中誠國際藝術2013年春季拍賣目錄

ZHONG CHENG

TA I P E I

Chinese Contemporary Art & Sculptures

9 June 2 0 1 3

財團 法人

台灣兒童暨家庭扶助基金會

參與扶幼工作，歡迎洽詢家扶基金會本部 04-22061234 或 洽全國各地家扶中心 www.ccf.org.tw

001

JU MING-Taichi Series- Kick 朱銘-太極系列－踢腿

002

JU MING-Taichi Series - Arch 1991

朱銘-太極系列－拱門

JU MING-Taichi Series - Pushing Hands 1996

朱銘-太極系列－推手

1991

CHU TEHCHUN-Le 25.10.1976 朱德群－25.10.1976 1976

XUE SONG-Spring Dawn 薛松－亭樹春曉

2009

ZHOU CHUNYA-Heigen 周春芽－黑根 2000

003

004

005

Specialists and Client Services for Buyers and Sellers For assistance and further information about this sale, please contact and following: CUSTOMER SERVICE AND SPECIALISTS Taipei Vivian Hsiao Managing Director vivian@art106.com Wayne Hsiao Deputy General Manager wayne@art106.com Michelle Wang Sales & Marketing Dept. Supervisor michelle@art106.com Corrina Lee Art Administrator corrian@art106.com Jenny Chen Art Administrator art@art106.com Harold Wang Marketing & Promotion Dept. harold@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

Taichung Rebecca Hsieh Art Administrator rebecca@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Deputy General Manager wayne@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

PHONE BIDS AND WRITTEN BIDS The clients who are not able to attend the auction are welcome to bid by phone or may use the bidding forms attached at the back of the auction catalogue to place your bids. Due to the limited phone line services at the auction, please inform us at least 24 hours prior to the auction for arrangements. Particularly for foreign language assistance.Please contact: Wayne Hsiao wayne@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 CLIENT ACCOUNT & PAYMENT Payment details are described at the back of the catalogue. If you need any futher information, please contact our financial department.

Andrea Tsou andrea@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 STORAGE AND SHIPPING 1.

All the items will be available for collection as soon as the payment is settled.Buyers are advised to collect facilitating storage arrangements and handing procedures.

Pers o nal a nd c o mpa ny che cks w ill be accepted, and the items will be available for collection as soon as the checks are cashed. Credit cards or traveler’s checks will be accepted, please contact our financial department for detail information. Other items may be collected at Zhong Cheng O f f i c e. S e r v i c e i s ava i l a b l e 0 9 :3 0 a m 18:30pm, Monday through Friday.

2.

Our Professional administration department may make recommendations of arrangement or the most appropriate transportation for you Taipei Corrina Lee corrina@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Rebecca Hsieh rebecca@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703

006

GENERAL CLIENT SERVICES For services of Buy & Sell, Appraisals & Valuations, Auction Schedule and Catalog Subscription, please contact: Michelle Wang michelle@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 OFFICIAL WEBSITE Please visit Zhong Cheng’s official website for more information www.art106.com OTHERS Zhong cheng is delighted to provide you the condition report of any of the items 48 hours before the auction. However, the buyers should fully compreheand that all items at the auction are sold ‘as is’. For details, please refer to the Transaction Agreement at the back of the catalogue.

Please refer to the ‘Transaction Agreement to the Buyers.’

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007

A ALFRED BASTIEN

E 巴斯天

008 014 020

ENDRO

安卓

076

021 124 ANDRE BRASILIER

安德烈．布拉吉利 197

F

ANDY WARHOL

安迪沃荷 201

FU CHUANFU

傅狷夫

ANDY YANG

安迪．楊 140

FUOJITA TAKAYASU

藤田孝保(茶壺) 163

AYA TAKANO

高野綾

JOAN MIRO

米羅

169 170

JU MING

朱銘

039 040 083

117 129 195

K

GAO HUIJUN 畢費

055

128

G

BERNARD BUFFET

江明賢

104 105 106

135

B

JIANG MINGXIAN

高惠君

120

085 183 184

KANG YOUWEI

康有為

089

KUNIHIKO NOHARA

野原邦彥 154

KUO JENCHANG

郭振昌

030 047 056

H HE DUOLING

何多苓

034

L

167

HE SEN

何森

037

LAI YUCHENG

賴昱成

075

CHANG WANCHUAN 張萬傳

009 077

HIDEAKI KAWASHIMA 川島秀明 131 136

LEE TZEFAN

李澤藩

078

CHANG YOSHIO

125

HIROYUKI MATSUURA 松浦浩之 133 175

LEONARDO DA VINCI

李奧納多．達文西 065

CHEN CHENGHSIUNG 陳正雄

043 192

HONG JUILIN

洪瑞麟

054

LI MEISHU

李梅樹

090

CHEN DANQING

陳丹青

097

HSIAO CHIN

蕭勤

031 064 069

LIANG QICHAO

梁啟超

032

CHEN LAIXING

陳來興

016

HSIAO YI

蕭一

061 118

LIAO SHIOUPING

廖修平

199

CHEN TINGSHIH

陳庭詩

122

HSIEH HSIAOTE

謝孝德

188

LIM KACKEONG

林克恭

018

CHEN YILANG

陳義郎

119

HUANG CHIHYANG

黃致陽

057

LIN SHIENMAO

林憲茂

033 079 080

CHEN YINGTEH

陳英德

005

HUANG TUSHUI

黃土水

164

LIU JIUTONG

劉玖通

059

CHEN YINHUI

陳銀輝

002 013 067

HUNG TUNG

洪通

116

LIU KENGI

劉耿一

123

CHEN YUNJUN

陳雲君

193

HUNG YI

洪易

062

LIU KUOSONG

劉國松

086 110

CHENG CONGLIN

程叢林

098

HWANG JYI

黃楫

114

LONG CHINSAN

郎靜山

001 041 042

CHENG MAOHUANG 曾茂煌

187

CHENG SHANHIS

鄭善禧

185

J

CHIU YATSAI

邱亞才

022 058 060

JAN CHINSHUI

詹金水

112

JEAN JANSEM

強．詹森 189

M

JEAN-MICHEL BASQUIAT

尚．米榭．巴斯奇亞 070

MARC CHAGALL

馬克．夏卡爾 200

MULYO GUNARSO

穆里歐．固納爾索 130

C CAI GUOQIANG

008

蔡國強

張義雄

CHU TEHCHUN

朱德群

091 176

CHUANG CHE

莊喆

066

081 082 127 LUO ZHONGLI

羅中立

035

026 115

N

W

NORIYUKI NAKAYAMA 中山德幸 132

WALASSE TING

丁雄泉

YU CHENGYAO

余承堯

019 050

007 012 073

YU YUJEN

于右任

010

172

YUYU YANG

楊英風

048 049 101

WANG HUAIQING

王懷慶

144

063 149 173

WANG SOYING

王守英

068

174 196

WANG WENPING

王文平

134

Z

龎均

003 017 025

WU CHANGSHUO

吳昌碩

088 111

ZAO WOUKI

趙無極

143 168 178

PIERRE FERNANDEZ ARMAN 阿曼

027 028 044

WU HAO

吳昊

023

ZHANG XIAOGANG

張曉剛

155

ZHENG ZAIDONG

鄭在東

015 029

ZHOU CHUNYA

周春芽

092 094 095

ZHU QIZHEN

朱屺瞻

052

P PABLO RUIZ PICASSO 畢卡索

PANG JIUN

045 074 107

PU RU

溥心畬

161 162

X

011

XIANG JING

向京

099

XUE SONG

薛松

096

楊識宏

006 024 046

102 103 121

S SAD JI

沙耆

053

SALVADOR DALI

薩爾瓦多．達利 38 177

Y YANG CHIHUNG

087 153

181 182 SHEN CHETSAI

沈哲哉

004

YANG HSINGSHENG 楊興生

194

SHIY DEJINN

席德進

051

YANG SANLANG

楊三郎

084 108

YANG SHU

楊述

100

YANG XUYUYAN

楊許玉燕 109

YAYOI KUSAMA

草間彌生 138 145 146

T TAKASHI MURAKAMI

村上隆

137 141 142 147 148 151

150 152 166

156 157 158

179 180

191

YE YONGQING

葉永青

095

TAO SHOUBO

陶壽伯

186

YEH HUOCHENG

葉火城

126

TING SHAOKUANG

丁紹光

198

YEH TZUCHI

葉子奇

113

TOTOK SUDARTO

托卡．蘇達圖 139

YIN XHAOYANG

尹朝陽

036

TSAI MINGHSUN

蔡明勳

160

YOSHITOMO NARA

奈良美智 071 072 165

TSAI YUNCHENG

蔡雲程

159 171

190

009

001

|

LONG CHINSAN ( 1892-1995 ) Bamboo Trail

郎靜山

36.5×24.5cm Photograph Silver Gelatin With one seal of the artist

竹徑通幽

PROVENANCE Private collection, Australia ILLUSTRATED "SELECTED WORKS of CHIN-SAN LONG",Photographic Research Institute of College of Chinese Culture,1971,page 63

NT$60,000-130,000 US$2,000-4,300

1932 銀鹽 相紙 鈐印：郎靜山 來源：澳洲私人收藏 圖錄 《中華大典六十年攝影選輯》中華學術 院攝影研究所刊行 1971年第63頁

《竹徑通幽》源出於唐代詩人常建的《題破山寺後禪院》詩：「清晨入古寺，初日照高林。竹徑通幽處，禪房花木深。山光悅鳥 性，潭影空人心。萬籟此俱寂，惟餘鐘磬音。」詩人在旭日初升時穿過竹林小路，走到幽深的後院，發現唱經禮佛的禪房就在 花叢樹林深處。這樣凡塵如洗、俗念頓泯的環境，使詩人與眾僧喜悅一同融入那悠揚的鐘磬聲中。 010

002

YINHUI | CHEN Tamsui Fish Boats

( b.1931 )

39.3×54.5cm Watercolor Ink on Paper Signed Y CHEN in English, dated 1977 With one seal of the artist

陳銀輝 淡水漁船 1977 水彩 紙本 簽名：Y.CHEN.1977 藝術家鈐印

陳銀輝在造形規則上取於立體派，在大膽的用色上，效法於 野獸派，更模倣超現實派及抽象主義的情境與律動性，呈現 出獨樹一幟的現代繪畫風格。陳銀輝曾自述：「繪畫不在於

求形象；而在於表現意境，過份的感性，雖然具有高度熱 情，卻缺乏耐人尋味的形式美與內涵；反之，過份理性，雖 有造型與構成之裝飾美，卻過份嚴謹而令人難以投入。」 《淡水漁船》船隻並排停靠於岸邊，水藍與湛藍交疊出天空 與海水，藍色漸層的船身，與船艙多彩濕潤的渲染，充滿水 氣的港邊，充滿漸層藍的畫面，使港邊的工作多了份優閒愜 意。整幅筆觸少直線，輪廓皆由曲線來詮釋，曲線彼此在畫 面裡連綿牽起，營造節奏、韻律性不間斷的音樂性。

NT$80,000-100,000 US$2,600-3,300

011

003

JIUN | PANG Mountain

( b.1936 )

53×65cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2005

有「繪畫神童」之稱的龎均教授，出生於上海的文人藝術家庭。其 曾師承林風眠、徐悲鴻、董希文、李可染等前輩，在對油畫色彩的 掌握更有獨到的經驗和見解。 畫面僅做山的描寫，其實別有用意，為祝賀喬遷之喜，藝術家繪一

龎均 泰山之安 2005 油彩 畫布 簽名：龎均 均 2005

NT$150,000-200,000 US$4,900-6,600

012

山給主人，做為鎮宅與保佑家裡平安等用途。 甲骨文

像起伏連綿的群峰線描，有三座峰頭。《泰山之安》描寫

山的外形，同時也描寫山字，採用疾快與順暢轉折的水墨線條，表 現出磅礡、穩定的氣勢。

004

CHETSAI | SHEN After a Storm Comes a Calm

( b.1926 )

24.5×33.2cm Oil on Canvas Signed Chetsai in Chinese, dated 1986 ILLUSTRATED "First National Ten Outstanding backbone • Zhongqing painter Group Exhibition", LI SHIH-CHIAO Art Museum , Taipei, Taiwan, 1994, Page10"

沈哲哉

沈哲哉的創作題材主要圍繞在風景和人物，受

雨過天青

廖繼春及郭柏川的指導，在設色觀念和素描基 礎上非常紮實。因為他喜歡浪漫，喜歡美好的

1986 油彩 畫布 簽名：1986哲哉 圖錄 《第一屆全國十大傑出中堅‧中青 畫家聯展》，李石樵美術館文化中 心，臺北市，1994，第10頁"

事物，所以作品總是散發出抒情唯美的氣息， 線條流暢，處處流露出和諧的美感。 《雨過天青》描繪岔路相交的轉角，三三兩兩 的車輛行徑，街邊的建築物採用粉色系來勾勒 輪廓，強化結構的穩定感。豐富的佈局透過高 彩度原色的表現，表現出如夢幻般的寧靜。

NT$120,000-180,000 US$3,900-5,900

013

005

YINGTEH | CHEN Salute to Iris Clert

(b.1940)

36×56cm Oil on Canvas PROVENANCE The France National Fund of Contemporary Art (Fnac) Fernand Léger Foundation

伊希克蕾(Iris Clert)是法國著名前衛畫廊負責人，經她挑選出來的藝 術家都成為二十世紀末前衛藝術的重要代表，如伊夫克萊因(Yves

ILLUSTRATED "CHEN YING TEH PEINT LA NATURE", Published By Galerie Elegance Taipei, page 41

Klein)，機械動力雕塑大師基恩丁格力( Jean Tinguely) 以及雕塑家阿

陳英德

演效果的大展覽；一九七五年的第九

向伊希克蕾致敬 油彩 畫布 來源 法國國家當代藝術基金會藏畫 費南得 勒澤夫人藏畫(後移為基金會)。 圖錄 《陳英德畫自然》愛力根畫廊第41頁

NT$150,000-250,000 US$4,900-8,200 014

Iris Clert was the owner of the Galerie Iris Clert from 1955 to 1971.

During its tenure, her gallery became an avant-garde hotspot in the international art scene, particularly to Yves Klein, Jean Tinguely, Arman and Robert Rauschenberg. Clert was active in the French Resistance during Second World War.

曼(Arman)。 伊希克雷夫人積極參與「新寫實主義」運動，經常舉辦帶有舞台表 屆巴黎雙年藝術節，畫廊的「文化卡 車」張掛著陳英德「藍中國」系列作 品走上香榭麗舍大道、菲亞克國際當 代藝術博覽會（FIAC）、秋季沙龍、 今日名家與新秀沙龍。陳英德因此而 活躍於法國藝術舞台，法蘭西劇院甚 至用了他的一幅「工廠風景」做為一 齣戲的布景。

006

CHIHUNG | YANG The Process of Decay

( b.1947 )

56×76cm Mixed Media on Canvas Signed chihung yang in English and named the process of decay, dated 1986, sized 22 1/4 ×30inches With a certificate of authenticity from Gallery

楊識宏 衰變的過程 1986 綜合媒材 畫布 簽名：Chihung Yang the Process of Decay, 86, mixed media on paper 22 1/4×30 inches 附畫廊開立之原作保證書

NT$100,000-180,000 US$3,300-5,900

Zao Wouki and Chu Tehchun from Paris along with Chuang Che and Yang Chihung from New York, these four artists, can be regarded as the pioneers of Chinese Contemporary Art. Yang Chihung's paintings are presentations of his inner insights in terms of the natural replica, abstract composition and translation of common symbols.

''The Process of Decay '' employs plants to bring out the artist’s core belief. The thin greens extending the roots into complicated leaves; water ink techniques are applied through coverage, rendering or close connection with the main green object as though the green and black endlessly tangle with each other to the extent of bright red penetrates through. The space created by the directions of the brushstrokes is a representation of flowing momentum and the livelihood of the plants. It is strong, growing and unyielding that symbolizes perseverance and a stern desire in life. 巴黎趙無極、朱德群與紐約莊喆、楊識宏這四位華人抽象繪畫大師可以說是中國 當代藝術的先行者。楊識宏的畫，不論是觸及自然的再現、抽象色面的建構、通 俗符號的演繹，均是企圖呈現內心的視景。 《衰變的過程》以植物來發揮，綠色植物呈細長從根莖向外延神成繁複的葉片， 在綠色的主體外覆蓋、渲染或緊貼著水墨般的筆觸，彷彿黑與綠不斷的糾結纏 繞，甚至滲出了鮮紅；從筆觸的方向而揮灑出來的時間，那是一種造型運動感之 下的時間，體現植物的生命力，代表一種堅毅、一種成長、一種不屈的生命，象 徵著奮鬥不懈的精神，傳達出對生命歸宿的嚴肅渴望。 015

007

TING | WALASSE Look at Me 22×29cm Acrylic on Paper With one seal of the artist

丁雄泉 看著我 壓克力 紙本 鈐印：採花大盜

( 1929-2010 )

丁雄泉為國際聞名的詩人藝術家，繪畫作品充滿了繽紛多彩 的美女與花卉，因而有「採花大盜」之稱號。曾受新具象繪 畫、超寫實藝術、普普藝術、觀念藝術與極限藝術的啟發與 刺激，卻不屬於任何流派，即便在瞬息萬變的國際藝壇中， 他仍能特立獨行展現出獨特的風格。 《看著我》表現女性胴體嫵媚欲語還休的模樣，各種撩人性 感的姿態，強烈給予人視覺魅惑的張力，以鮮豔的色彩、揮 刀般的下筆，展現出衝擊力，以墨線勾勒人物伴隨招搖燦爛 的花草。

NT$100,000-180,000 US$3,300-5,900

016

008

|

ALFRED BASTIEN

( 1873-1955 )

Vase of Flowers

巴斯天

巴斯天為吳作人和沙耆的指導教授，

40×32.5cm Oil on Canvas Signed A Bastien in English

玫瑰瓶花

在早於兩人之前已經被公認是比利時

PROVENANCE Acquire from Belgium Auction by the present owner

印象派的代表畫家之一，並為比利時 1923 油彩 畫布 簽名：A Bastien 背面簽名：Alfred Bastien

國王亞爾佩一世作畫。 《玫瑰瓶花》玫瑰花藉著紅色系深淺 的簡筆構成，深色漸層背景烘托出景 深，使玫瑰更顯搶眼綻放，左下果類

來源 現藏者購自比利時拍賣會

與玫瑰形成三角形使畫面平衡，整幅

NT$60,000-90,000 US$2,000-3,000

成色彩微妙的變化進而影響畫風，甚

畫面關注於純粹的視覺感受，由光造 至延伸至現代藝術。

017

009

WANCHUAN | CHANG Fish

( 1909-2003 )

20.3×26.5cm Oil on Paper Signed CHANG in English and Wen in simplified Chinese, dated 1991 Signed on the Reverse: Fish in Chinese, CHANG in English and Wen in simplified Chinese, dated 1991

張萬傳為台灣早期赴日學習西洋繪畫的重要前輩藝術家 之一。受野獸派畫家塭月桃甫影響，對粗獷的線條與濃 烈的色彩酷愛不已。 《魚》作者一生喜愛嘗鮮魚，但總在下肚之前，信筆拈 來，畫起盤中的魚。各色各樣的魚在他筆下活蹦亂跳， 「畫魚大師」美名不脛而走。大筆揮灑、大膽用色，然

張萬傳 魚 1991 油彩 紙本 簽名：1991 CHANG.万. 背面簽名：魚 1991 CHANG.万.

NT$60,000-90,000 US$2,000-3,000 018

後簡潔有力的表現魚的形體與顏色。

010

|

YU YUJEN

( 1878-1964 )

Yu Yu-Jen's Photography

于右任

40×33cm Ink and Photograph Silver Gelatin on Paper Signed Yu Yujen in Chinese With one seal of the artist

于右任肖像照 水墨 銀鹽 相紙 紙本 款識：源欣先生 簽名：于右任 藝術家鈐印

NT$60,000-80,000 US$2,000-2,600

「當代書法家中，當推監察院長于右任的人品、書品為最好模範，於院長獲有今日的地位，也半賴於 其書法的成名。」

－中國現代著名學者 林語堂 019

011

|

PU RU

(1896-1963)

Snow Pine 57×30cm Ink and Color on Paper Signed Xing Yu in Chinese With one seal of the artist

溥心畬 寒松 彩墨 紙本 簽名：心畬 題識 殘雲依遠以招樹 傍寒汀暘綑柴門 遠無人芳草青 擎宇先生屬 心畬 藝術家鈐印 現藏者得自藝術家本人

NT$160,000-200,000 US$5,200-6,600

溥心畬名儒，又號羲皇上人、西山逸 士。作品與張大千齊名，並稱為「南張 北溥」的溥心畬，畫風無師承、全由悟 古人書法名畫以及書香詩文蘊育而成， 也因皇室出身，自然多有觀摹體悟宮廷 珍藏的機會。 觀察溥心畬的作品，筆觸時而剛硬時而 柔和，化蒼勁為瀟灑，使得畫面清新脫 俗，全歸功於他深厚的書法底子，知道 把書法筆意用於畫中，又藉著工筆的手 法，採用淡淡的、潤潤的顏色一遍又一 遍地染上去，顯得清凈秀潤。

020

012

TING | WALASSE Goldfish 20×25cm Ink and Color on Paper With one seal of the artist

丁雄泉 金魚

( 1929-2010 )

丁雄泉是國際聞名的詩人藝術家，受到抽象主義繪畫手法的影 響，與藝術家性格的融合，逐步的形成其獨特燦爛的繪畫藝術。 他的作品充滿了繽紛多彩的花草與美女，視覺語言強烈而鮮明。 《金魚》技法以野獸派般狂暴濃烈的色彩，以純色來架構結構與 背景，強烈地呈現作者內心的思維情緒，進一步揮灑大筆表現， 描繪活潑生動的金魚們，優游於水塘中的樣貌。

彩墨 紙本 鈐印：採花大盜

NT$120,000-180,000 US$3,900-5,900

021

013

YINHUI | CHEN Instincts

( b.1931 )

60.5×72.5cm Oil on Canvas Signed Yin in Chinese, Chen in English, dated 1985

排，可以呈現出畫家內在意象的世界，因此繪畫就是他主觀的自 我表現。對畫面結構的熟稔，對色彩的敏銳，陳銀輝讓黑色這個 中立色彩，為畫面注入強勁的力道。

陳銀輝

《直覺》牛頭的骸骨、白色反光的陰暗處，綴入大塊的藍紫色，

直覺

搭配後方搖晃不已的土黃背景，侵襲而來的詭譎氛圍，輔以加粗

1985 油彩 畫布 簽名：銀 CHEN,85

的黑線條，強化頭骨的銳利感與造形之美。主題雖然單純，以黑

NT$550,000-700,000 US$18,000-23,000

022

陳銀輝擅長靜物畫，他認為經由畫面色調處理、造形與空間的安

色與暗綠色等色調為背景，烘托出牛頭鮮明的白色，在形與色的 構成上，巧妙地將具象與抽象精神融合在這件作品當中。

014

BASTIEN | ALFRED Pond

( 1873-1955 )

50×60cm Oil on Canvas Signed A Bastien in English

靜謐的印象倒映於湖面上，典雅的用色，透過筆觸的推砌， 細緻的局部描繪，展現巴斯天在古典技法上的純熟。不斷的 深色堆疊，並具有漸層感的背景基底，在視覺焦點處，勾勒 出樹幹的著實與湖面的虛映，畫面充分散佈出寧靜色彩。

PROVENANCE Acquire from Belgium Auction by the present owner

巴斯天 池塘 油彩 畫布 簽名：A Bastien 來源：現藏者購自比利時拍賣會

NT$120,000-200,000 US$3,900-6,600 023

015

|

ZHENG ZAIDONG

( b.1953 )

Flower 77.5×54cm Oil on Paper Signed Zheng Zaidong in Chinese, dated 1997

鄭在東活躍於80、90年代的台灣藝壇， 以惆悵的傷逝與懷舊的文人油畫，創作 一系列膾炙人口的作品。 《花》畫面的花束與花瓶直挺的立於中 央，以極細的黑線勾勒，將形象區隔成

鄭在東

簡單的塊面，以單一色黃色，來平塗整

花

個形象。背景以與黃對比的藍佈滿，借

1997 油彩 紙本 簽名：鄭在東'97

024

NT$150,000-180,000 US$4,900-5,900

著黑線，使背景與花束裡的景緻銜接。 用色、技巧與簡明的構圖皆頗有超現實 主義的味道。

016

LAIXING | CHEN Before Harvest

( b.1949 )

97×130.5cm Oil on Canvas Signed Chen Lai Xing in Chinese and dated 1983.5 Signed on the Reverse: before Harvest, Chen Lai Xing in Chinese, and dated 1983.

陳來興 豐收之前 1983 油彩 畫布 簽名：陳來興1983.5 背面簽名：豐收之前 1983 陳來興

「雙腳走街頭，用雙手畫庶民」的陳來興不僅關心與我們息 息相關的鄉土人、事、物，同時也為自身的理想奮戰，他的 熱忱與活力、藝術創作的表現讓觀者有深刻的感動。 自幼生長於中部山川秀麗的自然環境中，陳來興對台灣的自 然和純樸美景充滿了感情，作品中自然可見其對自然風景與 昔日農村生活的思念；《豐收之前》用細膩筆觸結合懷舊調 性，色彩運用協調氛圍洽融，描繪稻田收割前台灣風景特有 的潮濕、炎熱的空氣感，畫面安排有秩序而狂亂、優雅且不 安，糅雜真實與理想的迷人魔力使人痴然如醉。

NT$180,000-240,000 US$5,900-7,900 025

017

|

PANG JIUN

( b.1936 )

Blue Background and White Rose

龎均教授獨創〈油畫東方風格〉，在油畫色彩運用上，混合印

72.5×60.5cm Oil on Canvas

象派後期和野獸派的優點來展現西洋畫的熱情及爆發力，再結

龎均

《紅藍灰背景與白玫瑰》白玫瑰盛綻於畫面中央，下方的綠葉

紅藍灰背景與白玫瑰

與原本陰影處，採用鮮紅色使玫瑰成為焦點站立於紫色的桌巾

2006 油彩 畫布 簽名：龎均 均 2006

NT$550,000-700,000 US$18,000-23,000

026

合文人畫的詩意，東西融合展現出獨特的意境。

上，和花瓶旁的靜物水果組合，使畫面站穩成均衡的三角形， 背景的一灰一藍與桌巾形成一平面，整幅畫有二度半空間的氣 氛。畫面鮮豔強烈的筆觸與半開展的平面，似與不似，意到筆 不到的寫意畫風，展現出鮮活的生命力。

018

KACKEONG | LIM Fire

(1901-1992)

36x28cm Oil on Canvas Signed Lim in English With a certificate of authenticity from Gallery ILLUSTRATED " L I M K AC - K E O N G 1 9 6 5 ~ 1 9 8 8 " , LongSun Art Space, 1991, page 13 EXHIBITION "LIM KAC-KEONG 1965~1988", Taipei Fine Arts Museum, Taipei, 1993

林克恭

林克恭字幼莊，1901年生於板橋，為台灣

野火

望族林本源家族後代；父親林爾嘉雅好詩文 藝術、園林之美，廈門寓所「菽莊花園」文

1985 油彩 畫布 簽名：Lim 附畫廊開立之原作保證書

人雅士往來集聚。在藝術文化薰陶之中成長 的林克恭，創作風格、生活情調清淨不流 俗，純粹而邈遠。 林克恭幼承庭訓受中國傳統文化滋養，於

圖錄 《林克恭 LIM KAC-KEONG 1965~1988 作品輯》龍上畫廊刊行 1991年 第13頁 展覽 「林克恭藝術展」，台北市立美術館， 台北，1993

1921 年進入英國劍橋大學攻讀法律和經

NT$280,000-350,000 US$9,200-11,500

色彩沉穩隱含力量，具象兼半抽象地將燎原

濟；畢業後卻轉向學習西洋美術，而終身致 力於藝術創作與教育，為日據時期少數能真 正融入歐洲文化的台灣藝術家。 林克恭《野火》線條活潑流暢而有律動感， 野火平靜熯焚又燒灼熾人的熱度表現得淋漓 盡致；《野火》不僅畫出燃燒的火燄，也描 繪「野火燒不盡，春風吹又生」的草木生命 力，頑強又堅韌、風流且性格。 027

019

CHENGYAO | YU Spring Lake Landscape

( 1898-1993 )

51×120cm Ink and Color on Paper Signed Yu Chengyao in Chinese With one seal of the artist

余承堯 平湖春色 彩墨 紙本 簽名：余承堯 藝術家鈐印

NT$500,000-750,000 US$16,400-24,600 028

《平湖春色》畫面跌宕起伏舒展延伸，前景以堅硬筆法分割岩石，中間的湖景 與夾岸鬱鬱蔥蔥的山峰相互呼應，林間的紅瓦舍與三兩紅樹畫龍點睛集聚目光 於中心，最遠處以青色勾染，近中遠景的構圖使畫幅的場面調度更深更遠。細 看余承堯的獨特皴法，各種植被以不同的筆法呈顯；估計借力於余承堯深厚南 管素養，此幅山水宛如一場古樸雅緻音樂饗宴，山峰水勢、鶯啼花開錯落於畫 幅間，清麗典雅、鏗鏘悠揚。

029

020

BASTIEN | ALFRED Vase Fleuri De Roses

( 1873-1955 )

50×61cm Oil on Canvas Signed A Bastien in English PROVENANCE Acquire from Belgium Horta Auction by the present owner

030

巴斯天

《靜物玫瑰》此件靜物作品透過厚實油

靜物玫瑰

畫筆觸堆疊，與細緻的重點描寫，展現 出巴斯天在古典技法上的純熟。典雅的

油彩 畫布 簽名：A Bastien 來源：現藏者購自比利時Horta拍賣會

用色不見一般畫家描繪花卉時的俗豔， 透過深綠帶藍色的瓶身與層次豐富的 白，點綴出橘紅花朵在形體上的處理，

NT$100,000-160,000 US$3,300-5,200

背景則以咖啡色作為主要色系，在構圖 上主賓有致，整件作品典雅細致。

021

BASTIEN | ALFRED Forest, 1923

( 1873-1955 )

70×90cm Oil on Canvas Signed A Bastien in English and dated 1923

《夏日樂章》中除了蓊鬱樹木的寫實描繪外，更關注於表現 夏日晴空色彩的透明度，景物帶點高彩度的點綴，使整體瀰 漫著空氣般輕透的氛圍。色彩彼此映照，印象派的光影躍然 於前，藍天白雲中更似有悠悠樂音飄浮散播。

PROVENANCE Private collection, Belgium

巴斯天 夏日樂章 1923 油彩 畫布 簽名：A Bastien, 1923 來源：比利時私人收藏

NT$200,000-280,000 US$6,600-9,200

031

022

|

CHIU YATSAI

( b.1949 )

Old Man with Lily 79×64cm Oil on Canvas Signed Yatsai in Chinese, dated 1991

邱亞才

的啟發，亦源於東晉顧愷之的影響，特別強調人物的眼 神，認為眼睛是人類最傳神的地方。 《老人與百合花》老人的側臉與勾勒的線致使五官更顯 清晰，蒼白的臉部、勾勒尖挺的鼻子與細長的眼，放於

老人與百合花

橢圓的臉形上，似有20世紀畫家莫迪裡亞尼的特色。

1991 油彩 畫布 簽名：亞才91

別於邱亞才其他肖像畫採用白色大朵的百合花作為背

NT$240,000-350,000 US$7,900-11,500 032

邱亞才擅長人物肖像，在肖像油畫上深受漢唐時代畫風

景，大筆筆觸讓花朵綻放、貼進主角散發出輕鬆的氣氛 更反襯出老人臉部那憂鬱與孤寂。

023

HAO | WU The Rose

( b.1931 )

80×80cm Oil on Canvas Signed Wu Hao in Chinese, dated 1987

吳昊

吳昊與夏陽、霍剛、蕭勤、蕭明賢等人，成立了台灣美術史上 一個標榜現代藝術的「東方畫會」。吳昊反映了70年代鄉土 民間樸稚拙韻的趣味，除了民俗造型的題材外，還加入了花 卉、建築物等繽紛暈染的背景，呈現歡愉富足與吉祥景像，豔 麗、多層次的套色，流露懷念家鄉美好生活的情懷。

含苞玫瑰

《含苞玫瑰》以不同的姿態，滋長於泛著粉金的土地上。結構

1987 油彩 畫布 簽名：吳昊1987

上，玫瑰佔四分之三，土地僅是剩餘的部分，上淺下深的顏色 佈局，使畫面呈現平衡不致顛倒。鮮豔的基調，如同藝術家對 藝術的瑰麗嚮往，始終如一。

NT$350,000-450,000 US$11,500-14,800 033

024

|

YANG CHIHUNG

( b.1947 )

Artist Life 127×168.5cm Acrylic on Canvas Signed on the Reverse: Chihung Yang and Artist Life in English, dated 1985, sized 50×60 inches

楊識宏 藝術家人生 1985 壓克力 畫布 背面簽名：Chihung Yang Artist Life 1985 Charcoal and Arcylic on Canvas 50×60 inches

NT$500,000-600,000 US$16,400-19,700 Chinese abstract painting masters, Zao Wouki, Chu Tehchun, Chuang Che and Yang Chihung, dedicated their careers to painting abstract artworks; they are also known as the pioneers of Chinese contemporary art. Yang Chihung began his career in the 70s as a Taiwanese abstract artist; he presented a strong yet innocent presentation and painting style.

The burning lava unceasingly leaks and pours from the tree in “Artist life”; the chained tree surrounds the animal’s skull similar to the human’s. The massive yellow and red creates a strong change of the lights and creates a mystical and dark picture. The middle of the picture shows the first gleam of the day revealing the unsuccumbing life.

華人抽象繪畫四位大師，趙無極、朱德群、莊喆與楊識宏， 數十年來皆執著於抽象繪畫的領域，可說是中國當代藝術的 先行者。楊識宏做為一個在70年代開始嶄露頭角的台灣抽象 畫家，他呈現了強烈純粹的「繪畫性」與「表現性」。 《藝術家人生》中，滾燙岩漿不斷的流溢、甚至從傾倒的樹 梢流淌而下，環著動物的頭顱、似人類的骸骨、鐵環枷鎖與 傾倒的樹木。大量的黃與紅色，與形象的冷色調形成強烈的 光影變化，營造出神祕黝暗的畫面；畫面中央所落下的曙 光，透露出生命不屈的呼喚。

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PANG JIUN

( b.1936 )

Different Feeling 53×45.5cm Oil on Canvas Signed Pang Jiun in Chinese, dated 2004 With a certificate of authenticity signed by the artist

龎均：「任何平淡的事物不是由形式決定，而 是由感覺與情緒決定。」 《不一樣的感覺》一個隨意坐落的女子、一瓶 子疏影暗香，藝術家卻能營造出一種寧靜雅致 的氣韻，同時顯現畫面的熱情與生命力。龎均

龎均

的東方表現主義，以獨特的調色法和出帶灰調

不一樣的感覺

的鮮活和諧色彩，融入傳統文人詩情寫意趣

2004 油彩 畫布 簽名：均 龎均 2004 附藝術家親簽之原作保證書

036

NT$280,000-360,000 US$9,200-11,800

味；既是西方印象派後期與野獸派的純粹明 快，亦有中國文化的委婉纏綿情意。

026

CHINSHUI | JAN Snow Peak

( b.1953 )

97×129cm Mixed Media on Canvas Signed Chinshui in Chinese, dated 1999 With a certificate of authenticity signed by the artist

詹金水

詹金水思考西方現代美學中，對於具象的拆解過程與 抽象之美，試圖去體悟傳統儒家思想中的天人合一。 深入解讀詹金水的《雪霰奇峰》並不僅僅是富有西方 特色與技法的抽象畫，架構與畫面實乃為中國傳統山 水的內涵；古代水墨畫所遵循的謝赫「六法」，都在 他的畫作中找到全新的演繹方式。

雪霰奇峰 1999 綜合媒材 畫布 簽名：金水1999 附藝術家親簽之原作保證卡

NT$200,000-300,000 US$6,600-9,800 037

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PIERRE FERNANDEZ ARMAN

( 1928-2005 )

Pinceau 20×10×23cm Bronze, 71/100 Signed Arman boequel in English, numbered Fd. 71/100 With a certificate of authenticity from Gallery ILLUSTRATED "The Exhibition of International Sculpture Master", Modern Art Gallery, 1996, page 13

阿曼 刷子 1989 銅 71/100 簽名：Arman boequel Fd. 71/100 附畫廊開立之原作保證書 圖錄 《國際大師雕塑展》，現代畫廊，1996年10月，第13頁

038

NT$150,000-240,000 US$4,900-7,900

《刷子》單一隻刷子本身似乎無法察覺時間的流逝，但 當刷子被納入堆積組合的雕塑後，刷子即潛藏於過去， 被轉化成考古物件；歷史中的每一段時光馬上就會被現 在的時間所覆蓋，因此這一刻使用的東西，下一刻即變 成歷史。刷子旋轉朝上的集積，似乎預示著時間的流 逝，與人類日常生活時光的見證。

028

FERNANDEZ ARMAN | PIERRE Ascendant

( 1928-2005 )

63×20×17cm Bronze, 5/8 Signed Arman bocquel in English, numbered Fd. 5/8 With a certificate of authenticity from Gallery ILLUSTRATED "The Exhibition of International Sculpture Master", Modern Art Gallery, 1996, page 17

阿曼 上昇 1992 銅 5/8 簽名：Arman bocquel Fd. 5/8 附畫廊開立之原作保證書 圖錄 《國際大師雕塑展》，現代畫廊，1996年10月，第17頁

NT$480,000-550,000 US$15,700-18,000

阿曼出生於1928年法國尼斯，是少數仍在世即被寫 入西洋藝術史的藝術家之一。其曾獲密特朗總統於巴 黎愛麗斯宮頒騎士勳章與法國國家榮譽勳章。 阿曼常常說：「我並沒有發明堆積理念，而是堆積自 己找上我的，早期實驗堆積時，純粹是想做與眾不同 的作品。」1960年代後，世界經濟快速發展，生態 汙染等問題，促使其以生活中常見的、不要的廢物為 素材，以堆積與複合的手法，來象徵當代的消費文化 與機械文明。 《上昇》將提琴用不同的角度橫剖開來，進一步以橫 躺的方式，使提琴不斷的互相堆積上昇，整座雕塑呈 現高聳且搖搖欲墜的樣子，強烈地申訴著人類的各種 行為。

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ZHENG ZAIDONG

( b.1953 )

Landscape 91×80cm Acrylic and Oil on Canvas Signed Zheng Zaidong in Chinese, dated 2006

鄭在東 翠氛松濤 2006 壓克力 油彩 畫布 簽名：鄭在東 '06

NT$250,000-350,000 US$8,200-11,500 040

鄭在東喜愛遊好山水，常一出門就好些日子，在 大自然山林間尋找創作源頭。其作品擅長描寫惆 悵及思古情懷，呈現特有的人文風格，使得作品 充滿了淡雅深遠的味道。《翠氛松濤》鄭在東以 極簡潔之筆法、樸實的色調、平穩的構圖，傳遞 出了山林雅境的寧靜孤寂。

030

JENCHANG | KUO Mark

( b.1949 )

57×66cm Mixed Media on Canvas Signed Kuo Jenchang in Chinese and J.C.KUO in English, dated 1996 ILLUSTRATED "J. C. Kuo's '95~'96 Chronicles", Lin & Keng Gallery, Taipei, Taiwan, 1996

台灣當代繪畫的發展脈絡中，郭振昌大膽地拼貼傳統及 民俗的素材和現代與流行的符號作為創作形式；擅於將 神話情節與傳奇故事轉化為鮮明的敘事圖像，反映出台 灣當代社會多元文化並陳競秀的氣氛和內涵。 《痕》背景狂放的墨色線條、皴法描繪的山石紋理，採 用漢朝畫像磚上拓印的效果，與正中圓形鮮紅色的形

郭振昌

象、色彩與疏密戲劇的對比，讓觀者感受驚人與飽滿的

痕

創作能量。在外框上的團團錦花，使嚴肅的畫面變混 雜，使郭振昌「反美學」的本色表露無遺。

1996 綜合媒材 畫布 簽名：郭振昌'96 J.C.KUO 圖錄 《郭振昌 95～96記事》，大未來畫廊，台北，1996 "

NT$300,000-380,000 US$9,800-12,500

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HSIAO CHIN

( b.1935 )

Unity 55×46.5cm Mixed Media on Canvas With a certificate of authenticity from Gallery

042

蕭勤創辦全華人地區第一個抽象繪畫團體「東方畫 會」。1960年代，是一個重要的轉變點，藝術家 從中國傳統的思想入手，以中國的道家為主體，並 吸納了神祕主義、玄思哲學的養分。

蕭勤

《單一》形式上，畫面的色彩被壓抑了下去；手

單一

法上，使用油畫的刷子與墨水的毛筆，藝術家刻

1962 綜合媒材 畫布 簽名：HSIAO 勤 ,62 附畫廊開立之原作保證書

意放鬆自己的意念，不預先安排，讓形式「手隨心

NT$250,000-350,000 US$8,200-11,500

轉」。從四面八方竄出騷動不已的線條，這些線充 滿了爆發、力動的性格，原是彼此矛盾、衝突的， 但在逐漸構建的過程中，達到均衡與調和。

032

QICHAO | LIANG Han Li Calligraphy

(1873-1929)

134×32cm Ink on Paper Signed Liang Qichao in Chinese With one seal of the artist

梁啟超 隸書對聯 水墨 紙本 簽名：梁啟超 藝術家鈐印

NT$200,000-300,000 US$6,600-9,800

梁啟超是近代著名的政治家、思想 家、學者，同時還是一位頗有成就 的書法家。他的書法藝術，初崇唐 楷，後攻魏碑及漢代隸書，取法北 碑的書法理念深受康有為影響。細 看其隸書，用筆圓中有方、結體端 穩平和、章法循規蹈矩、精神含 蓄。

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LIN SHIENMAO ( b.1955 ) Afternoon of Sun Moon Lake A 72.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2012

林憲茂 日月潭午後 A 2012 油彩 畫布 簽名：Shien Mao 2012

NT$250,000-350,000 US$8,200-11,500 The concepts behind Lin Mao Xian’s artworks change along with his life experiences, with the passing of time and personal growth, his objective perspective has transformed into his inspiration that keeps evolving.

The sun moon lake in ''Afternoon of Sun Moon Lake A'' is elegant as known but at the same time it’s also variable. With cherry blossoms in spring, cool summer breeze, red maples in autumn and plum blossoms in winter.

Each season with its unique charisma. Sun Moon Lake in the afternoon sun is presented by the artist with a liberated form, dancing brushstrokes which sends a message from the heart instead of the form. It is abstract because of the vivid color blocks giving the picture a strong rhythm and mystic sensation.

林憲茂的創作理念依循著生活的體驗並跟隨週遭一切事物，隨時間 的洗滌及對美的歷練而成長，理念也隨各時期對客觀世界的認同而 轉變成個人創作的靈感來源，呈現的風貌，不斷的進化成形。 《日月潭午後A》日月潭總是一貫的恬靜優雅卻也多變，春天佈滿 山櫻，夏季則是避暑佳處，秋日的楓紅，寒冬的梅花飄香，每個季 節都有不同風情，午後的日月潭，形體上的解放，筆觸的舞動、扭 曲與分割，由具象而心象，心象以至抽象，都藉由明亮光鮮的色 塊，讓畫面呈現強烈的韻律和節奏感，神祕深邃的氣質自然流溢。

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HE DUOLING

( b.1948 )

Baby 28×20cm Charcoal on paper Signed He Duoling in English, dated 2001

何多苓 嬰兒 2001 炭筆 紙本 簽名：He Duoling 2001

NT$380,000-450,000 US$12,500-14,800

Ho Duo Ling is one of the representing artists of “scar art” in the 80s. The topics are usually expressing the affections of tragedies. Post 80s, Ho’s characteristics are on the form of painting that is pure, beautiful, elegant and sad, enabling the artist to become a representative of Chinese Contemporary Realist Oil Painter.

With a singular object as the main character in ''Baby'', the artist used a gentle gray tone, light and dark. The image of the infant, the gray tone and painting technique blend together to create a very delicate layers of the body; the skin tone and the curves of the body as though it’s inseparable. Ho said “traditional nude painting uses the facial area to bring out the body; however, everything in my artwork regardless clothed or nude will be part of the main character.” Therefore, viewers will know that the artist places emphasis on both the body and face.

何多苓是八零年代「傷痕美術」的代表人物，題材主 要在傾訴悲劇的情懷。在八零年代後，何多苓的藝術 具詩意的特質，重繪畫性，唯美、優雅、感傷，在形 式語言上所推崇的單純感，而成為中國當代抒情現實 主義油畫畫家的代表。 《嬰兒》畫面上集中描繪「單個」主角形象，在素描 的用色深淺上採用較為柔和的灰色調。嬰兒的形象、 灰色調和繪畫技巧融為一體，雖然是採用輕描的方 式，但卻表現出很細膩的身體層次、皮膚色澤地漸變 和身體的起伏轉折，幾乎是一種不能分割的形象體。 從何多苓的話：「傳統人體畫中把面部作為身體的 陪襯，我所畫的無論著衣或祼體的作品，都屬於肖 像。」可知，他認為身體的視覺形象在人的個性特徵 中一點也不亞於臉。

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LUO ZHONGLI ( b.1948 ) Farmer 55×39.5cm Oil on Canvas Signed LUO in English, Zhongli in Chinese

羅中立 鋤夫 油彩 紙本 簽名：LUO 中立

NT$900,000-1,200,000 US$29,500-39,300

The experience of studying in Europe established Zhong Li Luo’s devotion on his beloved village of Da Ba Mountains.

After three decades of pursuing his career, he has entered the next stage- a romantic and simple rural life. He has also entered the hearts of the villagers and created his own magical and realistic twining art language.

With his arms up high with an axe, the character in ''Farmer'' twists his body along with a slight squat. It has formed a twirling rhythm with his eyes staring straight at the log in front of him. With the mix of black and brown contours, it is more than a colorful sketch. The shoulders and bending legs show a powerful force on the verge on axing the long. The artwork shows the villagers hard work in an unprecedented strength.

羅中立歐洲的留學經歷，讓他堅定地把目光投向自己深愛 的大巴山農村，在三十多年的藝術探索中，他走入了浪漫 質樸的農村生活，也走進了大巴山農民的內心，並確立了 自己魔幻與現實交織的獨特繪畫語言。 《鋤夫》男子雙手高舉斧頭，軀幹的扭曲配合微蹲的馬 步，形成一扭曲旋轉的動態律動，眼睛直勾勾的盯著橫置 於眼前的木頭。黑與咖啡色系在輪廓線條的交織，更勝於 多彩的描繪，肩膀與蹲踞的腳，極黑的線條，力道的展 現，下一刻劈材的畫面隨即躍然於眼前，大巴山農民的勞 作，在畫面中呈現出前所未有的生命力。

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YIN XHAOYANG (b.1970) Myth 73×52cm Acrylic on Paper Signed Yin Chaoyang in Chinese, dated 2001.8

尹朝陽

「青春殘酷」代表人物之一的尹朝陽，開啟了「70後」藝術家 關於青春感傷的主題探討，並真正開始塑造這一代人的自我形 象和情感特徵，構成九零年代前衛藝術的一個重要傾向。 《神話》系列引用希臘神話中一位被懲罰的神—西西弗斯為題 材。他受罰的方式是：必須將一塊巨石推上山頂，而每次到達

神話

山頂後巨石又滾回山下，如此永無止境地重複下去。

2001 丙烯 紙本 簽名：朝陽 2001.8

《神話》使用筆觸激烈的線條與塊狀所構成，深紅色的天空與

NT$700,000-800,000 US$23,000-26,200

佈滿礫石的背景，置中的人體強烈的被橫束劃線所圍繞、壓迫 著，這些巧妙運用的劃線，像血痕、勒痕般給人悸動感；另一 方面，劃線似能量般，放射出搬運者內在的痛苦和欲望，透露 在苦刑過程中被引渡的渴望。在地獄中推石頭的西西弗斯，象 徵了人類荒謬處境裡的現代英雄，也體現著重複不斷的個人努 力與輝煌悲劇的力量。

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HE SEN

(b. 1968)

Girl's Make up 100×80cm Acrylic on Canvas Signed Hesen in Chinese and English, dated 2000

90年代初期，何森以繪畫中國新「摩登」青年的主題畫作，被公 認為現實主義畫家。何森的作品以當代中國少見的黑暗、戲劇化 手法探求人的處境問題；有關人類苦難及孤寂的題材，反映了全 球消費主義對中國青年的影響之觀點。 何森自言其作品表現的是「對成長的恐懼和對現實的逃避」。

何森 化妝少女

《化妝少女》畫面使用不帶情感而中性的灰色，加上陰影似的黑 色，表現的是一種情感的壓抑。化妝的姿態延伸至臉上驚恐的神

2000 壓克力 畫布 簽名：HESEN, 2000 何森

052

NT$100,000-200,000 US$3,300-6,600

情，女子形象那憂鬱、慘淡的紅灰色調，與我們眼前的生活拉開 了距離。

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SALVADOR DALI ( 1904-1989 ) Rhinoceros Cosmique 36×17.5×19.5cm Bronze and Marble, 14/350 Signed Dalí in English With a certificate of authenticity from Gallery

達利 宇宙犀牛 1956 銅 大理石 14/350 簽名：Dalí 附畫廊開立之原作保證書

NT$350,000-550,000 US$11,500-18,000 達利對犀牛有著濃烈的興趣，他對犀 牛角看成是一個結構完美的數式螺旋 體，為一切弧線的幾何學基礎。他說， 「犀牛是唯一擁有大量難以置信的知識 的動物」並且還創造出了許多犀牛相關 的作品。

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JU MING

( b.1938 )

Pair of Chickens Left：9.5×7.5×16.5cm Right：13×10×8.5cm Base：40.3×19.3×3.8cm Wood (One piece only) Signed Ju Ming in Chinese With a certificate issued by Nonprofit Organization Juming Culture and Education Foundation

朱銘 雙雞 木雕(僅此一件) 簽名：朱銘 附財團法人朱銘文教基金會所開立 作品鑑定報告書

NT$600,000-800,000 US$19,700-26,200

054

“Pair of Chicken” is created during the time when Ju Ming transformed from earlier native to semi-abstract peroids. The strength came from his homeland. In Chinese, the word chicken sounds similar to “ji” which means proesperity and peace. When the sun rises, the rooster symbolizes life and the awakening of earth.

In “Pair of Chicken”, the chickens one standing, the other sitting. Through the expressionless faces, you can still see the lively neckline curves and precise shaping of the head. Giving a lively and vivid presentation in this masterpiece of Ju Ming.

《雙雞》是朱銘由早期鄉土時期轉換至半抽象形態的創作，創作的力量扎根於所處土地的自然環境。 在華人語彙裡，雞與「吉」的發音相近，代表著吉祥；而旭日東昇時，雞啼黎明、萬物甦醒，故雞也 被列為是生命的象徵。《雙雞》裡的造型，一立一坐，在無明顯五官的面孔上，仍可以透過生動的頸 部曲線與精準塊面的頭形，感受到雙雞的機靈活現，在朱銘熟稔盡心的創作中充滿生氣。

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JU MING

( b.1938 )

Hen and Chick a.13.6×8.4×11.6cm b.43.2×27×26.5cm a.Wood(One piece only) b.Wood(One piece only) With a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation

朱銘 母子情深 a.1977-1982 b.1981 木雕(僅此一件) a.簽名：朱銘 b.簽名：朱銘 附財團法人朱銘文教基金會所開立作品 鑑定報告書

NT$1,600,000-2,000,000 US$52,500-65,600

''Hen and Chick'' is created during the later stage of his Nativist series.

The style is more simple and straight to the heart. The bold marks from the car ving can be seen and each brings out the lifelines of the rooster. The material is wood and after Ju Ming’s careful observation the texture and flow, he has perfectly presented the forms of the rooster. As a child who grew up in the rural area, Ju Ming has thorough understanding of the forms and movements of the rooster. The famous Japanese water ink artist ''Uchiyama Ukai'' who once received Ju Ming’s artwork as a present said “the beauty of the car vings is identical to the brushstrokes of the landscape painting.”

