning from Pu Hsinyu, thus focused primarily on landscape

墨畫境之中，1970年代後期才開始偶作墨荷，直至移居埔里「揭

paintings. From 1970s, Chiang explored lotus and more varieties

涉園」才多有花卉創作。另江氏與張大千、臺靜農等書畫大家交

of flowers after moving to Jieshe Garden in Puli. Chiang's

遊往來的情誼，始得親近墨荷之潑墨寫意、墨梅之勁骨疏寒；同

relationship with Zhang Daqian and Tai Jingnong ignited his

時因在故宮任職，遍覽群畫必有所得。《一蜂隨蜨上花梢》是

passion towards depicting lotus in splashed ink and plum in sturdy

與嶺南畫派傳人歐豪年共同所作，江氏畫秋海棠葉、歐豪年補蜂

brushstrokes. His role in the National Palace Museum allowed him

蝶；秋海棠佈局於畫幅右側，主幹中鋒筆力醇厚，枝葉疏朗墨色

to study ancient scrolls.

酣暢，乃脫胎於徐渭《花竹軸》與《墨花卷》之筆意，潑墨勾染 之餘，重寫意摹生，筆風變化多端，恣意揮灑中可見海棠葉的畫

This work was painted with Au Ho-Nien. Chiang painted the

法各異，簡約清澹、別有韻致。歐豪年所畫之蜂蝶，蜂以藤黃拓

leaves of begonia and Au added a bee and a butterfly. Begonia

暈、墨點成眼足，再以枯筆補成翅；蝶翅用筆勁秀、動感飄逸，

on the right were painted with centered brush and saturated ink,

蝶身目足則細膩雅緻。蜂伴蝶於秋海棠花間飛舞，尋蜜解渴，觀

resembling Xu Wei's paintings. Splashed ink with variations adds

之但覺春意矜持、氣淑風和，江、歐兩人的文人雅興盡顯露於此

vibrancy to the leaves. The bee and butterfly were meticulously

畫當中。

painted by Au. Two insects fly towards the flowers in the search of sweet honey, adding a touch of Spring to the painting, thus showing the artists' literati dialogue in this work.

Ravenel 56

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

620 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

江兆申 蘭竹圖

Bamboo and Orchid 1986 Ink on paper, framed 44 x 52 cm Signed CHIANG CHAO-SHEN in Chinese With three seals of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 56,000 US$ 3,600 – 7,200 RMB 24,000 – 48,000

1986 水墨 紙本 鏡框 44 x 52 cm 釋文：相將 款識：丙寅夏日寫賀，中駿世兄，芬芬小姐嘉禮。 茮原江兆申畫。 鈐印：江兆申印（白文）、略無丘壑（白文）、 日利千萬（白文）

江兆申此幅《蘭竹圖》構圖筆法乃脫自文徵明《蘭竹圖》（台北

This work was structured with reference to Wen Zhengming’s

故宮博物院藏），蘭、竹皆為四君子，合寫蘭竹雙清是歌頌品格

painting with similar subject matter, now under the collection

高潔之喻。

of the National Palace Museum. Orchids and bamboo were considered as two of the four gentlemen, possessing high standard

江氏書法造詣深厚，畫蘭竹以書法筆勢寫就。畫寫意之竹，竹杆

of virtues.

由下而上、墨色由淡到乾，ㄧ氣呵成，竹勢傾右、搨直向上可見 其秀逸；點竹節以「ㄧ」字落筆，字尾上勾、筆力老辣；此竹

Chiang possessed great skills in calligraphy. The orchid was

乃竿細枝柔的新篁，中節竹葉以「介」字破開，前葉濃墨、後葉

drawn using the skills of calligraphy. Bamboo was drawn with

為澹，主次關係分明，營造出前後遠近的層次；上方竹葉淡墨掃

individuality. Its stem was drawn from the bottom, from light to

就，用筆流暢，觀之如臨風飄動，葉葉清新更顯活潑自然之態，

dried ink. In one stroke, bamboo stems were inclined to the right,

觀之更富有變化性。

displaying a gentleman character. Nodes of bamboo were drawn in one stroke, end with movement of the brush. Bamboo were drawn

圖中幽蘭前側蘭葉出筆勁利，以濃墨勾描，數筆起伏，提按轉折

with thin stems and leaves spread to the sides. Saturated ink and

有序，後側以水色畫葉，以濃淡對比拉出層次。蘭花墨色溫潤，

dried ink were used highlighting their layering. Movement of the

行筆輕盈有致、疏密合宜，瓣片以淡墨點染，清潤雅逸；點蕊以

leaves were depicted in their natural forms.

草書「上」「下」字點成，用筆虛實互映、輕盈綽約。 Orchid in the painting were painted with sturdy brush and 江氏畫蘭竹筆法不拘泥於古，不僅體察自然、心領神悟，得蘭竹

saturated ink. Movement of the brush and the application of

之形，更寫出蘭竹丰韻。翠竹葳蕤，用筆猷健圓活；幽蘭婉順，

water enhanced the depiction of tones and colour. Flowers were

用筆滋潤淡雅。此作乃江兆申賀友人新婚之贈禮，筆墨瀟灑，隨

painted with saturated ink and light swift brushstrokes. Petals were

手成形，寓夫唱婦隨如幽蘭與翠竹同生，題款篆文「相將」二字

coloured with light ink and the stamens were drawn with cursive

意為「相偕」，取「執子之手，與子偕老」之美意；江兆申一生

script techniques.

藝術創作多畫山水，偶作花卉，此實 難得之佳作。 Chiang’s skills of depiction were achieved through observation, and not only solely through copying from ancient masters. Thus the two subject matters reflect Chiang’s individuality. This work was given to his friends as a wedding gift. Entitled in seal script, the title of the work describes Chiang’s blessing to his friends to his marriage.

Ravenel 58

周澄．不負山靈

ZHOU CHENG REVELATIONS FROM NATURE 嵇康云：「夫推類 讚 辨 物 ， 當 先 求 之 自 然 之 理 」 。

山水是周澄先生熱衷的題材，這與其生長的環境有關，每每談

《丘浚小景詩意圖》（編號621）大筆揮毫，以石青為滃，赭染

起，便不忘曾受楊乾鐘先生的賞識與啟迪，及受江兆申老師的讚

山石，清新溫潤，處處可見墨深而不滯，畫中的煙雲委婉而幽

許，談到這便憶起，1941年生於宜蘭的周澄先生，年少時行遍礁

深，雲出山頭，飄呼迷濛的不著痕跡，一如美女朦紗，以雲霧之

溪山林，且與老太爺一同探礦；至壯年，則獨自遨遊山野，時與

氣襯出丘壑的神祕與美。此作墨與彩的相映層次中，究竟誰先誰

山靈交接，使胸中有丘壑，心中有蓬島。到了師大時期，更添為

後，在周澄山水畫法的譚水墨中提到「國畫以水墨為上，敷彩次

靈漚館入門弟子，取字蓴波，而蓴一字：則喻草叢生茂，蒲秀。

之，故水墨獨難，用水尤難」，見其畫中大筆暈染的磅礡，從其 色與色間的層次甚是微妙，若有似無，處處可見細膩之筆。

欣賞周澄先生的作品，其取色秀朗清逸，畫面溫潤，山稜脈脈相 通，筆墨簡潔。可見周澄先生對於山林精闢的描寫，不知寫了多

一小品冊頁華《山西峰圖》（編號622）為年七十六所作，能觀

少回？每每江師一句: 「畫的太快了」，先生便執筆再重頭塗起。

其從心所欲，詩文題記，遊山水，並題李白送友一詩，詩中遠別

然而究其畫中精闢之緣由可追其：臨摹有序，以明畫沈周為主，

之景波光粼粼，蓬草浮雲隨風而動，浮雲游子意，畫中石上一人

文徵明、唐寅為副，觀宋、元畫各名家宗法之妙處；江師治學嚴

坐於石上觀望，此幅雖小，但畫中那臨山之磅礡的氣，私毫不

謹，重視國學，無不苦讀古籍，時得一省，「文理即畫理。」，

減，行遍山林大半輩子的心，似早已能與之同寐同醒，令人忘卻

得道必能，一「察山水」、二「明樹理」、三「辨煙雲」；技

塵囂。

法之有成，回顧其二十餘載的浸淫，工筆法，精落墨，細綴景， 實則是扎扎實實的腕底有功夫，人說書前必運氣，以大筆揮毫提

然而山水中為重的著實是「體現」，身歷境而體察，融為筆墨後

字，周澄先生的氣則流洩於腕間宛轉，轉氣為細。觀其筆墨有

一現，此筆凝聚天地的鐘靈秀氣，將大地磅礡的氣勢容於畫中，

情，審其作不拘泥於古法，清麗典雅，神恬氣靜，別具文人山水

時則不易，周澄先生藉筆墨得山水，歷經時代的轉折，山林貌

之氣。

變，但存於心的便不易改，如今年七十八的周澄先生，人說看 山如看人，不負山靈，其遠望一片寂靜，靠近則感無不處處是生

此次其三件拍品為時過不惑所作，其《竹菊圖》（編號624）於

機。

1983所繪，當時的周澄先生年四十二，其作以橫幅成之，兩側做 竹，畫中由左至右，左竹節筍漸升，右竹枝繁茂葉，中心寫菊花 數朵附於石上，此作於中秋夜圓之時，以濕筆淡墨寫出竹的節勁 而不剛，更似多了幾分清柔之意，菊花含苞而綻，若月陰晴圓缺 之變，時景恰若「秋霜造就菊城花， 不盡風流寫晚霞； 信手拈來 無意句， 天生韻味入千家」一如鈐印所言偶然畫得，然而見此美 景，誰不是「酒不醉人，人自醉」，實則小品，格外清雅動人。 《春雪寒山》（編號623）遠山煙霧繚繞，欲見山頭看不穿，畫 中一人乘舟獨釣，林間雲霧飄盪，以墨的濃淡表現畫的前景與中 後間的層次，那究竟是飄過眼前的雲霧，還是這景實則遠之？春 初暖，雪霜遇暖而昇華，這水氣正巧滋潤正萌的嫩芽，此景雖未 盡出，竟能身感其朦朧之美，那樣的氛圍，若墨置於水中，頓然 化開，墨韻氤氳透骨。

Ravenel 60

周澄

Landscapes were Zhou Cheng’s favourite subject of depiction,

work was drawn under the full moon of Mid-Autumn festival

which could be traced back to the environment where Zhou

with a wet brush and light ink, adding softness to the bamboo.

was brought up in. Yang Ganzhong was the teacher with heavy

Chrysanthemums were in bud, echoing with the autumn season,

influence to the artist, followed by the guidance of Chiang Chao-

heightening the aesthetic value of the painting.

Shen. Born in Yilan in 1941, Zhou often travelled to the forest and mines of Jiaoxi. In his adulthood, Zhou often travelled to the countryside to connect with the Nature. After being admitted into the National Taiwan Normal University, Zhou followed Chiang Chao-Shen and took the name “Chun Po”, which suggests the thriving woods.

Zhou’s works possess rich colour and simple composition, leading

Landscape in Spring (Lot 623) features the endless mountains.

Along the river, a man is drifting on a boat. Distant mist among the woods was depicted by various tones of ink and colour, adding structure and creating depth. The arrival of spring melts the snow and nourishes the sprouting shoots. Such misty scenery creates a mysterious veil to the landscape. With the variations of ink, one could experience the dense humidity of spring.

into the open air of the mountain ranges. Zhou excels in the depiction of the forests and mountains through repeated effort in painting. With a comment from Chiang, Zhou would re-paint his work. To copy skills of ancient ink masters, Zhou would repeatedly paint refine his skills. Chiang was strict in his teaching with great emphasis on ancient literature, thus encouraged “painting from the understanding of literature”. This could be achieved through observation, understanding of nature and the study of mists. In two decades of persistent study, Zhou could paint skillfully with gongbi brushstrokes in meticulous detail and strict control over ink and movement of the wrist. Some regard painting as a form of Kungfu with the need of qi . Zhou used qi in the movement of the wrist, thus adding a unique character to the painting.

Three works featured from the sale were timeless creation of Zhou.

Bamboo and Chrysanthemums (Lot 624), painting in 1983, when the artist was 42 years of age. Drawn in a horizontal scroll, both sides were depicted with bamboo spreading from left to right.

Bamboo thrives with dense nodes and leaves from the left to right.

Chrysanthemums in the middle are leaning against the rocks. This

Landscape (Lot 621) was done in broad brushstroke. Painted with green and ochre, a fresh atmosphere was depicted with mountain veiled with mist, enhancing the elusiveness of the area. Echoing with the inscription, one could observe the grandiosity of nature through the layers of application of ink.

Landscape of Huashan Mountain (Lot 622) was completed when Zhou was 76. Inscribed with a poem from Li Bai. The poem describes the flickering river under the sun and the gentle movement of the reeds and clouds. A man sat on a stone appreciating nature. This painting was small in size, yet the grandiosity was depicted, leading the audience into the land pictured.

Landscape paintings were an artist’s observation of nature, depicted through the use of ink and brush. As an artist, Zhou recorded nature under the transformation of time. From Zhou’s paintings, one could see the artist’s peace of mind, as the tranquil landscape he depicted.

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

621 ZHOU CHENG (Taiwanese, b.1941)

Landscape 1984 Ink and colour on paper, framed 91 x 174 cm Signed ZHOU CHENG in Chinese With three seals of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 56,000 US$ 3,600 – 7,200 RMB 24,000 – 48,000 周澄 丘浚小景詩意圖 1984 水墨 設色 紙本 鏡框 91 x 174 cm 釋文：行過山邊又水邊， 眼中非樹即寒泉， 囊琴漫遣樵青抱， 流水高山不在絃。 款識：甲子初冬於居山堂， 蓴波周澄畫。 鈐印：周澄（白文）、 居山堂（朱文）、 不負山靈（白文）

Ravenel 62

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

622 ZHOU CHENG (Taiwanese, b.1941)

Landscape of Huashan Mountain 2017 Ink and colour on paper, album 10 x 123 cm Signed ZHOU CHENG in Chinese With six seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000

Ravenel 64

周澄 華山西峰圖 2017 水墨 設色 紙本 冊頁 10 x 123 cm 釋文： 清晨入古寺，初日照高林。曲徑通幽處，禪房花木深。 山光悅鳥性，潭影空人心。萬籟此俱寂，唯聞鐘磬音。 青山橫北郭，白水繞東城，此地一為別，孤蓬萬里征。 浮雲遊子意，落日故人情。揮手自茲去，蕭蕭斑馬鳴。 款識： （一）丁酉初秋，蓴波周澄記遊。 （二）唐人常建題破山寺後禪院。唐李白詩送友人五言律詩。 丁酉大雪旅居山堂。蓴波周澄書。 鈐印： （一）周澄（白文） （二）嬾雲（朱文）、周澄（白文）、蓴波（朱文）

水流雲在—江兆申、李義弘、周澄書畫專場 Paintings and Calligraphy of Chiang Chao-Shen, Lee Yih Hong and Zhou Cheng

623 ZHOU CHENG (Taiwanese, b.1941)

周澄 春雪寒山

Landscape in Spring 1984 Ink and colour on paper, framed 33.5 x 95 cm Signed ZHOU CHENG in Chinese With two seals of the artist

NT$ 70,000 – 140,000 HK$ 18,000 – 36,000 US$ 2,300 – 4,600 RMB 15,000 – 31,000

Ravenel 66

1984 水墨 設色 紙本 鏡框 33.5 x 95 cm 釋文：山寒谷氣暖，春雪半已消。煙翠細如織，茸茸青鳳毛。 我從篔簹來，野色前裙腰俯視聊快意，何用凌雲梢。 款識：甲子新春，蒪波周澄畫。 鈐印：周澄私印（白文）、蒪波（朱文）

624 ZHOU CHENG (Taiwanese, b.1941)

周澄 竹菊圖

Bamboo and Chrysanthemums 1983 Ink on paper, framed 22.5 x 103 cm Signed ZHOU CHENG in Chinese With one seal of the artist

NT$ 20,000 – 40,000 HK$ 5,000 – 10,000 US$ 700 – 1,300 RMB 4,000 – 9,000

1983 水墨 紙本 鏡框 22.5 x 103 cm 款識：林添先生伉儷清翫。癸亥中秋月圓，蓴波周澄寫。 鈐印：偶然畫得（朱文）

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

翰墨丹青—中國書畫專場

翰墨丹青 中 - 國書畫

625 CHIN HSIAO-YI

(Taiwanese, 1921-2007)

Refined Brushwork: Fine Chinese Paintings

Calligraphy Couplet in Seal Script 1986 Ink on paper, framed 36 x 7 cm (each) Signed CHIN HSIAO-YI in Chinese With three seals of the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000 秦 孝儀 篆書五言聯 1986 水墨 紙本 鏡框 36 x 7 cm ( 每件 ) 釋文：書鏡照千古，筆花開四時。 款識：雪安尊兄，正捥燦齒，且以致思慕也。 中華民國七十五年丙寅冬吉，秦孝儀心波十二 行玉版山房。 鈐印：秦孝儀（白文）、心波（朱文）、十二 行玉版山房（朱文）

Ravenel 70

626 TAI JING-NONG (Taiwanese, 1902-1990)

Calligraphy 1967 Ink on paper, framed 69.5 x 41.5 cm Signed TAI JING-NONG in Chinese With two seals of the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000 臺 靜農 行書禮記 1967 水墨 紙本 鏡框 69.5 x 41.5 cm 釋文：君子之道，闇然而日章；小人之道，的然 而日亡。君子之所不可及也者，其唯人之所不見 乎。 款識：丁未秋月，靈峯吾兄屬書，靜農。 鈐印：靜者（白文）、臺靜農印信（白文） 註： 上款人「靈峯吾兄」即為嚴靈峰先生，福建福州 人，曾任福州市長，來台擔任過中華民國駐日代 表，國家安全局辦公室主任，駐港澳代表，並擔 任輔仁大學哲學研究所講座教授，兼任台灣大學 哲學研究所教授。

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

627 SUN YUNSHENG (Taiwanese, 1918-2000)

Landscape (a set of two) 1984; 1988 Ink and colour on paper, framed 46 x 53 cm; 60 x 47 cm Signed SUN YUNSHENG in Chinese With two seals of the artist on each painting

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000

Ravenel 72

孫雲生 潑彩山水（兩件一組） 1984; 1988 水墨 設色 紙本 鏡框 46 x 53 cm; 60 x 47 cm 款識： （一）甲子秋九月，孫雲生家瑞。 （二）存書道兄正之，戊辰夏四月，孫雲生家瑞。 鈐印： （一）孫家瑞（白文）、雲生（朱文） （二）孫家瑞（白文）、雲生（朱文）

628 JIN CHIN-BO

(Taiwanese, 1910-1998)

Peonies Ink and colour on paper, framed 67 x 34 cm With three seals of the collector PROVENANCE: The Collection of Mr. Tai Jing-Nong

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000 金 勤伯 牡丹 水墨 設色 紙本 鏡框 67 x 34 cm 釋文：五花驄馬七香車，去看春風第一花， 十里紅塵三月暮，朱欄翠幕是誰家。 款識：金勤伯畫，歇腳庵藏。 鈐印：臺靜農（白文）、歇腳盦（白文）、 肖型印（白文） 來源： 臺靜農先生舊藏 註： 「歇腳庵」為臺靜農的書房堂號

此作由金勤伯繪牡丹，後由臺靜農收藏並題以詩文，見畫中牡丹酡

This work by Jin Qinbo was kept into the collection of Tai Jing-nong

顏色粉，用筆澹雅端秀，設色清麗，腹中飽水寫牡丹，一朵初開，

who wrote a poem praising Jin’s use of colour and ink. Flowers were

一朵含苞而靜待綻放，顯出牡丹的雍容與羞怯可人，謂何人繪牡丹

depicted in various forms, one blooming in its full form and one

「天香夜染衣，國色朝酣酒」暮春三月，輕酌下見牡丹，猶如恍惚

waiting to be in its full bloom. Such forms represent the flower’s

人間，畫中詩文酣暢渾厚，臺老的筆墨，墨深而筆鋒乾澀，走筆疾

chastity. Literati in centuries appreciate flowers with a cup of wine

勁，一氣呵成。《玉樓春》裡一句：「三月牡丹呈豔態，壯觀人間

during springtime. Such actions were suggested in the painting

春天下」，作中牡丹與詩文相映成氣，更似觸景而一繪，有感題作

and the poem. Calligraphy of Tai was written in swift strokes and

詩文，信手拈來仍清雅動人。

saturated ink yet dry at the tip of the brush. His poem echoes with the subject and adds a poetic touch to the painting.

