Ravenel Autumn Auction 2009 Taipei 羅芙奧台北2009秋季拍賣會

AUTUMN AUCTION 2009 TAIPEI
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羅芙奧台北 2009 秋季拍賣會
亞洲現代與當代藝術
RAVENEL AUTUMN AUCTION 2009 TAIPEI

Modern and Contemporary Asian Art
拍賣日期／地點 AUCTION

2009年12月6日（日）下午 2:30 至 8:30 Sunday, December 6, 2009, 2:30pm – 8:30pm
富邦人壽大樓國際會議中心 Fubon National Conference Center
台北市敦化南路一段108號B2 B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

預展日期／地點 PREVIEWS

台中 Taichung
2009年11月7日（六）至 11月8日（日）下午 1:00 至 7:00 Saturday, November 7 – Sunday, November 8, 2009, 1:00pm – 7:00pm
由鉅藝術中心（月光流域大樓） GSR Gallery
台中市公正路83號1樓 1F, No. 83, Gong Zheng Road, Taichung, Taiwan
香港 Hong Kong
2009年11月28日（六）至 11月29日（日）上午 10:00至下午 7:00 Saturday, November 28 – Sunday, November 29, 2009, 10:00am – 7:00pm
香港君悅酒店（君悅廳 & 君寓） Grand Hyatt Hong Kong – Salons & The Residence
香港灣仔港灣道1號 1 Harbour Road, Wanchai, Hong Kong

台北 Taipei
2009年12月4日（五）至 12月5日（六）上午 10:00 至下午 7:00 Friday, December 4 – Saturday, December 5, 2009, 10:00am – 7:00pm
富邦人壽大樓國際會議中心 Fubon National Conference Center
台北市敦化南路一段108號B2 B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan
MODERN & CONTEMPORARY ART
拍賣目錄每本售價：NT$2,000
This auction catalogue: NT$2,000 per copy
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羅芙奧台北 2009 秋季拍賣會服務部門及連絡人
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3
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ART CONSULTANTS Remarks: COLLECTION AND SHIPPING

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4
目次 / Contents 藝術家索引 / Index
2 羅芙奧秋季拍賣會 A
Sale Information AHN Sung Ha 安誠河 024
AI Xuan 艾軒 059
Yoshitaka AMANO 天野喜孝 212, 218
3 羅芙奧之服務
B
Ravenel Services Gabriel BARREDO 蓋伯瑞．博瑞多 227
C
5 藝術家索引 CAI Guo Qiang 蔡國強 140
CHANG Chen-yu 張振宇 088
Index CHANG Chih-cheng 張志成 004, 117, 120
Chang-Ling 常陵 137
George CHANN 陳蔭羆 032, 047
7 亞洲現代與當代藝術
CHAO Chung-hsiang 趙春翔 063, 064, 141
Modern and Contemporary Asian Art CHEN Liu 陳流 126, 132
CHEN Shuxia 陳淑霞 015
CHEN Te-wang 陳德旺 048
348 藝術家簡歷 CHENG Tsai-tung 鄭在東 016
Artist Biographies CHIU Ya-tsai 邱亞才 012, 021, 067, 135, 221
CHOI So-Young 崔素榮 005
CHU Teh-chun 朱德群 040, 041, 051, 053, 054
395 委託競投表格 104
CHUA Hu 蔡雲程 065
Absentee Bid Form CHUANG Che 莊喆 068, 096
F
397 業務規則 FANG Lijun 方力鈞 138
FENG Zhengjie 俸正傑 156
Transaction Agreement Alixe FU 傅慶豊 013, 109
G
GAO Yu 高瑀 128
Yun GEE 朱沅芷 037, 052, 061, 097, 098
107
H
HAN Hsiang-ning 韓湘寧 022
HAN Yajuan 韓婭娟 129
HE Sen 何森 150
HONG Ling 洪凌 077
HSIAO Chu-fang 蕭筑方 083
HUANG Gang 黃鋼 075, 079, 222
HUANG Po-ren 黃柏仁 113
HUNG Tung-lu 洪東祿 191, 198
HUNG Yi 洪易 114
HWANG Hyun Seung 黃炫升 192
HWANG Jyi 黃楫 168, 193
Michell HWANG 黃銘哲 006, 011, 027, 163
J
JAN Chin-shui 詹金水 017, 090
JENG Jun-dian 鄭君殿 014
JI Dachun 季大純 145
JIA Gang 賈剛 143
JIANG Jianqiu (Lao JIANG) 蔣建秋（老蔣） 081, 174
JIAO Xingtao 焦興濤 177
JU Ming 朱銘 028, 029, 043, 056, 057
105, 106
JUNG Jae Ho 鄭在祜 025
5
藝術家索引 / Index
K Bhagat SINGH 巴哈哥特．西恩 223

SONG Yonghong 宋永紅 087
Ai KATO & Makoto AIDA 加藤愛 & 會田誠 207, 208
SU Wong-shen 蘇旺伸 010
Izumi KATO 加藤泉 216
SUI Jianguo 隋建國 179
KIM Byung Jin 金炳真 182, 204
SUN Lisha 孫立沙 080
KIM Duck Yong 金德龍 187
SUN Yuntai 孫雲台 118
Natsuko KITAMURA 北村奈津子 209
J. C. Kuo 郭振昌 199 T
KUO Wei-kuo 郭維國 093 TAI Hoi Ying 戴海鷹 002, 007, 009
Yayoi KUSAMA 草間彌生 183, 211 Madoka TAKAGI 高木まどか 205
Budi KUSTARTO 布迪．庫斯塔托 225 Soju TAO 田尾創樹 215
KWON Ki Soo 權奇秀 023, 196, 197, 200 Walasse TING 丁雄泉 018, 033, 046, 069, 095
KWON Kyung Yup 權慶燁 186, 188
U
L Chintan UPADHYAY 清滕．屋帕玳伊 226
LEE Hye-Rim 李惠林 185
LEE Jae-hyo 李在孝 112 W
LEE Jaesun 李在先 170, 184 WANG Guangyi 王廣義 148, 157, 158
LEE Lee Nam 李二男 202 WANG Kai 王凱 130
LEE Ming-chung 李民中 001 WANG Keping 王克平 176
LEE Woo Lim 李佑林 194 WANG Zhijie 汪志傑 070
LEI Shuang 雷雙 119 John WAY 魏樂唐 220
LI Chen 李真 111, 115 Xavier WEI 魏禎宏 085
LI Hui 李暉 161 WU Guanzhong 吳冠中 034, 100
LI Jisen 李繼森 136
LI Shan 李山 139, 144
X
LIANG Ping-cheng 梁平正 108 XIA Junna 夏俊娜 076
LIAO Chi-chun 廖繼春 038, 049 XIANG Jing 向京 160
LIAO Yibai 廖一百 172 XIN Haizhou 忻海州 142
LIAO Yu-an 廖堉安 084 XU Bing 徐冰 146, 147, 151
LIEN Chien-hsing 連建興 008, 092, 094 XU Maomao 徐毛毛 082
LIN Chien-jung 林建榮 110 Y
LIN Fengmian 林風眠 035, 101
Ai YAMAGUCHI 山口藍 210
LIN Hairong 林海容 134
Mayuka YAMAMOTO 山本麻友香 214, 217
LIN Wen-chiang 林文強 165
YANG Chihung 楊識宏 086, 166
LIU Fenghua & LIU Yong 劉楓華＆劉勇 173
YANG Din 楊登雄 071, 089, 164, 167
LIU Kuo-sung 劉國松 066
YANG Jing 楊靜 131
LIU Wei 劉煒 078
YANG Mao-lin 楊茂林 020
LU Hao 盧昊 123, 124
YANG Ren-ming 楊仁明 190
LU Hsien-ming 陸先銘 019, 162
YANG San-lang 楊三郎 031, 044, 091
M YANG Shaobin 楊少斌 074
MAO Xuhui 毛旭輝 154 Yuyu YANG 楊英風 042, 180, 181
Hiroyuki MATSUURA 松浦浩之 213, 219 Tzu-chi YEH 葉子奇 003, 026, 169
YI Hwan Kwon 李桓權 203
P YIN Kun 尹坤 133
PAIK Nam June 白南準 201 YIN Zhaoyang 尹朝陽 155
PANG Jiun 龐均 050 YOON Jongseok 尹鍾錫 195
Deddy PAW 戴迪．鮑 224 YUE Minjun 岳敏君 159
Q Z
QI Zhilong 祁志龍 125 ZAO Wou-ki 趙無極 036, 039, 055, 099, 103
QU Guangci 瞿廣慈 178 ZHANG Hongtu 張宏圖 045
ZHAO Gang 趙剛 122
ZHOU Chunya 周春芽 072, 073, 149, 152, 153
Ayako ROKKAKU 六角彩子 171 175
ZHU Shijie 朱士傑 116
S
ZHU Yan 朱岩 127
SANYU 常玉 030, 060, 102
SHI Lei 石磊 121
SHIN Young-Mi 申英美 189
Keisuke SHIROTA 城田圭介 206
SHIY De-jinn 席德進 058, 062
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001
LEE Ming-chung
(Taiwanese, b. 1961)
Flowers
1994
Oil on canvas
60 x 72 cm
Signed on the reverse Lee Ming-chung in
Chinese, dated 1994 and titled Flowers in 李民中
Chinese 花
1994
NT$ 90,000-160,000 油彩畫布
US$ 2,800-4,900 60 x 72 cm
HK$ 21,000-38,000 簽名畫背：李民中 1994 花
002
TAI Hoi Ying
(Chinese-French, b. 1946)
Janela Aberta (Open Window)
1985-1986
Oil on panel
60 x 80 cm 戴海鷹
Signed lower left Tai in English and dated 85-86 半開窗戶
1985-1986
NT$ 80,000-120,000 油彩木板
US$ 2,400-3,700 60 x 80 cm
HK$ 19,000-28,000 簽名左下：Tai 85-86
8
003
Tzu-chi YEH
Magnolia
1997-1998
Tempera and oil on linen
25 x 80.5 cm
Signed lower right Tzu-chi in Chinese and 葉子奇
dated 1997-98 木蘭花
1997-1998
NT$ 160,000-260,000 卵彩油畫亞麻布
US$ 4,900-8,000 25 x 80.5 cm
HK$ 38,000-61,000 簽名右下：子奇 1997-98
004
CHANG Chih-cheng
Lilies
1997
Oil on canvas
65 x 45 cm
Signed on the reverse CHANG Chih-cheng 張志成
in Chinese and English, dated 1997, size 15M, 百合
media oil on canvas and titled Liles in Chinese 1997
油彩畫布
NT$ 70,000-100,000 65 x 45 cm
US$ 2,100-3,100 簽名畫背：張志成 CHANG CHIH-CHENG
HK$ 16,000-24,000 1997 15M 油畫畫布百合
10
005
CHOI So Young
(Korean, b. 1980) 崔素榮
無題
Untitled 2006
綜合媒材丹寧布拼貼
2006 This painting is to be sold with a certificate of 51.5 x 54 cm
Mixed media, denim, collage authenticity issued by Cais Gallery, Seoul.
51.5 x 54 cm 來源：
NT$ 160,000-260,000 首爾Cais畫廊
PROVENANCE: US$ 4,900-8,000
Cais Gallery, Seoul HK$ 38,000-61,000 附Cais畫廊開立之原作保證書
006
Michell HWANG
(HWANG Ming-che)
Figure
1988
Oil on canvas
52 x 45 cm
Signed lower right Che in Chinese and dated
1988
Signed on the reverse Che in Chinese and dated
1988
NT$ 70,000-140,000
US$ 2,100-4,300
HK$ 16,000-33,000
黃銘哲
人物
1988
油彩畫布
52 x 45 cm
簽名右下：哲 1988
簽名畫背：哲 1988
007
TAI Hoi Ying
Janela (Window)
1985-1986
Oil on panel
60 x 80 cm
Signed lower right Tai in English and dated 85-86
NT$ 80,000-120,000
US$ 2,400-3,700
HK$ 19,000-28,000
戴海鷹
窗
1985-1986
油彩木板
60 x 80 cm
簽名右下：Tai 85-86
12
008
LIEN Chien-hsing
The Path to Childhood
1995
Oil on canvas
53 x 72.5 cm
Signed lower left Lien Chien-hsing in Chinese
and dated 1995
Signed on the reverse 1995, titled The Path to 連建興
Childhood in Chinese and signed Lien Chien- 童鄉路
hsing in Chinese 1995
油彩畫布
NT$ 180,000-280,000 53 x 72.5 cm
US$ 5,500-8,600 簽名左下：連建興 1995
HK$ 42,000-66,000 簽名畫背：1995 童鄉路連建興
009
TAI Hoi Ying
Interior
1985-1986
Oil on panel
60 x 80 cm 戴海鷹
Signed lower left Tai in English and dated 85-86 室內
1985-1986
NT$ 80,000-120,000 油彩木板
US$ 2,400-3,700 60 x 80 cm
HK$ 19,000-28,000 簽名左下：Tai 85-86
14
010
SU Wong-shen
Front Door and Back Yard 蘇旺伸

(A set of 2) This painting is to be sold with a certificate of 前門與後院（二件一組）
authenticity issued by Willian Contenporay Art 1994
1994 Space, Taipei. 油彩畫布
Oil on canvas 35 x 25 cm (x2)
35 x 25 cm (x2) NT$ 120,000-180,000 簽名右下：1994 蘇旺伸
Signed lower right Su Wong-shen in Chinese US$ 3,700-5,500
and dated 1994 HK$ 28,000-42,000 附威廉當代藝術空間開立之作品保證書
011
Michell HWANG
(HWANG Ming-che)
Nude
1986
Oil on canvas
53 x 65 cm
Signed left edge Che in Chinese 黃銘哲
Signed on the reverse Che in Chinese and dated 裸女
1986 1986
油彩畫布
NT$ 160,000-260,000 53 x 65 cm
US$ 4,900-8,000 簽名左側：哲
HK$ 38,000-61,000 簽名畫背：哲 1986
16
012
CHIU Ya-tsai
Gentleman
1992
Oil on canvas
80 x 64 cm
Signed lower left Chiu Ya-tsai in Chinese and 邱亞才
dated 92' 男仕
1992
NT$ 220,000-350,000 油彩畫布
US$ 6,700-10,700 80 x 64 cm
HK$ 52,000-82,000 簽名左下：92' 邱亞才
013
Alixe FU
Homme et femme nus
1990
Oil on canvas
100 x 80 cm 傅慶豊
Signed lower left Alixe Fu in English and dated 90 裸男裸女
1990
NT$ 260,000-350,000 油彩畫布
US$ 8,000-10,700 100 x 80 cm
HK$ 61,000-82,000 簽名左下：Alixe Fu 90
18
014
JENG Jun-dian 鄭君殿
(Taiwanese, b. 1963) 流．石．枝
1994
Stream, Stone, Branches 油彩畫布
90 x 90 cm
1994 簽名畫背：鄭君殿 1994 流．石．枝
Oil on canvas
90 x 90 cm ILLUSTRATED: 展覽：
Signed on the reverse Jeng Jun-dian in Ten Ways of Studying Taiwanese Fine Arts- 「閱讀台灣美術的十種方法─鄭君殿個
Chinese, dated 1994 and titled Stream, Stone, Jeng Jun-dian Solo Exhibition, Fairmate Art 展」，飛元藝術中心，台北，展期1994年9
Branches in Chinese Gallery, Taipei, 1994, color illustrated, cover 月24日至10月9日
page
EXHIBITED: 圖錄：
Ten Ways of Studying Taiwanese Fine Arts- NT$ 280,000-400,000 《閱讀台灣美術的十種方法─鄭君殿》，飛
Jeng Jun-dian Solo Exhibition, Fairmate Art US$ 8,600-12,200 元藝術中心，台北，1994，彩色圖版，封面
Gallery, Taipei, Sep. 24-Oct. 9, 1994 HK$ 66,000-94,000 作品
015
CHEN Shuxia
(Chinese, b. 1963) 陳淑霞
棲
Rest 2001
油彩畫布
2001 120 x 180 cm
Oil on canvas ILLUSTRATED: 簽名左上：淑霞 2001.11
120 x 180 cm Chen Shu Xia, Hebei Education Publishing 簽名畫背：《栖》布面油畫 120 x 180 cm
Signed upper left Shuxia in Chinese and dated House, Heibei, 2002, color illustrated, p. 53 2001 陳淑霞
2001.11
Titled on the reverse Rest in Chinese, media oil NT$ 280,000-350,000 圖錄：
on canvas, size 120 x 180 cm, dated 2001 and US$ 8,600-10,700 《陳淑霞》，河北教育出版社，河北，
signed Chen Shuxia in Chinese HK$ 66,000-82,000 2002，彩色圖版，頁53
20
016
CHENG Tsai-tung 鄭在東
(Taiwanese, b. 1953) 花竹扶疏之一：春
2007
Flowers and Bamboo Series - Spring 壓克力畫布
120 x 120 cm
2007 簽名左下：鄭在東 '07
Acrylic on canvas
Signed lower left Cheng Tsai-tung in Chinese and Cheng Tsai-tung, Lin & Keng Gallery, Taipei, 「鄭在東個展—流連野水之煙」，大未來畫
dated '07 2007 color illustrated 廊，台北，展期自2007年7月7日至7月30日
EXHIBITED: NT$ 350,000-550,000 圖錄：