藝術家鄉土系列後期的《母子情深》刀鑿風格明顯， 每一刀都刻出雞的生命力。作品在仍是木頭狀態之 下，已被仔細的觀察過，作品從木質紋理的流動中， 朱銘已將形體了然於胸。知名日本水墨畫家內山雨海 曾收過朱銘所贈與的作品並表示：朱銘刀痕之美和水 墨畫的筆跡是同出一轍的。

056

057

041

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LONG CHINSAN

( 1892-1995 )

Bamboo Leaves Study 31.2×20.2cm Photograph Silver Gelatin With one seal of the artist PROVENANCE Private collection, Australia ILLUSTRATED "ELECTED WORKS of CHIN-SAN LONG",Photographic Research Institute of College of Chinese Culture,1971,page57

郎靜山 風晴雨露 1952-1958 銀鹽相紙 鈐印：郎靜山 來源：澳洲私人收藏 圖錄 《中華大典六十年攝影選輯》中華學術 院攝影研究所刊行 1971年 第57頁

NT$60,000-130,000 US$2,000-4,300

郎靜山主張使用西方的攝影技術為工具，在表 現應該多研究國畫精神的旨趣，並曾言：「我 主張技巧上，應吸收西方科學文明、使照相不 在是件難事；但要談到藝術視界，無論取景 或色調，我都認為應多研究國畫中蘊含的旨 趣。」《風晴雨露》採深與淺墨的呈現方式， 由淺至深慢慢推往前方推移，這樣的層遞相同 於水墨的用色與佈局。

058

042

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LONG CHINSAN

( 1892-1995 )

An Excursion

郎靜山

34.4×27cm Photograph Silver Gelatin With one seal of the artist

煙江弄晚舟

PROVENANCE Private collection, Australia ILLUSTRATED SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971,page112

1950 銀鹽相紙 鈐印：郎靜山 來源：澳洲私人收藏 圖錄 《中華大典六十年攝影選輯》中華學術院 攝影研究所刊行 1971年 第112頁

NT$60,000-130,000 US$2,000-4,300 059

043

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CHEN CHENGHSIUNG

( b.1942 )

Happiness

陳正雄

陳正雄以寫實的刀法、細膩的情感，

62×42×36cm Bronze, 2/12 Signed Chen Chengsing in Chinese, dated 2004, numbered 2/12

喜臨門

一刀、一鑿慢慢將作品靈魂解放，表

With a certificate of authenticity signed by the artist

現出有力量、情感與溫度的作品。陳 2004 紅銅 2/12 簽名：陳正雄 2/12, 陳正雄2004 附藝術家親簽之原作保證書

正雄刀下的作品容貌、動作與表現總 能深刻的觸動觀者的情緒，常一不小 心就會想趨前跟作品聊聊天，聽聽他 的故事或心情。

NT$280,000-350,000 US$9,200-11,500

060

044

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PIERRE FERNANDEZ ARMAN

( 1928-2005 )

Cellopige

阿曼

37×13×16cm

大提琴

Bronze, 33/50 Signed arman in English,numbered 33/50 With a certificate of authenticity from Gallery

1992 銅 33/50 簽名:arman 33/50 附畫廊開立之原作保證書

ILLUSTRATED "Exhibition of International Sculpture Master", Modern Art Gallery, 1996, page 23

圖錄 《國際大師雕塑展》，現代畫廊，1996年10月，第23頁

NT$220,000-280,000 US$7,200-9,200

阿曼仍深受學院時期的古典思想影響，《大提琴》亦是從希臘神話中吸取靈感，維納斯肌理線條的典雅優美與微微闔眼 與輕閉的嘴唇表現出古典的雕刻風格。作品富含神話的特質，將無機物的樂器融入豐潤的人體，化身為音樂的旋律。 061

045

FERNANDEZ ARMAN | PIERRE Le Phantome

( 1928-2005 )

130×50×45cm Iron, 7/8 Signed arman in English, numbered 7/8 With a certificate of authenticity from Gallery

阿曼 自由女神 2000 鐵 7/8 簽名:arman 7/8 附畫廊開立之原作保證書

NT$800,000-1,200,000 US$26,200-39,300

「集合藝術」被限定為指包含在箱子或畫框內實際物件 的組合。阿曼是50年代集合與新寫實主義的代表。在這 一波戰後反傳統反美學的思潮不僅影響了當代的美學體 驗，更啟發現代觀念藝術的發展。 自由女神像，又稱「自由照耀世界」，位於美國紐約附 近的自由島。雕塑表達了對美國新移民的歡迎，也成為 美國和自由的標誌。 《自由女神》外表的設計大膽而簡潔清楚，沒有過分刻 畫細節，強調手舉的火炬、頭帶的傘狀帽與手持的美國 獨立宣言，同時小心對待放大了的細節及其帶來的多樣 性。通過對形式的片狀切割與重疊，使雕像整體具有概 括性的特徵，產生類似於速寫般的感覺。

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YANG CHIHUNG ( b.1947 ) Pulsation of Life

楊識宏

72.5×60.5cm Oil on Canvas Signed on the Reverse: Chihung Yang,dated 2003 in English With a certificate of authenticity from Gallery

生命的脈動 油彩 畫布 背面簽名:Chihung Yang©2003 附畫廊開立之原作保證書

“To me, the growth and withering of plants and flowers are like a piece of wonderful music which reminds me of Albinoni's Adagios touching the deepest part of my soul. The sad and beautiful sorrow; the spontaneous eternity often linger in my heart.” —Yang Chi Hung

「我常感覺植物花木的生長與枯萎之生命情境，猶

NT$200,000-280,00 US$6,600-9,200

如一首優美的音樂，就像阿比諾尼，最令人柔腸寸 斷的『慢板』，那種淒美的哀怨；那種短暫的永 恆，常讓我低迴不已。」—楊識宏

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KUO JENCHANG ( b.1949 ) Landscape 91-4

郭振昌

蒐集鑽研漢代細線描摹畫像磚與圖書資料，郭振

32×40cm Oil on Paper Signed Kuo Jenchang in Chinese, J.C.Kuo in English, dated 1991 With a certificate of authenticity from Gallery

山水91-4

昌擷取部份形象並加以轉化，從而發展出個人化 的黑色線描風格。此種粗黑線描造型，一方面存

1991

油彩 紙本 簽名：郭振昌1991 J.C.Kuo 附畫廊開立之原作保證書

在代表歷史、文化的符號意象；另一方面，又因 藝術家賦予其具爆發力的造型書寫性格，鮮明的 美感更加震撼觀者視覺與想像空間。 郭振昌糅雜傳統藝術形象與現代美感經驗，形成

NT$50,000-80,000 US$1,600-2,600

獨樹一幟的「東方」藝術美學；《山水94-1》無 論是在黑線條的使用、寫實與抽象元素的並置、 立體與平面形象的畫面安排、黑白無彩與華麗色 調的對比併用、畫面的虛實調度，以及抒情與敘 事的掌握，都達到一種飽滿而悅目的平衡。

065

048

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YUYU YANG

( 1926-1997 )

Leap of the Dragon 80×60×60cm Stainless steel, 16/20 Signed Yin Feng in Chinese and dated 1986, numbered 16/20 With a certificate of authenticity from Yu Yu Yang Foundation

楊英風 龍躍 1986 不鏽鋼 16/20 簽名：'86英風16/20 附楊英風基金會開立之原作保證書

NT$280,000-340,000 US$9,200-11,100

《龍躍》為不銹鋼「飛龍系列」的作品之一。從古至今， 「龍」象徵著對自然力量的崇敬與自覺，經過時間的洪流 後更凝聚了中國人的生活智慧與自然觀。《說文解字》： 「龍，鱗蟲之長，能幽能明，能細能巨，能短能長，春分而 登天，秋分而潛淵。」引發人們無窮盡的想像空間。《龍 躍》中龍昂首直上騰躍，龍身盤旋上升，藉著不銹鋼的潔淨 簡樸，從此褪去了千年來繁複裝飾的外表，轉用順暢的弧 面，簡潔的平面刻劃，展現出時代的精銳風貌。

066

067

068

049 | YUYU YANG

( 1926-1997 )

Mystery in the Cosmic Void 100×25×20cm Stainless Steel, Titanium, 6/9 Signed Yang Yinfang in Chinese,Fang in English,dated1993, numbered 6/9 With certificate of authenticity from Yu Yu Yang Foundation

楊英風 玄通太虛 1993 不鏽鋼 鈦合金 6/9 簽名:楊英風 Fang '93 6/9 附楊英風基金會開立之原作保證書

NT$380,000-500,000 US$12,500-16,400 楊英風以中國魏晉時期自然圓融的思想作為作品創作的 核心精神，讓藝術品與生活環境交融，以景觀雕塑提高 生活環境與品質。楊英風對藝術的理念，展現東方世界 物我交融「天人合一」的境界，具體呈現「外師造化， 中得心源」，因此具指標性的歷史意義。 《玄通太虛》屬於「宇宙系列」作品之一，為國際上首 件鈦合金媒材所創作之景觀雕塑。創作理念取中國人和 諧平衡的宇宙觀和尊重自然的生命理念為設計之本，以 陰與陽和虛與實表現中國文化與現代科技的深觀思辨， 引觀者聯想遙遠的太空有許多星群正和太陽系一樣照顧 宇宙生命的一切平衡。

069

050

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YU CHENGYAO

( 1898-1993 )

Summer Landscape 123×57cm Ink and Color on Paper Signed Yu Chengyao in Chinese With one seal of the artist

余承堯 晴暖圖 彩墨 紙本 簽名：余承堯 藝術家鈐印

NT$600,000-800,000 US$19,700-26,200 1898年出生於福建永春偏僻山村，十三歲才正式入小 學就讀的余承堯，僅三年便完成學業，並以詩文聞名鄉 里；青年時期意興遄飛、戎馬倥傯歷遍大江南北十餘個 省份與無數處名山大川；以中將軍階申請退役後，於香 港、台灣、南洋等地經營藥材買賣生意；從商之餘他藉 詩文、南管音樂以自娛，約莫五十六歲時才開始嘗試水 墨創作，並在1960年代晚期後全心投入讀書、寫詩、 作畫的依仁遊藝隱居生活。 余承堯以深刻的遊觀，以及嚴格的批判為基礎，創造了 講求個性、不隨俗流的山水畫。承堯先生親臨山水， 讀縣誌、覽名勝，並以詩文記情寫景；作畫時感「追念 前塵，萍蹤已渺，然微吟草稿，尚在手邊，展而視之， 有如坐對，始知遊觀之詠，均有畫意存在」。幼時閩南 風光的綠水農家梯田果園，石骨嶙峋疊峰層巒、軍旅時 期的千山萬水，南北江河東西山谷，都是藝術家筆墨馳 騁、描繪示現的難忘景致。 重視閱讀的余承堯曾言：「文學素養最要緊，否則無法 創體。」、「山是有生命、有變化的。如果不用亂筆 而採用規矩筆墨線條，則山勢易成呆板堆積、不符自 然。」《晴暖圖》構圖雄奇色彩繽紛，繁複點線結組而 成的形體氣勢不凡，畫面構圖飽滿密實，以亂筆表現藝 術史學者董思白所言：「交疊的物體輪廓所賦予其山水 以一種明晰物象所不能想像的生命進行感」。

070

071

051

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SHIY DEJINN

( 1923-1981 )

Anping Fishing Wharf 21×45cm Watercolor on Paper Signed Shiy Dejinn in Chinese, dated 1971 With the photograph of the artist with this lot

席德進是台灣現代重要畫家，對台灣畫壇影響力極大。受教於畫家林風眠、吳大 羽，並與趙無極、朱德群相識往來，更堅定追求藝術的心志。民國十六年後，席 德進從水彩風景畫轉移到水墨畫的創作。 《安平漁港》在水氣與線條上不含皴筆，把中國傳統「以線整面」的理念予以擱 置。雖是水墨畫，但卻沿用水彩畫「溼中溼」的著色法，將各種色料調和到近於 灰色再上色，灰中透著顏色，有別於一般水墨畫以墨為主再另以設色。曉明的氤 氳嵐氣，濕潤了整個江水。

席德進 安平漁港 1971 水彩 紙本 簽名：1971席德進

NT$350,000-500,000 US$11,500-16,400

072

052

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ZHU QIZHEN

(1892-1966)

The Dragon Boat Festival 89×47.5cm Ink and Color on Paper Signed Zhu Qizhen in Chinese With one seal of the artist

朱屺瞻 端節清供 1987 彩墨 紙本 鈐印：朱屺瞻，太倉一粟 鑑藏印：狂拋心力 款識：丁卯(1987年) 夏月畫于上海 梅花草堂，朱屺瞻。 來源:現藏家購自2005.11.03永樂 佳士得北京 中國近現代畫專場

NT$300,000-500,000 US$9,800-16,400 朱屺瞻早年入私塾並從名師藤島 武二習畫。曾與徐悲鴻、汪亞塵 等創辦「默社畫會」而後受聘為 上海中國畫院畫師，上海市政府 更在魯迅公園創建了朱屺瞻藝術 館。在其繪畫歷程中油畫、水墨 兼長，晚年以水墨為主。 《端節清供》用流利的線條勾勒 出水果的輪廓，搭配鮮豔的色彩 與漸層的渲染，物件佈置適當而 留白巧妙。題材與材料雖較為沉 重，但從清供的物品與色彩反倒 流露出輕鬆舒適的氛圍，有別於 一般祭拜莊嚴與沉重的寄託。

073

074

053

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SAD JI

( 1914-2005 )

Nature Morte Aux Fruits 33.5×57.5cm Oil on Canvas, Mounted onto Board Signed SADJI in English PROVENANCE：Acquire from Belgium Vanderkinderee Auction by the present owner

被譽為「中國的梵谷」，沙耆曾師從畫家徐 悲鴻及巴斯天並與畢卡索等歐洲著名畫家一 起參加比利時布魯塞爾阿特利亞蒙展覽會， 在浙江博物館、上海油畫創作雕塑創作院和 北京首都博物館先後舉辦「沙耆畫展」。 《靜物水果》就如同巴爾杜詩的評語：「在 他的靜物畫中，我們又會發現他這種衝突的 融合；在畫面上是激情和審慎的融合、粗獷

沙耆 靜物水果 1930-1940 油彩 畫布 裱於木板 簽名：SADJI 來源：現藏者購自比利時Vanderkinderee拍賣會

NT$850,000-1,200,000 US$27,900-39,300

和細膩的融合；在用色上又是光亮與暗淡的 融合。面對這樣融合、調協的作品，我覺得 這個中國藝術家，他發現了一個第三空間， 他的作品就成為一個見證，見證了一個超 然的藝術領域的存在，沒有疆界的藝術世 界。」

075

054

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HONG JUILIN

( 1912-1996 )

Fukushima 31.7×40.8cm Oil on Paper, Mounted onto Board Signed Hong in Chinese, dated 1984

洪瑞麟為台灣早期赴日學習西洋繪畫的重要前輩藝術家之一。曾接受石川欽一 郎老師的指導，在「台灣繪畫研究所」與張萬傳、陳德旺等人同學素描。回到 台灣，於瑞芳煤礦工作，自此開始以礦工作為創作題材，建立出與眾不同的繪 畫風格，又稱「礦工畫家」。 《福島海景》描繪日本東南福島地區的海濱風景，畫面構圖簡潔平衡，不強調 輪廓的描繪，僅用筆觸大面積與畫布的接觸，形成較為躁動的線條，表現景物

洪瑞麟 福島海景 1984 油彩 紙本 裱於木板 簽名：1984 洪

NT$480,000-550,000 US$15,700-18,000 076

的外觀。

055

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JIANG MINGXIAN ( b.1942 ) Landscape

江明賢

曾經榮獲國家文藝獎的水墨畫家江明賢，從台師大退休後，有

58×97cm Ink and Color on Paper Signed Jiang Mingxian in Chinese With one seal of the artist"

霞海城隍廟

更多時間從事創作，並且將遊歷中西景點的記憶化成一幅幅現 代水墨。

丙戌年(2006) 彩墨 紙本 簽名：江明賢 藝術家鈐印

傳統水墨向來以山水為主，要表現剛硬的建築比較困難，但江 明賢卻畫了大量的中式廟宇和西方建築，充分展現他扎實的中 西繪畫功厎，《霞海城隍廟》運用中國水墨的交錯筆法襯托出 廟宇的莊嚴輝煌。

NT$350,000-450,000 US$11,500-14,800

077

078

056

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KUO JENCHANG

( b.1949 )

Sky Curtain 67.5×75cm Mixed Media on Canvas Signed Kuo Jenchang in Chinese and J.C.KUO in English, dated 1994 ILLUSTRATED "J.C KUO´S PICTURING TAIWAN 1995", Elegance Gallerie Taipei, March1995 EXHIBITION "J.C KUO´S PICTURING TAIWAN 1995",Elegance Gallerie Taipei, March1995

郭振昌 天幕 1994 綜合媒材 畫布 簽名：郭振昌'94 J.C.KUO 圖錄 《台灣造相 J.C.KUO'S PICTURING TAIWAN 1995》，愛力根藝 術有限公司，1995年3月 展覽 「台灣造相展」台北愛力根畫廊，1995

NT$350,000-450,000 US$11,500-14,800

身為當代藝術家，郭振昌用銳利的眼睛、敏感的觀察力， 以畫筆記錄這個快速變遷社會中所產生的多種現象。 《山海經 海外北經》：「夸父與日逐走，入日。渴欲得 飲，飲於河、渭。河、渭不足，北飲大澤。未至，道渴而 死。棄其杖，化為鄧林(桃林)。」 在郭振昌筆下一九八○年代台灣經濟起飛時，台灣人如夸 父追日、日以繼夜，每天睡醒就是打拚賺錢，財富累積是 自我滿足和驕傲的來源，造就出台灣的經濟奇蹟，像一則 現代神話；而遠東紡織生產的鮮豔花布床單，則是當時家 家戶戶的共同記憶。黑白線條的夸父形象搭配鮮麗的背景 設計，《天幕》並置極簡的人物造型與繁複的斑斕色彩， 畫面奪人眼目、撼人心弦。

079

057

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HUANG CHIHYANG

( b.1965 )

Flower or not flower series

黃致陽

黃致陽自80年代末期崛起於藝壇，試圖從傳統

171×90cm Mixed Media on Paper Signed Huang Chihyang in Chinese Signed on the Reverse:Huang Chihyang and Flower or not Flower series in Chinese,dated 2000,and sized 170×90cm

花非花

繪畫回到「皴法」的形式本質，將其轉化，結合 生活周遭的自然生態，創造出符合自身的形象與

2000 綜合媒材 紙本 簽名：黃致陽 背面簽名：黃致陽 花非花2000 171×90cm

NT$150,000-240,000 US$4,900-7,900 080

技法。 《花非花》運用極盡煽動的筆墨，在畫面上來回 書寫，透過線性的筆意，或是墨痕的滴灑，使觀 者感受其緩急、輕重與快慢，表現出水墨在畫面 上恣意揮灑的酣暢淋漓感。

058

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CHIU YATSAI

( b.1949 )

Playwright

邱亞才

80×65cm Oil on Canvas Signed Chiu Yatsai in Chinese, dated 1992

劇作家

ILLUSTRATED "CHIU YATSAI", GALERIE ELEGANCE TAIPEI"

1992 油彩 畫布 簽名：92 邱亞才 圖錄 《邱亞才》愛力根畫廊

NT$250,000-350,000 US$8,200-11,500 邱亞才曾經說：「當人們看到我的繪畫與小說，就會經常想到人生有痛苦這回事，詮釋人生痛苦的方式有許多 種，而我卻是用繪畫與文字語言來表達而已。」《劇作家》線條簡單的勾勒臉龐、髮流與髭鬚的部分，在人物 長橢圓的臉龐上，蒼白的臉與莫里迪亞尼的肖像相仿。背景用色晦暗、顏料層厚重；全黑的背景與人物憂鬱陰 沉的氣質，使的隱藏畫面以外的人物身軀突顯了形體得孤絕。

081

059

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LIU JIUTONG

( b.1977 )

The Rain and Township

劉玖通

晚唐杜牧《江南春》詩：「千里鶯啼綠映紅，水村山郭酒旗

85×97cm Oil on Canvas Signed Liu Jiutong in Chinese, dated 2011 PROVENANCE：Acquired directly from the artist

煙雨水鄉

風。南朝四百八十寺，多少樓台煙雨中。」描繪春日江南風 光。鶯歌燕舞活潑喜人、紅花綠葉生機盎然，而在青山繚繞、

2011 油彩 畫布 簽名：劉玖通 上海2011 來源：現藏者購自藝術家本人

水道縱橫的江南村鎮裡，迎風招展的鮮豔酒旗妝點了古樸景 色；水氣朦朧、煙雨淒迷當中，遙想繁華南朝建下的四百餘 間金碧輝煌佛寺當今何在？詩人思緒由景入情深邃邈遠、情 思綿長。

NT$480,000-600,000 US$15,700-19,700

劉玖通藉由西方油彩顏料創作，卻在畫布上渲染出一片中國 山水的東方詩意氣韻，不僅表現寫實的視覺形象，也傳達了 中國天人合一、物我相融的古典哲學思想。《煙雨水鄉》可感 水鄉宜人春色漫然眼前，融情於景千古思幽，尺幅千里、神超 象外，使觀者心旌搖曳而神飛江南。

082

060

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CHIU YATSAI

( b.1949 )

The Thinker

邱亞才

邱亞才的畫作題材通常是雅儒或是流浪者。他認同儒家學者的道

110×66cm Oil on Canvas Signed Chiu Yatsai in Chinese

沉思的男子

德觀、優雅並追求完美；畫作人物大多孤寂，甚至憂鬱，卻依舊 優雅得體，其中特別引起觀者注意的，是作品中深藏的人性謙

油彩 畫布 簽名：邱亞才

卑、自負和脆弱。

NT$400,000-500,000 US$13,100-16,400

豐富，讓人聯想到20世紀的畫家莫迪里亞尼，同時臉部以深色墨

《沉思的男子》男子身型修長，輪廓線條明顯，色感強烈，情感 水勾勒出鮮明的輪廓，展現出他對中國繪畫的熱情。畫面筆觸簡 單，卻能強調出畫中人物的內心世界，觸動複雜的感情與心理狀 態，展現出人類靈魂裡共通的不安與孤寂。 083

061

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HSIAO YI

( 1956-2006 )

Gautama Buddha

蕭一

蕭一接受傳統佛像雕刻的啟蒙，而後脫離傳統

64×16×16cm Wood (One piece only) Signed and dated 1979

釋迦牟尼

轉於自由創作，以真實生活的體會，思索人性

ILLUSTRATED "Zen．Alternation:Our Forever Friends ",Lin & Lin Gallery,2010.06,Page 3

084

1979 木頭 單件 簽名：#79

與佛性的對立與矛盾。 蕭一創作的材料，就是木頭和鐵。他說，木頭 的創作過程像是減法，一刀一刀剝落下不需要 的部分；而鐵的創作品像是加法，一條條、一

圖錄 《禪．易:咱們永遠逗陣吔朋友》,大未 來林舍畫廊,2010.06,第3頁

片片地將鐵材熔接在一起，直到滿意。《釋迦

NT$180,000-280,000 US$5,900-9,200

圓融及柔合且極富禪意。

牟尼》造像外形樸拙，刻意粗造、率性、不加 修飾、不刻意加工，線條皆稍求彷彿，呈現出

062

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HUNG YI

( b.1970 )

Descendant of the Dragon

洪易

在洪易的作品中，可以感受到強烈的台灣味道。來自民

64×21×20cm Fiberglass, 1/9 Signed Hung Yi in Chinese, numbered 1/9

龍的傳人

間文化與日常生活的轉化，將藝術家對於土地的觀察 與情感，揉合於造形之中，那些看來有些粗野卻可愛的

2002 纖維塑鋼 1/9 簽名：洪易1/9

事物，正是洪易傳達「藝術生活化」理想的使者。龍的 傳人近似台灣民間廟宇的俗麗色彩，以及變造自日常生 活的各種形象，使得作品極為可親，在流暢的造型線條

NT$250,000-350,000 US$8,200-11,500

下，睜大眼睛、露齒而笑的怪物們充滿喜感，也極富生 命力。 ---摘錄自《帝國大反擊-二部曲長驅直入》

085

063

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PABLO RUIZ PICASSO ( 1881-1973 ) Scène de Tauromachie

畢卡索

在畢卡索故鄉西班牙的馬拉加，鬥牛活動與

23×23×1.5cm Ceramic Plate, 285/500 Signed："K11 EDITION PICASSO 285/500 MADOURA" in English With one seal of the artist

鬥牛場景

日常生或密不可分。畢卡索的血液裡流淌著 鬥牛士勇敢、挑釁、不屈服的因子，他也喜

1957 陶盤 285/500 簽名：K11 EDITION PICASSO 285/500 MADOURA 鈐印：MADOURA PLEIN FEU EDITION PICASSO"

NT$200,000-300,000 US$6,600-,9,800

086

愛以牛為意象 作為描繪暴力、戰爭與內心 情慾的寫照。西班牙詩人塞納便說過，「我 了解畢卡索是一個鬥牛士，而且無論他做什 麼、怎麼做，實際上就是鬥牛。」

064

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HSIAO CHIN

( b.1935 )

Composition Chi 1981 53×83cm Ink and Color on Cotton Signed Hsiao in English and Chin in Chinese, dated 1981

，「氣」之異體字。中國哲學、道教、中醫學認為人類與一切生物具 備的生命能量或動力，被稱為是氣，宇宙間的一切事物，均是氣的運行 與變化的結果。採用古字「 」來代表先天的氣，代表無極；氣則被當 成是後天的氣，為太極。 《 1981》為蕭勤回返原初道與禪本源探討時期的作品，由謹嚴墨色線 條色塊組成，以同心漩渦方向流動運轉，兩方朱紅鈐印落款巧妙平衡畫

蕭勤

面；墨色巧妙變化、排列疏密有致呈現微妙光線絪縕。

1981 1981 彩墨 棉布 簽名：Hsiao 勤 81 鈐印右下：蕭勤畫 鈐印上方：逍遙王玉璽

NT$200,000-300,000 US$6,600-9,800

087

088

065

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LEONARDO DA VINCI

( 1452-1519 )

Horse 58×53×16cm Bronze,19/20 Copy of The Palazzo Barberin collection was supervised by LIU HAI SU MUSEUM ILLUSTRATED "Italy Bellini Museum Renaissance Art Collection Exhibition'' , Page 3 With a certificate of authenticity from Gallery

李奧納多‧達芬奇 古代馬 銅 19/20 義大利貝里尼博物館藏品之有限複製品 圖錄 《義大利貝利尼博物館文藝復興時期藏品選》 第3頁 附貝里尼博物館開立之保證書

NT$500,000-800,000 US$16,400-26,200 達芬奇、米開郎基羅與拉斐爾併稱為文藝復興三傑，而 且也是歷史上最著名的畫家之一。其為「通才」的代 表，其同時是建築師、解剖學家、發明家、建築師及藝 術家等，並以畫作寫實性和影響力而聞名，前者如《蒙 娜莎的微笑》、《最後的晚餐》以寫實著稱，後者像 《維特魯威人》對後世影響深遠。 《古代馬》這一匹奔跑的牧馬，是文藝復興時期代表， 是藝術大師達芬奇在瑪麗亞‧斯福塞與馬克沁一世訂婚 時送給她的禮物。這匹馬也成為達芬奇最為著名的小型 雕塑。原作於於1492年創作於米蘭，為普魯士王國的珍 寶，收藏于柏林國家博物館。Ars Mundi經授權開發的這 一版本經特殊工藝上色，表面呈銅綠色。 《古代馬》此馬是寫實創造的藝術傑作。行進中的馬， 側頭揚蹄，張口欲鳴，四條腿的擺動與姿態，符合動物 運動時的工學，即左前腿上前，右後腿上前，右前腿在 後，左後腿在後，馬匹的肌理、皮膚、皺紋刻劃的栩栩 如生。達芬奇是懂得解剖學的藝術家，創作馬的雕塑完 全符合解剖學的原理，是在科學的基礎上進行創作的。

089

066

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CHUANG CHE

( b.1934 )

Landscape 86.4×120cm Oil on Canvas Signed Chuang Che in Chinese and dated 1972 Signed on the Reverse: CHUANG CHE in Chinese and English, LANDSCAPE #3C, OIL ON CANVAS, 48×34

莊喆 山水 1972 油彩 畫布 簽名：1972莊喆 畫背簽名：CHUANG CHE 莊喆，LANDSCAPE#3C，OIL ON CANVAS,48x34

NT$400,000-580,000 US$13,100-19,000

With rapid brush movements, a free and easy style of painting, and the use of elegant textures, Chuang Che has created a scene of vast and an impressive feat during the Pure Brightness period. The bright and full-bodied tone brings an auspicious and peaceful atmosphere among numerous and complicated confusions. Varying bold with light brushstrokes, Chuang carefully depicts rustling grass and plants in falling water, and perfectly integrates the organic lives of human beings and those of nature. Pure water and vast mountain extend endlessly in verdant green towards the horizon, leaving behind an infinite space of imagination. The artist moves back and forth across the center of the canvas in the style of boldness and quickness of Chinese calligraphy and painting.

The artist annotates the beautiful and harmonious coexistence of nature and human civilization with sober, inclusive and unconstrained use of colors, and with a taste of vigorousness, firmness, flexibleness and gracefulness.

莊喆在《山水》一作中，以落筆快速、紋理優雅的瀟灑筆 觸建立了清幽、獨立蒼茫的清明氣象，明亮濃郁的色調則 在萬千紛擾中凝聚一股祥和。蒼勁或輕盈的敷抹揉合中， 點綴出高山流水的互相呼應。蒼然的林，純然與青翠的無 盡延長，直向那無盡的視野蔓延而去，令人有著無限想像 空間。而畫家帶有中國書畫的豪放與輕巧，來回穿梭於畫 面中央，用色兼容沉穩奔放，雄渾中又不失靈動婉約，在 中國東方雅致詩意的氣質中重新詮釋自然與人文的和諧並 存之美。

090

091

067

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CHEN YINHUI

陳銀輝

陳銀輝吸收立體派畢卡索的造型理論及規則，又融合野獸派馬

Red

一串紅

諦斯的色彩張力，「形的革命」與「色彩的革命」靈活運用，

37×45cm Oil on Canvas Signed Yin in Chinese, Chen in English

1987 油彩 畫布 簽名：銀 CHEN

然的呈現。

NT$150,000-220,000 US$4,900-7,200

為突顯，花蕊筆觸狂放大筆，僅以幾筆重點式的勾勒，足以構

( b.1931 )

對比色的交錯呼應，在不經意的強調下，讓物件的輪廓有更自 《一串紅》也稱爆竹紅，外觀像鞭炮般掛成整串，鮮豔的紅色 與綠色形成強烈的對比，在兩色交接間抹上青金藍，使主體更 出輪廓，排列的簡潔與精確帶動整幅畫的律動感，與背景色塊 的組合共同交織出一幅理性與感性兼具的樂章。

092

068

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WANG SOYING

(b.1934)

Autumn View 52×64cm Oil on Canvas Signed S.Y.WANG in English

王守英 秋色 油彩 畫布 簽名：S.Y.WANG 來源：現藏者購自藝術家本人

NT$150,000-250,000 US$4,900-8,200

Wang’s "transparent layering method" is his unique way of painting, giving transparency to the picture. He applies multiple layers of highly-luminous paint onto the focal point of the picture in order to create depth and layers in the painting. In the work ”Autumn”, he uses many vibrant colors to convey the texture and richness of the scene through the use of color and form.

His style is dreamy and romantic, and he uses classical, gentle colors. With the utilization of layering, he creates scenes which are full of depth and autumn feeling.

王守英的「透明打底法」是其獨特的作畫手法，使畫面呈現穿透性，喜歡在視覺中心重 複塗上高明度顏料，呈現出畫作的深度與層次感。此次作品《秋色》在色與型中展現豐 富景物的質感，迷離而浪漫，用色典雅溫和，擅用堆疊的方式畫出層次豐富及秋意濃厚 的畫面。

093

069

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HSIAO CHIN

( b.1935 )

Vortice di luce-7 直徑220cm Acrylic on Canvas Signed on the Reverse：Hsiao in English,Chin in Chinese,named VorTiu de Iou-7 ILLUSTRATED "Hsiao Chin", 1955-2008 Viaggio in-finito，Page 143 EXHBITION "Hsiao Chin Collection 1995-2005",National Art Museum of China,Beijing,China,2006

蕭勤 光之漩渦-7 2001 壓克力彩 畫布 背面簽名：Hsiao 勤 VorTiu de Iou-7 圖錄 ＜大

之境，向大師致敬系列-蕭勤75回顧展＞，高雄市立美術

館，2010，P107 展覽 「蕭勤七十回顧展1955-2005」中國美術館,中國北京,2006年

NT$1,300,000-1,600,000 US$42,600-52,500 蕭勤以西方色感闡述東方哲理，將中國書法、老莊、禪宗 思想，匯集現代的各式科學理論，經營一個出自個人中心 思維對立又和諧的創作理路。 《光之漩渦-7》從黃色小內圓漸層環轉擴展至土黃色乃至朱 紅色的大圓，藉著暖色調彩度發激出一種熱騰騰非比尋常 的溫度及能量，恆動恆靜的漩渦暗示自我觀照；往內旋轉 聚集宇宙光能量及氣場，形構出一股充滿生機的靈體，透 出活潑、積極的人生觀。

094

095

096

070

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JEAN-MICHEL BASQUIAT

(1960-1988)

Aopkhes 137×99cm Lithograph, 54/85 With a certificate of authenticlty on the Reverse

尚．米榭．巴斯奇亞 無題 版畫 54/85 背面附原作保證書

NT$700,000-800,000 US$23,000-26,200 Jean-Michel Basquiat, known as a graffiti artist in New York, was ver y active in the 80s and a legendary contemporary artist. Born in Brooklyn in 1960 and father from Haiti, Basquiat was raised in a middle class black family. He has shown interests in painting in his early years and was greatly influenced by his mother and encouraged by his father. Even though he wasn’t trained officially, his was still greatly inspired and was prolific.

Basquiat participated in art exhibitions since 1980 and earned his fame from widespread attention.

He was upgraded from a graffiti artist to an elite artist. His artworks mainly covered the impression and thoughts of daily life and surroundings, he deeply depicted the social class, racism, indifference, sarcasm of capitalism and luxurious lifestyle. The themes also covered his fear of death. The ones describing his desire for great men and heroes were the strongest. Whenever asked of the theme, he always answered: “The King, hero and street.” His artworks challenges the mainstream white culture; but at the same time fulfill aesthetics emperor perspective. His borderline identity and attitude remained as unrestrained even in mainstream art world. His life was short but legendary.

The characters were often imagery sketches of the face and body; the forms are flat, frontal and simple to bring out the bones and organs. They are primal but humorous and pure. The brushstrokes are well-trained and fast; the lines are flowing; the colors are vivid along with the characters written on the picture; all of the above perfectly blend together as though the artist is painting with words and directly reflect his passionate inner world.

活躍於80年代的巴斯奇亞，以美國紐約街頭塗鴉藝術家身份聞名，是當代美術史上一位非常傳奇 性的畫家。出生於1960年紐約布魯克林區，父親為海地人，從小生處於黑人中產家庭。其自小便 顯露對繪畫的興趣，雖未受過正規繪畫教育，但母親喜愛藝術的影響，以及父親的鼓勵，成為其 創作的開端與泉源。 1980年巴斯奇亞開始參加畫展，深受各方藝評關注，使而聲名大噪，由塗鴉客晉升為精英般的藝 術家身份。巴斯奇亞的創作題材大多來自對生活週遭事物的印象與感觸，深刻描繪美國社會文化 階級、種族歧視與藩籬、對資本主義及金錢奢華的嘲諷、以及對死亡的恐懼，其中以對偉人的渴 望最為強烈。當被問到作品的主題為何時，巴斯奇亞總答覆道：「國王，英雄與街頭。」其作品 挑戰主流白人的文化品味，同時又滿足於美學的帝國式視野，最邊緣的身份與態度進入主流藝術 圈，卻始終保持狂暴不羈的生活態度。綜觀其一生雖短暫，卻刻畫傳奇。 巴斯奇亞筆下的人物常是圖式化的顏面與身體線描，扁平、正面的、輪廓簡單，且顯露部分骨骼 和器官，有著「原始藝術」的野趣，純粹卻也詼諧。其熟練而快速的筆觸、流動的線條、強烈的 色彩、和加諸於圖像上的文字，將不同主題流暢地結合，猶如以文字作畫，作品直接地傳達本人 激烈的內心世界。

097

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YOSHITOMO NARA

( b.1959 )

Sleepless Night Sitting

奈良美智

《失眠夜坐著》為2007年奈良美智首次與香港玩

15×19×28cm Fiberglass, 172/300 With a certificate of authenticity and a wooden box.

失眠夜坐著

具創作公司HOW2WORK聯合設計的一款雕塑，花 費三年時間打造，全身以玻璃纖維製成，外加植毛

2007 玻璃纖維 172/300 附原作保證書及木盒

效果，全球限量300件，每件皆有奈良美智的親筆 簽名。這個失眠的大眼娃娃本是奈良美智筆下的其 中一個人物，靈活的表情、困惑無奈的眼神，生動

NT$500,000-600,000 US$16,400-19,700 098

訴說著失眠的夜裡，獨坐在小木椅上，抬頭仰望天 空，就這樣過了一個無眠的晚上。

072

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YOSHITOMO NARA

( b.1959 )

Be Careful 22×16cm Acrylic on Paper Signed Be Careful in English Signed on the Reverse: Na in Japanese, dated 1992 With a certificate of authenticity from Gallery

奈良美智

強烈的孤獨感是奈良美智的創作精神來源，其作品

Be Careful

呈現強烈的自我意識，時常反映自身的不安，流露 著日本獨特的文化精神，也暗示現代人的孤寂感。

1992 壓克力 紙本 簽名：Be Careful 畫背簽名：な'92 附畫廊開立之原作保證書

NT$380,000-580,000 US$12,500-19,000

《Be Careful》反摺下的紙片面，遮去了女孩的臉， 大雨中柱著拐杖的身影略顯孤寂。畫面構圖由人物 光影下的疏離冷調，線條與色塊面積描繪的背景， 兩者相映相襯，形成對比。猶如一個孤獨的小孩走 在成人世界裡，感覺有幾分倔強、不與世界妥協。 099

073

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WALASSE TING

( 1929-2010 )

Ripples of Desire

丁雄泉

丁雄泉經歷50至70年代時期，具象繪畫、超寫實主

34×46.5cm Ink and Color on Paper With one seal of artist Acquire from Monte Carlo Paris Auction house by the present owner

花漾女子

義、普普藝術、觀念藝術和極限藝術。給予他相當的 啟發與刺激，幫助他發展出個人的獨色語彙。大膽

彩墨紙本 鈐印：採花大盜 現藏者購自法國Monte Carlo拍賣 會

繽紛的配色，如揮刀般的下筆，豐沛的情感，以墨線 勾勒人物伴隨豔光四射的花草，素有「採花大盜」之 稱號。 《花漾女子》兩名柳眉細眼的女子，以墨黑細線勾

NT$200,000-300,000 UT$6,600-9,800

100

勒，手捧多彩的花朵，來顯現女子的平易近人。大塊 渲染的花瓣與淺綠渲染的全畫面，使畫面中風情萬 種的女性，散發出淡淡的鄉愁與優雅。

074

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PIERRE FERNANDEZ ARMAN

(1928-2005 )

Violon Découpe 30×15×12cm Bronze, 34/100 Signed Arman bocquel in English, numbered Fd. 34/100 ILLUSTRATED "The Exhibition of International Sculpture Master",Modern Art Gallery,1996,page 68

阿曼 小提琴 1995 銅 34/100 簽名：Arman bocquel Fd. 34/100 圖錄 《國際大師雕塑展》現代畫廊,1996年10月,第68頁

NT$150,000-240,000 US$4,900-7,900 阿曼出生於法國尼斯，乃是少數仍在世即被寫入西洋藝 術史的藝術家之一。他以切割物件後再堆積組合為其創 作風格，而其切割的對象則從樂器、希臘神話之雕像與 鐘錶零件到生活用品。70年代阿曼以樂器為主題，樂器 經切割過再從新編排組合。 《小提琴》青銅材質的小提琴進行不規則的切割，在以 直立微微傾斜的角度，進行重複組合，強化了音樂的力 量，重新創造音樂的律動與旋律，感覺似乎是凝視著這 些青銅碎片，音樂即在我們耳邊響起。

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a. b. c. d.

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LAI YUCHENG

(b.1981)

a.The illusional generation No.24 b.The illusional generation No.31 c.The illusional generation No.34 d.The illusional generation No.37 a.50×50cm b.50×50cm c.50×50cm d.50×50cm a. Oil on Canvas b. Oil on Canvas c. Oil on Canvas d. Oil on Canvas a.Signed Lai in English, Yucheng in Chinese, dated 2008 b.Signed Lai in English, Yucheng in Chinese, dated 2008 c.Signed Lai in English, Yucheng in Chinese, dated 2008 d.Signed Lai in English, Yucheng in Chinese, dated 2008 With a certificate of authenticity from Gallery

102

賴昱成

靡幻世代的主題呈現在有表無裡的當代社

a.靡幻世代 No.24 日夜迷思

會中，描繪炫麗外表下存在的真實性。

b.靡幻世代 No.31 馬與真相

映像管不斷的刺激，以及反應媒體效應的衝

作品的形式以隱喻的線條被切割，來自電視 擊，如同視覺記憶被分段再組成，人事物都

c.靡幻世代 No.34 銀河間 d.靡幻世代 No.37 綿羊的夢 2008 a.油彩 畫布 b.油彩 畫布 c.油彩 畫布 d.油彩 畫布 a.簽名：Lai昱成2008 b.簽名：Lai昱成2008 c.簽名：Lai昱成2008 d.簽名：Lai昱成2008 附畫廊開立之原作保證書

NT$60,000-90,000 US$2,000-3,000

被干擾或包裝；因此在速食的社會環境中， 為何形成只需要華麗表象的存在，以及背後 潛藏的危機，都是這次展覽提出需要深思的 問題。 ---賴昱成 筆 (2008年，賴昱成個展)

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ENDRO( b.1983 ) The child

安卓

100×100cm Oil on Canvas Signed Endro in English,dated 2011 With a certificate of authenticity from Gallery

孩童 2011 油彩 畫布 簽名：Endro 2011 附畫廊開立之原作保證書

NT$90,00-120,000 US$3,000-3,900

Endro’s paintings center around dreams and desires, which in many cases are what we strive to achieve, yet far from reality. He symbolizes this by blurring the background and placing hyperrealistic droplets of water to signify hope.

在各式朦朧的慾望及夢境中，有與現實相悖的遐想，亦有我們渴 望觸及的初衷，一切美好事物的象徵在安卓的畫中呈現，以倏忽 即逝的姿態存在，模糊浮盪，而藉由清透的水滴，觀者得以窺 探，進而感受那真切的本質。 103

077

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CHANG WANCHUAN ( 1909-2003 ) Tamsui

張萬傳

39.5×54cm Watercolor on Paper Signed CHANG in English and Wen in simplified Chinese

淡水

ILLUSTRATED "CHANG WAN CHUAN collection album", GALERIE ELEGANCE TAIPEI,Taipei,Taiwan, 1990, Page 175

1941 水彩 紙本 簽名：CHANG.万 圖錄 《張萬傳畫冊 CHANG WAN CHUAN典藏冊頁》，愛 力根畫廊，1990年，第175頁

NT$400,000-500,000 US$13,100-16,400 張萬傳為台灣早期赴日學習西洋繪畫的重要前輩藝術家之一，以鮮豔的色彩與粗獷的筆觸、強調形色交 融的美感，吸收野獸派與表現主義的技法並融會台灣本土文化，形成個人獨特的風格。《淡水》屋舍密 集的排列堆疊，使整個社區跳脫三度空間，形成二維的平面，樹木茂盛的從屋宇中冒出，粗獷疾速的線 條充斥整個畫面，右下方道路的主角一行人，彷彿走向後方那由繁複繽紛的房子所組成的迷宮。

104

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LEE TZEFAN

( 1907-1989 )

Streetscape 38×54cm Watercolor on Paper Signed Tzefan in Chinese, dated 1975.7.21

李澤藩

Taught by Japanese art master Kinichiro Ishikawa, Li Ze Fan dedicated his career in watercolor paintings ever since, he formed an outdoor sketching club with his high school mates and became friends with Ni Jiang Huai, Lan Yin Ding and Chen Ying Sheng. Later, he was hired to teach at National Taiwan Normal University and National Taiwan University of Arts with a lifetime achievement in arts.

"Streetscape"is presented in a see through skill that brings the viewer’s gaze into the middle of the picture. The blue and greenish western building is the focus of the painting. The entire picture is presented with a greenish tone to bring out the red vehicles on the block. It is a trademark of “a single red in the midst of thick foliage”, bringing a lively atmosphere into this tranquil and peaceful street.

街景 1975 水彩 紙本 簽名： 1975.7.21澤藩

NT$140,000-200,000 UT$4,600-6,600

李澤藩師從日籍老師石川欽一郎，參加高年級同學組成的寫生會，因而認識了倪蔣 懷、藍蔭鼎、陳英聲等畫友，從此投入水彩畫的世界中。 《街景》畫中以透視表現之街道深觸至畫面中央，藍綠漸層的西式建築是畫面集中 之處；全幅以綠色為主調，越是突顯出街道上紅色的車輛，展現出李氏慣用的手法 「萬綠叢中一點紅」，為恬淡的街景增添一股活潑的氛圍。

105

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LIN SHIENMAO ( b.1955 ) Sunrise, Ali Mountain 72.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2010

林憲茂 阿里山觀日出 2010 油彩 畫布 簽名：Shien Mao 2010

NT$250,000-350,000 US$8,200-11,500

Expert in oil painting, Lin Mao Xian often painted in regions in South asia and Europe.

He said “I am especially fond of painting, day or night, I can always find fascinating inspirations.” His paintings are full of free and liberal atmosphere.

At dawn when people excitedly await for the sun to rise and the first array of sunshine in "Sunr ise, A li Mountain". T he light s influence the colors enabling the layers and bold color blocks around the mountainous area. Under the interpretation of thick lines and strong color blocks, the picture shows strong vitality and at the same time reveals a romantic side of the artist. The scenery changes along with lights and the artist truthfully preserves the freedom of utilizing the brushstrokes.

林憲茂擅長油畫，經常前往南亞、歐洲等 地寫生。他曾說：「我特別喜愛寫景，不 只在白天，連夜裡，都可以發現夜色的迷 人之處。」他的畫，充滿自由自在的氣 氛。 《阿里山觀日出》透露著曉明的時刻，人 群守候著太陽露出曙光的瞬間。光線左右 色彩、山景嵐氣藉重疊肌理與大膽的色 域，在粗筆線條與強烈色塊的詮釋下，顯 出強勁的生命力，卻又透露出浪漫情調。 106

107

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LIN SHIENMAO ( b.1955 ) Elegant Dacing CC

林憲茂

116.5×91cm Oil on Canvas Signed Shien Mao in English, dated 2011

舞魅CC 2011 油彩 畫布 簽名：Shien Mao 2011

NT$450,000-600,000 US$14,800-19,700 Using the skills of art masters Kandinsky and Pollock, Lin Mao Xian created an abstract space for the human image to blend in with the background. Recomposing the human structure and discarding a realist approach, the artist presented a method of sketching the human body. He expressed the loneliness of the 20th century; the distraction and infatuation from suppression and sudden relief "Elegant Dacing CC"is presented with a semi abstract approach to present the t wining dancer. The poses and the liber ated brushstrokes intertwine along with the dancer on the canvas.

The layers of bright color blocks in the background brings out the dancing rhythm that is similar to natives on mid and south America.

The artist has perfectly captured the liveliness and passion of the traditional folk dance, he has also showed a strong existence and unceasing strength.

林憲茂借用了康定斯基與波洛克等大師的手法，創造了人物形 像與背景融合的抽象空間。對人體的解構與再結構，捨棄人物 寫實的再現，藉此描繪人體的不同的樣貌，表現二十世紀人類 的孤獨、壓抑與解放瞬間的恍惚與癡情。 《舞魅CC》以半具象筆法展現糾纏的舞者姿態，肢體擺動的舞 姿，筆觸的揮灑，舞者交織穿梭於畫布中，背景鮮豔的色塊層 疊，襯托出律動的瞬間，似中、南美洲當地民族舞蹈的活力與 熱情，畫家補捉流動的時間，展現強烈的生命存在感，與釋放 源源不絕的能量。

109

081

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LONG CHINSAN

( 1892-1995 )

Spring Snow

郎靜山

《富春初雪》如南北宋小

22.8×39cm Photograph Silver Gelatin With one seal of the artist P R OV E N A N C E ： Pr i v a t e c o l l e c t i o n , Australia

富春初雪

景畫，船隻置於中心，背

ILLUSTRATED "SELECTED WORKS of CHIN-SAN LONG",Photographic Research Institute of College of Chinese Culture,1971,page12

景以淡墨般連綿的山巒 1919 銀鹽 相紙 鈐印：郎靜山 來源：澳洲私人收藏

構 圖，中墨 與 淺 墨 暈 染 成底、點點的留白構成雪 花紛飛與柔和的筆觸，表

圖錄 《中華大典六十年攝影選輯》中華學術 院攝影研究所刊行 1971年 第12頁

NT$100,000-200,000 US$3,300-6,600 110

構成，採取平遠與置中的

現出一種 縹緲迷 濛的詩 意效果。

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LONG CHINSAN ( 1892-1995 ) A Crane and Bamboo 35.5×28.5cm Photograph Silver Gelatin With one seal of the artist Private collection, Australia ILLUSTRATED ''SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture,1971,page87

郎靜山

郎靜山的攝影仿國畫、重意境、師古法，

翠竹仙禽

在形式上模仿傳統國畫，題材和主題意

1965 銀鹽相紙 鈐印：郎靜山 澳洲私人收藏

趣，多取自古畫、古詩詞，是中國繪畫風 格和攝影技法的統一，既具有個人的藝術 風格，又有著鮮明的民族特色。

圖錄 《中華大典六十年攝影選輯》中華學術院 攝影研究所刊行 1971年 第87頁

NT$60,000-130,000 US$2,000-4,300

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112

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JU MING

( b.1938 )

Taichi Series - Kick 36×38×61cm Bronze, 11/20 Signed Ju Ming in Chinese,numbered 11/20 With a certificate of authenticity from Kalos Gallery

朱銘 太極系列-踢腿 1991 銅 11/20 簽名：朱銘11-20 附真善美畫廊開立之原作保證書

NT$2,500,000-3,000,000 US$82,000-98,400 This artwork is presented with a speed and intuition concept of Ju Ming. The sculpture process discards r ational thought s and r ather presented it w ith a momentum and intuition. The entire form, standing single legged with the focus on the right leg; has both arms waving and a body side kicking with the left leg.

Ju Ming presented the squatting right leg with a thicker form to show its steadiness. On the contr ar y, the dexterous left leg shows the speed of the kick

《太極踢腿》為朱銘以一種速度、直覺創作理念指 導，雕刻操作過程擺脫理性思維，展現一種時刻在進 行的動勢和創作直覺。整體造型、單腳站立，重心置 在右腳，揮動雙手，側身順勢踢出左腳；朱銘把屈膝 站地的右腳雕刻的較厚重，表現出穩如泰山的下盤； 相反，踢出的左腳刻的靈巧，表現了踢腿的速度感。

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YANG SANLANG ( 1907-1995 ) Seaside Bushes

楊三郎

60.5×50cm Oil on Canvas Signed S.Yang in English With a certificate of authenticity from Yang San Lang Art Museum

海邊並木

ILLUSTRATED "YANG SAN LANG",LIang Gallery,Page196

1987 油彩 畫布 簽名：Ｓ.Yang 附楊三郎美術館開立之原作保證書 圖錄 《楊三郎》尊彩國際藝術中心,2011年,第196頁

NT$1,000,000-1,500,000 US$32,800-49,200 Deeply influenced by Japanese and French impressionism, Yang San Lang’s artwork inclines toward a natural approach. He is good at adding direct presentations of affection, his brushstrokes are bold and liberal but the structure is harmonious that is full of gentle realist techniques and aesthetics. He once won the first prize in Taiwan Exhibition during the Japanese Occupation time and his artworks were elected in the French Salon and won widespread appraisal for the sophistication and rich affections. After returning from Europe, Yang San Lang actively participated in his art association, they held Tai Yang Art Exhibition and was one of the examination committee for 27 years, he dedicated his entire life in the art world. The painting techniques and aesthetics approach are greatly admired by later painters and deeply influenced the development of oil painting in Taiwan post war, he is one of the founders of Taiwanese art history.

The multi layers of green and blue in "Seaside Bushes"was done with multi touching brushstrokes that connect the water and heaven in one, the vigorous evergreen and the lively captured tranquility. The description of the scenery is a reflection of the artist’s inner world. The rich construction shows that the artist is content and happy. The gentle brushstroke and vivid colors give a relaxing mood; the reflection of the lights created a flowing rhythm. The entire picture is so lively as though viewers can hear the water running through the greens. It captures the viewer’s gaze and enables the viewer to be indulged into this wonderful Mother Nature.

楊三郎深受日本外光派與法國印象派之影響，畫風崇尚自然寫意，擅於客觀的臨摹中添上直 觀的情懷，筆觸大方恣肆，卻結構和諧，光影寫實的柔和技法極具審美意趣。其曾於日治期 間獲選台展首獎，旅歐期間作品亦入選法國秋季沙龍，兼具熟稔筆觸與濃郁情思的藝術風格 備受讚許。自歐洲遊歷返台後，楊三郎積極投入畫會，包括籌辦台陽美展及連續擔任27屆 省展的審查委員，終身活躍於畫壇。其開創的繪畫技巧與美感心法，皆為後輩畫家參照揣摩 的典範，深刻影響台灣戰後油畫美術之發展，實為臺灣美術史上的開創奠基者之一。 《海邊並木》多層次的藍綠色彩搭配，藉由點觸式筆法交疊相襯，使水天相映一色，草木和 煦盎然，生動捕捉沿海林蔭於光輝照耀下的寧靜氛圍。景物的描繪反映藝術家自我身心的觀 照，飽滿的構圖傳遞心靈的充實及富足。柔和的筆觸及鮮明的色彩賦予觀者愜意閒適，捕捉 光線折射的技法更營造一股流動的韻律，使畫面栩栩生姿，彷若能聽聞水聲潺潺、林葉簌 簌……躍動的畫面引領觀者佇立神往，傾聽大自然清新舒宜的召喚。

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BERNARD BUFFET

( 1928-1999 )

Still Life 72×59cm Oil on Canvas Signed Buffet, dated 1954 With a certificate of authenticity from Gallery

畢費 靜物 1954 油彩 畫布 簽名：Buffet 54 附現代畫廊開立之原作保證書

NT$2,200,000-2,800,000 US$72,100-91,800

" S t i l l L i f e" d e e p l y e x p r e s s e s t h e r i c h emotions of the ar tist. T he fluent dar k contours the thin plate and vase; both are presented w ith a mono color tone. The still objects sit steadily on the table and accept the passing of time. The dark green background creates a volume of the air; the arrangement of still objects flow along with the viewers’ emotions.

