翰墨丹青—書畫及古文物專場 Refined Brushwork: Ink Paintings and Works of Art

AUTUMN AUCTION 2021 TAIPEI

羅芙奧台北 2021 秋季拍賣會 翰墨丹青—書畫及古文物專場

RAVENEL AUTUMN AUCTION 2021 TAIPEI

Refined Brushwork: Ink Paintings and Works of Art 拍賣日期

地點

2021年12月04日（六）下午1:30 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） 預展日期

地點

高雄 2021年11月13日（六）上午11:00至下午6:00 2021年11月14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 台中 2021年11月20日（六）下午1:00至下午6:00 2021年11月21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B1 台北 2021年12月2日（四）~ 3日（五）上午11:00至下午7:00 2021年12月4日（六）上午11:00至下午1:30 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳） AUCTION Saturday, December 4, 2021, 1:30pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan PREVIEWS Kaohsiung Saturday, November 13, 2021, 11:00am - 6:00pm Sunday, November 14, 2021, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan Taichung Saturday, November 20, 2021, 1:00pm - 6:00pm Sunday, November 21, 2021, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

拍賣目錄每本售價：NT$1,200 This auction catalogue: US$40 per copy

Taipei Thursday, December 2 - Friday, December 3, 2021, 11:00am - 7:00pm Saturday, December 4, 2021, 11:00pm - 1:30pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

3

王鎮華 Arthur Wang 董事長 Chairman

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目次 CONTENTS

3

羅芙奧秋季拍賣會

Sale Information 6

羅芙奧之服務

Ravenel Services 10

翰墨丹青—書畫及古文物專場 Refined Brushwork: Ink Paintings and Works of Art

161

給予買家的重要通知

Important Notice to Buyers 163

委託競投表格

Absentee Bid Form 165

業務規則

Transaction Agreement

9

REFINED BRUSHWORK: INK PAINTINGS AND WORKS OF ART

翰墨丹青—書畫及古文物專場

601

WU Shi-wei (Taiwanese, b. 1957)

吳士偉 紅芳

Red Blossoms

2015

2015 Ink and colour on silk, framed D: 26 cm Signed Shi-wei in Chinese With one seal of the artist

直徑：26 cm

PROVENANCE

Acquired directly from the artist

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

12

水墨 設色 絹本 鏡框 款識：紅芳，士偉畫。 鈐印：吳士偉（白文） 來源

現藏家直接得自藝術家本人

602

WU Shi-wei

吳士偉

(Taiwanese, b. 1957)

浮生悠悠

Fish Swimming in the Pond 2010 Ink and colour on paper, framed 29 x 50.5 cm Signed WU Shi-wei in Chinese With four seals of the artist EXHIBITED

"Redolent with Lingering Fragrance of Time - Wu Shi-wei", Wistaria Tea House, Taipei, 24 December 2011 - 29 January 2012 ILLUSTRATED

Redolent with Lingering Fragrance of Time - Wu Shi-wei, Wistaria Cultural Association, Taipei, 2011, pp. 38-39

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

2010 水墨 設色 紙本 鏡框 29 x 50.5 cm 釋文：浮生悠悠。 款識：二 O 一 O 年庚寅之春，吳士偉畫。 鈐印：尋華（朱文）、吳士偉（朱文）、 千花百草（白文）、芳菲消息（朱文） 展覽

「凝香 · 流光」，紫藤廬，台北，展期 2011 年 12 月 24 日至 2012 年 1 月 29 日 圖錄

《凝香 · 流光—吳士偉水墨畫集》，中華 紫藤文化協會，台北，2011，頁 38-39

603

SUN Yun-sheng

孫雲生

(Taiwanese, 1918-2000)

潑墨山水及蒼松高士（兩件一組）

Splashed-ink Landscape and Scholar under a Pine Tree (A Set of Two)

1971

1971 Ink and colour on paper, framed 45.4 x 37.7 cm (each) Signed SUN Yun-sheng in Chinese With three seals of the artist

款識：

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

14

水墨 設色 紙本 鏡框 45.4 x 37.7 cm （每件） （左）以誠吾兄法正，辛亥冬孫雲生家瑞。 （右）以誠吾兄法家正之，辛亥十二月修竹池上， 孫雲生家瑞。 鈐印： （左）孫氏（白文） （右）孫家瑞（白文）、雲生（朱文）

604

AU Ho-nien

歐豪年

(Taiwanese, b. 1935)

殘荷疏影

Lotus and Shrimps Ink and colour on paper, framed 29 x 94 cm Signed Ho-nien in Chinese With one seal of the artist

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

水墨 設色 紙本 鏡框 29 x 94 cm 款識：豪年。 鈐印：歐（朱文）

605

WU Shi-wei; LEE Yih-hong (Taiwanese, b. 1957); (Taiwanese, b. 1941)

Autumn Blossoms

2006 Ink and colour on paper, framed 69 x 53 cm Signed WU Shi-wei and LEE Yih-hong in Chinese With four seals of the artists ILLUSTRATED

Works of Wu Shi-wei, Xin Xingxiang Publishing, Taipei, 2008, p. 14

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 吳士偉；李義弘 一捻秋色 2006 水墨 設色 紙本 鏡框 69 x 53 cm 釋文：一捻秋色 結廬在人境，而無車馬喧。 問君何能爾？心遠地自偏。 採菊東籬下，悠然見南山。 山氣日夕佳，飛鳥相與還。 此中有真意，欲辨已忘言。 秋菊有佳色，裡露掇其英。 汎此忘憂物，遠我遺世情。 一觴雖獨進，杯盡壺自傾。 日入群動息，歸鳥趨林鳴。 嘯傲東東軒下，聊復得此生。 款識：陶潛，飲酒詩二首。二 OO 六年四月丙戊， 吳士偉畫，李義弘題。 鈐印：吳（白文）、士偉（朱文）、小酌（白文）、 義弘手跡（朱文） 圖錄

《芳菲傳馨：吳士偉水墨畫集》，新形象出版事業 有限公司，台北，2008 ，頁 14

16

606

SUN Yun-sheng (Taiwanese, 1918-2000)

Splashed-ink Landscape 1974 Ink and colour on paper, framed 91 x 52 cm Signed SUN Yun-sheng in Chinese With four seals of the artist

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 孫雲生 潑墨山水 1974 水墨 設色 紙本 鏡框 91 x 52 cm 款識：培麟仁兄法家指正，中華民國 六十三年甲寅秋九月修竹池上寫孫雲生 家瑞。 鈐印：孫家瑞印（白文）、雲生長年（朱 文）、大風堂門人（朱文）、清心堂（朱 文）

筆底明珠

PEA R L O F T HE BRUSH

丁 衍 庸 海 外 遺 珍專 場

The Works of Ding Yan-Yong 丁衍庸（1902-1978）一位早年天資聰慧，勤奮勉學的油畫

是一名成功的藝術家，更是一位如八大山人一般為國家民族

家，後走向中國水墨一途，是中國現代藝術史上東西藝術融

貢獻的藝術家！在當時新中國一片揚西抑中的浪潮裡，丁衍

合的先驅者；其一生致力於美術教育上的奉獻，更是中國現

庸成為了一個異類，他的藝術跳脫了古人窠臼，從理論到實

代美術教育的奠基者，作為華人現代藝術史上重要的藝術

踐，他表現出中國藝術獨有的性格，完備了「書畫印」三絕

家，其重要性與獨特性卻未曾讓世人窺其全貌，然而或許可

的造詣，在創作中表現出民族性、時代性與高尚的人格，這

由丁衍庸一生的藝術成就與教育事業來了解一代名家的風範

也是同時代人無法企及的。

與地位。

1949年丁衍庸赴港，雖屈居天台斗室之中，但絲毫不損其

中國現代藝術史素有「廣東三傑」之稱的林風眠（1900-

對於藝術與教育的努力，作育英才無數，桃李滿門，也因為

1991）、關良（1900-1986）、丁衍庸三人同為留學歸國的

這個機運，讓丁衍庸與林緝光結下了近三十年不解的緣分。

藝術家。林風眠赴法留學，提倡中西融合的藝術理論，成為

1950年林緝光拜入丁衍庸門下，學習中西繪畫與收藏鑑定，

中國新藝術「西體中用」一路；留日歸國的關良則以野獸派

是與丁衍庸最為親近的學生，雖說為師徒，實則情同父子，

風格滲入了中國式的稚拙造型，追求以西方媒材創造出中國

丁氏因避難隻身赴香江，寡居一人，舉目無親，讓他常感寂

民族特色的風格，突破了中西審美觀點的途徑。

寥孤單，林緝光曾憶及往事，提及恩師丁衍庸除了是一位博

二十世紀初期，丁衍庸選擇了當時深受西方繪畫思潮與現代 主義影響甚深的日本作為去處，修讀於著名的東京美術學校 西洋畫科，留學期間（1920-1925），丁氏長時間的研究了 現代藝術與現代化的精神，對於野獸派在畫面純粹形象上 的追求特別相應，更醉心於馬蒂斯（Henri Matisse，18691954）的創作，1925年學成歸國，成為中國新藝術運動推廣 的健將，積極推動西方現代藝術理念的傳播，近二十年的野 獸派主義的推動，是中國最正宗、最有代表性的野獸主義派 畫家，此後推廣美術教育不遺餘力。1940年抗戰時期，丁衍 庸在重慶任職於國立藝專，是其教育事業的巔峰，同時期同

學多才的老師，對於學生更有如父輩般的情親意切，對於林 氏更是愛護有加，從二人來往信件與作品更可了解：丁氏曾 贈與一幅畫有兩隻水墨金魚相伴從游，頗有相濡以沫之情， 款題「此幀寫付愛兒 父作」，可知兩位師徒情同父子的關 係；丁衍庸在港生活不易，多有林緝光關懷，讓其能安穩生 活、專心於創作，幸得林緝光多年珍藏保存丁衍庸的重要作 品與過往展覽紀錄，讓這些至為可貴的書法、水墨、篆刻、 素描等作品重現於世，不僅能夠全面地了解到丁衍庸1960年 代晚期至70年代、其藝術創作能量最高峰時期的作品，更可 以重新對這位遺世獨立的藝術家作出新的理解與定位。

事有林風眠、趙無極（1921-2013）、龐薰琹（1909-1985） 等人。1949年寓居香港後，直至1978年逝世，丁衍庸無一日 放下美術教育的重責，他的重要性在於堅持發展中國現代新 藝術的主張以鞏固美術教育，成為中國現代美術的重要倡導 者，著名美術教育家姜丹書（1885-1962）更是對丁氏在藝 術教育上的貢獻推崇備至。 丁衍庸畢生承擔著美術教育的任務，作育英才之餘，仍不忘 在藝術上走出自己的路，丁氏早年學習西畫，後走向中國水 墨一路，同樣也將西方的繪畫理念帶入中國畫中，而他獨到 之處在於先踏上「回歸傳統」的道路，他發現中國藝術的廣 博精深，深入探究傳統藝術鑑賞及蒐集歷代書畫、金石、璽 印等文物，並推崇朱耷為最具創造性的藝術家，丁氏並非表 面的臨摹倣作，而是深究其精神性的表現，這與西方現代藝 術的理念不謀而合。因此他走出西方藝術的圈囿，從中國藝 術文化的精神層面去找尋新的知識與技法，在丁氏的水墨線 條中可以看到八大山人與馬蒂斯的完美揉合，他想做的不只

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丁衍庸（右三）、林緝光（左二）及友人於新亞書院，1956年。 Ding Yan-yong (Third from the Right), Lam Kwong (Second from the Left) and other students.

本次秋拍《貓石圖》（拍品編號612）與《采藥尋真對聯》（拍品編號625），收錄於1970年加拿大貴湖大學丁衍庸作品個展簡冊。 Lots 612 and 625 featured in the Exhibition Brochure of the 1970 Ding Hwin-young Solo exhibition at the University of Guelph.

1970年丁衍庸於加拿大貴湖大學舉辦個展，該展覽由林緝光

量的留白空間開闢出水墨畫中的立體透視感，虛實相間，更

居中籌畫聯繫，丁氏與其來往信件中一再提及十分重視這次

見奇險；人物畫則多以神話、戲劇人物作為重點，不拘角色

的展覽，對於展覽的細節、作品的挑選無一不經其手眼確認

性格與故事情節，《山鬼》（拍品編號621）、《鍾馗像》

再三，並急切地索要展會目錄、照片，消息與評論，曾自嘆

（拍品編號608）二作中所繪的裸女線條近乎野獸派的人體

「筆底明珠無處賣」的丁衍庸，終於藉由此展覽得到香港本

曲線，展現出人物肌肉的律動感，更用心經營畫面的趣味性

地與國際藝壇的關注：香港報刊不僅將丁衍庸與八大山人、

與可看性。書法與篆刻，則是丁衍庸畢生收藏、治學之道的

吳昌碩等三人相提比較，作出正面的評價，後更有以「貴妃

展現，丁氏以先秦璽印為師，刻印之法以金石甲骨為上，線

出浴」一作為雜誌封面刊登作品，丁氏旋風一時席捲香港藝

條古拙、結構巧妙；書法則以草書見長，隨意所至，筆勢奔

壇；巴黎大學東方研究所更曾派人赴香港拍攝丁衍庸作畫刻

走如雷電騁，丁衍庸以畫法入書、也以書法作畫，二者齊觀

印的影片，計畫將其作品與影片在法國當地放映展出，並製

更能見其巧妙之處。

作出版物。此後，日本南畫院連續數年邀請參與年展；1974 年受邀於澳洲墨爾本大學展覽，無數展覽遍及台灣、美國、 法國、澳洲等地。在教育界，他是中國現代美術教育的奠基 者；在藝術界，丁衍庸的藝術造詣成為當時世界藝壇對於中 國現代水墨藝術的楷模與借鏡，其成就非凡，無人能望其項 背。

丁衍庸這樣一位戮力於美術教育與藝術創作的藝術家，數十 年來堅定地走出自我獨特的中國新水墨之路，成為近年藝術 市場上對於留學海外的中國藝術家之關注焦點及近現代水墨 藝術的名家典範，歷經五十年珍藏的時光，能夠一次盡蒐齊 全丁衍庸的書畫精品及篆刻等創作，實為難得盛事，若無林 緝光先生的用心經營與整理收藏，慨允珍藏五十年的傳世精

若從「現代八大」、「東方馬蒂斯」的稱號可以知悉丁衍

品，今日也難能再見丁衍庸筆底的鋒芒；此次專場全面地呈

庸創作的歷程與演變，丁氏曾去信林緝光提及他的創作是

現出現存少有的丁衍庸1969至1970年水墨藝術發展高峰期的

將：「這十餘年來把中國的金石方法去改造西洋畫的一點成

作品，部分作品曾經展覽於1969年10月「新亞書院創校20周

績。」他走出了自己的路：將野獸派的精神與八大山人的神

年藝術展覽會」與1970年11月-12月於加拿大貴湖大學「丁

髓發揮在自己的水墨形式上。丁衍庸的水墨寫花鳥蟲魚為

衍庸作品個展」，不僅能讓世人了解到丁氏融合中西藝術的

經典圖式，畫風獨創一格，《蘭石圖》（拍品編號613）、

水墨風格之確立，其重要性亦在於這是他向國際藝壇嶄露頭

《水族圖》（拍品編號617）、《荷花雙鴛鴦》（拍品編號

角的關鍵時期，自此奠定了他在華人水墨藝術史上的成就與

611）等，墨色淋漓痛快，並善用濃墨、潑墨與焦墨，用筆

高度，其中少有的大幅山水、花鳥蟲魚畫更是市場上質量俱

勁中求拙、雄渾大氣；山水畫構圖粗放天然，筆觸走勢氣魄

精、難得一見的珍品，丁衍庸一生的藝術志業在於「至誠」

驚人，如《春江無盡圖》（拍品編號618）、《十里長松結

二字，作為中國現代美術教育的奠基者，其足以繼承中國水

屋安》（拍品編號620）二作脫胎自日本大阪市立美術館藏

墨大統的藝術成就，更是華人現代藝術史上最為罕見的瑰

的八大山人《彩筆山水圖》，丁氏用筆更加生猛大膽，以大

寶。

1970年加拿大貴湖大學丁衍庸作品個展現場照。 The Ding Hwin-young Solo exhibition at the University of Guelph in 1970.

Ding Yan-yong was a gifted and dedicated oil painter who later pursued a career in ink painting. He was a pioneer in modern Chinese art by merging Chinese and Western art.

With a life dedicated to art education, he was considered as an important figure in modern art history of the Chinese community. His contributions have been undermined yet, through his life and career, we can now have a glimpse of a great artist.

Along with Lin Feng-mian and Guan Liang, Ding Yan-yong was considered as one of the greatest artists in Guangdong who returned from art education from abroad. Lin Fengmian returned from France and promoted the merge of Chinese and Western ideologies, forming a new branch in art. Guan Liang introduced Fauvism to Chinese art and promoted the application of Western media on Chinese subjects, thus transforming Chinese and Western aesthetics standards.

In the early 20th Century, Ding Yan-yong went to Japan, a melting pot of Western ideologies and modernism.

He studied Western paintings in the Tokyo University of the Arts from 1920-1925, specializing in modern art and modernism. He was deeply touched by Fauvism, especially by the works of Henri Matisse. In 1925, he returned from Japan and actively promoted new art reforms on the basis of Western modern art ideologies, dedicated to Fauvism

20

and art education. During the war in 1940, Ding was a teacher in the National Art School in Chongqing and worked with Lin Feng-mian, Zao Wou-ki, Peng Xun-qin, etc.

By 1949 till his death in 1978, he resided in Hong Kong with a sole commitment to art education. He propagated the development of new Chinese modern art and was admired by the art education circle, including Jiang Dan-shu.

Aside from his teaching career, Ding Yan-yong created his own path in artistic creation. His early education in Western art and his transition to Chinese ink art allowed him to combine the two ideologies, while staying genuine to Chinese classical paintings. His deep understanding of classical paintings, epigraphy (jinshi) and seals. His admiration towards Zhuda allowed him to explore his artistic intentions, which matched miraculously with Western modern art. This drives him to extend the Chinese art applications towards the spirits of Bada Shanren and Matisse. This drived him towards becoming an exceptional artist devoted to the nation, as Bada Shanren. During the years where Western beliefs prevailed, Ding Yan-yong struggled his way beyond classical artists. From theories to application, he managed to develop an all-round scholarly character to represent a nation, the times and a noble artistic personality.

After arriving in Hong Kong in 1949, he stayed in an attic.

Yet such a deplorable situation did not waver his will and devotion to art and education. He became a teacher and met Lam Kwong, thus starting a friendship for three decades. In 1950, Lam started learning Chinese and Western paintings and art connoisseurship from Ding and was regarded as his closest student. Their relationship went beyond apprenticeship to a family. Alone in Hong Kong, Ding had no close relatives, so he treated students as a father, especially to Lam, as he recalled. From their letters, Ding gave Lam a work of two goldfish in ink, written with a message from a father. Life in Hong Kong for Ding was greatly eased by Lam, thereby enabling Ding to focus on artistic creation. With Lam's precious collection of Ding's pivotal works and past exhibition records, we could now view the calligraphy, paintings, seal carvings and sketches.

These works were produced from the late 60s to the 70s, at the peak of Ding's career.

Ding Hwin-young solo exhibition at the University of Guelph in Ontario in 1970 was organized by Lam Kwong.

From their letters, Ding was cautious about every detail of the exhibition and the choice of works. He was anxious to receive photos, documentations, news and critics' messages. The once underrated Ding Yan-yong was now a well-known artist of the local and international art community. A newspaper in Hong Kong ranked Ding the same as Bada Shanren and Wu Changshuo; A painting of nude female was published in a front cover; The Oriental Institute of University of Paris visited him to record a film documentary with publications on seal carving and painting. Since then, Ding was invited to exhibitions in Japan, The University of Melbourne (1974), Taiwan, the US, France and Australia. Ding was a prominent figure in both modern Chinese art education and creation in an international context.

Ding Yan-yong was also known as the Modern Bada, Matisse of the East. These names hinted at his transition in creation. Ding once wrote to Lam that he successfully transformed Western art with Chinese epigraphy. He paved his path from Fauvism and Bada Shanren into his unique art form. Flowers, birds, insects and fish were common subjects of depiction with unique depiction, shown in Orchid by the Rock (Lot 613), Fish, Crab and Frog (Lot 617), Lotus and Mandarin Ducks (Lot 611), to name but a few. The use of ink, namely thick, splashed and dry ink, was intriguing.

Brushwork was slow forming majestic strokes. Landscape paintings such as Landscape (Lot 618) and Landscape (Lot 620) have the gradiosity of a similar painting by Bada Shanren, kept in the collection of Osaka art museum. His bold brushwork and large spaces created a unique 3-D

perspective. His figure paintings are based on mythical, theatrical subjects, such as Mountain Fairy (Lot 621) and Zhong Kui Exorcising Demon (Lot 608). The nude figures have close resemblance to the curves of Fauvism, creating a vivid muscular depiction. His calligraphy and seal carvings demonstrate Ding's lifetime studies in art and collection.

Specializing in Qin seals and oracle inscriptions, his seals show signs of ancient inscriptions. Cursive scripts in his calligraphy were free-handed as a painting itself. Both of these forms are intriguing to the modern eye.

Ding Yan-yong's unique form of Chinese ink art made his art a rising star in the contemporary art market, and a pioneer in modern ink art. After 50 years of relentless collection of Ding's artwork, exquisite artworks and seal carvings are once again assembled, displaying the glory of Ding Yan-yong. This sale focused on the art of Ding from 1969 to 1970, ie. the peak of Ding's art production. Some lots were exhibited in the Twentieth Anniversary Art Exhibition of New Asia College at The Chinese University of Hong Kong in October 1969, while some were exhibited in the Ding Hwin-young's solo exhibition at the University of Guelph in Ontario in November-December 1970. These works were evidence of the artist's style and a witness of the artist's milestone stepping into the international art scene. Rare large-scale paintings and magnificent drawings of flowers, birds, insects and fish were put on sale. These shows Ding Yan-yong 's genuine character in the development of art and education, making him one of the greatest Chinese artists in modern art history.

