中誠國際藝術2014年春季拍賣目錄

Page 1

ZHONG CHENG

TA I P E I

Modern And Contemporary Art

8 June 2 0 1 4


財團 法人

台灣兒童暨家庭扶助基金會

朱德群-紅色意境

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

Lot 095 周春芽


Lot 096 周春芽


JU MING - Taichi Series- Arch

LUO ZHONGLI - Village Restaurant

朱銘-太極系列-拱門

羅中立-鄉間食堂

002

1987

1984

QI ZHILONG - Chinese Girl 祁志龍-中國姑娘

2007


LIU KUOSONG - Which is Earth No.82 劉國松-地球何許之八十二

1970

XUE SONG - Dialogue with Mondrian 薛松-與蒙特裡安對話NO.11

2012

LIAO CHICHUN - Vase of Flowers 廖繼春-瓶花

003


Sunday 8 June 2014

AUCTION 2014 / 6 / 8 (Sun) 2:30 PM Fubon International Convention Center B2, No.108, Sec1, DunHua South Road Taipei, Taiwan

PREVIEW TAICHUNG 5 / 3 (Sat) – 5 / 26 (Mon) 1:00 PM~7:00 PM Zhong Cheng Art Center 8F., No.416, Sec. 1, Zhongqing Rd., North Dist., Taichung, Taiwan TAIPEI 6 / 6 (Fri) – 6 / 7 (Sat) 10:00 AM~7:00 PM Fubon International Convention Center B2, No,108,Sec.1, DunHua S.Rd., Taipei, Taiwan

004


中誠國際藝術 2014春季拍賣會

拍賣 2014年6月8日(星期日)2:30 PM 富邦人壽國際大樓 國際會議中心 台北市敦化南路一段108號B2

預展 台中 5月3日(六)-5月26日(一) 1:00 PM ~ 7:00 PM 中誠藝術展示中心 台中市北區中清路一段416號8樓 (地址整編前:台中市北區大雅路288-2號8樓)

台北 6月6日(五)-6月7日(六) 10:00 AM ~ 7:00 PM 富邦人壽大樓 國際會議中心 台北市敦化南路一段108號B2

5

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 Corrina Lee Executive Assistant corrina@art106.com Jessie Fu Art Administrator jessie@art106.com Sherry Shiang Art Administrator sherry@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615

Taichung Rose Chung Art Administrator rose@art106.com Karen Wang Art Planning Staff karen@art106.com TEL: (886-4) 2206-6599 FAX: (886-4) 2205-0703 Oversea Wayne Hsiao Deputy General Manager wayne@art106.com Virginia Hsiao Virginia@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 Corrina Lee corrina@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 Jessie Fu jessie@art106.com TEL: (886-2) 8773-3565 FAX: (886-2) 8773-2615 Taichung Rose Chung rose@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: Sherry Shiang sherry@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.’


中誠國際藝術拍賣服務部門及一般客戶服務 關於本場次拍賣相關諮詢,請連絡 台灣北部地區 蕭華薇 總經理 vivian@art106.com 蕭偉廷

書面及電話委託投標

客戶服務

若您無法親臨拍賣現場,可以電話投標方 式競標;鑑於拍賣現場電話有限,尤其針 對需用外國語言服務之投標者,請於拍賣 前24小時通知我們為您安排。您亦可利 用本圖錄後方之書面標單競投,請洽:

買賣諮詢、鑑價服務、拍賣時程、目錄

蕭偉廷 wayne@art106.com

訂閱等相關業務,請洽: 項寗 sherry@art106.com 電話:(886-2) 8773-3565 傳真:(886-2) 8773-2615

副總經理 wayne@art106.com

李詩婷 corrina@art106.com

李詩婷

電話:(886-2) 8773-3565 傳真:(886-2) 8773-2615

執行助理 corrina@art106.com 項寗 藝術行政 sherry@art106.com

一項拍品的狀況說明書,惟準買家

傳真:(886-2) 8773-2615

一、 所有拍品在貨款結清後,即可取貨; 買家請儘早通知安排取貨事宜,以利倉庫 存貨流通和集中安排辦理,本公司接受個 人及公司支票付款,惟需在兌現後始能提 貨。恕不接受信用卡和旅行支票付款。其 他各項貨品可在中誠辦公室提領,上班時 間為週一至週五上午9:30至下午6:30。

藝術行政 rose@art106.com 王凱鈴 karen@art106.com

二、 我們的專業行政部門可為您建議或安 排最適當的運輸方式,詳情請洽

電話:(886-4) 2206-6599

台北

傳真:(886-4) 2205-0703

傅聖雅

藝術企劃

需注意拍品均是以「當時認定」之 狀況賣出,相關細項請參照目錄後

取貨及運輸

鍾治瑩

其他

有關付款詳細事宜,說明於本目錄後面, 如您需要更進一步的諮詢,請洽:

電話:(886-2) 8773-3565

台灣中南部地區

www.art106.com

中誠樂意提供您本次拍賣當中任何

jessie@art106.com

藝術行政

各式資訊歡迎參閱中誠拍賣官方網站。

付款事宜

鄒琬婷 財務部主任 andrea@art106.com 電話:(886-4) 2206-6599 傳真:(886-4) 2205-0703

傅聖雅

官方網站

之業務規則以及買家須注意事項。

jessie@art106.com 海外地區

電話:(886-2) 8773-3565

蕭偉廷

傳真:(886-2) 8773-2615

副總經理 wayne@art106.com 蕭又華 Virginia@art106.com

中南部地區 鍾治瑩 rose@art106.com 電話:(886-4) 2206-6599 傳真:(886-4) 2205-0703

007


ENDRO

A ALFRED BASTIEN

ANDY WARHOL

巴斯天

安 卓

122 123

007 033 034

F

080 088

FANG LIJUN

方力鈞

099

FONG TENGCING

馮騰慶

135

安迪.沃荷

172 173

JU MING

朱 銘

005 052 053 054 115 116 131

K KINICHIRO ISHIKAWA 石川欽一郎

G

B BERNARD BUFFET

貝納德.畢費

159

高行健

043

H

C

郭振昌

066

KUO TONGJONG

郭東榮

137

L

CAI GUOQIANG

蔡國強

016

HE SHAOJI

何紹基

058

LEE LIANG

李 梁

136

CHEN CHONG

陳 沖

029

HSU WEN JUNG

許文融

089

LEE MANFONG

李曼峰

091

CHANG DAQIAN

張大千

077

HSI SHIHPIN

席時斌

104

LEE SHICHI

李錫奇

120 134

CHEN CHENGHSIUNG 陳正雄

090

HSIAO CHIN

蕭 勤

011 039 045

LI SHANYANG

李善陽

106

CHEN CHINGJUNG

陳景容

082 108 109

HSIAO YI

蕭 一

117

LIAO CHICHUN

廖繼春

051

CHEN HSINGWAN

陳幸婉

145

HSIEH HSIAOTE

謝孝德

138

LIN FENGMIAN

林風眠

075

CHEN HUANZHEN

陳煥禎

118

HUANG GANG

黃 鋼

107

LIN SHIENMAO

林憲茂

021 022

CHEN SHUJIAO

陳淑嬌

032 139

HUANG MINGCHE

黃銘哲

019 020 083

LIN YILONG

林義隆

183

CHEN TINGSHIH

陳庭詩

009 030 085

132

LIN YUSHAN

林玉山

111

046

LIU CHIWEI

劉其偉

003 087

LIU JIUTONG

劉玖通

042 072

LIU KUOSONG

劉國松

076

LIU WEI

劉 煒

097 098

LONG CHINSAN

郎靜山

001 002 060

086

HUNG YI

洪 易

CHEN YINHUI

陳銀輝

004

CHEN YUNGSEN

陳永森

127

J

CHENG SHANHSI

鄭善禧

147

JAN CHINSHUI

詹金水

CHIA CHINGTEH

賈景德

057

JEAN JANSEM

強.詹森 176 177

CHIU YATSAI

邱亞才

044 074

JEAN PIERRE CASSIGNEUL

尚.皮耶.卡辛紐

CHU TEHCHUN

朱德群

152 158 170

JIANG ZHONGLI

姜中立

126

LU FOTING

呂佛庭

059

CHUANG CHE

莊 喆

040

JIN QINBO

金勤伯

142

LUO ZHONGLI

羅中立

093

E

008

GAO XINGJIAN

KUO JENCHANG

023

037 081

175

061 112


TAKASHI MURAKAMI

M MARIE LAURENCIN

瑪麗.羅蘭珊

村上隆

174

P

178 179 180

YAYOI KUSAMA

草間彌生 063 101 156

181 182 TONY WONG

黃榮禧

113

TOTOK SUDARTO

托卡.蘇達圖

157 168 169 YOSHITOMO NARA

奈良美智 141 149 150

YU CHUNGLIN

喻仲林

143

YU YUJEN

于右任

006 027 028

PAN CHAURSEN

潘朝森

008 038

PAN YULIANG

潘玉良

161

PANG JIUN

龎 均

025 047

W

PEN TZUCHIANG

彭自強

130

WALASSE TING

PENG KUANGJUN

彭光均

114 133

084 153 166

PIERRE FERNANDEZ ARMAN

阿 曼

110

167 171

Z

PU HUA

蒲 華

078

WANG CHIHSIN

王霽昕

125 140

ZAO WOUKI

PU RU

溥心畬

056 119

WANG HUAIQING

王懷慶

094

WANG KE

王 珂

041

ZHANG CHINGREN

張充仁

121

WANG KEPING

王克平

105

ZHOU CHUNYA

周春芽

095 096

WANG ZHUANGWEI

王壯為

057

ZHU YIYONG

朱毅勇

073

WU GUANZHONG

吳冠中

160 164 165

WU HSUEHJANG

吳學讓

144

薛 松

100

Q QI ZHILONG

祁志龍

102

R RAN INTING

藍蔭鼎

124

035 036 057 丁雄泉

012 031 062

YUYU YANG

楊英風

024 055 064 079

趙無極

148 154 155 162 163

010 X XUE SONG

S SAD JI

沙 耆

048 069

SHIRAGA KAZUO

白髮一雄 151

SHIY DEJINN

席德進

013 014 015

YANG CHIHUNG

楊識宏

065 128 129

SZETRO LAP

司徒立

026

YANG MAOLIN

楊茂林

092

YANG SANLANG

楊三郎

049 050 070

Y

071

T TAI JINGNONG

臺靜農

017 018 067

YANG SHENSUM

楊善深

146

068

YANG SHU

楊 述

103

009


001

|

LONG CHINSAN

( 1892-1995 )

郎靜山

To Anchar at Eventide

煙江晚泊

28×39cm Photograph on Gelatin Silver Print With one seal of the artist

1937 銀鹽 相紙 藝術家鈐印

PROVENANCE Private Collection, Australia

來源:澳洲私人收藏

茫茫的江中,遠霧籠罩一片冥濛, 天水相連不辨涯岸。停靠岸邊的船

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

010

暮色蒼茫,晚煙輕繚,在渺渺

隻漁火,是「雲水蒼茫失江路」景 色裡的溫暖光亮。


002

|

LONG CHINSAN

( 1892-1995 )

郎靜山

Farmland

山間田野

20×34.5cm Photograph on Gelatin Silver Print With one seal of the artist

銀鹽 相紙 藝術家鈐印

PROVENANCE Private Collection, Australia

來源:澳洲私人收藏

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

郎靜山在西方沙龍攝影術中融入傳統中國文人特質,在他的攝影作品中,能明確辨識其對於19世紀 西方畫意攝影的參照,但主要呈現仍較多為南朝謝赫所提之的「繪畫六法」中的「經營位置」、「傳模移 寫」。郎靜山攝影作品常刊載於《良友》《圖畫週刊》等刊物,早期作品多花鳥靜物、人體與風景,藝術 風格樸雅,畫面章法嚴謹。1930年年代初起嘗試藝術創新,取多張底片之局部接合配置或對底片加筆修 繪,成一新的影像。

011


003

|

LIU CHIWEI

( 1912-2002 )

An Old Man and Sea 54.5×39.5cm Mixed Media on Canvas Signed Liu Chi-Wei in Chinese phonetic alphabet and dated 1996

劉其偉

012

劉其偉的創作曾受到非洲原始藝術及西洋藝術家Paul Klee的影響,因此70年代後的作品都可見其童趣、反璞歸真 的畫風。此幅《老人與海》的自畫像,受美國作家海明威 《老人與海》一書所影響,書中主角與劉老的個性與做事風 格不謀而合,主角為捕撈大魚,過程中不斷地奮戰,雖然最 後僅取回偌大的魚骨,但他還是用盡全力戰勝大魚。就如劉 其偉抱著勇於挑戰、永不妥協的精神在他的生命中闖蕩,他 用老人與海的恆心毅力,在失敗中越挫越勇,也以這股力

老人與海

量,作為他持續向前的動力,劉老曾說:「生命要用才有價

1996 綜合媒材 畫布 簽名:ㄌㄧㄡˊㄑㄧˊㄨㄟˇ,96

值。用它,等於活著;做了,也才是活到了!」

NT$ 200,000-300,000 US$ 6,700-10,000


004

|

CHEN YINHUI

( b.1931 )

陳銀輝

Abstract Nocturne Street Scene

抽象的夜曲街景

61.5×51.2cm Oil on Canvas Signed Y.CHEN in English

油彩 畫布 簽名:Y.CHEN 來源:歐洲私人收藏

Provenance Private Collection, Europe

NT$ 160,000-240,000 US$ 5,300-8,000

陳銀輝吸收畢卡索神乎其技的變形法,與馬諦 斯主觀的色彩感受,以其「形的革命」和「色彩的 革命」作為藝術創作軸心,靈活轉換立體派及野 獸派的風格於畫面之上,虛與實、對比色的交相呼 應,讓物體的輪廓有更自然的呈現。《抽象的夜曲 街景》以灰藍色為基調,讓濃濃夜色伴隨著月光灑 落在白色房屋上,或明或暗的光影變化為街道譜出 靜謐曲調,而藝術家用對比的紅裝飾屋頂及少數牆 面,更加呈現其幾何隨興之美,增添夜晚神秘夢幻 之感。陳銀輝靈活連結抽象與具象其微妙交集,將 寬闊或重疊的色面輔以剛勁率真的黑色線條,在物 件成形之中又放入曖昧不明的線性結構,看似解構 卻仍然保有街道風景,其奔放俐落的表現手法,引 領觀者墜入想像的瞬間。 013


005

|

JU MING

( b.1938 )

Taiji Series 21×17.5×15cm Bronze, 37/40 Signed Ju Ming in Chinese, dated 1981, numbered 37/40

朱銘 太極 1981 銅 37/40 簽名:37/40 朱銘 81

NT$ 220,000-400,000 US$ 7,300-13,300

朱銘而立之年拜楊英風為師,從工藝雕刻踏入藝術創作領域,楊英風曾建議朱銘學習太 極以強健體魄、磨練意志,而從學習過程中體悟出太極的精神,經過自我內化為創作題材, 太極系列為亞洲藝壇奠下斐然名聲,享譽國際。《太極》此作品輕緩柔順循序漸進的太極架 式,經過大刀闊斧的劈鑿,不刻意的修飾刀痕將氣韻自然表現,舉手投足間充滿張力氣勢, 起身攻擊的動態展現出柔中帶剛的內涵,不疾不徐沉穩持重,剛毅中流露出平和的氣韻,融 合傳統與現代精髓展現出深厚的東方精神。 014


006

|

YU YUJEN

( 1878-1964 )

于右任

Calligraphy

碧潭草堂

33×130cm Ink on Paper Signed Yu Yu-Jen in Chinese With one seal of the artist

水墨 紙本 簽名:于右任 藝術家鈐印

NT$ 120,000-240,000 US$ 4,000-8,000

于右任,擅詩詞,基於書法,猶善行草書,用心佈白,筆觸稚拙檢漫,於寬博揮灑中別具神韻。其 書法為後人尊稱「于體」,並整理其歷代草書字體,編成《標準草書》印行,為後世影響深遠。其曾在 上海創辦標準草書社,以易識、易寫、準確、美麗為原則,自成一套完善的草書代表符號系統;《碧潭 草堂》字畫除了融合魏碑書體的造形與圓筆運用,更加入個人筆意的流動,落筆看似隨興,卻字字有 別,字體模態恰到好處,書風瀟灑奇偉又簡潔質樸,含蓄之中變化萬千。

015


007

|

ALFRED BASTIEN

( 1873-1955 )

巴斯天

Mussels and Wine

法式海鮮佳餚

38×55cm Oil on Board Signed A. Bastien in English With a certificate of authenticity from gallery

油彩 木板 簽名:A. Bastien 附畫廊開立之原作保證書

PROVENANCE Galerie ST. JOHN

來源:Galerie ST. JOHN

NT$ 120,000-200,000 US$ 4,000-6,700

巴斯天生於比利時,是比利時印象派畫家,作為吳作人與沙耆留學比利時時期的指導教授,並曾為比利時國 王亞爾佩一世作畫。《法式海鮮佳餚》巴斯天秉承印象派注重光與色的描繪,將法國名菜Mussel搭配美酒,置於 明亮白色素雅的桌巾上,浪漫寫實地描繪並將其突顯出來。名菜Mussel在法國、比利時均十分受到歡迎,經典且 道地,並迅速風行整個歐陸。中文稱之為貽貝的Mussel其味非常鮮甜甘美,並擁有各式各樣的料理方法,能延伸 出豐富的味覺饗宴。在主角Mussel之外,鮮豔的水果賦予畫面高彩度的點綴,背景後方牆面以深色為基底,並且 描繪局部的畫框結構,建構出空間與層次,細膩筆觸之間收放自如。畫面整體上下、明暗對比處理賓主關係,呈 現立體的空間美感,舒宜且平衡,是一種恣意的享受。

016


008

|

PAN CHAURSEN

( b.1938 )

White Castle in Europe 44×52cm Oil on Canvas Signed CHAUR-SEN in English, dated 1991

潘朝森,1938年生於新竹,師承台灣水彩巨擘蕭如松。1972年 代表台灣遠赴參與坎城國際展―「思」,榮譽獲頒「國家榮譽獎」殊 榮。潘朝森善用充滿詩意般的意境,作品備受世界畫壇關注。畫家以 藍色系的運用,在〈歐洲白城〉此幅畫作當中,巧妙了運用藍的烘托 與摻揉,將歐洲白城所呈現的時間流動與凝結性,刻畫出專屬年代歷 史軌跡,烘托出歐洲百年古風與深層文化底蘊。強烈的白色系主軸,

潘朝森

使白城牆面仿若有大片陽光迎面灑落,畫家更絲毫不避諱牆面塵土污

歐洲白城

垢,使空間瀰漫著真實性,成功營造如幻似真的朦朧之美,讓人在畫

1991 油彩 畫布 簽名:1991 CHAUR-SEN

家筆觸引領之下,瞻仰一座古城生成,打造亙久彌新的歷史意義。

NT$ 80,000-160,000 US$ 2,700-5,300 017


陳庭詩於1950年代曾參與「五 月畫會」及「現代版畫會」,其作 品題材多變、媒材廣袤,涵蓋書 法、水墨、版畫,鐵雕、壓克力畫 等截然相異的藝術領域,好友劉國 松更讚其「十項全能」。創作質量 俱精,馳譽文化界,為台灣現代藝 術引領風騷的先驅藝術家。其作立 意簡練純淨、內涵深厚凝重,多彩 的形式通上下古今,真摯的內容究 天地人間之極。 陳庭詩八歲時,從樹上摔下 導致失聰,自此即與靜默、藝術 長相廝守。在他的寧靜世界中, 從此無紛繁嘈雜的瑣碎聲響引其思 緒不寧,與人溝通則以紙筆交流。 陳庭詩則得以心無旁鶩、心靜如止 水,不斷地把內心的觸覺與宇宙萬 物契合,並以圖像的單純與墨料的 精微,透過極具感染力的藝術技 法,涵詠天地、品味人生。抗戰時 以「耳氏」筆名嶄露頭角,在藝術 道路上孜孜不倦地思考與實踐,使 作品蘊含著強烈的實驗精神,將視 覺感受提升到哲學的高度,然而更 加難得的是,陳庭詩揮灑的藝術能 量,既能夠幽微婉轉如綿綿細語, 也可似豪氣干雲地長嘯練習。 進入七○年代後,陳庭詩逐 漸減少版畫創作,轉向水墨畫的 探索。風格清癯成熟,超脫現代 而回歸質樸,語境更為純淨老練、 直剖內心。其筆墨鎔鑄其抽象版畫 的創造語法,同時也生發出極富感 染力的運筆。《魚水之樂》的色調 對比強烈,金魚鮮嫩濃郁的紅色十 分搶眼,背景的大片留白帶出深沉 的純粹與想像空間,紅色金魚悠游 其間,在其輕盈搖擺的長尾的律動 中,仿若見著陳庭詩積蘊數十年的 書法力道,鏗鏘有力、跌宕生妙。

009

|

CHEN TINGSHIH

( 1916-2002 )

陳庭詩

Goldfish

魚水之樂

69.5×45cm Ink and Color on Paper Signed Chen Ting-Shih in Chinese With seals of the artist

1985 彩墨 紙本 簽名:魚水之樂 乙丑 庭詩 藝術家鈐印

NT$ 160,000-240,000 US$ 5,300-8,000 018

墨黑荷葉穩當如山,那金透的花瓣 若隱若現,畫面左上角的一抹清淺 雅逸的幽藍,展現出流水的悠悠蕩 蕩。構圖簡練、造形質樸,卻精準 地呈現出陳庭詩激越勃發、無聲勝 有聲的生命語言。


010

|

RAN INTING

( 1903-1979 )

藍蔭鼎

Scenery

竹溪浣衣

40.5×57cm Watercolor on Paper Signed RAN IN-TING both in Chinese and English, dated 5.1975 With one seal of the artist Signed on the reverse of frame: Titled and signed Ran In-Ting in Chinese With one seal of the artist

1975 水彩 紙本 簽名:蔭鼎 RAN IN-TING 5.1975 TAIWAN 藝術家鈐印 框背簽名:竹溪浣衣藍 蔭鼎筆 藝術家鈐印

PROVENANCE Acquired directly from the artist

NT$ 450,000-650,000 US$ 15,000-21,700

來源:現藏者得自藝術家本人

曾受日內瓦年鑑評選為當代傑出畫家的藍蔭鼎,擅以台灣山川風土之美做為其創作題材,一生創作不綴,擅 長水彩、水墨與素描,早期受石川欽一郎繪畫風格影響,技法單純簡樸,中期以後,漸確立自己風格,加入中國 傳統水墨筆觸,到了晚年此種技法運用更加成熟,形成他個人獨特繪畫風格。 《竹溪浣衣》充分掌握中國藝術上「線條」、「架構」的特質,巧妙地運用「明」、「暗」、「遠」、 「近」的對比,處理鬱密竹林與後方浣衣人家的畫面賓主關係。使用繁雜紮實的「重疊法」,佐以乾筆和擦筆。 如用豪邁、奔放級乾筆拖拉,表現出大片蒼翠竹林的筆觸。加上竹竿亮度「刮白」之率性的線條,和以「刷洗」 的效果,處理出濕潤朝氣鮮明等等的氣氛。這演釋出藍蔭鼎爽直、健朗的性格,毫無造作與虛假,其樂觀積極的 情懷,透過筆意,把心中對台灣鄉村的眷戀,一一地在畫面中流露出來。 019


011

|

HSIAO CHIN

( b.1935 )

蕭勤

To the Eternal Garden 29

往永久的花園之29

25×35cm Oil on Canvas Signed Hsiao Chin in Chinese, dated 1992 Signed on the reverse: titled both in Italian and Chinese, sized

1992 油彩 畫布 簽名:蕭勤 九二 背面簽名:Venne il giardino eterno - 29,往永久的花園之29,25×35cm

NT$ 140,000-240,000 US$ 4,700-8,000

「對我來說,作畫這件事的第一重要性,並非『作畫』,而是透過作畫來對自己的人生始源的探討,人生經 歷的紀錄及感受,和人生展望的發揮。」 ---蕭勤 1990年,蕭勤因喪女之慟一度無法創作,而在參透生死大限意義後,他為女兒與自己創作了多個系列的作 品,他領悟到,人們死亡僅是肉體上的消逝,但精神空間卻永久存在,那才是生命的恆久境界,《往永久的花 園》便是其中的一個系列作品。《往永久的花園之29》以紫紅色面及亮橘墨點所組成,彌漫著感性,使其充滿著 色彩磁性力量,而曲線牽動起視覺,像神祕的波紋往外推送,洋溢著流動性,藝術家將生命本質的喜悅與感恩藏 入畫中,並予以心靈的大能量。

020


012

|

WALASSE TING

( 1929-2010 )

丁雄泉

Two Girls with Fans

持扇雙美

40×53cm Acrylic on paper With one seal of the artist

壓克力 紙本 藝術家鈐印:採花大盜

PROVENANCE Acquired directly from the artist

來源:現藏者得自藝術家本人

NT$ 260,000-360,000 US$ 8,700-12,000

丁雄泉,出生中國省江蘇無錫,運用絢爛色彩襯托女子氣性,並自稱「採花大盜」,足見其風流倜儻的性 格,其創作更被世界各國美術館的特典蒐藏與展示,此幅《持扇雙美》為兩名女子手持斑斕花扇,宛如正輕聲傾 訴著孺慕耳語,畫家勾勒女子若有似無的眼神流轉,並選用鮮艷繽紛的色彩,巧妙地運用渲染技巧,捕捉了兩名 女子柔媚令人傾心的獨到神韻。花扇背後是女子若隱若現的面容,如鏡一般的對視。花扇圖樣與女子頭飾相互呼 應,有如繁花怒放似錦,與雙美眼影與眼眸冷淡基調,明顯成為精彩對比。丁雄泉承襲自我一脈風格,讓人不由 得被畫家筆下的豐厚意象所吸引,《持扇雙美》精整地詮釋女性柔美的多重面相。

021


013

|

SHIY DEJINN

( 1923-1981 )

席德進

Seal Script

篆書

61×122cm Ink on Paper Dated 2 February, 1979 With one seal of the artist

1979 水墨 紙本 簽名:2/12 1979 藝術家鈐印

PROVENANCE Acquired directly from the artist

來源:現藏者得自藝術家本人

NT$ 200,000-300,000 US$ 6,700-10,000

席德進曾說:「中國毛筆,其線條變化之多端及其敏感度之強,是西方繪畫工具所沒有的。而毛筆的運用,

有起、落、頓、銼、中鋒、偏鋒之變化,一筆下去有濃淡、剛柔的變化,亦是西方畫筆所難及的。」 席德進投身 於民間藝術研究,從中體悟到中國民間傳統藝術蘊含純樸、渾厚、簡約、蒼古勁道的特質,進而發現中國書法 也蘊含相同特質,於晚年開始投入書法研究,勤奮練習秦漢碑帖,因書法的練習,自然的內在精神、氣韻容易掌 握,聚精會神,書法與文學內涵契合相通,沉著的書寫緩慢慎重,不疾不徐,穩健的線條極具重量感,行筆自然 舒展,字體厚實且豐勻,筆線圓勻勁健,筆墨線條帶著堅毅的力量,其字獨具風姿,帶領觀者陶醉於書法藝術的 筆墨情韻之中。

022


014

|

SHIY DEJINN

席德進

在席德進生命的後半段,他的藝術風格逐

Water Buffalo

綠野牛隻

漸從西方敏銳的激情,回流到中國的寧靜、悠

45.5×52.5cm Watercolor on Paper Signed Shiy De-Jinn in Chinese With one seal of the artist

水彩 紙本 簽名:席德進 藝術家鈐印:席德進

( 1923-1981 )

PROVENANCE Acquired directly from the artist

遠。他不由自主地精神還鄉,重新探索民族文 化的根,擁抱自然深蘊的生機,大至阡陌野嶺 的澎湃,微至珠花細草的真實。《綠野牛隻》 裡墨藍與濃綠色塊,和中央橫逸而過的一抹飛 來源:現藏者得自藝術家本人

NT$ 350,000-500,000 US$ 11,700-16,700

白形成明顯的前後關係,未知的距離產生廣闊 的空間感。席德進巧妙地運用中國繪畫的留白 技法,並瀟灑恣意的渲染創造出虛實對應、層 次分明的藝術張力,讓作品蕩漾著天地間的浩 渺生機與藝術家優美真摯的詩情與畫意。

023


「我們給人畫一張像,單是靠自己一方面的力量還不夠,要對方與 我們合作,她得安靜,將給你一個安靜的心,兩者氣勢合一,則可以產 生一張好的畫,所以一幅畫是畫家與模特兒共同創造出來的。」

---席德進

a. b.

015

|

SHIY DEJINN

( 1923-1981 )

a.Portrait b.Folk Song Singing

a.肖像 b.民謠獨唱

a.39×27.3cm b.38.8×45.7cm a.Charcoal on Paper b.Marker Pen on Paper a.Signed Shiy De-Jinn both in Chinese and English b.With one seal of the artist

1956 a.炭筆 紙本 b.麥克筆 紙本 a.簽名:Shiy De Jinn 席德進 1956 b.藝術家鈐印(席德進畫室印)

PROVENANCE Private Collection, Asia Christie's Hong Kong, Chinese 20th Century Art (Day Sale), 29 May 2011, Lot 1206 Christie's Hong Kong, Chinese 20th Century Art (Day Sale), 29 May 2011, Lot 1206 ILLUSTRATED "Artist Publishing Co., Sketches of Shiy Dejinn, Taipei, Taiwan, 1992 (Folk Song Singing illustrated)

024

席德進

來源:亞洲私人收藏 香港佳士得,中國二十世紀日間拍賣,2011年5月29日,Lot 1206 圖錄 《席德進畫室印》,藝術家出版社,台灣台北,1992年(圖版為民謠獨唱)

NT$ 280,000-360,000 US$ 9,300-12,000


016

|

CAI GUOQIANG

( b.1957 )

蔡國強

Sketch

99艘金船草圖

31.5×47cm Ink on Paper Signed Cai both in Chinese and English, dated 2002

2002 水墨 紙本 簽名:Cai蔡 2002

PROVENANCE Private Collection, Asia

來源:亞洲私人收藏

NT$ 240,000-360,000 US$ 8,000-12,000

「最終人們是透過作品與作者對話,而不是因為作者說了什麼。所以永遠都要相信,最後都會回到作品本 身,因為藝術家會死,解釋作品的人也會死。就像《草船借箭》,經常有人會從文化衝突、中國典故、新殖民 主義等角度議論這件作品,但這些最後都會被忘掉,幾十年後這個作品還持續存在,人們又會從另外的角度解 釋這件作品。」 ---蔡國強 此張99艘金船的手稿,是蔡國強在神戶地震之後,於安藤忠雄設計的新神戶美術館開館時展出。懸吊在天 花板上的金船,從展廳一邊延伸到另一頭,由黃金作成的葉形小船有如漂浮於隱形的河流上,蜿蜒流動,充滿 著詩意。蔡國強的作品通常都是比較暫時性的,相對黃金便是較永恆的媒材,藉此表現出歲月、時光與河流的 相互關係。 025


017

|

TAI JINGNONG

( 1902-1990 )

Four Hanging Scrolls of Plum Flower 48×32cm(4) Ink on Paper a.Inscribed and signed Jing-Nong in Chinese, dated 1972 in in Chinese sexagenary cycle (Ren Zi year) With one seal of the artist b.Titled and signed Jing-Nong in Chinese With one seal of the artist c.With one seal of the artist d.With one seal of the artist

臺靜農 墨梅 (四件一組) 1972 水墨 紙本 a.款識:壬子春仲寫季一鳴兄雅教 靜農於臺北市寄寓 藝術家鈐印 b.款識:宋人句靜農 藝術家鈐印 c.題識:周棠主詩 藝術家鈐印 d.題識:戴復古句 藝術家鈐印

a.釋文: 千年老榦屈如鐵,一夜東風都作花。 (《梅》明張庸) b.釋文: 背人偷折最高枝,清香滿袖,猶記畫 堂西。 (《臨江仙》宋李之儀) c.釋文: 清 魏際瑞 東山冷似秋,曉月明如夜,山鳥月中 寒,夢醒梅花下。 d.釋文: 有此瑰琦在巖壑,其他草樹亦精神。 NT$ 180,000-360,000 US$ 6,000-12,000 a. b. c. d.

臺靜農早年是中國著名的現代小說家,晚年卻成為著名的書法家。除了出版多部小說詩詞作品集外,幾年來,他的書法作品展 覽逐漸受到重視,尤其曾受教於門下的弟子亦對臺靜農的成就、貢獻有諸多討論與研究,更是奠定其在近代書法史上明確且屹立不 搖的地位。文人氣質濃郁的臺靜農,在梅花的表現上也最為出色,不論簡枝或是繁枝,在在生動有勁,「以其筆劃勁利,故以之作 梅。」這句話似乎也可以是欣賞其墨梅的重點。其墨梅作品常以書法的筆法入畫,設色清麗典雅,屬文人墨戲一路;書法則兼擅五 體,隸書、行書成就最高。

026


生於國事蜩螗的年 代,臺靜農滿腔熱血,不 斷奮起的精神不僅展現在 文學創作上,書法作品中 也可見一斑。將魏碑方銳 取勢的筆法,寫入行書當 中,行雲流水又見雄健剛 強。正如同臺靜農性格, 剛健狂狷與寬厚慈祥並存 其中。相較於篆、隸、楷 等書體,行書更能展現書 法家獨特風格,其書風變 化可分為前中後三期, 1980年後達到顛峰,風格 更加凸顯強烈「頓挫」與 「傾側」的筆勢。行書主 要受到倪元璐與黃道周的 影響,前者疏放秀雅,後 者剛健奔放,臺靜農的行 書作品,早期受到倪元璐 的影響較深,作品以小字 行書,疏朗清俊為主,後 加入黃道周與近人沈曾植 之筆法,與及隸書魏碑中 凝重剛練之筆勢,淬煉出 沉鬱勁拔卻不失清疏秀朗 的獨特風格。

a. b. c. d.

018

|

TAI JINGNONG

( 1902-1990 )

Calligraphy with Four Scrolls 67.5×18.5cm(4) Ink on Paper a.With one seal of the artist b.With one seal of the artist c.With one seal of the artist d.Inscribed and signed Jing-Nong in Chinese, dated 1972 in in Chinese sexagenary cycle (Ding Wei year)

a.釋文: 陰寒,不審太保所苦何如?承渴已損,深慰馳仰。所檢讚猶未獲?望於文書細檢 也。病妻服藥,要少鹿肉乾脯,有新好者,望惠少許,幸甚!尋馳謁不次,謹狀。

二十九日,刑部尚書顏真卿狀上

(《與李太保帖八首》唐顏真卿 )

b.釋文: 王晉卿嘗暴得耳聾,意不能堪,求方於僕。僕答之云:「君是將種,斷頭穴胸,當 無所惜,兩耳堪作底用,割捨不得?限三日疾去,不去,割取我耳。」晉卿洒然而 悟。三日,病良已,以頌示僕云:「老坡心急頻相勸,性難只得三日限。我耳已效 君不割,且喜兩家都平善。」今見定國所藏《挑耳圖》,云得之晉卿,聊識此事。

臺靜農

元祐六年八月二日,軾書。

書法四帖

(《跋南唐挑耳圖》宋蘇軾 )

d.1967 水墨 紙本 a.藝術家鈐印 b.藝術家鈐印 c.藝術家鈐印 d.簽名:丁未十月為 一鳴兄臨回家書不能工也 靜農 藝術家鈐印

NT$ 250,000-500,000 US$ 8,300-16,700

c.釋文: 張翰字季鷹,吳郡人。有清才,善屬文,而縱任不拘,時人號之為江東步兵。後謂 同郡顧榮曰:天下紛紜,禍難未已。夫有四海之名者,求退良難。吾本山林間人, 無望於時。子善以明防前,以智慮後。榮執其愴然。 歐陽修本

(《歐陽詢書張翰帖》唐 歐陽詢)

d.釋文: 密友從春拆,紅薇過夏榮。團枝殊自得,顧我若含情。漫有蘭隨色,寧無石對聲。 卻憐皎皎月,依舊滿舡行。

(《苕溪詩》宋米芾 ) 027


019

|

HUANG MINGCHE

( b.1948 )

黃銘哲

Horse

46×61cm Oil on Canvas Signed Che in Chinese, dated 1986

1986 油彩 畫布 簽名:哲 1986

NT$ 140,000-240,000 US$ 4,700-8,000

黃銘哲在早期70年代以鄉土寫實風格為主,直至1980年,他決定從英國返鄉,風格也因而轉變成為80年代 的人文溫情主義,而隨著際遇的變化,90年代黃銘哲開始了半抽象的絢爛華麗都會風格的系列創作,他的藝術 與人總是一致,命運的過程都在創作上留下步步軌跡,他說:「我的藝術每一步都可以追溯到我對生命體會的轉

變。」 《馬》以半抽象的姿態奔騰色塊之中,簡潔俐落的線條,暗示形體的具象輪廓,精準的色彩掌握,讓平面 的繪畫手法產生立體的視覺效果,畫面純粹而飽含勁道,順暢有力的筆觸,更使作品帶有高度的速度感。

028


020

|

HUANG MINGCHE

( b.1948 )

黃銘哲

Fantasia

幻想曲

52×44cm Oil on Canvas Signed Che in Chinese Signed on the reverse: Che in Chinese, dated 1990

1990 油彩 畫布 簽名:哲 背面簽名:哲 1990

NT$ 120,000-200,000 US$ 4,000-6,700

1990年代開始,黃銘哲愛上克林姆綺麗繽紛的裝飾圖案,師大教授王哲雄,對此一時期畫風曾下註解:

「黃銘哲將德庫寧、培根、克林姆、莫迪格利安尼的藝術特質和自己類似原生質的人體造型揉合詩化,幽靈般的 飄蕩於阿拉伯式五彩繽紛的裝飾背景或塗鴉式線條糾葛而成的網狀空間,最後創造出具有東方神秘色彩的造型語 彙。」 黃銘哲常在作品中虛構幻想的世界,並鍾情於他的幻想,他透過最適當的手法具體化其想像,讓他的藝術 存在真實與夢境之間。《幻想曲》透過抽象的象徵性手法,將各種表現形式徹底解體,賦予作品難以言喻的情緒 經驗,及意味深長的閱讀空間。 029


021

|

LIN SHIENMAO

( b.1955 )

Colorful Carpios 91×119cm Oil on Canvas Signed Shien Mao in English, dated 2012

林憲茂 百鯉紅漾 2012 油彩 畫布 簽名:Shien Mao 2012

NT$ 500,000-650,000 US$ 16,700-21,700

林憲茂曾說:「一個藝術工作者的創 作,與生活週遭及日常體驗密不可分。隨 著時間流逝,我對美的觀感也有不同階段 的認知,時間的洗滌讓我成長,幻化為創 作的動力。這些個人體驗的成果,對美 的歷練,驅使我不斷向前衝刺,不允許 自己在原地踏步。因此,創作需要時間考 驗,讓我努力去找到最適合自己的呈現方 式。」林憲茂創作風格由具象轉變為抽象 表現主義,擅長運用豐富的色彩與生動線 條,畫作中可窺探出所追求的不是靜態畫 面,而是動態所呈現的流動美感,介於真 實於虛妄之間。《百鯉紅漾》鯉魚自古以 來是吉祥、美好的象徵,寄託著人們對前 途的憧憬與信仰,由於鯉魚的「鯉」和 「利」諧音,故有「得利」之說。林憲茂 將奔騰暢遊的鯉魚交織穿梭於畫布之間, 運用靈活暢快筆觸創造出鮮明的繪畫語 言,獨具生命力與充滿想像的視覺呈現方 式,使畫面充滿強烈的生命存在感。

030


031


022

|

LIN SHIENMAO Serissa

65×53cm Oil on Canvas Signed Shien Mao in English, dated 2011 Signed on the reverse: Shien Mao both in Chinese and English, dated 2011, title and size

林憲茂 滿天星 2011 油彩 畫布 簽名:Shien Mao 2011 背面簽名:林憲茂 ShienMao 2011 滿天星 15F

032

NT$ 140,000-250,000 US$ 4,700-8,300

「我想一個畫家的創作理念,都依循著作者生活的體驗及跟

( b.1955 )

隨一切週遭事物,隨時間的洗滌及對美的歷練而成長,創作理念 也隨各時期對客觀世異的認識而轉變成個人創作習性的主觀,所 呈現出來的風貌,它是心裡世異不斷往前衝刺與奔跑,它,並不 在原地踏步的東西。」

---林憲茂 林憲茂從過去的舞動系列,描述人體舞蹈的曼妙,延伸道日

月潭的動態山水寫意系列,近日更以鯉魚為題材做了系列的創 作。《滿天星》為難得的瓶花創作,半抽象的瀟灑揮筆,能見花 色卻不見其形,由白漸層至桃紅的嬌嫩,豐盈聚集,飽滿盛放。 林憲茂以獨有的抒情感知,將自然物象內化為點、線、面、形、 色,致力建構內外的「雙層次」結構,鋪陳出個人內在精神與美 感經驗。


023

|

KINICHIRO ISHIKAWA

( 1871-1945 )

石川欽一郎

Hsinchu Park

新竹公園

24×33cm Oil on Board and Canvas Signed Kin in Japanese With a certificate of authenticity from gallery

1988 油彩 木板 畫布 簽名:欽 附畫廊開立之原作保證書

NT$ 350,000-450,000 US$ 11,700-15,000

石川欽一郎是台灣近代美術史的重要推手,28歲遠赴英國學習英國傳統水彩畫法,接受正統英國水彩畫技 法,從此確立自我風格,36歲赴台灣擔任總督府翻譯官並兼任國語學校美術教官,52歲受志保田校長邀請來台 任教台北師範美術教師。石川欽一郎在台灣推廣水彩畫貢獻卓越,栽培許多的台灣青年,開啟台灣學子西洋美術 文化的視野,大力提攜後進,像倪蔣懷、陳澄波、楊啟東、藍蔭鼎、洪瑞麟、李澤藩等人,在石川欽一郎的帶領 下成為台灣藝術的先鋒,因此博得「台灣美術啟蒙之父」的稱號。戶外寫生是石川欽一郎的最大興趣,曾兩度來 台,走遍全台各地的山水名勝,此一作《新竹公園》採用典型的英國水彩技法,水彩明快而乾淨,以精湛輕快的 筆觸描繪出綠意盎然草木,靜謐幽美的時光停留在畫面中,流露出對台灣的無限情感。

033


034


024

|

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, numbered 6/9, dated 1993 With certificate of authenticity from Yu Yu Yang Foundation ILLUSTRATED "Yu Yu Yang Corpus Volume 1", Artist Publishing Co., 2005, Page 338

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 附財團法人楊英風藝術教育基金會開立之原作保證書 圖錄 《楊英風全集》,第一卷,藝術家出版社,台灣台北, 2005年12月,第338頁

NT$ 120,000-280,000 US$ 4,000-9,300

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。

035


025

|

PANG JIUN

( b.1936 )

龎均

Lilies

香水百合

45×52cm Oil on Canvas Signed Pang Jiun in Chinese, dated 1998 With one seal of the artist With a certificate of authenticity from gallery

1998 油彩 畫布 簽名:龎均1988 藝術家鈐印 附畫廊開立之原作保證書

NT$ 300,000-500,000 US$ 10,000-16,700

龎均混合印象派後期和野獸派的熱情奔放與野性的爆發力,並憑藉著深厚的東方傳統學底,將文人雅逸、柔 婉的詩情畫意,鎔鑄於西方繪畫強烈而明快的表現性裡,展現出中西合璧的獨特美學、大家風範。《香水百合》 繪於1998年,畫面中恣意盛放的百合近乎盤據整著畫面,白色花瓣繁茂而張揚的姿態宛若火焰的燒灼。龎均的 線條一波三折,輕鬆自在地盤旋、勾勒花朵形貌,並刻意地使用沉鬱的深色調為基底,與百合的潔白形成決絕對 比。而點綴其間的艷紅花蕊與含苞待放的嫩黃,絢麗而飽滿,在強勁的筆觸下又蘊含東方式的柔情畫意,再再使 這珠《香水百合》無語盛開、清香瀰漫,綻放出鮮活旺盛的生命力。 036


026

|

SZETRO LAP

( b.1949 )

司徒立

Quarry

石場

100×89cm Oil on Canvas Signed Szeto in English, dated 1985 With a certificate of authenticity from gallery

1987 油彩 畫布 簽名:Szeto 1985 附畫廊開立之原作保證書

司徒立70年代遠赴法國巴黎,專職 作畫和藝術理論研究,參與具象表現繪畫 活動,舉辦多次個展,獲獎不計其數成就 斐然,是兼備藝術哲思與精湛技巧的藝術 家。司徒立的作品體現了主張純視覺性直 觀方法,藝術姿態並非基於情緒,而是緣 自於嚴肅的思想,用自己的繪畫方式找尋

NT$ 260,000-360,000 US$ 8,700-12,000

到心靈的語言對話。《石場》細膩的寫實 筆法刻劃出空廓遼遠的視覺空間,營造出 柔和淡雅的靜謐氛圍,廣闊的視覺和舒緩 的筆調,使視覺舒宜且平衡,其作品蘊蓄 的氣韻特質,反映畫家的心理情感,表達 一種沉靜深遠的寓意世界,也帶著現代的 鄉愁和時空的緬懷。 037


027

|

YU YUJEN

( 1878-1964 )

Calligraphy 87.8×45.2cm Ink on Paper Inscribed and Signed Yu Yu-Jen in Chinese With one seal of the artist

于右任 過昆湖訪毛子晉 水墨 紙本 款識:梓良先生法家正之蒼雪大師過昆湖訪 毛子晉詩 于右任 藝術家鈐印

NT$ 280,000-350,000 US$ 9,300-11,700 釋文: 月起雞鳴後,燈寒水店開。舟人方睡 好,客子只行催。有約春前到,何心歲 暮來。七星橋隱隱,望斷讀書台。

(《過昆湖訪毛子晉》明蒼雪)

被譽為「一代草聖」的于右任,原 名伯循,字誘人,之後以「誘人」諧音 「右任」為名;別署「騷心」、「髯 翁」,晚年自號「太平老人」,一身清 廉,高風亮節,淡泊名利。終其一生留 下墨跡作品甚豐,書法大器磅礡,神韻 自然圓融,瀟灑靈動,見其字如見其 人,一如于右任溫潤儒雅的氣質。于右 任是民國初期台灣書法圈最具指標性的 人物之一,也是中國書法承先啟後的一 環。其精通書法,尤擅草書,首創「標 準草書」,內以易識、易寫、準確、美 麗為原則,推廣草書並加以研究、整 理,遂集字編成《標準草書千字文》, 影響後世深遠。于右任生前不吝為人寫 字的態度,使其作品散布在民間各處, 其愛國思想及書道精神更為海峽兩岸所 推崇與敬重。

038


028

|

YU YUJEN

( 1878-1964 )

Couplet Calligraphy 66×18.2cm (2) Ink on Paper Inscribed and Signed Yu Yu-Jen in Chinese With one seal of the artist

于右任 草書五言聯 水墨 紙本 款識(上聯):梓良先生法正 款識(下聯):于右任 藝術家鈐印

NT$ 200,000-360,000 US$ 6,700-12,000 釋文: 行修而名立,理得則心安。

于右任是二十世紀偉大的書法 家之一。書法表現分為三個階段發 展,帖學、碑學及草書;早期以北 碑入手,並以魏碑為基礎,將篆隸草 法融入行楷,到晚年提倡具省時又現 代時間觀的草書為主,開創標準草 書,被譽為「當代草聖」。于右任曾 說:「我之作書,初無意於工,始則

鬻書自給,繼則以為業餘運動,後則 有感於中國文字之急需謀求其書寫之 便利,以應時代要求,而倡標準草 書。」 于右任發揚書法藝術,具強力 探索的勇氣,潛心創作,字裡行間透 露出蓬勃的生命氣象,作品大氣磅礡 韻味無窮,一生為人清廉公正、兩袖 清風,存在國人心中。

039


029

|

CHEN CHONG

( b.1982 )

Flowers in Vase 2006 145×80 cm Oil on Canvas Signed chen chong in English and dated 2006

陳沖 瓶花 2006 145×80 cm 油彩 畫布 簽名:2006 chen chong

NT$ 200,000-260,000 US$ 6,700-8,700

陳沖的《瓶花》繪於2006年,純白 的瓶身上點綴著鮮嫩桃紅的花朵,並搭配 嶙峋枝椏的橫出姿態,以沉厚濃豔的色料 平塗、細膩堆疊,且在背景的空茫褐色的 襯托之下,營造出強烈的藝術張力。陳沖 的筆觸率真而強勁,引領觀者進入詩意的 幻覺空間,堅實橫出的筆觸凝聚成一朵朵 嬌豔立體的花,強烈的色澤與大膽的呈現 方式顯示出魔幻寫實的氛圍,藝術家在西 方濃烈的表現主義筆法下,選擇《瓶花》 這樣儒雅秀氣的主題,讓作品瀰漫著東方 意味的形式美,成功地讓濃重的色彩綻放 出輕逸溫雅的東方精神。陳沖揮灑彩料, 感性地搭起具象與抽象的橋樑,以極具表 現性的技法與色彩,精彩地傾訴東西方經 典文化的迷戀與想像,華美彰顯出新銳藝 術家前衛而豐沛的創作能量。

040


030

|

CHEN TINGSHIH

( 1916-2002 )

陳庭詩

Blooming Lotus

新荷驚艷

45×68.5cm Ink and Color on Paper Signed Chen Ting-Shih and 70 years old in Chinese With seals of the artist

彩墨 紙本 簽名:七十の年陳庭詩寫意 藝術家鈐印

NT$ 160,000-240,000 US$ 5,300-8,000

自幼患有耳疾的陳庭詩,無法聽聞任何聲響,但他卻憑藉八歲前對字音的記憶,熟稔平仄音韻的精奧,能夠 詩歌對答如流,更善於聯句創作。而其出生於書香世家,從小於家中私塾學習傳統書畫,奠定出紮實藝術涵養。 根據摯友劉國松所憶,陳庭詩的文學修為極為渾厚,成就一身出口成詩、信手拈來便成聯句的本領。幼時的失 聰,使他生理上隔入了一個清淨寂然的無聲世界,這個身體的缺憾卻為他的藝術生涯注入與眾不同的能量。陳庭 詩曾自述:「我之作飄渺無際的蒼穹事物,那是無可奈何的事。」 因他與聲音絕緣,人際關係有如被隔於一牆之 外,「牆外是寧靜的,寂寞的,這種環境易使人陷入冥想」 ,冥想的結果「眼前出現幻境的映象」 ,於是形成獨 樹一幟的藝術風貌,奔騰的幻想往往能從神祕的世界中凝聚成具體形象,在孤寂中淬煉出強而有力的生命力道。 中國的傳統向來喜愛荷花,喜愛其「出淤泥而不染,濯清漣而不妖」 ,喜愛其清新典美的氣質,更喜愛其有 揭示東方雅士的情懷。《新荷驚艷》描繪初發的荷花,含苞待放、初綻芬芳,色澤鮮嫩,在陳庭詩的墨色點點的 藝術世界中更顯情意綿綿、巍峨流長。觀看畫作仿若渴聞悠荷清香,香遠益清、亭亭淨植。陳庭詩用渾樸的筆 觸,勾勒出新荷萌發的溫潤氣性,背景留駐的其大塊純白演繹的是飄渺無際的蒼穹。陳庭詩墨韻款款,失語的 他,在瑰麗富饒的心靈世界裡揮灑筆墨,演奏一曲大聲無書的天籟之歌。

041


031

|

WALASSE TING

( 1929-2010 )

丁雄泉

Blue Cat

藍貓

48.5×58cm Acrylic on paper With one seal of the artist

壓克力 紙本 藝術家鈐印:採花大盜

PROVENANCE Acquired directly from the artist

來源:現藏者得自藝術家本人

NT$ 400,000-600,000 US$ 13,300-20,000

丁雄泉出生於中國無錫。1946年移居香港,1952年遠赴巴黎,1960年移居紐約。作為一名享譽國際藝壇的 流行藝術家,丁雄泉坦率自然的表露出他的真性情,以艷麗的色彩及大膽的表達方式見稱。其樹立了獨立於主流 畫風之外的特殊風格,並認為不論多醜陋的女人都有她的美好之處。「我不停地看女人,在公車上,在路上,不

停地看,然後回家盡情作畫。」 自號『採花大盜』『風流先生』的丁雄泉,率真的道出「女人」事作畫的原動 力。他愛女人,也擅長畫女人。他喜歡用彩筆歌頌女人,把女人的媚、柔、艷、情都畫出來。在畫面上,他擅長 用鸚鵡、花朵、貓兒來襯托女性的嬌媚與溫柔。正如丁雄泉本人所說:「每一次我看見美麗的女人就會聯想到鮮

花,鮮花的美使我愛,使我新鮮。我畫上的女人、貓、鮮花、鳥,都在表現新鮮,在新鮮中藏着美。」 丁雄泉正 042

是以自己率性、天真的筆墨不厭其煩地在畫紙上表現女性美,並以此凸現自己的孤高、風流與自由不羈的天性。


032

|

CHEN SHUJIAO

( b.1951 )

陳淑嬌

The Peony

富貴花

53×45cm Gouache on Silk Signed Shu-Jiao in Chinese With one seal of the artist With a certificate of authenticity from gallery

1995 膠彩 絹本 簽名:淑嬌 藝術家鈐印:陳 附畫廊開立之原作保證書

陳淑嬌對於花卉的描繪娟秀細緻, 獨顯其清新高雅,膠彩畫鮮麗的色彩非 常適合用來表現蘭花的清新淡雅,花卉

NT$ 100,000-180,000 US$ 3,300-6,000

的婉約姿態彷彿鮮活的展現在我們的眼 前,由此可以看出陳淑嬌筆觸的力量及 穩定度,特別是在轉折處顏色的變化更 顯出畫家敏銳的觀察力,畫家高貴的藝 術氣質在畫面中體現無遺。

043


033

|

ALFRED BASTIEN

( 1873-1955 )

Port of Nieuwpoort 38×55cm Oil on Board Signed A. Bastien in English, dated 1926

巴斯天 尼烏波爾特港口 1926 油彩 木板 簽名:A. Bastien 1926

藏家與此作品合影

比利時北部尼烏波爾特(Nieuwpoort)港灣

比利時擁有完善的傳統內河航運系統,又因地理位置優越,自古便是

NT$ 160,000-280,000 US$ 5,300-9,300

歐洲大陸重要的水運要塞,而《尼烏波爾特港口》為1929年巴斯天描繪位 於今日比利時北部尼烏波爾特(Nieuwpoort)的港灣。倒映在蒼綠河面上的 隻隻船身,隨河面波動載浮載沉,並列停靠在運河邊上;歐式風格的紅色 矮房緊鄰岸邊,說明了水路與當時人民的密切關係。巴斯天用印象派語彙 道出港口風景的優雅情調,柔軟蔓延的筆觸,帶出微微陰鬱的氛圍,一切 動態凝結的瞬間,總是如此安靜而平和,憂鬱而緩慢,而明亮的天空和圓 潤的雲朵則調和了景致的深沉色調,為畫面增添了透亮的活力,日光從右 側打亮了休憩的船隻,似乎訴說著對下一次的出航的滿滿期待。

044


034

|

ALFRED BASTIEN Scarecrow Fields 38×55cm Oil on Board Signed A. Bastien in English

( 1873-1955 )

巴斯天在1897年 贏得Godecharle基金 會獎學金進入巴黎藝 術學院深造,1927年 進入比利時皇家學院 任教並三度擔任藝術

巴斯天

學院院長。作品常以

田野上的稻草人

印象派古典風格描繪

油彩 木板 簽名:A. Bastien

風景,此作品《田野 上的稻草人》草園位 於比利時,經常把畫

NT$ 120,000-200,000 US$ 4,000-6,700

藏家與此作品合影

架移至戶外寫生的巴斯天,在陽光下用眼觀察直接感受作畫,自然 寫實的筆調,搭配協調色彩將層層稻草景觀延伸至後方茂密樹林堆 疊出層次深遠空間,自然的光線捕捉描繪至畫布上,將寬廣的天空 賦予白色及淡藍色色彩,藍天白雲形成了動靜結合的景象,使視覺 上拓寬了整幅畫面的空間感,通過畫面充分讓觀者感受到平靜的心 情及閒適寧靜的風光。

045


a. b.