Cheng Tsai-tung, Lin & Keng Gallery, Taipei, US$ 10,700-16,800 《鄭在東作品集─流連野水之煙》，大未來
July 7-30, 2007 HK$ 82,000-129,000 畫廊，台北，2007，彩色圖版
017
JAN Chin-shui
詹金水
Autumn Landscape 秋山溪壑
1998
1998 綜合媒材畫布
Mixed media on canvas ILLUSTRATED: 97 x 130 cm
97 x 130 cm Time Within Landscape, Ravenel Fine Art Ltd., 簽名左下：金水 1998
Signed lower left Chin shui in Chinese and Taipei, 2007, color illustrsted, pp. 70-71 簽名畫背：60F 詹金水 1998年秋山溪壑
dated 1998
Signed on the reverse Jan Chin-shui and titled NT$ 350,000-450,000 圖錄：
Autumn Landscape in Chinese, dated 1998 and US$ 10,700-13,800 《山水光陰》，睿芙奧股份有限公司，
size 60F HK$ 82,000-106,000 台北，2007，彩色圖錄，頁70-71
22
018
Walasse TING
(Chinese-American, b. 1929)
My Girlfriend
1979
Acrylic on canvas
62 x 77 cm
Titled on the reverse My Girlfriend, signed Ting 丁雄泉
in English and dated 79 我的女朋友
1979
NT$ 650,000-850,000 壓克力畫布
US$ 19,900-26,000 62 x 77 cm
HK$ 153,000-200,000 簽名畫背：My Girlfriend Ting 79
019
LU Hsien-ming
(Taiwanese, b. 1959) This painting is to be sold with a certificate 陸先銘
of authenticity issued by Lin & Keng Gallery, 台北風景 IX
Taipei.
Taipei Landscape IX 1994
油彩畫布
1994 NT$ 350,000-550,000 120 x 120 cm
Oil on canvas US$ 10,700-16,800
120 x 120 cm HK$ 82,000-129,000 附大未來畫廊開立保證書
24
020
YANG Mao-lin
Yun Mountain Memorandum M9222
1992
Oil on canvas
116.5 x 73 cm 楊茂林
Inscribed center MADE IN TAIWAN in English 圓山紀事 M9222
1992
NT$ 550,000-750,000 油彩畫布
US$ 16,800-22,900 116.5 x 73 cm
HK$ 129,000-176,000 款識中央：MADE IN TAIWAN
021
CHIU Ya-tsai
Intellectual
Oil on canvas
116 x 91 cm
Signed lower right Chiu Ya-tsai in Chinese 邱亞才
書生
NT$ 450,000-650,000 油彩畫布
US$ 13,800-19,900 116 x 91 cm
HK$ 106,000-153,000 簽名右下：邱亞才
26
022
HAN Hsiang-ning 韓湘寧
(Taiwanese, b. 1939) 西百老匯
1983
Facade West Broadway 壓克力畫布
112 x 168 cm
1983 簽名畫背：HN HAN 1983
Acrylic on canvas
Signed on the reverse HN HAN in English and H . N . H a n : A R e t ro s p e c t i v e 1 9 6 1 - 1 9 9 3 , 「韓湘寧作品回顧展 (1961-1993)」，台北
dated 1983 Taipei Fine Arts Museum, Taipei, 1994, color 市立美術館，台北，展期自1994年4月30日
illustrated, p. 80 至6月12日
EXHIBITED:
H.N. Han: A Retrospective 1961-1993, Taipei NT$ 550,000-650,000 圖錄：
Fine Arts Museum, Taipei, April 30 – June 12, US$ 16,800-19,900 《韓湘寧作品回顧展 (1961-1993)》，台北
1994 HK$ 129,000-153,000 市立美術館，台北，1994，彩色圖錄，頁80
023
KWON Ki Soo
(Korean, b. 1972)
Red River with Flowers Flame
2009
Acrylic on canvas
130 x 130 cm
Signed on the reverse Kwon Ki Soo in Han
character and English, dated 2009
NT$ 550,000-850,000
US$ 16,800-26,000
HK$ 129,000-200,000
權奇秀
繁花盛開的紅河流
2009
壓克力畫布
130 x 130 cm
簽名畫背：權奇秀 Kwon Ki Soo 2009
28
024
AHN Sung Ha
(Korean, b. 1976)
Cigarettes
2006
Oil on canvas
135 x 122 cm
Titled on the reverse Cigarettes in Korean and
signed Ahn Sung Ha in Korean, media Oil on
canvas, size 135 x 122 cm and dated 2006
NT$ 650,000-950,000
US$ 19,900-29,100
HK$ 153,000-224,000
安誠河
香菸
2006
油彩畫布
135 x 122 cm
簽名畫背：「담배」 안성낭 Oil on canvas
135 x 122 cm 2006
30
025
Jung Jae Ho
(Korean, b. 1970)
City Scape - 4 (diptych)
2008
Oil on panel
113 x 270 cm
Titled on the reverse City Scape-4 in English,
signed City Scape-4 in Korean and dated 2008
ILLUSTRATED:
First Steps: New Art From Korea, Art Seasons,
Singapore, 2008, color illustrated, p. 58
NT$ 750,000-1,200,000
US$ 22,900-36,700
HK$ 176,000-282,000
鄭在祜
城市景觀之四（二聯幅）
2008
油彩木板
113 x 270 cm
簽名畫背："City Scape - 4" 정재흐 2008
圖錄：
《第一步：韓國新藝術》，季節畫廊，新加
坡，2008，彩色圖版，頁58
32
026
Tzu-chi YEH
Yan-Ming Mountain in June
2007-2009
86 x 127 cm
Signed lower right Tzu-chi Yeh in Chinese and
dated 2007-09
NT$ 950,000-1,500,000
US$ 29,100-45,900
HK$ 224,000-353,000
葉子奇
六月的陽明山
2007-2009
卵彩油彩亞麻布
86 x 127 cm
簽名右下：葉子奇 2007-09
34
027
Michell HWANG
(HWANG Ming-che)
Water Buffalos
1975
Oil on canvas
111 x 162 cm
Signed lower left Che in Chinese and dated 1975
NT$ 1,200,000-2,200,000
US$ 36,700-67,300
HK$ 282,000-518,000
黃銘哲
牧童與水牛
1975
油彩畫布
111 x 162 cm
簽名左下：哲 1975
36
028
JU Ming
Taichi Series
1995
Bronze sculpture, edition no. 5/20
50(L) x 30(W) x 50(H) cm
Engraved Ju Ming in Chinese, numbered 5/20
and dated '95
This sculpture is to be sold with a certificate

issued by the Nonprofit Organization Juming
Culture and Education Foundation-Juming
Museum.
NT$ 3,000,000-4,000,000
US$ 91,700-122,300
HK$ 706,000-941,000
朱銘
太極系列
1995
銅雕 5/20
50(長) x 30(寬) x 50(高) cm
簽名雕刻：朱銘 5/20 '95
附財團法人朱銘文教基金會─朱銘美術館
開立作品鑑定報告書
38
029
JU Ming
Taichi Series - The Arch
1995
64(L) x 29(W) x 49(H) cm
Engraved Ju Ming in Chinese, numbered 17/20
and dated '95
NT$ 2,600,000-3,400,000
US$ 79,500-104,000
HK$ 612,000-800,000
朱銘
拱門
1995
銅雕 17/20
64(長) x 29(寬) x 49(高) cm
簽名雕刻：朱銘 17/20 '95
40
030
SANYU (CHANG Yu)
(Chinese-French, 1901-1966)
Small Fish
1962
Oil on cardboard
23 x 18 cm
Inscribed on the reverse à Pamela in French,
signed S. Y. and dated Christmas 1962
PROVENANCE:
Pamela Forrest, Paris
Sotheby's Sale, Taipei, Oct. 20, 1996, lot. 13c
常玉生於1901年的四川，家境富裕，原習中 on a transient road from which he would never
NT$ 550,000-750,000 國書畫，因蔡元培提倡「勤工儉學」，1921 return to China. Sanyu’s paintings still had a
US$ 16,800-22,900 年常玉隨著這股熱潮前往巴黎學習藝術，開 lot of Chinese ink-and-wash characteristics in
HK$ 129,000-176,000 啟了他一生漂流異鄉的不歸路。 the early days in Paris. Later his artistic forms
became diverse from sketching, watercolor, and
初到巴黎的常玉繪畫仍深具中國水墨特色， oil painting to sculpture. The main subjects of
常玉
小魚及至後來的素描、水彩、油畫、雕塑及設計 his paintings were nudes, still life, landscape,
1962 圖案等，內容相當豐富；主要創作題材包含 and fish among others. The early works were
油彩紙板裸女、靜物及風景動物等，早期作品以粉色 mostly in pink and white, and the colors were
23 x 18 cm 及白色為主，用色溫馨較少變化，及至中晚 cozy with little change. He tended to use darker
題識及簽名畫背：à Pamela noël 1962 S. Y. 期，用色更趨厚重深沉，原以動物為主的溫 and thicker colors in the middle and late period.
馨氣氛，變成以大地為主題，動物僅是附屬 The subjects also changed from cozy animals
來源：於天地之間的「渺滄海之一粟」罷了！ to mother earth. Fish are only a tiny drop in the
彭美拉．芙羅斯收藏，巴黎 ocean of the world!
蘇富比，台北1996年10月20日秋季拍賣，常玉從早期意氣風發，充滿鬥志，後來歷經
編號13c 家道中落，藝術之途發展不順遂，思念家鄉 Beginning with tremendous enthusiasm and
卻無法衣錦還鄉，一個人孤獨地在巴黎奮 morale at the beginning of his career, Sanyu
鬥，卻得不到迴響，心中的孤獨落寞，在晚 struggled on a rough road of art as his family
年的創作中表露無遺！1966年瓦斯中毒意外 declined. He yearned for his hometown but
死于巴黎的常玉，一生的坎坷與傳奇及他的 was unable to return gloriously. He struggled
藝術創作，留給後人無限懷念與感歎！ in Paris, lonely without any responses. And
his late works show his loneliness so clearly.
這張小畫，原收藏者十餘年前購自蘇富比公 Sanyu died in a gas poisoning accident in
司，大筆刷出的水紋裡，有三隻優遊的小紅 1966. His struggles, legends and art works left
魚，玲瓏可愛，在這樣的一方小池水中，還 endless yearnings and sighs for the following
是有些淡淡的倜倀。 generations.
This small painting comes from a collector who

Sanyu was born in Sichuan in 1901 into a bought it from Sotheby's a decade ago. Three
rich family. He studied Chinese painting and small red fishes are swimming in the flowing
calligraphy and after Cai Yuanpei’s called for water, so delicate and cute. But some slight
a work-study program, Sanyu went to Paris to melancholy still shows in this small pond of
study the art movement there. He had stepped water.
42
031
YANG San-lang
(Taiwanese, 1907-1995)
Seaport
c. 1978
Oil on canvas
50 x 60.5 cm
Signed lower right S. Yang in English
NT$ 900,000-1,400,000
US$ 27,500-42,800
HK$ 212,000-329,000
楊三郎
海港
約1978
油彩畫布
50 x 60.5 cm
簽名右下：S. Yang
44
032
George CHANN
(Chinese-American, 1913-1995)
Abstract
1950s-1970s
Mixed media on canvas
135 x 86 cm
Signed lower right GEO. CHANN in English
PROVENANCE:
Previously owned by Richard McInnes, of
Reno, Nevada, a longtime friend of George
Chann. (Mr. McInnes was responsible for
getting George Chann to give 229 of his
religious paintings to the Crystal Cathedral in
Garden Grove, California in 1993.)
This painting is to be sold with a certificate of