自與訂交，余為擱筆，敬之畏之。 三百年來惟吾友黃君璧獨擅其秘， 張大千曾云：石谿一脈，

黃君璧．煙雲、飛瀑開新象

並列「渡海三家」的溥心畬、張大千與黃君璧，堪稱民國以

田之挺拔，而上追黃鶴山樵之繁密」，以至於其畫藝就連以

來中國水墨畫壇的代表人物。三家之中，儘管溥心畬與張大

臨石谿、石濤出名的張大千都為之折服。據說1930年代，張

千渡台後追隨者眾，各引領台灣水墨畫風騷，但若論及影響

大千曾在日本東京的「中日畫展」看到黃君璧《仿石谿幽

台灣水墨教育最巨者，則非黃君璧莫屬。其人自1949年渡海

居圖》，而道出「雲瀑空靈，吾仰黃君璧」之讚語。後來，

來台後，即擔任台灣師範大學美術系教授兼主任，主持美術

大千也畫了一幅《仿石谿山水》，畫上題云：「石谿一脈，

系長達二十年，倡導國畫寫生教學，並融入西方繪畫之理論

三百年來惟吾友黃君璧獨擅其秘，自與訂交，余為擱筆，敬

與技巧在其教育當中，深刻影響戰後台灣水墨畫之發展；再

之畏之……它日君璧見此畫，應笑我無佛處稱尊也。」對黃

加上蔣宋美齡夫人曾拜黃君璧為師，故而有「國師」畫家的

君璧可謂推崇備至。

稱號。 黃君璧不僅用力追摹古人，也勤於師法造化。他從三十九歲 回顧黃君璧（1898∼1991）的成長背景，其出生地廣州，乃

離鄉後，足跡遍及羅浮、桂林、衡山、泰山、燕山、華山、

當時中國貿易的重要門戶，也是受中西、新舊文化交替與衝

黃山、峨嵋等，每到一地，便四處寫生。抗戰期間，他則移

擊最強烈的地區。黃君璧十六歲時即跟隨嶺南畫家李瑤屏習

往嘉陵江畔，朝夕觀覽巴蜀奇山秀水，或與友人悠遊峨嵋、

畫，除了傳統花鳥、山水、人物，也學習石膏素描、水彩，

青城、劍閣，體悟大自然之奇妙。及至渡台之後，黃君璧亦

中西畫法兼備。其後，他開始認識一些廣州大收藏家，遂得

經常觀賞阿里山雲海，將體察大自然朝雲暮靄晨昏變化之情

以觀摩許多古代書畫名跡，奠定深厚的摹古功夫。由黃君璧

態形諸於筆墨。如本場黃君璧1965年所作《層巒疊嶂》（編

現存畫作觀之，其早期人物畫乃由仇英上溯唐宋傳統，如

號633）即是本時期代表作。及至1969年，黃君璧獲邀至非

1925年所作《停琴聽阮圖》，用筆精謹工細，敷彩華妍，氣

洲和美洲考察，亦特地觀覽了世界著名的三大瀑布──南非

韻逼肖古人；花鳥畫則以吳門沈周、陳淳為主要臨習對象，

維多利亞瀑布、南美巴西和阿根廷之交的衣瓜索瀑布，以及

偶爾旁及八大、華喦。如本場黃君璧1964年所作《蒼松》

美加邊境的尼加拉瓜瀑布。當時他為了更貼近觀察，特地雇

（拍品編號 632），為贈予民國著名教育家兼書法家魯蕩平

請了一架直昇機，親登盤繞於瀑布上空，從俯瞰、側觀、平

與其夫人李運莊之祝壽畫，其構圖即仿自沈周《參天特秀》

視等各種角度觀察瀑水，此番經歷更促成了他發展出有別於

（國立故宮博物院藏），取松樹枝幹上段之特寫，以粗放恣

傳統畫瀑水的新技法，將猶如千軍萬馬般氣勢壯闊的飛瀑奇

肆的墨筆描繪枝幹和松鱗，再以細勁挺直的線條勾畫針葉，

景逼真地移至畫紙上，為傳統中國水墨開啟新氣象。黃君璧

藉淋漓筆墨之明暗對比，表現出松樹迎風凌雲、泰然挺立的

曾說過：「中國畫如何求變？問題在於時間與閱歷。亦唯有

姿態。

時間與閱歷，能使畫家之作改變風格而更臻理想，讀萬卷書， 行萬里路，是為最佳方法。」誠為其藝術之最佳寫照。

除了人物、花鳥，黃君璧最為人知的莫過於山水畫。其早年 山水多由摹古而來，且如同清代大家王翬一般，於南宗北派 無所不臨並進而融合「石谿之古雅，和石濤之奇肆，酌以石

右圖：黃君璧及其夫人 Right: Huang Chun-Pi and his wife.

Ravenel 74

As one of the most accomplished artists of Taiwan, Huang Chun-

Apart from portrait and flower and bird painting, Huang was

Pi was considered as one of the most respected figures in Chinese

famed for his landscapes painting. From early copying of ancient

ink art. Pu Hsinyu and Zhang Daqian promoted ink art in Taiwan.

masters, especially Wang Hui from Qing dynasty, gathering the

However, even Pu and Zhang’s impact could not be compared with

essence of ancient masters in centuries. Such skills were praised by

Huang. Arrived in Taiwan in 1949, Huang took up the role of the

Zhang Daqian. In the 1930s, Zhang once saw Huang’s paintings in

head of Faculty at the National Taiwan Normal University for two

an exhibition in Japan and praised him for his depiction of mists.

decades, promoting live sketches in ink paintings, incorporating

Later Zhang also painted a similar painting with an inscription

Western art education into Chinese art. This thus influenced the

mentioned his admiration for the artist after seeing Huang’s

development of Taiwanese ink art. Even Chiang Soong Mei-ling

painting.

followed Huang as his student, thus Huang was acclaimed as the master in art education.

Huang added his individuality while copying ancient masters.

Born in Guangzhou, Huang was born to an important Chinese

mountains of China. Under the turbulence of the war, Huang

merchant family, in a place under heavy influence of the East

moved to Jialing in Chengdu, visiting mountainous regions of

and West and of the old and the new culture. Huang followed Li

China. Since his arrival in Taiwan, Huang frequent visited Alishan

Yaoping, a Lingnan painter, when he was just 16. Huang not only

and observed the clouds and mists under the changes of time.

Tiers of Cloudy Peaks (Lot 633) in this sale was a representative work during this period. Since 1969, Huang visited Africa and the US, since then visited major waterfalls in these countries. Huang once took a helicopter to have a closer observation of the natural wonder. This thus contributed to his ink paintings since, creating majestic waterfalls in his later works. Huang once mentioned, “How could Chinese paintings innovate? It requires time and experience.

Only through these could an artist achieve an ideal state of artistic creation.” Such philosophy enabled this ink master to excel in his paintings.

Huang started travelling abroad from age 39, visiting famous

learnt essential skills of flower and bird, landscapes and portraiture, he also learnt life sketches, aquarelle paintings, obtaining skills of both the Chinese and Western painting. He was a prominent collector in Guangzhou and observed ancient scrolls, thus obtained skills from ancient masters from Chou Ying to Tang Song masters.

Shen Zhou, Chen Chun, Bada and Hua Yan were his major sources of influence. In this sale, Pines (Lot 632), painted in 1964, was given to prominent educator, Lu Dangping and his wife as a birthday gift. Such composition took reference from Shen Zhou’s Pine (now under the collection of the National Palace Museum of Taiwan). A close-up of the pine stem was depicted in detail, showing the aged tree thriving in saturated ink.

HUANG CHUN-PI

MISTS, WATERFALL OF HUANG CHUN-PI

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

629 HUANG CHUN-PI (Taiwanese, 1898-1991)

Sparrows on Plum Blossoms Ink and colour on paper, framed 24 x 27 cm Signed HUANG CHUN-PI in Chinese With two seals of the artist

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 13,000

Ravenel 76

黃君璧 梅雀圖 水墨 設色 紙本 鏡框 24 x 27 cm 款識：菉猗女弟，鏡堂仁兄嘉禮，黃君璧畫祝。 鈐印：黃君璧印（白文）、君翁（朱文）

630 HUANG CHUN-PI (Taiwanese, 1898-1991)

Calligraphy

黃君璧 彩雲居

Ink on paper, framed 37.5 x 76.5 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist

水墨 紙本 鏡框 37.5 x 76.5 cm 釋文：彩雲居 款識：黃君璧 鈐印：白雲堂（朱文）、黃君璧印（白文）、君翁（朱文）

PROVENANCE: Christie's Hong Kong, 30 May 2017, Lot 1521

來源： 香港佳士得，2017 年 5 月 30 日，拍品 1521 號

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

631 HUANG CHUN-PI (Taiwanese, 1898-1991)

Landscape with Waterfall 1975 Ink and colour on paper, framed 34.5 x 34.5 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist

NT$ 120,000 – 200,000 HK$ 31,000 – 51,000 US$ 3,900 – 6,500 RMB 26,000 – 44,000 Ravenel 78

黃君璧 深壑飛泉 1975 水墨 設色 紙本 鏡框 34.5 x 34.5 cm 釋文：深壑飛泉 款識：乙卯新秋，畫於白雲堂，君翁黃君璧，時年七十八。 鈐印：黃君璧印（白文）、君翁（朱文）、白雲堂（朱文）

632 HUANG CHUN-PI (Taiwanese, 1898-1991)

Pines 1964 Ink and colour on paper, scroll 102 x 46 cm Signed HUANG CHUN-PI in Chinese With three seals of the artist PROVENANCE: Acquired directly from the family of Lu Dangping

NT$ 440,000 – 700,000 HK$ 112,000 – 179,000 US$ 14,300 – 22,800 RMB 96,000 – 154,000 黃君璧 蒼松 1964 水墨 設色 紙本 立軸 102 x 46 cm 款識：若衡先生暨德配李夫人七秩壽慶。 甲辰春日畫此以之祝，黃君璧。 鈐印：白雲堂（白文）、黃君璧印（朱文）、 君翁（白文） 來源： 現藏家直接得自魯蕩平家屬 註： 上款人「若衡先生」即為魯蕩平，民國著名 教育家、政客、書法家，渡海來台後與于右 任、梁寒操等人創建中國書法學院。

翰墨丹青 中 - 國書畫

633 HUANG CHUN-PI (Taiwanese, 1898-1991)

Refined Brushwork: Fine Chinese Paintings

Tiers of Cloudy Peaks 1965 Ink on paper, framed 63 x 100 cm Signed HUANG CHUN-PI in Chinese With two seals of the artist ILLUSTRATED: Masterpieces of Hwang Chun-Pi, Taipei Fine Arts Museum, Taipei, 1987, Plate 41 EXHIBITED: Masterpieces of Hwang Chun-Pi, Taipei Fine Arts Museum, Taipei, November 7-December 16, 1987

NT$ 700,000 – 1,200,000 HK$ 179,000 – 306,000 US$ 22,800 – 39,100 RMB 154,000 – 263,000

黃君璧 層巒疊嶂 1965 水墨 紙本 鏡框 63 x 100 cm 款識：乙巳秋日畫於白雲堂，黃君璧。 鈐印：黃君璧印（白文）、白雲堂（白文） 著錄： 《時代與創作—黃君璧精品展》，台北市立美術館，台北， 1987 年，圖版 41 展覽： 「時代與創作—黃君璧精品展」，台北市立美術館，台北， 展期 1987 年 11 月 7 日∼ 12 月 16 日

Huang Chun-Pi was renowned for his treatment of mist and cloud.

He once mentioned, "the mist and cloud I depicted are not copied from previous masters. The mist I created have movement, whereas those depicted by previous masters are only sketched by lines. Same with the clouds I have drawn." As Guo Xi once mentioned in his painting, "Water is the veins of a mountain, plants are its hair, mist gives a mountain its colour. From this logic, water is essential to a mountain’s survival, plants make the mountain look beautiful, whereas

黃君璧（1898∼1991），原名允瑄，號君翁，為近現代水墨大家

mist enhances its beauty." Clouds and mists are the crucial elements

中以畫雲水獨步藝壇的大師。他曾自云：「我畫的水與雲是前人

in Chinese landscape ink paintings. Early depiction of these elements

所沒有的，我所畫的瀑布的水是會動的水，前人畫水只是用線條

rely heavily on outlines and sketches. From the Late Ming to Early Qing

勾勒；我所畫的雲也與前人不同，是會動的，前人沒有這樣的表

dynasty, four monks started using the depiction of colour, thus enabled

現法。」誠如郭熙在《林泉高致》中提及：「山以水為血脈，以

the depiction of movement in clouds. Having been trained through

草木為毛髮，以煙雲為神彩，故山得水而活，得草木而華，得煙

copying old masters, Huang was able to gather the best of ancient ink

雲而秀媚。」雲和水，乃是傳達中國山水畫神韻不可或缺的元素。

masters and applied to the paintings according to personal experience,

唯早期畫雲水多以線描勾勒為主，至明末清初四僧始大量採用水

thus achieved Huang’s unique representation from his observation.

墨烘染再搭配勾雲法，以表達自然中煙雲浩渺之變化。及至善於 臨仿古畫的黃君璧，不僅藉摹古綜合古代大家之所長，亦摻之以

This painted stated, Huang was 68 years old when he painted this

平日觀察自然的寫生心得，最終在雲水畫法上開拓自我獨創的表

work. From a bird’s eye view, Huang was able to represent spatial

現。

depth through height, depth and horizontal distance. From this work, mountainous relief amongst the heavy mist was depicted. A river

本幅《層巒疊嶂》款題：「乙巳秋日畫於白雲堂，黃君璧。」可

meanders at the bottom right of the panel towards the center, carving

知乃君翁六十八歲（1965）所畫。全畫採鳥瞰定點透視，兼顧中

deep into the valley. Mists defined the painting into two parts across

國山水畫高遠、深遠、平遠之表現。只見畫面重巒疊嶂、浮雲蒼

the mountain. This clever treatment of mists not only provides a clear

茫，右下角有一蜿蜒河曲往上方逶迤深入，造成縱深的峽谷；另

structure, it also enhances spatial depiction in the painting. To further

有兩道綿延的雲海橫亙切割畫面、橫鎖山腰，不僅構圖上更見層

heightens the humidity of the area, rocks and plants were depicted

次井然，也在畫面上營造出迷濛詩意的空間感，可謂匠心獨運。

using different kinds of brushstrokes including fupizhou and zhizhou.

再者，為了表現山巒間水氣蒸騰的效果，山石紋理皆以飽含水分、

Saturated ink was used in the foreground, lighter ink in the middle

筆法遒勁的斧劈皺和直皺描繪，且近景用濃墨、中景稍淡、遠方

ground and the lightest ink was used for distant mountains, enhancing

山巒墨色最淡，層次分明。至於層層雲海，則於畫面留白處先以

the layering of mountains. Clouds and mists were arranged at the

淡墨烘染雲堆凹處，繼以飽含水分的清墨於雲朶上再次漬染，營

bottom of the valley, depicted as uncoloured area. Using light ink to

造雲層堆疊、排雲湧動的靈動感。綜觀全幅交織著蒼勁沉鬱的用

highlight the layering of clouds, creating movement of heavy mists.

筆，與大塊烘染、水分淋漓的墨韻，自湧現出一股勃勃生機，亦

With careful structuring and skilled brushstrokes, Huang created this

傳達出君翁繪事歷程早已進入形神合一、物我兩忘的圓融境界。

masterpiece of misty mountains.

Ravenel 80

翰墨丹青 中 - 國書畫

634 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Pine and Rocks 1954 Ink and colour on gold cardboard and paper, framed 18 x 28 cm; 60 x 28 cm Signed HSINYU in Chinese With four seals of the artist

NT$ 750,000 – 1,100,000 HK$ 191,000 – 281,000 US$ 24,400 – 35,800 RMB 164,000 – 241,000

溥心畬 松壽圖 1954 水墨 設色 金箋紙 紙本 鏡框 18 x 28 cm; 60 x 28 cm 釋文：（一）板屋臨高堰，山窗古驛亭，風聲隨水白， 雨氣入燈青，秋鴈何時見，寒猿不可聽，石梁雲樹晚， 松次夜冷冷。 款識： （一）衛華先生正。心畬。 （二）甲午春，心畬。 鈐印：明夷（朱文）、舊王孫（白文）、溥儒（白文）

這幅《松壽圖》，溥氏透過筆墨蒼勁的筆法，寫出屈如蟠龍，

This work was painted using various skills of brustrokes to

矯如蛟騰的松樹，以濃、淡、乾、濕虛實相參與疏密布局的

depicted the crooked pine tree and its dense leaves. The

安排，寫出松的繚繞蜿蜒姿態，起筆藏鋒，寫出松葉攢聚之

top half of the painting was carefully painted while broad

疏密。畫面中松樹偏集中於上半部，下方則使用大斧劈寫出

brushstroke was used for the rocks under the pine, the majestic

松下之岩石，懸岩飛瀑，積碎石為水口，然後直瀉而下，瀑

waterfall. The painting was composed emphasizing the top half

之中間一二筆，寫岩石水影，筆用懸針，上欲重而下欲輕，

of the painting. Various light brushstrokes were meticulously

其輕處欲淡而無痕，是為工妙，皴法俐落，用筆繁而不亂，

depicted to represent rocks and river in summer time.

快速有力度，以表現山石夏泉之意。 Pu once mentioned in his manifesto, “River next to the rocks 在溥心畬先生的《寒玉堂畫論》中曾寫道：「水旁岩石，則

should be depicted with saturated ink, the further the river,

宜濃重，愈顯其虛淡遠近之勢。畫飛泉，宜施於岩巒凹處，

the lighter the ink. Waterfall should be depicted in between

兩岩相夾，茂樹翳之，近則飛湍有影，遠則穿雲直下」。又

rocks, greenery should be lush. Even the shadow of waterfall

道：「畫枝幹之法，處處轉折，頓挫而下，或用逆鋒以蹙其

should be depicted, should it be nearer to the viewer. Those

節。樹枝，宜隔斷，於空處加葉，或反折筆鋒，先上後下， 則氣渾厚」。寫松則「松如耆艾魁儡之士，超群遐舉，屈如 龍蟠，矯如蛟騰。松葉攢針，非同蓬茅之弱，竹葦之薄也，

would be cut by intertwined leaves and branches. Brushstrokes

故必藏鋒。松葉，環枝之四面而成圓形，畫松針，必有兩三

should be different accordingly.” As for pines, he wrote,

筆交插，以象其四面，松針之形至梢微曲，其曲以勁。」溥

“pines are associated with aged people. They are crooked yet

氏之意，是指在畫松葉之時，要藏鋒，如果使用偏鋒寫松葉，

they flourish. Leaves are thin yet strong and sharp. Two or

不懂將筆法藏鋒，寫松葉的形狀有如在畫叢草，因叢草之姿

three strokes should be used branching outwards. Specific

較為垂軟，不如松葉之勁挺，如此就離古法就很遠了。

brushstrokes should be used to resemble ancient ink masters.