035

|

YU YUJEN

( 1878-1964 )

a.Calligraphy b.Calligraphy 29×22cm (2) Ink on Paper a.Signed Yu Yu-Jen in Chinese and With one seal of the artist b.Signed Yu Yu-Jen in Chinese and With one seal of the artist

于右任 書法文選 (1) 水墨 紙本 a.簽名:于右任藝術家鈐印 b.簽名:于右任藝術家鈐印

NT$ 120,000-200,000 US$ 4,000-6,700

a.釋文:

b.釋文:

自由之戰經年,革命成功尚遠,

清切頻吹越石笳,窮愁猶駕阮生車。

太平樂府人間遍,呼喚中華運轉。

時當漢臘遺臣祭,義激韓讎舊相家。

《中吕•醉高歌》

陵闕生哀回夕照,河山垂淚發春花。 相將便是天涯侶,不用虛乘犯鬥槎。 (《又酬傅處士次韻》清顧炎武)

于右任於1932年在上海創辦「標準草書社」,廣集同好學人,一起研究統整,歸納出「易識、易寫、準 確、美麗」四項原則,全面系統化歷代草書,推廣草書的實用性,並從浩繁的古今書法名家作品中,遴選出符合 標準的字,創立《標準草書》,右老在其中的研究與倡導,帶予後世深遠的影響。而也因其擁有忠誠愛國的風骨 及高遠磊落之人格,前後共任監察院院長34年,位高權重而廉政有守,奠定了無人能及的成就,觀賞他的書法作 品或內容,便彰顯出書如其人的瀟灑脫俗,造詣非凡。

046


a. b.

036

|

YU YUJEN

( 1878-1964 )

a.Calligraphy b.Calligraphy

于右任

29×22cm (2) Ink on Paper a.Signed Yu Yu-Jen in Chinese and With one seal of the artist b.Signed Yu Yu-Jen in Chinese and With one seal of the artist

水墨 紙本 a.簽名:于右任藝術家鈐印 b.簽名:于右任藝術家鈐印

書法文選 (2)

NT$ 120,000-200,000 US$ 4,000-6,700

a.釋文:

b.釋文:

詩若長城四境獨守,

…… (如今飢寒恐懼哭號不斷來,中興大)任還須

學如大海百流兼歸。

仗。一戰能復真自由,不獨歌乎為亞洲,一洗人 間萬古憂。

于右任是清朝舉人、詩人、教育家、政治家也是書法家。書法尤擅魏碑與行書、章草結合的行草書,被譽為 「當代草聖」、「近代書聖」。一生功業卓著,創立標準草書,將歷代草書分類整理,遴選出符合標準的字,使 草書具規範化,以易識、準確、美觀為原則推廣草書,得以方便運用,為標準草書鞠躬盡瘁,死而後已。于右任 的草書以碑入草,書法大氣磅礡、渾厚凝重,線條翻騰飄逸,形態優美行雲流水,筆意精氣內蓄、墨酣力足,透 過字的結構形成獨樹一格的書法特色,展現出不同的書風。

047


048


037

|

JAN CHINSHUI

( b.1953 )

Reflection of the Moon 117×91cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2005 ILLUSTRATED "Jan Chin-shui - Time within Landscape", Ravenel Art Group, Taipei, 2007, Page 132-133

詹金水 印月 2005 油彩 畫布 簽名:金水2005 背面簽名:50F 印月詹金水 2005年 圖錄 《詹金水―山水光陰》,睿芙奧藝術,台北, 2007年,第132-133頁

NT$ 240,000-500,000 US$ 8,000-16,700

「我在長時間的作畫過程裡,深深體會到『意境』這 個主題,最令我著迷的-它不是真實的再現,也無須複製真 實;它是藉著對真實的觀察,引發自己內在的體悟,進而表 現在藝術的形式裡。它既非天馬行空,也非毫無根據,而是 一種內在的轉化;借外在的歷練,提升內在的精神境界,甚 至可以引導至淨化精神的作用。」 ---詹金水 詹金水強烈的半抽象風格,多取材自中國邊疆震撼視覺 的景緻,並透過油水不相溶的特性,製造出特殊的斑駁肌 理。而他的畫作則揉合了東方人文傳統和對大自然的省思, 對他來說,大自然中的任何形色、光影、氣候的變化,本身 就無所謂好壞、美醜之分,區別優劣的標準取決於人心,因 此詹金水的藝術表現便是在呈現個人的精神與美感經驗。

《詹金水―山水光陰》

049


038

|

PAN CHAURSEN

( b.1938 )

潘朝森

Spring Day

春日

53×72.5cm Oil on Canvas Signed CHAUR-SEN in English, dated 1991

1991 油彩 畫布 簽名:CHAUR-SEN 1991

NT$ 160,000-320,000 US$ 5,300-10,700

潘朝森,曾榮獲法國貝茲耶國際沙龍藝術成就獎章國際肯定,以充滿抑鬱而深邃流長的畫作風格而聞名,將人 情世故淋漓詮釋,令觀畫者為之動容。《春日》一作以層次綠意勾勒春日意境,畫中少女靜默闔上雙眼,宛如深陷 漫長深思,懷中蜷曲貓咪全然感受主人心情波動,神情安然而靜謐自在。畫家更以簡單幾筆勾勒白鴿身影,輕巧穿 梭於春日之中。無論水果籃物件擺設或遠方城景,畫家筆下物件無一不呼應少女心境,兩相襯托之下,使畫家完整 掌握了虛與實分界。以綠為主軸,心境烘托出滿城繽紛春意,在一片綠意盎然的山谷之中,盛放無限生機氣息。

050


039

|

HSIAO CHIN

( b.1935 )

蕭勤

Brillantera Totale

渾輝

70×90cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese, dated 2010-2012, titled both in Chinese and Italian, material and size

2010-2012 壓克力 畫布 背面簽名:Hsiao勤2010-12,渾輝,Brillantera totale,布上压克力画

NT$ 650,000-900,000 US$ 21,700-30,000

「接受生命的轉變,接納生命的啟示。對生命、對萬物、對茫茫宇宙要懷有一種敬意和豁達。至此無畏無 懼,亦相信雖死猶生。我將個人渺小而尊貴的生命旅痕和不羈的探索精神,凝聚在潔白的畫布上。我只是透過藝 術創作來完成我這一生的使命。」 ---蕭勤 蕭勤在藝術語言中融合了老莊的道家思想、禪學及印度玄學等各式哲理,藉以探索內在心靈,建立自我依存 的觀點,並將之作為畫面呈現的根本形式。另一方面,蕭勤也廣泛接觸關於太空、宇宙等神秘未知的文化資訊, 以此增廣思考的範疇與深度,把自己置入一個無限廣大的存在空間,對他來說,這不僅是個物理知識的世界,更 是一個哲學、理念的精神世界。《渾輝》保留了留白的空間,使筆觸、主題清晰明瞭,不規則的有機色塊在畫面 中竄動,仿若有股能量潛伏其中,等待著時機以釋放,藝術家在有限的畫幅中,體驗、流露、反映出整個宇宙的 神祕性及滿溢的生命力量。

051


052


莊喆

CHUANG CHE

040

|

CHUANG CHE

( b.1934 )

莊喆

Constitution

構成

119×89cm Mixed Media on Canvas Signed Chuang Che in Chinese, dated 1963

1963 綜合媒材 畫布 簽名:莊喆 六三

NT$ 650,000-800,000 US$ 21,700-26,700

莊喆生於書香世家,自幼受書法家也是前北京故宮博物院副院長的父親影響,從小在中國藝術環境下耳濡目 染,養成早年對繪畫的興趣。1958年於台灣師範大學美術系畢業後,加入五月畫會,積極參與中國繪畫現代畫 運動,推動中國文人畫傳統及西方抽象表現主義的結合。創作以中國山水畫為發想,將東方藝術概念以西方現代 技法呈現,中西藝術相互融合,經由內心想法透過抽象手法表達,重新賦予新的繪畫語言。《構成》此一作中, 展現磅礡豪邁的抽象結構,創造協調性而不失均衡,取其精髓掌握住精神的質地,以黑墨作為色彩的詮釋,筆意 縱橫融入情感且流暢,線條渾厚沉穩而奔放,氣韻瀟灑的藝術風格油然而生,具備強大的張力與感染力,多樣化 的自然融合,形塑出具東方意韻的抽象語彙,傳達出自然的表現形式,作品充滿生命的韻律。

053


054


041

|

WANG KE

( b.1979 )

Silently Waiting for a Beauty 80×61cm Oil on Canvas Signed wang ke in English, dated 2012 With a certificate of authenticity from gallery

王珂 靜候佳人來 2012 油彩 畫布 簽名:wang ke 2012 附畫廊開立之原作保證書

NT$ 550,000-700,000 US$ 18,300-23,300

寫實油畫在照相技術成熟之後,真正成為純粹的 藝術表達,策展人彭鋒教授曾說:「經典寫實繪畫作

為多元藝術中的重要一環,其自身的藝術使命和藝術 魅力在經歷多種流派衝擊後,仍然具有不可替代的 價值。」 不同於上一代的寫實藝術家,在新的歷史階 段裡,青年藝術家擁有獨立的思考和表達,個人精神 狀態及自我生存狀態為他們所注重的題材,融合本土 深厚的文化內涵及西方油畫精華,透過不同形式和技 法抒發人間百態,在呈現其繪畫語言和表現形式的同 時,也反映出新一代藝術家筆下的內心世界。 王珂的作品常以女子、京劇人物為主,強烈的光 影聚焦明確地突顯出主題,柔和沉穩的色調彌漫畫面 之上,加上細膩的人物寫照和細節的刻劃,無一不引 人入勝。《靜候佳人來》中的少女有著自然和純樸的 靈魂,秀氣的五官和透皙的皮膚搶奪觀者的目光,幽 幽的眼神沉著而靜謐,典雅氣質不言而喻。王珂以其 精湛細膩的表現手法,徹底展現出人物的靈動之美。

055


042

|

LIU JIUTONG

( b.1977 )

劉玖通

Old Shanghai Series 4

老上海系列4

100×100cm Oil on Canvas Signed Liu Jiu-Tong and Shanghai in Chinese, dated 2010

2010 油彩 畫布 簽名:2010 刘玖通 上海

NT$ 1,000,000-1,400,000 US$ 33,300-46,700 056


劉玖通 LIU

JIUTONG

Growing up in the North West highlands, Liu Jiu-Tong went through all the vicissitudes of life and developed a strong personality. The rumbling yellow sands, standing on top of the land, standing firm and deep roots in life that reflect reality. With the accumulation of deep culture and homeland nurture, Liu JiuTong came up with his own aesthetics concepts and language. Graduated from the Art Institute of Xi An and influenced by the majestic and grand style of ChangAn art group, Liu Jiu-Tong later worked in Beijing and resided in Shanghai where international cultural exchanges were happening and enabled his art language to evolve rapidly. He revolutionized the traditional realist approach and combined skills from the each and west, he extended the early concrete realist to semi-abstract realist approach. Also deeply influenced by the Shanghai style culture, his artworks were presented with tension and lively rhythm of life.

劉玖通自小成長於陜西大漠,那茫茫黃土滄桑雄渾、堅韌荒蕪的風貌成為了藝術家日後創作的一道伏 流。劉玖通畢業於西安美術學院,並憑藉著深厚的文化積累、濃鬱的鄉土風情,沉澱新的審美情懷和語言 方式,並感染了長安畫派氣勢巍峨、雄渾大器的風格。而後藝術家前往北京從事藝術創作、上海定居,各 國文化在此激盪交流,劉玖通在此濡染了上海的「海派文化」 ,而創作語彙也開始急速地轉變,從「上海

煙塵」 至「外灘浪潮」 ,再從「江南水鄉」 到「吳山風雲」 ,四大系列清晰呈現了藝術家的旅行足跡與創 作軌跡。 藝術家龎均曾說:「劉玖通在創作的道路上將會思考呈現更多變化、更豐富的構成方式。結合歐洲油

畫色彩豐富的經驗,如何呈現中國文人抽象的精神性暨寫意、墨韻之趣,乃是很深的學問,不必急於『量 產式』的創作方式。在思考中落筆,必成大器。」 劉玖通於抽象語彙中注入奔放、大氣之感,同時又不斷 追求畫面的細膩與祥和,獨特的藝術魅力很快讓劉玖通享譽畫界,作品屢屢於國際拍場現蹤,並廣受藏家 的讚賞與青睞,深具一代華人抽象大師接班人之意味。 劉玖通在《老上海系列4》中展演壯闊自然的豪情氣勢、以及大都市文化的細膩精緻。他將西方強烈 的表現手法與西安美院的寫實傳統加以融合,形構出大寫意、半抽象磅礡風格。渾厚地灰白顏料建構出深 凝的流水,那細挺直拔的建築、船帆銳利的尖頂包圍著,作品瀰漫著老上海的懷舊之情與歲月悠悠的惆悵 之感。劉玖通以黑白原色體現中國傳統繪畫的墨韻盎然,那些細密的線條,都在抽象墨韻的溶解下彎曲、 流淌,彷彿跌落遙遠回憶中般浪漫迷濛。而那些迅疾轉折的筆墨、粗獷四濺的彩料,皆再再顯示著藝術家 多元融合、澎湃洶湧的創作氣性。劉玖通將畫筆盡情地揮灑、交會,成功激盪出專屬於己的半抽象語彙, 引領觀者細細體會其中大器磅礡、華麗繁美的微妙變化。

057


高行健

GAO XINGJIAN 043

|

GAO XINGJIAN

( b.1940 )

高行健

Thinking

思緒

94×81cm Ink on Paper Signed Gao XingJian in English, dated 2003

2003 水墨 紙本 簽名:Gao XingJian 2003

NT$ 750,000-950,000 US$ 25,000-31,700

「不把抽象與具象截然分野,在似與不似之間」

---高行健

於2000年首位獲得諾貝爾文學獎的華語作家高行健,不僅擅長文學、戲劇,亦擅於繪 畫創作。中學時期師從畫家鄆宗嬴學畫,習取素描、水彩、油畫以及泥塑,打下堅實的繪 畫基礎。大學時期研讀外國語文及文學,美術創作並非其一開始的選擇道路。直至1979 年時,高行健以翻譯身份隨中國作家代表團訪問法國,陪著巴金、艾青走遍歐洲多個博物 館,閱覽各世紀的西方名家真跡。原本對油畫情有獨鍾的他,從此思量決定「油畫不要畫

了」 ,自覺得不可能畫到那個境界。同時亦在觀賞畢卡索的中國水墨作品後得到啟發。認 為中國傳統水墨缺乏創造性,而西方藝術家尚不了解水墨的可能性,對水墨認識太簡單,

「水墨前途無量,油畫仍沒畫完」 ,預言式的一句話,高行健開始投身水墨創作。 高行健的水墨創作,環繞在中國傳統意境與西方抽象之間,以現代主義的美學思維及 當代人的實存狀況之中突破與融合。虛實相生的意境,幻化時間與空間,藉由水墨與圖 像的交疊層次變化,呈現心象、境界的交融,創造生命意境的互動,渾化宇宙,綿延而雋 永。《思緒》中墨色變化渲染出闊然天地,恰到好處的留白處分隔出立體景致,給予觀者 在探索之間有著獨立思維的喘息處。盎然於天地間的一個黑點猶如思緒開關,飄渺堅韌, 虛幻卻真實,渲染出寓言式的對比張力,禪意無限。高行健用新的表現語彙,融會文學般 的敘事美感,開啟文人畫的新意境,超然灑脫,卻又婉轉流長。

058


059


邱亞才

CHIU YATSAI 044

|

CHIU YATSAI

( 1949-2013 )

Confucianist 82×62cm Oil on Canvas Signed Ya-Tsai in Chinese

邱亞才 儒學家 1984 油彩 畫布 簽名:亞才

NT$ 250,000-500,000 US$ 8,300-16,700

「邱亞才是台灣唯一致力於中產階級的知識份子的男女肖像 畫的藝術家,並不特別侷限以生活周遭的工人和農夫為主的台灣 畫家畫風。他採用飄零和雅儒來形容儒家傳統的肖像畫,根據美 國歷史學家高居翰(James Cahill)所言,古代中國士大夫以繪畫 獻身社會教化的儒者,塑造教育的楷模,修練和提昇人類的心 靈。邱亞才的用詞也可用於說明社會變遷,不僅是窮人和殘障人 士,更適用於不願受到社會標準約束的飄泊的心靈。邱亞才表示 本身相當認同儒家,深受儒家道德觀念洗禮,畢生追尋自我實踐 和崇高的道德理念;儒家的高度精神文明和崇高理想,充分掌握 人類共存的情感,正是Lawrence Sickman堅信儒家的精神文化使 得唐朝的肖像畫趨向於登峰造極的重要因素。」

---摘錄自《儒雅-漂泊的心靈》 邱亞才受唐代繪畫的影響,觀察現實以藝術家及詩人的角

度,把心中所想而來的人物以精緻的筆觸勾勒出線條輪廓,帶有 中國古典繪畫傳統特質表現。此作品《儒學家》儒者修長的橢圓 形頭部、臉部膚色自然寫實,五官氣韻傳神,顯現微妙的情緒變 化,邱亞才將線條造型純熟掌控,細膩流暢的筆意明顯表達出男 子氣質及個性,背景以大塊深色顏料平塗,突顯出東方儒者優雅 得體的文人氣質,也傳達出邱亞才層次豐富的內在世界。

060


061


062


045

|

HSIAO CHIN

( b.1935 )

Gladness 100×80cm Acrylic on Canvas Signed Hsiao in English and Chin in Chinese, dated 2000/2008, titled both in Chinese and Italian, material and size

蕭勤 悅佈 2000-2008 壓克力 畫布 背面簽名:Hsiao勤 2000/2008,悅佈,Concert d'alegria,100×80cm,布上压克力画

NT$ 800,000-100,000 US$ 26,700-33,300

蕭勤在自述中寫道:「藝術不成問題,生命才是大哉

問;而我呢,只是透過藝術創作來完成這一生的使命。」 為了追尋生命深處的呼喚,藝術家在作品中注入了東方古 老質樸的智慧,不論佛學、道家或禪宗哲思,皆予其深刻 的體悟及思考,幫助他對生命和宇宙價值的凝視;蕭勤以 西方材質為媒介來寄託自身東方的情懷,透過繪畫留下與 自身關係密切的路徑痕跡,濃厚的哲理在畫面裡大器成 形,深遠的畫家心境在筆墨間展露端倪。 在蕭勤的畫中,空間、空白與實體同樣實在,而其所 謂的「空」、「無」是在天地萬物之中,可感而不可見之 氣蘊,並非全然虛無之境,葉維廉指出:不管是中國的 「無言」,或是西方的「靜的美學」,都是把「靜」、 「無言」、「空」變成很重要的東西;換句話說,便是把 「負面的空間」提升為美感凝注的主位。《悅佈》的曲線 既是流動不懈的,卻也是分割空間的靜態界線,跳動的墨 點既是飛騰空中,又是一種永恆的凝結;畫面中的氣息奔 放而永存,訴說著無涯的生命故事,就像蕭勤說的:「對

我來說,作畫這件事的第一重要性,並非『作畫』,而是 透過作畫來對自己的人生始源的探討,人生經歷的紀錄及 感受,和人生展望的發揮。」

063


064


046

|

HUNG YI

( b.1970 )

洪易

Lucky Elephant

福象

96×55×80cm Baked enamel on steel plate, 8/9 Signed Signed Hing Yi in Chinese, dated 2011, numbered 8/9 With a certificate of authenticity signed by the artist

2011 鋼板烤漆 8/9 簽名:洪易 8/9.2011 附藝術家親簽之原作保證書

NT$ 500,000-700,000 US$ 16,700-23,300

臺灣知名美術史學家蕭瓊瑞教授曾說:「洪易在臺灣戰後美術發展史上,標示著

一個『藝術擁抱群眾、也接受群眾擁抱』的重要階段。」 洪易帶著渾厚的鄉土力量, 以大型的圓潤雕塑揮灑出臺灣當代藝術的俗艷美學,大方擁抱在地文化與民間趣味, 他用真摯的心體驗臺灣、體會生活,從日常細節中擷取靈感化為創作能量,透過豪爽 且樂觀開放的態度,實踐無限度自由想像的藝術創作。洪易曾說:「我的創作型態,

沒有形式、沒有規則,我將這心、腦獻給了這環境,用手、眼,將感受記錄下來。」 《福象》以渾圓的體態呈現,滿載民俗特色的象徵圖案、饒富趣味的活潑線條與細心 雕琢的鮮豔色彩,藝術家豐沛的想像力賦予雕塑另一種生命的力量,機智而詼諧,讓 觀者感受到極其歡樂的親切感,得以擁有能釋放疲憊的舒適。

065


047

066

|

PANG JIUN

( b.1936 )

龎均

Li River III

灕江(三)

60.6×72.7cm Oil on Canvas Signed Pang Jiun in Chinese With one seal of the artist

2011 油彩 畫布 簽名:龎均 藝術家手繪刻印

PROVENANCE Der-Horng Art Gallery Acquired from Seoul Auction, 2012 Spring Hong Kong Sale, 3 April 2012, Lot 027

來源:德鴻畫廊 原藏者購自首爾拍賣會,2012春季拍賣,香港,2012年4月3日,Lot 027

NT$ 1,000,000-1,400,000 US$ 33,300-46,700


With my aged body, I wish to care for the flowers but I have grown lazy. Among all, I fancy the plum blossoms surrounding our village. The branch that speaks of Spring. Unlike other flowers that flourish for Spring, the plum blossom speaks of the spirits of the snow. You won’t have to travel to Qing Shan for a beautiful sight for I have come out with a new poem. The flowing waters under the bamboo forests took away the floating clouds. I was drunk and can’t remember anything, when I got home the moon was already shining.” ---Xin Qi Ji, “Lin Jiang Xian” “Tan Mei” Pang Jiun, born in 1936 Shanghai, was the son of the first generation oil painter- Pang Xun Se. He came from a family of famous literati and art masters. At a young age of 13, he was enrolled into the Art Academy of Hang Zhou and was taught by Lin Feng Mian, Huang Bin Hong and Pan Tian Shou. Three years later, he transferred to the Central Art Academy of Beijing and was one of the disciples of the golden years of Xu Bei Hong. He moved to Taiwan in 1987 and taught for two decades at the National Taiwan University of Arts. His art language incorporated Chinese ink painting and realistic approach into Western painting. It allowed his artwork to reveal an oriental atmosphere. His solid foundation in control colors and formation; his clean and clear lines do not pursuit precise sketching yet he discovers the beauty of life with the gentle and conserved Chinese merits. His artworks are widely collected by museums worldwide and held countless exhibitions that secured his prominent status in the art world. Mountains layers beyond boundaries in “Li River III”, the unique gray precisely brought out the tranquility and peacefulness of the land. The waters are steady with boats floating among the reflection of the mountains as described in Li Bo’s poem “the land's limits lead to a seemingly unlimited ocean; the surfaces of land and sea fall finally into nothingness.” A person on a boat can be distinctly seen in the far distance that is lonely and desolate. The vision can be stretched without boundaries, the mountains and clear river water brought out the most important plum blossoms that are described as Xin Qi Ji’s poem that implies plum blossoms, “it doesn’t come with the meaning of flowers, but more of the meaning of snow”. Within a number of brushstrokes, Pang Jiun created a poetic atmosphere, the delicate and detailed brushstrokes interlaced into a steam of life that speaks of the eternal classics and conversation.

老去惜花心已懶,愛梅猶繞江村。一枝先破玉溪春。更無花態度,全有雪精神。 剩向空山餐秀色,爲渠著句清新。竹根流水帶溪雲。醉中渾不記,歸路月黃昏。

---辛棄疾〈臨江仙〉(探梅)

龎均,1936年生於上海,為中國第一代油畫家龐薰琹之子,家族為聲名顯赫的文人、藝術世家。他年僅13歲即 考入杭州美院,師承林風眠、黃賓虹、潘天壽等一代大家,三年後轉入北京中央美院就讀,更成為徐悲鴻的末代關 門弟子。並在1987年定居台灣,任教於國立台灣藝術大學二十餘年,作育英才、桃李滿門。其藝術語彙融東方墨線 及寫意精神於西畫表現,讓創作散發出東方情懷的輕盈潤澤。並擁有堅實渾厚的造型功力,把握住色料的精髓,線 條俐落而凌厲,不刻意追求縝密確鑿的描繪,反而蘊釀出東方的雅逸雋永的情懷,直探生命的幽微與壯美。作品被 中外博物館、美術館蒐彙珍藏,展覽無數,深受藝壇的讚揚與肯定。 「灕江」位於廣西桂林,為中國極為著名的勝景。此幅《灕江(三)》,精彩雋永地演繹了「桂林山水甲天 下」的壯美氣勢,也體現了龎均藝術中詩情濃郁、色彩沉靜超然的一面。畫面散溢著迷濛空靈的淡灰格調,藝術家 直覺而精準地掌握黑白之間的調度,用狂放溫膩的筆觸繪出灰的絕色,讓《灕江(三)》在輕煙縹緲的水雲間靜靜 流淌,渲染著大地的莊嚴與肅穆,以及浪漫的柔情。對於灰色的朦朧、靈動氣性,龎均曾說:「離開大陸的前夕,

父親與我長談。他說,灰色調是色彩的最高境界,亦是難度最高。父親認為我對灰色調有敏感和表現的能力,要我 珍惜。」 在《灕江(三)》中,嶺脈層疊綿延,更行更遠還生,龎均獨樹一幟的灰色,敏銳而寫意地繪出天地自然的澄 清安靜。水色緩緩、川流扁舟、荒巒倒影,創造了李白詩中的「地形連海盡,天影落江虛」 。而遠處隱約可見一人 擺渡,單形影孤,遼闊而荒寂。視覺彷彿無限延伸,寧靜的群山、透明的江水,鉛華洗盡,萬籟俱寂。但其中最畫 龍點睛的,莫過於數株梅花,纖細而卓絕地橫空而出,其氣勢令人聯想到南宋詞人辛棄疾「全無花態度,更有雪精 神」的喻梅之語。龎均在寥寥數筆間,創造出如夢似幻的詩情意致。而緻密而細膩的筆觸,在灰白的色調之間輻輳 交錯、激迸出一股無法抑制的生命之泉,匯聚成形而上的、有關時間、永恆的古典美感與對話。

067


068


048

|

SAD JI

( 1914-2005 )

沙耆

Plates and Vase of Flowers

瓷盤瓶花

56×46cm Oil on Canvas Signed SAD JI in English

約1930年 油彩 畫布 簽名:SAD JI

PROVENANCE Acquired from Belgium Auction

來源:原藏者購自比利時拍賣會

NT$ 1,450,000-2,000,000 US$ 48,300-66,700

Sad Ji, born in 1914 Sha Village Jin County Zhejiang Province, was one of the earliest artists receiving training in Belgium. A disciple of Xu Bei Hong and Alfred Bastien the principal of Academie Royale des Beaux-Arts, Sha Chi held several personal exhibitions during his stay and co-exhibited with art master Picaso. Graduating with the best performance, he was honored with “Gold Prize of Fine Arts” and began his spectacular career. However, things did not go as well when he returned to China, pain and struggle inflicted by war and the Cultural Revolution came one after another; the passing of his father; the loneliness he encountered after losing his wife and children caused his psychological illness to deteriorate. He has released the turbulent emotions; the struggle in life and the passion for art into his paintings. 《Plates and Vase of Flowers》was created in 1930- the golden years of the artist’s career. He was prolific with a series of quality artworks. His style passes down Xu Bei Hong’s French academic tradition and with his delicate skills; he created a humble yet delicate poetic atmosphere. The intertwining lines and color blocks; the pure white pedals and the solid black in the background are the strong base of the painting. The lighter colored leaves and table tops bring out the pure white flower in the middle. Viewers can directly feel Sha Chi’s art language that has transformed from realism to impressionism or even fauvism. The tranquil blue and black compose the elegant stoneware with several pedals dropped in the middle. The painting is full of elegant refined literati charisma. Sha Chi painting freely and through the endless accumulating from scraping, the texture is thick and freezes time and shadows spontaneously. A sense of humbleness and tranquility is revealed in the bold brushstrokes.

沙耆於1914年出生於浙江省鄞縣沙村,為最早留學比利時的藝術家之一,且受業於徐悲鴻、比利時皇家美 術學院院長巴斯天。旅居比利時時期曾多次舉辦個展,並與畢卡索等大師共同展出。他以最優異的成績從比利時 皇家美術學院畢業,並獲其授予的「優秀美術金質獎章」,驚艷藝術界。可惜回國後的沙耆並不順遂,戰亂及文 化革命的苦難折騰接踵而來,父親亡故、妻離子散的孤苦寂寥讓他的精神疾病更加惡化,沙耆把病中紊亂的內心 波瀾傾注在顏料的塗抹上,在命運的痛擊中頑強掙扎,以執著熾烈的藝術心靈詠唱出生命的凱歌。 直至1983年,浙江省博物館、中國美術學院和中國美術家協會浙江分會先後在杭州、上海、北京等地舉辦 了「沙耆個展」,展出了沙耆早期旅歐時的四十多幅油畫。他那堅實的造型、沉鬱的色彩,以及深厚的繪畫功 底,一經展覽發表後立即震驚畫壇。不但喚起了年邁古稀的老畫家對傳統的美好追憶,也讓那些處於極度的創 新亢奮狀態之中的年輕一代藝術家瞠目結舌。沙耆獨樹一幟的藝術風采與傳奇性的生平概況,使其擁有「中國梵 谷」的美譽。並且一鳴驚人、輝耀青史,成為中國現代繪畫史上的里程碑。 《瓷盤瓶花》作於1930年代,這是藝術家一生最意氣風發的時代,創作一系列質量俱精的作品。其風格與 徐悲鴻帶來的法國學院派畫風一脈相承,並運用其穩當細膩的素描方法,營造出樸拙雅致的詩境。線條與色塊的 奇巧交錯,皎淨的白色花瓣與背景粗黑沉鬱的形色結合地紮實有力。葉片、桌面採用彩度較低的顏色,共同映照 出中央花朵的純粹白色,而植被放射性的、恣意張揚的造形經營,可以清晰地感受到沙耆的繪畫語言已經從寫實 主義朝著印象主義甚至野獸派轉型。款款的幽藍墨點形構出瓷盤古雅的青花圖樣,數點花瓣掉落其中,使畫面渲 染淡雅的文人氛圍。沙耆隨心塗抹著色料,並通過刮刀不斷的堆砌,表現出質地的厚度,將時間與光影凝鍊在瞬 間,豪邁的筆觸中蘊含著謙遜和靜美。

069


楊三郎

YANG SANLANG

本圖擷取自「典藏台灣國寶―印象經典Ⅷ」,印象畫廊出版

一生奉獻給藝術的楊三郎,自小對繪畫有極高的興趣天 分,1923年離鄉背井獨自遠渡重洋至日本習畫,接受日本知名 油畫家等人指導,為了更精進繪畫技巧,1932年再度遠赴法國 深造研習,從日式啟蒙至法式精進的學習連接,體會西方繪畫 過去與現代之間的認知,且受到法國印象派影響,融合東方美 學創造出自我風格。1934 年偕同李梅樹、陳澄波、陳清汾等七 人合組「台陽美術協會」,培養出許多畫壇菁英,積極的投入 推動台灣美術運動,為藝術盡心推廣有直接貢獻,使台灣畫壇 增添了一股生命力,是台灣極其重要的藝術家。熱愛大自然和 陽光的楊三郎曾說:「藝術家在自己的每件作品裡,都應該有

屬於這張畫的靈魂。」 崇尚自然,經常四處寫生,對四季變化 的深度探索,用心採擷從大自然中孕育出來的色彩,透過作品 表現出豐富的內在。作品《綠蔭河畔》中,隨著林間步道延伸 至綠意盎然的樹林,人們享受著河邊靜謐的時光,面對自然展 現最真實的美,構成均衡的畫面。楊三郎純熟的筆致,將光線 明亮掌握,不經意漫畫著翠綠色彩生動盎然,翩翩瀟灑的快筆 暢然之作,極盡深厚功力表現,呈現出與大自然之間對話的感 受,讓觀者一同沐浴在大自然的芬芳中。

070


049

|

YANG SANLANG

( 1907-1995 )

楊三郎

Forest and River

綠蔭河畔

32×41cm Oil on Board Signed S. YANG in English With a certificate of authenticity from Yang San Lang Art Museum

油彩 木板 簽名:S. YANG 附楊三郎美術館開立之原作保證書

NT$ 450,000-650,000 US$ 15,000-21,700

071


050

|

YANG SANLANG

( 1907-1995 )

楊三郎

A Windmill in the Field

荷蘭水車

46×55cm Oil on Canvas Signed S. YANG in English With a certificate of authenticity from Yang San Lang Art Museum

1990 油彩 畫布 簽名:S. YANG 附楊三郎美術館開立之原作保證書

ILLUSTRATED "YANG SAN-LANG", Liang Gallery, Taipei, Taiwan, 2011, page 213

圖錄 《楊三郎YANG SAN-LANG》,尊彩國際藝術中心, 台灣台北,2011年,第213頁

NT$ 800,000-1,000,000 US$ 26,700-33,300

072

《楊三郎YANG SAN-LANG》, 尊彩國際藝術中心


Yang San Lang born in 1907 is one of the first generation Taiwanese artists. He has solid foundation in painting skills and devoted to varies art movements that greatly influenced the art history. He is also known as the “Father of Art Movement” in Taiwan. At a young age of 16, Yang travelled the seas to Japan to learn painting. His solid foundation was built in those years. 1927, his artwork “Easter Time” was exhibited in the first Taiwan Art Exhibition and that was when he first became famous. In 1932, he travelled to France with painter Liu Qi Xiang and observed all masterpieces in major museums in Europe. The following year, he was elected to participate in the France Autumn Salon. He returned to Taiwan with great honors and enthusiastically led Taiwanese art and advocated integration and planning of the art world. Along with Liao Ji Chun, Chen Deng Po and Li Shu Mei, they founded “Taiyang Art Association”. He planned and held art exhibitions and collected artworks from major talents at that time. The Taiwan New Art Movement was a success. When the chairman of Kuoming Dang visited China, he brought along Yang San Lang’s paintings as a gift to the National Chairman Hu Jin Tao. It serves as the evidence of the importance of Yang in Taiwanese art development. Yang San Lang said “I respect Mother Nature; my sole purpose in life is to pursuit a perfection in art.” With sophisticated brushstrokes, sensitive and keen colors to describe the beauty of nature, Yang set foot all over the landscape. This “A Windmill in the Field” is rich and balanced, he skillfully composed the space to make the sky and greens to echo with the mountains. The layers are magnificent with water running through the middle and embellished the tranquil forests and houses. The artist has perfectly presented the contrast of stillness and movement. Yang San Lang’s delicate and romantic approach has enabled the painting to be tranquil and elegant.

楊三郎,生於1907年,為台灣第一代藝術家,其擁有堅實優異的繪畫技巧, 並潛心推動各項藝文運動,為美術發展史上帶來無可取代的巨大影響,有台灣美 術發展之父的美譽。 楊三郎年僅16歲便飄洋過海到日本習畫,成就其深厚的美術功底,1927年 以作品〈復活節時候〉入選第一屆台展,於畫壇展露頭角。1932時與畫家劉啟祥 一同至法國留學,並於歐洲各大博物館瀏覽、觀摩所藏名畫,次年便入選法國秋 季沙龍。載譽返台的楊三郎,熱誠地開拓台灣美術風氣、推動文藝界的整合與規 劃,並偕同廖繼春、陳澄波、李梅樹等美術界巨擘創立「台陽美術協會」,策劃 藝文展覽,網羅當時首屈一指的藝術家,成功推動了台灣新美術運動。且之前國 民黨主席連戰訪陸的破冰之旅,便是攜帶一幅楊三郎的畫作為禮,贈予當時的中 國國家主席胡錦濤,足見楊氏於台灣美術發展洪流中的崇高地位。 楊三郎嘗言:「我是大自然的尊敬者;一生的任務只在追求藝術的完美。」 他以富麗飽滿的筆觸、細膩敏銳的色感描繪天地風情,其踏遍千山碧水,繪染親 見景致。這幅《荷蘭水車》畫面均衡富足,楊三郎以巧妙的空間構圖,讓天空與 綠水、遠處山林與近景綠野相互輝映,創造出磅礡鮮活的層次感受。特以流淌的 溪水橫貫中央,襯托出沉謐的密林、羅列的屋舍,精采地架構出動靜的對照性。 而楊三郎浪漫細膩的寫實筆調,讓畫面洋溢著一種靜謐典雅的氣質、幽邃美好的 鄉野風光。

073


廖繼春

LIAO CHICHUN

051

|

LIAO CHICHUN

( 1902-1976 )

Vase of Flowers

瓶花

45.5×33cm Oil on Canvas Signed Ch-Chun in Chinese

油彩 畫布 簽名:繼春

ILLUSTRATED "Senior Oil Painters of the Last Hundred Years", Goethe Art Centre, Taipei, Taiwan, 2004, Page 70

074

廖繼春

圖錄 《國之寶-百年油畫前輩畫家展》,歌德畫廊,台灣台北,2004年,第70頁

NT$ 7,500,000-9,000,000 US$ 250,000-300,000


075


Liao Chi Chun, born in Feng Yuan 1902, was the first generation artist in Taiwan. He has passed the generation between new and old in Taiwan art development. Lin Xing Yu said “Liao Chi Chun’s talents are like an unceasing river; it goes along with the change and turns in time smoothly. He is truly an inspiring model.” Liao Chi Chun’s ar t style travels between classical and romantic; modern and traditional. His art language is concrete post impressionism. Invited by the U.S government in 1962, he travelled to the US to learn from all great museums, and was inspired greatly. He was inspired deeply by fauvism, abstract painting and abstract expressionism. He began to present flowing liberal lines and beautiful color blocks with rich foreign atmosphere on his canvas. Liao’s brushstrokes became more mature and incorporated the bright and warm elements in Taiwanese rural painting and developed Taiwanese abstract painting and an interesting fauvism painting. Liao is known as the Taiwanese Matis. No matter how art thoughts and academic environment change, Liao stands firm with great support. After 30 years of his passing, Liao was awarded with “Taiwanese Life Award in Art” to commemorate his contribution in art. “Colors” are the signatures of Liao Chi Chun’s artworks. He said “with simple and strong colors to bring out the essence to create an interesting presentation with the lines. I wish to present the colors as I wish.” His colors are grand but not wild, free flowing but in order, he is known as the “magician of color” in art history. Other than scener y and characters, Liao’s still objects are also extraordinar y. Bright and vivid colors explode in “Vase of Flowers” , presented in a form of youth and warmth. Liao Chi Chun’s strong and short brushstrokes are delicate and smooth and precisely captured the light reflections. Flowers are presented in a blossoming and elegant form but placed in a tranquil background. The down to earth background harmonizes with the main object. “Vase of Flowers” is conservative like Yang’s philosophy in life. Even though going through a life of turbulence and wartime, Liao Chi Chun still insist on painting with his heart, his faith and belief.

076


廖繼春,生於1902年豐原,為台灣極富聲望的第一代藝術家。他在台灣藝術發展中超然而壯麗地跨越了新舊時 代的鴻溝,昂首闊步、承先啟後地成為那道永恆的虹彩。藝術家林惺嶽曾說:「廖繼春的繪畫天賦,猶如一股噴湧

不息的泉流,順乎其然的隨著時代變動的起伏與曲折,潺潺地暢流著。在承先啟後的意義上,展示了富有啟發性的 楷模。」 1924年,廖繼春與好友陳澄波同赴日本,並考取東京美術學院,嚴謹的學院訓練造就他細膩典雅的筆法,在 1928、1931年,廖繼春皆榮獲日本帝國美術院展覽會入選,繪畫成就斐然。1940年代,廖繼春儼然成為台灣畫壇 的領袖人物,在眾多的「帝展」、「府展」、「台展」及「台陽展」獲獎不斷,作品質精量稀,極獲好評。1947 年,台灣社會風起雲湧,二二八事變爆發,摯友陳澄波在事變中犧牲,廖繼春哀痛逾恆,有段時間不眠不食,幾乎 無法作畫。林惺嶽曾寫道:「在僅圖溫飽的淒涼水平上,又遭到知己的良友與長輩的猝然逝去,使善良而敏感的廖

繼春,陷入悲傷的低潮,在這個黯淡的時期,他的寫生空間也告收縮。畫面不再展現野外曠蕩的視野,而是室內及 家居庭園的幽幽場景。」 縱然遭遇鉅變,廖繼春的畫筆從未表現憤世的悲鳴、激情的吶喊,更不曾尖銳地批判他所 生存的時代,也不見生命逆境的衝突影像。他的作品永遠寧靜淡遠,抑或優美明朗,信手拈來盡是返璞歸真之美。 廖繼春的繪畫遊走於古典與浪漫、傳統與現代之間,其藝術語彙一路由具象寫實過渡後印象派,而1962年應美 國政府邀請,赴美考察習畫,遍觀美國各大美術館、博物館,眼界大開、畫風漸變。廖繼春浸潤西方藝術思維,深 受野獸主義、抽象繪畫影響及美國抽象表現主義的強烈衝擊,在他那敏銳可塑的畫布上,開始出現飄然的線形與翱 翔的唯美色塊,與異國情調濃厚的異鄉題材。讓廖繼春的筆觸更加奔放成熟,並融貫了台灣鄉土的明朗與溫暖,迸 發出富於台灣氣息的抽象筆法,以及色彩奔騰的野獸派意趣,廖繼春因而有「台灣馬諦斯」的美名。不論美術思潮 與學院環境再怎麼流變,廖繼春都深受各方擁戴而屹立不搖,在這位美術巨擘逝世近30年後,「台灣美術貢獻獎」 決定表揚對台灣美術運動及美術教育有貢獻的前輩美術家,第一屆得獎者即為廖繼春。 「色彩」是廖繼春創作中最鮮明的標誌,他曾說:「我利用簡潔強烈的色彩,以對比和強調來賦予更多的色

感,同時在線條的構成中注意造形的趣味。不是寫某一個時間內的印象,而是把希望表現的色彩表現出來」 。廖繼 春的色彩華麗而不張狂,繽紛卻不紊亂,被藝術史學者讚譽為「色彩的魔術師」。 除卻風景與人物,廖繼春的靜物作品也獨樹一幟。此幅《瓶花》流光溢彩,濃艷的色料宛如花火般爆炸開來, 洋溢著青春的色彩、溫暖的感受。廖繼春短直強勁、速寫式的筆觸有若雕刻家大刀闊斧的勁道,但仍然細膩流暢, 並精準地捕捉瞬發的光影印象,形色渾然一體。藝術家把花卉演繹地絢麗飽滿、明媚細緻,卻將之置於靜謐深渾的 背景中,無語盛開,瑰麗繁茂中卻悠悠浸透著一抹蒼涼。那沉鬱樸拙的底色,和瓶花明亮的主體之間,創造出交響 樂章般的共鳴、和諧效果。《瓶花》悠悠曖曖地內斂光華,一如其天真質樸的生命哲學。縱使一生經歷時代磨難、 貧困戰亂,廖繼春仍堅持用畫筆直抒胸臆,真淳而虔誠地演繹生命中所有的美好。

077


“Taichi’ is originated from〈Yijing〉and described as " "Yi has Tai Chi, then gave birth to two appearances, and then four images. The four images gave birth to eight guas, and the eight guas control good or bad conditions which control future's development." " It is the most important concept in Chinese philosophy. Taichi means the original order of the universe and is presented during the time of yin and yang confusion, and later became the origin on the universe. Ju Ming learned Taichi and realized and acknowledged the Chinese traditional philosophy. He has a full understanding of Chinese culture and presented the “yin and yang”, “forms”, “continual chi” and “whole as one” with taichi sculpture. After years of practice and contemplation, he has a deeper realization for taichi. And during 1980, he combined Chinese culture with modern art language and gave birth to the famous “taichi series”. By introducing taichi series that is rich in personal character, his approach went from visible to invisible to create a sculpture that is full of Chinese culture. Michael Sullivan of Oxford University said “taichi is also a form of combat, when two objects are opponents. In the taichi combat and through the participants’ movements, he will conquer himself. The ancient military analyst Sunzi wrote: Know your enemy and know yourself, and you can fight a hundred battles without defeat.” After “Pushing ” and “Sparring”, Ju Ming no longer focuses on self reflection and contemplate but more on the relationship concept, creating an innovative theme in taichi. The abstract approach is more innovative and inspired the evolution of “Arch”. Ju Ming said “there is still a space between the two opponents in Pushing. However, now I connect the nads together, along with the chi and movements of the muscles, everything becomes one, and transformed into the form of an arched door.” After twenty years of evolving the “taichi series”, Ju Ming ended it with the extremely simple but greatest implication “Arch”. “Taichi Series : Arch” is created in 1987. It is firm like a rock yet the atmosphere is flowing like clouds. Strength and gentleness both prevail and combines the Chinese philosophy of man and universe in harmony. After grand carving, the artist preserved the natural surface and texture of the wood, the tear and scar are evidence of strength and speed on the still sculpture. It is given the vitality of man and universe as one, Ju Ming indeed has perfectly presented the idea through his talented sculpting skills. 078


朱銘

JU MING 「太極」一詞源自《易傳》:「易有太極,是生兩儀。兩儀生四象,四象生八卦。」 是中國思想史上的重要 概念。太極一般是指宇宙最原始的秩序狀態,出現於陰陽未分的混沌時期之後,而後形成宇宙的本源。朱銘因學 習太極拳,對中國傳統哲學內涵及養生哲學有著深刻體悟與認識,且對中國文化精神理解透徹,遂以太極雕刻 表現「陰陽」、「造形」、「連貫的氣」、「整體一元」等中國文化精神的底蘊。朱銘經過多年的演練和思考, 對太極精神有了更深刻體會和感悟,遂於1980年代前後,以粗獷、質樸,結合中國傳統文化與現代藝術語言的 「太極系列」雕塑聞名於世。經一系列獨具個人特色的太極作品入世,自有形到無形的表現手法,動感流暢中融 會中國精神的雕塑隨物而生。牛津大學美術史學家蘇立文(Michael Sullivan)曾論及:「太極同時也是一種儀式性

的格鬥形式,兩個形體相互對峙。在太極對招中,藉由參與者的移動,他(較少是她)得以勝過自己。古代的 軍事分析師孫子寫道:『知己知彼,百戰百勝。』 」爾後經過「推手」、「對打」作品的千鑿萬雕,朱銘不再偏 重精神上對太極的內省與冥思,更著重在相生相成、相互牽引的概念上,相對立的個體更標誌太極主題的深化與 創新,抽象精神的雕塑表達方式更趨前邁進新一階段,更啟發「拱門」的型塑演化,朱銘如是詮釋:「以前的推

手,兩個個體間還有間距,而現在,我讓雙手連接起來,一連接,氣的流動、肌肉的牽動,就相互貫通、活絡, 合為一體,轉化成拱門的造型。」 在歷經二十餘年的「太極系列」創作過程,朱銘最後以帶有極簡抽象意涵的巨 大「拱門」作為了句號。 此件《太極系列-拱門》創作於1987年,作品既穩如泰山,又動若浮雲,兩相對峙,剛柔並濟間表現一種浩 然之氣,融合中國園林天地圓融的東方哲學思想,其中蘊含陰陽平衡、相生相剋、相輔相承的太極概念,達到神 似而非形似的境界。木身在大刀闊斧的劈鑿之中,保留了自然的切面與紋理,面面菱角間的撕裂傷痕,宛若速度 及力量加諸在靜態的雕塑上,賦予「天人合一」的氣度與生命力,在朱銘精巧的斧鑿錘鑄間完全體現。

079


052

|

JU MING

( b.1938 )

Taichi Series: Arch 78×46×54cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1987 With a certificated of authenticity issued by Kalos Gallery

朱銘 太極系列-拱門 1987 木頭(僅此一件) 簽名:朱銘87 附真善美畫廊開立之原作保證書

NT$ 5,200,000-7,000,000 US$ 173,300-233,300

080


081


082


朱銘

JU MING After experiencing personal and duet interaction in Taichi series, Ju Ming transformed the active combat into a modern abstract language to emphasize on “using no way as a way” and to return to the foundation of the behavior. He elevated the essence of Taichi into the “Taichi Series: Arch” series which is the ultimate practice of taichi. “Taichi Series: The Door to Success” was created in 1995. The carves on the copper sculpture is smooth and sleek, the transection shows the speed of the artist. Extending the geometric forms, Ju Ming presented the duet combat and pusher form in an abstract approach. The curves and continual moves bring momentum. When both opponent strikes, the core belief of Taichi are present and strengthen the flow. By blurring the characters, Ju Ming successfully sent his message of “eternal life, eternity without boundaries”. The sculpture complete interpreted the deepest thoughts and feelings of the artist for Chinese traditional beliefs.

「太極系列」在經歷個體招式和雙人對拆階段後,朱銘將一攻一守、虛實相應的動態對 決,脫離招式與身法的限制,轉化成現代性抽象語言特質,強調「無法為有法」,回溯身體行 為的根本,融會太極精妙之處並再度昇華成玄妙至極的「拱門」系列,乃集「太極」大成之理 念。此件《太極系列-成功之門》創作於1995年,銅雕表面刀斧刻跡俐落流暢,切面自然圓滑 呈現一招一式的速度感,延續經典幾何塊狀的形體風貌,將太極中兩方對招、推手的形體由抽 象而成,圓弧、相連的型態蘊含力量的延續性,保存動勢,交手瞬間散發太極如行雲流水的精 神底蘊,更進一步強化流動氣韻的表現。人物形象的虛化,形似與神似間僅餘招意和力量,無 形無意,流轉不息,成功傳達朱銘「生生不息,永恆無垠」的創作理念,完滿詮釋藝術家靈覺 深處的感受及道悟中國傳統思想涵養的精粹。

083


053

|

JU MING

( b.1938 )

Taichi Series: The Door to Success 52×45×36.5cm Bronze, 18/20 Signed Ju Ming in Chinese, dated 1995, numbered 18/20 With a certificated of authenticity issued by Giotto Art Center, Taipei

朱銘 太極系列-成功之門 1995 銅 18/20 簽名:朱銘 18/20 '95 附吉優特國際股份有限公司開立之原作保證書

NT$ 4,500,000-5,500,000 US$ 150,000-183,300

084


085


054

|

JU MING

( b.1938 )

朱銘

Family Portrait

全家福

34×47×24cm Wood(One piece only) Signed Ju Ming in Chinese, dated 1980 With a certificated of authenticity issued by Caves Gallery

1980 木頭 簽名:朱銘'80 附敦煌畫廊開立之原作保證書

NT$ 2,000,000-2,800,000 US$ 66,700-93,300

086


Zhu Ming began his career with sculpturing and painting for traditional temples. His skills are exquisite and lively and excel best at wood sculpture. Taught by Yang Ying Feng at the age of 30, he began his journey in art creation, he has blended traditional skills and modern sculpture together. He held his first solo exhibition at the National Museum of History in 1976, and won his fame with “the Nativist” series. He has won worldwide acknowledgement and become a prominent figure in the art world. He is regarded as one of the symbols of the 1970 nativist movement. Born in an agricultural family, he shows fondness for topics such as buffalos and chickens. The depiction of animals is the representation of his memory. “Family Portrait” created in 1980s during the late “Nativist” series. His style has grown to be more simple and clear, the thick sculpture still reveals gentleness in it, the hen is looking down and without a clear face viewers can still feel the love of a mother tending for her chicks. The delicate arrangement speaks of the genuine personality of Ju Ming and also brings out the persistence of rural farmers. The sculpture is an embodiment of the affection and admiration of the land of Ju Ming.

朱銘以學習傳統廟宇雕刻與繪畫起家,手藝精巧,刻畫生動,木雕為其最擅長的代表作。30歲時拜入楊英風門下,自此從 工藝雕刻跨入藝術創作的領域,融會傳統技術與現代雕塑的精神。1976年於國立歷史博物館舉辦首次個展,以「鄉土系列」 作品一鳴驚人,佳評如潮,廣受台灣文化界的重視,更被視為1970年代台灣鄉土運動的主要象徵之一。出生於農家的朱銘, 對於水牛、雞隻等類型的題材,特別重視且寄寓鄉情,在對動物摹寫的同時也是他對於農村生活的回憶。《全家福》創作於 「鄉土系列」後期的1980年,此時期刀鑿風格更為簡約、明快,粗曠的刀工之下散發著婉約溫潤之感,母雞的低頭俯視,雖 無細膩明顯的五官面孔,仍可透過肢體動作及頸部曲線,感染母雞傳遞出的母愛之情;窩在母親懷裡撒嬌的小雞們,藉由精準 塊面的熟稔描繪,猶如活靈活現的充滿生氣。整體精妙的造型安排,傳遞出朱銘源於草根的生命力,更顯小農村底下人物的韌 性與堅持,承載著藝術家對於此片土地的深厚情感及崇敬之意。 087


楊英風

YUYU YANG 055

|

YUYU YANG

( 1926-1997 )

楊英風

Advent of the Phoenix III

鳳凰來儀(三)

180×220×150cm Stainless Steel, EA 2/5 Signed Ying-Feng Yang both in Chinese and English, dated 1970 and numbered EA 2/5 With a certificate of authenticity from Yu Yu Yang Foundation

1970 不鏽鋼 EA 2/5 簽名:英風 YANG Yang F. '70 EA 2/5 附財團法人楊英風藝術教育基金會開立之原作保證書

ILLUSTRATED ''Yu Yu Yang'', Hsiung-Shih Art Book,2004, Page 127 "Yu Yu Yang'',Taipei Fine Art Museum,2005, Page 110-111 ''Yu Yu Yang Volume 5'', Artist Publishing, Page 78-99 ''Yu Yu Yang: Vanguard on Native Soil'', Kaohsiung, Page 168-169

圖錄 《景觀自在-楊英風》,雄師出版社,2004,第127頁 《楊英風》,台北市立美術館,2005,第110-111頁 《楊英風全集第五卷》,藝術出版社,第78-99頁 《楊英風(1926-1997)站在鄉土上的前衛》,高雄市立美 術館,第168-169頁

EXHIBITION "1970 Osaka World Exposition", Osaka, Japan, Mar 15- Sep 13,1970 "Yu Yu Yang Exhibition", Taiwan Museum of Art, Taipei, Oct 2- Nov 21,1993 "Yu Yu Yang Special Exhibition 61-77", National Museum of History, Taipei, Dec 14, 2000- Jan 14, 2001 "Shanghai Grand Theater Gallery", Shanghai, 2004 "Yu Yu Yang", Taipei Fine Art Museum, Aug 27-Nov 13,2005 "Yu Yu Yang Memorial Exhibiton", Kaohsiung Museum of Fine Arts, Nov 26, 2005- Feb 26, 2006

展覽 「1970大阪萬國博物館」,大阪,日本,1970年3月 15-9月13日 「楊英風-甲子工作紀錄展」,台灣省立美術館,1993 年10月2日-11月21日 「楊英風61-77創作特展」,國立歷史博物館,2000年 12月14日-2001年1月14日 「2004上海大劇院博覽會」,上海,中國,2004年 「楊英風」,台北市立美術館,台北,2005年8月27 日-11月13日 「楊英風紀念展」,高雄市立美術館,高雄,2005年11 月26-2006年2月26日

NT$ 3,800,000-4,800,000 US$ 126,700-160,000 088


089


The phoenix is a symbol of Chinese people’s yearning for deities. In Chinese culture, the phoenix is a symbol of peace and it will only present itself during the time of peace and harmony; therefore, everything that is truthful and beauty will come along with it.” Through the asking of Ye Gong Chao, "The Advent of the Phoenix III" was entrusted to be exhibited at The Taiwan Pavilion, Osaka Expo in 1970. It is said in ancient Chinese traditions that phoenix can be only seen during a time of world peace; the phoenix also represents going to the future ideal world. When Yang was creating it, he used mechanic lines and asked for solid fuming to make the geometric picture gentler. A black background to bring out the steadiness and conservative Taiwan pavilion, this 9x7 meters phoenix was presented in front of the pavilion in a very short time. The bright red represents vitality and livelihood; the body contour and feathers are out-spreading. Four feathers are used to support the entire body giving viewers a feeling that the phoenix is about the fly high into the sky.