1969 新亞書院創校二十週年藝術展覽會 THE TWENTIETH ANNIVERSARY ART EXHIBITION OF NEW ASIA COLLEGE, THE CHINESE UNIVERSITY OF HONG KONG

617

613

丁衍庸《水族圖》1969 水墨 紙本 鏡框 180 x 96 cm Ding Yan-yong, Fish, Crab and Frog, 1969, Ink on paper, framed, 180 x 96 cm

丁衍庸《荷塘鴛鴦及蘭石圖》（兩件一組） 水墨 紙本 立軸 140 x 34 cm（每件）（其中一件）

丁衍庸與本次秋拍《水族圖》（拍品編號617）合照於1969年新亞書院創 校二十週年藝術展覽會。 Photo of Ding Yan-yong with Lot 617 at the 1969 exhibition at New Asia College, The Chinese University of Hong Kong.

22

Ding Yan-yong, Mandarin Ducks in a Pond and Orchid by the Rock (A set of two), Ink on paper, scroll, 140 x 34 cm (each) This is one of the paintings in the lot.

1970 加拿大貴湖大學舉行丁衍庸個展 DING HWIN-YOUNG SOLO EXHIBITION AT THE UNIVERSITY OF GUELPH IN ONTARIO, CANADA 下方圖片依序為本次部份拍品，於1970年加拿大貴湖大學丁衍庸個展現場照

616 丁衍庸 《玉蘭金魚、雙鴛鴦及芙蓉小鳥》（三件一組） 1969 水墨 設色 紙本 立軸 69 x 34 cm（每件）（其中兩件） Ding Yan-yong, Magnolia and Goldfish, A Pair of Mandarin Ducks and Bird Resting on a Branch (A set of three) 1969, Ink and colour on paper, scroll, 69 x 34 cm (each) These are two of the paintings in the lot.

612 丁衍庸《貓石圖及貓鳥圖》（兩件一組） 水墨 紙本 立軸 140 x 34 cm（每件） Ding Yan-yong, Cat with Rock and Cat with Bird (A set of two), Ink on paper, scroll, 140 x 34 cm (each)

1970 加拿大貴湖大學舉行丁衍庸個展 DING HWIN-YOUNG SOLO EXHIBITION AT THE UNIVERSITY OF GUELPH IN ONTARIO, CANADA 下方圖片依序為本次部份拍品，於1970年加拿大貴湖大學丁衍庸個展現場照

617

619

丁衍庸《水族圖》1969 水墨 紙本 鏡框 180 x 96 cm Ding Yan-yong, Fish, Crab and Frog , 1969 Ink on paper, framed, 180 x 96 cm

丁衍庸《綠天庵》1969 水墨 設色 紙本 鏡框 180 x 96 cm Ding Yan-yong, Huai, The Tang Monk Calligrapher Resting inside Gazebo, 1969 Ink and colour on paper, framed, 180 x 96 cm

618 丁衍庸《春江無盡圖》1969 水墨 紙本 鏡框 180 x 96 cm Ding Yan-yong, Landscape, 1969, Ink on paper, framed, 180 x 96 cm

24

620 丁衍庸《十里長松結屋安》 水墨 設色 紙本 鏡框 180 x 96 cm Ding Yan-yong, Landscape, Ink and colour on paper, framed, 180 x 96 cm

626 丁衍庸《仁義對聯》1969 水墨 紙本 立軸 138 x 34 cm（每件） Ding Yan-yong, Calligraphy Couplet in Running Script, 1969, Ink and colour on paper, 138 x 34 cm (each)

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

607

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

曹操見周美人及荊軻刺秦王（兩件一組）

Cao Cao and Lady Zhou and Emperor Qin and His Assassin (A Set of Two)

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

（左）曹操見周美人。

PROVENANCE

Acquired directly from the artist EXHIBITED

(Right)"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 173, 175

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

26

34 x 34 cm（每件） 釋文： 款識： （左、右）丁衍庸寫。 鈐印： （左、右）牛君（朱文） 來源

現藏家直接得自藝術家本人 展覽

（右）「丁衍庸作品個展」，加拿大貴湖大學， 安大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美 術出版社，河南，2021 ，頁 173、175

608

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 面璧及鍾馗像（兩件一組）

Facing the Wall in Self - Criticism and Zhong Kui Exorcising Demon (A Set of Two)

1969

1969 Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

（左）面壁 。

PROVENANCE

鈐印：

Acquired directly from the artist

（左、右）牛君（朱文）

ILLUSTRATED

來源

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 168, 174

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

水墨 設色 紙本 鏡框 34 x 34 cm（每件） 釋文： （右）鍾馗像。 款識： （左）己酉冬日，丁衍庸。 （右）丁衍庸寫。

現藏家直接得自藝術家本人 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 168、174

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

609

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

山際論今古及江山天際圖（兩件一組）

Literary Gathering on Mountain Top and Landscape (A Set of Two)

1969

1969 Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

釋文：

PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 185, 186

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

28

水墨 設色 紙本 鏡框 34 x 34 cm（每件） （左）二人山際論今古。 款識： （左）己酉，丁衍庸寫。 （右）丁衍庸寫。 鈐印： （左、右）丁虎鈢（白文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 185、186

610

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

小舟遂漁情及梧桐院（兩件一組）

Fishing and Gathering at the Sycamore Atrium (A Set of Two)

1969

1969 Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

釋文：

PROVENANCE

Acquired directly from the artist ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 178, 183

水墨 設色 紙本 鏡框 34 x 34 cm（每件） （左）小舟去遠浦，可遂打漁情。 （右）梧桐院裏談心事，三句不離是本行。 款識： （左）己酉，丁衍庸。 （右）丁衍庸畫並題。 鈐印： （左）丁虎鈢（白文） （右）牛君（朱文） 來源

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

現藏家直接得自藝術家本人 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南 美術出版社，河南，2021 ，頁 178、183

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

611

DING Yan-yong (Chinese, 1902-1978)

Lotus and Mandarin Ducks 1968 Ink on paper, scroll 96.5 x 46.4 cm Signed DING Yan-yong i n Chinese With one seal of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 100,000 - 200,000 HK$ 28,000 - 56,000 US$ 3,600 - 7,200 RMB 23,000 - 47,000 丁衍庸 荷花雙鴛鴦 1968 水墨 紙本 立軸 96.5 x 46.4 cm 款識：戊申冬日，丁衍庸寫於思文堂中。 鈐印：牛君（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安 大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日

30

612

DING Yan-yong (Chinese, 1902-1978)

Cat with Rock and Cat with Bird (A Set of Two) Ink on paper, scroll 140 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

(Left) Exhibition Brochure of Ding Hwin Young, University of Guelph, Ontario, 1970 (Left) Ting Yin Yung Catalogue Raisonné, Oil Paintings, The Li Ching Cultural and Educational Foundation, Taipei, 2020, p. 114

NT$ 200,000 - 320,000 HK$ 56,000 - 89,000 US$ 7,200 - 11,500 RMB 47,000 - 75,000 丁衍庸 貓石圖及貓鳥圖（兩件一組） 水墨 紙本 立軸 140 x 34 cm（每件） 款識： （左）丁衍庸寫。 （右）明心緝光賢伉儷，丁衍庸戲墨。 鈐印： （左）叔旦（朱文） （右）虎丁鈢（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

（左）《丁衍庸作品個展》簡冊，加拿大貴湖大學， 安大略省，1970 （左）《丁衍鏞油畫全集》，財團法人立青文教基 金會，台北，2020 ，頁 114

註 上款人「明心輯光」即為林緝光及趙明心伉儷，丁衍 庸最親近的弟子之一。

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

613

DING Yan-yong (Chinese, 1902-1978)

Mandarin Ducks in a Pond and Orchid by the Rock (A Set of Two) Ink on paper, scroll 140 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 200,000 - 320,000 HK$ 56,000 - 89,000 US$ 7,200 - 11,500 RMB 47,000 - 75,000 丁衍庸 荷塘鴛鴦及蘭石圖（兩件一組） 水墨 紙本 立軸 140 x 34 cm（每件） 釋文： （右）瀟蒲風雨近重陽。 款識： （左）明心小姐、輯光仁弟，丁衍庸畫於思文堂中。 （右）丁衍庸寫。 鈐印： （左、右）叔旦（白文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 註 上款人「明心小姐、輯光仁弟」即為林緝光及趙明 心伉儷，丁衍庸最親近的弟子之一。

32

614

DING Yan-yong (Chinese, 1902-1978)

Wobbly Man and Mandarin Ducks in a Pond (A Set of Two) 1969 Ink and colour on paper, scroll 140 x 34 cm (each) Signed DING Yan-yong in Chinese With four seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 220,000 - 360,000 HK$ 61,000 - 101,000 US$ 7,900 - 12,900 RMB 51,000 - 84,000 丁衍庸 不倒翁及鴛鴦江上（兩件一組） 1969 水墨 設色 紙本 立軸 140 x 34 cm（每件） 釋文： （左）不倒公公是泥封，道貌岸然腹中空。 （右）鴛鴦江上有鴛鴦，相約此生不寥商。 風吹雨打都不怕，唯有荷花作主張。 款識： （左）己酉冬日，丁衍庸寫於思文堂中。 （右）己酉冬日，丁衍庸寫並題。 鈐印： （左）丁虎人（白文）、鴻（朱文） （右）庸鈢（白文）、丁虎（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學， 安大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3日

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

615

DING Yan-yong (Chinese, 1902-1978)

Jewel of the Brush 1969 Ink and colour on paper, scroll 137 x 68 cm Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 220,000 - 360,000 HK$ 61,000 - 101,000 US$ 7,900 - 12,900 RMB 51,000 - 84,000 丁衍庸 筆底明珠圖 1969 水墨 設色 紙本 立軸 137 x 68 cm 釋文：筆底明珠無處賣，閒拋閒擲野籐中。 款識：己酉秋日，丁衍庸寫天池詩意。 鈐印：丁庸之鈢（白文）、叔旦鈢（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安 大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日

34

616

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

玉蘭金魚、雙鴛鴦及芙蓉小鳥（三件一組）

Magnolia and Goldfish, A Pair of Mandarin Ducks and Bird Resting on a Branch (A Set of Three)

1969

1969 Ink and colour on paper, scroll 69 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist

（左）丁衍庸寫

PROVENANCE

（中）丁叔旦（白文）

Acquired directly from the artist

（右）叔旦（朱文）

EXHIBITED

(Left)(Right)"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 220,000 - 360,000 HK$ 61,000 - 101,000 US$ 7,900 - 12,900 RMB 51,000 - 84,000

水墨 設色 紙本 立軸 69 x 34 cm（每件） 款識： （中）明心嫂嫂夫人，丁衍庸寫。 （右）輯光仁弟，己酉，丁衍庸寫。 鈐印： （左）丁虎（朱文）

來源

現藏家直接得自藝術家本人 展覽

( 左、右）「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 註 上款人「明心嫂嫂夫人」及「輯光仁弟」即為林緝光及趙 明心伉儷，丁衍庸最親近的弟子之一。

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

617

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 水族圖

Fish, Crab and Frog

1969

1969 Ink on paper, framed 180 x 96 cm Signed DING Yan-yong in Chinese With two seals of the artist

180 x 96 cm

PROVENANCE

Acquired directly from the artist EXHIBITED

"Twentieth Anniversary Art Exhibition of New Asia College", The Chinese University of Hong Kong, Hong Kong, October 1969 "Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 146-147

水墨 紙本 鏡框 款識：己酉秋日，丁衍庸寫。 鈐印：庸之鈢（白文）、虎丁鈢（朱文） 簽條 款識：丁衍庸，魚蛙圖，己酉裝池。 來源

現藏家直接得自藝術家本人 展覽

「新亞書院創校二十週年藝術展覽會」，香港中文 大學，香港，展期 1969 年 10 月 「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 146-147 附藝術家與作品合照

This painting is to be sold with a photo of the work with the artist.

NT$ 300,000 - 500,000 HK$ 84,000 - 140,000 US$ 10,800 - 18,000 RMB 70,000 - 117,000 丁衍庸早年深得八大山人筆墨的意韻，到晚年畫風更是精練率 意，兼用書法筆勢一氣呵成，把中國水墨的精神發揮至極致， 《水族圖》信筆寫就，氣韻拙稚可愛，寥寥數筆即成，全圖佈 局在畫面中段以下，構圖大膽卻不踰矩，令人百看不厭。圖面 上的大魚以書法筆勢寫成，捺、挑運筆轉折頓挫有力，相對比 於左下側的小魚更能顯出魚身的體積感，魚尾的拖絲飛白更能 表現出潤燥相宜的靈動感，點眼跳脫八大山人畫魚「白眼向 人」之法，丁衍庸用更大膽的方式表現出一種拙趣之感，寄託 他與其孤傲於世，不如遊戲人間的情懷；左下處細筆畫青蛙， 乃全圖的點睛之筆，在丁氏快速的勾勒下，上下兩蛙對望， 神態生動自然，將素描明朗的筆觸融入中國水墨沉靜的簡筆寫 意之中，於是青蛙遂成為丁氏寫意風格的代表物之一；丁衍庸 此作可貴之處在於學而能變，卻又能自出機杼，丁氏曾以此作 《水族圖》受邀參加1969年新亞書院創校二十周年展覽會、 1970年加拿大貴湖大學丁衍庸作品個展，可知其水墨的造詣 已臻至化境，並廣博中外藝壇之讚揚。

36

Early influence of Bada Shanren affected Ding Yan-yong's free-hand paintings with signs of calligraphy techniques in his later years. This work was completed with only a few strokes.

The structure was boldly constructed with hints of classical techniques. Calligraphy strokes were applied to depict the fish. The amount of force shown in each brushstroke added weight to the fish on the lower left. Splash of ink at the tail highlights the vividness of the subject through the humidity of the brush. The eye-rolling technique of Bada Shanren is applied, as a bold gesture of the artist as someone detached from worldly pleasures. Fine strokes outline the frogs with swift rhythm, making them the centerpiece of the work. Such lively painting differentiates itself from the usual tranquility of Chinese paintings. Since then, frogs have become a famous subject of Ding's free-hand paintings. Variances from classical techniques could be traced in this work. It was exhibited in the Twentieth Anniversary Art Exhibition of New Asia College in 1969 and the Ding Hwin Young at the University of Guelph in 1970. This shows a world-wide acclamation to Ding's ink art.

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

618

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 春江無盡圖

Landscape

1969

1969 Ink on paper, framed 180 x 96 cm Signed DING Yan-yong in Chinese With one seal of the artist

180 x 96 cm

PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 148-149

水墨 紙本 鏡框 釋文：春江無盡遠，遠處一為林。末黯雲飛處，何來 人世心。 款識：己酉寫八大山人詩意，丁衍庸。 鈐印：牛君（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 148-149

NT$ 400,000 - 600,000 HK$ 112,000 - 168,000 US$ 14,400 - 21,500 RMB 93,000 - 140,000 《春江無盡圖》為丁衍庸少見水墨簡筆山水畫大作，在構圖 筆意上託自八大山人的《溪山無盡圖》，然而其大膽奔放的 線條痕跡則來自早年野獸派油畫的訓練得來。此畫為遠眺之 景，近景先以中鋒羊毫筆掃出主要的山形走勢，墨色濃重圓 潤，後施渴筆皴擦出山脊線條，將重山壘石的體積作出厚實 感；遠景則用乾筆橫掃、敷之以淡墨，取法自米家山水，行 筆急速猶如煙雲繚繞；寫樹則用金石書法之勢，加上其慣用 的卷筆技法，將山樹奇踞、磐石竄升的姿態作出疏密相間 的佈局，勾石點草則用濃墨鉤勒出重點，求出畫面乾濕的平 衡，觀之但覺蒼中有潤、燥中帶濕，一派春暖濕潤之氣油然 而生。圖面以三角透視置入兩座小亭與江面舟人行船，這樣 特出的形式、無法再更簡化的構圖得益自丁氏早年西畫的訓 練，其寫景並非真實山水之景，而是內心所感受出來的情感 之景，丁衍庸將中國寫意山水的容貌揉入野獸派情感性的線 條，跳脫傳統山水的格局，以個人情感的內化將自然而純粹 的景色記錄下來，展現出充滿生命力的樣貌，通幅畫作雖無 敷色，卻能以「墨分五彩」之法營造出通透靈動的情境，直 指文人水墨的核心，丁衍庸藉由自身獨特的領悟與大膽狂放 的筆觸畫出心中山水勝景，自成丁氏山水一脈，奠定其現代 水墨名家的地位。

38

This work is a rare monochrome landscape painting completed with simple strokes. The structure could be referred to a similar work of Bada Shanren. Bold lines and strokes suggest influences of Fauvism from his early years of Western art training. This work has a distant view from the hilly relief of the front panel in the foreground. Large boulders with dense thick ink contrast with the dry strokes of mountains in the distance. Light dry ink and meandering lines echo with the techniques of Mifu. Strokes depicting the trees suggest the skills of Jinshi. Curved lines outline the subjects and create a balanced composition of dry and wet ink, suggesting the humid warm Spring climate. The triangular perspective is highlighted by two huts and a sailing boat, echoing with the early training in Western art. Yet the unrealistic landscape suggests a depiction of emotion of the artist. Hence Ding Yan-yong radically combined freehand Chinese landscape painting with the expression of Fauvism. This work is an expression of nature through the artist's emotions, making it vivid and 'colourful', despite its monochrome depiction. Such a unique and radical approach makes Ding an outstanding artist of our times.

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

619

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 綠天庵

Huai, The Tang Monk Calligrapher Resting inside Gazebo

1969

1969 Ink and colour on paper, framed 180 x 96 cm Signed DING Yan-yong in Chinese With two seals of the artist

釋文：綠天庵中懷素在，精心草聖有芭蕉。

PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

水墨 設色 紙本 鏡框 180 x 96 cm 款識：己酉冬日，丁衍庸為齋戒寫此幀。 鈐印：丁虎鈢（白文）、牛君（朱文） 簽條 款識：丁衍庸，綠天庵圖。 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日

ILLUSTRATED

圖錄

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 152-153

《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021 ，頁 152-153

NT$ 480,000 - 700,000 HK$ 134,000 - 196,000 US$ 17,200 - 25,100 RMB 112,000 - 163,000 此作《綠天庵》取材自唐僧懷素故居的典故，宋代《清異 錄》中曾記：「懷素居零陵東郊，治芭蕉亘帶幾數萬，取 葉代紙為書，號所居曰綠天。」丁衍庸草書法師自懷素， 水墨之法則以徐渭、朱耷寫意為宗，《綠天庵》融草書筆 勢與寫意筆墨於一體，畫面中心下方以亂筆勾勒、淡赭染 出寫意芝草的厚實感，後落墨點出庭草群落，先做出視覺 觀看的重心，再以中鋒圓筆畫庭石盤踞，筆法勾勒明快、 枯筆橫掃樹身，掌葉兼施以澹墨、濃墨，形制古樸；右側 兼寫芭蕉數株，以細筆析出芭蕉樹瘦癯的姿態，花青、藤 黃淡染敷色，一派天真自然之色烘托出草庵景致的靜謐； 上方寫竹跳脫常法，丁公晚年水墨功底成竹於胸，執筆熟 視，側臥用筆振振，直取竹枝細寸初萌之樣貌，後用介字 法點葉，墨色累累、按提迅疾，看似無章法，卻又能在竹 枝俯仰之間得出其用筆縱橫於胸懷的大氣。後方畫草庵一 座，三根立柱與三角形的庵頂佈局出立體感，庵下畫有高 士對坐清談；款題草書縱逸豪放，記懷素以蕉葉代紙習 書的舊事，由此可知丁公書畫造詣得自草聖懷素的寓託。 此作乃少見六尺大幅寫景之作，恬淡疏落，以簡馭繁，丁 衍庸以疾馳的書法線條營造出蒼樸有力的效果，與畫面中 生動活潑的人物形成強烈的對比，實為難得一見的水墨珍 品。 40

This work is derived from the story of Huaisu, a monk and poet of the Tang dynasty. A Song classic described his home and surroundings of the poet who uses banana leaves as paper and books, thus described as living under a green sky.

In this work, Ding Yan-yong wrote in cursive script, adapted from Huaisu, while his use of ink could be referred to Xu Wei and Zhu Da. Hence, he merged the free-hand form of painting with cursive script. Intersecting strokes and light colours suggest firmness and weight, contrasting with the swift dry strokes above. Wet dense ink of the leaves suggests classical painting technique. On the right, banana trees were outlined in thin strokes creating a rugged surface, then coloured in green and ochre. This natural depiction suggests tranquillity. An unconventional way of depicting bamboo on the top shows Ding's sophisticated use of brush. Wavy lines and intersecting dots of ink suggest a delicate use of brush and a bold character of the artist. The hut at the back was supported by three columns and a triangular roof.

Two scholars were seated opposite to each other having a delightful chat. Cursive script of the poem is vibrant, while describing the story of the poet. This shows the artist's admiration towards the poet. This six-feet giant composition uses a simplistic composition and cursive strokes to create an atmosphere echoing with classical techniques, while contrasting with the vibrant subject, making this a unique painting.

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

620

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 十里長松結屋安

Landscape

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 180 x 96 cm Signed DING Yan-yong in Chinese With one seal of the artist

釋文：十里長松结屋安，晚來風雨不勝寒。

PROVENANCE

款識：十里長松圖，丁衍庸作。

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 142-143

NT$ 550,000 - 900,000 HK$ 154,000 - 251,000 US$ 19,700 - 32,300 RMB 128,000 - 210,000 丁衍庸的山水畫得益其嚴謹的治學與收藏鑑賞的經驗，既 有對前人筆意的承襲，卻也加入了西方繪畫的概念而作出 改造，另闢蹊徑且別有新意。此作《十里長松結屋安》以 乾墨禿筆寫就，且多取書法的方折筆勢作出力道；山勢由 下方前景延伸至上段遠山，畫面整體佈局偏右、下重上 輕，呈現一長條狀三角形的視覺構圖；主景以拔地而起的 奇松為骨心，佔幅約三分之二，遠觀松枝畫成一「井」字 狀，將圖面的描繪的重點作出區分，雖簡筆樸素卻能襯出 後山纍石的厚實與量感，樹木山石皴勒全以中鋒出筆，快 速擦染中間敷施墨染松葉，同時也將前後的空間感隔出； 中段河岸之景掩於高聳的松枝，此乃丁氏別有用心之處， 若僅以留白隔出兩山一水則會顯得空泛無力，直上的松枝 成為後方山勢的一部分，筆墨縱橫老辣，山屋茅舍虛掩其 中，更添景致中的雅趣。畫中敷色以淺絳山水為本，呼應 著筆墨的走勢，全圖以不同的赭色濃淡析出山勢向背，點 染出邊坡與松幹，下方山石則用朱紅點敷，成為視覺的重 心，延伸至上方遠山以花青淡染，引導觀者由下至上的觀 看，呼應「自下而仰山巔」的高遠技法；圖中山石多畫成 三角形狀，以野獸派風格粗放的線條置入，以配合留白營 造出動勢，可見丁氏作畫時恢弘豪放的氣度與融貫中西的 造詣。

42

180 x 96 cm 款識：丁衍庸。 鈐印：牛君（朱文） 簽條

來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 142-143

Ding Yan-yong's Landscape paintings show signs of his extensive research and connoisseurship of classical art with a mix of Chinese art techniques and western art concepts.