authenticity signed by Janet Chann, George
Chann's daughter.
NT$ 950,000-1,500,000
US$ 29,100-45,900
HK$ 224,000-353,000
陳蔭羆
抽象
1950年代至70年代
綜合媒材畫布
135 x 86 cm
簽名右下：GEO. CHANN
來源：
原為陳蔭羆故友李察．麥金尼斯舊藏，內華
達州雷諾市。（李察．麥金尼斯曾於1993促
使陳蔭羆捐贈229件宗教繪畫給加州Garden
Grove的水晶大教堂。）
附陳蔭羆之女珍妮．陳開立之作品保證書
46
033
Walasse TING 丁雄泉的繪畫風格經過幾次演變。在巴黎 in New York, where he soon befriended
(Chinese-American, b. 1929) 期間的作品表達出水墨逸趣的東方氣質； Sam Francis, Tom Wesselmann, and Claes
隨後於1958年抽象表現主義最高峰時抵達 Oldenburg. His paintings began to be
紐約，很快地與抽象表現主義畫家山姆． influenced by abstract expressionism and pop
Soft Wind Pass Sunshine
法蘭西斯、普普藝術家維塞爾曼、歐登伯 art.
1969 格等結交，其作品開始深受抽象表現主義
及普普藝術影響。 “Soft Wind Pass Sunshine” was one of his
Acrylic on canvas
early canvas paintings after his arrival in New
145 x 179 cm
此幅作品便是他來到紐約之後的早期畫布 York. The colorfulness of New York replaced
Titled on the reverse Soft Wind Pass Sunshine
作品之一。看到紐約的五光十色，一改巴 the gloomy style of the Paris period. At this
in English, signed Ting in English and dated
黎時期的陰暗風格，這時期的作品除了原 stage, his works, besides the original water-ink
1969
有的水墨線條外，加上了粗曠的滴流和潑 lines, had coarse drops and flows; in addition,
灑，單色逐漸轉為明麗的彩色，並改用鮮 the single color changed to bright colors,
NT$ 1,400,000-2,000,000
明的壓克力顏料，形象也從抽象改為半具 vivid acrylic paint was used, and the abstract
US$ 42,800-61,200
象。漸漸地，他的知名度遍及歐美，當時 image became a semi-representational image.
HK$ 329,000-471,000 紐約的丁雄泉和巴黎的趙無極常被相提並 Gradually, his reputation spread to Europe and
論，被推舉為在世華人畫家中知名度最高 the US. At that time, Walasse Ting in the New
丁雄泉的兩位。才氣縱橫的他，以豪放不羈的風 York and Zao Wou-ki in the Paris were often
輕風越過陽光采，跨越了國界，成為享譽國際藝壇的中 mentioned together and were recognized as
1969 國畫家。在世界各大城市的現代美術機 the two most famous Chinese painters alive.
壓克力畫布構：如美國紐約現代美術館、大都會美術 His talents and uninhabited charm overcome
145 x 179 cm 館、費城美術館，芝加哥藝術協會、底特 cultural barriers and made him the renowned
簽名畫背：Soft Wind Pass Sunshine Ting 律藝術協會、波士頓美術館；英國泰德畫 Chinese painter in the international artistic
1969 廊；巴黎東方藝術博物館、台北市立美術 community. Many modern fine arts institutions
館、上海美術館、香港藝術館等都可見其 in major cities in the world, such as MoMA,
作品。 The Metropolitan Museum of Art, the
Philadelphia Museum of Art, Art Institute of
Chicago, the Detroit Institute of Arts, Museum
After several evolutions, Ting’s painting style of Fine Arts, Boston, Tate Gallery, London,
grew its own unique features. His paintings Paris Museum of Oriental Art, Taipei Fine
during the Paris period denote the water-ink Arts Museum, Shanghai Art Museum, and
oriental temperament. In 1958, at the peak Hong Kong Museum of Art, all have collected
moment of abstract expressionism, he arrived his works.
48
033
034
WU Guanzhong 紫藤盛放爬滿棚架，茶座卻冷清寥落，只剩
(Chinese, b. 1919) 三兩茶客，是當時環境使然。寫意之餘，別
具一番清幽雅致，畫中情韻與文人畫境有氣
Wisteria 息相通處。
1956 1950–1970年代，吳冠中力圖將歐洲油畫描
Watercolor on paper 繪自然的直觀生動性、色彩的豐富細膩性，
28 x 39 cm 與中國傳統藝術精神、審美理想融合在一
Signed lower right Tu in Chinese and dated 起。從1970年代起，吳冠中漸漸兼事中國畫
1956 創作，他運用中國傳統材料工具表現現代精
神，並探求中國畫的革新。他的水墨畫構思
ILLUSTRATED: 新穎，章法別致，善於將詩情畫意透過點、
Wu Guanzhong-Watercolour and Gouache 線、面的交織，表現詩情畫意。
Paintings, Sin Hua Gallery, Singapore, 1990, no. 5
The Painting Collection of Wu Guanzhong, P G
publishing Pte Ltd., Singapore, 1991, no. 2 In the early 1950s, Wu Guanzhong twice taught
Discussion on Wu Guanzhong-Selected Papers at the Department of Architecture, in which
on Wu Guanzhong, Guangxi Fine Arts Publishing watercolor is an important course. Then in the
House, Guangxi, 1999, p. 134 mid-50s, he produced a series of watercolor
paintings on the theme of Beijing’s buildings
NT$ 2,000,000-3,000,000 and streets. This piece of the cafe in Zhongshan
US$ 61,200-91,700 Park was drawn at that time. Zhongshan Park
HK$ 471,000-706,000 is a tourist attraction, a gathering place for
literary and art circles. The pavilion “Laijinyu”
was an exhibition hall at that time, where the
吳冠中
brothers Zhang Daqian and Zhang Shanzi had
紫藤
exhibitions.
1956
水彩紙本 When Wu Guanzhong created this piece,
28 x 39 cm the climate had changed. He described the
簽名右下：荼 56 painting as “Drawing at the teahouse in Beijing
Zhongshan Park. In the 1950s, people were
圖錄： busy with their work, so the teahouse had very
《吳冠中水彩—粉彩畫》，新華美術中心， few visitors.” In the watercolor, the thriving
新加坡，1990，圖版編號5 screen wisteria climbed all over its supporting
《吳冠中畫集》，P G出版私人有限公司， frame, while the teahouse was nearly empty and
新加坡，1991，圖版編號2 quite, with only a couple of visitors at that time.
《談論吳冠中─吳冠中論文選集》，廣西美 Besides its meaning, this painting is unique for
術出版社，廣西，1999，頁134 its elegance and serenity, and for the harmony
of its charm with the Chinese scholars.
From the 1950s to 1970s, Wu Guanzhong

1950年代初，吳冠中曾兩度任教建築系，水 delicates to combine the natural and vivid
彩畫乃該系重要的課程，他在1950年代中期 features and rich colors in the European
開始發表一系列以北京風貌為題材的水彩 oil paintings with the spirit of traditional
畫，包括舊建築及街頭景色，本幅即當時作 Chinese art as well as aesthetic ideals.
品之一。畫中取景乃中山公園茶座。中山公 From the 1970s onwards, Wu Guanzhong
園屬旅遊景點，也是不少文藝界人士聚晤之 gradually took up Chinese painting, in which
處，圖中「來今雨軒」即當時舉行展覽地點 he applied traditional Chinese materials and
之一，張大千、善子昆仲曾先後於此展覽。 tools to express a modern spirit, and to make
innovations in Chinese paintings. His water-
吳冠中創作此幅作品時，時空背景已有轉 ink works are novel in theme, delicate in
變，他曾經寫道：「寫北京中山公園茶座。 composition and uniquely adept at expressing
50年代人人工作繁忙，茶座冷清清」。畫中 poetic thoughts through point, line and surface.
50
035
LIN Fengmian 林風眠自信成熟之作《晨曦》（秋山小屋
(Chinese, 1900-1991) 圖），應為1977年抵達香港時期之後所繪。
藝評家郎紹君曾經指出，林風眠上海時期以
Dawn (Hills & Cabins in Autumn) 燦爛秋景或回憶西湖為母體的優美抒情為主
要特色，即使色調凝重，風格強勁，側重
1970s 於描繪一種寧靜安詳的意境。而香港時期的
Ink and color on paper 風景在風格上與前期雖有所重複，但某些題
40 x 50 cm 材與風格技法上，卻是先前未有，其中的典
Signed lower left Lin Fengmian in Chinese 型莫過於黃山風景，和與黃山風格近似的作
With one seal of the artist 品，為晚期風景畫的主要代表。
PROVENANCE: 《晨曦》（秋山小屋圖）一作畫家把山峰畫
Collection of Sanhuai House, Hong Kong 成尖利的三角形，可看出立體派的影響；黑
色線條紛披具拙趣，設色豐富、強烈、奔
ILLUSTRATED: 放，豔麗的黃、藍、橙紅，以及點染的玫瑰
Artist Magazine (issue no. 33), The Artist 色，光影變化是由西畫轉換而來；整幅畫作
Publishing, 1983, color illustrated, p. 10 的筆觸老辣、堅毅、蒼渾，尤其描寫山嵐籠
Gu Zhu Jun ed.,The Collected Works of Lin 罩的氤氳空間，仍有水墨表現的透明感，三
Fengmian Part II of II, Tianjin People Fine 兩小屋隱身林間，閒適優雅，無論景物、風
Arts Publishing House, Tianjin, 1994, color 格和畫法，都成為林風眠借景抒懷的載體。
illustrated, no. 159 (incorrect size)
Zhou Weiming ed., Collection of Art Garden
Studio No. 72: Sanhuai House's Modern Chinese Lin Fengmian’s mature work “Dawn” (Hills
Paintings, People Fine Arts Publishing House, & Cabins in Autumn) was composed after his
Shanghai, 2004, color illustrated, no. 15, p. 10 arrival in Hong Kong in 1977. Art critic Lang
Shaojun commented that Lin Fengmian’s
NT$ 2,300,000-4,000,000 Shanghai period featured bright autumn scenes
US$ 70,300-122,300 or his recollections of the beautiful West
HK$ 541,000-941,000 Lake. The tone is solemn and the style strong,
focusing on creating a quiet and peaceful
mood. His works during his Hong Kong period
林風眠
retain his style from the earlier period, but
晨曦（秋山小屋圖）
made major breakthroughs in theme and some
1970年代 style techniques. The typical example is the
彩墨紙本 landscape of Yellow Mountain and other similar
40 x 50 cm works, which is his main style of landscape in
簽名左下：林風眠 the late period.
鈐印：林風瞑印
In “Dawn” (Hills & Cabins in Autumn), the
來源： artist depicts the hills as sharp triangles, where
三槐堂收藏，香港 the impact of Cubism can be observed. The
fascinating black lines create a complex scene.
圖錄： The rich colors are strong and lively with
《美術家》雜誌33期，美術家出版社，香 bright yellow, blue, orange-red, and rose. The
港，1983，彩色圖版，頁10 change of light and shadow is borrowed from
顧祝君編，《林風眠全集》（下卷）（中國 Western artistic techniques. The whole painting
繪畫大師作品集系列），天津人民美術出版 is endowed with a touch of power, energy, and
社，天津，1994年10月，彩色圖版，編號 vigor. In particular, among the hills shrouded
159（畫題為《晨曦》，尺寸誤植） space, the transparency of ink painting can
周衛明編，《藝苑掇英第七十二期三槐堂 still be sensed, with several cabins hiding
藏現代書畫專輯》，上海人民美術出版社， in the woods, creating a relaxed and elegant
上海，2004，彩色圖版，編號15，頁10 atmosphere. Both the features and painting
techniques were the media through which Lin
Fengmian expressed his feelings.
52
036
ZAO Wou-ki
(Chinese-French, b. 1921) 趙無極
蓮花
Lotus Flowers 1952
油彩畫布
1952
38 x 46 cm
Oil on canvas
簽名右下：無極 ZAO
38 x 46 cm
題識畫背：Lotus Flowers
Signed lower right Wou-ki in Chinese and ZAO
in French
展覽：
Titled on the reverse Lotus Flowers in English
「趙無極」，網球場國家畫廊，巴黎，展期
自2003年10月14日至12月7日
EXHIBITED:
2007年大未來畫廊北京開幕展
Zao Wou-Ki, Galerie nationale du Jeu de
Paume, Paris, Oct 14-Dec 7, 2003
圖錄：
Grand Opening Exhibition, Lin & Keng
《趙無極》，網球場國家畫廊，巴黎，
Gallery, Beijing, 2007
2003，彩色圖版，頁73
《2007抽象中國》，大未來畫廊，北京，
ILLUSTRATED:
2007
Zao Wou-Ki, Galerie nationale du Jeu de
《趙無極》，大未來畫廊藝術有限公司，
Paume, Paris, 2003, color illustrated, p. 73
台北，2005，彩色圖版，頁34
Abstract China, Lin & Keng Gallery, Beijing,
2007
附大未來畫廊開立之原作保證書
Zao Wou-ki, Lin & Keng Gallery, Taipei, 2005,
color illustrated, p. 34
This painting is to be sold with a certificate