鳳凰象徵中國人對於超然理想境界的神往;在中國思想中,鳳是太平祥和的挺 現;傳說中鳳擇『至德之世』而降,唯有太平之世才能一睹中國人最喜愛的瑞鳥芳 蹤,似乎一切真善美均是乘著鳳翼翩然而來。 《鳳凰來儀》為楊英風應葉公超先生的委託為一九七○年大阪萬國博覽會中華民 國館的前庭展出。據說鳳凰在中國古老的傳說裡,只在天下太平才能看見;鳳凰也代 表未到來的理想世界。他製作「鳳凰來儀」時,使用機械線條,在鋼鐵材焊接時,要 求樸實,使幾合圖變得柔和,以黑色為底襯托中華民國館的含蓄與沉穩,這座寬9米 高7米的鳳凰終於在短促的時間出現在中華民國館前;除了鮮豔的紅色有讓人感受到 源源不絕的生命力之外,身體的彎曲的曲線以及身上的羽毛四處延展開來向外翹,另 外底部的支撐是利用四根羽毛抑或著是下肢支撐著,整體外型的感覺讓人感受到此鳳 凰正要展翅高飛,翱翔於空中。

1970年大阪世界博覽會中國館展覽會場(左圖),楊英風(右二)與工作人員於《鳳凰來儀》前合影(右圖)。

090


056

|

PU RU

( 1896-1963 )

Calligraphy 34×40cm Ink on Paper With two seals of the artist

釋文: 綽綽緩也,孟子曰:「豈不綽綽然有餘裕哉?」禮中庸曰:「寬裕溫柔,足以有容。」 左傳宣九年曰:「且聞不令。」左傳襄二十七年曰:「子木謂叔向,請晉楚之從,交相 見也。」禮坊記曰:「子曰:『睦於父母之堂,可謂孝矣。故君因睦以合族。』詩云: 『此令兄弟,綽綽有裕;不令兄弟,交相為瘉。』」爾雅.釋詁曰:「瘉,病也。」民 之無良,相怨一方,受爵不讓;至於已斯亡禮。

溥心畬 綽綽之德 水墨 紙本 藝術家鈐印

溥心畬出身於皇室,自幼在皇室中勤讀詩書,並且受到中國文化傳統的嚴謹教育, 因此奠定其深厚文學修養基礎,自許生平大業為治理經學。讀書由理學入手,爾雅、訓 詁、說文、旁涉諸子百家至詩文古辭,用功不懈、天資聰穎,精通詩詞、典籍、書畫, 文采斐然,而有極高的藝術成就展現,1954年以《寒玉堂畫論》獲教育部第一屆美術

NT$ 120,000-200,000 US$ 4,000-6,700

獎。溥心畬書法重腕力的訓練,強調書小字必先習大字,字體飄灑暢酣、瀟灑透逸,作 品中流露出濃厚書卷氣息,充分展現個人特色的書法功力。

091


a.

092

b. c.


d. e.

057

|

YU YUJEN ( 1878-1964 ) CHIA CHINGTEH ( 1880-1960 ) WANG ZHUANGWEI ( 1909-1998 )

a.釋文:為生民立命 b.釋文:

Various Subjects

赤燄彌中夏,黃圖仗大君,

a. 64×33cm b. 88×33cm c. 35×66cm d. 32.5×30cm e. 29.5×32cm Ink on Paper a. Signed Yu Yu-Jen in Chinese and With one seal of the artist b. Inscribed and signed Chia Ching-Teh in Chinese, With one seal of the artist c. Inscribed and signed Zhuang-Wei in Chinese, With one seal of the artist d. Inscribed and signed in Chinese, With one seal of the artist

艱險東南亞,和平世界軍,

于右任 賈景德 王壯為

雁飛兔走驚弦開,翠華按轡從天回。

致向采先生書畫選

(《申王畫馬圖》宋蘇軾)

c.1960 水墨 紙本 a.款識:向采先生正 于右任 藝術家鈐印 b.款識:向采先生兩政 韜園 賈景德 藝術家鈐印 c.款識:庚子清明 壯為 錄蘇玉為詩 藝術家鈐印 d.款識:向采先生 充實之謂美日新之謂盛德 藝術家鈐印 e.款識:向采先生雅樂 壯為 藝術家鈐印

NT$ 200,000-360,000 US$ 6,700-12,000

無才任袁白,知命怯風雲。 桓桓七艦隊,寧為保臺員。 c.釋文: 天寶諸王愛名馬,千金爭致華軒下。 當時不獨玉花驄,飛電流雲絕瀟灑。 兩坊岐薛寧與申,憑陵內廄多清新。 肉駿汗血盡龍種,紫袍玉帶真天人。 驪山射獵包原隰,禦前急詔穿圍入。 揚鞭一蹙破霜蹄,萬騎如風不能及。 五家錦繡變山谷,百裏舄珥遺纖埃。 青騾蜀棧兩超忽,高準濃娥散荊棘。 回首追風趁日飛,五陵佳氣春蕭瑟。

d.釋文:充實之謂美,日新之謂盛德。 e.釋文:琵琶峯青溪水光,通明之宮何煌煌。 蒼精龍攵天上下,朱衣魚鬣殿中央。 烟華夜遣玉條聰,環珮風動金琅璫。 鐙前老樹支離子,閱世無言意更長。 (元 七言律詩 ) 碧眼胡兒叫橫玉,落日如盆照茅屋。 美人清夢斷梅花,卻寫相思在修竹。 (《補之竹卷》元末明初 顧瑛)

093


094


058

|

HE SHAOJI

( 1799-1873 )

Couplet Calligraphy 126.5×31cm(2) Ink on Paper (diptych) Signed He Shao-Jin in Chinese With one seal of the artist

何紹基 行書七言聯 水墨 紙本 雙聯幅 簽名:何紹基 藝術家鈐印

NT$ 600,000-900,000 US$ 20,000-30,000

何紹基,字子貞,號東洲居士,晚號蝯叟,湖 南道州人,為晚清著名詩人與書法家,書法成就尤 著,是繼鄧石如、伊秉綬之後晚清書壇最負盛名的 碑學大師之一。因出生書香門第,濡染家學,其父 何凌漢藏書甚豐、學識淵博,膝下四子(何紹基、 何紹業、何紹祺、何紹京)皆精擅書法,在當時被 譽為「何氏四傑」。 何紹基精於說文考訂之學和金石碑版文字, 其書法以唐代顏真卿為根基,並參雜篆書筆意, 上溯周秦、兩漢篆隸,下至六朝南北碑拓,晚年則 隸篆真行融為一體,卓然自成一家。書法特點在於 融會貫通,將篆書與隸書的筆法,運用於楷書與行 書之中,而創立自己的風格。運筆自最樸質之衡平 豎直、正鋒運筆出發,筆鋒內斂而不外放頓折,卻 能貫之氣力圓活自如運用,化出極豐富的變化,強 調古勁厚遠之氣,一如厚實之碑版篆隸,字間表現 力道,且參差錯落,勁偉中表達緩綽、疏散,則添 增古意趣味。其曾言:「余學書四十餘年,溯源篆

分。楷法則由北朝求篆分入真楷之緒 。」何紹基的 書法成就,對晚清書風產生了深遠的影響,堪稱為 清光、宣以來開一代宗風而為百世師。此《行書七 言聯》行中鋒筆健,微有顫動之勢;字常不為繩墨 所拘,有從容閒適之感,並時有欹斜之態,乍看信 手塗鴉,結體自然舒放,呈現古拙樸茂之趣。

095


a. b.

096


059

|

LU FOTING

( 1911-2005 )

a.Landscape b.Calligraphy a.90×41cm b.69×34.5cm Ink on Paper a. Inscribed and signed in Chinese With one seal of the artist b. Inscribed and signed in Chinese With one seal of the artist

呂佛庭 a.山水 b.錄舊作三首 a.1966 水墨 紙本 a.款識:佛庭 藝術家鈐印 題識:高巖鳴落瀑霜木映 飛樓日暮行人斷 簾獨嘯秋丙午仲冬寫 海平夫人大雅之屬 b.簽名:錄舊作三首 半僧 藝術家鈐印

NT$ 500,000-700,000 US$ 16,700-23,300

呂佛庭個性淡泊,隨緣自得,年僅 十歲就皈依三寶,一生茹素念佛,持之 以恆,而讀書、遊歷、著作、書畫幾 乎是他生活的全貌,佛老以極大的定 力,從不間斷地鑽研佛法與藝術。呂佛 庭於27歲開始,在日軍攻擊下陸續避 難各處,他的山水畫,便得力於他的踏 遍千山萬水、遊遍名剎古觀,與道士、 和尚、文人邊郊遊,邊將名勝山川繪入 自己的畫中,以表達自然風物及主觀意 象之禪境。而書法方面,則融合了篆、 隸、楷形成了獨特的楷隸書風格。


060

|

LONG CHINSAN

( 1892-1995 )

郎靜山

A Thousand Hand Buddha

千手觀音

40×28.5cm Photograph on Gelatin Silver Print With one seal of the artist

1938 銀鹽 相紙 藝術家鈐印

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

圖錄 《中華大典六十年攝影選輯》, 中華學術院攝影研究所,1971年

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

我做集錦照片,是希望以最寫實、最傳真的攝影工具,融合我國固有畫理, 以一種『善』意的理念,實用的價值,創造出具有『美的作品 』。 098

---郎靜山

《中華大典六十年攝影選輯》, 中華學術院攝影研究所


061

|

LONG CHINSAN

( 1892-1995 )

Still Life 39.5×20.2cm Photograph on Gelatin Silver Print With one seal of the artist PROVENANCE Private Collection, Australia

郎靜山 萬物寂靜 銀鹽 相紙 藝術家鈐印 來源:澳洲私人收藏

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

郎靜山原籍浙江。自幼受父親影 響便對繪畫很有興趣,少年時期他的 國畫老師李靜蘭啟發了他對攝影的愛 好。而繪畫對於郎靜山的攝影,尤 其是對他日後所創造的「集錦攝影 法」,有著非常深遠的影響。1939 年,郎靜山將現代科學攝影技術與中 國的傳統繪畫六法理論相結合,創出 一條「集錦攝影」的新路。所謂「集 錦」,就是集合各種物景,配合成 章,捨畫面之所忌,而取畫面之所宜 者。儘管西方在上個世紀二十年代就 有人使用「暗房疊放技術」,但「集 錦攝影法」之所以顯得別具風格,主 要是他本身具備了深厚的國畫造詣與 修養,並將國畫中的畫理與攝影技巧 巧妙相容所故。《萬物寂靜》以中國 山水畫技法中「三遠法」的近、中、 遠三疊式展演觀點構圖,空間層次更 為繁複多元。

099


100


062

|

WALASSE TING

( 1929-2010 )

Black Hair Beauty 70×100cm Charcoal and Watercolor on Paper With one seal of the artist PROVENANCE Private Collection, Asia

丁雄泉 東方美人 炭筆 淡彩 紙本 藝術家鈐印:採花大盜 來源:亞洲私人收藏

NT$ 550,000-700,000 US$ 18,300-23,300

丁雄泉於50至70年代時期,經歷 了各種藝術流派,如:具象繪畫、超寫 實主義、普普藝術、觀念藝術和極限藝 術。這些畫派,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,並自號「採花大盜」。在題材 選擇上,丁雄泉多半描繪青春的少女, 他樂於將他們各個生命的微妙動處表現 出來。西方亦或東風的面孔,融合著傳 統中國仕女的嬌羞,嫵媚與矜持之美, 東方的神韻自然呈現。《東方美人》 為難得的炭筆素描作品,俐落乾淨地下 筆便勾出女子輪廓,隨性群花襯托慵懶 而嬌媚的眼神,藝術家更利用炭筆的特 性,大片塗抹出女人秀髮,與純粹的線 條相互對比,揮灑豐富的畫面層次。

101


063

|

YAYOI KUSAMA

( b.1929 )

Moonlight Sea 27.2×24.2cm Enamel on Paper Board Signed YAYOI KUSAMA in English, dated 1978 Signed on the reverse: yayoi kusama in Japanese and English, dated 1978, titled in Japanese With a registration card issued by Yayoi Kusama Studio

草間彌生 月光之海 1978 瓷釉 紙板 簽名:YAYOI KUSAMA 1978 背面簽名:草間彌生作 月光の海 1978 yayoi kusama 附草間彌生工作室開立之原作保證卡

NT$ 500,000-700,000 US$ 16,700-23,300

“Painting, which is powerful enough to wrap up the whole universe, not to mention the earth, is Kusama’s Infinity Nets. I will probably continue to paint this endless wed, which I have worked on for the past 40 years. Yayoi Kusama is unchangeable” ---Yayoi Kusama Yayoi Kusama, honored as one of the living national treasure in Japan, has devoted decades to arts ever since she moved to New York in 1957. Through details in her artworks, she tried to honestly express, record and pass down her own past and the new-ending nightmare. An expert in using painting, sculpture, and action art, Yayoi tried to express her super-realistic inner world. The strong contrasting colors, lines and dots have left an unforgettable mark in visual art, music and high fashion. She was never shy of revealing her true spirits. With gold, silver and grayish colors to blend the canvas in 《Moonlight Sea》, the upward and downward webs created a milky way channel. The colors shine as though the sea and moonlight reflect each other. The atmosphere is tranquil yet strong of emotions. The inter t wining web accumulates into an infinite universe and creates a mystical tempo and fragile sensation. Even though the images don’t come in big sizes, the artist has successfully captured the vast universe without bounds. The metaphoric psychology implies the nightmares that haunted her for life. The gentle and romantic composition brings out the insecurity in her subconscious.

「草間彌生的無限的網能夠強而有力地包圍整個宇宙,更 何況是地球。過去四十年來我不斷在做著這一張無限的網,將 來也會繼續。草間彌生是不可能改變的。」 ---草間彌生 享譽日本的現存國寶級藝術家之一的草間彌生,自1957 年前往美國紐約開始,數十載的藝術創作奉獻,企圖藉由作品 的細微之處,誠實地傳達、紀錄與承載自身的過去,及那纏 繞許久卻又無法擺脫的夢靨。草間擅長使用繪畫、雕塑及行動 藝術等表現手法,在超現實般的心理考究中,傳遞其腦海中的 世界。對比強烈的色彩、點線結構堆疊而成的圖像,在視覺藝 術、音樂、時尚留下印記,毫不遮掩的展現自身靈魂的真諦。 《月光之海》以金、銀帶點暗灰色調的釉料暈染整個畫 面,由上方與下方向畫中蔓延的網狀猶如隔開了一條銀河渠 道,色料在光線下的點點光輝,彷彿海面與月光相互交映,絲 絲寧靜,卻又深黯洶湧,透過不斷增生的交錯網絡,鋪展出一 無限延伸的小宇宙,營造出富有神秘韻味的節奏和既脆弱而又 不羈的感官效果。雖然尺寸不大,卻捕捉了浩瀚的規模與無限 的空間。似而錯綜複雜的心理意涵,隱約重申了草間彌生揮之 不去的幻覺,柔美的情節構圖,帶出潛意識中的不安定成份。

102


103


064

|

YUYU YANG

( 1926-1997 )

Growth (1) 57×53×50cm Stainless Steel, 18/20 Signed Ying-feng in Chinese, dated 1988, numbered 18/20 With a certificate of authenticity from gallery

楊英風 茁壯(ㄧ) 1988 不鏽鋼 18/20 簽名:'88 英風 18/20 附畫廊開立之原作保證書

NT$ 120,000-280,000 US$ 4,000-9,300

《Growth (1)》comes in a style like windy ropes tangled together and is similar to 《結圓‧結緣》which both tried to represent an image similar to Chinese knots. With a tree as the main theme in《Growth (1)》, it represents a prosperous and lively plant standing upright to the sky. The foundation is stable and enabled the tree to grow into a divine tree with a humble and soft heart. On mother earth, it receives nutrition from the rain and absorbs the essence. With the passing of time it will eventually grow even stronger and blesses the generations ahead, proving a place for people to rest.

此作《茁壯(一)》的造型彷彿繩結纏繞一般蜿 蜒,與《結圓‧結緣》造型相仿,主要形塑出類似中 國結的形象。《茁壯(一)》實際上是以大樹作為意 象,象徵綠意發華、生機盎然的巨樹,如地聳蒼龍勢 抱雲般伸展。底座為穩固的盤根奠基,向上則萌發為 1988《茁壯》參展1992亞洲國際藝 術博覽會

參天巨林;其開闊豪壯的造型裡,蘊藏著一棵樸拙寬 厚的心。在大地上,欣受甘霖洗禮,納取地氣精華, 仰望日月光華的流轉遞移,終將日益茁壯,蔭惠子 孫,為人們創造一片休憩遊戲的悠閒天地。

104


105


YANG CHIHUNG During the end of 2013, for the first time Discovery Channel launched a series of Chinese artists series “Art Chineseness”. The series focus on the career path of Yang Chih Hung, Li Zhen, Xu Bing and Zhang Huan. Yang’s prominent status in the art work is evident and indeed a talent after abstract art masters Zhao Wu Ji and Zhu De Qun. Born in Taoyuan, 1947, Yang Chih Hung was taught by artists Liao Chi Chun and Yang San Lang. His style is liberal and focused on the thoughts and questions about “existence” during his teenage time. When he reached adulthood, he continually focused on “cities”. During his stay in U.S., he explored topics such as the differences in culture and trends. In 1984, he was the first Chinese artist to win the U.S. P.S.I award. After decades of art creation, he inspired many students and came out with the “plantation aesthetic” series in 1990. In 1986, Yang travelled to northwest China passing by Urumchi, Turfan, Dunhuang, Kashgar, Xian, Lanzhou and Beijing to discover the ancient artifacts along the silk-road and also visited The British Museum. It was a meaningful journey that allowed the artist to absorb the tracks of ancient history and culture and enabled him to realize a grand vision. This “Animal Passions” was painted in the same year, the atmosphere is primal and wild; it also brought together classical dignity, modern confusion and romantic passion.

2013年底,Discovery Channel首度推出華人藝術家的節目專輯《華人藝術紀》,聚焦楊識 宏、李真、徐冰及張洹等四人的創作歷程,足見楊氏在亞洲藝術界的代表性地位,並懇切地成 為繼華人抽象表現主義大師趙無極、朱德群之後備受矚目的抽象畫家。 楊識宏於1947年生於桃園,學生時代曾師事廖繼春、楊三郎等前輩藝術家。他的創作風格 跌宕悠揚,青年時期關注於對自我「存在」的思考與詰問,邁入社會後則與「都市」進行著無 窮的對話;在旅居美國後更直探文化異同、時代潮流等達觀命題。1984年更獲得美國國家P.S.I 大獎,成為首位榮獲該殊榮的華人藝術家。數十年創作經驗不斷累積蘊釀、悉心培育的藝術種 子,終在1990年代萌發出經典繁盛的「植物美學」系列。1986年,楊識宏前往中國大陸西北地 區旅行,遊歷烏魯木齊、吐魯番、敦煌、喀什、西安、蘭州、北京等地,考察古代絲路及其藝 術文物,並參觀大英博物館。這趟意義非凡的旅行,讓藝術家的畫筆浸潤著遠古文明的養分、 歷史文化的深邃氣息,進而煥發出悠揚渾厚的宏達大觀。這幅《動物熱情》正繪於此年,畫面 洋溢洪荒初始的史前氛圍,籠罩在極致濃烈的野性之中,鎔鑄了古典的莊嚴、現代的惶惑與浪 漫主義的激情。 《動物熱情》中滾燙的火紅不斷竄動、無盡蔓延,相互激迸出熾熱的火光,熠熠照亮這個 仿若神秘巫術儀式的場域。楊識宏將凌厲奔放的線條、激躍絢爛的色料揮灑地淋漓盡致,以無 畏而雄辯的氣勢,引領觀者進入想像的叢林、史前的洞窟,讓他們嗅見野性的氣息,聽聞原慾 的呼吼。動物、人類的身軀在這個異度空間裡凝固、懸浮,烈燄燒灼、光影明滅,歷經痛苦或 歡愉的顫慄、生命真實的撞擊與爆發,讓血液鬧騰、讓熱情勃發。將一切的熱烈、瘋狂、虔誠 與純淨都被融匯成一個不可分割的整體,冉冉飛升,在終極之境匯聚成一汪清藍,構思生命意 念的無盡想像。

106


065

|

YANG CHIHUNG

( b.1947 )

楊識宏

Animal Passions

動物熱情

198×150cm Acrylic on Canvas Signed on the reverse: Chihung Yang, arcylic on canvas and titled Animal Passions in English, size and dated 1986

1986 油彩 畫布 背面簽名:Chihung Yang, animal passions '86, acrylic on canvas, 78×60 inches

ILLUSTRATED "The Images of the Mind: Chihung Yang's Painting", National Museum of History, Taipei, Taiwan, 2004, Page 136

圖錄 《象由心生─楊識宏作品展》,國立歷史博物館, 台灣台北,2004年,第136頁

NT$ 850,000-1,000,000 US$ 28,300-33,300

《象由心生─楊識宏作品展》 ,國立歷史博物館出版

107


066

|

066

KUO JENCHANG

( b.1949 )

Sightseeing 102×167.5×13cm Mixed Media on Canvas Signed Kuo Jen-Chang in Chinese, J.C.Kuo in English, dated 2002

|

ILLUSTRATED "J. C. Kuo's Happenstance 2003 Solo Exhibition ", Main Trend Gallery, 2002, Plate 11 EXHIBITION " J. C . Ku o ' s H a p p e n s t a n c e 2 0 0 3 S o l o Exhibition", Main Trend Gallery, Taipei, 2002

郭振昌 到此一遊 2002 綜合媒材 畫布 簽名:郭振昌 2002 J.C.Kuo 圖錄 《郭振昌-偶然與巧合2003個展》,立享文 化事業,2002,圖版11 展覽 「偶然與巧合」,大趨勢畫廊,台灣台北,2002

NT$ 1,250,000-2,000,000 US$ 41,700-66,700

For year s , Kuo Zhen Chang insis ted a c y nic al approach towards the society, politics and culture; his artworks presented his observation and criticism towards the society and culture. Other than continuing bonding and developing his personal images and art language, he also established the possibility of art becoming a form of social criticism towards society. In his personal exhibition “Occasion and coincidence” in 2003, he exhibited three series- 「匾」,「X 先生 /Y小姐」and 「上海行」. “Sightseeing” belongs to the 「匾」series which is extracted from pop songs monument culture. The word monument can also be pronounced as the word implying devaluation. The word pun came from the original positive appraisal to mockery. Art critic Wang Jia Ji wrote “the monument culture is a long practiced tradition and it often implies harmony, philanthropy or mutual cooperation. However, sometimes it only represents simple social niceties inflicted by fake or lame motivations. Through this cultural form, Kuo Zhen Chang criticized politics and mocked society. The monument became a medium for his to question the government and social phenomena. The monument is still a prominent cultural medium but through the artist’s transformation, it became a medium for revealing truth and phony. 108

Through present consumerism, Kuo Zhen Chang extracted forms and symbols that are often used into his paintings. He presented them in the form of monuments to become a medium that represent the past and present. In “Sightseeing”, the artist filled up the characters with traditional cloth and used only black lines for the contour. Like pictures taken during outings, the males and females stand next to each other; the female holds a smile while the male in sunglasses avoided the camera. Differing from the other “ 匾 ” series, “Sightseeing” does not come with any negative implications. The viewers are unable to differentiate the meanings of the painting. If it were not for the time marking, natural scenery of the culture, viewers won’t be able to appreciate the conflict. How the glamorous frame and magnificent scenery; the language of the traveler will be appreciated will be decided by the viewers.


多年來,郭振昌的繪畫堅持其社會、政治與文化批判的本 色,他的創作再現了對社會與文化的觀察與評論。除了持續建

此,匾額仍然是一個重要的文化載體,只不過,經過藝術家翻 轉之後,卻已成為拆穿假象與揭露真實的媒介。 」

立和開拓個人特殊圖像及繪畫語言之外,他更確立了以藝術作 為一種社會論述的可能和必要性。

郭振昌從傳統民間和今日流行的消費文化中,擷取常見的 造型與符號,將其置入繪畫之中,並採用橫匾的表現形式,使

郭振昌在2003個展「偶然與巧合」中,展出了三個系列

之成為古今混雜的文化載體。《到此一遊》中藝術家以傳統花

的作品,分別為「匾」、「X先生/Y小姐」與「上海行」,而

布紋將人物填滿,僅用黑線描繪出輪廓,男女生並肩就如人們

《到此一遊》便為「匾」的其中一幅。以「匾」為題的系列畫

出遊所拍的紀念照,女人對著鏡頭微笑,男人被墨鏡遮住的雙

作,取材於社會流行歌功頌德的匾額文化,但經語意翻轉過

眼則避開了鏡頭。然而不同於其他「匾」系列中的作品,《到

後,即以"貶"反挫"匾"原有的正面賀頌、誌慶與致謝之意,藝

此一遊》並無發生任何負面意涵的敘述,觀者也無法輕易在郊

術評論家王家驥寫道:「匾額作為一種行之有年的文化形式,

遊景緻中尋得有意義的語意區別,若僅止於沒有時空標記、沒

其所再現的大多是一種表面化的社會和諧、慈善或互助,有時

有文化屬性的自然景觀,便不能與富有正面形態的框座產生即

甚至只是反映徒具其表的酬應關係,有其假性或虛榮的心理

刻的對立衝突,此時華麗框飾與壯闊風景、旅行男女的敘述語

動機。郭振昌藉此文化形式,進行他一貫的政治評論與社會

言,便要取決於觀者的眼光角度了。

嘲諷。匾額變成他質疑政治與社會現象的一個方便切入點。在 109


067

|

TAI JINGNONG

( 1902-1990 )

a.Calligraphy b.Calligraphy a. 60×40.5cm b. 25×69cm Ink on Paper a. Signed Jing-Nong in Chinese, dated October, 1974 in Chinese sexagenary cycle (Jia Yin year) With seals of the artist b. Signed Jing-Nong in Chinese, dated 1976 in Chinese sexagenary cycle (Bin Wu year) With seals of the artist

臺靜農 a.王維詩選 b.茂荊堂 a.1974 b.1976 水墨 紙本 a.款識:甲寅十月 靜農書於臺北 藝術家鈐印 b.款識:丙辰立夏後 一鳴吾兄 屬題 靜農 藝術家鈐印

NT$ 80,000-160,000 US$ 2,700-5,300 a.釋文: 人閑桂花落,夜靜春山空。月初驚山鳥,時鳴春澗中。 《鳥鳴澗》唐王維 春池深且廣,會待輕舟回。靡靡綠萍合,垂楊掃復開。 《萍池》唐王維 飛鳥去不窮,連山復秋色。上下華子岡,惆悵情何極。

b. a.

《華子岡》唐王維 空山不見人,但聞人語響。返景入深林,復照青苔上。 《鹿柴》唐王維 木末芙蓉花,山中發紅萼。澗戶寂無人,紛紛開且落。 《辛夷塢》唐王維 臺靜農,博學廣知,兼容並蓄。其思想無邊際,古今交融,一生投注文學事業,並在臺大中文系任教過程中,奠定該系之 學風與規模。於文學領域的孜孜耕作中,不乏見其美學思想。晚年更寄情於書法,融多家精華,自領神髓,筆能出入草隸。臺 靜農的書法遠離塵囂之氣,不染塵埃,定睛久目,實能見真!將其學術涵養之精華,化為筆墨線條,其自如畫,更如詩,在動 盪的時局中,注入一股溫暖的力量。忽將詩中美景,以筆力頓挫,躍然紙上;喚起中國古典精神,並進而淘洗、淬鍊,合於今 110

世,打造一條穿越古今的美學思想。


068

|

TAI JINGNONG

( 1902-1990 )

Calligraphy 134.5×34cm Ink on Paper Inscribed and signed Jing-Nong in Chinese, dated 1972 in Chinese sexagenary cycle (Ren Zi year) With one seal of the artist

臺靜農 魯相史晨祀孔子奏銘 1972 水墨 紙本 款識:壬子孟春撰史晨碑用蝯叟筆意 一鳴吾兄 清屬 靜農 藝術家鈐印

NT$ 100,000-200,000 US$ 3,300-6,700

釋文: 夫封土為社,立稷而皆為百姓興利除害,以祈豐穰。 月令祀百辟卿士有益于民。矧乃孔子,玄德煥炳,光 于上下,本國舊居復禮之日。 臺靜農對書法的愛好來自於父親的影響。北京求 學時期,由於熱衷西方新思潮,使他一度認為書法是 「玩物喪志」而中斷了書藝,直到抗戰遷居四川白沙 時,臺靜農才重拾筆翰,且先後受益於沈尹默、陳獨 秀、胡小石等名家,也窺見了明代倪元璐的書法之 美,對他以後的書風有著重要影響。 幼年時期的臺靜農以顏體《麻姑仙壇記》作為楷 書的最初範本,中年後的楷書喜習魏碑風格,筆風或 雄健茂密,或古拙質樸等,均屬於隸書轉化為楷書的 過渡型書體。臺靜農認為書法藝術源於豐富的漢字造 形,因為漢字的起源來自圖像,美感與生俱來。即為 書畫同源的意義所指,所以臺靜農也不乏清新意象的 畫作傳世。一般認為,臺靜農的書法以隸書和行書最 為可觀,數量多且成就高。但篆書、草書和楷書也都 各有特色。臺靜農的書法,在隸書的方整規律中求生 動鮮活;在行草書的圓轉流暢中求線條的豐富質感; 在碑帖合流中尋求突破,實踐了強勁、沉著、欹側、 遒麗的時代書法。

111


112


069

|

SAD JI

( 1914-2005 )

Vase of Flowers 50×40cm Oil on Board Signed SAD JI in English PROVENANCE Acquired from Vanderkindere Auction, Belgium

沙耆 瓶花 油彩 木板 簽名:SAD JI 來源:現藏者購自比利時拍賣「Vanderkindere」

NT$ 750,000-1,000,000 US$ 25,000-33,300

有「東方梵谷」之稱的沙耆,早年曾師事劉海 粟、徐悲鴻及林風眠。1937年,在徐悲鴻的推薦 下,遠赴比利時深造,此十年間沙耆在異鄉大放異 彩,多次參與布魯塞爾的畫展,且曾與畢卡索等藝 術大師聯袂展出。1946年回國後,沙耆因深受精 神疾病所苦,隱居故鄉沙村。直至1952年某一歐 洲藝術代表團訪問中國,向周恩來總理談起這位曾 留學比利時的中國畫家,並高度評價沙耆的藝術成 就。上世紀80年代,沙耆的畫展震撼畫壇,引起激 烈迴響,沙耆的畫作價值漸漸被世人關注。沙耆終 其一生歷經璀璨,卻也漂泊艱辛,經歷際遇,致使 生命的裂變,長年精神疾病纏苦,時而清醒、時而 瘋癲。此作《瓶花》粗放卻細膩的筆觸,用色鮮豔 飽滿,沉穩厚實的構築出印象主義和表現主義的風 采。沙耆將繪畫當作體認自身存在的方式,每天皆 須提筆動畫,瓶花看似日常所見之物,但因作畫心 境的自如開放,在色塊、筆觸的摩擦堆疊之間,絢 爛的花瓣、敦實的花瓶,與背景的簡潔明亮對比, 整體刻劃出古典氛圍卻生氣盎然。

113


114


070

|

YANG SANLANG

( 1907-1995 )

Early Autumn in the Forest 32×41cm Oil on Board Signed S. YANG in English With a certificate of authenticity from Yang San Lang Art Museum

楊三郎 初秋林間 油彩 木板 簽名:S. YANG 附楊三郎美術館開立之原作保證書

NT$ 450,000-650,000 US$ 15,000-21,700

楊三郎終其一生長達60餘年的創作 生涯,繪畫題材以風景為主,靜物和人物 次之。自壯年開始,作品取材以自然界為 主,偏好描寫美好特殊的景觀,構圖平穩 對稱,畫面充滿明亮鮮豔的色彩和厚塗的 油彩肌理,特別以山林原野及海景為多。 《初秋林間》以青綠木林間以略帶昏黃色 調點綴,漫漫黃葉枯枝烘托出初秋氛圍; 前景高聳入天的樹木與對岸高山空間相互 映襯、明暗交織,譜出簡潔自然的林間奏 曲,極其鮮活動人。

115


071

|

YANG SANLANG

( 1907-1995 )

A Part of Ancient City 28×35.5cm Oil on Canvas Signed S. YANG in English With a certificate of authenticity from Yang San Lang Art Museum

楊三郎 古城鄉情 油彩 畫布 簽名:S. YANG 附楊三郎美術館開立之原作保證書

NT$ 400,000-600,000 US$ 13,300-20,000

楊三郎畢生投注於繪畫創作,作品 極富浪漫寫意之感,其深受日本外光派 與法國印象派影響,畫風崇尚自然且大 方恣意,注重戶外寫生,著重柔和的光 影寫實變化,強調日光及時序的安排, 構圖和諧,獨具韻味。《古城懷情》在 筆、刀並用的純熟技巧下,豐富的筆 觸凸顯整體畫面的質感與分量。構圖嚴 謹、取景明確,精準的匯聚觀者的焦 點,使人宛若親身佇立於古城前方。顏 料的層疊堆抹,表現出景物豐富厚實的 肌理;大地色調的柔和淡雅,整體呈現 質樸濃郁的靜謐和煦,朦朧氤氳鋪陳出 古城的懷舊風貌。

116


117


072

|

LIU JIUTONG

( b.1977 )

劉玖通

Watery Town in China

中國水鄉系列

79.5×149cm Oil on Canvas Signed Liu Jiu-Tong and Shanghai in Chinese

油彩 畫布 簽名:刘玖通 上海

「在我的認知中,山水是有生命靈性、有姿態表情 的,我喜愛與山水相處互動、對望交談,然後把山水和 自己心靈的交感觸動,轉化為畫布上的色彩圖像。」

NT$ 1,200,000-1,700,000 US$ 40,000-56,700

---劉玖通 劉玖通,1977年出生於陜西,以其東西合璧的抽 象藝術語彙、氣勢磅礡的創作力道,在畫壇嶄露頭角。 其酣暢淋漓的藝術風貌備受國際藝壇青睞,他擅長將渾 厚濃重的油彩線條細密堆疊,並以刮刀技法的平塗揮 灑,讓作品擁有堅實立體、詩意澎湃的畫貌。其獨特優

118


072

|

美的意境在當代藝術領域備受推崇,深受中外好評。作

密地反覆探索,那水鄉澤國、波光瀲灩,在劉玖通大器

品入選「法國巴黎當代國際藝術評選展」、「米蘭當代

純孰的筆調下悠悠蕩蕩,在抽象與具象反覆游移。《中

藝術大展」,並於世界各地舉行多次個展,廣獲好評。

國水鄉系列》以黑白相織的錯落營造出霧氣氤氳、水氣 瀰漫的浪漫效果,色塊透過光線的轉折及蛻變形成光

劉玖通認為,色彩是很主觀的,樹可以是紅色、

源,源源不絕地交錯漫延,如夢般迷濛幽然。而中央奔

水也可以是綠色,卻鍾愛以純淨白與深渾的黑色融入畫

流而往的清河,初看仿若潑墨般恣意不羈,細察卻愈覺

作,提煉東方傳統繪畫的水墨精神,並以西方奔放濃烈

精緻凝鍊,餘韻不盡。劉玖通磅礡唯美的藝術語彙,凝

的油畫手法呈現,創造出細膩磅礡的藝術境界。此幅

聚成悃捆絮語,講述江水靈性、萬千姿態,讓《中國水

《中國水鄉系列》擺脫傳統的寫實描繪,大膽嘗試抽象

鄉系列》成一鏗鏘絕美的詩篇。

海派新意味,藝術家敏感深邃的心思,在畫布上多向細

119


120


073

|

ZHU YIYONG

( b.1957 )

The Court Musician 120×98cm Oil on Canvas Signed Zhu Yi-Yong in Chinese, dated 1996 With a certificate of authenticity from gallery PROVENANCE Schoeni Art Gallery, Hong Komg Private European Collection Sotheby's Hong Kong, 20th Century Chinese Art, 7 October 2012, Lot 562

朱毅勇 樂韻 1996 油彩 畫布 簽名:朱毅勇 96 附畫廊開立之原作保證書 來源:香港少勵畫廊歐洲私人收藏 香港蘇富比,二十世紀中國藝術, 2012年10月7日,Lot 562

NT$ 800,000-1,000,000 US$ 26,700-33,300

During the 1980s, the presentation of “scar art” and “local realistic painting” marks the most significant time for Si Chuan Art Institute in the art history. They were known as the “Si Chuan Ar t Group”. Zhu Yi Yong secured his position in the art world as one of the Si Chuan Art Group in the 1980s. His artworks were best known for painting human figures. He returned to tradition and stepped away from realit y in 1990s, and stunned the art world with his paintings of Asian females. In his local realistic paintings, the females were mostly educated women from the traditional society. They are refined and elegant. They are oriental and beautiful. In 《The Cour t Musician》, the sit ting females holds a music instrument-erhu in her hand and is about to sing. Her gestures are elegant and at ease. The picture is delicate and harmonious with a dark burgundy red as the background. Under the gentle light, the lady’s ivory white dress creates a strong contrast and comes in different layers. The atmosphere is classical and sophisticated. The keep colors and skillful composition once again proved Zhu Yi Yong remarkable ability in painting and extraordinary skills in creating figures.

20世紀80年代初,中國「傷痕美術」、「鄉土寫實」的呈現,可說是四川美術學院在美術 史上最不容忽視且輝煌的一段時期,以四川美術學院為中心被統稱為「四川畫派」。朱毅勇早在 80年代就以著名的四川畫派身份蜚聲畫壇,作品尤以人物形象的描繪最為精采。90年代以回歸傳 統、遠離現實的創作方式入題,其中以描繪古典東方女性驚艷藝壇。在鄉土主題作品當中,朱毅 勇筆下的女性多為傳統社會下的閨秀女子,人文氣息濃烈,舉止雍容,極具古典東方色彩,優雅 唯美,獨具韻味。 此幅《樂韻》中,端坐女子手拉二胡,張口欲唱,舉止悠然儒雅。整體畫面細膩和諧,背景 以棗紅色調為底,昏黃柔和的光暈照射下,與女子身上月牙潔亮的衣裳形成強烈的明暗對比,層 次分明,古色古香的沉穩氛圍,流洩出神秘莊肅的氣息。敏銳的色彩、精巧的構思,一如既往的 體現了朱毅勇紮實的筆法功力與非凡的人物塑造力。

121


074

|

CHIU YATSAI

( 1949-2013 )

邱亞才

Self-Portrait

畫家自畫像

130×97cm Oil on Canvas Signed Yat-Sai in Chinese

油彩 畫布 簽名:亞才

NT$ 3,000,000-5,000,000 US$ 100,000-166,700 122


“I walked along the riverside, and I can see the moon passing over the mountain top when I look up. It stopped on the white poplar and then onto the forest behind my house. If it weren’t for the moon, I will be depressed and silent while walking down the riverside. I glazed at the darkness and walked towards it. If you are depressed, think of yourself as a philosopher, then when you walk along that riverside, you’ll view it as a path for gaining knowledge. Well, our imagination, thoughts and depression are all an exit of our souls. And every gain from our thoughts implies many inspirations that can become poems.” --- Chiu Ya-Tsai “one of his bibliography” Chiu described in his literature “Notes of Lust”, “the purpose of art is to search for something deeper, not on the surface. It also includes the questions of foundation.” Chiu Ya-Tsai’s literature and artworks are all speaking from a silent and tranquil voice that can see through the soul into the deepest gray area. In “Self-Portrait”, the painter stands in a dark space and through Chiu’s technique of diminishing the threads of time, gray and white embellish the background as though birds fly high in the night sky like stars bringing a lively feeling to the painting. The painters figure is extended intentionally to bring out the Chinese characteristic and also realizing the tranquil and desolate art styleof Modigliani. The main character is silent and graceful. Holding a painting plate in his hand, he stares at the viewers with confident and implications, his eyes are full of emotions that echo with his inner world. Viewers can feel it from a distance. Even though there is no detailed description of the character’s face, the artist is able to capture the most treasured gesture that is beyond physical. Chiu Ya-Tsai brought together literature aesthetics and philosophy and giving an ultimate beauty and soul to art.

「我沿著溪水邊的道路走,仰頭看到天空中的月娘翻過這個山頭,停在那枝白楊的樹上,爬上我家後邊的 叢林上面。如果是沒有月娘的夜,那沿路走來的沉默像是個容易感傷的少年郎那般,我目視著蔚藍的黑暗走 去,或者你現在心情慘淡沮喪,想像自己是個哲學家,那麼你走的這條道路那條小徑,會認為夠得上是廣博 辯物的道路小徑。原來我們的想像啦、思緒啦、憂愁呀!幾乎每一種心靈的出發,每一種思想的所得,都潛 在著許許多多構成詩詞的精靈。」 ---邱亞才〈自述之一〉 1980年代,邱亞才便以人生百態面向的描繪,試圖解析每一個生命重隔難解的思維。未曾受過專業的學 院訓練的邱亞才,從不迎合、取悅市場主流或藝術趨向,始終踽踽堅持著獨樹一幟的創作道路,他那靜默寂 寥的絲絲絮語,終成紛繁喧囂的藝術生態中最響亮耀眼的標誌。 邱亞才憑藉著對藝術追尋的苦修與滿腔熱情,營營汲取杜斯妥也夫斯基、莎士比亞的文學鉅作中對人物 內在層次的細膩描寫、人性複雜晦暗的憐憫與體察。他從文字裡咀嚼人性幽微,賦予畫作深刻地生命內涵, 使其擁有與眾不同的獨特韻味。那些經典文學中的紅男綠女、尊榮階層的虛構人物,都因邱亞才的顏料與輕 細的筆觸而凝聚、昇華。邱亞才從來不特意在繁瑣的情緒上著墨,也不特意呈現人生現實的得意失落,而那 些無以言說的精神層次,卻能夠精準確鑿地邱亞才簡化而深刻的筆觸下具體呈現,溫柔地觸動、撫慰著觀者 最深層私密、敏感脆弱的神經。 邱亞才於其文學作品《情慾手記》中自序:「藝術希望我們認識深一些的東西,他不只是需要關心屬於

人生表象的,同時也包涵有本質的問題。 」邱亞才的文學與繪畫,皆以其深沉靜默的目光,透視靈魂深處的 空靈與灰澀,沉潛的寧靜。此幅《畫家自畫像》,畫家佇足在黝暗幽深的空間,秉持邱亞才消弭時空線索的 創作方法,而背景有灰白點綴,似夜空明星又似雪白的飛鳥一般閃耀、翱翔,讓畫面在漫天的空靈裡增添一 抹活潑的氣息。而畫家的身形輪廓被特意延長,而流露出東方文人畫的典型特色,也能體味到歐洲藝術家莫 迪里亞尼(Modigliani)蒼涼而靜謐的繪畫氣性。在這件《畫家自畫家》之中,主角顯得儒雅恬靜而且丰采翩 翩,同時帶有知識份子自命不凡的孤傲感受、雍容而獨立的貴族氣息。他手持調色盤,自信而意味深長地凝 視觀者,那蘊含豐沛情感的雙眼,直探內心世界的幽微、真切情感的共鳴,站在幾尺之外便能感受其情緒逼 近而來。畫中人物的面容雖無細膩的肌理變化,藝術家卻能以輕細淡然的線條、敏銳的觀察捕捉了最難得的 神韻。邱亞才刻劃心靈的飄泊,遠勝於肉體的漂泊,他凝聚洶湧的文學美感及淳厚哲思,賦予了藝術創作的 極致美感與靈魂。

123


LIN FENGMIAN Lin Feng Mian’s solid foundation in art was nurtured at a very young age. At age 20, he travelled and lived in France as a student at the école nationale supérieure des Beaux-arts de Paris and became an expert in western modern art theories. After returning to China in 1926, he never ceased to explore and experimented theories in practice. He opened a new path for Chinese modern painting by blending Chinese traditional spirits with Western modern ideas. He became the principal of Hangzhou Art Institute at the age of 29 and educated many talents such as Zhao Wu Ji, Zhu De Chun, Wu Guan Zhong, Xi De Jin and Zhao Chun Xiang. Art critic Da Zhen described him as “far ahead of the era”. Artist He Huai Shuo honored him as the master with the most sense of time of the era. However, the earlier oil paintings and the later color ink paintings revealed Lin Feng Mian’s realization of western modern art and Chinese traditional culture. His practical and low profile charisma and unique style have contributed and evolved modern art- all of these earned him the name of the “father of modern Chinese painting.” “Nude” is piece of delicate work. The rosy cheeks of the nude lady with a little smile on her face reveals that she is shy and also tranquil. Her slim and slender figure is feminine and attractive; the gentle approach has diminished the impact of the senses and transformed the skin texture into a presentation of posture and cultural characteristic. In “Nude”, the lady wears a chiffon on her shoulder that slightly shows her glowing skin. The atmosphere is also bitter and sad. With elegant colors, Lin captured a sense of delusion that is romantic and poetic. Chinese traditional paintings present female with a suppressed and hiding approach; on the contrary, the western approach is more expressive and open. Lin’s artwork is in between as he tries to present a sublimated feminine atmosphere described as the poem- “flower fell silently; human being’s view point are as light as a chrysanthemum”. “Nude” is presented in a classical feminine atmosphere; it is also presented with the laid-back Matisse style. To Lin Feng Mian, “Nude” is defined as the most affectionate lady who is able to provide warmth and care to whoever is in need.” With a concrete object and through the artist’s contouring and coloring; repeating expressing his admiration, love and worship of females like Italian artist Modigliani, the artist utilization of pure colors has created a dream-like atmosphere. The brushstrokes are light and airy but reveal a rich influence and overwhelming emotions.

124


林風眠自幼獲深厚的繪畫涵養,20歲即旅居法國,就讀巴黎國立高等美術學院,精熟西方現代藝 術理論。1926年歸返中國後,以不懈的開拓精神,將其理論思想運用於大膽的藝術實驗,為中國現 代繪畫開闢了一條將中國傳統精神和西方現代觀念、形式相融合並注重本體語言探索的嶄新道路。年 僅29歲便成為杭州藝術學院的校長,作育英才,許多蜚聲中外的優秀藝術家如趙無極、朱德群、吳冠 中、席德進、趙春翔等人,皆為林風眠的學生。 美學評論家紹大箴說他「遠遠走在時代的前面」;藝術家何懷碩更讚譽他為「本世紀最具時代感 的大師」。然而,無論是早期那富於浪漫主義色彩的巨幅油畫,還是後期那些恬淡憂鬱的彩墨畫,都 滲透著林風眠對西方現代藝術的出色理解和對中國傳統文化近乎本能的領悟。而他的淡泊樸素、嶔崎 磊落的高尚人格與獨樹一幟藝術創作,以及其對現代美術潮流所作的巨大貢獻與革新,皆讓他名副其 實地成為世間讚譽的「現代中國繪畫之父」。 此件《裸女》尺幅精巧,卻畫中裸女雙頰殷紅,含羞帶笑,欲語還休,散發出溫婉與靜謐之美。 而身軀修長,舉手投足間帶有女體豐腴柔軟的可人韻味,並淡化了感官刺激,將肌膚質感的描繪轉換 為姿致情態和文化氣質的塑造。畫中《裸女》身披薄紗,若隱若現,散溢著幽幽冷光,也讓作品帶著 淡淡的淒迷與苦澀。林風眠用典雅的色澤,捕捉著一種幻覺,一種若即若離的美,像輕煙嫩柳,如詩 如夢。若說中國傳統仕女圖多傳達壓抑與遮蔽了的愛欲;西方裸體美術多表現張揚著和敞開的情愛, 林風眠的創作就介於二者之間,演繹的是昇華、朦朧化的女性美和肉體美,是「落花無言,人淡如 菊」的感懷與詠嘆。 《裸女》擁有古典女子的風韻,又有馬諦斯式的優雅隨興,在林風眠的逸筆草草間,卻。若以林 風眠的話來說,便是「像人間最深情的淑女,當來人無論懷了何種悲哀的情緒時,她第一會使人得到 他所願得到的那種溫情與安慰。」藝術家由具象的女體出發,進而提煉、抽繹成形而上的線型與色 彩,像義大利藝術家莫迪里亞尼 (Modigliani)一般,反覆變奏他的女性頌讚曲,深切地表達了仰慕、膜 拜與依戀之情。他的用色素淨雅致,卻創造出如夢似幻的迷離情境;筆觸淡逸,卻迸發出濃烈藝術渲 染力與生命感慨。

125


075

|

LIN FENGMIAN

(1900-1991)

Nude

裸女

30.5×33cm Ink and Color on Paper Inscribed and signed Lin Feng-Mian in Chinese Dedicated to Ruohong With one seal of the artist

彩墨 紙本 款識:若虹同志正畫,林風眠 藝術家鈐印:林風瞑印

PROVENANCE Christie's Hong Kong, Fine Modern and Contemporary Chinese Paintings, 26 April 1998, Part of Lot 89 Private American Collection Christie's Hong Kong, Fine Modern and Contemporary Chinese Paintings, 26-27 November 2012, Lot 1282

126

林風眠

來源:香港佳士得,中國近現代書畫拍賣,1998年4月26日, Lot 189 (部分拍品) 美國私人收藏 香港佳士得,中國近現代書畫拍賣,2012年11月26-27日, Lot 1282

NT$ 2,500,000-3,800,000 US$ 83,300-126,700


LIU KUOSONG Born in Anhui province in 1932, Liu Guo Song moved for good to Taiwan in 1949. His art career kept transforming with a belief of being different and then become perfect. Beginning from a realistic style, and later abstract to create a new language to discover culture, Liu fearlessly overthrew the past creation form and explored a new field for Chinese traditional painting. In the past half century, he regards water ink painting as the symbol of Chinese painting; and it also became his symbol in life. His oriental personality and devotion in perfecting traditional Chinese painting has won worldwide attention. He created a new field for contemporary water ink painting. Inspired by the images of earth sent back by spaceship Apollo 8 in 1969, Liu Guo Song shifted his gaze towards space. He combined western rational ideas with Chinese sensational water ink paintings; and through collage and self-invented water ink rubbing to present the moon, earth and sun in orbital evolution. In May of the same year, his first experimental art work won awards in the “mainstream international art exhibition’, and began his journey of the legendary “Which is Earth” series. 《W hich is Ear th No.82》boldly presents the approaching moon which created a arching contour on earth. He elevated his perspective and completely escaped from the ancient depressing atmosphere when you gaze upon the moon. With a modern state of mind, it becomes a mystical experience. Even though he is rebellious towards classical painting, his art passes down traditional culture and spirits. The Chinese poet Li Bai once wrote “It’s brilliant like a flying mirror over red pavilions; As green smoke clears away, it illuminates.” Liu Guo Song has described the pure and misty moonlight to perfection through his ink and paintbrush.

127


劉國松,1932年出生於安徽,祖籍山東青州。1949年定居台灣。劉國 松的藝術生涯,不斷蟠蜿轉變,秉持「先求異,再求好」的創作理念。從 寫實風格出發,後嘗以抽象形式來開拓祖國文化中的新語言,以無畏的精 神進行一種推翻以往的創作形式,從而開拓了中國傳統繪畫的視域,在近 半個世紀的時間裡,他將水墨視作中國繪畫精神的象徵,水墨成為了他的 生命符號。其間蘊藏著鮮明的東方性格,潛心地鑽研、醞釀及改良轉化傳 統的國畫技法,並引起海內外的廣泛矚目,為當代水墨創作提供了一個空 曠的原野。 劉國松把生命注入了那含有動感的水墨造形之中,像春雷一般,驚醒 了數百年文化上的蟄夢。而其極具創發性的藝術理論、絕佳的繪畫質量, 於華人藝術圈中極具影響力;他的現代水墨作品在藝術發展史中,更占有 舉足輕重的地位。劉氏在全世界舉辦超過百次個展,並被全球87間博物 館、美術館所收藏,並獲臺灣藝文界最高榮譽「國家文藝獎」,以及中國 藝文界最高榮譽的「華人藝文終生成就獎」。 1969年,受美國阿波羅八號太空船自月球背面所拍回的地球映像的 啟發,劉國松將藝術視角轉向「太空」。他把西方理性的設計觀念,和中 國水墨的感性趣味雜揉融混,酌用方圓結構的剪貼、自創的各種皺法與水 拓,別出心裁地描繪月亮、地球、太陽和天體運行。當年五月,他的第一 張極具實驗精神的太空畫便在美國「主流國際美展」獲獎,經典雋永的 《地球何許》系列就此開展。 《地球何許之八十二》赫然呈現逼近的月球,和地球風起雲湧的弧形 輪廓。劉國松將其視野的層次提高,徹底跳脫古時的仰望巍峨、無語望蒼 天的處境,轉以合乎現代經驗的高空俯視,甚至是遙望地球的玄秘體驗。 他雖在形跡上反叛了與古典繪畫,卻在精神上與傳統文化一脈相承。李白 在《把酒問月》中曾寫道「皎如飛鏡臨丹闕,綠煙來盡清輝發。」,如今 劉國松以墨代文,將皎潔、蕭索迷離的月光描繪地淋漓盡致。 巨大的月球散溢著神秘的幽光,地球則雲彩湧動、如夢似詩,宛如奔 騰江海,十足地「星垂平野闊,月湧大江流」。劉國松出入古今,以飛翔 的想像與自信豪壯的藝術能量,盡情揮灑出時空流展、天地浩蕩的動人氣 勢。而承繼書法線條而來的墨黑大筆,在混沌地球上塗抹勾勒,劉國松讓 筆下墨跡縱橫恣意地跌宕峰轉,寥寥數筆,創造出洪荒初始、巒峰蟠蜿的 天地神態。深淺錯綜,飛梭的灰白色料柔轉紛起,讓畫作滿城風絮、動態 盡顯。劉國松成功折射了從星際宇宙遠觀地球而生發的浩蕩與疏離之情, 讓人感受氤氳散漫、超然物外,蒼茫無盡的夢幻境界!

128


076

|

LIU KUOSONG

( b.1932 )

劉國松

Which is Earth No.82

地球何許之八十二

142×75cm Ink and Color on Paper Signed Liu Kuo-Song in Chinese and dated 1970 With one seal of the artist

1970 彩墨 紙本 簽名:劉國松一九七○ 藝術家鈐印

NT$ 2,600,000-3,600,000 US$ 86,700-120,000 129



CHANG DAQIAN "Lotuses"by Chang Da Qien is a masterpiece with historical meaning. This piece was painted in March 1949, it was also the year when Chang Da Qien moved to Taiwan. The government has arranged an extravagant “Chang Da Qien Art Exhibition” at the history museum on Guan Qian Road in Taipei, many celebrities and government of ficial s at tended the event. Calligr apher s al so attended the opening and artists such as Yu You Ren, Chang Chun, Ye Chao Chun, Ma Shou Hua, Fu Shin Tu and Huang Jun Bi made opening speeches. People all over Taiwan flocked to this exhibition. "Lotuses" was created at the age of 51- a golden age when his st yle was strong and vigorous; the portrait was attractive; and definitely a masterpiece. He lived temporarily in Hong Kong in 1949, and moved to Argentina in 1952 for a personal exhibition. 1964, his entire family moved to Sao Paulo, Brazil and it was there he built “Eight Virtues Garden”. He returned to Taiwan in 1977 and built Moye Jingshe in Shihlin, Taipei as his long-term residence. He passed away on 2nd April, 1983 at the age of 85 at Taipei Veterans General Hospital. His legacy as an art master lives in people’s hearts.