This painting was completed with dry ink and a blunt brush.

Edged lines demonstrate vibrant forces. A triangular balanced structure extends from the foreground to a hilly relief on the right. An old pine tree looms in the front occupying two thirds of the space. Distant pine trees form an intersecting cross shape, as a juxtaposition with the foreground. Yet the rugged thick bark could be depicted with central strokes.

Swift strokes form patches of leaves while creating depth in the painting. The river bank at the center of the work was hidden from the branches. Such unique composition enlivens a typical landscape structure, allowing the extended branches to lead to the relief at the back. Huts in a distance peep through the edge of the hills, bringing surprises to the work. Light colours throughout the work balance the outlines.

Hills in various tones of ochre suggest surfaces facing the light. Slopes and tree trunks were coloured with dots of ink.

Patches of red below create a visual balance and guide the audience to the green distant hills. This echoes the classical vertical depth method of viewing the painting upwards from the bottom. Triangular rocks outlined with thick lines echo with the style of Fauvism, while balancing the surrounding space. This highlights a mix of Chinese and Western art, while demonstrating the dramatic character created by the artist.

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

621

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 山鬼

Mountain Fairy

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 130 x 66 cm Signed DING Yan-yong in Chinese With one seal of the artist

釋文：山鬼。

PROVENANCE

現藏家直接得自藝術家本人

Acquired directly from the artist ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 150-151

130 x 66 cm 款識：丁衍庸 鈐印：鴻（白文） 來源

圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 150-151

NT$ 240,000 - 400,000 HK$ 67,000 - 112,000 US$ 8,600 - 14,400 RMB 56,000 - 93,000

丁衍庸的水墨創作，除了花鳥山水以外，又喜畫人物，多 以戲曲與歷史文學人物作為描繪對象，《山鬼》一作取材 自《楚辭•九歌》中祭祀山鬼女神的祭歌，內容描述一位 多情的山鬼，在深山中等待情人的心境，然而丁氏天性靈 敏，性格幽默，將這一位癡情的山鬼做出自我詮釋，他捨 棄了對於人物細節的描寫，提取出最富表現力的部分，丁 氏以西畫對稱的概念構圖，山鬼與老虎的體積比例幾乎對 稱，但兩者左右顧盼的眼神卻能做出對於畫面空間感的想 像，全圖設色豐富淡雅，著重將物象的精神表現在多變的 線條上。丁衍庸以簡筆畫出寫意的裸女線條，深有西方傳 統裸體畫的意味，山鬼的胸部曲線、環抱的肘部手勢、腿 部交叉的肌肉律動，顯示出他深厚的素描基礎，以卷筆拖 尾的筆法寫出風姿綽約的水髮，山鬼身著毛裙披風，手捧 一束折枝芳草，神情安適絲毫沒有心焦難耐的愁苦，仿佛 只是在山裡採花尋幽自娛，這樣的轉化也是來自丁氏笑看 人間百態的體現，人物型態雖誇張，但卻能略其形而寫其 神，加強畫面的可看性。圖中的虎獸皆以枯筆淡墨寫成， 丁氏以速疾的簡筆畫出虎形輪廓與走毛斑紋，其神態亦十 分可親可愛，將前人虎嘯威猛的姿態轉化成咧嘴似笑非笑 的神貌，如此天真的畫法也最能表現出藝術的原始美感。

44

Figure paintings have been one of the common subjects of Ding Yan-yong, mostly under the theme of theatrical and historical figures. This work was based on the story from Chu Ci, depicting an emotional mountain ghost waiting for its lover. This work, however, is an individual interpretation of the artist. Using the structure of Western art, Ding painted a ghost and a tiger of similar sizes. A dynamic atmosphere is created through the expression of the subjects. The work is lightly painted with a variation of colours; hence an emphasis is put on the expression of characters. Simple strokes of the nude figures hint at Western classical subjects. The outlines of her breasts, her arm gestures and muscles of her crossed legs shows the artist's intense training in sketches.

Curved strokes highlight the light-weighted hair and clothes of the ghost. Taking a bouquet in her hand, the ghost appears to be strolling by the forest without a single hint of distress. This echoes with Ding's optimistic character. His exaggerated depiction enhanced the emotion through a simplistic depiction. Ding used dry ink and swift strokes for the outline and pattern of the tiger. Instead of depicting a ferocious tiger, Ding chose a funny variation, resulting in a joyful aesthetic beauty.

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

622

DING Yan-yong (Chinese, 1902-1978)

Paintings (A Set of Thirteen) 1969 Ink on paper, album 34 x 34 cm (each) Signed DING Yan-yong in Chinese With fourteen seals of the artist

丁衍庸 白鷺、蝦戲圖、飛魚、睡貍圖、荷蛙圖、雙松 圖、松鼠、雙蝶圖、石斑魚、沽酒入蘆花、柳 蟬、葫蘆立鳥圖、芙蓉金魚（十三件一組） 1969 水墨 紙本 冊頁 34 x 34 cm（每件） 釋文：

PROVENANCE

(3) 此幅飛魚寫以自壽。

Acquired directly from the artist

(10) 沽酒入蘆花。

EXHIBITED

（款識、鈐印略）

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

簽條

(1, 2, 3, 8, 9, 11, 13)

鈐印：叔旦（朱文）

ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 157, 159, 160, 161, 163, 164, 190, 191, 194, 195, 196, 197, 198

NT$ 240,000 - 400,000 HK$ 67,000 - 112,000 US$ 8,600 - 14,400 RMB 56,000 - 93,000

款識：丁衍庸畫冊，己酉裝池。

來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省，展 期 1970 年 11 月 13 日至 1970 年 12 月 3 日 (1、2、3、8、9、11、13) 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021 ，頁 157、159、160、161、163、164、 190、191、194、195、196、197、198 註 上款人「輯光仁弟」、「輯光老弟」及「明心夫人」即 為林緝光及趙明心伉儷，丁衍庸最親近的弟子之一。

46

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

623

DING Yan-yong (Chinese, 1902-1978)

Cricket and Morning Glory and A Pair of Frogs by the Banana Leaves (A Set of Two) Ink on paper, scroll 135 x 33.3 cm; 134.6 x 33.6 cm Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist

NT$ 220,000 - 360,000 HK$ 61,000 - 101,000 US$ 7,900 - 12,900 RMB 51,000 - 84,000 丁衍庸 牽牛花與蛒緯及蕉葉雙蛙圖（兩件一組） 水墨 紙本 立軸 135 x 33.3 cm ; 134.6 x 33.6 cm 款識： （左）輯光仁弟，丁衍庸畫。 （右）輯光仁康壽，丁衍庸畫。 鈐印： （左、右）叔旦（朱文） 來源

現藏家直接得自藝術家本人 註 上款人「輯光仁弟」及「輯光仁」即為林緝光先 生，丁衍庸最親近的弟子之一。

48

624

DING Yan-yong (Chinese, 1902-1978)

Crested Myna and Orchid and Old Changguo Riding a Donkey (A Set of Two) 1969 Ink on paper, scroll 140 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970

NT$ 180,000 - 280,000 HK$ 50,000 - 78,000 US$ 6,500 - 10,100 RMB 42,000 - 65,000 丁衍庸 蘭花八哥及張果老倒騎驢（兩件一組） 1969 水墨 紙本 立軸 140 x 34 cm（每件） 釋文： （右）張果老倒騎驢，長安市上背葫蘆。 款識： （左）輯光仁弟，己酉，丁衍庸寫。 （右）己酉冬日，丁衍庸寫。 鈐印： （左）叔旦鈢（朱文） （右）叔旦（白文）、牛君（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 註 上款人「輯光仁弟」即為林緝光先生，丁衍庸最親 近的弟子之一。

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

625

DING Yan-yong (Chinese, 1902-1978)

Calligraphy Couplet in Running Script Ink on paper, scroll 138 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Exhibition Brochure of Ding Hwin Young, University of Guelph, Ontario, 1970 Ting Yin Yung Catalogue Raisonné, Oil Paintings, The Li Ching Cultural and Educational Foundation, Taipei, 2020, p. 114 Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 140-141

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 丁衍庸 采藥尋真對聯 水墨 紙本 立軸 138 x 34 cm（每件） 釋文：采藥逢三島，尋真遇九仙。 款識：緝光仁弟，丁衍庸書。 鈐印：思文之鈢（白文）、叔旦（朱文）、虎之鈢（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《丁衍庸作品個展》簡冊，加拿大貴湖大學，安大略省， 1970 《丁衍鏞油畫全集》，財團法人立青文教基金會，台北， 2020 ，頁 114 《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021 ，頁 140-141

50

註 上款人「輯光仁弟」即為林緝光先生，丁衍庸最親 近的弟子之一。

626

DING Yan-yong (Chinese, 1902-1978)

Calligraphy Couplet in Running Script 1969 Ink on paper, scroll 138 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 138-139

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 丁衍庸 仁義對聯 1969 水墨 紙本 立軸 138 ｘ 34 cm（每件） 釋文：行仁義事，讀聖賢書。 款識：輯光明心賢伉儷，己酉，丁衍庸寫。 鈐印：庸鈢（白文）、叔旦（朱文）、萬（朱文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略省， 展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 138-139 註 上款人「輯光明心賢伉儷」即為林緝光及趙明心伉 儷，丁衍庸最親近的弟子之一。

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

627

DING Yan-yong (Chinese, 1902-1978)

Calligraphy Couplet in Running Script 1969 Ink on paper, scroll 130 x 30 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist EXHIBITED

"Ding Hwin Young", University of Guelph, Ontario, 13 November 1970 - 3 December 1970 ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 136-137

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 丁衍庸 明月鏡台對聯 1969 水墨 紙本 立軸 130 x 30 cm（每件） 釋文：明月一何朗 , 心是明鏡台。 款識：明心嫂夫人，己酉，丁衍庸書。 鈐印：丁虎鈢（白文）、庸之鈢（白文） 來源

現藏家直接得自藝術家本人 展覽

「丁衍庸作品個展」，加拿大貴湖大學，安大略 省，展期 1970 年 11 月 13 日至 1970 年 12 月 3 日 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美 術出版社，河南，2021 ，頁 136-137 註 上款人「明心嫂夫人」即為林緝光先生的夫人趙 明心。

52

628

DING Yan-yong (Chinese, 1902-1978)

Calligraphy Couplet in Running Script 1969 Ink on paper, scroll 130 x 30 cm (each) Signed DING Yan-yong in Chinese With one seal of the artist PROVENANCE

Acquired directly from the artist

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 丁衍庸 海天對聯 1969 水墨 紙本 立軸 130 x 30 cm（每件） 釋文：海為龍世界，天是鶴家鄉。 款識：緝光老弟，己酉，丁衍庸書。 鈐印：庸之鈢（白文） 來源

現藏家直接得自藝術家本人 註 上款人「輯光老弟」即為林緝光先生， 丁衍庸最親近的弟子之一。

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

629

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

山水綠楊邊及獨樹老夫家（兩件一組）

Willow and Old Man and Bare Tree (A Set of Two)

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

（右）獨樹老夫家。

PROVENANCE

Acquired directly from the artist ILLUSTRATED

34 x 34 cm（每件） 釋文： 款識： （左、右）丁衍庸寫。 鈐印： （左）丁虎鈢（白文） （右）牛君（朱文）

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 188, 189

來源

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 188、189

54

現藏家直接得自藝術家本人 圖錄

630

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

秋雁及長松結屋圖（兩件一組）

Autumn Geese and Mountain Pine at Village (A Set of Two)

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

（左）秋雁一聲過衡陽。

PROVENANCE

Acquired directly from the artist ILLUSTRATED

34 x 34 cm（每件） 釋文： 款識： （左）丁衍庸。 （右）丁衍庸寫。 鈐印： （左、右）牛君（朱文）

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 179, 184

來源

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 179、184

現藏家直接得自藝術家本人 圖錄

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

631

DING Yan-yong (Chinese, 1902-1978)

丁衍庸

Gazebo and Mountain Hamlet (A Set of Two)

水閣寒及山上人家（兩件一組）

Ink and colour on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With two seals of the artist

釋文：

PROVENANCE

鈐印：

Acquired directly from the artist

（左、右）牛君（朱文）

ILLUSTRATED

來源

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 181, 182

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000 56

水墨 設色 紙本 鏡框 34 x 34 cm（每件） （左）五月江深水閣寒。 款識： （左、右）丁衍庸寫。

現藏家直接得自藝術家本人 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 181、182

632

DING Yan-yong (Chinese, 1902-1978)

丁衍庸

Crabs, Magpie and Cat (A Set of Three)

雙蟹、鴉及潑墨貍圖（三件一組）

1969 Ink on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist

水墨 紙本 鏡框

PROVENANCE

Acquired directly from the artist ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 158, 193, 200

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

1969 34 x 34 cm（每件） 釋文： （左）且看橫行到幾時。 款識： （左）己酉冬日，庸。 （中）丁衍庸寫。 （右）丁衍庸。 鈐印： （左、中、右）叔旦（朱文） 來源

現藏家直接得自藝術家本人 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 158、193、200

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

633

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

芙蓉金魚、葡萄熟了及八哥楊柳（三件一組）

Hibiscus and Goldfish, Grapes and Myna Bird on Willow (A Set of Three)

水墨 紙本 鏡框

Ink on paper, framed 34 x 34 cm (each) Signed DING Yan-yong in Chinese With three seals of the artist

（左、中、右）丁衍庸寫。

PROVENANCE

Acquired directly from the artist ILLUSTRATED

Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 165, 166, 199

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

58

34 x 34 cm（每件） 款識： 鈐印： （左、中、右）叔旦（朱文）。 來源

現藏家直接得自藝術家本人 圖錄

《中華瑰寶大成：八大山人與丁衍庸》，河南美術出版社， 河南，2021 ，頁 165、166、199

634

DING Yan-yong

丁衍庸

(Chinese, 1902-1978)

睡鳥圖、菊花草蟲及蝦戲圖（三件一組）

Myna Bird on Willow, Chrysanthemum and Shrimps at Play (A Set of Three)

1964

1964 Ink and colour on paper, framed (Left) 34 x 23 cm (Middle) 18.8 x 51 cm (Right) 34 x 34 cm Signed DING Yan-yong in Chinese With three seals of the artist

（中）18.8 x 51 cm

PROVENANCE

Acquired directly from the artist ILLUSTRATED

(Left)(Middle) Bada Shanren & Y.Y. Ting's Paintings, Henan Art Publishing, Henan, 2021, pp. 154-155, 202

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

水墨 設色 紙本 鏡框 （左）34 x 23 cm （右）34 x 34 cm 款識： （左）丁衍庸寫。 （中）甲辰七月，丁衍庸寫。 （右）丁衍庸寫。 鈐印： （左）肖形印（白文） （中）叔旦（朱文） （右）丁鴻（白文） 來源

現藏家直接得自藝術家本人 圖錄

（左、中） 《中華瑰寶大成：八大山人與丁衍庸》，河南美術 出版社，河南，2021 ，頁 154-155、202

筆底明珠-丁衍庸海外遺珍專場 Pearl of the Brush: The Works of Ding Yan-Yong

635

DING Yan-yong (Chinese, 1902-1978)

丁衍庸 丁衍庸刻丁雄泉壽山石獅鈕印章（一對）

A Pair of Soapstone Seals Carved by Ding Yan-yong for Walasse Ting

1969

1969 Soapstone H: 18.5 cm (each) Signed DING Yan-yong in Chinese on each seal

邊款：

PROVENANCE

Acquired directly from the artist

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

印文 Seal

60

壽山石 高：18.5 cm（每件） （左）雄泉先生法家正，己酉丁衍庸。 （右）雄泉宗兄方家正篆，己酉丁衍庸刻。林輯光敬贈。 印文與鈐印： （左）雄泉之印 （右）採花大盜 來源

現藏家直接得自藝術家本人

636

FU Chuan-fu (Taiwanese, 1910-2007)

傅狷夫 千雪濤聲

Waves of the Ocean

1982

1982 Ink and colour on paper, framed 28.8 x 74 cm Signed Chuan-fu in Chinese With one seal of the artist

28.8 x 74 cm

PROVENANCE

Gloria Art Center, Taipei Acquired from the above by the present owner

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

水墨 設色 紙本 鏡框 款識：駿都先生雅屬。壬戌中秋後三日，狷夫寫於 台灣。 鈐印：傅狷夫印（白文） 來源

鴻展藝術中心，台北 現藏家得自上述來源

637

CHIANG Hsun (Taiwanese, b. 1947)

蔣勳 書法

Calligraphy

1982

1982 Ink on paper, framed 58.5 x 30.5 cm Signed CHIANG Hsun in Chinese With one seal of the artist

58.5 x 30.5 cm

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

62

水墨 紙本 鏡框 釋文：遲日江山麗，泥融飛燕子。杜甫詩。 款識：一九八二夏，蔣勳書。 鈐印：心曠神怡（朱文）

638

TONG Yang-tze (Taiwanese, b. 1942)

董陽孜 墨舞

Ink Dance

1991

1991 Ink on paper, framed 46 x 66 cm With two seals of the artist

46 x 66 cm

EXHIBITED

"Calligraphic Works of Tong Yang-tze", Eslite Bookstore Art Space, Taipei, 30 January 1993 - 14 February 1993 ILLUSTRATED

Calligraphy Works of Grace Tong Yang-tze, National Tsing Hua University Arts Center, Hsinchu, 1993, pp. 54-55

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

水墨 紙本 鏡框 款識：墨舞。 鈐印：董（白文）、陽孜（朱文） 簽條 款識：墨舞，董陽孜，一九九一。 展覽

「董陽孜書法作品展」，誠品畫廊與藝文空間，台 北，展期 1993 年 1 月 30 日至 1993 年 2 月 14 日 圖錄

《董陽孜作品集》，國立清華大學藝術中心，新竹， 1993 ，頁 54-55 註 藝術家自題簽

老 藤 新葉

NEW SPROUTS FROM AN OLD VINE

再創東方書藝 的 高 峰

NEW HEIGHTS OF EASTERN CALLIGRAPHY 藝術創作推陳出新向來是亞洲當代藝術家畢生的使命。

律節奏。友人陳永模觀卜茲在鳳凰谷即席揮毫而作，並題

卜茲致力於研究傳統書體，於形態及神韻的角度重新詮

於《草書書法》（拍品編號640）：「予觀卜茲作草如雷

釋，從寫字的過程、傳統墨汁的處理，甚至形態墨韻的表

霆霹靂，莫能名奇妙，所謂變動猶鬼神不可端倪也。」書

現，在書藝的思維空間加以創新。卜茲曾說「吾書冥合老

法把藝術家內在精神外化，紙、墨、筆、心、手與文字合

藤意，筆力氣貫新葉出，動勢紛飛與俗殊...吾願萬里紫藤

一，觀者的眼睛隨著線條的舞姿，體會藝術家手腕與身體

牽，東方神氣再先焉。」從老藤的書藝長出具有時代感的

舞動，跟隨線條和藝術家達致「神醉」的境界。《草書

新葉，帶出個人獨特的風格，創造亞洲書藝的高峰。

釋貫休懷素草書歌》（拍品編號642）以五聯幅的形式呈

卜茲，本名陳宗琛，別署溪心散人，生於台南，自少受父 親的熏陶，接觸繪畫及書法，閒時習詩、書、畫、藝，研 習碑帖名家，擅真、草、隸、篆各體，抱著溯古汲新的態 度，積極尋找個人的藝術語言。卜茲對筆、墨、紙、硯亦 有獨特的研究，為追求筆墨的完美呈現，把宿墨研製調製

現，書法上的印章顯示當時陋居台北東山草堂，詠懷素的 草書書法，其筆力氣貫融合線條的縱橫轉折，不拘於形， 以疾風紛飛的速度與直覺，詮釋草書應有的輕巧靈動，從 飛灑躍動的墨跡傾倒澎湃的情感，成為卜茲獨特的個人圖 騰。

後揮灑在紙上，為傳統乾澀濃淡的墨色，增添灰色的自然

卜茲的狂草於精神層面再度昇華，更顯「老藤意、新葉

濃稠變化，在黑白的書法線條上，增加不同層次的墨韻。

出」。《草書窗外蕉樹》（拍品編號643）以朱墨書寫，

本次拍賣精選一系列卜茲的書法作品，挑選其小楷及草書

屬較稀有的作品，巨大滿密式佈局，箇中錯綜複雜的關

作品呈現於不同尺幅，展現端莊遒麗與萬緒枯藤的張力變

聯，突顯藝術家仔細入微的構思。雖說秋風蕭瑟，詩中描

化。

述窗外的景象卻是生機盎然的常青蕉樹。卜茲巧妙地選用

「毛筆字，看黑白。看了黑又看白，黑白兩世界，陰陽寫 分明。書法本有法，東坡說分明。真如立、行如行、草如 走，未有不能立而行，未有不能行而能走者也。」卜茲在 其出版書《論書法藝術》曾表示對傳統書藝的重視與尊 敬。本次上拍的《楷書破邪論序》（拍品編號641）作於 1998年，通幅以小楷書寫，既得書法家虞世南剛柔並合的 神髓，亦表現個人詮釋風格。虞世南為唐初越州餘姚人， 其書法遵從二王傳統，圓潤的筆觸帶有遒勁之氣。卜茲的

朱墨為主要色調，主導濃厚秋意的畫面。傳統草書書體盤 轉翻騰的線條，盡顯萬緒枯藤的雄健蒼勁，斑斕枯澀的飛 白，猶如疾風輾起秋葉紛飛莽蕩的景象，為蕭瑟的秋天煥 然賦予清新澎湃的活力。巨大的尺幅強調狂草帶來的瞬間 震撼，站在作品面前，看著疾風飛舞的狂草，赤紅線條的 張力，如同日本白髮一雄融合舞蹈於平面藝術，感受卜茲 伏地揮灑的力量，剎時振奮感官聯想，讓觀者體會藝術家 的韻律節奏。

詮釋卻增添幾分凝神靜氣，行氣連貫卻把節奏放慢，字體

卜茲的作品備受藝術圈的擁戴，在世期間自1989年起曾多

文雅秀靜，剛健清朗，空靈生姿。張懷瓘曾說：「深識書

次被邀擔任全國美展評審、國立博物館的典藏委員，致力

者，惟觀神采，不見字形。」此幅小楷書法透過傳統書法

推廣台灣書法藝術發展。近幾年推舉其作品的畫廊和學術

的形態，表現藝術家不涉塵世的人生觀，繼承傳統美感以

機構遍佈台灣、中國及香港，卜茲縱橫的才華備受廣泛的

表現自我個性與節奏，組成卜茲獨有的藝術標誌。

關注，讓台灣當代書藝邁向國際藝壇。

東方藝術強調內在精神的展現，其中書道講求筆意、墨 象、禪趣，卜茲的作品保留古典的法度，卻跳脫古典草書 的實用性，利用字行間的編排，介於隨意與精微的藝術表

「古巖寒花性崛傲，忍辱衝霜持高蹈；草書盤繞似秋藤，

現，在形式與精神上賦予現代藝術思維和生命力，令作品

抗明追宋更上層。」

整體擁有抽象個性的表現。雖然已經沒有機會目睹卜茲的 寫作過程，從其草書的結構卻可感受藝術家墨澗迴轉的旋

64

－ 陳永模《悼卜茲》

照片由藝術家家屬提供

66

"(Pu Tzu's) cursive script twisting vividly as an evergreen autumn vine, achieving a level of skills beyond traditional Song and Ming calligraphers" - extract from a comment by Chen Yong-mo.