This strict painting method and precise brushstrokes are presented with strong and irregular dark line. Buffet implies the gentleness in humanity, his presentation steadily penetrates into the viewer’s hearts, bringing out a tranquil yet lonesome feeling.

《靜物》深刻表達出濃郁的情緒，流暢的 黑線勾勒起纖細的盤腳與瓶身，被以近乎 單一個色調描繪的靜物，平靜而穩固的陳 列於桌，坦然接受時光的緩緩流逝。墨綠 色背景營造出空氣的體積，畫中靜物的擺 放空間隨臆想的思維而波動。 嚴謹的作畫方式、精準穩健的筆法，在不 規則卻又強烈的黑色線條下，畢費在畫裡 隱藏一般人性的溫柔，紮實、穩健而深入 人心，使得室內的一隅瀰漫著靜謐、孤寂 的詩意。

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LIU KUOSONG

( b.1932 )

Snow Melting in Tian Shan 91.5×57.7cm Ink and Color on Paper Signed Liu Kuosong in Chinese, dated 2005 With one seal of the artist With a certificate of authenticity from Gallery

劉國松 天山融雪 2005 彩墨 紙本 簽名：劉國松 二ΟΟ五 藝術家鈐印 附畫廊開立之原作保證書

NT$1,000,000-1,600,000 US$32,800-52,500 在畫面的架構上，劉國松擺脫中國山水 畫的高遠、平遠、深深透視，把景色化 為不規則的平面，在實質上如夢如幻、 亦虛亦實更接近抽象畫，此幅《天山融 雪》磅礡高山的仙境氣勢，帶著冷冽的 色系，山巒蜿蜒崎嶇，充分展現遠山酷 寒，天崖無邊的景象，無限延伸出天然 造化的自然之美，更加深畫面飄渺幻化 的朦朧之美，衝擊視覺的想像空間。

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YANG CHIHUNG

( b.1947 )

Fugue

楊識宏

130×194cm Oil on Canvas Signed on the Reverse: Chihung Yang in English, dated 2012 With a certificate of authenticity signed by the artist

朦朧之境 2012 油彩 畫布 背面簽名：Chihung Yang Fugue © 2012 附藝術家親簽之原作保證書

NT$900,000-1,200,000 US$29,500-39,300 “I can’t explain the persistence I have for painting. though it is built-in gene that triggers my inspiration from time to time; it’s also like an incurable disease.”

After years in his painting career, Yang Shih Hong went through several transformation in his art style: from the contemplation of life and existence in his school years to the exploration of urban civilization when he entered the work force. He experienced cultural difference and pain from illness which derived into his studies in discussing life and death and the origin of the universe. He developed a series of studies in plantation arts and conscience and later sublimated to an astonishment of life. He intended to present the images of his inner self and through intricate allocation the strong lines, ever-changing texture, delicate choice of color, deep contrasts of light and shadow are composed on his canvas. His deep contemplation and continual development in life admires many with his prolific art works The composition of "Fugue" is rational, delicate and smooth. It has a rich and versatile texture; the colors and lights are gentle and explicit. He has subtly sketched a hazy languor in a lively style. His skills are prudent and precise that enabled a perfect balance on a full of tension canvas. A brilliant artist who is also sentimental in his expression and skills; he created a contract between tension and harmony.

Complementing, contrasting, tensed, or widespread are all evenly distributed on this art work.

「我對繪畫一直有無可名之的偏執，好像是一種基因性的本質構造在體內，時不時 它就會蠢蠢騷動，欲罷不能；也好像是一種潛伏的症狀，已無可救藥。」 多年的創作生涯當中，楊識宏歷經多次創作風格的轉變：從學生時期對生命意義及 存在的思考，進出社會職場而展開對都市文明的探索，出國體驗文化的差異及生命 的病痛，衍生探討萬物興亡、宇宙運行的奧秘，發展出植物美學與意識流等系列的 開發研究，後又將面對死亡的思考轉化為對生命的讚嘆。企圖呈現某種內心的想像 與視景，透過巧妙配置的構圖安排、強烈有力的線條、變化多端的肌理表現、細膩 動人的色彩選擇、深邃幽微的光影變化揮灑於畫布，楊識宏對生命的深沉思索與持 續發展的創作表現讓人無限敬仰欽佩。 楊識宏《朦朧之境》佈局理性、精密，線條流暢俐落、暢快淋漓，肌理層次豐富且多 變，色彩光影柔和而細緻。將模糊恍惚的迷濛神情意態描繪得生動逼真，如墜夢幻 而不自知；但技巧上又嚴謹得絲毫不出差錯，畫面抗衡與互補兼具、張力十足。高明 的藝術家兼顧情感的表達與技法的發揮，使不和諧所產生的緊張與和諧產生舒緩 互為因果；時而相附和，時而相背離，時而緊收時而擴展，讓作品在進行中不僅達到 平衡，且充滿旺盛的生命動力。 藝術家情思湧動、筆墨酣暢於《朦朧之境》畫面表現「浩浩乎如馮虛御風，而不知其 所止；飄飄乎如遺世獨立，羽化而登仙。」的獨特東方氣韻，氣勢恢弘而哲思深邈； 也如同巴洛克「賦格」音樂形式，藉由結構嚴謹精密的模仿與對位，強化作品深度與 張力，於逃逸與追逐之間優游飛翔、安然神遊。 美國藝評家艾柏尼即道：「在楊識宏的繪畫理，有一些傳統中國繪畫的氛圍。他的表 現方法卻與最近的現代畫家之實驗有緊密的關聯，特別是抽象表現主義。作品不是 完全抽象，但是藝術家之中心關注是純粹的繪畫表現、肌理、線條、形與色彩的提升 之可能性。」

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WU CHANGSHUO

( 1844-1927 )

Seal Scrip Calligraphy

吳昌碩

134.2×40.7cm Ink on Paper Signed Wu Chungching in Chinese With one seal of the artist

石鼓文

ILLUSTRATED "A Collection of the First Auction of Duo Yun Xuan Chinese Paintings", Shanghai ShuHua Publishing, 1993, page 110

1894 水墨 紙本 簽名：吳俊卿 藝術家鈐印 圖錄 《朵雲軒首屆書畫拍賣會作品集》上海書畫出版社 1993年 第110頁

NT$900,000-1,300,000 US$29,500-42,600

Drum-shaped stone characters are known as inscriptions on drum-shaped stone blocks, it was discovered in Shan Xi province Feng Hsiang County in the early years of Tang dynasty, they are also known as the Yong Yi inscription, the oldest form of Chinese characters and also called the ancestor of stone inscription. Each of the ten drum-shaped stones records poems about King’s outing and hunting, they are also known as “Lie Ya”. It was discovered in the wilderness so it’s also named as the ten discoveries of Chen Cang. It was widely known by people until great poet Han Yu’s “Song of the Stone Drum”.

Wu Chang Shuo referred to the bronze inscription of Zhou Dynasty and the stone inscription of Chin Dynasty. With techniques of the seal cutting and interpretation of “Zuo Yuan” and “Er Shih” (Zuo Yuan is a poem admiring the ruling of Chin Hisao Gong and relocating the capital Xian Yang; Er Shih admires King Hui Wen of Chin Dynasty and foundation of King Si and KingWu.) Through the artist’s imagination, he represented the historical stories on the drum-stone in a form of art.

石鼓文，因刻在鼓狀圓石上而得名；唐朝初年於陝西鳳翔縣出土，也被叫作「雍邑刻石」，是 現存最古的刻石文字，有「石刻之祖」之稱；十個石鼓上各刻著一首內容記載天子出遊、畋獵 的四言韻文，又稱為「獵碣」；出土之初被棄置於陳倉之野，同時也被稱作「陳倉十碣」，直 至唐宋八大家之一的韓愈作長篇「石鼓歌」傳頌，始顯於世。 吳昌碩《石鼓文》參以兩周金文及秦代石刻，融合篆刻用筆，半臨半創闡釋《作原》與《而 師》兩鼓（《作原》詩篇歌頌的是秦孝公變法和遷都咸陽之事，《而師》詩篇歌頌「天子致 胙」秦惠文王以及嗣王武王始國之事。），透過創造力與想像力鮮活體現石鼓文的藝術變體。

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KANG YOUWEI

(1858-1927)

Calligraphy in Album

康有為

39×49×3cm Ink on Paper Signed Kang Youwei in Chinese With one seal of the artist

冊頁 水墨 紙本 簽名 :康有為 藝術家鈐印

NT$600,000-800,000 US$19,700-26,200

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千劫皆煩惱，吾來偶現身；獄囚哀濁世，饑溺為斯人。 諸聖皆良藥，蒼天豈不神；萬年無進化，大地合沉淪。 人道只求樂，天心唯有仁；先陳諸苦法，潮見太平春。 一一生花界，人人現佛身；大同吾有道，吾數度生民。 廿年抱宏願，卅卷告來書；眾病為虛己，吾言亦可陳。 人天極已矣，輪劫轉空虛；默訟千秋事，繄王亦有禮。

龍迪仁兄 康有為

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LI MEISHU ( 1902-1983 ) Nude 80.5×53cm Oil on Canvas With a certificate of authenticity signed by the artist's son

李梅樹 裸女 油彩 畫布 附李梅樹之子親簽之原作保證書

NT$1,600,000-2,400,000 US$52,500-78,700 Mentored by art master Nagahara Koutarou, Mei Shu Li established his realistic art style and founded Tai-Yang Arts Association with Deng Po Chen, Shui Long Yen, San Lang Yang, Chi Chun Liao, Shi Chiao Li in 1934. As the winners of many major exhibitions, he earned countless historical achievements in Taiwan western arts.

The early art style inclines towards impressionist and academic. However, it has evolved to the present realist natural and objective approach that focuses on the pursuit of lights and shadows. “Naked Woman” shows explicit performance in human skin texture. The artist’s excellent skills in oil painting sketch along with the perfect control of frontal and reflecting lights demonstrates impeccable texture performance. In the background, the artist used bold colors such as the red handle and blue cabinet to embellish the voluptuous body. The reflecting lights in the face is not as strong which shows that the artist is trying to emphasize on the beauty of the body.

李梅樹師事畫壇大師長原孝太郎，深具寫實風格。在1934年與陳澄波、顏水龍陽三郎、廖繼春、李石樵共 創《臺陽美術協會》。多次獲大展首獎奠定了李梅樹台灣傑出之西洋美術家的歷史地位。 李梅樹在早期的創作多學習與傾向印象派或學院畫風，此時作品以自然客觀的寫實手法，著重於光與影的 追求。《裸女》人體肌理表現極佳，以油彩嫻熟地轉達素描的能力，正面光和反射光的掌握極佳，亦加強 肌理之表現。背景的紅與手撐之藍色櫃子大膽的用色，襯托肉體溫潤之感，臉部相對光影沒有身體強烈， 刻意為強調軀體之美。

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朱德群 CHU

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TEH CHUN

“The colors and lines in my paintings are never a coincident, they all appear for a purpose- to simulate light and arouse images and rhythm.”

---Chu Teh Chun Chu Teh Chun began his journey in Paris in 1955 when strong struggles happened between figural and abstract art. Artists and critics expressed their own theories and concepts which led to the slogan “art is not merely a representation of the eye, rather it is a form of representing the unseen”- a leading concept in the 20th Century. Chu has personal liking in the poetry of Tang and Sung dynasties and also landscape.

After experiencing western aesthetics debates and cultural shock, he has established his own abstract art language which incorporated techniques from western expressionism and Chinese traditional imagery landscape. He perfectly presented the poetry, affection, picture and intention in one and secured a prominent seat in modern Chinese art history.

Chu’s artworks in the 70s are deeply influenced by Rembrandt’s light and dark techniques, giving light a deep interpretation. Carefully utilizing Rembrandts’ usage of yellow and black in the foreground with black and brown in the background to create a dramatic contrast. He has also utilized the “blank” atmosphere famous in Chinese traditional calligraphy to match lighter color blocks. The atmosphere greatly differs from the depressed and heavy touch of Rembrandt, rather it is lively and rich. It crosses through time and culture in a harmonious and balanced manner. Wu Guan Zhong said “from a distance, Chu’s artworks are categorized into the western genre; however, when you look closer, it’s a Chinese painting.” Chu himself said “the canvas usually shows the imagination, connotation and charisma of the artist.” Western art has inspired Chu to be liberal and passionate; yet Eastern culture has given him a source of inspiration. His prolific production and unique art language is a symbol of a perfect blend of the east and west founded on the basis of traditional culture. Chu is indeed a representative of Chinese modern abstract art.

"25.10.1976"was created in 1976 when Chu used vivid colors and forms to present his philosophy of life.

The upper part is composed with dark crimson red with brown, the brushstrokes vertically pass through the canvas like cliffs. Along with the artist’s brushstrokes, the passing of time has been concluded to a pool of lava like bright red and golden color blocks. It is a resemblance of the origin of the universe which transforms energy into space and to eternity. Through rhythmic line and dots, Chu expressed affection and self-reflection. Wu Guan Chong described the rhythm as “The bass strings rumbled like thunderstorms pelting. The treble strings rustled like lovers whispering”. It further points out the artist’s talents that go beyond concrete image and look deep into heaven and earth. He has indeed created an example of art aesthetics of an era.

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朱德群

CHU TEH CHUN Chu Teh-Chun was born in 1922 in the province of Jiangsu, China.

He studied at the School of Fine Arts in Hangzhou, where he mastered Chinese traditional style painting. It was not until 1955 that he decided to travel to France, where he decided to stay and eventually discovered Abstract Art. Michel Ragon, one of the most influential ar t critics in the fifties, admired and defined Chu The-Chun’s work as “Abstract Landscaping.” He was able to translate mental recollections of natural scener y onto canvases with spontaneity and rhythmic movement. Harmonious tones were bought together energetically in a chromatic orchestra.

In Chu Teh-Chun’s paintings, a metamorphosis of the cosmos ruled the image. He composes through merging colour planes and lines together. These techniques are derived from traditional Chinese ink wash techniques, which he had learnt during his younger years. Colours are applied noto the canvas with a soft Chinese brush and then he merges them as if working with Chinese ink.

There is no exact definition or a particular title that can dictate what Chu Teh-Chun’s paintings represents. He simply allows the viewers to feel the colour compositions as they are being presented.

1922年出生於中國江蘇省的朱德群，曾就讀於杭州美院。在那 裡，他系統地學習了傳統的中國繪畫。1955年，朱德群遠赴法 國，開始了他抽象藝術創作時期。50年代最具影響力的藝術評 論家Michel Ragon對朱德群十分推崇，稱他的作品是「抽象風 景」。朱德群善於將他記憶中的自然風光轉化到畫布上，富有 節奏、充滿韻律感，如同譜寫一曲歡快而和諧的樂章。

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「在我的畫面上，其色彩和線條從不是偶然的，它們和諧地達到同一目的：激活光源，喚起形象及韻律。」 --- 朱德群

1955年起朱德群旅居巴黎，當地藝術界正激烈興起具象和抽象繪畫的對立論戰，藝術家及藝評人各自以理論 及實踐表達概念及立場，「藝術並非為了再現眼中所見之物，而是要將不可見之處化為可見」亦成為引導20 世紀西方藝術發展的重要脈絡。朱德群自身獨鍾於唐詩宋詞及寫意山水，而親身經歷西方美學的爭辯及體驗 中西文化的激盪，使他闊步邁向抽象藝術語彙，容納西方表現主義的技法及中國山水畫的形意傳統，完美體 現詩、情、畫、意合一的精妙神髓，亦成就其於現代華人藝術史中的卓著地位。

朱德群七○年代的創作受林布蘭（Rembrandt）處理明暗的技巧影響，深度進行對「光」的詮釋。掌握林布蘭 利用黃、白前景刷塗及黑、褐襯底，塑造滿溢戲劇性的對比效果，朱德群同時著意於中國傳統的筆墨形意， 運用中國「飛白」韻調的筆法，搭配淺淡色塊，擺脫林布蘭式一貫的沉鬱、積重，而使畫面呈現豐沛、活躍 的情感，凝聚跨越時空、文化的元素結構，交織成懷帶詩性的優雅和諧。吳冠中謂：「朱德群的作品確是遠 看西洋畫、近看中國畫。」朱德群亦自言：「范寬所謂師心，即是畫家的幻想力、修養和個性之內涵流露於 畫面上。」西方藝術給予朱德群奔往形式自由的激勵，東方文化卻是朱德群的美感底蘊，靈思的泉源。他以 豐沛的創作能量及獨到的藝術語彙，將中西特色融匯成具時代特性的表徵，在傳統文化的基石上，也自創出 華人現代抽象藝術的典範。

《25.10.1976》創作於1976年，朱德群以奔艷的形式及色彩，揮灑出宇宙蒼穹及生命哲思。畫面上半部以深 色瘖紅與橘褐間雜，筆勢縱向來回運行，宛若陡涯險壁，隨著筆刷在歲月中風蝕、傾瀉，進而於畫面中央匯 積成一潭鮮紅熾熱，順勢而下接以金黃色塊，酣暢揮灑宛如滾滾熔岩、宛如萬物核心的源初，將無可名狀的 能量流轉成縱橫時空，積澱迸發成一抹絢爛。朱德群透過律動的線條及色點的交錯，捕捉心靈之眼的感知及 省思，吳冠中曾以「大弦嘈嘈似急雨，小弦切切似私語」形容此般光影交疊相襯的節奏感，更點明朱德群創 作中極富音韻表現的風采；他的畫作超越具體的形象，探究天地的氣韻及人心內在的靈光，熠熠閃耀著精神 性的光輝，更激盪出象徵一個時代的美學典範。

「我所畫的，是我對大自然的感覺，也是大自然賦予我的感覺，徹底的說，是大自然與我靈性的結晶。」 --- 朱德群

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CHU TEHCHUN

( b.1920 )

Le 25.10.1976 116×89cm Oil on Canvas Signed Chu Tehchun in Chinese and English,titled le 25,10.1976 in French PROVENANCE：Christies Hong Kong Autumn Auction 2010 "Chinese 20th Century Art (Day Sale)", Page 127, Lot 1122 With a certificate of authenticity signed by Chu Teh-Chun's family

朱德群 25.10.1976 1976 油彩 畫布 簽名：朱德群 CHU TEHC-HUN 來源：佳士得香港有限公司2010秋季拍賣，中 國二十世紀藝術日間拍賣，第127頁，Lot 1122 附朱德群家屬親簽鑑定書

NT$15,000,000-18,000,000 US$491,800-590,200

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周春芽

ZHOU CHUNYA “Zhou Chun Ya should be considered a figure who has carried on tradition but pursuit modern, “said Hong Lei, who is also a Chinese contemporar y artist. From the ver y beginning, Zhou placed great emphasis in the role of Chinese culture, he firmly believes that excellent art must be expressed in its own language and combines the colors from the conservative Chinese scholar paintings with the new Western expressionism. The language is rich in image and full of life and vitality, it gives a new interpretation of Chinese traditional culture and the elegance that belonged to scholar paintings and thus creating a new visual point that is the embodiment of traditional spirit and western forms, stirring up a thought axis in Chinese ontemporary art creation.

Zhou’s creations combine the freedom and intensity of contemporary Western art with the literati pride and landscape of Chinese traditional painting. After returning from Germany, he created a series of works themed “rocks” and “flowers” and tactfully combined the imagery of Song and Yuan classical landscape painting and Western painting. The rocks contain an aloof air across geography, history and culture, and the flowers reveal exquisite sensitivity and mysterious unique temperament of the Chinese painting. Zhou was well recognized for his achievement in Chinese contemporary art during this period. In 1994, the German shepherd “Heigen” given by a friend inspired Zhou to transform concern for living conditions into the “Green Dog” series, “Peach Blossom”, and “Peach Blossom Red Men” series. People began to contemplate on natural order and life forms. Zhou was heard in the cultural era with his keen senses for art, independence, and vision. He plays an integral role in the history of contemporary art in China.

At Sichuan Academy of Fine Arts, Zhou experienced the cultural openness after China’s Cultural Revolution and came into contact with Western art and its artistic perspective unlike any other. While studying in Germany, he was exposed to new expressionism that emphasizes on individuality. The emotional release during the painting process and impromptu address created a vivid impression on Zhou and brought individual consciousness to his attention. He developed his own way of painting and exploring colors and forms. Zhou also believes that as a Chinese artist he should not renounce his heritage to gain international recognition. Neither should he give up history for the contemporary, but quote its values from the Chinese traditional culture.

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“I was never a dog lover before Heigen touched my heart. Through him, he showed me the most loyal and adorable animal in the world.” Zhou Chun Ya speaks from the depth of his heart about his deep bonding with his special friend Heigen.

With a coating of blonde and brown mix that shines under the sun, Heigen entered Zhou’s life in 1994. Given the name Heigen to remember his learning time in Kassel, Germany, it also echoes a famous Heigen beer gallery near Min Shan Hotel in Cheng Du. Spending their time together, they quickly bonded as though father and son and also a special model. He inspired Zhou greatly to create oil paintings with traditional Chinese literati painting. Passed away in 199 due to sickness, the grieving was the same as losing his father, Zhou stopped painting for almost 15 months.

The oil painting techniques used in “Heigen” is done with a more liberated rough approach similar to Chinese calligraphy thick brush landscape painting. The dragging brushstrokes bring a more lively presentation and richer affection. The art piece created in 2000 is a new journey for him, transforming his loss and longing of his beloved friend onto the canvas.

「我其實在黑根之前並不太喜歡狗；但是通過牠，我迷上了這種世界上最 忠誠和可愛的動物。」周春芽感性道出他與黑根之間深厚的情誼。 一身「鐵包金」毛、在陽光下能反射出出金屬般光澤的德國狼犬在1994 年進到周春芽生命中；他為狼犬起了德國名字「黑根」（Heigen），以紀 念在德國卡塞爾學習藝術的時光，也和成都岷山飯店附近知名的黑根啤 酒館相應和。藝術家與黑根日夜相處、感情融洽，將牠當作兒子、當作模 特兒，喚起了全新的創作靈感，以傳統中國文人畫方式變體創作油畫。 1999年，黑根病逝為周春芽帶來的悲痛僅次於父親去世對他的打擊，甚 至使他長達一年半都無法提筆作畫。 《黑根》油畫筆觸的運用，像中國傳統狼毫鬥筆畫枯樹山石的筆法乾筆粗 繪，散開筆鋒後連戳帶拖，給畫面增添了一種生氣勃勃的表現力與深邃濃 烈的情感；周春芽在2000年創作的這件作品，重新出發、從心所欲將惦 念不捨的感懷昇華，與形、情兼具的黑根一同在畫布上遨嬉。

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ZHOU CHUNYA ( b.1955 ) Heigen 150×120cm Oil on Canvas Signed Zhou Chunya in Chinese and English, dated 2000 With a certificate of authenticity signed by the artist

周春芽 黑根 2000 油彩 畫布 簽名：2000周春芽Zhou Chunya 附藝術家親簽之原作保證書

NT$10,000,000-12,000,000 US$327,900-393,400

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Zhou Chun Ya initiated a unique look in Chinese contemporary art creation. He had big ambitions and was concerned about public art resources and social art education aid. He was also an important initiator of blue roof art group and museum, and Five Colours Foundation. China’s prominent art critic Lu Peng once described the artist as “one who really cares about his country, art and well-being of people. He associates his work with the work environment; therefore, his works are have more than one dimension: personal and international. His art posses meanings and cultural values”.

周春芽發起「五彩基金」啟動「藝術助殘計畫」 中國汶川地區在2008年5月12日發生大地震，在遭逢自然災變後，家園遭 逢巨變的孩童極需進行心理建設的指導與教育，因此周春芽與成都市殘疾

周春芽出席明天

人福利基金會共同發起「五彩基金」，由周春芽擔任理事長、成都藝術界 與各領域的專業人士共同參與組成。啟動資金一百萬元人民幣，初期展開 「藝術助殘計畫」，以藝術教育為基礎，欲幫助因汶川地震致殘的孩子進 行心理建設、培養藝術知識與技巧，期許能培養出藝術視野作為未來謀生 的一技之長。 「五彩基金」的「藝術助殘計畫」利用現有的災區學校教學設施建立教學 基地、保障殘疾學生有充分的學習機會和時間；而為了解決殘疾學生因行 動不便而無法上課的困難，故採用個別輔導的移動式師資，利用車輛將藝 術專業教師、教學用具及流動圖書館送到每個教學基地與殘疾學生的居住 處進行現場授課，藝術在此不僅給予身心創傷的孩子有所宣洩，藝術的力

五彩基金藝術流動教室

量也讓地區擁有非凡的凝聚力。 身為發起人的周春芽如此說：「任何有良知的藝術家都會關注社會，藝術 本身就是慈善。」，從救助白血病女孩到現在五彩基金的成立，我們看到 身為藝術家的自覺――對於社會的關懷、堅持與努力。

五彩基金

藝術助殘計畫-廖瑤瑤

藝術助殘計畫-寇娟

2008年12月藍頂藝術家周春芽與地震受創的東汽中學 美術班同學合影

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“Sculptures inspire me to bring strength and speed into the compositions. Creating a subtle explosion tension between the contrasting stillness and movement. In order to create such effect, I continually experimented between sculpting and painting. With my brushstrokes and touching of the sculptures, I found a path to balance my artwork.”

“Green Dog” series emphasize on the sculptures’ characteristics, the matching of theme and form.

Chou is known for sculpturing on canvas, in another way he is trying to recompose literati painting with sculpturing textures. The artist tries to present a simple yet sophisticated method of presenting the strength and speed. He uses the brushstrokes to imply texture and feel; and uses contrasting spaces to bring out the relationship between volume and movement.

Zhou adopted a black German shepherd “Heigen” in 1994 and after six years of spending time together, Heigen became a permanent inspiration in his art career. He inspired and sparked Zhou’s prolific productions and daily life related contents became one of the most prominent themes.

“Green Dog was a coincidence”- Heigen was presented in a stimulating yet tranquil green image after 1997, it was direct and innocent. Its gestures are familiar yet surprising enabling the artist to fully pour out his happiness, anger, playfulness and depression. Later he kept bringing in new adventurous and experimental ideas into the Green Dog series.

The canine in Zhou’s artwork is not limited to a German Shepard. It could be his friend’s or neighbor’s Doberman or large breed hunting dog. "Graff, Becker and TT", created in 2009, Zhou has already perfectly captured the canines’ spirits and gestures; he placed Graff, Becker and TT in a black background. Half abstract realist approach that delicately presented the details. Guo Wei and Tu Hong Tao’s dogs were presented on the canvas to record their images. Heigen has also reappeared on the canvas with a more liberated spirit.

「雕塑給我的啟發，即將力量和速度蘊藏在最為精鍊的形體結構中，在動態和靜態的矛盾對抗中 積蓄著一種隱而不發的爆發力。為了追求這樣的效果，我反覆在雕塑和繪畫之間琢磨，在繪畫的 筆觸與雕塑的觸感之間、在繪畫平面和雕塑縱深之間、在形態和體量之間尋找通約的途徑。」 「綠狗」系列特別強調形態的雕塑性格，並特別留意主題情景與形態的匹配關係，能稱作周春芽 在畫布上做的雕塑，也是以雕塑的觸感來重構文人花鳥畫。藝術家欲於作品中同時呈顯簡潔的形 態以及重量感；試圖以流動的書寫來展示力量和速度，以筆觸來暗示質感及觸感，並以界線分明 的正負空間來反襯體量和動態關係。 從1994年純種德國狼犬黑根來到周春芽家中，短短的五、六年的相處情緣，卻讓牠成為周春芽 藝術生涯中永恆的存在。許多年間，黑根是周春芽對於形體與圖像思考最具有激發力的靈感，從 此現世真實的日常生活內容越來越成周春芽創作的活水源頭以及畫布上的主要題材。 「綠狗的出現是一種偶然」黑根在1997年後開始以兼具刺激與寧靜的綠色形象出現，展示缺少 矯飾和偽裝的天然生命狀態、舉動表露出令人熟悉而驚奇的情感；藝術家也藉此將所有喜悅、憤 怒、頑皮、鬱悶都傾瀉揮灑而出，持續不斷將有新意與帶冒險性的實驗加在綠狗題材裡面， 周春芽作品中的狗不僅是德國牧羊犬，也可能是朋友或鄰居養的杜賓狗或是大獵犬。2009年創 作的《格拉夫、貝克爾和TT》中，已經十分擅長捕捉牠們的精神和姿態的藝術家，將格拉夫、貝 克爾與TT身形置於留白場景當中，大筆簡鍊的半抽象大寫意，細膩精確描繪細節，將郭偉、屠洪 濤家狗的生活樣貌呈現，為牠們留下日記般的圖像紀錄，而黑根也以更自由靈魂的樣貌重新出現 在畫布上。

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ZHOU CHUNYA ( b.1955 )

周春芽

註(由左至右):

Graff, Becker and TT

格拉夫、貝克爾和TT

『貝克爾是郭偉的，是那兩只的丈夫。』

120×150cm Oil on Canvas Signed Zhou Chunya in Chinese and English, dated 2009

2009 油彩 畫布 簽名：2009周春芽Zhou Chunya

『格拉夫二00八年八月八日晚上八點，生下八只小狗。』 『TT是屠洪濤的，曾經也生下八只。』

NT$10,000,000-12,000,000 US$327,900-393,400

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CHUNYA | ZHOU The Nude

( b.1955 )

73×61cm Oil on Canvas Signed Zhou Chunya in Chinese, dated 1996 With a certificate of authenticity signed by the artist

周春芽 裸女背影 1996 油彩 畫布 簽名：1996周春芽 附藝術家親簽之原作保證書

NT$2,400,000-3,000,000 US$78,700-98,400

將大相逕庭的德國新表現主義手法與中國文人水墨意趣巧妙融合，周春芽自1990年代 開始，便以傳統繪畫為源頭活水，展開一連串對繪畫形式的探索與實驗。經由重新演 繹現代表現主義的色彩和構成以及傳統國畫的書寫式用筆和墨色變化，周春芽對西方 文化的體驗卻加深了他對中國文化的熱愛，將中國式書寫性筆法、佈局和圖像符號等 傳統文化素材融入作品中，也在新的創作高度上獲得平衡、統一與提升。 周春芽「出入十年浪潮中」，在中西融合的思路上，吸收西方當代藝術成果、闡揚中 國古典文化，既叛逆又不脫離傳統，既強調自我追求又不忘根本，如他自己所言： 「拒絕忠實、溫馴和奴化，沒打算為古人負責，我關心的是我的感動和我的表達。」 正值探索形式時期，藝術家激情創作於1996年的《裸女背影》，一氣呵成、無有斷 續，渾然一氣、如是心隨。《裸女背影》褪去強烈的肌理，而在線條的曲直、顏料的 濃淡之間呈現水墨運筆痕跡，在大片留白的背景當中，透著中國傳統山水花鳥畫的水 墨要素，如在紙上描繪一般，追求書法式的筆墨運轉；但畫面傳達卻非古典趣味的優 雅與節制，而是湧動著一股躁進的暴戾之氣。裸露的女體剝除了社會所強加的束縛、 掩飾，毫無遮蓋地表現出人性的本質；看似靜態的畫面，但卻是奔放直接地表現人物 內心的壓抑、倉皇與複雜。 Skillfully blending the skills of German Neo-Expressionism and Chinese literati landscape, Zhou Chun Ya was inspired by traditional painting since 1990 and began his journey of exploration and experimentations in his artworks. Through a new interpretation of modern expressionism in colors and composition along with the variation in Chinese calligraphy and usage of colors, Zhou has deepened his passion for Chinese culture. He has incorporated traditional elements such as brushstroke styles, composition and symbols into his artworks allowing them to be balanced, unified and excellent.

During the exploration of combining the east and the west, Zhou has gained greatly from the fruits of western contemporary art and advocated Chinese classical culture. He is rebellious but not discarding traditions as he emphasizes on pursuing self- development without forgetting his roots. He said “I refuse to be loyal, tamed and enslaved. I have no plans of being responsible to the past because what I care is my affection and feelings.”

While he explored, he passionately created "The Nude" in 1996. It is a masterpiece that has no boundaries or limitations. "The Nude" has no strong texture, rather the artist intends to present the brushstrokes of straight lines and different shades of colors. The background shows elements of Chinese traditional landscape paintings through calligraphylike brushstrokes. The mood reveals a violent rush instead of classical elegance and restraints. The naked woman is free of restraints and conceals from society that truthfully present human nature. The picture looks still but it reveals the suppression, anxiety and complication of the main figure.

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從2000年開始，業永青開始把影匿於「自由亂 象」中的小鳥提取出來，變成一隻大鳥。葉永青 的大鳥是一種原型的放大，他用幻燈片拍下他以 前的鳥投射在畫布上，然後在畫布上印上自由塗 鴉。這種作畫方式程式的一種預先設定，使葉永 青的繪畫突然獲得了一種限定性。因此，如果葉 永青的塗鴉還有自由的話，那是一種限定之中的 自由。就這一點而言，他更接近偶發藝術。葉永 青似乎不僅偶然獲得了一隻詩一樣的大鳥，而 且，它似乎也意外的獲得了一種仙境：不僅是一 種塗鴉的自由，而是一種塗鴉的自由仙境。葉永 青的畫面開始產生了一種空靈寂靜，並在一種純 粹中模糊了它可能被傳遞的原先被影響的文化特 性。葉永青的圖像風格像中國的水墨畫的「虛 空」，但又像是一種現代儉約的風格；圖像線條 像中國的書法，但又像是一種出自神經症患者之 手的無意識塗寫。在葉永青的畫面，被影響的文 化痕跡仍然是存在的，只是他漸漸被削減到最低 限，只留下只有一點中國的當代之鳥。

YE YONGQING Born in Kun Ming, China, Ye graduated in 1982 from the Oil painting department, Sichuan academy of Fine arts, Chongqing. He held many international solo exhibitions in Beijing, Shanghai, Singapore, London, Munich, Augsburg, Seattle, and etc. Selected exhibitions: ”Chinese Contemporary Art Exhibition”, Beijing, 1989; “the Literature Exhibition of Chinese Contemporary Art”, 1991; “Post-89 of Chinese Contemporary Art”, Australia and Hong Kong, 1993 ; “The Annual Nominated Exhibition of China Art Critics”, Beijing, 1994; “China!”, Germany, Austria, Poland, Denmark; “1st Biannual Invited Exhibition”, Beijing; and “1st Shanghai Biennial”, 1999; ”20th Century Chinese Oil Painting Exhibition”, Beijing, 2000; “Chinese Art Triennial”, Guangzhou, 2002; ”Open the time”, Beijing, 2003; “Chinese Contemporary Art Exhibition”, Irish Museum of Modern art, 2004; “Prague Biennale”, Prague, 2009.Ye’s works are collected by the National Art Museum of China and other Art Institute.

生於中國昆明，畢業於四川美術學院繪畫系，現任四川美術學院教授。曾在北京、上海、新加坡、英國倫敦、德國慕尼克、 德國奧格斯堡、美國西雅圖等地舉辦個展。重要聯展：「中國現代藝術大展」(1989，中國)、「中國當代藝術文獻資料展」 (1991，中國)、「後89中國新藝術展」(1993，香港、澳大利亞)、「中國藝評家年度提名展」(1994，中國北京 )、「中國！」 (1996，德國)、「首屆學術邀請展」、「首屆上海美術雙年展」(1996，中國上海)、「20世紀中國油畫大展」(2000，中國 北京)、「中國藝術三年展」(2002，中國廣州 )、「開放時代」(2003，中國北京)、「中國當代藝術展」(2004，愛爾蘭，現 代美術館)、「塗你個鳥」（2005，中國上海，張江藝術館）、「單飛」（2006，中國成都，藍色空間藝廊）、「畫個鳥」 （2007，中國北京，方音空間）、「一隻憂傷的鳥」（2007，韓國首爾，阿特塞帝畫廊）、「畫鳥：矛盾與現實」（2008， 美國紐約，中國廣場）、「迷途症：葉永青藝術之旅」（2008，香港，香港藝術中心）、「布拉格雙年展」（2009，捷克布 拉格）、「畫．塗–葉永青精品收藏展」（2009，台灣台北，寒舍空間）。其作品被中國美術館等藝術機構收藏。 146

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YONGQING | YE Scrawl-Bird

(b.1958)

2006 150×150 cm Oil on Canvas Singed Ye Yong Qing both in Chinese and English, dated 2006

葉永青 塗鴉(鳥) 2006 150×150 cm 油彩 畫布 簽名：叶永青yeyongQing2006

NT$1,600,000-2,600,000 US$52,400-85,200

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SONG

| XUE Dialogue with Mandarian No.8 ( b.1965 )

薛松 亭樹春曉

85×200cm Mixed Media Signed XUE SONG in Chinese Signed on the Reverse: XUE SONG in English and Chinese, "Dialogue with Mandarian No.8" in Chinese, dated 2009 With a certificate of authenticity signed by the artist

2009 綜合媒材 簽名：薛松 背面簽名：《亭樹春曉》85×200cm 薛松 XUE SONG 2009 附藝術家親簽之原作保證書

ILLUSTRATED "Xue Song works from 1988-2013", Museum of Contemporary Art Singapore(MOCA)2013, Page 146-147

圖錄 《薛松1988-2013》，新加坡當代美術館，2013年，第146147頁

EXHIBITION "Shanghai Style Xue Song 1988-2013 Exhibition", April 2013, Museum of Contemporary Art Singapore(MOCA), 2013

展覽 「薛松1988-2013 新海派繪畫」，新加坡當代美術館， 2013年4月

NT$1,200,000-1,800,000 US$39,300-5,900

The landscape artwork "Dialogue with Mandarian No.8" focuses the objects in a closer view.

The artist contoured the Karesan rock with black lines and collaged the paper background with green color. The combination of traditional landscape and paper shreds reflects each other in harmony. The modern skyscraper intrudes the tranquil traditional landscape in houses, rivers and hillsides and blanks. It seems unfamiliar, strange yet interesting. As though these modern architectures fell into the time machine and landed into this piece of serene heaven.

《亭樹春曉》物件集中於近景，枯山石用黑線勾勒出輪廓，背景用印刷品的拼貼再塗上 草綠色，如此傳統山水與印刷品碎片的拼貼組合，互為比照卻又相當和諧。現代摩天大 廈的建築堂而皇之地侵入了原本恬靜幽雅的傳統山水間，它們出現於屋舍、溪流、山 坡、留白中。似乎顯得陌生、突兀而有趣。這些現代建築彷彿不小心落入了時光隧道， 意外地來到了這片風景優美祥和的桃花源。

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XUE SONG Song Xue utilizes publications to layer collage. He blended traditional Chinese art forms, such as calligraphy, water ink or folk arts, with modern techniques. After the accident of his art studio in 1991, he began using burnt papers as the main material for his collage, and it inspired him enabling the artworks to stand very substantial places in Chinese contemporary scenery arts since the 90s. “ Not wasting a single piece of ash, with glue, I contoured an art piece.” Song Xue

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薛松利用印刷品做成影像重疊的精細拼貼，並將傳統中國的藝術 形式，如書法、水墨或民俗藝術融入現代技法。在1991年時薛 松的畫室因意外全毀，此後他便燻燒紙片做為拼貼的主要材料。 正是這種由方法導引出意義的創作過程，讓薛松的藝術成為90年 代以來中國當代藝術景觀中不可或缺的一個組成部分。

「燒剩下的灰渣我都不浪費，蘸了膠水，粘上去『勾線』。」 —薛松

CHEN DANQING Dan Qing Chen’s art or literary style come with a simple yet elegant atmosphere; they are also wise and innocent that brought out the unique charisma of the artist. He is one of the most influential artist, writer, and art critic of contemporary art history. During the Cultural Revolution, he self-learned and earned his fame as the “self-learning artist”.

Dan Qing Chen said “I recalled Courbet’s belief in drawing what you see- which meant forming a life style with no content, theme, plot or story.”

陳丹青無論畫風與文風，都具有一種優雅而樸素；睿智而率真 的氣質，洋溢著獨特的人格魅力，是當代最具影響力的藝術 家、作家與文藝評論家。文化大革命時輾轉農村插隊落戶，其 間自習繪畫，是當時頗有名氣的「知青畫家」。 陳丹青說：「我也記住了庫爾貝說的「畫你眼睛看見的東 西」。就是要無內容、無主題、無情節、無故事的一個小畫面 組成生活形態。」

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DANQING | CHEN A Model Who Came From Qingdao (b.1953)

60×45cm Oil on Canvas Signed Chen Danqing in Chinese, dated 2004

陳丹青 來自青島的模特 2004 油彩 畫布 簽名：陳丹青 2004

NT$1,400,000-1,800,000 US$45,900-59,000

A naked woman with br aided hair in "A Model Who Came From Qingdao" has her head slight tilted towards the corner. Her body reclining on the long bench with her feet crossed. The precision in painting the human body and also a perfect capture of the lights brought out the texture and lines of the skin. The coloring of the long bench, floor and walls embellished the voluptuous body; the artist intentionally emphasized on the beauty of the body.

《來自青島的模特》寫實呈現扎辮裸體的 女子，頭微微轉向牆角，身體斜倚靠著長 椅，著跟鞋的腳交錯著。精準的人體姿態 描繪，掌握極佳的正面光與反射光，亦加 強肌膚與肌理線條之表現。長椅、地板及 牆壁的用色，皆襯托出肉體的溫潤感，刻 意描繪為強調軀體之美。

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CONGLIN | CHENG Momo and Pottery

(b.1954)

25×35cm Oil on Canvas Singed Chonglin in English, dated 2005

程叢林 桃與陶 2005 油彩 畫布 簽名：Chonglin '05

NT$900,000-1,200,000 US$29,500-39,300

程叢林被認為是八零年代「傷痕美術」的 代表人。在國際藝壇上，各地媒體更盛讚 其為「中國新時期美術的最具代表性作 品」。他堅持對鄉土題材和普通民眾生活 的關注，以人道主義的視角，厚重的現實 主義風格，表達卑微生命的生存狀態，讚 美他們沉默而有尊嚴的守護著民族的精神 傳統，對現實與未來進行深層思考。 《陶與桃》生活的場景，以冷、灰、暗的 色調和細膩的筆觸渲染，冷色調的塊面組 成物件，主角靜物在這裡採用不同以往的 方式被突顯，深黑與深青構成置中容器的 主體，在容器的週圍及背景，採用重墨暈 渲來呈現立體感與深度，墨色似乾未乾的 皴擦，營造出環境陰冷潮濕的氛圍。

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JING | XIANG Wine

(b.1968)

47.5×36×21cm Bronze, 1/1 Signed XIANG JING in Chinese, dated 1993, numbered 1/1 EXHIBITION "Chinese women artists invitational exhibition", 1995 ILLUSTRATED "Album of Chinese women artists invitational exhibition", Culture and Art Publishing House, 1995, Page179

向京 葡萄酒 1993 青銅 1/1 簽名：向京 1993 1-1 展覽 「中華女畫家邀請展」，1995年 圖錄 《中華女畫家邀請展作品集》，第179頁， 文化藝術出版社，1995年出版，

NT$380,000-480,000 US$12,500-15,700

“It often hits the deepest part of me when I’m sculpting every girl. There will be a model initially in my mind, every movement and gaze of her will be captured and moved me. At the moment, she opens up a window for me and touches every part of me. I’ll be overwhelmed with emotions and inspirations.”- Hsiang Jing Hsiang Jing- a famous female sculptor in China. Art Critic Li Xian Ting admired her as “the genius artist in sculpting world”. From her unique and delicate female perspective, she created a bold and direct female sculptor image and became one of the most prominent female artists of the era. Her artworks are widely collected by many international organization and personal collectors.

The girl in "Wine" sits inclining on the chair with a cup in hand. Her misty gaze with her body relaxed and legs elegantly crossed, as though she’s indulged into a deep emotion unable to get out of it. Even though there is no coloring but with the pose of the figure; the subtle balance with the table and the texture of body figure attract the viewers into the girl’s lonesome soul.

「我在做每個女孩的時候都揪心。最初的時候也許心裡會有一個模特，她的一個 動作，一個眼神，坐在那裡的姿勢，我捕捉到了，感動了，那一秒鐘，她為你打 開一扇窗戶，觸到了你的某根神經，一下子許多感覺就湧上來，使你突然特別想 表達。」——向京 向京是中國著名的女性雕塑家，評論家栗憲庭讚譽為「雕塑界的天才藝術家」以 其獨特細膩的女性視角，塑造了眾多大膽、直指人心的女性藝術形象，其作品廣 為海內外機構及私人所收藏。 《葡萄酒》女孩頭斜倚在拿著杯子的手臂上，凝結於迷濛的神情，身體的線條舒 緩，腳優雅的交錯，彷彿陷入某種情緒中不可自拔。雖然沒有著色，但藉著人物 的姿態，與隱形桌子的平衡，線條肌理的刻畫，使得觀者不自覺投射於人物之 中，進而融入她靈魂的孤獨與寂寞中。

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SHU | YANG Scrawl

( b.1965 )

90×70cm Acrylic on Canvas Signed Yang Su in English, dated 2008

楊述 塗鴉 2008 壓克力 畫布 簽名：2008 Yang Shu

NT$150,000-250,000 US$4,900-8,200

「楊述的繪畫觀念來自於對繪畫本體的 探究，在他的作品中，所有的色彩、筆 觸、節奏和空間都成為敞開的世界，恰 如音樂不能用文字描述一樣，他下筆的 快感能夠令每一個觀看原作的欣賞者獲 得未知的、不確定的共鳴。」 －張江當代藝術館館長 李旭

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YANG | YUYU The East and West Gates

( 1926-1997 )

45×71×71cm Stainless Steel, 11/20 Signed Yin Feng in Chinese and dated 1973, numbered 11/20 With a certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "Yu Yu Yang Corpus Volume 1", Artist Publishing Co., 2005, Page 258

楊英風 東西門 1973 不鏽鋼 11/20 簽名：英風'73 11/20 附楊英風基金會開立之原作保證書 圖錄 《楊英風全集》，第一卷，藝術家出版，2005年12月，頁258

NT$200,000-300,000 US$6,600-9,800

《東西門》設置於紐約，華裔建築師貝聿銘設計的東方 航運大樓金融中心前

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In “East-West Gate”, Yang uses the design of the round-shaped door that is often found in a traditional Chinese garden as his model.

The arrangement of the spacing gives this piece a scent of poetry and pleasant surprise with the use of the hollow and fully rounded structures as the imagery. The hollow structure contains “yin” which symbolizes Chinese culture, and the full structure contains “yang” which represents western culture. The origins of the two cultures were as one but through division became different cultures. However, today the two cultures have reunited much to that of the formation of yin and yang, and is a crucial element in the reconstruction of the universe. Choosing a non-rusting material to give a polished effect allows for the reflection of the complicated and imaginations. Although a simple man, after going through numerous real-life experiences has created Yang to anticipate the imageries of reality, thus bring tension and the spirit closer together.

楊英風特別喜歡不繡鋼材質的鏡面效果，能強烈反射環境，讓週遭景觀融入雕塑作品中。在楊英風的文章中曾提及，「不繡鋼 的物質屬性中隱現著中國瓷器的明澈、純淨的精美神韻。這是不繡鋼材質長久吸引我的根本原因。」其中不繡鋼系列中最著名 的作品為與國際建築大師貝聿銘合作的「鳳凰來儀」與「東西門」。 《東西門》以大正方形曲折的牆為主體，從中挖出一圓成為「屏風」，此圓猶如一面鏡子反射週遭景觀在作品上，而縷空的方 形則成為「月門」。屏風所反映的景物是虛、月門框出的景物是實，虛實之間逸趣橫生，除此之外，一方一圓也象徵中國陰陽 相對的哲學思考。

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YANG | YUYU The Galaxy Trip

( 1926-1997 )

137×50×55cm Stainless Steel, 12/20 Signed Yin Feng in Chinese and dated 1986, numbered 12/20 With certificate of authenticity from Yu Yu Yang Foundation

楊英風 銀河之旅 不鏽鋼 12/20 簽名：英風'86 12/20 附楊英風基金會開立之原作保證書

NT$300,000-500,000 US$9,800-16,400

《銀河之旅》屬於「宇宙系列」不銹鋼雕塑作品之一。在造型上採用一向上 延伸的帶狀造型，以象徵宇宙銀河系的無限長遠，而中間的圓盤則象徵星 球，與銀河系相互輝映。「宇宙系列」其中蘊含了許多來自中國傳統哲思裡 對於宇宙世界觀的闡釋；而帶狀造型則與楊英風另一喜用的「龍」題材相互 呼應。 據楊英風〈龍鳳涅盤代序〉中言：「龍鳳對我的創作影響，是無形的精神啟 蒙遠勝於有形的意象體認。他們可以存在山川、天際、雲石，也可以存在人 類賦予的形體中，但過多的繁紋縟飾掩蓋了那質樸原創的生命力，威勢權貴 的附會，也扭曲了先民創造龍鳳時萬民共享的平等。所以當我以龍鳳為創作 主題時，是褪去繁華，還其本源，沒有外在的裝飾，也沒有利爪尖喙。」

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YANG | YUYU Shadow Mirror

( 1926-1997 )

58×87×27.5cm Stainless Steel, 20/20 Signed Yin Feng in Chinesen and dated 1983, numbered 20/20 With certificate of authenticity from Yu Yu Yang Foundation

楊英風 分合隨緣 1983 不鏽鋼 20/20 簽名：'83英風20/20 附楊英風基金會開立之原作保證書

NT$200,000-300,000 US$6,600-9,800

《分合隨緣》為楊英風不銹鋼「宇宙系列」的作品之 一。楊氏對浩瀚無垠的宇宙自有一番體認，進而反映 在一系列的不銹鋼雕塑作品上。不銹鋼是其最喜歡的 材質，特性是堅硬，具有強烈的現代感，並代表了現 代科技的進步；不銹鋼材質作雕塑，那種磨光的鏡面 效果可以反映出周遭景物，轉換成如夢似幻的影像， 也符合宇宙萬物虛虛實實的意象。 據楊氏自述其理念：「這是兩件一組的造型，凹凸鏡 面的變化虛虛盈盈，上方有圓碟，在鏡面的反映中， 象徵細胞分裂再生，萬物繁衍不息。亦如太空巡遊， 在宇宙中會合分離，互傳訊息。隨著角度、位置的差 異，映照出四周不同的景象，有若心境反射，人世間 萬事聚散分合、虛實盈虧，皆隨緣而變。」

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MING | JU Taichi Series - Arch

( b.1938 )

43×12×23cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1996 With a certificate of authenticity signed by the artist from Caves Art Gallery

朱銘 太極系列-拱門 1996 木雕(僅此一件) 簽名：朱銘 '96 附敦煌藝術中心開立朱銘親簽保證書

NT$3,400,000-4,000,000 US$111,500-131,100

After the stages of singular and duet forms, Ju Ming was inspired by the arched doors in architecture. He developed the profound “arch” ser ies- a nex t level post Taichi series and a climax of his career. The Arch Series doubled the effect of abstract on the foundation of duet forms and evolved kung fu battle into two contrasting elements. He tried to replace characters with sculpture and to interpret his feelings and wisdom of his studies of the taichi yin yang. The appearance of the arched door is presented as though a weathered natural rock, the human body has disappeared entirely only remaining the spirit and strength. To reach this level, as an artist, one will have to have much realization; as an audience, one will have to study thoroughly of the entire series to capture the artist’s intention.

經歷個體招式和雙人對拆的階段，朱銘受 到建築學上的拱門所啟發，發展出玄妙至 極的＜拱＞系列，使太極在後期再度昇 華，達到了整個系列的巔峰。作為最終型 態的子系列，拱門系列在兩人對招的基礎 上加倍抽象，明顯地把功夫格鬥演化為二 元對立的辯證。朱銘嘗試用雕刻代替文 字，去詮釋他靈覺得感受、和用智覺去理 解的太極陰陽之道。那拱門似的外觀，有 如風化了的天然岩石，人體驅殼全然消 失，只餘招意和力量。 166

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MING | JU Taichi Series - Pushing Hands ( b.1938 )

62×32×66cm Bronze, 6/10 Signed Ju Ming in Chinese and dated 1991, numbered 6/10 With a certificate of authenticity issued

by Jan Youn Sculpture Gallery

朱銘 太極系列-推手 1991 銅 6/10 簽名：6/10 '91 朱銘 附雋永畫廊開立之原作保證書

NT$3,000,000-3,800,000 US$98,400-124,600

In Ju Ming’s Taichi, the slow and soft body language transfers into a unique and profound aesthetics form. Under the control of stillness and movement, balance and unbalance, at the moment of change, stillness. Here, spirit, body movements are in conjunction with Heaven and Earth. Taichi teaches people to follow the Nature. There should be neither joy nor fear. Ju Ming’s Taichi Series is powerful and vivid. There is no specific figurative image in Ju Ming’s Taichi.