of authenticity issued by Lin & Keng Gallery,
Taipei.
NT$ 3,600,000-4,800,000
US$ 110,100-146,800
HK$ 847,000-1,129,000
54
037
Yun GEE 朱沅芷
朱沅芷1906年出生於廣東省，15歲時赴美
(Chinese, 1906-1963) 中央公園冬景
國依親。初抵舊金山時，他見識一個全然
約1940
陌生新奇的世界，進入加州美術學校（現為
Frost in Central Park 油彩畫布
舊金山藝術學院）學習。他曾在中國學習水
50 x 65 cm
c. 1940 彩畫，臨摹大師書畫，但他更嚮往認識西方
簽名左下：Yun Gee
Oil on canvas 藝術大師，透過參觀博物館與畫廊，大開眼
50 x 65 cm 界。1924年在舊金山現代畫廊的個展十分成
來源:
Signed lower left Yun Gee in English 功，並且受到從法國來旅行的穆哈特親王與
2003年10月27日蘇富比拍賣，香港，編號367
王妃（Prince and Princess Murat）注意，結
現有收藏者得自上述來源
PROVENANCE: 為好友，還邀約他到巴黎尋求發展。於是，
Sotheby's Sale, Hong Kong, Oct. 27, 2003, no. 367 1927年朱沅芷前往巴黎，那是一個新舊文化
展覽：
Acquired directly from the above by the current 並存的都市，飽覽博物館、教堂與聖殿，他
「行旅生涯—朱沅芷與朱禮銀之繪畫」，
owner 在此得到尊重，認為法國文化與中國氣質相
大未來畫廊，北京，展期2008年11月15日
近，很快融入藝術圈，結識聞人，並舉辦多
至12月16日
EXHIBITED: 次畫展。
Experiences of Passage: The Paintings of Yun 附大未來畫廊開立之原作保證書
Gee and Li-lan, Lin & Keng Gallery, Beijing, 1929年紐約股市崩盤，引發全球經濟恐慌與
Nov. 15-Dec. 16, 2008 蕭條，朱沅芷在巴黎的發展受到阻礙，轉而
返回美國等待機會。他除了努力發展藝術事
This painting is to be sold with a certificate 朱沅芷是二十世紀初期重要的華人現代美術業，也往來於東西岸持續參與華人社會藝文
of authenticity issued by Lin & Keng Gallery, 家，儘管當時美國族群歧見仍深，他的藝術活動，繪製政治諷刺漫畫，還加入美國政
Taipei. 成就卻耀眼，多次參加美術館展出，與歐美府的「工作促進會」（WPA Easal Painter's
前衛藝術家分庭抗禮。他的第一次紐約時期 Project）計畫，協助藝文人士渡過經濟恐慌
作品《工業之輪在紐約》參加1932年紐約現的年代。1936年再度隻身前往法國，希望重
NT$ 3,800,000-6,000,000
代美術館）一次壁畫聯展，成為最受矚目作拾巴黎美好時光。紐約藝壇傾向保守，歐洲
US$ 116,200-183,500
品之一；多次入選法國沙龍展，在歐美主流藝壇比較能理解他的藝術，確實他在巴黎可
HK$ 894,000-1,412,000 畫廊展出。華盛頓的賀胥宏美術館曾購藏他謂如魚得水，然而好景不常，歐戰爆發，不
的五幅畫作，紐約的惠特尼美術館、加州的得已只好重返美國，抵達紐約時為1939年10
奧克蘭美術館、北卡羅萊納大學的衛德史本月23日。朱沅芷儘管經濟困頓，同時也是一
美術館等均有朱沅芷畫作的收藏。甚至巴黎位愛國畫家與人道主義關懷者，多年間積極
的龐畢度中心也收藏有他親繪的一幅肖像以藝術作品募款捐助中國抗日活動。而為了
畫。生計，1941年再度投入「工作促進會」計
畫，在紐約市立美術館教授風景繪畫。
其實朱沅芷若非遇上1929年經濟大蕭條，以
及1939年的歐戰爆發等，一連串經濟的打擊本拍品《中央公園冬景》作於1940年左右，
等際遇，朱沅芷大可在歐美藝壇大放異彩，朱沅芷剛從巴黎返回紐約之際。當時他曾住
然而時運不濟，晚期抑鬱以終，其成就應當在曼哈頓東67街，靠近麥迪遜大道交口，為
不僅止於此。期約半年。後來因無力負擔房租，搬遷至
56
格林威治（Greenwich Village）。居住上東 In 1929, the New York stock market crashed,
期間，常與當時交往5年的女友海倫（Helen leading to a global economic depression and
Wimmer, 1919-2004）相偕中央公園散步。 public panic. Yun Gee’s career in Paris was
這段時間他繪了幾幅中央公園寫生圖畫。兩 impaired and he came back to America to wait
人於1942年結縭，隔年生下女兒朱禮銀。此 for future opportunities. In addition to painting,
時他積極創作，舉辦畫展藉以捐助戰爭的中 he also traveled between the east and west
國孤兒，創作力旺盛。就畫風而言，《中央 coasts to promote art and social activities in
公園冬景》屬於為第二次紐約時期，個人風 Chinese societies. He produced political satirical
格十分成熟，延伸巴黎時期和諧、感性色 cartoons, and participated in the American
調，但陰暗對比強烈，更顯深沈憂鬱。畫中 government’s “WPA Easel Painter’s Project”
背景高樓聳立，幾何狀的建築，光亮與陰暗 which aimed to help artists and scholars through
對比強烈，顯示都會的現實冷峻；前景幾株 the hard times. In 1936, he again went to France
光禿枝幹張揚，分割面空間，與後方的高樓 alone in the hope of regaining good times in
相映襯，中景林木染上霜紅，紅男綠女裹著 Paris. Compared to the relatively conservative
厚重大衣，並肩閒適散步，為蕭瑟的城市風 New York art circles, the Europeans were
景增添幾分暖意。《中央公園冬景》，反映 better at comprehending his art and where he
了藝術家受現實所迫，但幸有愛情為伴的心 enjoyed popularity. Yet good times never last
境，整體作品色彩和諧、結構緊湊，為紐約 long. WWII soon broke out, compelling him
時期難得一見的佳作。 to return to the United States on Oct. 23rd,
1939. Despite his straitened circumstances, Yun
Gee was a patriotic painter and humanitarian
朱沅芷《聖日耳曼教堂》
Yun Gee is an important Chinese contemporary philanthropist, who for years held exhibitions
羅芙奧2007年春季拍賣會，編號067，1460萬台幣成交
artist in the early 20th century. In his time, he Yun Gee, Saint-Yuanzhi-en-Laye to collect money for anti-Japanese activities.
made dazzling artistic achievements despite c. 1936-1938, oil on canvas, 73 x 51 cm In order to earn a living, he joined the “WPA
deep racial discrimination in the United Ravenel Spring Auction 2007, lot 067, US$ 442,089 sold Easel Painter’s Project” again in 1941, teaching
States. His works were displayed at various landscape painting in the Museum of the City of
art exhibitions and stood up to those of avant- New York.
garde Euro-American artists as equals. “Wheels: Yun Gee was born in Guangdong Province in
Industrial New York”, a piece of work during 1906, and went to the United States for a family “Frost in Central Park” was composed around
the New York Period, received widespread reunion at the age of 15. He came upon a wholly 1940, when Yun Gee came back to New York
public attention at a mural exhibition in the strange new world in Los Angeles and continued from Paris. He was living on 67th Street in East
New York Museum of Modern Art (MoMA) his study in the California School of Fine Arts Manhattan, near the junction of Madison Avenue.
in 1932 and was repeatedly selected into (now San Francisco Art Institute). When he was He lived there for about half a year before he
the salon exhibitions in France, to be put on in China, he used to learn water painting from had to move to Greenwich Village because of a
display in European and USA major galleries. Chinese masters, but he was more inclined to get lack of money to pay his rent. During his stay
The Hirshhorn Museum in Washington, DC acquainted with Western art masters and had his on the Upper East Side, he often took a stroll
acquired five of his paintings, and the Whitney vision broadened by visiting numerous museums in Central Park with his partner Helen, who
Museum in New York, the Oakland Museum and art galleries. His personal exhibition in the had been with him for five years. The scenery
in California, the Weatherspoon Gallery of Art, Los Angeles Modern Gallery in 1924 proved to there inspired him to produce several realistic
the University of North Carolina among others be a great success, and through which he met paintings. He married Helen in 1942 and his
have Yun Gee’s paintings in their collections. Prince and Princess Murat who were then on a daughter Li-lan was born the year after. During
The Center Pompidou in Paris has one of his trip from France. At their invitation, Yun Gee this period he was quite active in creation and
portraits. went to Paris in 1927 and was able to enjoy the held various exhibitions to raise money for
sight of museums, churches and temples in this Chinese orphans in the war. The style of “Frost
In fact, were it not for the Great Depression in city of both ancient and modern cultures. As in Central Park” can be categorized into Yun
1929, the outbreak of war in Europe in 1939 and French culture fits the Chinese temperament Gee’s second phase during the period of his
a series of economic problems, Yun Gee could well, he was soon accepted into artistic circles, stay in New York. By this time he had formed
have made greater achievements in European- and got to know important persons, and held a a mature individual style while maintaining
American art circles. Misfortune, however, befell series of exhibitions. his harmonious and emotional tone from Paris.
him and he spent his last years in depression. There was, however, more contrast between
58
light and dark, more a sense of melancholy.
The high-rise buildings in the background are
in geometric shapes, and the strong contrast
between light and dark helps to show a solemn
reality. In the forefront, several large bare
branches separate the space of the scene, and in
the background high-rise buildings rise in the
distant view. In the middle of the painting, some
trees are tinted with red frost. A man in red and
a lady in green, wrapped in heavy coats, are
strolling shoulder to shoulder, adding a touch
of warmth to the bleak urban landscape. “Frost
in Central Park” reflects the artist’s mood as he
was fortunate to have found love and company
in his straitened circumstances. Harmonious in
color and compact in structure, the complete
work is a rare masterpiece from the period of his
stay in New York.
朱沅芷《工業之輪在紐約》
1932，油彩畫布，212 x 120 cm
朱禮銀女士收藏
Yun Gee, Wheels: Industrial New York
1932, oil on canvas, 212 x 120 cm
Collection Li-lan
038
LIAO Chi-chun 廖繼春是台灣第一代西畫家，早在日本研習
(Taiwanese, 1902-1976) 時，就曾多次入選「帝展」。他不僅擁有可
觀的繪畫資歷與創作成就，更以常春的創作
Gueishan Island 活力，贏得後輩的敬重。他在台灣畫壇能夠
持續昂首闊步半個多世紀，憑仗的還是個人
1960 創作上的實力和表現。
Oil on canvas, mounted onto board
27 x 40.5 cm 藝評家林惺嶽說，「廖繼春的繪畫天賦，猶
Inscribed on the reverse for Lin Chao-chu as a 如一股噴湧不息的泉流，順乎其然的隨著時
souvenir, signed Liao Chi-chun in Chinese and 代變動的起伏與曲折，潺潺地暢流著。在承
dated 1960 先啟後的意義上，展示了富有啟發性的楷
模。」因而讚賞廖繼春的藝術是跨越時代鴻
PROVENANCE: 溝的彩虹。
Ancient collection of Lin Chao-chu, the artist’s
brother-in-law (a memory gift from the artist 他不僅擅長用色，也用色大膽，這件《龜山
for Lin’s immigration to Japan in the 1960s) 島》全畫籠罩在濃烈的廖繼春的粉紅色調
中，讓人激賞不已。觀畫的同時，彷彿聽得
ILLUSTRATED：見他作畫時，沙沙作響的急促筆觸，他的心
The Precusory Artists Masterpieces of Taiwan 跳和血液也都好像還存在在畫面裡似的。
(III), Respectable Art Center, Taipei, 2000, color
illustrated, pp. 54-55
Liao Chi-chun was one of the first generation
NT$ 6,000,000-9,000,000 of Western artists in Taiwan. When he was
US$ 183,500-275,200 studying in Japan, his works were repeatedly
selected for the “Empire Exhibition”. He
HK$ 1,412,000-2,118,000
boasted not only his rich experience and
creative achievements in painting, but also
廖繼春 his everlasting vitality of innovative concepts,
龜山島 which was adored by the younger generation.
1960 Thanks to Liao’s performance and competence
油彩畫布裱於木板 in painting, he remained quite famous in
27 x 40.5 cm Taiwan’s art circle for more than half a century.
簽名畫背：留給林朝楚保藏一九六○年
廖繼春畫 Lin Hsin-yueh, an art critic, said that “Liao’s
genius for painting is just like flowing spring
來源： water. It flows naturally with the ups and
藝術家妻舅林朝楚舊藏（林朝楚為藝術家妻 downs of his times, continuously. During the
子林瓊仙之弟，1960年代移民日本前得自藝 transitional period, Liao acted as an inspiring
術家贈與，作為留念） model.” Because of that, he regarded Liao’s
works of art as a rainbow bridging the gap of
圖錄： the era.
《台灣前輩畫家的藏寶圖—參》，尊彩國際
藝術有限公司，台北，2000，彩色圖版， Liao was not only good at mastering colors,
頁54-55 but also used some rare colors. This art piece,
“Gueishan Island” with the strong Liao-pink is
spread in the whole painting, which was really
exciting. When people see the picture, they
might hear the sound of his strokes rustling
during the painting. Liao’s heartbeat and blood
also seem to be contained in the drawing.
60
039
ZAO Wou-ki
Petit pont et l'eau coule

(Small Bridge over the Stream)
1955 趙無極早期的作品從塞尚（Cézanne）、畢
Oil on canvas 卡索（Picasso）過渡到克利（Paul Klee）的
46 x 55 cm 風格，一路努力研究荷蘭、法國和義大利的
Signed lower right Wou-ki in Chinese and ZAO 古典繪畫，古老建築與教堂壁畫，在在令他
in French, dated 55 視野大開。尤其是1951年在瑞士伯恩參觀了
Signed on the reverse ZAO WOU KI in French, 克利的個展，深深感受到克利長期浸淫東方
titled Petit pont et l'eau coule in Chinese and 文化，又精於發揮日耳曼民族特色，兩種互
French, dated 1955 為矛盾的文化在創作中得以巧妙結合。而且
克利的畫幅儘管不大，但因善於營造空間，
ILLUSTRATED: 小小的畫面卻顯得遼闊無比。在他多重空間
Zao Wou-Ki, Lin & Keng Gallery, Inc., Taipei, 的小小符號中，誕生了一個世界，讓趙無極
2005, color illustrated, p. 52 驚奇不已。經由克利的啟發，趙無極找到一
條藝術融合的途徑，在歐洲重新發現中國。
NT$ 5,800,000-9,000,000
US$ 177,400-275,200 他從大自然著手造型解碼，草木樹石，風土
水火，留心大自然裡所留下的痕跡線索。中
HK$ 1,365,000-2,118,000
國古文造字，不正是一種從具象轉譯過來的
符號嗎？克利指引了他一條路徑，但不能沿
趙無極用或模仿，淪為了二流的克利。於是，靜
小橋流水物、花、動物從趙無極的畫布間消失了，
1955 1954年之後他脫離了具象，畫面上只剩下符
油彩畫布號，謎一般的符號轉化為形體，形體自成一
46 x 55 cm 個空間。趙無極的繪畫是他的日記，私密的
簽名右下：無極 ZAO 55 情感往往也顯現在畫布間，他的畫裡逐漸預
簽名畫背：ZAO WOU-KI Petit pont et l'eau 見了兩年多後與妻子蘭蘭決裂的危機，他內
coule 1955 小橋流水在焦躁、不耐，在探索的過程，一再地重
畫、毀畫，心裡的印記開始浮現，他的繪畫
圖錄：開始活了起來，頑強的意志就要克服創作的
《趙無極》，大未來畫廊藝術有限公司，瓶頸。
台北，2005，彩色圖版，頁52
1955年作品《小橋流水》即是創作於破繭而
出的階段，漩渦般的思緒撼動著畫家，感傷
的趙無極思念起家鄉的一切—中國的詩詞，
《小橋流水》作品為趙無極1955年的典型非父親的花園，亭台樓閣，小橋流水。當他構
具象風格，畫背上留有他的簽名以及親手題思《小橋流水》作品時，內心湧現的是符號
寫的中文畫題。「小橋流水」，一詞予人的意象，還是元曲作家馬致遠的《天淨沙—
印象應該是屬於中國江南特有的情調。趙無秋思》——「枯藤老樹昏鴉，小橋流水人
極雖然出生自北京，卻成長於上海，青春時家，古道西風瘦馬。夕陽西下，斷腸人在
期的六年給了杭州，在西湖畔的杭州藝專學天涯。」畫面以藍色為主調，連綿的線條如
習繪畫。小橋流水，代表著江南文化、文人緩緩流過的河流，更深的色彩堆疊成視覺的
品味的象徵，而在離鄉多年的藝術家內心焦點，它是銜接的橋樑，串起畫家與文化母
裡，或許就是對青春時代與文化母國的美好國、年少歲月的記憶，背景空間有淡淡的歷
懷想吧。史斑駁感，帶有黃昏時分的迷人情調。
62
趙無極《黑壓壓的人群》
1955，油彩畫布，116 x 89 cm
匹茲堡卡內基學院收藏
ZAO Wou-ki, Foule noire
Museum of Art, Carnegie Institute, Pittsburgh
可以說1955年是趙無極從非具象進入抽象
畫的重要轉捩點，巨大的繪畫能量、創意
與藝術性備受學術肯定，幾家世界級美術館
都有典藏此年份的趙無極畫作：例如英國泰
德畫廊的《暴風雨前夕》、巴黎國立現代美
術館龐畢度中心的《火災》、紐約古根漢美
術館的《強風》、匹茲堡卡內基學院的《黑
壓壓的人群》、明尼阿波里斯沃克藝術中心
的《分裂的山》、里約熱內盧現代美術館的
《陽光照樓台》，還有原為哈佛大學佛格美
術館館藏但於2009年5月釋出於市場的《我
們倆》，甚至2008年秋季在經濟受挫時，拍
賣市場仍拍出天價的《向杜甫致敬》作品都
是創作於1955年的作品，畫家一年的創作量
不過十餘幅，足見想在藝術市場能尋得此一
年份作品自然益加彌足珍貴。
“Small Bridge over the Stream” is a typical

non-figurative painting by Zao Wou-ki from
1955, with his signature and Chinese title
handwritten on the back of the painting. The
term “small bridge over the stream” reminds
one of the scene that is particular to Jiangnan,
China. Though born in Beijing, Zao Wou-
ki grew up in Shanghai and spent six years
64
of his youth in Hangzhou, studying painting a direction; but instead of merely imitating tremendous painting energy, innovative ideas
at Hangzhou National College of Art by the Klee and therefore being reduced to a second- and artistic talent that has won universal
West Lake. A small bridge over the stream is a class follower of Klee, Wou-ki removed all academic recognition. Several world-class
symbol of Jiangnan culture and scholarly taste; static objects, flowers, and animals from his art museums have collected paintings by Zao
but in the heart of the artist, it also carries a canvas. From 1954 on, he completely got rid Wou-ki dating to the year 1955, including
beautiful old memory from his youthful days of representational images and only signs or “Avant l’orage” (Before the Storm) in the
and his cultural motherland. symbols are left in his painting. The riddle- Tate Gallery in London, “L’incendie” in
like signs are transformed into different forms, Centre Georges Pompidou, “Mistral” in The
Zao’s early works showed the influence of which constitute a space. For Zao Wou-ki, Solomon R. Guggenheim Museum, “Foule
Cézanne, Picasso, and Paul Klee. The study paintings are his diary, disclosing personal noire” in the Carnegie Institute, “Montagne
of the classical paintings, ancient buildings, and private emotions. His paintings gradually dechirée” in the Minneapolis The Walker Art
and church wall paintings in Holland, France, foresaw the crisis of a breakdown with his Center, “Pavillon ensoleillé” in the Museum of
and Italy greatly expanded his horizon. His wife Lan-Lan two years later. With anxiety, Modern Art, Rio de Janeiro, and “Nous Deux”,
visit to the solo exhibition by Klee in Bern, worry, and impatience, he continued to which was originally collected by Harvard
Switzerland, in 1951, impressed Zao deeply explore, painting, re-painting, and destroying University, Fogg Art Museum but later released
with the skillful combination of the two his paintings, until the imprint in his heart to the market in May 2009, and “Hommage
conflicting cultures: Oriental culture and the emerged, his paintings began to revive, and à Tou Fu”, which was sold at a sky-high
Germanic culture. Klee’s painting scale is his strong will overcame the bottleneck in his price even with the economic setback in the
not big, but Klee is great at creating space, creation. autumn of 2008, all these are paintings of the
enriching the limited size of the canvas with year 1955. An artist can create no more than
spacious and majestic content. Out of the small And this painting of “Small Bridge over the a dozen paintings every year; therefore, it is
signs in his multiple layers of space, a world Stream” in 1955 was created at this stage. unimaginably rare and precious if one can own
comes into being, which is a marvel for Zao A swirl of thoughts shook the artist, and a painting dating to the year 1955.
Wou-ki. Inspired by Klee, Zao has found a way with sentimentality, Zao Wou-ki thought of
of artistic integration, re-discovering China in everything back in his hometown— Chinese
Europe. poetry, his father’s garden, the pavilions and
corridors, and the small bridge over the stream.
Zao encodes the natural elements of grass, When composing the work of “Small Bridge
trees, rocks, and water, paying close attention over the Stream”, what emerged in his mind
to the traces of nature. And ancient Chinese were iconic images and the poem “Meditations
characters are signs that have evolved from in Autumn” by Ma Zhiyuan (c.1260-1335),
representational images. Klee showed Zao the famous verse writer in the Yuan Dynasty:
“Withered vine, old tree, crows at
dusk, tiny bridge, flowing brook, and
cottages, ancient road, bleak wind,
bony steed. The sun sinking west, A
heart-torn traveler at the end of the
world.” The painting is dominated
by the color blue; lasting lines are
the flowing stream, and the darker
colors form the focus of the eye. Like
a bridge, the painting connects the
painter with the cultural motherland
and good old memories. The dim
trace of history in the background
趙無極《火災》 conveys the charm of the dusk. 趙無極《暴風雨前夕》
1954-1955，油彩畫布，130 x 195 cm 1955，油彩畫布，92 x 73 cm
巴黎國立現代美術館龐畢度中心收藏 It may well be said that the year 英國泰德畫廊收藏
ZAO Wou-ki, L’incendie ZAO Wou-ki, Avant l’orage
1955 was an important transition
1954-1955, oil on canvas, 130 x 195 cm 1955, oil on canvas, 92 x 73 cm
Centre Georges Pompidou, Musée national d’art moderne, Paris
point for Zao’s paintings from non- The Tate Gallery, London
figurative art to figurative art, with
040
CHU Teh-chun
Composition No. 166 1955年離開台灣前往巴黎發展的朱德群，驗，其形式純粹是西方的，但是他的繪畫