Innovating from traditions has always been a goal for modern Asian artists. With a lifetime devoted to calligraphy, Pu Tzu developed a new interpretation from the process of creation, the treatment of ink, forms and dimensions of expression. Pu Tzu compared his works with old vine and his style with new sprouts, creating new definitions of Eastern Calligraphy.

Pu Tzu, also named Chen Zong-chen, was born in Tainan. At an early age, he learnt poems, calligraphy of all scripts, paintings and arts under the influence of his father. Since then, he actively sought to create a new aesthetic form. His unique understanding of media led to an innovative way of using dried ink on paper, creating a unique grey tone, thus a new level of gradients from black ink. In this sale, a series of works in regular and cursive scripts were selected. They come in various sizes, juxtaposing the elegance and theatrical impact of his paintings.

In his publications, Pu Tzu mentioned the importance of traditional practice and his respect for classical calligraphy. In this sale, Calligraphy in Regular Script (Lot 641) was completed in 1998. Such small fonts of regular script pose high resemblance to Yu Shinan with a twist of individuality. Yu Shinan of Tang dynasty was renowned for his calligraphy, displaying both strength and tenderness, while bearing close resemblance to the Two Wangs. Pu Tzu's way of expression highlighted serenity, written at a stretch in a gentle pace. The work is elegant and peaceful with a hint of character.

Zhang Huai-quan once mentioned, "With a thorough understanding of Chinese characters, one would see beyond mere forms." This work excels beyond a representation of forms, into the artist's individual character and tempo, leading towards a representation of the artist's philosophy of life itself, thus enhancing the individuality of the work.

The representation of inner spirituality has always been the focus of arts of the East. The expression of brush, ink and Zen spirit are the key in calligraphy.

Traditional techniques could be observed in Pu Tzu's works, while the arrangement of words, the casual yet intricate composition enhanced the spiritual meaning leading the work away from its functionality to an abstract expression. Judging from the rhythm of the meandering lines, viewers could picture the

process of creation in their minds. As the inscription

by Chen Yung-mo in the Calligraphy in Cursive Script (Lot 640) mentioned, the vividness of the calligraphy captures the animated performance of the artist. The forms of characters enhance the spirituality of the artist as paper, ink, brush, the mind, the hand and words synchronized as one. As the viewer follows the movement of lines, one would be astounded by the performance of the art. Composed in five scrolls, Calligraphy in Cursive Script (Lot 642) was completed in Dongshan Caotang, the artist's residence in Taipei.

The work expresses an admiration towards Huaisu's cursive calligraphy, highlighted by Pu’s cursive script with great speed and a sophisticated intuition. Such vivid and light lines accentuate the towering emotions forming a unique totem of the artist.

The spiritual expression further augmented Pu Tzu's wild cursive script, creating a new branch from traditional cursive script. Calligraphy in Cursive Script (Lot 643), an enormous full frame work completed in coloured ink, is extremely rare in quantity among Pu Tzu's signature works. The depth of Pu's has been demonstrated through the meticulous composition and techniques used in this work. The poem depicts a vividly animated autumn scene of a banana tree outside the window. The season is highlighted by coloured ink. Curvaceous lines demonstrate the roughness and sturdiness comparable to a lush and ancient vine. Dried and fragmented traces of ink enliven the work as autumn leaves stirred up by a gust of wind. The monumental size of the work in red augments the theatrical impact of expressive cursive script, as the movement of the body and brush of Pu Tzu imprints in the minds of viewers. Similar impact could be experienced with paintings by Japanese Gutai artist Shiraga. As the rhythmic beats echo with the red lines till the end, casual patterns of black ink dots gently bring the eye towards the signature on the right, leading the theatrical symphony to an end.

Pu Tzu had been well received by the art community.

Since 1989, he took up prominent roles in judging panels of art competitions and museum collections team. His artworks gained popularity in art galleries in Taiwan, China and Hong Kong, thus introducing Taiwanese contemporary calligraphy to the world.

639

PU Tzu (Taiwanese, 1959-2013)

Birthday Blessings Ink on silk, framed 48.5 x 19.5 cm With two seals of the artist PROVENANCE

Gloria Art Center, Taipei Acquired from the above by the present owner

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000 卜茲 鶴壽 水墨 絹本 鏡框 48.5 x 19.5cm 釋文：鶴壽。 鈐印：陳（白文）、卜茲主人（朱文） 來源

鴻展藝術中心，台北 現藏家得自上述來源

68

640

PU Tzu (Taiwanese, 1959-2013)

Calligraphy in Cursive Script 1996 Ink on paper, scroll 179.5 x 40 cm Signed PU Tzu and Yong-mo in Chinese With five seals of the artists

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 卜茲 草書書法 1996 水墨 紙本 立軸 179.5 x 40 cm 釋文：巖懸青壁斷，地險碧流寒。 款識： （一）此真山之灋文則瀟然雄勝氣勢萬千極合於此宕逸繚 繞之式也。丙子年仲夏卜茲於東山草堂。 （二）丙子仲夏予邀卜茲兄至鳳凰谷避暑，山中多白雲， 樹下有清風，品茗論畫研墨揮毫，皆隨興之所至。此為當 時即席之作也，予觀卜茲作草如雷霆霹靂，莫能名奇妙， 所謂變動猶鬼神不可端倪也。志文先生囑題，永模謹記。 鈐印：肖型（白文）、陳宗琛（白文）、卜茲主人（朱文）、 陳氏（白文）、永模（朱文）

641

PU Tzu

卜茲

(Taiwanese, 1959-2013)

楷書破邪論序

Calligraphy in Regular Script 1998 Ink on paper, scroll 64 x 36 cm Signed PU Tzu in Chinese With two seals of the artist

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000

70

1998 水墨 紙本 立軸 64 x 36 cm （釋文略） 款識：破邪論序。歲次戊寅年十二月旦日，卜茲陳宗 琛於東山草堂。 鈐印：陳宗琛（白文）、卜茲主人（朱文） 簽條 款識：楷書破邪論序，卜茲陳宗琛書。 註 藝術家自題簽

642

PU Tzu

卜茲

(Taiwanese, 1959-2013)

草書釋貫休懷素草書歌

Calligraphy in Cursive Script Ink on paper, scroll 113 x 52 cm (each) Signed PU Tzu in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000

水墨 紙本 立軸 113 x 52 cm（每件） 釋文：張顛顛後顛非顛，直至懷素之顛始是顛。師不談經不說禪，經禪惟於 草書妙。顛狂卻恐是神仙，有神助兮人莫及。鐵石畫兮墨須入，金樽竹葉數 斗餘。半斜半傾山袖溼，醉來把筆獰如虎，粉壁素屏不問主，亂擊亂抹無規 矩。羅剎石上坐。珊瑚枝長大束束。天馬驕猿不可勒，東卻又西，南又北， 倒又起，斷復續。忽如鄂公鳩住單雄信，秦王肩上從著棗木槊。懷素師，若 不是星辰降瑞，即又是河岳孕靈。固宜須泠笑逸少，爭得不必醉伯英。天台 古杉一千尺，崖崩劁作抵何崢嶸。或細微，仙衣半折金線垂。或妍媚，桃花 半紅公子醉。我恐山為墨兮磨海水，天與筆兮書大地，乃能客展狂僧意。常 恨與師不相識，一見此書空歎息。伊音張渭任華葉季良，數子贈歌豈虛飾， 所不足者渾未道著其神力。石橋被燒邾，良玉土不蝕，錐畫涉兮印印泥，世 人世人爭得測，知師雄名在世間，明月清風有何極。 款識：釋貫休懷素草書歌，卜茲。 鈐印：卜茲（朱文）、東山草堂（朱文） 來源

現藏家直接得自藝術家本人

643

PU Tzu (Taiwanese, 1959-2013)

Calligraphy in Cursive Script Ink and colour on paper 210 x 300 cm Signed PU Tzu in Chinese With one seal of the artist PROVENANCE

Butchart International Contemporary Art Space, Taipei Acquired from the above by the present owner

NT$ 380,000 - 600,000 HK$ 106,000 - 168,000 US$ 13,600 - 21,500 RMB 89,000 - 140,000 卜茲 草書窗外蕉樹（雙拼） 朱墨 紙本 210 x 300 cm 釋文：窗外蕉樹 數株幽色出凡塵， 串串蕉容伴秋期。 從此靜窗接歸根， 覆命長伴狂書閑。 款識：溪心散人卜茲於芒樹屋。 鈐印：卜茲（朱文） 來源

布查國際當代藝術空間，台北 現藏家得自上述來源

72

74

「今人之習書法者，無不以古典傳統的領會，作為歷練個人書法造詣之法門；從對紙、墨、筆、心、手與文字的會 合中，展露出個人對生命、自然、人生的理解與感動，在書寫行動中，自然展現個人的風格與氣韻，但我渴望的是 超越風格，而能成就在歷史上具有價值的創意。」 －卜茲 畢生致力鑽研東方書藝的獨特性，從書藝創作架構繼承

線條的張力，如同日本白髮一雄融合舞蹈於平面藝術，

創新，把書法在筆墨、顏色、佈局、形態，甚至寫字過

感受卜茲伏地揮灑的力量，剎時振奮感官聯想，讓觀者

程上達致不同層面的突破。《草書窗外蕉樹》以朱墨書

體會藝術家的韻律節奏。跟隨著赤紅線條的走勢，眼睛

寫，屬較稀有的作品，巨大尺幅，滿密式佈局，是卜茲

停留在左下角的點點黑色墨跡，彷如無關聯的污漬，卻

最具標誌性的狂草書法作品。卜茲向來鑽研書藝的各種

又像電影謝幕文字，慢慢把觀者引領到右方的藝術家簽

思維空間，而此幅書法展現箇中錯綜複雜的關聯，突顯

名，完美結束這場視覺交響樂。

藝術家仔細入微的構思。雖說秋風蕭瑟，詩中描述窗外 的景象卻是生機盎然的常青蕉樹。卜茲巧妙地選用朱墨 為主要色調，主導濃厚秋意的畫面。傳統草書書體盤轉 翻騰的線條，盡顯萬緒枯藤的雄健蒼勁，斑斕枯澀的飛 白，猶如疾風輾起秋葉紛飛莽蕩的景象，為蕭瑟的秋天 煥然賦予清新澎湃的活力。巨大的尺幅強調狂草帶來的 瞬間震撼，站在作品面前，看著疾風飛舞的狂草，赤紅

陳永模於《悼卜茲》評述「古巖寒花性崛傲，忍辱衝霜 持高蹈；草書盤繞似秋藤，抗明追宋更上層。」藝壇廣 泛以老藤來形容卜茲的書法，給予書法界最高等級的肯 定。「老藤意、新葉出」，此幅書法正好證明卜茲畢生 的努力與使命：從傳統書法創造超越時代的價值，成就 台灣當代書藝的誕生。

"Classical calligraphy has a pivotal role in every calligraphy studies. The synchronization of paper, ink, brush, the mind and words express the calligrapher's interpretation and attachment towards life and nature. The process of writing characterizes one's mind and composure, yet I wish to reach a breakthrough by creativity."

- Pu Tzu Pu Tzu's entire life had been devoted to ink art by exploring a range of aspects through structure, ink, colours and forms. Calligraphy in Cursive Script, an enormous full frame work completed in coloured ink, is extremely rare in quantity among Pu Tzu's signature works. The depth of Pu's has been demonstrated through the meticulous composition and techniques used in this work. The poem depicts a vividly animated autumn scene of a banana tree outside the window.

The season is highlighted by coloured ink. Curvaceous lines demonstrate the roughness and sturdiness comparable to a lush and ancient vine. Dried and fragmented traces of ink enliven the work as autumn leaves stirred up by a gust of wind. The monumental size of the work in red augments the theatrical impact of expressive cursive script, as the movement of the （左圖）照片由藝術家家屬提供

body and brush of Pu Tzu imprints in the minds of viewers. Similar impact could be experienced with paintings by Japanese Gutai artist Shiraga. As the rhythmic beats echo with the vermilion lines till the end, casual patterns of black ink dots gently bring the eye towards the signature on the right, leading the theatrical symphony to an end.

Chen Yong-mo once compared Pu Tzu's calligraphy to an evergreen autumn vine that is strong and lush throughout the year, and that his skills reached beyond traditional Song and Ming calligraphers. Ancient vine has traditionally been deemed as the highest-level of recognition given to a calligrapher. Hence, an ancient and fecund vine would best depict Pu Tzu's life of devotion towards creativity from classical calligraphy.

644

TONG Yang-tze (Taiwanese, b. 1942)

Affable, but Not Adulatory 2015 Ink on paper 97 x 180 cm Signed TONG Yang-tze in Chinese With three seals of the artist PROVENANCE

Eslite Gallery, Taipei Acquired from the above by the present owner EXHIBITED

"Sayings of Confucius: Calligraphy Works of Tong Yang-tze", Eslite Gallery, Taipei, 17 June 2016 - 3 July 2016 ILLUSTRATED

Calligraphy Works of Tong Yang-tze, Eslite Corporation, Taipei, 2016, Plate 21 This lot is accompanied with a certificate of authenticity signed by the artist and issued by Eslite Gallery, Taipei.

NT$ 340,000 - 550,000 HK$ 95,000 - 154,000 US$ 12,200 - 19,700 RMB 79,000 - 128,000 董陽孜 和而不同 2015 水墨 紙本 97 x 180 cm 釋文：和而不同。 鈐印：董印（白文）、陽孜（朱文）、得之象外（白文） 來源

誠品畫廊，台北 現藏家得自上述來源 展覽

「子曰—董陽孜作品展」，誠品畫廊，台北，展期 2016 年 6 月 17 日至 2016 年 7 月 3 日 圖錄

《子曰 : 董陽孜作品集》，誠品股份有限公司，台北， 2016，圖版 21 附誠品畫廊開立與藝術家親筆簽名之原作保證書

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645

YU Cheng-yao (Taiwanese, 1898-1993)

Overlapping Mountains Ink on paper, framed 60 x 120 cm Signed YU Cheng-yao in Chinese With one seal of the artist EXHIBITED

"Three Masters of Art: Calligraphy and Ink Paintings

by Yu Cheng-yao , Shen Yao-chu, and Zhen Shan-xi", National Museum of History, Taipei, 20 December 2013 - 23 February 2014 ILLUSTRATED

Three Masters of Art Calligraphy and Painting by Yu Cheng-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, pp. 38-39

NT$ 700,000 - 1,000,000 HK$ 196,000 - 279,000 US$ 25,100 - 35,900 RMB 163,000 - 233,000 余承堯 連山絕壑 水墨 紙本 鏡框 60 x 120 cm 款識：余承堯。 鈐印：余承堯印（白文） 展覽

「閩臺三傑 - 余承堯、沈耀初、鄭善禧書畫聯展」， 國立歷史博物館，台北，展期 2013 年 12 月 20 日至 2014 年 2 月 23 日 圖錄

《閩台三傑：余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013 ，頁 38-39

《連山絕壑》以滿版橫幅構圖，黑白的筆墨紋理佔據畫面

圍著的卻是溫和的平原及靜謐的山村小屋，濃密的點線帶

的八分之一，山頂與遠方稀疏的線條對比黝黑的山體，整

著幾分安穩平靜。僻靜的村莊彷彿傳來微微的雞啼聲，小

體畫面增添幾分凍裂寒氣。溪澗涓涓而流，緩慢地把冰冷

孩的歡樂笑聲，或許這便是余承堯對山靈的回憶與情懷。

的溫度提升，引進主河流。錯綜的側筆皴擦表現繁密茂盛

余承堯一貫地把一幅黑白山水作品轉化為生機盎然的大自

的山麓，灰黑相間的山體突顯重巒疊嶂的浩瀚山川，余承

然風景，以激昂線條、安穩的點線帶領畫面帶領觀者走進

堯輕易地把黑白的山水活現於眼前。越過錯亂的皴擦，包

高低起伏的張力，重現扣人心弦的畫面。

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This painting is a monotone work with landscape occupying one-eighth of the frame. Sparse lines on the hill top and distant hills pose stark contrast with the intense dark body, suggesting freezing winter chills.

Water slowly flows gently downhill, soothing the frost as it joins the main river. Intermittent slanted cun highlight the luscious forest, while the black and grey overlapping mountains form this majestic landscape. Such techniques

create vividness to a monotone landscape. Encircled by the intersecting lines is tranquil pasture where a village lies. One may imagine hearing the noise of chickens and laughter of children. Such tranquil scenes could be a part of memories of Yu Cheng-yao. Through this work, the artist transformed a monotone painting into an animated scene through lines and dots.

646

YU Cheng-yao (Taiwanese, 1898-1993)

余承堯 劍門天下險．偶爾記前遊

Precipitous Mountain

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 113.5 x 43.5 cm Signed YU Cheng-yao in Chinese With one seal of the artist

釋文：劍門天下險，偶爾記前遊。

113.5 x 43.5 cm 款識：余承堯。 鈐印：余承堯印（白文）

NT$ 800,000 - 1,200,000 HK$ 223,000 - 335,000 US$ 28,700 - 43,100 RMB 186,000 - 280,000

《劍門天下險．偶爾記前遊》描繪四川的劍門關，地形陡 峭險峻讓這地段成為天然關隘，自三國蜀國已被定為重要 的歷史軍事重地。此幅前景垂直的輪廓線條突顯峭壁的險 峻，下方的小瀑布沿著堅硬的石頭而下，形成千絲萬縷的 流水，卻又展現大自然侵蝕與抵抗的抗衡力量。錯綜綠色 亂筆描繪茂盛樹叢的生命力，與外露壁石形成強烈的對 比。層巒疊嶂的峻奇山峰隨著山峽近景延伸至後方，顏色 漸淡，遙望遠方茂密的樹林為前方險峻的山勢帶來一點屏 息的空間。 四川既是藝術家的出生地，劍門關又有著重要歷史背景， 對熟悉軍事策略的余承堯必定有特殊的意義。此幅深遠的 構圖和密滿的佈局，反映藝術家對山河的深入了解，對大 自然的讚歎與敬仰，猶如唐代詩人李白以文字歌頌劍門 關：「劍閣崢嶸而崔嵬，一夫當關，萬夫莫開。」感嘆峭 拔的大自然在歷史上為人們提供屏障與保護，孕育了無數 家庭的成長。

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This work depicted Jianmen of Sichuan, a naturally formed barrier of Shu since the Three Kingdoms. The loftiness of the landscape is highlighted through the vertical outlines of the cliffs. A waterfall flows through the rocks with webs of lines, demonstrating the force of nature. Intermittent green lines highlight the luscious forest while forming a stark contrast with the bare rocks on the cliffs. Overlapping mountains stretch far beyond as colours fade into the distance, creating stillness which balances with the vivid foreground.

Sichuan is the birthplace of Yu Cheng-yao, while Jianmen carries a rich historical background, making this a symbolic scene to the artist. The full-framed structure reflects the deep understanding towards the landscape and his awe towards Mother Nature. As the famous poet Li Bai of Tang dynasty wrote, Jianmen is a solid guard by nature. This landscape protects a nation and its people, hence, the civilization that burgeons throughout history.