張大千此幅《墨荷》是頗具有歷史意義的一幅 精品! 此幅作品繪於民國三十八年三月,正是張大千首 次來台的年份。因為政府已為他安排在台北舉辦了非 常隆重的「張大千畫展」,開幕時冠蓋雲集,如政府 高官及社會名流。書畫家等均前去參與開幕儀式,開 幕致詞有于右任、張群、葉公超、馬壽華、溥心畬、 黃君璧等人,可為冠蓋雲集。台灣各地前來參觀者非 常踴躍,真是人潮洶湧! 而張大千這幅《墨荷》是他五十一歲的作品,正 是他年健力壯時期作品,筆力強勁、畫面可人,是一 張大千的力作。 民國三十八年底前去香港暫居,民國四十一年才 舉家遠遷南美阿根廷,並舉辦個展,民國五十三年才 舉家移居巴西的聖保羅市郊,於摩詰山城購地興建 「八德園」。民國六十六年歸國,並於台北士林外雙 溪籌建「摩耶精舍」作永久留居之所。民國七十二年 四月二日病逝於台北榮民總醫院,享年八十有五,一 代畫聖身影永遠活靈活現在人們的心中。 131


132


077

|

CHANG DAQIAN

( 1899-1983 )

Lotuses 133×68cm Ink and Color on Paper Inscribed and signed in Chinese With seals of the artist PROVENANCE Acquired from Years Antique & Gallery

張大千 墨荷 1949 彩墨 紙本 題識:露濕輕紈波小搖,珠房雲冷細香飄。 也知巧作紅粧好,祗恐紅消更寂寥。 款識:己丑三月大風堂作 大千居士爰 藝術家鈐印 來源:現藏者購自雍雅堂

NT$ 11,000,000-18,000,000 US$ 366,700-600,000 郎靜山攝影 《如意自在 張大千先生》

133


134


078

|

PU HUA

(1832-1911)

Four Hanging Scrolls of Landscape 133×33cm(4) Ink and Color on Paper Inscribed and signed in Chinese With one seal of the artist

蒲華 扁舟遊江四聯屏 1890 彩墨 紙本 簽名:蒲華 藝術家鈐印

NT$ 500,000-700,000 US$ 16,700-23,300

蒲華,為晚清海派畫家及書法家,與虛谷、吳昌 碩、任伯年合稱「清末海派四傑」,在畫壇具有創造精 神的代表。自小喜愛讀書為文,專心致志於藝術創作, 擅長描繪山水精通書法,人生多年帶著筆墨遊走四方, 筆意奔放、水墨淋漓,因熱愛畫竹而故有「蒲竹」之美 譽。《扁舟遊江四聯屏》共四屏,盤繞在萬點峰巒之 間的長江,像一條青綢綠帶,逸士無拘無束地駕著一葉 扁舟遊江,悠閒地看那翠壁山崖風光明媚,顯得恣意其 樂無比。畫中水墨滋潤而秀麗,簡淡天真的筆墨韻味在 層層山巒視野中無限延伸,水墨相互滲透形成動人的美 感,充滿閒適雅趣。其書法蒼勁有力,詩意盎然、淳厚 多姿,詩畫交融情意俱佳,透過書畫可看出中國傳統文 人雅士天人合一的精神境界。

135


079

|

YUYU YANG

( 1926-1997 )

Shadow Mirror

楊英風

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

分合隨緣

ILLUSTRATED "Yu Yu Yang Corpus Volume 1", Artist Publishing Co., 2005, Page 284

圖錄 《楊英風全集》,第一卷,藝術家出版社,台灣台北,2005年12月,第284頁

1983 不鏽鋼 20/20 簽名:´ 83 英風 20/20 附財團法人楊英風藝術教育基金會開立之原作保證書

NT$ 120,000-280,000 US$ 4,000-9,300

《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 。」 136


080

|

ALFRED BASTIEN

( 1873-1955 )

A Woman Sitting in the Workshop 60×44cm Oil on Canvas Signed A. Bastien in English

巴斯天為比利時印象派代表,因親身 經歷過第一次世界大戰,故有戰爭藝術家 之稱。其作品取材為現實生活表現,藝術 創作常具體涉及戰爭經驗的作品,戰後曾 參與創作周長150餘米的戰場全景壁畫,在 藝術性和真實性上兩者之間完美融合,並

PROVENANCE Acquired from Horta Auction, Belgium

藉油畫創作純熟表現寫實技法。此作《工

巴斯天

在工坊中背對而坐的女子專注眼前的工

工坊女子的背影 油彩 畫布 簽名:A. Bastien 來源:現藏者購自比利時拍賣「Horta」

坊女子的背影》反映生活的情感與觀察, 作,似乎不被外界給打擾,幽閉空間以昏 暗色調呈現出沉穩內斂氛圍,繪畫語言中 有一種穿越隱喻時空中令人沉思,層層筆 觸投入大量情感細膩堆疊,構築出巴斯天 心中寂寥的靜謐空間。

NT$ 120,000-200,000 US$ 4,000-6,700 137


081

|

JAN CHINSHUI

( b.1953 )

Landscape 97×130cm Oil on Canvas Signed Chin-Shui in Chinese, dated 2011 With a certificate of authenticity signed by the artist

詹金水 清溪曙光 2011 油彩 畫布 簽名:金水 2011 附藝術家親簽之原作保證書

NT$ 300,000-500,000 US$ 10,000-16,700

138

「對『禪』境界的追求,是我個人最嚮往的目標。如何在 每個呼吸之間,體會空性緣起、緣起性空;如何在慈悲喜捨的 體會運用過程中,展現生命的意義;如何在時間、空間的空向 座標流程中,把個人跟遭遇情境互動的體會,轉換成創作泉 源;如何把大自然的千變萬化還原為最簡單的元素,再重新排 列組合。如何體會岀其中的色非色、形非形、線非線的互動關 係,與個人美感經驗的結合和表現,『見山是山,見山非山, 見山還是山』漸次體悟次第,是個人師法自然的一條脈絡,也 是我的「藝境美學」觀。」 ---詹金水<意境美學-我的繪畫觀> 《清溪曙光》以一片蒼綠色調鋪排畫面,極其柔軟的漸層 曙光在陰鬱中帶出生命之感,照映山脈,渲染天空,從詹金水 的畫中,可以感受大自然的千變萬化的情境,透過繪畫,他將 藝術與修道合而為一,在創作中不斷提升自身的精神體悟。


082

|

CHEN CHINGJUNG

( b.1934 )

Vase of Flowers 61×45cm Oil on Canvas Signed Ching-Jung in Chinese, dated 1994

赫赫有名的馬賽克鑲嵌大師陳景容,畢業於國立東京藝術 大學壁畫研究所,專擅溼壁畫、馬賽克鑲嵌畫、油畫,以及水 彩、版畫、素描等多種媒材,創作種類豐富多元,也是最早引 進繪畫正統修復觀念的專家,對作品的維護及各類藝術技法和 教育方面都有卓越的貢獻,並享譽國際藝壇,值得世人的表 彰、尊敬與肯定。陳景容自豪於繪畫素描功力,視素描為繪畫

陳景容

的基石,奠基於大學時代紮實的素描訓練,其作品充滿如古典

瓶花

音樂般的柔和氛圍。此一作《瓶花》以深沉的色調為背景,寫

1994 油彩 畫布 簽名:景容 '94

NT$ 280,000-360,000 US$ 9,300-12,000

實而傳統的構圖猶如他個性一般的沉穩、敦厚,運用細膩而堅 定的筆觸勾勒出典雅秀麗的鮮花與瓷器光滑的釉面,氣韻清新 雅緻,陳景容把靜謐的心靈對話表現於畫布上,讓觀者單純的 感受畫面中所散發出的幽靜美學型態,使心靈滿載而歸。 139


083

|

HUANG MINGCHE

( b.1948 )

King 45×38cm Oil on Canvas Signed Che in Chinese Signed on the reverse: Che in Chinese, dated 1990

黃銘哲 國王 1990 油彩 畫布 簽名:哲 背面簽名:哲 1990

NT$ 100,000-160,000 US$ 3,300-5,300 140

黃銘哲出身於宜蘭農家,早期畫作多為寫實具象的 農家生活,之後逐步轉變為抽象形式,對色彩、造形與 線條充滿了研究與實驗的興趣,擷取自己畫中元素, 色彩交互作用之下轉化成為屬於自我的風格,其創作充 滿了變化,面對自我不斷的突破與創新。黃銘哲曾說: 「 繪畫,是潛意識的慾望表現,即使用的是熱情的紅

色,但內心或許仍然孤單;倘若盡情揮灑神秘的黑或憂 鬱的藍,生命的可愛處或許正在心中滋長 。」透過作品 將理性與感性完美的結合。《國王》作品以半抽象的方 式呈現,大多數的國王是孤獨的,黃銘哲探索著內心, 就像是他靈魂的吶喊,匯入了理性與感性、理想與現實 的對話空間,筆觸線條流暢充滿張力,色彩豐富飽和, 重新表現內心的意圖,找到屬於自己的藝術語彙。


084

|

WALASSE TING Seven Beauties 36×48cm Watercolor on Paper With two seals of the artist

( 1929-2010 )

丁雄泉作品創作題材常圍繞著女人、花、動物,作品 融合東西方繪畫表現精神,構圖大膽且色彩絢爛繽紛,總 是充滿著新鮮活力感,具強烈鮮明的視覺語言,展現出丁 雄泉的豪放性情。丁雄泉說:「我不停地看女人,在公車

上,在路上,不停地看,然後回家盡情地作畫。 」用畫筆 記錄著萬種風情的女人,才氣縱橫、豪放不羈的風采,自

丁雄泉

號「採花大盜」。《七美圖》七位女子千嬌百媚的佇立在

七美圖

一塊,儀態優雅鮮豔奪目,衣著色彩鮮明亮麗,豪邁的以

水彩 紙本 藝術家鈐印:採花大盜

書法筆觸勾勒出柔情媚態的美人,自然優美又瀟灑暢快, 呈現獨特燦爛形色的繪畫藝術。

NT$ 400,000-600,000 US$ 13,300-20,000

141


085

|

CHEN TINGSHIH

( 1916-2002 )

Will #12 60×60cm Lithograph, 9/50 Signed Chen Ting-Shih in English, dated 1981, numbered 9/50 ILLUSTRATED "Sound of Rarity", Taipei Fine Arts Museum, 2002, image 190

陳庭詩 意志#12 1981 版畫 9/50 簽名:9/50 Chen Ting-Shih 1981 圖錄 《大律希音 陳庭詩紀念展》,台北市立美術館,2002年,圖190

NT$ 160,000-320,000 US$ 5,300-10,700 142


086

|

CHEN TINGSHIH

( 1916-2002 )

陳庭詩

Day & Night #82

晝與夜#82

95×92cm Lithograph, A.P. Signed Chen Ting-Shih and titled in English, dated 1983, numbered A/P

1983 版畫 A.P. 簽名:Day and Night #82,A/P Chen Ting-Shih 1983

NT$ 260,000-320,000 US$ 8,700-10,700

143


087

|

LIU CHIWEI

( 1912-2002 )

Horses 37.5×51cm Mixed Media on Paper Signed Liu Chi-wei in Chinese phonetic alphabet and dated 1974 (Chinese numerals) PROVENANCE Acquired directly from the artist

劉其偉曾說:「克利對我的震撼很大,他認

為:與其訓練畫家的技巧,不如訓練他的想像力 更重要。克利原先是畫自然有機的形,到包浩斯 任教後,由於教授建築課程,也用幾何形畫畫, 幾何形雖然屬於沒生命的一種基本形,但由他組 合起來,卻會變成有機的生命體。 」《天馬行 空》便是以幾何的方式構圖,透過線的交錯完整 於面的構成,順暢的線條增加了馬匹的生動,劉 老再予其圓和三角形圖案的點綴,更使畫面不僅

劉其偉

擁有動物感性的靈魂還有著理性圖學的規矩,強

天馬行空

烈且灰諧逗趣的對比,不禁讓人會心一笑。

1974 綜合媒材 紙本 簽名:ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〧〤 來源:現藏者得自藝術家本人

NT$ 160,000-300,000 US$ 5,300-10,000 144


088

|

ALFRED BASTIEN

( 1873-1955 )

Still Life with Lobster 81×101cm Oil on Canvas Signed A. Bastien in English

巴斯天為比利時公認的印象派代表畫家, 曾於比利時皇家學院任教並三度擔任藝術學院院 長。在1897年赴巴黎藝術學院深造,並於第一 次世界大戰時接受入伍徵招,隨軍隊出征,期間 創作多幅戰爭題材作品,素有戰爭藝術家之稱。 生平創作無數,廣為法國、英國、德國、比利時

PROVENANCE Acquired from Galerie Moderne Auction, Belgium

與荷蘭等地藏家競相收藏。巴斯天作品深受印象

巴斯天

放有致。《龍蝦與靜物》物品看似隨意擺放,卻

龍蝦與靜物 油彩 畫布 簽名:A. Bastien

派影響,其畫風中感情的自然流露更強,手法收 細膩恣意的筆法勾勒出印象畫派的風情,用色沉 穩,前景與後景的明暗形成強烈對比,空間建構 上主賓分明,錯落有致,靜謐而沉穩。

來源:現藏者購自比利時拍賣「Galerie Moderne」

NT$ 240,000-360,000 US$ 8,000-12,000

145


146


089

|

HSU WEN JUNG

( b.1964 )

Heart is the Rule 71×78×43cm Bronze, 5/8 Signed Jung in Chinese, numbered 5/8 ILLUSTRATED "Art and Works of Hsu Wen-Jung", National Museum of History, 2014, Page 193

許文融 心外無法 2009 青銅 5/8 簽名:融 5/8 圖錄 《許文融創作集》,國立歷史博物館,台灣台北, 2014年,第193頁

NT$ 900,000-1,200,000 US$ 30,000-40,000

許文融創作集

Professor Hsu Wen-Jung’s sculptures possess a transcendental quality, a unique appeal. Expert at embodying emotions and moods in appropriate forms, they reflect on and reshape the artist’s inner dialogue, endowing his perceptions and ideas with profound cultural insight. Summoned by the spiritual call of the Eastern art, Professor Hsu’s works are expressions of the mind dominated and elevated by nature. --- Lin Chin-chung ‘Dean of College of Fine Arts at National Taiwan University of the Arts’

Art and works of Hsu Wen-Jung

「許文融教授的雕塑作品具有卓然獨到的神韻丰采,頗能駕馭馳騁

於藝術造型表現內層的情性心海,其所塑造的是象外心構的心語觀照, ISBN 978-986-04-0492-0

藝術精髓的至高境界,即心有主宰、胸儲造化,任心游藝寄情思 。」 --- 國立台灣藝術大學美術學院院長 林進忠

National Museum of History GPN:1010300230 定價:新臺幣 1000 元

National Museum of History

凌越於形塑之上的是其遷想感悟所得的文化心構情境。許教授深體東方

《許文融創作集》,國立歷史博物館

147


090

|

CHEN CHENGHSIUNG

( b.1942 )

a.Nanguan, Erhu b.Nanguan, Drum c.Nanguan, Dongxiao d.Nanguan, Pipa a. 34.5×33×55cm b. 34.5×33×55cm c. 34.5×33×53cm d. 34.5×33×55cm a. Bronze, 1/7 b. Bronze, 1/7 c. Bronze, 1/7 d. Bronze, 1/7 a. Signed Chen Cheng-Hsiung, numbered 1/7 b. Signed Chen Cheng-Hsiung, numbered 1/7 c. Signed Chen Cheng-Hsiung, numbered 1/7 d. Signed Chen Cheng-Hsiung, numbered 1/7 With a certificate of authenticity signed by the artist

陳正雄 a.御前清曲(二胡) b.御前清曲(鼓) c.御前清曲(洞簫) d.御前清曲(琵琶) 2009 a.銅 1/7 b.銅 1/7 c.銅 1/7 d.銅 1/7 a.簽名:陳正雄 1/7 b.簽名:陳正雄 1/7 c.簽名:陳正雄 1/7 d.簽名:陳正雄 1/7 附藝術家親簽之原作保證書

NT$ 850,000-1,600,000 US$ 28,300-53,300

a. b. c. d.

148


陳正雄,十四歲開始拜師學藝,從民間傳統雕刻出發,在多年的琢磨下,成為一位台灣傑出的雕刻家。陳 正雄曾說:「一個藝術家不能滿足其作品,而要不斷創作,要求突破,要有傻勁,有毅力,才能走出自己的

路。 」透過作品傳達對生命的感受及體會,其作品底蘊深厚,以簡潔自然質樸的刻鑿,散發出對世態淡然的高 度智慧,把作品內在精神,用外在的刀法一筆一劃地呈現出來,將自己的人生感悟轉化為雕刻藝術。《御前清 曲》作品中,樂隊老人演奏樂曲古意盎然,渾厚飽滿的身體造型,寫實細膩的表達出動態平衡的姿態,並蘊藏 著質樸淳厚的生命本真,將台灣本土的特色文化具體的表現在其作品當中,極具陳正雄的個人特色。

149


091

|

LEE MANFONG

( 1913-1988 )

李曼峰

Dancer

舞者

53×36cm Watercolor on Paper Signed M. F. Lee in English

水彩 紙本 簽名:M.F. Lee 藝術家鈐印

PROVENANCE Acquired from Maestro Auction, Indonesia

來源:現藏者購自印尼Maestro Auction

NT$ 200,000 – 320,000 US$ 6,700-10,700

Lee Man Fong celebrates and recognizes the importance of cultural heritage in his work, often painting his human subjects engaging in activities which are traditional in nature. To him, “art is an essence of culture without the form of written words but only strokes that tell directly anyone regardless of time, race and language”

李曼峰素有最富詩意的當代藝術大 師美稱,長年居住印尼,為南洋畫風的先 驅。李曼峰筆下常見傳統人物類型題材, 卻精彩地結合了西方藝術精隨與中國水墨 意境。此幅《舞者》中,身穿傳統戲曲服 飾的舞者,神情專注,一舉手、一投足, 簡約筆觸,卻是流暢優雅。

150


092

|

YANG MAOLIN

( b.1953 )

Black Ox Bodhisattva in Pure Land of Maha 63×44×132.5cm Bronze with gold foil, 2/6 Signed Yang Mao-Lin in Chinese, numbered 2/6 and dated 2005 ILLUSTRATED "Canonization of the Gods - The Pure Land of Maha", Lin & Keng Gallery, Taipei, Taiwan, 2006, color illustrated, Page 34-35

楊茂林 摩訶極樂世界的黑牛菩薩 2005 銅 金箔 2/6 簽名:2/6 2005 楊茂林 圖錄 《封神演義.摩訶.極樂世界》,大未來畫廊, 台灣台北,2006年,彩色圖版,第34-35頁

NT$ 500,000-700,000 US$ 16,700-23,300

《封神演義.摩訶.極樂世界》, 大未來畫廊

楊茂林於1995年開始將卡通漫畫元素結合到創作中,

心的影響力,兩者皆是信仰,擁有各自的故事,甚至被視

對他來說,這便是作品中裡最具重要意義的圖像。他的系

為一種英雄式的象徵。《摩訶極樂世界的黑牛菩薩》是從

列作品結合了佛像的概念及動漫人物的角色形象,將理想

「請眾仙Ⅲ」創作概念延伸出來的"摩訶極樂世界"系列作

中正義、真誠、道德、拯救世界的神力,藉著編改捏造的

品,此系列創作,基本上採用了佛的典制,分為天王、明

神像,重新賦予祂們最為人所知的身分,楊茂林認為宗教

王、菩薩、如來,藝術家將其變身為最喜愛的卡漫神祇,

神佛與卡漫之間有著許多共同點,其一便是直接並深入人

並讓祂們都捏著佛手印,塑成「佛像」的正果。

151


093

|

LUO ZHONGLI

( b.1948 )

羅中立

Village Restaurant

鄉間食堂

73.7×59cm Oil on Canvas Signed Luo in English and Chinese, Luo Zhong-Li in Chinese, dated 1984 on the reverse

1984 油彩 畫布 簽名:Luo 中立;羅中立 背面簽名:1984

PROVENANCE Acquired by the original owner directly from the artist Private Asian Collection Christie's Hong Kong, Asian 20th Century Art (Day Sale), 27 May 2012, Lot 2130

來源:原藏者購自藝術家本人 亞洲私人收藏 香港佳士得,亞洲二十世紀藝術日間拍賣, 2012年5月27日,Lot 2130

NT$ 3,800,000-4,600,000 US$ 126,700-153,300 152


Born in Chongqing in 1948, Luo Zhong Li moved to the rural village of Daba mountain after graduating from the attached school of Sichuan Fine Arts Institute in 1968 for 10 years. His art vision is gentle and pursuits a natural and practical rural style. With unrefined brushstrokes, he recorded the lives of rural farmers and tried to present the essence of beauty in this natural approach. He respected and loved this pure and innocent virtue. He incorporated the depth and dignity of humanity and through reflecting introspection, his artworks strongly reflects his social responsibility and also the observation and realization of the Chinese new intellectuals. He is a representative of the popular art movements of “scar art” and “local realism” in 1980s and tenured vice chairman of the Chinese Artist Association, the curator of Chongqing Museum and the Minister of Sichuan Art Institute. His achievements include Sichuan Art phenomena. The deceased chief editor of Chinese Art Association Jiang Feng honored him the name of the “Chinese Millet”. Luo Zhong Li once said “I need to train myself and accumulate experiences with quantity, and I am devoted to paint rural farmers and local theme as my profession.” He intentionally painted the difficult yet simple rural lives of the Da Shan farmers and expressed their vicissitudes and the delight, anger, sorrow and happiness. His delicate yet truthful approach reveals a rural atmosphere. The lands of Da Ba Mountain and variant folk custom have become the fertilizers of his creativity. “Village Restaurant” was painted in 1984 to depict the plain and real rural lives. The primal and rough tools, the wooden furniture led viewers to the poetic fields. Simple food is presented on wooden tabletop in the middle of the painting. Two pairs of chopsticks imply the anticipation of the farmer’s wife for her husband. The painting is full of rich rural affection. In his familiar rural culture, Luo Zhong Li discovers a stream of life to become the foundation of his life and affections. The continual and birth of life on the mountain along with China’s rural civilization enchanted him and is still his spiritual sanctuary.

羅中立被視為1980年代風行的「鄉土寫實主義」及「傷痕美術」等美術運動的領軍人物,更是中國當 代首屈一指的藝術家。並任中國美術家協會副主席、重慶美術館館長、四川美術學院院長等重要職務,對於 當前「川美現象」的風潮更是功不可沒。羅中立的創作中蘊藉了深沉的人道精神和歷史滄桑感,並反覆淬 礪、經過本土性省思,讓作品呈現出強烈的社會責任感,既擁有賞心悅目的娛樂效果,更具備哲學內涵、文 化深度,已故的中國美協主編江豐,更予羅氏「中國米勒」的美譽。 羅氏1948年生於重慶,1968年四川美院附中畢業後主動到大巴山農村生活了10年。1980年即以構圖宏 偉、超寫實主義完成其代表作《父親》,精湛而深情地刻畫出中國農民的典型形象,享譽畫壇。在該畫完成 後的兩三年間,羅中立創作了一系列揭示社會問題的經典作品如《春蠶》、《歲月》等等,在屆時風起雲湧 的美術發展中成為一面標幟,與當時藝文界大量的藝術創作組成了一波波宏揚理性、高揚人性的藝文浪潮, 揭示了一條關懷鄉土、人文主義的康莊大道。 在長期的藝術探索過程中,畫家將其藝術視野深沉而溫柔地描準自然淳樸的山野鄉間,羅中立擅以樸 拙粗獷的筆觸畫下農民生活的點點滴滴,並試圖在樸拙自然的表現風格中發掘美的本質,並尊重熱愛這種 樸質、單純、善良的生命底蘊。羅中立曾說:「我需要一個量來錘鍊自己,累積經驗,而我始終以描繪農民

鄉土題材為職志 。」他刻劃熟悉的大巴山農民艱苦而平凡的鄉野生活,用畫筆傳達他們的悲歡離合、喜怒哀 樂。他細緻而迫真地表現了樸素自然的鄉村情調,大巴山殷實的土地、淳樸的民風都成為他藝術創作裡豐饒 的土壤。 而這幅《鄉間食堂》繪於1984年,羅中立純熟地運用鮮明的形象語言來揭示生活的面目和本質。畫作 羅列著原始而粗獷的器具、木頭桌椅,羅中立繁密地描繪細部,又牢牢地把握住整體感,輕輕地引領觀者來 到如詩似夢的田野鄉村。畫中的鄉村農家女孩身著素淨衣裳,自然率真地凝視觀者,放射出溫暖而期待的目 光,絲毫不扭捏造作,體現出勤奮樸實、真誠直率的農民形象。而中央方形的木桌上有簡單的食物,並且端 正地擺放著兩雙筷子,暗示著農家女孩正殷殷等待著共餐的伴侶,呈現溫馨淳厚的鄉間情懷。 羅中立在他熟悉的農民文化中,發掘一股粗礪的生命潛流,他在鄉野間的村姑粗漢裡尋獲一塊歷史悠 遠、五彩斑斕的感情綠洲,讓他的創作有堅實的生活和真實的情感作基礎。而他風格獨特、散溢著濃烈藝術 氣息的作品深受中外藏家廣泛地推崇與蒐集。那大山上一切生命的孕育與延續,以及古往今來中國鄉村文明 的濫觴、遞嬗都令他深深著迷與牽掛,以至成為一片讓他魂牽夢縈的精神家園、最美麗堅實的自然堡壘。 153


154


094

|

WANG HUAIQING

( b.1944 )

Illusion 145.5×112cm Oil on Canvas Singed Wang Huai-Qing in Chinese

王懷慶 錯覺 1993 油彩 畫布 簽名:王懷慶

NT$ 38,000,000-42,000,000 US$ 1,266,700-1,400,000

Born in 1944, Wang Huai Qing began painting at an early age and was admitted to the Central Art Academy at the age of 12 and enrolled in Central Art and Craft art Institute in 1964. The foundation was sophisticated and outstanding. Born and raised in Beijing, but his art style was more southern with deep and delicate literati style. From the earliest realist painting and transformed to the home of Shao Xing and then later the composing furniture of Ming, Wang experienced three stages “composition-decompositionconstruction”. These three discoveries enabled him to express the slightly depressed yet delicate literati affections. His art style belongs to the branch of Lin Feng Mian, Wu Guan Zhong and Wu Da Yu. As one of the most talented and influential artists in Chinese contemporary art, Wang Huai Qing’s is rather down to earth and practical. He doesn’t own a spacious and luxurious studio; he refused to include disciples to spread his fame; or did he produced massively. He said “a lot of unstill objects need to be presented in stillness; a lot of passion needs to be presented under calmness.” The horizontal carve in the canvas is black and subtle with a low profile atmosphere. Removing vivid colors and keeping only black and white, the artist created a tranquil space. The thick and steady color brought a surprising tension and impact effect. Other than capturing traditional space, Wang also combined realism and abstract styles to intentionally grasp the atmosphere of expressing. After returning to Beijing from Shaoxing, he completed “Hometown”(1986). The painting revealed the stylist’s approach: black and white; surface. In 1990, Wang re-visited and focused more on the furniture of the Ming dynasty instead of southern traditional architecture. Wang Huai Qing presented the texture of the long bench and the structure of mortise and tenon in an interesting oriental atmosphere with dark and heavy black lines. The irregular geometric surface becomes the foundation of the entire picture. And the viewers won’t be able to miss the traditional calligraphy implications in the sophisticated ink blocks. Viewers can also experience the interesting ancient Chinese Zhuan characters in the turns of the bold black lines. Wang Huai Qing won the Golden Award of “China Oil Painting annual Exhibition” with 《Aura of the Great Ming》in 1991. The painting with the master’s chair as the main character has become an important milestone in the artist’s career. Wang Huai Qing often visits antique furniture collection sites such as Lu Jia Ying and Pan Jia Yuan in Beijing. In this world of ever changing technology, Beijing is one of the blooming cities. However, the antique furniture carries the weight of time and a prosperous past. It has become the inspiration of artists. Wang Huai Qing once said “I have seen many dislocated antiques; they did not have a home or a sense of belonging. I call them historical orphans that were forgotten. However, when you look closer at the parts, the postures and the objects, you will be able to see the noble past; with souls that do not know how to carry on their stories.” The longing and affection for the antique furniture are the sources of Wang Huai Qing’s tragic conscience. Without a doubt, the most touching part of Wang’s “Ming Furniture” is the decomposed or dislocated furniture. Like “Illusion”, the black lines look as if they have been moved, causing them to break and the furniture to drift in the deep universe. 155


In regards to the drift, Wang Huai Qing once wrote in "Art of Wang Huai Qing“ you place the furniture in an empty background and change the absolute location “the ground” of traditional furniture. When they are elevated and drifting in the empty space, an enormous space is created for the artist to dispose. When objects are removed from its space, they are no longer the same.” The artist discarded traditional disposition of furniture and like performing magic, he transformed the object to an abstract object that travels between western modernism and eastern elegance. Auguste Rodin once said in his book “Great artists explore the space.” In this “Illusion”, space, volume and texture are in harmony, the ink and gray are transformed into the space; every texture and brushstroke is presented in the form of space. In this blurry space that is poetic and elegant, the cuts in the bottom have dissected the composition of the tables and chairs horizontally as those they have decomposed and drifted away. However, without completely vanished, some parts are still attached. The reflection of the lines intertwines and creates a silent depression and sadness of the passing of history. The composition of the furniture speaks of the sadness of the passing of a spectacular past. The rapid flying colors were unable to cover the sadness from ruined feeling. However, the language through classical furniture has blended water ink aesthetics in Chinese painting and the conscience of traditional literati calligraphy. Other than mourning for the past, the painting also speaks of the artist’s eagerness of reconnecting with the past. Wang Huai Qing’s artworks are modern and also traditional. It made him unique and one of a kind. With a few artworks, he has won many exhibitions and awards; and they are widely collected by collectors. Wang Huai Qing expressed his realization and care he has for humanity and tradition in an era of fast disintegration and rapid social movement. He tries to search for the humble past and oriental charisma through his brushstrokes. The longing of the past is presented in a strong and aggressive art movement bringing the viewers to a honest and noble place.

王懷慶生於1944年,自幼習畫,12歲進入中央美術學院附中,1964年考取中央工藝美術學院。奠定其深 厚優異的藝術養成。他生於、長於北京,卻在江南的水鄉找到其藝術靈感,擁有文人畫細膩深沉的底蘊。從最 早的具象寫實,變形構成為紹興的故園,再到轟然解構的明式家具。王懷慶在藝術上經歷了「結構─解構─建 構」三個探索階段,筆墨中隱然的厚重滄桑與細膩雅逸的文人情愫,明示了其畫家風格屬於林風眠、吳冠中、 吳大羽一脈的同時,似乎又上接宋元山水的文脈靈魂。 作為中國當代最傑出同時也是最具市場影響力的畫家之一,王懷慶的生活方式不像其他藝術明星那般眩目 華麗,他沒有鋪張華麗的工作室,甚至也拒絕培養學生以擴大自己的聲名、從不僱傭助手進行大量的藝術生 產。其沉斂穩靜的性格,一如其外表古雅淳厚,卻內蘊戲劇張力的藝術風貌。他嘗言:「很多不安靜的東西要 在安靜的條件下表現,很多激情的東西需要你在很冷靜的條件下表現。」畫面中那一道道縱深橫擺的,深沉含 蓄的墨色,有一種不需聲張的王者氣韻。王懷慶捨棄了色彩的繽紛,選以單純的黑白,創造出靜謐純粹的異度 空間。厚實、沉穩而純一的墨色,卻出乎意料地讓畫面展現出暴風驟雨般的衝突與張力。 1981年的〈華爾街日報〉,曾以非常大的篇幅報導了一位中國油畫家的作品以及在當時畫壇產生的巨大影 響,那就是王懷慶和他的《伯樂像》。這幅畫的背景比例分割得極為現代,色彩豐沛細膩,更無法忽略的是畫 中伯樂仰天長望,戲劇性地彰顯出一種社會集體情感與「後文革」氛圍的傷痕氣息。王懷慶成功地從古典的母 題中淬煉出現代精神,讓《伯樂像》具有承接傳統、開創未來的涵義。 1985年,王懷慶前往黃山參加全國性油畫理論會議,這次會議成為日後「85美術新潮運動」關鍵事件之 一,標誌出中國油畫藝術的新里程碑。而途經紹興的王懷慶,順道參觀了魯迅故居,江南傳統的木質建築、 黑瓦白牆給了他強烈的視覺激盪。那灰白厚實的土牆、黑濕的木柱和交錯縱橫的房樑架構,莊嚴而溫潤,承

156


載著中國千年來磅礡大氣的文人底蘊。王懷慶則以他簡單直截的黑白線條,縱橫復活了那座讓無數中國魂牽 夢縈的故園。吳冠中對王懷慶的創作嘗有如此評語:「西方的克萊恩(Franz Kline, 1910-1962)、蘇拉吉(Pierre Soulages, 1919-)等不少畫家均在揣摩、吸取我國書法的黑白構架,而王懷慶的構架不只是單一的形式規範,因 民族的魂魄、石濤的心眼,都啟示了王懷慶探索的方向。我對其作品的感受或聯想未必是作者的暗示,作者竭 力發揮『黑』之威懾力,強調黑與白的交織,推敲肌理的鋪墊,經營無聲有序的生存空間,以孕育童心。」 在捕捉傳統建築的空間之外,王懷慶也結合寫實與幾何抽象雙重的風格,刻意藉此營造一種介於再現與表 現之間的氛圍。從紹興回到北京後,王懷慶完成了《故園》(1986年),這幅作品揭示了畫家日後創作的兩種趨 向:黑白、平面。 1990年時,王懷慶重訪故地,把焦點從稍早對江南傳統建築的觀照,更聚焦至明式舊家具 上。長凳桌椅的紋路表面及縱橫的卯榫結構,桌椅的橫豎縱橫之間,被王懷慶以粗重的黑色線條結構、組合, 彰顯出一種東方的趣味與氣質。那純黑的不規則軟性幾合線面,舉重若輕地撐起整個畫面的柱樑架構。而且那 填實飽和的墨塊,不難發現王懷慶於其中融入了傳統的書法意味,而那粗懭黑線的跌宕轉折之間,也充滿了 中國古代銘文的篆體趣味,抑或顯露出鐘鼎文或碑體的斧鑿痕跡。 1991年,王懷慶憑藉《大明風度》獲「中 國油畫年展」的金牌獎,這幅以以太師椅為主角的油畫,成為藝術家創作生涯中極為重要的標誌。而此幅《錯 覺》即是90年代初期最早建築—家具系列作品中的一件。 王懷慶經常往返於北京的呂家營、潘家元等古董家具的集散地,在日新月異的文明世界、北京快速異動的 都市生活之中,那一件件古樸蒼老、充滿精魄的生活器物,安靜地承載時光的重量、繁華歷史的痕跡。它們成 為藝術家的創作謬斯,王懷慶曾說:「我看到很多這種古代的文物無家可歸,沒有附著、沒有歸宿,我把這種 現象和這種東西叫做文化棄兒,大家都不管了,這個沒有家的家具。可是你仔細看它的時候,它的局部、它的 姿勢、它的肢體,細讀的時候你能看到往日的一種高貴和輝煌,可是它的靈魂已經不知道如何承接。」這種對 器物家具的綿綿情意、不捨之情,讓王懷慶的畫作無論大小都潛伏著強烈的歷史感。如此件《錯覺》那般,空 濛背景中的黑色線條彷彿經過挪移而轉向某個歷史的瞬間。 關於這一點,王懷慶在〈大明風度的謎底〉一文中寫道:「把『家具』置處在一種虛無而空的背景裡,更 換了世上所有家具傳統的必然位置──『地面』。把它們提升,懸浮在『空白』中,造就了一個隨意擺佈與支 配它們的巨大空間,當它們離開了它們的生存空間時——它們已經不再是『它們』了。」畫家將家具跳脫了傳 統作品的必然配置,在反叛成規的同時,也讓對象由具象過渡到抽象,宛如魔術手法般的臨界轉換,在西方現 代感和東方典雅的氣韻中來回飛梭。羅丹(Auguste Rodin)在他的《藝術論》中曾說:「偉大的藝術家都是探索 空間的。」在這件《錯覺》當中,空間與質量、體積達到完美的和諧,一切墨色、灰白都轉化為空間,每一吋 肌理、每一筆塗抹的轉折都是空間的呈現。 在這個優雅而充滿詩意的恍惚空間,《錯覺》下方切割的造形,將桌椅架構由一生二,水平挪移,彷若讓 人在產生「錯覺」的間隙體味歷史的變遷與滄桑。線形之鉅細對照及橫斜蕩漾,又在白駒過隙般的抒情中給予 哲理與思辨,這也是王懷慶創作的另一特色。在融貫了中國繪畫的水墨美學,以及文人傳統的書法意識的同 時,雕鑿出具理性趣味的玄思。這也令其畫作在風格形式之外別具一層文化深意。 王懷慶既具現代風貌又飽涵中國精神的創作,讓他在當代藝壇顯得獨樹一幟、十分脫俗。參展、獲獎紀錄 輝煌,且畫作稀珍、罕少,引得國際藏家的競逐收藏。王懷慶在傳統文化快速崩解、社會急遽變遷的時代中沉 潛對人文傳統的感懷與體悟,並企圖以畫筆尋覓過往的樸實情愫與東方內蘊。而這種精神回鄉式的緬懷與展 現,在淳厚黑白的陰陽交互之間,溢發出濃烈的藝術感動,帶領我們走進一個充滿真諦與崇高的溢美之境。

157


ZHOU CHUNYA Despite living in a world of a series of movements, Zhou Chun-Ya has never attended any of those and insisted on his personal feelings and comprehension of art. Art movements are evidence of history, but it also needs talented artists to present the time. When everything ceases, people will be able to see those who stood firm in time, Zhou Chun-Ya will be one of them. ---Lu Pong

158


Zhou Chun Ya is r e gar de d as one of the b e s t Chine s e contemporary artists in colors; he is also one of the earliest artists who gave up on literature themes. The intertwining changes and eternity in life; along with the impact has enabled Chou to liberate himself with the western style but still maintains the elegance of the Chinese. He is presented as educated and refined; his state of mind is stern. His charisma is passionate and confident which is probably why he became such an influential character in the Chinese art world. The galloping colors echo his art philosophy. He founded the “Five Colors Foundation” to help handicapped teenagers victimized by disasters to realize their art dreams. His cynical attitude implies his responsibility, friendliness and also lonesome that inspired a disordered yet simple style that is also full of emotions. It reflects the aesthetics and atmosphere of the era.

周春芽沒有參加過轟轟烈烈的潮流與運動,他總是秉持 個人的感受與對藝術的理解從事藝術實踐。運動是歷史的內 容,但是,歷史需要那些更為突出的代表性藝術家來呈現有價 值的面貌,這樣,當潮流過去之後,人們總是能夠看到那些仍 然屹立在歷史河床中的人物,周春芽就是這樣的藝術家。

---呂澎

周春芽被譽為是中國當代繪畫界中對色彩把握最好的藝 術家,同時也是中國最早徹底放棄文學性主題的畫家之一。 在中西古今、無常與永恆的糾結與衝撞中,周春芽的濃墨重 彩撲朔迷離地揮灑著西方的自由狂放和東方的典雅。他外 表儒雅,內心堅毅,舉手投足透露出一種不張揚的激情與自 信,他的輕鬆與嬉戲之中隱含入世的責任感,友善隨和的同

In 1994, a German Shepherd was given to Zhou Chun-Ya as a gift, and it was his first dog. He loved Heigen deeply. Even sometimes Heigen will misbehave and aggressive, it loved Zhou with his whole heart. During the 90s, it was forbidden to have large pets at home in China and Chou had to hide him at home. From day one, they spent night and days together, and they even shared the bed. Quickly, Heigen became the chief subject in his paintings. In 1997, for the first time, Zhou painted Heigen into a green dog; the vivid and lively color became the symbol of the artist. He said “in a way, green dog is like a replica of me, its image and the environment is a reflection of my personality and true experience.” This standing “Green Dog” was painted in 2002. The dog sits firmly with his head looking upwards and a pink tongue hanging by the mouth. “Green Dog” is presented in a classical canine posture. The vivid green makes it a little awkward and hard to approach. The overly detailed facial expression and gaze is gentle, sincere and loyal. Under the passionate gaze, the dog sends a slight sense of threat. It reminds people of the neighbor’s dog that is often huge in size but always sensitive, brave and loyal. “Green Dog” is situated in a spacious grayish area; Zhou Chun-Ya intentionally erased the threads of place and time to echo minimalist painting approach in Chinese painting. The green color and liberal brushstrokes speaks of the artist imagery language and bold imagination. The entire painting is real and full of life. The white and wild green is like a dream land but also very real. Everything is related to life and the passion of living. Zhou Chun Ya’s talent has given green dog the most remarkable time of his life and transforming the love between artist and dog into eternal bonding.

時又體味著至高無上的孤獨。正是這種性格氣質和生活態 度,周春芽塑造了他的強勁而不失於紊亂、放縱而不流於塗 鴉、簡純卻又複雜豐富的獨特風貌,於畫布上迸發出一股深 具時代特性的美感與氣韻。 1986年至1988年,周春芽前往德國卡塞爾大學深造,浸 潤於印象派、立體主義與表現主義之中,並被當時正在茁壯的 德國新表現主義深深觸動。他的筆法逐漸脫離西藏時期的寫實 淳厚,變得激烈低沉、斑斕壯闊,「沒有那三年,我很難讓自

己的藝術走得更遠 」。留德期間他的創作逐漸變化,洋溢著新 表現主義的濃烈色彩與視覺震撼,反自然的色彩肆無忌憚地高 張飛揚,成為日後的「綠狗」系列的潛流與養分。 1994年,朋友送給周春芽一隻德國牧羊犬,他之前從來 沒有養過狗。但他很喜歡這隻狗,有時黑根會變得十分凶, 但牠一直很喜歡牠的主人。然而90年帶的中國城市,是不允 許飼養大型寵物的,因此周春芽只好將牠藏在家裡。從送來的 那天開始,他們就一直朝夕相處,甚至同床共眠。很快,血緣 來自異國的愛狗黑根,成為周春芽最鍾愛的繪畫主題。1997 年,周春芽首次將黑根完全描畫成綠色,那鮮活明艷的色彩, 成為藝術家本人的符號象徵,他懇切地表示:「其實,『綠

狗』在某種程度上正象徵著我自己,它的形象以及所處的場景 實際上都是我文化性格及現實生存境遇的投射 」。

159


005

160

|


藝術家與作品合影

095

|

ZHOU CHUNYA

( b.1955 )

周春芽

Green Dog

綠狗

150×120cm Oil on Canvas Signed Zhou Chunya both in English and Chinese, dated 2002 With a certificate of authenticity signed by the artist

2002 油彩 畫布 簽名:2002 周春芽 Zhou Chunya 附藝術家親簽之原作保證書

EXHIBITION "Green Dog", 314 International Art Center, Bergen Norway, 2002 "Conception 2002 - Inviting Exhibition of Chinese Contemporary Oil Painting", Shenzhen Art Museum China, 2002

展覽 「周春芽個人作品展.綠狗」,挪威314國際藝術中心,2002年 「觀念的圖像2002-中國當代油畫邀請展」,深圳美術館,2002年

NT$ 12,000,000-18,000,000 US$ 400,000-600,000

1999年黑根因病去逝,周春芽悲痛莫名,以致無法提筆創作,直到2001年,周春芽終重新舉起畫筆,將私密情感轉化為 豁達的體認,描繪一隻隻濃綠洶湧的狗。此時浴火重生的綠狗系列,已不再指向現實生活中的具象目標,反而幻化為藝術家 的態度、精神、深思與藝術信仰的總結。 此幅這隻昂然坐立的《綠狗》,繪於2002年。牠前足直立地蹲坐,並抬頭仰望,粉紅色的大舌垂在嘴邊,《綠狗》有著 犬科動物的經典姿態。鮮艷搶眼的綠色讓牠顯得有些怪異、難以親近,但是被刻意描繪得尤為精確的面部,眼神卻流露出溫 柔真誠、忠實耿耿,溫婉敏感卻不掩激情,散發著微略的威脅氣息,令人聯想到家中或鄰居豢養的那種體型巨碩,卻天生敏 感、性格忠誠勇敢的狗。《綠狗》被置身於蒼茫空曠的灰白空間,周春芽特意消弭了地域色彩和時空線索,也呼應「少即是 多」的中國繪畫意境,讓畫面聚焦於寬闊洶湧而充滿活力的筆觸。那單色性的濃鬱色料與恣情寫意的走筆,演繹著藝術家動 靜並存的圖像語言,以及大膽的創意、無羈的自由。整幅畫洋溢著填實的質感、豐沛渾厚的生命力,那大幅的留白、狂縱的 綠色,像是幻境,卻又真實無比。一切都和生命之璀璨、生活的激情密不可分,泗漫的情感恣意淋漓,周春芽奔放不羈的才 情賦予牠最鮮活的生命,畫出藝術家與愛狗互相度化的永恆情緣。

161


I collected a calligraphy couplet by Gong Qing Gao. The language is extremely outstanding and expressed the exquisite elegance of classical literati. It is erotic and implying, making it unbearable to the audience. It is simply irresistible! Compared to Gong Qing Gao, my approach is more direct. I don’t express myself with mild and roundabout language, I am direct about “erotic and emotions”—a nature born desire. The blossoming peony and love-making couple are placed in a weird situation. The combination erases the natural obstruction between human and nature; it also blurs the boundary of sin and morals. A sincere and primal imagination is released along with the flowing colors. The gentle and aggressive human desire is entirely liberated and ignited in this magnificent setting! --- Zhou Chun Ya After returning from Germany in 1990, people flocked for avant-garde ideas, yet his reaction remained lukewarm. Unlike his peers, he did not participate in any cynical realism or political pop culture. He discovered the possibility of art with his feelings rather than simple rationality. He avoided the main stream and searched for a language that fits his soul to conquer the barrier between language and art implications. He searched for inspirations from Chinese traditional culture. In his reflection, Chou said “I plunged into Chinese traditional painting and systematically studied ancient literati, especially the four masters of Yuan, the eight great and Dong Chi Chang. I found my love and that was the turning point of my career. I am determined to seek a brand new path of my own.” Therefore, “Taihu Stone’ that focused on landscape spirits were created. The changing colors and rich traditional implications successfully presented a vivid color that exists between new expressionism and Chinese landscape painting. It perfectly blended and precipitated from the canvas and depth from sculpting. The “Peach Blossom” series are sophisticated and vivid. The blossoming peonies imply karma in life and the passing of time. It also implied the insecurity inflicted by arrogance and aging that is dramatic and beautiful. Between the rich branches in 《Peach Blossoms in the Spring Breeze》, Chinese traditional painting can still be seen but added with a little laziness and laidback feeling or you can say it’s flirtatious. Zhou Chun Ya said his painting is inspired by the late artist of the Qing dynasty Gong Qing Gao, with quotes from literati of the Ming dynasty whose language is direct and erotic but still maintains the refines of traditional literati. 《Peach Blossoms in the Spring Breeze》speaks entirely of the poem. Under the dazzling background, peonies blossom with bright and liberal colors. The prairie shines under the sun as though it’s under flame. Chou has entirely brought out various reds and greens explicitly. The tranquility is disturbed by the loving couple. It not only erased the natural barrier between human and nature; it also blurred the boundary between sins and morals. Chou once said “The nature born desires are also the representation of life. It is just like the blossoming peonies in spring, why would I have to hide?” The artist breaks through the invisible limits of nature and brought out ethics and morals; love and nature and vitality.

《Zhou Chunya周春芽》,東八時區

162

《12345》,上海書店出版社


「我收藏了一幅家鄉晚清先賢龔晴皋的書法對聯,『湖上修眉遠山色,風前薄面小桃花』。文辭風流極了,流露 出古典文人的精緻和幽雅,又有懷春的感覺,曖昧而略帶情色意味,讓人覺得美得『難受』,讓你領略到什麼叫按 耐不住!我的性格要直接得多,我也沒有古典文人那種隱曲婉轉的表現手段,我描繪的就是『色和情』──這人類 與生俱來的欲望──絢爛的桃花與野合的紅色男女人物奇異地併置,這種組合消融了人類與自然的阻隔,也模糊了 罪惡與道德的邊界,在一種流動的色彩情緒中放縱著真誠而本能的幻想,在一種宏大的場景中將人的自然屬性徹底 的釋放、引爆——溫和而暴力!」 ---周春芽 1980年代,四川美院的「傷痕藝術」聞名中國,當同儕們正在用畫筆描繪、撫平歷史傷痛的時候,周春芽卻被 藏區粗獷斑斕的野原生活吸引,真誠純樸地接觸自然,創作出《藏族新一代》以及一系列關於草原、藏族的作品。 1986年,周春芽懷著對西方藝術的憧憬與追求,開始於德三年的留學生涯。艱苦困頓的外國生活磨練他的意志,同 時也走遍歐洲各大美術館和博物館,當時德國新表現主藝風靡歐洲,色彩斑斕與強烈的渲染力令他震撼,然而絕對 西方式的文化體驗卻激發了他對自身文化的眷戀與熱情。 1990年代,周春芽自德國回國,當其他人對「前衛」和「另類」趨之若鶩,他卻像早年沒有參與同學熱衷的 「傷痕」美學創作那樣,也沒有參加當時的玩世現實主義、政治波普潮流。周春芽在感覺中而非簡單地在理性中挖 掘藝術的可能性。他避開當世主流,轉而在傳統東方的語彙中尋找一種契合自我氣質的表現性語言,以此克服中西 在文化語境和審美內涵上的差異。他開始從中國傳統文化中尋找思想靈感,正如周春芽在日後的回憶中說道:「我 一頭扎進了中國傳統繪畫之中,開始系統的研究古代人文繪畫,尤其是在元四家、八大、董其昌的圖示形態中找到 了我的興趣點,這是我繪畫生涯的重要轉折點:我決心走出一條出人意料的全新之路。」講究山水精神的「太湖 石」系列就這樣誕生,那變幻的色彩、濃厚的傳統意味,成功詮釋出一種介於新表現主義的瑰麗色彩、中國水墨的 大寫意之間的藝術符號。並在繪畫平面和雕塑縱深之間、現代潮流與東方儒雅間作出完美地交融與滲透。 1994年,周春芽以德國牧羊犬「黑根」作為創作母題,筆下的「綠狗」系列以黑根為原型茁壯,終於脫出、昇 華,擁有了自己的脾性與靈魂。有的狂野歡愉、有的迷惘笨拙、有的孤苦伶仃,卻全擁有如出一轍的填實質感、豐 沛的生命力。直至黑根的病逝離去,周春芽放棄嚴謹體量的筆法逐漸滑向抽象寫意。畫家再次處於實驗與轉變的時 期,漸漸地,冶豔旺盛的桃花一朵朵地出現。起初,柔美溫煦的桃花是陪襯角色,與狼狗所具的原始衝擊、侵略性 格形成強烈對比。然而花朵具有的豔情象徵,成為藝術家的經營目標。周春芽融會、延續「紅人」這個經常出現的 色情母體,將兩者並置。讓燦爛春桃與縱情雲雨的人物完美融合在一起,人類最原始的本能,在桃花的掩映下成為 一種真誠的衝動與嚮往。交纏的紅人被簡化成生命欲望的符號,艷紅粗懭的線條在畫面上肆意流淌,更添情慾撩人 之致。 「桃花」系列艷勃渾厚,怒放的桃花,暗喻生命的輪迴與稍縱即逝,卻隱含了放縱狂妄與凋零衰老的不安,彰 顯了萬物極盛已極、物極必反的悲劇性的美感。在《風前薄面小桃花》的枝椏繁盛之間,依稀可見中國傳統繪畫的 影子,但卻多了些散漫、慵懶,甚至是妖冶、狂艷。如周春芽所言,畫題取自晚清先賢龔晴皋的書法對聯,其文引 自明代文人,文徵明的詩句:「雨足新蒲長碧芽,墅塘十里抱村斜。青春語燕窺游舫,白沙流雲漾淺沙。湖上修眉

遠山色,風前薄面小桃花。老翁負笈歸何處?深樹雞鳴有隱家。 」文辭曖昧已極,仍不失文人式的儒雅輕逸。 這件《風前薄面小桃花》正是畫如其詩,在一片絢爛的青春光景下,桃花枝椏橫出,高彩度的明亮色料滑行噴 濺、恣意流淌。春初的綠草如火焰般旺盛灼燒。周春芽將深深淺淺的紅色、翠綠絢爛地鋪張到極致。並以裸露的紅 色男女介入,以無言的情慾打破了花叢中的寧靜。不但消弭了人類與自然的隔閡,也模糊了罪惡與道德的疆界。周 春芽曾說:「人類與生俱來的欲望,也是旺盛生命的表現。正如同春天綻放的桃花一般,我為何又要迴避?」藝術 家跳脫旅遊者的角度,擊破萬物自然間的無形限制,讓廉恥與道德、凡塵的曖昧與自然的坦蕩、勃發的生命力迎面 襲捲而來。

163


096

|

ZHOU CHUNYA

( b.1955 )

Peach Blossoms in the Spring Breeze 200×250cm Oil on Canvas Signed Zhou Chunya both in Chinese and English, dated 2006-2007 ILLUSTRATED "Post-Martial Law vs. Post-89: the Contemporary Art in Taiwan and China", National Taiwan Museum of Fine Arts, Mar 2007, page 236-237 "12345", Shanghai Bookstore Publishing House, Sep 2006, page 267 "Chinese contemporary art illustrations 2005-2009", Lu Hong, Hebei Education Press, December 2009, Page 354 "Zhou Chunya", Timezone 8 Limited, Hong Kong, Page 508-509 EXHIBITION “Expanded Realism", Taipei Fine Art Museum, Taiwan, 2006

周春芽 風前薄面小桃花 2007 油彩 畫布 簽名:2006-2007 周春芽 Zhou Chunya 圖錄 《後解嚴與八九-兩岸當代美術對照》, 台灣美術館,2007年3月,第236-237頁 《12345》,上海書店出版社,2006年9月,第267頁 《聚變:中國當代藝術圖鑑2005-2009》魯虹,河北 美術出版社,2009年12月,第354頁 《Zhou Chunya周春芽》,東八時區,香港,2010, 彩色圖版,第508-509頁 展覽 「展開的現實主義」,台北市立美術館,台灣台北, 2006年

NT$ 19,000,000-24,000,000 US$ 633,300-800,000

《後解嚴與八九-兩岸當代 美術對照》,台灣美術館

164

《聚變:中國當代藝術圖 鑑2005-2009》魯虹,河 北美術出版社


165


097

|

LIU WEI

( b.1965 )

40×50cm Oil on Canvas Signed on the reverse: Liu Wei in Chinese

1988 油彩 畫布 背面簽名:劉煒

ILLUSTRATED "Liu Wei", Hongqiao Gallery, Shanghai, China, 2008, Page 18-19

圖錄 《劉煒 Liu Wei》,虹橋畫廊,中國上海,2008年,第18-19頁

EXHIBITION "Art Beijing", National Agriculture Exhibition Center, Beijing, China, April 2012

166

劉煒

Love

展覽 「藝術北京博覽會」,全國農業展覽館,中國北京,2012年4月

NT$ 2,700,000-3,700,000 US$ 90,000-123,300


“I greatly respect how I feel internally and with my own style and method I interpret what I see and feel so that everyone knows that it’s my artwork. Only an inspired artist can move viewers and then you can talk about aesthetics.” ---Liu Wei Liu Wei’s art is never conformed to any style or party but his own heart. He purely presented himself with art and with the passionate creativity, his art style never remains the same. He is not prolific but each of them is a masterpiece. He said “I will never produce identical artworks.” He realized his dream as an artist with an unspoken romantic atmosphere and sometimes surreal comprehension. Sometimes it may seem playful and insincere; sometimes it looks confused and intertwined. Each is unique and wonderful and are the embodiments of the talented art language. "Love"speaks of thick love and longing of his home. The changing lines and rich colours employed in fairy tales are lively and vivid and exotic. Liu Wi spread the colours evenly and freely added the texture and thickness to the colour to make the painting more rhythm. He combined all sorts of elements and the lady laying elegantly with her eyes closed dreaming about "Love". The interesting flowers and cute crocodile and the exaggerated bird live freely in this mysterious jungle. The free flowing lines jump along with the change of light reflection. The compositions remind viewers of surrealism artist Chagall that is romantic and imaginative. He also reminds viewers of impressionist art master Gauguin whose style is primal and vivid. A show of love and mystery begins with this painting.