初期仍以具象風格創作，創作過幾幅人物卻轉向自身的本源。…純屬於他自己的是
1964 肖像，寫實技法細膩，參加春季沙龍展獲其構圖中特有的東方含蓄之氣氛，一種細
Oil on canvas 得獎項。不久，具象畫愈畫愈少，全部心膩的詩情畫意油然而生，迴繞在畫面的景
90 x 146 cm 思精神轉而投入抽象畫研究，狂熱的創作象，及其暗喻的激情，歷久不散，分佈在
Signed lower right CHU TEH-CHUN in 讓藝術評論家激賞，1958年開始在巴黎深切的和諧中。…職業畫家的朱德群在巴
Chinese and English, dated 64 的畫廊發表抽象畫，同時有多家畫廊產生黎畫派中，由於他豐富的繪畫經驗及完全
興趣，後來他與專門展出抽象藝術的勒讓掌握的技巧，而形成一個特殊的例子，並
PROVENANCE: 特畫廊（G a l e r i e L e g e n d r e）簽下六年的能挺立在當前藝術潮流中。」
Acquired from the artist by the previous owner, 合同，生活有了保障，得以專心繪畫。
end of 1960s 而勒讓特畫廊的藝術主任巴聶（M a u r i c e 1964年創作的《構圖No. 166》是朱德群第
Panier）眼光精準，1944年曾為過康丁斯基 166號抽象畫作品，抽象藝術家通常不為作
NT$ 8,500,000-10,000,000 （Kandisky）在法國舉辦個展，鼓舞他的晚品命題，避免給觀者先入為主的影響，因
US$ 259,900-305,800 年時光。他讚美朱德群是善於運用顏色的此常採取編號或創作日期代替畫題。1958-
HK$ 2,000,000-2,353,000 畫家，油畫構圖嚴謹。 59年起，朱德群除了取法文畫題之外，也
為油畫作品編號，後來連題目都省去，直
朱德群 1960年時朱德群在巴黎已經確立了地接以編號取代。不過大約到了1970年前
位，代表遠東藝術家參加巴黎夏邦提耶畫後，因編號排序太多，自己也不易記得，
構圖 No. 166
廊（G a l e r i e C h a r p e n t i e r）的國際性畫展他開始為畫作再取一個極富詩意的題目，
1964
「巴黎畫派」（Ecole de Paris），才華深畢竟詩詞文字也是抽象的，他認為應該不
油彩畫布
受肯定。1950年後期畫作，結合書法線會妨礙觀者的自由解讀，反而更能親近畫
90 x 146 cm
條，紅、綠、藍、黑，構成的色塊，結家所欲營造的空間。
簽名右下：朱德群 CHU TEH-CHUN 64
實有力，可以看出抽象畫家史塔耶爾（d e
S t a ë l）的深刻影響。1960年代，朱德群的《構圖No. 166》作品採取海景型的構圖，
來源：
油畫以寬橫幅構圖居多，描繪多以單一色淡色暈染的背景帶有中國山水畫的意象，
原收藏者1960年代末直接得自藝術家
為背景，畫面上有雲山煙樹之感，詩情畫筆刷橫掃過畫面，切割出上下的空間。重
意與中國山水畫可謂一脈相承。多位藝評色堆砌處，有山巒連綿之形勢，細筆飛動
家指出朱德群的畫是詩與畫的結合，詩人間，如輕風搖曳之韻律，整幅畫面呈現水
作家兼藝術評論家夏布朗（J e a n-F r a n ç o i s 天共一色的迷人風景圖式。此外，彩度較
Chabrun）在1960年的《快訊週刊》中就曾高的紅、藍、綠等色塊，為單色圖畫增添
以「二十世紀的宋朝畫家」形容朱德群。顏色，使得畫面結構更有層次感。1962年
之後，因為代理畫廊風格轉向，朱德群進
曾任1985年巴黎雙年展主席的喬治．布達入幾年的沈潛，為畫家在巴黎生活最刻骨
伊（Georges Boudaille），在1963年3月號銘心的時期，儘管收入不豐，生活困頓，
法國的《西馬斯》（Cimaise）雜誌專欄中但卻是畫家內心最清明、藝術最純粹的階
曾如此介紹朱德群的藝術︰「朱德群的繪段，1960年代的作品量稀有，但多屬難得
畫承接巴黎畫派優秀抽象畫派藝術家之經的精品。
66
68
When Chu Teh-chun left Taiwan for Paris to and quite exceptional case amid the trends of
develop his career in 1955, his early style was present painting…”
still figurative having drawn several portraits
with delicate realistic and factual painting skills. The painting “Composition No.166” painted
Chu attended the Salon des artistes français in 1964 was Chu Teh-chun’s 166 th abstract
(the Salon for French artists) and was awarded painting. Abstract artists usually leave their
a prize. Soon after, he drew less and less works without a title to avoid preconceived
representational paintings becoming absorbed understandings of their art. They give their
in abstract. His enthusiastic compositions were compositions numbers or dates of creation.
recognized by artistic commentators. He started From 1958-59, Chu Teh-chun gave his oil
to exhibit his abstract paintings in galleries in paintings numbers and French names. Then
Paris in 1958, many of them showing interest later, he simply omitted titles and replaced
in his works. Later Chu signed a six-year them entirely with numbers. Around 1970 he
contract with Galerie Legendre which focused found himself puzzled by so many numbers,
on abstract paintings. Thus, he managed to so he started to use poetic titles since, after all,
make ends meet and was able to concentrate on poetic verses were also abstract. He believed
painting. The keen eyed Maurice Panier, artistic poetic names wouldn’t obstruct viewers’
director of Galerie Legendre, who arranged a freedom of understanding. On the contrary, a
solo exhibition for Kandisky in France, give good title may help viewers to get closer to the
Chu generous encouragement. He recognized atmosphere which he as a painter had tried to
Chu Teh-chun as “un coloriste” (a colorist) of create.
thoughtful composition for oil paintings.
The painting “Composition No. 166” adopts the
By 1960, Chu Teh-chun had established his composition of an ocean view. The light-color-
reputation in Paris. As a representative of the filled and smudged background has the feature
Far East artists, he entered the international art 朱德群《源》1965 油彩畫布
and style of Chinese mountain-water paintings.
exhibition of “Ecole de Paris” held by Galerie CHU Teh-chun, La source The sweep of the brush horizontally separates
Charpentier, and his talent was fully recognized 1965, oil on canvas, 120 x 60 cm the canvas into upper and lower spaces. The
in that exhibition. His paintings late in 1950 overlapped colors form endless mountains;
were full of strength and were painted with Georges Boudaille, former chairman of the the thin lines constitute rhythms as if a gentle
calligraphic lines and color patches of red, Paris Biannual Exhibition, presented Chu breeze. The painting shows a fascinating
green, blue and black. The paintings reflect Teh-chun’s art in a column in Vol.3 (March) landscape of water blending with sky where
the profound impact on Chu of the abstract of “Cimaise” in 1963: “…The form is color patches of red, blue and green add charm
painter de Staël. In the 1960s, Chu Teh-chun’s determinedly Western, directly inherited from to the single dominant color, enriching the
oil paintings were mostly landscapes of single- the experience of the best abstract painters of hierarchies of the structure of the picture. A
color background with clouds surrounding the Ecole de Paris. But he diverts it from its change in style of the gallery agency in 1962
mountains and mist around trees. This poetic original purpose. …What properly belongs brought about a low point for Chu Teh-chun
and artistic scenery conception derives from to him is the discreetly oriental atmosphere for some years. This is a forgettable period for
Chinese mountain-water paintings. Several pervading his compositions. A subtle, but Chu in Paris. A difficult life and low income,
art critics pointed out that Chu Teh-chun’s penetrating scent of poetry develops from the however, never influenced his work as a pure-
paintings were the combination of poetry and deep harmony between the sight offered and the hearted and clear-minded painter. His paintings
scenery. Jean-François Chabrun, the poet, emotion suggested… Chu Teh-chun remains a in the 1960s were less in quantity, but greatly
writer and art critic, praised Chu Teh-chun as a “ professional painter even within the ‘Ecole de superior in quality.
Peintre Song du XXe siècle (20th Century Song Paris’; his craftsmanship and his mastery of the
Painter)” in “L’Express” in 1960. technique have made of him an extraordinary
041
CHU Teh-chun
朱德群的「雪景系列」被形容為神來之筆，博物院副院長李霖燦也說「朱德群和趙無
Evocation hivernale C 儘管他早年曾有白色調的抽象圖畫，但從未極都用油彩畫水墨畫」。他們的東方文化
(Reminiscence of Winter) 如1985-1989年間完成的「雪景系列」作品特色，在西方藝壇獨樹一幟。兩人中西兼
教人驚嘆，更成就出個人生涯的重要里程修，雅好詩詞文藝，其出身背景有極大助
1988
碑。那段機遇緣起於一份對自然美景的悸力。他們都畢業於杭州藝專，受到校長林
Oil on canvas
動，充滿詩情與回憶的結合。風眠的影響，多方吸收新知，既有優異的
195 x 130 cm
西方素描寫實功力，又擅長書法水墨畫。
Signed lower right CHU TEH-CHUN in
1985年一次飛往日內瓦的班機上，途經阿尤其中國詩詞對朱德群的繪畫有深刻的影
Chinese and English, dated 88.
爾卑斯山，朱德群突然被窗外景色吸引，白響，文化的修養潛移默化，自然而然也融
Titled on the reverse "Evocation
雪皚皚覆蓋的高峰大地，山巔雲霧瀰漫，美入創作中。朱德群曾說：「東西融合不是
hivernale C", signed CHU TEH-CHUN
不勝收。尤其是白色變化無窮—雲霧之白、東西拼湊，而是思想的融合。我是在中國
in English and Chinese, dated 1988 霜雪之白，層次分明，充滿變化，中國唐詩受的教育，所以我的油畫是具有中國詩意
的意象突然湧現心中。回程乘火車時再遇阿的抽象畫。我比較傾向於唐宋時代的藝術
EXHIBITED: 爾卑斯山暴風雪的壯觀景象，又是另一番驚意境。」
Solo Exhibition of Chu Teh-Chun, The Ueno 喜，這趟發現之旅啟發他創作出雋永的冬日
Royal Museum, June 23-July 10, 2007 雪景系列。此幅《雪景—冬之回憶》作品創作於1988
年，描繪大地一片滄茫、雪花飛濺的景
ILLUSTRATED: 法國知名藝評家皮耶．卡班（P i e r r e 象。構圖令人聯想到中國畫的「立軸」
Solo Exhibition of Chu Teh-Chun, The Ueno C a b a n n e）曾寫過︰「真實的繪畫來自回形制，「立軸」能傳達高遠、深遠的山
Royal Museum (catalogue), Tokyo; Thin Chang 憶」。朱德群以自身回憶譜寫出一幅抒情的水境界。在朱德群的「雪景系列」作品
Corporation, Taipei, 2007, color illustrated, p. 214 圖畫，而這些繪畫具有中國傳統山水的精裡，《雪景—冬之回憶》的直幅構圖非常
神，可以將人帶入一個新的世界。觀者藉由稀有，它表現了皚皚山巒的蒼闊與雄渾之
NT$ 30,000,000-40,000,000 他的筆法、用色和結構，也展開一趟精神美。當畫家在創作此畫時，應是不自覺地
US$ 917,400-1,223,200 遨遊。皮耶．卡班和朱德群相識多年，這融入了中國美術的傳承。探究其原因，應
HK$ 7,059,000-9,412,000 位1967年撰寫《杜象訪談錄》的作者，道與1986年朱德群返台參加藝術座談會，見
出自然山水對朱德群藝術的啟發：「朱德群到心儀已久的宋畫真蹟有關。來台其間，
的繪畫也是一種旅行，更好的說法，那是穿他特別請託學生輩宋龍飛安排，在當時台
朱德群
越想像國度，反映在作品裡的遠遊，從中國北故宮博物院院長秦孝儀的特准下，由李
雪景—冬之回憶
出發，然後征服全世界。儘管他不是描繪某霖燦陪同在觀畫室飽覽了范寬的《谿山行
1988 些真實場景，而是各種現象對於他的啟示，旅圖》、郭熙的《早春圖》、李唐的《萬
油彩畫布比如說尼加拉瓜瀑布；或乘著飛機越過大壑松風圖》三幅鎮院之寶、曠世巨作。
195 x 130 cm 海，高山；暴風雪裡疾掠過阿爾卑斯山；或
簽名右下：朱德群 CHU TEH-CHUN 88. 是巴黎萬桑森林的冬日，凡此種種感受啟發有緣親眼目睹三幅宋代名畫，瞭悟筆墨之
簽名畫背："Evocation hivernale C" 了《寒》及雙聯作《剛與柔》裡冷寒的藍、微妙處，足見對朱德群的後期創作深具意
CHU TEH-CHUN 朱德群 1988 粉狀的灰與白。他無須以現實證明自身對義。李霖燦在朱德群返回巴黎前夕，特別
自然的熱愛，之於他，一切都如花朵綻放還把收藏多年的《谿山行旅圖》複製品贈
展覽：般，循序漸進地開展了。他的國度名稱即是與同窗友，成就一段佳話。從《雪景—冬
《大象無形—朱德群作品展》，上野之森美繪畫，正如石濤所寫『闢混沌者，舍一畫之回憶》一畫來看，巨幅結構一氣呵成，
術館，東京，展期自2007年6月23日至7月10日而誰耶』？」（皮耶．卡班，〈朱德群的畫：抒發奔放自由的筆刷，儘管以冷色調為主，但
心性，讚美自然〉，《朱德群畫展目錄》（上海博物館，情感真切而熱烈，整幅作品宛如一曲譜寫
圖錄： 2000），頁17）冬季的華麗交響樂章。「雪景系列」寄託
《大象無形—朱德群作品展》，上野之森
了藝術家歷盡滄桑後體認中華文化的根源
美術館，東京；台灣馨昌股份有限公司，
楚戈（Chu Ko）曾說「朱德群是用油畫畫的追求，年近古稀仍努力創作，藝術再創
台北，2007，彩色圖版，頁214 出中國水墨畫精神的大師」，已故前故宮巔峰成就。
70
The “Snow Scenes Series” of Chu Teh-chun memory.” The lyric paintings of Chu Teh-
were regarded as a stroke of genius. His early chun are also pictures from his memory.
white-tone abstract paintings were never His paintings reflect the spirit of traditional
as astonishing and marvelous as the “Snow Chinese mountain–water paintings. They
Scenes Series” composed from 1985 to 1989. guide us to a brand-new world. From his
The series was a milestone in Chu Teh-chun’s brushwork, use of color and structure, viewers
career. That opportunity started from a throb can enjoy a spiritual journey. Pierre Cabanne
on the natural beauty and resulted in poetic and Chu Teh-chun knew each other for many
and memorial achievement. years. This author of the 1967 “Entretiens avec
Marcel Duchamp” (Interviews
with Marcel Duchamp) pointed
out the inspiration of natural
mountains and waters to Chu
Teh-chun’s paintings: “Chu Teh-
chun’s painting is also a journey,a
great hike through an imaginary
country so his work is reflection.
With a starting point in China he
has conquered the entire world,
yet he doesn’t paint places, but
phenomena which are suggested
to him. Niagara falls, for example,
or what he feels when he sees the
朱德群《冬之呈現（二）》 horizon at sea, mountains, a view
羅芙奧2007春季拍賣會，編號070 ，5380萬台幣成交
of the alps in a snowstorm from
CHU Teh-chun, Présence hivernale II
1987, oil on canvas, 130 x 195cm
a flight, or winter in the Bois de
Ravenel Spring Auction 2007, lot 070 Vincennes, which inspires the cold
US$ 1,629,069 sold blues, grays and white powdery
presence of winter, or the duality
of frozen fluid. But he did not need reality to
In 1985 on his way to Geneva by air, Chu test his desire for nature, and all is resolved
Teh-chun was suddenly attracted by the in his inner self in a progressive development
fantastic Alpine scenery outside the window, like a succession of revelations; his realm is
mountain peaks and lands covered in white called painting, ‘The brush is used to remove
snow and surrounded by fog, and the chaos.’” according to a quotation from Shitao
changeable and clearly structured white colors (Pierre Cabanne, “Chu Teh-chun: A Painter of Effusion and
of cloud and fog, of snow and frost. All of a Celebration” Chu Teh-chun Exhibition Catalogue, Shanghai
sudden an image from Chinese poems in the Museum, 2000, p. 17)