《週刊朝日》1956年2月5日號 82

書 寫的 夢

THE DREAM OF CALLIGRAPHY

井上有一 的 書 法

WORKS OF INOUE YUICHI

二戰後的日本快速走向「現在已非戰後復甦狀態」，經

井上有一曾提及他的書法藝術是「從陳舊的書法中解放

濟重整讓文化汰換有了理想的架構，各地趁勢興建的

出來，而且自由地開展了各種嘗試」，他成功地解構出

美術館與文化中心也為日本現代藝術的崛起提供了良

時代中真我的面目，成為其創作的核心，自此井上的作

好的培育環境，此外東京大都會美術館更於1947年開

品被推升到國際舞台，從早期如：1958年布魯塞爾萬國

始引介西方藝術家如：波洛克（Jackson Pollock）、

博覽會的「近代美術五十年」展、1959年卡塞爾文獻

羅斯科（Mark Rothko）、杜布菲（Jean Dubuffet）、

展、1994-95年古根漢美術館「1945年後的日本藝術：

馬格利特（Rene Magritte） 等人舉辦大型展覽；同時

向天空吶喊」大展，乃至近期2015年台灣關渡美術館、

期的日本亦有許多現代藝術團體成立，如知名的具體派

2016年日本金澤21世紀美術館、2016年中國紫禁城太

（Gutai art group）等，然而作為日本傳統藝術的書道

廟藝術館、2018年紐約大都會美術館，2020年清華大學

也開始興起一股前衛反動的波瀾。

藝術博物館等，幾乎全球所有重點的展覽均展出他的作

井上有一自1940年代後期便徹底批判並離開了傳統教養 式的書法訓練，隨後又切割了老師上田桑鳩所創建的現 代書道體制，1951年6月《墨美》雜誌創刊，封面圖版 為克萊因（Franz Kline）的版畫作品，專題討論「書道

品；他的書法創作更被視為東方現代書法藝術的先驅， 早年就為國際知名美術館所典藏，如：德國科隆東亞藝 術博物館、紐約大都會美術館、北京今日美術館、日本 東京、京都現代美術館、橫濱美術館等。

五十年史」與「弗蘭茲•克萊因特集」；此時的井上寫

1942年井上有一追隨上田桑鳩學習書法，更受唐代名

下《書法的解放》宣言，可看出他早已接觸前衛藝術運

家顏真卿的影響甚深，他震攝於顏體的磅礡書風並奉為

動，並且熟悉行動繪畫及抽象表現主義的激進概念，隨

圭臬，大量地臨摹碑帖以增進筆力，許多代表作更承自

後於1952年與森田子龍（Shiryu Morita）、長谷川三郎

《祭侄文稿》的真髓，在井上的推崇與影響下也帶動了

（Saburo Hasegawa）等人成立「墨人會」，創辦《墨

日本藝壇對於顏真卿的重新評價，顏書的野拙讓井上開

人》雜誌並擔任編輯（至第49期），提倡前衛書道，將

始有意識地進行書法創作，讓他的作品充滿著雄渾剛直

東西方藝術的創作技法與觀念進行揉合與催化，成為日

的神韻，並把他對於前衛藝術運動的體悟與解放精神的

本戰後現代書法發展大躍進的里程碑。

貫徹，將書法提升到一種獨立的存在：「文學性和造型

1954年井上受邀參加紐約近代美術館「現代日本書道 展」，自此日本的現代書法被納入前衛、具有前瞻性的 國際藝術風潮，與當時盛行的西方抽象表現主義匯合， 形成了一種東西方文化交流的時代趨勢；1955年歐洲巡 迴「現代日本書法展」、1957年入選「第四屆聖保羅國 際美術展」，井上是首次獲選的日本現代書法家，其作 《愚徹》更被收錄於英國評論家里德（Herbert Read） 《現代繪畫史》一書。井上儼然成為抽象藝術的代表 人物，與波洛克、克萊因等抽象藝術家齊名，成為當時 國際藝壇重要的先驅人物，他的藝術性也撼動並影響了 海外華人藝術家，如赴紐約發展的丁雄泉於1959年作 品《流星》以抽象形式表現出漢字書法的風格；趙無極 1957年抵美，亦受抽象行動繪畫與現代書法藝術之影 響，開啟了狂野、流暢的十年「狂草時期」風格。

兩者的完美結合就是書法。」他更多嘗試以不同的媒材 進行創作，如乾草把、肯特紙與瓷漆，致力於突破傳統 書法的枷鎖；每個時期的井上有一都會特別專注在某幾 個漢字的書寫上：「愚徹」、「貧」、「愛」、「花」 等字，這些都是井上給自己出的藝術命題，同時藉此 也能參照、對應著他的生命樣態，此幅1966年的作品 《夢》字特別代表了井上60年代生活的情狀：一是對於 母親的懷念。1961年新年元旦井上寫了「夢」字讓不識 漢字且病重的母親臨寫，其後母親病逝，井上將母親的 書法裝裱以示紀念，1984年NHK電視台採訪井上有一， 他特別提起這段往事，一往情深地說起母親所臨寫的 「夢」字，似乎思念的親情只能在夢裡找尋。其二是井 上有一在面對自己「五十後危機」時期，除了要面對西 方藝壇關注的轉移外，最讓他煎熬就是那段1966年無疾 而終的單戀，生命之苦澀於他猶「如夢幻泡影」。

「夢」整幅作品打破了漢書字體的結構，以西方裝裱取代

人現代藝術巨擘吳冠中更曾評賞「井上有一先生對書法藝

了書法的卷軸視框，改變了觀看者的視覺經驗，井上用他

術的貢獻給我們提供了有益的借鑑。」（《井上有一書

的身體去書寫，以性命為筆，大開大闔的運腕，將筆劃簡

法集》序）近年戰後現代藝術收藏市場有更多的聚焦在投

化成為一橫畫的筆式自左上延伸至右下轉筆、停頓、最

注在井上有一的書法作品，東方藝術的崛起並與西方藝術

後再以一點筆收式，畫面佈滿了強烈的律動感與表現張

的融合、世界現代前衛藝術史都無法忽略井上這位深具時

力，其中最特別之處在於用墨，是他在1960年代所特製

代性的書法藝術家，以相同品項《夢》字作品曾在拍賣市

的「凍墨」，有如中國水墨中宿墨的筆觸，能在紙面上作

場上創造出佳績：蘇富比拍賣2015年（拍品編號 714）拍

出水墨分離的效果，且可在線條裏一次呈現出暈染、飛白

得港幣937,500元、2017年（拍品編號 804）更拍出港幣

的效果，增添視覺觀看的變化性，「凍墨」的創作被公認

1,500,000元的高價！《夢》不僅是井上有一1960年代最具

為是他最具獨特特色的手法，不僅能讓作品帶有立體感，

代表性、話題性的作品，更因其珍稀難得成為國際藝術市

更是井上藝術生涯最巔峰、最精彩的時刻。井上有一成為

場上令人引頸期盼的精品，井上對於「夢」的書寫更是對

一位國際公認的日本書法藝術家，他的成就推進了日本對

他一生獻身於書法藝術的總結，藉由沉浸在書寫的生命提

於書道藝術的熱情，更是東方藝術向西方發聲的先驅，華

取出如夢初醒、純粹清淨的藝術靈魂。

Japan had a swift recovery from the Second World War. Its economic reformation created an ideal environment for a cultural shift, inducing a trend of burgeoning art museums and art centres, forming an ideal cradle for the rise of modern Japanese art. The Tokyo Metropolitan Museum held large scale exhibitions and introduced Western artists in 1947 including Jackson Pollock, Mark Rothko, Jean Dubuffet, Rene Magritte, etc. During this period, modern art groups, eg. Gutai art group was formed. A wave of avant garde beliefs opposing traditional Japanese art calligraphy arose.

June 1951, Bokubi (Beauty of Ink) was first published, showing a print of Franz Kline on the front cover. Essays regarding the history of calligraphy and a column of the art of Franz Kline were featured in the edition. This was the time when Inoue wrote a passage on the liberation of calligraphy. This shows the influence of the current avant garde art movement and his understanding of the radical concepts of action painting and abstract expressionism.

Later in 1952, Bokujinkai was founded by Inoue with Shiryu Morita, Saburo Hasegawa, etc. Inoue became the founder and the editor of the magazine, promoting calligraphy and the merge of concepts and techniques of Eastern and Western art. This constituted the transformation of modern post-war Japanese calligraphy.

Inoue Yuichi refuted the traditional calligraphy practice from the late 1940s and detached himself from the calligraphical approach of his teacher Ueda Sokyu. In

井上有一《夢》拍品編號804 水墨 紙本 鏡框 125x 218 cm 2017年10月2日香港蘇富比，成交價HK$ 1,500,000 Inoue Yuichi, Yume(Dream) Lot 804, sold for HK$ 1,500,000 at Sotheby's Hong Kong, October 2, 2017

84

《墨美》，創刊號 Bokubi, First Edition

In 1954, Inoue Yuichi was invited to join the exhibition “Modern Japanese Calligraphy” in the Museum of Modern Art in New York. Since this exhibition, modern Japanese calligraphy has been regarded as an avant garde and innovative international art trend, along with abstract expressionism, forming an exchange of cultures of the East and West. Inoue participated in major exhibitions in world recognized museums, such as the modern Japanese calligraphy travel exhibition in Europe (1955) and the 4th Biennale in São Paulo (1957), where Inoue was the first Japanese calligraphy artist to be elected. His work was documented in a modern art history book written by art critic Herbert Read.

Inoue became an international representative figure of abstraction art, along with Pollock and Kline. His art was influential to Chinese artists residing abroad, including Walasse Ting (New York), who created an abstract painting in 1959 featuring an abstract representation of Chinese calligraphy. Zao Wou-ki, who arrived in the US in 1957, was influenced by abstract action painting and modern calligraphy, thus embarking on a radical abstract art style which lasted for 10 years.

Regarding his calligraphy art, Inoue Yuichi described it as a liberation from traditional calligraphy that opened itself to multivarious experimentations. He created his representational artistic style that became a core in his art. His work has been exhibited in major museums, including “50 ans d'art moderne” at the Palais des Beaux-Arts in Brussels (1958), “documenta 2” in Kassel (1959), “Screams against the Sky, Japanese Art after 1945” at the Guggenheim Museum Soho in New York (1994-95), “YU-ICHI INOUE – A Retrospective, 1955 – 1985” at the 21st Century Museum of Contemporary Art in Kanazawa (2016), Taimiao Imperial Ancestral Temple, Beijing (2016), Metropolitan Museum of Art in New York (2018), Tsinghua University Art Museum in Beijing (2020).

His works were kept in prominent collections including Museum für ostasiatische Kunst in Cologne, Metropolitan Museum of Art in New York, Today Art Museum in Beijing, The National Museum of Modern Art in Tokyo and Kyoto, and Yokohama Museum of Art. Under the education of Ueda Sokyu in 1942, Inoue was influenced by the Tang calligrapher Yan Zhenqin’s stupendous calligraphy and imitated directly from stone rubbings. As Inoue propagated his ideologies, the Japan ink community started to rethink Yan’s calligraphy. Inoue’s calligraphy possessed the spirit of Yan and its boldness corresponded to the avant garde art movement and his liberated spirits, which elevated Inoue’s calligraphy as

a perfect combination of scholarly spirit and aesthetic form. He experimented art in different media, including hay, kent paper and enamel, thereby breaking away from traditional practice. He focused on writing individual characters represented on paper, e.g. poverty, love, flower. These are the representations of his state of life.

In the 1966 work Yume, the remembrance of his mother was represented. On the New Year’s Day of 1961, Inoue asked his mother to write Yume (Dream) on her sick bed.

With no recognition of Chinese character, his mother imitated the character on paper. After her death, Inoue sewed the paper onto a blanket covering her mother’s bed as a remembrance. This story was recounted in an interview with NHK in 1984, as the remembrance stayed in his dreams. Dream (yume) is also related to an unrequited love at his 50s in 1966, when the bitterness of life was kept in his dreams.

Yume was a breakthrough in the structure of Chinese character and the viewing experience through its Western frame. Inoue used his body and wrist movement during the creation. Simple strokes were used as the brush swung from left to right, finally stopping at a dot.

The whole work shows the artist’s drastic movement and rhythm. Special “frozen ink” was invented in the 1960s and was used in this work. Using the same theory of leftover ink in Chinese calligraphy, water and colour were detached and separated on paper. This accentuates the spread of ink and drip effect, inducing variations to the visual representation of ink. Frozen ink was regarded as his unique representation and this achieved a 3-Dimensional effect in calligraphy. This technique made Inoue reach the height of his artistic career as an internationally recognized Japanese calligraphy artist.

His achievements ignited the passion of Japan towards calligraphy art and brought Eastern art to the West.

Wu Guan-Zhong once praised Inoue Yuichi as a role model for other artists to follow. In recent years, works

by Inoue Yuichi have become the focus of the post-war modern art collection market, as they mark the rising of Eastern art and the merge with Western art. Inoue Yuichi is an artist who is irreplaceable in the avant garde art of world art history. The international market of Yume works has seen ongoing success, including the work (Lot 714) from Sotheby’s in 2015 selling for HKD 937,500 and another (Lot 804) in 2017 for HKD 1,500,000. Yume is the representative subject of Inoue Yuichi in the 1960s and has been well-received by the international art market.

Yume could even be regarded as the artist’s summary of his life, from which he found the purest spirit as in dreams.

647

INOUE Yuichi

井上有一

(Japanese, 1916-1985)

夢

Yume

1966 Ink on Japanese paper, framed 220.5 x 146 cm With one seal of the artist PROVENANCE

Private Collection, Japan Acquired from the above by the present owner ILLUSTRATED

Yu-Ichi: Catalogue Raisonné of the Works 1949-1985, Vol. 1 1949-1969, UNAC Tokyo, Tokyo, 1998, p. 451, cat. no.

66093

NT$ 1,700,000 - 2,800,000 HK$ 475,000 - 782,000 US$ 61,000 - 100,500 RMB 396,000 - 653,000

86

1966 水墨 日本紙 框 220.5 x 146 cm 釋文：夢 鈐印：有（白文） 來源

私人收藏，日本 現藏家得自上述來源 圖錄

《井上有一全書集：全 3 卷內第 1 卷 1949-1969》， UNAC Tokyo 株式會社，東京，1998，頁 451，編 號 66093

648

YU Chung-lin (Taiwanese, 1925-1985)

Magpies and Maple Tree 1984 Ink and colour on paper, framed 68 x 131 cm Signed Chung-lin in Chinese With two seals of the artist PROVENANCE

Acquired directly from the artist's family EXHIBITED

"Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-lin", National Museum of History, Taipei, 14 January, 2012 - 28 February, 2012 ILLUSTRATED

Elegance and Grace: A Commemorative Collection of Flower and Bird Paintings by Yu Chung-lin, National Museum of History, Taipei, 2012, pp. 34-35

NT$ 460,000 - 700,000 HK$ 128,000 - 196,000 US$ 16,500 - 25,100 RMB 107,000 - 163,000 喻仲林 楓葉綬帶圖 1984 水墨 設色 紙本 鏡框 68 x 131 cm 款識：甲子年秋日，仲林畫於台灣愚齋。 鈐印：喻仲林（朱文）、麗水精舍（朱文） 來源

直接得自藝術家家屬 展覽

《楓葉綬帶圖》作於1984年的秋日，全幅構圖豐沛飽滿，楓樹 枝幹從左方石頭延伸，層層的楓葉突顯畫作的深遂結構，亦展

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史 博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2 月 28 日

現丹楓迎秋，楓林如火的秋日情景。楓葉枝葉間兩隻綬帶一俯

圖錄

藝術家常年以來細緻入微的觀察，綬帶對話的神態，顯示藝術

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史 博物館，台北，2012 ，頁 34-35

家精煉純熟的筆法，把自己代入綬帶的情景，畫出栩栩如生且

一仰對望，一動一靜，尾巴的曲線帶動視線貫穿全幅的畫面， 強調綬帶優雅的姿態。精細的筆跡描繪準確自然的景物，反映

精彩絕倫的畫面。要了解藝術家的作畫心態，必須得與至親訪 談。依據其女兒的憶述，此幅畫為喻仲林晚期作品，隔年不幸 離開人世，可想像作畫當時藝術家耗盡僅餘的力氣精神，堅持 把宋代的雙鉤填彩表現到極致，是生前最後一幅嘔心瀝血的大 尺幅花鳥畫作。

88

Magpies and Maple Tree was made in the autumn of 1984.

This full-framed work was composed with a branch of maple tree stretching out from the rock on the left. Layers of maple leaves highlight the depth of the structure, while displaying their exquisite colours of autumn. Two magpies, one on the branch and one flying in motion, look towards one another. Curves of their tails guide the eyes of the viewer throughout the painting while highlighting the elegance of the birds. This shows the meticulous thoughts and skilful brush of the painter, while portraying himself as a bird, creating such an emotionally vivid painting.

To fully understand the thoughts of the painter, one must interview his closest relatives. According to his daughter, this work was the last large-scale masterpiece completed before the artist's death. A year before his death, the artist used strenuous power to meticulously paint in a standard equivalent to the one of prestigious Song school. In this work, magpies look into each other's eyes before the flying bird leaves the scene. As we put the work alongside the artist's timeline, the viewer could immediately associate this work with a message of farewell, thus making this work an intriguing and magnificent gift of the artist.

649

SU Chung-ming (Taiwanese, b. 1965)

蘇崇銘

Misty Mountains

水聲山色

2019 Ink on silver-flecked paper, framed 136.5 x 70 cm Signed Chung-ming in Chinese With two seals of the artist

水墨 灑銀箋 鏡框

NT$ 240,000 - 380,000 HK$ 67,000 - 106,000 US$ 8,600 - 13,600 RMB 56,000 - 89,000

90

2019 136.5 x 70 cm 款識：二 O 一九己亥，崇銘。 鈐印：蘇（白文）、崇銘（朱文）

650

PENG Kang-lung (Taiwanese, b. 1962)

彭康隆

Clouds and Mists

雲過

Ink on paper, scroll 94 x 65 cm Signed Kang-lung in Chinese With two seals of the artist

94 x 65 cm

NT$ 220,000 - 360,000 HK$ 61,000 - 101,000 US$ 7,900 - 12,900 RMB 51,000 - 84,000

款識：雲過，康隆。

水墨 紙本 立軸 款識：康隆。 鈐印：亢儂（白文）、彭（朱文） 簽條

註 藝術家自題簽

651

WU Shi-wei (Taiwanese, b. 1957)

Potted Flowers 2009 Ink and colour on paper, framed 64.5 x 67cm Signed WU Shi-wei in Chinese With four seals of the artists EXHIBITED

"Exhibition of Wu Shi-wei", Caves Gallery, Taipei, 6 November, 2010 - 25 November, 2010 ILLUSTRATED

Works of Wu Shi-wei, Caves Gallery, Taipei, 2010, p. 14

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000 92

吳士偉 妍姿 2009 水墨 設色 紙本 鏡框 64.5 x 67cm 釋文：妍姿。 款識：二 OO 九年己丑之冬，吳士偉畫。 鈐印：千花百草（白文）、吳士偉（朱文）、拈花微 笑（朱文）、欣欣向榮（朱文） 展覽

「華枝春滿」，敦煌畫廊，台北，展期 2010 年 11 月 6 日至 2010 年 11 月 25 日 圖錄

《華枝春滿—吳士偉畫集》，敦煌畫廊，台北， 2010，頁 14

652

ZHANG Guang-bin; TU San-hsin (Taiwanese, 1915-2016); (Taiwanese, b. 1965)

Landscape

1996 Ink and colour on gold-coated paper and paper, scroll 31.5 x 83 cm; 151 x 83 cm Signed San-hsin in Chinese With four seals of the artists

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000 張光賓；杜三鑫 青嶂琳宇 1996 水墨 設色 金箋紙 紙本 立軸 31.5 x 83 cm ; 151 x 83 cm 釋文： （上）不迷顛倒回環，自然遊戲三昧。 （釋文略） （下）青嶂琳宇。 款識： （下）丙子夏日於麗山寓屋作素仰並記。 鈐印： （上）杜三鑫印（白文）、散仙（朱文） （下）張（朱文）、光賓（白文）

653

Master of the Water, Pine and Stone Retreat

水松石山房主人

(British, b. 1943)

老絆石龍杖之一

The Dragon Sceptre of Old Stumble Stone 2014 Ink and colour on paper, framed 38 x 57 cm Signed Master of the Water, Pine and Stone Retreat in English With one seal of the artist EXHIBITED

“Let Ink be my Immortality - Ink Paintings by Master of the Water Pine and Stone Retreat”, Ping Art Space, Taipei, 6 June, 2014 - 20 June, 2014 ILLUSTRATED

Let Ink be my Immortality - Ink Paintings by Master of the Water Pine and Stone Retreat, Ping Art Space, Taipei, 2014, pp. 236-239

NT$ 120,000 - 200,000 HK$ 34,000 - 56,000 US$ 4,300 - 7,200 RMB 28,000 - 47,000

94

2014 水墨 設色 紙本 鏡框 38 x 57 cm （釋文略） 鈐印：水松石山房主人（朱文） 展覽

「墨者不朽－水松石山房主人水墨作品展」， 平藝術空間，台北，展期 2014 年 6 月 6 日至 2014 年 6 月 20 日 圖錄

《墨者不朽—水松石山房主人水墨集》， 藏新藝術有限公司，台北，2014，頁 236-239

654

KUO Hsueh-hu

郭雪湖

(Taiwanese, 1908-2012)

廈門虎頭山

Hutou Mountain of Xiamen 1969 Ink and colour on paper, framed 37 x 44.3 cm Signed Hseuh-hu in Chinese With one seal of the artist

NT$ 120,000 - 240,000 HK$ 34,000 - 67,000 US$ 4,300 - 8,600 RMB 28,000 - 56,000

1969 水墨 設色 紙本 鏡框 37 x 44.3 cm 釋文：廈門虎頭山。 款識：己酉夏日，雪湖作。 鈐印：雪湖（白文）

655

KUO Hsueh-hu

郭雪湖

(Taiwanese, 1908-2012)

蘭花

Orchid

1969 Ink and colour on silk, framed 44 x 50 cm Signed Hsueh-hu in Chinese With one seal of the artist

NT$ 120,000 - 200,000 HK$ 34,000 - 56,000 US$ 4,300 - 7,200 RMB 28,000 - 47,000

96

1969 水墨 設色 絹本 鏡框 44 x 50 cm 款識：己酉夏日，雪湖作。 鈐印：雪湖（朱文）

656

WANG Pan-youn

王攀元

(Taiwanese, 1912-2017)

山水

Landscape

Ink on paper, framed 68 x 70 cm With one seal of the artist

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000

水墨 紙本 鏡框 68 x 70 cm 鈐印：王后（白文）

657

LIU Tan (Chinese, b. 1953)

Frogs and Tadpoles Ink on paper, framed 26 x 30.5 cm With one seal of the artist PROVENANCE

Former collection of Zuimoxuan Collection Bonhams Hong Kong, 26 May 2017, Lot 286

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000

98

劉丹 青蛙蝌蚪 水墨 紙本 鏡框 26 x 30.5 cm 鈐印：劉丹畫印（白文） 來源

醉墨軒舊藏 香港邦瀚斯，2017 年 5 月 26 日，拍品編號 286 註 醉墨軒主人於 90 年代與劉丹來往甚繁，對中國藝術 常常交流切磋，常以畫作相贈。

658

CHEN Chi-kwan (Taiwanese, 1921-2007)