「我畫畫非常尊重自己的心理感受,用自己的方式、方法解讀我眼中的風景,大家一看就知道是我畫的,只有 畫家畫得有感覺,才能觸動觀者,才談得上美。」

---劉煒 劉煒的創作從無定式,一切憑心而來,他不侷限於地域或流派模式的規矩,也從不自我定義。純粹以藝術作為

自我表彰的呈現,那豐沛無疆、天馬行空的創作能量,讓劉煒的作品風格始終處於變動之中。他的作品數量不多, 卻是件件精品。他曾經說過:「一批東西做完,我以後永遠不會做一樣的 。」劉煒以一種做為藝術家純天然的直覺 實踐自己的藝術,作品始終帶有某種難以言喻的爛漫不羈,超越理性的理解,有時顯得玩世不恭、輕飄浮誇,有時 又顯得騷亂糾結,亟欲爆發。每一作品都獨一無二、姿態萬千,精采地演繹劉煒才情縱橫的藝術語彙。 《戀》洋溢濃烈的愛與鄉愁,那鋪張變形的線條,以及童話般的濃墨重彩,嬌豔繽紛而瀰漫著鮮活的生命力, 極富異國情調。劉煒將色料做大筆地平塗,恣意地加重色澤的質感與厚度,同時讓作品充溢了大自然生命的律動 感。劉煒將各種元素組合,優雅側臥的赤裸女子靜靜閉眼,《戀》彷若就是她的夢境,那各種奇異的花草、童趣可 愛的鱷魚,還有那比例誇張的大鳥,都徜徉在充滿野性的秘境之中。輕快流利的曲線在空間中飛揚起舞,光影變幻 與色調起伏,劉煒的線條構圖令人聯想到超現實主義畫家夏卡爾浪漫繽紛、充滿幻想的創作風格,同時又遙想後印 象派大師高更原始奔放的生命力,一切的愛與神祕之美都在此展演。

167


098

|

LIU WEI

( b.1965 )

Su Shi's prose 'LinJiangXian' (Triptych) 62×55cm(3) Ink and Color on Paper Inscribed and signed Liu Wei in Chinese With one seal of the artist

劉煒 臨江仙(三聯圖) 1989 彩墨 紙本 簽名:流尾八九年十二月無業在家画圖京城西 題識:夜飲東坡醒復醉,歸來彷彿三更。 家童鼻息已雷鳴。 敲門都不應,倚杖聽江聲。 長恨此身非我有,何時忘卻營營? 夜闌風靜垮紋平。 小舟從此逝,江海寄餘生。

NT$ 5,500,000-7,000,000 US$ 183,300-233,300

168

Liu Wei, known as the most talented contemporary artist, possesses an irreplaceable charisma and art style. He was born in 1965 and was the earliest artist to attend the Venetian bi annual exhibition. With Fang Li Jun, they both led the “cynical realism” in the early 90s. His artworks are cynical, mocking and sarcastic; however, behind these cynical symbols, the artist implied the confusion and panic of modern people. With extraordinary talents and intuition, he created his own value and explored the true meaning and essence of life. Chinese art critic Li Xian Ting said “Liu Wei is a talented artist, and through his gifts viewers can feel his realization and emotions he has for life. His language focuses more on the process to present life. We can even realize his message for life through his artworks.” “Su Shi's prose 'LinJiangXian'” was painted in 1989 during the heat of cynical realism era. “Su Shi's prose 'LinJiangXian'” was inspired by Song dynasty poet Su Shi’s poem. The artist has mimicked the elegant traditional theme and converted the serious and stereotyping topic into and artwork with exaggerated forms of characters and plants. It’s like reading a comic book that is sarcastic and humorous. However, the ar tist intentionally avoided presenting emotions to make it a dreamy and pure imagination. By using red and mimicking ancient stamps in the art work is like mocking the seriousness of the traditional Chinese signatures. With a post modernism approach, Liu Wei re-composed and disassembled traditional elements in panting but at the same time he never forgot to echo the meaning of “perseverance”. His hippy approach expressed the meaning of Chinese ink painting and allowed him to free his imagination without restraints to create a strength that is most real and touching.


被譽為中國最富「才情」的當代藝術家劉煒,擁有不可取代的藝術魅力與風格意趣。劉煒生於1965年,是中 國最早兩度參加威尼斯雙年展的藝術家,並與方力均共同作為90年代初期「玩世現實主義」的領軍人物。他的藝術 創作充斥玩世不恭、戲謔與諷刺的語彙,但劉煒在這些玩世符號的背後,寄托、隱喻了當代人的價值渾沌與生活惶 惑,並以超凡的才情與直覺,在當代性的混亂中確立了自我價值,直剖生命最本質性的意義與真諦。中國著名的藝 評家栗憲庭曾寫道:「(劉煒這樣的)才情畫家是指這樣一種畫家,在他天才的技藝中直接流露著他所感悟到的生

存乃至生命狀態和情緒,他的語言方式更多依賴用筆的過程去呈現生存的直覺過程,從他對自己特定時期生存感覺 的抒寫中,我們甚至可以讀到他生命的信息。」 劉煒從不跟隨潮流,卻始終堅持「我以我手畫我心」的創作理念,在變幻莫測的當代潮流中堅持著本能的節 奏,並且不斷轉換、躍進。他在訪談中曾說過:「生命本身就是不斷變化,所以不同時期的作品本應有所差別。版

畫,紙本,布面,傳統的,前衛的,我不斷變化的精神狀況致使『無風格的風格』就是我的風格。 」劉煒從不停止 邁向新的境界,永遠都在顛覆、挑戰觀者的審美慣性,創構出無以言表、非同尋常的獨特美學。 此幅《臨江仙》繪於1989年,正是劉煒「玩世現實主義」濫觴的時代。《臨江仙》的題材取自中國宋朝文人 蘇軾的詞闕。藝術家在他這件早期作品對這個典雅傳統的主題進行了戲仿,原本嚴肅刻板的題材被輕易地顛覆、翻 轉。畫中人物和植物誇張變形,有如漫畫般的戲謔、幽默感,然而卻刻意避開了情緒線索的描繪,讓作品瀰漫某種 清淨無為的氣氛,並充滿夢幻和純真的想像。劉煒在畫作中使用了紅色顏料描繪、摹仿鈐印,正是對傳統文人畫中 常以正經八百的字號、齋名題識進行了戲耍與嘲諷。劉煒以後現代主義的手法解構了莊嚴雄偉的典律,對傳統繪畫 中的經典元素也進行了重組與拆解,卻同時若有似無地呼應了題識中「何時忘卻營營?」等瀟灑之語。劉煒玩世不 恭的筆法,在嘻笑怒罵間傳遞了中國筆墨的意境,輕鬆從容地獨立於一切成規和界限之外,最天馬行空的想像,卻 擁有卻最為真實、震撼人心的力量。 169


099

|

FANG LIJUN

( b.1963 )

2006春

64×47cm Oil on Canvas Signed Fang Li-Jun in Chinese, dated 2006, titled Spring in Chinese

2006 油彩 畫布 簽名:方力鈞 2006 春

PROVENANCE Private Collection, Europe Sotheby's Hong Kong, Contemporary Asian Art, 2 April 2012, Lot 896 ILLUSTRATED "Live Like a Wild Dog: 1963-2008 Archival Documentation of Fang Lijun", Vision Art, Taipei, Taiwan, 2009, Page320 170

方力鈞

2006 Spring

來源:歐洲私人收藏 香港蘇富比,亞洲當代藝術,2012年4月2日,Lot 896 圖錄 《像野狗一樣生活:1963-2008方力鈞文獻檔案展》, 視界藝術出版社,台灣台北,2009年,第320頁

NT$ 2,400,000-3,000,000 US$ 80,000-100,000


“My artworks are inspired by the simplest and easiest language, the idea makes it easy to face the audience and therefore build a relationship with them. I’m not even hesitated by confrontation.” ---Fang Li Jun To Fang Li Jun, art circles around human and humanity. Humanity is like a bouncing ball, we never know where it will land at. However, through communication and echoing between the artist and audience; with portraits as mediums and leaving only symbols and concepts, the artist enables it to become anyone, a representative of the common rather than personality. Before 2006, his artworks come with a strong cynical realism style that expressed strong cynical and rebellious spirits. His baldness was a signature for the boredom and sarcasm that existed in Chinese society in the late 80s and early 90s. The sarcasm was presented with deep blue sea and sky in the background which made the presentation even more absurd. The audience was able to realize the darker side of life. However, in 2006 and 2007, Fang created a series with the sky as the main theme that presented weather change, lightening and cloud, sunny sky, dawn or the endless clouds. Everything was without boundary. Bugs, birds and sleepy babies were liberated. It echoed his art style that is gradually become liberated and free-willed. Art critic Liu Chun said “if the early works expressed domineering aggression, then his works today expressed patience.” Unreal objects become real in his artworks because he was never restrained by the public eye or rationality. He was still at ease even facing the realistic society. Fang Li Jun’s artworks today use children as the art language because of the birth of her daughter in 2005. He transformed his love for his daughter into children, clouds, and the blue sky. He embellished the pure newborn with delicate and tranquil setting. In《2006 Spring》, two children hopped into the skyline by grabbing the giant shoe under the blue sky and clouds. They stride forward with a smirk. The picture is warm and simple. The color tone is bright and shiny. Hope and dreams extend deep into the clouds with the beams of their sight into the sky

「我作品的出發點是用那種最收起樸素、最容易懂的語言去說話,所以我不怕跟觀眾見面,不怕 跟觀眾建立這樣的關係,我甚至也不怕跟觀眾發生那種矛盾。」 ---方力鈞 對方力鈞來說,在所有藝術形式中最關心的是人與人性,他認為人性就像皮球,不一定會滾到 何處,故希望能藉由畫作與觀者產生討論和共鳴。藝術家以肖像做為意識的載體,抽掉面目的意義 內容,僅剩下符號與概念,它可以是所有人,抑或你、我、他,並以此表達出人的「共性」而不是 個性。 2006年以前,方力鈞的作品有著強烈的玩世現實主義風格,表露出極具批判意志的反叛精神, 他的光頭形象以百般無聊的情緒、嘲諷社會現實的語言標誌了80年代末和90年帶上半期中國普遍存 在的潑皮幽默的生存感覺,調侃的氣氛又將畫面置於碧海藍天的背景中,更加強了作品的荒誕感,使 人意識到生活並不那麼光鮮亮麗的一面。然而在2006、2007這兩年間,方力鈞創作了一系列以天空 為主題的作品,各式各樣的氣候變化,烏雲閃電、晴空萬里、朝霞雲霧,亦或無盡的雲層漩渦,一切 都如此無邊無際,昆蟲、飛禽鳥類與安翔的嬰孩,眾生都在自由飛翔,如同他漸漸隨心所欲,不斷 靠近自由自在的形式創作,批評家劉淳說到:「如果說,方力鈞早期的作品透露出一種不容商量的霸

氣,那麼今天的作品,流露出一種不厭其煩的耐心講述 。」在方力鈞的作品中,我們可以感受到不真 實的東西往往是最真實的,因為他並沒有受外界眼光及理性意識所束縛和制約,即使在面對社會現實 時依然能個性地自我表達。 方力鈞近年作品中常以孩童形象作為藝術語言,這與在2005年時,女兒的出生有很大的關係, 初為人父的他將題材轉換為孩子、白雲、藍天,寄託自己對女兒的愛,以細膩和安靜的畫面襯托出幼 小而純淨的生命。《2006春》在湛藍的天空與綿細白雲下,兩個孩子抓著巨大鞋子躍上天際,露出 似笑非笑的表情,像是奮力地攀緊邊緣,隨大鞋步伐繼續邁進。畫面溫暖而純粹,明亮的光感與淺亮 的色調,搭配從低處仰望無盡的天空藍,希望和夢想之感竄伸至雲端,正向氛圍彌漫於畫面之中。

171


171


薛 松

XUE SONG

172


Xue Song, born in 1965, his excellence and vivid style are unique in Chinese art world. His visual images are re-composition of history and reality, his objects and contents are based on the ever changing world. The avant-garde approach speaks of the culture. His ar tworks are wildly recognized and collected at museums and collectors.

薛松,生於1965年,卓然純粹的鮮明風格於當今的中國 藝壇獨樹一幟。在歷史與現實間重組創構著荒誕卻真實的視覺 圖像,他的藝術主題和內容立足於紛繁世相之上,新穎前衛地 展現了文化的兼容性,深受中外美術館、藏家推崇與珍藏。 從大學時代起,薛松就熱衷於將平淡的素材,有意識地

Since college, Xue Song was enthusiastic about collaging and restructuring boring materials. A big fire in 1990 destroyed his studio but it inspired him to present art in a new form. He said “My artworks are inspired by fire.” He found debris of books, bed sheets and such, after careful thoughts, he transformed and collaged them onto the canvas and giving them a new life. Art critic Jiang Mei said “Xue Song is a terminator of ready-made images; he is also the creator of resurrected images and meanings.” Starting from 1998, Xue Song began a series of conversation with art masters in world art history. The series became a combination of literati fun and western presentation. “Dialogue with Mondrian No.11” is the result of a conversation between post modernism art master Piet Mondrian. Piet Mondrian of Netherlands is a classical figure in western art history. He pursuit a simple harmony effect between lines and color blocks. He focuses on three base colors- red, yellow and blue. He boldly believed that restraint is freedom, simplicity is full. The lines are firm and straight; the colors are vivid and lively in ”Dialogue with Mondrian No.11”, it echoes with his famous line “Trees are straight, seas are horizontal. The right angle is the foundation of everything.” It is the daily life order that strikes a balance between color blocks and lines. The blocks in various sizes and vivid colors form a combination that wins admiration and harmony; it is like a piece of beautiful symphony. The western art master’s belief can be seen in Xue Song’s art work with burning and bold black lines in it. It represented landscape atmosphere in Chinese traditional panting. The layering of Chinese and Western ar t essence allows a conversation to happen. With Xue Song solid literati foundation, he diminished the strong expressionist approach in western art and skillfully brought out the concrete cultural meaning between the abstract lines to create a vivid and interesting aesthetic feeling.

拼貼與重組,然而1990年底的一場大火,薛松的畫室意外焚 毀,滿目瘡痍、焦味瀰漫的工作室,卻讓他找到了全新的表 述方式。薛松感性地說:「我的作品源自於火。」 藝術家在 火場的灰土中找到書籍、床單被燒毀後所遺餘的殘破之物, 悉心地端詳琢磨,將其轉移、拼貼至畫布之上,賦予了焚燒 感性地生命與關懷,全新的意涵也就此誕生。藝術評論家江 梅曾說:「薛松既是圖像現成品的終結者,也是再生圖像及

其意義的創造者」 。薛松曾坦然地說:「我並不太關注畫面 上有多少繪畫的因素,我的作品直接達到視覺的終點:『圖 像的意義』。」 經過火焰的洗禮,藝術家憑藉著敏銳的藝術 嗅覺和出色的語言把握能力,並借用波普藝術與魔幻現實主 義的創作方法,薛松很快地由最初對燃燒痕蹟的單純迷戀跳 脫出來,成功地將「焚燒」的意象和歷史經驗、當代社會的 深層結構連結,並緊緊抓扣住時代的脈搏,通過荒誕與幽默 的途徑,深刻地詮釋對生命意義的強勢反思、詰問與共鳴, 讓薛松的藝術成為1990年代以來中國當代的藝術景觀中不可 或缺的美麗風景。 1998年起,薛松展開了與世界藝術史列名的大師們進 行一場場精采絕倫的「對話」,創作出一系列將文人雅趣與 西方的表現創意結合而一的經典作品。此幅《與蒙特里安 對話NO.11》即是薛松與後現代藝術大師彼得‧蒙特里安 (Piet Mondrian)的「對話」傑作。荷蘭的彼得‧蒙特里安(Piet Mondrian)為西方藝術史的經典人物,他在線條與色塊的跌宕 之間,追尋極簡和諧的效果。他的色調凝聚於紅、黃、藍之 三原色,蒙特里安大膽而前衛地認為節制就是自由,單純就 是豐富。而此幅《與蒙特裡安對話NO.11》,線條剛直、色 彩跳躍,方正的樣式呼應了蒙特裡安的名句:「樹是直的,

海是橫的。直角是一切平衡的基石」 。那平衡切割的色塊與 線條,並非把握生活的速度和動盪不安,而是去描寫生命中 恆常的秩序,那些大小不一的方格、鮮活的顏色的排列組 合,產生令人激賞的和諧韻律,宛如一曲悠揚的交響樂。西 方大師的經典造型巍然呈現,薛松的焚燒意象、獷黑粗線就 隱身其中,並再現中國傳統繪畫中的山水意境。東西方的藝 術精華相互重疊,進行了一場深刻的「對話」交流,薛松以 自身濃烈的東方人文精神,消解融會了西方藝術的強烈表現 性,並在抽象線條的錯綜嬉戲中牽引出實質的文化意涵,激 迸出創新鮮明而且充滿趣味的美學感受。 《薛松Xue Song works 1988-2013》 新加坡當代美術館

173


100

|

XUE SONG

( b.1965 )

Dialogue with Mondrian NO.11

與蒙特裡安對話NO.11

240×180cm Mixed Media on Canvas Signed Xue Song in English

2012 綜合媒材 畫布 簽名:Xue Song

ILLUSTRATED "XUE SONG works 1988-2013", Moca@Loewen Singapore, Linda Gallery, 2013, Page 85

圖錄 《薛松Xue Song works 1988-2013》, 新加坡當代美術館,林大藝術中心,2003年,第85頁

EXHIBITION "Shanghai Style: Xue Song Solo Exhibition", MOCA@Loewen, Singapore, 2013 174

薛松

展覽 「薛松‧新海派繪畫」,MOCA當代美術館,新加坡,2013年

NT$ 3,500,000-4,600,000 US$ 116,700-153,300


草間彌生

YAYOI KUSAMA “if you have to ask me when I started art creation, I can tell you, it’s from a very young age. My entire life and every single day is related to art. If there is afterlife, I want to be an artist again. Regardless life and death, art is everything to me.” ---“Yayoi Kusama” Japanese world- renowned art master, also known as the queen of polka dots, Yayoi Kusama was born in Japan during a time of strict restraints of traditional cultures. She developed a series of controversial and rebellious avant-garde artworks in the U.S. that weren’t accepted by the Japanese in 1960s. Through the passing of time and culture shocks, she is now recognized as one of the greatest existing artists in Japan. She moved to Japan in 1957 alone and began her career. She co-exhibited with prominent figures such as Yven Klein, Jasper Johns, Claes Oldenburg and Andy Warhol. She was active in the artworld and led the pop art movement then. Her extraordinary past and unique style has secured her prominence in the artworld. Yayoi contoured “Red Radish” on a flat surface, and the evenly spaced webs created a mosaic effect and bringing a strong contrast with the vivid carrot. Dots in various sizes created a three dimensional effect, and through saturated and vivid colors to delicately layer out the effects. It embellishes the tranquil plants and the essence of life, bringing the viewer closer to the artwork.

「如果你一定要問我從什麼時候開始藝術創作的,我可以告訴你,那是在很小很小的時候。我 的一生,我活著的每一個日子,都與藝術相關。要是人可以有來世,我還想再做藝術家。無論生與 死,藝術對於我來就是一切。」 ---草間彌生 日本享譽國際的當代大師、藝壇上的「原點女王」草間彌生,成長於深受傳統禮教束縛的日 本,卻在美國發展出一系列看似離經叛道、極富爭議的前衛創作,此舉在1960年代的日本藝壇是 完全不被接受的,然而時間的洗禮、文化的衝擊,如今已是公認日本現存最偉大的藝術家之一。於 1957年隻身前往美國紐約,開始從事前衛的藝術創作,曾與西方當代重要的藝術家,包括克來因 (Yves Klein)、瓊斯(Jasper Johns)與歐登柏格(Claes Oldenburg)、安迪.沃荷(Andy Warhol)一同聯展, 活躍於國際藝壇,並一度引領當時盛行的普普藝術風潮。其不凡經歷與獨特的創作風格,在藝術圈 刻劃下草間獨具韻味的符號與丰采。 自幼便患有神經系精神障礙的草間彌生,常為幻聽、幻視所苦,目光觸及之事物皆籠罩著巨型 的「網」與無限的「斑點」,她以此作為創作的元素:「我一直企圖用繪畫來治好我的病,但夢和

幻覺一直都在發生,這些無法擺脫的圖像根源於我的病,對我來說也無可替代。」 試圖藉此治療內 心的創傷,而無限延伸的「網」及「斑點」也成了草間的經典象徵。 草間彌生以平面繪圖方式勾勒《櫻桃蘿蔔》的造型,均勻分布的網線猶如龜裂紋路一般,使畫 面呈現馬賽克效果,與用色鮮艷的蘿蔔主體形成強烈對比。而大小不一的圓點構築出立體感,再藉 著飽和、繽紛的色彩及疏密不同的網狀,細膩堆疊出畫面的前後層次,更添靜態的植物彷彿帶著動 態的生命本質,輕易拉近觀者與藝術品的距離。

175


176


101

|

YAYOI KUSAMA

( b.1929 )

Red Radish 38.3×46cm Acrylic on Canvas Signed yayoi kusama in English, dated 1987, titled in Japanese With a certificate of authenticity from gallery

草間彌生 櫻桃蘿蔔 1989 油彩 畫布 背面簽名:yayoi kusama 1989 はつか日大根 附畫廊開立之原作保證書

NT$ 3,900,000-5,500,000 US$ 130,000-183,300

177


祁志龍

QI ZHILONG

During the mid-1990s, Chinese Contemporary Art went through a series of movements by the 85 New Wave Movement. The new globalization and capitalism brought a strong impact on the art world. New talents in experimental and avant-garde art style sprouted and modern consumerism observations became the inspirations for artists. During this time of change, Qi Zhilong conservatively and subtly combined classical, modern, revolution and the feelings of a teenage girl to become his art language and material. His artworks speak of history and also the highlights of the era. The gentle and warm colors; detailed and realistic approach and his sophisticated foundation won appreciation and admiration worldwide. Qi Zhilong employed bright colors nurtured by fashion and the Cultural Revolution and expressed a pure yet ambiguous image in his paintings. He intentionally mocked the trends of the contemporary society. He said “yes, I am being sarcastic. Even when I’m picking a character, the girl’s smirk is a satire.” Post 1998, gaudy art became extreme and Qi Zhilong doesn’t think he fits into this art form and became his internal transformation and pursuits for the origin. After 2000, he went back to traditional romanticism and the girl in the painting is replaced by renaissance that is pure and full of affections. The beauty of the girl is presented sincerely. This “Chinese Girl” is painted in 2007, and inherited the art language of Qi Zhilong who intended to imply the complicated feelings during the time of turbulence when educated youth relocated and worked in the countryside or mountain areas. He tried to mimic the female red-guard image in his childhood memories. However, the girl in the painting has a refined feature and pure gaze. The artist diminished the cultural and time information and brought out the character from a pinkish background and enabling the painting to be pure and influential. The girl in “Chinese Girl” is suited in a masculine military uniform but she still reveals a feminine gentle and romantic feeling. Her green gaze is pure and attractive but also reveals a mystic and unpredictable feeling. Qi Zhilong used delicate warm contour and colors along with color blocks that are murky to bring out the unspoken details of the painting. The painting is full of Chinese traditions and the warmth of a teenage girl’s feelings which have become a balancing point between revolutionary history and modern contemporary culture. Qi Zhilong’s style is elegant and conservative. From an educated perspective, Qi objectively observed and translated the society he observed and tried to make up for the loss under the passing of time. Even though the beautiful gaze “Chinese Girl” is unspoken and silent, the viewers are able to understand the artist’s intention thoroughly.

178


「祈志龍發展了自己波普時期的話語,選擇 了美女模特兒去模仿自己童年記憶中的女紅衛兵 形象。這種模仿的當代性,來自祈志龍對模特兒 的選擇上,那種嬌媚、艷麗和搔首弄姿狀,正中 祈志龍作品話語的基本指向,繪畫的細膩筆觸和 漂亮色彩的發揮,更誇大了這種話語指向。表 情、姿態不同而多幅重複的肖像,構成了一組可 讀性很強的豔俗符號。」 ---栗憲庭 在1990年代中期,中國當代藝術經歷八五新 潮掀起的一連串波動後,新興的全球化風潮與資 本主義再次為藝壇帶來強烈衝擊。充滿實驗性的 前衛藝術嶄露頭角,現代消費主義現象的種種觀 察也成為藝術家的靈感泉源。祈志龍在繁花盛放 的當代視野內,含情脈脈地摘擷藝術的語彙與素 材,他將古典與現代、革命激情與少女情懷鎔鑄 於一爐的獨特風貌,讓一幅幅優美雋永的畫作流 淌著歲月的痕跡、迸發出時代的光亮。而他溫潤 明亮的色彩、寫實細膩的筆觸,以及渾厚的文化 底蘊,側寫出時代的雍容風姿與柔美韻味,讓其 作品廣受中外收藏界的青睞與推崇。 祈志龍生於1962年,畢業於中央美術學院。 他以「消費形象」命名自己的作品,他將當代流 行時尚與過往的文革波普語彙結合起來,以鮮豔 色澤進行交揉、含混,讓作品流露出神秘清純的 氣息與曖昧性感的形象,並且有意識地對當代社 會的各種潮流與進行反諷與嘲弄。藝術家曾說:

「我確實是在反諷,包括選擇人物,女孩的笑也 是一種嘲諷的笑。」 豔星和美女成為他作品中的 主要符號,然而在1998年之後,畫家覺得「艷俗 主義」開始走向極端,祈志龍認為他個人的素養 已不能承受這種藝術形式,於是進行了轉化與回 歸。於2000年之後,祈志龍從艷俗狂放回歸到傳 統浪漫主義,畫面中嬌笑的女孩逐漸被懷舊的情 愫所取代,並且開始探索真率純粹、溫情脈脈的 少女形象,單純誠懇地用畫筆表現女孩的青春年 少與無瑕的美麗。

179


180


102

|

QI ZHILONG

( b. 1962 )

祁志龍

Chinese Girl

中國姑娘

220×180cm Oil on Canvas Signed Qi Zhi-Long in Chinese, dated 2007

2007 油彩 畫布 簽名:祁志龙 2007

PROVENANCE Private Collection, Europe

來源:歐洲私人收藏

NT$ 5,500,000-8,000,000 US$ 183,300-266,700

有中國當代藝術教父之稱的栗憲庭說曾:「美國波普是把俗形象變成雅,因而顯示了

一種嚴肅和正經;而中國是把『神』變俗,因而顯示了一種玩笑與幽默」 。而祈志龍在此 幅繪於2007年的《中國姑娘》,正是承繼了自己波普時期的藝術語彙,將那「上山下鄉」 的動盪時代的複雜情感,重疊到當代女性身上,並試圖模仿、再現自己童年記憶中的女紅 衛兵形象。某種程度上使用了「滑稽模仿」這個於六○年代首創,但仍盛行至今的藝術觀 念。這位《中國姑娘》有著精心修飾的眉目、嬌弱清純的神情,面無明顯的表情卻擁有強 烈的眼神,甚或有西方當紅模特兒的神韻。與1966至1976年,風起雲湧的文革時期相比, 顯然較接近當代女性的審美基準。祈志龍特地消弭了作品中的地域色彩與時空線索,讓人 物置身於粉紅空濛的背景中,形成了「中性感」,增加了一種模糊性與多義性。使少女在 畫布上深刻地突顯出來並且染上夢幻的色彩,甚至更加純粹輕靈,擁有某種神祕、寂靜的 氣氛,極具藝術感染力。 這位《中國姑娘》雖然被以充滿男性象徵的軍裝包裝起來,但卻深刻流露出女性特有 的柔美溫婉、浪漫感受。祈志龍讓溫情與眷戀代替了文革時期的激情與痛苦,進行了某種 程度的療癒和寬容。這個中國少女的青綠色的眼眸定定地望向觀者,純真而迷人,卻隱約 地流露出曖昧、神秘莫測的感情,過往的風華和現代的純真在此交迸發光,卻有一種說不 出的孤獨感。祈志龍細膩地運用輕逸的線條、柔和的色彩與富有層次的朦朧色塊,讓《中 國姑娘》浸透出難以言喻的細緻感,擁有一種平靜和溫情脈脈的情愫,散發出悠悠的東方 情懷與輕盈潤澤的少女氣息,並揭示了對生命本質的困惑與艱澀的傷感。那何其細膩的含 蓄、近乎言情般的抒繪,卻意外地讓革命歷史的洶湧波濤和當代潮流文化之間找到一個 銜接、平衡點,顯露出藝術家曲折、優美又含蓄的創作語法。祈志龍以一個文人儒雅的旁 觀姿態深刻地詮釋社會,側寫、尋找並填補時代巨輪下的缺口。縱然《中國姑娘》美目流 盼、沉默不語,我們卻什麼都明瞭了。

181


103

SHU | YANG Untitled

( b.1965 )

180×260cm Mixed Media on Canvas Signed Yang Shu in English, dated 2007.07.15 Signed on the reverse: titled and materials in Chinese, dated 2007.07.15, sized 180×260cm

楊述 無題 2007 綜合媒材 畫布 簽名:Yang Shu 2007.07.15 背面簽名:無題,2007.07.15,布上丙烯, 180×260cm

NT$ 900,000-1,200,000 US$ 30,000-40,000

「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 楊述畢業於四川美術學院,學生時代 創作的作品中常以元素符號、文字、數字 標記於其中,至後期更顯得隨意。素有鬼 才之稱的他憑著極高的敏感度作畫,對繪 畫藝術長期有著深遠的思考,以日常生活 的心態作為一種檢視和內省,對待藝術與 人生態度如出一轍,視藝術為人生信仰, 作品表現具有啟發性,呈現個體化及生活 化的精神狀態,展現獨特的藝術創作。 《無題》畫中大塊色域分割畫面,一氣呵 成的將鮮明色彩酣暢淋漓塗抹於畫布上, 自由奔放的大膽潑灑,破壞中尋找美感和 快意,線條猛烈甩動相互交融而激發出一 股強大的力量,相反的張力蔓延開來又相 互牽引,使畫面更加有力,而隨心所欲的 創作形式,讓心靈獲得釋放而痛快淋漓。

182


183


高雄漢神百貨愛馬仕(Hermès)藝術櫥窗

「當我發現時,馬就已經是我投射喜愛的對象物,

席時斌在大學時期念建築時,曾受義大利建

我找不到來源與我的必然關聯,因此不如跳脫來看,將

築師Aldo Rossi的影響,開始研究各式物種的構成

其視為一種緣分和命運,但卻是可以解析和面對的。」

脈絡、骨架,也因這些基本的概念訓練成形,深刻

---席時斌

的影響了後續的作品樣貌。他認為創作就像建築的 過程一樣,先把元素分解成小的個體,再將平面和 零件重新組裝以完成作品形象,他利用鏤空、分解 與重組的手法,打造出隱性的形體與空間,在虛 實之間,讓想像力無限延伸。此件《馬》為席時 斌與法國著名時裝品牌愛馬仕(Hermès)合作時所創 作,是《馬之戲劇》藝術櫥窗系列作品中的「知識 之馬」,主要以木頭及鋁構成,透過精準的結構切 片、細密的零件組裝,展現令人驚艷的手作工學之 美,及馬匹挺拔穩健之姿。 席時斌於2011年為品牌愛馬仕(Hermès)創作 系列的櫥窗藝術,藝術家以作家赫塞的《知識與 愛情》一書為靈感,將此系列作品命名為《馬之戲 劇:從知識到愛情》,不僅展示知識追求的真實, 更呈現出愛情表現的幻想,其中每個櫥窗都有著自 己的故事,席時斌透過角色的串聯,在全台32個櫥 窗中上演一齣關於馬的戲劇。附圖便為2011年高 雄漢神百貨愛馬仕藝術櫥窗中,知識之馬與皮革馬 鞍的時尚結合,而此系列的木質馬匹中僅有兩款作 品擁有等比例的完整馬身,此件作品即是。

184


104

SHIHPIN | HSI Knowledge Horse

( b.1977 )

258×204×55cm Wood, Wood Paint, Aluminum, 3/3 With a certificate of authenticity signed by the artist

席時斌 知識之馬 2011 木材 木漆 鋁合金 3/3 附藝術家親簽之原作保證書

NT$ 900,000-1,500,000 US$ 30,000-50,000

185


105

|

WANG KEPING

( b.1949 )

Untitled 30×30×72cm Wood(One piece only) Signed Wang in Chinese and WK in English

王克平 無題 木頭 (僅此一件) 簽名:王 WK

NT$ 950,000-1,200,000 US$ 31,700-40,000

「樹幹的形態給了我很多啟發,這些看似不美的樹 叉和樹瘤在我眼裡全都充滿性感,我會感到木頭在跟我 說話,給我暗示。」 ---王克平 王克平為中國最早的前衛藝術團體"星星畫會"的創 始成員之一,於1970年代末,和黃銳、馬德升、艾未 未等成員一起堅定地爭取中國藝術的自由。而如今,他 以同樣的執著在法國自由自在的創作,主題多與女人、 性、男女間的形態有關,作品同時具有傳統對雕塑的理 解和個人對材料質感的獨特解釋,這使他的木雕具有當 代藝術的個性化觸覺。王克平以木料的原始樣貌作為雕 塑的靈感來源,他不刻意賦予複雜或矯情的立體造型在 自然樹木上,反倒處處順應每一塊原料的天然走向,不 論外形走勢或表面的瘤與疤,皆能毫不掩飾地與作品相 依相襯,對王克平來說,對木性的遵從,也意味著對人 性的尊重。《無題》貌似一個人的站立模樣,低著頭望 著地面,木紋曲折的走向、樹幹的傷痕,都化作一道轉 機,成為藝術家加以琢磨成形的力量,塑造出舉手投足 都讓人讚嘆的小人物,詼諧、幽默又機智。

186


106

|

LI SHANYANG

( b.1965 )

Silent Meditation 102×76cm (橢圓 Ellipse) Oil on Canvas Signed Shan-Yang in Chinese, dated 2011.05 With a certificate of authenticity from gallery

李善陽作品多以女性人物描繪為主,時而靜謐沉 思、時而清秀凝視,都同樣有著不易摸透的心緒。藝 術家藉由表情細微的變化,並在生活化的場景鋪排中 些微添加如夢似幻的氣氛,以此營造多變的情緒心 境,使各個獨立人物皆各自擁有其獨特的氣質,值得 觀者細細品味。

李善陽

《凝思寂靜》以極其細膩的寫實手法,表現於女

凝思寂靜

子隨性的體態和表情,充分展現實質與形體的精髓,

2011 油彩 畫布 簽名:善陽 2011.5 附畫廊開立之原作保證書

自然而生動的力量。藝術家高超的繪畫技巧,像拿放

NT$ 450,000-600,000 US$ 15,000-20,000

掘其特色的繪畫語言。

大鏡看世界,用不帶個人情感的客觀立場忠實地呈現 畫面,結構嚴謹堅實,如攝影那樣的再現物象,卻又 不失個人風格的特殊印記,即使寫實,依然能從中發

187


107

|

HUANG GANG

( b.1961 )

Buddha 80×80cm Mixed Media on Board Signed Huang Gang both in Chinese and English, dated 2010

黃鋼

在黃鋼的作品中時常能看見多種元素及現成物的 揉合,古代漆板、古經板、老佛像和西藏老皮箱都是 他創作的泉源,他在畫面中將其重新構造組合,以各 種符號性的語言訴說東方文化的美學理想與精神氣 質,以當代的手法表現東方藝術的永恆之美,黃鋼曾 說:「我喜愛古物收藏,這種個人的審美趣味對我的

創作有很大影響。我在創作中使用大量古老木刻佛 經,古老的西藏皮箱,古代的絲織品,甚至五十年前

佛之語

蘇聯紅軍皮帶的銅扣,我喜歡它們歷經時空交錯,靠

2010 綜合媒材 木板 簽名:Huang Gang 黃鋼 2010

自然與時間之手所創造的表面肌理之美,潤澤細膩,

NT$ 380,000-500,000 US$ 12,700-16,700

讓人愛不釋手。」 黃鋼選擇用來拼貼的古老物品,不僅僅是物質, 更可代表一種文化載體,這些極具代表性的中國古代 文化物品,充滿強烈的文化屬性,而物品本身的歷 史,也存在著另一層的精神意義。《佛之語》中歷經 時代風雨的木刻佛經及神像,都是僧人和工匠耗時良 久的產物,他們將雕刻看做是一種修行的過程,以虔 誠之心,平靜之氣,邁向實現自我理想之途。黃鋼將 其組合於畫面之中,輔以斑剝、渲染之大地色彩,大 塊的白色雪亮而清澈,充滿靈氣竄動之感。

188


陳景容擅長油畫、素 描、版畫、濕壁畫、馬賽克 嵌畫等,是台灣少數同時專 精多項多媒材的藝術家,也 是國內唯一以古羅馬技法, 製作馬賽克鑲嵌畫的大師, 不僅曾獲國內外重要獎項, 也榮獲教宗若望保祿二世接 見,並向教宗呈獻嵌畫《聖 家畫》。陳景容創作初期, 受塞尚、盧奧影響,畫面以 暗色為主,形象明確、線條 銳利;赴日留學後改變風 格,逐漸以東方思想為取 向,形態及線條越趨柔軟, 色調相對和緩,爾後常以灰 冷色調呈現寂靜、孤獨的美 感,帶著超現實主義的想 像,架構出畫面的神秘意 境。在近期的創作中,陳景 容則延續以往之特色,並更 添懷古幽思的生命與哲學, 使其內斂又富生命力的獨 特風格,更加耐人尋味。 《林家花園》以堅實的素描 基礎與嚴謹構圖,在作品 中營造寬闊的空間,向上 攀升的椰子樹拉高了天空 的廣度,雲與日相互輝映 下,似挑染出金黃光芒, 打亮了建築磚瓦的褐,優 雅地座落於藍天之下、綠 地之上,如詩般的恬靜與 古典音樂般的柔和氣氛, 表露無遺。

108

藝術家與作品合影

|

CHEN CHINGJUNG

( b.1934 )

陳景容

Lin Family Garden

林家花園

91×72.5cm Oil on Canvas Signed Ching-Jung in Chinese and Chen Ching-Jung in English and dated 1981 Signed on the reverse: Lin Family Garden, Chen Ching-Jung, 30F in Chinese

1981 油彩 畫布 簽名:1981 景容 CHEN CHING-JUNG 畫背簽名:林家花園陳景容 30號

NT$ 350,000-500,000 US$ 11,700-16,700

189


陳景容

CHEN CHINGJUNG Professor Chen Jingrong continues to create both in Taiwan and in France. He is a member of France Fall Salon, Artist Salon and Independent Salon.He has won the Artist silver and bronze medals and honorary awards of Artist Salon. His works were selected many times in the abovementioned 3 Salons and are also widely collected by public and private institutions. His paintings and sketches have been collected by Taiwan’s major Art Museum and 30 sketches and prints were collected by the French National Library. His abundant talent is worthy of the title as the nation’s top art treasures. With painting style quiet but full of vitality, the mural master Chen Jingrong likes to take low-shade mysterious loneliness as the theme for his large-frame chilly landscape, human body and plaster. Likes the challenge of various works, based on a solid drawing and strict composition, he emphasizes accuracy and clarity in detail of shadow, open space, vast ground, quiet characters or things, in the atmosphere of the gray tone bearing with surreal mood, can be called as the representative of Taiwan’s surreal style painter.

享譽國際的陳景容,現持續在台灣與法國兩地創作,作品質量俱精。他是法國秋季沙龍、藝術家沙龍、 獨立沙龍的會員,並多次於藝術家沙龍銀牌、銅牌和榮譽獎等三大沙龍中入選、獲獎。其作品擁有西方先鋒 藝術語言,又兼具東方知性善感的哲學幽思,廣受公家機構及私人藏家蒐集,包括台灣各大美術館收藏的油 畫及素描,法國國家圖書館收藏的三十件素描及版畫。其豐沛的才華不愧為國內首屈一指的藝術瑰寶。 陳景容的創作風格獨樹一幟,往往散溢著冷靜沉穩、孤寂靜謐的唯美氛圍。色調清冷孤寂,在灰暗之間 卻蘊有生命的讚頌與沉沉的深意,他擁有深渾廣褒的文學與音樂涵養,對藝術追求的熱情與執著及堅持理想 追求完美、勤奮不懈的精神,他曾說:「藝術是那樣的深澳,好像一口古井,不知道有多深。」陳景容以內 斂堅毅的熱情,細密地挖掘著藝術這口深井,畢生不綴,藝術創作與其生命創作已然融為一體。近期創作, 除了延續以往之特色,更添懷古幽思與生命的哲學,頗耐人尋思,內斂深入的作品是國內藝壇中難能可貴 的楷模,並獲國際畫壇的肯定。如:2002年新聞局向國際介紹1927-2002台灣美術史專輯《Impressions of Beauty》,所收錄的十一位重要畫家,陳景容教授更是目前唯一仍在世的西畫家。同時,2005年法國著名藝 術雜誌《Art & Metiers du Livre》第250期中以大篇幅介紹陳教授及其作品,足見陳景容在世界藝壇的聲望。 《羅馬街景》以堅實優異的素描基礎,描繪夜色沉沉的羅馬街道。陳景容以橘紅昏黃的色澤揮灑,天邊 彩霞、古舊盤延的街道,都感染其細膩優美的謬思。藝術家成功地營造出魔幻寫實的神祕氛圍,沉鬱的筆觸 在畫面中幽幽婉轉,行人稀落,三兩成群的背影正輕輕遠去。整幅作品迴盪著舒緩唯美的韻律感,那濃郁豐 厚的色感,不僅揭示著畫家優越卓絕的繪畫功力,也同時流露出高深莫測的禪意。

190


109

|

CHEN CHINGJUNG

( b.1934 )

陳景容

Street Scene of Rome

羅馬街景

91×116 cm Oil on Canvas Signed Jingrong in Chinese and dated 1983

1983 油彩 畫布 簽名:景容 1983

EXHIBITION "Chen ChingJung Retrospective Exhibition",Taiwan Art Editor Committee,1996

展覽 「陳景容回顧展」,台灣省立美術館,1996年

NT$ 800,000-1,200,000 US$ 26,700-40,000

191


110

|

PIERRE FERNANDEZ ARMAN

( 1928-2005 )

Athena, Como Una Espada 157×50×35cm Bronze, EA 3/3 Signed Arman boequel in English, numbered Fd. EA 3/3

阿曼 如劍一般的雅典娜 1986 銅 EA 3/3 簽名:Armar boequel Fd. EA 3/3

NT$ 3,600,000-5,000,000 US$ 120,000-166,700

192


Arman, born in Nice, France, is one of the few artists being written into western art history during his lifetime. His artworks emphasize on a new feeling and approach towards reality and objects. He is the founder and representative artist of the French Nouveau Realisme. During the mid-1900s while abstract art is the mainstream in the European art world, Arman began creating concrete objects after visiting the exhibition of the Dadaism artist Kurt SCHWITTERS. Through dissecting and accumulation, the artist will be able to give a new form and meaning to the once familiar consumerism objects and preserve them in different ways. The artist can also discover the objects’ potential use. The former French president Jacques Rene Chirac honored him as a diligent creator and has a prominent influence on contemporary art. During the mid-1980s, Arman became to dissect green copper made statues of Greek deities. He dissected Hercules diagonally to create a sense of extending the God’s great strength. He also combined the dissected statue with green copper instruments and giving a new interpretation and life to the solemn deities’ statues. “Athena, Como Una Espada” created during this time is presented in a modern linear dissect approach , and re-attached to present the heroine image of the war goddess Athena. The posture is elegant and awe-inspiring. The old and new must layer to present Arman’s unique language. Self-pronounced witness of culture, Arman’s core concept is “self-examination of the thought process”. The artworks become the testimony of history. French famous art critic praised Arman’s artworks became the eye-opener for viewers to appreciate a natural approach towards modernism.

出生於法國尼斯的阿曼,乃是少數仍在世即被寫入西洋藝術史的 藝術家之一,其創作強調「對真實事物重新感覺和認識的方法」,為 法國「新寫實主義」(Nouveau Realisme)的創立者與代表畫家。二十 世紀中期,當歐洲藝壇尚由抽象藝術主導之時,阿曼卻在參觀了達 達藝術家史維特茲(Kurt Schwitters)的展出後,轉而以物體為主的創作 型態。藉由切割物件後再堆積的創作方式,將日常生活中所熟悉的、 消費性的物品,以不同方式保存下來,更將原有的事物賦於新的面貌 與意義,進而發掘物體潛在的功能。前法國總統席哈克(Jacques René Chirac)讚譽其「阿曼是一位孜孜不倦的創作者;對當代藝術的貢獻是

非常巨大而深遠的。」 80年代中葉,阿曼開始將青銅鑄造而成的希臘神像分解,它將希 臘神話之大力神海格拉斯(Hercules)從對角線切割,造成大力神力 量的延伸;後來更將分割後的青銅樂器與被分解的希臘神雕結合,重 新詮釋希臘神像的莊嚴神貌,賦予其新生命。創作於此時期的《如劍 一般的雅典娜》,直線型的現代感切割方式,拼接重組再現古希臘時 期戰爭女神雅典娜的英雄形象,姿態典雅卻氣勢凜然,古今形象的重 疊,成為阿曼的獨特表現語彙。自許為文化見證者的阿曼,以其「重 新審視真實的思維過程」為主要理念,寓理於趣、形質並重,將物品 依其獨特的手法方式保存下來的同時,亙古彌新,也成為歷史的見證 者。法國著名的藝評家赫斯塔尼如此稱讚他:「阿曼的集合作品開啟

眾人的眼睛,讓大家去看現代的自然。」

193


林玉山

LIN YUSHAN 與陳進、郭雪湖共稱享譽「台展三少年」的林玉 山,崛起於1930年代,時值日據時代後半期,台灣在 歷經東西風潮、民族本位的衝擊之下,新舊交替,林 玉山自多重文化間梳理脈絡並連結建立自我的藝術風 格,其一生藝術創作的發展過程,也反映著台灣歷史 文化轉變的各個階段,並將生活周遭真實的環境、景 物、人物,轉換成表現台灣特色的語彙。 林玉山出生於嘉義,自幼因家庭環境而與繪畫結 緣,從民間畫師蔡禎祥學畫,後與陳澄波研習水彩與 速寫的表現技法,寫生與素描的訓練,影響其日後創 作理念甚鉅。1926赴日本東京川端畫學校日本畫科, 刻苦求學三年,奠下堅強實力。返台後除致力於推廣 台灣美術運動外,並潛修經學詩文,認為「作畫必求 詩意」,可「藉物與志」、「藉畫述志」。林玉山在 課餘亦研究宋代花鳥畫,臨摹宋、明院體派繪畫,領 悟中國傳統繪畫中的意境、造形與賦彩,並融入西畫 的技法,強調畫面內涵,經由筆法運用簡易賅寫出生 氣神采之境,挾西融中之景,進而出陳佈新。而「寫 生」一直是林玉山創作的泉源,其注重自然取材,行 腳所至,無不納為畫本,「使寫生之法,以傳統筆 墨,運今人丘壑」,致力於「外師造化,中得心源」 的繪畫理想,是林玉山窮畢生之力於繪畫所秉持不渝 的創作觀。 此《枝上白鷹》松幹不以圈麟法,直筆上下,再 加點染,濃淡變化,形神俱足;松針筆意剽疾,細 如線針,卻又恣意盎然。白鷹獨棲於枝上,萬物之清 寂,風聲可聞。白鷹雄剛而雅致,松木之勁健,兩相 對照,耐人尋味。

194


111

|

LIN YUSHAN

( 1907-2005 )

林玉山

The White Eagle

枝上白鷹

110×110cm Gouache on Silk Signed Yu-Shan in Chinese With one seal of the Artist

膠彩 絹布 款識:玉山 藝術家鈐印

NT$ 1,600,000-2,400,000 US$ 53,300-80,000 195


112

|

LONG CHINSAN

郎靜山

二十世紀初期,郎靜山運用繪畫的

Fatigue

意態闌珊

技巧與攝影暗房曝光的交替、重疊,從

30.5×22.5cm Photograph on Gelatin Silver Print With one seal of the artist

1951 銀鹽 相紙 藝術家鈐印

( 1892-1995 )

多張膠片中挑選出局部元素,重新組合 構成一幅新的畫面,獨創出集錦攝影。 郎靜山曾說:「拿照相機就是我的生

活。我做集錦照片,是希望以最寫實、 PROVENANCE Private Collection, Australia ILLUSTRATED "SELECTED WORKS of CHIN-SAN LONG", Photographic Research Institute of College of Chinese Culture, 1971

來源:澳洲私人收藏

最傳真的攝影工具,融合我國固有畫 理,以一種善意的理念,實用的價值,

圖錄 《中華大典六十年攝影選輯》, 中華學術院攝影研究所,1971年

創造出具有美的作品。」 在觀念上,郎 靜山將傳統和先鋒並行,從當時的年代 觀看郎靜山的作品,是一位十分具前衛

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

性的攝影創作者,以西方沙龍的攝影術 加入東方的性格,塑造出強烈藝術風 格,將攝影藝術發揮的淋漓盡致。

196


113

|

TONY WONG

( 1948-2012 )

Conception 76.5×84.5cm Oil and Pastel on Paper Signed on the reverse: T.W.H Wong in English

「我的畫能說故事,但卻沒有固定的意義。其最終意義應該 由看畫者自行引申完成。」 ---黃榮禧 「敘事」是黃榮禧作品基本而重要的特質之一,其創作經常 帶有明顯的故事性,但他並不在作品中提供具體的情節線索,美

黃榮禧

國評論家蓋瑞特.亨利(Gerrit Henry)便曾在短評中指出,黃榮禧畫

概念

作的力量主要源於他所創造的形象,而不在於特定的故事本身。 他以神話、傳說及文學典故作為取材對象,經轉化後,畫面的

油彩 粉彩 亞麻紙本 背面簽名:T.W.H. Wong

敘述性質仍在,但隱去了情節,只剩下情境。《概念》運用反覆

NT$ 180,000-360,000 US$ 6,000-12,000

影,所有的人及物都在沒有時間、沒有光源、不分輕重的世界裡

重疊的顏料色塊,營造了畫面的不透明感,一切都沒有光,沒有 掙扎著,紛擾的線條渾沌不明,就像是仍在成長、增殖、變形、 扭轉的魂魄,靈動逼人。 197


114

|

PENG KUANGJUN

( b.1961 )

彭光均

Autumn Cicada

秋蟬

62×64×70cm Broze, Copper, Glass, AP2 Signed Kuang-Jun in Chinese, dated 2008, numbered AP2 With a certificate of authenticity signed by the artist

2008 琉璃 銅 AP2 簽名:2008 光均 AP2 附藝術家親簽之原作保證書

ILLUSTRATED "Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, Taipei, 2009, Page 24-25 "Peng Kuanjun 2008", Caves Gallery, Taipei, Taiwan, 2008, Page 10-11 EXHIBITION "Autumn Cicada - Peng Kuanjun's Work Exhibition", Hanmo Art Gallery, Beijing, China, 2010 "Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, Taipei, 2009 "Peng Kuanjun 2008", Caves Gallery, Taipei, 2008

圖錄 《彭光均纖語香腮》,威廉當代藝術空間, 台北,2009年,第24-25頁 《春在枝頭-彭光均2008雕塑展》,敦煌畫廊, 台北,2008年,第10-11頁 展覽 「秋蟬—彭光均作品展」,北京世紀翰墨畫廊, 北京,2010年 「纖語香腮彭光均個展」,威廉當代藝術空間, 台北,2009年 「春在枝頭-彭光均2008雕塑展」,敦煌畫廊, 台北,2008年

NT$ 450,000-650,000 US$ 15,000-21,700

198


自然界的因與果,是無法言之,也無法名之的,所謂「言語道斷,心行處滅」,意即究竟的真理,不是言語 所能言說,也不是心思可以思念出來的。彭光均認為用言語思維來訴說的「感受」,和人對於自然當下的「感 受」是不同的,他希望觀者能用最純粹的心情,無需思考太深奧的邏輯理論,也不用太多揣度猜測,靜心地欣賞 作品,便能體會其特殊及巧妙之處了。 彭光均以其獨樹一格的表現手法為銅雕上色,不若強烈金屬色會將細節動作掩蓋,《秋蟬》特殊的米灰膚色 柔化了銅的剛硬,多彩的琉璃翅膀搭配金色,呈現出如珠寶般亮麗的視覺效果。彭光均眼中的少女,擁有清澈透 淨的靈魂,環抱的自然體態、神情,不僅表現出女孩的稚氣,更有女人的沉著韻味,深層蘊含著東方淬煉的美 感,優雅內斂,恬靜安逸,氣韻細細徘徊於真實與神祕之間,透露出無以言喻的浪漫氣氛,如同日本作家川端康 成筆下諸多著作中所描寫的少女:「那需要把握青春、稍縱即逝、如同刀鋒一般銳利又容易受傷的靈秀之氣。」

199


115

|

JU MING

( b.1938 )

Cross 39.5×72×46cm Bronze, 3/99 Signed Ju Ming in Chinese, dated 1997 and numbered 3/99 With a certificate of authenticity signed by the artist

朱銘 跨 1997 銅 3/99 簽名:朱銘 97 3/99 附藝術家親簽之原作保證書

NT$ 360,000-500,000 US$ 12,000-16,700

台灣20世紀最大的一場音樂 盛會為1997年「跨世紀之音」演 唱會,邀請頂尖男高音多明哥、卡 列拉斯和歌后黛安娜.蘿絲「二王 一后」的組合來台演出。中正紀念 堂廣場露天演唱,現場璀璨絢麗氣 勢宏偉的設計,融合了傳統與現代 美於一體,創造出空前獨特的盛 會,約七萬名的觀眾創下中正紀念 堂廣場的紀錄,為這一場全球音樂 饗宴作見證。 但這亮麗的成功後面有個小故 事,活動是成功的,但湧進很多不 買票的觀眾,讓主辦的新象文教基 金會擔下巨額的虧損。那時,聯合 報發行人王效蘭與新象文教基金會 行政總監許博允到朱銘家中,希望 想藉朱銘在藝術上的成就、能為此 雕刻一件藝術品,以限量複製義賣 的方式為這個音樂活動募款。朱銘 二話不說,立即應允贊助,這也就 是後來以「跨」為名的雕刻藝術 品,以三位音樂家為主題雕刻完成 這項作品,風格同於朱銘的人間系 列作品,以二王一后為主角,卡列 拉斯與多明哥坐於椅上、黛安娜羅 絲以站姿呈現,極具紀念價值。 200


116

|

JU MING

( b.1938 )

Lu Ban 18.1×13.3×33.8 cm Bronze Signed Ju Ming in Chinese

朱銘 太極系列-魯班 1988 銅 簽名:朱銘

NT$ 200,000-360,000 US$ 6,700-12,000

朱銘少年時期跟隨傳統藝師 學藝,習得一手精湛的木刻技 巧,掌握雕刻的精髓,融合傳統 木雕與現代雕塑的精神,從早期 傳統寫實至後期較抽象理念表 現,作品主題不斷創新,對朱銘 而言藝術即是修行,展現內觀修 養的行為紀錄。魯班是春秋末葉 著名的工匠,對建築及木工等貢 獻流傳著許多的傳說,認為是魯 班所設計的工具及建造法則,被 後世尊稱中國工匠師祖。《太極 系列―魯班》表現了規矩勤奮、 工具巧妙創新的魯班精神,透過 朱銘刻鑿出魯班手持著工具非凡 氣魄的動勢,表達出對工匠祖師 的尊敬、崇拜。

201


117

|

HSIAO YI

( 1956-2006 )

Ah-Klen 60×59×29cm Iron Signed Hsiao Yi in Chinese

「蕭一以逆旅的方式,回到「熟」之前的「生」, 以作為一種踰越的手段,這樣的逆旅是一種回歸初始, 轉回原生,回到太朴。這「生」的美學,可以是一種生 澀,一種生猛,一種生命,其中帶著粗糙、莽撞、笨 拙、野性、殘忍、不修邊幅、不拘小節的絃外之音。這 「生」也是一種直接的原始與未開發,文明或文化的力

ILLUSTRATED "Hsiao Yi Steel Tender 1999 Exhibition in Iron Sculpture", Lin & Ken Gallery, Taipei, Taiwan, Page 36-37

蕭一 阿建 1999 鐵 簽名:蕭一 圖錄 《蕭一鐵漢揉顏 1999鐵雕作品集》,大未來畫廊, 台灣台北,第36-37頁

NT$ 240,000-400,000 US$ 8,000-13,300

202

量在此變得鞭長莫及。」 ---節錄自王嘉驥<生與熟> 《阿建》為蕭一鐵雕的系列作品之一,率性、不刻 意修飾的雕件,有著自然隨意的形象。不同於以往木雕 的圓融與柔和,鐵件的稜角與不規則,改變了傳統風 格,蕭一藉此轉換舊習,與自己的過去對話,以其率性 的感性與直覺,讓創作生涯擁有更多元化的發展。


118

|

CHEN HUANZHEN

( b.1966 )

Fallen Angel 38×52×70cm Stainless Steel ILLUSTRATED ''Huan-Zhen Chen'', Fei Hwang Art Center, Aug 2011, Page 49-50 EXHIBITION "Lyrie and Flybridity" Chen Huan-Zhen Solo Exhibition, Lunghwa University of Science and Technology, RTS Art Center, Hsinpei, Taiwan, 2011

陳煥禎 下凡間的天使 2009 不鏽鋼 圖錄 《陳煥禎作品集》,飛皇藝術中心,2011年 8月,第49-50頁 展覽 「抒情與混融」陳煥禎雕塑個展,龍華科技 大學,台灣新北,2011年

NT$ 250,000-300,000 US$ 8,300-10,000

陳煥禎的雕塑多以女性形象作為作品 的表現方式,他認為女性的優美體態和柔 和的身形,非常適合用來表達細緻的內在 情感;他藉由三度空間的具體物像與象徵 性的符碼,共構形成作品本身的現實語 意,強調自身的存在與現代的精神樣貌, 呈現其真誠的敘事手法。他寫到:「我透

過眼神、肢體與細微表情等傳遞出作品自 身由內而外顯的意念與情感,心中的情感 由內向外流露顯現,使情感的顯露形成外 在形式的樣貌。」 《下凡間的天使》以女 孩的形象帶予觀者雀躍的情感、生命的溫 度與肢體的力美,藝術家創造出一種獨特 的羽翼,有如子彈造形的噴射火箭,取代 了柔軟的翅膀,但在硬質性的外表下卻擁 有粉紅色的溫柔與純真,載著女孩飛往未 來,陳煥禎以瞬間的掌握,傳達回歸純粹 單純和寧靜的永恆境界。

203


119

|

PU RU

( 1896-1963 )

溥心畬

Landscape

策杖遊林圖

31.5×90cm Ink on Paper Inscribed and Signed Hsin-Yu in Chinese With two seals of the artist

水墨 紙本 題識:策杖步林邱茂牡 冷煙色地簌髮 鴻湍悠然教察 闊步棧山水間 流嶽皆自得 款識:心畬 藝術家鈐印

PROVENANCE Acquired directly from the Chou Hui-Ying's Family

來源:現藏者得自丒輝英家族

NT$ 350,000-550,000 US$ 11,700-18,300

Pu Xinyu, named Ru, also known as Xishan Yishi. He was a member of the ruling house of the Qing Dynasty. He received educated with the Emperor of China at a young age and was taught by strict traditional education that nurtured his talents in piano, chess, writing, painting, wine tasting and flower appreciation. He has a particular liking in poems and paintings, and established his solid foundation. He is reputed to be as talented as Chang Da Chian and won the fame of “Southern master Chang, Northern master Pu”; again with Wu Hu Fan as “Southern master Wu, Northern master Pu”. People honor Huang Chun Bi, Chang Da Chian and himself as the three Du Hai art masters. Self- nurtured talent and Pu Xinyu said “It’s easier to have a mentor in painting. And when you don’t, you need to realize and appreciate art and then master the exquisite essence in it. The experience is wonderful.” Referencing and learning from the royal treasured paintings at home, Pu Xinyu internalized and came out with his own style. A poetic presentation and complete composition is prevailed in 《Landscape》, the brushstrokes are strong and steady; the contour is exquisite and detailed; the style is smooth and rapid. Utilizing the taidian approach originated from the Yuan dynasty, every dot has become the foundation of the solidity of the stones and rocks. The artist expressed himself with an elderly sitting casually under a tree, and the man with a cane walking around the woods; the atmosphere is elegant and noble and full of literati charisma. The poetic meaning echoes with the beautiful background bringing out an elegant and detailed style.