What they represent are metaphysical power and spiritual universality.

太極拳法中，輕緩柔順、循序漸進的肢體語言與變化，轉換出了一股沉柔性的 獨特美感造型，在靜與動，平衡與不平衡的探尋掌握之下，在運動變易之際， 靜中含動而動裡養靜。精神、肉體四肢律動與天地契合。 太極教人順應自然， 浮沉大化之中，不喜亦不懼。朱銘的太極，力量澎拜，神氣自主，朱銘所雕的 太極並無個別形象，他們代表的乃是形而上的力量，精神的共相。

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MING | JU Buffalo

( b.1938 )

57×17.5×19cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1998 With a certificate of authenticity signed by the artist from Caves Art Gallery

朱銘 牧牛 1978 木雕(僅此一件) 簽名：朱銘 '78 附敦煌藝術中心開立朱銘親簽保證書

NT$1,600,000-2,400,000 US$52,500-78,700

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JU MING Ju Ming grew up in Miaoli Countryside and he worked with his father in the farm during his adolescence. Early in his career, most of his sculptures emphasized on cows and cowboys which showed his connection with the farm life. It depicted a hard working farmer and his buffalo. The viewers can see the joy on the farmer’s face, he seems happy while waiting for the harvest season.

朱銘自小生長於苗栗鄉下，農務及牧牛伴隨著他度過年少時期，而於民國七十年 初發展出了鄉村系列。此件作品《牧牛》刻劃出農夫忙於農事的情景，粗曠的刀 痕表現出農家的強健體魄與水牛壯碩的身形，農夫駕著水牛一步一腳印勤勞耕 耘，散發出刻苦耐勞的精神，神情充斥著歡喜反映出內心期待豐收的季節來臨。

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PIERRE FERNANDEZ ARMAN 「阿曼的作品有獨特的個人魅力，似乎有一個純真的形象在生活 中躍動，以獨一無二的節奏譜出自己。」 阿曼是法國新寫實主義義術家中，最早從事「集積」的人。起初把 朋友寄來的信件、香菸的空盒聚集，留意到堆積後的美感，於是更 積極從事廢物或現成物的彙集工作。十幾年前阿曼曾經在他別墅前 的草坡上，埋了三十架鋼琴，他很得意的說這是鋼琴公園，這樣的 一番話，使創作中存在著的一份赤子之心，表露無遺。 阿曼喜歡將相同物體堆積一起，少年時期他就是個有收藏癖的孩 子，但他並不是純粹的收藏者，有一天他靈光一閃，開始思索物 件背後的意義；有人說他是「普普」藝術家，但這並不貼切， 「普普」是再現物體的藝術，而阿曼是直接用真實的物體，把它 們做成與本質完全不相同的物件。 藝術創作行為，就是將事物轉換成新的面貌，賦與另一個新意 義；茶壺漏水了，椅子缺了腿、燈泡斷了鎢絲……，當物品的實 用功能消失的時候，生命的意義也就隨即消失，只有藝術家，能 賦與它新的價值，也許看起來有些荒誕，但卻使這些廢棄物充滿 聯想的功能，成為震撼人心的藝術品，因此，物品的生命雖然短 暫，經過阿曼的巧手，廢棄物以更佳輝煌的姿態出現。 ——摘自《國際大師雕塑展—阿曼》

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阿曼

Contemporary Accumulation Artist Arman was inspired by culture, affection and the accumulation of life. The objects were often instruments, Greek mythology god’s images, furniture, automobiles, tools and clocks and watches. He used cutting, dismantling, replicating and assembling different objects to create a voluminous texture and giving the original form a new meaning and feature. He also presented the objects potential function and put together the unique affection people have for daily objects.

His pioneering creation concepts made him one of the few artists written in Western Art History during his lifetime. He was once honored with the French Legion of Honor and the former president of France Chirac described him as “the industrious creator” and also “the master of contemporary art”.

Referring from Greek mythology, "Diana" is a classic of Arman’s art language. The modern approach of cutting and recomposing created a classical hero. With an emulation of human, the sculpture is 173 centimeters. The charming body figure is elegant with dignity, the unique thoughts behind it is bold and innovative. Arman’s cutting technique inspired a different method of viewing, enabling the viewers to ignore the golden ratio of the sculpture and appreciate the beauty of cutting vertically on various directions. Sculpture "Diana" is divine and is a trademark of Arman’s classical era, bringing the viewers into this eternal art shrine.

阿曼為當代集積藝術大師，其創作源頭與呈現形式，經常是人類文化、情感與生活 的積累。阿曼創作涉及的主體從樂器、希臘神話形象、傢俱、汽機車、工具與鐘錶 零件到生活用品等，其藉由分割、拆解、複製和拼裝各種物件，呈現出作品的量 感，並將原有的形體賦於新的面貌與意涵，進而發掘物體潛在的功能，也集結了人 在生活物件上所遺留的獨特情感。引領時代的創作概念，使阿曼成為少數仍在世即 被寫入西洋藝術史的藝術家之一，曾榮獲法國榮譽軍團勳章，前法國總統席哈克更 稱譽阿曼為「勤奮不懈的創作者」及「當代藝術的巨匠」。 《黛安娜》銅雕以希臘神話入題，呈現阿曼經典的創作語彙。其以極具現代感的切 割重組技法，拼組古典英雄形象，173公分的高度模擬真人比例，鑄造婀娜莊重的 身段，姿態典雅卻氣勢凜然，獨具巧意的構思更顯新穎大膽。阿曼的切割技法啟發 另種觀看的可能，使觀者跳脫以黃金比例的概念仰視神聖的雕塑，而在多面的縱劈 間體會現代藝術多元的審美視野；透過黛安娜所象徵的不可侵犯之姿，阿曼為自己 的創作揚起時代經典的旗幟，引領觀者進入亙古彌新的藝術殿堂。

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PIERRE FERNANDEZ ARMAN

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FERNANDEZ ARMAN | PIERRE Diana

( 1928-2005 )

173×79×50cm Bronze, EA 1/3 Signed Arman in English, numbered EA 1/3 With a certificate of authenticity signed by the artist ILLUSTRATED ''The EXHIBITION of International Sculpture Master", Modern Art Gallery, 1996, cover back "ARMAN BERNARD LAMARCHE VADEL"，EDITION GALLERI GKM SIWERT BERGSTRÖM MALMÖ SUEDE，P285

阿曼 黛安娜 1986 銅 EA 1/3 簽名：Arman boequel Fd. EA 1/3 附藝術家親簽之原作保證書 圖錄 《國際大師雕塑展》，現代畫廊， 1996年10月，封底 《ARMAN BERNARD LAMARCHE VADEL》，EDITION GALLERI GKM SIWERT BERGSTRÖM MALMÖ SUEDE，第285頁

NT$5,800,000-6,800,000 US$190,200-223,000

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「……祖父在我心中總代表了一個關懷的角色，如此豐沛的情感，總是像浩瀚潮水將我捲入他無止盡的暖流中。宇宙自有其運轉輪迴， 冥冥之中，自己對藝術投入及樂於創造的靈魂，彷彿是回應祖父的召喚，這些自幼以來就想要讓祖父看見的，同樣對藝術的熱情，如此 旺盛的熱情能讓他的夢想延續下去。最後一次與祖父的會面，如此的信念在他眼中迷失了。我常常在腦中回想這些片段，暗自希望祖父 在某些不為人知的時刻，也許還對我，對這個世界保留了些樂觀的態度。祖父的逝世對祖母影響甚鉅，這幾年她時時掛念著祖父，為他 禱告，惦記著每個值得紀念的時刻，已年逾百歲的祖母仍然時常造訪山頂丈夫的墳。她和祖父一樣，總是有好多話想要和我說，不同的 是這次我終於可以待在她身邊傾聽，即使到了最終，她無法言語，僅能緊緊握著我的手腕，我仍然能接收到她想告訴我的每一字﹑每一 句。直到自己的婚禮那天，直到長大成人的我也找到了人生的摯愛，我才終於能夠體會失去生命伴侶的感受，那種無法將幸福牢牢握在 手中的痛，以及夕陽無限好，只是盡黃昏，天下沒有不散之宴席的體悟。藝術是人類探索生命意義的尖塔，兩個靈魂分享了同樣對藝術 的熱愛，可見這兩位藝術家的愛情有多麼深刻。 從小到大，我自不同的人口中聽過了好幾回祖父母的愛情故事，其中包括他們自述的版本。大部份的說法是家族的朋友介紹兩人認識 的。祖父說他當時十分羞澀緊張，深怕對祖母的愛會得不到回應。其他親戚朋友則把兩人的相遇描述成一場安排好的相親。楊氏家族總 有每個值得紀念的歷史時刻，照片及文字紀錄，奇怪的是，在修復整理相關資料時，我至今始終找不到一張祖父母的婚宴照片。所有的 家族趣事中，我最喜歡聽祖母的故事，她與祖父在法國研讀藝術時相遇的情節。當時兩人的家世背景懸殊，因此在遠離家鄉的巴黎結識 及私下交往，才讓兩人愛情得以發展延續。祖母如夢似幻的愛情故事除了引起許多人的共鳴，更重要的是反應了這段關係另一層意義： 兩人原是在世界兩端的藝術靈魂，但是命運的推手將他們推向了彼此。對於兩人的感情，祖母想讓我體會的是，如此的愛情是天注定 的，無論外在的環境多麼險惡都無法改變這個事實。 不同於祖父堅持親身造訪每一幅畫作的同樣地點，得以在畫布上捕捉每個地點給予他最真實確切的印象，我的祖母傾向運用各種想像的 創造元素，融合在畫布中，呈現經由她眼睛所詮釋的世界。祖母眾多的畫作中，我最喜愛的一幅是描繪著那座比鄰著美術館的雕像，只 不過在祖母的畫布上，她將雕像遠遠推移到了花園裡，而遠比雕像古老的周遭建築在畫面中消失了，就像不曾存在過似的。花園裡枝葉 繁茂，不見人影， 鬱鬱蔥蔥之間，一條小徑路延展到肉眼不可見之深處。祖父的靈魂彷彿繼續存活在那幅畫作中，成為這世界上能帶給 祖母快樂的源。祖母投入藝術的動機與祖父不相同卻同樣強烈，她視藝術為自己最私密，最完整的表達方式。我的祖父則傾向將他眼中 的藝術具體化，並且讓其他人一同參與他捕捉畫面的過程。如果畫作可以被視為一種媒體紀錄的著作，那麼祖父繪製油畫的過程就如同 攝影師後製攝影底片般，他用色彩描繪眼中所見的真理，在畫布這個媒介上被紀錄了下來。…」 ――摘錄自《藝侶浮光 楊三郎與楊許玉燕 夫婦油畫聯展》序言

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“…Upon later reflecting on the image, he was a man who had more to say, more to share and didn't know how to make me see it without overwhelming me. Nature would have to take its course. I would have to summon the love for art and the pioneering creative spirit that I always wanted him to believe I had. I would have to be all these things for him, if I was going to keep his dream alive.

He didn't have that faith in his eyes that day. I like to imagine that in his quieter moments, he thought about the possibility more optimistically. My grandmother felt his loss heavily. Throughout the years, she held vigils for him, commemorated his life and visited his mountaintop grave even after she herself became a centenarian. There was so much she wanted to tell me as well. Fortunately this time, I was here to listen, even after all she could do to communicate her thoughts was to hold my hand. It wasn't until I'd found love myself that I understood what it must be like to lose a life partner, what it is like to not be able to hold onto what I have in someone else tightly enough. To know joy that is also tinged with the pain of realizing its temporary nature. How profound it must be when that love emanates from between two artists… Souls that share a love of art, one of the pinnacles of humankind's quest to understand itself.

I've heard several differing stories about how my grandparents met, including from they themselves.

Some said they were introduced by family friends. My grandfather describes being ner vous to approach her for fear of his love being unrequited. Others however have written that it was an arranged marriage. In the process of archiving documents and photographs in and around the museum, I have yet to find one photograph of their marriage in this otherwise well documented family. I enjoy my grandmother's story the most. She told me they met in Paris while studying art together. That because of their divergent cultural backgrounds, meeting and eloping in Paris was the only way they could have been together. Even if her story resonates somewhat fantastically for some, it encapsulates a deeper truth about their relationship, that they are two creative souls who could have been worlds apart and they would have still been brought together. She wanted me to be left with the impression that their love would have come to be entirely on the merit of its divine providence, and that no other consent, circumstances or external force was relevant to their being together.

Unlike my grandfather who insisted on traveling to the exact location of each of his paintings in order to capture the real "impression" that a place made upon him, my grandmother was inclined to incorporate fantasy and elements that reflected the world she wanted to see. In one of my favorite of my grandmother's paintings, one can see the statue, which has been adjacent to the museum since its dedication moved out into the garden, and buildings which long predate the statue are absent as if they don't exist. The garden is lush, unincorporated, and a path continues on into depths unseen. His creative spirit lives on, being a part of only those elements which brought my grandmother pleasure.

Completely oppositely yet no less validly from my grandfather's motivation to be who he was for the sake of art, my grandmother used art as her own, personal, private mode of expression. My grandfather was more inclined to externalize with art, to make others participate in his process to capture elements as they were. If one could consider painting to be one media through which the documentarian process can be authored, then he made oil painting and the process by which he pursued truths about his subject, into a valid documentarian medium just as others have with film, photography and the like. …“ — Extracted from the preface of “The Joint exhibition of Yang san Lang and His Wife”

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108

SANLANG | YANG Autumn Scenery

( 1907-1995 )

90×116.5cm Oil on Canvas Signed S. Yang in English With a certificate of authenticity from Yang San Lang Art Museum

楊三郎 奧萬大森林 1980 油彩 畫布 簽名：S. Yang 附楊三郎美術館開立之原作保證書

NT$4,000,000-5,500,000 US$131,100-180,300

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XUYUYAN | YANG Autumn Scenery

(1910-2012)

72×91cm Oil on Canvas Signed G.K.Yog in English With a certificate of authenticity from Yang San Lang Art Museum

楊許玉燕 斜陽秋色 1980 油彩 畫布 簽名：G.K.Yog 附楊三郎美術館開立之原作保證書

NT$360,000-450,000 US$11,800-14,800

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LIU KUOSONG | Vermilion

( b.1932 )

劉國松 紅日當頭

88×33.6cm Mixed Media on Paper Signed Liu Kuo Song in Chinese

2007 綜合媒材 紙本 簽名：劉國松

ILLUSTRATED "Hight．Dream．Evolution, Paintings of Liu Kuo Sung", Capital Art Center, 2008

圖錄 《突兀．夢幻．蛻變 劉國松畫集》 首都藝術中心 2008年

EXHIBITION "Hight．Dream．Evolution", Capital Art Center, 2008

展覽 「突兀．夢幻．蛻變 」首都藝術中 心 2008年

NT$650,000-750,000 US$21,300-24,600

「我們既不是生長在古代的中國，也不是生長在現代的西方。模仿新的不能 代替舊的，抄襲西洋的不能代替抄襲中國的。」 祖籍山東的劉國松先生，1932年生於安徽，於1949年隨國民革命軍遺族學 校搬遷至台灣。進入師範大學美術系後，在東方美學薰陶與西方藝術思潮、 繪畫技法的激盪下，走上繪畫革新的道路；後因廖繼春的鼓勵支持，與幾位 師大藝術系友仿效法國「五月沙龍」的精神，以法文「Salon de Mai」為名成 立「五月畫會」。期望以自身之力為當時台灣的畫壇注入一股清新的活力、 「革筆的命、革中鋒的命」，致力於歐美藝術新觀念與技巧的引入，建立中 國繪畫的新傳統，是現代水墨運動重要的推手。 劉國松深受傳統哲學思想重視人與自然和諧的宇宙觀影響，師法自然、講求 氣韻；在東方與西方、傳統與現代之間，抱持嚴肅批判的態度持續實驗創 作、激盪創發，內化至藝術生命中，以水墨繪寫出天地自然的靈動、抽象詩 意境界的迷離邈遠，深具時代性與獨特性。 劉國松先生曾說：「自我個性顯現不是一件輕而易舉的事，有人一生都沒有 顯現出來自己的，真是不知其數；一個藝術家個性的顯現，完全要靠藝術家 本身不斷的摸索追尋。」他鑽研、探索、醞釀及轉化「現代」和「水墨」的 雙重命題，對多元媒材靈活運用，建構出繽紛多彩的藝術風貌，筆不筆、墨 不墨且生氣勃勃融合中國傳統水墨畫與西方繪畫理念，形塑出深度、廣度兼 具的藝術創作。 《紅日當頭》具體而微地呈顯劉國松深厚的美學內涵和人文素養，以及對藝 術的探索與執著，作品意蘊深邃、美學風格獨特而鮮明。觀者在與作品精彩 對話中，體驗中西藝術跌宕融合下的獨特魅力，反應藝術家常用印上「一個 東西南北人」在東方與西方、傳統與現代之間，游刃有餘地淬煉著獨到前沿 深刻的藝術生命。

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CHANGSHUO | WU Seal Scrip - Calligraphy Pair of Hanging Scrolls ( 1844-1927 )

138×33.5cm (each) Ink on Paper Signed An Ji Wu Changshuo in Chinese With one seal of the artist

吳昌碩 石鼓文七言聯 水墨 紙本 簽名：安吉吳昌碩 款識：櫳格陰中曾射虎 柳花多處又斿驂 鈐印：俊卿之印 昌頡

NT$650,000-800,000 US$21,300-26,200

石鼓文於篆書體系承上啟下，上承甲骨鐘鼎文字 渾樸天真氣韻，又法度嚴謹、安排妥帖開拓後來 小篆規範化方向。 吳昌碩研深覃精石鼓文、集石鼓文句凡數十年， 字形多取斜勢，變橫為縱，章法上下左右，筆勢 雄渾奔放，灑脫俊邁而姿態萬千、「一日有一日 之境界」自成一家。 俊卿石鼓文書法以兩類形制為多，一是臨摹石鼓 文的條幅、條屏，二是石鼓文集聯；因石鼓文總 字數有其限制，做長篇大章頗為不易，集成聯句 可謂良方妙劑。

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YATSAI | CHIU Gentleman in Blue

( b.1949 )

120×64cm Oil on Canvas Signed Chiu Yatsai in Chinese

邱亞才 藍衣紳士 油彩 畫布 簽名：邱亞才

NT$400,000-500,000 US$13,100-16,400

In "Gentleman in Blue" , the figure’s pale face and side profiles bring out a strong and dominate nose, delicate Asian eyes and arrow shaped eyebrows. The artist utilized thin and refined lines and exquisite colors to mesmerize the facial expression. The technique is similar to the rendering style from the Tang dynasty. The neutral facial expression along with the oval-shaped gentleman’s head, shoulders and waist and the extending neckline explained the influence from European artist Amedeo Modigliani.

Freeing himself from the restraints of the academic art style and combining the East and West, the ar tist obser ves in tranquilit y and successfully established a unique style.

《藍衣紳士》蒼白的臉部，斜面的目光突出個人 臉部，尖挺的鼻子、精心素描的鳳眼與箭形眉 毛，採用纖細的線條和精巧的色澤，使得臉部表 情更為突出，接近唐代渲染的風格；表情與形式 傾向中性，紳士的頭部、肩部、腰部都保留相同 的橢圓形和延長的頸部曲線，如此的風格他坦承 是受到歐洲藝術家莫迪里亞尼的影響。邱亞才跳 脫了學院畫風的限制，結合中西，在都會中靜靜 的觀察，成功的創造出獨樹一幟的風格。

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TZUCHI | YEH The Army Officer

( b.1957 )

a.194×130cm b.194×130cm Maxed Media on Canvas

葉子奇 第十連 1983 綜合媒材 畫布 (雙連作)

NT$4,000,000-4,500,000 US$131,100-147,500

Tzu Chi Yeh, graduated from Western P ainting Gr oup D ep ar tment of F ine Ar ts of Chinese Culture Universit y in 1981, was enrolled to ser ve the army in august of the same year. He founded with passion the “101 Modern Art Gropu” and presented his first exhibition in end of May 198 3 with realist paintings of soldiers as the main subjects.

Tzu Chi Yeh’s father was drafted to serve the army in Burma. Therefore, to Tzu Chi Yeh, soldiers come with a special meaning and emotions involved. In the duo canvas "The Army Officer" , the artist presented t wo contr asting standing poses; blue and yellow; the salute pose; and classical aesthetics principles. The artist has also incorporated delicate and glamorous techniques from Tempera and oil painting. The above characteristics are examples of the artist unrestrained talents and skills.

葉子奇於1981年自文化大學美術系西 畫組畢業。同年八月入伍，他熱情發 起並組織「一○一現代藝術群」，在 1983年5月底「一○一現代藝術群」舉 辦第一次聯展，展出軍人主題的寫實畫 作。葉子奇的父親是曾在緬甸奮戰的國 軍，對他而言，軍人是有著特殊的意義 與情感的。《第十連》雙拼的畫布，一 正一反的站姿，一藍一黃的對比，端正 站立握拳的嚴肅姿勢，構圖具有古典主 義中「不移動的移動」和「感情被鎮靜 於平穩之中」等美感法則，融入細膩華 美的蛋彩和油畫筆法，充分展現了畫家 不受時代拘束的才氣與能力。

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JYI | HWANG The Gallery Event

( b.1953 )

96×129cm Oil on Canvas Signed on the Reverse: The Gallery Event and Hwang Jyi in Chinese, dated 1991 With a certificate of authenticity from Gallery

黃楫 美術館事件 1991 油彩 畫布 背面簽名：美術館事件 黃楫1991 附畫廊開立之原作保證書

NT$450,000-600,000 US$14,800-19,700

黃楫曾入選巴黎高等美術學院 美展，而後又獲得第七屆全國 美展首獎。其風格在90年代 中人物有明確的輪廓，畫面當 中的空間場景有了更清楚的意 義，其中，多數具有客觀世界 所熟悉的特徵，留下了可供辨 識的線索。 《美術館事件》背景以具有清 晰邊緣的幾何圖形、大塊的色 面來構成平坦的二度空間，隱 藏著一頭罩寬白袍的人，手握 利刃，在其背後站著軀體若有 若無的一位穿著體面、張著利 眼的男士，透露出其為幕後的 操控者，前景置中似古典聖母 子的雕塑，看似主導一切，但 仔細看發現刀口正對著她們。 這樣似舞台劇的佈局與命名的 結合，訴說當今美術館對整個 社會與文化的生殺大權，而身 負重任的藝術工作者此時也只 能相互依賴自保。 190

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CHINSHUI | JAN Decayed Landscape

( b.1953 )

97×130cm Mixed Media on Canvas Signed Chinshui in Chinese, dated 2000 With a certificate of authenticity signed by the artist

詹金水 溪山行 2000 綜合媒材 畫布 簽名：金水2000 附藝術家親簽之原作保證卡

NT$200,000-300,000 US$6,600-9,800 192

西方畫作的肌理、豐富飽滿的色彩與東方人文生命的精神在詹金水的 創作裡得到最佳演繹，「抽象山水」可以說是其中最具東方文人特色 的常見創作題材之一；藝術家運用各種不同的創作媒材與技法，嘗試 重新詮釋傳統文人山水的意境。 《溪山行》畫面以大筆觸的抽象寫生，利用油、水互不相融的特性， 製造出具斑駁、沉積效果的肌理，配合簡約的構圖及幾何色塊，營造 出和諧的東方氛圍，使畫面呈現如自然冥想空間的寫意式抒情抽象。

116

TUNG | HUNG Untitled

(1920-1987)

63.5×33cm Mixed Media on Paper Signed Hung Tung in Chinese

洪通 無題 綜合媒材 紙本 簽名：洪通

NT$150,000-200,000 US$4,900-6,600

洪通，台灣知名素人畫家，神祕、用色豐富的文字畫被稱為「靈異畫家」。美國文化中心藝術家雜誌社舉辦了洪通遺作回 顧展，譽其為「東方的畢卡索」。《無題》結構與寺廟壁畫相似，層次可分為從天至地，人物不拘泥實體比例，分成最上 層的文字，依序向下有三排人物緊密並列的紋飾帶，最底層為動物組成的山丘。人物面容似笑非笑，衣著繁複多彩，站姿 端正嚴肅，繪滿符籙花樣的創作風格超脫現實且自由，均衡且對稱表現出宗教的氛圍，透露靈性與強烈的精神力量。

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MING | JU Pair of Chickens

( b.1938 )

61×47cm Ink and Color on Paper Signed Ju Ming in Chinese, dated 1989 With one seal of the artist

朱銘

《雙雞報喜》朱銘使用粗細有節的墨線

雙雞報喜

勾勒出雞的造型和彼此的位置，造型採 大塊面表現，顯示出豐腴飽滿的結實

1989 彩墨 紙本 簽名：89.9朱銘 藝術家鈐印

NT$100,000-140,000 US$3,300-4,600 194

感；藉著上色與否及多寡，讓雙雞虛實 相映，塑造畫面的韻律。

118

YI | HSIAO Hymn in all Directions

( 1956-2006 )

63×46×34cm Bronze, 9/12 Signed Hsiao Yi in Chinese, numbered 9/12 ILLUSTRATED "Zen．Alternation: Our Forever Friends", Lin & Lin Gallery, 2010.6, Page 5

蕭一

《十方頌》描繪出琵琶簡練俐落的外

十方頌

形，在琴板上非直頸而是流暢的弧 度，與當今琵琶的不同點可追溯至敦

2010 青銅 9/12 簽名：蕭一 9/12 圖錄 《禪.易：咱永遠逗陣 朋友》 大未來林舍畫廊.2010.06， 第5頁

NT$420,000-550,000 US$13,800-18,000

煌壁畫內關於樂舞的部份。琵琶即在 樂舞的樂器裡，飛天仕女雙手反彈琵 琶，輕盈的身軀曼妙翩然起舞，身上 環繞著的彩帶隨著樂舞飛揚，表達聞 法的歡喜讚嘆，令觀者一同分享法 喜，更傳達出蕭一作品的文學深度與 自在禪易。 195

119

YILANG | CHEN Longten No.9

( b.1968 )

23×38.5×72.5cm Stainless Steel, 1/8 Signed Longten No.9 and Lang in Chinese and dated 2007, numbered 1/8 With a certificate of authenticity from Gallery

陳義郎 龍騰九號 2007 不鏽鋼 1/8 簽名：龍騰九號 郎2007 1/8 附畫廊開立之原作保證書

NT$300,000-400,000 US$9,800-13,100

陳義郎以《文字獸系列》受到 藝術界矚目。文字的本身有某 種神祕能量，特別是象形文 字，象形文字比抽象組合文字 更具視覺性，他將文字的精靈 解放於一件件的雕塑作品中， 讓文字有如一位活潑的舞者， 在人間展現曼妙的舞姿。《龍 騰九號》一反木質文字獸的溫 潤婉約、色質含蓄，不鏽鋼的 繁複精工轉換為光澤艷瀲的作 品，文字魔獸的戲劇性超越木 質原作，但也和木質原作具有 一致的華麗而內納之氣質。

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HUIJUN | GAO The Natural Order 80×109.5cm Mixed Media on Paper With one seal of the artist

( b.1966 )

高惠君

高惠君的作品以西洋的材質，描繪著中國古代的山水韻

順其自然

致，傳達更多的是散淡與恬靜，因此在當代藝術界享有聲 譽，更被國內外收藏機構廣泛收藏。

綜合媒材 紙本 藝術家鈐印

《順其自然》右以流暢的行書與左側的假山石及樹鳥配置

NT$160,000-200,000 US$5,200-6,600

昂首將焦點帶向別處，喙的尖端朝向似達利《柔軟的時

於畫上，樹石藉由設色與苔點呈現質量。應為視點的鳥， 鐘》中的溶化般的時鐘垂掛於樹枝上。書畫同源，字如其 人，畫如其人，人的品性皆會融入其書畫作品之中，此畫 正可說明高惠君何以在當代藝術界獨樹一幟。

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YANG | YUYU Phoenix Scales the Heavens

( 1926-1997 )

56×68×32cm Stainless Steel, 19/20 Signed Yu Yu Yang Ying Fang in Chinese, Yuyu Yang in English and dated 1990, numbered 19/20 With a certificate of authenticity from Gallery ILLUSTRATED "Yuyu Yang'S Lifescape Sculpture", Shin Kong Mitsukoshi, Taipei, Yuyu Lifescape Sculpture Museum, 1995, color illustrated, p.33 & p. 45 EXHIBITION "Yuyu Yang's Lifescape Sculpture", Shin Kong Mitsukoshi, Taipei, Sept.

26 to Oct. 10, 1995

楊英風 鳳凌霄漢 1990 不鏽鋼 19/20 簽名: '90呦呦英風 YuyuYang19/20 附畫廊開立之原作保證書 圖錄 《呦呦楊英風展――大乘景觀雕 塑》，雕刻之森美術館，日本箱 根，1997年，彩色圖版，頁54 （戶外大型雕塑） 《呦呦楊英風――豐實的 '95》， （新光三越展目錄），楊英風美 術館，台北，彩色圖版，頁33 & 頁45（大型雕塑） 展覽 「呦呦楊英風展――大乘景觀雕 塑」，雕刻之森美術館，日本箱 根，1997年8月2日至10月26日 （戶外大型雕塑）

NT$350,000-450,000 US$11,500-14,800

《鳳凌霄漢》是為北京亞運會所設計，後放大置於北京國家奧林匹克體育中心。鳳凰是中 國人最喜愛的靈禽瑞鳥，象徵中國人對於超然的理想境界的神往。傳說中鳳擇「至德之 世」而降，唯有太平盛世才能一睹神鳥的蹤跡，似乎一切真善美，皆是乘著鳳翼翩然而 來。本作品為不銹鋼鳳凰系列之一，羽翼成熟穩健層層開展出，翔凌霄漢的鳳凰，簡潔有 力的五道鋼片，精準有緻的合為一隻凌霄展翼的鳳凰。翱翔的鳳凰予人光彩耀目、神采飛 揚的形象，象徵著以智慧迎向未來，開創無限生機，及繁榮盛世的永續經營。

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TINGSHIH | CHEN Day and Night #84

( 1916-2002 )

陳庭詩 晝與夜#84

93×93cm Lithograph, 19/50 Signed Chen Ting-shih in English, dated 1983

1983 版畫 19/50 簽名：Chen Ting-shih 1983

ILLUSTRATED "Sound of Rarity", Tapei Fine Art Museum, 2002, Page 238, Plate 228 "The Work of Chen Ting Shih", Community Art Center of Taichung County, 1990, Page 11

圖錄 《大律希音 陳庭詩紀念展》，台北市立 美術館，2002，第238頁，圖版228。 《陳庭詩美術作品集》，台中縣立文化 中心，1990，第11頁。

NT$150,000-240,000 US$4,900-7,900

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KENGI | LIU Praying

( b.1938 )

74.5×56cm Mixed Media on Canvas Signed Kengi in Chinese, dated 1998.9

劉耿一

劉耿一擅長描寫悲歡離合的題材，無論是

禱

人物或自然景觀，皆呈現一種模糊與說不 清的圖像特質。在「自畫像」的題材中，

1998 綜合媒材 畫布 簽名：耿一 1998.9

將他們書寫成若隱若現的形象，使觀者感 受到內斂沉靜。

NT$100,000-200,000 US$3,300-6,600

200

衷情以自我或妻子以及親人為探討對象，

124

BASTIEN | ALFRED Fish

( 1873-1955 )

50×60cm Oil on Canvas Signed A Bastien in English PROVENANCE Acquire from Belgium Auction by the present owner

巴斯天 魚 油彩 畫布 簽名：A Bastien 來源 現藏者購自比利時拍賣會

NT$120,000-200,000 US$3,900-6,600

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YOSHIO | CHANG Flowering Season

( b.1914 )

20×27cm Oil on Canvas Signed CHANG.Y. in English, dated 1990

張義雄

張義雄是台灣前輩重要畫家之一，在畫壇先進陳澄

花季印象

波的啟發鼓勵下赴日本學習，作品以靜物及風景畫 著稱。

1990 油彩 畫布 簽名：CHANG.Y.90

《花季印象》蜿蜒的小徑，兩旁高聳交織的樹從不 同品種的花叢中長出，明快的色彩，似秀拉點描的 筆觸，表現出色層之美，質感極強。

NT$100,000-140,000 US$3,300-4,600

202

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HUOCHENG | YEH City Gate

(1908 - 1993)

38×45.5cm Oil on Canvas Signed Huocheng in Chinese, dated 1991

葉火城

葉火城強調「現場寫生」可以產生偶然的技

城門

巧，直接在畫布上調色，並講求筆觸，如此的 理念，主要身受石川欽一郎影響。他以寫生的

1991 油彩 畫布 簽名：火城1991

方式，描繪許多台灣本土風景，透過溫和的色 彩與線條綻放一份亞熱帶風情，深切地表達出 對台灣的關懷。

NT$200,000-260,000 US$6,600-8,500

《城門》畫面的主軸城門，其框邊的輪廓，加 上兩旁山與樹鮮綠的映襯，運用畫刀厚塗的肌 理，使城門產生石材與木材的質感與量感， 紅綠色系的大量使用與調和色彩在畫布上的方 式，兩相交疊下舊式古城籠罩於溫厚陽光的照 射下，生機盎然。

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CHINSAN | LONG Cottages

( 1892-1995 )

25.3×31cm Photograph Silver Gelatin With one seal of the artist

郎靜山

郎靜山的攝影境界與意象貼合之處，不

山村茅舍

在於具象事物和情景的描敘，而在於詩 意氣韻的體現，全然繫於藝術家的氣

1932 銀鹽相紙 鈐印：郎靜山

質，與吞吐自然的氣息。《山村茅舍》 喻意含蓄的詩意題材，焦點集中於傾斜 依靠著茅舍的樹木，漸漸淡化至屋舍後

PROVENANCE Private collection, Australia

來源 澳洲私人收藏

ILLUSTRATED ''SELECTED WORKS of CHIN-SAN LONG"",Photographic Research Institute of College of Chinese Culture,1971, Page17

圖錄 《中華大典六十年攝影選輯》中華學術 院攝影研究所刊行 1971年 第17頁

NT$60,000-130,000 US$2,000-4,300

204

的遠山雲霧之中，周圍的留白使的畫面 多了一份飄逸感。

128

| F U

CHUANFU

2007)

Surging Waves 30×121cm Ink on Paper With one seal of the artist

(1910-

一九四九年，舉家來台的前輩書畫家傅狷夫，對台灣氣勢壯麗的聳立高山、磅礡 大海、雲海仙境眾多景點十分熱愛。數十載的雲遊四方、寫生取材，開創以「裂 罅皴」畫山石、「點漬法」寫海浪、「染漬法」染雲海，將傳統筆墨活用在台灣 自然山水之中，被當代藝壇讚為，最具時代感與審美觀的「台灣山水代言人」， 素有「台灣水墨開拓者」之美名。 傅狷夫觀海訣竅「海濱枯坐、默察心記、洞識變化之由」，多觀察、多體會水的

傅狷夫

流動，別看海浪到處流竄毫無軌跡，事實上浪濤是一波接一波而有所重複的，若

驚濤拍岸

仔細觀察必有所得。

水墨 紙本 題識 擎宇先生雅致， 丙寅仲秋， 覺翁傅狷夫， 寫於有所不為之齋北窗。 現藏者得自藝術家本人

《驚濤拍岸》是傅狷夫以筆墨描繪浪濤拍打岸邊之壯闊美景，其中又以深刻筆墨 為基調，並渲染透淨明亮的翻騰波浪，而濺起之浪花波光粼粼的揮灑於岸邊岩 石，使山海景色呈現於永遠的磅礡氣勢之中。

NT$60,000-120,000 US$2,000-3,900 205

129

MING | JU Fish

( b.1938 )

47×32cm Ink and Color on Pape Signed Ju Ming in Chinese, dated 1990 With one seal of the artist

朱銘

《年年有餘》是吉祥語，隱喻生活富

年年有餘

足、每年都有多餘的財富與食糧。朱銘 以強勁的筆觸勾勒線條，簡筆做外形的

1990 彩墨 紙本 簽名：朱銘 '90 藝術家鈐印

NT$100,000-140,000 US$3,300-4,600 206

描繪，僅是匆匆幾筆，卻能勾繪出具寫 意的雙魚外貌。

130

GUNARSO | MULYO Sparrow Dream

(b.1979)

130.5×149.5cm Acrylic on Canvas Signed JOGJA and MG in Indonesian, dated 2011 With a certificate of authenticity from Gallery

穆里歐．固納爾索 銜夢而來 2011 壓克力 畫布 簽名：JOGJA 2011 MG 附畫廊開立之保證書

NT$100,000-160,000 US$3,300-5,200

M u l y o’s s u r r e a l i s t w o r k s to u c h e s o n t h e adverse emotional effects of industrialization and modernization, where he feels that nature is important to the development of creativity.

Mulyo has won many awards Osten Awards at the Republic of Macedonia Biennale of Drawing and winning the Highly Commended Aw ard Professional Category at the 2nd UOB Indonesia Painting of The Year Competition.

穆里歐．固納爾索認為自然為發揮創造力的主 要源頭，作品題材涉及生態的省思，反映工業 化後的現代社會與環境的互動及影響。他將具 象的描繪主體置於超現實的時空，使彼此的連 結呈現極富逸趣，引人玩味。 207

131

KAWASHIMA | HIDEAKI Pink idea

( b.1970 )

193×161.5cm Acrylic on Paper Signed "Pink idea"2005 special work for David in English

川島秀明 粉色概念 2005 壓克力 畫布 簽名："Pink idea"2005 special work for David

NT$850,000-1,100,000 US$27,900-36,100

川島的創作靈感汲取自對宗教和日常生 活的體悟與畫面，作品中以女性憂鬱氣 質面容、輪廓為主體的形象深植人心。 結合日系的動漫元素，形成獨特的繪畫 風格與個人特色，川島曾說他的作品是 在描述一段段內心的個性。 《粉色概念》以及肩黑髮女子為主體， 僅以頸部以上入畫，占據整體畫面。一 對大眼帶著些許愁緒，輕飄秀髮微微揚 起，為畫面增添靈動，由人物表情，帶 入觀者情感，細膩也深刻。菱角狀的眼 形、瀏海與髮梢的細長尖端，統一向左 上旋狀，猶如土星環與隕石相互吸引， 將目光聚於迷濛不清的深邃雙眼。

208

209

132

NORIYUKI NAKAYAMA | Untitled

(b.1968)

146×112cm Acrylic on Canvas Signed on the Reverse: NAKAYAMA NORIYUKI in English, dated 2007

中山德幸

中山德幸作為日本當代藝術界一顆冉冉

無題

升起的新星，早期在傳統日本畫的訓練 於精細有力的筆跡，將女性感官與純真

2007 壓克力 畫布 背面簽名：'07 NAKAYAMA NORIYUKI

之美表露無遺。 《Untitled》精確無誤的線條、完美無瑕 的構圖及細緻的筆觸，畫中漂亮女主角

NT$250,000-350,000 US$8,200-11,500

的肌理及輪廓和周圍全白簡約的環境， 取得了和諧完美的平衡，更釋出一股神 聖莊嚴的氣氛，深深地吸引着觀者的目 光，謎樣的氛圍，促使我們不斷的探究 畫中的故事，探索畫家的記憶世界。

210

133

MATSUURA | HIROYUKI Guru Guru

(b.1964)

116×116cm Acrylic on Canvas Signed on the Reverse: Hiroyuki Matsuura, dated 2008 PROVEANCE Tokyo Gallery

松浦浩之

松浦浩之是日本「超扁平藝術」與「新

Guru Guru

普普藝術」的代言人。自1999年起，開 始創作以「角色圖案」為題材的設計，

2008 壓克力 畫布 背面簽名：Hiroyuki Matsuura 2008.4.30

人物呈現上多用卡通漫畫式較不具立體 深度的風格。 《Guru Guru》他以Guru Guru為題，

來源 東京畫廊

將故事性融入作品裡，局部畫面似漫畫

NT$350,000-500,000 US$11,500-16,400

的想像空間。他認為這些「角色」的存

的分鏡手法，讓觀者觀看作品時有更多 在，是一種超越語言的圖像能量，將會 成長甚至可以超越成人與孩童、男人與 女人間的那道牆，超越人性；可以成為 世界共通的語言，如同漫畫一樣。 211

134

WENPING | WANG I Love Jesus

( b.1960 )

130×97cm Oil on Canvas Signed Wang 98-2001 in Chinese, dated 2001

王文平 我愛耶穌 2001 油彩 畫布 簽名：王 98-2001

NT$200,000-240,000 US$6,600-7,900

212

135

TAKANO | AYA Tengu and I

(b. 1976)

53×45.5cm Acrylic on Canvas Signed TAKANOAYA in English, dated 2003 Signed on the Reverse: In Hyakki Yagyo Picture scroll's peoples

高野綾

高野綾擅長以日本漫畫、科幻小說及帶點情色卻又俏皮的日

天狗與我

式風格入畫。在她的作品時光是可以穿梭的，因此時常能見 傳統日本的神話人物，入侵畫作，打破時間、傳統與架構。

2003 壓克力 畫布 簽名：2003 TAKANOAYA 背面簽名：上しこ「白鬼 夜行絵卷」 の人たち

NT$180,000-300,000 US$5,900-9,800

《天狗與我》主角是大眼瘦弱的女孩子，她是個壞脾氣的怪 小孩，身著清新的泳衣，擺出一個不太在乎的姿態，頭上站 著打破時間軸的天狗，天狗有高高的鼻子、身材高大、穿著 昔時武將的盔甲，背後長著雙翼，是日本民間信仰的妖怪。

213

136

KAWASHIMA | HIDEAKI Reflection

( b.1970 )

60.6×60.6cm Acrylic on Canvas Signed on the Reverse: Kawashima in Japanese titled reflection in English, dated 2003

川島秀明

在日本與村上隆及奈良美智等人

迴光

齊名，川島秀明最擅長描繪女性 的臉，人物眼神裡有著時而憂傷

2003 壓克力 畫布 背面簽名："reflection" 川しま 2003

與逼迫人凝視的魔力，深刻地傳 達對生命的感觸，這是每個人都 曾經歷過的。

NT$80,000-150,000 US$2,600-4,900

《迴光》五官在表面清楚呈現， 藍色幻影系列眼尾微翹，粉色系 的朱唇微張，眼神充滿神祕感。

214

137

MURAKAMI | TAKASHI New Day: Kaikai and Kiki

( b.1962 )

68×68cm(3) a.Lithograph, 174/300 b.Lithograph, 174/300 c.Lithograph, 174/300 a.Signed M in English, numbered 174/300 b.Signed M in English, numbered 174/300 c.Signed M in English, numbered 174/300

村上隆 新日子，新希望 2011 a.版畫174/300 b.版畫174/300 c.版畫174/300 a.簽名：M 174/300 b.簽名：M 174/300 c.簽名：M 174/300

NT$90,000-150,000 US$3,000-4,900

對從事藝術創作人來說，想要拯救他人， 力量真的太微不足道了。」 --- 村上隆 日本在歷經311大地震的衝擊之下，村上 隆因各界對於震災的援助與鼓勵而有所感 a.

觸，自問「能為他們做些甚麼？」，其自

b.

認「身為無能的藝術創作者的一份子」，

c.

所能做的就是將藝術作品圖案提供出來 做使用，並將販賣所得作為賑災基金。因 此身為藝術家的他，創作出《New Day》 系列，並於2011年在Kaikai Kiki台北畫廊 舉辦「Newday Charity Event新日子．新 希望」慈善義賣，一共捐出《New Day》 300套簽名版畫進行義賣，販賣所得也用 來當做日本賑災資源。 215

a. b.

138

|

YAYOI KUSAMA

( b.1929 )

a.Fruits b.Flowers a. 24×33cm b. 33×24cm

a. Screenprint, 93/125 b. Screenprint, 19/125

a. Signed Yayoi Kusama in Englisg, Fruits in Japanese, numbered 93/125, dated 1997 b.Signed Yayoi Kusama in Englisg, Flower in Japanese, numbered 19/125, dated 1997 ILLUSTRATED "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 140, no. 234 "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 140, no. 235

草間彌生 a. 果物 b. 花 a.1997 b.1997

a. 絲綢版畫 93/125 b. 絲綢版畫 19/125

a. 簽名：93/125 果物 1997 Yayoi Kusama b. 簽名：19/125 花 1997 Yayoi Kusama 圖錄 《草間彌生全版画 1979 2011》，阿部出版株式會 社，2011 年，第 140 頁，編號 234 《草間彌生全版画 1979 2011》，阿部出版株式會 社，2011 年，第 140 頁，編號 235

NT$200,000-260,000 US$6,600-8,500

216

139

|

TOTOK SUDARTO

( b.1954 )

Lovely Matahari 100×100cm Acrylic on Canvas Signed Lovely Matahari and Totok in English, dated 2012.6 With a certificate of authenticity from Gallery

Using abstract brushstrokes and bold usage of colours, Totok’s artworks reflect his long and illustrious career as an Indonesian Air Force general since the 1970’s. There is structure within the chaos he creates, skillfully controlling the mixing and blending of paint, expressing his emotions that relate to the subject of his works.

托卡．蘇達圖

托卡．蘇達圖曾服役於印尼空軍，親身經歷許多生離死別

親愛的，Matahari

的瞬間，而體會生命的消殞，宛若遊走於幻境邊緣，使心

2012 壓克力畫布 簽名："Lovely Matahari" Totok June, 2012 附畫廊開立之原作保證書

智日益敏感渾沌。他精妙的控制顏料的相混及構圖的安排， 在看似充滿爆發力的視覺表現下尚隱藏著一股蓄積的力 量，自畫面的核心緩緩流淌，如理智與感性的糾結與掙扎， 反映藝術家與自身經驗的衝撞及對話。

NT$80,000-120,000 US$2,600-3,900 217

140

218

|

ANDY YANG

(b. 1985)

Waves

安迪．楊

50×50cm Acrylic and Gold Flakes on Linen Signed on the Reverse: Andy Yang in English, dated 2011 With a certificate of authenticity from Gallery

金色立方

EXHIBITION "Squares Invasion – 50×50 Painting Competition 2011", INSTINC Gallery, Singapore, Oct 2011.

展覽 「 平 方 侵 襲 –2011 年 50×50 公分的繪畫競爭展」，直覺畫 廊，新加坡，2011 年 10 月。

2011 壓克力 金泊 亞麻畫布 背面簽名：Andy Yang 11" 附畫廊開立之原作保證書

Recipient of a large number of prestigious international awards such as D&AD UK, Communication Arts US and Cannes Lion, Andy Yang’s paintings are reactions to music soundscapes composed beforehand by the artist to create a trance-like painting style strongly rooted in Abstract Expressionism.

受到抽象表現主義的啟發及影響，安迪．楊的創作具 備強烈的視覺效果，獲得多項國際獎項的肯定。他擅 於藉由複合媒材，將多層次的情感狀態，拼組成極富音 律性的抽象作品，原始的內在感性宛若宇宙原初的渾 沌狀態，各分子於恍惚、迷離的邊際中相互拉扯，而藝

NT$80,000-120,000 US$2,600-3,900

術家透過有形物質，將最絢爛的迸發瞬間，恆久凝滯。

a. b.

c.

d.

141

|

TAKASHI MURAKAMI

( b.1962 )

Planet 66 a.Lithograph, 91/300 a.58×100cm b.Lithograph, 178/300 b.68×68cm c.Lithograph, 94/300 c.68×68cm d.Lithograph, 220/300 d.75.5×89.5cm a.Singned M in English, numbered 91/300 b.Singned M in English, numbered 178/300 c.Singned M in English, numbered 94/300 d.Singned M in English, numbered 220/300

村上隆 66 號行星系列 a. 版畫 91/300 b. 版畫 178/300 c. 版畫 94/300 d. 版畫 220/300

a. 簽名：M 91/300 b. 簽名：M 178/300 c. 簽名：M 94/300 d. 簽名：M 220/300

NT$160,000-240,000 US$5,200-7,900 219

142

|

TAKASHI MURAKAMI

( b.1962 )

The Blessed Lion 70×140cm Lithograph, 72/300 Signed M in English, dated 2010, numbered 72/300

村上隆 福臨之獅 2010 版畫 72/300 簽名：M 10 72/300

NT$150,000-240,000 US$4,900-7,900

220

a. b.

143

|

ZAO WOUKI

c.

( b.1921-2013 )

Lithograph, 1978

趙無極

a. 33×53cm b. 33×53cm c. 29.6×21cm a. Lithograph, 35/99 b. Lithograph c. Limited edition photograph by HEINZ GÜNTER MEBUSCH a. Signed Wouki in Chinese, ZAO in English, dated 1978 b. Signed Wouki in Chinese, ZAO in English, dated 1978 c. Signed Wouki in Chinese, ZAO in English, dated 1981 Signed by photographer with his fingerprint on the verso and numbered 12/25

Lithograph, 1978

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page168 "ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995", Edition Heede & Moestrup, 1994, Page169

a. 版畫 35/99 b. 版畫 c. HEINZ GÜNTER MEBUSCH 拍攝限量簽名照 12/25 a. 簽名：無極 ZAO 78 b. 簽名：無極 ZAO 78 c. 簽名：無極 ZAO 78 背面簽名：HEINZ GÜNTER MEBUSCH 指紋與版數 12/25 圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 19371995》Edition Heede & Moestrup ( 法國出版 ) 1994 年，第 168 頁 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 19371995》Edition Heede & Moestrup ( 法國出版 ) 1994 年，第 169 頁

NT$160,000-200,000 US$5,200-6,600 221

144

|

WANG HUAIQING

( b.1944 )

a.Rest b.Walk a. 93.5×73cm b. 74×97cm a. Lithograph, A.P. b. Lithograph, A.P. a. S i g n e d To M r. E l e c t r o l u x , Wa n g Huaoqing in Chinese b. Signed Wang Huaiqing in Chinese

王懷慶 a. 憩 b. 行 a. 版畫 A.P. b. 版畫 A.P. a. 簽名：To 葉萊克斯先生 王懷慶 b. 簽名：王懷慶

NT$200,000-280,000 US$6,600-9,200

a. b.

222

145

|

YAYOI KUSAMA

( b.1929 )

Ashtray

草間彌生

84.4×67.8cm Lithograph, 34/50 Signed Yayoi Kusama in English, Ashtray in Japanese, dated 1988, numbered 34/50

菸灰缸

ILLUSTRATED "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 77, no. 118

1988 版畫 34/50 簽名：34/50 灰皿 1988 Yayoi Kusama 圖錄 《草間彌生全版画 1979 2011》，阿部出版株 式會社，2011 年，第 77 頁，編號 118

NT$150,000-250,000 US$4,900-8,200

223

146

|

YAYOI KUSAMA

( b.1929 )

Mushrooms

草間彌生

29.5×22.1cm Lithograph, 48/75 Signed Yayoi Kusama in English, Mushrooms in Japanese, dated 1995, numbered 48/75

蘑菇

ILLUSTRATED "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 125, no. 207

1995 版畫 48/75 簽名：48/75 きのこ 1995 Yayoi Kusama 圖錄 《草間彌生全版画 1979 2011》，阿部出版株式會社， 2011 年，第 125 頁，編號 207

NT$150,000-250,000 US$4,900-8,200

224

147

|

TAKASHI MURAKAMI

( b.1962 )

727-727 64×98.5cm Lithograph, 134/300 Singned M in English

村上隆 727-272 版畫 134/300 簽名：M

NT$150,000-240,000 US$4,900-7,900

225

148

|

TAKASHI MURAKAMI

( b.1962 )

Buddha Series 69.5×80cm(×5) a.Lithograph, 114/300 b.Lithograph, 69/300 c.Lithograph, 41/300 d.Lithograph, 63/300 e.Lithograph, 149/300 a.Singned M in English, numbered 114/300 b.Singned M in English, numbered 69/300 c.Singned M in English, numbered 41/300 d.Singned M in English, numbered 63/300 e.Singned M in English, numbered 149/300

村上隆 達摩系列 a. 版畫 114/300 b. 版畫 69/300 c. 版畫 41/300 d. 版畫 63/300 e. 版畫 149/300

a. 簽名：M 114/300 b. 簽名：M 69/300 c. 簽名：M 41/300 d. 簽名：M 63/300 e. 簽名：M 149/300

NT$160,000-240,000 US$5,200-7,900

226

a.

b.

c.

d.

e.

227

149

|

PABLO RUIZ PICASSO

( 1881-1973 )

Portrait Imaginaire

畢卡索

48.5×64.5cm Lithograph, 162/250 Signed 21.2.69 I Picasso, numbered F162/250

想像之中的肖像 1969 版畫 162/250 簽名：21.2.69 I Picasso, F162/250

"Every act of creation is first an act of destruction." — Pablo Picasso 「每一個創作的行為一開始都是破壞的行為。」－巴勃羅．畢卡索 228

NT$250,000-320,000 US$8,200-10,500

150

|

YAYOI KUSAMA

( b.1929 )

Flower(3)

草間彌生

28.4×23cm Lithograph, 18/50 Signed Y. Kusama in English, Flower(3) in Japanese, dated 1991, numbered 18/50

花 (3)

ILLUSTRATED "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 104, no. 165

1992 版畫 18/50 簽名：18/50 花 (3) 1991Y. Kusama 圖錄 《 草 間 彌 生 全 版 画 1979 2011》， 阿 部 出 版 株 式 會 社， 2011 年，第 104 頁，編號 165

NT$160,000-220,000 US$5,200-7,200 229

151

230

|

TAKASHI MURAKAMI

( b.1962 )

Kansei Series

村上隆

a. 直徑：70cm b. 直徑：70cm c. 75.5×71cm d. 75.5×71cm a. Lithograph, 147/300 b. Lithograph, 149/300 c. Lithograph, 198/300 d. Lithograph, 198/300 a. Singned M in English, numbered 147/300 b. Singned M in English, numbered 149/300 c. Singned M in English, numbered 198/300 d. Singned M in English, numbered 198/300

澗聲 a. 版畫 147/300 b. 版畫 149/300 c. 版畫 198/300 d. 版畫 198/300

a. 簽名：M 147/300 b. 簽名：M 149/300 c. 簽名：M 198/300 d. 簽名：M 198/300

NT$120,000-160,000 US$3,900-5,200

a.

b.

c.

d.