The Accumulation of Experiences Ink on paper, framed 23.6 x 31 cm With one seal of the artist EXHIBITED

The Pleasure of Small Things Early Ink Paintings by Chen Chi-kwan, Ping Art Space, Taipei, 27 December, 2013 - 17 January, 2014 ILLUSTRATED

The Pleasure of Small Things - Early Ink Paintings by Chen Chi-kwan, Ping Art Space, Taipei, 2013, pp. 10-11

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000

陳其寬 歷練 水墨 紙本 鏡框 23.6 x 31 cm 釋文：歷練。 鈐印：陳其寬印（朱文） 展覽

「微觀之趣－陳其寬早期水墨作品展」，平藝術 空間，台北，展期自 2013 年 12 月 27 日至 2014 年 1 月 17 日 圖錄

《微觀之趣—陳其寬早期水墨作品》，藏新藝術 有限公司，台北，2013，頁 10-11

659

LI Qi-mao (Taiwanese, 1925-2019)

Food Stall

Ink and colour on paper, framed 95 x 180 cm Signed LI Qi-mao in Chinese With two seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000

100

李奇茂 小吃 水墨 設色 紙本 鏡框 95 x 180 cm 款識：采風堂主人，李奇茂。 鈐印：李奇茂（朱文）、采風堂（朱文） 附藝術家與作品合照

660

AU Ho-nien (Taiwanese, b. 1935)

歐豪年 木棉

Cotton Tree

1979

1979 Ink and colour on paper, framed 69 x 90 cm Signed Ho-nien in Chinese With one seal of the artist

69 x 90 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

水墨 設色 紙本 鏡框 釋文：繁花如火幹撐天，客裏逢春見木棉。風雨故園 傷根落，何年結伴置歸船。 款識：己末三月，豪年並句。 鈐印：歐介印（白文）

墨 看 人心

KALEIDOSCOPE OF INK

姜義才的藝術

THE WORKS OF CHIANG YI-TSAI 中國書畫與當代或西方藝術最明顯的區分在於情感表達的深

然盤繞的老樹為雲霧空靈的留白帶來生氣，引領觀者到奔騰

度與溫度大於表面的視覺效果。歷年來的書畫家需要經過漫

不倦的瀑布。豐富的遊歷讓姜義才匯聚秘魯的浩瀚山景、意

長的鑽研、體會古畫的法度、以時間和人生經歷磨練藝術家

大利的浪漫人情味，結合藝術家寬博的心胸，於長卷的局限

的氣度，心手相印，反映在書畫的線條墨韻。書畫收藏鑑賞

空間體現水墨的詩韻，成為姜義才獨有的文人風景。

也出自同一個道理，畫面「美」的呈現是第一層的接觸，靜 心觀賞，對細節的探索，往往有出乎意料的發現。隨著時間 的沉澱，收藏家對書畫作品甚至藝術家產生感情，與古今藝 術家的對話，讓收藏體驗變得更撲朔迷離，這是書畫收藏的 溫度。

中國藝術重視詩書畫的表現，除了色彩、線條與筆法，構 圖與題詩提升畫面的韻味與和諧。《桃花幽鳴》（拍品編 號662）桃花樹從左方雅石延伸，清妍艷麗的蕾蕾桃花傾流 而下，繁花似錦的春意正濃，一隻黃鸝鳥傲立於枝幹吱吱 報喜。全幅典雅穠儷，不染俗塵，猶如古典交響樂曲以精準

現今21世紀都市人在資訊氾濫的時代，藝術家常常面對市場

和諧的旋律，建立清新俊逸、生氣勃勃的畫面。「毫末觀人

的壓力，能讓時間磨練個性的藝術家越來越少。擁有藝術史

心」若要了解一位藝術家的心境與性格，通常從他的作品尤

研究背景的書畫家姜義才自台灣師範大學美術系求學時期，

其書法可觀之。《集赤壁賦二十八字八尺隸書長聯》（拍品

履訪國立故宮博物院以研究大師的筆墨線條運用，用心鑽研

編號661）結構勻整，古樸渾厚，波磔流暢秀麗，遒勁典雅

近代書畫大師的畫論，以勤奮及謙虛的求學精神，體會書畫

的筆跡反映藝術家平靜寬博的個性與歷年的個人修行，以蘇

的精髓，養成書畫的古典氣韻。這種教育過程是書畫大師必

東坡的《後赤壁賦》詩句寄語人生。

經之路，張大千、溥心畬、黃君璧等均以古人為師，受歷史 古籍的熏陶，以得廣博氣度及溫雅柔逸的文人氣息。為跟隨 着大師的治藝之路，姜義才師承孫家勤及傅申，並與何浩 天、黃天才等藝術前輩切磋藝文，不斷求新求進步。姜義才 在書畫研究的深度與廣度被華人藝壇認同，也逐漸受國際市 場關注。身為少數的成扇創作者，姜義才的成扇作品最近被 納入荷蘭國家博物館收藏，對於這次國際性的收藏，絕對是 華人書畫藝壇的榮耀。

藝術鑑賞與收藏背後的意義在於與藝術品的交流，甚至與藝 術家的對話，非金額數字可以取替。當藏家介紹他們的收 藏，通常能了解一些共通又特別的故事。他們會熱情地分享 作品收集的過程，什麼時候遇見它們，更重要的是作品帶來 的共鳴與回憶：作品讓他們聯想到剛出生的姪女，或引起藝 術家甚至朋友間的互動，種種原因讓藝術品在生命中擁有不 可分割的價值。這份感情是獨特的，是精神的滋潤，也是藝 術家與藏家的連結。藝術家個人的修行表達於筆墨線條，滋

歷代書畫大師以遊歷增廣見聞，開闊心胸，姜義才亦是如

潤藏家的文化生活，是藝術家以真誠獻給藏家的禮物。藏家

此。廣遊歐洲南美的姜義才以現代華人書畫家的角度體驗外

與藝術家互動，支持一位當代藝術家成長，是以行動鼓勵藝

國的山川情懷，放眼世界，用心體會山水，國際性的閱歷讓

術家的發展，而藝術品帶給藏家的，是終身的陪伴。一位忠

姜義才變得闊達大度，同時亦反映在《湖山青夏》（拍品編

實的藏家楊美蓮曾為姜義才的作品寫了一段話《明淨淡雅 飄

號663）的情景裡。此幅以長卷的形式呈現青翠蔥鬱，綿延

逸出塵!》「欣賞姜義才的畫，如清新俊逸的詩，是相伴一

的山勢，隨著長卷慢慢打開，從右至左翻越松樹叢生和磷峋

生的雋情。心之所交，安心之處，與君老。」身為收藏家和

的山勢，雲霧繚繞的水氣把觀者帶到遼闊的湖面。一艘扁舟

忠心支持者，當一天看到粉絲成眾，這份喜悅猶如看著孩兒

泛起無數的漣漪打破寂靜，船上的旅客聊天歡聚。湖面的另

長大。深入體驗藝術，認識藝術家、筆法與作品，這才是收

一邊柳樹圍繞涼亭，一位登山者享受與湖邊禽鳥的對話。自

藏藝術的意義，成為收藏家畢生的樂趣。

102

The greatest differentiation between Chinese art and western and contemporary art is that the depth and intensity of emotions override its visual effects.

Chinese artists spend a lifetime studying techniques of representation and the expressions of ancient scrolls so as to gain the experience and eloquence which would eventually be demonstrated through the brush. A connoisseur of Chinese art would need to go through the same process of exploration, through the visual layer of aesthetics down to the exquisite details. As time passes, a subtle connection would be established between a piece of art with the artist. Such experience becomes an intimate conversation with an artist, intensifying the warmth and connection with an art collection.

In the hustle and bustle of the 21st century, the number of artists willing to dedicate the time to sharpen such eloquent senses are diminishing. As an art historian, Chiang Yi-tsai frequently visited the National Palace Museum while studying manifestoes of modern ink painters. As an avid learner, he mastered the skills and characteristics of classical paintings. This exact same path was pursued by great artists of Zhang Da-qian, Pu Hsin-yu and Huang Chun-pi, thus achieving the eloquence and subtlety of a scholarly character. Chiang pursued excellence through discussing art with masters and scholars. His diligence earned him recognition by the Chinese art community and beyond. As a prominent artist in fan art, his works were kept in the national collection by Rijksmuseum of Amsterdam, hinting at an international success.

Throughout history, Chinese artists embrace travel as a way to broaden the mind. As a global traveller, Chiang enhanced his experience with the landscape and cultures of foreign lands. The long scroll of Luscious Mountains (Lot 663) depicted a luscious landscape with meandering hills. As the scroll opens from right to left, a misty scene leads the eye from lush green pine trees and rugged landscape to a vast lake. A boat broke the silence by the laughter of scholars. Willows surround a kiosk sheltering a private conversation of a scholar and birds. Further left, crooked trunks of old trees enliven the blank mist, as it leads further to a vigorous waterfall. With his global travel

experience, Chiang managed to express the grandeur of Peru, the passion of Italians and the peace of mind of an artist into a narrow scroll, forming a unique piece of art.

A great scholarship in art, literature and calligraphy c a r r i e s e q u a l i m p o r t a n c e t o t h e s t r u c t u re a n d composition, so as to achieve harmony and elegance in a work. Bush-warbler Resting on Plum Blossoms (Lot 662) depicted a peach blossom branch extending from the left and pouring downwards. A yellow bird standing on a branch chirping with joy of spring. The work is elegant and vividly painted with high precision and in a gentle rhythm similar to a piece of classical music. Calligraphy is a perfect medium showing an artist's mind and character.

Calligraphy Couplet in Clerical Script (Lot 661) has a balanced structure with classic round strokes and fluent flow of lines. In addition to the choice of poem by Su Dong-po, the work reflects the artist's calm mind and eloquent character with years of training.

Conversing with an artwork and an artist is the true meaning behind connoisseurship and collection of artworks, beyond any monetary value. As collectors passionately introduce their collections, they would usually share special stories behind every treasure, namely how they met the work or a common association of a memory with the work. It could be the birth of their niece or nephew, an encounter with the artist or a friend.

These precious memories create a unique value to a piece of art. Such experiences are blissful nourishments to the mind and are also linkages between an artist and his collectors. The role of the artist is to transform his spiritual refinement into lines and dots, which nourishes the cultural journey of a collector. This is the most genuine gift from an artist to the collector. As a collector, the support given to the artist's refinement is crucial to his growth; while the artworks become lifetime companions to a collector, according to Lisa Yang, an avid collector of Chiang Yi-tsai’s works. The joy of seeing fellow supporters would be equivalent to seeing a child taking his first steps. Hence the true meaning of a collection lies in its experience, knowing the artist and his works in depth, and this will become a lifetime pleasure to the collector.

661

CHIANG Yi-tsai (Taiwanese, b. 1973)

Calligraphy Couplet in Clerical Script 2020 Ink on paper, scroll 240 x 26 cm (each) Signed CHIANG Yi-tsai in Chinese With six seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000 姜義才 集赤壁賦二十八字八尺隸書長聯 2020 水墨 紙本 立軸 240 x 26 cm（每件） 釋文：步雪堂歸臨皋 日月幾何行歌相答 破荊州下江陵 舳艫千里順流而東 款識：集東坡居士後赤壁賦廿八字石長聯，庚子大寒，姜 義才書於鶴汀。 鈐印：近墨香（白文）、澄心清神（朱文）、姜印（白文）、 義才（朱文） 簽條 款識：集赤壁賦二十八字隸書長聯，辛丑元宵佳日，姜義 才題。 鈐印：姜氏（白文）、義才（朱文） 註 藝術家自題簽

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662

CHIANG Yi-tsai (Taiwanese, b. 1973)

Bush-warbler Resting on Plum Blossoms 2021 Ink and colour on silk, framed 104 x 45 cm Signed CHIANG Yi-tsai in Chinese With three seals of the artist

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 姜義才 桃花幽鳴 2021 水墨 設色 絹本 鏡框 104 x 45 cm 釋文：桃花啼鳥喜新晴，湖上波光漾日明，底 事傷春心緒懶，不堪愁裡聽鶯聲。 款識：辛丑立秋，姜義才。 鈐印：鶴汀畫印（白文）、姜義才（朱文）、 澄心清神（朱文）

663

CHIANG Yi-tsai

姜義才

(Taiwanese, b. 1973)

湖山青夏

Luscious Mountains 2021 Ink and colour on silk, framed 12 x 180 cm Signed CHIANG Yi-tsai in Chinese With five seals of the artist

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000

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2021 水墨 設色 絹本 鏡框 12 x 180 cm 釋文：雲暗天初曉，光微鳥競鳴。橫枝掛殘月，嫩草 著香英。拾級登高處，穿林添逸情。山深人語少，地 僻水波清。疊嶂參差映，寒煙澒洞生。魚龍寂無影， 鴻雁偶傳聲。盤坐觀斯景，悠然忘名利。 款識：歲在辛丑大暑，寫湖山之遊以消暑，姜義才。 鈐印：姜（白文）、義才（白文）、閒雲（朱文）、 煙雲供養（白文）、佛（朱文）

664

KANG You-wei (Chinese, 1858-1927)

Calligraphy Couplet in Running Script Ink on paper, framed 170 x 43 cm (each) Signed KANG You-wei in Chinese With two seals of the artist PROVENANCE

Former collection of Mr Tong Shi-zhang Acquired directly from the family of Mr Tong Shi-zhang

NT$ 130,000 - 260,000 HK$ 36,000 - 73,000 US$ 4,700 - 9,300 RMB 30,000 - 61,000 康有為 行書七言聯 水墨 紙本 鏡框 170 x 43 cm（每件） 釋文：太華奇觀萬古雪，廣陵妙境八月濤。 款識：康有為。 鈐印：康有為印（白文）、維新百日出亡十六 年三周大地游遍四洲經三十一國行六十萬里 （朱文） 來源

童世璋先生舊藏 直接得自童世璋家屬 註 童世璋先生在黨政軍各界均曾擔任要職，並且 是官方文藝機構的重要成員，曾任空軍官校副 處長、國防部總政治部聯勤組長、臺灣省新聞 處主任等，曾獲中國文藝協會文藝獎章。童世 璋創作以散文為主，兼及論述、小說與傳記文 學。 此拍品與拍品編號 685 同為童世璋先生收藏

665

HUANG Chun-pi (Taiwanese, 1898-1991)

黃君璧

Appreciating Waterfall

臨亭觀瀑圖

1967 Ink on paper, framed 88 x 39.5 cm Signed HUANG Chun-pi in Chinese With three seals of the artist

水墨 紙本 鏡框

1967 88 x 39.5 cm 款識：丁末新春畫於白雲堂，黃君璧。 鈐印：君璧（白文）、黃君翁（白文）、容客樓（白文）

NT$ 120,000 - 240,000 HK$ 34,000 - 67,000 US$ 4,300 - 8,600 RMB 28,000 - 56,000

本件《臨亭觀瀑圖》匯聚黃君璧最擅長的主題雲靄和瀑 布。全幅畫面清幽恬靜，左方山巖高崇而立，沿壁綠樹以 重墨點染，蔥蘢蒼翠。前景以透視構圖製造懸疑的氣氛， 讓觀者透過崖上向外伸展的枝椏，探視後方的瀑布，引領 視覺至中後方重疊的山巒。雲靄飛瀑以黃君璧獨創的「雲 水二十法」暈染，淡墨直皴微微顫動，形成細小長流的瀑 布。垂瀑與煙雲相接，呼應上方遠山煙雲繚繞，形成霧 重烟晞，水氣氤氳的幽境。瀑布兩側的山石以筆法遒勁的 斧劈皺和直皺描繪，堅硬的石頭襯托朦朧的水氣。直瀑上 方一位高士在涼亭觀瀑，靜觀雲煙變化的靈奇，與觀者聆 聽飛瀑水聲，享受宏偉震撼的場景，突顯中國文人擁抱山 靈，遠離塵世的嚮往。

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This work assembles the best subjects of Huang Chunpi mist and waterfall. The tranquil scene throughout the work has been set up, as a cliff soars from the left. Thick dense ink has been applied to intensify the luscious vegetation. The frontal view has been partially blocked to create suspense as the viewer peeps through the outstretched branches to the waterfall, thereby extending further into a distance. To depict the mists and waterfall, Huang invented the Twelve Ways of Mist and Water.

Slight trembles of the brush and light ink create a gentle waterfall. As it reaches towards the end, the mists echo with those above in the distant hills, forming a humid heavenly scene. Rocks on the sides were created with swift axe-cun and straight cun, creating a stark contrast with the elusiveness of the mist. Located on the top is a scholar in a kiosk observing this natural wonder, accompanied by the viewer. Hence Huang has depicted not only a magnificent landscape, but also the scholarly pleasure of embracing Nature.

666

CHEN Chi-kwan

陳其寬

(Taiwanese, 1921-2007)

全家福

Family

Ink and colour on paper, scroll 33 x 43 cm Signed CHEN Chi-kwan in Chinese With one seal of the artist

NT$ 190,000 - 300,000 HK$ 53,000 - 84,000 US$ 6,800 - 10,800 RMB 44,000 - 70,000

110

水墨 設色 紙本 立軸 33 x 43 cm 款識： （上）繼生道兄雅屬，其寬書贈。 （下）陳其寬書。 鈐印：陳其寬印（朱文）

667

YU You-ren (Taiwanese, 1879-1964)

Calligraphy in Cursive Script Ink on paper, scroll 138.2 x 34.4 cm Signed YU You-ren in Chinese With one seal of the artist

NT$ 240,000 - 380,000 HK$ 67,000 - 106,000 US$ 8,600 - 13,600 RMB 56,000 - 89,000 于右任 草書秋登宣城謝脁北樓詩 水墨 紙本 立軸 138.2 x 34.4 cm 釋文：江城如畫裏，山曉望晴空。兩水夾明鏡， 雙橋落彩虹。人煙寒橘柚，秋色老梧桐。誰念北 樓上，臨風懷謝公。太白詩。 款識：志清先生，于右任。 鈐印：右任（朱文）

668

PU Hsin-yu (Taiwanese, 1896-1963)

溥心畬 秋江漁人

Fisherman at an Autumn River

水墨 設色 紙本 鏡框

Ink and colour on paper, framed 31 x 19 cm Signed Hsin-yu in Chinese With one seal of the artist

釋文：小舟泊向白鷗灘，溪水爭流峯翠攢。 巖穴有人尋未得，隔溪惟見釣魚竿。 款識：心畬。 鈐印：溥儒之印（白文）

31 x 19 cm

NT$ 180,000 - 280,000 HK$ 50,000 - 78,000 US$ 6,500 - 10,100 RMB 42,000 - 65,000

《秋江漁人》以斜角構圖，左方的石壁與秋林向右延伸， 一艘小舟緩緩經過，漁人看著畫面的左邊，呼應上方茂盛 的秋林，一邊觀賞隱藏在樹林的鳥雀，一邊謹慎地駕駛小 舟。神態的描繪是溥心畬作畫的特色，漁人聳肩斜看，雙 手划舟，鬍鬚隨風飄動，衣物變得皺褶，為畫面增添戲劇 情節的趣味。戲劇情節的元素卻不止於畫面。全幅從山上 沿著石壁秋林，以一位登山者的角度俯視河上的漁人，彷 彿等待漁人的目光跟他問好。整體構圖與題詩呼應「小 舟泊向白鷗灘，溪水爭流峯翠攢。巖穴有人尋未得，隔 溪惟見釣魚竿。」題詩彷彿延續畫面的故事，小舟將停泊 於海灘，溪水爭流，漁人設置釣魚竿，而漁人呢？可能就 是到岸邊與遠足的高士閒聊。戲劇性的「活」反映溥心畬 的內在個性，更是他對學生的要求，曾說：「若使山水、 翎毛、花卉有神，只有一次訣『活』。『活』者能使轉筆 迅速，頓挫不定，無遲滯板刻之病，此即用筆能『活』 也。」畫中的線條與題詩書法筆健神全，墨工兼備，橫平 豎直雅潔有致，透露溥心畬摹古的深厚鑽研，更是他畢生 的追求。

112

This painting has a diagonal structure with a rocky cliff on the left and the autumn forest on the right. A boat gently passed by with a curious fisherman glancing towards the hidden birds on the left, bringing the eye to the forest. Pu Hsin-yu paid special attention in depicting expressions, as shown by the crouched fisherman, his beard is swaying by the breeze and the folds of his clothes are clearly visible. This highlights the theatrical element in the painting. This theatrical aspect continues into the other compositions. The whole work sets nearby a cliff in the viewing perspective of a hiker looking down towards the fisherman, as if waiting to greet him as their eyes meet.

The inscription describes a story after the scene, that the beach was empty with a boat and a fishing rod. But where is the fisherman? One might guess he could be on the shore chatting with a hiking scholar. This theatrical suspense reflects Pu’s character and recalls his constant reminder to his students that a painting needs to be vibrant. This should be achieved through sophisticated swift strokes. This makes a work of art spring into life. Pu’s clever use of lines, inscriptions and calligraphy results in an elegant painting steeped in history.

669

YU Chung-lin (Taiwanese, 1925-1985)

喻仲林 松鷹

Eagle and Pine

1974

1974 Ink and colour on paper, scroll 98 x 62 cm Signed YU Chung-lin in Chinese With three seals of the artist

98 x 62 cm

PROVENANCE

Acquired directly from the artist's family EXHIBITED

"8th Fine Arts Exhibition of the Republic of China", National Taiwan Arts Center, Taipei, 25 March, 1977 - 11 April, 1977 ILLUSTRATED

8th Fine Arts Exhibition of the Republic of China, National Taiwan Arts Center, Taipei, 1977, p. 83

水墨 設色 紙本 立軸 款識：甲寅年中秋，山左喻仲林寫於台灣。 鈐印：喻仲林印（白文）、清泉郡（朱文）、愚齋（朱文） 簽條 款識：喻仲林松鷹圖 來源

直接得自藝術家家屬 展覽

「中華民國第八屆全國美術展覽會」，國立台灣藝術館， 台北，展期 1977 年 3 月 25 日至 1977 年 4 月 11 日 圖錄

《中華民國第八屆全國美術展覽專輯》，國立台灣藝術 館，台北，1977，頁 83 註

NT$ 280,000 - 400,000 HK$ 78,000 - 112,000 US$ 10,100 - 14,400 RMB 65,000 - 93,000

藝術家自題簽

《松鷹圖》作於1974年的中秋，描繪一隻鷹雙翼張開，

Eagle and Pine was made in the Mid-Autumn Festival of 1974.