溥心畬,本名儒,別號西山逸士。出身於清皇室,幼年於恭王府學文,在大內即受到傳統嚴謹的禮教薰陶,培養「琴棋 書畫詩酒花」的美學造詣,篤嗜詩文、書畫,奠定深厚的學養基礎。與張大千齊名,有「南張北溥」之譽,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。繪畫無師自通,溥心畬曾說:「蓋有師之畫易,無師之畫難;無師

必自悟而後得,由悟而得,往往工妙。」 對家中皇室珍藏的古書畫自行有所觀摹,經過內化思考融合傳統為自我風格。《策 杖遊林圖》觀看溥心畬作品,詩境具體的呈現,作品結構完整,展現出筆墨功力,用筆輕勁挺拔,勾勒用線極其講究,筆法 流暢迅速,使用苔點法都有獨到之處形成抑揚頓挫繁簡恰有定形,皴法畫出山石體感;溥心畬充分抒發胸懷,畫中的樹下老 人悠然自得,策杖人漫步遊林,氣韻內涵藉由筆墨展現於紙上,顯高雅清靜,蘊涵文人精神,其書法飄灑酣暢、剛健優美, 詩書畫意境深遠相映成趣,美感形式的獨特呈現,添加一股秀麗典雅的風格。 204


120

|

LEE SHICHI

( b.1938 )

Language of Ink 79×110cm Ink on Paper Signed ShiChi in Chinese and dated 2001 With three seals of the artist

李錫奇

李錫奇生於金門,1958年組成「現代版畫會」、1963年正式 加入本位思想啟迪的「東方畫會」,曾獲多國國際藝術大獎,以 現代抽象版畫聞名國內外。創作歷程分為半抽象期、抽象期、複 合媒材期、抽象及書法期四階段,五十多年執著於開創性的藝術 創作嘗試,獲得「畫壇變調鳥」的美名,其創作脈絡對於台灣現 代藝術發展而言,堪稱為「六○年代台灣現代藝術運動健將」。 李錫奇的現代繪畫藝術發軔於傳統的民族性,繼而受到西方

墨語

的藝術思潮牽引,不斷在傳統與現代之間,尋求歸屬於民族根本

2001 水墨 紙本 簽名:錫奇2001 藝術家鈐印

的藝術獨創性。此作《墨語系列》為李錫奇2001年之作,將人生

NT$ 180,000-240,000 US$ 6,000-8,000

無言純粹經驗,留給觀者精神層面上無限想像的空間。

的感悟訴諸於墨語,跳脫傳統媒材的工具使用思維,以布面壓印 方式呈現軟調性的皺褶紋理,構成大塊狀分割的抽象性,呈現中 國哲學中的色與空、虛與實、動與靜、變與易,表現東方智慧的

205


張充仁

ZHANG CHINGREN 張充仁,於1907年生於上海,其精湛的藝 術成就與峰迴路轉的一生際遇,是為中國當代繪 畫、雕塑界開創新局的傑出藝術家。14歲時進 入上海土山灣印書館照相製版部學習,隨愛爾蘭 籍導師學習素描及法文,奠定堅實的文學、藝術 基礎。1931年獲中比「庚子賠款」的獎助金赴 比利時留學,與劉開渠、王臨乙、曾竹韶、滑田 有、鄭可、陳錫昆、王熾民等人先後留歐。進入 布魯塞爾皇家美術學院油畫高級班,與前一年抵 達的吳作人,同為巴斯天(Alfred Bastien)的得意門 生。從比利時畢業歸國後,旋即籌建成立中國第 一個私人畫室「充仁畫室」,在推動新教育及藝 術教學上蔚為先鋒,培育許多優秀人才,桃李天 下。張充仁將中國文化與西方藝術相互交流,藝 驚西方,1980年代之後,張充仁成為歐洲聲名 大噪、婦孺皆知的中國藝術家,國內外訂單如雪 片般飛來,如為當時的法國總統密特朗、摩納哥 國王藍尼爾、音樂大師的德布西等政界領袖與名 流塑製銅像,震撼藝界。張充仁得到了國際級雕 塑家的尊榮與崇高地位,藝術成就其一生的輝煌 豐富而純粹。 張充仁的寫實功夫紮實,風格婉約清雅,此 幅《靜物》,張充仁描繪蔬果美食、美酒老甕等 日常生活物品,並運用精湛的繪畫技巧把印象派 的靈動光影、豐富的色感層次精采呈現。《靜 物》帶著張充仁作品中少見的飽和色調,畫面結 構呈現西洋繪畫的傳統,又兼具東方雅致的靜謐 氛圍,凝聚出古典主義莊嚴和自然主義的縝密。 在嚴謹的法度之外,也能顯現飄逸灑脫與從容自 在的韻味,作品自然流露出一種中國文人特有的 氣質風範,足見一代大家的經典樣貌。

206


121

|

ZHANG CHINGREN

( 1907-1998 )

張充仁

Still Life

靜物

39×49cm Oil on Canvas Signed Ching-Ren in Chinese

油彩 畫布 簽名:充仁

NT$ 350,000-500,000 US$ 11,700-16,700

207


122

|

ENDRO

( b.1983 )

Garden Of Love 100×100cm Oil on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from gallery

安卓 花園之愛 2013 油彩 畫布 簽名:Endro 2013 附畫廊開立之原作保證書

208

NT$ 120,000-200,000 US$ 4,000-6,700

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 hyper-realistic droplets of water to signify hope.

印尼的年輕藝術家安卓善於利用模糊的背景及超現實細 膩的寫實手法,細緻描繪水滴環繞畫面,象徵逐夢之境,環 繞在理想與慾望之間,令人分不清是現實亦或夢境。


123

|

ENDRO

( b.1983 )

Perfecr Day 120×150cm Oil on Canvas Signed Endro in English, dated 2013 With a certificate of authenticity from gallery

安卓 美好的一天

Endro looks at our dreams. Dreams that we desire in our daily lives, a garden of Eden; and it's usually blurred by obstacles. However, the droplets are hopes to see that one day.

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。

2013 油彩 畫布 簽名:Endro 2013 附畫廊開立之原作保證書

NT$ 150,000-250,000 US$ 5,000-8,300

209


124

|

TOTOK SUDARTO

( b.1954 )

The One 100×100cm Acrylic on Canvas Signed Totok in English, dated 2013 With a certificate of authenticity from gallery

托卡.蘇達圖 唯一 2013 壓克力 畫布 簽名:2013 Totok 附畫廊開立之原作保證書

NT$ 100,000-200,000 US$ 3,300-6,700 210

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.

印尼藝術家托卡.蘇達圖,善於利用抽象筆法及大膽用色方 式,來表現出自我的作品風格,,看似瘋狂混亂的結構,在純熟的繪 畫技巧及顏料的運用搭配之下,傳達出濃厚且強烈的內心渴望。


125

|

WANG CHIHSIN

( b.1966 )

Blooming in Wildness No.1 60×80cm Acrylic on Canvas Signed Chih-Sin in Chinese, dated 2011

「藝術需要真誠,作為一個畫家,我一直堅持畫自己內心所看到 的一切,我堅信內心的真實遠過於表象的真實,我致力於挖掘事實背 後的真實,因此,相對早期創作,後來的作品畫面之外我所要寄予的 主觀表達更豐富一些,比如對光線的特殊處理,包括筆觸的運用、畫 面流動效果的營造,都源自我內心的真切感受。」 ---王霽昕

王霽昕 荒野中的綻放NO.1 2011 壓克力 畫布 簽名:霽昕 2011

王霽昕透過筆畫訴說著對歷史的反省以及內心對生命的感悟,表 達出強烈的民族精神,創作出極為豐富內涵的作品。《荒野中的綻放 NO.1》在蔚藍色的天空飄浮著幾朵白雲下,看見在荒野雜草中出汙 泥而不染且屹立不搖的樹木經過時間的流逝綻放出美麗的花朵,蘊含 堅不可摧的強大生命力,更是一種堅韌內蘊傲然挺立,感受到對未來

NT$ 260,000-320,000 US$ 8,700-10,700

充滿著無窮的希望,透過畫面傳達出內在精神,可以感到一股凝聚生 命的力量與尊嚴,使觀者對人生有許多不同層次的感悟。

211


126

|

JIANG ZHONGLI

( b.1963 )

Transient Solidity Series - Nude 150×50cm Oil on Canvas Signed on the reverse: Jiang Zhong-Li and titled in Chinese, dated 2007 With a certificate of authenticity signed by the artist

姜中立 凝固系列之―女人體 2007 油彩 畫布 背面簽名:作品名稱:凝固系列,作者:姜中立 創作時間:2007.4,尺寸:150×50cm 附藝術家親簽之原作保證書

NT$ 400,000-600,000 US$ 13,300-20,000

姜中立曾入天津美術學院油畫系就讀,畢 業後赴法國巴黎美術學院研習,現為天津美術 學院教授。姜中立的凝固系列為具象繪畫作 品,以扎實的古典寫實油畫技巧為基礎。姜中 立在《自述》中說道:「我渴望我的作品傳遞

出既現實又虛擬的境界。」 其所創作的基本概 念是面對靈感產生的形象,把它推遠、凍結、 凝固,將現實虛擬化,轉化形成歷史圖像,創 造出新的解讀方式。《凝固系列之-女人體》 作品中女子倚靠著牆上引領而望的迷離神情彷 彿訴說著想跳脫密閉束縛般的空間,強烈表現 女子渴望的精神和孤寂的意境。表現形式獨樹 一格,追求一種特有的語言,強調現實與虛擬 的關係,以歷史角度的眼光讓人產生疏離感, 形體與色彩之間厚實且寧靜,呈現出雕塑立體 美感,使觀者透過畫面體驗出不同感悟。

212 212


127

|

CHEN YUNGSEN

( 1913-1997 )

Forest 167×130cm Oil on Canvas Signed Yung-Sen in Chinese, dated 1953 With one seal of the artist

「藝術包羅宇宙萬象醉心藝術香,如癡如狂,目之所接一 草一木一山一石,靈煙奇幻,波濤之詭譎,都會觸其心靈,而 表現其美的感覺。所謂『外飾造化內得心源』這就是畫家靈感 的昇華,盡情表達的根源。」 ---陳永森 陳永森在日本畫壇浸潤六十餘年,除膠彩畫之外,對於油

陳永森

畫、雕刻、工藝、版畫、書法甚至於詩文等創作都擁有一番成

森林

就,他始終不輟的創作熱情,造就其多才多藝並豐碩的人生經

1953 油彩 畫布 簽名:永森 一九五三 藝術家鈐印

歷,在各種媒材間穿梭探討,自然地靈活運用技巧,彼此相輔

NT$ 850,000-1,100,000 US$ 28,300-36,700

容:「看陳永森的畫,就像看到多姿多采的人生」 。

相成。陳永森直取唐宋精髓,專擅丹青赭黃礦材顏料,作品既 兼具中國傳統人文畫風格,更融合西方繪畫的厚實質感及微妙 的色彩變化,筆觸即興大膽,畫面精緻而瑰麗。作家伊雪曼形

213


128

|

YANG CHIHUNG

( b.1947 )

Till the End of Life 56×75cm Mixed Media on Paper Signed C. Yang in English, dated 1989

楊識宏曾於1984-85年及1985-86年中,連袂得到紐約市鐘塔畫 廊 (The Clocktower)藝術基金會的年度藝術家的殊榮。創作抽象畫作 多年,其作品表達了生命情境、對生活的體驗而由內而外的相互觀 照,並悠遊於虛實之間,進而達到一種純粹的繪畫性、一種具體而微 的精神表現,這樣的特質更被國際藝壇視為繼趙無極、朱德群之後最 重要的抽象表現主義之華人藝術家之一。在八○年代末期與九○年代

楊識宏

初期,楊識宏作品進入「植物美學」的時代,他以抒情的視覺、圖像

生命的盡頭

思維,呈現出經理性內化之後的浪漫氣氛。這時畫面上的物象已是經

1989 綜合媒材 紙本 簽名:C. Yang 89

過外在事件時間過濾之後的詩性元素,其中的時間性,已經被楊識宏 以純粹繪畫性的空間結構改造了;所看到的是,隨著筆觸的方向而揮 灑出來的時間,那是一種造型運動感之下的時間。楊識宏的作品富涵 濃厚東方情懷,90年後作品多以漂浮漫生的植物為主題,充滿人文氣

NT$ 180,000-260,000 US$ 6,000-8,700

214

息。表現上融合水墨筆法及西畫著重之色彩及光線,故能在二度空間 中表現出時間及速度的視覺感,又兼容東方神秘氣息。


129

|

YANG CHIHUNG

( b.1947 )

The Mystery of Seed II 56×75cm Mixed Media on Paper Singed C. Yang in English, dated 1989

楊識宏,70年代開始嶄露頭角的台灣抽象畫家,畫作致力於對 生命意義及內在精神的探討,融入東西方元素,以物象的變換象徵生 命的過程,透過轉化表達出內心蘊藏的心象世界,筆下展現的層次豐 盈,同時不乏東方藝術的溫婉細膩與西方繪畫的粗獷濃烈,延伸出生 命的廣度以及藝術的縱深,找到屬於自己的思想與語彙,作品富涵濃 厚東方情懷與個人風格。《神秘的種子Ⅱ》時間隨光陰的快速流逝,

楊識宏

植物姿態的扭曲變化,墨韻緩慢的延伸渲染,一股堅毅的生命力及韌

神秘的種子 II

性隱藏在背後,其闡述內在精神,表達了對無常生命的思索,流露出

1989 綜合媒材 紙本 簽名:C. Yang 89

對於生命的不安與悲憫,透過轉換變形,深入精神的本質,將自我心 中最深層的真實藉由創作將之釋放出來,讓作品意義更為完滿。

NT$ 160,000-240,000 US$ 5,300-8,000

215


130

|

PEN TZUCHIANG

( 1960-2010 )

Living in the Mountain 79×109cm Watercolor on Paper Signed Tzu-Chiang in Chinese, dated 2007

彭自強自幼學習水墨畫,十六歲入門習畫,對水彩 情有獨鐘,創作的作品題材內容豐富,在水彩領域自成 一格,多次參展獲獎無數。《林間山居》彭自強捉捕大 自然間的美感,水彩明快俐落的特色,即使以風景為主 體也可以見到人物的動感點綴於其中,線條突顯速度及 方向感,豐富的色彩中強調光影的變化,技法純熟描繪

彭自強

寫實,細膩中帶點狂放灑脫,畫面豐富且有層次空間,

林間山居

大自然的景物經過畫家用心的提煉,活靈活現運用筆觸

2007 水彩 紙本 簽名:自強 2007 藝術家鈐印:彭

NT$ 200,000-360,000 US$ 6,700-12,000

216

自然流暢的表現出來,欲傳達出畫家內心感受,也帶領 著觀者享受天地的寧靜。


131

|

JU MING

( b.1938 )

Lion 13×15×25.5cm Bronze Signed Ju Ming in Chinese, dated 1982

朱銘 雄獅 1982 銅 簽名:朱銘 82

NT$ 160,000-320,000 US$ 5,300-10,700

「氣韻生動的作品,每一塊肌理的流動,都 依循著作品內在活力與動感的需要,而呈現出整 體造型上最合理、自然的律動,這就是『以裡達 表』傳導出生命力的訊息。成功的作品絕不是任 意加一塊或減一塊所能造就,它有一個接近本 能、獨立單一的生命條件,這才是自然天成。」 ---朱銘

《雄獅》在基座塊體上僅僅露出一顆獅頭, 藝術家以豪邁粗獷的手法雕刻,紮實的功力揮灑 出渾厚飽滿的生命力,散發著寫意瀟灑之美,就 如朱銘所說「縱手放意,無心而得」 的觀點,堅 守創作本質且隨心所欲地發揮,渾然忘我。

217


132

|

HUANG MINGCHE

( b.1948 )

The Light of Life 268×29×29cm Stainless Steel, 74/100 Signed Che in Chinese, numbered 74/100

黃銘哲 生命之光 不鏽鋼 74/100 簽名:哲 100-074

NT$ 120,000-200,000 US$ 4,000-6,700

90年代過後,黃銘哲的作品逐漸從平面 繪畫轉化為立體創作,他冒著失去市場的極大 風險,跟隨內心的聲音、欲望,義無反顧地投 入大型雕塑的造型世界。藝術家以堅硬的不鏽 鋼材質打造溫柔的絕美弧度,將女人軀體般的 完美曲線拉長、抽高,一件件有機形態的作品 便呈現於觀者眼前,乾淨俐落、活力盎然又充 滿趣味。從平面延伸到立體的概念,顯現出黃 銘哲清晰的創作脈絡,他以冒險家的精神和幻 想家的理想,發展出屬於自身的藝術語言。 《生命之光》為黃銘哲《昇華系列》的其中一 件,高挑的造型細緻而優雅,兩端的尖銳在視 覺上不斷延伸,中間的鋼材也要被拉扯成直線 似的,一股強勁而柔軟力量附著在作品上,就 如藝術家的情感般,堅定執著。

218


133

|

PENG KUANGJUN

( b.1961 )

Empress 30×30×60cm Granite, Broze, 3/6 Signed Kuang-Jun in Chinese, dated 2004, numbered 3/6 With a certificate of authenticity from gallery ILLUSTRATED "Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, Taipei, 2009, Page 9 "PERN - KUANJUN", Cultural Affairs Bureau of Hsinchu County, Hsinchu, Taiwan, Page 96-97 EXHIBITION "Peng Kuanjun-Slender Talk Fragrent Cheek", William Art Space, Taipei, 2009 "Peng Kuanjun 2008", Caves Gallery, Taipei, 2008

彭光均 后 2004 花崗岩 銅 3/6 簽名:2004 光均 3/6 附畫廊開立之原作保證書 圖錄 《彭光均纖語香腮》,威廉當代藝術空間,台北, 2009年,第9頁 《不可思議彭光均作品集》,新竹縣文化局, 台灣新竹,2004年,第96-97頁 展覽 「纖語香腮彭光均個展」,威廉當代藝術空間, 台北,2009年 「春在枝頭-彭光均2008雕塑展」,敦煌畫廊, 台北,2008年

NT$ 160,000-320,000 US$ 5,300-10,700

彭光均早期的作品較為抽像、寫意,僅以簡單線條勾勒人物曲 線,追求意象的表達及想像;而後期逐漸發展為寫實的人體雕塑, 細膩的肌肉線條、表情神韻及體態呈現,無一不到位,並更在細節 賦予其寫意的優雅,自如穿梭於寫實的精確掌握、觀察和寫意的意 蘊涵詠之間。彭光均說:「創作過程就如禪定。」 其認為:「色本

天成非我創。」 因此盡其可能地回歸本性,使作品獨具一份少有 的適意。《后》造形古典雅緻,布料的裝飾使人物帶有民族特色之 美,皺褶與暈染,使材質的掌握精巧而細緻,色彩布局上也講究華 美感受,銀綠襯以金色之搭配,為觀者營造出夢幻的視覺經驗。

219


134

|

LEE SHICHI

( b.1938 )

Critical Point 80×65cm Mixed Media on Canvas

李錫奇,生於金門古寧頭,1958年組成中國現代版畫 會,之後奕成為李仲生的門生。1963年正式加入東方畫 會。80年代中期開始,創作大書法系列,以大書法創見臨界 點系列作品,從中國書法裡取得靈感找到嶄新的視覺語言, 嘗試草書入畫,在傳統與現代之間尋求自己民族本位的藝術

李錫奇

獨創性。李錫奇作品富東方人文意涵,創作過程經歷半抽象

臨界點

期、抽象期、複合媒材期、抽象及書法期四個階段,充滿了 冒險精神,盡心奉獻於藝術領域,2009年獲總統府聘為國

1990 綜合媒材 畫布

NT$ 160,000-240,000 US$ 5,300-8,000

策顧問,為藝文界發聲,曾多次獲國際性獎項殊榮,甫得第 十六屆國家文藝獎,卓越貢獻。《臨界點》猶如黑夜星空的 背景,以書法的結構將字的筆意氣勢迴繞飄浮於其中,流動 的書寫性線條鑲入心境,沉穩轉化繪畫新意,將對外在現實 的領悟與內心世界的沉澱透過畫面躍然而出,帶領觀者進入 有深度的神秘空間裡,十分耐人尋味。

220


135

|

FONG TENGCING

( 1933-2005 )

Lotus Pond 45.5×34cm Oil on Canvas Signed Teng-Cing in Chinese, dated 1988 With a certificate of authenticity from gallery

馮騰慶

馮騰慶出生於桃園客家村落,自小就與池塘田 野、竹林山景及農舍家畜為伍,因此特別擅長表達台 灣鄉土情趣,繪畫手法質樸厚實,韻味十足。《荷花 池》以豐富又沉穩的色調層層堆疊,綠中大量帶黃、 咖啡、暗紅的暖色系呈現出異於一般的池水風景,靈 活而溫潤。馮騰慶捨棄了對細節的描刻,以豪放筆法 道出荷花玉立於田田荷葉之中的獨立與個性,並生動 地勾勒出如暖陽般放射的粉紅花瓣,在池水間綻放光

荷花池

芒,充分展現其色彩的層次感與純粹的畫面結構,而

1988 油彩 畫布 簽名:騰慶 1988 附畫廊開立之原作保證書

視覺朦朧的焦點,更引領出耐人尋味的美感世界,值

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

得細細品嘗。

221


136

|

LEE LIANG

( b.1985 )

Sea of Dream 100×119cm Oil on Canvas Signed Lee Liang in Chinese, dated 2013.2, named Seal of Dream in Chinese With one seal of the artist

李梁 夢之海

「我改變了它們的大小,色彩、形狀、功能,將 這些”異質元素”和”雜音”編排在一個主體思想 中。在具象元素之間加之以抽象形態,讓它們彼此看 似相互連結又分隔開來,成為”大寫的繪畫”,不同 於傳統的繪畫。」 ---李梁 李梁認為,繪畫生命力的延續在於藉由不同主題 呈現的碰撞,將矛盾與異端的元素相互融合、共生, 以產生新的藝術語言和表現形式。他將碎片化、分割

2013 油彩 畫布 簽名:2013.2 李梁梦之海 藝術家鈐印

式的具象形體作為創作物件,保留其不可抹滅之本

NT$ 180,000-320,000 US$ 6,000-10,700

絢彩意境浮躍於畫面之上,紫紅花朵在夕陽的金黃餘

質,在真實虛幻中拼接、重組,他們不僅各自都是主 體,也都是局部,相互影響,相互從屬。《夢之海》 結合了異質的具象形體於同一空間,造就了半抽象的 暉間盛綻,象徵和平的白鴿輕踏於海面佇立的畫框 上,舞動的翅膀為這空間注入一股生命及和諧之感, 引領觀者一同掉入藝術家內心的真實世界。

222


137

|

KUO TONGJONG

( b.1927 )

Venice 24.5×33.5cm Oil on Canvas Signed Kuo Tong-Jong both in English and Chinese, dated 1991

郭東榮

郭東榮是台灣當代傑出的油畫家,自小是美術比 賽的常勝軍,1955年以第一名成績畢業於國立台灣 師範大學美術系。大學期間受廖繼春賞識,曾受過廖 繼春的指導,對郭東榮學習上有直接的影響,在設色 觀念及素描基礎上非常扎實,接受多方面影響風格 多樣化,依然能保有自己的特質。1957年創始五月 畫會,帶動台灣畫壇革新與發展,成為當時台灣畫壇 最前衛的團體,也是台灣藝術史上重要的畫會之一。

威尼斯

1962年赴日本深造,獲得日本早稻田大學西洋美術

1991 油彩 畫布 簽名:東榮Kaku 1991, KUO TONG-Jong 背面簽名:郭東榮 1991 威尼斯

史碩士及國立東京藝術大學油畫技法材料碩士學位。

NT$ 60,000-120,000 US$ 2,000-4,000

隻熙熙攘攘的穿梭其上,河面波光粼粼如萬花筒般的

其優異的藝術表現,活躍於台日兩地,促進兩國的文 化交流,一生獲獎無數,卓越貢獻。此作《威尼斯》 描繪出文藝復興時期巴洛克風格建築,大運河上各船 動態,筆法如跳躍般的音符,運用鮮活明亮的色調, 細膩筆觸層層疊疊的堆砌出水中的藝術長廊,激盪出 一幅形與色唯美的畫作。

223


138

|

HSIEH HSIAOTE

( b.1940 )

Landscape of Riverside 78×108cm Watercolor on Paper Signed Hsieh Hsiao-Te in Chinese, dated 2011

謝孝德畢業於台灣師範大學美術系,曾遠赴法國 巴黎羅浮藝術學院進修,經過多年的素描鍛鍊,練就 紮實的描寫功力,將國畫潑墨山水渲染的意境結合西 洋的透視觀點融入其作品中,創作堅持具象藝術,擅 長素描、油畫、水彩、嵌畫與雕刻,在海內外舉辦多 次個人畫展,享譽國際,是台灣新寫實主義的開創

謝孝德

人。謝孝德認為:「東方藝術山水畫的表現是寫意、

江上漁家

渲染的功夫,他融合國畫潑墨山水渲染的意境,結合

2011 水彩 紙本 簽名:2011 謝孝德

NT$ 100,000-150,000 US$ 3,300-5,000

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。」 《江上漁家》此一作,流暢的筆觸勾勒出仙境般的山 水美景,獨特的筆法,純熟的技巧掌握住水與色彩的 流動,漁船悠遊於江面上,天然造化的自然之美無限 延伸,構築出一幅幽邃靜謐的湖光風情畫,映入眼簾 令人心怡神悅。

224


139

|

CHEN SHUJIAO Flowers 38.5×45cm Gouache on Silk Signed Xhu-Jiao in Chinese With one seal of the Artist

陳淑嬌 花 膠彩 絹布 簽名:淑嬌 藝術家鈐印

( b.1951 )

陳淑嬌就讀台南家專美工科時,曾經授教於劉啟 祥、沈哲哉、曾培堯、張淑美、王守英等老師學習油 畫。1983年開始學習膠畫,師承謝峰生。創作題材 常圍繞著花卉與女人,作品重視內涵與技法,筆觸細 膩,融合傳統繪畫基礎及現代藝術的理念,多次在台 灣主要美展獲獎,成績斐然。《花》膠彩的礦物質顏 料猶如寶石般晶瑩閃爍,以多層次堆疊技法,細膩精 湛的筆觸勾勒出清新典雅的花卉,色彩中帶有優雅穩 定的質感,背景以綠葉襯托出如舞蹈般盛開的白色花 朵,明亮而耀眼,花繁葉茂帶著生命力躍然於上,使 觀者近距離的觀看著盛開的花朵,彷彿聞得見清新花 香,其氣質透露出高雅的內蘊。

NT$ 100,000-200,000 US$ 3,300-6,700

225


140

|

WANG CHIHSIN

( b.1966 )

Monkey 直徑Diamete: 56cm Oil on Canvas Signed Chih-Sin in Chinese, dated 2012

王霽昕用自己的視角去創作,繪畫極具藝術敏感 力,以獨特和純熟的手法表現內在精神,畫如其人一 樣擁有博大的情懷,藝術語彙獨樹一格,紮實的藝術 功力、精湛的技法,其豐富作品的內涵。《猴子》一 作中,將蔚藍無邊的海洋為背景,猴子為主體表現對 象,注入人性靈動般的姿態,離群索居悠遊自在的棲

王霽昕

息在岸邊,將動物情感世界和動物擬人化的揭示發揮

猴子

淋漓盡致,藉由繪畫訴說自我的理念,將生命賦予於

2012 油彩 畫布 簽名:霽昕 2012.12

NT$ 120,000-160,000 US$ 4,000-5,300 226

作品中意境深邃高遠。


141

|

YOSHITOMO NARA

( b.1959 )

奈良美智

Lullaby Supermarket and Dreaming in the Fountain

催眠超市;噴泉中的夢

書Book:14×25×23cm 雕塑Sculpture:7.9×8.41×8.41cm Mixed Media, Synthetic Materials Signed Na in Japanese under the base of Dreaming in the Fountain Included an illustrated book and a mini sculpture. This set by Verlag für moderne Kunst, Germany This work is from an edition of 1000

2001 綜合媒材 書本 雕塑底座簽名:な 內附圖畫書及小型雕塑 由德國VERLAG FUR MODODERNE KUNST出版 出版數量僅限定1000組

NT$ 50,000-70,000 US$ 1,700-2,300

盒裝封面

227


142

|

JIN QINBO

( 1910-1998 )

Peony 69.5×38cm Ink on Paper Inscribed and signed Jin Qin-Bo in Chinese, dated 1974 in Chinese sexagenary cycle (Jia Yin year)

金勤伯 牡丹 1974 水墨 紙本 款識: 一鳴兄嫂清賞 甲寅立冬後 金勤伯 藝術家鈐印

NT$ 60,000-120,000 US$ 2,000-4,000

金勤伯被喻為臺灣書畫界 「院畫花鳥工筆風格第一人」, 擅長花鳥、山水、人物等主題, 尤其專精花鳥畫,少時得大伯父 金城和姑母金章真傳,練就精湛 的藝術基本功,力追宋代院體畫 嚴謹的風格,同時他也做到中國 古代文人畫得最高要求-畫品與 人品齊高的境界。金勤伯自幼飽 讀詩書,擁有深厚的國學修養, 廣闊的視野、淡泊名利的個性, 都於工筆兼寫意的內涵中透露出 來,在花鳥畫壇中,獨樹一幟。

228


143

|

YU CHUNGLIN

( 1925-1985 )

a.Pomegranate and Birds b.Brids a. 47.5×81cm b. 30×30cm Ink on Paper a. Inscribed and signed Yu Chung-Lin in Chinese, dated 1965 in Chinese sexagenary cycle (Yi Si year) With seals of the artist b. Inscribed and signed Chung-Lin in Chinese, dated 1949 in Chinese sexagenary cycle (Ji Chou year) With seals of the artist

喻仲林 a.石榴鳥 b.鳥 a. 1965 b. 1949 水墨 紙本 a. 款識:一鳴吾兄 漢琦小姐嘉禮 乙巳初夏 喻仲林寫於臺灣麗水精舍 b. 款識:己酉五月寫於麗水精舍 仲林 藝術家鈐印

NT$ 80,000-160,000 US$ 2,700-5,300

以傳統工筆畫見長的喻仲林,曾與 胡念祖、孫家勤合組「麗水精舍」教 授國畫,素有「畫壇三杰」之稱。自 幼深受舅父薰陶,成長於藏書甚豐環 境,開啟對繪畫濃厚興趣。青少年時因 對日抗戰,不得不投筆從戎,隨軍隊顛 沛流離。後隨國民政府遷台,公暇之 餘至師大美術系旁聽重拾畫筆,師事名 家金勤伯,專習工筆花鳥,並在紮實的 勤於作畫之下奠定深厚功夫基礎,且走 出獨特韻味的寫意境界,所繪花鳥栩栩 如生,設色明麗清新,化工之妙,自成 一格。「以工筆為形,以寫意為骨。」 乃為其創作精神所在,繁複費工的畫筆 間,融合傳統工筆的精麗雅致,並帶入 水墨渲染表現技法,一筆一勾勒間,胸 中畫意自宛然如生,畫面多元豐潤、細

a.

膩雅趣。其師金勤伯認為喻仲林最為難

b.

得的,是做到「豔而不俗,細膩而不呆 板」的境界。在當時藝壇彩墨工筆畫日 趨式微之下,喻仲林卻能以其「不古不 今,自出新意」屹立而不墜。 229


144

|

WU HSUEHJANG Plum Flowers 24×27cm Ink and Color on Paper Inscribed and signed in Chinese With two seals of the artist

吳學讓 鐵骨生春

230

( 1924-2013 )

吳學讓,字退伯。藝術家席德進曾對此與他開玩笑說: 「我進,你退!」而吳學讓則徐徐地說:「我這是以退為 進。」讓席德進愣在當場,成為藝壇趣聞。吳學讓學於1924 年生於四川,長於耕讀之家,自幼學養淵博、繪畫功底深厚, 曾師承於林風眠、潘天壽、李可染等名家。吳學讓始終延續著 傳統美學的底蘊,同時並堅持著開拓藝術新局的決心。在其作 品中總能看到深厚的古典涵養,以及巧思獨具的雅緻珍品。 《鐵骨生春》意喻梅花「萬花敢向雪中出,一樹獨先天下

1989 彩墨 紙本 款識:己巳之東 退伯於東海 藝術家鈐印

春。」 的傲寒品性,飽經風雪仍然秀然挺拔的丰姿和盎然旺盛

NT$ 50,000-100,000 US$ 1,700-3,300

雪吐豔、淩寒飄香的堅韌自強,同時也傳達對生命源源不絕地

的生命力。在《鐵骨生春》中,淡然卓絕的墨筆勾畫的枝椏, 和那嫣紅點綴的梅花朵朵形成對比,使梅花更顯繁華鮮豔、生 機勃勃。吳學讓揮灑著細密的筆觸與典雅的色感,讚揚梅花迎 嚮往與熱愛。


145

|

CHEN HSINGWAN

( 1951-2004 )

Untitled 67.5×67cm Ink and Color on Paper Signed Wan in Chinese, dated 1990

「身為一個創作者,最重要的是誠實而沈靜的工 作,不在乎外界的種種喧嘩。這是一條無止境的探索 之道,隨著生命經驗的累積而成長。創作的過程帶來 的喜悅是最大的回饋,而不是外界的掌聲、起鬨。我 崇尚自然,藉著創作,記錄我的生命、對自然的體 會。創作是生命中內在的需求,沒有任何事情能比創

陳幸婉

作帶來更大的喜悅。」 ---陳幸婉

無題 1990 水墨 紙本 簽名:1990婉

NT$ 50,000-100,000 US$ 1,700-3,300

陳幸婉自90年代開始創作水墨作品,將內在脈 絡賦形於墨跡上,以感性的生命追求純粹繪畫,作品 精神趨近於自發性的生命經驗。《無題》畫面上揮 灑、噴墨的點、線、面,上方崩裂出各種墨滴與線 條,濃與淡的強烈交互運用,將其觀念、理念,與文 化衝撞下的產物及個人內心世界藉由氣勢磅礡的筆畫 一併直接將情感宣洩出來。 231


146

|

YANG SHENSUM

( 1913-2004 )

Calligraphy (diptych) 136×34m(2) Ink on Paper Signed Shen-Sum in Chinese With one seal of the artist

楊善深 行書七言聯 2001 水墨 紙本 款識:辛巳 善深 藝術家鈐印

NT$ 120,000-200,000 US$ 4,000-6,700

釋文: 讀書眾壑歸滄海,下筆微雲起泰山。 張素娥:「作為畫家的楊善深,

與一般書家所不同的是,大膽地運用 了繪畫用筆的中鋒、側鋒、破鋒、逆 鋒來書寫,且善於安排書面,講求造 型,喜歡用深淺、幹濕、徐疾等變 化。他的字使人感到逆、拙、重、 厚,沉,是他按主觀意圖把漢碑的造 型、結構加以創造使然。」 楊善深 深諳書畫同源之道,他的畫用筆、用 墨、用線都來字書法;而字的結構變 化和佈局章法,亦來自於畫。其獨特 個性的書法風格,如篆如隸,如行如 草,既擁有傳統技巧,更是現代的主 觀創造。

232


147

|

CHENG SHANHSI

( b.1932 )

Calligraphy 139×60cm Ink on Paper Signed Cheng Shan-His and dated in Chinese With two seals of the artist

鄭善禧 論詩絕句 1997 水墨 卷軸 款識:丁丑孟夏 鄭善禧 藝術家鈐印

NT$ 100,000-200,000 US$ 3,300-6,700

釋文: 望帝春心託杜鵑,佳人錦瑟怨華年。 詩家總愛西崑好,只恨無人作鄭箋。 元遺山論詩 (《論詩絕句》金 元問好) 「樸拙美」、「反璞歸真」是鄭善 禧的執著,善於詩、書、畫的他,其字 與畫的形態都和其個性相似,「鈍」與 「拙」,就如他女兒所說:「老父畫笨 笨畫和寫笨笨字。」鄭善禧以其爐火純 青之技法,展現極其單純和樸質的風 格,並尤其欣賞于右任的標準草書和齊 白石的篆書,他曾說:「白石老人的篆 書相當簡樸、不花俏,沒有標新立異, 我的個性自然而然會向齊、于靠攏。」 《字畫》中的文字有如圖形般,優遊自 在地組合,走筆如畫,令人感覺其揮灑 自如、玩得盡興的純粹氣氛。

233


148

|

ZAO WOUKI

( 1921-2013 )

趙無極

Limited Orchid Porcelain

蘭花

直徑Diamete: 25cm Watercolor on Porcelain Signed on the reverse: Wou Ki in Chinese and Zao in English, dated 1986 Edited for the BSN group during its twentieth anniversary in 1986 Workshops Ségriès Moustiers

1986 水彩 瓷盤 背面簽名:無極 ZAO 86 備註 此瓷盤背面為法國知名陶瓷工作室l' atelier ségriès製作署款資料及BSN慶祝 企業二十周年紀念賀詞。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(1966-1986)所繪製限量抽象蘭花瓷盤。

NT$ 80,000-160,000 US$ 2,700-5,300

旅法畫家趙無極其是當今國際知名的抽象大師,在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。《蘭花》繪於1986年,並由法國最知名的陶瓷工作室l'atelier ségriès製作。這是一家專門 生產17世紀或18世紀風格的西洋古陶瓷,以手工製作聞名,力求精緻完美。曾經為知名精品法國愛馬仕和紐約的提芬 234

妮合作陶瓷工藝。


149

|

YOSHITOMO NARA

( b.1959 )

Mori Girl 29.5×18×14.5cm Mixed Media, 014/200 With a certificate of authenticity signed by the artist

《森子》,是奈良美智繼2007年與香港玩具創作 公司HOW2WORK聯名出產《失眠夜坐著》之後,再 度聯合打造,耗時6年,全球限量200件。在奈良的 諸多手稿與作品中,早已時常出現此件小樹的身影, 只是尚未有個既定的形象與個性,慢工細活著稱的奈 良,早在7年前便已有了製作《森子》的想法,在嘗

奈良美智

試各種素材的結合、配色之後,終於在2012年呈現。

森子

《森子》的身形比例猶如晴天娃娃,大大圓潤的頭,

2012 綜合媒材 014/200 附藝術家親簽原作保證卡

NT$ 200,000-300,000 US$ 6,700-10,000

配上巧小可愛的身軀,樹狀髮絲層層的堆疊的起伏、 輕盈外翹的髮尾、盈盈笑意的大眼,帶點一絲絲的愉 悅、一些些的輕盈,在光線照射下會折射出斑駁的翠 綠、棕黃,散發著快樂的療癒氛圍。藉由《森子》的 誕生,奈良企圖以孩童純真的角度,跳脫以往作品的 詼諧、諷刺印象,轉而回歸單純、平靜的自然之境。

235


150

|

YOSHITOMO NARA

( b.1959 )

奈良美智

Mellow Girl

Mellow Girl

直徑Diamete: 30cm Lithograph, 29/50 Signed Na in Japanese, dated 2009, numbered 29/50

2009 版畫 29/50 簽名:29/50 な 09

NT$ 180,000-360,000 US$ 6,000-12,000

236


151

|

SHIRAGA KAZUO

( 1924-2008 )

Seven Warring States of Zhou Dynasty China(Zhao, Qi, Chu, Yan, Qin) a. 65×64.5cm (趙Zhao) b. 102.5×61.5cm (齊Qi) c. 53×101.5cm (楚Chu) d. 61.5×102.5cm (燕Yan) e. 102.5×61.5cm (秦Qin) a. Lithograph, 12/60 (Zhao) b. Lithograph, 12/60 (Qi) c. Lithograph, 12/60 (Chu) d. Lithograph, 12/60 (Yan) e. Lithograph, 12/60 (Qin) a. Signed Shiraga Kazuo in Japanese, titled Zhao, numbered 12/60 b. Signed Shiraga Kazuo in Japanese, titled Qi, numbered 12/60 c. Signed Shiraga Kazuo in Japanese, titled Chu, numbered 12/60 d. Signed Shiraga Kazuo in Japanese, titled Yan, numbered 12/60 e. Signed Shiraga Kazuo in Japanese, titled Qin, numbered 12/60

白髮一雄 中國戰國七雄 (趙、齊、楚、燕、秦) 1993 a.版畫 12/60 (趙) b.版畫 12/60 (齊) c.版畫 12/60 (楚) d.版畫 12/60 (燕) e.版畫 12/60 (秦) a.簽名:12/60 趙 白髮一雄 b.簽名:12/60 齊 白髮一雄 c.簽名:12/60 楚 白髮一雄 d.簽名:12/60 燕 白髮一雄 e.簽名:12/60 秦 白髮一雄

NT$ 300,000-500,000 US$ 10,000-16,700

a. b. c. d. e.

237


152

|

CHU TEHCHUN

( 1920-2014 )

a. Joyous Moment b. Happy Meeting c. Douce Terre d. Force Liberatrice e. Early in the Summer f. Untitled a. 95×71cm b. 71×95cm c. 75×60cm d. 60×75cm e. 60×75cm f. 60×75cm Lithograph, 74/150 (6) Signed Chu Teh-Chun both in Chinese and English, numbered 74/150 (6) ILLUSTRATED "CHU TEH-CHUN The Graphic Work 2000-2008", Hoke Art, Taipei, Taiwan, 2008, Page 30、31、32、33、34、35 "Chu Teh-Chun The Graphic Work 20042008", Mingshan Art, Taipei, Taiwan

朱德群 a. 瞬間的喜悅 b. 喜相逢 c. 溫馨之鄉 d. 自由的活力 e. 初夏 f. 無題 a. 2004 b. 2004 c. 2005 d. 2005 e. 2005 f. 2005 版畫 74/150 (6) 簽名:74/150 朱德群 CHU THE-CHUN (6) 圖錄 《朱德群 石版畫2000-2008》,霍克國際藝術,台灣台北, 2008年,第30、31、32、33、34、35頁 《朱德群 2004-2008原創石版畫》,名山藝術,台灣台北

NT$ 700,000-900,000 US$ 23,300-30,000

c.

b.

a.

d. e. f.

238


153

|

WALASSE TING

( 1929-2010 )

丁雄泉

Grows Continuously

生生不息

120×160cm Lithograph, A.P. Signed Ting in English, dated 1984, numbered A.P.

1985 版畫 A.P. 簽名:artist proof,Ting 85

NT$ 240,000-320,000 US$ 8,000-10,700

239


154

|

ZAO WOUKI

( 1921-2013 )

趙無極

Etching, 1957

Etching, 1957

26.5×33cm Lithograph, 4/10 Signed Wou-Ki in Chinese and Zao in English, numbered IV/X

1957 版畫 4/10 簽名:IV/X 無極 ZAO

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 73

圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》,Edition Heed & Moestrup(法國出版), 1994年,第73頁

NT$ 220,000-320,000 US$ 7,300-10,700

240


155

|

ZAO WOUKI

( 1921-2013 )

Olympic Games, Seoul 76×56cm Lithograph, 36/300 Signed Wou-Ki in Chinese and ZAO in English, numbered 36/300 ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 186

趙無極

圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》,Edition Heed & Moestrup(法國出版), 1994年,第186頁

NT$ 180,000-240,000 US$ 6,000-8,000

Picasso taught us how to draw a Picasso, Cezanne taught me how to appreciate the essence of our Chinese paintings. ---Zao Wou Ki

漢城奧運紀念版畫 1988 版畫 36/300 簽名:36/300 無極 ZAO

「畢卡索教會我們如何去畫畢卡索,但塞尚教會 我如何去凝視我們中國畫的本質」 ---趙無極

241


156

|

YAYOI KUSAMA

( b.1929 )

草間彌生

Seahorses

海馬

61×53.5cm Screenprint, 7/100 Signed yayoi kusama in English, titled in Japanese, dated 1989, numbered 7/100

1989 版畫 7/100 簽名:7/100 たつのおとしご 1989 yayoi kusama

ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 85, No.128

圖錄 《草間彌生全版画1979-2011》,阿部出版株式會社, 2011年,第85頁,編號128

NT$ 200,000-300,000 US$ 6,700-10,000

242


157

|

YAYOI KUSAMA

( b.1929 )

草間彌生

Flowers

45.5×53cm Screenprint, 44/100 Signed yayoi kusama in English, titled and dated 1985, numbered 44/100

1985 版畫 44/100 簽名:44/100 FLOWERS 1985 yayoi kusama

ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 84, No.57

圖錄 《草間彌生全版画1979‐2011》,阿部出版株式會社, 2011年,第84頁,編號57

NT$180,000-280,000 NT$6,000-9,300

243


158

|

CHU TEHCHUN

( 1920-2014 )

朱德群

Blue Season

藍色季節

76×54cm Lithograph, 54/150 Singed Chu The-Chun both in Chinese and English

2006 版畫 54/150 簽名:朱德群 CHU THE CHUN

NT$ 80,000-160,000 US$ 2,700-5,300

244


159

|

BERNARD BUFFET

( 1928-1999 )

貝納德.畢費

Ape

71×49cm Lithograph, EA/120 Signed Bernard Buffet in English, numbered E.A.

版畫 EA/120 簽名:E.A. Bernard Buffet

NT$80,000-160,000 US$2,700-5,300

245


160

|

WU GUANZHONG

( 1919-2010 )

Tiger 69×138cm Woodblock Print, 47/60 Signed Tu and Wu Guan-Zong in Chinese, dated 1994, numbered 47/60

吳冠中 虎 1994 木刻版畫 47/60 簽名:吳冠中 一九九四 荼 47/60

NT$ 200,000-360,000 US$ 6,700-12,000

Wu Guan Zhong dedicated his life in “The Nationalization of Oil Painting” and “Modernization of Chinese Painting”. He is indeed one of the most influential figures in Chinese art history, he once said even with the use of oil painting and canvas, Chinese will never become a colony of Western Art. National features must be presented in forms of hidden or embedded, either one must be shown.

---“The Born, painting of Wu Guan Zhong”, People’s Publishing House, Beijing, 2008, Page 3

吳冠中一生致力於「油畫的民族化」、「中國畫的 現代化」,在中國美術發展史上為具影響力的代表人 物,他曾揚言雖然中國人用油彩和畫布作畫,但中國絕 不可能成為西洋藝術的殖民地,藝術的民族特色無論是 顯示或是隱藏、潛伏、都需存在於創作之中。

---《誕生記: 吳冠中畫作》 吳冠中著,人民出版 社, 北京二00八年,第三頁

246


161

|

PAN YULIANG

( 1895-1977 )

潘玉良

Nude and Cat

裸女與貓的午寐

34.5×51cm Lithograph, 81/123 Signed Yu-Liang in Chinese, dated 1943

1943 石版畫 81/123 簽名:玉良 43

ILLUSTRATED "Pan Yu-Liang Art Collection", Jiangsu Fine Arts Publishing House, 1988, Page 76 "The Art of Pan Yu-Lin", National Museum of History, Taipei, Taiwan, 1995, Page 119 "China - Paris, Seven Chinese Painters Who Studied in France", Taipei Fine Arts Museum, Taipei, Taiwan,1988, color illustrated

圖錄 《潘玉良美術作品集》,江蘇美術出版社,1998年,第76頁 《潘玉良畫集》,國立歷史博物館,1995年,第119頁 《中國—巴黎:早期旅法畫家回顧展》,台北市立美術館, 台灣台北,1988年

NT$ 140,000-240,000 US$ 4,700-8,000

《裸女與貓的午寐》為潘玉良二度前往歐洲的作 品,題材、畫法與早期稍顯不同,其深受日本藝術家藤 田嗣治的影響,夢幻中流露出巴黎畫派共有的憂鬱及深 沉。

247


162 | ZAO WOUKI

( 1921-2013 )

趙無極

Lithograph, 1968

Lithograph, 1968

50×65cm Lithograph, 114/120 Signed Wou-Ki in Chinese and Zao in English, numbered 114/120 Signed on the reverse: Rose of Verk

1968 版畫 114/120 簽名:114/120 無極 ZAO ; ZAO wou ki LITHO PAYS A6C 75-35 背面簽名:Rose of Verk

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 109

圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heed & Moestrup(法國出版),1994 年,第109頁

NT$ 180,000-240,000 US$ 6,000-8,000

248


163 | ZAO WOUKI

( 1921-2013 )

趙無極

Lithograph, 1960

Lithograph, 1960

51.5×49cm Lithograph, 4/140 Signed Wou-Ki in Chinese and Zao in English, numbered 4/140, dated 1960

1960 版畫 4/140 簽名:4/140 無極 ZAO'60

ILLUSTRATED "ZAO WOU-KI The Graphic Work A Catalogue Raisonné", Edition Heede & Moestrup, Copenhagen 1994, Page 81

圖錄 《ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937~1995》, Edition Heed & Moestrup(法國出版), 1994年,第81頁

NT$ 220,000-320,000 US$ 7,300-10,700

249


164

|

WU GUANZHONG

( 1919-2010 )

吳冠中

Leshan Giant Buddha

樂山大佛

109×102cm Lithograph, 45/50 Signed Wu Guan-Zhong in Chinese, numbered 45/50

版畫 45/50 簽名:吳冠中 45/50

NT$ 150,000-200,000 US$ 5,000-6,700

250


165

|

WU GUANZHONG

( 1919-2010 )

吳冠中

Peaches

桃熟還待一千年

72×56cm Lithograph, 55/100 Signed Wu Guan-Zhong in Chinese, numbered 55/100

版畫 55/100 簽名:吳冠中 55/100

NT$ 150,000-200,000 US$ 5,000-6,700

251


166

|

WALASSE TING

( 1929-2010 )

丁雄泉

Fisheries and Flowers

桃與鮮花

120×160cm Lithograph, A.P. Signed Ting in English, dated 1990, numbered A.P.

1990 版畫 A.P. 簽名:Artist Proof,Ting90

NT$ 240,000-320,000 US$ 8,000-10,700

252


167

|

WALASSE TING

( 1929-2010 )

a.Beauties Behind the Screen b.Seven Beauties c.Composition with Lady and a Cat d.Erotic Composition - Black Hair Lady a.53.5×67.5cm b.53.5×67.5cm c.55×75cm d.80×61cm a.Lithograph, 14//200 b.Lithograph, 85/200 c.Lithograph, 103/125 d.Lithograph, 32/90 a. Signed Ting in English, numbered 147/200 b. Signed Ting in English, numbered 85/200 c. Signed Ting in English, numnered 109/125, dated 1986 d. Signed Ting in English, numbered 32/90, dated 1977

丁雄泉 a.屏後美人 b.嬌豔七美 c.藍髮仕女與白貓 d.黑髮女郎

a. b. c. d.

a.1982 b.1982 c.1986 d.1977 a.版畫 147/200 b.版畫 85/200 c.版畫 109/125 d.版畫 32/90 a.簽名:147/200 Ting b.簽名:85/200 Ting c.簽名:109/125 Ting 86 d.簽名:32/90 Ting77

NT$ 120,000-200,000 US$ 4,000-6,700 253


168

|

YAYOI KUSAMA

( b.1929 )

草間彌生

Wave Crest

波紋

76×56.5cm Screenprint, 8/60 Signed yayoi kusama in English, titled in Japanese, dated 1999, numbered 8/60

1999 版畫 8/60 簽名:8/60波頭 1999 yayoi kusama

ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 148, No.251

圖錄 《草間彌生全版画1979-2011》,阿部出版株式會社,2011年, 第148頁,編號251

NT$ 220,000-320,000 US$ 7,300-10,700 254


169

|

YAYOI KUSAMA

( b.1929 )

草間彌生

Flowers(2)

花(2)

45.2×52.6cm Lithograph, 13/100 Signed yayoi kusama in English, titled and dated 1985, numbered 12/100

1985 版畫 13/100 簽名:13/100 FLOWER 1985 yayoi kusama

ILLUSTRATED ''YAYOI KUSAMA PRINTS", ABE Publishing LTD., 2011, Page 58, No.87

圖錄 《草間彌生全版画1979-2011》,阿部出版株式會社,2011年, 第58頁,編號87

NT$ 180,000-280,000 US$ 6,000-9,300

255


170

256

|

CHU TEHCHUN

( 1920-2014 )

朱德群

Pastoral

田園

68×86cm Lithograph, E.A. Signed Chu The-Chun both in Chinese and English

2008 版畫 E.A. 簽名:朱德群 CHU THE-CHUN

ILLUSTRATED "CHU TEH-CHUN The Graphic Work 2000-2008", Hoke Art, Taipei, Taiwan, 2008, Page 40 "Chu Teh-Chun The Graphic Work 2004-2008", Mingshan Art, Taipei, Taiwan

圖錄 《朱德群 石版畫2000-2008》,霍克國際藝術,台灣台北,2008年,第40頁

NT$ 140,000-260,000 US$ 4,700-8,700


a. b. c. d.