劉國松先生表示，溥心畬先生自己是喜歡畫松柏與枯樹，溥

Liu Guosong once mentioned that Pu Hsinyu loves pine and

氏曾說：「松柏象徵著清高孤傲的人品，假若你沒有這樣的

ancient trees. Pu once said, “Pine symbolizes a noble character

高尚的人格，就表現不出松柏這種性格。」溥老的水墨韻致

and its painting requires one.” Pu’s work carries an austere

逸氣，筆筆出於性情，趣味橫流，常流露出淡雅清俊的獨特

elegant touch of ink, representing his unique literati character.

文人內涵。

Ravenel 82

farther away should disappear into the mist.” He continued, “crooked branches should be depicted with brushstrokes. Stems

翰墨丹青 中 - 國書畫

635 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Plum Blossom Ink and colour on paper, framed 27.5 x 54.5 cm Signed HSINYU in Chinese With four seals of the artist

NT$ 950,000 – 1,500,000 HK$ 242,000 – 383,000 US$ 30,900 – 48,900 RMB 208,000 – 329,000 溥 心畬 寒梅圖 水墨 設色 紙本 鏡框 27.5 x 54.5 cm 釋文：半窗月印梅花影 款識：藹雲先生清賞，心畬。 鈐印：溥儒之印（白文）、 心畬（朱文）、庚寅（朱文）、 自怡室 ( 朱文 ) 註： 上款人「藹雲先生」即為王藹雲先生， 曾任台灣師範大學美術研究所教授， 台灣教育部美術教育委員兼職，早年 與徐悲鴻、張大千、溥心畬、黃君璧 等畫家交往密切。

使用簡潔構成的元素，常常會讓畫面產生單純、明晰之感，溥氏

溥心畬先生的《寒玉堂畫論》畫花卉中曾寫道：「花有俯仰之姿，

以「淡墨」單線勾勒花瓣線條寫梅花瓣，筆法線條有濃淡粗細頓

風露之狀，木花之枝欲蒼老，草花之枝欲柔嫩，梅枝則瘦硬，有

挫，以寫出梅花前後分布之姿，梅萼與花心之間點以淡淡的花青，

崚嶒之勢。帶雨之花低垂，迎風之花倚斜，盛開者似錦城之春蘭，

雖少設色，但卻能寫出寫出花朵盛開生意盎然之狀，梅幹少皴擦

欲謝者如落梅之風起，求掩映以生姿，或筆簡以取勝，疏梅當奇，

而骨幹挺立，梅枝橫穿而上，用墨清幽沉靜，意到筆到，墨隨筆

得其勢也，故折枝易妙，芳樹難工」。從畫論中溥老看來，他對

出，用筆不虛，嚴謹而傳神，寫出這幅「寒梅圖」在寒冬勁挺冰

於寫梅與各種花卉畫法均有精妙之處。

肌玉骨之仙姿，刻劃入微。

Ravenel 84

Simplistic structure is often used to depict an austere and bright

Pu Hsinyu once mentioned in his manifesto, “the beauty of

tone. Pu used light ink and thin lines to outline the petals of plum

flowers comes from its position and shape, their aged stems and

blossoms. Lines have various tones and thickness to depict their

fresh green leaves. Stems of plum blossoms are thin yet hard and

positions. Stigma and center of the plum blossoms were lightly

crooked. Flowers faced downwards under the falling rain, face

coloured to highlight their blooming state. The stem is straight

sideways under the wind. Withering flowers face downwards

with few cun strokes. Such lightly coloured painting highlights the

to cover its beauty. Brushstrokes are minimized thus demand

beauty of the flower under the frost of winter.

sophisticated skills.� This shows Pu’s meticulous attention and skills in such work.

翰墨丹青 中 - 國書畫

636 PU HSINYU

(Taiwanese, 1896-1963)

溥心畬 楓林雙駿

Refined Brushwork: Fine Chinese Paintings

Horses in the Forest Ink and colour on paper, framed 70 x 39 cm Signed HSINYU in Chinese With four seals of the artist ILLUSTRATED: The Paintings of Recent Famous Painters, Langtao Publishing House, Taipei, 1974, p.53

水墨 設色 紙本 鏡框 70 x 39 cm 釋文：楓林雙駿 款識：心畬 鈐印：舊王孫（朱文）、溥儒（白文）、 松巢客（朱文）、二樂軒（朱文） 著錄： 《近代名家畫選 : 第一輯》，浪淘出版社， 台北，1974 年 3 月初版，頁 53

NT$ 1,700,000 – 2,800,000 HK$ 434,000 – 714,000 US$ 55,400 – 91,200 RMB 373,000 – 614,000

此幅《楓林雙駿》以白描細筆勾勒雙馬外形，精細準確之外又不

Horses in this work were sketched meticulously with small brush.

失生命力；灰駿以墨色染出濃淡相間、生動鮮活的斑紋，鬃毛毫

The gray horse was coloured in light and dark ink with fine hair

絲可辨，目光有力地凝視遠方，右前蹄昂然欲動，可知其精神飽

scrupulously drawn. It gazed into the distance, with one front

滿、神態自信；棕駿掩於樹後，是溥氏常用的畫馬手法，以淡墨

leg lifted. A brown horse hiding towards the tree was a typical

赭石染敷，眼神羞怯稚嫩，可知其性情溫順平和。雙駿立於山坡，

way of depiction by Pu. Coloured in light ochre, the shy gaze

溥氏以右往左下之坡勢構圖，不僅增加灰駿的動感姿態，更讓畫

suggests the horse's timid character. Two horses stand on the

面充滿野趣。山石以枯筆速寫擬態，石青敷染地面，顯出楓枝成

top of the hill, running downwards towards the left of the panel.

蔭之色；樹形雙勾加皴，立幹以逆鋒畫就、得勢見力，除了表現

Such composition enhances the liveliness of the gray horse and

出老樹古樸蒼勁的質感外，更可見溥氏運筆轉折頓挫的功力；楓

thus the painting itself. Rocks were sketched with a swift dried

枝雖多用渴筆，但矯健多姿、生氣飽滿，樹幹以赭石敷染、赤色

brush. The ground was coloured in light green, echoing with

點楓，再用濃墨於背陰處點染破醒，楓林形意俱足。溥心畬被譽

the shadow of the tree above. The tree is crooked and sketched

為「中國文人畫的最後一筆」，其詩、書、畫皆淡雅明淨，常有

with sturdy strokes, enhancing the ancient touch of the aged tree

出世飄逸之感，是渡海三家中最純粹的文人畫家。溥氏習畫「始

and the brushstroke of the artist. Dried branches were always

習南宗，後習北宋，然後始畫人物、鞍馬、翎毛、花竹之類。」

depicted through dried brush in ochre. Pu was praised as the most

並重視人文的修養與態度，曾作《仿李公麟五馬圖》且題款寫下

accomplished scholar of all times, with profound knowledge in

對於歷代畫馬名家的見解，由此可知溥氏畫馬的風格多樣，唐、

literature, calligraphy and paintings, thus he was well-acclaimed

宋、元、清馬都臨摹習之，又因身為清代舊皇族，故能從其馬畫

among the literati artist in Taiwan. Pu practised portrait, horses,

中看出郎世寧風格的影響，《楓林雙駿》得古人之技又綜和西洋

birds and flower and bamboo paintings, and incorporated styles

之優點，實屬一幅駿馬傑作。

from the Southern and Northern Schools of Art. Pu once shared his deep knowledge of horses in an inscription of his painting, comparing styles of the Tang, Song, Yuan and Qing dynasties, suggesting his scrupulous studies into ancient paintings. With an imperial background, Pu's horses resembles that of Giuseppe Castiglione from Qing dynasty, thus gathered styles of the East and the West.

Ravenel 86

翰墨丹青 中 - 國書畫

637 ZHANG DAQIAN (Taiwanese, 1899-1983)

Refined Brushwork: Fine Chinese Paintings

PU HSINYU

(Taiwanese, 1896-1963)

Peonies Ink and colour on paper, framed 68 x 34 cm Signed DAQIAN and HSINYU in Chinese With three seals of the artist

NT$ 2,800,000 – 4,200,000 HK$ 714,000 – 1,071,000 US$ 91,200 – 136,800 RMB 614,000 – 921,000 張 大千；溥心畬 芍藥 水墨 設色 紙本 鏡框 68 x 34 cm 款識：力耕仁兄法家正之，大千居士張爰。心畬補蝶。 鈐印：張爰長壽（朱文）、張大千長年大吉又日利（白文）、 溥儒（白文） 註： 上款人「力耕仁兄」即為資深台灣藝文記者張力耕。畢業 於中央政治學校新聞系，曾於二戰期間擔任戰地記者，赴 台後任職於《中央日報》，曾專訪周作人、傅斯年，並為 傅先生賞識，與張大千、溥心畬、黃君璧為好友。張氏亦 曾主理《大華晚報》副刊及《電視周刊》編務，後移居美國。

Ravenel 88

柔兒能健，峭而能厚，吾仰溥心畬。 滔滔四海風塵日，宇宙難容一大千。

張大千；溥心畬．南張北溥，珠聯璧合

張大千乃中國近代美術史最傳奇的人物之一，不僅畫藝卓

葉濃、新葉淡表現出層次，以石綠敷染更顯「巧中求拙、熟

絕，其一生豐富的閱歷與軼聞，更為人所樂道。張氏創作，

中求生」的自然意態。含苞枝花苞則直接以胭紅戳染，婀

不僅融眾家之長於一，更兼具南北二宗的富麗，其藝術高度

娜有致；花萼錚錚顯出待放的生命力，ㄧ枝鐵骨獨秀，瘦

除人物、山水畫外，花卉更是一絕。張大千幼時承母姐之

枝繁葉顯出張大千筆力渾厚之勁，畫花造型在「似與不似之

教，精於宋人工筆雙鉤花卉，以畫水仙最為出色；後學元人

間」，雙枝並立於畫幅，留白之處更顯出芍藥的天然樣貌。

寫意，更師法陳淳、徐渭、石濤與八大山人之沒骨畫法，意

張大千畫花常以清代《廣群芳譜》作為靈感參考，張氏更把

境拔群，將古人技法化為己用。綜觀張大千的花卉創作，以

「格物致知」奉為圭臬，ㄧ生不僅愛蒔花弄草、造園求境，他

清雅的荷花為主，再則因愛梅成痴而畫梅，最後則是嬌艷的

認為「求真」比什麼都重要，如此才能在畫中見生機，了悟

芍藥臨寫最令人鍾情，三種不同的花卉畫各顯風姿，除主題

「一花一世界，ㄧ葉一如來」的境界。

多樣外，在技法上勾勒、寫意兼而有之，張氏筆下花卉柔中 帶剛，用墨潤透多變，設色清活、意境閒逸，畫境之高，讓 徐悲鴻稱張氏為「五百年來第一人」。

昔莊周夢蝶，將追求自由、順應自然之意寓予蝴蝶，自此蝴 蝶成為文人雅士愛好逍遙灑脫的對象；水墨畫中的蝴蝶除工 筆寫生作為點綴山石花卉之外，寫意化出的蝴蝶更具有靈光

同為「渡海三家」的溥心畬，是詩書畫三絕的奇才，張大千

乍現的重生之美。此作《芍藥》由溥心畬畫仙蝶補成，仙蝶

曾仰溥心畬，言其「柔而能健，峭而能厚。」溥氏一生勤勉，

以正面之姿飛舞，溥氏先點後勾寫出蝶身，再以淡墨敷染數

讀書繪畫不輟，以一襲布衣優遊天下，特立獨行而游於藝。

層成蝶翅，上翅濕而下翅乾，翅尾些許飛白，僅用墨色卻能

張大千與溥心畬於北京相識，曾同住於頤和園，是時國難當

作出層次；蝶足則以勾法成之，筆勢精準老辣，溥氏觀大千

前，張、溥兩文士同氣相求、互有酬酢。兩人先後抵臺，情

畫此芍藥花淡雅靈動，而師其心跡畫出仙蝶，飛舞於花苞上，

誼更勝以往，張、溥二氏喜結交朋友，常與友談天並同時作

彷彿即將駐足停留，盎然的生機現於畫中，成為此圖點睛之

畫，每當眾揮毫，筆下瀟灑、風流自成；此幅《芍藥》即是

筆，更增添野逸生趣。

為當時倆人之友－張力耕先生所作，一畫雙成、實屬難得。 畫中上方題款可見張大千筆力古拙雄渾，張氏書法得自其師 古云：「芍藥第一，牡丹第二。」謂牡丹為花王，芍藥為花

李瑞清，後參以宋代黃山谷筆勢，發展出靈動奇雋的「大千

相，并常以芍藥相贈，以表結情之約或惜別之情。芍藥向來

體」風格，尾筆骨力峻奇，與畫中芍藥婉約之姿形成對比，

是文人墨客喜愛描繪的對象，張大千早年於耶魯訪問期間，

頗得逸趣；溥心畬題款以行書成字、清秀雅致，與仙蝶飄逸

拜訪過民初才女張充和先生的住處，見其園內芍藥盛開，畫

之姿相映，觀之有俊朗丰神之感。

了多幅芍藥圖銘記；此幅《芍藥》嬌艷清妍、姿態綽約，芍 藥為草本生，又喚「沒骨花」，即為沒骨花則始得用沒骨畫

此幅《芍藥》來源自資深藝文記者張力耕先生，張先生曾

法畫成。此作雙枝芍藥以淡墨畫，花體ㄧ綻放、ㄧ含苞：綻

於二戰期間擔任戰地記者，赴台後任職於當時台灣第一大報

放枝花瓣以「春蠶吐絲」（溥心畬語）之細筆勾勒，落筆圓

《中央日報》，曾專訪周作人、傅斯年，并為傅先生賞識，後

點輕巧、筆勢婉若遊龍，瓣片疏展，間以胭脂紅點戳、略施

與渡海三家結為好友。張力耕先生不僅在文化新聞從業成就

渲染，花中心以濃墨點蕊、石綠敷色見其精神，淡而彌厚，

卓越，其與當時臺灣藝文界大師的交誼更是歷史的見證，此

此乃脫自石濤花卉畫法；澹墨畫枝，自上而下以一筆貫之；

作即是張、溥二人合作成畫，張氏繪芍藥、溥氏補成仙蝶，

畫葉猶如狂草大寫意，片刻揮就，筆墨雄秀有力，設色以舊

觀之曲折不盡，回味無窮，實是難得一見的海歸逸品。

右圖：為張大千、黃君璧、溥心畬及其友人之合照。 Right: Zhang Daqian, Huang Chun-Pi, Pu Hsinyu and thier friends.

Ravenel 90

ZHANG DAQIAN; PU HSINYU

A COLLABORATION OF THE TWO GREATEST INK MASTERS OF ALL TIMES Zhang Daqian was a legend in Chinese modern art history with

technique. The two flowers were coloured in light ink, one in its

superb artistic skills, a rich personal experience and excellent

full bloom, one in bud. In Pu’s words, the blooming flower was

character. Zhang gathered expertise from ancient masters of the

delicate as spring silking worm, outlined skillfully with small brush,

Southern and Northern School of Art. He excelled in portraits,

flourished with red at the center. Green of the stem enhanced

landscapes and flower paintings. Zhang learnt the skills from his

the luscious effect from the plant. This technique resembles that

mother and sister, primarily excelled in Gonbi flower paintings from

used by Shi Tao. The stem was painted in one stroke. Leaves were

the Song dynasty and painted best of daffodils. He later followed

depicted in their natural forms with broad and sturdy brushstrokes.

Yuan style of painting and learnt boneless paintings from ink

The crown of the flower was vividly applied with colour. Blank

masters Chen Chun, Xu Wei, Shi Tao and Bada Shanren. Amongst

background highlights the subject matter. Zhang was strongly

the flower paintings of Zhang Daqian, most of them feature lotus

affected by Qing’s realistic approach of painting, thus devoted time

flowers, followed by plum blossom and peonies. These three types

in gardening and appreciating plants.

are different in character and ways of depiction. Flowers under Zhang's brush are rich in colour with deep meaning, thus he was praised by Xu Beihong as the greatest ink master in centuries.

Zhang Zhou’s dream of butterflies represents freedom and the love for Nature. Butterflies have long been a symbol of carefree spirits among literati. They are often used as flourishing in gongbi style

Another most accomplished artist in Taiwan is Pu Hsinyu, who

next to flowers in gardens. Butterflies in broad brush enhanced

excelled in literature, calligraphy and painting. Zhang once admired

its vibrancy. In this work, the butterfly was drawn by Pu Hsinyu. It

Pu as an all-round artist, keen in brushwork. Pu was a humble

was dancing facing the audience. Its body was sketched by Pu and

scholar living an austere lifestyle in solitude. Zhang and Pu met in

its wings were depicted in layers of light ink. This simple subject

Beijing and lived in Summer Palace before the war. Both scholar

matter could see Pu’s exceptional skills used. Pu painted the

had close friendship. After arriving in Taiwan, their friendship

butterfly after watching Zhang’s elegant garden peonies depiction.

grew even further. As extroverts, both loved engaging friends in

Pu’s butterfly fluttered in its own vibrancy.

the making of ink paintings. This work was made as a gift for Mr Zhang Ligeng, by these two greatest artists of all times, making

Inscriptions on the top shows Zhang’s sturdy calligraphy, inspired

this a rare painting.

by Li Duanqing and Song scholars. Zhang’s calligraphy was unique to the artist, juxtaposing against the elegant peonies depicted.