It depicts a determined eagle looking afar with outspread wings, while its feet still hold onto a branch. This young eagle seems to be learning to fly or ready to leave its birth nest. The work is constructed with a horizontal perspective, hinting a side view of a parent watching his child getting ready to leave the scene. The juxtaposition of the excitement of the young and the grief of the parent compose an intense contrast of emotions within and outside the frame.

眼神堅定地凝望前方，雙腳還沒離開樹枝，卻開始拍打翅 膀，準備展翅高飛，是幼鷹學飛的情景，亦是成鷹準備離 巢的景象。平行的視線構圖，讓觀者代入幼鷹的父母，從 旁觀察兒女成長到展翅高飛，離開身旁。堅定興奮的幼 鷹，對比畫框外父母安慰又不捨的心情，雙方心情矛盾的 張力強烈展示於畫作。 據其家人憶述，1974年的中秋既是家人團聚的節日，也是 二女兒準備赴美留學的時間。身為父親，一方面惦掛著在 外的大女兒，又要面對另一位將要離巢的二女兒，萬分的 不捨同時也替女兒的錦繡前程感到安慰，因此執筆創造， 以美國的國鳥「鷹」為主題，把藝術家的心情投注於此幅 畫，成就既興奮又惆悵的矛盾心情。此畫對喻氏家族意義 重大，是女兒展翅的里程碑，也是對藝術家的惦念，因此 收納於喻仲林家屬重要收藏之一，現在首次露面於市場。

114

According to his family, the Mid-Autumn Festival of 1974 was a heavy time for the family, as the second daughter prepared herself for her studies in the US. As a father, Yu Chung-lin was thinking of his eldest daughter who was overseas, while preparing for the leave of his second daughter. On one hand, he was thrilled by his daughter's great future; while on the other, he was sad to face the separating family. Hence, he created this eagle, the national bird of the US, to express the opposing emotions within. This painting commemorated a significant milestone of his daughter and was thus treasured and kept in the collection of his family till this day.

670

HUANG Chun-pi; CHEN Zi-he (Taiwanese, 1898-1991); (Taiwanese, 1910-1984)

Four Seasons

1978 Ink and colour on paper, framed 34 x 33 cm x 2 (each) Signed HUANG Chun-pi and CHEN Zi-he in Chinese With sixteen seals of the artists

NT$ 480,000 - 700,000 HK$ 134,000 - 196,000 US$ 17,200 - 25,100 RMB 112,000 - 163,000 黃君璧；陳子和 四季山水 1978 水墨 設色 紙本 鏡框 34 x 33 cm x 2（每件） 釋文： （一）綠樹交加山鳥啼，清風蕩漾落花飛。鳥歌花舞太守醉， 明日酒醒春已歸。 歐陽修春日句。鳳城陳子和書。 （二）夜熱依然午熱同，開門小立月時中。竹深樹密蟲鳴處， 時有微涼不是風。楊萬里夏夜詩，鳳城陳子和書。 （三）園丁傍架摘黃瓜，邨女沿籬採碧花。城市尚餘三伏熱， 秋光先到野人家。陸放翁秋懷句。鳳城陳子和書。 （四）放船閒看雪山晴，風定奇寒晚更凝。坐聽一篙珠玉碎， 不知湖面已成冰。范石湖雪詩。鳳城陳子和書。 款識： （一）春水船如天上坐。戊午和夏於容客樓，黃君璧。 （二）夏木垂陰。戊午冬於香江，八十一叟黃君璧。 （三）秋山蕭寺。戊午初冬畫於香江容客，黃君璧。 （四）溪山雪霽。戊午夏，黃君璧。 鈐印： （一）子和（白文）、黃君璧（白文）、君翁（朱文）、 君璧八十歲後所作（朱文） （二）子和（白文）、黃君璧（白文）、君翁（朱文）、 白雲堂（朱文） （三）子和（白文）、黃君璧（白文）、君翁（朱文）、 白雲堂（朱文） （四）子和（白文）、黃君璧（白文）、君翁（朱文）、 君璧八十歲後所作（朱文）

116

黃君璧豐富的遊歷與寫生，讓他對自然景象瞭如指掌，以暢筆 把山川靈秀之氣揮灑於畫中。此四屏作品畫作分別以四季的景 色為主題，幽遠靜謐中帶有動態的佈局。每幀附陳子和對題詩 堂，分別來自歐陽修、楊萬里、陸放翁、范石湖，為靜態的景 色添上深層的詩意。四時景色皆以透視法構圖，以前後景提升 畫面的豐富層次。春景描繪翠溪春曉，草木葳蕤，「清風蕩漾 落花飛」，細筆繪漁人春江揚帆；夏景「竹深樹密蟲鳴處，時 有微涼不是風」，渾厚的濃墨染出山林蔥鬱與水氣氤氳；「尚 餘三伏熱」的秋天，遠山飛瀑滋潤疏朗的佈局；嚴寒的冬天冰 雪蓋地，「坐聽一篙珠玉碎」，閒看畫面的雪景，透出咄咄逼 人的寒意。

Huang Chun-pi was keen on observations and travels, which allowed him to paint landscapes in close resemblance, even to the spirit of nature. These four panels show tranquil scenes in four different seasons.

Each scene shows an animated feature in subtlety, while matching with a selected poem by Chen Zi-he. Western perspective was used to create depth in the painting. The Spring scene shows a luscious scene with a fishing boat while the poem enhances the vibrancy by hints of drifting petals and ripples along the spring breeze. Summer noise of insects echoes with the smothering heat in the woods, while the warm and dry autumn is relieved by a distant waterfall. The harsh cold winter landscape is covered with a blanket of snow as the ice cracks beneath a sailing boat, chilling the spine of viewers.

671

LIN Yu-shan (Taiwanese, 1907-2004)

Tigers

1986 Ink and colour on paper, framed 68 x 125 cm Signed Yu-shan in Chinese With four seals of the artist

NT$ 500,000 - 800,000 HK$ 140,000 - 223,000 US$ 18,000 - 28,700 RMB 117,000 - 186,000 林玉山 絕壑風生 1986 水墨 設色 紙本 鏡框 68 x 125 cm 釋文：絕壑風生。 款識：歲次丙寅新春，桃城人玉山寫於容膝堂。 鈐印：玉山（白文）、桃城散人（朱文）、法無定相（朱文）、 容膝草堂之人（白文）

《絕壑風生》作於1986虎年，取景於雲迷霧鎖的竹林間，

於歷代虎畫中，無出其右者。由此領略了脫離寫真的繪畫

兩隻體型壯碩的老虎自洞穴走出，緊盯著獵物，匍匐前

精神，其妙處不在仿自然的寫實作品之下。」林玉山實踐

進，爪子內縮，鬍鬚堅挺，筋肉崩緊，蓄勢待發，觀者從

了宋元畫傳神的宗旨，把老虎的眼睛瞳孔縮小，一方面表

旁觀看，彷彿感受到老虎的呼吸，不禁斂聲屏氣，感到寒

現老虎專注於獵物，另一方面突顯老虎凌厲的眼神，表現

顫生畏。猛虎捕獵的習性，肌肉爪子逼真的描繪，無疑

動物的神韻。畫面設於蕭瑟疏竹間，陰冷淒涼的氣氛下雙

是林玉山歷年寫生的成果，老虎獰猛的神態與戲劇性的

虎捕獵，猶如希治閣的電影，交代情景以突顯老虎氣勢凌

表情呈現，卻能追溯到藝術家對古畫的深入研究，其中受

人，令人凛然生畏。從臨摹廟宇的虎爺公，到動物園的寫

牧谿的墨虎圖影響尤其深厚。藝術家曾經寫道：「其（牧

生，到宋元傳神的走獸呈現，林玉山經過歷年的鑽研，虛

谿）造型之奇特，用筆之渾厚，氣魄直雄偉，傳神之妙，

心觀察臨摹，造就肅殺蕭颯的猛虎畫作，震懾藝壇。

118

This work was composed in 1986, the year of Tiger. It sets in a misty bamboo forest featuring two tigers crawling out from their dens eyeing on a pray. Their claws were tucked in, whiskers upright, muscles contracted, ready to spring to action. The scene is so intense that viewers could almost feel the breath of the tigers. The hunting habits of tigers was depicted in precision and was no doubt the fruit of the artist’s years of dedication. The dramatic expression of tigers could be traced back to his studies of paintings by old masters including Muqi.

Lin once wrote in admiration regarding the expression of

tigers and the use of ink in Muqi’s tiger paintings, so as to accentuate the expression of its spirits. In this painting, Lin followed the practice of Song Yuan paintings by reducing the pupil of tigers, which suggests the tigers’ concentration and their ferociousness. The setting was deliberately chosen in a chill and dampened forest, so as to intensify the tension as Hitchcock did in his movies.

From the tiger gods in temples to depictions on Song Yuan paintings, Lin’s relentless dedication towards perfection lead to such vibrant and fearful depiction of tigers that astound the art scene.

672

CHIANG Chao-shen (Taiwanese, 1925-1996)

Calligraphy Couplet in Running Script 1989 Ink on paper, framed 92 x 18 cm (each) Signed CHIANG Chao-shen in Chinese With two seals of the artist

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 江兆申 行書七言聯 1989 水墨 紙本 鏡框 92 x 18 cm（每件） 釋文：珍禽芳樹邊鸞，畫仙露明珠後主詞。 款識：己巳茮原江兆申書。 鈐印：江兆申印（白文）、茮原（朱文）

120

673

CHIANG Chao-shen (Taiwanese, 1925-1996)

Landscape

Ink and colour on gold-flecked paper and silk, framed 28 x 26 cm (each) Signed CHIANG Chao-shen in Chinese With five seals of the artist

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000 江兆申 宿立公山房圖 水墨 設色 灑金箋 絹本 鏡框 28 x 26 cm（每件） 釋文：（上）支遁初求道，深公笑買山。何如 石巗趣，自入戶庭間。苔澗春泉滿，蘿軒夜月 閒。能令許玄度，吟臥不知還。 款識：（上）孟浩然《宿立公山房》詩，江兆 申書。 鈐印：（上）可以自怡（白文）、江兆申印（白文） （下）江印（白文）、兆申（朱文）、依樣（朱文）

674

WANG Tian-de (Chinese, b. 1960)

Digital Series 2004 Ink on paper, burn marks 133.5 x 66.5 cm Signed Tian-de in English

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 王天德 數碼風景系列 2004 水墨 焰痕 宣紙 133.5 x 66.5 cm （釋文略）

122

675

WANG Zhong

汪中

(Taiwanese, 1925-2010)

行書報蔡明遠帖

Calligraphy in Running Script Ink on paper, scroll 69.5 x 34 cm (each) Signed Yu-an in Chinese With three seals of the artist

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

水墨 紙本 立軸 69.5 x 34 cm（每件） 釋文：蔡明遠，鄱陽人。真卿昔刺饒州，即嘗趨事。及來 江右，無改厥勤，靖言此心有足嘉者。一昨緣受替歸北， 中止金陵，闔門百口，幾至餬口。明遠與夏鎮不遠數千里， 冒涉江湖，連舸而來，不愆晷刻，竟達命於秦淮之上。又 隨我於邗溝之東。 款識：春雨濛濛小窗寐，偶撫平原此帖，交契歡情溢於楮 墨。雨盦。 鈐印：十孳（白文）、汪中酒後（白文）、泉自忘機（朱文）

676

CHIANG Chao-shen (Taiwanese, 1925-1996)

Calligraphy in Running Script 1987 Ink on paper, framed 33 x 132 cm Signed CHIANG Chao-shen in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

124

江兆申 行書東坡句 1987 水墨 紙本 鏡框 33 x 132 cm 釋文：月與高人本有期，掛簷低戶映蛾眉。只從昨 夜十分滿，漸覺冰輪出海遲。 款識：東坡句，國楨兄少冰夫人儷賞，丁卯夏日， 原江兆申書。 鈐印：江兆申（白文）、 原（朱文）

677

PENG Chun-shi (Taiwanese, 1896-1976)

Calligraphy in Running Script 1954 Ink on paper, framed 27.5 x 58.5 cm Signed PENG Chun-shi in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

彭醇士 行書書法 1954 水墨 紙本 鏡框 27.5 x 58.5 cm 釋文：清淺蓬萊水一灣，層臺坐據自高閑。賢王披 甲興家海，倦客攜樽對好山。豈有英雄同廣武，空 餘詞賦滿江關。知君最愛儋州老，已覺春生杖履間。 公延先生寄示生日，次勻延平王詩，求次為壽，並 乞吟正。 款識：甲午十二月廿一日，彭醇士。 鈐印：閑樂堂（朱文）、彭醇士印（白文）

678

XIAO Yu (Taiwanese, b. 1947)

Calligraphy in Clerical Script Ink on paper, scroll 229 x 55.3 cm Signed XIAO Yu in Chinese With two seals of the artist

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 小魚 隸書唐張繼楓橋夜泊 水墨 紙本 立軸 229 x 55.3 cm 釋文：月落烏啼霜滿天，江楓漁火對愁暝。 姑蘇城外寒山寺，夜半鐘聲到客船。 款識：唐張繼《楓橋夜泊》，小魚。 鈐印：秋月暝雲（朱文）、小魚（白文） 簽條 款識：張繼《楓橋夜泊》，小魚隸書。 註 藝術家自題簽

126

679

LUO Fu (Taiwanese, 1928-2018)

Calligraphy in Running Script Ink on paper, framed 138 x 33 cm Signed LUO Fu in Chinese With three seals of the artist ILLUSTRATED

Calligraphy of Luo Fu, Huoke International Art Limited, Taipei, 2001, p. 101

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 洛夫 行書七言詩 水墨 紙本 鏡框 138 x 33 cm 釋文：鷹隼旋於崖頂，大風起於深澤，麋鹿追逐落日， 群山隱入於蒼茫。 款識：錄自舊作巨石之變，洛夫書於雪樓。 鈐印：因為風的緣故（朱文）、獨雪樓（朱文）、 洛夫（白文） 圖錄

《雪樓書稿—洛夫書藝集》，霍克國際藝術股份有限 公司，台北，2001 ，頁 101

680

WU Ping (Taiwanese, 1920-2019)

Blessings

2002 Ink and colour on paper, framed 84 x 30 cm Signed WU Ping in Chinese With two seals of the artist PROVENANCE

Gloria Art Center, Taipei Acquired from the above by the present owner ILLUSTRATED

Paintings and Calligraphy of Wu Ping, Studio of Wu Ping, Taipei, 2003, p. 41

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 吳平 大耋平安 2002 水墨 設色 紙本 鏡框 84 x 30 cm 釋文：大耋平安。 款識：壬午新秋堪白吳平。 鈐印：吳平堪白之印（白文）、姚江（朱文） 來源

鴻展藝術中心，台北 現藏家得自上述來源 圖錄

《吳平堪白書畫集》，我思齋，台北，2003 ， 頁 41

128

681

AU Ho-nien

歐豪年

(Taiwanese, b. 1935)

喜上眉梢

Magpie and Plum Blossoms Ink and colour on paper, framed 39 x 54 cm Signed Ho-nien in Chinese With one seal of the artist

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000

水墨 設色 紙本 鏡框 39 x 54 cm 款識：慶炎先生清賞，豪年。 鈐印：歐豪年（白文）

682

SUN Yun-sheng

孫雲生

(Taiwanese, 1918-2000)

蘭花

Orchid

1983 Ink and colour on paper, framed 22 x 25 cm Signed SUN Yun-sheng in Chinese With two seals of the artist

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000

130

1983 水墨 設色 紙本 鏡框 22 x 25 cm 釋文：楚畹蘭芽茁，分來結好盟。 茶杯輕渥處，覺 有暗香生。 款識：七十二年歲癸亥夏，四月五峯山中寫，孫雲 生家瑞。 鈐印：孫家瑞印（白文）、雲生（朱文）

683

SUN Jia-qin

孫家勤

(Taiwanese, 1930-2010)

梅花

Plum Blossoms

1969 Ink and colour on paper, framed 24 x 71 cm Signed SUN Jia-qin in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

1969 水墨 設色 紙本 鏡框 24 x 71 cm 釋文：剪水凝霜妬蝶群，曲欄風味玉清溫。粉痕挹露 春含淚，夜色籠煙月斷魂。十里香雲迷短夢，誰家細 雨鎖重門。洗妝見說清明近，旋典春衣置酒樽。 款識：己酉歲暮寫明人句。野耘孫家勤畫於巴西聖保 羅。 鈐印：孫家勤（白文）、野耘（朱文）、清芬堂（朱文）

684

CHIANG Ming-shyan (Taiwanese, b. 1942)

Boats by the Willows 1984 Ink and colour on paper, framed 45 x 50 cm Signed Ming-shyan in Chinese With two seals of the artist

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000

132

江明賢 碧柳泛舟 1984 水墨 設色 紙本 鏡框 45 x 50 cm 款識：一九八四年三月於煙波樓，明賢。 鈐印：江（朱文）、萬物並作（朱文）

685

LU Fo-ting (Taiwanese, 1911-2005)

Landscape

1987 Ink and colour on paper, framed 55 x 45 cm Signed LU Fo-ting in Chinese With two seals of the artist PROVENANCE

呂佛庭 山水 1987 水墨 設色 紙本 鏡框 55 x 45 cm 釋文：林蔭苑屋靜，江闊天地寬。物候因時變，風雲醉眼看。 款識：丁卯臘月寫於台中東山，世璋吾兄方家正之。呂佛庭。 鈐印：半僧畫印（白文）、樂在琴書（朱文） 來源

Former collection of Mr Tong Shi-zhang Acquired directly from the family of Mr Tong Shi-zhang

童世璋先生舊藏 直接得自童世璋家屬

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

上款人「世璋吾兄」即為童世璋，在黨政軍各界均曾擔任要 職， 並且是官方文藝機構的重要成員，曾任空軍官校副處 長、國防部總政治部聯勤組長、臺灣省新聞處主任等，曾獲 中國文藝協會文藝獎章。童世璋創作以散文為主，兼及論述、 小說與傳記文學。 此拍品與拍品編號 664 同為童世璋先生收藏

註

686

CHU Ko

楚戈

(Taiwanese, 1931-2011)

長江萬里

Scholar Looking Over The River 1992 Ink and colour on paper, framed 35.5 x 78 cm Signed CHU Ko in Chinese With one seal of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

134

1992 水墨 設色 紙本 鏡框 35.5 x 78 cm 釋文：長江千萬里，何處是家鄉？忽見晴川樹，依稀 認漢陽。長嘯還江國，遲回別海鄉。春潮如有意，相 送過潯陽。元丁鶴年詩。 款識：一九九二年，楚戈於華府。 鈐印：楚戈（白文）

687

CHU Ko

楚戈

(Taiwanese, 1931-2011)

花繁葉茂

Blossoming Flowers 1986 Ink and colour on paper, framed 69.5 x 98 cm Signed CHU Ko in Chinese

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000

1986 水墨 設色 紙本 鏡框 69.5 x 98 cm 款識：雄獅美術創刊十五週年，以花繁葉茂為賀。丙 寅年三月於外外谿，楚戈。

688

WANG Zhong (Taiwanese, 1925-2010)

Calligraphy Couplet in Running Script Ink on paper, framed 92 x 16.3 cm (each) Signed WANG Zhong in Chinese With three seals of the artist

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000 汪中 行書七言聯 水墨 紙本 鏡框 92 x 16.3 cm（每件） 釋文：雨夜前庭春宿燕，花時舊苑曉啼鶯。 款識：雨盦汪中。 鈐印：長樂（白文）、汪中（朱文）、愚公（朱文）

136

689

CHU Jiu-ying (Taiwanese, 1898-1996)

Calligraphy Couplet in Running Script 1983 Ink on paper, scroll 136.5 x 34.5 cm (each) Signed CHU Jiu-ying in Chinese With two seals of the artist

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 朱玖瑩 行書五言聯 1983 水墨 紙本 立軸 136.5 x 34.5 cm（每件） 釋文：樹密琴書潤，樓高嘯詠清。 款識：明勇賢弟之屬，癸亥冬。 八十六叟朱玖瑩。 鈐印：安平久客（朱文）、抹布居 士（朱文） 註 上款人「明勇賢弟」即為書法家簡 明勇先生，曾任國立台灣師範大學 文學院文學系教授。

690

FU Shen (Taiwanese, b. 1936)

Calligraphy Couplet in Running Script 2019 Ink on gold-flecked paper, framed 85 x 17 cm (each) Signed FU Shen in Chinese With three seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 傅申 行書四言聯 2019 水墨 灑金箋 鏡框 85 x 17 cm（每件） 釋文：聽香讀畫，喫墨看茶。 款識：此聯多友常詞語可品可嚼。己亥仲夏，八十四翁， 傅申書。 鈐印：傅申（白文）、葫廬（朱文）、墨園（朱文） 附藝術家與作品合照

138

691

WANG Zhong (Taiwanese, 1925-2010)

Calligraphy Couplet in Clerical Script 1960 Ink on paper, framed 92.2 x 16.6 cm (each) Signed WANG Zhong in Chinese With three seals of the artist PROVENANCE

Gloria Art Center, Taipei Acquired from the above by the present owner

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 汪中 隸書七言聯 1960 水墨 紙本 鏡框 92.2 x 16.6 cm ( 每件 ) 釋文：高閣連雲朝赫赫，廣亭對月夜清清。 款識：庚子春雨盦汪中。 鈐印：長樂（白文）、汪中之印（白文）、愚公（朱文） 來源

鴻展藝術中心，台北 現藏家得自上述來源

692

FU Shen

傅申

(Taiwanese, b. 1936)

味無味

Calligraphy

2020 Ink on paper, framed 28 x 58 cm Signed FU Shen in Chinese With two seals of the artist This painting is to be sold with a photo of the work with the artist.