Tang Dynasty appeared in his mind. On his
return journey by train, he was once again [Original Text in French]
surprisingly inebriated by the totally different (Le peinture de Chu Teh-chun est aussi un
magnificent snowstorms of the Alps. These voyage, mieux une randonée à travers le pays
journeys of discovery inspired him to create imaginaire dont son oeuvre est le reflet. Partie
the beautiful and meaningful Snow "Scenes de Chine elle a conquis la planète entière;
Series". pourtant il ne peint pas de lieux, mais ce que
les phénomènes lui suggèrent, les chutes du
Pierre Cabanne, the famous French art critic Niagara par exemple, ou qu’il ressent devant
once wrote: “A real painting results from l’horizon marin, des montagnes, le survol des
72
Alpes en avion dans une tempête de neige, ou viewers of a “vertical scroll” in Chinese
l’hiver sur le bois de Vincennes qui lui inspire painting. A “vertical scroll” conveys a far-
les bleus froids, les gris et les blancs poudreux reaching feeling of mountains and water. In
de Présence hivernale, ou le diptyque de Chu Teh-chun’s “Snow Scenes Series”, the
Fluides cristaux. Mais il n’a pas besoin de portrait orientation of “Evocation hivernale
la réalité pour éprouver son désir de nature, C” was rarely seen. It shows the magnificence
tout se résout chez lui en un épanouissement and grandness of mountains. When he was
progressif come une succession d’éclosions; composing this picture, he certainly added
son pays se nomme peinture. «Le pinceau sert Chinese artistic elements unconsciously. This
à faire sortir les formes du chaos» écrivait was perhaps related to the fact that he had
Shitao.) (Pierre Cabanne, “Chu Teh-chun: Une peintiure returned to Taiwan for an artistic seminar in
d’effusion et de celebration”, Chu Teh-chun exhibition 1986, and saw the original Song-Dynasty
catalogue, Shanghai Museum, 2000, p. 17) paintings which he had longed for. While in
Taiwan, he asked his student Song Longfei
Chu Ko once said that “Chu is a master who to make an arrangement for him to see the
has used oil painting to express the spirit paintings with the special approval of Chin
of Chinese ink-wash painting”. Li Lin-tsan, Hsiao-yi, the Director of the National Palace
former associate director of the Taipei’s Museum, Taipei. Accompanied by Li Lin-tsan,
Palace Museum also said: “Chu Teh-chun Chu feasted on the view of “Travelers Among
and Zao Wou-ki both use oil paint to create Mountains and Stream” by Fan Kuan, “Early
ink-wash paintings.” Their Eastern cultural Spring” by Kuo Hsi and “Wind in Pines
features are unique in Western artistic circles. Among a Myriad of Valleys” by Li Tang. The
Both artists studied Chinese and Western art three paintings are treasures of the museum
and both are keen on poetry and art. Their and masterpieces of their times.
early backgrounds were of great help to
their paintings. They both graduated from This opportunity to view three great original
Hangzhou National College of Art, and paintings from the Song Dynasty gave Chu
both were influenced by the great master Teh-chun the opportunity to understand the
Lin Fengmian. They absorbed an extensive subtle skills of ink and brush drawing. This
array of new knowledge not only Western experience was significant for Chu’s later
realistic and factual sketching skills, but also paintings. Before he returned to Paris, Li Lin-
calligraphy and ink-wash painting. Chu Teh- tsan gave his collection of duplicate “Travelers
chun’s paintings were especially influenced Among Mountains and Streams” collection to
by Chinese poetry. A literary refinement Chu, which is a much told story.
was gradually and naturally infused into
his paintings. Chu Teh-chun said: “The The painting “Evocation hivernale C” is a
combination of Oriental and Western culture wonderful symphony of a winter season, with
should not be a simple mixture, but the a large structure without any letup, with free
integration of minds and ideas. I received my and powerful brushwork, with cool color tone,
education in China, so my oil paintings are sincere and passionate feelings. The “Snow
abstract paintings with a Chinese poetic spirit. Scenes Series” reflects the artist’s steadfast
I’m inclined to the artistic atmosphere of the pursuit of the roots of Chinese culture after
Tang and Song Dynasty.” his setbacks and hard times. Chu Teh-chun
endeavored to improve his art creation in his
This painting “Evocation hivernale C” seventies and reached a new artistic peak.
(Reminiscence of Winter) painted in 1988
depicts a vast and misty land with snow
blustering about. The painting reminds
042
Yuyu YANG
(YANG Ying-feng)
Advent of the Phoenix II
1970
Stainless steel, edition no. 9/10
74(L) x 58(W) x 94(H) cm
Engraved Ying-feng in Chinese, dated '70,
Osaka and numbered 9/10
This sculpture is to be sold with a certificate of

authenticity issued by Yuyu Yang Foundation,
Taipei.
NT$ 1,000,000-1,800,000
US$ 30,600-55,000
HK$ 235,000-424,000
楊英風
鳳凰來儀（二）
1970
不鏽鋼 9/10
74(長) x 58(寬) x 94(高) cm
簽名雕刻：英風 '70 大阪 9/10
附財團法人楊英風藝術教育基金會呦呦藝術
事業有限公司開立之作品保證書
74
043
JU Ming
Taichi Series
Mid 1980s
50(L) x 26.9(W) x 29(H) cm
Engraved Ju Ming in Chinese and numbered
8/30 on the bottom

Museum.
NT$ 2,000,000-3,000,000
US$ 61,200-91,700
HK$ 471,000-706,000
朱銘
太極系列
1980年代中期
銅雕 8/30
50(長) x 26.9(寬) x 29(高) cm
簽名雕刻底部：朱銘 8/30
76
044
YANG San-lang 楊三郎一生奉行印象派，注重戶外寫生、講交織，在稜界起伏間譜出簡潔率性、細緻嚴
(Taiwanese, 1907-1995) 究日光、時序下的光影變化，在台灣前輩藝謹的山巒和諧奏鳴。
術家中聲望地位崇高，對於藝術的推動更是
Sunny Mount Jade 不其餘力，創立「台陽美術協會」，獲頒當
年象徵藝術最高榮耀的「國家文化勳章」。 Throughout his life, Yang San-lang has been
Oil on canvas 在所熟知的華人世界大師當中其捕捉大自然 devoted to impressionism. He focuses on
60.5 x 72.5 cm 瞬間感動的生命力、空間上的層次運用，及 outdoor sketching and the variation of light and
Signed lower left S. Yang in English 透過作品深刻表現藝術家豐富的內在心靈， shadow in sunshine and at different times of the
是其他藝術家所不及的。 day. Highly renowned among “senior artists”
NT$ 1,800,000-2,200,000 in Taiwan, Yang San-lang spares no efforts to
US$ 55,000-67,300 壯年開始，楊三郎的作品題材以自然界為 promote the development of art. He established
HK$ 424,000-518,000 主，特別是「山」與「樹」交會出的山林原 the Tai-Yang Fine Arts Association, and was
野，為畫家所鑽研探尋的「藝術境界」。而 granted the National Order of Culture, the
此件以《玉山暖日》為題的作品象徵藝術家 supreme glory in the Taiwan art world. Among
楊三郎 all the well-known Chinese world masters,
對於「藝術原鄉」的追尋與探求。透過楊三
玉山暖日 Yang San-lang is unparalleled for his acuity in
郎的畫筆繪出如玉山暖日般時序有致、明暗
60.5 x 72.5 cm grasping the transient, touching, and dynamic
油彩畫布 moments of nature, his deployment of spatial
簽名左下：S. Yang hierarchy, and ability in expressing rich and
profound emotions in his artistic work.
From his mid life, Yang San-lang’s works have

focused on nature, especially landscapes of
forest and mountain, which have become his
artistic realm. “Sunny Mount Jade” represents
the artist’s pursuit and exploration of the
“origin of art”. Each brush stroke depicts the
time sequence and the interweaving light and
shade of sunshine in Jade Mountain, playing
the simple, straightforward, rigorous and
sophisticated rhythm of harmony in the waving
curves of the mountain.
78
045
ZHANG Hongtu
(Chinese, b. 1943)
Ni Zan - Monet No. 5
2005
Oil on canvas
151.5 x 86 cm
Singed lower left Hongtu in Chinese and dated
2005.9 in Chinese
With several hand painted seals of the artist
NT$ 1,600,000-2,400,000
US$ 48,900-73,400
HK$ 376,000-565,000
張宏圖
倪瓚—莫內 No. 5
2005
油彩畫布
151.5 x 86 cm
簽名左下：宏圖 O五年九月
手繪鈐印：張；宏圖；也姓鄭；我行我素；
東張西望；偏要風馬牛；不在此山中及宏圖
再製
80
046
Walasse TING
Red Horse 此作品正來自於法蘭西斯家族的收藏，畫

背有題獻給山姆．法蘭西斯妻子馬格麗特
c. 1988 的文字。飽滿明亮的紅色小馬快樂的飛馳
Acrylic on canvas 於繽紛的花叢和湛藍的天空間，整件作品
152.5 x 183 cm 歡欣鼓動，跳躍的筆觸和鮮明的配色讓整
Signed on the reverse Ting and titled, inscribed 張作品充滿動感與奔放能量。丁雄泉曾說
III A. Hadali for Magaret Francis 過，「我的畫像蜜糖一樣色彩都是透明
的」。
PROVENANCE:
Estate of Sam Francis
The most outstanding characteristic of Ting’s
NT$ 1,600,000-2,600,000 art is his depiction of beautiful animals,
flowers, and belles in nature using bright,
US$ 48,900-79,500
lively, and vivid colors. His enchanting and
HK$ 376,000-612,000
magic world is a feast for the senses and
invites the audience to share his passion and
丁雄泉 enthusiasm for nature.
紅馬
約1988 In Paris, Walasse Ting befriended Pierre
壓克力畫布 Alechinsky and Karel Appel of the CoBrA
152.5 x 183 cm art group, and his painting style was deeply
簽名畫背：III A. Hadali Ting for Magaret Francis influenced by them. Soon he found that New
York had replaced Paris as the gathering place
來源：美國抽象畫家山姆．法蘭西斯家族舊藏 for important painters. So he packed up and,
at the peak moment of abstract expressionism
丁雄泉最大的個人特色，即以光輝明亮、 in 1959, returned to New York, where he soon
活潑新鮮的色彩描述大自然中的美麗動 befriended Sam Francis, Tom Wesselmann,
物、花及女人。他誘人的、魔幻的世界是 and Claes Oldenburg. They met frequently and
感官享受之一，吸引觀眾分享他對自然界 held exhibitions together. Walasse Ting and
的熱情。 Sam Francis became life-long friends.
丁雄泉在巴黎與眼鏡蛇畫派的阿勒辛 “Red Horse” belonged to Sam Francis’s estate.

斯基（P i e r r e A l e c h i n s k y）、阿貝爾 Ting inscribed "for Magaret Francis" on the
（K a r e l A p p e l）結為莫逆之後，畫風也 reverse of the painting. Magaret Francis is the
深受他們的影響。沒多久他發現，紐約 widow of Sam Francis. The healthy and bright
已取代巴黎成為重量級畫家的集中地， red horse gallops joyously among the colorful
於是再度收拾行囊，於1958年在抽象表 flowers and the emerald sky. The whole
現主義最高峰時抵達紐約，很快地又與 painting is filled with life and energy, and the
法蘭西斯（S a m F r a n c i s）、維塞爾曼 jumpy brush and the fresh colors make the
（Tom Wesselmann）、歐登伯格（Claes work dynamic and vigorous. Ting once said
Oldenburg）等結交，互動頻繁並曾一同作 “my paintings are like sugar, where colors are
展，更自此與法蘭西斯成為終生好友。 all transparent”.
82
047
George CHANN
Color Splash
Oil on canvas, collage