There are two types of peonies: garden peonies (featured in this

While Pu’s inscriptions was soft and elegant, echoing with the vivid

painting) and tree peonies. An adage goes, “Garden peonies

butterfly.

comes first, followed by tree peonies.” Tree peonies are praised as kinds, whereas garden peonies are chancellors. The latter was

This work was under the collection of Zhang Ligeng. Zhang was

usually given as gift of friendship or farewell. Garden peonies have

once a war journalist and worked under the Central Daily News,

long been the favourite subjects of depiction by literati. Zhang

the official newspaper in Taiwan in the period. He built friendship

once visited Zhang Chonghe at her residence during his interview

with the three greatest ink masters in Taiwan. Zhang established

at the Yale University. Zhang saw the garden peonies blooming in

great achievements for the Taiwanese cultural sector. This painting

the garden and drew a few sketches of the flowers. The flowers

was a collaboration work by the two greatest artist of all times,

in this work were elegantly depicted. These garden peonies were

making this work a rare masterpiece in history.

called Boneless flowers, and were thus drawn with Boneless

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

638 ZHU QIZHAN

(Chinese, 1892-1996)

Landscape under Misty Rain 1984 Ink and colour on paper 142.5 x 367 cm Signed ZHU QIZHAN in Chinese With five seals of the artist PROVENANCE: The Collection of Mr. Zhou Yunjian, Brazil

NT$ 7,000,000 – 11,000,000 HK$ 1,786,000 – 2,806,000 US$ 228,000 – 358,300 RMB 1,535,000 – 2,412,000 Ravenel 92

朱屺瞻 細雨垂楊萬里風 1984 水墨 設色 紙本 142.5 x 367 cm 釋文：細雨垂楊萬里風 款識：甲子夏月，畫於上海梅花草堂，朱屺瞻自題，時年九十三 鈐印：梅花草堂（朱文）、開生面（白文）、婁江（白文）、 朱屺瞻（白文）、時年九十三（白文） 來源： 周雲鑒先生舊藏，巴西

做事要顧人，藝術要從己。

朱屺瞻．細雨垂楊萬里風（ 周雲鑒先生舊藏 ）

周雲鑒先生是著名的巴西愛國華僑，亦是非常成功的商人和

的思想深度，即「心力」；「簡」者，即畫面練潔，簡約，

書畫鑑賞家。尤其喜愛收藏近現代書畫。其回國期間與啟

不受世俗束縛，不過於執著，主張內心貼近於作品的「靈

功、趙朴初、黃胄、吳作人、劉海粟、黃永玉等書畫大家結

合」、「超脫」，其體現永不疲倦的追求精神。

交，並成為好友，因此其所藏大部分為書畫家饋贈之佳作。 此幅朱屺瞻《細雨垂楊萬里風》為周雲鑒先生舊藏。

朱屺瞻先生那謙和、豁達與勤奮的美德是皆世所認。他從來 不認為自己的畫比別人好，也從來沒有滿意過一張自己的

二十世紀中國海派畫家朱屺瞻，在他漫長且輝煌的藝術旅程

畫。他總是謙虛的說：「我畫不來，瞎塌塌。」他不因名高

中，大量借鑒西方的繪畫語言，融入到中國傳統意韻之中。

而自封，不因年長而自大，也不為榮譽而陶醉。先生經歷裡

他的作品質樸率真卻雄渾磅礴，筆意拙樸確意境高遠，在畫

百餘年激盪變化的社會風雲，對社會主義國家，對中國共產

壇上獨樹一幟。此幅《細雨垂楊萬里風》 筆墨大方、渾厚，

黨有深厚的感情。他常說：「從前畫畫為一口飯吃，今天畫

烘染設色愈顯雲氣蒸騰，猶如浩然正氣塞乎天地之間 。他喜

畫為藝術，為國家創造精神財富。從前的生活都沒有像今天

用普藍、赭石等彩墨山水，粗放拙樸，亦把人本的內蘊充分

這樣安穩。」100歲的藝術大師朱屺瞻曾這樣說：「白天唯

地體現出來。在中國文人畫的發展歷程中，詩與畫的結合不

有赤心存，這是我一生最莊嚴最重要的選擇。」他的藝術力

但提升了繪畫的感染力與表現力，更強調於「恬淡」的品格

量和人品德行將與山河同在，日月同存。

上。朱屺瞻在詩文方面的成就斐然，動人心魄的詩句烘托了 畫面中華滋拙樸、渾厚富麗視覺效果，更吟詠山水瑰麗之借 景喻情之紓。 自八、九歲起始學畫的朱屺瞻先生，對藝術的追求將近一 個世紀。他在《癖斯居畫譚》裡說多年來，總以「獨」， 「力」，「簡」三字自求。「獨」者，即忠於自己的面目， 不依門戶；「力」者，凝神靜氣，奮筆揮灑，也蘊涵作者

左圖：知名書法家啟功先生與書畫鑑賞家周雲鑑先生於 1991 年 4 月 30 日合影 Left: A well-known calligrapher, Mr. QiGong and Mr. Zhou Yunjian, a connoisseur of calligraphy and painting, took a group photo on April 30, 1991. 右圖：人民代表大會常務委員會副委員長廖承志先生會見巴西台灣同胞觀光團團長周雲鑑先生於 1983 年 4 月 18 日合影於人民大會堂 Right: Vice Chairperson of standing committee of the National People's Congress with Mr. Zhou Yunjian, head of the Taiwan Compatriots Tour Group, took a group photo at the Great Hall of the People on April 18, 1983.

Ravenel 94

ZHU QIZHAN LANDSCAPE UNDER MISTY RAIN THE COLLECTION OF MR. ZHOU YUNJIAN Zhou Yunjian is a Chinese patriot who lives in Brazil. He is also a

Since the age of 8, Zhu Qizhan started his practice in art and

successful businessman and a connoisseur of Chinese ink painting

followed his passion for art for close to a century. He once

and calligraphy. During his time returning to China, he met and

mentioned, “there are three words that I live up to, individuality,

befriended several Chinese ink painting masters including Qi

persistence and austerity.” Individuality states the genuity towards

Gong, Zhao Puchu, Huang Zhou, Wu Zuoren, Liu Haisu and Huang

one’s own thoughts. Persistence refers to the stamina in one’s

Yongyu, hence Zhou’s collections are mainly gifts given by the ink

practice and philosophy. Austerity suggests one’s ascetic life

painting artists. Zhu Qizhan’s Landscape under Misty Rain is Mr.

towards humility.

Zhou Yunjian’s old collection.

Zhu’s humility, open-mindedness and diligence had been widely Zhu Qizhan, a Shanghai-style ink painting artist in the 20th century,

recognized. He never regarded his paintings as better than others’

had been infusing western painting style into Chinese traditional

and was never satisfied with his own paintings. He always said

artistic conception in his long and splendid art career. His style

with humility, “I couldn’t do it, I did that badly.” He was never

is simple and straightforward but magnificent. He created deep

arrogant with regards to his achievements, seniority and honour.

conceptual prospects with simple brush strokes and made himself

Zhu went through a century of turbulence in society and supported

a unique style of painting among all Chinese ink painting artists.

the belief of Socialism and the Communist Party of China. He

Zhu painted this work with generous and rich ink strokes. Lively,

always mentioned, “Painting was used to be done for a living, now

vaporizing clouds are created with the coloring, and show an

we do it for the benefit of our country. The quality of life today is

awe-inspiring righteousness between heaven and earth. Zhu likes

much better than that of the past.” The 100-year-old ink master

to use Prussian blue and ochre to paint mountains and water to

once said, “Leading an innocent and austere life, that is the most

represent the essence of humanity in a whole with bold, simple

sacred choice I have ever made in my life.” His power of art and

brush strokes. In the history of Chinese poetry painting evolution,

philosophy live on and will pass down in generations.

the combination of poets and paintings enhances the presentation and contagion of the artwork itself, and further emphasizes the characteristic of unsophisticated and peaceful lifestyle. Zhu Qizhan is absolutely outstanding when it comes to poetry. His hearttouching poems heighten the simplicity in Chinese culture with rich and gorgeous visual impact and further depict the emotion inspired from the glorious mountains and water.

纔一落筆，宇宙萬物，奔赴腕底，與造物同功

歐豪年．嶺南鍾秀，渡海薪傳

歐豪年先生一九三五年出生於中國廣東省茂名縣（今改棣吳

張大千亦曾稱讚歐氏的才能：「豪年道兄，纔一落筆，便

川市），歐家為書香門第，國學底蘊深厚，書與畫皆出於自

覺宇宙萬物，莫不奔赴腕下，無所遁形，真所謂造物同功

學，每從父親往來知交文士，天才橫溢，家學已成。國共內

也。」後欣賞歐氏才華，常與歐氏交遊，期間吟詩、題畫、

戰後，隨父母逃難至香港，十七歲親炙嶺南畫派傳人趙少昂

甚至創作合繪。歐豪年先生每年赴美時，也會親自至環篳庵

先生，歷經數年淬礪學習，名動香江，隱然成為來日嶺南畫

拜訪大千先生。歐豪年先生曾憶：「每年張大千先生都會畫

派領袖。

一張畫送給他，信封都會親自題簽書寫，直到大千先生辭世 才停止。」

歐豪年先生才華洋溢，詩書文並重，深具文人士大夫之國家 情懷，于右任先生第一次與他見面，右老就題寫一對聯書法

另外歐氏詩詞、書法、作畫堪稱三絕，所謂書畫同源，他的

贈於他，「風雨一杯酒，江山萬里心」，幾十年來，歐豪年

書法自樹一格，歐氏的書法是從作畫中變化出來的，可從他

一直將它掛在畫室最醒目之處，作為永遠的座右銘。

的畫中，無論是山水、走獸、花鳥作品皴法的用筆中看出， 包含輕、重、點、捺、橫、豎，對於筆法的轉折，速度緩急

五十多年前，文化大學創辦人張其昀先生，禮聘錢穆大師來

的拿捏，有人形容宋代米芾的字是「八面出鋒」，歐豪年的

文化大學講學，文史陣容一時為臺灣之冠，對於歐豪年這

書法，到晚歲後達到高峰，題詩作畫，信手拈來不受罣礙，

位年僅三十餘歲的年輕畫家，一再誠摯邀請，並奉數倍於其

常有「蒼茫空靈」的意境，甚至還有出其不意而出現筆法，

他教授之高薪以示尊重。歐氏感於張其昀辦學精神與知遇之

頗有「十面出鋒」之意。

情，應允來台任教。其恩師趙少昂先生聞高徒將赴台任教， 更贈送詩歌以壯聲色：「自有高人韻，空山任鳥啼；扶搖雲

這都是歷經幾十年以來對於藝術的美感點滴累積而來的，對

漢路，回首萬峰低」。以此詩讚美、鼓勵高足。

於空間與結構的掌握。所以說「立萬象於胸懷，傳千情於 豪素，氣韻本乎遊心，神采身於用筆」，作畫或書法的筆法

後歐豪年先生與朱慕蘭伉儷於1968年來台聯展於國立歷史

是技法，但是畫意跟筆法卻需要心境，所謂「詩者，志之所

博物館，其八幅巨作「海鷹」、「雄獅」、「柳鷺」、「晨

之也，在心為志，發言為詩」。詩言志，是詩人作詩的總目

雞」、「朝雲」、「壽色」、「紅荷」與「山高水長」，由

的，表達詩人的志向、理想和抱負等。

蔣介石總統與宋美齡夫人選定，藏購於陽明山中山樓。 歐豪年先生在台五十餘年來，化育無數學子，除了將嶺南畫 本次拍賣推出歐豪年最擅長的翎毛、走獸圖，作品皆以巧妙

派在台灣發揚光大，讓整個台灣的藝壇加入新的元素，真可

的構圖，配合神韻與形態的描繪，所繪的動物皆姿態靈動。

謂是「春風化雨」，此次拍品（編號643），亦有歐豪年先

《山君圖》（編號639）繪出老虎不怒而威的神態，從身形

生所書寫的春風化雨，此作寫於絹本，別具特殊的意義，可

與肌理，到充滿警戒的眼神，老虎側頭與觀者對望，彷彿在

謂是實至名歸。

與觀者對話，從構圖及用筆把野獸描繪至栩栩如生。從兇猛 的野獸至優雅的鶴，歐豪年把動物的神韻刻畫自如。《松鶴

此次拍品還有一件書法左品《居之安》（編號642），顧名

延齡》（編號640）以蒼鬱的松樹作襯托，在柔和的意境下

思義，所居之所皆能平安，頗有祝賀之意，一般是豪年先生

襯托優雅脫俗的鶴，一動一靜的鶴侶在寧靜的環境中休憩，

的友人或弟子移居或搬遷時，歐老所題並給予祝福之意，懸

以鶴侶表達藝術家對朋友的祝福。另一吉祥的作品《吉羊

掛於廳堂或居所，以增添平安喜氣。

圖》（編號641）以夏天的溪流為背景，雙羊閒憩於溪旁。 有別於前者，在蒼潤的小溪襯托下，公羊雙膝微彎跳躍的姿 態，更顯露雙羊的善良無邪與歡樂融融的喜氣。

右圖：歐豪年 Right: Au Ho-Nien

Ravenel 96

AU HO-NIEN

DEPICTION OF NATURE IN LINGNAN BRUSHSTOKES Au Ho-nien was born into a literati family in 1935 in Guangdong

depicted in pairs. Two subjects connote the artist’s blessings of

province. His strong background of literature and painting was

longevity and health to his friend. In Goats (Lot 641), two goats

obtained through self-learning, from his father and family friends.

rests by a summer stream. Under this composition, the male goat

After the civil war, Au followed his parents to Hong Kong. He

was featured with bent legs, ready to hop in the air, suggesting a

followed Chao Shao-ang when he was 17 years old, which later

joyful and innocent character.

left him to be one of the leaders of Lingnan School of Art. Zhang Daqian once praised Au’s skills, “Once Au paints, the Au was talented in literature, calligraphy and painting. In his first

universe fall under Au’s brush and lies vividly in the paintings”.

encounter with Yu Youren, Yu wrote him a couplet as a gift, which

Zhang had close friendship with Au who composed poems,

was since hung in a prominent position in his studio.

inscriptions and painted together. Au would visit Zhang in the US every year. Au once mesmerized, “Zhang gave him a painting each

Prominent figures of universities in Taiwan invited Au, a 30-year-

year and sent him written letters till his death.”

old young artist, as a teacher. Impressed by Zhang Qijun of Chinese Cultural University, Au came to Taiwan as a professor. After hearing

Au is an all-round scholar excelled in literature, calligraphy and

the news, Chao praised Au with a poem encouraging him in art

paintings. His calligraphy was uniquely developed from his painting.

education.

In his works, animals and landscapes and flower and bird paintings were composed with extraordinary skills of brush. His calligraphy

Au and his wife Zhu Mulan once had a joint exhibition at the

works possess a state of serenity.

National Museum of History in 1968, exhibiting 8 huge creation of animals and flowers paintings, which were then selected by Chiang

Such skills were obtained from years of practice and observation

Kai-shek and his Soong Mei-ling to be put in the Chungshan Hall

of space and structure. His skills of painting and calligraphy are

of Yangming Shan.

derived from observation which reflect the artist’s experience and state of mind.

Au’s works offered in this sale are one of the best subjects created by the artist, including birds and animals. Structure and depiction

50 years have passed since arriving in Taiwan and had many

of character gives the animals a lively character. Tiger (Lot 639)

students. He introduced Lingnan School of Art to Taiwan. One

carries a fearful character through the depiction of the animal.

calligraphy lot (Lot 643) in silk was carries such quality possessed

Tiger looks directly into the eye of the audience as if speaking

by this prominent educator.

with us, enhancing the character of the tiger. From fearsome tiger to elegant cranes, Au depicts each animal’s character in a

Another calligraphy lot (Lot 642) carries the artist’s blessing of

skillful manner. In Cranes and Pines (Lot 640), shadowed under

settlement in a new home, which was often used as a gift to his

the luscious green of the pine trees, the graceful cranes were

students when they moved to new houses.

639 AU HO-NIEN

歐豪年；朱慕蘭

CHU MOO-LAN

山君圖

(Taiwanese, b.1935) (Taiwanese, b.1938)

TIGER 1986 Ink and colour on paper, framed 58.5 x 94.5 cm Signed HO-NIEN in Chinese With two seals of the artist EXHIBITED: 2018 Ink Party Rioters: Eleven Ink-Color Painters, National Chiang Kai-shek Memorial Hall, Taipei, April 25-May 7, 2018

NT$ 480,000 – 750,000 HK$ 122,000 – 191,000 US$ 15,600 – 24,400 RMB 105,000 – 164,000

1986 水墨 設色 紙本 鏡框 58.5 x 94.5 cm 釋文：山君圖 款識：丙寅初夏，與慕蘭合畫於挹翠山堂燈下，豪年。 鈐印：歐豪年（白文）、挹翠山堂（朱文） 展覽： 「墨合之眾 2018 墨彩菁英特展」，中正紀念堂，台北， 展期 2018 年 4 月 25 日∼ 5 月 7 日 註： 此件作品為「墨合之眾 2018 墨彩菁英特展」展覽宣傳 封面作品。

此《山君圖》為歐豪年先生與朱慕蘭女士在丙寅年（1986年）

This work was collaborated by Au Ho-Nien and Zhu Mulan in 1986,

夏天所合繪的，此時歐豪年先生任教於中國文化大學美術系系主

during the time when Au was the head of the Faculty of Art at

任，藝術的創作狀態正處於巔峰（51歲），歐氏對於「走獸」、

the Chinese Culture University and Au’s peak of his artistic career.

「翎毛」、「山水」與「花鳥」題材無一不精，走獸之中，尤其

Au excelled in depicting animals, birds, landscapes and flowers.

以「山君」、「獅子」、「老鷹」為其代表作，為各大博物館或

Amongst the animals, his favourite subjects are tigers, lions and

企業家所甄藏。

eagles, collected by major private and academic collections.

歐先生所繪的猛禽有個特色，除了構圖巧妙之外，主要將動物的

Animal paintings of Au Ho-Nien are renowned for the animals’

神韻寫出，寫繪出猛禽「不怒而威」的氣象，這張《山君圖》的

liveliness and structure. Despite the stillness of the tiger, its body is

虎雖是靜止的，但可看出虎身體的型態正在警戒中，眼神似乎專

ready for attack, its head is lowered and its eyes are fixated on its

注於他的獵物，虎頭微微低垂看向前方，右前足於下，左前足整

prey. Details of the tigers were depicted, with special attention in

準備抬起，尤其要將老虎身體的矯健畫出，更要注意虎頭上方有

its muscles and body outline.

塊突起的骨頭，要寫繪出並連貫到虎的後背，而到後足老虎強而 有力的身形與肌理，所謂「山君虎步」就是以老虎行走的姿態，

This work requires immense time and effort. Details were

隱喻人的儀態威武莊重之意。

meticulously depicted including the white hair on the head, chest and legs. Shanma brush was used with scrupulous effort, giving

完成一張《山君圖》需耗費所多時間與精力，我們可以從虎身體

the tiger its majestic character.

的細部看出，除了要將虎頭的鬚髮跟胸前與足身上的白毫寫繪出 來之外，仔細注意老虎身體上還有無數的金毫，都是使用山馬筆

Au loves depicting tigers and once wrote a poem for this majestic

一筆一筆寫繪出來的，真是栩栩如生。

animal. Such gestures show Au’s literati character and his respect to the animal.

歐氏喜愛畫虎，曾為其賦山君詩一首：「狐鼠依城社，山君嘯嶺 皋，物情喻世態，感此動吟毫。」也將其文人情懷寄情於詩，對 於老虎與一般的動物的評價，立下高判，其詩句讀來情濃而豪 邁。

Ravenel 98

翰墨丹青 中 - 國書畫

640 AU HO-NIEN

(Taiwanese, b.1935)

Refined Brushwork: Fine Chinese Paintings

Cranes and Pines 1971 Ink and colour on paper, scroll 136 x 62.5 cm Signed HO-NIEN in Chinese With two seals of the artist

NT$ 180,000 – 280,000 HK$ 46,000 – 71,000 US$ 5,900 – 9,100 RMB 39,000 – 61,000 歐豪年 松鶴延齡 1971 水墨 設色 紙本 立軸 136 x 62.5 cm 釋文：松鶴延齡圖 款識：壬子歲始再題為錫慶先生七秩晉二華誕之祝。 辛亥春日，豪年畫於台北。 鈐印：歐介（朱文）、豪年長壽（白文）

我國常見的有白鶴、灰鶴、丹頂鶴、蓑羽鶴等。鶴自古傳說是神仙

Cranes have been traditionally used as a vehicle of the gods

的坐騎，也是長壽的象徵，常搭配松樹出現。凡鸞儔鶴侶，皆能去

and they symbolize longevity along with pine trees. The name

絕塵境，棲神物外，不伍於世流，而「鶴」字的念法即有「祝賀」

of these celestial animals also share similar pronunciation.