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000

140

2020 水墨 紙本 鏡框 28 x 58 cm 釋文：味無味。 款識：己未夏月雨後，八十四翁傅申書。 鈐印：墨園（朱文）、傅申（白文） 附藝術家與作品合照

693

AU Ho-nien (Taiwanese, b. 1935)

Calligraphy in Running Script Ink on paper, framed 91.5 x 40 cm Signed AU in Chinese With three seals of the artist PROVENANCE

Acquired directly from the artist

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 歐豪年 茶禪一味 水墨 紙本 鏡框 91.5 x 40 cm 釋文：茶禪一味。 款識：八十二叟歐介。 鈐印：友鹿山園（白文）、豪年（朱文）、歐 介印（白文） 來源

現藏家直接得自藝術家本人

694

JU Ming

朱銘

(Taiwanese, b. 1938)

盡興即可（兩件一組）

Calligraphy (A Set of Two) Ink on paper, framed 31.5 x 64 cm; 23.5 x 67.5 cm Signed JU Ming in Chinese With two seals of the artist

水墨 紙本 鏡框 31.5 x 64 cm; 23.5 x 67.5 cm 釋文：盡興即可。 款識：朱銘。 鈐印：（上）銘（白文） （下）朱銘（朱白文）

PROVENANCE

Kalos Gallery, Taipei Acquired from the above by the present owner

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 142

來源

真善美畫廊，台北 現藏家得自上述來源

695

A Pair of Carved Lacquer Wall Panels, Shaohua Mark H: 150.5 cm (each)

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000

19世紀 雕漆掛屏一對《少華》款 高：150.5 cm（每件）

琢玉玲瓏 EXQUISITE JADES 古玉的瑞與器

THE SACRED AND HUMBLE ARCHAIC JADES

古文化相信萬物有靈，與大自然共存，必須受制於宇宙

隨著年代的進步，藝術特徵顯得多變，繼華東文化以動物

的孕育與挑戰，為了求得溫飽，古文明信奉萬物的「元

為玉雕對象，龍鳳也成為藝術品的吉祥物，漢 鳳紋玉璧

氣」，培養古文明的信仰與拜祭文化。玉是大自然裡眾多

（拍品編號702）、漢 玉珩（拍品編號697）、春秋 龍紋

石頭中最具美的代表，為了表現最高等級的崇拜，把美石

玉飾（九件一組、拍品編號701）、春秋 雲紋玉環（三件

雕刻成宗教吉祥物件、工具，甚至配飾，建立信仰、拜祭

一組、拍品編號708）、戰國 龍形璜（拍品編號696）靈

禮制、維繫社會秩序，陪伴中華文化度過數千年的歷史。

動描繪龍鳳騰雲駕霧，蜿蜒遊走於迴旋卷雲的動態。

瑞玉敬天格物

玉器樸實無華

玉石溫潤剔透的特質，讓古人相信玉石可以接觸神靈，玉

縱觀古時的礦石，玉石的本質的硬度及韌度特別強，自然

件亦成為與神界溝通的工具，「以物事神」汲取神明的智

成為石器時期最重要的生活工具之一。早期在黑龍江支流

慧，祈求心靈的安穩。華東沿海文化出現了物精崇拜的

烏蘇里江濱的小南山文化，我們的祖先把玉雕刻成環、

概念，動物精靈形狀的玉雕。紅山文化 玉鷹（拍品編號

璧、管、珠，隨後演變成生活中不可缺少的工具，令這些

703）玉質溫潤璞雅，雕刻精簡，雙翼張開，雙腳內縮，

玉製器具造就中華文化的誕生及繁衍。紅山文化 青玉斧

背面的雙圓孔意味著吊飾展示著蒼鷹傲翔高空、俯瞰天下

（拍品編號707）、文化期 黃玉刀（拍品編號699）及文

的姿態，簡化的羽冠在頭部兩旁隨風飄蕩，翅膀張開的角

化期 玉瑗（拍品編號705），當中的器型和鑽孔方便繫於

度及線條顯示古人對萬物入微的觀察及深度的理解，才能

木柄等扶手，表面光素無紋，突顯溫潤的玉質，既有實際

巧妙地捕捉這位空中統領者滑翔的英姿。6000年前的古

用途，也是禮儀兵器與權力的象徵。

人相信玉鷹是信仰的載體，處於現代的我們一邊欣賞著這 位雄壯的使者，一邊幻想它曾承載的期盼和祝福。華西文 化則發展天體的崇拜，圓璧方琮代表「天圓地方」的宇宙 觀。西周 玉琮（拍品編號709），中間的圓孔既有傳達訊 息的作用，更代表著國家及家庭中心，一方面培育古文明 的宗教信仰，另一方面具有權力的象徵。到了西周至漢 代，玉覆面成為喪葬儀式不可缺少的部分，春秋 白玉覆面 一組（拍品編號700）淺刻雲紋，玉質剔透，將玉件縫上 絲織品，成為貴族保佑先人神靈平安的祭物。

玉飾巧奪玲瓏 除了宗教的意涵，溫潤通透的質地、交錯的自然石紋令玉 石昇華為眾所追求的藝術品。良渚文化 玉環（拍品編號 704）、良渚文化 錐形玉飾（拍品編號706）及齊家文化 玉璜（拍品編號698）光素無紋，其玉質的柔潤、鈣化的 質地與細密的石紋展現大自然的變幻，猶如溫柔拍打海岸 的白浪，突顯玉石永恆不衰的美。

144

玉石常伴中華文化，從日用工具昇華至藝術鑑賞品，後來 被賦予道德的象徵。《禮記·玉藻》「古之君子必佩玉，右 徵角，左宮羽。」佩戴玉飾走路鏗鏘響亮，猶如現代名媛 獨特的香水隨風飄揚，是一種宣言，更是一種身份品味的 象徵。鑑賞古玉為珍玉賦予全新藝術收藏觀，在春秋或更 早時期，貴族予以改造成為藝術品；最顯赫的古玉鑑賞家 清乾隆皇帝更為古玉賦詩，把古玉提升至君主貴族品味的 代表，與歷史共處，成為跨時代的閒情翫物。

Ancient Chinese culture believed that spirits exist in every part of Mother Nature. Hence, our ancestors pray to spiritual beings for prosperity. As the most exquisite rock on the planet, jades have been used in worship, practical tools and beautiful ornaments to promote faith, courtesies and order in an ancient society. Hence, they dominated the lives of Chinese Culture for thousands of years.

OBJECTS OF WORSHIP Translucent jades propagated spiritual beliefs as a communication tool with the spirits, hence providing wisdom and comfort to our ancestors. In the Eastern part of China, animals were common subjects of worship carved in jades. An Archaic ‘Eagle’ Jade Figure of Hongshan Culture (CA. BC 4700 - BC 2900) (Lot 703) has a minimalistic design with widespread wings and tuckedin feet carved in a translucent jade. Two holes on its back suggest a flying eagle when it is attached to a string. The simplistic crown that beats against the wind, the angle of its wings and lines underneath show our ancestors' deep understanding of nature. 6000 years ago, jade eagles were believed to carry messages, wishes and blessings which we could only envisage nowadays. In the Western part of China, people worshipped the cosmos, Heaven and Earth, represented by round jade discs and squared congs. An Archaic Jade Cong of Western Zhou Dynasty (CA. BC 1027 - BC 771) (Lot 709) has a cylindrical centre as a media of communications and power. Jade face covering pieces proliferated in Western Zhou until the Han dynasty. A Set of White Jade Face Covering Pieces of Spring and Autumn Period (CA. BC 771 - BC 476) (Lot 700) were incised with cloud patterns and carved with holes to be attached to silk masks, to bring blessings in rituals.

OBJECTS OF APPRECIATION The qualities of jades made them sought-after art objects. An Archaic Jade Disc, Huan of Liangzhu Culture (CA. BC 3300 - BC 2300) (Lot 704), Archaic Jade Pendants of Liangzhu Culture (CA. BC 3300 - BC 2300) (Lot 706) and An Archaic Jade Pendant, Huang of Neolithic Period, Qijia Culture (CA. BC 2000 - BC 1500) (Lot 698) have minimalistic design with distinct signs of calcifications and inclusions naturally formed from rocks, highlighting the beauty of nature.

Under the figurative influence of the Eastern Chinese Civilisation, dragons and phoenixes became featured figures of depiction. These meandering figures and

swirling clouds could be identified in A 'Phoenixes' Jade Disc (Lot 702) and A Jade Pendant, Heng of Han Dynasty (CA. BC 206 - AD 220) (Lot 697), 'Dragon' Jade Plaques (A Set of Nine) (Lot 701), Jade Discs Incised with Clouds, Huan of Spring and Autumn Period (CA. BC 771 - BC 476) (Lot 708) and A Jade Dragon-Shaped Pendant, Huang of Warring States Period (CA. BC 475 - BC 221) (Lot 696).

TOOLS AND MECHANICS The toughness of jades made them the ideal material for tools in the Stone Age. In the early settlements in Heilongjiang, jade tubes, discs and beads were common tools used at the birth of a civilisation. A Dark Green Jade Axe of Hongshan Culture (CA. BC 4700 - BC 2900) (Lot 707), An Archaic Yellow Jade Blade (Lot 699) and An Archaic Jade Disc and Yuan of Neolithic Period (CA. BC 6000 - BC 1500) (Lot 705) were carved in its forms with holes to be attached to poles. These tools are simplistic in design with pragmatic uses and as a symbol of power in a social hierarchical society.

Jades are ubiquitous objects in Chinese culture ranging from practical tools, art objects and symbols of composure and manners. Ancient scripts suggest that jade ornaments formed beautiful music, and this represented haute couture, a statement and the symbol of taste, which is equivalent to the perfume a woman wears in modern society. Archaic jades were considered as objects of appreciation since the Spring and Autumn Period or even earlier. Since then, jade connoisseurship gained popularity once again after Qing Emperor Qianlong wrote poems of appreciation for archaic jades.

Hence, such practice of conversing with the past was passed on to modern society.

696

A Jade Dragon-Shaped Pendant, Huang Warring States Period (CA. BC 475 - BC 221) L: 15 cm

NT$ 30,000 - 60,000 HK$ 8,000 - 17,000 US$ 1,100 - 2,200 RMB 7,000 - 14,000 戰國 龍形璜 長：15 cm

697

A Jade Pendant, Heng Han Dynasty (CA. BC 206 - AD 220) L: 15.5 cm

NT$ 70,000 - 140,000 HK$ 20,000 - 39,000 US$ 2,500 - 5,000 RMB 16,000 - 33,000 漢 玉珩 長：15.5 cm

146

698

An Archaic Jade Pendant, Huang Neolithic Period, Qijia Culture (CA. BC 2000 - BC 1500) L: 15.5 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 齊家文化 玉璜 長：15.5cm

699

An Archaic Yellow Jade Blade Neolithic Period (CA. BC 6000 - BC 1500) L: 11.5 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 文化期 黃玉刀 長：11.5 cm

700

A Set of White Jade Face Covering Pieces

春秋 白玉覆面一組

Spring and Autumn Period (CA. BC 771 - BC 476) L: 3.8 cm; L: 4.2 cm; D: 3.5 cm; D: 3.5 cm; L: 9.2 cm; L: 3 cm; L: 3 cm; L: 3.6 cm; L: 3.2 cm; L: 3.2 cm; L: 2.8 cm

直徑：3.5 cm ; 長：9.2 cm ; 長：3 cm ;

NT$ 120,000 - 200,000 HK$ 34,000 - 56,000 US$ 4,300 - 7,200 RMB 28,000 - 47,000

148

長：3.8 cm ; 長：4.2 cm ; 直徑：3.5 cm ; 長：3 cm ; 長：3.6 cm ; 長：3.2 cm ; 長：3.2 cm ; 長：2.8 cm

701

'Dragon' Jade Plaques (A Set of Nine) Spring and Autumn Period (CA. BC 771 - BC 476) L: 4 cm; L: 4.1 cm; L: 4.6 cm; L: 4 cm; L: 4.1 cm; L: 2.1 cm; L: 3.8 cm; D: 3.4 cm; L: 2.2 cm

NT$ 140,000 - 220,000 HK$ 39,000 - 61,000 US$ 5,000 - 7,900 RMB 33,000 - 51,000

春秋 龍紋玉飾（九件一組） 長：4 cm ; 長：4.1 cm ; 長：4.6 cm ; 長：4 cm ; 長：4.1 cm ; 長：2.1 cm ; 長：3.8 cm ; 直徑：3.4 cm ; 長：2.2 cm

702

A 'Phoenixes' Jade Disc Han Dynasty (CA. BC 206 - AD 220) D: 16.4 cm

NT$ 150,000 - 240,000 HK$ 42,000 - 67,000 US$ 5,400 - 8,600 RMB 35,000 - 56,000

150

漢 鳳紋玉璧 直徑：16.4 cm

703

An Archaic 'Eagle' Jade Figure Hongshan Culture (CA. BC 4700 - BC 2900) H: 4.5 cm

NT$ 650,000 - 900,000 HK$ 182,000 - 251,000 US$ 23,300 - 32,300 RMB 152,000 - 210,000

紅山文化 玉鷹 高：4.5 cm

704

An Archaic Jade Disc, Huan Liangzhu Culture (CA. BC 3300 - BC 2300) D: 8.3 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 良渚文化 玉環 直徑：8.3 cm

705

An Archaic Jade Disc, Yuan Neolithic Period (CA. BC 6000 - BC 1500) D: 10 cm

NT$ 90,000 - 180,000 HK$ 25,000 - 50,000 US$ 3,200 - 6,500 RMB 21,000 - 42,000 文化期 玉瑗 直徑：10 cm

152

706

Archaic Jade Pendants (A Set of Three) Liangzhu Culture (CA. BC 3300 - BC 2300) L: 4.3 cm; 6 cm; 7.2cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 良渚文化 錐形玉飾 (三件一組) 長：4.3 cm ; 6 cm ; 7.2cm

707

A Dark Green Jade Axe Hongshan Culture (CA. BC 4700 - BC 2900) L: 13.9 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 紅山文化 青玉斧 長：13.9 cm

708

Jade Discs Incised with Clouds, Huan (A Set of Three) Spring and Autumn Period (CA. BC 771 - BC 476) D: 3 cm; 3 cm; 7.8 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 春秋 雲紋玉環（三件一組） 直徑：3 cm ; 3 cm ; 7.8 cm

709

An Archaic Jade Cong Western Zhou Dynasty (CA. BC 1027 - BC 771) H: 4.8 cm

NT$ 80,000 - 160,000 HK$ 22,000 - 45,000 US$ 2,900 - 5,700 RMB 19,000 - 37,000 西周 玉琮 高：4.8 cm

154

710

A White Jade Figure Ming Dynasty (AD 1368-1644) H: 4.4 cm

NT$ 50,000 - 100,000 HK$ 14,000 - 28,000 US$ 1,800 - 3,600 RMB 12,000 - 23,000 明 白玉胡人 高：4.4 cm

711

A Bronze Censer with Two Mythical Beasts, Xuande Mark 17th Century D: 9.7 cm

NT$ 120,000 - 200,000 HK$ 34,000 - 56,000 US$ 4,300 - 7,200 RMB 28,000 - 47,000 17世紀 銅獸首耳圈足爐《大明宣德年製》款 直徑：9.7 cm

Seal 款

712

A Bamboo Root 'Elephant and Boy' Carving Qing Dynasty (1644-1911) H: 13.5 cm

NT$ 40,000 - 80,000 HK$ 11,000 - 22,000 US$ 1,400 - 2,900 RMB 9,000 - 19,000 清 竹雕童子騎象擺件 高：13.5 cm

713

A Sandalwood Spindle Back Meditation Armchair L: 89 cm; W: 76 cm; H: 80 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 檀木梳背禪椅 長：89 cm ; 寬：76 cm ; 高：80 cm

156

714

An Elm Wood Folding Chair L: 65 cm; W: 56 cm; H: 113 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 榆木清品交椅 長：65 cm ; 寬：56 cm ; 高：113 cm

715

A Pair of Elm Wood Yoke Back Chair in Ming Style L: 53 cm; W: 40 cm; H: 109 cm (each)

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 明式榆木四出頭官帽椅一對 長： 53 cm ; 寬：40 cm ; 高：109 cm （每件）

716

A Walnut Scholar's Desk L: 160 cm; W: 81 cm; H: 73 cm

NT$ 60,000 - 120,000 HK$ 17,000 - 34,000 US$ 2,200 - 4,300 RMB 14,000 - 28,000 胡桃木挖缺腿噴面式書桌 長：160 cm ; 寬：81 cm ; 高：73 cm

717

Enamelled Porcelain Snuff Bottles (A Set of Seven) 19th-20th Century H: 6.8 cm; 6.9 cm; 7.6 cm; 8 cm; 7.8 cm; 8 cm; 7.3 cm

NT$ 20,000 - 40,000 HK$ 6,000 - 11,000 US$ 700 - 1,400 RMB 5,000 - 9,000 19/20 世紀 瓷胎鼻煙壺 (七件一組) 高：6.8 cm ; 6.9 cm; 7.6 cm ; 8 cm ; 7.8 cm ; 8 cm ; 7.3 cm

158

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 2021 年 12 月 1 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.

2021 年 12 月 1 日之後，若欲參與競投領取牌號者需於台北拍賣預展期間 (2021 年 12 月 2 日至 12 月 4 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 12 月 4 日中午 12 點截止。

5.

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6.

如於 2021 年 12 月 1 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。

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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。

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若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價、服務費及其他費用 ) 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：上限新台幣壹佰萬元。 (2) 信用卡與銀聯卡：刷卡上限為新台幣壹佰萬元。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。 161

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 1st December 2021, 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$) or 001-234830-061 (US$) 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 1st December 2021, parties interested in obtaining a paddle number must submit a cash security deposit during the Taipei previews (From 2nd December to 4th December 2021). Acceptance will cease on 4th December by 12pm (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 1st December 2021.

6.

If the bidding deposit has been transferred prior to 1st December 2021, 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, buyer's premium, and other expenses) 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.

委託競投表格 委託競投表格須於拍賣24小時前送抵古文物及書畫部。競投表格可傳真至:

拍 賣 名 稱：羅芙奧 2021 秋季拍賣會 翰墨丹青 : 書畫及古文物專場

古文物及書畫部 電話：+886-2-2708 9868 ｜傳真：+886-2-2701 3306

拍 賣 編 號：TC2102

投標者資料 客戶編號

拍 賣 日 期：2021 年 12 月 4 日（星期六）下午 1:30

姓名

拍 賣 地 點：台北萬豪酒店三樓（博覽廳） 台北市中山區樂群二路 199 號

護照號碼/身份證字號/統一編號 電話號碼（住宅）

（手機）

拍賣期間之聯絡電話 (僅限電話競投) 電郵

傳真號碼

地址 拍賣品編號

名

稱

競投價 (新台幣) / (服務費不計在內)

※投標規則： 1. 茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 2. 本人知悉書面及電話競標乃羅芙奧為基於投標者之便利而提供代為投標之服務而不成立任何委託投標之契約，羅芙奧不因執行投標而負任何 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。 3. 本人同意如投標成功，本人應付之購買價款為最後落槌價加上服務費，服務費依業務規則第二條第4項之規定計算。(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。) 4. 本競投，本人同意並遵守本目錄所載所有業務規則。(包含但不限於羅芙奧不負瑕疵擔保責任及保證責任等規定) 5. 如投標者未曾於羅芙奧競投拍賣品，請附上投標者資料之副本及銀行證明資料。 6. 本人同意買家須知、投標者登記表格、委任競投表格及業務規則等附屬文件均視為本契約之一部分。 7. 羅芙奧基於上述原因而需蒐集、處理或非營利目的之利用投標者個人資料， 該資料將在前開蒐集目的之存續期間及依法令規定要求之期間內被處理或利用。

簽署 ：

日期：

羅芙奧在取得投標者之個人 / 公司資料及簽名後方才接受競標 簽名即代表確認以上登記 / 競投，詳閱並同意接受羅芙奧載於圖錄及網站內之業務規則

Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886 2 2701 3306 ravenel.com | ravenelart.com.cn

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ABSENTEE BID FORM The absentee bid forms must be delivered to Fine Chinese Works of Art and Paintings Department at least 24 hours before the auction begins. The bid forms may be faxed to: Fine Chinese Works and Paintings Department Tel: +886 2 2708 9868 ｜Fax: +886 2 2701 3306

Bidder's Details Customer Number

Name

Passport number/ID number/Unified Business number Tel (Home)

Auction

Date Sale No. Location Address

RAVENEL AUTUMN AUCTION 2021 Refined Brushwork: Ink Paintings and Works of Art Saturday, December 4, 2021, 1:30pm TC2102 Marriott Taipei 3F (Grand Space) No. 199 Lequn 2nd Road, Zhong Shan District, Taipei

(Mobile)

Tel (For Phone Bid) Email

Fax

Address Auction Lot Number

Title

Bid Price (NT$) (Not including Buyer's premium)

※Bidding rules： 1. It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.

2. I understand and agree that Ravenel provides such bid services for the convenience of customers and no contract or agreement shall be constituted. 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.

3. I understand and agree that if my bid is successful, I shall pay the final hammer price together with the buyer's premium. For detail please refer to Article 2,section 4 of the Transaction Agreement to the buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the 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, the first NT$ 32,000,000 should be calculated at 20% and the rest of the amount should be 12%.)

4. The bid shall be subject to the Transaction Agreement prescribed in the catalogue.(including but not limited to Ravenel's non-defect warranty and non-guaranteed liability).

5. If the bidder has not bid for the auction item at Ravenel, please attach a copy of the bidder's information. (Individual: ID card or passport with photo issued by the government) 6. I agree that the Notice To Bidders, Bidder Registration, Absentee Bid Form and Transaction Agreement and other attached documents are regarded as part of this agreement.

7. Ravenel will collect, process and use the personal data provided by the client for auction-related matters and other non-profit purposes.

Signature：

Date：

We accepts the bid only after obtaining the personal/company information and signature to execute this bid.

By signing this form, you confirm your registration/bid(s) as above and you agree that you have read and understood our Transaction Agreement as stated in our catalogues and on our website.

Ravenel Ltd. 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan Tel: +886 2 2708 9868 | Fax: +886 2 2701 3306 ravenel.com | ravenelart.com.cn

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。

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。

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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

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 and shall not be deemed the basis for the statements of actual fact. The photo-

3.

graphs 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.

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.

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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.

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 puntive 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 bidding 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

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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.

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.

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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