152

|

YAYOI KUSAMA

( b.1929 )

Flower(2)

草間彌生

28.4×23cm Lithograph, 18/50 Signed Y. Kusama in English, Flower(2) in Japanese, dated 1991, numbered 18/50

花 (2)

ILLUSTRATED "YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011,Page 104, no. 164

1992 版畫 18/50 簽名：18/50 花 (2) 1991Y. Kusama 圖錄 《 草 間 彌 生 全 版 画 1979 2011》， 阿 部 出 版 株 式 會 社， 2011 年，第 104 頁，編號 164

NT$160,000-220,000 US$5,200-7,200 231

a. b.

153

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YANG CHIHUNG ( b.1947 )

a.Spring of Life b.Germination a.34×41cm b.34×41cm Oil on Porcelain a.Signed C.Yang 01 in English b.Signed C.Yang 01 in English With a certificate of authenticity from Gallery

楊識宏 萌芽之春 2001 油彩 瓷版 a. 簽名：C.Yang 01 b. 簽名：C.Yang 01 附畫廊開立之原作保證書

NT$120,000-200,000 US$3,900-6,600

楊識宏在「植物的美學」系列中，植物的意象已遠離現實趨向另一種抒情的視覺思維，圖像不僅僅表現有生命週期的植物，進一步展現「緩慢」 與時更迭的藝術；如同生命的孕生，繪畫的進程也許顯得遲緩，卻深沉而有份量的鼓噪著。

232

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KUNIHIKO NOHARA

(b.1982)

At the night when a flower blooms 170×46×53cm Zelkova wood (One piece only) Signed At the night when a flower blooms in English, dated 1992

野原邦彥 花開之夜 木頭 單件 簽名：花 く夜に 92

NT$600,000-900,000 US$19,700-29,500 以櫸木雕刻聞名的日本青年藝術家野原邦 彥，以絕佳的想像力及創作手法，形成個 人強烈的獨特風格。其作品中常見利用刀 刻捕捉變幻莫測的雲朵，與各式形體的結 合，賦予木頭全新生命感。此種表現手法 來自於兒時對於雲朵無關時間流逝與時空 錯縱的幻想，藉此探討自我存在意識，與 自由、時間、慾望等議題的對話。此件《花 開之夜》以身著曇花紋樣和服的女子為主 體，纖細曼妙、栩栩如生。和服布色基底 猶如夜色，與朵朵盛開曇花相互映襯，宛 若夜間盛開的一瞬之美、月下美人如是。 雖不見女子面容，卻能感受其靜謐閒適的 美麗，以和服女子作為曇花綻放時的化身， 具象此景的孤獨瞬間。

233

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ZHANG XIAOGANG

( b.1958 )

My Memory No.2

張曉剛

117×133cm Lithograph, 59/99 Signed Zhang Xiaogang in Chinese and numbered 59/99

我的記憶Ⅱ 2002 版畫 59/99 簽名：張曉剛 59/99

NT$450,000-600,000 US$14,800-19,700

234

a. b.

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TAKASHI MURAKAMI

c.

( b.1962 )

a.Nirvana b.Gemini Nebula c.Dumb Compass a.66×131cm b.85×66.5cm c.85×66.5cm a.Lithograph, 29/300 b.Lithograph, 138/300 c.Lithograph, 138/300 a.Singned M in English, numbered 29/300 b.Singned M in English, numbered 138/300 c.Singned M in English, numbered 138/300

村上隆 a. 涅槃 b. 雙子座星雲 c. 指南針 a. 版畫 29/300 b. 版畫 138/300 c. 版畫 138/300

a. 簽名：M 29/300 b. 簽名：M 138/300 c. 簽名：M 138/300

NT$150,000-180,000 US$4,900-5,900

235

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TAKASHI MURAKAMI

( b.1962 )

a.Reversed Double Helix-black brown body b.Hypha will cover the world, little by little a.103×73cm b.65.8×130cm a.Lithograph, 79/300 b.Lithograph, 80/300 a.Singned M in English, numbered 79/300 b.Singned M in English, numbered 80/300

村上隆 a.二重螺旋逆轉－黑褐色 b. 菌絲將逐步襲捲世界 a.2005 b.2007 a. 版畫 79/300 b. 版畫 80/300 a. 簽名：M 79/300 b. 簽名：M 80/300

NT$120,000-160,000 US$3,900-5,200

a. b.

236

158

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TAKASHI MURAKAMI ( b.1962 )

a.Flowers Have Bloomed b.I change what was yesterday a. 80×60cm b. 50×50cm a. Lithograph, 22/300 b. Lithograph, 195/300 a. Singned M in English, numbered 22/300 b. Singned M in English, dated 2005, numbered 195/300

村上隆 a. 花都開好了 b. 當我拋棄昨日 a.2000 b.2006 a. 版畫 22/300 b. 版畫 195/300 a. 簽名：M 22/300 b. 簽名：M 06 195/300 a. b.

NT$60,000-100,000 US$2,000-3,300

237

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TSAI YUNCHENG Pondering at night

蔡雲程揉合西方繪畫技巧和中國古典

54×76cm Oil on Paper Signed CHUA HU in English and Chen in Chinese With a certificate of authenticity from Gallery

藝術的訓練，並擷取了以藍色為主題

蔡雲程 夜思寒山

238

( 1929-2009 )

的油畫創作，創立了「藍色畫派」， 在繪畫世界獨樹一幟，在藝壇上締造 了許多輝煌的成績。 《夜思寒山》鮮黃月亮周圍圍繞著深 藍的絲線，一首寒鴉的詩，深藍隨性

2001 油彩 紙本 簽名：CHUA HU 2001 呈 附畫廊開立之原作保證書

的字體書寫於月中，背景的重藍漸層

NT$80,000-120,000 US$2,600-3,900

一種噪動感。

至淺藍，漸層的邊緣似雲霧的交接， 整體呈現混沌天未明亮的氛圍，月旁 的幾隻白鷗與週遭藍趨黑的樹枝形成

160

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TSAI MINGHSUN

(b.1952)

Playmate 72.5×60.5cm Oil on Canvas Signed Hsun in Chinese, Ming Hsun in English, dated 1993 ILLUSTRATED "Tsai Ming-Hsun：story of time", LI SHIH-CHIAO Art Museum, Taipei, Taiwan, 1993, Page35

蔡明勳 玩伴 1993 油彩 畫布 簽名：勳 1993 MING HSUN

NT$80,000-100,000 US$2,600-3,300 蔡明勳曾說過：『我將繪畫視為是反映自然 界美感及台灣風土人文關懷的志業來追求， 對藝術境界的追求，特重光影、色彩、空間 之交相影響之下，所鋪陳出畫面結構的密度， 從中試鍊油彩堆疊出的豐富性和層次感。』 蔡明勳著迷於傀儡娃娃，因此到世界各地蒐 集不同的傀儡，變成創作主軸之一。《玩伴》 用色分明，寫實極佳充滿自然元素，在現代 與傳統間，取得最大的平衡和交融。

圖錄 《蔡明勳畫集：光陰的故事》，李石樵美術館文化中心， 臺北市，1993，第 35 頁 239

a. b.

161

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PIERRE FERNANDEZ ARMAN ( 1928-2005 )

a.97×67cm b.97×67cm c.97×67cm

NT$120,000-180,000 US$3,900-5,900

阿曼

Trio A Cordes

Trio A Cordes a.Lithograph, 8/20 b.Lithograph, 8/20 c.Lithograph, 8/20

a.Signed arman in English, numbered VIII/XX b.Signed arman in English, numbered VIII/XX c.Signed arman in English, numbered VIII/XX 240

c.

1987 a. 版畫 8/20 b. 版畫 8/20 c. 版畫 8/20

a.VIII/XX arman b.VIII/XX arman c.VIII/XX arman

限量精裝版畫套組

a. b.

162

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PIERRE FERNANDEZ ARMAN ( 1928-2005 )

The Violin a.57×98.5cm b.76×55.5cm a.Lithograph, 34/150 b.Lithograph, 92/150 a.Signed Arman in English, numbered 34/150 b.Signed Arman in English, numbered 92/150

阿曼 小提琴 a. 版畫 34/150 b. 版畫 92/150 a. 簽名：34/150 arman b. 簽名：92/150 arman

NT$80,000-120,000 US$2,600-3,900

241

163

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FUOJITA TAKAYASU Iron kettle 28×25×20cm 口徑：13cm Iron Signed Takayasu and genzou in Japanese

藤田孝保 ( 茶壺 ) 鐵壺

242

南部鐵器是江戶時期的「南部藩」所產的鐵器，具強烈地方特色，約 在今日日本東北岩手縣，其中以盛岡及水澤兩地為最主要的產地，如 今是岩手縣著名特產。細膩的紋樣和厚重的著色是南部鐵器的特徵， 是盛岡引以為傲的傳統工藝品，歷史可追述到 400 年前。此作品為「南 郎 鐵 器 ‧ 藤 田 家 」 所 製， 外 觀 素 雅 大 器， 蘊 含 雄 氣 的 陽 剛 厚 重 之 美，壺身花紋浮雕細膩，能見製壺 師傅的匠心獨具，將茶道文化的典 雅靜謐表顯得恰到好處。近年，南

鐵 邊款：孝保 源藏

部鐵器除獨具地方特色外，亦因具

NT$300,000-600,000 US$9,800-19,700

外藏家青睞。

有濃厚時代感與優良品質深受海內

164

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HUANG TUSHUI

(1895-1930)

An Ash-tray with two Egret 8.8×21.7×7cm Chopper The Words at the Bottom of the Ashtray: The Thirtieth Anniversary of the Taiwan Daily Newspaper in 1928.5.1 ILLUSTRATED "The Centenary of Huang Tu-shui", Kaohsiung Museum of Fine Arts, Apr 1998, Page 101&132-133&204.

"Huang Tu-shui．Pastoral．Land'', Li Chin Hsien,Hsiung Shih Art Books Co., Jun 1996, Page94.

"TAIWAN FINE ARTS SERIES 19：HUANG TUSHUI", Artist Publishing Co., Dec 1996, Page 92-93&166.

《大地 ‧ 牧歌 ‧ 黃土水》（家庭美術館∕前輩美術家叢書）， 李欽賢，雄獅圖書股份有限公司，1996 年 6 月初版，1999 年 1 月二版，彩色圖版 5-34 與 5-35，第 94 頁（同一鑄模） 《台灣美術全集 19：黃土水》，王秀雄，藝術家出版社，1996 年 12 月初版，彩色圖版 42 與 43，第 92-93 頁；黑白圖版， 第 166 頁（同一鑄模）

NT$150,000-240,000 US$4,900-7,900 黃土水是台灣第一位留學外國（日本）研習西洋雕塑的近 代雕塑家，被公認為近代台灣第一位不可多得的天才型雕 塑家。1919 年的「蕃童吹笛」入選日本權威的「帝展」， 消息轟動全台，並接著入圍第三、四、五屆帝展，頓時成

黃土水

為東京藝壇一顆閃耀的彗星。黃土水生平最後的大作「水

白鷺鷥煙灰缸

牛群像」，原作嵌於台北中山堂後廳壁上，並存三件原模

1928 銅 煙灰缸底部字樣：昭和三年五月一日創刊三十週年記念台灣日 日新報社 圖錄 《黃土水百年誕辰紀念特展》，高雄市立美術館，（1995 年 12 月初版），1998 年 4 月，彩色圖版，第 101 頁與第 132133 頁；黑白圖版，第 204 頁（同一鑄模）

複製作，分別藏於台灣省立美術館、台北市立美術館、高 雄市立美術館。 《白鷺鷥菸灰缸》煙灰缸的造形形成一個台灣島的島形， 並把台灣島的島頭跟島尾做成放置香菸的凹槽，在煙灰缸 中央配以原形符號化的「台」字為避免單調；島腹上，停 息了兩隻台灣鳥類白鷺鷥，營造出台灣鄉村的氣氛，表達 了對鄉土的深刻關切。 243

165

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YOSHITOMO NARA

( b.1959 )

Doggy Radio x Rimowa 72.5×60.5cm Fiberglass, 130/200 With a certificate of authenticity signed by the artist

帶著挑釁、鄙視目光的小女孩、似乎幽默又帶著些許憂鬱感的白色小 狗，不論是平面繪畫或是立體表現型態的雕塑作品，奈良美智佇立在 年輕世代的中心點是無可置疑。其近年來因多樣型態的創作經驗累 積，創作原點的意識逐漸強化之下，開始有各類型作品嘗試。 「要是能有一個擺在房間的藝術品就好了」

奈良美智 Doggy Radio x Rimowa 2011 玻璃纖維 130/200 附藝術家親簽保證卡、防塵套 ( 限量旅行箱組合 保證書簽名：な )

NT$200,000-280,000 US$6,600-9,200

《Project Doggy Radio》是奈良美智近年來除個人畫作之外唯一的藝 術項目，也是奈良美智於 2012 年開始，由日本橫濱開始的世界巡迴 展中最先曝光的展品。《Project Doggy Radio》出自於奈良美智對於 藝術與生活結合的想法，經過長時間的思考，由手稿到手模的製作， 完整呈現「想讓小狗在房間內跑進跑出」的初衷。介面與內部技術由 台灣 SAYERS STUDIOS 設計（Yamaha Lab 獨家音樂系統協力），可 做收音機、擴大機、另可連接 iPod、AUX 及藍芽音樂輸出，並由香 港玩具創作公司 HOW2WORK 完成外觀製作，而內部 YAMAHA Lab 特調環繞音響能讓小狗肚子的喇叭清楚地播放音樂。《Project Doggy Radio》後期加入「能將牠帶著走吧？！」的念頭，呼應著生活與旅行、 藝術結合，委託德國 RIMOWA 製作的行李箱也應運而生，共同完成 奈良美智的創作理想：「藝術與音樂甚至旅行的結合，終有生活化的 實現可能。」

244

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YAYOI KUSAMA

( b.1929 )

Kaleldoscope

《萬花筒》以萬花筒的姿態呈現，透過小孔觀覽

14×14×17cm Mirror Box and Mixed Media, 36/280 Signed Yayoi Kusama in English Signed on the Reverse: MIRROR BOX YAYOI KUSAMA 2001 TYPE B:No. 36/280 Okabe Print Editions Ltd. 2-2-3timura, hadano,kanagawa,25-1324 JAPAN tel 0463-88-0743 fax 046388-7313"

視窗裡的風景，將會發現草間彌生以明鏡構築的 圓點世界。點與點形成無限延伸的空間，在此空 間中，圓點可以是地球、太陽、星星的象徵，建 構成一處令思緒飛翔的小宇宙。

草間彌生 萬花筒 2001 萬花筒 綜合媒材 36/280 簽名：Yayoi Kusama 底部：MIRROR BOX YAYOI KUSAMA 2001 TYPE B:No. 36/280 Okabe Print Editions Ltd. 2-2-3timura, hadano,kanagawa,25-1324 JAPAN tel 0463-88-0743 fax 0463-88-7313

NT$160,000-280,000 US$5,200-9,200

245

167

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CAI GUOQIANG

( b.1957 )

Kaleidoscope

蔡國強榮獲被譽為「藝術界諾貝爾獎」的「世界文化獎」繪

24.5×5.5cm Mixed Media, Lithograph, 66/100 With a certificate of authenticity from Gallery

畫類終身成就獎。他是首位榮獲該獎項的中國籍藝術家，同

蔡國強

時也是世界文化獎設置以來最年輕的終身成就獎獲得者。 「萬花筒裝有我目前最為重要作品現場照片的碎片，這些作 品記錄，在萬花筒這個無限變化的世界內，構成一幅幅彩

萬花筒

繪，像生命的精靈一樣，展開美麗的故事。在這些使用不同

2001 綜合媒材 版畫 66/100 附限量作品原作保證書

的素材、主題、觀念各異的作品背後，總有一些共同之處，

NT$100,000-160,000 US$3,300-5,200

Cai Guo-Qiang was honored the "Life Achievement Award" of the Nobel Prize in Arts "World Cultural Award". He is the first Chinese artist to be awarded and also the youngest winner in the history of World Cultural Award.

在我看來，就如同一個萬花筒。這一個個美妙的夢境，依附 著我少年時代開始對藝術的憧憬與熱愛。」——蔡國強

" The kaleidoscope contains picture shreds of my most important artworks. Documenting this in an ever-changing world of the kaleidoscope composes colorful paintings like fairies in life that begins a beautiful chapter in life. Like a kaleidoscope that contains a variety of materials, themes and concepts, there is always something in common. These wonderful dreams bring out the passion and expectation I had for art in my early youth." – Cai Guo-Qiang 246

168

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ZAO WOUKI

( 1921-2013 )

Lithograph, 1964 30×51cm Lithograph, 5/20 Signed Wouki in Chinese, ZAO in English, dated 1964 With a certificate of authenticity signed by the artist

趙無極 Lithograph, 1964 1964 版畫 5/20 簽名：無極 ZAO 64 附藝術家親簽之原作保證書

NT$100,000-150,000 US$3,300-4,900

247

001

169

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JOAN MIRO

( 1893-1983 )

Volume I, The Moon

米羅

44×33cm Lithograph, H.C. Signed Miró in French, numbered H.C.

第一卷，月亮 1972 版畫 H.C. 簽名：H.C. Miró 藝術家鋼印

NT$120,000-180,000 US$3,900-5,900 “I try to apply colors like words that shape poems, like －Joan Miró notes that shape music.”

「我嘗試運用色彩，像是字彙構成詩篇，音符串成 音樂一般！」 248

－胡安‧米羅

170

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JOAN MIRO

( 1893-1983 )

Untitled

米羅

86×73cm Lithograph, 51/150 Signed Miro in French, numbered 51/150

無題

This work based on a gouache drawing by the artist and published on the occasion of the exhibition Miró Sculptures held at the Walker Art Center in 1971, this limited-edition lithograph was printed on Arches paper, numbered, and signed by the artist.

1971 版畫 51/150 簽名：51/150 Miró 來源 1971年於美國沃克藝術中心舉辦之「米羅雕塑展」限量版畫

ILLUSTRATED "Miró Sculptures", Walker Art Center, 1971, cover page

圖錄 《米羅雕塑展》，沃克藝術中心，美國，1971，封面頁

EXHIBITION "Miró sculptures",Walker Art Center, Minneapolis, USA,1971 "Miró sculptures",Cleveland Museum of Art, USA, 1972 "Miró sculptures", Art Institute of Chicago, USA, 1972

展覽 「米羅雕塑展」，沃克藝術中心，明尼阿波利斯，美國，1971年 「米羅雕塑展」，克利夫蘭藝術博物館，美國，1972年 「米羅雕塑展」，芝加哥藝術學院，芝加哥，美國，1972年

NT$100,000-280,000 US$3,300-9,200

249

171

YUNCHENG | TSAI Blue Night

( 1929-2009 )

78×54.8cm Mixed Media on Paper Signed CHUA HU in English and Chen in Chinese With a certificate of authenticity from Gallery

蔡雲程 藍色夜曲 2000 油彩 油蠟筆 紙本 簽名：CHUA HU 2000呈 附畫廊開立之原作保證書

NT$80,000-120,000 US$2,600-3,900 蔡雲程創立「藍色畫派」，用藍色替代水墨畫的墨色，讓顏料自然渲染及流淌於畫布上。他曾 說「中國水墨是墨分五色，我則以藍分七度，我所畫的藍色意象，使作品意境猶如中國青花瓷 般的寧靜詩美」。 《藍色夜曲》背景採用「單色畫」僅將藍分重藍、中藍、淺藍，輔以明度的變化，觀者似被包 250

覆在冷冽月夜的藍色森林中。

172

TING | WALASSE a.Cat

a.

b.

c.

d.

( 1929-2010 )

b.Beauty c.Talk d.Birds and Flowers a.67.5×99cm b.47.5×69cm c.55×74.5cm d.55×74.5cm a.Lithograph A.P. b.Lithograph H.C. 73/100 c.Lithograph H.C. 16/25 d.Lithograph H.C. 18/25 a.Signed Artist Proof Ting in English, dated 1990 b.Signed Ting in English, numbered H.C., dated 1979 c.Signed Ting in English, numbered H.C., dated 1985 d.Signed Ting in English, numbered H.C., dated 1985

丁雄泉 a.貓咪 b.雙美競秀 c.執扇私語 d.鳥語花香 a.1990 b.1979 c.1985 d.1985 a.版畫 A.P. b.版畫 H.C. 73/100 c.版畫 H.C. 16/25 d.版畫 H.C. 18/25 a.簽名：Artist Proof Ting 90 b.簽名：H.C. Ting 79 c.簽名：H.C. Ting 85 d.簽名：H.C. Ting 85

NT$100,000-140,000 US$3,300-4,600

251

173

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PABLO RUIZ PICASSO

( 1881-1973 )

Child and Dog 61.5×45.5cm Lithograph, 26/300 Signed Picasso 05 SPADEM,PARIS & SPDA,TOKYO,1992 26/300

畢卡索 兒童與狗 1905 版畫 26/300 簽名：Picasso 05 SPADEM,PARIS & SPDA,TOKYO,1992 26/300

NT$80,000-160,000 US$2,600-5,200 252

174

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PABLO RUIZ PICASSO

( 1881-1973 )

Le comédie Humaine #4

畢卡索

31.5×31.5cm Lithograph Signed 27.1.51 and numbered XIV

人間喜劇#4 1954 版畫 簽名：27.1.54 XIV

NT$70,000-250,000 US$2,300-8,200

“Our goals can only be reached through a vehicle of a plan, in which we must fervently believe, and upon which we must vigorously act. There is no other route to success.” －Pablo Picasso

「我們的目標只能透過計劃來達成，我們必須對該計畫深信不疑，而且必須全力以赴。成功沒 有別條路可走。」

－巴勃羅．畢卡索 253

175

254

MATSUURA | HIROYUKI Blister Collection (a set of 8)

(b.1964)

松浦浩之

22×22cm (each)

Blister Collection(八件一組)

a.Lithograph, 14/88 b.Lithograph c.Lithograph d.Lithograph e.Lithograph f .Lithograph g.Lithograph h.Lithograph

a.版畫 14/88 b.版畫 c.版畫 d.版畫 e.版畫 f .版畫 g.版畫 h.版畫

Signed on the Reverse: Hiroyuki Matsuura and titled Blister Collection and numbered 14/88 (each)

背面簽名：Blister Collection Hiroyuki Matsuure

NT$90,000-120,000 US$3,000-3,900

176

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CHU TEHCHUN

( b.1920 )

朱德群

Abstract

抽象構圖

74×55cm Lithograph, 108/120 Signed Chu Teh-Chun in English

版畫 108/120 簽名：Chu Teh-Chun

NT$80,000-140,000 US$2,600-4,600

255

177

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SALVADOR DALI

( 1904-1989 )

Les Saisons (Autumn)

達利

75×54cm Lithograph, 7/200 Signed Dalí in English, numbered 7/200

四季(秋) 1972 版畫 7/200 簽名：VII/CC Dalí

NT$70,000-250,000 US$2,300-8,200

“Everday morning upon awakening, I experience a supreme pleasure: that of being Salvador Dali, and I ask myself, wonderstruck, what prodigious thing will he do today, this Salvador Dali” －Salvador Dali

「我每天早上醒來的時候，都覺得無比的快樂，我感受到的是身為薩爾瓦多‧達利的快感。 我會非常好奇的自問：這位薩爾瓦多達利，他今天又要做甚麼驚天動地的事？」

256

－薩爾瓦多‧達利

178

WOUKI | ZAO Limited Orchid Porcelain

( b.1921 )

直徑25cm Watercolor on Porcelain Signed on the Reverse: Wou Ki in Chinese and Zao in English, dated 1986 With a Letter of certificate

趙無極 蘭花 1986 水彩 陶瓷 簽名：無極ZAO 86 附趙無極為紀念BSN所繪製瓷盤的作品卡 盤背面為法國知名陶瓷工作室 l' atelier ségriès 製作慶祝BSN企業二十 周年紀念賀詞 註 此作品為趙無極1986年為慶祝BSN(曾是法國玻璃及食品王國)成立二十 週年所繪製之限量抽象蘭花瓷盤

NT$80,000-120,000 US$2,600-3,900

1986年為慶祝BSN企業二十週年的成立，特別邀請知名畫家趙無極繪製限量抽象《蘭花》瓷盤，並由法國最知名的 陶瓷工作室l' atelier ségriès製作。這是一家專門手工生產17世紀或18世紀風格的西洋古陶瓷的工作室，曾經與知名精 品法國愛馬仕和紐約的提芬妮合作。

257

179

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YAYOI KUSAMA

( b.1929 )

Infinity Nets

草間彌生

杯：10×8×5.6cm 碟：14.3×14.3×2cm 盤：19.3×19.3×2cm(八組／二十四件式) Porcelain Signed on the Cup:Yayoi Kusama Grappi- Edition Limited 158,161,311,412,429,433,469,497/500 1998 JAPAN Signed on the Dish:Yayoi Kusama Grappi- Edition Limited AP,10,44,82,210,240,258,391/500 1998 JAPAN Signed on the Plate:Yayoi Kusama Grappi- Edition Limited 204,231,242,261,295,323,329,397/500 1998 JAPAN

長頸鹿之夢 1998 瓷 簽名(杯)：Yayoi Kusama Grappi-Edition Limited 158,161,311,412,429,433,469,497/500 1998 JAPAN 簽名(碟)：Yayoi Kusama Grappi-Edition Limited AP,10,44,82,210,240,258,391/500 1998 JAPAN 簽名(盤)：Yayoi Kusama Grappi-Edition Limited 204,231,242,261,295,323,329,397/500 1998 JAPAN

NT$120,000-180,000 US$3,900-5,900

258

180

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YAYOI KUSAMA

( b.1929 )

Rainbow Polka dot 杯：6×6×8.5cm (×3) 碟：1.5×13×13cm(×3)(三組／六件式) Porcelain Signed on the Cup:Yayoi Kusama GrappiEdition Limited 150 1993 JAPAN Signed on the Dish:Yayoi Kusama GrappiEdition Limited 150 1993 JAPAN

草間彌生對斑點的迷戀，源自幼年患上的神經性視聽障礙和失調症，疾病使 她看到的世界彷彿都隔著一層斑點。她說:「地球也不過世百萬個圓點中的一 個，畫好了原點， 就畫好了宇宙畫好了事態人生。」 因而創造出迷離的原 點、無限的網等當代符號。其創作的風格橫跨多種媒材，風行全世界，更影 響了不同藝術思潮及學派。

草間彌生 彩色水玉 1993 瓷 簽名(杯)：Yayoi Kusama Grappi-Edition Limited 150 1993 JAPAN 簽名(碟)：Yayoi Kusama Grappi-Edition Limited 150 1993 JAPAN

NT$150,000-220,000 US$4,900-7,200

259

181

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SALVADOR DALI

(1904-1989 )

The Adventures of Apollo a.54×86cm b.84.5×62cm a.Lithograph, E.A. b.Lithograph, 81/300 a.Signed Dalí in English b.Signed Dalí in English

達利 阿波羅歷險 a.版畫 E.A. b.版畫 81/300 a.簽名：Dalí b.簽名：Dalí

NT$80,000-100,000 US$2,600-3,300

“No masterpiece was ever created by a lazy artist.” －Salvador Dali

「從來沒有一副傑作是由懶惰的藝 術家所創作出來的。」

a.

260

b.

－薩爾瓦多‧達利

a. b.

182

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SALVADOR DALI

( 1904-1989 )

Sea of consciousness

達利

a.51.5×64cm b.64×67.5cm a.Lithograph, 90/300 b.Lithograph, 205/300 a.Signed Dalí in English b.Signed Dalí in English

意識之海 a.版畫 90/300 b.版畫 205/300 a.簽名：Dalí b.簽名：Dalí

NT$80,000-100,000 US$2,600-3,300 261

a. b.

183

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BERNARD BUFFET a.Dancer b.Trainer 71×50cm a.Lithograph, 76/120 b.Lithograph, 117/120 Signed Bernard Buffet in English

( 1928-1999 )

畢費 a.舞者 b.馴獸師 a.版畫 76/120 b.版畫 117/120 簽名：Bernard Buffet

NT$90,000-120,000 US$3,000-3,900

“Bon gré mal gré, nous avons du reconnaî tre en Bernard Buffet un témoin essentiel de notre temps”

法國文學評論家皮耶．德．布阿德福爾（Pierre de Boisdeffre）說：「不管願不願意，我們必須 了解貝納．畢費是我們這個時代的重要見證人。」

262

184

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BERNARD BUFFET

( 1928-1999 )

畢費

Haughty Lady

高傲女士

72.5×52cm Lithograph, 8/180 Signed Bernard Buffect CH SORLIER GRAN in English, Numbered 8/180

版畫 8/180 簽名：8/180 Bernard Buffect CH. SORLIER. GRAN.

NT$50,000-120,000 US$1,600-3,900

“Painting, we do not talk about it, we do not analyze it, we feel it.”

－Bernard Buffet

「繪畫，我們不談它，我們不分析它，我們感覺它。」 263

185

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CHENG SHANHSI

(b.1932)

鄭善禧

The Two Birds

雙鳥圖

15×15×22.5cm Porcelain Signed Cheng Shanhsi in Chinese With a certificate of authenticity from Gallery

2004 瓷 簽名：鄭善禧 藝術家鈐印 附藝術家簽屬之原作保證書

NT$60,000-90,000 US$2,000-3,000

國內知名水墨畫家鄭善禧，二十餘年的畫瓷歷程與熱愛程度可算是兩岸華人之首。鄭善禧先 生性情率真，創作題材廣泛，常取材於本土的現世生活，秉具傳統筆墨的優雅特質。他的作 品中拙中見巧，大膽設色與靈動的墨線結合成獨特的表現風格。

264

186

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TAO SHOUBO

(1902-1997)

陶壽伯

Plum Blossom

詠梅

65×36.8cm Ink on Paper Signed Tao Shoubo in Chinese With one seal of the artist

1954 水墨 紙本 簽名：陶壽伯 題識：東皇一夜催花發，又見紅粧照水湄 只山風光堪蓋代，何曾脂粉汙仙肌 擎宇先生之 甲午夏陶壽伯寫 並錄漁叔句

著名書法家吳稚暉曾讚賞陶壽伯 的梅花: 「所寫梅花雅逸高古， 似不食人間煙火者，堪與冬心、 巢林先後媲美，實當今為梅傳神 之聖手。」

現藏者得自藝術家本人

NT$60,000-90,000 US$2,000-3,000

265

187

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CHENG MAOHUANG

( b.1934 )

The Waterfall in forest

曾茂煌

72.5×90.5cm Oil on Canvas Signed Maohuang in Chinese, dated 1988

林間飛瀑 1988 油彩 畫布 簽名：茂煌1988

NT$50,000-100,000 US$1,600-3,300

曾茂煌師承張義雄、廖德政，繪畫的風格多為對故鄉之愛的情感抒發。《林間飛瀑》蓊鬱的 叢林，綠色大筆的筆觸層層疊疊，點綴黃、紅、橘和藍等繽紛多彩的各種植物依附其中，一 道飛瀑從中沖洩而下，為森林帶來了新生。

266

188

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HSIEH HSIAOTE

( b.1940 )

謝孝德

Riverside

河濱風光

76×108.5cm Watercolor Ink on Paper Signed Hsieh Hsiaote in Chinese, dated 2011

2011 水彩 紙本 簽名：2011謝孝德

NT$100,000-150,000 US$3,300-4,900

謝孝德是台灣新寫實主義的開創人。謝孝德認為：「東方藝術山水畫的表現是寫意、渲染的 功夫，他融合國畫潑墨山水渲染的意境，結合西洋的透視觀點，並秉持「山不朦朧不是山， 水不澄清不是水」的精神，組合成獨一無二的山水構圖。」《河濱風光》岸上景色與山湖相 映，中間隔著一條寧靜的河川，幾艘扁舟飄盪於上，色彩絢麗有如仙境，畫面多水的渲染， 表現出酣暢淋漓的舒適，令人心曠神怡。

267

189

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JEAN JANSEM

( b.1920 )

Ballet

強．詹森

76×54.5cm Lithograph, 97/120 Signed Jansem in English, numbered 97/120

芭蕾課間 版畫 97/120 簽名：97/120 Jansem

NT$50,000-150,000 US$1,600-4,900 268

190

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YOSHITOMO NARA

( b.1959 )

奈良美智

Doggy Radio

Project: Doggy Radio

45×40×30cm Fiberglass, 665/3000

2011 玻璃纖維 665/3000

NT$50,000-70,000 US$1,600-2,300

「奈良美智x SAYERS STUDIOS x HOW2WORK」 《Project：Doggy Radio》可做收音機或擴大器使用，採用雙重數位訊號處理器(Dual DSPs)， 搭配Yamaha Lab獨家專利揚聲技術，材質選料各式纖維及羊毛等物質組合而成精密震膜， 確保聲音品質，降低失真率。透過輕撫小狗下巴即可調整音量大小，而經由觸轉小狗鼻頭則 可調整收音機頻道，項圈上按鈕能調整音源輸出(FM/Radio Wireless/USB IN/AUX IN)，亦搭 載無線傳輸音樂(Bluetooth)功能，造型可愛時尚，操作簡單，使用便捷。 269

191

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TAKASHI MURAKAMI a.Hiropon b.My Lonesome CowBoy a.50×50cm b.50×50cm a.Lithograph, 122/300 b.Lithograph, 123/300 a.Signed Takashi in English 122/300 b.Signed Takashi in English 123/300

村上隆 a.Hiropon b.我的寂寞牛仔 a.1997~2001 b.1998~2001 a.版畫 122/300 b.版畫 123/300 a.簽名：Takashi 01 122/300 b.簽名：Takashi 123/300

NT$50,000-70,000 US$1,600-2,300

a. b.

270

( b.1962 )

192

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CHEN CHENGHSIUNG

( b.1942 )

Happy Lohans 20×11×10cm Bronze, 18/50 Signed Chen Cheng Hsiung in Chinese, dated 2000 With a certificate of authenticity signed by the artist

陳正雄 歡喜羅漢 2000 銅 18/50 簽名：陳正雄2000 附藝術家親簽之原作保證書

NT$50,000-60,000 US$1,600-2,000

陳正雄說過：「我是生來和 木頭拚命的人」這句話用來 勉勵自我在木雕藝業上，更 加精益求精。 在雕刻風格上，陳正雄以細 膩寫實的刀法、真誠細緻的 情感，慢慢一刀一鑿將木頭 靈魂帶入具體的形象之中， 並表現出力道、真摯情感與 有溫度的作品。

271

193

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CHEN YUNJUN

(b.1946)

陳雲君

Guanyin

觀音

50×50cm Mixed Media on Silk With one seal of the artist PROVENANCE：Private collection, Australia

綜合媒材 絹布 藝術家鈐印 來源：澳洲私人收藏

NT$40,000-70,000 US$1,300-2,300

陳雲君為中國書法家協會會員與天津東方藝術學院副院長。曾從書法大師吳玉如讀書，學習古典詩 詞和書法；後來他又有機會親近巨贊法師，並從梁漱溟研習佛學。 《觀音》面容平和朝向斜下方，姿勢採坐姿但藉著雙手合實將左腳彎踞起來，如佛教經典：「觀世 音菩薩的悲心廣大，世間眾生無論遭遇何種災難，若一心稱念觀世音菩薩聖號，菩薩即時尋聲赴 感，使之離苦得樂。」那般慈悲為懷的氛圍，有別於平常莊嚴端坐的形象。

272

194

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YANG HSINGSHENG

(b.1938)

楊興生

Seaview

海風吹歸瞑

32×40.5cm Oil on Canvas Signed Yang Hsingsheng in Chinese, dated 1988

1988 油彩 畫布 簽名：楊興生1988

NT$40,000-60,000 US$1,300-2,000

楊興生曾感性地說：「我的繪畫脫離不了我的生活環境，我一生的菁華時光都在臺灣這個美麗的寶島上度過，我 非常熱愛臺灣，但我親眼見到臺灣的美麗在急速的褪色，她的自然景觀已在消失......」他的創作無論是色彩和結 構，常帶有對土地情感的表現，希望以繪畫記錄下台灣原有的美麗面貌。 《海風吹歸暝》沒有浮誇的意念積累、繁冗的觀念舖陳，楊興生用樸實的筆觸堆疊、溫情的色彩塗寫，繪出密雲 低薄暮的沿海景色，畫面調性徐緩有致，色彩層次柔和，思緒平穩而內心跌宕。「畫抽象就好比是喝杯烈酒，畫 具象風景是抽根雪笳。」藝術家極耐心地重複疊、蓋、描、點勾勒光影變化，以謐靜優閒的節奏，記錄生命流動 的痕跡。

273

195

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JU MING

( b.1938 )

Cattle

朱銘

49×73.5cm Ink and Color on Paper Signed Ju Ming in Chinese, dated 1990 With one seal of the artist

犇 1990 彩墨 紙本 簽名：朱銘90清境 藝術家鈐印

NT$100,000-140,000 US$3,300-4,600

274

196

|

PABLO RUIZ PICASSO

( 1881-1973 )

Bouquet

畢卡索

26×17cm Lithograph Signed Picasso 21.4.58 in English

花束

ILLUSTRATED "Posters of Picasso", Grosset & Dunlap, New York, USA, 1964, page 33 "Picasso's paintings, watercolors, drawings and sculpture : a comprehensive illustrated catalogue, 1885-1973", San Francisco : Alan Wofsy Fine Arts, 1995, the fifties II 1956-1959, page 198 This lithograph was created by Picasso for the peace demonstration held in Stockholm, July 16-22, 1958

1958 版畫 簽名：Picasso 21.4.58 圖錄 《畢卡索海報全集》， Grosset & Dunlap，美國紐約， 1964年，第33頁 《畢加索的畫：水彩、素描和雕塑 1885年至1973年》， Alan Wofsy Fine Arts，美國舊金山，1995年出版，第198頁 此幅版畫是畢卡索為1958年7月16-22日於瑞典首都斯德哥 爾摩舉辦之和平示威活動所創作。

NT$40,000-80,000 US$1,300-2,600

275

197

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ANDRE BRASILIER

(b.1929)

安德烈．布拉吉利

Venice

威尼斯

68×84cm Lithograph, 1/175 Signed André Brasilier in French, numbered 1/175

版畫 1/175 簽名：1/175 André Brasilier

NT$30,000-50,000 US$1,000-1,600

276

198

|

TING SHAO KUANG

(b.1939)

Bride

丁紹光

83×83.5cm Lithograph, 75/275 Signed Ting Shao Kuang in Chinese and English, numbered 75/275 With one seal of the artist

花嫁 1990 版畫 75/275 簽名：75/275 Ting Shao Kuang丁紹光 藝術家鋼印：SOMA SEGAL FINE ART

NT$30,000-150,000 US$1,000-4,900 277

199

|

LIAO SHIOUPING

(b.1936)

a.Doll b.Door and Painter a.45.5×68cm b.77.5×56cm a.Lithograph, 22/30 b.Lithograph, A.P. a.Signed mami kim Liao in English b.Signed Shiou- Ping Liao in English, Door and Painter in Chinese, dated 1970, numbered A/P

廖修平 a.人偶 b.門和畫家 1970 a.版畫22/30 b.版畫A.P. a.簽名：mami kim Liao b.簽名：A/P Gate and Artist 門和畫家 1970 Shiou-Ping Liao

NT$50,000-80,000 US$1,600-2,600

a. b.

278

200

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MARC CHAGALL Circus Performance 73×53cm Lithograph, 128/500 Signed Marc Chagall in French

夏卡爾 馬戲表演 版畫 128/500 簽名：Marc Chagall

( 1887-1985 )

“The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world. In this long vigil he often has to vary his methods of stimulation; but in this long vigil he is also himself striving against a continual tendency to sleep.” －Marc Chagall

「藝術家的可敬之處在於他負有讓這世界不斷令 人驚艷的責任。在這漫長守夜中，他必須經常改 變刺激他人的方式；但是在這漫長守夜中，他本 身也在努力抵抗不斷襲來的睡意。」

NT$40,000-60,000 US$1,300-2,000

－馬克‧夏卡爾 279

201

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ANDY WARHOL

( 1928-1987 )

Kimiko & Liz a.18×18cm b.18×18cm a.Lithograph b.Lithograph a.Signed Andy Warhol in English b.Signed Andy Warhol in English

安迪沃荷 Kimiko & Liz a.版畫 b.版畫 a.簽名：Andy Warhol b.簽名：Andy Warhol

NT$50,000-70,000 US$1,600-2,300

“They always say that time changes things, but you actually have to change them yourself.” －Andy Warhol

「人們總是說，時間會改變一切，但 事實上你必須自己去改變它們。」

a. b.

280

－安迪‧沃荷

郎靜山 LONG

CHINSAN (1892-1995)

001

041

葉永青 YE

YONGQING (b.1958)

042

095 081

082

127

生於中國江蘇。從李靖蘭老師學習繪畫、攝影及暗房技巧。1931年以作品《柳絲下 的搖船女》（又稱《柳蔭輕舟》）入選日本國際攝影沙龍；1934年又以個人第一件 「集錦攝影」作品《春樹奇峰》入選英國攝影沙龍，後逐漸於國際沙龍嶄露頭角。 郎靜山一生有不少創舉，其中最為人稱道的該屬「集錦攝影法」，郎氏具備之深厚 的國畫造詣與修養，將國畫中的畫理與攝影技巧融合為一，為其贏得了「影中有 畫，畫中有影」的讚譽，而顯得別具風格。郎氏對推動現代中國攝影藝術有卓越的 貢獻，入選世界各國攝影展覽作品達千件之多，曾出版多本個人攝影集，更被二十 餘個世界級攝影學會和團體推舉為名譽會員和研究員，其作品廣為海內外重要美術 館及私人珍藏。 Long Chinsan was born in Jiang Su, China. He learned painting, photograph and darkroom skill from Li Jing Lan. He has marked many milestones and the most highly appreciated one is his special “collective photograph skill”. The reason for the uniqueness is his accomplishment of Chinese painting, with which he combines with photograph. This skill won him the appraisal of perfect fusion of painting and photograph. Long devoted himself to and has tremendous contribution in Chinese contemporary photograph. Thousands of his works are participated in international exhibition; furthermore, he is elected as honorable member or researcher by more than 20 world class photo academies. His works are collected by famous museums and collectors.

陳銀輝 CHEN

002

YINHUI (b.1931)

013

067

生於昆明，畢業於四川美術學院繪畫系，現任四川美術學院教授。曾在北京、上 海、新加坡、英國倫敦、德國慕尼克、德國奧格斯堡、美國西雅圖等地舉辦個展。 重要聯展：「中國現代藝術大展」(1989，中國)、「中國當代藝術文獻資料展」 (1991，中國)、「後89中國新藝術展」(1993，香港、澳大利亞)；「中國藝評家年 度提名展」(1994，北京 )、「中國！」(1996，德國)、「首屆學術邀請展」、「首 屆上海美術雙年展」(1996，上海)、「20世紀中國油畫大展」(2000，北京)、「中 國藝術三年展」(2002，廣州 )、「開放時代」(2003，北京)、現代美術館參展中國 當代藝術展(2004，愛爾蘭)、作品被中國美術館等藝術機構收藏。 Born in Kun Ming. Graduated in 1982 from the Oil painting department, Sichuan academy of Fine arts, Chongqing. He held many international solo exhibitions in Beijing. Shanghai, Singapore, London, Munich, Augsburg, Seattle…etc. Selected exhibitions:“Chinese Contemporary Art Exhibition”, Beijing, 1989;“the Literature Exhibition of Chinese Contemporary Art”, 1991;“Post-89 of Chinese Contemporary Art”, Australia and Hong Kong, 1993 ;“The Annual Nominated Exhibition of China Art Critics”, Beijing, 1994;“China!”, Germany, Austria, Poland, Denmark;“1st Biannual Invited Exhibition”, Beijing; and“1st Shanghai Biennial”, 1999;“20th Century Chinese Oil Painting Exhibition”, Beijing, 2000; “Chinese Art Triennial”, Guangzhou, 2002; “Open the time”, Beijing, 2003; “Chinese Contemporary Art Exhibition”in Irish Museum of Modern art in 2004.

Ye's works are collected by the National Art Museum of China and other Art Institute.

龎 均 PANG

JIUN (b.1936)

003 017

生於台灣嘉義，國立台灣師範大學美術系畢業，曾任國立台灣師範大學美術研究 所教授。1961年獲扶輪社獎章，並任全省美展、北市美展、全國美展籌備委員 和審查委員。曾獲「金爵獎」、「中山文藝創作獎」、「吳三連藝術獎」、「楊 三郎獎」、「林本源中華文化教育獎」。著名展覽包括：「烏拉圭國際雙年展」 （1975）、「法國秋季沙龍展」（1991）、「法國現代藝術展」（1994）、 「五十年回顧展」（1995，全省美展）、「繽紛兩岸」(2000，台灣，國泰世華藝 術中心)、陳銀輝個展（2002，台灣，國泰世華藝術中心）、「大師風華」(2004， 台灣，國泰世華藝術中心) 、「形色音韻—陳銀輝八十回顧展」（2009，台灣，台 北市立美術館）。 Born in Jiayi, Taiwan, Chen graduated from Taiwan Normal University in 1954. He used to teach in the graduate school of National Taiwan Normal University Fine Art department.

In 1961, he won a Rotary Club Medal. He was also an organization member and an examining member of the Provincial Art Exhibition, Taipei City Art Exhibition and National Art Exhibition. He once won the Golden Belt Award, Chungshan Literary Prize Award, Wu SanLien Award, Yang Sanlang Award and the Lin Ben Yuan China Culture Education Prize”.

The exhibitions include: “flourishing two shores” and collection of bank, Cathay United gallery, 2000; “Chen Yin Hui Solo Exhibition”, Cathay United Gallery, 2002; “Master Grace” the oil painting association exhibition, Cathay United Gallery, 2004; “The Rhythm of Forms and Colors – Yin Huei Chen: A Retrospective Exhibtion”, Taipei Fine Arts Museum, 2009.

025

生於中國上海。為中國第一代油畫家龎薰琹之子。龎均11歲時即於上海舉行首度個 展，18歲畢業於北京中央美術學院，自此開始專業創作的藝術生涯，並致力倡導中 國現代藝術運動。1980年遷居香港，1987年定居台灣，並任教於國立台灣藝術專 科學校，期間個展三十餘次，並出版多部油畫技法、寫生哲學等相關書籍，對台灣 的人文及藝術教育貢獻卓著。其作品廣為兩岸三地多處知名博物館、美術館及藝術 學院所典藏，並列入英國劍橋世界名人錄(IBC)「伍佰第一」之列。 Born in Shanghai, China. His father Pang Hsun-chin was a master painter. When he was 18, he graduated from the Central Academy of Fine Arts in Beijing. Throughout his life, he endeavored in promoting the movement of modern art. When he was 11, he left Mainland China. In 1987, he moved to Taiwan and taught at the National Taiwan Junior College of Arts. During his teaching career, Pang had also held his solo exhibitions more than thirty times and then served as the judge of the 44th national Art Exhibition (Oil Painting Category) in 1989. His artworks were collected by many world-renowned museums, art colleges and private collectors at home and abroad.

281

沈哲哉 SHEN

CHETSAI (b.1926)

陳英德 CHEN

YINGTEH (b.1940)

005

004

出生於台灣台南。曾受業於廖繼春及郭柏川學習繪畫。就讀中學時，作品曾入選府 展、台陽展，歷年來作品獲得諸多大獎並舉辦多次個展。曾獲任中國油畫學會金爵 獎、國立歷史博物館金章獎等榮譽。1955年國立台灣美術館舉辦《沈哲哉七十回顧 展》。 Shen was born in Tainan, Taiwan. He studied painting under Liao Chichun and Guo Pochuan. While studying in high school, his paintings were selected into the Palace Fine Exhibition and Taiyang Fine Arts Exhibition. Shen has been awarded by the China Oil Paintings Association and National Museum of History in Taiwan. In 1995, he was invited to hold a solo exhibition in National Taiwan Museum of Fine Arts.

楊識宏 YANG

CHIHUNG (b.1947)

006

生於台灣嘉義，1964年師範大學美術系畢業。1967年文化大學藝術研究所畢業， 1969年以後旅居巴黎。1970-72年，入巴黎大學考古和藝術研究所，隨范迪葉‧尼 古拉夫人撰寫論文。個展：1974年「藍色中國」及1976年「國際當代藝術展」於 巴黎Galerie Iris Clert；1982年於法國Rouen市當代藝術中心；1988年於臺北雄 獅畫廊；1991年於臺北愛力根畫廊。曾參與群展有：1969年「第一屆全國大專院 校美術暨美術有關科系教授美術作品聯展，臺灣國立藝術館；1973及1974年「國 際藝術城藝術家聯展」，巴黎；1975和1977年巴黎大皇宮「國際當代藝術展」； 1983年法國「寫實主義和圖像」朵諾市藝術館；1985年西班牙德里「從東方來的 顏色」；1990年巴黎龐畢度文化中心「牢記天安門」、臺北誠品—當代畫家素描、 臺北樸莊藝術中心—當代油畫中堅展；1991年「生活的顏色」，西班牙馬德里市文 化中心。 Born in Chiayi, Taiwan, Chen graduated from Taiwan Normal University in 1964 and got the master degree from Chinese Culture University in 1967. Chen immigrated to Pairs and enrolled in University of Pairs during 1970 to 1972 with Madame Vandier Nicolas for doctorial dissertation. Solo exhibition: “La Chine Bleue” in 1974,“FICA” in 1976 at Galerie Iris Clert, Pairs; Center d'Art Contemporian de Rouen, Pairs in 1982; Hsiung Shih Gallery in 1988; Galerie Elegance Taipei in 1991. Group Exhibition:“1st National Professors' Art Exhibitions of University and Art College”, National Art Museum, Taiwan, 1969;“Cite Internationale des Arts”, Pairs, 1973 and 1974;“Salon de Mai”, Pairs, 1975 and 1977; “Salon des Grands et Jeunes d' Aujourd' hui”, Pairs;”Realismes et Imageries, Maison des Arts, Thonon-lesBains, France.1985“Los colores proceden de Oriente”, Galeric Club Urbis, Madrid, Spain. In 1990,“colores de la Vie”in Paris, and“Contemporary artist sketch”exhibition in Taipei. In 1991,“The Color of Sky”, Central Culture Center, Madrid, Spain.

丁雄泉 WALASSE

007

024

012

TING (1929-2010)

073

153 046

087

生於台灣桃園，畢業於國立台灣藝專。1979年移居美國紐約至今，1987年在台北 出版美術論述著作《現代美術新潮》，1989年獲紐約州州長頒發「傑出亞裔藝術家 獎」，1991年應邀為香港中環廣場大廈製作三幅巨畫。1997年接受訪問，內容收 錄於日本比尼斯公司製作發行之錄影帶─《現代美術與美國》。2004年出版攝影 集《台灣文化人攝影紀事》，同年榮膺國立台灣藝術大學傑出校友。創作及展覽至 今，在台北、香港、北京、漢城、倫敦、紐約、芝加哥等地舉辦五十餘次個展及兩 百多次聯展。近期個展：「象由心生」（2004，台灣台北，國立歷史博物館）、 「楊識宏個展」 (2007，中國北京，中國美術館)、「楊識宏個展」(2008，美國紐 約，中國廣場) 、「雕刻時光─楊識宏個展」(2009，台灣台北，國父紀念館)。作 品廣獲國內外藝術機構、企業及私人收藏。

282

Born in Taoyuan, Taiwan, and graduated from National Taiwan College of Art at 1968.

Yang immigrated to New York from 1979 till now. Yang won the Asian Artist Award by New York City Major at 1989. In 1991, Yang was invited to execute three giants paintings at Hong Kong Central Plaza Building. He was interviewed by the video produced by a Japan company. He published the photography in 2004, and won goodness schoolfellow of National Taiwan University of Art. Yang has held 50 major solo-art exhibitions and 200 more group shows at U.S. , Britain and Asia. Recent selected solo exhibitions: In 2004, solo exhibition “The Images of the Mind” at National Museum of History, Taipei, Taiwan.

2007 solo exhibition in National Art Museum of China, Beijing, China. In 2008, solo exhibition at China Square, New York. In 2009“CHIHUNG YANG─ Sculpting in Time” at National Dr. Sun Yat-sen Memorial Hall, Taipei. Yang's works are included in Asia, U.S. museum and private collections.