（諧音）之意。 Cranes are graceful in form and are popular among the 鶴的姿態優雅，望之可以脫俗，親之可以怡情，歐豪年先生喜愛畫

Chinese. They are the favourite subjects of Au Ho-Nien. Placed

鶴，在此幅畫中的前方，先寫出一對鶴侶，一隻昂首鶴鳴，詩經小

at the front are a pair of cranes, one singing, one resting,

雅有云：「鶴鳴于九皋，聲聞于野，魚潛在淵，或在于渚。樂彼之

independent to each other. Background shows dense old

園，爰有樹檀，其下維蘀。」豪年先生大概就是寫出這個意境；另

pine trees, highlighting the cranes against the dark green

一隻則側目休憩，超然獨立，神韻生動高潔，背景則寫繪枝葉茂密

background. The old pines were flourishing in their old age,

蒼鬱的松樹，傍於雙鶴之旁，點染營造松樹豐鬱之氛圍，以老松顯

enhancing the message of longevity.

現「延齡」茂盛之狀，其左下點綴數枝松針與松果，以增趣味，彷 彿置身於境翠晴嵐之中。

This work was painted by Au Ho-Nien in the spring of 1971, later composed the title for Mr Xieqing to celebrate his 72th

此幅作品為歐豪年先生於辛亥年（1971年）春天所繪，後於隔年 補題給錫慶先生七十二歲華誕之喜。

Ravenel 100

birthday.

翰墨丹青 中 - 國書畫

641 AU HO-NIEN

(Taiwanese, b.1935)

Refined Brushwork: Fine Chinese Paintings

Goats 1990 Ink and colour on paper, framed 56 x 89 cm Signed AU HO-NIEN in Chinese With two seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 歐 豪年 吉羊圖 1990 水墨 設色 紙本 鏡框 56 x 89 cm 釋文：吉羊 款識：庚午夏仲，課餘遣興，歐介豪年畫於挹翠山堂 鈐印：歐豪年（白文）、挹翠山堂（朱文）

《吉羊圖》是歐豪年先生庚午年（1990年）夏天所作，畫中寫雙

This work was made in the summer of 1990, depicting two goats

羊垂柳，溪流於側，其中雙羊前者公羊，以側面寫之，畫幅右上

under a willow with a river on the side. The male goat was put

加寫垂柳，以為點景，染以翠柳增添夏色，左側則寫母羊以為呼

on the front depicting a side portrait of the face. Right side of the

應，畫面左下寫以小溪流泉經過，以添畫面蒼潤之感。

work was placed with a summer willow shine with luscious green.

A female goat was placed on the left echoing with the other goat,

觀賞歐豪年的畫，筆筆都可看出其用心的經營，就算淡淡的一筆，

next to a stream, which enhances the balance and richness of

也從不鬆散。他善用嶺南慣用的山馬筆，用其筆鋒於紙上，產生

colours in the painting.

自然飛白的效果，在寫羊的輪廓與線條前，則用筆沾以清水，大 筆寫出羊身的區塊，稱濕之時，以山馬筆沾濃淡墨以勾勒出線條，

Au’s works were painted meticulously with Shanma brush,

如此則有蒼潤而遒勁之感，一掃勾勒而產生呆板的線條，再調以

commonly used by Lingnan School of Art. Such brushwork creates

硃磦與赭石或以濃淡墨，寫羊其前身與後背之色，羊身的陰暗面，

a crispy light depiction. Water was used with the brush on the

前後輕重則可寫出對比。

goat’s body, before outlining the goats’ bodies with ink. Brown and ochre was then used to depict the light and shadow of the body.

最後，再題以篆書「吉羊」二字，古字祥字常寫作吉羊，以為吉 祥之意。

Finally, the title was written in seal script, carrying an auspicious meaning.

Ravenel 102

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

642 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 居之安

Calligraphy 2015 Ink on paper, framed 34 x 69.5 cm Signed AU HO-NIEN in Chinese With two seals of the artist

NT$ 20,000 – 40,000 HK$ 5,000 – 10,000 US$ 700 – 1,300 RMB 4,000 – 9,000

Ravenel 104

2015 水墨 紙本 鏡框 34 x 69.5 cm 釋文：居之安 款識：乙未新秋，八十一老人，歐介豪年。 鈐印：自得（朱文）、豪年長壽（白文）

643 AU HO-NIEN

(Taiwanese, b.1935)

歐豪年 春風化雨

Calligraphy 2016 Ink on silk, framed 32 x 67.5 cm Signed HO-NIEN in Chinese With two seals of the artist

NT$ 20,000 – 40,000 HK$ 5,000 – 10,000 US$ 700 – 1,300 RMB 4,000 – 9,000

2016 水墨 絹本 鏡框 32 x 67.5 cm 款識：丙申春日，豪年翁。 鈐印：歐介印（白文）、鵬展鯤游（白文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

644 CHENG SHAN-HSI (Taiwanese, b.1932)

Cowherd 1985 20.5 x 111 cm Ink and colour on paper, framed Signed SHAN-HSI in Chinese With one seal of the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000

Ravenel 106

鄭善禧 牧牛童子 1985 水墨 設色 紙本 鏡框 20.5 x 111 cm 款識：歲乙丑秋，善禧畫。 鈐印：鄭（朱文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

645 CHIANG MING-SHYAN (Taiwanese, b.1942)

West Lake 1988 Ink and colour on paper, framed 34 x 138 cm Signed CHIANG MING-SHYAN in Chinese With four seals of the artist

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000

Ravenel 108

江明賢 西湖 1988 水墨 設色 紙本 鏡框 34 x 138 cm 釋文：昔人嚐謂「上有天堂，下有蘇杭」，西湖位於杭州城西， 故名。以其明媚秀麗，湖光山色而著名，並與歷史名城相輝映， 歷來為文人墨客吟詠不絕，所謂「西湖風景半天生，一半詩人點 染成」，道出自然美與藝術美結合之特質也。 款識：一九八八年仲夏，首次神州之旅，客杭州遊西湖，歸臺後 作此圖。江明賢於寒巖書屋并記。 鈐印：寫心（朱文）、江氏（朱文）、明賢（白文）、 眾裡尋他千百度（朱文）

先行格物，筆筆皆有古人，筆筆又都見新意

喻仲林．汲古出新畫意精

1949年底國共分治海峽兩岸，20世紀上半百花齊放的「民國

喻仲林在其＜作畫應該適性＞一文中曾言：「我對花鳥畫確

藝壇」，因此進入了歷史的渾沌時期，大批上半生活躍在民

曾下過一番苦功，我的辦法是先行格物，就是對我要畫的素

國藝壇的文人學者書畫家來到了台灣，承續起中國傳統藝術

材先加以瞭解，譬如某花有幾瓣？什麼顏色？何時開放？全

文化的薪火，從1950年至1980年代，為台灣社會的精神生活

放怎麼樣？半放又是什麼樣？葉子什麼樣等，均一一描繪下

與人文素養提供了豐厚的積澱。

來，久之便能得之於心，也就能應之於手了。再一個辦法，

這批渡海來台的第一代和第二代書畫家，皆重視傳統筆墨的

可收集，以備不時之需。這些都在構圖上有幫助，但在畫的

就是多蒐集有關花鳥的材料，如報章雜誌上的照相等等，均 基礎錘鍊與國學典籍的研讀探究，因此不論個人書風畫貌如

品格上想力求高雅，那就非多看古畫不可。古人的畫，實在

何，都具備了濃郁的文人氣息。在中國大陸「大國崛起」之

有其令後人難及的神韻，學畫的人，千萬不可忽視這一點。

後藝術市場隨之蓬勃，然而由於兩岸30年的資訊隔閡，使得

我對宋元的繪畫，便非常崇拜。不管山水、花鳥，均是千古

下半生身處海嶠的這些前輩們的藝術成就與人格風範因而被

絕唱。但我也不主張死摹古、泥古，我主張受古畫的感染、

忽略淡忘，但是真正藝術的華彩終究難掩動人的光芒，近幾

薰陶，久之便能變化氣質。」

年來渡海來台前輩書畫家們的風采已在藝術市場上破繭，再 加上他們對於書寫中國20世紀藝術史不可或缺的歷史文獻地

從喻仲林的創作思緒中，即可理解其繪畫風格之內涵與特色，

位，不論在學術界和收藏界就更凸顯出渡台前輩書畫家的重

可簡約歸納為幾點： 一、注重寫生，故而題材鮮活，不論

要性。

翎毛、花卉、禽畜、昆蟲…皆姿態靈動，造型準確。二、精 研宋元，故而器度雍容，小品具有院體折枝形式之清雅，大

渡台前輩書畫家中，專攻「花鳥」者不在少數，亦皆各有風

作則具有全景花鳥格局之豐沛。三、汲古出新，故而精緻典

姿，其中，喻仲林（1925-1985）是極受讚譽的一位。喻仲

麗，將雙鈎白描、青綠金碧、撞水撞粉…等多元技法融會運

林出生於山東冠縣，自幼即展藝術天分，9歲時因母親去世，

用而自出機杼，筆筆皆有古人，筆筆又都見新意。

往依舅家，舅父許宗海為知名花鳥畫家，喻仲林得以啟蒙習 畫。後因抗戰軍興，學業中斷，於是投筆從戎，1949年5月

喻仲林的作品，或清雅，或古艷，或工緻，或寫意，皆潤澤

隨國民政府來台，重拾藝事，到師大藝術系旁聽，獲金勤伯

飽滿，充滿了盎然生機，絕不見枯槁之筆，滯礙之墨，板俗

青睞而列入門牆，正式進入中國傳統繪畫的嚴謹鍛鍊，勤奮

之色。近幾年來，喻仲林的畫作在書畫市場上已成為兩岸三

鑽研，終成名家。

地藏家重視的標的，也就理所當然了。

右圖：喻仲林 Right: Yu Chung-Lin

Ravenel 110

YU CHUNG LIN

TRANSCENDING FROM TRADITIONS

Under the divided sovereignty of Kuomintang and the Communist

In Yu's manifesto, he mentioned, "I put in immense effort in

Party in 1949, art development in the early 20th Century

Flower and Bird paintings through observation of objects. One has

underwent another turbulent period. Literati artists previously

to learn every minute detail of an object before depiction, such as

active in the artist circle came to settle in Taiwan, reviving the

no. of petals, its colour, the time it blooms, its form in full bloom

Chinese traditional ink paintings. From the 1950s to 1980s,

or in bud, the shape of the leaves, etc. Through sketching, one

Taiwanese art thus burgeoned and nourished the lifestyle of the

knows how to depict the object. Another way is to gather details

Taiwanese community.

of flowers and birds, through magazines for later use. In terms of

These two generations of immigrant literati artists put great

accomplished ink masters. I am very impressed by Song and Yuan

emphasis on traditional artistic training and studies of ancient

paintings, regardless of their landscapes and flowers and birds

literature. With the rise of China, art market thrives. With

paintings. However, I would not suggest anyone to copy them,

the tone of the painting, one has to observe ancient paintings by

communications revived after 30 years, those generations of literati

instead learn from these masters and obtain their skills in depicting

artists once forgotten were once again recalled. In recent years,

the tone of each painting."

these artists regained their importance in the art history and their works regained popularity among art historians and collectors.

Though Yu's theory of creation, one could understand Yu's

Among these artists, Flower and bird artists were fewer in quantity,

regardless of subject matters, to uphold accuracy of his depiction.

but varied in style. One of them is Yu Chunglin (1925-1985), a

2. Study of Song and Yuan paintings in order to enhance the

philosophy, being: 1. Emphasis on live sketches and observation,

well-acclaimed artist born in Shandong Guan province. His talent

elegant tone of the painting. 3. Innovation from traditions through

was shown from an early age at 9 years old, where he stayed with

applications of brushwork in an innovative way.

his uncle Xu Zonghai, a famous Flower and Bird painter, following the death of Yu's mother. Yu arrived in Taiwan after the war in

Yu's works are renowned for its elegance and beauty. Their

1949 and sat in classes at the National Taiwan Normal University.

subjects were vivid and radiant in colours, thus enabling his works

He followed Jin Qinbo in art practice and was trained to be an ink

regained their worth in the art market.

master.

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

646 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Tanagers and Hydrangeas 1972 Ink and colour on paper, framed 18.5 x 51 cm Signed CHUNG-LIN in Chinese With two seals of the artist

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 13,000

Ravenel 112

喻仲林 繡球眷侶 1972 水墨 設色 紙本 鏡框 18.5 x 51 cm 款識：壬子年五月，仲林畫。 鈐印：喻性根 ( 白文 )、仲林 ( 朱文 )

647 YU CHUNG-LIN

(Taiwanese, 1925-1985)

喻仲林 松蔭紅雀

Red Bird on Pine 1979 Ink and colour on paper, framed 41.5 x 60 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 61,000 US$ 3,900 – 7,800 RMB 26,000 – 53,000

1979 水墨 設色 紙本 鏡框 41.5 x 60 cm 款識：己未歲暮，山左喻仲林寫於麗水精舍。 鈐印：喻仲林（朱文）、恨不十年讀書（朱文）

翰墨丹青 中 - 國書畫

648 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Refined Brushwork: Fine Chinese Paintings

Sparrows in the Bamboo Grove 1975 Ink and colour on paper, framed 46 x 66 cm Signed YU CHUNG-LIN in Chinese With two seals of the artist PROVENANCE: Caves Gallery, Taipei Private Collection, Asia

NT$ 220,000 – 340,000 HK$ 56,000 – 87,000 US$ 7,200 – 11,100 RMB 48,000 – 75,000 喻 仲林 雀鳴 1975 水墨 設色 紙本 鏡框 46 x 66 cm 款識：乙夘初夏，山左喻仲林畫於麗水精舍。 鈐印：清泉郡（朱文）、喻仲林印（白文） 來源： 敦煌畫廊，台北 私人收藏，亞洲 附敦煌畫廊開立之原作保證書

畫中所繪晴竹扶搖有致，用筆細勁，竹葉和其莖枝以剛勁的線條

Bamboo grove was scrupulously depicted in its natural form.

勾勒而出，葉作雙鉤，竹葉敷色溫潤以暈染烘托，葉汁綠和墨鋪

Bamboo leaves and stems were outlined with acute thin

染相襯，略分光影，畫中麻雀圓滾的身形蘸上墨赭色淡染再以細

brushstrokes. A careful tone of green was chosen to represent

筆勾繪成之，石墨的色深描寫細小的眼眸炯炯有神，竹葉縱橫變

the density and its light and shade. Sparrows were depicted with

化和嶙石的渾沉，對比上小小麻雀一俯一仰，或嬉鬧或張翅飛翔

round fluffy bodies in thin brushstrokes. Their tiny eyes sparkle in

姿態，見其可愛模樣，令人莞爾，竹林麻雀此意趣生動之題材，

ebony. The contrast of dense bamboo grove and playful sparrows

更體現出文人日常的清風雅趣，畫中在寫意與工筆之間形成一種

enhance the vivacity in the painting, and the fun in appreciating

特別的氣氛，若聽林間夏風吹拂與鳥兒嬉戲的清脆協奏，嬉戲飛

nature from a scholar's angle.

起的畫面形成律動，予人清新之感。

Ravenel 114

翰墨丹青 中 - 國書畫

649 YU CHUNG-LIN

(Taiwanese, 1925-1985)

Refined Brushwork: Fine Chinese Paintings

Sparrows and Garden Balsams Ink and colour on silk, framed 51 x 43 cm Signed CHUNG-LIN in Chinese With one seal of the artist PROVENANCE: Private Collection, Japan

NT$ 220,000 – 340,000 HK$ 56,000 – 87,000 US$ 7,200 – 11,100 RMB 48,000 – 75,000 喻 仲林 鳳仙雀鳥圖 水墨 設色 絹本 鏡框 51 x 43 cm 款識：仲林 鈐印：喻（白文） 來源： 私人收藏，日本

喻氏以工緻的勾勒填彩筆法寫繪與麻雀，分染紅花與麻雀身體羽

Garden balsams and Sparrows are meticulously depicted in the

毛的層次，再以沒骨方式寫枝葉，趁濕勾勒綠葉之筋脈，再添以

painting, with multi-layering of feathers and colours of petals.

禽鳥，畫面寫繪一雀飛躍空中，三雀停於竹枝之上，或休憩、或

Boneless technique was employed on stems and leaves, matched

凝視、或欲躍，神態各個不同，頗有機趣，最後下方點以白花穿

with veins of the leaves articulated by wet ink. Birds are used to

於其間，兼工帶寫，彩墨並重。

add vivacity to the painting, one in the air, the other three on the branches with different gestures. White flowers were added to

其設色方法有工緻與寫意之別，工緻須淺深濃淡，毫髮不苟，寫

balance the general tone of the painting. This combination of

意則可以意到筆不到，隨意點染，以得神髓機趣，無論是工緻或

Gongbi and Boneless technique creates variance and harmony in

寫意，運用時實無定則，而以活用為尚，一般工筆花鳥之設色，

the overall presentation.

多採工緻之法，偶或用寫意法。

Ravenel 116

翰墨丹青 中 - 國書畫

650 LONG CHIN-SAN (Taiwanese, 1892-1995)

Refined Brushwork: Fine Chinese Paintings

Chinese Culture University Kiosk in Springtime Pavilion on a Cloud-Clad Hill Village under the Misty Mountains (A set of four) 1958, 1975, 1933 Gelatin silver print, framed 42.5 x 29 cm; 48.5 x 35.5 cm; 39 x 49 cm; 39 x 49 cm With eight seals of the artist ILLUSTRATED: Landscape on Negatives: A Special Exhibition of Long ChinSan's Photographic Works , Cultural Relics Press, Beijing, 2012, p.73

Long Chin-San , Shanghai Cultural Publishing House, Shanghai, 2014, p.31; Image of China: 20th-century Chinese Photography Masters: Lang Jingshan , Cultural Development Press, Beijing, 2013, p.46 Long Chin-San , JiaugsuRenmin Chubanshe, Jiansu, 2012, p. 50

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,500 – 10,400 RMB 44,000 – 70,000

郎靜山 文化學府 蘭亭春色滿 亭林煙嶂 山舍炊煙 （四件一組） 1958, 1975, 1933 銀鹽相紙 鏡框 42.5 x 29 cm; 48.5 x 35.5 cm; 39 x 49 cm; 39 x 49 cm 鈐印： （左上）郎靜山（白文） （右上）留雲精舍（朱文）、郎靜山印（白文） （右上）楓林堂（白文）、郎靜山（朱文）、佛造像印（朱文） （右下）乾坤萬里眼（朱文）、朗靜山（朱文） 著錄： （左上）《畫影江山—郎靜山攝影作品特展》，文物出版社， 北京，2012 年 4 月初版，頁 73 （右上）《郎靜山》，上海文化出版社，上海，2014 年 11 月初版， 頁 31 （左下）《影像中國—20 世紀中國攝影名家》，印刷工業出版社， 北京，2013 年 10 月初版，頁 46 （右下）《郎靜山傳》江蘇人民出版社，江蘇，2012 年 6 月初版， 頁 50

此件拍品為四件郎靜山先生的銀鹽集錦作品，集錦山水攝影的畫

Four works by Long Chin-San are gelatin silver prints, sharing

面貼近於山水畫的意境，如禪意中，「見山不是山，見水不是

similar composition of traditional landscape through photography.

水，見山是山，見水是水。」指的是生命的一個境界，和大自然

The works suggest a realization of life through Chan philosophy,

一種密不可分的關係，日常中抬頭能見雲，山頭可不易見，究其

that nature is interrelated. Representation of such vast landscape

構圖，以中西方的構圖談起與其在視覺上如何做到突破，立體派

in the Eastern and Western composition is a challenge to artists.