132 x 134 cm 華人中較早期的抽象畫家大多成熟於海 established after his realistic practices. During
Signed lower left GEO. CHANN in English 外，而定居於美國的陳蔭羆即為其中之 that time, the 50s, abstract art already had
一，其抽象藝術生涯則在穩固的寫實風格 their history and developments in both United
NT$ 1,200,000-2,200,000 後開展，抽象藝術在當時，也就是50年代 States and Europe; however, Chann’s living
US$ 36,700-67,300 左右，無論在歐洲或是美國，皆已有相當 experiences in China during 1947 to 1950 has
HK$ 282,000-518,000 的歷史及其追隨者，陳蔭羆在1947到1950 added extra unique characters to his abstract
年在中國的生活經驗，則讓他的抽象步伐 paintings. In his paintings, he also discussed
陳蔭羆走的更具獨特面貌，也將屬於中國文明元 and presented Chinese cultural elements such
素，如甲骨文、書法、碑帖等，用非拘泥 as inscriptions on bones or tortoise shells,
魅力四射
的方式探討及演繹。 calligraphy and the book of stone rubbings by
油彩畫布拼貼
taking an undefined route.
132 x 134 cm
此幅《魅力四射》，其標題似乎即在暗示我
簽名左下：GEO. CHANN
們，在一片亮黃色中透出的筆觸，是符號與 “Color Splash” as the title of this piece implies,
否，都是某種意義的載體，誠如塞．湯布利 those bright yellow brush strokes, no matter
透過畫筆激動地述說神話故事，陳蔭羆用熱 they are symbols or not, carry a meaning, a
烈的情緒勾勒出腦海中感受到的視覺韻律， message. Just like Cy Twombly tells those
其想望的城市過往、調性或是一座舊城所承 great mythology stroke by stroke on the canvas,
襲的人類文明，此種陳述性質令此抽象畫作 Chann painted those visual rhythms in his heart
散發出關懷的意旨，也道出藝術家對所從事 with passion, such as the longing for the city
的事物之初衷及其本身溫暖性格。 of the old days, or an ancient one which passed
on human civilizations. This kind of narrative
property has made his abstract paintings having
Most of the early Chinese abstract painters a will of carrying, they also tell the original
have their skills developed over sea, George intention of the things which the artist wanted
Chann who had settled in the United States is to do, as well as the mildness within his
one of them, his abstract painting style were characteristics.
84
048
CHEN Te-wang
Still Life with Roses
1983-1984
Oil on canvas
45 x 52 cm
ILLUSTRATED：
Wang Wei Guang, Taiwan Fine Arts Series No. 陳德旺先去天津念書，再轉去東京習畫。在 among famous painting schools to study freely.
15: Chen Te-wang, Artist Publishing Co. Ltd., 日本12年，他只游走於各大畫塾之中自由地 Chen Te-wang’s very unique character began to
Taipei, October, 1995, color illustrated, no. 59, 學習，而不願進入美術學校。陳德旺獨特的 show clearly at a young age. After returning to
p. 111; black-and-white illustrated, p. 262 個性從年輕時就與眾不同。回台後，畫畫、 Taiwan, painting, exhibiting, and teaching were
The Collection of Taiwanese Fine Arts 2000 畫展、教畫就是陳德旺的生活；退休後更全 just all his life. And this persisted unaltered
Taiwanese Arts Part II, The Association of 力放在繪畫上，終其一生始終如一。他生前 through his life. Each day, as long as he picked
Collectors in South Taiwan, 2000, p. 136 只要一拿起畫筆，立刻就有如墜入色彩、靈 up his paintbrush, he would immediately fall
性、思想及空間的大海中，完全的忘我。而 into an ocean of colors, spiritualism, thoughts
NT$ 2,000,000-3,000,000 他對於自己作品的要求，也幾達苛刻的地 and space, and forgot all completely. Also he
步。雖然留下的作品並不多，但這種對藝術 took a nearly harsh attitude to his own works.
US$ 61,200-91,700
虔敬誠懇的態度，實為現代少有的典範。 Although he left only a few works, his devout
HK$ 471,000-706,000
and sincere attitude to art had built a real rare
玫瑰花與靜物是陳德旺很重要的題材之一， model for modern generations.
陳德旺他採用象徵性手法，以暗示代替描寫，透露
玫瑰花與靜物內心未可知的神秘訊息，其渾然的氣魄與細 Roses and still life were one of the most
1983-1984 膩的詩情，在深厚的古典基礎上開出璀璨的 important subjects for Chen Te-wang. He
油彩畫布浪漫之花。這位真誠的藝術家以純淨無瑕的 used implication instead of description with
45 x 52 cm 心靈，全力投入繪畫研習與製作，以苦行僧 symbolism to express unknown mysterious
的腳步，走出深具價值的人生。 inward messages. Harmonious grandeur
圖錄： and delicate poetic feelings burst forth from
王偉光，《台灣美術全集 15：陳德旺》， dazzling romantic flowers on a deep classic
藝術家出版社，台北，1995，彩色圖版， At the beginning Chen Te-wang went to Tianjin foundation. The sincere artist put all of himself
編號59，頁111；黑白圖版，頁262 to take courses, then he moved to Tokyo to into his paintings with a pure heart. He made
《台灣美術典藏2000台灣藝術第二部》， study painting. He did not want to enter the a life of enduring value with the steps of an
南台美術收藏聯誼會，2000，頁136 fine art colleges but only preferred to travel ascetic monk.
86
049
LIAO Chi-chun 廖繼春被稱為台灣的野獸派畫家，鮮麗的色
(Taiwanese, 1902-1976) 彩，濃郁的詩情，是他作品的魅力所在。風
景是他最擅長的題材，但他後來作畫已不以
The Landscape of Tamshui 寫生為唯一的依據，他把目睹的景物，以感
觸濾過，再予以造型化，因此他的顏色是鮮
1962 明的，敘情的，而造形是經過抽象簡化的，
Oil on canvas 從色彩的運用與肌理，可以看出他變形以及
24.5 x 33.5 cm 抽象的過程，是循著造形的思考逐次構成。
Signed lower left Chi chun in Chinese and
dated 1962.3 淡水風景，是廖繼春最愛的題材之一，這件
Titled, inscribed and dated on the reverse The 作品尺幅雖然不大，卻非常精采，從畫面上
Landscape of Tamshui, as gift to Prof. Chen 可以看見，他快速的筆觸，幾筆就抓住了觀
Chiung-hui from Department of Pediatrics, 音山、房屋和船隻的形貌，用的色彩都很鮮
National Taiwan University, College of 麗，而天光水色，則是廖繼春最讓人讚賞的
Medicine, Liao Chi-chun, March 20, 1962 淡淡的粉紅色。這些樸直的筆觸和色彩，彷
彿就是畫家本人的化身，雖已是近半個世紀
PROVENANCE: 之前的作品，依然繼續讓無數喜愛藝術的人
East Gallery, Taipei 們受到感動。
ILLUSTRATED：
Collection of Taiwanese Fine Arts 2000 Liao Chi-chun was regarded as a fauvist in
Taiwanese Arts Part II, The Association of Taiwan. The charm of his works lie in the
gorgeous colors and strong poetic flavor. He
Collectors in South Taiwan, 2000, p. 36
mastered landscape painting far better than
others. Liao’s paintings in his later years were
NT$ 2,600,000-3,400,000
not only sketches from nature, but featured
US$ 79,500-104,000
what he had seen with an emotional filtration,
HK$ 612,000-800,000 so the colors he used were bright and gentle.
The features were abstracted and simplified.
廖繼春 From the selection of the colors and strokes, the
淡水江山風景 transformation and the process of abstraction
1962 could be conceived. Following Liao’s thoughts
油彩畫布 about the features, final figures came flowing.
24.5 x 33.5 cm
簽名左下：繼春 1962.3 Landscapes of Tamshui were Liao’s favorite
簽名畫背：淡水江山風景贈台大小兒科陳 theme. This painting is not of large size, but
炯暉教授廖繼春呈上民國五十一年三月 quite enchanting. Merely a few rapid strokes
二十日 reflect the appearance of Guanyin Mountain,
the houses and the boats. The colors used are all
來源： very bright. The sky and the waters are painted
東之畫廊，台北 light pink which received most praise for Liao.
The straight strokes and clear colors seem to be
圖錄： the embodiment of the artist himself. Although
《台灣美術典藏2000台灣藝術第二部》， the painting was created almost half a century
南台美術收藏聯誼會，2000，頁36 ago, it still keeps touching countless people
who are keen on art.
88
050
PANG Jiun
The Best Scenery in the World
2007
Oil on canvas
182 x 259 cm
Signed lower right Pang Jiun in Chinese and
dated 2007
With one seal of the artist
Signed on the reverse PANG Jiun in Chinese
and English, dated 2007, size 182 x 259 cm,
titled "The Best Scenery in the World" in
Chinese and size 200P
NT$ 2,500,000-3,600,000
US$ 76,500-110,100
HK$ 588,000-847,000
龐均
甲天下
2007
油彩畫布
182 x 259 cm
簽名右下：龐均 2007
手繪鈐印：均
簽名畫背：龐均 PANG JIUN 2007 182 x 259 cm
〈甲天下〉〈200P〉
90
054
051
CHU Teh-chun 獻，在於加入了優雅、舒暢、灑脫的筆致，
(Chinese-French, b. 1920) 表現了大自然的生命流動，他將中國文化精
神貫注於個性化的繪畫語言之中，為中國繪
Mirroir de l'illusion 畫傳統增添了活力。
2004 這幅於2004年創作的《鏡之幻象》，朱德
Oil on canvas 群用令人心服的線條從不精確中畫出性格
81 x 100 cm 來，使幻想變成完美無缺，很驚奇的是在他
Signed lower right CHU TEH-CHUN in Chinese 的畫面上沒有西方線條的透視，而從遠處看
and English, dated 04 主題，出現好幾個定點，相疊相重替換著，
Titled on the reverse "MIRROIR DE L'ILLUSION" 配置在不同階度的平面上，靈活的把書法水
in French and signed CHU TEH-CHUN in English 墨詩意融會起來的那份流暢寄放移植於畫布
and Chinese, dated 2004 上，賦予色光，使畫面淋漓地耀動璀璨起
來。
ILLUSTRATED:
Pierre-Jean Rémy, Chu Teh-chun, Edtions de La
Différence, Paris, 2006, color illustrated, p. 268 Back in the early days, Chu Teh-chun had about
twenty years of concrete creation experiences,
NT$ 2,600,000-3,600,000 when he was learning in Hangzhou National
US$ 79,500-110,100 Academy of Art he was affected by the
atmosphere of that era, with the elements from
HK$ 612,000-847,000
Chinese traditional arts and the irrigation from
western art trends, he lined both. Traditional
朱德群 Chinese paintings, classic European paintings
鏡之幻象 and contemporary abstract arts all have affection
2004 on Chu’s art. Music, colors, calligraphy, and
油彩畫布 lights are essential elements in his abstract
81 x 100 cm paintings, he skillfully merged all these
簽名右下：朱德群 CHU TEH-CHUN 04 elements, from traditional Chinese poetic point
簽名畫背："MIRROIR DE L'ILLUSION" of view, atoning the stiffness from western art
CHU THE-CHUN 朱德群 2004 theories, and further creates several cultural
and cultivated paintings, not just a picture of a
圖錄： landscape or a form of abstract, Chu pushed art
皮耶－尚．雷米，《朱德群》，拉迪佛羅思 to a brand new region that is lively and mystic.
出版社，巴黎，2006，彩色圖版，頁268 His contributions on abstract expressionism
paintings is his using graceful, mild and degage
朱德群早期有過二十年的具象創作經驗， brush strokes, which brings up the life and force
從青少年時期在杭州藝專習畫開始，即感 of nature, he poured Chinese culture spirits
染了當時的大時代氣息，也因此對於中國傳 in his own characteristic painting language,
統文化藝術的因子與西方藝術風潮的灌溉， vitalized the Chinese painting tradition.
產生了相互融溶的包容性。中國傳統書畫、
歐洲古典繪畫和現代抽象藝術，都從不同方 “Mirroir de i'illusion” was created in 2004; Chu
面影響了朱德群至今的藝術道路。在朱德群 adopted convincing lines to paint characteristics
的抽象畫當中，音樂、色彩、書法、光源等 from uncertainty, makes illusions perfect, we
等都是不可或缺的表現元素，他熟練的將這 cannot see western transparency in the picture,
些元素以巧妙的方式結合，從中國詩畫的視 but if we view from afar, we may discover
覺觀點，彌補西方色彩理論的生硬，演繹出 certain still spots replacing each other, arranged
一幅又一幅滿溢中國文人情思、內涵豐富的 on a plane of different degrees, Chu cleverly
畫作，不只是風景或一個抽象形式，而是賦 blended the feel of calligraphy onto the canvas,
予蓬勃生命力並具有神秘內涵的一個嶄新的 with lights and colors given, made the whole
藝術領域。朱德群對抽象表現主義繪畫的貢 picture look alive.
92
052
Yun GEE
(Chinese-American, 1906-1963) 除了街景、公園風景之外，朱沅芷經常創作
人物畫，他的人物畫有一類是描繪親友故
Portrait of Miss Ellen 舊，或是自畫像，還有一類則以歷史人物如
老子、莊子、貴妃等，或是1940年前後的裸
c. 1940 女系列。
Oil on panel
60.5 x 40.5 cm 此次拍品《愛倫小姐畫像》，整幅畫中五
Signed lower left Yun Gee in English 官亦以穩定的線條繪就，眼睛、鼻子和嘴
部的描繪，刻劃出一位年輕女子的神韻。人
EXHIBITED: 物的形體與背景融為一體，讓人有畫面消失
Experience of Passage: The Paintings of Yun 了，只見到畫中的靈魂。更能被畫中豐富的
Gee and Li-lan, Lin & Keng Gallery, Beijing, 色彩深深所吸引，然後又從顏色裡發現生命
Nov. 15-Dec. 16, 2008 的靈魂，潛入了心靈底層，最後反而忘卻了
顏色！無論如何，朱沅芷的人物畫總是淡漠
This painting is to be sold with a certificate 的、飄渺的，畫中藏著孤獨的靈魂，那正是
of authenticity issued by Lin & Keng Gallery, 畫家艱難生命的寫照。
Taipei.
NT$ 2,500,000-3,600,000 As well as creating street scenes and park

US$ 76,500-110,100 views, Yun Gee often composed portraits,
often depicting his relatives, friends and
HK$ 588,000-847,000
acquaintances, sometimes self-portraits, and
sometimes historical figures such as Lao
朱沅芷 Tzu, Chuang Tzu and some superior imperial
愛倫小姐畫像 concubines. Around 1940 he produced portraits
約1940 of naked women.
油彩木板
60.5 x 40.5 cm Drawn with smooth and steady lines, “The
簽名左下：Yun Gee Portrait of Miss Allen” captures the charm of
a young lady by carefully depicting her eyes,
展覽： nose and mouth. The shape of the woman is
「行旅生涯—朱沅芷與朱禮銀之繪畫」，大 so integrated with the setting that it gradually
未來畫廊，北京，展期自2008年11月15日至 seems to have disappeared, leaving only the
12月16日 soul of the painting. Deeply attracted by the
rich colors at first sight, the viewer comes
附大未來畫廊開立之原作保證書 to discover the soul in the figure and finally
forgets all about the colors as his thoughts
grope with the tender part of the heart. Usually,
Yun Gee’s portraits depict a lonely soul with a
light, misty touch, which is a true portrayal of
the painter’s arduous life.
94
053
CHU Teh-chun 巴黎著名評論家夏布朗評價朱德群為 After researching various styles and
(Chinese-French, b. 1920) 「二十世紀的宋代畫家」，此一稱謂頗富 calligraphy performances in the 1950s and
意涵。朱德群本人對於宋代藝術尤感敬 1960s, Chu Teh-chun broadened his painting
Sans titre 意，認為宋代的范寬、李唐或者其他畫 field in the 1970s. Nature in his paintings
家，其筆下的山水極富抽象意涵。宋代藝 has magically become mental imagery. The
1976 術之偉大，在於其師法自然，卻不受自然 subtle changes of light and shade cause
Oil on canvas 之約束，以達內化交融，天人合一，心境 the whole picture to be filled with a moist
116 x 89 cm 合一之境界。深刻領悟宋代大師賦予的精 rhythm, just like a wash painting, showing a
Signed lower right Chu Teh-chun in English 神境界，朱德群成功地將中國傳統山水的 poetic nature.
and Chinese 意境，融入現代繪畫的內涵，嶄新而獨特
Signed on the reverse Chu Teh-chun in English 的風格，受到法國藝壇的肯定。 This painting “Sans titre” was composed
and Chinese, titled Sans titre and dated 15.11.1976 by Chu Teh-chun in the 1970s. The artist
歷經1950、1960年代各種風格的探索、書 chose his favorite blue color as his main
This painting is to be sold with a certificate of 寫的表現，1970年代的朱德群繪畫天地更 tint. It is friendly and poetic because blue
authenticity signed by the artist's wife, Ching-Chao 為開闊，他筆下的自然已幻化為一種「心 is the original color of the sea, which bred
Chu. 象」，光線穿越的細微變化，使畫面充滿 the lives on earth. The artist mainly used
濕潤的韻律，如水墨畫一般，呈現出一種 bold stokes in order to show the effect of
NT$ 3,500,000-5,000,000 詩化的自然。 a beautiful texture. The rich and delicate
US$ 107,000-152,900 painting conveys a mysterious and abstruse
HK$ 824,000-1,176,000 此幅《構圖》即為朱德群1970年代的作 Eastern emotion, just like a piece of melody
品。作品選用藝術家最為偏愛的藍色，這 with musical notes rising and falling on the
孕育最初的生命的原始海洋的顏色親切而 ear, partly hidden and partly visible.
朱德群
富有詩意，以大排筆刷出，呈現出優美的
構圖
肌理效果，豐富而細膩的畫面，傳遞出深
1976 邃而神秘的東方情愫，又如樂曲悠揚於耳
油彩畫布際，若隱若現。
116 x 89 cm
簽名右下：朱德群 CHU TEH-CHUN
簽名畫背：C H U T E H-C H U N 朱德群 The famous French critic, Jean-François
15.11.1976 Chabrun, deemed Chu Teh-chun as “Peintre
Song du XXe siècle, (Twentieth Century
附藝術家之妻朱陳景昭簽名之原作保證書 Song Dynasty Painter)”. This title suggests
lots of meanings. Chu Teh-chun himself has
showed special respect for Song Dynasty art.
He has always thought that the landscapes
painted by artists, such as Fan Kuan, Li
Tang, and others, are full of abstract features.
The essence of art in the Song Dynasty lay
in the natural painting skills, which reached
a height of unity with nature. In addition,
the techniques were not limited to nature so
that they got a perfect internal and external
blending. Chu successfully mingles Chinese
traditional landscape painting with modern 朱德群《埋沒的一生》
羅芙奧2008年春季拍賣會，編號045，472萬台幣成交
painting under his profound comprehension
CHU Teh-chun, 15.10.1976
of the masters’ spirits in the Song Dynasty. 1976, oil on canvas, 100 x 73.5 cm
His style is noble and unique, which receives Ravenel Spring Auction 2008, lot 045, US$ 155,238 sold
admiration from the French artistic sector.
96
054
CHU Teh-chun
Resonance des lumières