172

生於中國江蘇，為國際聞名的詩人藝術家。青年時曾入上海美術專科學校就讀， 1946年遷居香港。1952年前往法國發展並結識眼鏡蛇畫派成員。1960年移居紐 約，發展出新畫風，成為美國普普藝術家一員。2001年起定居於荷蘭阿姆斯特丹。 曾出版《一分人生》詩集，內容涵括多位美國及歐洲藝術家的版畫原作。1977年獲 得古根漢紀念基金會的獎助學金，並出版以女性為題材的情色素描與繪畫書籍《朱 唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊；其色彩鮮豔之作 品廣為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館 等。 Born in Jiangsu, China. Ting enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris where he formed close relationships with members of the CoBra group. Later, he immigrated to New York, where he became involved with Pop artists. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

巴斯天 ALFRED

BASTIEN (1873-1955)

張萬傳 CHANG

WANCHUAN (1909-2003)

124 021 008 009

014

020

生於比利時。巴斯天是比利時印象派的藝術家。1897年贏得Godecharle基金會 獎學金並進入巴黎藝術學院。1927年進入比利時皇家學院任教爾後擔任藝術學院 院長。巴斯天為吳作人和沙耆的指導教授，在早於兩人留學之前他已經被公認是比 利時印象派的代表畫家之一。曾為比利時國王亞爾佩一世作畫。其中《騎馬肖像》 和《花籃與水果盤》等作品在1934、1935年間「比利時現代繪畫展」巡迴展出於 上海及南京，此一展覽被國外藝術史家看作20世紀前期在華舉行的最大規模歐洲畫 展。在他執教的班上曾同時有過11個不同國籍的學生，吳作人就是其中之一，戰後 曾隨恩師參與創作周長150餘米的戰場全景壁畫。 Born in Belgian. Bastien was a Belgian Impressionism artist.. He won the Prix Godecharle in 1897 which helped him he enroll in the École Nationale Supérieure des Beaux-Arts Paris. After that, he enrolled in the Académie Royale des Beaux-Arts in Brussels in 1927.

Before Wu Zuo Ren and Sha Qi went studying abroad as his students, he had already been recognized as one of the representative impressionist in the Belgian, and had painted for the King of Belgium. The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and other works had been exhibited in series of "the Belgian Modern Painting Exhibition" in Shanghai and Nanjing from 1934 to1935. "The Belgian Modern Painting Exhibition" is seen as the largest European exhibition by the foreign art historians in China in the early 20th century.

He had coached 11 students of different nationalities in the same class. And Wu Zuoren was one of the 11 students; after the war, Wu joined his teacher, Bastien, and participated in the creation of the battlefield panorama murals of 150 meters perimeter.

于右任 YU

YUJEN (1878-1964)

077

生於台灣台北。中學時代跟隨石川欽一郎習畫，1929年入倪蔣懷籌組之「臺灣繪 畫研究所」，後1930年赴日留學，進入川端畫學校及本鄉繪畫研究所研習西畫。 1938年返台後曾加入台陽美術學會，退出之後與陳德旺等人組成「行動美術會」。 曾任教於廈門美術學校、國立藝術專科學校油畫科，以及臺灣建國中學、延平中學 與國立藝專。其作品曾多次入選東京第一美展、日本春陽會展、府展特選、台展 等；1954年首次於台北舉辦個展，1966赴日本舉行個展，1971年再度舉辦個展於 台北中山堂。1980年創立台北美術會並任會長。其作品廣為藝術機構與私人藏家所 珍藏。 Born in Danshui, Taipei. Studied painting under Ishikawa Kinichiro while he was in high school. In 1929, he went to Japan to study at the Kawabata Painting Institute and Hongoo Art Institute. Zhang returned to Taiwan in 1938 and joined the Taiyang Fine Arts Association.

After his withdrawal from the Association, he formed the MOUVE paintings at the Amoy Fine Arts College in China and Taiwan National Art College. His Works have been selected by 1st art exhibition of Tokyo. He taught in department of oil at Shiamen University and Institution of National art. In 1980, he formed Art Museum of Taipei and Appointed as Chairman. His works were collected wildly by many art institutions and private collectors.

溥心畬 PU

RU (1896-1963)

010

生於中國陝西，原名伯循。現代詩人、書法家。1903年（清光緒29年）舉人。 1906年追隨孫中山來台灣，加入同盟會。1910年曾與宋教仁等辦《民力報》。 1912年任南京臨時政府交通部次長。曾致力反對袁世凱稱帝的野心。1918年返陝 西，任靖國軍總司令。後曾任上海大學校長等；1931年後長期任國民政府監察院 院長。1964年台灣病故。擅長書法，得力於《鄭羲碑》《石門銘》精於筆法，善 草書，以碑入草，尤以唐代懷素的小草千字文用功甚勤，造詣甚深。用心佈白。曾 創標準草書社，並出版月刊，編撰《標準草書》。著有《右任文存》《右任詩存》 等。其作品典藏於台北市立美術館、高雄市立美術館、台北歷史博物與于右任書法 藝術館等。 Born in Shaanxi, China. He is modern poet and calligrapher. In 1903, he is a candidate of provincial examinations. In 1906, Yu followed the Sun Yet-sen to Taiwan to join the United League. In 1910,Yu founded " Financial resources of the people reported "with Song Jiao Ren. In 1912, he served as Ministry of Communications of Nanjing Provisional Government.

He have committed oppose Monarchy ambitions.In 1918, he returned to Shannxi and he became the supreme of Nation-Pacifying Army at Shaanxi. Then he served as Shanghai University Presidents and The president of the Control Yuan Republic of the National Government. In 1964,he died in Taiwan. He is good at calligraphy especially Cursive that mixed inscription into the cursive. He learned from Huai Su's calligraphy. His works are collected in Taipei Fine Art Museum, Kaohsiung Museum of Fine Art, National Museum of History and Yu Yujen's Calligraphy Museum.

011

生於中國北京，為中國近代著名書畫家之一。本名愛新覺羅．溥儒，字心畬，滿族 宗室，與清皇帝溥儀為堂兄弟。1912年清朝覆亡後，隱居北京西山戒臺。1924年 重返恭王府，1925年與滿足畫家共創「松風畫社」，1930年偕妻子羅清媛舉行首 次畫展而知名。1934年起任教於北平藝術專科學校(今中央美術學院)、杭州藝術專 科學校(今中國美術學院)。1949年移居台灣，任教於台灣省立師範學院(今臺灣師範 大學)，並於台北臨沂街開設畫室「寒玉堂」。1954年《寒玉堂畫論》一書獲得教 育部第一屆美術獎。1955年受韓國漢城大學頒贈名譽法學博士後赴日旅居。30年 代中期與張大千齊名，並譽「南張北溥」，又與吳湖帆並稱「南吳北溥」，與黃君 璧、張大千以「渡海三家」齊名。 Born in Beijing, China. He also known as Pu Xinyu , was a painter and calligrapher. He is a member of the Manchu imperial family, born near the end of the Qing Dynasty. Puru was reputed to be as talented as the artist Chang Dai-chien. In Taiwan, Puru made a living by selling paintings and calligraphy works during the first months of his arrival in Taipei. He was appointed in October 1949 as a professor of the Fine Arts Department of the National Taiwan Normal University. In 1959, he held a two weeks long art exhibition in the National Museum of History with 318 works on display.

283

鄭在東 ZHENG

ZAIDONG (b.1953)

015

陳來興 CHEN

029

生於台灣台北。畢業於台北世界新聞專科學校。鄭在東活躍於1980與1990年代的 台灣藝壇，作品風格是由人性的深層面出發。自1980年起，作品多次於國內外參 與展出，如：美國文化中心、台北市立美術館、歷史博物館等，1992年榮獲雄獅 美術創作獎。現今工作室設立於上海，成為第一位正式轉往上海發展的台灣藝術 家。近年的展覽包括：「新形象—中國當代繪畫廿年」(2001，中國北京、上海、 四川、廣東美術館) 、「巴黎-北京」(2002，法國巴黎，Espace Cardin藝術中心) 、「超越界線」(2004，中國上海，滬申畫廊)、「鄭在東、周春芽、劉煒三人展」 (2004，中國上海，滬申畫廊)、「高山流水」(2004，中國，上海美術館)、「鄭在 東水墨展」(2006，香港漢雅軒)、「浮生邈邈─鄭在東個展」(2009，台灣台北， 紫藤廬)。 Born in Taipei, Taiwan. Zheng graduated from the Taipei World Vocational School of Journalism. Active in the Taiwan art world during the 1980's and 1990's, he created gloomy and reminiscent oil paintings. Since 1980s he held many exhibitions in Taiwan and overseas like American Cultural Center, Taipei Fine Art Museum, Taiwan National Museum of History. He received the Shiung-Shih Award for Creativity in 1992. Zheng relocated to Shanghai and became the first Taiwanese artist who develops his career in Shanghai.

Recent selected exhibitions: “New Image- 20 years of Chinese Contemporary Painting”, Beijing, Shanghai, Sichuan and Guangdong Art Museums, 2001;“Paris-Beijing”at Espace Pierre Cardin, Paris in 2002; “Cross the Limit” and “Zheng Zaidong, Zhou Chunya and Liu Wei” at Shanghai Hushen Gallery,2004; “Mountain and the River”, Shanghai Art Museum, 2004; “Ink Paintings by Cheng Zai-Tung” at Hanart TZ Gallery, Hong Kong in 2006; “Zheng Zaidong Exhibition” at Wistaria Tea House, Taipei in 2009.

林克恭 LIM

KACKEONG (1901-1992)

LAIXING (b.1949)

016

生於台灣台中。1972 年畢業自國立藝專美工科，曾任秀水國中美術老師。1977 年首度於台北舉行個展，其後陸續於臺中文化中心（1978）、臺北美國文化中 心（1981）、臺北紫藤廬（1984）、臺中金石藝廊（1989）、淡水藝文中心 （1993）、彰化縣文化局（2002）、宜蘭文化局等地舉辦個展，並在臺北市立美 術館、國立臺灣美術館舉辦超過二十次展覽。1984年受邀參加由香港漢雅軒舉辦之 「台灣新繪畫聯展」， 1988年前往美國舉行巡迴演講畫展。陳來興的繪畫多以描 繪台灣風貌與生活為主，充滿本土生命力，並創造出其獨特的「表現派」風格。出 版有《陳來興畫集》、《陳來興油繪集》等。 Born in Taichung. Chen Laihsin graduated from the National Junior College of the Arts in 1972. He had served as the teacher of Hsiushui Junior High School. He held his first solo exhibition in Taipei In 1977, and was invited to exhibit at the Taipei American Culture Center in 1981. He then successively exhibited his works at King Stone Gallery in Taichung, Tamsui Center of Arts and Culture, ChangHua County Cultural Affairs Bureau ,Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts and so on. In 1984 some of Chen's works were selected for the exhibition of new Taiwanese painters held by the Hanart T Z Gallery in Hong Kong, and in 1988, he traveled the US on a lecture-exhibition tour. Chen's paintings mainly depict life and natural scenery in Taiwan which full of local vitality.

余承堯 YU

CHENGYAO (1898-1993)

019 050

018

出生於台灣台北。自幼成長於板橋林家花園，是台灣望族林本源家族的後代，唯一 遠赴英倫及歐陸學院習藝的台灣畫家。由於優渥的家世背景及特殊的成長環境，使 得他從小即獲得東西文化、藝術的薰陶。 1930年自歐洲返鄉之後，因為戰亂，他 曾徙居於鼓浪嶼、香港、澳洲及台灣之間，直至退休移居美國。他的油畫強調自我 精神表現，在物我合一的大自在下達到 筆致精純、色調美妙的境界。林克恭長遠的 繪畫教育活動，培育無數門人學子，無論創作或教育，其藝術理念在台灣畫壇如一 泓清泉，自有其高超地位。 Born in Taipei, Taiwan. As a senior painter of Taiwan, he was the only one who studied art in Europe aside from those who were educated in Japan. He was a descendant of Lim Ben Yuan family which was a respected family in Taiwan. Due to his growing background, with an inborn nature of kindness and intelligence, LIM's passion for art was influenced by the way he was cultivated. LIM's painting style and way of living are different from others.

To appreciate the relationship between the nature and human life, LIM created works of realism or abstract with his unique style. As a brilliant painter, LIM was not only a respectful gentleman but also a hard to get educator. Students of him were all benefited from his profound knowledge and impartial teaching manner.

284

生於中國福建。早年投筆從戎，先於1920年赴日本 早稻田大學攻讀經濟，後轉入日本陸軍士官學校， 1923年返回中國任教於黃埔軍校，1946年以中將 官階退伍。其自56 歲才開始作畫，沒有師承，卻為傳統水墨開拓出新視野，實為 水墨畫壇中的傳奇巨擘。1966年余氏作品首次公開展示於「中國山水畫的新傳統」 聯展，於美國各州巡迴展出四年；1985年獲邀參加「中國傳統繪畫新潮流」聯展， 足跡踏至美國與法國；1986年其以88歲高齡於台北雄獅畫廊舉辦首次個展；1987 年於香港大會堂舉辦海外首次個展；1988年台北歷史博物館舉辦「余承堯九十回顧 展」，並出版大型畫冊「千巖競秀」。余承堯先生於1889年獲聘中華民國文化資產 維護學會名譽會員；1990年，其作品「群山如劍斷雲間」為台中省立美術館永久典 藏。 Born in Fujian, China. Yu studied economics in Waseda University in Japan in 1920 at first.

Later he turned to study in Imperial Japanese Army Academy, and then he went back to China, hired by R.O.C. Military Academy in 1923. He was retired in 1946 by the position of lieutenant general. He started to draw the painting at 56 years old without instructors, yet created the new version of traditional Ink and Wash Painting, and became the legend of the art circle. His artworks were first shown in 1966 in public, and then have been making an exhibition tour in all the states of America for 4 years. He was very honor to be invited by the show of “New Wave of Chinese traditional painting”, which made him renowned in America and France. The first solo exhibition at Lion Gallery in Taipei was in 1986, the next year he held the oversea exhibition at The Hong Kong City Hall. “The 90's retrospective exhibition of YU CHENGYAO's works” was held in National Museum of History in 1988, publishing the large album of paintings at the same time. Mr.YU CHENGYAO was the honorary member of China Educational and Cultural Exchange Association in 1988. He's masterpieces was collected by National Taiwan Museum of Fine Art in 1990.

邱亞才 CHIU

022

YATSAI (b.1949)

058

吳 昊 WU

HAO (b.1931)

060 112

生於台灣宜蘭。1979年在台北美國文化中心舉辦首次個展，1984年在香港漢雅軒 畫廊展出成功後，便陸續參與許多大型展覽，包括：「The Minds I」（1987， 美國紐約，亞洲藝術中心）、「現代水墨展」（1988，台灣台北，國立歷史博物 館）、「台灣美術三百年」（1989，台灣台中，國立台灣美術館）、「畢卡索， 達利與邱亞才等聯展」（1995，瑞士，薩加拉畫廊）、「朱銘、邱亞才雙人展」 （1999，瑞士藝術博覽會）、「朱銘、邱亞才雙人展」（2001，美國紐約，萬玉 堂）、「台灣八十年代新表現主義回顧展—鄭在東、陳來興、邱亞才」（2004，台 灣台中，靜宜大學藝術中心）以及於2006年參加新加坡、上海、北京藝術博覽會 等。邱氏以肖像畫著名，作品洋溢一種文人典雅氣息，深受其早年從軍時涉獵歷史 經典創作的影響。 Born in Yilan,Taiwan. Chiu's first solo exhibition was held at the American Cultural Center, Taipei in 1979. He has participated in many grand exhibitions overseas since the successful “The New Painters from Taiwan” exhibition at Hanart TZ Gallery, Hong Kong1984. His work has been shown at significant museums and galleries including: “The Minds I”, Asia Art Center, New York, 1987; Taiwan National Museum of History, Taipei, 1988; In 2004, his works were shown in the Art Center of Provence University “The 80's of Taiwan NeoExpressionistic retrospective exhibition.” Chiu is noted for his elegant portraits of literary quality, which were strongly influenced by his studies and knowledge of Eastern and Western classics and history during his military service.

詹金水 JAN

CHINSHUI (b.1953)

023

生於中國南京，後遷居台灣。1950年受教於李仲生，為東方畫會創辦人之一，也 曾擔任中華民國版畫學會董事長、「財團法人李仲生現代繪畫文教基金會」董事 長、全國美展及全省美展評審委員等職。1972年榮獲中華民國畫學會「金爵獎」、 1979年於第六屆英國國際雙年版畫展獲「爵主獎」。吳昊參展紀錄豐富，包含巴 黎雙年國際青年藝展、第八屆國際版畫展、義大利國際藝術家展、義大利國際版畫 展、英國第六屆國際雙年版畫展、香港大會堂中國版畫家聯展、米蘭中國現代畫 家十人展等。更曾受邀舉辦「版畫及素描個展」(1973，德國)、「吳昊四十年創作 展」(1994，台灣台北，台北市立美術館)、「吳昊的繪畫歷程展」(1997，台灣台 中，台灣省立美術館)等個展。 Born in Nanjing, China, later immigrated to Taiwan. Wu learned painting skill under the instruction of Li Zhongsheng in 1950. He was one of the founders of the Tom Fan Group, and once served as the chairman of Taiwan Society of Printmaking, president of Li Zhongsheng Foundation, and the appraisal committee member of the National Art Exhibition of the Republic of China. Wu has won several awards and once been traveling to Paris, Italy, England, Hong Kong and Germany. He was also invited to hold the solo exhibitions in Germany Taipei Fine Arts Museum and National Taiwan Museum of Fine Art, making him plentiful exhibiting records.

郭振昌 KUO

030 026

115

生於台灣苗栗。擅長油畫。1984年入選台北市美術當代抽象畫展，1986年國立藝 專美術科畢業。1987年曾獲第十一屆油畫展金牌獎，1988年獲邀參加東京亞細亞 美術大展，1989年獲教育部文藝創作獎油畫金牌獎，台陽美展優選，同年前往歐洲 自助旅遊。著名展覽包括：「詹金水個展」（1988，大家藝術中心）、「詹金水 個展」（1990，台灣台北，印象畫廊）、「詹金水個展」（1991，台灣台北，印 象畫廊）、「詹金水個展」（1992，台灣台北，愛力根畫廊）、「中國當代藝術 大展」（1997，中國上海）、「境高無界—2008精選新作」（2008，台灣台南， 亞帝畫廊）。出版三本個人畫集，作品為國立藝術學院（今國立台北藝術大學）收 藏。 Born in Miaoli, Taiwan. Jan Chinshui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published three exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today's Taipei University of the Arts).

JENCHANG (b.1949)

047

056

生於台灣彰化。畢業於文化大學美術系，曾在李仲生畫室習畫。近年個展：「偶 然與巧合」（2003）、「18羅漢個展」（2005）、「郭振昌2008年漂亮個展」 （2008，台灣台北，大趨勢畫廊）、「圖騰與禁忌」個展（2008，台灣，台北市 立美術館）、「Float浮動」個展（2009，台灣台北，亞洲藝術中心）。作品獲日 本原美術館、國立台灣美術館、台北市立美術館、高雄市立美術館等及國內外人士 收藏。1994年，作品《桃花源記》獲選入美國藝術雜誌《Art in America 1994年 度當代藝術精選200件-作品幻燈片全集》，供歐美各大學美術教學研究之用。 Born in Lukang, Taiwan. Kuo graduated from the Fine Arts Department of the Chinese Culture University, and studied under Li Zhongsheng. Solo exhibitions: “HAPPENSTANCE”, Taipei, 2003; “18 LOHANS”, 2005;“J.C. Kuo's 2008 Solo Exhibition: Am I A Beauty I Am A Beauty”, 2008, all in Main Trend Gallery, Taipei; “Totem and Taboo”, Taipei Fine Arts Museum,, Taipei, Taiwan, 2008; “Float”, ASIA art center, Taipei, Taiwan, 2009. In 1994, art work “New Paradise” has been selected in “Art in America's 1994 Slides Survey of Contemporary Art” by Art in America.

285

阿曼 PIERRE

027

FERNANDEZ ARMAN (1928-2005)

028

107

044 074

045 162 161

生於1928年法國尼斯，是少數仍在世即被寫入西洋藝術史的藝術家之一。1949 年轉入羅浮美術館附屬藝術學校攻讀考古及東方藝術，1960年和一群藝術家、史 學家、藝評家共同簽屬「新寫實主義宣言」。1967年代表法國參加蒙特婁世界博 覽會，1974年在全美巡迴展出，1981年創作大件的「牆與工具」作品，1982年 回顧展在全歐洲巡迴展出，1984年受法國總統之邀，製作銅製的法國國旗堆疊， 放置在巴黎愛麗舍王宮。重要展覽：「第一次雕塑個展」（1959，義大利米蘭， apollinaire 畫廊）、「首次美國個展」（1961，美國紐約，Cordier Warren藝 廊）、「新寫實主義」（1962，美國紐約、洛杉磯）、「個展」（1964，荷蘭 阿姆斯特丹，Stedelijk博物館）、「阿曼回顧展」（1973，美國紐約，Andrew Crispo畫廊）、「神與女神」（1986，巴黎、紐約、多倫多）、「台北國際藝術博 覽會-主題展」（1996，台灣）。

蕭 勤 HSIAO

031

CHIN (b.1935)

梁啟超 LIANG

QICHAO (1873-1929)

064 069

生於中國上海，父親蕭友梅是中國現代音樂的重要啟蒙者。1949年來台，1951年 進入臺北師範學校藝術科系，向朱德群學習素描，作品多次參加過全國性及國際性 展覽。1955年獲西班牙政府獎學金，1959年第一次在義大利舉行個展，同年遷居 米蘭。先後工作於巴黎、倫敦與紐約等地。1961年發起「龐圖藝術運動」，1978 年創辦「太陽國際藝術運動」，1989年發起「國際無藝術運動」活耀於國際藝壇， 1996年任職於國立台南藝術學院教授，2000年應邀參加第七屆義大利威尼斯建築 雙年展，2002年獲國家文藝獎，2005年被義大利總統授予「義大利團結之星騎 士」勳章；近期展覽有：「榮源─蕭勤七十回顧展」(2006，中國北京，中國美術 館)。 Hsiao was born in Shanghai, China. His father Hsiao Yumei, was an important composer in modern music in China. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Tehchun. In 1955, he received a scholarship from Spain government. In 1959, his first solo show in Italy, and he moved to Milan. In 1961, he promoted international “Punto Art Exercise”. In 1996, he works as the professor at Tainan National College of Arts. He was invited to “The 7th Bi-Yearly Architecture Exhibition of Venice” in 2000. He was award National cultural and art prize in 2002. In 2005, he was conferred by the Italian President C. A. Ciampi the honorable title of “Kinght of Itlian Solodarity Star”; "Glory to the Source, A retrospective exhibition of Hsiao Chin" National Art Museum of China, 2006, Beijing, China.

286

Born in Nice, France, Arman enrolled as a student at the École du Louvre in Paris in 1949, where he concentrated on the study of archaeology and oriental art. In 1951, Arman became a teacher at the Bushido Kai Judo School. In October 1960, along with many young artists, historians and art critics at that time, Arman founded the group Nouveau réalisme, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". He was selected as representative of France to attend the Exposition Universelle de Montréal Expo 67 at Montréal, Canada in 1967. In 1991, President Mitterrand awarded him the Honorary Knighthood in Palais de I' Elysee. Exhibition: "Mostra Personale di Arman", Galerie Apollinaire, Milan, Italy, 1959; "Arman", CordierWarren Gallery, New York, USA, 1961; "Arman, Montages", Dwan Gallery, Los Angeles, California., USA, 1962; "Arman", Stedelijk Museum, Amsterdam, Holland, 1964;“Arman: Retrospective”, Andrew Crispo Gallery, New York, USA, 1973;“Arman: Gods and Goddesses”, New York, USA, Paris, France, Toronto, Canada; Arman: The Exhibition of International Sculpture Master, Modern Art Gallery, Taiwan, R.O.C., 1996.

032

生於中國廣東，漢族，廣東新會人。字卓如，號任公，又號飲冰室主人、飲冰子、 哀時客、中國之新民、自由齋主人等。中國近代維新派領袖、思想家、政治家、文 學家及著名書法家。梁啟超自幼在家中接受傳統教育，1889年中舉。1890年結識 康有為，投其門下。1891年就讀於萬木草堂，接受康有為的思想學說並由此走上 改良維新的道路，時人合稱「康梁」。其於學術研究涉獵廣泛，在哲學、文學、史 學、經學、法學、倫理學、宗教學等領域，均有建樹，以史學研究成績最著。在書 法藝術方面，梁啟超早年研習歐陽詢，後從學於康有為，宗漢魏六朝碑刻。他一生 著述宏富，有多種作品集行世，其中以《飲冰室合集》最膾炙人口。 Born in Guangdong, China. Liang Qichao was a Chinese scholar, journalist, philosopher and reformist during the Qing Dynasty, who inspired Chinese scholars with his writings and reform movements. Liang advocated reform in both the genres of poem and novel.

Collected Works from the Ice-Drinker's Studio《Yinbing shi heji》are his representative works in literature which were collected and compiled into 148 volumes.

林憲茂 LIN

SHIENMAO (b.1955)

何多苓 HE

DUOLING (b.1948)

033

034

080 079

生於台灣台中。出身醫生世家，自小無拜師學畫，為自學型成功畫家。1988-1993 年分別前往東南亞及北、中、南歐旅行寫生，足跡遍及歐洲、中美洲等40餘國， 2007年成為中興新村駐村藝術家 。曾榮獲全省美展優選（1980、1983、1984）、 全國青年創作獎（1981）、雄獅新人獎優選（1983）。1977年，首次於台中美國 新聞處舉辦個展，其後著名個展包括：「個展」（1981，台中市立文化中心）、 「德國首屆國際藝術節個展」（1996，波羅的海城市）、「巡迴個展」（1997， 德鴻畫廊、台中鼎峰藝術中心、台北國際世貿藝術博覽會）、「風華再現」個展 （2006，南投文化中心）等。至今參與展覽逾五十次。

生於中國四川。1982年畢業於四川美術學院繪畫系油畫專業研究生班。現為成都 畫院一級畫師，中國美術家協會會員，是中國當代抒情現實主義油畫畫家的代表。 1980年代初即以《春風已經甦醒》、《青春》等作品名列「傷痕美術」代表人物， 為中國當代藝術史上的重要角色。其作品曾獲六屆全國美展銀獎、銅獎，第七屆 全國美展銅獎，摩納哥政府獎等。其參與聯展遍佈世界各大城市，歷年重要個展 包含：「中國－現實主義的深層」（1988，日本，福岡美術館）、「何多苓個人 作品展」（1994，中國北京，中國美術館）、「何多苓個人作品展」（1998， 臺灣）、「帶閣樓的房子」（1999，中國上海，藝博畫廊）、「憂傷的詩歌」 （2006，中國北京，山藝術798）、「何多苓油畫回顧展」（2006，中國，上海美 術館）、「何多苓油畫展」（2006，中國北京，中國美術館）、「何多苓2007： 油畫與雕塑」（2008，中國北京，環碧堂畫廊）。出版有《2005何多苓新作》、 《憂傷的詩歌》、《雪雁》、《何多苓2007》等。

Born in Taichung, Taiwan. Lin was born in a doctor's family. He is a successful self-study artist for learning painting without teachers' instruction. From 1988 to 1993, Lin traveled morn than 40 counties in the world to paint. He devoted himself fully to art, and became the artist-in-residence in Chunghsing Village in 2007. Awards: Optimization of the Provincial Art Exhibition, 1980, 1983, 1984; Creative Award by the National Youth, 1981; Lions rookie award selection, 1983. The first solo exhibition was held in Taichung United States Information Service Solo exhibition, and he has later held more than 19 solo exhibitions and participated in morn than 30 group exhibitions so far.

Born in Sichuan, Chian. He obtained his master's degree from the Oil Painting Department of the Sichuan Academy of Fine Arts in 1982. Currently, he is a painter of Chengdu Academy of Painting, Member of Chinese Artists Association, and most importantly – the representative artist of romantic realism in Chinese contemporary art. During 1980s, the artworks“Spring Wind Has Waken Up,”“The Youth,”and“Snow Finch”aroused a sensation in art circle, and had been one of the representatives of the“scar art”. Later, he was awarded with Silver and Bronze Prize of“National Art Exhibition,”and then received“The Monaco Government Prize”at“The 22nd Monte Carlo International Art Exhibition”, 1987. He Duo Ling has participated in plenty of renowned exhibitions in the world and won many rewards. His selected solo exhibitions include "The Depth of Realism", 1988, Japan; "HE Duoling", 1994, China;"The House with Attic", 1999, China; "Sadness of Poet", 2006, China; "He Duoling 2007”, 2007, China.

羅中立 LUO

尹朝陽 YIN

ZHONGLI (b.1948)

XHAOYANG (b.1970)

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羅中立(b.1948)學院油畫系就讀，於1982年畢業後留校任教。1983年至1986年 間，前往比利時留學，在安特衛普皇家美術學院學習油畫。現任四川美術學院院長 與中國美術家協會理事長。羅氏曾舉辦多次海內外個展，如比利時國家歷史博物 館、美國紐約瓦列芬尼畫廊等，北京中央美術館並將其創作列為典藏。 Born in Sichuan, Luo entered Oil Painting Department of Sichuan Art Institute in 1978. He went to study oil painting in Antwerp Royal Art Insitute in Belgium from 1983 to 1983. His works have been shown in numerous major exhibitions in China and overseas where they have received awards ad were widely collectd by the Central Art Museum in Beijing and many private collectors.

生於中國河南。1996年畢業於中央美術學院版畫系，現創作生活於北京。其作品 擅長以時代脈動為題材，他的繪畫在中國九十年代末期的具象主義繪畫中具有重 要的位置。主要個展有：2001年北京藝術博物館「神話」，2004年北京中央美術 館「烏托邦」，上海多倫現代美術館「烏托邦VS青春故事」，2005年紐約Max Protetch畫廊「公共空間」，曼谷唐人畫廊「青春，烏托邦」，2006年北京環碧 堂畫廊「經過毛澤東」，北京今日美術館、上海亦安畫廊「神話」。聯展有：2005 年南京博物館「中國藝術三年展」；2006年台北市立美術館「展開的現實主義－ 1978年以來中國大陸油畫」，菲律賓馬尼拉大都會博物館「幻想與前景－中國當代 藝術展」；2007韓國首爾市立美術館「韓．中現代美術館－幻影中的巨人」，北京 今日美術館「黑白灰一種主動的文化選擇」。 Born in Henan, China. Yin graduated from the Printmaking Department of Central Academy of Fine Art in 1996. Now lives in Beijing, China. Selected solo exhibitions include “Myth”,Beijing Art Museum, Beijing in 2001, “Myth”, Aura Gallery, Shanghai in 2002; “Utopia”, Museum of Central Academy of Fine Art, Beijing, “Utopia VS Young Story”, DuoLun Museum of Modern Art, Shanghai in 2004, “Public Space”, Max Protetch Gallery, New York, USA; “Youth-Utopia”, Tang Gallery, Bangkok, Thailand in 2005, “Passing

By Mao”, Chinablue Gallery, Beijing; “Myth” Today Art Museum, Beijing and Aura Gallery, Shanghai in 2006. Selected group exhibitions: “The Second Triennial on Chinese Art”, NanJing Museum,2005; “The Blossoming of Realism-The Oil Painting of Mainland ChinaSince 1978, Taipei Fine Art Museum, Taiwan;”Future and Fantasy- An Exhibition of Contemporary Art”, The Metropolitan of Manlia, Philippiness; “Black White Grey- A Conscioius CulturalStance”, Today Art Museum, Beijing.

287

何 森 HE

SEN (b. 1968)

薩爾瓦多．達利 SALVADOR

DALI (1904-1989)

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生於西班牙費格拉斯。1922年於馬德里的聖費南度藝術學院就讀。達利的創作深 受不同藝術風格的影響，兼具古典與前衛形式，涵括文藝復興時期之古典風格，以 及近現代之印象派、野獸派、立體派等，因此其作品呈現出多樣而特殊的面貌。達 利非凡的才能與驚人的創造及想像力，造就其「超現實主義」宗師的地位，對後代 的藝術創作具有深刻的啟發及巨大的影響。西班牙費格拉斯的「達利劇院博物館」 現藏有最多達利的作品，其次則為佛羅里達州聖彼德斯堡的「薩爾瓦多˙達利博物 館」。其作品也為其他歐美的藝術機構與私人藏家所收藏。

生於中國雲南，1989年畢業自四川美術學院師範系，現定居與工作於成都。其作 品曾於海內外個展展出，如皮爾策畫廊舉辦的「何森個人作品展」 （2002，巴 黎）、米蘭瑪蕊樂畫廊個展 (2003)、「如影隨形」（2004，北京）。另外，其參 加過的聯展有紐約國際亞洲藝術博覽會(2002)、「中國前衛藝術展」（2004，印尼 雅加 達）、「中國繪畫新景觀」（2004，米蘭）、「北京、重慶、上海—繪畫與 攝影」（2004，德國慕尼黑）等展覽。 Born in Yunnan, China, He Sen graduated from Sichuan Academy of Fine Arts in 1989. He now lives and works in Chengdu, China. His works were shown in many international exhibitions, including solo exhibitions held by the Piltzer Gallery (2002, Paris); by Marella Contermporary Art (2003, Milan); "Shadow" (2004, Beijing). He also participated in group shows such as "New York Asia International Art Fair"(2002); "China Avant Garde"(2004, Jakarta, Indonesia); "New Perspectives in Chinese Painting"(2004, Milan); "Beijing, Chongqing, Shanghai - Painting and Photography" (2004, Munich).

朱 銘 JU

Born in Figueres, Spain, Salvador Dalí studied in the Academia de San Fernando in 1922.

He was influenced by different art styles which include Renaissance classical style and the avant garde style at that time, such as Impressionism, Fauvism and Cubism. That made Dalí's works truly brilliant and special. His extraordinary talent and marvelous innovation as well as imagination make him a status of prominent surrealist master. The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. Dalí's works were also collected by some art institutions in Europe, America and private collectors.

MING (b.1938)

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生於台灣苗栗。早期向李金川學習木刻，其後與楊英風學現代雕塑。1976年獲選台 灣十大青年，並獲頒國家文藝獎，2004年獲頒九十三年行政院文化獎，亦為台灣對 文化界人士所頒發的最高榮譽獎項，2007年獲頒第十八屆「福岡亞洲文化獎─藝術 文化獎」。朱氏的作品「鄉土」、「太極」和「人間」系列廣受歡迎，舉辦過多次 國際性展覽，如：太極系列（1997，巴黎梵登廣場）。黃永松曾如此評析朱銘的創 作：「他原先的鄉土題材是『台灣』的，『太極』是『中國』的，到了『人間』是 『國際』的」，足以見證朱銘一路創作的演變與越發國際化的觀點。他的作品被世 界各大城市美術館、教育機構和政府珍藏，臺灣地區計有：台北市立美術館、國立 台灣美術館、高雄市立美術館、朱銘美術館等。1999年朱銘美術館在臺北縣金山鄉 開幕。 288

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Born in Miaoli, Taiwan. Ju began studying sculpture with Lee Chinchun in early year.

He proceeded to learn modern sculpture under Yuyu Yang. Ju was chosen as one of ten outstanding youths in Taiwan in 1976 and also presented with a National Cultural Award in recognition of his artistic accomplishments. His works of Series “Nativist”, “Taichi” and “Living World” are most popular and have been collected by museums, educational institutions and government worldwide. Huang Yong Song comment on his creations: The three series “Nativist”, “Taichi” and “Living World” is an obvious evolution of broadening subject- from Taiwan to China then from China to world. In December 1997, his works were exhibited abroad in Place Vendome, Paris. Ju even established The Ju Ming Museum in Chinshan, Taipei in 1999. In the year of 2006, a Series of Taichi solo exhibition was held and received great admiration in Beijing. These abroad exhibitions reach step to step to international stage. Not only honored with the “Cutural Award” in 2004, his dedication of art also won him another medal- “Fukuoka Asia Cultural Award – Art and Culture Medal”.

陳正雄 CHEN

CHENGHSIUNG (b.1942)

席德進 SHIY

DEJINN (1923-1981)

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生於台灣台南。十四歲於北港佛像店做學徒，自此開啟其雕塑生涯。現為日本 新構造社雕刻部會員，也是中華雕塑學會會員。至今獲獎無數，包括南美展市 長獎（1970、1978）、年南美展柏川獎（1979）、第六屆吳三連先生文藝獎 （1983）、日本新構造展雕刻大賞（1989）等。著名展覽包括：「日本新構造會 員努力賞」(1984，日本)、「三義木雕博物館開館展」(1990，台灣苗栗，三義木 雕博物館)、「個展」(1987，台灣台北，國立歷史博物館)、「國際藝術博覽會」 (2003，韓國首爾)、「上海藝術博覽會」（2007，中國上海）。台灣國立美術館、 台北市立美術館與高雄市立美術館皆有典藏其作品。 Born in Tainan, Chen started his woodcarving career as an apprentice at the age of 14, and then went for an intern tour around Taiwan's local temples. He is the member of Japan Shinkouzou Art Association, Sculpture Division as well as The Sculpture Society of Taiwan. He has won many awards which include: Mayor's Award of Tainan Art Exhibition （1970、1978）, Wu SanLien Award（1983）and Sculpture Award of Shinkouzou Exhibition. Exhibition: “Great Effort Award of the Sinkouzou Exhibition”, Japan, 1987; “Solo Exhibition”, “Sanyi Wood Sculpture Museum Opening Exhibition”, Sanyi Wood Sculpture Museum, Miaoli, Taiwan, 1990; “Solo Exhibition”, National Museum of History, 1987; “International Art Fair”, Seoul, Korean, 2003; “Shanghai Art Fair”, Shanghai, China, 2007. Chen's works are collected by National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, and Taipei Fine Arts Museum.

楊英風 YUYU

生於中國四川。 1938-1941於成都省立技藝專科學校習畫，接受龐薰琹指導素描； 1942進入杭州藝專，受教於林風眠，1948年遷台任教於省立嘉義中學。1975年獲 得中山文藝創作獎。1957年在台北舉辦首次個展，作品《賣鵝者》於巴西聖保羅雙 年展獲獎；1962年與廖繼春應美國國務院之邀訪美，之後旅訪歐洲寫生創作，並先 後於華盛頓亨利畫廊、巴黎與香港舉辦個展。1966年返台並任教於淡江大學及師 範大學，致力於臺灣民間藝術的研究與創作，後陸續於臺北藝術家畫廊、臺北鴻霖 畫廊、省立臺中圖書館、臺北龍門畫廊、臺北與高雄美國新聞處以及阿波羅畫廊等 處舉辦個展，近期個展：「臺灣頌──席德進逝世30週年精品展」於國立台灣美術 館展出(2011)。出版有《席德進素描集》、《席德進的回聲》及《席德進看歐美藝 壇》、《席德進畫集》等。 Born in Sichuan, China. During the time in Hangzhou Nation College, he studied under Lin Fengmian. In1948, he graduated from the Hangzhou National College of Art. After graduation, he returned to Taiwan to teach at the Provincial Chiayi High School. In 1957, he held his first solo exhibition in Taipei. Shiy accepted invitation of the U.S. State Department to visit U.S. with Liao ChiChun in 1962. Afterward, he went to Paris to study for three years and successively held solo exhibitions in Washington, D.C., Paris and Hong Kong.

After returning to Taiwan, he taught at TamJang University and National Taiwan Normal University. In 1975, he won the Chungshan Literary Prize Award. Recent solo exhibition: Ode to Formosa : Exhibition in Commemoration of the 30th Anniversary of the Deceased Master Shiy De-jinn was held at National Taiwan Museum of Fine Arts in 2011.

YANG (1926-1997)

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生於台灣宜蘭。曾進修於日本東京學校建築系、北平輔仁大學美術 系及國立台灣師範大學藝術系，後前往義大利羅馬藝術學院學習雕 塑。1964至1966年間，獲頒義大利奧林匹克繪畫金章獎、雕塑銀章 獎與第二屆世界和平文化藝術大獎。著名的展覽包括：「楊英風個 人展覽」 (1991，新加坡)、「楊英風一甲子工作紀錄展」(1993， 台灣，省立美術館)、「楊英風’94個展」(1994，美國紐約，第 特利)、「楊英風景觀雕塑特展」(1996，英國倫敦，皇家雕塑家協 會之邀)、「楊英風大乘景觀雕塑展」 (1997，日本，箱根雕刻之 森)、「楊英風紀念展」(2005，台灣高雄，市立美術館)、「楊英風 父子創作展」－楊英風「大器．遇合」與楊奉琛「五行再生」藝術 展 (2010，中國北京，中國美術館)。

As born in Yilan, Taiwan. He studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibition in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d' Artee Cuture Abano. He was also awarded the World Peace Prize for Culture and Arts by the Roc's Literature and Arts Society. Exhibition: “Stainless Steel Sculpture Exhibition”, National Museum of Singapore, 1991; “Yu Yu Yang, Six Years Record Exhibition”, National Taiwan Museum of Fine Arts, 1993; “Yu Yu Yang '94 Solo Exhibition”, New York, 1994; “Minds, Collided Yuyu YANG”and “Revival of Five Elements - Feng-Chen Yang's Solo Exhibition”, National Art Museum of China, Beijing, 2010.

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朱屺瞻 ZHU

QIZHEN (1892-1966)

生於中國江蘇，當代著名畫家、美術教育 家，與徐悲鴻、汪亞塵等熟識。其兼修國 畫和西洋畫，以水墨山水見長，善於融合 西洋畫的長處，花卉尤精梅、蘭、竹。曾 任上海美術家協會常務理事。1913年任 上海圖畫美術院（後改為上海美術專科學 校）教師。1917年赴日本，入川端美術學 校，從藤島武二學素描。不久歸國，在家 鄉辟畫室「梅花草堂」。1981年在上海舉 辦90歲個人畫展。1983年朱屺瞻應邀訪問 三藩市，為美國三藩市國際機場作《葡萄 圖》巨幀。1984年、1985年先後在深圳、 香港舉辦畫展。1986年初再赴美國訪問， 同年夏在上海、北京舉辦個人畫展。作品 被中國美術館、廣東省博物館、深圳博物 館、天津藝術博物館等廣為收藏。1995年 朱屺瞻藝術館己在上海開館，其著有《朱 屺瞻畫展集》、《朱屺瞻百歲畫集》、 《朱屺瞻畫集》、《朱屺瞻畫選》、等。

沙 耆 SAD

JI (1914-2005)

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生於中國浙江。原名沙引年。早年在上海昌明藝專、上海美專、杭州藝專和中央大 學藝術系習畫九載。1937年在徐悲鴻推薦下赴比利時皇家美術學院深造，並在寫實 派畫家巴思天（A. Bastien）院長的指導下，以出色的成績兩度獲得比利時皇家美 術學院優秀美術金質獎。1940年與畢卡索（Picasso）等名畫家一起參加展覽會； 1942年其作品《吹笛女》於柏蒂畫廊美術館展覽，並獲皇室所收藏；2001年「沙 耆七十年作品回顧展」在中國美術館、上海美術館和台北歷史博物館展出。

Born in Jiangsu, China. He's a renowned contemporary artist, fine arts educator, and apt at Chinese calligraphy, landscape paintings. And the artist was skilled in painting plums, orchids and bamboo. Zhu had studied in Japan, sequentially took over the position of professor in Shanghai University. His works of art had been exhibited on many occasions in China, Hong Kong, America, Singapore and Germany etc. He'd given lectures in USA, and painted for San Francisco international airport. Zhu had held solo exhibitions in Shanghai, Beijing, Nanjing, Chendu, Guangzhou, Shenzhen and Singapore. His works are collected broadly by China national museum of fine arts, museum of Guangdong region, Shenzhen museum and Tianjin museum of fine arts. Zhu Qizhen museum opened in Shanghai in 1995, related publications are Anthology of Zhu Qizhan exhibitons, Album of Zhu Qizhen 100 years old, Album of Zhu Qizhan's Paintings.

Born in Zhejian, China. Originally named Sha Yinnian, Sa studied painting for nine years in Shanghai Changming College of Arts, Shanghai Art School, Hangzhou College of Arts and Department of Arts in Central University. In 1937, he went to seek advanced study in Belgium Royal Institute of Fine Arts on the recommendation of Xu BeiHong, and in 1942 his "Flautist" was shown at the Petite Galerie and acquired by the royal family. Sa conducted a systematic study on traditional European paintings. He has held exhibitions with famous Modernistic painters like Picasso and immediately became well known in Europe. In 2001, “Sad Ji Seventy-year Retrospective” was held in National Art Museum of China, Shanghai Art Museum and National Museum of History.

洪瑞麟 HONG

江明賢 JIANG

052

JUILIN (1912-1996)

MINGXIAN (b.1942)

055 054

生於台灣臺北，父親擅詩畫，自小受其影響。1927年進入石川欽一郎及倪蔣懷的台 灣繪畫研究所，後在陳植棋鼓勵下赴日，1930年入川端畫學校的本鄉繪畫研究所， 1931年考入帝國美術學校（今武藏野大學）。1938年返台入倪蔣懷經營之礦場工 作，直至退休，其一生與礦工為伍，但從不間斷繪畫，被稱譽為「礦工畫家」。 1939年以「坑內工作」入選特展，1954年組紀元美術會，對於非主流美術活動貢 獻良多。1980年赴美定居，並至歐洲各地旅遊寫生，1987年洪瑞麟藝術工作室成 立，1996年12月逝世於美國。 Born in Taipei,Taiwan. He ever followed Kinichiro Ishikawa to study painting in 1927 and decided to leave for Japan in 1930. He entered successively the Taiwan Painting Institute and the Imperial Fine Arts School in Tokyo. In 1938, he found a job with the Jui-fang Coal Mining Company to make a living. The working miners subsequently became a key inspiration for Hung. He had participated in the Taiwan Exhibition. The Hung Rui-Lin Art Studio was founded in 1987. Hung was dead of myocardial infraction in 1996.

290

生於台灣台中。江明賢以水墨畫享譽經年，其作品融貫中西，有「台灣中生代最負 盛名的代表性水墨畫家」「跨海峽兩岸的藝壇史者」「在大陸舉辦台灣畫家個展第 一人」亦為著名美術教育家。1968畢業於臺灣師範大學藝術系。1974年畢業於西 班牙中央藝術學院碩士。曾擔任美國聖若望大學水墨畫教授，中國文化大學美術系 教授、臺灣師範大學美術系暨研究所教授、主任暨所長。曾在中國美術館、上海美 術館等舉辦個展。曾獲「青年學藝競賽國畫」第一名、「師大美術系系展國畫」第 一名等。在臺灣、歐洲、美國、日本、香港、中國大陸等地舉辦個展40多次，聯展 100多次。2005年北京中國美術館並舉行「江明賢作品學術研討會」計有台、日、 中、美、法等地之專家學者提出論文參與研討。2011年與大陸著名畫家宋雨桂擔任 兩岸主筆合繪「新富春山居圖」，於北京中國國家博物館隆重展出。出版有《中國 水墨畫之研究》和相關《畫集》十二部。 Born in Taichung, Taiwan. Jiang's ink painting renowned by years, his works mixed East and Western. "Most prestigious of Taiwan Mesozoic representative ink painter"" Across the two sides of the Strait artist" "the first one displayed in China" He is known for Art educator. He graduated from Nation Taiwan Normal University in 1968 and graduated from Valencian Institute of Modern Art. He served as ink painting of St. John's University professor. Solo exhibition held in Taiwan, Europe, America, Japan, Hong Kong, China and other places 40 times and Group Exhibition held about 100 times. "Jiang Ming Xian works Symposium" held in National Art Museum of China and experts and scholars around the world presented papers to participate. Jiang draw "New Dwelling in the Fuchun Mountains" with the famous painter Song Yugui from China and displayed in National Museum of China in 2011.

黃致陽 HUANG

CHIHYANG (b.1965)

劉玖通 LIU

JIUTONG (b.1977)

057 059

生於臺灣臺北。1989年畢業於中國文化大學。現工作、生活於北京。曾於1996年 獲亞洲文化基金會獎，並遊學美國；也曾獲獎於「臺北縣美展」、「臺北現代美術 雙年展」、「威尼斯國際雙年展」。黃致陽參予海內外各大聯展逾七十餘次，足跡 遍及臺灣、中國、義大利、日本、美國、加拿大，德國、澳洲等。近年個展包含： 「戀人絮語」(2000，美國紐約，ETHAN COHEN畫廊)、「戀人絮語」(2001， 臺灣臺北，漢雅軒畫廊)、「I am cute germs」(2001，美國紐約，Crosspath culture-white box)、「千靈隱」(2004，臺灣臺北，大未來畫廊)、「都會風景」 (2006，臺灣，臺北當代美術館)、「Zoon-北京生物」(2007，中國北京，藝門畫 廊)、「Zoon—密視」(2008，香港，漢雅軒畫廊)、「永遠的邊界」(2009，臺北， 伊通公園)、「永遠的邊界」(2009，北京，藝門畫廊)。 Born in Taipei, Taiwan, Huang graduated from Chinese Culture University in 1989, now lives and works in Beijing. He won the Asian Culture Council Prize in 1996 and went study oversea in America, he also won awards from The Biennial of Venice 46th Exhibition International Art in 1995, Asian Culture Council Prize in 1996 and The Art Exhibition of Taipei County in 1997. Huang has participated in more than 70 joint exhibitions at home and abroad, travelled to the countries included China, Italy, Japan, America, Canada, German and Australia. Recent exhibitions: “Lovers Library”, Ethan Cohen Gallery, New York, 2000; “Lovers Library” Hanart Art Gallery, Taipei, 2001; “I am a cute germs”, Crosspath Culture-White Box, New York, 2001; "Three Marks", Lin & Keng Gallery, Taipei, 2004; “Zoon:Beijing-Bio”, Beijing, 2007; Peripheral Vision, Taipei, Beijing, 2009.

蕭 一 HSIAO

061

YI (1956-2006)

118

生於台灣嘉義。1973年於屏東學習傳統雕刻，受傳統佛像雕刻的啟蒙。1977年開 始脫離傳統轉而自由創作，以真實生活體會為創作題材，思索人性與佛性的對立與 矛盾。1981年於春之藝廊舉辦首次個展。1987年台中文化中心個展。1992年受邀 於新加坡國際藝術展。他的作品包括許多主題與對象，諸如人體、頭像、動物、摩 托車等，在台灣民間生活中，融入現代簡約的元素。1997年首次嘗試以不鏽鋼金屬 線作為創作媒材，1998年更嘗試鐵雕創作。近年潛居台北縣三芝鄉山間創作，仍以 人物的木刻創作為多。作品風格樸拙洋溢，造型多變，極富禪意。 Boin in Chiayi, Taiwan. Hsiao started off as an apprentice to craftsmen at Buddhist and Taoist temples around southern Taiwan in 1973 and later he started to create freely instead of traditional sculptures in 1977. In 1981, His first solo exhibition was held in Spring Gallery.

After then, his art is also frequently in galleries and art centers. Selected exhibitions: “Art Galleries Fair R.O.C. Solo Exhibition”, International Art Fair, Singapore, 1992; “The Progress of Taiwan Modern Sculpture V─Wood Carving”, Gate Gallery, Taipei, 1996. His various and talented sculptures shows with simple and unadorned quality to express a Zen style.

生於中國陝西。2000年畢業于西安美術學院，1999年至2003年於北京創作與生 活，2004年轉至上海定居，2006年建立個人工作室。2005年於逸致畫廊舉辦個人 作品展，2006年參加上海藝術博覽會，2007年參加滬港藝術交流展，同年於頂盛 美術館舉辦個人展覽，2011參予奧畫廊舉辦之「閃爍瑩夏」聯展。劉玖通作品以抽 象形式展現磅礡氣魄，同時又深蘊內斂氣質，深受國內外藏家喜愛，為上海之新銳 藝術家。 Born in Shaanxi, China, He graduated from Xi'an Fine Arts University in 2000. From 1999 till 2003 he lived in Beijing and then moved to Shanghai in 2004. He established his personal studio in 2006. Since first solo exhibition held in 2005, Liu has been participating actively in many shows. He attended the Shanghai Contemporary in 2007, and the Summer Jewel Group Exhibition in New Gallery on OLD BAILEY in 2011. He held solo exhibitions at Top Gain Gallery in 2007. Liu's works were presented in the abstract form, featuring the grandeur atmosphere, yet containing the humble temperament, which makes them appreciated by collectors at home and abroad.

洪 易 HUNG

YI (b.1970)

062

生於台灣台中，明道中學美工科畢業。作品風格獨特，顏色豐富、奇異線條、大 膽的律動、活潑的生命力讓人感到喜悅。主要展覽：「普羅眾生」（2002，台北 帝門藝術中心）；「台灣有藝術，藝術有希望」（2004，台北華山藝術區）； 「有佛真好，亞洲城市連結網」（2005，韓國，首爾市立美術館）；「花枝招 展」（2005，國立台灣美術館）；「藝術家的光影派對」（2006，台北，誠品畫 廊）；「偶遇洪易」（2008，台北）。 Born in Taichung, Taiwan. He graduated from Mingdao Junior High School, majored in Fine Arts. His creation style in vivid and unique: rich color, intricate curves and audacious design together compose every pieces of his work. Main exhibitions: “Life in the World”, Dimension Endowment of Art, Taipei, 2004; “2005 Connecting Network for Asian Cities”, Seoul Museum of Art, Korea, 2005; “Me 2, Consensus and Childlike Public Art Exhibition”, Hong Kong, 2006; “Artists’ Party of Light and Shadow”, Eslite Gallery, Taipei, Taiwan, 2006; "Meet Hung Yi", Taipei, 2006.