的觀點始於1906年，集錦山水的畫面似乎也是在這樣的視角和觀

This started Cubism in 1906, with an attempt to strike a balance

點下達到一個平衡，銀鹽的時代，要從90年代的上海開始談起，

between an artist’s experience and way of representation. Gelatin

然而在郎靜山的攝影作品中能窺其畫面中具有和古詩古畫相似的

silver print became popular in the 1990s in Shanghai. With such

取意，則光線的不同似寫詩一首，超脫的空間。

modern technology, Long Chin-San was able to express landscape in an ancient poetic description, creating a majestic art piece.

Ravenel 118

翰墨丹青 中 - 國書畫

651 YU PENG

(Taiwanese, 1955-2014)

Refined Brushwork: Fine Chinese Paintings

Landscape 2003 Ink and colour on paper, scroll 134.5 x 68.7 cm Signed YU PENG in Chinese With one seal of the artist

NT$ 220,000 – 340,000 HK$ 56,000 – 87,000 US$ 7,200 – 11,100 RMB 48,000 – 75,000 于彭 無妄山水 2003 水墨 設色 紙本 立軸 134.5 x 68.7 cm 款識：于彭字，無妄山水系列，癸未冬日。 鈐印：于彭（白文）

Ravenel 120

翰墨丹青 中 - 國書畫

652 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Ancient Tree in Autumn Scene Ink and colour on paper, scroll 58.5 x 27.5 cm Signed HSINYU in Chinese With three seals of the artist

NT$ 300,000 – 480,000 HK$ 77,000 – 122,000 US$ 9,800 – 15,600 RMB 66,000 – 105,000 溥 心畬 古樹秋風 水墨 設色 紙本 立軸 58.5 x 27.5 cm 釋文：古樹秋風岸，平沙明月川。磯邊釣魚客，飛上木蘭船。 款識：心畬 鈐印：省心齋（朱文）、舊王孫（朱文）、溥儒（白文）

溥心畬以山水畫聞名於世，其畫兼有南派山水的含蓄秀潤和北宗

Pu Hsinyu was known for his landscape paintings, as it incorporates

山水的雄渾氣勢，溥心畬雖常臨摹古人之作，但觸類旁通悟出心

the essence of both Southern and Northern landscape paintings.

得，筆墨間流露出清寂古樸，逸俊高雅的格調。《古樹秋風》脫

This paintings resembles Ni Zan's work from Yuan dynasty, with

胎自元代倪瓚《疏林平遠圖》，全圖設色簡雅，以一河兩岸的構

simple river structure. Using just a few strokes, the artist depicted

圖開展畫面，左側以淡墨、赭石渲染出峭壁的巍峨之勢，令人望

a ascetic quality, as if deploring over his former role in the imperial

之儼然，右旁以簡筆澹染、橫掃出遠方的河岸，描繪出高遠遼闊

family. Dried brush was used at the foreground to depict a lonely

之感，溥氏以寥寥數筆畫出一種澹泊蕭疏的特質，似是對自己身

old tree with falling autumn leaves. Simple structure was used with

為舊時王孫的慨歎。近景以渴筆描出孤立老樹，秋季葉落，佈局

clear divided sections to highlight the river banks in hemp-fiber

十分單純簡樸，用披麻皴出橫向的河岸，再以曲奇的樹幹將畫面

strokes and a crooked tree trunk. Such structure shows Pu Hsinyu’s

挺直起來，將立軸畫面分割成幾個段落。這樣特殊的構圖技巧帶

keen aesthetic persistence. The space of the river and the banks

有強烈的形式美感，體現了溥心畬獨特的審美情趣。江面平靜浩

created a feeling of serenity and vastness of Nature. Moving along

蕩留白，但給人一種天地浩渺蒼茫之感。視線隨著留白畫面移動，

the painting is a fisherman’s boat, giving a lively touch to such

磯岸上釣客持竿欲躍上扁舟，畫意新奇有趣，更為這秋色河景增

tranquil autumn scene. Poem was written in running script and

添一許靈巧生機。畫中題詩以行書寫就，蒼勁筆勢多帶圓筆、華

round edges, giving an elegant touch to the painting. Pu Hsinyu

而不麗，與蕭瑟的江邊景色融為一體，溥心畬的畫作越小越精，

was well known for his small paintings. His thoughts were often

偶拾小景致，或者寫生小品，往往寓景抒懷，盡顯榮華富貴、浮

expressed in his paintings. His painting style is elegance suggesting

雲散盡之後的平淡，其高深造詣既顯現了皇家藝術的華貴和宮廷

his imperial and scholarly background. Such paintings are highly

文化的風雅，又能有生動可親的文人氣質瀰漫其間，此作《古樹

sought after by private collectors.

秋風》筆法雋逸清勁，細緻精湛，實為溥心畬小筆山水中之極品、 珍稀難得。

Ravenel 122

翰墨丹青 中 - 國書畫

653 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Landscape Ink and colour on paper, framed 93 x 33 cm Signed PU RU in Chinese With three seals of the artist

NT$ 400,000 – 650,000 HK$ 102,000 – 166,000 US$ 13,000 – 21,200 RMB 88,000 – 143,000 溥 心畬 山水 水墨 設色 紙本 鏡框 93 x 33 cm 釋文：西日下山隱，北風乘夕流。燕雀感昏旦，簷楹呼匹儔。鴻 鵠雖自遠，哀音非所求。貴人棄疵賤，下士嘗殷憂。衆情累外物， 恕己忘內修。感歎長如此，使我心悠悠。 款識：元人去宋未遠，山水筆境尚近董、巨，無偏頗之習，如推 畫沙石甚相遠也。溥儒。 鈐印：省心齋（朱文）、舊王孫（朱文）、溥儒（白文）

溥心畬素有北方畫壇第一之封號，臺靜農曾稱其「打破了北宗山

Pu Hsinyu was praised as the greatest in the Northern School of

水數百年的沉寂，直取北宗山水的精華。」溥心畬家藏唐宋名畫

Art. Tai Jing-nong once said Pu “took the essence of the Northern

真跡，使他能夠摹古浸淫、深有所得。此幅《山水》氣勢溫和厚

style and revived the School.” Pu possessed Tang and Song ancient

重、水墨滋潤，集溥心畬山居十年之大成，其隱居西山的經驗，

scrolls in his collection and could study through close observations.

讓他得以朝夕聽松濤聲，且觀山河明晦之變化，清幽閒適的環境

This work was tranquil with saturated ink, representing the austere

與平靜自持的心態，涵養日久便有所感悟；溥心畬作畫無門派約

lifestyles of a literati hermit, as if one was submerged by the sound

束、無成規可循，全以自身的體驗和體會出發，此作觀之給人孤

of nature where the artist lived. This serene surrounding created

寂清逸之氣，頗得宋人風格，畫詩上引董巨，則可知其盡得南宗

by the painting was a typical style of the Song dynasty. Pu did not

山水真傳。畫面右側以淡墨作出斧劈、披麻皴，析出爽颯的山石

follow any school, but only drawn by his unique style from his

之勢；密林遠樹，悄然無聲，林麓間掩映以疏筠蔓草，置之危橋

observations of ancient ink masters. On the right, light ink and

細徑，能得野逸清靜之趣；後方遠山則以輕墨澹染，彷彿群山罩

quick strokes were applied to represent the rough cliff. The forest

霧、高遠幽寂；左下側以利落的乾筆皴出林樹，用筆草草、平淡

was dense with a light bridge leading into a path. The lower left

天真，兩山之間有文士佇立橋上，遠眺山巒峰頂，樂以忘憂。畫

was depicted with dried brush and quick rough sketches. Between

上題詩行書筆勢如雲飛流水，更增添畫中意境；溥心畬認為「神

the hills was a scholar looking over the mountains. Inscription was

在象中，意在象外」，長詩更訴盡其意，拓展了畫面空間。此

written in smooth running script, as if to fit into the painting. Pu

《山水》一作，不僅顯露其早年古畫涵養的功力及儒學的品行，更

used a poem to describe the painting, leading into another virtual

說明了他在中國美術史上無可撼動的地位。

dimension of depiction. This work fully shows the style of this ink master in his early artistic career with great resemblance from ancient masterpieces.

Ravenel 124

翰墨丹青 中 - 國書畫

654 PAN HSINHUA (Taiwanese, b.1966)

Refined Brushwork: Fine Chinese Paintings

Bid Goodbye at Riverbank 2000 Ink and colour on paper, framed 138 x 61 cm Signed HSINHUA in Chinese With one seal of the artist PROVENANCE: Sotheby's Hong Kong, 4 April 2016, Lot 547 ILLUSTRATED: Form•Idea•Essence and Rhythm: Contemporary East Asian Art Paintings , Taipei Fine Arts Museum, Taipei, 2009, p.21 EXHIBITION: Form•Idea•Essence and Rhythm: Contemporary East Art Paintings , Taipei Fine Art Museum, Taipei, October 4 - December 28, 2008

NT$ 260,000 – 400,000 HK$ 66,000 – 102,000 US$ 8,500 – 13,000 RMB 57,000 – 88,000 潘 信華 江岸送別 2000 水墨 設色 紙本 鏡框 138 x 61 cm 款識：西元二零 00，信華於花蓮。 鈐印：潘（白文） 來源： 香港蘇富比，2016 年 4 月 4 日，拍品 547 號 著錄： 《形．意．質．韻—東亞當代水墨藝術新貌》，台北市立美術館， 台北，2009 年，頁 21 展覽： 「形．意．質．韻—東亞當代水墨創作邀請展」，台北市立美術館， 台北，展期 2008 年 10 月 4 日∼ 2008 年 12 月 28 日

Ravenel 126

翰墨丹青 中 - 國書畫

655 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Ruyi Bamboo Ink and colour on paper, framed 28.5 x 57 cm Signed HSINYU in Chinese With two seals of the artist

NT$ 220,000 – 340,000 HK$ 56,000 – 87,000 US$ 7,200 – 11,100 RMB 48,000 – 75,000 溥 心畬 如意竹 水墨 設色 紙本 鏡框 28.5 x 57 cm 釋文：新春納餘慶，佳節報平安。 款識：心畬 鈐印：明夷（朱文）、舊王孫（朱文）

唐代段成式（803-863）所作《酉陽雜俎續集卷十•支植下》中

葉由左以枯墨寫淡、中則濃墨婉順、至右濃淡平分，側鋒用筆之

記載：「北都惟童子寺有竹一窠，才長數尺，相傳其寺綱維每日

間，力透紙背。觀此畫可知溥心畬下筆流暢健挺，毫不遲緩，筆

報竹平安。」溥心畬這一風格鮮明的畫竹之法實依此典故所創。

意遒健圓勁，連綿生機。水墨畫畫竹用筆如同寫書法的筆勢，溥

溥心畬善作朱砂如意竹，以如意形態摹寫折枝竹，寓寄平安如意。

心畬書法精妙超群，畫竹節以楷書筆法，穩健而力剛；畫竹葉小

溥心畬於寒玉堂授課時，常以水墨寫如意竹做為課稿，並時以朱

枝時則用草書筆法，行筆流暢，一氣呵成；畫款識題字以行草之

砂寫如意竹，贈予弟子或友人，由此作所題詩文可知當時為新春

勢，如流水連綿，墨色酣暢，頗有除舊納新之佳兆。溥心畬畫竹，

佳節，溥心畬借琅然庭竹寄誠摯的祝願。

取彎勢細竿，以墨的濃淡乾濕營造出虛實關係和空間感。竹葉 相疊相破之佈局、夾葉藏鋒，讓畫中的葉子如風搖曳、富有生命

此《如意竹》以狼毫蘭竹筆畫就，下筆勁利，由畫面左下按實筆 虛起，一筆掃成五枝，竹節筆力跌盪，無生澀並立之感，結尾之 筆帶鉤揚之勢，頗醒人耳目。竹葉撇法疏密有致、虛實相間，竹

Ravenel 128

力；竹葉結頂亮相之處，筆態飄逸秀潤，更讓此《如意竹》增添 一股文人雅士之書卷氣。

A scripture from Tang Dynasty once spoke of a child carrying a

finished with a light touch. Bamboo leaves were depicted with

bamboo branch with auspicious blessings. This inspired Pu Hsinyu

specific brushstrokes according to their forms. This painting reflects

in the creation of this work. Depicted in red, the colour of blessing,

Pu’s mastery in brushwork. Pu painted nodes of bamboo with

this bamboo twisted in a natural manner with a blessing of peace.

regular script technique, leaves with cursive script technique, poem

In his lessons, Pu often used such Ruyi bamboo as in his teaching

in running script. Bamboo was depicted in refined lines and space

notes and red was the common colour used. Such notes would be

was enhanced by various tones of ink. Intertwining leaves added

given to students or friends as a new year gift as gifts of blessing.

vibrancy to the painting, giving an elegant scholarly touch to the work.

This work was painted with Langhao Lanzhu brush, from the left.

One stroke was done to create five sections of the plant. These sections were depicted by the swing of brush. Ink is saturated and

翰墨丹青 中 - 國書畫

656 ZHANG KUN YI (Chinese, 1895-1969)

Refined Brushwork: Fine Chinese Paintings

Orchid Ink and colour on paper, framed 66 x 34 cm Signed ZHANG KUN YI in Chinese With two seals of the artist PROVENANCE: Sotheby's Hong Kong, 27 Oct 2003, Lot 257 ILLUSTRATED: Overseas Collection of Lin Nan School of Painting: The Paintings of Kao Chi-Feng , Taipei Fine Arts Museum, Taipei, 1986, p. 44 EXHIBITED: Overseas Collection of Lin Nan School of Painting: The Paintings of Kao Chi-Feng, Taipei Fine Arts Museum, Taipei, March 25 - May 25, 1986

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,500 – 10,400 RMB 44,000 – 70,000 張 坤儀 幽遠清得 水墨 設色 紙本 鏡框 66 x 34 cm 款識：坤儀 鈐印：張坤儀（朱文）、曲江女郎（朱文） 來源： 香港蘇富比，2003 年 10 月 27 日，拍品 257 號 著錄： 《嶺南畫派海外收藏展：高奇峰畫集》，台北市立美術 館，台北，1986 年，頁 44 展覽： 「嶺南畫派海外收藏展：高奇峰畫集」，台北市立美術 館，台北，展期 1986 年 3 月 25 日∼ 5 月 25 日

Ravenel 130

657 GUAN SHANYUE (Chinese, 1912-2000)

Spring Outing by the Lake 1944 Ink and colour on paper, framed 54 x 41.5 cm Signed SHANYUE in Chinese With one seal of the artist

NT$ 190,000 – 300,000 HK$ 48,000 – 77,000 US$ 6,200 – 9,800 RMB 42,000 – 66,000 關 山月 湖上春遊 1944 水墨 設色 紙本 鏡框 54 x 41.5 cm 款識：卅三年春，山月寫。 鈐印：關氏山月畫（朱文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

658 KUO HSUEH-HU (Taiwanese, 1908-2012)

Queen of the Night 1958 Ink and colour on silk, framed 43 x 52 cm Signed HSUEH-HU in Chinese With two seals of the artist

NT$ 190,000 – 300,000 HK$ 48,000 – 77,000 US$ 6,200 – 9,800 RMB 42,000 – 66,000 Ravenel 132

郭雪湖 曇花 1958 水墨 設色 絹本 鏡框 43 x 52 cm 款識：戊戌仲春，雪湖作。 鈐印：雪 ( 朱文 )、湖 ( 朱文 )

659 WU ZISHEN

(Taiwanese, 1893-1972)

Bamboo and Chrysanthemums 1947 Ink and colour on paper, framed 67 x 32.5 cm Signed ZISHEN in Chinese With four seals of the artist

NT$ 190,000 – 300,000 HK$ 48,000 – 77,000 US$ 6,200 – 9,800 RMB 42,000 – 66,000 吳 子深 竹菊雙清圖 1947 水墨 設色 紙本 鏡框 67 x 32.5 cm 釋文： （一）唐六如寫菊多以浚墨為之，略施粉黃，意態自足， 蓋胸有卷軸，靈秀之氣在筆墨之外。曉起晏坐，偶然欲畫， 興盡而止，不計工拙也。 （二）此幀似勝平日之作，藏儲篋中，不欲示人。 今值愛娥姻侄女於歸之喜，加朱竹數筆以賀。 款識： （一）丁亥十月，子深。 （二）戊子冬，子深並書。 鈐印：吳華源（白文）、子深詩畫（朱文）、 清氣軒主（白文）、子深（朱文） 此幅作品以濕筆寫菊花數朵，略施淡彩，看著像十月秋菊晏坐 於石上，皴石下一叢蘭草同生，為之愜意，葉與石雖同以墨繪， 其以濃淡表現層次，如詩文所言，此作吳氏初繪於1947年，本 為興致之作，不料對此之感甚是滿意，似更勝以往之作，故將 其藏於篋中，不欲示人，隔年再看仍意趣未盡，更添幾筆，以 硃砂寫竹莖與枝葉，筆腹蘸色濃潤，收尾提筆之快略帶飛白， 其用色飽滿而鮮潤不豔，何以硃砂繪冬竹之清涼？想是做賀之 意同時一表迎春之喜悅，更凸顯此作別具生意。 In this work, chrysanthemums on the rock were depicted using wet brush and light coloured ink, suggesting autumn season.

Below the rock are orchids sketched by ink. Different tones of ink gives a poetic touch to the painting. Painted in 1947, this painting was sketched at leisure but the artist was satisfied with it, thus hid it in his drawer as personal treasure. After a year, he took it out and added bamboo with saturated red ink. Swift and saturated brushstrokes were used. Red ink was used to carry an auspicious meaning to welcome the start of a new year.

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

660 CHENG SHAN-HSI (Taiwanese, b.1932)

Landscape 1994 Ink and colour on paper, framed 30 x 59.5 cm Signed CHENG SHAN-HSI in Chinese With two seals of the artist ILLUSTRATED: Contemporary Taiwanese Ink Painting Series: Cheng ShanHsi , Artist Publishing Co., Taipei, 2004, p.147

鄭善禧 青山碧水 1994 水墨 設色 紙本 鏡框 30 x 59.5 cm 款識：甲戍，鄭善禧。 鈐印：善禧（白文）、肖型印（朱文） 著錄： 《台灣近現代水墨畫大系：鄭善禧—畫壇拾荒老人》， 藝術家出版社，台北，2004 年初版，頁 147

NT$ 170,000 – 280,000 HK$ 43,000 – 71,000 US$ 5,500 – 9,100 RMB 37,000 – 61,000 瞧見繪中「拙」與「豪」二字，用大筆寫下青山綠蕪，遠處一抹

Broad brush was used to depict luscious greenery and distant

藍撇過，若風吹動樹叢與孩童齊樂，然而在鄭善禧的作品中，並

hills under windy weather where kids were playing. From Cheng’s

不難看見童趣的影子，論其造形、構圖、色彩，無不將其化為古

painting, one could easily observe Cheng’s love for kids. In

拙樸茂的個人風格，如果說那是「畫」，似乎以「寫」來形容更

terms of composition of forms, structure and colour, Cheng’s

為貼切，許是那蘊藏於內心的澎湃，才得以寫得如此貼於情境近

landscape paintings shows an austere depiction of his humble

乎於人心，然而山水本不僅止於山水，其山有形水流有聲，河水

character. Cheng paints using calligraphy techniques. Cheng’s

清清，三兩孩童在岸邊或打彈珠或打水漂，鄭善禧筆下的《青山

landscape paintings are not just a sketch of the environment, but

碧水》，在裡頭他似乎更像是一個時代的紀錄者，那裡還沒有水

the representation of his passion towards rural village lifestyle.