171

|

WALASSE TING

( 1929-2010 )

a.Vase of Flowers b.Blue Hair c.Aquariumfish Tank d.Cockatoos a.69×95cm b.71×101cm c.71×101cm d.71×101cm a.Lithograph, 167/200 b.Lithograph, 100/200 c.Lithograph, AP d.Lithograph, AP a.Signed Ting in English, dated 1988 b.Signed Ting in English, dated 1988 c.Signed Ting in English, dated 1990, numbered Artist Proof d.Signed Ting in English, dated 1990, numbered Artist Proof

丁雄泉 a.嬌豔瓶花 b.藍髮女子 c.水族箱 d.鸚鵡 a.1988 b.1988 c.1990 d.1990 a.版畫 167/200 b.版畫 100/200 c.版畫 AP d.版畫 AP a.簽名:Ting 88 b.簽名:Ting 88 c.簽名:Artist Proof Ting 90 d.簽名:Artist Proof Ting 90

NT$ 120,000-240,000 US$ 4,000-8,000

257


172

|

ANDY WARHOL

( 1928-1987 )

安迪.沃荷

Marilyn Monroe X25

Marilyn Monroe X25

40×30cm Lithograph Prints Signed Andy Warhol in English

印刷 版畫 親簽與版畫無版數 簽名:Andy Warhol

NT$ 120,000-150,000 US$ 4,000-5,000

258


173

|

ANDY WARHOL

( 1928-1987 )

安迪.沃荷

Four Mona Lisa

Four Mona Lisa

28×21cm Prints Signed Andy Warhol in English With a certificate of authenticity from gallery

1966 親簽印刷品 簽名:Andy Warhol 附畫廊開立之原作保證書

PROVENANCE Acquired from ART+AUCTION, Zurich, Switzerland

來源:現藏者購自瑞士蘇黎世Art + Auction

NT$ 40,000-60,000 US$ 1,300-2,000 259


174

|

MARIE LAURENCIN

( 1883-1956 )

瑪麗.羅蘭珊

The Pearl Girl

珍珠女郎

43×31cm Lithograph, 51/100 Signed Marie Laurencin in English, numbered 51/100

1968 版畫 51/100 簽名:51/100 Marie Laurencin

NT$ 80,000-160,000 US$ 2,700-5,300

260


175

|

JEAN PIERRE CASSIGNEUL

( b.1935 )

尚.皮耶.卡辛紐

Autumn

67.5×48.5cm Lithograph, 5/150 Signed Cassigneul in English, numbered 5/150

版畫 5/150 簽名:5/150 Cassigneul

NT$ 80,000-160,000 US$ 2,700-5,300

261


176

|

JEAN JANSEM

( 1920-2013 )

強.詹森

Warm-Up Exercises

芭蕾暖身

54.5×76cm Lithograph, 97/120 Signed Jansem in English, numbered 97/120

版畫 97/120 簽名:97/120 Jansem

NT$ 60,000-120,000 US$ 2,000-4,000

262


177

|

JEAN JANSEM

( 1920-2013 )

強.詹森

Lying Prone

俯臥的芭蕾女子

54×76cm Lithograph, 97/120 Signed Jansem in English, numbered 97/120

版畫 97/120 簽名:97/120 Jansem

NT$ 60,000-120,000 US$ 2,000-4,000

263


178

|

TAKASHI MURAKAMI

( b.1962 )

村上隆

727-727

Dob踏雲在仙境中727-727

64×98.5cm Lithograph, 134/300 Signed M in English, numbered 134/300

2006 版畫 134/300 簽名:M 134/300

NT$ 120,000-180,000 US$ 4,000-6,000

264


179

|

TAKASHI MURAKAMI

( b.1962 )

村上隆

Hypha will cover the world, little by little

菌絲將逐步席捲世界

65.5×130cm Lithograph, 197/300 Signed M in English, numbered 197/300

2007 版畫 197/300 簽名:M 197/300

NT$ 100,000-180,000 US$ 3,300-6,000

265


180

|

TAKASHI MURAKAMI

( b.1962 )

a.Dob & Me: on the Red Mound of the Dead b.I Met a Panda Family 50×50cm(2) a.Lithograph, 56/300 b.Lithograph, 165/300 a.Signed M in English, numbered 56/300 b.Signed M in English, numbered 165/300

村上隆 a.Dob與我:站在紅色的死亡丘陵上 b.與熊貓父子相遇了 a.2013 b.2013 a.版畫 56/300 b.版畫 165/300 a.簽名:M 56/300 b.簽名:M 165/300

NT$ 50,000-100,000 US$ 1,700-3,300

a. b.

266


181

|

TAKASHI MURAKAMI

( b.1962 )

村上隆

Red Demon and Blue Demon with 48 Arhats

赤鬼、青鬼與48羅漢

71×118cm Lithograph, 49/300 Signed M in English, numbered 49/300

2013 版畫 49/300 簽名:M 49/300

NT$ 80,000-160,000 US$ 2,700-5,300

267


182

|

TAKASHI MURAKAMI

( b.1962 )

a.Flower Ball Brown b.Flower Ball (3D) The Magic Flute c. I recall the time when my feet lifted off the ground, ever so slightly-Korin-Chrysanthemum 直徑Diamete: 71cm(3) a.Lithograph, 24/300 b.Lithograph, 46/300 c.Lithograph, 142/300 a.Signed M in English, numbered 24/300 b.Signed M in English, numbered 46/300 c.Signed M in English, 142/300

村上隆 a.花球 茶色 b.花球(3D)魔笛 c.依稀記得當時腳浮在空中的感覺-光琳-菊 a. b. c.

a.2010 b.2010 c.2009 a.版畫 24/300 b.版畫 46/300 c.版畫 142/300 a.簽名:M, 24/300 b.簽名:M, 46/300 c.簽名:M, 142/300

NT$ 80,000-160,000 US$ 2,700-5,300 268


183

|

LIN YILONG

( b.1987 )

林義隆

If There are no Trees in Galaxy

如果銀河沒有樹

38×62.5cm Lithograph, 9/16 Signed Lin Yi-Long in Chinese, dated 2009

2009 版畫 9/16 簽名:林義隆2009

NT$ 50,000-100,000 US$ 1,700-3,300

269


270


Zhong Cheng International's fall auction will launch this December casting "Shiy De-Jinn's auction". We have been trusted by the most trusted friend- Lu Jing-Hua, of the late Shiy De-Jinn and obtained first handed artworks of the art master. Shiy De-Jinn was prolific and every piece was a classic and never exposed to the public eye for decades. It is truly an honor to have the opportunity to debut and to invite all art collectors in our event.

中誠國際藝術將於今年12月秋季拍賣會,舉 行「席德進精品專拍」。推薦由席德進基金會創會 董事長,也是席德進生前最信賴的摯友盧精華先 生手中徵得的第一手珍品。作品豐富精彩,件件 經典,數十年來未曾曝光,如今絕世橫出,殊為難 得,誠摯邀請所有藝術雅好者參與。

×

271


× 272


Shiy De-Jin can be viewed as one of the greatest divergent in Taiwanese art world. After graduating from Hang Zhou Art Academy, he devoted his life to painting. He was arrogant, self-centered and never married since art is his eternal lover. His oil paintings and sketches are sleek with cold and sharp lines. He employed bright colors. He has been taught by Lin Feng Mian for his water ink and color ink paintings, he kept the essence and painted landscape with keen observation and left a beautiful history for the beautiful landscape of Taiwan.

席德進是台灣畫壇中的一位怪傑,一個美麗的異端。他自杭州藝專畢業,終其一生皆狂熱於繪畫,孤傲如鷹,我行 我素,終生未婚,視藝術創作為永恆的戀人。他畫油畫與素描,筆法俐落、線條冷硬如利刃,色彩則灼亮如火;畫水彩 與彩墨,則師承林風眠,去蕪存菁、墨氣淋漓,以敏銳激情的雙眼描繪天地風景,為台灣的美麗山水,留下珍貴的藝 術墨跡。「我掌握了這塊土地的真實,它不是來自理論,不是來自宣傳,而是來自我忠實的生活,來自我無遠弗屆的足

跡,來自我關懷的視野。」 席德進繁複的創作生命,是畫作底蘊豐沛的養份。他在藝術之路上踽踽獨行,從早期的絢爛 色彩、前衛而現代,經歷了一連串風霜與思索,也面對過對畫風轉變的惶惶不安、迷航的焦慮。爾後,度過修行般的無 數嘗試與苦修,席德進終於召喚出他純淨而樸素自然的「原鄉」。把濃烈的鄉土情懷化作淡然簡練的墨色,繪出一幅幅 既有中國畫的筆情墨韻,又兼具西畫豐饒色彩的台灣山水。根據時常陪同席德進四處寫生的盧精華記述,席德進對寫生 有著極端的堅持,以他無遠弗屆的足跡深入台灣最平凡的角落,背著簡單的畫具,徜徉於山野林間,面對一片蒼鬱鄉野 美景臨風而立,心甘情願地等待,只為理想景致的出現,若遲遲不見也絕不妥協求全。

× 273


001


郎靜山 LONG

CHINSAN (1892-1995)

001

劉其偉 LIU

CHIWEI (1912-2002)

002

087

003

061

060

112

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

YINHUI (b.1931)

生於中國福建,原名劉福盛。1920年移居日本,先後畢業於日本神戶英語神學院以 及東京鐵道教習學院。1945年來台,1949年開始自修水彩畫並於1951年舉辦首次 個人水彩展。1962年獲中國畫學會第一屆水彩畫家金爵獎,1996年獲中國文藝協 會「文藝獎章」,2001年獲文建會第四屆「文馨獎」金獎及特別獎,2002年獲總 統頒發「褒揚令」。其水彩畫和油畫作品受到臺灣人的喜愛。在臺灣畫壇尊稱他為 「劉老」,有畫壇老頑童之稱。近期展覽有:「80年回顧展」(1990,台灣台中, 台灣省立美術館)、「巴布亞原始藝術展─劉其偉的新幾內亞行」(1994,台灣台 中,國立自然科學博物館)、「探索90─劉其偉捐贈展」(2001,台灣台中,國立 臺灣美術館)、「劉其偉歐亞繪畫巡迴展」(2001,愛爾蘭,詹姆斯喬艾思文化中 心)。著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝 術》等書。 Liu was born in Fujian, China, his given name was Liou Fu-Sheng. He immigrated to Japan in 1920. He began to study watercolor painting by himself in 1949. Liu held his first exhibition in 1951. In 1962, he was awarded First Prize in watercolors by the Art Society of China in Taiwan in 1962. His watercolor and oil paintings are most popular in Taiwan where he was called Liou Lao as a respectful name. The other name: Wua Tan Lao Wan Tong which describes his playfulness of his personality. He has published extensively, including “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”

巴斯天 ALFRED

007

BASTIEN (1873-1955)

033

080 004

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.

274

034

088

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)

006

035

027

028 036

057

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.

275


賈景德 CHIA

CHINGTEH (1880-1960)

王壯為 WANG

生於中國山西沁水。字煜加,號韜園, 晚清末科進士,中華民國政治人物。 1893年入舊式書院,後就讀於山西大學 堂中齋。光緒二十九年癸卯科與于右任 為同場同年舉人,次年甲辰科連捷成進 士,分發山東濟州道候補。民初在閻錫 山都督府幕,後薦之於中央,由監察委 員而銓敘部長、行政院副院長、考試院 院長。賈景德治政事之餘,游心於藝, 喜與文人學者相互切磋。來臺後,曾與 陳逢源、王開運、林熊祥、吳夢周等學 057 者文人籌組「台灣詩壇」,足見賈氏優 游書藝詩詞,怡然忘老,不以為疲。賈 氏任考試院院長時唯恐孔孟之學漸衰微、六經束閣,故提 倡讀經,並籌建明倫堂於台北孔廟。賈景德書法尤擅顏 體,筆力雄厚、典雅矞皇,在苗栗公館修行寺、台北艋舺龍山寺、三峽祖師廟、 孔廟至輔仁大學皆可見其書法題字,並著有《韜園詩集》、《韜園文集》、《賈 景德書舟山頌》、《賈院長書孔子廟明倫堂碑》、《秀才.舉人.進士》、《臺灣雜 詩》、《沁水賈氏塋廟石刻文稿》等書,在藝壇地位崇高,聲名遠播。 Born in Qin Shui, Shan Xi, last name Yu Jia, also known as Tao Yuan, Chia Ching Teh was a scholar from late Qing dynasty and also a political figure in Taiwan. He was admitted to the old school and later received education at Shan Xi University. In 1903, he was honored as a successful candidate of the imperial system and was promoted the next year to Shan Dong province. In the early 1900, he was the government advisor of Yan Xi Mountain and later referred to the central government. He worked all the way up from a supervisory committee to the director of civil services, vice minister of the executive yuan and then the minister of examination yuan. Other than his political career, he has a liking for arts and enjoyed bonding with literati. After moving to Taiwan, he formed the Taiwanese Poem Forum with Chen Feng Yuan, Wang Kai Yun, Lin Xiong Xiang and Wu Meng Zhou. He excels in poetry and enjoys thoroughly. Fearing that the Ideas of Confucius and Mencius and the Six Classics might diminish, he advocated the study and establish Ming Lun Tang in Taipei Confucius Temple. He excels at Yan style in calligraphy that is sophisticated, classical and strong. His artworks can be appreciated at Xiu Xing Temple in Miaoli, Long Shan Temple in Meng Jia Taipei, Tzushiye temple in Sanxia and also at Fu Jen Catholic University. He also wrote “Tao Yuan Poetry Collection”, “Tao Yuan Literature Collection”, “Jia Jing De Zhou Shan Song”, “Ming Lun Tang Tomb at the Confucius Temple by Minister Jia”, “Successful Scholars: Xiu Tsai, Ju Ren and Jin Shi”, “Taiwanese Poetry”, and “Manuscript of Stone Inscription by Qin Shui Jia”. He holds prominent position in the art world with worldwide fame.

朱 銘 JU

ZHUANGWEI (1909-1998)

生於中國河北省易縣。本名沅禮,因翻楊雄「雕蟲篆刻,壯夫不為」語案而自號 「壯為」。晚年自署漸齋,又號忘漸老人、燕客、倔叟等,別號甚多。並沿用先祖 別野,以「玉照山房」為書齋名。幼承家學,隨父親習書法、篆刻,後入北平私立 京華美專習西畫。20歲時考取京華美術專科學校,曾隨王悅之學西畫。曾為臺北 師範大學教授、文化大學藝術研究所教授、篆刻學會常務理事、臺北故宮博物院顧 問。善書法與篆刻,為臺灣當代重要書家之一。曾與丁念先、傅狷夫、陳定山等同 好共組「十人書展」,並發起籌組「中國書法學會」及「海嶠印集」,宏揚書印, 不遺餘力。晚年講學,請益者眾,有「王門七子」(薛志揚等7名學生)成拜師 禮。著作有《王壯為楷書自作文三篇》、《玉照山房輯印及自製印選》、《玉照山 房印選》、《石陣鐵書室印拓選存》等。 Born in Yi County, Hebei Province, China. His original given name was Yuanli. To counteract Yang Xiong's statement of “Seal cutting is a behavior a true man will never do,” he then named himself Zhuangwei (meaning: do something great). During his late years, he called himself Jian Zhai or Wang Jian Old Man or Yian Ke or Jue So etc. The name of his study room, Yu Zhao Shan Room has followed the name used by his ancestor. Educated by his father, Wang learned calligraphy and seal cutting at young age. Later on he studied western paintings at the Private Jinghua College of Fine Arts in Beijing. His publications include Selected Works of Yu Zhao Shan Room, 1982 Imprints in Red Ink at Shi-Zhen-Tie-Shu Studio, Zhuangwei's Writings, Best Selection of Wang Zhuangwei's Calligraphy Works, Study of Chinese Calligraphy, Essays on Chinese Calligraphy, Transcript of 1976 Diary Extract at ShiZhen-Tie-Shu Studio and Collection of Wang Zhuang-wei's Calligraphy Works for the 90th Birthday Celebration, etc.

MING (b.1938)

054 053

005 052

115

276

116

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。

131

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”.


潘朝森 PAN

CHAURSEN (b.1938)

陳庭詩 CHEN

TINGSHIH (1916-2002)

030

008

038

生於台灣新竹,畢業於台中師專美勞科,師承蕭如松,1955年入台北師範學校藝 術科。1966年發起組織「世紀美術協會」。曾獲「台陽美展」首獎、省立美展第 三名、省教員美展第一名、中華民國畫學會「金爵獎」、法國貝茲耶國際沙龍藝術 成就獎章等殊榮。主要展覽:代表台灣參加「聖保羅雙年國際展」(1969,巴西); 作品《思》代表台灣參加法國坎城國際展,並榮獲「國家榮譽獎」、「個展」 (1974,台灣台北,國立歷史博物館) 、「法國秋季沙龍」(1991,法國)、高雄市立 美術館開館聯展(1994,台灣高雄)、「愛與美七十回顧展」(2007,台灣台北,國 父紀念館)。 Born in Hsinchu, Taiwan, he was inspired by Hsiao Ru-Sung in high school time, and attended in Taipei Normal College, Art Department in 1955. In 1966, he organized “Century Art Association”. Pan has been awarded first prize of the Tai Yang Art Exhibition, first prize in Provincial Teacher Art Exhibition, third prize in Provincial Art Exhibition, Golden Goblet Award from The Art Society of China and France Best Achievement Medal. Major exhibitions: Represented Taiwan to the Brazil St. Paul Biennial International Exhibition in 1969. In 1972, painting “Ponder” presented in French Cannes International Exhibition and received “Honor of the Country” prize. “Solo Exhibition”, National Museum of History, Taipei, 1974; “Le Salon d'Automne”, France, 1991; ”Kaohsiung Museum of Art Openings Group Exhibition“, Kaohsiung, Taiwan, 1994; “Love and Beauty Memorial Exhibition”, National Dr. Sun Yat-sen Memorial Hall, Taipei, 2007.

藍蔭鼎 RAN

INTING (1903-1979)

009

085

086

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.

蕭 勤 HSIAO

011

CHIN (b.1935)

039

010 045

生於台灣宜蘭,是台灣知名水彩畫家。曾跟隨日本大師石川欽一郎(1871-1945)習 畫,對藍蔭鼎一生的繪畫發展有很深的啟悟。後於1923年赴日學習油畫及水彩畫。 1929年獲選為英國皇家水彩協會會員。其作品曾應邀於歐洲、北美、亞洲等地區 展出,作品廣為國內外機構所收藏。台灣光復後,創辦《台灣畫報》與《豐年月 刊》,並擔任社長。1971年榮獲歐洲藝術評論學會及美國藝術評論學會徵選為世界 十大水彩畫家之一,享譽國際。1952年入選為法國水彩畫協會會員。1962年日內 瓦國際年鑑推薦他為當代最傑出藝術家之一。1973年出任華視董事長,卒於1979 年,享年77歲。藍氏一生的水彩畫創作與啟發多以台灣風俗民情為題材,畫風將水 墨技法與西洋水彩畫融為一體,生動自然。1991年台北故宮博物院舉辦其紀念展, 1998年歷史博物館也再次舉辦藍氏回顧展,並出版其繪畫世界之經典。其著名作品 「養鴨人家」由倫敦劍橋美術館所收藏(1966)。 Born in Yilan. Ran is the best known artist of Taiwan. Ran studied watercolor painting from,Ishikawa Kinichiro (1871-1945), and he was deeply influenced by his mentor. In 1929, Ran went to Japan to study painting and watercolor technique. In 1929, he was named honorary member of the British Royal Watercolor Association and was invited as a guest lecturer in Europe, North America and Asia. He then became the editor of Taiwan Pictoral Magazine and Good Harvest Magazine. In 1962, Ran was included in a list of the greatest artists of modern times in the International Geneva Yearbook. In1973, He served as president of China Television System and passed away in 1979. His subject matter was mostly the everyday lives of Taiwanese village people which he vividly depicted and combining the technique of Chinese Calligraphy and watercolor together to achieve his unique expression of pictorial space. In 1991, National Palace Museum held the memorial exhibition of Ran. In 1998, the National Museum of History in Taipei held the retrospective exhibition of RAN INTING and also published a catalogue of Ran's collection.

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.

277


丁雄泉 WALASSE

TING (1929-2010)

012

031

084

153

062

166

167

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.

171

278


臺靜農 TAI

JINGNONG (1902-1990)

017

018

067

生於安徽省霍邱縣葉家集鎮。著名作家、文學評論家。原名傳嚴,字伯簡,20年代初改名為靜農,晚號靜者,筆 名有青曲、孔嘉、釋耒等。幼承庭訓,讀經史,習書法,中學後入北京大學國文系旁聽,後北京大學研究所國學 門肄業,奠定了國學基礎。早年是“未名社”成員,1925年春初識魯迅,後兩人關系密切,友誼深厚。1927年 後,任教於輔仁大學、廈門大學、山東大學及齊魯大學等。抗戰後,舉家遷四川,任職國立編譯館。1946年赴 台,後任台灣大學中文系教授。台靜農治學嚴謹,在文學、藝術、經史等多種領域均涉之甚深,並以人格耿介、 文章書畫高絕馳名。其書法廣泛涉獵金文、刻石、碑版和各家墨跡,篆、隸、草、行、楷諸體皆精。亦擅篆刻、 繪畫。有《靜農論文集》、《靜農書藝集》、《台靜農散文集》、《台靜農短篇小說集》等行世。 Born in Anhui, China. A well-known writer and literary critic long-term concentrated study of Chinese classical literature. history and art. profound knowledge each with a unique academic ideas. In his early years, he was an "Unnamed community members” affiliated with Lu Xun. He had taught at Fu Jen Catholic, Qilu, Shandong, Xiamen Zhu University and Sichuan Jiangjin Women's Teachers College. In his late years, he was a professor of National Taiwan University and a book writer. His calligraphy medium ranged from ink inscriptions, Stele, Beiban and other ink mediums. He is also good at carving, painting. Before the out break of the War of against Japan, he taught at Fu Jen Catholic University, Shandong University. After the war, he went to Taipei and became the professor and chairman of the National Taiwan University.

068

279


席德進 SHIY

DEJINN (1923-1981)

蔡國強 CAI

GUOQIANG (b.1957)

013

016 014

015

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。

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 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.

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.

黃銘哲 HUANG

林憲茂 LIN

MINGCHE (b.1948)

SHIENMAO (b.1955)

019 020

083 021

生於台灣宜蘭。1976年於省立博物館舉辦首次個展,同年赴英國里 茲大學修習美術。1978年和美國Semions畫廊簽約經紀畫家。1981 與1982年連續兩年榮獲全省美展油畫第一名。近年個展及參展: 「上海-臺北 風華再現」(2001,中國,上海美術館新館)、「信仰 的打造-黃銘哲立體作品個展」(2001,台灣,臺北市立美術館)、 第十六屆全國美術展覽(2002)、「璀璨風華2003臺灣藝術珠寶展」 (2003,台灣台北,國立歷史博物館)、「板塊 位移」(2004年,美國 紐約.456畫廊)、黃銘哲個展「面對現實」(2005,台灣台北,印象 畫廊)、「非常厲害—設計中的藝術•藝術中的設計」(2005,台灣台 北,當代藝術館)。

132

280

Born in Yilan, Taiwan. He went to study at Reeds University, England in 1976 after his first solo exhibition in provincial museum. In 1978, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won the first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. His works have been exhibited all over the world since 1981. Exhibitions: “Shanghai- Taipei, Huang Mingzhe solo Show”, Shanghai Art Museum, 2001; “16th National Art Exhibitions”, 2002; “The 2003 Exhibition of Artistic Jewelry from Taiwan”, National Museum of History, 2003; “Blocks shifting 6 Contemporary Artists”, 456 Gallery, New York, 2004; “Face the Reality”, Impressions Art Gallery; “Well Done! The Art of Design World”, Museum of Contemporary Art, Taipei, 2005.

022

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。 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.


石川欽一郎 KINICHIRO ISHIKAWA (1871-1945)

023

龎 均 PANG

025

生於日本靜岡。1888年入日本帝國遞信省東京電信學校,師小代為重學習西洋畫, 1889年開始接受淺井忠及川村清雄繪畫指導,1891年加入明治美術會,並曾留學 英國研習水彩。1907年被派任至臺灣,兼任台北師範學校圖畫科教師。石川欽一郎 兩度來台,前後共達19年,期間投身臺灣西畫啟蒙與教育,素有「台灣美術啟蒙之 父」之稱號。早期在臺曾發起藝術文化月例會,後期來臺積極推廣水彩畫,在《臺 灣日日新報》、《臺灣時報》、《臺灣教育》發表大量的畫作與文章,並指導「七 星畫會」、「臺灣水彩畫會」、「基隆亞細亞畫會」與各種美術講習會等。石川欽 一郎作育英才、提攜後進,於1920年代臺灣畫壇深具吸引力,學生有李石樵、倪 蔣懷、藍蔭鼎、李澤藩等人。在台期間促成官辦競賽性美展的成立,同時擔任審查 員,這項傳統歷經80餘年,深植臺灣文化藝術並使之發揚光大。 Born in Shizuoka, Japan. He came to Taiwan in 1907, during the period he was allocated to Taiwanese Government as a translator, and the teacher of Taipei Normal University. Within 19 years, his full dedication into art teaching and cultivation of Taiwanese first generation artists won him the title “Torchbearer of Modern Taiwanese Western Art.” He was an originator of the arts and culture monthly meeting, and then promoted the water color paintings in Taiwan. Many journals have published plenty of his artworks and articles; and he also put his all effort into instructing various art relative conferences. Kinichiro Ishikawa had great influence on the artistic field in 1920s and reached remarkable achievement in cultivating potential younger artists at that times.

楊英風 YUYU

JIUN (b.1936)

047

生於中國上海。為中國第一代油畫家龐薰琹之子。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 ChangShu, Chiangsu. 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.

YANG (1926-1997)

064

024

055

079

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)。 Yang was 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.

281


司徒立 SZETRO

LAP (b.1949)

陳 冲 CHEN

CHONG (b.1982)

026

1972年司徒立遷居香港,並於1975年赴法國發展。自1980年起,其畫作多次參 加聯展及舉辦個展。1980年第一次個展於巴黎舍維耶畫廊及法國水彩畫展於巴黎 大皇宮。1981年獲義大利「盧比欣」繪畫第一獎,並加入巴黎Galarie Claude Bernard畫廊。1982年參加法國龐畢度文化中心,國立現代博物館當代畫廊IN SITU 展,獲巴黎「費里翁」繪畫大獎。1986及1989年分別在香港中華文化促進中心及 台北雄獅畫廊舉行個展。司徒立於1993年擔任中國美術學院的客座教授,同時在香 港中文大學中國文化研究所編輯「二十一世紀」。1994-1995年司徒立參加巴黎畫 廊群展及台北愛力根畫廊的個展。其作品為法國及義大利博物館所收藏。 Szeto left China and moved to Hong Kong in 1972. In 1975, he settled himself in Paris. He has held one-man show at L' Oeil Sevigne Gallery in Paris and participated in “Peintures a I' eau” exhibition at the Grand Palais in Paris. Szeto has also been awarded some prizes, including “Prix Lubiam” in Italy and “Prix Feneon” from the Academy of Paris. In 1986, Szeto held his solo exhibition in Hong Kong and another solo show at Hsiung Shih Gallery in Taipei in 1989. In 1993, he was a guest lecturer at the Academy of Fine Arts in China and a member of the editorial staff for “Twenty-first Century” magazine of Chinese University, Hong Kong. From 1994 to 1995, Szeto has participated in two group exhibition in Paris and held an one-man show at Elegence Gallery in Taipei. Szeto's works are collected by museums in France and Italy.

陳淑嬌 CHEN

SHUJIAO (b.1951)

029

生於河南,為八十年代後出生的藝術家,2004年畢業於湖北美術學院油畫系,現居 住於武漢。參與過的展覽:2004年,「湖北美術學院畢業展」,湖北美術學院展覽 館;2005年,「募捐」-武漢「撘白」行為藝術活動;2006年,「限制與自由」春 市,武漢美術文獻藝術中心;「機會主義的春天」,武漢美術文獻藝術中心;「自 由」,北京聖東方畫廊。 Born in Henan, he is artist who was born after the 80's. Graduated from Dept. of Oil painting, Hubei Institute of Fine Arts, now lived in Wuhan. Joint exhibition: 2004, “Graduation display of Hubei Institute of Fine Arts”, Hubei fine arts school art center; 2005, “contributions” performance action, Wuhan; 2006, “Limit and Freedom”, Wuhan fine art literature center; “Spring of opportunism”, Wuhan fine art literature center; “Freedom”, Sheng Dong Fang gallery, Beijing.

詹金水 JAN

CHINSHUI (b.1953)

081 032

139

生於台灣台南市,作品曾獲四次台陽美展第一名;第三屆南瀛獎及全省美展教育 獎,參與過當代美展、歷史博物館當代人物藝術展、省立美術館開館展、巴黎現代 藝術展,及中韓、中日、中港交流展等。現為台灣省膠彩畫協會常務理事、中部美 術協會、台陽美術協會會員,並任台中市文化局文化中心、社會局長青學苑膠彩畫 研習班教師。 Chen Shujiao from Tainan City, Taiwan. Her work has won first place four times in the Taiyang art exhibition, the third annual Nanying award, and the education award for the Provincial Art Exhibition. She has participated in the contemporary art exhibition, the history museum's contemporary figure art exhibition, the opening exhibition of the provincial art museum, the modern art exhibition in Paris, and exchange exhibitions between Taiwan and Korea, Japan and Hong Kong.

282

037

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).


莊 喆 CHUANG

CHE (b.1934)

王 珂 WANG

KE (b.1979)

040

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.

劉玖通 LIU

JIUTONG (b.1977)

041

生於中國山東省濟南市。2003年畢業於山東藝術學院油畫系,畢業後進修於中央美 術學院研究生班。2006年考取中央美術學院油畫系第一畫室研究生,學習至今。現 為中國室內設計協會會員、河南省美術家協會會員、河南省油畫家協會會員,近年 從事美術教育工作,在色彩、素描、速寫方面有著深厚的功底。 2009年以《中國 製造1》獲“中央美術學院2009屆研究生畢業作品展優秀作品獎",此件作品更被 中央美術學院美術館收藏,隔年更以《中國製造系列》獲中央美術學院衣戀獎學金 “優秀創作獎”。2011年以《粉墨》入選中國美協第四屆青年美展。 Born in Jinan, Shandong province, China, Wang Ke graduated from the oil painting department of Shan Dong Art University in 2003, and later advanced his studies at the graduate school of the Central Art Academy. He was admitted as a graduate student of the first painting room of the oil painting department of Central Art Academy in 2006 till present day. He is now a member of the Chinese society of Interior Design, THE Artist Association of Henan Province, Oil Painting Association of Henan. He is presently engaged in art education and has solid foundation in color painting, sketching and quick sketching. He won the “Top Prize of the 2009 Graduate Student Exhibition of the Central Art Academy in 2009” with “Made in China (1)” in 2009 and this artwork is collected by the Central Art Academy Museum. The following year, he was awarded “Top Creation Award” by the Central Art Academy with “Made in China Serise”. In 201, he was selected to participate in the 4th Art Exhibition of Chinese Art Association with “Splash Makeup”.

高行健 GAO

XINGJIAN (b.1940)

072

042

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.

043

生於中國江西。為知名劇作家、小說家、畫家、導演,1980年代末前往歐洲,現為 法國公民。1985年在北京與雕塑家尹光中舉辦泥塑繪畫展,開始受到海內外媒體的 關注。1988年定居巴黎。1992年榮獲法國政府頒發的藝術與文學騎士勳章。1998 年參加羅浮宮第十九屆國際古董與藝術雙年展。2000年小說《靈山》、《一個人的 聖經》等著作,高行健成為首位榮獲諾貝爾文學獎的中文作家。2002年榮獲法國榮 譽軍團騎士勳章。他的文學和繪畫皆具刻骨銘心的洞察力和語言的豐富機智。以水 墨創作為主的作品表達了內省的深邃,風格簡約意喻深遠、扣人心弦,在具象與抽 象之間,黑白對比的畫面深具空靈飄逸之感。榮獲2000年諾貝爾文學獎,並因此成 為首位獲得諾貝爾文學獎的華語作家。 Born in Jiangxi, Chin. Gao is a play writer, novelist, painter, director, and now a French citizen. In 1985, he held a sculpture exhibition with Yin Guang-Zhong. It was then that Gao started to be noticed by worldwide media. Gao settled down in Paris since 1988, and later in 1992 received Chelavier de l' Ordre des Arts et des Lettres. His works were selected into XIXe Biennale Internationale des Antiquaires de Louvre in 1998. Gao was the recipient of the 2000 Nobel Prize in Literature "for an œuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama". Works like “Soul Mountain” and “One Man's Bible” made him the first Chinese writer win this prize. Two years later, he was given the title Chavelier de la Légiond’Honneur. His artistic style is no doubt simple but meaningful. Between concreteness and abstraction, the black and white scenery is fulfilled with sublime spirituality.

283


邱亞才 CHIU

YATSAI (1949-2013)

洪 易 HUNG

YI (b.1970)

044 074

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.

沙 耆 SAD

048

JI (1914-2005)

069

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 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.

284

046

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.

廖繼春 LIAO

CHICHUN (1902-1976)

出生於台中豐原。1922年台北師範學校畢業後返 鄉任教,次年北上台北學習素描,1924年與陳澄 波赴日,考取東京美術學校圖畫師範科。1927年 畢業返國,擔任台南長老教會中學校教員,同年獲 第一屆台展特選,並與畫友創立「赤島社」,其 後多次入選帝展及台展等大型美術展覽。1934年 與原「赤島社」社友再組「台陽美術協會」,於 1937年舉辦首度個展。光復前後先後於台南地區 擔任教職及代理校長,1947年受聘任教台灣省立 師範學院(今國立師範大學)至退休。1954年於 台北市成立廖繼春畫室,1957年鼓勵學生成立五 月畫會,並於1962年應邀加入畫會。1960年代以 後曾多次出國訪問舉辦展覽,1964年獲中華民國 畫學會金爵獎,1970年於國立台灣美術館舉辦個 051 展,同年獲中山學術文藝創作獎。此前,廖繼春的 藝術成就已備受肯定,曾獲中國畫會中國畫金盃獎 及孫逸仙基金文獻獎。1976年因癌症病逝於台北。同年,國立歷史博物館舉辦「廖 繼春遺作展」。2002年,台北故宮博物館舉辦「廖繼春百歲紀念展」。台北文化基 金會為紀念廖繼春而設立「廖繼春油畫創作獎」,以表揚在油畫藝術有突出成就的 畫家。廖氏一生藝術創作與教學並行不輟,畫作靈活運用色彩,色彩斑斕瑰麗,節 奏明快,明朗而有深度,歡悅中又見抒情。 Born in Taichung, Liao first graduated from the Taipei Normal School in 1922. He proceeded to study at the Tokyo Fine Arts College and returned to Tainan to teach after graduating in 1927. During the same year, Liao co-founded the “Ruddy-Island Association” and was awarded to paint at the first Taiwan Art Exhibitions. He continued to exhibit at imperial Exhibitions and Provincial Art Exhibitions and co-founded the “Taiyang Art Association” in 1934. In 1947, Liao took up a teaching position at the Taiwan Normal College (now National Taiwan Normal University) where he remained until his retirement. He also founded his own studio in Taipei in 1954. In 1957, the “Fifth Moon Association” was founded under his encouragement and support; he joined the association in 1962. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yatsen Foundation's Literary Awards. From 1960s onwards, Liao was frequently invited to various venues as a visiting artist and held numerous exhibitions abroad. He held his last solo exhibition at the National Taiwan Arts Museum in 1970 before dying of lung cancer in 1976. The National Museum of History in Taipei held a solo exhibition of his works that year in dedication of his life. In 2002, the National Palace Museum in Taipei held a grand memorial exhibition in celebration of his 100th birthday. The Taipei Culture Foundation commemorates Liao by annually awarding the Liao Jichun Oil Painting Award, a scholarships awarded to outstanding oil painters.


楊三郎 YANG

SANLANG (1907-1995)

049

070

071

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 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. 050

溥心畬 PU

RU (1896-1963)

何紹基 HE

生於中國湖南,道州(今道縣)人。字子貞,號 東洲居士,晚號蝯叟,一作猿臂翁,晚清人書法 家兼詩人。我國著名的書法家,也是晚清最有影 響力五體兼擅的書家之一。因其執筆縣肘,若開 勁弩,故取李廣猿臂彎弓之義。官至文淵校理, 武英殿篆修、學政等職。曾主講長沙城南書院、 寓長高碼頭東洲草堂。何紹基性卓犖,豪于飲, 工詩文,通經史,精率算,喜繪畫。晚年以篆、 隸法寫蘭竹,盎然有金石氣;書法成就尤著,是 繼鄧石如、伊秉綬之後晚清書壇最負盛名的碑學 大師之一。早年由顏真卿,歐陽通入手,上追秦 漢篆隸,臨寫漢碑極為專精。中年博習南北朝 書,筆法剛健,用異於常人的回腕法寫出了個性 極強的字。後致力分隸,漢魏名刻,無不深研熟 密閉,臨摹多至百本。何紹基還是晚清宋詩派中 的一位健將,擅于描繪山川。何紹基傳世作品有 《魯竣碑卷》、《行書軸》、《杜甫咏馬詩》、 《七言詩四條屏》等。

119 056

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.

SHAOJI (1799-1873)

058

Born in Hunan, China. He was a Presented Scholar in the 16th year(1836) of the reign of Emperor Daoguang of Qing Dynasty, and used to be a Director of Studies in Sichuan. He Shaoji was very knowledgeable and versatile, and produced many works. He was accomplished in different styles of writing and could create new styles from traditional ones. He was a master who had outstanding achievements in the history of Chinese calligraphy. He learned from a copybook at the beginning and got inspiration from North Steles. His very characteristic running-cursive script involves seal characters which were learned from North Steles. His seal and clerical scrip has brought new energy into Stele calligraphy. His handwriting mixed running script, cursive script, seal scrip and clerical scrip harmoniously with thick and heavy features, and thus stood out in the handwriting of the later Qing Dynasty.

285


呂佛庭 LU

FOTING (1911-2005)

楊識宏 YANG

CHIHUNG (b.1947)

129

128

059

生於中國河南泌陽縣,乳名天賜,字幅亭,後改為「佛庭」,號半僧。幼承家學, 5歲起學書,6歲詠詩,8歲開始學畫,10歲正式歸依三寶,茹素念佛,持之以恆, 直到95歲去世為止,於繪畫、書法、詩詞、佛學之鑽研均未曾間斷。1931-1934年 就讀於私立北平美專國畫系時,曾受教於齊白石、秦仲文、王雪濤、徐燕蓀、許翔 階、吳鏡汀等名師,復隨管平湖學古琴,張東 學漢隸,由宋元名畫入手,深紮根 基。曾先後在北京、開封、武漢、南京等地舉辦個展,甚得佳評。曾應聘任於省立 南洋師範學校。1948年自大陸渡台,曾任教於台東師範,1949年應聘任教於台中 師範、師專,於1964年升等為教授,直至1973年退休為止,其間除了曾借調教育 部美育委員會專任駐會委員兼國立台灣藝術館美術組主任(1956年)之外,亦曾 兼任文化大學藝術研究所、國立台灣師大美術系、國立台灣藝專等校教授,並應聘 擔任教育部學術審議委員。呂氏繪畫以山水最擅,書法融合篆、隸、楷成獨特之楷 隸書風,1970年代起,更結合古文字學和書法-而創作「文字畫」,在畫界獨樹一 格。此外,於畫史和畫論著述極豐,有《中國畫史評傳》、《中國書畫源流》、 《中國繪畫思想》、《石濤大師評傳》、《文字畫研究》等十多種專書行世,津梁 學界甚多。 Born in Henan province, China. Tian-si was his official first name, but later he called himself Fo-ting to show his reverence for Buddhism. Lu started to study painting at the age of five. Flowers and birds were the first subjects that he learned to paint, and these were followed by figures, and then finally landscapes. He was also a good player of traditional Chinese musical instruments, qin, a poet, and a master of calligraphy. He devoted himself to art education, and, as an outstanding teacher and artist, he was awarded the National Award for Arts, the First Grade Cultural Award of the Ministry of Education, and the National Cultural Award of the Executive Yuan. In 2005, at the age of 95, Lu died from heart and respiratory failure, and just before his death, he received the tonsure ceremony and was given a Buddhist name Wan-seng, fulfilling his longtime wish to become a Buddhist monk.

草間彌生 YAYOI

065

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。 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.

KUSAMA (b.1929)

157

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)。

156 063

101

286

169

168

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, 19981999; “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.


郭振昌 KUO

JENCHANG (b.1949)

066

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.

林風眠 LIN

FENGMIAN (1900-1991)

朱毅勇 ZHU

生於中國重慶。1982年畢業於四川美術學院,後留 校任教至今,現職副教授,並為中國美術家協會會 員。個展包括:「朱毅勇油畫作品展」(1992,台灣, 新美畫廊)、「朱毅勇油畫及素描作品展」(1995, 香港)、「光影神韻-朱毅勇油畫作品展」(1999, 香港,少勵畫廊)、「光影神韻之二」(2004,香港)、 「記憶」(20 06,香港)、「紅星」(20 08,美國紐 約,798先鋒畫廊)、「中國記憶」(2011,香港)。參 予聯展包含:「全國美展」(1980、1984,中國北 京)、「春季沙龍展」(1982,法國)、「第一屆中國 藝術節中國美術館部分藏品陳列展覽」(1987,中 國北京)、「中國當代油畫展」(1987,美國紐約)、 「中國油畫作品展」(1989,日本)、「中國現代美 術大展」(1991,日本東京)、「慶祝中華人民共和 073 國成立45周年四川省美術作品展覽」(1994,中國 成都)、「中國藝術博覽會」(1994,中國廣州)、「東西匯合寫實派油畫展」(1998, 德國柏林)、「米蘭藝術展」(2005、2006,義大利)、「展開的現實主義—1978年以 來的中國大陸油畫」(2006,臺灣,臺北市立美術館)、「融合與創造—中國油畫名家 學術邀請展」(2007,中國北京,首都博物館)、「紐約亞洲當代藝術博覽會ACAF」 (2008,美國紐約)、「邁阿密巴塞爾藝術博覽會」(2008,美國邁阿密)、「Scope 國 際當代藝術博覽會」(2009,美國紐約)、「洛杉磯藝術博覽會」(2009,美國洛杉磯)、 「在場30年—四川美術學院當代油畫展」(2009,日本)、「女性形象之九」(2011,香 港)、「藝術登陸新加坡博覽會」(2011,新加坡)。作品廣為國內外收藏家和藝術機構 收藏。 Born in Chongqing, China, Zhu graduated from the Department of Drawing in Sichuan Arts College majoring in oil painting in 1982. He stayed to teach in the school until now. He is a member of Chinese Artists Association. Solo Exhibitions:“Memories of China”, Hong Kong, 2011. Group Exhibitions:“2nd National Youth Artworks Exhibition”, Beijing, China, 1980, 1984;“Spring Salon”, France, 1982; “The 1st China Art Festival”, Beijing, China, 1987;“Chinese Contemporary Oil Paintings Exhibition”, New York, USA, 1987;“Chinese Oil Painting Works Exhibition”, Japan, 1989; “Chinese Modern Arts Grand Exhibition”, Tokyo, Japan, 1991;“Sichuan Exhibition for the 45th Anniversary of the Establishment of the PRC”, Chengdu, China, 1994;“Chinese Art Expo”, Guangzhou, China, 1994;“East-West Realism Oil Painting Exhibition”, Berlin, Germany, 1998;“Milan Art Exhibition”, Italy, 2005;“The Blossoming of Realism—The Oil Painting of Mainland China since 1978”, Taipei Fine Arts Museum, Taiwan, 2006;“Asian Contemporary Art Fair (ACAF)”, New York, U.S.A, 2008; “Art Basel Miami Beach”, Miami, U.S.A, 2008; “Scope international Contemporary Art Fair”, New York, U.S.A, 2009;“Los Angeles Art Show (LA Art Show)”, U.S.A, 2009; “Art Stage Singapore”, Singapore, 2011;“Images of Women IX”, Hong Kong, 2011.His works are collected by collectors and art organizations both at home and abroad.

劉國松 LIU

Lin was born in Guangdong. In 1918, Lin traveled to France on a government sponsored work study program and graduated from Paris Senior Art Institute in 1923. In 1925, he came back to China becoming principal of Beijing Academy of Fine Arts. Upon Tsai Yuanpei's invitation Hangzhou Academy of Fine art. In 1950, he was a professor at the Central Academy of Fine Arts of Huadong Institution. Lin stayed in Shanghai since 1951 after leaving Institution of Huadong. He was vice-chairman of National Artist Association Shanghai branch in 1960. Lin was in prison during Cultured Revolution period in 1967 and was released in 1972. He moved to Hong Kong in 1977 and died in 1991. He studied west oil painting at beginning and on devoted into Chinese ancient paintings.

KUOSONG (b.1932) 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)。

075

生於廣東。1918年參加政府贊助的赴法勤工儉學,1923年畢業於法國巴黎高等美 術學校。1925年返國擔任北平國立藝專校長,之後接受蔡元培之邀,赴杭州藝專擔 任校長,極力鼓吹新藝術運動,趙無極、吳冠中、席德進等人皆為其學生。1950年 任教中央美術學院華東分校院教授。1951年離開華東分院,定居上海。1960年任 職中國美術協會上海分會副主席。1967年文化大革命中被捕入獄,1972年獲釋。 1977年離開上海赴香港定居。1991年病逝香港。他先學習歐洲油畫,後研究中國 傳統繪畫,並從傳統藝術中探索自己新的藝術道路,並在美術教育事業做出卓越的 努力,成為一代典範。

YIYONG (b.1957)

076

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.

287


張大千 CHANG

生於中國四川,為近代藝壇上成就最高的國畫 家。年幼時,就跟隨母親學習繪畫,對畫藝奠 下基礎。青年時隨兄到日本東京,專攻繪畫, 又研究染織工藝。回中國後曾從李瑞清與曾熙 習詩文書畫。後忽耽於佛學。喜臨摹清初四僧 作品。1963年受聘為南京中央大學美術系教 授。善畫山水、花卉、人物,且尤擅畫荷花。 工筆寫意,俱臻妙境,30年代即與齊白石齊 名,並稱「南張北齊」。40年代歸蜀,脫略 石濤、八大山人之初獷,蹤及唐寅、沈周等細 潤之路。曾去敦煌臨摹壁畫和雕塑三年,畫風 為之一變,善用複比重色,被譽為「畫中李 白」。50年代棲身海外,先赴印度展出書畫, 此後便旅居阿根廷、巴西、美國等地,並在世 界舉辦個人畫展。他被西方藝壇稱為「東方之 筆」,與西方畢卡索齊名。他榮獲紐約國際藝 術學會的金牌獎,被推選為「全世界當代第一 大畫家」並被世界輿論稱之為「當今最負盛譽 的中國畫大師」。張大千晚年仍從事中國畫的 開拓與創新。1976年返臺北定居,完成巨作 《廬山圖》。

077

082

DAQIAN (1899-1983)

HUA (1832-1911)

078

Born in Sichuan, China. Chang is the highest achievement of painting in modern art. In child, he followed his mother to study painting and lay the foundation for painting. The youth with the brother to Tokyo, Japan specialized in painting and researched dyeing craft. After back to china he learned poetry and calligraphy from Li Ruiqing and Zeng Xi. He indulged in Buddhism. He loved to copy early Qing four monk's works. In 1963, he served as professor of art of National Central University. He is good at landscapes, flowers, people, and especially good at painting lotuses. Meticulous and freehand are perfect. In 1930s, Chang was as famous as Qi Baishi and were called the "South Chang Northern Qi." After he went to Dunhuang to copy murals and sculpture for three years, the style became different. He was known as " Li Bai of Painting." Shelter overseas in the 1950s, he first went to India to exhibit the painting and calligraphy then he has lived in Argentina, Brazil, the United States and other places and held a solo exhibition in the world. The western art called Chang "oriental pen" and he is as famous as Picasso. He won the Gold Medal Award of International Society of Arts. Chang was elected as "the world's contemporary first big painter" the world's most prestigious contemporary Chinese painter "by world opinion. He twilight years are still engaged in the exploration and innovation of Chinese painting. Retuned to Taipei in 1976, he completed the masterpiece "Lushan."

生於中國浙江,原名成,字作英,號胥山野史,種竹道人。擅長山水畫、花鳥畫、 書法,喜愛畫竹,而有「蒲竹」美譽。蒲華與任伯年、虛谷、吳昌碩齊名「海派四 家」。年幼喜愛讀書,由外祖父教讀,具有天賦,即能作文,二十一歲考中秀才, 但因個性使然,追求自由,後專心致於藝術創作。蒲華書法以帖學為根基,參以碑 法;畫作則是瀟灑雅致、筆墨流暢、氣勢磅礴、柔中帶剛,其中繪畫墨竹、梅、 菊、牡丹花等題材取得卓越成就,現受到專家、畫家及學者的推崇。 曾與吳世晉等人結辦鴛湖詩社,組織上海書畫研究會,著有《芙蓉庵燹餘草》。

陳景容 CHEN

許文融 HSU

108

CHINGJUNG (b.1934)

109

生於台灣彰化。國立台灣師大藝術美術系畢業後,赴日留學,先後畢業於武藏野美 術大學、東京學藝大學及東京藝術大學壁畫研究所,擅長油畫、素描、版畫、嵌 畫、濕壁畫。回台後,先後任教於國立藝專、文化大學及師範大學,1977-1996年 擔任師大美術系專任教授,現為師大名譽教授。曾獲頒四次文馨獎、吳三連文藝獎 以及中華民國學會金爵獎。曾應聘為全國美展審查委員。出版有28本美術相關著 作。著名展覽包括:「中華民國現代藝術展覽」(1975,法國巴黎)、「法國秋季沙 龍」(1988)、「存在與意象:陳景容創作四十年展」(1997,台灣,台北市立美 術館)、「台灣畫家國家美術協會S.N.B.A.聯展」(2003,法國巴黎,羅浮宮)、「陳 景容個展」(2006,台灣台北,國立歷史博物館)、「陳景容創作五十年回顧展」 (2009,台灣台北,國父紀念館)。 Born in Nantou, Taiwan. Chen graduated from National Taiwan Normal University Arts Faculty, continue further study in Japan, 1960 graduated from Japan Musashino University. After his return to Taiwan, he became the chairman of the Fine Art Department of the National Academy of Arts. In 1975 Chen travel to Paris to participate in the World Convention of Fine Art Education, and then received the Golden Goblet Award from the Chinese Painting Society. Exhibitions were held frequently both nationally and internationally. In 1997, "Being and images:40years of Chen Ching-jung's vision" in Taipei Fine Arts Museum. In 2006“Chen Ching-jung Solo Exhibition” in National Museum of History,Taipei. In 2009," 50years of Chen Ching-jung's Retrospection" at National Dr. Sun Yat-sen Memorial Hall, Taipei. Chen also serves as a judge for the Taiwan National Fine Art Exhibitions.

288

蒲 華 PU

Born in Jiaxing in the Zhejiang province. His style name was 'Zuo Ying'. Pu was a Chinese landscape painter and calligrapher during the Qing Dynasty (1644–1912). He was talented in painting ink bamboo and landscapes which executed free and easy strokes comforting no conventional pattern,and he was also excelled in calligraphy. He painted landscapes and ink bamboo in an unconventional style of free and easy brush strokes.

WEN JUNG (b.1964)

089

生於台灣彰化。畢業於國立台灣藝術大學、ST. Louis Fontbonne碩士畢業,現任 國立台灣藝術大學及建國科技大學教授兼美術文物館館長。曾獲無數獎項:全國大 專國畫第一名、第43、45、46屆全省美展國畫類第一名(1983)、獲中山文藝創作 獎(1997)、榮獲中興文藝獎章(1998),奪下第25屆吳三連文藝創作獎(2003)。作品 「大台灣風物圖卷」,許文融個人展覽(1997,省立美術館),「氣韻再現-許文融創 作個展」(2008,台中縣,立港區藝術中心)。其作品於台灣省立美術館、台北市立 美術館、台中市立文化中心、高雄市立文化中心等地個展二十餘次。曾獲邀參展美 國、法國、日本等地,國內外聯展數次。作品為台北市立美術館、國立台灣美術館 等單位典藏。 Born in Zhonghua, Taiwan. Hsu graduated from National Taiwan Art University. In 1922, went to US ST. Louis Fontbonne for master. Presently as pluralism professor of National Taiwan University of Art. Award included: “National Chinese Painting of College”, the first prize; “National Art Exhibition”, the first prize of Traditional Chinese Painting, the 43th, 45th, 46th; “Zhongshan Literary and Art Creation Award”, 1977; Chung-Hsing Award, 1988; “The 25th Wu Sanlian Literary and Art Creation Award”, 2002. Hsu’s work “Taiwan Custom Picture” was exhibited at National Taiwan Museum of Fine Arts in 1977, and then tour all over Taiwan from 1997-2002. He also held “Reappearance of Artistic Conception – Hsu Wenjong solo exhibition” in Taichung County Seaport Art Center, 2008. Hsu’ works exhibited at National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Taichung Culture Center, Kaohsiung Culture Center and so on for over 20 iterms. His works also collected by Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts.


陳正雄 CHEN

CHENGHSIUNG (b.1942)

李曼峰 LEE

MANFONG (1913-1988)

090

091

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。

出生於中國廣州,幼年移居新加坡,隨後前往印尼居住了35年,並於1961年入籍當 地公民,為東南亞最重要的先驅藝術家之一,一生對「南洋畫風」有著卓越的影響 與貢獻。精通中西畫法,創作時間跨越長達半個多世紀,題材多樣,從人物風情畫到動 植物畫都有涉及。曾到新加坡、荷蘭學畫,成名於印尼,被蘇加諾總統聘為總統府 顧問畫師和藏畫主管,主編大型畫冊《蘇加諾總統藏畫集》。 1955年4月他曾率團 訪問中國,在北京、廣州展出在中國旅行寫生的作品。 1988年逝世,但其作品一 直為世稱頌。

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.

Born in Guangzhou, China, Lee Man-Fong moved to Singapore at an early age. Subsequently, he resided in Indonesia for over 35 years and was nationalised in 1961. He is one of the most important Avant-Grade artist of Southeast Asia. After 1940 Fong devoted himself full-time to painting. He visited Bali, working briefly there, and held solo shows in Jakarta and Bandung. Fong quickly gained recognition for his paintings of Balinese subjects, many influenced by the work of Willem Hofker. In 1949 Fong was awarded a Malino scholarhip to study art in the Dutch Netherlands. He was there for three years, and then returned to Indonesia where his talent was acknowledged by President Soekarno, to whom he became an art advisor. From 1955 to 1961 Fong served as the chairman of Yinhua Meishu Xiehui (Society of Chinese Artists in Indonesia). From 1961 to 1966 he served as court painter at the presidential palace. In 1964, Lee Man Fong, together with Lim Wasim, compiled a 5-volume edition of the Soekarno Collection, which also featured many of his own works.

楊茂林 YANG

羅中立 LUO

MAOLIN (b.1953)

092

生於台灣彰化。1979年畢業於中國文化大學美術系,2002年畢業於國立藝術大學 美術創作研究所。1985年為臺北畫派創始成員並被推選為第一任會長。1985年, 楊茂林首次於台中市立文化中心舉辦個展-「101楊茂林個展」,其後著名展覽 包括:「遊戲行為」(1987,台灣,台北市立美術館)、「台灣三百年作品展」 (1990,台灣,台灣省立美術館)、「台灣當代藝術展」(1995,義大利,羅馬)、 「楊茂林個展」(2002,澳洲,墨爾本畫廊博覽會)。1990年期間受美國、日本 文化影響,創作<文化篇>系列作品並開始進行多媒體與裝置藝術創作,具有鮮明的 個人特色與藝術風格。其作品廣泛受到國際藝術家與收藏家喜愛。 Born in Changhua, Taiwan. Yang graduated from Department of Fine Arts of Taipei Chinese Culture University. Yang was first director of the “Taipei School” in 1985. His first personal exhibition at Taipei Fine Arts Museum in 1987. In 1990, he participated in the Taiwan Art Museum Exhibition 300 years of Taiwan Art. In 1995, his works were selected by the “Exhibition of Taiwanese Art” in Rome. During 1990s, his works have been influenced under the pop culture of Japan and United States. He created a series of works and started to work with multimedia and installation art. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and well recognized by international art critics and collectors.

ZHONGLI (b.1948)

093

出生於四川重慶。1978年進入四川美術學院油畫系就讀,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.

289


王懷慶 WANG

HUAIQING (b.1944)

周春芽 ZHOU

095

094

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。 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). 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 Works from the National Art Museum of China Collection, Shanghai Biennale(2000) and Beijing International Art Biennale (2003).

劉 煒 LIU

WEI (b.1965)

CHUNYA (b.1955)

096

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.