291

巴勃羅．畢卡索 PABLO RUIZ PICASSO (1881-1973)

李奧納多‧達芬奇 LEONARDO DA VINCI (1452-1519)

063 149

065

196 173

174

生於西班牙南部的馬加拉，1985年進入巴薩隆納的隆哈美術學校。其父於該校任 教。1987年作品「科學與慈善」或馬德里全國美展榮譽獎，後來又在馬拉加得到該 金牌獎。27歲布拉克第一次舉行立體派畫作展。1912年與布拉克合作紙貼畫，發 展出合成立體主義。1954年開始創作德拉克洛瓦的「阿爾及利亞女人」變奏系列。 1957年畫委拉斯蓋茲「宮女」變奏40餘張。1959年做馬內「草地上的午餐」變奏 系列。1963年繪製「畫家與模特兒」系列。同年巴塞隆納的畢加所美術館開幕。 「畢卡索大型回顧展」（1966，巴黎皇宮，巴黎）。1973年4月8日於坎城的慕瞻 市去世，享年92歲。 Born in Malaga in southern Spain on 1881 October 25th. He went into Haroun School of Fine Arts in Barcelona in which his father was teaching. His works “Science and Charity” in 1987 won Honorary Award in Madrid National Art exhibition and then won Golden Award in Malaga. In 1908, he held his first cubism painting exhibition when he was 27. In 1912, he cooperated with Braque to do cut paper fragments, which develops into cubism.

Form 1954 he began to create variation series of Delacroix's “Algeria woman”. In 1959, he created variation series of Manet's Lunch on the Grass. He painted a series of “Painter and Models” and the muse Picasso in Barcelona opened. 「Grand retrospective exhibition of Picasso」(1966, Grand Place, Paris). He died in Mougins near Canners on 8th, April, 1973 in 92 years old.

莊 喆 CHUANG

CHE (b.1934)

出生於義大利佛羅倫斯。師承韋羅基奧(Andrea del Verrocchio)。他與米開朗 基羅和拉斐爾並稱「文藝復興藝術三傑」，亦是是西洋美術史上最偉大的藝術家 之一。達文西以其畫作寫實性和極具影響力聞名，前者如《蒙娜麗莎》(Mona Lisa)、《最後的晚餐》(The Last Supper)以寫實與立體構圖著稱，後者像《維特魯 威人》(Vitruvian Man)的黃金比例對後世影響深遠。達文西的成就不僅只立足於 藝術領域，他具有超越當時的廣泛構思，顯著提升解剖學、發明及工程學。他的作 品中衹有極少數畫作流傳下來，加上散佈在形形色色收藏中包括了繪畫、科學示意 圖、筆記的手稿。 Born in Florence, Italy. Leonardo da Vinci was a Florentine artist, one of the great masters of the High Renaissance, who was also celebrated as a painter, sculptor, architect, engineer, and scientist. And the greatest of all Andrea's pupils was Leonardo da Vinci. His profound love of knowledge and research was the keynote of both his artistic and scientific endeavors. His innovations in the field of painting influenced the course of Italian art for more than a century after his death, and his scientific studies-particularly in the fields of anatomy, optics, and hydraulics-anticipated many of the developments of modern science.

His famous painting: “Mona Lisa”, “The Last Supper”, “Vitruvian Man”.

王守英 WANG

SOYING (b.1934)

066

生於中國北京，其父莊嚴為已故名書法家暨前北京故宮博物院副院長，故莊喆自小 培養出熱愛中國藝術的興趣。其後遷居台灣，畢業於國立師範大學美術系，加入 五月畫會，積極參與中國繪畫現代化運動。1966年獲美國洛克斐勒基金會贊助， 赴美考察國際當代藝術之發展。著名個展包括：「莊喆個展」(1966，美國紐約， 諾德內斯畫廊)、「莊喆個展」(1977，加拿大，蕭．雷明頓畫廊)、「莊喆個展」 (1985，美國加州，路易．紐曼畫廊)、「莊喆個展」(1992，台灣台北，臺北市立 美術館)、「國際華裔畫家抽象藝術展覽」(2002，香港，香港藝術公社)、「六十年 代台灣繪畫」(2003，台灣，台北市立美術館)、「新加坡藝術博覽會」(2005，新 加坡)、「主題．原象」(2005，台灣台北國立歷史博物館)、「莊喆個展」(2006， 台灣台北，亞洲藝術中心)、「嶺深道遠」(2007，中國北京，中國美術館)，廣為國 內外美術館及私人收藏。 Born in Beijing, China. Chuang's father was a great calligrapher, who was the vice-director of National Palace Museum in Beijing; Chuang was introduced to art by his father when he was young. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University, he joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. Awared a J.D. Rockefeller III Fund travel grant to study in the United States in 1966. He has held various solo exhibitions including : In 1996, New York Lee Nordness Gallery exhibition; In 1977 Canada Shaw-rimington Gallery exhibition; In 1985, California Louis Newman Gallery exhibition. And was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992. In 2002, Hong Kong Art Commune “International Exhibition of Abstract Art of Overseas”; In 2005, exhibited at Singapore International Art Fair, and exhibited “Primal Form” in National Museum of History; In 2006, Taipei Asia Arts Center exhibition; 2007“Deep Ridge VS Remote Way” in National Art Museum of China. Works are widely collected by the museums overseas.

292

068

生於鹿港，畢業於臺北師範藝術科，作品浪漫抒情，彷彿優雅抒情的樂章使 人醉心，即使營造出浪漫的情境，筆觸卻穩重嚴謹，重要展覽：王守英個展 （1979，臺北阿波羅畫廊）；王守英個展（1992年，臺北歷史博物館）；王 守英個展（1989，臺北高格畫廊）；王守英個展（1992，日本木阪Galerie Moustache）；王守英個展（1995，臺北亞洲藝術中心）；王守英個展（2000， 台中景薰樓藝文中心）；創作個展（2001，國泰世華藝術中心）；王守英創作個展 （2006，國泰世華藝術中心）。 In 1934 born in Lu Gang. Graduated from Fine Art Department of Taipei Normal School.

His works are romantic and added sense of impressionism. Even so, those paintings are calm and staid. Main Exhibition: 1979,solo exhibition in Apollo Art Gallery; 1984, solo exhibition in The Nation Museum of History. 1989, solo in Elegant Gallery; 1992, solo exhibitionin Galerie Moustache in Japan; 1995, solo exhibition in Asia Art Center; 2000, exhibition in Ching-Shiun Art Space, 2001and 2006, solo exhibitions in Cathay Gallery.

尚．米榭．巴斯奇亞 JEAN-MICHEL BASQUIAT (1960-1988)

奈良美智 YOSHITOMO

NARA (b.1959)

165

071

072 190

070

生於美國紐約。巴斯奇亞以紐約塗鴉藝術家的身分獲得大眾認識，後來成為一位成 功的1980年代表現主義藝術家。1980年之後巴斯奇亞開始參加畫展。1981年詩人 藝術家瑞內.裡卡德在美國〈藝術論壇雜誌 〉以光芒四射的孩子的標題介紹巴斯奇 亞，而這成為他藝術生涯的催化劑。1982年參加國際策展人歐利瓦策劃的義大利、 美國超前衛畫家聯展，先後入選惠特尼雙年展、德國檔大展，開始和安迪.渥荷往來 及合作。1988年巴斯奇亞因服用藥物過量去世，其作品至今仍深深影響著當代的藝 術家，而且價值不斐。其作品主題經常圍繞著自傳、黑人英雄、漫畫與卡通、解剖 學、塗鴉，以及和塗鴉有關的象徵符號。 Born in New York, America. Basquiat was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primitivist painter by the 1980s. From 1980 onwards, Basquiat started to take part in art exhibi- tions and in 1981, the poetartist Rene Ricard introduced Basquiat in Anforum Magazine with a major article entitled "The Radiant Child".In 1982, he was featured in the international show Trasavanguardia: Italic/America curated by Achille Monito Oliva and was also invited to exhibit in the Whitney Biennial and Germany's Documenta.Basquiat's subjects were typically autobiographical, centering around black heroes, characters from comics and cartoons, anatomy, graffiti, and graffiti-related signs and symbols such as the royal crown, and the copyright mark.

賴昱成 LAI

YUCHENG (b.1981)

生於日本青森縣弘前市，現居於東京。早期的作品以插畫性質為多，但在1980年 代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當 著迷，他的特色在於塑造各種帶有情感的眼神，其中最著名的是斜視的眼神（有人 說是代表憤怒，有人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作 品，並採用不同媒材拼組的方式。今日他的作品已被許多博物館收藏，如紐約現代 藝術博物館和洛杉磯當代藝術博物館等。 Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artists is infatuated with subjects with big heads and big eyes; he is well known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today his works are in collection of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other wellknown museums in the world.

安 卓 ENDRO (b.1983)

076 075

生於台灣，為台灣新銳畫家。2003年畢業於大葉大學造型藝術系繪畫組、2006年 畢業於國立台北藝術大學美術創作研究所。2008年以新銳藝術家在台灣展露頭角， 作品內容探討華麗保護色背後的真實感受，表達現代人的處境與隱憂，符徵與符旨 關係產生的多變性，更重於唯識心理學講求的本質與 精神性。隱喻現代人與自我 投射的形象，以東方的文本反映當今社會現況，作品風格為現代人與環境之間，作 為發人審思的媒介。主要展覽包括:「靡幻世代 賴昱成個展」（2008，台灣台北， 布查當代藝術空間）、「花花斑馬 賴昱成個展」（2009，台灣台北，布查當代藝 術空間）、「繽紛多路正在進行中的現代藝術 聯展」(2010，台灣台北，家畫廊)、 「花花斑馬-通天蓋世 賴昱成個展」（2011，中國北京、上海，八大畫廊）、「花 花斑馬-星球尋幽 賴昱成個展」（2012，中國上海，八大畫廊）、「花花斑馬經典 展| 賴昱成」（2012，台灣三義，大漢藝術空間）。 Born in Taiwan, lives and works in Taiwan . Lai was graduated from Da-Yeh University of Design and Arts with Bachelor Degree in 2003. In 2006. Graduated form Taipei National University of the Arts Department of Creativity. Seleted exhibitions: “Magical and Confusing Generation Lai Yu Cheng Solo Exhibiotn”, Butch Art Gallery, Taipei, Taiwan, 2008; “Flowery Zebra Lai Yu Cheng Solo Exhibiotn”, Butch Art Gallery, Taipei, Taiwan, 2009; “Multiple colorful modern art in progress”, Jia Art Gallery, Taipei, Taiwan, 2010; “Flowery Zebra Lai Yu Cheng Solo Exhibiotion”, Pata Gallery, Beijing, Shanghai, China, 2011; “Riotous Zebra: Lai Yu-Cheng Solo Exhibition” Tahai Art Space, Sanyi, Miaoli, Taiwan, 2012.

生於印尼日惹。1998年至2001年間於日惹藝術交流協。2001年於日惹印尼藝術學 校(ISI)進行藝術研究。為當代藝術家，活耀於印尼日惹。近年展覽包括：「LIFE IS AMAZING」［2011，綠色藝術空間］、「BAZAAR ART FAIR」（2011，太平洋 皇宮，雅加達，印尼）、「PSEUDO AGONY」（2010，Galeri畫廊，雅加達， 印尼）、「seni rupa bersama ACTION `01」（2010，塔曼文化中心，日惹， 印尼）、「印度希望之八位藝術家」（2010，不一藝術，香港）、「日惹藝術博 覽會」（2009，塔曼文化中心，日惹，印尼）、「日惹藝術」（2006，日惹，印 尼）、「關懷地震．日惹」（2006，Girang Gallery，日惹，印尼）。 Born in Yogyakarta, Indonesia. A contemporary artists in Yogyakarta, Indonesia. Then he studied in Indonesian Institute of the Arts in 2001. Selected exhibitions: "LIFE IS AMAZING", Green Art Space, 2011; “BAZAAR ART FAIR”, Pacific Palace, Jakarta, Indonesia; "PSEUDO AGONY", Galeri Canna, Jakarta ; “seni rupa bersama ACTION `01”, Taman Budaya, Jogjakarta ; “EIGHT PROMISING INDONESIAN ARTIST”, EDGE Gallery, Hong Kong, 2010 ; “Jogja Art Fair 2 ( JAF )”, Taman Budaya, Jogjakarta, 2009 ; “Art for Jogja”, TBY, Yogyakarta, 2006; “Peduli Gempa Yogyakarta”, Girang Gallery, Yogyakarta, 2006.

293

李澤藩 LEE

TZEFAN (1907-1989)

楊三郎 YANG

SANLANG (1907-1995)

084

108

078

生於臺灣新竹。就讀於臺北師範學校時，受到石川欽一郎先生啟發，自此潛心繪畫 創作。畢業後先後任教於新竹第一公學校、新竹師專、師範大學、臺灣省教師研習 會、國立藝專，致力美術教育與推廣。其作品於早期臺展、府展以及光復後的臺灣 美術展、全省教員美展等屢次獲獎，此後並擔任審查委員，也舉辦多次個展，於臺 灣水彩畫壇占有一席之地。1974年榮獲中華民國畫學會金爵獎，1983年為行政院 文建會評選為臺灣十位前輩畫家之一，1994年李澤藩美術館創立，展示李澤藩精華 作品，同時深耕藝術推廣。

生於台灣台北。先後在日本京都美術學校以及日本關西美術學院習畫。作品《靜 物》榮獲第三屆台展特選；1932年入選法國巴黎秋季沙龍。1933年返台後，全心 投入推展臺灣美術教育。曾榮獲1986年國家文藝獎、1992年行政院文化獎。著名 展覽包括：「楊三郎油畫個展」(1973，台灣台北，國立歷史博物館)、「楊三郎油 畫個展」(1983，台灣台北，國立歷史博物館)、「楊三郎近作展」(1995，台灣台 北，國父紀念館)、「楊三郎繪畫藝術研究展」（1997，台灣台中，台灣省立美術 館展出）、楊三郎逝世四週年「楊三郎繪畫特展」（1999，台灣台北，國立故宮博 物院）。

Born in HsinChu, Taiwan. Mr.Lee's initation to art was by Mr. Ishikawa Kinichiro when he studied in Taipei Normal School, and had been assiduously creating the paintings since then. After graduating from the Normal School, he taught successively at Hsinchu First Public School, Hsinchu Teachers College, National Taiwan Normal University, Taiwan Teachers Research Association and National Art Institute. Throughout his career, he was both an ardent art educator as well as a devoted practicing artist. Mr. Lee won many prizes and awards from the period of Japanese colonial and after the war. He held several solo exhibitions and adjudicated various official exhibitions. His achievements earned him the Golden Cup Prize from the Artists Association of Republic of China in 1974, and was elected to Ten Outstanding Taiwanese Artists by Council for Cultural Planning and Development in 1983.

Born in Taipei, Taiwan, Yang went to Japan in 1923 then studied painting at the school of Fine arts in Kyoto and Kansai Academy of Art. In 1929, his work “still life” won the first prize of the 3rd Taiwan Exhibition. In 1931, he went to France with Liu Chishiang and his works were selected for the Autumn Salon in Paris in 1932. He contributed himself to art education after returning Taiwan. Yang received a special national art award in 1986 and cultural award by Government of Executive in 1992. “Fifty Years of Studying Art” at the Provincials Museum in 1973 and “Oil Paintings by Yang San-Lang” in 1979,and “Retrospective Exhibition of Yang San-Lang's Painting” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for this great contribution to the Taiwanese art world.

貝納德．畢費 BERNARD

劉國松 LIU

BUFFET (1928-1999)

KUOSONG (b.1932)

183 085

184 086

294

110

生於法國巴黎。1944年進入巴黎美術學校，在伯納恩畫室指導下習畫兩年。1947 年畢費以《托腮男人》作品入選巴黎獨立沙龍 ，同年在巴黎藝術圖畫畫店舉辦首次 個展。這次展覽中巴黎美術館買下《小雞靜物》油畫。 從1940年代開始，畢費幾 乎每年舉辦一次展覽，他的主要巡迴展遍佈歐美和亞洲等地。1955年僅27歲的畢 費被當時的《藝術鑒賞雜誌》選為戰後十大傑出藝術家之首。1958年舉辦第一次巡 迴展，更被媒體譽為法國寫實主義繪畫的接班人。1973年日本大收藏家岡野喜一郎 在靜岡縣成立畢費美術館，畢費的成就受到極大的肯定。1974年入選為法蘭西學院 所屬的美術學院學士，此為法國藝術家最高榮譽象徵。1980年曾經得到騎士勳章與 法蘭西院士的榮譽。畢費為第二次世界大戰後，以粗黑的線條交錯描繪韻律簡潔著 名。世界著名的美術館皆展出其作品，亦為全球收藏家所喜愛。畢費的創作向來以 悲劇主題貫穿，無奈最終也以悲劇方式告別人世。1999 年10月4日畢費自殺的消息 令全球美術界譁然，當時巴黎文化部部長陶特曼說：「國家失去它最偉大的畫家之 一。」

生於中國安徽。1949年定居台灣，1956年畢業於台灣師範大學美術系，隨即創立 「五月畫會」，發起現代藝術運動。1961年間，感慨當代一味模仿西方畫風與思 潮，故倡導中國畫的現代化。自1965年起，劉國松已在世界各地展出個展八十餘 次；1959年參加巴西「聖保羅國際雙年展」、法國「巴黎青年雙年展」；1963年 發明粗筋棉紙－劉國松紙，並藉此創造出自我獨特畫風；1968年當選台灣「十大 傑出青年」；參與美國俄亥俄州馬瑞埃塔學院藝術中心「主流’68」國際美展，並 獲「傑出畫家獎」；1985年首次應法國「五月沙龍」之邀，作品於巴黎大皇宮展 出；1991年獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。近期展覽包括： 「宇宙心印－劉國松七十回顧展」（2002）、「宇宙心印：劉國松繪畫一甲子」 （2009，臺灣臺北，國父紀念館）、「劉國松創作大展-八十回眸」（2011，中國 北京，中國美術館）。

Born in Paris, France. In 1943, Buffet entered the Ecole National des Beaux-Arts where he studied for two years. In 1947, he had his first solo exhibition in Paris, and later conducted exhibitions in New York, Geneva, Copenhagen, and etc. In 1948 ha won the “Prix de la Critique”. In 1955, the magazine Connaissance des arts selected top ten post-war artists, and Buffet, at the age of 27, was awarded the First Prize among the ten artists. In 1973, the first Bernard Buffet Museum was founded in Shizuoka, Japan. Buffet was the representative artist of anti-abstraction figurative art, and the thin, tough, and black outline was his personal stytle. Buffet's works is exhibited in plenty museums, including Contemporary Museum and Tate Gallery in London.

Born in Anhui, Liu moved to Taiwan in 1949. He graduated from the Fine Arts Department of National Taiwan Normal University in 1956. He is the founder of the “Fifth Moon Art Association”, and the leader of Chinese contemporary painting movement. His works have been exhibited more then 80 times around the world since 1965. He has held several academic positions, including the Dean of the Fine Arts Department at Hong Kong Chinese and Tainan National University of Arts. Liu's works are widely housed by museum and art originations all over the world. Recent exhibitions: “The universe in the mind: a retrospective of Liu, Kuo-Sung”, 2002; “The Universe in the Mind: Master LiuKuosung Painting 60 Years Retrospective Exhibition”, 2009, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan; “A Creation Exhibition by Liu Guosong —Looking back at 80”, The National Art Museum of China, Beijing, China.

吳昌碩 WU

CHANGSHUO (1844-1927)

康有為 KANG

YOUWEI (1858-1927)

089 088

111

生於中國浙江。吳昌碩與虛谷、蒲華、任伯年名為清末海派四傑，更為「後海派」 中的代表。中國近代傑出的藝術家，是當時公認的上海畫壇與印壇的領袖。10歲喜 愛刻印章，其父加以指導，後精於篆刻，在西泠印社成立於杭州後，曾為同道推認 為首任社長。30歲左右作畫，取諸家之長，兼取篆、隸、狂草筆意入畫，尤擅長寫 「石鼓文」，因此自成一家。其作品重整體，尚氣勢，有金石之氣。對於用筆、施 墨、題款、鈐印的疏密輕重，匠心獨具。其藝術在中國與日本有非常大的影響。吳 昌碩的繪畫、書法、篆刻作品集有《吳昌碩畫集》《吳昌碩作品集》《苦鐵碎金》 《缶廬近墨》《吳蒼石印譜》《缶廬印存》等，詩有《缶廬集》。其作品藏於北京 故宮博物院、上海博物館、北京中國美術館等。

生於中國廣東省南海縣，是中國政治家、思想家、教育家。清光緒年間進士，曾與 弟子梁啟超合作戊戌變法。出身於士宦家庭，乃廣東望族，世代為儒，以理學傳 家。他信奉孔子的儒家學說，並致力於將儒家學說改造為可適應現代社會的國教， 曾擔任孔教會會長。康有為在書法藝術方面造詣良好，是繼阮元、包世臣後又一大 書論家。其於所著的《廣藝舟雙楫》裡，從理論上全面且系統性的總結碑學，提出 “尊碑”之說，大力推崇漢魏六朝碑學，對碑派書法的興盛有著極其深遠的影響。 主要著作有《康子篇》、《新學偽經考》、《孔子改制考》、《日本變政考》、 《大同書》和《歐洲十一國遊記》。 Born in in Nanhai, Guangdong province. Kang was a Chinese scholar, noted calligrapher and prominent political thinker and reformer of the late Qing Dynasty. Kang came from a scholarly gentry family in the district of Nanhai in Guangdong province. His teacher imbued him with the Confucian ideal of service to society, and his study of Buddhism impressed him with its spirit of compassion. Besides prolific writings on the Chinese Classics, politics, and economics, Kang also left travel accounts and an anthology of his poems; he was also a famous calligrapher. His calligraphic education, thus, his inherent knowledge for this type of visual art, that over the centuries had developed a strong bond with the scholar-officials.

Throughout his life, Kang Youwei, has dedicated time and energy to the art of calligraphy, acquiring a ample theoretical and practical knowledge, later merged in his compendium published in 1891

Born in Zhejian, China. Wu is Late Qing Dynasty Shanghai's style with Syu Yu, Pu Hua and Ren Bo Nian. Wu is modern China's outstanding artist. He was the leader of painting and seal in Shanghai. His father taught he to engrave seal because he is fond of it. On this account he was good at stone carving and became the first president of Xiling Seal Engrave.

Started painting about 30 years old, he took advantage of various group such as seal script used throughout the pre-Han period, clerical script, wild cursive and added the lines to the painting. Wu is good at writing early form of Chinese characters inscribed in stone, a precursor of the small seal. His works focused on the overall, advocating momentum.

He had special skills such as movement of pen, inscription and seals art that all had good composition. His art infected Japan and China. Wu's painting, calligraphy and engraving seal's works were published to several books. His works were collected in The Palace Museum, Shanghai Museum, National Art Museum of China and so on.

李梅樹 LI

MEISHU (1902-1983)

周春芽 ZHOU

092

090

生於台灣三峽。1922年畢業於台北師範學校，1924年參加石川欽一郎組織之「暑 期美術講習會」，1928年赴日深造，隔年考入東京美術學校西畫科。1930年加入 「赤島社」，1934年歸國，與畫友創立台陽美術協會，後於1974年再組「中國油 畫學會」，並任常務理事。自1927年起，作品數次入選台展及省展並於1935年獲 第九屆台展及特選總督獎，1992年更獲參加日本「光風畫會」美展資格至1970 年。李梅樹曾任教於國立藝專、中國文化大學及國立台灣師範大學。1971年當選全 國好人好事代表，榮獲副總統嚴家淦先生頒「德藝兼修」匾額。1983年逝世後，李 梅樹美術館於1990年成立於其三峽故鄉。李梅樹畢生致力於油畫創作與美術教育， 獲獎展覽無數，實為台灣藝壇之重要奠基與推動者。 Born in Sanhsia, Taiwan, Li Graduated from Taipei Teacher's College and teaching in Reifang Public School in 1922, and then was admitted to the Western Painting Department of Tokyo School of Fine Arts in 1929. After returning to Taiwan, he founded the Taiyang Fine Arts Association in 1934 and the China Oil Painting Association in 1974 with a group of artists. From 1927, Liu's works were constantly selected to Taiwan Provincial Fine Arts Exhibition, and even won an award in the 1935. He was a professor for many years at the National Taiwan Academy of Arts, Chinese Culture University and National Taiwan Normal University. He died in 1983, and his memorial museum was established and opened in 1990 in Sanhsia. Li Meishu devoted himself to the arts creation and arts education in his whole life, and is the master and the active promoter of Taiwan art scene.

093

CHUNYA (b.1955)

094

生於中國四川。1982年畢業於四川美術學院，1988年取得德國卡塞爾美術學院自 由藝術系的碩士學位。1980年作品入選第二屆全國青年美展二等獎，日後開始參 加多項展覽。近年重要個展包括：「周春芽個人作品展」（2002，挪威，314國 際藝術中心；義大利，特蘭托現代當代藝術博物館）、「周春芽個展」（2010， 中國，上海美術館）。曾參與的聯展包括：「周春芽」 (1997，香港，香港藝術中 心)、「後八九中國新藝術展」（澳洲雪梨當代藝術館等）、「首屆上海雙年展」 (1996，中國上海，上海美術館)、「那麼中國呢？」(2002，巴黎，龐畢度中心) 、 「首屆中國當代藝術雙年展」(2005，法國，蒙彼利埃市)、「亞洲火紅─Chaney 家族亞洲藝術品展」(2007，美國，休斯頓美術館) 、北京今日美術館「花間記」以 及「綠狗」(2008，印尼，國家藝廊)。 Born in Chongqing, Sichuan, China. ZHOU graduated from Sichuan Academy of Fine Arts in 1982. In 1988, he received his MFA from Gesamthochschule, Kassel, Germany. During that time, Zhou's style began to move towards a more metaphysical approach that incorporated Neo-Expressionistic elements. Zhou has held solo exhibitions at The Museum of Modern and Contemporary Art of Trento and Rovereto (MaTR), Italy in 2002; 314 International Art Center, Bergan, Norway in 2002, “Solo Exhibition”, Shanghai Art Museum, China,2010.Selected group exhibitions include “China's New Art: Post-1989”, Hong Kong Arts Centre, Museum of Contemporary Art, Sydney etc, from 1993 to 1997; “The First Shanghai Biennale, 1996; “Alors, La Chine!”, The Pompidou Center, Paris, 2002; “First Contemporary Art of China Biennale”, Montpellier, France, 2005; “Red Hot! Asian Art from the Chaney Family Collection”, Huston Museum of Fine Arts, USA, 2007; “Blooming Stories Paintings＆ Sculptures by ZHOU Chunya”, Beijing Today Art Museum, China, 2007; “Green Dog”, Indonesia National Gallery, 2008.

295

趙無極 ZAO

WOUKI (1921-2013)

張曉剛 ZHANG

XIAOGANG ( b.1958)

168 143

155 178

生於中國北京。1941年畢業於杭州藝專，曾任該校講師，受業於林風眠（19001991）、吳大羽（1903-1988）。1959至1965年曾在紐約庫茲畫廊舉行每年一次 的個展，1970年代時趙無極成為巴黎最傑出的中國畫家。1981年在法國大皇宮展 出，並獲得「榮譽軍團司令勛章」。2002年榮膺為法蘭西學院院士。他的作品廣被 世界各地的私人藏家及博物館珍藏。1993和1995年應邀在台北及高雄市立美術館 展覽。1994年獲得日本天皇美術獎。1998年更經由法國文化部策劃其回到中國上 海博物館、北京中國美術館、廣東美術館舉辦回顧展。他的作品中承襲中國傳統內 涵，取中國書法和山水畫的線條與氣韻，在畫布空間中巧妙地以抽象方式表達真實 事物，創造出現代繪畫的新領域。第二次世界大戰後，成為巴黎畫派最具影響力的 畫家之一，也是西方藝壇上成就最傑出的一位中國藝術家。 Born in Beijing, China. Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988) and graduated in 1941.

Zao's earliest exhibitions in France were met with praise from Miró and Picasso. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing's China Art Gallery. His work is found in major public collections such as the Musée d'art moderne in Paris.

薛 松 XUE

SONG (b.1965)

生於中國雲南。畢業於四川美術學院油畫系，1989年於北京中國美術館參加中國 現代藝術大展，自始逐漸活躍於當代藝壇。1997年榮獲英國Coutts國際藝術基 金會所頒的當代藝術新人獎，前後陸續的參與國際重要大展。他的作品身深受國 際藝評及美術館喜愛，為美國古根漢美術館及日本福岡美術館等重要藝術機構收 藏。曾參加「第22屆巴西聖保羅雙年展」（1994，巴西），並獲銅牌、「義大利 威尼斯雙年展」（1995，義大利）、「中國!」在德國、奧地利、波蘭及丹麥巡 迴展（1996）、「圖像就是力量」（2002，中國深圳何香凝美術館）。個展包 括：「張曉剛2005個展」（2005，紐約Max Protetch畫廊）、「失憶與記憶」 （2006，首爾Artside畫廊）、「張曉剛個展」（2007，芬蘭坦佩莉Sara Hilden美 術博物館）。 Born in Yunnan, Zhang graduated in 1982 from the Oil Painting Department of Sichuan Academy of Fine Arts. In 1997, he won the Best New Artist award from the Coutts Art Foundation in Britain. Main Exhibition in which he recently participated including: “China!” a traveling exhibition in Germany, Austria, Poland, and Denmark, 1996; “Image is power”, Shenzhen, China, 2002; “Zhang Xiaogang 2005” Max Protetch, New York 2005;”Amnesia and Memory”, Gallery Artside, Seoul, 2006; His works have been collected by museums worldwide including the Guggenheim Museum, Fukuoka Museum of Art, Queensland Art Gallery, Australia National Gallery of Art, Shanghai Art Museum, and the Luxembourg National Museum of Modern Art.

陳丹青 CHEN

DANQING (b.1953)

096

生於中國安徽，畢業於上海戲劇學院舞臺美術系，現居上海。近年個展：「薛松 個展」(2001，英國，倫敦當代中國畫廊)、「薛松」(2001，香港，世界畫廊)、 「不搭界」(2002，中國上海，香格納畫廊)、「薛松作品展」(2003，中國上海， 奧迪媒體中心)、「薛松新作品展」(2004，中國上海，香格納畫廊)、「薛松」 (2004，香港，世界畫廊)、「薛松個展」(2005，英國，倫敦當代中國畫廊)、「薛 松個展」(2006，中國北京，帝門藝術中心)。參與的國際聯展包括：「巴黎—北 京」(2002，法國巴黎，Escape Pierre Cardin)、「行而上2002上海抽象藝術展」 (2002，中國上海，上海美術館)、「？無關現實！2004中國當代藝術」(2004，中 國上海，劉海粟美術館)、「限制與自由」(2005，中國武漢，美術文獻藝術中心)、 「麻將」(2005，瑞士，波爾尼美術館)、「85致敬2005-1985」(2007，中國上 海，多倫現代美術館)、「中國當代社會藝術展」(2008，俄羅斯莫斯科，俄羅斯國 家美術館)、「回首˙解構經典—薛松作品展」(2009，中國上海，上海美術館)。其 作品為世界許多重要機構及私人藏家所收藏。 Born in Anhui, China. In 1988, Xue Song graduated from the Stage Art Department of the Shanghai Theatre Academy. Now live in Shanghai. Recent solo exhibitions: “Ver Da GaXue Song 2002 Fashion Series”, ShanghART, Shanghai, 2002; “Xue Song Newworks”, The Scenery And Fashion of Today, ShanghART, Shanghai, 2003; “Xue Song”, Galerie du Monde, Hong Kong, 2004; “Xue Song Solo Show”, Chinese Contemporary Art Gallery, London , UK, 2005; “Xue Song Solo Exhibition”, Dimensions Art Center, Beijing, 2006.

Recent group Exhibitions: “Paris- Pekin”, Escape Pierre Cardin, Pairs, France; “Metaphysics 2002”, Shanghai Art Museum, Shanghai, 2002; “?untelated to reality!, Shanghai Abstract Art”, Liu Haisu Art Museum, Shanghai, 2004; “Limitation and Freedom”, Wuhan Literature Art Center; “Mahjong”, Switzerland; “ 85 Salute 2005-1985”, Shanghai Duolun Museum of Modern Art; 2007, “Chinese Contemporary - Society Art Exhibition”, Russia National Art Museum Mosco; 2008 “ Foire Internationale d'Art Contemporain” Paris; 2009, “Classic-Xue Song Works Exhibition”, Shanghai Art Museum.

296

097

生於中國上海，中華民國旅美畫家，文藝評論家。1970年至1978年間輾轉贛南、 蘇北農村插隊落戶，其間自習繪畫，是當時頗有名氣的「知青畫家」。1980年以 《西藏組畫》轟動藝術界，成為顛覆教化模式，並向歐洲溯源的發軔，被公認為 具有劃時代意義的經典之作。1978年考入中央美術學院油畫系研究生班，1980年 畢業留校，1982年赴紐約定居，自由職業畫家。2000年回國後，任清華大學美術 學院教授、博士生導師，同時主持陳丹青工作室的工作，現定居北京。曾經出版 包括：2000年出版文集《紐約瑣記》、2002年出版隨筆集《陳丹青音樂筆記》、 2003年出版文集《多餘的素材》。 Born in Shanghai, China. Chen self-taught to paint in 1970 when he's in the village. In 1978, he enrolled to the Oil Painting department, Central Academy of Fine Arts for master degree, after he graduated he stayed for teaching. In 1982, he moved to New York as a free artist, after his return in 2000, he stayed in the art department, Tsing Hua University as a professor, and the advisor for doctors, in the same time he also established his own Chen Danqing Studio. He published Notes on New York in 2000, Chen Danqing's Music Notes in 2002, and Surplus Materials in 2003. After leaving Tsinghua University, Chen dedicated most of his time to writing books on politics, literature, and of course, painting and art education.

程叢林 CHENG

CONGLIN (b.1954)

向 京 XIANG

JING (b.1968)

098

099

生於中國四川成都。中國著名油畫家、美術教育家。 1982年畢業於四川美術學院 油畫系。 1986年結業於中央美術學院油畫系研修班。曾任教於四川美院、中央美 院、德國奧斯納布名克大學。擔任首屆及第二屆「中國油畫展」評委、亦是中國美 術家協會會員。「傷痕美術」主要代表人物。現為駐德自由藝術家。擔任中國高 校油畫、素描、動畫教材總編，2007年擔任國家重大歷史題材創作工程。1987年 及1994年兩度擔任“中國油畫展”的評審委員。1991年被中央美術學院聘為終身 兼任副教授，1999年被聘為四川大學藝術學院特聘教授，擔任碩士研究生導師。 2003年，應中國文化部之邀，創作《遠在天邊》參加“北京國際美術雙年展”； 同年，《一公一母》獲第三屆中國油畫展“中國油畫藝術獎”。出版畫冊有：《中 國當代藝朮選集-程叢林專集》《名家精品-程叢林歷史畫》、《名家畫稿-程叢林手 稿》、《名家精品-程叢林油畫風景》。 Born in Chengdu city of Sichuan province, China. Cheng Conglin is a Chinese visual artist.

1971 Cheng entered Chengdu Art School and worked in Chengdu Art Society in 1974. He entered the oil painting department of Sichuan Art Academy and stayed for teaching after graduation in 1977. In 1986, He was invited by Center National Des Arts Plastiques to work in and teach art. He took part in teaching and communication in Montpellier Art Academy of Avignon in Paris.Cheng Conglin has had several gallery and museum exhibitions, including at the National Art Museum of China. Cheng in one of the most eminent members of the “Scar Art” group.

楊 述 YANG

SHU (b.1965)

100

生於中國重慶，1985年進入四川美術學院研究所，1988年畢業後留任於四川美 院。著名展覽包括：「生活的片段」個展（2001，香港）、「行而上2005」 （2005，中國，上海美術館）、「重慶辣椒2006」（2006，中國，青島市美術 館）、「意象武夷──中德兩國藝術家首次面對面互動」創作國際巡迴展、「從西 南出發」當代藝術展（2007，中國，廣州美術館）、「貴州雙年展」（2007）、 「我的蘋果」（2007，中國，北京美術館），作品被中國美術館等藝術機構及歐洲 私人所收藏。 Born in Chingqing, China. First learning oil painting in 1975, and enrolled the graduate school of Sichuan Academy of Fine Arts in 1985, teaching after graduation. Yang was held a solo exhibition “Snatch of Life” in Hong Kong in 2001. Recent group exhibitions: “Metaphysics 2005”, Shanghai Museum of Fine Arts; 2005; “Chongqing chilli 2006”, Qingdou Museum of Art, 2006; “Set off From Southwest”, Guangzhou Museum of Fine Arts, “Quaizhou Biennial”, 2007. His works have been collected by many Museums of China, Hong Kong, Singapore US and Europe.

生於中國北京。1995年畢業於中央美術學院雕塑系。1995年參加北京當代美術館 舉辦的三月四人展。畢業作品《護身符》等獲中央美院畢業生作品展一等獎及日本 松岡家族基金會一等獎，作品被中央美院收藏。同年參加中國美術館舉辦的中華女 畫家邀請展。1995年至1999年任中國電影家協會《大眾電影》雜誌社編輯，1999 年至2007年任教於上海師範大學美術學院雕塑工作室。向京在20世紀初以青春少 女題材嶄露頭角，為近年來受國際當代藝術界關注的中國當代女雕塑家之一，也是 第一屆藝術與設計大獎賽候選人。1998年參加中國美術館「世紀．女性藝術展」、 「弦外之音畫展」。1999年作品參加北京．新時空－ART專處空間舉辦的「世紀末 藝術之旅．第二回展」，作品入選「第九屆全國美展」並獲優秀獎，作品《一杯冰 水》等五件作品參加成都現代藝術館舉辦的「中國當代雕塑邀請展」，作品《我的 娃娃》等九件作品參加劉海粟美術館舉辦的「海平線－2000繪畫雕塑邀請展」。 2001年，作品《禁閉》、《冰涼的水》等四件作品參加在成都現代藝術館舉辦的 「架上樣板－第一屆成都雙年展」。作品曾在《當代藝術：女性與藝術的生態自 述》、《藝術家》、《典藏》等刊物發表，並被海內外機構及私人收藏。 Born in Beijing, China. Graduated in 1995 from the Sculpture Department of the Central Academy of Fine Arts. Her graduation portfolio Amulet had won the 1st prize from Central Academy of Fine Art graduation portfolio exhibition and also from Japan Matsuoka Foundation, her work has been collected by Central Academy of Fine Art. In the same year, she participated the exhibition of Chinese Female Artists held my China National Museum of Art, also the "Century: A Female Art Exhibition" and "Subaudition: An Art Exhibition" at the same place in 1998. The next year, she participated the 2nd "Artistic tour before the end of the century" exhibition held by The New Dimension–he Only Place for Art, her work was chosen by the 9th "National Art Exhibition" and had won the award of excellence. Many of her works are collected by the Central Academy of Fine Arts, National Art Museum of China and overseas art institutions.

楊許玉燕 YANG

XUYUYAN (b.1910)

109

生於台灣台北。十四歲時開始習畫，1960年在台北市中山堂舉行第一次個展。素以 女性纖柔之感性，描繪自然，喜愛花、庭園、風景等題材;筆觸細膩綿密、獨樹一 格。1929年與同在日本留學的楊三郎先生結婚，對台陽美展及其他美術活動之推展 貢獻良多。早年她曾放下最愛的畫筆，退居幕後協助持家，並積極協助楊三郎籌設 「臺陽美術協會」、「臺灣省美術展」等工作。直到晚年，才又重拾畫筆描繪自然 的美好風景。終其一生為藝術與家庭付出，卻始終謙沖為懷。1989年於台北縣立文 化中心舉行「許玉燕八十回展」。1998年於台北市立美術館展出「意象與美學－台 灣女性藝術展」。 Yang was born in Taipei, Taiwan. She started learning drawing in age 14 and had her first exhibition in ZhongSangTang in Taipei. Her style of drawing was very feminine and tender, the stoke was very exquisite and pay all the attention to details. She enjoyed drawing flower, gardens and scenery subjects. She married to the famous Taiwanese artist Yang SanLang in 1929, and was fully participated in TaiYang Art Association and other art activities. Art and family have taken the most important roles in Yang's life. XuYuYang's age 80 retrospective art exhibition was held in Taipei Provincial cultural center in 1989. Her paintings were also exhibited in “Imagism and beauty of Taiwan female artists” in Taipei Municipal Art Museum in 1998.

297

葉子奇 YEH

TZUCHI (b.1957)

113

Born in Hualian, Taiwan. Yeh graduated from Fine Art Department of Chinese Culture University and entered military service. In 1982, he is a member of R.O.C Painting Society, and organized 101 art-group. In 1983, Yeh held exhibition of 101 art-group and set up his own studio. In 1987, Yen entered Brooklyn College of the City University of New York, lived and worked in New York. He has participated in many important exhibitions in Taiwan and overseas. His recent solo exhibitions include the "Monologue – the Near and Far Away from Home", 2004, Eslite Gallery, Taipei, Taiwan; "Through the Landscape of the Mind", 2007, Eslite Gallery, Taipei, Taiwan; "Landscape Taiwan"2009, Eslite Gallery, Taipei, Taiwan. Some of his paintings were collected by art institutes and private collectors around the world.

116

TUNG (1920-1987) 生於台灣台南，又名洪朱豆，台灣知名素人畫家。 50歲時開始拜師學畫，於1972年以作品《一說為 樹下》嶄露頭角；1973年時雄獅美術四月號出版 「洪通特輯」，藝術界開始討論和研究洪通其人 其畫；1976年於台北美國新聞處林肯廳舉辦「洪 通首次個展」成為全台焦點人物，受媒體後炒作 之久。1986年資助其繪畫的妻子辭世，令其精神 飽受打擊。1987年洪通於南鯤鯓的家中睡夢中 去世，享壽67歲。其畫作元素多元，神祕的文字 畫與用色豐富的畫風至今仍為人稱道，因作品的 特殊風格，洪通又被稱為「靈異畫家」。重要展 覽包括：「狂熱的生命－洪通逝世10年回顧展」 （1996，美國紐約，紐約文化中心）、「台灣樸 素藝術展」（1997，台灣台北，台北市立美術 館），「素人的靈現 －國際界外藝術」（2004， 美國，聖塔菲爾國際民俗藝術館）、「反思－70 年代台灣美術 發展」（2004，台灣台北，台北市 立美術館舉辦）、2006年《飛躍》獲選入「台灣 美術發展 1950－2000」展覽，先後在北京中國美 術館、台北市立美術館展出。

Born in Tainan, Taiwan. Hung Tung was one of Taiwan's most famous self-taught artists.

In 1970, at the age of 50, Hung Tung felt a desire to paint; this turning point marked the beginning of his career as an artist, and started to attract significant attention in 1972 when his painting “Under the Tree” came to public notice. In 1976, Hung Tung's first solo exhibition, held at the American Cultural Center in Taipei, brought him nationwide fame. In 1986, Hung's wife passed away. He was deeply affected by her death, and died in his sleep himself the following year, at the age of 67. Selected exhibitions: “An Eccentric World – the Art of Hung Tung”, Taipei Cultural Center, New York, 1996; “Taiwanese Naive Art”, Taipei Fine Arts Museum, Taiwan, 1997. In 2004, several of Hung's works – including “Dedicated to Ho Cheng-kuang” and “American Paradise” – were shown in the “Vernacular Visionaries: International Outsider Art in Context” exhibition at the Museum of International Folk Art in Santa Fe; the catalogue for this exhibition was published by Yale University. Also in 2004, six paintings by Hung Tung (including “Festival”) were included in the exhibition “Reflections of the 70s – Taiwan Explores its Own Reality” at the Taipei Fine Arts Museum. In 2006, Hung Tung's painting “Flying” was included in the “Odyssey of Art in Taiwan, 1950 – 2000” exhibition, which was held successively in the National Art Museum of China in Beijing and the Taipei Fine Arts Museum.

298

JYI (b.1953)

114

出生於台灣花蓮。畢業於文化大學美術系西畫組，1987年8月葉子奇赴美，1989 年獲頒美國紐約市立大學布魯克林學院藝術研究所碩士(MFA)，並在紐約生活創 作。2006年返回花蓮定居。作品曾多次參與國際性聯展，曾舉辦「紐約個展」 （1989，紐約，格林威治區，衛斯貝斯畫廊)，「鄉愁在浴室中，對話與獨白」 （1994，臺灣臺北，誠品畫廊），「走過風景的心情1988-1996」（1997，臺灣 臺北，家畫廊）、「風景，台灣」（2000，臺灣臺北，帝門藝術中心）、「獨 白—離鄉之遠近1989-2004」(2004，臺灣臺北，誠品畫廊)、「走過風景的心情」 （2007，臺灣臺北，誠品畫廊）、「風景‧台灣」（2009，臺灣臺北，誠品畫 廊）等個人展覽。作品廣為國內外藝術機構及私人收藏。

洪 通 HUNG

黃 楫 HWANG

生於台灣嘉義。1974年畢業於國立藝專美術系畢業，同年獲第七屆全國美展第一 名。1982年應日本關西美協邀請，在上野、京都等美術館展覽，其作品曾入選 1989年巴黎高等美術學院美展。曾參與法國巴黎高等美術學院聯展（1989）、 台灣省立美術館「台灣藝術三百年」聯展（1990）、韓國漢城藝術家國際交流 展（1992）、台北市立美術館「1996雙年展：台灣藝術主體性～當代議題」 （1996）、印象畫廊「印象當代開幕展」(2007) 、印象畫廊「帝國大反擊首部 曲：王者再現」(2008)等。其作品帶有超現實史詩的內涵，充滿多層次時空交替的 感官接觸，風格於台灣當代藝術中別樹一幟。 Born in Chiayi, Taiwan. He graduated from National Taiwan University of Arts and won the first prize in the 7th National Art Exhibition of the Republic of China in the same year.

The artworks by Hwang Jyi were shown in 1989 L' Ecole Nationale Superieures des Beaux arts exhibition in Paris, and had been selected for several group exhibitions held by Taipei Fine Arts Museum and National Taiwan Museum of Fine Art. Hwang Jyi's works, often in the nature of surrealist epics, can be seen as a kind of personal creative journal, with strong sensory impact created through presentation of multi-layered dimensions. They stand as unique stylistic achievements in modern Taiwanese art.

陳義郎 CHEN

YILANG (b.1968)

119

生於台灣嘉義。1986年開始從事木雕，於三義習藝於葉煥木師父，1991年成立個 人工作室。2001年獲第五屆木雕金質獎首獎，2002年全省木雕比賽第三名，2003 年入選第七屆木雕金質獎，2006年獲第十屆裕隆木雕金質獎最佳意境獎。近期展 覽：「時間中的動作」（2005，臺灣台中，臻品藝術中心）、「國立美術館典藏」 （2005，臺灣台中）、「藝術家的光影派對」（2006，臺灣台北，誠品藝文空 間）、「文字獸」（2006，臺灣台北，國際藝術博覽會）、「文字獸II」（2006， 月臨畫廊，台中）、「當代木雕的工藝精神」（2006，臺灣臺北，總統府）、「阿 龍」（2006，三義，木雕博物館），「國際藝術博覽會」（2007，台北），「陶 與木的對談」（2008，台中，逢甲大學藝術中心），「陳義郎－造字」（2008， 月臨畫廊，台中），「自作字獸」（2009，台北市立社會教育館，台北）。 Born in Chiayi, Taiwan. Chen engaged in woodcarving in 1986, learned the wood carving skill under the instruction of master Yeh Huan-Mu in Sanyi, and then founded his own studio in 1991. He once won the first prize from The Fifth Woodcarving Golden Award in 2001, and the third prize in Provincial Woodcarving Competition in 2002, his work was selected in The 7th Woodcarving Golden Award. Recent exhibitions: “Motion in Time”, 2005, Galerie Pierre, Taichung; “The Character- shaped Beasts”, 2005, HomerLee's Art Center, Taipei; “National Gallery Collection”, 2005, Taichung; “Artists' Party of Shadow and Light”, 2006, Eslite Gallery, Taipei; “The Character- shaped Beasts”, 2006, International Art Exhibition, Taipei; “The Character- shaped Beasts II”(2006, Moon Gallery, Taichung), “International”(2007, Taipei), “Communication between Terracotta and Wood”, 2008, Fengchia University Art Center, Taichung; “The Word Carvings of CHEN YI-LANG”,2008, International Art Exhibition, Taipei; “The Word Carvings of CHEN YI-LANG”, 2008, Moon Gallery, Taichung; “The Master of Monsters”, 2009, Taipei Cultural Cneter, Taipei.

高惠君 GAO

HUIJUN (b.1966)

陳庭詩 CHEN

120

122

生於中國河北。1992年畢業於中央工藝美術學院。1995年參加北京中國藝術博覽 會，獲優秀作品獎，同年也參與於德國舉辦之「中國現代藝術展」。1996至2002 年先後在北京、新加坡舉辦個人畫展，其後著名展覽包括：「油畫名家名作邀請 展－中國巡迴展」(2002，中國北京)、「21位藝術家聯展開幕式」(2003，北京， 犀銳藝術中心)、「當代藝術家21人聯展」(2003，中國北京，觀景廊)、「表情與 狀態展」(2003，中國北京，泰康頂層空間)、「中國先鋒VANESSA ART HOUSE」 (2004，印尼雅加達)。其作品也為天津泰達當代藝術博物館收藏。 Born in Baoding, Hebei, China. Gao Huijun graduated from the Central Industrial Art Institute in 1992. He attended the Beijing China art exhibition, won the outstanding works prize, in the same year she also participated in the German China modern art exhibition. After 1996, he held solo exhibitions in Beijing and Singapore during 1996 to 2002. Exhibition by Twenty-one Contemporary Artists, Xray Art Center, Beijing, 2003; The Opening of a Joint Exhibition by Twenty-one Contemporary Artists, Panorama Gallery, Beijing, 2003; Picture if Asia Fine Art Auction, Larasati, Indonesia, 2003; China Avantgarde Vanessa art house Jakarta Indonesia, Articles in Publications. His works are also collected by Teda Contemporary Art Museum in Tianjin.

劉耿一 LIU

TINGSHIH (1916-2002)

KENGI (b.1938)

生於日本東京，父親為台灣著名畫家劉啟祥。 1946年返台，1969-1980任教於屏東國中，1981 年辭去教職並移居高雄，自始成為專業畫家。曾 遊歷日本、歐洲、美洲與紐西蘭等地，以汲取創 作靈感。曾榮獲：台陽展之「台陽賞」(1963)、 全省美展優選（1963）、中華民國畫學會油畫 類「金爵獎」(1986)。1962年，首次於高雄市台 灣新聞報畫廊舉辦個展，近期展覽包括：「大地 行吟：劉耿一繪畫及造型藝術展」，並出版專輯 （2001，台灣台北，亞洲藝術中心）、「美術高 雄2001：後解嚴時代的高雄藝術」聯展（2002， 台灣，高雄市立美術館）、「我與我：藝術家自 我探索與刻畫」聯展（2002，台灣，高雄市立美 術館）、「亞洲新意美術交流展2004」（2004， 123 台灣台南，市立文化中心）、「劉耿一新作展」 （2007，紐西蘭，因第果畫廊）、「鳳邑˙風華I－ 藝術先行者」聯展（2008，高雄縣文化局）、近 作巡迴展「映在潮水中的時光」(2010至2011年9月，台灣創價學會錦州、台中、景 陽、鹽埕藝文中心)，並出版專輯、「劉耿一回顧展－生命感知與詠嘆」(2011，台 北市立美術館)。 Born in Tokyo, Japan. Liu returned to Taiwan in 1946 and taught at Heng Chun Junior High School in Pintung. Since he resigned from school and moved to Kaohsiung in 1981, he then became a professional artist. He traveled to Japan, Europe, America and New Zealand to gain inspiration of artistic creation. Awards: Tai-Yang Prize of Tai-Yang Art Association Yearly Exhibition(1963), Chin Chueh Prize for oil paintings by R.O.C. Painting Society. His first one-man show of oil and oil pastel paintings was held at Gallery of Taiwan Daily News, Kaohsiung, 1962. Recent exhibitions: One-man show of oil pastel paintings and sculptural furniture “, Asia Art Center, Taipei, 2001; "Art of Kaohsiung 2001: Art in Kaohsiung after the Lifting of Martial Law" ,Kaohsiung Museum of Fine Arts, 2002; "I-ness: About Me－Artists' Exploration and Depictions of the Self", Kaohsiung Museum of Fine Arts, 2002; "New Expression of Asian Art" , Tainan Municipal Culture Center, 2004; Solo Exhibition of paintings "Pohutukawa Suite" , Indigo Gallery, kerikeri, New Zealand, 2007; "Elegance and Intellectual Brilliance of Kaohsiung County, I － Art Forerunners" , Kaohsiung County Culture Center, Kangshan, 2008; "Time Reflected upon the Tide: Recent Works

by Liu Keng-I" traveling to four arts centers of Taiwan Soka Association: Taipei, Taichung, Doouliow, Kaohsiung (until September 2011) and “Aria of Life: The Art of Liu Keng-I”, Taipei Fine Arts Museum, 2011.