泥堤岸，沒有高樓屋厝的林立，也更突顯出「年代」這個詞彙，

Landscapes were drawn as if one could hear the sound of river

此件作品予人淳樸意趣之感，其無飾無華、藏巧於拙的細膩如嚼

and wind. Children are featured playing by the river banks, as if

菜根，別具滋味。

the artist was recording a scene frozen in its time and in its realistic form. This work was depicted with immense effort on the artist’s feelings towards the austere life of a villager.

Ravenel 134

661 CHAO CHUNG-HSIANG (Taiwanese, 1910-1991)

趙春翔 巢中的鳥

Bird Resting in Its Nest Ink on paper, framed 35 x 36 cm Signed CHUNG-HSIANG in Chinese and CHAO in English With one seal of the artist

NT$ 160,000 – 260,000 HK$ 41,000 – 66,000 US$ 5,200 – 8,500 RMB 35,000 – 57,000

水墨 紙本 鏡框 35 x 36 cm 款識：春翔 Chao 鈐印：醇和琴室（朱文）

翰墨丹青 中 - 國書畫

662 CHEN SHUREN (Chinese, 1884-1948)

Refined Brushwork: Fine Chinese Paintings

Kingfisher and Reeds 1946 Ink and colour on paper, framed 136.5 x 34 cm With one seal of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000

陳樹人(1883-1948年) 本名韶，號得安老人、拈花微笑子，廣東

陳樹人 蒼蘆小翠圖 1946 水墨 設色 紙本 鏡框 136.5 x 34 cm 款識：卅五年早春，逖生先生法正。陳樹人大師蒼蘆小翠圖介 鈐印：樹人六十後之作（朱文）、豪年（白文） 註： （一）上款人「逖生先生」即為浦薛鳳先生，原名瑞堂， 號逖生，歷任國立政治大學教務長，台灣省政府秘書長。 （二）歐豪年先生親自題簽。

Chen Shuren, born in Guangdong province, followed Sun Yat-Sen

番禺人，早期隨孫中山先生從事革命工作，參與成立同盟會，也

in his revolution campaign and was Sun’s confidant and secretary.

是孫中山先生的知己與文膽。17歲時隨居廉先生學畫，後進入京

Chen practised painting with Ju Lian since age 17 and furthered

都美術學院攻讀繪畫，早年的作品顯露居氏畫法及日本繪畫風格

his study of art in Kyoto School of Art. Both styles were shown in

影響，中年過後，作品趨於成熟，已有獨特個人風貌，此後鮮少

his earlier works. Later in his artistic career, his unique style was

模仿古人的作品。陳樹人與高奇峰、高劍父兄弟被稱為「嶺南三

shown in his paintings. Chen was called Three Greatest Masters

傑」，為當時新藝術的領導人物，因為年參與過革命事業，他們

in Lingnan along with Gao Qifeng and Gao Jianfu, and the three

也認為繪畫也要革新，奠定日後嶺南畫派在中國藝壇的重要地位。

became leaders of the art reform. Having participated in political revolution, they believed art should be reformed as well, initiating

陳氏與高氏兄弟的畫畫風格較為不同，樹人先生的畫就顯得「淡

the rise of Lingnan School of Art.

雅清奇」，他作畫不強調筆墨豪邁的揮灑，勇於脫離傳統的束縛， 以新的造型和構圖作畫，跳脫傳統的構圖方式，常在花鳥作品中，

Chen and Gao Brothers shared different painting styles. Chen’s

大膽將畫面進行「幾何形式」或「黃金分割」法，寫繪花卉最喜

works were light coloured, austere in style and different from

愛用顏色直接描寫物象型態，不靠墨線勾勒，以脫離傳統沒骨法

traditional ink paintings. Structure of his works were well planned

之拘謹，在當時是一種富於創新的藝術表現。

and different from classical paintings. Using geometric forms and structuring, he painted floral forms predominantly with colour

陳氏最擅長還是花鳥畫，在他的作品中，如楊柳、翠竹、木棉、

rather than outline. This was revolutionary at that period.

水仙、蘆葦等題材，可常見到構圖大多採用黃金分割法，以一種 植物的主幹將畫面按「黃金分割」點劃分為兩部分。在此基礎上，

Chen excelled in flowers and birds paintings. From his works,

點綴樹葉、竹枝、花卉，再隨類賦彩，或輔之以小雀。這張《蒼

willows, bamboo, cotton trees, daffodils and reeds were often

蘆小翠圖》便是使用這種風格寫出，畫面先大膽地寫出蒼潤的蘆

used as tools in his “Golden structure” by dividing the painting

葦，蘆葦的枝葉集中於右側而下，到畫面中間部分穿到左下，點

into two parts. Under such structure, leaves, stems, flowers will be

綴一隻翠鳥停於其中，這就是陳氏對於畫面的經營處理的方法。

added to enhance the richness of the subject, birds would then be added as flourishings. In this work, bold layering of reed was put

《蒼蘆小翠圖》為陳樹人先生於民國35年（1946年）春天所作。

at the center, spanning towards the lower right. A kingfisher rests

畫中上款人逖生先生（浦薛鳳）曾擔任台灣省政府秘書長，與陳

on a branch as flourishing. This is a typical way of depiction in

樹人同為僑協發起委員，胡適先生曾延攬擔任科學會執行祕書一

Chen’s work.

職。 This work was painted by Chen Shuren in the spring of 1946.

Mr Disheng mentioned was Mr Pu Xiefeng, the Secretary of the Taiwanese government. Mr Pu was part of the Overseas Chinese Association where Mr Hu Shi once took up the role of Secretary of the Science Section.

Ravenel 136

翰墨丹青 中 - 國書畫

663 CHEN SHUREN (Chinese, 1884-1948)

Refined Brushwork: Fine Chinese Paintings

Bird under the Scattered Shadow 1943 Ink and colour on paper, scroll 117 x 38.5 cm Signed SHUREN in Chinese With two seals of the artist

陳樹人 餘暇光影 1943 水墨 設色 紙本 立軸 117 x 38.5 cm 款識：卅二年政務餘暇作此畫，懋振先生雅屬即希兩正， 得安老人陳樹人。 鈐印：樹人之印（白文）、安定居（朱文）

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000

陳樹人先生擅長花鳥畫，他是「嶺南三傑」中較具文人風格的畫

Chen Shuren excelled in Flower and Bird paintings. He was one

家。陳氏在作畫風格上，追求個人創作風格與特色，繪畫技巧上

of the Three Greatest Masters in Lingnan School of Art. Chen’s

有別於高氏兄弟的技法與要求，以較為簡練的筆法寫出，不為譁

paintings are unique in terms of representation of subjects, with

眾以取巧。他作畫強調「幾何形式」或「黃金分割」法，不強調

simple brushstrokes and colour application, which is different

筆墨豪邁的揮灑、繪畫的壯麗，勇於脫離傳統的束縛，跳脫傳統

from those promoted by the Gao brothers. Chen structures his

的構圖方式，注重花卉與植物的顏色表達及物象形態，著重顏色

paintings with Geometric Structure or Golden Structure. Chen

的表現，不靠墨線勾勒，對於當時的藝術環境來說，是一種獨

discourage excessive use of brushwork and complicated subject

特的藝術表現方式。此《餘暇光影》為樹人先生畫於民國32年

matters. In fact he promoted individuality and unique creation,

（1943年）所做。畫面左下角寫繪園林中常見的雅石，再畫出一

instead of following traditional compositions and brushwork.

株樹幹立於石後，點綴一隻綠繡眼（或相思鳥）停於樹上，石旁

Chen emphasized the depiction of forms of plants and their

則寫繪樹朵白紅花，數種花卉則植於雅石旁，描寫應是夏季的園

representation through colours, instead of sketches their forms

林中所見的景色。

by the use of lines. Such manifesto was innovative during such period of art creation. This work was painted in 1943. The bottom left shows a common subject of weird formed rock in a Chinese garden. A tree stands behind the rock with a warbling white-eye on the tree. White pink flowers scattered next to the rock along with few other species of plants, suggesting a flourishing scene of summer.

Ravenel 138

翰墨丹青 中 - 國書畫

664 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Lotus Ink and colour on paper, framed 44.5 x 25.5 cm Signed HSINYU in Chinese With two seals of the artist

溥心畬 荷香帶雨 水墨 設色 紙本 鏡框 44.5 x 25.5 cm 釋文：荷香帶雨 款識：心畬 鈐印：舊王孫（朱文）、溥儒（朱文）

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000

溥心畬出身顯貴、學問醇厚，其詩文、書畫成就早為當世推崇，

Pu Hsinyu was born with an imperial and rich scholarly background.

因其深厚學養與人生境遇，影響其水墨畫獨毓靈秀。溥心畬曾

His literature, paintings and calligraphy were well-acclaimed, as

言：「鳥之羽翼、花葉之淺深皆以墨分之，風韻轉勝於設色。」

they suggest deep philosophical background and reflect Pu’s rich

溥心畬的花卉、花鳥畫多為工筆設色，寫意者不多，此幅《荷香

personal experience faced during his lifetime. Pu once mentioned,

帶雨》是他難得的設色寫意精品；古人以水墨狀物，如霧中看花、

“Feathers of birds and plants were differentiated by the tones of

水裏觀月，只求得其神理意態，綜觀此作暈形布色、比物求似，

ink. Their ways of depiction are more important than colours.” Pu’s

與溥心畬其他設色工筆之作相比，更見此荷花圖意境之高遠。

plants and birds paintings were mostly painted with Gongbi, and less with broad brushwork. This work was a rare example of flower

溥心畬畫荷取意自惲壽平（1633-1690）之沒骨畫法，學古但不

masterpiece in broad brushwork. Ancient scholars painted an

泥古，頗有新意。畫幅下方以細筆勾畫荷葉臍眼筋脈，再以石綠

impression of objects instead of focusing on their realistic forms,

烘染、點厾法鋪墨畫葉蓋，落墨虛實相映；左側以簡筆刷出山石

for example depict flowers through heavy mist, or the moon in its

樣態、清剛健秀，上方綠荷一枝直幹斜出，中鋒用筆、梗管點刺

reflection in water. Under this philosophy, this painting in broad

自然隨意，葉下處夾帶之菖蒲，則用草書之豎長撇法運之，隨意

brushwork becomes a better way of depiction compared with Pu’s

而挺拔；畫中白描荷花綻放，以枯筆勾勒、線條遒勁穩重，花下

usual Gongbi depiction.

荷葉筆墨恣肆酣暢，利落間可見豪放，鋪墨一氣呵成，取出荷葉 翻飛帶雨露的動態，臻至「工筆至沒，寫意帶脂」的狀態，讓荷

Pu painted lotus using Boneless technique introduced by Hui

花清新脫俗的本質顯露無疑。款識以行草乾墨寫成，筆尾帶輕掃

Shouping, added with a personal touch of individuality. Smaller

之勢、蒼勁古拙；溥心畬以閒適放逸之情作畫，《荷香帶雨》用

brush was used to sketch details of lotus leaves, whereas green

筆超卓，畫荷葉準穩大膽、畫荷花乾淨利索，全畫自然生動，寫

colour was used to depict broad leaves. Simple brushstrokes were

意中更可見溥心畬高雅之品行。

used to depict forms of rocks on the left, green lotus rises in its natural form depicted using centered brush. Sweet flag below the leaves were sturdy and natural, depicted using the techniques in cursive script. Lotus flower was painted in white with dried brush and sturdy outline. Saturated ink was used to colour the flower, suggesting the humidity under the rain. This work used the skills from Gongbi and broad brushwork, creating a refreshing look of the lotus flower. Poem was written using dry brush and its style carries a historic tone. This work was painted by Pu at leisure, using bold brushwork and clean depiction of the flower, creating an elegant literati painting.

Ravenel 140

翰墨丹青 中 - 國書畫

665 LI QIMAO

(Taiwanese, b.1925)

Refined Brushwork: Fine Chinese Paintings

Pan-fried Stuffed Buns Ink and colour on paper, framed 97.5 x 181 cm Signed LI QIMAO in Chinese With three seals of the artist ILLUSTRATED: Ink Paintings of Li Qimao , Jingcai Arts, Taichung, 2018, p.22

NT$ 130,000 – 200,000 HK$ 33,000 – 51,000 US$ 4,200 – 6,500 RMB 29,000 – 44,000 李奇茂 台灣美食文化水煎包 水墨 設色 紙本 鏡框 97.5 x 181 cm 釋文：台灣美食文化水煎包，人間美味可口。 款識：采風堂主人，李奇茂。 鈐印：李奇茂（朱文）、采風堂（白文）、飛龍在天（朱文） 著錄： 《李奇茂水墨天地展覽專輯》，精彩藝術，台中，2018 年， 頁 22 附藝術家合照

Ravenel 142

翰墨丹青 中 - 國書畫

666 SHEN YAO TSU

(Taiwanese, 1908-1990)

Refined Brushwork: Fine Chinese Paintings

Two Chickens Behind the Fence 1978 Ink and colour on paper, framed 135 x 39.5 cm Signed YAO TSU in Chinese With two seals of the artist

NT$ 150,000 – 240,000 HK$ 38,000 – 61,000 US$ 4,900 – 7,800 RMB 33,000 – 53,000 沈 耀初 籬落雙雞 1978 水墨 設色 紙本 鏡框 135 x 39.5 cm 款識：戊午秋日寫於風城客寓，耀初記。 鈐印：沈耀初印（白文）、士渡叟（朱文）

Ravenel 144

667 CHEN DAYU

(Chinese, 1912-2001)

Birds on Wisteria 1990 Ink and colour on paper, scroll 139.5 x 50.5 cm Signed DAYU in Chinese With two seals of the artist

NT$ 100,000 – 200,000 HK$ 26,000 – 51,000 US$ 3,300 – 6,500 RMB 22,000 – 44,000 陳大羽 紫藤小鳥 1990 水墨 設色 紙本 立軸 139.5 x 50.5 cm 款識：君武同志屬，庚午夏，大羽。 鈐印：大年（朱文）、陳大羽（白文）

翰墨丹青 中 - 國書畫

668 LONG CHIN-SAN (Taiwanese, 1892-1995)

Refined Brushwork: Fine Chinese Paintings

Snowy Mountain 1988 Ink and colour on paper, framed 32.5 x 33.5 cm; 33 x 33.5 cm Signed LONG CHIN-SAN in Chinese With five seals of the artist

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 2,900 – 5,900 RMB 20,000 – 39,000 郎 靜山 春山雪瑞 1988 水墨 設色 紙本 鏡框 32.5 x 33.5 cm; 33 x 33.5 cm 釋文： （一）石上紅花低照水，山水綠篠細含煙。 天生一本徐熙畫，只欠鷓鴣相對眠。 （二）春山雪瑞 款識： （一）戊辰春九七叟，郎靜山。 （二）戊辰歲首，似水德市長博粲。 九七叟，郎靜山。 鈐印：費伯城郎（白文）、法輪常轉（朱文）、 靜（朱文）、山（白文）、山水有情草木香（白文） 註： 上款人「水德市長」即為許水德先生，歷任台灣 省政府社會處長、高雄市長、台北市長、中華民 國內政部長、駐日代表、中國國民黨秘書長、考 試院長、世新大學董事等要職。

Ravenel 146

669 SUN YUNSHENG (Taiwanese, 1918-2000)

孫雲生 芍藥

Peonies 1976 Ink and colour on paper, framed 46.5 x 99 cm Signed SUN YUNSHENG in Chinese With four seals of the artist

NT$ 80,000 – 160,000 HK$ 20,000 – 41,000 US$ 2,600 – 5,200 RMB 18,000 – 35,000

1976 水墨 設色 紙本 鏡框 46.5 x 99 cm 釋文：紅樓飄渺艷朝霞，上苑曾傳第一花。莫放春風容易過，千枝 齊護碧桃紗。 款識：六十五年歲，丙辰九月既望後三日，寫奉文明仁兄法家教正。 孫雲生家瑞，蘭園別墅。 鈐印：孫家瑞（白文）、雲生（朱文）、大風堂門人（朱文）、 清心堂（朱文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

670 YU YOUREN

(Taiwanese, 1879-1964)

于右任 草書五言聯信札

Calligraphy Ink on paper, framed 29 x 22 cm Signed YU YOUREN in Chinese With one seal of the artist

NT$ 20,000 – 40,000 HK$ 5,000 – 10,000 US$ 700 – 1,300 RMB 4,000 – 9,000 Ravenel 148

水墨 紙本 鏡框 29 x 22 cm 釋文：不俗即仙骨，多情乃佛心。 款識：于右任 鈐印：右任（朱文）

671 PENG KANG LUNG (Taiwanese, b.1962)

彭康隆 依巖

Calligraphy Ink on paper, framed 35 x 58 cm Signed KANG LUNG in Chinese

NT$ 30,000 – 60,000 HK$ 8,000 – 15,000 US$ 1,000 – 2,000 RMB 7,000 – 13,000

水墨 紙本 鏡框 35 x 58 cm 釋文：依巖 款識：康隆於京都

翰墨丹青 中 - 國書畫

672 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Poem in Running Script 1953 Ink on paper, framed 31.5 x 14.5 cm Signed HSINYU in Chinese With two seals of the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000 溥 心畬 行書唐七言詩 1953 水墨 紙本 鏡框 31.5 x 14.5 cm 釋文：武帝祠前雲易散，仙人掌上雨初晴。 款識：癸巳冬，心畬。 鈐印：舊王孫（朱文）、溥儒（白文）

Ravenel 150

673 PU HSINYU

(Taiwanese, 1896-1963)

Calligraphy in Running Script Ink on paper, framed 55 x 28.5 cm Signed HSINYU in Chinese With two seals of the artist

NT$ 80,000 – 160,000 HK$ 20,000 – 41,000 US$ 2,600 – 5,200 RMB 18,000 – 35,000 溥心畬 行書書法 水墨 紙本 鏡框 55 x 28.5 cm 釋文：漢泉范多用銅為之， 周秦以陶或以玉為之，將軍遇可。 款識：心畬 鈐印：舊王孫（朱文）、溥儒（白文）

翰墨丹青 中 - 國書畫

674 TU SAN-HSIN

(Taiwanese, b.1965)

Refined Brushwork: Fine Chinese Paintings

The Amitabha Sutra 2017 Ink on paper, scroll 251 x 153 cm Signed SAN-HSIN in Chinese With two seals of the artist ILLUSTRATED: Keywords - The 10th Chinese Calligraphy Biennial 2017: Traditional and Experimentation , HCS Art Foundation, Taipei, 2017, p.23

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000 杜 三鑫 母親的晨練歌頌—佛說阿彌陀佛經 2017 水墨 紙本 立軸 251 x 153 cm 釋文：佛說阿彌陀佛經 款識：丁酉夏月，散仙和南再拜 鈐印：散仙杜三鑫之章（白文）、 得其所齋書畫記（朱文） 著錄： 《關鍵字：2017 第十屆傳統與實驗書藝雙年展》， 何創時書法藝術文教基金會，台北，2017 年版， 頁 23

Ravenel 152

675 TU SAN-HSIN

(Taiwanese, b.1965)

Calligraphy Couplet 2017 Ink on paper, scroll 250.5 x 71.5 cm (each) Signed SAN-HSIN in Chinese With three seals of the artist ILLUSTRATED: Keywords - The 10th Chinese Calligraphy Biennial 2017:Traditional and Experimentation , HCS Art Foundation, Taipei, 2017, p.22