098

生於中國北京。1989年畢業於中央美術學院版畫系,現居北京。1994年參加「第45屆威 尼斯雙年展」、「第22屆聖保羅雙年展」、澳大利亞「毛澤東走 向波普」展;1995年參 加德國「中國新藝術展」;1996年參加德國「中國!」展;1998年參加德國柏林「中國製 造—中國當代藝術展」;1999年參 加舊金山「新千年的新現代主義」展;2000年參加雪 梨「中國的新面孔展」;2001年於巴黎Loft畫廊舉辦個展。 Born in Beijing. Graduated from Central Academy of Fine Arts in 1989, majoring in printing. Currently lives in Beijing. "Attended the 45th Venice Biennial", "the 22nd Saint Paul Biennial" and "Mao, Toward Pop" Exhibition, Australia in 1994; attended "Chinese New Artist Exhibition", Germany in 1995; attended "China!" Exhibition, Germany in 1996; attended "Made in ChinaContemporary Chinese Art" Exhibition, Berlin, Germany in 1998; attended "New Modernism in New Millennium" Exhibition, San Francisco in 1999. Attended "New Faces in China" Exhibition, Sydney in 2000. Held solo exhibition at Loft Art Gallery, Paris in 2001. 097

290


方力鈞 FANG

LIJUN (b.1963)

薛 松 XUE

099

生於中國河北。1989年畢業於中央美術學院版畫系。現居北京。方力鈞以「玩世 現實主義」之風格立足當代藝壇,作品反映社會樣貌甚深,曾多次參予國內外重 要展覽。著名聯展包含:「第六屆全國美展」(1984,中國廣州)、「中國現代藝 術展」(1989,中國北京,中國美術館)、「中國新藝術展」(1992,澳洲)、 「中國前衛藝術展」(1992,巡迴德國、荷蘭、丹麥)、「後八九中國新藝術展」 (1993,香港)、「東方之路」(1993,義大利,威尼斯雙年展)、「第四屆亞洲藝術 展」(1994,日本,福岡美術館)、「開放的邊界」(1999,義大利,48屆威尼斯雙 年展)等。近年重要國際性個展:「方力鈞作品展」(1995,法國巴黎)、「方力鈞 作品展」(1988,荷蘭、美國)、「方力鈞作品展」(2000,新加坡)、「方力鈞亞洲 當代藝術」(2001,德國)、「方力鈞」(2004,德國)。

SONG (b.1965)

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 100 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)、「薛松“新海派繪畫“」(2013,新加坡,MOCA當代美術館)。其作 品為世界許多重要機構及私人藏家所收藏。

Born in Hebei, and graduated from China Central Academy of fina arts. Now live in Beijing. Group exhibitions: “The 6th National Art Exhibition, Guangzhou”, Canton, china, 1984; "China Avant-Garde Art Exhibition”, National Art Museum, Bejing, China, 1989; “China's New Art, Post-1989”hong kong, 1993; “Fourth Asian Art Show”, Fukuoka Art Museum, Japan; “Open Boundary” The 48th Venice Biennale, Italy, 1999, etc. And Solo Exhibitions: “Fang Lijun” Galerie Bellefroid Paris, France, 1995, “Fang Lijun”,Netherlands and USA, 1988; “Fang Lijun”Singapore, 2000; "Fang Lijun, Asian Fine Arts", Germany, 2001; "Fang Lijun", Germany,2004.

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.

祁志龍 QI

楊 述 YANG

ZHILONG (b. 1962)

SHU (b.1965)

103 102

生於內蒙古呼和浩特,1987年畢業於北京中央美術學院。他曾參與海內外許多知名 展覽,包括「1995亞洲藝術展」(香港國際會議展覽中心,1995年)、「大眾樣 板」(北京藝術博物館1996年)、「上海藝術博覽會」(上海,2000年)、「芝 加哥藝術博覽會」(美國,2002年),以及「中國的春天」(法國阿爾奇斯萊因當 代藝術中心,2004年)。祁志龍亦曾於在香港、瑞士及澳洲等地舉辦個展。 Born in Hohhot, Inner Mongolia in 1962, Qi graduated from the Central Academy of Fine Arts in Beijing in 1987. His works have been shown in prestigious exhibitions at home and abroad, selected shows include Art Asia "95 at the Convention and Exhibition Center" in Hong Kong (1995); "The Masses Model" at Beijing Art Museum in Beijing (1996); "the Shanghai International Art Fair" in Shanghai (2000); the Chicago Art Fair 2002 in the United States (2002) and "Le Printemps de Chine" at CRAC Alsac Altkirch, France (2004). Recently, Qi has held solo exhibitions in international locations including Hong Kong, Switzerland and Australia.

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.

291


席時斌 HSI

SHIHPIN (b.1977)

王克平 WANG

KEPING (b.1949)

104

105

生於台灣台北,畢業於國立台北藝術大學造型藝術研究所。專長複合媒材之雕塑與 裝置,創作 的多變性,外顯於令人驚艷的多種材質、顏色、處理、尺寸的組合,內 在則專注於揀擇日常物象的結構與形貌,透過「分解 / 重組」的手法打造出隱性奇 異的形體與空間。歷年參與多次公共空間環境藝術改造工程,以及國際藝術家駐村 計畫,並在2008高雄獎 入選、2010台北獎入選,以及2011 Taipei Art Fair MIT新 人推薦區。作品曾在北京今日美術館、上海美術館、韓國Haslla Art World展出, 並入選或獲邀與台灣東和鋼鐵企業、愛馬仕( Hermes )、路易威登( Louis Vuitton )、法拉利( Ferrari )…等企業品牌進行合作發表藝術作品。自2006年起陸續發表個 人創作,現居住創作於台北。 Born in Taipei, Taiwan. He received a MFA degree with a major in Plastic Arts from Taipei National University of the Arts. Hsi is good at selecting basic structure and form from daily objects. Through the technique of constriction/ destruction, he creates covert and peculiar forms and spaces; moreover, he reveals the paradox thinking of construction and abolition by using the spiritual technique of classic drill and the creation loop of nature interpretation. By this way, he hopes to represent the new form of contemporary sculptures in this digital era. His distinctive presentation in plastic arts has led him to participate in many times of Public space improvement projects, environmental art plans and international artistin-residence programs for years. He received selected Awards of Taipei Awards 2010 and Kaohsiung Awards 2008, and 2007 Outstanding Art Work Prize of Fine Arts Department, Taipei National University of the Arts.

李善陽 LI

SHANYANG (b.1965)

生於中國北京,1979年加入由北京藝術工作者成立的「星星畫會」,成為活躍成 員。1984年定居於法國至今。王克平的創作語言是簡單自然,以木頭為材料以其自 然形式表現人的自然形態,既是用自然又要打破自然,把自己的表達加進去,最後 作品處理又渾然天成,讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、台灣省 立美術館、波士頓Aidekman藝術中心,都有收藏他的作品,前後於紐約、巴黎、 倫敦等各地畫廊的個展,更反映出移民法國讓王克平以一種更嚴謹和內斂的態度, 繼續與源自他方的藝術傳統對話,充滿著自信和力量。 Born in Beijing, China. He is one of the founders of the first non-conformist artist's group “The Stars” (Xing Xing) which was formed in 1979 during the poet-cultural revolution “Beijing Spring”. He has been living in Paris since 1984. Wang's creative language is plain and simple, he uses woods as materials, adapts their natural shapes to present the natural forms of human, however he also wanted it to be unnatural, therefore he pour his expressions into his works along with natural materials, and the result is amazing as if it came part of the natural world, the work itself explains all. His works are collected by Villes de Paris, Paris, France; The Olympic Sculpture Park, Seoul, Korea; Modern Art Museum, Taipei, Taiwan; and Aidekman Art Center, Boston. Solo exhibitions he held in New York, Paris, and London reflect his more serious and modest attitude ager his moving to Paris, he continues to have conversations with art traditions originated from different places, and he's full of confidence and strength.

黃 鋼 HUANG

GANG (b.1961)

106

生於中國山東省牟平縣。1988年畢業於曲阜師範大學美術系,後於1993年7月廣州 美術學院雕塑系研究生班結業。之後進入中央美術學院油畫系就讀,並於2005年畢 業。分別於1997年發表《論法蘭克福學派的藝術理論》及1988年發表《論阿多爾 諾的藝術理論》,皆刊載於齊魯學刊。1999年以作品《祭》入選全國青年美術作品 展獲二等獎、2004年以《三姊妹》入選十屆全國美展。2005年以《末班地鐵》、 《初冬》、《人體》、《站立的女人體》參加中央美院2005屆畢業展,其中《站 立的女人體》被中央美院陳列館收藏。2005年《李善陽作品集》出版。2007年以 《途中》參加「融合與創造—中國油畫名家展」、2009年以《河堤》入選「第十一 屆全國美展」、2012年以《午後陽光》 《遠方》 參加油畫新疆行巡展、2013年以 作品《晚晴》入選第十屆中國藝術節美術作品展。

292

Born in Mou Ping County in Shan Dong Province, China, Li Shan Yang graduated from the art department of the Qu Fu Normal University in 1988 and graduate school of Fine Arts College of Guangzhou University in July of 1993. Later, he was admitted to the oil painting department of China Central Academy and graduated in 2005. He published “The Art Theory of Frankfurt School” in 1997 and “The Art Theory of Ardorno” in 1988 in the Qilu journal. He was awarded second place with “Festival” at the National Youth Artwork Exhibition in 1999, and nominated in the 10th National Art Exhibition with “Three Sisters” in 2004. He participated in the Graduate Exhibition of Central Art Academy with “The Last Subway”, “Winter”, “Body” and “Standing of Nude” in 2005; among those “Standing of Nude” was collected by the Central Art Academy. He published “The Collection of Li Shan-Yang” in 2005. He participated in “Merge & Innovation — China Renowned Oil Painting Artists Invitational Exhibition” with “On the Way” in 2007. He was nominated in “ the 11th National Art Exhibition” with “Riverside” in 2009. He participated in the Xinjiang Oil Painting Exhibition with “Afternoon" and "The Distance” in 2012; and nominated in “the 10th Chinese Art Festival Art Exhibition” with “Sun” in 2013.

107

生於中國北京。1984年畢業於中央工藝美院,並於1991年獲該校碩士學位,在學 期間曾獲「平山鬱夫」獎學金。自1994年起,曾於多國舉辦展覽及參與聯展、博覽 會等逾二十場。近期展覽:「亞洲現代藝術聯展」(2003,美國西雅圖,沃爾茨 畫廊)、「中國藝術家聯合巡展」(2004,美國,匹茲堡藝術學院畫廊)、「韓 國國際藝術博覽會」(2004,韓國首爾)、「北京藝術博覽會」(2006,中國北 京)、「黃鋼個展」(2006,台灣台北,現代畫廊)。 Born in Beijing, China, he received a bachelor and a master's degree from the Central Academy of Arts and Crafts. He also received Hirayama Scholarship during that time. Since 1994, he has participated in over twenty exhibitions and art fairs. Recent exhibitions: “Asia Modern Art Group Exhibition”, Seattle, USA, 2003; “Group Exhibition of Chinese Artists”, the gallery of Art Institute of Pittsburgh, USA, 2004; “Korea International Art Fair”, Seoul, Korea, 2004; “Beijing International Art Exposition”, China, 2006; “Solo exhibition by Gang Huang”, Modern Art Gallery, Taipei, Taiwan, 2006.


阿 曼 PIERRE FERNANDEZ ARMAN (1928-2005)

林玉山 LIN

YUSHAN (1907-2005)

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)。

110

Born Armand Pierre Fernandez 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", Cordier-Warren 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.

黃榮禧 TONY

WONG (1948-2012)

111

本名英貴,號雲樵子、諸羅山人,又號桃城善人,臺灣嘉義人。早年留學日本東京 川瑞畫學校,作品多次入選台展、府展等。與同以膠彩創作的陳進、郭雪湖並稱 「台展三少年」。曾獲教育部文藝美術獎、中國畫學會金爵獎、行政院文化獎等榮 耀,不論是對台灣美術和教育均有卓越貢獻。 Original name Yiggui, assumed the names Yunqizazi, Zhuluoshanren, and Taochensanren. From Jiayi, Taiwan. Lin studied abroad in Tokyo's Kawabata Art Academy in his youth and had his work selected for various Taiwanese art exhibitions and governor's art exhibitions. Along with Chen Jin, Guo Yuehu, who also created in gouache, the group was known as the "three youths of Taiwan Art Exhibition." Lin received the art award from the ministry of education, the Chinese Painting Association's Golden Duke Award, the Executive Yuan's Cultural Award, etc. His contributions to both art and education in Taiwan are outstanding and widely recognized.

彭光均 PENG

KUANGJUN (b.1961)

114

133

113

生於中國廣東,後移居美國紐約。1972年畢業於芝加哥藝術學院。1973年畢業於 加州大學柏克萊分校,獲文學碩士學位、1975年獲美術碩士學位。1975年,黃榮 禧進入伊利諾州州立大學任教。1977年他放棄教職,轉往紐約藝壇發展。其婉約抽 象主義風格的象徵派油畫作品尤為著名。1984年曾代表美國參加義大利威尼斯雙年 展。其作品先後在紐約、三藩市、洛杉磯、芝加哥、休士頓、台北、香港等各大城 市辦展。作品廣受香港美術館、史丹福美術館、台北市立美術館、華納兄弟影音公 司、H.B.O.所典藏。黃榮禧於2012年病逝於紐約。 Born in Guangdong province, China. Wong moved to New York City. Wong graduated from The Art Institute of Chicago in 1972 and received his MA degree from University of California, Berkeley in 1973. In 1975, he also received MFA from Berkeley. His symbolist artworks of delicate restraint abstract style are distinct. Wong represented by American Pavilion at Venice Biennale in 1984. His artworks have been exhibited in New York City, San Francisco, Los Angles, Chicago, Huston, Taipei and Hong Kong.

生於台灣新竹。畢業於台北藝術大學,1992年獲得第十三屆全國美術展雕塑類第 一名,1994年獲台北市立美術館雙年展佳作、台北市美展雕塑類首獎。著名展覽 包括:「得意忘象」(1994,台灣高雄,杜象藝術空間)、「得意忘象」(1994, 台灣台北,彩田藝術空間)、「探囊取物」(1998,台灣台中,首都藝術中心)、個 展(1999,台灣新竹,敦煌藝術中心)、個展(2000,台灣花蓮,維納斯藝術中 心)、個展(2001,台灣高雄,福華沙龍)、「不可思議」個展(2003,台灣臺 北,觀想藝術中心)、個展(2005,台灣,新竹縣文化局)、「草動雲湧」個展 (2007,台灣新竹,智邦藝術基金會)。高雄市立美術館典藏其作品「妙」。 Born in Hsinchu, Taiwan. Peng graduated from Taipei Art University in 1990, and won the first award of “13th National Art Exhibition of Sculpture in 1992. In 1994, won the excellent work of Taipei Fine Art Museum pair of year and the first prize of Taipei art sculpture exhibition. Solo exhibitions include:1994, Gaoxiong Du art gallery “too happy to get the elephant”、Taipei color field art space exhibition; In 1996 Taichung Jen Pin art center; In 1998 Taichung capital art center “took something from the pocket”; In 1999, Hsinchu Dunhuang art gallery exhibition; In 2000, Hualian Venus art center exhibition; In 2001, Gaoxiong Salon Exhibition; In 2003, Taipei View Thought art gallery “incredible” exhibition; In 2005, Xinzhu Culture exhibition; In 2007, Chih Pang art foundation “Grass and cloud movement ” exhibition. Gaoxiong art museum also collected his work “wonderful”.

293


蕭 一 HSIAO

YI (1956-2006)

陳煥禎 CHEN

HUANZHEN (b.1966)

117

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.

張充仁 ZHANG

CHINGREN (1907-1998)

生於台灣台北。為國立台灣藝術大學藝術學士 、國立台灣藝術大學美術研究所碩 士。陳煥禎獲獎、展覽經驗俱豐,曾獲第57至59屆全國美展雕塑類優選,2007年 獲大墩獎雕塑類第一名, 同年獲高雄獎優選-雕塑類首獎,2009年獲第11屆中國 全國美展優秀獎。近年重要個展:「意象抒情」陳煥禎雕塑個展(2004,台北縣藝 文中心)、北莊藝術中心常態展(2005-2008)、「都市心靈空間」雕塑個展(2007, 台灣台北,國父紀念館德明藝廊)、「凝視」 (2009,台灣台北,飛皇藝術中心)、 「我心深處」陳煥禎雕塑個展(2010,台北縣藝文中心藝文館)。其作品為龍華科技 大學藝文中心、台灣大學附設醫院、國父紀念館、新北市政府等機構典藏。 Born in Taiwan, Chen graduated from National Taiwan Art University. Solo exhibition: “Sculpture Exhibition” Sun Yet-San Memorial Hall De-Ming Gallery, 2007; National Taiwan University Hospital Hallway invitation exhibition; Taipei County Art Center, 2004. Group Exhibitions: “Impression and the New Impression sculpture exhibition”, 2003; “Famous Artists Excellent Art Works Exhibition”, 2004 and 2005; Taipei County Artist Exhibition, 2007. Chen was invited to enroll the Taiwan Worldwide Chinese Art Creative Association Annual 2006. Awards: The 16th Taiwan Art Exhibition, Golden Dragon of Sculpture. The 57th-59th Taiwan Art Exhibition- Sculpture Section, Excellent Prize; Feiyao 99 Taiwan Sculpture Exhibition, Award; The 23th Taipei City Art Exhibition. His work was collected by Longhua Science Technology Art Center.

安 卓 ENDRO (b.1983)

122

123

121

生於中國上海。1921年進入土山灣印書館,從事製版、攝影,並開始學習油畫。 1931年考入比利時皇家美術學院,攻讀油畫及雕塑,成績優異,屢獲嘉獎。期間, 結識比利時漫畫家埃爾熱,共同編繪《藍蓮花》。1935年11月歸國,翌年,在上海 創辦「充仁畫室」,從事教學與創作。曾多次舉辦個人畫展及雕塑展。2003年張充 仁紀念館于上海閔行區成立。 Born in Shanghai in 1907. The artist began his career in Tushanwan print house as an apprentice of plate making and photography, and learned oil painting. He left China for the Académie Royale des Beaux-Arts Brussels to learn oil painting and sculpture in 1931. At the time, he met Hergé, and they worked together to finish "The Blue Lotus". In 1935, Zhang went back to China. Upon his arrival back in Shanghai, he held a number of exhibitions for his drawings and sculptures, he also established the "Chongren Studio" to further his art and to teach. The Zhang Chongren Museum was established in Minhang, Shanghai in 2003.

294

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.


托卡.蘇達圖 TOTOK

SUDARTO (b.1954)

王霽昕 WANG

CHIHSIN (b.1966)

125 140 124

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.

姜中立 JIANG

ZHONGLI (b.1963)

生於中國山東。1986年就讀黑龍江省藝術學校,1994年入中央美術學院油畫系, 現生活、創作於北京。1992年參予「深圳繪畫邀請展」、北京中國美術館「北大荒 版畫展」,作品《午夜薩克斯》於同年獲黑龍江省美術館收藏,1993作品於中國美 術館「全國工業版畫展」展出,2006年陸續參予國內外大型展覽,包括「廣州世界 藝術博覽會」、「第九屆北京國際藝術博覽會」、「上海中國雙年展」、「宋莊首 屆藝術節」,並至美國RMCAD畫廊舉辦展覽。2007年受邀上海春季沙龍展,2008 年榮獲全中國2008青年美術家提名展油畫組金獎。其作品為美術機構、基金會及各 國藏家蒐藏。 Born in Shandong, China. Wang enrolled in 1986 in the Helongjiang Academy of Fine Art, and then in 1994 studied at the School of Oil Painting in the Central Art Academy. Currently he resides and works in Beijing. He participated in the "Northern Wilderness Print Exhibition" organized by the National Art Museum of China in Beijing in 1992, and in the same year his work "Midnight Saxophone" was collected by the Heilongjiang Provincial Art Gallery. In 1993, he entered the "National Industrial Print Exhibition" organized by the National Art Museum of China in Beijing, and attended some internationally exhibitions in 2006 which included: “Guangzhou International Art Fair”, “The 9th Beijing International Art Expo”, China Shanghai International Biennial”, “First Songzhuang Art Festival” and exhibit his works at RMCAD gallery in the US. Wang Chihsin was invited to ART Shanghai in 2007 and won the first prize of oil paintings from 2008 China Young Artists Nomination Exhibition. His works are collected by art institutes, foundations and private collectors worldwide.

陳永森 CHEN

YUNGSEN (1913-1997)

生於中國天津。畢業於天津美術學院油畫系,結業於天 津美術學院國畫助教研究班以及法國巴黎美術學院教授 賓卡斯先生主持的繪畫材料研究班,2002年畢業於中央 美術學院油畫系研究生課程班。2006年赴義大利羅馬美 術學院,進行學術交流並舉辦聯合畫。現為天津美術學 院油畫系副教。個人展覽包括:「個人畫展」 (2001, 中國天津,唐風藝術畫廊)、「虛擬現實-姜中立具象油 畫展」(2001,中國,天津人民美術出版社美術館)、 「夢與現實的交融-姜中立油畫個展」(2006,台灣台 北,雲清藝術中心)。論文《材料語言-繪畫語言探索 的新空間》獲2006年天津市高等院校論文比賽優秀獎。 Born in 1963 in Tianjin, graduated from Oil Painting Dept of Tianjin Academy of Fine Arts, got bachelor degree in 1988. Jiang graduated form assistant study class in Traditional Chinese Painting Dept of Tiajin Academy of Fine Arts in 1994. In 2002, he graduated form oil painting advanced class of Centric Academy of Fine Arts. Jiang's solo-exhibitions include in 2001 an oil painting exhibition in Tianjin Tang Dynasty Art gallery, the 2001 “Virtual Reality”- Jiang Zhongli Mini Figural Oil Painting Exhibition in Tianjin People Art Publishing House.

126

127

生於台灣台南。陳永森之尊翁陳瑞寶是民初台灣頗為出名的神像雕刻師,由於童年 的耳濡目染,再加上得自父親的遺傳,造就其日後踏上藝術之路。1927年,陳永森 於台南私立長老教會中學(今長榮中學)求學時,受教於前輩畫家廖繼春的啟蒙、指 導,發掘出美術天賦,亦奠定其日後藝術成就之基礎。1953年更以膠彩、油畫、工 藝、雕刻、書法五項同時入選第八回日展,廣為日本藝壇敬重,被譽為「萬能的藝 術家」。1955年再以「鶴苑」二度榮獲日展白壽賞,獲日本裕仁天皇接見並勉勵: 「為兩國文化,貢獻心力。」 Born in Tainan, Taiwan. Chen's father Chen Jui-Pao was a well-known sculptor in statue of the Buddha. In his early age, his parents had passed away. Since the first grade of elementary school, he was raised by his father. In 1927, Liao Chi-Chun, a western style painter inspired his talent in art while he was studying at the Presbyterian Church High School, Tainan. In 1955, it was the second time for his work “Cranes” to be honored for the first prize of the Imperial College Exhibition by Japanese emperor Hiro Hito.

295


彭自強 PEN

TZUCHIANG (1960-2010)

李錫奇 LEE

SHICHI (b.1938)

120

134

130

生於中國四川重慶。自幼習水墨畫,長大後專攻水彩,中體西用,在水彩的世界展 現水墨的張力,時而雲氣萬千,時而風淡雲輕,在水彩的領域自成一格,實有名家 之氣。彭自強的畫給人一種強烈的張力,彷彿能將觀賞者的情緒帶入畫中,他天生 本能有著導演般銳利的觀察力與創造力,用他的方式盡情揮灑著屬於他的迷彩世 界。近幾年作品大多以平劇人物、交響樂、芭蕾舞、風景、人物做為創作主題,畫 作風格筆觸大膽灑脫,不拘泥小節,表情生動,展現超強之生命力。 Born in Taipei. Pen studio was established in 1988. He has held 12 individual exhibitions during 1988-1990. Prizes and past exhibitions include “ The 18th Taipei Art Exhbition”, “ 54th Tai-Yang Exhibition, western painting award”, 1991; The work “Tainan Fishing Port” was on the cover of Reader's Digest in July, 1996. Other solo exhibition include: 2000 G. Zen Art Gallery in Kaohsiung, and aquapelle painting exhibition at Northern Banker Art Center in Taipei. In 2002 aquapelle painting at ORME Gallery.

馮騰慶 FONG

TENGCING (1933-2005)

135

生於台灣桃園。1953年台北師範藝術科畢業。早年隨李石樵習畫,並且多次獲省 展、教員美展、台北市美展特選,馮騰慶一生從事美育,曾在多所國小任教,退休 時更榮膺師鐸獎。1987年並獲中華民國畫學會油畫金爵獎。馮騰慶曾於1988年創 辦莫內畫廊於台北,在1990年前後,儘管馮騰慶的作品在市場上大受歡迎,但他仍 保持一貫嚴謹創作的態度,例如養鴨人家的題材,曾經讓一些藏家望穿秋水。1992 年最後一次個展於台中現代畫廊,後來即未曾再做個人發表。爾後,他閉門從事創 作,沉浸於波納爾與莫內的光影色彩裡。直至今日,年輕一代藏家出現,對於馮騰 慶這樣一位30年代的畫家,代表一個由前輩到現代的中堅世代,特別值得留念。

296

Born in Taoyuan, Taiwan. Fong graduated in Arts of Nation Taiwan Normal University in 1953. Early years studied painting with Li Shihchiao, he won several times in Taiwan Provincial Fine Arts Exhibtion, Faculty Art Exhibition and Taipei Fine Arts Exhibition. Fong's life engaged in aesthetic. He has taught at several elementary. In 1987, he won Jin Jue Award of Painting Association of the Republic of China. Ping established The Monet galleries in Taipei in 1988. Fong's works popular on the market but he remained consistent rigorous attitude, example Duckling theme had let some collectors to eagerly look forward. The last solo exhibition showed in Modern Art Gallery, Taichung in 1992. After the last exhibition, he closed doors to create and immersed in the colors of light, shadow of Monet and Bonnard. Until today, the young generation collectors thought Fong such a painter in the 1930s who representatives from the predecessors to the backbone of modern generations, deserve memorable.

生於台灣金門。1955年入台北師範學校藝術科,1958年組織「現代版畫會」, 1963年加入「東方畫會」。1959年開始參加國際性大展,多次榮獲國際藝術大 獎,2009年獲總統府任聘為國策顧問。創作系列完整,曾參與國內外重要聯展,近 年重要個展包含:「浮生十帖-錯位 變置 李錫奇個展」(2002,台灣台北,國 立歷史博物館)、「李錫奇個展」(2004,瑞士日內瓦,Gulerir Leda Fletcher)、 「李錫奇北京畫展」(2005,中國北京,中國美術館)、「七十‧本位‧李錫奇- 走過臺灣現代藝術50年」(2006,台灣台北,國父紀念館)、「淬鋒.本位.李錫奇」 (2009,中國,廣東美術館)。 Born in Quemoy, Taiwan, Lee Shichi studied in Taipei Municipal University of Education in 1955. Between the years of 1957 and 1958, Lee's artworks were selected both in the Students' Art Exhibition sponsored by the Education Council and in the Free China Art Exhibition organized by Tie-Hua Ho and the others who promoted "New Painting." And organized the East Painting Society in 1963. Switzerland invited him to hold a personal exhibition in 2004. Solo exhibitions: “The Ten Aspects of My Artistic Life individual exhibition”, Taiwan National Museum of History, Taipei, 2002; “70. orientation. Lee Shi-Chi : Modern Art in Taiwan Through The Past 50 Years”, National Dr, Sun Yat-sen Memorial Hall, Taipei, 2006; “Orientation.Tempered.Edge.Lee Shi-Chi.” Guangdong Meseum Of Art, China, 2009.

李 梁 LEE

LIANG (b.1985)

136

生於中國洛陽,新銳藝術家,現居住於北京。2003進入中央美術學院就讀,2011 碩士畢業於中央美術學院油畫系二畫室,並取得文學碩士學位,現為職業畫家。曾 參與之聯展與個展:油畫作品《仕女系列》參加北京京西學校「我們—六人展」 (2006)、油畫作品《四月系列一》入選「中央美術學院第五屆“學院之光”畢業生 作品展」(2007)、《鏡子系列之三,之四》參加「中央美術學院油畫系畢業作品 展」(2007)、「亦幻亦真 當代藝術作品展」「青春地平線」(2008,北京)、油畫作 品《紅帆船系列》入選「藝術中國-全國畫展」並收藏(2010)、「暗香—中央美術 學院優秀研究生李梁,萬嶺作品展」(2011,北京,感嘆號藝術空間)、「內心的真 實—李梁作品展」(2012,臺北)。 Born in Luoyang, China. He was accepted by Central Academy of Fine Art and Style after graduating from senior high. Scholarship was offered to him from Central Academy of Fine Art where he studied oil painting the next year. His oil paintings “Young Women” was released, then. In 2005, he once again received the scholarship. His work “Still life” first won the Best Color prize of Studio Open Day of Department of Oil Painting, then was selected into top works of the year in Central Academy of Fine Art in 2005 and in the end was collect by a gallery later. His work “The Wall” was in a charity auction at Beijing JingXi School and was sold to private collector in 2006. In 2007, his series “April” was selected as Excellent Works in the 5th Academy Light Exposition.


郭東榮 KUO

TONGJONG (b.1927)

謝孝德 HSIEH

HSIAOTE (b.1940)

138

137

生於台灣嘉義。畢業於國立台灣師範大學後赴日留學。獲日本早稻田大學西洋藝術 史碩士學位和日本東京藝術大學油畫技法材料碩士學位。1983年於台北國立歷史博 物館舉行個展;作品的主題環繞著風景建築與鄉土民情而呈現出多彩多姿的生活景 象。對他來說,色彩的功能不僅是為描繪物體的形而存在,它更可以獨立於具體的 形之外。如梵谷對金色與靛藍的使用,色彩兼具描繪物象以及營造意境的功用。 Born in Jiayi, Taiwan. Kuo went to Japan after graduation from Taipei Teacher College. He received a Master's degree in Art History and Oil Painting Masterials and Techniques from Tokyo Fine Art School in 1973. National Museumn of History held his solo exhibition in 1983. Influenced by Vicent van Gogh, colors are not only a tool to describe subjects but also to from conception. His style on later period reminds viewers of European PostImpressionisim.

奈良美智 YOSHITOMO

NARA (b.1959)

141

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.

金勤伯 JIN

QINBO (1910-1998)

149 142

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。

150

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.

生於中國浙江吳興,世居上海及北平。本名開業,後改名勤伯,號繼藕、景北,齋 名「倚桐閣」、「雲水居」。金勤伯的大伯父金城是清末著名書畫家及收藏家,其 認為金勤伯在藝事上具有天份,值得教誨,十四歲起便開始親授各項畫科,以古人 工筆著手,學習精工手法。1921年在大伯金城推薦下加入「中國畫學研究會」,並 連續六年參加在北平中國畫學的國畫公展。1928年,十八歲伯父過世改從身為花 卉名家的姑母金章學畫,得姑母真傳。1929年十九歲的金勤伯考入燕京大學生物 系。1937年經由湖社師兄陳緣督推介給時任北京輔仁大學美術系主任的溥伒,受聘 為代課教師,後曾轉往上海藝專任教,從此走上教書生涯。1946年再度赴美深造, 取得生化碩士學位後,即全心朝向繪畫興趣發展。於1949年渡海來台,寓居台北青 田街一日式平房。1950年參加第五屆台灣省全省美展獲國畫部第四名。1951年參 加第六屆台灣省全省美展獲國畫部第二名。1957年起連續擔任多屆台灣省全省美展 國畫部評審委員。1959年9月應美國國務院之邀,赴美國羅德島設計學院(Rhode Island School of Design)講學一年,並舉辦「金勤伯國畫展」。 Born in Zhejiang, China. Nephew of Jin Cheng. His father, Jin Qiong-lin, was a collector. Grown in prominent industrialist family. Jin Qin-Bo graduated from Yan-Jing University with BA in liberal arts in 1933. In 1937, Jin caught in Beijing by Japanese occupation. In 1947, His father sent him to England and France for further study. Then in 1949, he moved to Taiwan. In 1940, He joined faculty of Nan Yang Normal University with Pu Ru and Huang Jun-Bi. Jin went to Rhode Island School of Design as Visiting professor in 1959. In early 1960s, He taught in Iowa City, where his painting showed influence of abstract expressionism. Later he taught in New Asia College. Chinese University of Hong Kong and returned to Taiwan in 1966, where he taught in several colleges. In 2004, Jin held solo exhibition in National History Museum, Taipei.

297


喻仲林 YU

CHUNGLIN (1925-1985)

吳學讓 WU

HSUEHJANG (1924-2013)

143 144

生於中國山東。喻仲林幼年因失恃之痛,前往山東依附舅父許宗海。由於其外公藏 書甚豐,及舅父的薰陶之下,喻仲林自幼對繪畫產生濃厚興趣。十三歲那年因遇對 日抗戰開始,僅讀至中學就停止學業,投身抗戰。1949年喻仲林隨國民政府遷台, 任職國防部,公暇之餘重拾畫筆。曾至台灣師範大學藝術系當旁聽生。在名家金勤 伯指導下,也奠定了其繪畫的基礎。「苦畫」有成,曾舉辦過多次畫展及個展,及 國內外邀請展。與孫家勤、胡念祖組成「麗水精舍」。六十二年應邀至日本主持中 國近代畫家展,六十四年應夏威夷大學之聘,教授繪畫並舉行畫展。曾獲六十四 年中國畫學會金爵獎、第五屆中興文藝獎。繪著有《喻仲林畫集》、《翎毛畫入 門》、《喻仲林花鳥畫冊》、《扇面喻仲林工筆花鳥畫稿》。 Born in Shandong in 1925. Yu was brought up by his uncle, Hsu Zong-hai, an ardent lover of painting and calligraphy, who cultivated Yu's interests in painting. He came to Taiwan in 1949 and worked in the Ministry of Defense. In his leisure time, Yu sat in classes in the Department of Fine Arts, National Taiwan Normal University. He also studied with the famous artist Jing Ching-bo and focused on flower and bird painting and its meticulousness of style. In 1956 Yu founded the Li Shui Studio with fellow artist Hu Nian-zu and Sun Jiaqing. For more than thirty years, Yu kept painting and showing his works, winning critical acclaim as well as important awards.

陳幸婉 CHEN

HSINGWAN (1951-2004)

生於中國四川。別號退伯,1948 年畢業於國立杭州藝專,師承林風眠、潘天壽、 李可染等名家,為國際著名當代水墨畫家、美術教育家,現旅居美國加州。1984 年榮獲中華民國畫學會繪畫教育金爵獎,1985年獲頒中國文藝協會國畫繪畫金質 獎章,為蔣勳讚譽為開創當代水墨新格局之先驅。曾與劉國松等人創辦中國現代水 墨畫會。1970年首次於美國佛羅里達國際畫廊舉辦個展,自此於國內外舉辦多次 著名個展:「吳學讓個展」(1989,台灣台北, 國立歷史博物館)、「吳學讓七十 回顧展」(1994,台灣,台北市立美術館)、「從傳統到現代—吳學讓彩墨畫展」 (1996,台灣台中,台灣省立美術館)、「故國神遊—吳學讓八十回顧展」、「故國 神遊—吳學讓八十回顧展」(2004, 台北台北,國立歷史博物館)、「千年墨韻揮灑 古今—吳學讓水墨畫個 展」(2009,名山藝術台北館、竹科館)、「吳學讓中國 水墨畫展」(2010,中國、上海劉海粟美術館)。 Born in Sichuan, China. He graduated from National Hangzhou Academic Art College in 1984 ,and learned the painting skill under the Contemporary Chinese ink paintings of master Lin Fengmian、Pan Tianshou、Li Keran. Currently resides in California, USA. Recipient of ROC Chinese Painting Association Golden Award in painting education in1984 and Golden Award from Chinese Writers’ and Artists’ Association for painting in 1985. His work has been in display in Europe, America and Asia. Chiang Hsun called him the pioneer of the modern Chinese painting. In 1970, he had a first solo exhibition in Florida National Gallery, USA. Solo exhibitions: “Solo Exhibition” National Museum of History, Taipei, 1989; “Wu Hsueh-Jang Retrospective Exhibition at 70”, Taipei Fine Art Museum, Taiwan, 1994; “From Tradition to Modern—Xuerang Wu’s color Chinese painting” Taiwan Museum of Art, Taichung, Taiwan, 1996; “Wu Hsueh-Jang Solo Exhibition— Millennium of Harmony, Expressing the past and the present’, Mingshan Art Taipei and Hsinchu Locations, Taiwan, 2009.

楊善深 YANG

145

生於台灣台中龍井鄉,為雕塑家陳夏爾之女。畢業於國立藝術專科學校美術科西 畫組,師承李仲生。1975年與中部青年畫家陳世興等人組成「夏畫會」,並於台 北省立博物館聯展。1990年赴瑞士巴塞爾藝術家工作室創作半年,1991年獲教育 部甄選赴巴黎國際藝術村創作一年。1995年獲文建會甄選赴美國研習創作半年。 長年旅居巴黎,並多年遊行於台灣、歐洲及埃及等地尋求創作靈感與元素。曾獲 「中國現代繪畫新展望」首獎、「當代抽象畫」第三獎、李仲生基金會「現代繪畫 創作獎」,並多次參與海外畫展。重要展覽:「媒體、環境、裝置」(1988,台灣 省立美術館)、「巴黎國際藝術展」(法國巴黎,1988)、「中華民國當代藝術展」 (1995,雪梨當代美術館,澳洲)、「意象與美學-台灣女性藝術展」(1998,台 北市立美術館)、「比較沙龍」(2004,巴黎歐德耶藝術空間Espace Auteuil,法 國)、「蔓蕪」(2006,高雄市立美術館)。 Born in Taichung, Taiwan. Chen is the daughter of well-known sculptor Chen Hsia Yu. In 1972, graduated from National Taiwan Academy of Arts with Oil Painting Department. In 1975, she organized “Xia Group” with Chen Shih Xing and held an exhibition in Taipei Museum. Inspired by her teacher Li Chung Sheng, she started the mixed media experimental creation. Since 1990, She tried another media-ink for futher tentation. No mater mixed media of painting, ink or half-solid works, they all divulge her passion of life. Journey across Taiwan, Europe and Egypt accumulated her unique aspects and cultural accomplishments. Main Exhibition: “Media, Environment, Appliance”(Taiwan Art Museun, 1988 ); “Paris International Art Fair”(1992, Paris, France); “ROC Contemporary Art”(1995, Sydney Modern Art Museum, Australia); “Image and Esthetics-Taiwan Female Art Exhibition”(Taipei Fine Art Museum, Taiwan, 1998); “Comparision Salon”(Espace Auteuil, Paris, France, 2004); “Sprawl”(Kaohsiung Museum of Fine Art).

298

146

SHENSUM (1913-2004)

生於中國廣東省台山赤溪。字柳齋,香港畫 家,被譽為「嶺南畫派最後一位大師」。 1930年移居香港,1933年開始從事繪畫, 與「嶺南三傑」之一的高劍父結識,開展 悠長的師友關係。1935年留學日本,入京 都堂本美術專科學校,隨堂本印象學畫。 1941年香港淪陷,避居澳門。與高劍父、 馮康侯等成立「協社畫會」。1945年回港 定居。1970年在港成立「春風畫會」,並 獲台灣中華學術研究所頒贈哲士銜。1988 年移居加拿大溫哥華,嗣後常往來溫哥華、 香港兩地。1999年獲香港藝術發展局頒授 「視藝終身成就獎」。晚年曾將巨作《千年 松樹》送贈予中國北京人民大會堂。2000 年,他以其精湛藝術成就和貢獻獲香港特別 行政區政府頒授銀紫荊星章,2004年5月15 日於香港半山寶珊道十至十六號寶城大廈家 居逝世,享年91歲。

Born in Guangdong, China. Yang is a Chinese artist and painter, Who was one of the leading developers of the Lingnan school. Since 1930 he lived in Hong Kong in the 30s studied art in Kyoto (Japan). The first exhibition of his work took place in 1934. Since 1988 he has lived in Canada, died of a heart attack during a visit to Hong Kong. He was a leading representative of the southern Chinese Lingnan painting style, combining traditional techniques with elements of Japanese and western influences of realism painting. In his works appeared above all the animals, birds, pejzaz'e.Jedna, of his most famous works is the painting Evergreen Forever (2002), placed in the Great Hall of the People in Beijing


趙無極 ZAO

WOUKI (1921-2013)

148

154

162

163

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(1900-1991)、吳大羽(1903-1988)。畢業之後 校長林風眠勸其到法國留學,於是在1948年偕妻子謝景蘭赴巴 黎留學,並結交不少歐洲藝術界人士。從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,並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,避 開抄襲與舊有形式,以嶄新姿態與形式呈現出他的藝術新領 域。第二次世界大後,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. In 1948, he went with his wife Lan-lan to Paris to live on the same block in Montparnasse where the classes of Émile Othon Friesz took place. His 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.

155

鄭善禧 CHENG

SHANHSI (b.1932)

白髮一雄 SHIRAGA

KAZUO (1924-2008)

151

147

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

生於日本尼崎市。日本知名畫家。1948年畢業於日本京都市繪畫專門學校日本畫系 (現為京都市立藝術大學)。1952年與金山明、村山三郎及田中敦子等日本藝術家組 成「零協會」,後於1954年時加入以吉源志良為中心組成的「具體美術協會」,並 開始以腳作為畫具,在畫布上創作。1955年參與第一屆在東京小原會管舉辦的「具 體美術展」。 Born in Amagasaki, Japan. He studied at Kyoto City University of Arts, where he graduated in 1948 in traditional Japanese painting . In 1952, Shiraga founded, along with future fellow Gutai members Tanaka Atsuko, Kanayama Akira, and Murakami Saburo, the avantgarde artistic group “Zerokai”, which joined Yoshihara and the Gutai around 1954.And he started painting on the canvas with his feet slipping . In 1955, he participated in the Gutai's first exhibition in Tokyo.

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.

299


朱德群 CHU

TEHCHUN (1920-2014)

152

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.

貝納德.畢費 BERNARD

BUFFET (1928-1999)

170

158

吳冠中 WU

GUANZHONG (1919-2010)

160 164

159

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。」

300

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.

165

生於中國江蘇。1942年畢業於國立藝術專科學校,1946年考取公費留學,1947年 入法國巴黎國立高等美術學院。1948年作品參加巴黎春季沙龍展和秋季沙龍展。吳 冠中1950年返國,先後任教於中央美術學院、清華大學建築系、北京藝術學院、中 央工藝美術學院。1991年,法國文化部授予其法國文藝最高勳位,1993年榮獲巴 黎市金勳章,2000年入選法蘭西學院藝術院通訊院士,是首位獲此殊榮的中國籍藝 術家,也是法蘭西學院成立近二百年來第一位獲此職位的亞洲人。吳冠中在美術創 作和美術教育上取得了巨大成就,其致力於油畫民族化和中國畫現代化的探索,繪 畫風格除反映中國繪畫的特點,也呈現東西方藝術的匯合,在海內外享有極高的聲 譽。 Wu Guan-Zhong was born in Jiangsu Province, China, in 1919, and graduated from National College of Art in Hangzhou. In 1947 Wu traveled to Paris to study at the École National Supérieure des Beaux Arts on a government scholarship, and then participated in The Paris Spring and Autumn Salon Exhibition. Since his coming back to China from 1950, he has lectured at numerous major art colleges. Recently, he was honored “ officier de l’Ordre des Arts et des Lettres” from the French Ministry of Culture (1991), “Gold Medal” from the Paris Municipal Government (1993); and lastly, the Corresponding member of Academie des Beaux-Arts de l’lnstitut de France (2000), which is the first Chinese artist to be awarded with this title in 200 years of establishment of the institute. Wu Guan-Zhong obtains great achievements on not only art creation, but education as well. He dedicates himself to explore and integrate oil painting and Chinese painting's characteristics. As a result, Wu receives a respectful standing in international art field.


潘玉良 PAN

YULIANG (1895 - 1977)

安迪.沃荷 ANDY

172 161

生於中國江蘇揚州。原名陳秀清,後改名張玉良,1913年與潘贊化結為伉儷,改 姓潘。1921年於上海美專畢業後獲官費赴法進修。先入里昂國立藝術專門學校, 後進巴黎國立美術學院。1925年進入義大利羅馬國立美術學院學習油畫及雕塑。 1929年應劉海粟之邀回國任上海美專西畫系主任,並任教于南京中央大學藝 術 系。參加"全國首屆美展"被喻為"中國西洋畫家第一流人物"。1937年離國再度赴巴 黎參加萬國藝術博覽會和籌辦個人畫展後一直未再回國,直到1977 年病逝巴黎。 其作品為各地重要的美術館所收藏,包括法國的塞努希博物館、巴黎現代藝術館及 台北市立美術館等。潘玉良的作品融合中西畫之長,又賦予自己的個 性色彩。她的 油畫含有中國傳統水墨技法,用清雅的色調點染畫面,色彩的深淺疏密與線條互相 依存,很自然地顯露出遠近明暗、虛實、氣韻生動,她用中國書法的 筆法來描繪萬 物,對現代藝術已做出豐富的貢獻。 Born in Yangzhou, Jiangsu, China. After graduating from the Shanghai Art Institute in 1921,Pan was granted an official scholarship to study at the Lyon National Art School. Later she studied at L' Ecole Nationale Sup rieure des Beaux Arts and then traveled to Italy to study oil painting and sculpture at the Rome National Fine Arts Institute in 1926. In1929, Liu Haisu invited her to go back to teach at Shanghai Art Institute and then she also taugh at the Nanjing's Central University, In 1938, she left for France where she lived until her death in 1977. Pan's works were collected by major museums including Musée National de l'art moderne in Pairs, National Art Museum of China and Taipei Fine Arts Museum.

瑪麗.羅蘭珊 MARIE LAURENCIN (1883-1956)

WARHOL (1928-1987)

173

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 mid1960s 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.

尚.皮耶.卡辛紐 JEAN PIERRE CASSIGNEUL ( b.1935 )

174

生於法國巴黎,是法國著名畫家及版畫家。羅蘭珊18歲時前往賽夫勒學習瓷彩繪 畫,之後回到法國並進入Académie Humbert繼續學習美術。1970年時結識法國 二十世紀初現代主義運動中的重要代表詩人兼藝評家阿波里涅爾(Apollinaire) ,並 進一步交往,與畢卡索等青年前衛藝術家過從甚密。第一次世界大戰期間,羅蘭珊 因隨著出生於德國的丈夫男爵奧特.峰.魏傑恩在西班牙流亡,故失去了法國公民 的身份。1920年與離婚後,羅蘭珊回到了巴黎度過餘生。在當時羅蘭身世少數的女 性立體派畫家之一,藉由與畢卡索與布拉克的深交,在傲慢且陽剛的立體派特色之 下,其更創作出獨特的表現手法,試圖挑戰審美觀感,作品大多圍繞在柔和之美的 女性及婦女。其堅持創造女性之美的視覺語彙,直至生命終點。 Born in Paris, French, where she was raised by her mother and lived much of her life. Laurencin was a French painter and printmaker. At 18, she studied porcelain painting in Sèvres . She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. After divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. During the 1930s she worked as an art instructor at a private school. She lived in Paris until her death. Laurencin's works include paintings, watercolors, drawings, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen. While her work shows the influence of Cubist painters Pablo Picasso and Georges Braque, who was her close friend, she developed a unique approach to abstraction which often centered on the representation of groups of women and female portraits. Her work lies outside the bounds of Cubist norms in her pursuit of a specifically feminine aesthetic by her use of pastel colors and curvilinear forms. Laurencin's insistence on the creation of a visual vocabulary of femininity, which characterized her art until the end of her life, can be seen as a response to what some consider to be the arrogant masculinity of Cubism.

175

生於法國巴黎。是當代華人畫家吳冠中留法時的同門師弟。曾於法國Académie Charpentier美術學院學習,後畢業於法國美術學院。於法國美術學院就讀期間, 深受教授Jean Souverbi立體畫派影響。1956至1960年間工作於Chapalain-Midy 的工作室,並向其學習繪畫技巧。卡辛紐在17歲時即舉辦第一次個展,至1956年結 識日本畫商為永清司,並且成功將其作品發揚至日本。1965年後常於巴黎、日本及 美國巡迴展出,作品調性艷麗,色彩豐富,且富羅曼蒂克的畫風。 Born in Paris, French. He studied art at the Académie Charpentier and under Jean Souverbie who had cubist influences in his work and was head professor at the Ecole des Beaux-Arts in Paris. Between 1956 and 1960 Cassisneul was instructed by Chapelain-Midy and worked in his studio. In 1965 he met Kiyoshi Tamenaga, who would become his art dealer in Japan, he would his work many times in Japan. In 1968 Wally Findley becomes his dealer in the USA. Throughout the 1970's Iean Pierre Cassigneul exhibited extensively in Europe, Japan and the USA.Cassigneul is a painter, lithographer and illustrator. He created beautiful portraits of youung woman with big very fashionable hats. He was trongly influenced by expressionist painter Kees van Dongen.

301


村上隆 TAKASHI

MURAKAMI (b.1962)

178

181

179

182

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)。

180

強.詹森 JEAN

176

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.

JANSEM (1920-2013)

177

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.

302

林義隆 LIN

YILONG (b.1987)

183

生於台灣宜蘭。2009年畢業於國立台北藝術大學美術系版畫組,之後考入國立台 北藝術大學美術創作碩士班繼續深造。以版畫創作見長,曾多次獲得藝術獎項包 括:2010年榮獲「第十五屆大墩美展」版畫類組優選、2010年入選「中華民國第 14屆版畫雙年展」、2010年入選「中華民國第25屆版印年畫」、2011年榮獲「龍 顏基金會第五屆藝術創作獎」。主要個展包括:「異次元的存在-林義隆版畫個 展」(2011,光喆藝術空間,高雄,台灣)、「平行宇宙-林義隆/曾建穎雙個展」 (2011,南海藝廊,台北,台灣);聯展包括:「2012台中藝術博覽會」(2012,台 中長榮桂冠酒店,台中,台灣)、「台灣-韓國國際版畫展─撞擊.繁衍」(2011, 國立台灣藝術大學藝術博物館,台北,台灣)、「台北國際當代藝術博覽會Young Art Taipei」(2011,王朝大飯店,台北,台灣)、「2011藝術家博覽會」(2011, 剝皮寮歷史街區/駁二藝術特區,台北/高雄,台灣)、「2011西班牙版畫博覽會」 (2011,馬德里,西班牙)。 Born in Yilan, Taiwan. Lin graduated from National Taipei University of the Arts in printmaking, BFA in 2009. And study in National Taipei University of the Arts institute of Fine Arts printmaking group, MFA now. Award included: Young Artist Collection ”National Taiwan Museum of Fine Arts” in 2011; “The 14th International Biennial Print Exhibition, R.O.C” in 2010; “The 15th Da-Duen Art Exhibition” in 2010; “The TRUTH PURITTY and GRACE of BENQ AWARD” in 2009. Exhibition included: “YI-LUNG LIN SOLO EXHIBITION of PRINT”, Lighten Art Gallery, Kaohsiung, 2011; “Long Yen Foundation :The 5th Art Scholarship”, Taipei, Taiwan, 2011; “Parallel universes”, Nanhai Gallery, TaipeiGroup Exhibitions, 2011; “T-ART in Taichung”, Taichung, Taiwan,2012; “TaiwanKorea International Print Exhibition”, Taipei, Taiwan,2011; “Taipei Contemporary Hotel Art Fair”, Young Art Taipei, Taipei, Taiwan, 2011; “The 14th International Biennial Print Exhibition, R.O.C ”, Taichung, Taiwan, 2010.


中誠之服務‧Zhong Cheng Services

ࡋЙ݉ଡ଼

Customer Services

ҐϵѨଷӶܰ፳ࠊණ‫ޑٽ‬ӈຠզ݉ଡ଼ѵȂ‫ש‬উҼණ‫ٽ‬ί ӗ݉ଡ଼໷ҭȈ

We offer professional service for art appraisal before auctions. Our other services include:

!!᛻೛ࠣ‫ې‬ଋᝰ‫׺‬

Bidding Service We could assist you to bidon of the auctions worldwide and make suggestion for the sales of your collections.

‫ש‬উѠ்࣐ණ‫ܼٽ‬зࣩөӵᖟ՘ϟܰ፳ཽໍ՘᛻೛ࠣ! ᝰ‫׺‬Ȃ‫ٯ‬ණ‫ٽ‬я୶ܰ፳ࠣ‫ޠ‬஠ཿ࡛ឋȄ !!᛻೛ࠣӇϮ ‫ש‬উණ‫ٽ‬஠ཿ‫ޠ‬᛻೛ࠣӇϮȃ᛻೛ᒛၛᇅ‫׺‬ၦ࡛ឋȄ !!᛻೛ࠣᠧቌ! ‫ש‬উණ‫ٽ‬ᠧቌ݉ଡ଼Ȃձ࣐ߴᓏȃใଡ଼ȃ౱᠍೤დȃཐ ๢ਗᝧᇅܱ‫ܬ‬আູ୥ՄȄ !!ใଡ଼ᒛၛ ‫ש‬উѠ்࣐ණ‫ٽ‬ԥᜱ೏౪᛻೛ࠣȃѡုᇅ‫ڐ‬уԞᙡࠣ ใଡ଼ࣻᜱၦଊᇅ࡛ឋȄ !!᛻೛ࠣ፵আູ! ‫ש‬উѠ‫ڟ‬ֆ்࣐‫ޠ‬Ԟᙡࠣໍ՘ᠧቌȂ‫ٯ‬஡‫ڐ‬ձ࣐ᐋߴ ໍ՘আູȄ !!᛻೛ܰ፳Ҁൠၦଊ! ‫ש‬উණ‫ٽ‬ഷུ᛻೛ܰ፳ҀൠၦଊȄ !!ຶঢ়ᔗᛵϟᕋཿใ ‫ٸ‬ᐄϜ๽Җ୾‫ࡢݳ‬೤ۢȂδໍπ᛻೛ࠣҦຶРӶѯ‫ڦ‬ೳ޲Ȃ ຶРሰᛵһȶဤᅄቌȷԼϸϟϥ‫)ޠ‬ђঅ*ᕋཿใȄԫ๊ໍπ ᛻೛ࠣ)ҭᓄϲԥɎಓဵϟጢဵ޲*Ȃस߾ܼϜ๽Җ୾ძѵһ рຶРȂຶРณ໹МрᕋཿใȄ!ຶРसమܼϜ๽Җ୾ძ ѵ‫ڦ‬ೳȂᔗܼܰ፳Сࡤ‫ڎ‬ঐϏձЉϲпਫ८೾‫ޤ‬ҐϵѨȄ

Private Sales & Auction Information We conduct private art sales and provide investment advice. In addition, we also provide the latest information of global art market. Appraisal Service We provide appraisals to suit a variety of needs, including insurance, taxation, estate planning, charitable contribution and collateral loan purposes. Tax Consultation We may provide tax consultation on your collections. Loan Service We may assist you to capitalize on your collection with an art loan by using your fine ad decorative art or other valuable as collateral. We may issue funds with the ownership and a valuation by our recognition. 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.

303


304


305


306


307


308


309


Lot 074 邱亞才


ABSENTEE BID FORM 中誠國際藝術 委託競投表格

委託競投表格須於拍賣 24 小時前郵寄或傳真至: 中誠國際藝術股份有限公司

台北市大安區復興南路一段 92 之 7 號 1 樓 電

話:+886-2-8773-3565 傳真:+886-2-8773-2615 Email:art@art106.com 本公司將以電話方式進行確認,若於一個工作天還未收到確實回覆,敬請重新傳真表格或來電。

□ 書面委託

拍賣名稱

□ 電話委託

中誠 2014 春季拍賣

委託項目 拍品編號

拍賣日期與時間

名稱

2014 年 6 月 8 日 14:30

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、

最高競投價(新台幣,不含服務費)

NT$ NT$

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

NT$

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: 合作金庫銀行 復興分行 (代號#006) 戶口號碼:0914-717-237961 銀行地址: 台北市復興南路一段 237 號

NT$ NT$ NT$ 委託人資料

委託人姓名

身份證字號 *並請將閣下的姓名及發票號碼一併填寫於付 款通知書上。

(宅)

電話 □ 發票

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 隨後郵寄。 □ 付運 如閣下競投成功並希望我們連絡閣下

(手機)

(公)

公司

(傳真)

Email

郵寄地址 往來銀行/信用

有關付運事宜,請於方格內勾選。 卡發卡銀行 帳號/信用卡 號

銀行聯絡人

電話

拍賣期間聯絡電話 (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 +886-2-8773-3565。 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

311


Zhong Cheng Spring Auction 8 JUNE 2014 at 14:30

312


財團 法人

台灣兒童暨家庭扶助基金會

朱德群-紅色意境

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

Lot 095 周春芽


ZHONG CHENG

TA I P E I

Modern And Contemporary Art

8 June 2 0 1 4