生於中國福建。1948年來臺，年幼失聰反使其更專注於創作，三十餘歲活躍於美術 團體如五月畫會、現代版畫會及現代眼畫會等。曾多次參與歐美亞等地海外聯展， 並定期參與五月畫會展覽及多項個人展覽。1970年，作品《蟄》獲韓國東亞日報 「第一屆國際版畫雙年展」首獎，同年榮獲中華民國第八屆畫學會金爵獎。1976 年赴美國科羅拉多州政府議會大廈設計紀念華工移民開拓的大幅鑲嵌玻璃畫〈慶祝 美國建國二百週年〉，並在美居住兩年。其版畫作品廣受海內外美術館及私人機構 所收藏，如：洛克斐勒基金會、辛辛那提美術館、國立臺灣美術館等。近期展覽包 括：「大律希音—陳庭詩紀念展」(2002，台灣台北，市立美術館)。 Born in Fujian, China. Chen lost his hearing at early age, on the contrary, he focus on his art more. Chen left China for Taiwan in 1948 and has participated in various artistic circles such as the Fifth Moon Group, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the Fifth Moon Group, on top of regular solo shows.

In 1970, Chen was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. His works can be found in major museums such as Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. “Sound of Raritythe Retrospective Exhibition of Chen TingShih” has held in Taipei Fine Arts Museum, September 2002.

張義雄 CHANG

YOSHIO (b.1914)

125

生於台灣嘉義。1928年至1940年間就讀於日本，先後在武藏野美術大學、關西美 術學校、東京川端畫學校及東京美術學校苦讀12年。畢業後在北京停留兩年半多， 台灣光復後返台，於80年代始定居巴黎至今。先後在「台陽美展」中獲3次首獎， 於「春季沙龍」受賞，並入選「秋季沙龍」，是台灣首位獲法國政府「藝術家年 金」的畫家。曾應邀舉辦「張義雄80回顧展」(1994、台灣台北、市立美術館)、 「張義雄90回顧展」（2004，台灣台北，歷史博物館）。 Born in Jiayi, Taiwan, studied in Japan between 1928 and 1940, spending 12 years at Ueno University of Fine Art, Kansai school of Fine Art, Tokyo Kawada Painting School and Tokyo School Fine Art. Upon graduation, he stayed in Beijing for two and a half years, and returned to Taiwan after Taiwan Retrocession, and then moved to Janpan in 1960 and subsequently to Paris in 1980 where he resides to this day. He won three successive top prizes at the “Tai Yang Art Exhibition” and was honored at the Spring Saloon, and nominated at the Autumn Saloon, and was the first Taiwanese painter to receive the Artists Annuity “from the French Government. In1994, Chang was invited to stage a “Chang Yixiong 80th Retrospective Exhibition” at the Taipei Municipal Museum of Fine Art. “Chang Yixiong 90th Retrospective” was held in 2004 at the National Museum of History, Taipei, Taiwan.

299

葉火城 YEH

HUOCHENG (1908 - 1993)

傅狷夫 FU

CHUANFU (1910-2007)

128

126

生於台灣台中。台北第二師範學校畢業，曾任國民學校教員及校長，南亞塑膠工業 股份有限公司美術顧問，明志工專設計科主任。自1927年起，作品多次入選台展及 府展。1959年擔任全省美展審查委員〈第14屆至27屆〉，1965年任私立明志工專 董事。曾任台陽美術協會會員、中國美術家協會會員、中華民國油畫學 會理事長。 1993年逝世，享年85歲。

生於中國浙江，為當代著名書畫家，以其獨創畫風描繪臺灣風景，形成一派畫風， 對臺灣水墨畫壇有深遠影響。其8歲時便隨著父親勤習書法，研讀古文詩詞，一度 師事杭州藝專校長陳之佛，20歲時已習得傳統山水畫工。1934 年適逢戰亂投身軍 旅，巴蜀九年的山水體會，使他眼界大開，期間並請益於陳之佛、徐悲鴻、黃君 璧、傅抱石等。1949年隨國民政府來台，1961 年開始任教於政工幹校與國立藝 專，受到臺灣沿海和山林自然景物的啟發，興起其注入山水畫中之靈感。其獨創 「點漬法」、「裂罅皴」兩種技法，而有「傅家山水」之稱，不僅開創台灣山水的 恢宏意境，也為水墨畫史立下劃時代的里程碑。對傳統水墨因而有了新的面貌。

Born in Taichung, Taiwan. Yeh was graduated from the Taipei Second Normal College.

He ever served as schoolteacher and principal at primary schools, consultant at Nan Ya Plastics Corp and director at Mingchi Institute of Technology. Since 1927, his paintings were frequently selected in the Taiwan Exhibition and Taiwan Governor-General Exhibition.

In 1959, he held a post at Provincial Fine Arts Exhibition (since the 14th to 27th session).

In 1965, Yeh occupied as a trustee of Mingchi Institute of Technology. He was one of the adjudicator members from Taiyang Fine Art Association, Chinese Artists Association and ROC Oil Painting Association. Yeh passed away at age of 85 in 1993.

Born in Hangzhou, China. Fu was a descendant of a scholar who passed the imperial examinations. His father encouraged him to cultivate the art of Chinese calligraphy. At the age of 17, he started studying Chinese painting. Armed with a good foundation. Fu, who received formal training in traditional Chinese painting in China, taught over a 10-year period, starting in 1962, at the National Taiwan University of the Arts, formerly known as the National Taiwan Academy of the Arts.The collection being put on view has Fu employing "cracking-chapping-wrinkling" and misting methods. Misting and blank spaces are his methods to capture the moods of the different seasons. He combines painting and calligraphy in his works. A number of his most representative works became the permanent acquisitions of the Taipei Fine Arts Museum when his former student Huang Kuang-nan was the director. Fu's exhibition in Taipei will include many works on loan from museums and collectors in Taiwan.

穆里歐．固納爾索 MULYO GUNARSO (b.1979)

川島秀明 HIDEAKI

131

130

固納爾索生於印尼，他是當地知名的藝術家，榮獲非常多的獎項。 其著名的個展包括: 「日常生活」FSR ISI 印尼日惹，「瓜哇繪畫」Grand Mercure Hotel印尼日惹等其他。 群展包括:「顏色顏色」雅加達藝術獎2008，「夢的力 量」印尼日惹美術館七星獎2009年， 「符號」 第25屆ISI印尼日惹展覽館2009， 「Mitra」印尼雅加達Mon Décor Art Space 2009， 「獨立聲音3代60年藝術比 賽展覽」Semarang Gallery, 印尼三寶瓏 2010 等其他。 Gunarso was born in Indonesia. He is local talented artist who won several awards. Solo Exhibitions: “Everyday Life” FSR ISI Yogyakarta, “Sketch of Jogja Exhibition” Museum longue Grand Mercure Hotel Yogyyakarta. Group Exhibitions: “Color-color exhibition” Jakarta art award, Jakarta Indonesia 2008, “The Power of The Dream” Seven Star Art Award, Jogja National Museum 2009 “ExpoSign” 25th ISI Yogyakarta, Jogja Expo Center 2009, “ Mitra” Mon Décor Art Space Jakarta 2009, ‘ Art competition Exhibition 60 Years of Independent Voice 3G ( Three Generations), Semarang Gallery, Semarang and many others.

300

KAWASHIMA (b.1970)

136

生於日本愛知縣。1992年畢業於東京Zokei造形大學，獲學士學位，後師從奈良 美智研習繪畫。曾參與「升起的太陽，溶化的月亮：日本當代美術」（2005，以 色列博物館，耶路撒冷）、「小男孩」（2005，日本協會，紐約）、「生命」 （2006，水戶藝術館，日本茨城）、「藝術與客體：繩紋與當代關係之探究」 （2006，日本，青森美術館）、「Idol!」（2006，日本，橫濱美術館）、「肖像 課」（2007，日本，廣島市現代美術館；NADiff畫廊）以及2007年韓國首爾－國 際藝廊等聯展。曾於日本東京小山登美夫畫廊舉辦「影子僧侶」（2003）、「易 變」（2005）、「搖擺」（2008）等個人展覽。作品以動漫新秀之姿擠身當代藝 壇，柔美中富有寓意，深受藏家喜愛。 Born in Aichi, Japan. He received the BA degree from Tokyo Zokei University in 1992. He the has studied the painting under Yoshitomo Nara. Group exhibitions records: “Rising Sun, Melting Moon: Contemporary Art in Japan”, 2005, The Israel Museum, Jerusalem; “Little Boy”, 2005, Japan Society, New York; “LIFE”, 2006, ART Tower Mito , Ibaraki; “ Art and Object : Affinity of the Jomon and the Contemporary”, 2006, Aomori Museum of Art, Aomori; “Idol!”, 2006, Yokohama Museum of Art, "Portrait Session", 2007, Hiroshima City Museum of Contemporary Art, Hiroshima / NADiff, Tokyo Yokohama. He has held three solo exhibitions at Tomio Koyama Gallery in Japan, including “Shadow Monk”, 2003; “mutability”, 2005 and "wavering", 2008.

中山德幸 NORIYUKI

NAKAYAMA (b,1968)

松浦浩之 HIROYUKI

133

MATSUURA (b.1964)

175

132

生於日本長野。1993年畢業於日本武藏野美術大學美術學院油畫系，1996年畢業 後先於剛澤學院擔任講師、2000年任教於中山繪畫研究所及長野技術學院兼任講 師，曾於日本及韓過各地舉辦多次個展及聯展。主要展覽包括:「Gold inside」 (2007，韓國首爾)、「Noriyuki Nakayama 1999-2002」(2007，日本京都，井 村美術館)、「galleri s‧e」(2008，挪威卑爾根)、「二人展」(1992，日本東 京，武藏野市民畫廊)、「VOCA 2006 – 新銳平面作家」(2004，日本東京，上也 皇家博物館)、「KIAF 2007」(2007，韓國首爾，COEX)、「CIGE2008」(2008， 中國北京，世貿中心展覽館)、「N-ART展」(2008，日本東京，表參道廣場，)、 「Harmony Analysis : 中山德幸 渡邊佳織」(2010，日本東京，井村藝術畫廊，) 。 Born in Nagano, Japan. Graduated from Musashino ART University of B.F.A. in 1993.

Selected Exhibitions: “Gold inside” Seoul, Korea , 2007; “Nakayama's Solo Exhibition”, Imura Art Gallery, Kyoto, Japan, 2005; “Noriyuki Nakayama 1999-2002”, Imura Art Gallery, Kyoto, Japan, 2007; “galleri s‧e”, Bergen, Norway, 2008; “The Shell Art Award”, Hillside Forum Daikanyama, Tokyo, 2003; “VOCA 2006”, The Ueno Royal Museum, Tokyo, 2006; “KIAF 2006”, COEX, Seoul, Korea, 2006; “KIAF 2007”, COEX, Seoul, Korea, 2007; “CIGE 2008”, World Trade Center Exhibition Hall, Beijing, China, 2008.

王文平 WANG

WENPING (b.1960)

生於日本東京。松浦浩之自1984年開始從事平面設計及美術印刷的工作，負責設計 廣告、出版、包裝、裝訂等事項，從1999年起，開始創作以「日本文化角色圖案」 為題材的「海報、包裝、滑板」設計。主要展覽包括：。「Super Acrylic Skin」 個展(2005，日本東京，東京畫廊)、「超丙烯外衣」個展(2006，瑞典，斯德哥爾 摩)、「未來計畫」個展(2006，瑞典，斯德哥爾摩)、「動漫展」「日本動漫！」 (2006，中國北京，北京東京藝術工程)、(2007，法國，VIA07 國際影城)、「新異 術」個展(2007，台灣台北，誠品畫廊)。 Born in Tokyo, Japan. Matsuura started to work as a graphic designer: advertising, packaging, binding and logo design in 1984. And the artist started to produce "Poster + Package + Skateboard" designs using "Character Illustration" themes. Exhibitions: 2007, "Ani Manga", VIA07 Festival International, France. 2007, "Ultra New Visions": Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, Taiwan. 2006, "Super Acrylic Skin, Mirai Projects" solo exhibition, Stockholm, Sweden. 2006, "Japanimation!", Beijing Tokyo Art Projects, Beijing, China. 2005, "Super Acrylic Skin", Hiroyuki Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.

高野綾 AYA

TAKANO (b. 1976)

134

生於臺灣臺北。1983年畢業於文化大學美術系，1989年取得美國紐約長島大學藝 研所碩士學位。1993至1994年名列高雄市立美術館籌備處，曾擔任高雄市立美術 館典藏委員（1998-2001）、台北市立美術館(2002-2003)評議委員。2001獲國家 文藝基金會創作補助。其作品曾參予聯展逾三十餘次，個展則於春之藝廊(1983)、 HUTCHINS畫廊(1989)、鼎典藝術中心(1990)、現代藝術空間(1992)、愛力根畫廊 (1992)、淡水藝文中心(1996)以及台北市立美術館(2002) 等多處舉辦，近期展覽 「讀我的唇－王文平個展」於國立台灣美術館舉辦(2011)。作品曾經歷寫實主義、 現代主義及後現代主義等風格轉變，形式多樣且階段完整，並為北美館、國美館及 高美館典藏。 Born in Taipei Taiwan. Wang Wenping graduated from Chinese Culture University's Department of Fine Arts in 1983 and received his master degree from the Long Island University in 1989. He worked in the preparation committee of Kaohsiung Museum of Fine Arts from 1993 to 1994, and then served as the collection committee member during 1998 to 2001. He also was one of the appraisal committee members of Taipei Fine Arts Museum from 2002 to 2003. He won projects sponsorship from the National Culture and Arts Foundation in 2001. Wang Wenping's works were selected for joint exhibitions over 30 times; solo exhibitions were held at the Spring Gallery (1983), HUTCHINS Gallery (1989), Ding Dian Arts Center (1990), Modern Arts Space (1992), Galerie Elegance Taipei (1992), Tamsui Center of Arts & Culture (1996) and Taipei Fine Arts Museum (2002). Recent Exhibitin,”Read My Lips—Wang Wen-Ping Solo Exhibition” was held at National Taiwan Museum of Fine Art. His creative style went through the influences of realism, modernism and post-modernism, which makes his works various forms and collected by Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts.

135

生於日本埼玉縣，屬於日本超平面主義畫派運動藝術家。1997年加入村上隆公司 Kaikai Kiki旗下成為大受歡迎的女藝術家。2000年畢業於多摩藝術大學的藝術部， 作品包括畫集《熱香蕉軟糖》和漫畫《太空船EE》。高野綾在世界各地的展覽 頗 豐，如2009年其個展「復興世界」於紐約的斯卡斯特畫廊舉行，2010年也參加了 大阪當代美術館「00日本繪畫公園」的聯展。 Born in Saitama, Japan, as a Japanese pop artist who associated with the Superflat movement. Since 1997 she became an assistant for leading Japanese Contemporary Artist Takashi Murakami. Aya Takano received a B.A. from Tama Art University in Tokyo, 2000.

Aya Takano published her catalogue as "HOT BANANA FUDGE" and comic "SPACE SHIP EE". She has exhibitions all over the world, like 2009 had her solo exhibition "Reintegrating Worlds," in Skarstedt gallery in New York and group exhibition as "Garden of Painting Japanese Art of the 00s" at the National Museum of Art in Osaka 2010.

301

村上隆 TAKASHI

MURAKAMI (b.1963)

142

141

147 137

151

157 191

156

148

158

302

生於日本東京。1993年取得東京藝術大學博士學位。現為日本當代職業藝術 家、「KaiKai KiKi」藝術經紀公司負責人。作品形式多元，從卡漫插圖、服飾 配件、到時尚精品等皆可見其作品。曾與路易斯威登合作，2010年9月更於法 國凡爾賽宮舉辦大型回顧展，成功跨足藝術創作與商業行銷，享有極高國際知 名度。著名個展包括：「妖獸召喚？火力全開？回復？全滅？」（2001，日 本，東京都現代美術館）、「村上隆個展」（2002，法國，巴黎卡地亞當代藝 術基金會）、「村上隆大型回顧展」（2007，美國，洛杉磯當代藝術館）。 Born in Tokyo, Takashi Murakami received P.h.D of Tokyo National University of Fine Arts and Music in 1993. He is a professional artist and the Representative of “KaiKai KiKi”. His works range widely from manga, clothes and accessories, to fashion design products. Once collaborated with Louis Vuitton and had a retrospective in Chateau de Versailles in France on September 2010. He is successful in combining the art and commerce, which won him a great awareness and popularity among the world.

Solo Exhibitions: “Summon monsters? Open the door? Heal? Or die?”, Museum of Contemporary Art, Tokyo, 2001; “Kaikai Kiki: Takashi Murakami”, fondation Cartier, Paris, 2002; "©MURAKAMI", Museum of Contemporary Art, Los Angeles, CA, 2007.

朱德群 CHU

TEHCHUN (b.1920)

091

托卡．蘇達圖 TOTOK

176

139

生於中國江蘇。1941年畢業於杭州藝專，在學期間，其創作深受潘天壽與吳大羽影 響。1944至1949年任教於南京中央大學工學院，1951至1955年任教於臺灣師範學 院。1955年移居法國，1957年獲巴黎春季沙龍銀牌獎，並於法國當地舉行多次個 人展覽。1987年於國立歷史博物館舉行回顧展，1997年法國政府授予法蘭西學院 藝術院士榮銜，2001年在巴黎及韓國舉辦個展。2003年為上海大劇院進行大幅創 作，2008年適逢八十八大壽，在台北國立歷史博物館舉辦回顧展。對於中國書畫技 法與古典詩詞的喜愛，讓朱德群能夠遊刃有餘地將書法水墨詩意靈活融匯在畫布之 上。 Born in Jiansu, China. Chu graduated in 1941 from Hangzhou School of Fine Arts. During this time, his creation was under influence of Pan Tienshou and Wu Dayu. In 1955, Chu immigrated to France, and won silver prize of Paris Salon de Printemps in 1957. He held several solo exhibitions in Pairs. The National Museum of History in Taiwan organized a solo show for the artist in 1987. In addition, The French Institute recognized Chu's contribution to the arts by selecting him as a member of the Academy of Fine Arts in 1997.

His solo exhibitions were hold in Paris and Korea. Chu completed Symphony Festive, a work commissioned by the Shanghai Grand Theatre in 2003. In his 88th birthday, year of 2008, a retrospective exhibition was held in National Museum of History in Taipei. One of the most distinguished Chinese modern abstract painters of this century, Chu Tehchun delicately transforms traditional Chinese paintings into modern oils on canvas.

草間彌生 YAYOI

SUDARTO (b.1954)

生於印尼。為當代藝術家，活耀於印尼爪哇。 1977年，畢業於由印尼空軍學 院。隨即前往日本學習。其著名展覽包括：「Melihat Indonesia dari Bantul」 (2003，印尼日惹)、個展「Kembali kepada Rasa」(2004，印尼日惹)、2005年 至2009年間皆參與「日惹藝術節」、「個展」(2008，雷吉安酒店，印尼峇里島)、 個展「Aja Dumeh」(2010，印尼日惹)、「Jogja Bangkit」(2011，日惹國家博 物館)。 Born in Indonesia. A contemporary artists in Java, Indonesia. In 1977, graduated from Indonesian Air Force Academy. And study at Japan in 1977. Selected Exhibitions: “Melihat Indonesia dari Bantul”, Yogyakarta, 2003; Solo exhibition “Kembali kepada Rasa”, Yogyakarta, 2004; “Festival Kesenian Yogyakarta”, Yogyakarta, 2005, 2006, 2007, 2008; “Solo exhibition”, Legian Bali, 2008; Solo Exhibition “ Aja Dumeh”, Yogyakarta, 2010; “Jogja Bangkit”, Jogja Museum Nasional, 2011.

KUSAMA (b.1929)

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生於日本長野縣松本市。於京都市立工藝美術學校主修日本畫，1956年移居美國紐約，並 開始展露她前衛的藝術創作才華。草間的作品曾於海內外多家著名藝術機構展出，1998年 至1999年於東京當代藝術館、美國沃克藝術中心、紐約現代藝術館和洛杉磯縣立藝術館巡 迴「草間彌生回顧展」；1999年於紐約惠特尼美國藝術館舉辦「美國世紀」。近年著名展 覽有：日本札幌當代藝術館展覽（2004）、「愛之夏，迷幻世紀的藝術」（2005，英國， 利物浦泰德美術館）、「50/60年代國際先鋒藝術」（2006，法國，聖安提雅現代美術 館）、「IDOL!」（2006，日本神奈川，橫濱藝術館）、「草間彌生．愛之點．點之戀」 （2007，德國，慕尼克現代美術館）及「草間彌生個展」（2010，台灣台北，非畫廊）。

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Born in Matsumoto, Japan, and major in Japanese painting at Kyoto Fine Arts School of Craftsmanship. Kusama moved to New York City in 1957, and started to show her outstanding talent in avant-garde art. Selected exhibitions include, “Kusama's Retrospective”, Museum of Contemporary Art in Tokyo, Walker Art Center Minneapolis, MOMA New York and Country Museum of Art Los Angeles, 1998-1999; “American Century”, Whitney Museum of Art, New York, 1999; Museum of Contemporary Art, Sapporo, 2004; “Summer of Love- Art of the psychedelic Era”, Tate Liverpool, Liverpool, 2005; “International Avant-Garde of the 50s and 60s”, Musee d'Art Moderne, Saint-Etienne, France, “IDOL!”, Yokohama Museum of Art, Kanagawa, Japan, 2006; “Yayoi Kasama, Dots Obsession , Love transformed into Dots”, Haus der Kunst, Munich, Germany, 2007, “ Solo Exhibition” Non-gallery, Taipei, 2010.

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安迪．楊 ANDY

YANG (b. 1985)

王懷慶 WANG

HUAIQING (b.1944)

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生於新家坡，為當地知名的插圖藝術家，贏過無數個有名望的獎項。近年著名的展 覽有: 「附件」 新加坡The Asylum 2007，裝置藝術展於新加坡知名的ION CENTER 2008，「相信看見的」2010英國渣打銀行為支持亞洲盲眼人文展覽館，「情緒」 個人展於新加坡Instinct畫廊等其他展覽。 Yang was born and bred in Singapore. He has been working as a professional illustrator and artist who is a familiar face in the creative circle. He has garnered a number of prestigious advertising awards under his wings throughout his career.

“Attachments”, The Asylum Singapore 2007, “Ion Center@ Orchard Outdoor Installation” Singapore 2008, “Seeing is Believing 2010 Curated by Singapore Charted Bank to support the blind Asian Civilizations Museum” Singapore 2010, “ Emotion Solo Exhibition” Instinct Gallery Singapore 2011 and many other exhibitions.

Born in Beijing, China. Wang Huaiquing received his BFA in 1969 at the Central Academy of Arts and Crafts in Beijing. During the early 1970s, Wang studied with Wu Guanzhong and Yuna Yunfu. During the Cultural Revolution he was sent to the countryside and did not return to academia until 1979 when he enrolled in the MFA program at the Central Academy of Arts and Crafts. After graduating in 1981, Wang traveled to the United States as a visiting scholar (1987-1988). Unlike many of his contemporaries who embraced abstraction, Wang began painting Ming Dynasty furniture in a minimalist style during the 1980s. His first solo exhibition was held in Taipei at Lin and Keng Gallery (1999).

Selected group exhibition include, Selected Works from the National Art Museum of China Collection, National Art Museum of China, Beijing (1993) ; China 5000 Years, Guggenheim Museum, New York and Bilbao (1998), Shanghai Biennale(2000) and Beijing International Art Biennale (2003).

野原邦彥 KUNIHIKO

蔡雲程 TSAI

NOHARA (b.1982)

YUNCHENG (1929-2009)

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生於日本北海道。2001年進入廣島市立 大學藝術學院美術系專攻雕刻、2007 年畢業於廣島市立大學藝術研究所雕刻 組。2005年作品入選第90屆二科展， 特選獲獎。主演展覽包括：「亞洲頂級 畫廊飯店藝術博覽會」(2010，中國香 港，君悅飯店)、「台北國際當代藝術 博覽會」(2011，台灣台北，王朝大酒 店)、「台北國際藝術博覽會」(2011， 台灣台北，世貿一)、「個展 - 野原邦 彥」(2012，日本東京，銀座企畫)。 Born in Hokkaido, Japan. Nohara was admitted to Hiroshima City University of B.F.A. sculpture Course in 2001. And graduated from Hiroshima City University of M.F.A. sculpture Course in 2007. In 2005, He first awarded the highest prize from the 91th Nika Exhibition.

Selected exhibitions: “Asia Top Gallery Hotel Art Fair”, Grand Hyatt Hotel, Hong Kong, China, 2010; “Young Art Taipei”, Dynasty Hotel, Taipei, Taiwan, 2011; “Art Taipei”, World Trade Center Hall 1, Taipei, Taiwan, 2011; “Kunihiko Nohara Solo Exhibition”, Gallery Uniglavas Ginza-Kan, Tokyo, Japan, 2012.

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生於中國北京，1969年畢業於中央美術學院，曾師學於吳冠中和袁運甫。文化大 革命期間，王懷慶被送往農村，1979年回到中央美術學院進修藝術碩士項目， 1981年碩士畢業後，王懷慶以訪問學者身份前往美國（1987-1988），現任教於 北京藝術學院。1999年，王懷慶在台灣台北大未來畫廊舉行個展，其著名聯展包 括有：「中國美術館藏畫精品展」（1993，中國北京）、「中國藝術五千年展」 （1998，美國紐約）、「上海雙年展」（2000，中國，上海美術館）、「首屆北 京國際美術雙年展」（2003，中國北京，中國美術館）等。

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生於中國福建。10歲隨家人移居菲律賓，跟隨東南亞名師習畫，29歲參加菲律賓全 國美術金牌獎，始引起國際注目。創立藍色畫派，使用代表寧靜、深邃致遠的藍色 基調創作，繪畫獨具風格。七十年代起開始在美國紐約、洛杉磯、法國巴黎等地舉 辦畫展。1990年獲頒美國愛因斯坦國際學術基金會和平獎，是目前唯一獲此殊榮的 華裔藝術家，1996年獲法國盧本斯國際藝術節獎章。被英國劍橋國際名人傳記協會 列入世界名人錄，半個世紀以來獲獎無數。 Born in Fujian, China. Tsai immigrated to Philippine along with family at ten years old and studied the painting under famous Southeast Asia teachers. He won the champion in Philippines fine arts competition at age 29. From this time on, he begins as a budding artist in artistic world. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School. After 1970s, he holds the exhibitions in places such as New York, Los Angeles, and Paris. Tsai was awarded the “1990 Albert Einstein International Academy Foundation Peace Award”, and 1996 Medal from Centen-Aire Peter Paul Rubens International Festival Paris, France. His name has been included in several major publications of “The International Who's who”, International Biography Center, Cambridge, England, and since half century has won award innumerably.

蔡明勳 TSAI

MINGHSUN (b.1952)

黃土水 HUANG

TUSHUI (1895-1930)

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生於台灣雲林。美國密蘇里州Fontbonne大學藝術碩士(MFA)。從事美術創作及教 育工作超過35年，先後任教銘傳大學商業設計學系、輔大應用美術糸、國立台灣藝 術學院、復興商工、景文科技大學等校，作品為公私立機構與個人典藏。曾擔任全 國學生美展、桃源美展、雙和美展、新聞局金鼎獎、新店市圖書館展覽審查委員、 資訊月全國海報甄選評審、經濟部商業設計輔導審查委員、獲聘參加2005屏東半島 藝術季、2010獲邀參加嘉義縣東石鄉駐鄉藝術家。

生於台灣艋舺。台灣早期著名鄉土雕塑家，1915年畢業於台灣台督府國語學校，同 時在校木雕作品甚獲賞識。隨即返回大稻埕公學校任教，同年9月，由總督府民政 長官內田嘉吉推薦，獲東洋協會台灣支部留學獎助，考入東京美術學校木雕科當選 修生，在校成績優異。曾受到日本雕刻大師高村光雲指教，作品三次入選日本帝國 美術展覽會，至今還被保存在大英博物館、巴黎博物館和日本上野博物館中。被台 灣藝術界稱為台灣鄉土藝術家。主要藝術成就是《水牛群象》。 主要代表作有：自1920至1924年間連續入選第二至五回帝國美術展覽會的《蕃童》、《甘 露水》、《擺姿勢的女人》、《郊外》、《水牛》，以及1926年為艋舺龍山寺製作的《釋 迦立像》、1927年入選第一回聖德太子奉讚展的《南國的風情》、1930年的《水牛群像》 等。

Tsai was born in Yulin, Taiwan. He graduated from Fontbonne Univeristy in Misouri with MFA degree. He has been an educator and artist for more than 35 years. He has been teaching in several famous university and colleges in Taiwan, including National Taiwan Fine art University. His paintings are collected by many public organizations and private collectors. He have been fully participated as jury in many art activities, like Taiwan National Fine Arts exhibitions, Official Press Department award, Official Economy Department's Business Design award and many others.

Born in Wanhua, Taiwan. He was considered a genius in sculpture in Taiwan contemporary history of art. After graduating from the Teacher Training Department of Taipei Mandarin School, he undertook advanced studies in the Department of Wood Carving at the Tokyo Art School, from where he graduated with outstanding grades in 1915. In 1920 his work Mountain Kid Plays Bamboo Flute was selected for the 2nd Imperial Exhibition in Japan, the first Taiwanese to be chosen to exhibit there. Later, Huang Tu Shui's works were nominated for prizes at successive Teiten (Imperial Exhibition) in Japan. His success was encouraging for young Taiwanese artists of the period. Huang 's creativity first relied on traditional folk art, to which he added the practical skills he learned in college and the sculptural concepts of Rodan. These combined in the form of Huang 's fully matured sculpting skills. As a creative motif he often focused on things from rural Taiwan. In 1930 Huang died of an illness in Japan at the age of 36.

蔡國強 CAI

米 羅 JOAN

GUOQIANG (b.1957)

MIRO (1893-1983)

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生於中國福建。1985年畢業於上海戲劇學院舞台設計系。曾旅居日本近十年，後定 居於紐約至今。在國際藝壇上，廣受藝評及策展人的重視，名聲斐然，屢獲殊榮， 作品廣受現今國際知名的藝術機構和私人藏家所收藏，許多展覽也引起廣大迴響。 其中知名的國際大展包括：「爆炸事件－中央公園上空的光輪」（2003，美國紐 約，亞洲協會美術館）、「蔡國強－旅行者」（2004，美國華盛頓，史密松博物 館等聯辦）、「個展」（2006，美國紐約，大都會美術館），是首位於該館展出 的華人藝術家、「個展」（2006，德國柏林，德意志古根漢美術館）、「個展」 （2007日本東京，Shiseido畫廊）、「I want to Believe」（2008，中國北京，中 國美術館；美國紐約，所羅門古根漢美術館）。蔡國強也曾擔任北京2008年奧運開 幕及閉幕儀式核心創意小組的成員之一暨視覺特效設計總監。 Born in Quanzhou City, Fujian Province, China. Trained in stage design, he graduated from the Shanghai Drama Institute from 1985. While living in Japan from 1986 to 1995, Cai first explored the properties of gunpowder in his drawings. He quickly achieved international prominence during his stay in Japan and his works which show a wide variety of symbols, narratives, traditions and materials such as feng shui, Chinese medicine, dragons, roller coasters, computers, vending machines and gunpowder, were shown widely around the world. Recently, His works were shown at the Asia Society in New York (2003), the Smithsonian Institute in Washington D.C. (2004), the Metropolitan Museum of Art, New York (2006), the Deutsche Guggenheim in Berlin, Germany (2006) and the Shiseido Gallery in Tokyo, Japan (2007), I Want to Believe, The National Art Museum of China, Beijing (2008), Solomon R. Guggenheim Museum, New York (2008). The artist performed as a committee member responsible for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and is also the Chief visual designer of the event.

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生於西班牙巴塞隆納，14歲進入巴塞隆納美術學校。早年接觸過許多前衛藝術家： 梵谷、馬蒂斯、畢卡索、盧梭等人的作品，也嘗試過野獸派、立體派、達達派、的 表現手法。米羅的秉性、直覺具有根本的反理性主義。他生來就是個無政府主義 者，本能性地反對一切傳統，一切對自然和博物館的迷信，於是他參加了達達政府 主義藝術運動。米羅的超現實主義繪畫具有鮮明的個人風格：簡略的形狀、強調筆 觸的點法、精心安排的背景環境及奇思遐想。超現實主義中心人物安德魯布赫東 (Andre Breton)曾說過：「米羅在完全達到自發性表現的最後障礙中一躍而過。」 Born in Barcelona, Spain. He entered Barcelona School of Fine Art when he was 14 years old. His natural attitude and instinct possesses seesntial anti-rationalism. He was born and anarchist and he opposes all the traditions and all the blind faith of nature and museum by nature. So he took part in Dada Movement. Miro's surrealism painting has distinct personal style: simple shape, stress of brushwork, well-arranged background environment, fancy ideas, humorous interest and fresh feelings.

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鄭善禧 CHENG

SHANHIS (b.1932)

陶壽伯 TAO

SHOUBO (1902-1997)

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生於中國福建。五、六歲時，父親請畫師為父子倆繪「課子圖」引發了他對繪畫的 濃厚興趣。他以創作水墨書畫為主。1950年遷居台灣，考取台南師範學校美術師範 科，畢業後分發嘉義民雄國校任教，1956 年轉職台北木柵中興小學。1957 年考取 國立台灣師範大學美術系，畢業後任台中師範專科學校助教。1965-1976 年任台中 師專教授，期間曾旅居美國兩年。1977 年任台灣師範大學美術系教授至1991 年退 休。1996 年獲第一屆國家文化藝術基金會國家文藝獎美術類。2006 年獲國立師範 大學榮譽教授。 Born in Fujian, China. In 1950, he immigrated in Taiwan. In 1953, he graduated from the National Tainan Teachers College, majoring in Arts. In 1960, he graduated from National Taiwan Normal University, also majoring in Arts. Next, he worked for “Taichung Teachers Academy”, National Taichung Teachers College, and National Taiwan Normal University, teaching students the techniques of ink paintings. In 1969, he exhibited his artworks for the first time. Among all his artworks, he has won the first prize in the 1965, 1966, 1968, and 1969 provincial traditional Chinese painting competitions for teachers; the second during 1967, the first in the 1965 and 1967 provincial traditional Chinese painting competitions, and won the “Cultural and Art Award IX” and “Traditional Chinese Painting Prize IX” from Cultural and Art Council during 1968.

曾茂煌 CHENG

MAOHUANG (b.1934)

生於中國江蘇。本姓王，出生後從外祖父姓陶，小名開壽，別名陶之芬，字知奮， 又自之奮、瘦芝，自號「萬石樓主」，70歲後自稱「疇中老人」，名齊堂為「萬石 樓」。幼時開始因其祖父經營書畫而得以飽覽學習；15歲拜碑帖店名師唐伯謙與唐 仲芳，研習書法、刻印、鐫碑等技藝並精研歷代碑帖文字之學。1924年加入上海畫 會。1947年師事趙叔儒，學篆刻並專攻璽印、漢印。抗戰爆發後，始愛上畫梅及花 鳥羽翼。1947年拜張大千為師，及篆刻、書、畫等技藝於一身。1950年起旅居台 北，並從事金石書畫。在台灣、香港、菲律賓、泰國、新加坡、高棉、馬來西亞、 日本等地共舉辦200多次畫展。陶壽伯一生勤奮好學，書畫、篆刻造詣之高深，其 中尤以畫梅最負盛名海內外，被譽為「梅王」、「寒梅聖手」。1977年病逝於台 北。 Tao was born in Jiansu, China. His grandfather was in the business of Chinese calligraphy and painting, Tao had enjoyed and learning them since young age. At age 15, Tao was learning Chinese calligraphy and inscription under the famous teacher Tang BoChien and Tang ChongFang. He joined Shanghai Painting Association in 1924. Tao was learning seal cutting under teacher Zhao Suzu. After the WWII starts, he was in love drawing peach blossom and and all kinds of birds. Since 1950, Tao had been invited to exhibit his drawing all over the Asia for more then 200 time. Tao was a very hard working artist who specialist in Chinese painting and seal cutting. His peach blossom series was the most famous and best among all. He past away in 1977 in Taipei, Taiwan.

謝孝德 HSIEH

HSIAOTE (b.1940)

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生於臺灣新竹。1956年畢業於省立師範專科學校。1968年作品榮獲全省教員美展 油畫優選，自此益發努力創作，1970年代間，曾氏的作品榮獲多項重要美術獎，數 度於省展、台陽美展、全國油畫展，台陽美術展及台北市美展中奪得優選，其中更 獲第三十八及四十屆台陽美展油畫金牌獎。1981年在省立博物館舉行首次個展，其 後陸續舉辦個展與回顧展，1988年作品《鄉趣》為國立台灣美術館收藏。 Born in Hsinchu, Taiwan. Cheng graduated from the Taiwan Provincial Hsinchu Provincial Normal College. He won a prize of excellence at the Taiwan Teacher Art Show in 1968, which encouraged him to devote himself to create oil paintings. In the 1970s, Cheng's works has won many important awards, including the Golden Prizes of the 38th and 40th Taiyang Fine Arts Exhibition. He held the first solo exhibition at Nation Taiwan Museum in 1981, and his work “Rustic Fun” has been collected by Taiwan Museum of Art by1988.

306

生於台灣桃園。謝孝德堅持具像藝術，將機械文明取代眼睛無法瞬間捕捉的概念， 一直是他創作的信念。1965年畢業於國立台灣師範大學美術系後隨即留校任教。 1973至1974年間旅居法國巴黎並於羅浮宮藝術學院作研究，後返國撰寫《新寫實 主義》一書，成為台灣倡導新寫實主義的開創人。現任國立台灣師範大學美術系研 究所。在國內獲得獎項：台陽展、省展、全國展均獲得首獎多次，曾於日本、美國 及台港等地舉辦個展，作品獲國立歷史博物館、國立台灣藝術教育館、台北市立美 術館、國立台灣美術館、高雄市立美術館收藏，並屢獲獎項，包括1971年參加法 國康城國際雙年展獲國家獎，1979年參加英國克里夫蘭國際素描展獲優秀獎，於 1982及1983年被英國世界名人錄列為世界名人之一。 Born in Taoyuan, Taiwan. Hsieh insist in figurative. Using Mechanical civilization replace to the image that eye can not catch. After he graduated from Department of Fine Arts, National Taiwan Normal University, he served as the teacher in NTNU. From 1973 to 1974, he traveled in Paris and researched in Ecole du Louvre. Then he went back to Taiwan.

He wrote the "Neorealism" and became the founder of Taiwan Neorealism. Won awards in the Taiwan: Hsieh won First Place Award of Tai-Yang Prize and Taiwan Provincial Fine Arts Exhibition several times, and displayed solo exhibition in Japan, American, Hong Kong and Taiwan. His works are collected in Nation Museum of History, Nation Taiwan Arts Education Center, Taipei Fine Arts Museum, Nation Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts. From 1982 to1983, Hsieh was classified as one of world celebrities by British word.

強．詹森 JEAN

JANSEM (b.1920)

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YUNJUN (b.1946)

193

生於土耳其的法國藝術家。強˙詹森於希臘渡過童年時期，1938年畢業於巴黎高等 裝飾藝術學院。1939年首次於法國巴黎沙龍展展出個人畫作，1950年再度前往希 臘旅遊寫生。地中海的光景使詹森習得光線的運用，存於童年記憶中的人物形象也 被喚醒，農夫、漁人或商旅等形象，皆成為此時期描繪的主體。後強˙詹森作品多 以描繪具體人、物為主，尤以女性題材居多。至今獲獎豐富，曾於世界各地舉辦展 覽。 Born in Seuleuze (Bursa), Jean Jansem was a French artist who spent his early childhood in Salonique, Greece. He graduated from École Nationale Supérieure des Arts Décoratifs, Paris in 1938 and had his first painting shown at the Salon des independants, Paris in 1939. In 1950 he went to Greece and it was in the Mediterranean that he discovered light, until then his painting had been somber. Throughout the Greek countryside he eagerly sketched the shadowy figures who had surrounded him in his infancy and who until then had remained hidden in his subconscious mind - peasants, fishermen, tradesmen. Jean Jansem works in a figurative style, and mostly depicts women. He has won many awards and held plenty of exhibitions worldwide so far.

楊興生 YANG

陳雲君 CHEN

HSINGSHENG (b.1938)

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生於中國江西。1964年於師大美術系畢業後赴美，於密蘇里州立師範學院藝研所及 新墨西哥州立高原大學藝研所研究。鍾愛家鄉景色，以台灣風光為創作主題。1965 年起，曾在西班牙、日本等國及國內各畫廊舉辦多 次個展及聯展，也先後創辦龍 門、大陸畫廊，現為專業畫家。曾獲中華民國畫學會油畫金爵獎、中國文藝協會第 28屆油畫繪畫文藝獎章。擔任過畫學會、北市美展、全省美展評審委員及省立美術 館典藏委員。 Born in Chianghsi, China. Yang is a graduate of the National Taiwan Normal University in 1964. Since 1965 he has held many solo and joint exhibitions in Spain, Japan and Taiwan.

He founded the Lung Men Fine Arts Gallery and Continental Fine Arts Gallery and is now the proprietor of the Seventh Fine Arts Gallery. He has earned Golden Cup Award for Oil Painting from the Chinese Painting Society and the Chinese Literary Association's 28th Oil Painting and Literary Medal. He has been committee members of China Painting Association, Taipei Fine Arts, and Provincial Fine Arts Exhibitions and served as a member of the Taiwan Provincial Fine Arts Museum's Classics Curatorial Committee.

生於中國。現任中華詩詞學會理事、天津分會副會長、中國書法家協會會員、和平 書協副主席，天津東方藝術學院副院長、天津茂林書畫進修學院常務副院長。曾師 事書法大師玉如琴學書法，並跟隨巨贊法師、梁漱溟潛心研習佛學、詩詞、書法、 繪畫40年。其先後在國內及日本、韓國、新加坡、港台地區舉辦多次展覽，講學均 獲盛譽。在國內外先後正式出版《中國書法史論》、《書法美學綱要》、《中國書 法技法概論》、《陳雲君詩書畫選集》、《陳雲君七言絕句選》、《尚有所住集》 、《書譜解》、《九成宮抉微》等著作多種。其書法論文曾於台灣獲獎兩次紀錄。 Born in China. Chen who has lived in Tianjin for long, is a celebrated middle-aged poet, calligrapher, painter and calligraphy theorist. Besides classical literature, he has achieved great success in Buddhist studies. All these can be seen in his many books. Mr. Chen has held many exhibitions of calligraphy and paintings at home and abroad including Japan, Korea and Singapore. Mr. Chen is now the director of the Assiciation of Chinese Poem and vice president of its Tianjin branch, a member of the association of Chinese Calligraphers, the vice president of Tianjin Mailin Calligraphy institute.

安德烈．布拉吉利 ANDRE

BRASILIER (b.1929)

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出生法國。安德烈的父親賈克‧布拉吉利 (Jacques Brasilier) 也是位畫家。1949年 就讀於巴黎國立美術學院 (Ecole des Beaux-Arts)，1952年獲佛羅倫斯-布魯塞爾 獎 (Prix Florence-Blumenthal)，隔年並獲得羅馬大賞 (Grand Prix de Rome)。 1954-1957年住在義大利的美第奇別墅 (Villa de' Medicis)，1956年時他參與了許 多巴黎的團體展。其作品以美麗及優雅的女人、令人崇仰的裸體以及高貴的男士為 名，且多以盧瓦爾河谷 (Val-de-Loire) 的背景，有著壯麗的風景以及迷人小鎮。他 的作品裡描述著寧靜、舒服的世界，是個簡單的理想國度，以其抽象化的造型和明 快的色彩，描繪出詩意的場景，為現代 法國具象畫壇的大師。 Born in Anjou, France. His father Jacques Brasilier is also an artist. Brasilier has spent more than half a century creating canvasses that are a blend of abstraction, expressionism, and something distinctly his own. His works often feature themes and motifs like horses, nature, music, and women. Brasilier's art is known around the world, from Japan to the United States. He was recently the subject of an exhibition/retrospective at St. Petersburg, Russia's renowned Hermitage Museum. The Net Cristal team caught up with him to find out about his views on art, inspiration, and what's going on next in his busy calendar of events.

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丁紹光 TING

SHAOKUANG (b.1939)

廖修平 LIAO

SHIOUPING (b.1936)

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生於中國陝西。1962年畢業於北京中央工藝美術學院。曾任教雲南藝術學院，開創 出聞名中國現代畫壇的雲南畫派。1983年在加州大學教授中國現代重彩畫。1990 年東京第一屆國際藝術展上，評選出十四世紀至今最傑出的藝術家中，其為唯一上 榜的中國畫家。1992年其絲網印版畫作品展在北京天安門革命歷史博物館舉行，成 為唯一獲此殊榮的外籍華裔在世畫家。1995年聯合國郵政總局從他設計的七張重彩 畫中選出六張作為第四次世界婦女大會的紀念郵票，第七張則被選作“世婦會”的 首日封。同年2月丁紹光的藝術中心在洛杉磯建成，日本NHK亦出版了他的大型畫 冊。至今已在世界各地舉辦了3OO多次個人畫展，作品被4O多個國家收藏，連續 三年被選為聯合國代表畫家，被美國五個大城市的市長授予特別獎，為國際畫壇舉 足輕重的人物。法國當代權威的美術評論家帕裏諾稱他的藝術“具有超越時空的魅 力，他用一支神似的筆，使自己成為二十世紀的喬托”。 Born in Chenggu, a village in northern province of Shanxi, China. Throughout his career, Ting had been a strong influence within Modern Art for his distinctive Yunnan painting style.

In 1980 Ting migrated to the US. He then became a strong influence within the American Modern Art for his distinctive Yunnan painting style. In 1983 he won a gold prize in an art competition, which was hosted by the USC during commemoration of Martin Luther King.

In the same year he received his permanent residence in the US as an international wellknown artist. Ting has been repeatedly commissioned by governments of the US & China and organizations within the United Nations to produce paintings – both new paintings for use in specific events such as first day covers as well as limited edition prints from his existing paintings.

Born in Taipei, Taiwan. After graduating from Taiwan's National Normal University in 1959.

Shortly after graduating as a painter from the National Taiwan Normal University in 1959, Liao moved to Tokyo, Japan, and then to Paris, France, to further his studies. Those design experiences helps him to create striking compositions which has won him awards at shows in Tokyo, Seoul, Paris Vienna and New York. During his career, Liao Shiou-ping has held more than 70 solo exhibitions in New York, Paris, Tokyo and many other cities around the world. His artworks are collected by international.

馬克．夏卡爾 MARC

安迪沃荷 ANDY

CHAGALL (1887-1985)

生於俄國。1907年到聖彼得堡斷 斷續續學習了三年，最後投入巴克 斯特門下的藝術學校。1910年隻 身前往法國。在法國，他受到後印 象派、表現主義、立體派等思潮影 響，並於1914年在名為《突擊》的 畫廊裡舉行了第一次個展。1917年 俄國十月革命，夏卡爾出任維傑布 斯克地區藝術人民委員，著手在當 地創辦美術學院和博物館的計畫。 1923年到二次大戰爆發時，夏卡 爾待在巴黎並為《死靈魂》《欲 言》《聖經》蝕刻系列製作插圖。 1946年在紐約現代藝術博物館舉 辦大型回顧展後，美國開始擁抱夏 卡爾。在1948到1985年夏卡爾定 居在法國且去世之前的這段時間， 他最有名的作品為紐約大都會歌劇 院新館製作的兩個大型壁畫。「超 200 現實主義」一詞據說是阿波利奈爾 （Apollinaire）為形容夏卡爾的作 品所創造的；而畢卡索則評論夏卡爾：「從馬蒂斯以後，他是唯一真正懂得色彩的 人。」夏卡爾一生創舉無數在西洋藝術史中占有一席之地，名聲更響徹國際藝壇， 作品也為世界頂級藏家與博物館爭相蒐藏。

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生於台灣台北。台灣現代版畫先驅。1959年國立師範美術大學畢業後不久，其便前 往日本東京，後到法國巴黎深造。在日本主要研修平面設計類，學習色彩與構圖， 並開始接觸版畫，對於之後的版畫創作有深遠的影響。廖修平的版畫作品反應了他 在圖案設計上的高深功力，混合西洋版畫技術與中國傳統文化特色。作品在東京、 漢城、巴黎、維也納及紐約等地都曾獲獎，並於1998年獲頒國家文藝獎章。廖修平 在他的職業生涯中，已於紐約、巴黎、東京等地舉行超過70次個展。其作品廣為大 英博物館、大都會藝術博物館、國家現代藝術博物館、紐約、東京、台北美術博物 館和上海博物館等國際知名博物館所收藏。

Born in Russia. In1907 Chagall learned intermittently for three years in St. Petersburg, and finally learned from Leon Bakst's art school. Chagall went alone to France in 1910.In France he was influence by Post-Impressionism, Expressionnisme, Cubism, and so on. Der Sturm was displayed in first solo exhibition in 1914. October Revolution of1917, Chagall served as the People's Commissariat of Art of Vitebsk and he planned to establish museum and gallery. From 1923 to the outbreak of the Second World War, Chagall stayed in Paris to produce metal etching for novel cover that are Dead Souls, Bible and Fable. After the Museum of Modern Art held the Chagall's retrospective, American begin to embrace Chagall. From 1948 to 1985 that he dead, his well-known works are two fresco paintings in Metropolitan Opera House. Surrealist term Apollinaire said Surréalisme to be created to describe the works of Chagall. Picasso commented Chagall: "After Matisse , he was the only one who really know what is color." Works by Warhol are chased and collected by many top-notch collectors around the world.

WARHOL (1928-1987)

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生於美國賓夕威尼亞州。當代美國畫家，為普普藝術著名代表人物。1949年畢業於 現今的卡內基美隆大學，獲平面設計學士學位。1952年赴紐約，以設計商業廣告維 生，同時嘗試藝術創作。1950年代，沃荷以成功插畫家身分立足紐約；自1960年 代，他始投身繪畫創作，以通俗用品、漫畫與廣告為題材繪製作品，將藝術創作焦 點轉介到大眾文化，著名的康寶湯罐頭系列即誕生於此時期。同時，沃荷也涉足電 影拍攝、成立「工廠」工作室，並登上各大主流雜誌與媒體。1970年代後，他創作 了一系列名人的絹印肖像，著名包括伊麗莎白泰勒(Liz Taylor)、傑克甘迺迪(Jackie Kennedy)、詹姆士狄恩(JamesDean)、馬龍白蘭度(Marlon Brando)、瑪麗蓮夢 露(Marilyn Monroe)、「貓王」艾維斯普萊斯利(Elvis Presley)與毛澤東等；更於 1986年創作出其最具紀念性的作品「最後的晚餐」。安迪沃荷身兼畫家、攝影師、 商人、導演、明星與作家，一生創舉無數，於西洋藝術史中占有一席之地，名聲更 響徹國際藝壇，作品也為世界頂級藏家爭相蒐藏。 Born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art.

Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrator of the 1950s. From 1960, Warhol devote more energy to painting.

He based on comics and ads to create artworks that suited the popular culture. The famous Campbell's Soup Can series was debuted during this period. At the same time, Warhol started dabbled in film making, and establish “The Factory” studio. By the mid-1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating many celebrities' portraits in silk prints. Warhol's final two exhibitions were his series of “Last Supper” paintings.

Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

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Sales Tax Payable by the Buyer The Buyer shall pay for (value added) sales tax in the amount of 5 % of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the law of the ROC. The Buyer is not required to pay for sales tax if such imported works of art ( with* marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled

by Zhong Cheng in writing within two working days following the auction day if he desires to collect the items auctioned outside the R.O.C.

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名稱

最高競投價(新台幣，不含服務費)

年 月 日 重要事項 應中誠業務規則，本公司有權向支付現金的買 家或新客戶索取有效身份證明文件、通訊地址 證明及現金來源證明。 新客戶須向中誠提供政府發出附有閣下照片之 證明文件及住址證明。

付款方式 為免延誤拍賣品之送交，所有未曾參與中誠拍 賣競投之人士，應在拍賣前向本公司提供往來 銀行或其他適當之參考資料。如未能收到閣下 之付款安排通知，本公司於收到並兌現閣下的 支票後才送交拍賣品。款項可直接存入或電匯 本公司於: 委託人資料

合作金庫銀行 復興分行 代號 戶口號碼：0914-717-237961 銀行地址: 台北市復興南路一段237號 *並請將閣下的姓名及發票號碼一併填寫於付

委託人姓名

身份證字號

款通知書上。 □ 發票

電話

(宅)

(手機)

(公)

(傳真)

如閣下競投成功並希望我們傳真 或

電郵發票給閣下，請於方格內勾選。副本將會

公司

隨後郵寄。 □ 付運 如閣下競投成功並希望我們連絡閣下

郵寄地址

有關付運事宜，請於方格內勾選。 往來銀行/信用卡發卡銀行

帳號/信用卡號

銀行聯絡人

拍賣期間聯絡電話

電話

(請確保線路通暢)

本人同意接受此圖冊內列明之給買家業務規則及保證書，以及可於中誠索取的給賣家業務規 則，是次拍賣會上的一切交易均受以上條款所約束。若競投成功，本人同意支付已刊載之買 家支付之酬金。

本人同意中誠使用本人資料及根據給委託競投者指引與給買家業務規則內而取得之其他資料 。閣下如欲索取更多有關中誠個人資料政策或更改資料，請致電 。 本人明白所有電話競投會被錄音。

簽署 (本公司自取得閣下簽名後始接受競標)

日期

317

318

財團 法人

台灣兒童暨家庭扶助基金會

參與扶幼工作，歡迎洽詢家扶基金會本部 04-22061234 或 洽全國各地家扶中心 www.ccf.org.tw

ZHONG CHENG

TA I P E I

Chinese Contemporary Art & Sculptures

9 June 2 0 1 3