NT$ 50,000 – 100,000 HK$ 13,000 – 26,000 US$ 1,600 – 3,300 RMB 11,000 – 22,000 杜三鑫 勤精進急捨離 2017 水墨 紙本 立軸 250.5 x 71.5 cm（每件） 釋文：勤精進，急捨離。 款識：丁酉夏月，散仙書。 鈐印：散仙杜三鑫之章（白文）、 得其所齋書畫記（朱文）、肖型印（朱文） 著錄： 《關鍵字：2017 第十屆傳統與實驗書藝雙年展》， 何創時書法藝術文教基金會，台北，2017 年版， 頁 22

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

676 PU HSINYU

(Taiwanese, 1896-1963)

Menu 1962 Ink on paper, framed 18.5 x 42.5 cm Signed HSINYU in Chinese

NT$ 70,000 – 140,000 HK$ 18,000 – 36,000 US$ 2,300 – 4,600 RMB 15,000 – 31,000

Ravenel 154

溥心畬 菜單 1962 水墨 紙本 鏡框 18.5 x 42.5 cm 釋文： 烤鴨三喫 水烹蝦 芙蓉雞片（小塊蒜） 炸丸子（不要茜粉） 糟蒸鴨肝 魚翅（排翅） 拌豬腦（多加蔥蒜） 糟煨筍尖 醬魚雞丁 雞粥（加火腿醬瓜） 炸山藥（要拔絲） 款識：壬寅秋月，心畬訂。

677 LO CHUN-YU

(Chinese, 1866-1940)

Calligraphy Couplet in Seal Script Ink on paper, scroll 130 x 30 cm (each) Signed LO CHUN-YU in Chinese With one seal of the artist

NT$ 80,000 – 160,000 HK$ 20,000 – 41,000 US$ 2,600 – 5,200 RMB 18,000 – 35,000 羅振玉 篆書七言聯 水墨 紙本 立軸 130 x 30 cm ( 每件 ) 釋文：竹邊雲氣陰相得，蓮外風光雨霧嘉。 款識：范孫侍郎大人鈞正，羅振玉學。 鈐印：羅振玉印（白文）

翰墨丹青 中 - 國書畫

678 YU YOUREN

(Taiwanese, 1879-1964)

Refined Brushwork: Fine Chinese Paintings

Calligraphy Ink on paper, framed 62 x 26 cm Signed YU YOUREN in Chinese With one seal of the artist

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 2,900 – 5,900 RMB 20,000 – 39,000 于右任 草書菜根譚 水墨 紙本 鏡框 62 x 26 cm 釋文：青天白日的節義，自暗室屋漏中培來； 旋乾轉坤的經綸，自臨深履薄處繅出。 款識：永英先生正之，于右任，洪自誠菜根譚。 鈐印：右任（朱文）

Ravenel 156

679 CHUANG YEN

(Taiwanese, 1899-1980)

Calligraphy Ink on paper, scroll 105.5 x 34 cm Signed CHUANG YEN in Chinese With one seal of the artist

NT$ 90,000 – 180,000 HK$ 23,000 – 46,000 US$ 2,900 – 5,900 RMB 20,000 – 39,000 莊嚴 瘦金體作南鄉子詞 水墨 紙本 立軸 105.5 x 34 cm 釋文：回首萬山橫，不見親朋不見城。惟有天邊雲和水， 依依，伴客長征無限情。航路晚來平，一枕初寒夢未成。 今夜青燈殘照處，晴空，萬里直向北西行。 款識：由台來美，經阿拉斯亞航機，有作南鄉子詞， 錄似本立我兄兩正。莊嚴客芝城。 鈐印：莊嚴（白文）

翰墨丹青 中 - 國書畫

680 PU HSINYU

(Taiwanese, 1896-1963)

Refined Brushwork: Fine Chinese Paintings

Calligraphy in Running Script Ink on paper, scroll 100 x 33 cm Signed HSIN YU in Chinese With two seals of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 61,000 US$ 3,900 – 7,800 RMB 26,000 – 53,000 溥 心畬 行書梅花詩 水墨 紙本 立軸 100 x 33 cm 釋文：陽月寒梅樹，紛紛散綺霞，山中一夜雪， 江上幾枝花。 款識：題梅花舊作，心畬。 鈐印：溥儒之印（白文）、心畬翰墨（朱文）

Ravenel 158

681 TAI JING-NONG

(Taiwanese, 1902-1990)

Calligraphy in Running Script Ink on paper, scroll 133 x 33 cm Signed TAI JING-NONG in Chinese With three seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 61,000 US$ 3,900 – 7,800 RMB 26,000 – 53,000 臺靜農 行書唐李賀詩 水墨 紙本 立軸 133 x 33 cm 釋文：長卿懷茂陵，綠草垂石井。彈琴看文君，春風吹鬢影。 梁王與武帝，棄之如斷梗。惟留一簡書，金泥泰山頂。 款識：卷應作簡，長吉詠懷，靜者書於龍坡。 鈐印：靜者白首攻之（朱文）、臺靜農（白文）、龍坡靜者（朱文） 來源： 現藏家得自藝術家本人

翰墨丹青 中 - 國書畫

682 YANG SHANSHEN (Chinese, 1913-2004)

Refined Brushwork: Fine Chinese Paintings

Calligraphy Couplet Ink on paper, scroll 135 x 34 cm (each) Signed YANG SHANSHEN in Chinese With one seal of the artist

NT$ 120,000 – 240,000 HK$ 31,000 – 61,000 US$ 3,900 – 7,800 RMB 26,000 – 53,000 楊善深 行書七言聯 水墨 紙本 立軸 135 x 34 cm ( 每件 ) 釋文：秋月春風在懷抱， 吉金樂石為文章。 款識：楊善深書 鈐印：楊善深（白文）

Ravenel 160

683 TAI JING-NONG

(Taiwanese, 1902-1990)

Calligraphy Couplet in Running Script Ink on paper, scroll 135 x 32.5 cm (each) Signed TAI JING-NONG in Chinese With three seals of the artist PROVENANCE: Acquired directly from the artist

NT$ 140,000 – 280,000 HK$ 36,000 – 71,000 US$ 4,600 – 9,100 RMB 31,000 – 61,000 臺 靜農 行書七言聯 水墨 紙本 立軸 135 x 32.5 cm ( 每件 ) 釋文：春藏柳谷鶯先覺，露滴松枝鶴有聲。 款識：臺靜農書於龍坡 鈐印：靜者白首攻之（朱文）、臺靜農（白文）、 龍坡靜者（朱文） 來源： 現藏家得自藝術家本人

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

684 YU YOUREN

(Taiwanese, 1879-1964)

Calligraphy Couplet in Cursive Script Ink on paper, framed 68 x 24.5 cm (each) Signed YU YOUREN in Chinese With one seal of the artist

NT$ 190,000 – 300,000 HK$ 48,000 – 77,000 US$ 6,200 – 9,800 RMB 42,000 – 66,000 Ravenel 162

于右任 草書四言聯 水墨 紙本 鏡框 68 x 24.5 cm ( 每件 ) 釋文：萬竹猶虛，山有所會。 款識：于右任 鈐印：右任（朱文）

685 WU HUFAN

(Chinese, 1894-1968)

Calligraphy Couplet in Running Script Ink on gold-flecked paper, scroll 132.4 x 32 cm (each) Signed WU HUFAN in Chinese With two seals of the artist

NT$ 300,000 – 480,000 HK$ 77,000 – 122,000 US$ 9,800 – 15,600 RMB 66,000 – 105,000 吳 湖帆 行書七言聯 水墨 灑金箋 立軸 132.4 x 32 cm ( 每件 ) 釋文：數粒蒼山黏遠漢，千畦翠浪舞晴空。 款識：熊照先生，吳湖帆 鈐印：吳湖颿印（白文）、倩宜書印（朱文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

686 LI KERAN

(Chinese, 1907-1989)

Calligraphy Ink on paper, framed 31 x 84 cm Signed LI KERAN in Chinese With one seal of the artist

NT$ 200,000 – 320,000 HK$ 51,000 – 82,000 US$ 6,500 – 10,400 RMB 44,000 – 70,000

Ravenel 164

李可染 影童室 水墨 紙本 鏡框 31 x 84 cm 釋文：影童室 款識：李可染 鈐印：可染（白文）

687 YANG SHANSHEN (Chinese, 1913-2004)

Calligraphy Ink on paper, framed 33.5 x 137 cm Signed YANG SHANSHEN in Chinese With one seal of the artist

NT$ 110,000 – 220,000 HK$ 28,000 – 56,000 US$ 3,600 – 7,200 RMB 24,000 – 48,000

楊善深 天開長樂 水墨 紙本 鏡框 33.5 x 137 cm 釋文：天開長樂 款識：楊善深 鈐印：楊善深種（朱文）

翰墨丹青 中 - 國書畫 Refined Brushwork: Fine Chinese Paintings

688 JU MING

(Taiwanese, b.1938)

朱銘 人間系列

Living World Series Ink and colour on paper, framed 33.5 x 45.5 cm Signed JU MING in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000 Ravenel 166

水墨 設色 紙本 鏡框 33.5 x 45.5 cm 款識：朱銘，人間系列 鈐印：朱銘（白文） 來源： 現藏家得自藝術家本人

689 JU MING

(Taiwanese, b.1938)

朱銘 雙蟹（謝謝）

Thanks Ink and colour on paper, framed 30.5 x 41.5 cm Signed JU MING in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist

NT$ 40,000 – 80,000 HK$ 10,000 – 20,000 US$ 1,300 – 2,600 RMB 9,000 – 18,000

水墨 設色 紙本 鏡框 30.5 x 41.5 cm 款識：朱銘 鈐印：朱銘（白文） 來源： 現藏家得自藝術家本人

翰墨丹青 中 - 國書畫

Refined Brushwork: Fine Chinese Paintings

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

電話：+886-2-2708 9868 電話：+852-2889 0859

傳真：+886-2-2708 8955 傳真：+852-2889 0850

投標者資料

拍 賣 名 稱：羅芙奧 2019 春季拍賣會 翰墨丹青—中國書畫專場 拍 賣 編 號：TC1902 拍 賣 日 期：2019 年 6 月 1 日（星期六） 下午 3:30 萬豪酒店 台北市中山區樂群二路 199 號 3 樓 博覽廳

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，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二條第 四項之規定。（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）

名

稱

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

169

ABSENTEE BID FORM Auction RAVENEL SPRING AUCTION 2019

Refined Brushwork: Fine Chinese Paintings Date Saturday, June 1, 2019, 3:30 pm Sale No. TC1902 Location Taipei Marriott Hotel Address Grand Space, 3rd Floor, No. 199, Lequn 2nd Rd., Zhongshan Dist., Taipei

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

Tel: +886-2-2708 9868 Fax: +886-2-2708 8955

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 buyer's premium and any applicable sales tax. The buyer's premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Article 2, Section 4 of the Transaction Agree-

ment 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, buyer's premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), buyer's premium 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 subjected 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 Buyer's Premium)

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.

170

業務規則 下述規則，為羅芙奧股份有限公司(下稱「本公司」)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」：指本公司就某一拍賣品而接受之最高出價之價款。 6. 「買家服務費」：指買家按落槌價之某一百分比而支付本公司之費用； 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）。 10. 「賣家服務費」：指賣家應支付本公司之費用。 二、買家 1. 本公司作為賣家代理人 本公司作為賣家代理人之身分行事。除另行協定外，在本公司之拍賣中 成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及相關證明文件之真偽，均不對買家作任 何保證。 b. 拍賣品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。對任何 拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍 賣品狀態或保存情況的陳述或保證。在目錄中若有狀態陳述的缺乏或 損害鑑定的缺乏，並不代表拍賣品是為良好狀態。本公司鄭重建議， 準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢 閱，不應依據目錄中的描述或陳述，因為任何在目錄中所列出的描述 或陳述是為純粹本公司的主觀意見，並非提供聲明或擔保。準買家知 悉並瞭解所有拍賣品均以「現狀」售出，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 服務費。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、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 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查 明並瞭解，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. 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，買家如須以新台幣之外其他貨幣繳付，須依 拍賣日現場公佈之匯率，折合所繳付之等值貨幣計算。 b. 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。 c. 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。 d. 競投保證金 競投者，應在領取競投號牌前繳納競投保證金，競投保證金的金額 由本公司在拍賣日前公佈。 (1) 若競投者未支付競投保證金，本公司有權不接受其競投。若競 投者未能購得拍賣品且對本公司無任何欠款則將無息退還保證 金。 (2) 若競投者成為買家，則本公司有權將此保證金自動轉化為已成 交拍賣品購買款項之一部（包含落槌價、服務費或運費等相關 費用），若尚有餘款須退回給買家；若買家無正當理由未於成 功拍賣日期後七天內支付全部應支付之成交拍賣品購買款項 （包含落槌價、服務費或運費等相關費用）予本公司，買家不 得請求返還競投保證金。 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 Invaluable 進行網上競投 若準買家未能出席拍賣會，或可透過Invaluable網上競投服務於網上 競投屬意拍品，而承擔買家獨立責任。此項服務乃免費及保密。有 關透過 Invaluable 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Invaluable網上競投服務之準買家須接 受透過Invaluable網上競投服務進行即時網上競投之附加條款（可參 閱網站），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。拍賣官會於拍賣開始 前或於相關拍賣品競標前對注意事項作出通告，準買家須負責自行 注意所有於拍賣會場發表之通告。建議使用即時網上競投服務參與 競投的準買家，於拍賣開始前登入，以確保準買家得知拍賣開始前 所作出之通告。 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， 亦即為賣家與買家合意依落槌價拍定拍賣品，視為成功拍賣合約之 訂立。 4. 成功拍賣後 a. 買家支付每件拍賣品之服務費費率 (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落槌價之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落槌價之20％計算，超過新台幣參仟貳 佰萬元之部份再以落槌價之12％，加總計算服務費金額。 b. 稅項 買家應付予本公司之款項，如須另行支付貨物、服務稅或其他稅則 時（不論由台灣政府或別處所徵收）。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真實姓名及永久地址。如經本 公司要求，買家亦須提供付款銀行之詳情，包含但不限於付款帳 號。買家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、服務費或運費等相關費用）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，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，須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。已購拍賣品在 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），已購拍賣品之風險全由買家承擔。 e. 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 須預先繳付運輸費用。 f. 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 本放款利率加收10%之年利率收取整筆欠款之利息。此外本公司 可同時按日收取依成交價（含落槌價、服務費）1％計算之懲罰 性違約金。本公司亦得自行選擇將買家未付之款項，用以抵銷 本公司或其他關係企業在任何其他交易中欠下買家之款項，買 家絕無異議。 (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 本公司管有之已購拍賣品行使留置權，並在給予買家有關其未 付之欠繳之十四天通知後，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 用以清償已購拍賣品就任何特定交易而欠下之任何款項，而不 論買家是否指示用以清償該筆款項。 (4) 在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆競投保證金。如買家 未有在三十五天內付款，本公司除上述辦法外，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。 g. 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。而買家在付 清所引起之貯存、搬運、運輸、保險及任何其他費用，連同欠本公 司之所有其他款項後，方可領取已購拍賣品項目。 h. 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，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，本公司有權向其收取與此 項申請有關之款項及零碎開支連同任何有關之稅則。 如買家不需要出口許可證而作出付款，本公司並無責任退還買家因 此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何瑕疵或缺陷，均不負有任何責任。賣家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 本公司之拍賣品，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、贓物或涉及不法情事者，則交易將取消，已付之款項於交付賣 家前將退還予買家。但如： a. 在拍賣日發出之目錄說明或拍賣場通告符合當時學者或專家普遍接納 之意見，或清楚表明有牴觸當時學者或專家普遍接納之意見。 b. 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 關拍賣品乃膺品或贓物之詳細理由及證據。 (2) 且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。 (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 或贓物，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或贓物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 Prospective Buyer, the Buyer should pay special attention to Article 2, 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 Lot accepted by the auctioning party.

6. The " Buyer's Premium" shall mean the fee based on a certain percentage of the Hammer price paid to the Company 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).

10. The "Seller Service Fee” shall mean the fee is paid to the Company by the Seller.

ARTICLE 2.THE BUYER 1. The Company as the Agent of the Seller The Company, 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. The Company provides no guarantee to the Buyer including but without limitations whether the Lot is a counterfeit or the authentication of the Lot and related certificates. 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 description of the auction items also do not imply and guarantee 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. We strongly recommend the Prospective Buyers shall personally view the items for which they plan to bid before the auction. 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. 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 Lot 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

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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 Lots 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/its own judgment or estimation independently regarding the Lots.ing his/her own judgment or estimation independently regarding the Lots.

3. In the Auction a. 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 announced by the Company on the day of auction. b. 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. c. 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 request to conduct credit checks against Buyers. d. The Bidding Deposit The bidder shall pay the bidding deposit before receiving the bidding number. The Company will announce the amount of the bidding deposit before the auction day.

(1) If the bidder fails to pay the bidding deposit in advance, the Company has the right to refuse the bid. If the bidder is not able to purchase any Lot and has no outstanding debts to the Company, the Company will return the bidding deposit to the bidder.

(2) If the bidder becomes the Buyer, the Company has the right to transfer the bidding deposit into the payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs ) of the Lot for which transaction is concluded. And the Company will return the balance of the deposit to the Buyer (if any). If the Buyer ,without any good cause, fails to pay any and all payment (including but without limitation, Hammer price, Buyer's Premium, Costs and expenses for shipping and related costs) of the Lot to the Company within 7 days after the auction date ,the Buyer shall not claim for the return of the bidding deposit. 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 provided forms attached to the explanations of the catalogue; however, bid commission instructions must be 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/she 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 Invaluable If the bidder cannot attend the auction, it may be possible to bid online via Invaluable for preferred Lots to bear individual buyer's responsibilities. This service is free and confidential. For information about registering to bid via Invaluable, please refer to Ravenel.com. The Bidders using the Invaluable online bidding service are subject to the additional terms and conditions for online bidding via Invaluable, which can be viewed at Ravenel.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 in 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/her 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 Prospective Buyers shall pay attention for any announcement as its own responsibility. We recommend the Prospective Buyers using Online Bids Services to log in the system prior to the commencement of the auction, to ensure the timely awareness of any notices or announcements made prior to the auction. 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 on Hammer Price.

4. Following the Auction a. The Buyer's Premium of Each Lot (1) The Buyer should pay the hammer price and, in addition, the Buyer's Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), 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 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% of the hammer price. 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/her/its true 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 the company request. All payments due (including the hammer price, the Buyer's Premium and any freights or other expenses) 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 exchange rate of the payments to the Company 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. Referral of Packaging or Transportation Companies The shipping department of the Company may introduce the forwarder, assist in the arrangement of delivery, or purchase particular insurance upon the Buyer's request. The Company will not be held liable for any legal responsibilities in this regard. And the Buyer shall prepay the freight charges. Costs and expenses for shipping and insurance shall be paid in advance. f. 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. Besides, we have the right of charging also 1% selling price (including of hammer price and Buyer's Premium) multiplied by the number of delayed days as punitive damage 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/hers/its 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/her/it. 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.

g. 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, handling, 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. h. 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/hers/its behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

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

5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Seller, the Company, the employees or the agents of the Company make no guarantee impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein.

6. Return of Payments for Counterfeits or stolen goods 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 or stolen goods, or involved in obvious illegality 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. b. Or the method used to prove that the Lot is a counterfeit or stolen goods 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/she considers the relevant auction item a counterfeit or stolen goods.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day 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 or stolen goods (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 or stolen goods 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 or stolen goods by the Company conflicts with the evidence provided by the Buyer, the Company's said result shall prevail over the evidence provided by the Buyer.

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

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