(Resonance of Light)
1989
Oil on canvas
162 x 130 cm
Chinese and English, dated 89
Signed on the reverse CHU TEH-CHUN in 朱德群生於文人世家，自幼研習書法，早年 distinct and unique artistic context with solid
English and Chinese, titled Resonance des 師從林風眠、潘天壽、吳大羽等大家，之後 cultural deposits. He combined traditional
lumières in French and dated 1989 遠赴法國接受西方藝術思想的浸潤。歷經數 Western painting with nonobjective expression
十年的探索，朱德群以深厚文化的底蘊，結 and integrated techniques and concepts of
EXHIBITED: 合西方傳統繪畫與抽象藝術表現，融入中國 Chinese calligraphy and painting into his
Solo Exhibition of Chu Teh-Chun, The Ueno 書畫技藝與觀念，終創造出卓爾不群的獨特 works. In many of his wonderful works, light
Royal Museum, Tokyo, June 23 - July 10, 2007 藝術語境。而在他眾多精彩作品中，光線無 undoubtedly became an important role and
疑成為作品的要角與主題。 theme.
ILLUSTRATED:
Solo Exhibition of Chu Teh-Chun, Thin Chang 朱德群自稱他的「光」來自於林布蘭，光源 Chu Teh-chun claimed that “light” in his
Corporation, Tapei, 2007, color illustrated, p. 221 不僅決定了畫面的色彩與結構，其表現更呈 painting was from Rembrandt, and the light
現出萬千變化。他筆下的光時而向上綻放， source not only determined the color and
NT$ 8,000,000-10,000,000 形成珠寶般璀璨於夜空；時而在極簡而富有 structure of the painting, but its expression
US$ 244,600-305,800
張力的畫面中令人驚嘆；時而又呈現出古典 also presented infinite changes. The light under
莊嚴與神聖教人仰望。 his painting brush would sometimes bloom
HK$ 1,882,000-2,353,000
upwards to form a jewel-like brightness in the
《甦醒的光》一作創作於1980年代後期，此 night sky, while sometimes it would astonish
朱德群一時期藝術家的風格更為成熟，繽紛的色 people for a brief and tension filled moment in
甦醒的光彩，可謂氣定神閒。此幅作品濃郁而溫暖的 his paintings, now and then it would also show
1989 大地色系佈滿畫面，如狂草般飛騰的線條營 a classical solemn holiness, which is adored by
油彩畫布造出深度的空間，亮麗的黃色與橘色穿梭其 the people.
162 x 130 cm 間，令人感受得到空氣與光線的韻律與生命
簽名右下：朱德群 CHU TEH-CHUN 89 的躍動，呈現出萬物甦醒的精彩瞬間。 The masterpiece, “Resonance des lumières”
簽名畫背：CHU TEH-CHUN 朱德群 "Resonance was painted in the late 1980s, which is the
des lumières" 1989 period when the style of the artist was more
Chu Teh-chun was born in a literate family, mature and colorful, with great composure.
展覽： and learned calligraphy in his childhood. In This masterpiece is filled with rich and warm
「大象無形─朱德群作品展」，上野之森美 his early years, he studied under the tutelage earth tones with soaring wild calligraphic lines
術館，東京，展期2007年6月23日至7月10日 of such great masters as Lin Fengmian, Pan which have created a deep space. Bright yellow
Tianshou and Wu Dayu among others. Later and orange colors shuttling among the painting
圖錄： he went to France and accepted the edification create the rhythm of air and light, as well as the
《大象無形─朱德群作品展》，台灣馨昌株 of Western art concept. After decades of vivacity of life, presenting a wonderful moment
式會社，台北，2007，彩色圖版，頁221 exploration, Chu Teh-chun finally created a of everything revived on the earth.
98
055
ZAO Wou-ki
Oiseaux volent partout 趙無極當時雕塑

月15日初版，1996年1月15日再版，頁103）
(Birds Fly Everywhere) 大師傑克梅第（Giocometti）的工作室和他
處處聞啼鳥
相鄰，也提過特別喜歡趙無極「畫中有一種
1952 1952
潦草顫動的東西」。
Oil on canvas 油彩畫布
81 x 100 cm 81 x 100 cm
所謂「一團符號」，從具象轉化為非具象，
Signed lower right Wou-ki in Chinese and ZAO 簽名右下：無極 ZAO
那是得自克利（Paul Klee）繪畫的啟發。
in French 畫背簽名：Oiseaux volent partout 7. 1952
1951年趙無極在瑞士伯恩參觀克利的畫展，
Titled on the reverse Oiseaux volent partout in
克利畫裡運筆自由與輕盈靈動的詩意令人驚
French and dated 7. 1952 來源︰
嘆，這種神祕的詩意與受文人畫薰陶的他可
皮耶．洛布畫廊，巴黎
謂氣味相投。回到法國之後，趙無極參透其
PROVENANCE: 富士電視畫廊，東京
中的奧妙，除了克利的符號，嘗試在畫裡融
Galerie Pierre Loeb, Paris 藝廊工作室，新瀉
入米芾（1051-1107）、王維（八世紀）與
Fuji Television Gallery, Tokyo 私人收藏，亞洲
倪瓚（1301-1374）的文人畫意境。旅行地
Art Gallery Atorie, Niigata
中海城市期間，拜占庭藝術、埃及藝術，以
Private collection, Asia 展覽︰
及教堂壁畫的象徵性，為趙無極後來開創出
「趙無極油畫水墨展」，福岡市美術館，福
的東方風格起了不小的助力。
EXHIBITED: 岡，1981
Zao Wou-ki – peinture, encres de Chine,
1950年代初期趙無極精心研究，苦思如何
Fukuoka Art Museum, Fukuoka, 1981 圖錄：
以平面透視表現空間，如何佈局對象等。藝
《趙無極油畫水墨》，福岡市美術館，福
術評論家馬歇索（Daniel Marchesseau）認
ILLUSTRATED: 岡，1981，彩色圖版，編號1
為，「他找到一種東方纖細筆劃和西方古典
Zao Wou-ki – peinture, encres de Chine,
建築結構相結合的畫路」刺繡般的線條結構
Fukuoka Art Museum, Fukuoka, 1981, color
形成趙無極個人的獨特風格，此一階段對於
illustrated, no. 1
雲遊四海自古是中國文人增進見聞的方法，後來轉型抒情抽象發展具有關鍵性意義。
遊歷名山大川藉以參透哲理，現代畫家自然
NT$ 26,000,000-40,000,000 油畫作品《處處聞啼鳥》完成於1952年7
也期待走覽博物館、探訪各地人文景觀與自
US$ 795,100-1,223,200 然風光，尋找靈感激盪的好素材。抵達巴黎月，趙無極甫自歐洲列國旅遊歸來。在畫中
HK$ 6,118,000-9,412,000 已三年，趙無極能靠畫維生，在經濟無虞的有纖細的線條所勾勒出的繁忙船隻，自在漫
情況下，趙無極暫時擱下畫筆，到歐洲各城步的人與動物，以及無所不在的飛鳥，宛如
市去旅行。1951-52年間他遊歷西班牙、義正進行著一場歡樂的嘉年華，很自然地令人
大利、荷蘭、德國、比利時與瑞士等國，尤聯想到威尼斯的風情。描寫的物象被簡化為
其在義大利停留時間最久，細心觀察歐洲城線條符號，接近單色調的灰棕色，細膩營造
市的建築，有助於構思畫裡的空間佈局。而詩意的空間，那是畫家透過記憶攫取所創造
地中海獨專有的色調和想像力，也成為靈感出的內在風景。
的泉源。回到巴黎之後，他創作了一批結合
風景、建築和大自然等主題的繪畫。藝術評論家雷馬利（Jean Meymarie）曾風
趣地以「繪畫神經系統」形容1950年代初
詩人兼藝評家亨利．米修（Henri 期趙無極作品的簡潔架構，不論濃重、尖銳
Michaux）在1952年趙無極紐約首次個展的或優柔的線條皆能同時存在，融合精緻與堅
畫冊序言中寫道：「欲露還掩、似斷還連，毅，呈現出多變的效果。觀者透過畫面線條
線條隨興遊走，描繪出遐思的脈動，這是趙的指引，彷彿走進寬闊的天地，那裡沒有
無極喜歡的。驀然間，畫面躍動著一片中國疆界的限制。在平面化的透視空間裡，處處
城鎮鄉村特有的喜氣，又是歡騰愉悅，又是都有象徵自由飛翔的鳥兒，含蓄、輕盈、和
滑稽突梯，在一團符號中。」（趙無極與梵思諧，接近童稚樸簡的佈局，趙無極譜寫出一
娃，《趙無極自畫像》，藝術家雜誌社，台北，1992年1 個美好的世界。
100
102
while concealing, breaking down and making lines to depict busy boats, men and animals
the lines shake, tracing, wandering, walking promenading at leisure, and the omnipresent
detours and squiggles with a dreamer’s spirit, flying birds, all of which constitute a joyful
this is what Zao Wou-ki likes and suddenly, carnival, reminiscent of Venice. In this
with the same festive air which animates the painting, objects are simplified into lines and
Chinese countryside and towns, the painting signs in grey brown. The carefully designed
appears quivering, joyous and a little amusing poetic space is the landscape created by the
with an orchard of signs." At that time, the artist from the repository of his memory.
studio of sculptor Giocometti was adjacent to
his own, and he also mentioned that he was Art critic Jean Meymarie once wittily describes
very fond of Zao Wou-ki “It is a trembling the brief structure of Zao’s workings in the
squiggly quotation”. early 1950s as “graphic nervous system”,
where different styles of lines, dark and light,
The “An orchard of signs”, the conversion sharp and soft, coexist in sophisticated and
from representational image to non- solid union and present a varying effect.
representational image, was the inspiration Guided by the lines of the painting, the viewer
of Paul Klee’s paintings. In 1951, when he walks into an immense world that has no
米芾《書法》
visited the painting exhibition of Paul Klee in borders. In the plane perspective, birds fly
Callgraphy of Mi Fu (1051-1107)
Bern, Switzerland, Zao Wou-ki marveled at freely, lightly, and harmoniously. The close-
the poetic feeling of freedom, lightness, and to-childish layout by Zao Wou-ki depicts a
Travelling had always been a way for Chinese vividness of the paintings and such mysterious beautiful world.
scholars to experience new sights; by visiting poetic feeling was readily embraced by
famous mountains and rivers, Chinese scholars him. After his return to Paris, Zao studied
perceived and understood the philosophy of and perceived the secret in it and tried to
life. Similarly, modern painters are interested integrate the poetic atmosphere of Mi Fu
in visiting museums, exploring human (1051-1107), Wang Wei (8th Century), and
landscapes and natural scenes for inspiration. Ni Tsan (1301-1374) with the signs of Klee.
In addition, during his visit to Mediterranean
During the first 3 years after arriving in cities, Byzantium art, Egyptian art, and the
Paris, Zao Wou-ki made his living through symbolism of church wall paintings all had
painting; After 3 years, financially more stable, some influence on the oriental style of his
he travelled around Europe for looking for paintings.
new inspirations. Between 1951 and 1952,
he visited Spain, Italy, Holland, Germany, In the early 1950s, Zao painstakingly studied
Belgium, and Switzerland; staying an extended the expression of space through perspective on
time in Italy, studying buildings of European plain images and the composition of objects.
cities, which was helpful for constructing the The art critic Daniel Marchesseau says, “He
spatial layout in his paintings. And the colors refound a voice for his brush, between delicate
and imagination that are particular to the orientalism and classic architecture.” The
Mediterranean became a source of inspiration embroidery-like line structure constitutes the
for him. After returning to Paris, he created unique style of his paintings. This stage is
a large number of paintings of landscapes, of key significance for his later transition to 保羅．克利《魚兒上鉤》
buildings, and nature. expressive and abstract painting style. 1920，油彩水彩紙本，31 x 32.5 cm
倫敦泰德美術館藏
Paul Klee, They’re Biting
The poet and art critic, Henri Michaux, wrote “Oiseaux volent partout” was completed 1920, drawing and oil on paper, 31 x 32.5 cm
in the preface of the catalogue at the first in July 1952, when Zao returned from his Collection of Tate Gallery, London
exhibition in New York in 1952, "Showing tour in Europe. The painting uses slender
056
JU Ming
Taichi Series - Raise Hands
1995
Bronze sculpture, edition no. AP 3/10
67.7(L) x 43.4(W) x 64(H) cm
Engraved on the reverse Ju Ming in Chinese,
numbered AP 3/10 and dated '95

Museum.
NT$ 3,600,000-4,600,000
US$ 110,100-140,700
HK$ 847,000-1,082,000
朱銘
太極系列—提手
1995
銅雕自3/10
67.7(長) x 43.4(寬) x 64(高)
簽名雕刻背面下方：朱銘自3/10 '95
104
106
057
JU Ming
Chess (32 pieces)
1987
Bronze sculpture, edition of 30
Chess: 28.5(L) x 28.5(W) x 13.5(H) cm (set of
16 pieces, total 2 sets) 朱銘
Chess board: 97(L) x 80(W) x 5(H) cm
象棋（一套32件）
Engraved Ju Ming in Chinese (all pieces)
1987
銅雕限量版次 30
PROVENANCE:
28.5(長) x 28.5(寬) x 13.5(高) cm (一盒16
Jin Ling Gallery, Taipei
隻棋子，共兩盒)
97(長) x 80(寬) x 5(高) cm (棋盤)
This artwork is to be sold with a certificate of 簽名雕刻：朱銘（每件皆有）
authenticity signed by the artist.
來源：
NT$ 1,300,000-2,500,000 金陵藝廊，台北
US$ 39,800-76,500
HK$ 306,000-588,000 附藝術家親筆簽名之作品保證書
058
SHIY De-jinn
(Taiwanese, 1923-1981) 席德進
香江帆影
PROVENANCE:
Hong Kong Harbor 1975
Sotheby's Hong Kong, Oct. 31, 1999, lot 181
彩墨紙本
1975 24.5 x 32.5 cm
Ink and color on paper NT$ 100,000-180,000 簽名右上：一九七五年感恩節於香港席德進
24.5 x 32.5 cm US$ 3,100-5,500
Signed upper right Shiy De-jinn, Hong Kong HK$ 24,000-42,000 來源：
and dated Thanksgiving Day 1975 蘇富比香港拍賣，1999年10月31日，編號181
108
059
AI Xuan
(Chinese, b. 1947)
A Portrait of Ning Xiaoqing

Titled on the reverse A Portrait of Ning 艾軒
2007 Xiaoqing in Chinese, signed Ai Xuan in 寧曉青肖像
Charcoal on paper Chinese and dated 2007. 10 2007
26 x 37 cm 炭筆紙本
Titled lower left A Portrait of Ning Xiaoqing in NT$ 120,000-220,000 26 x 37 cm
Chinese, signed Ai Xuan in Chinese and dated US$ 3,700-6,700 簽名左下：寧曉青艾軒 2007.10
2007.10 HK$ 28,000-52,000 簽名畫背：寧曉青肖像艾軒 2007年
060
SANYU (CHANG Yu)
(Chinese-French, 1901-1966)
Nude
Charcoal and ink on paper

43 x 27 cm
Signed lower right Yu in Chinese
and SANYU in French
NT$ 160,000-220,000
US$ 4,900-6,700
HK$ 38,000-52,000
常玉
裸女
炭筆紙本
43 x 27 cm
簽名右下：玉 SANYU
110
061 朱沅芷
Yun GEE PROVENANCE:
高山聽松
(Chinese-American, 1906-1963) 約1932
Ancient collection of Helen Gee, the artist's
墨紙本
wife
Landscape with Pine Tree Sotheby's sale, Taipei, Oct.17, 1999, lot 32
23.5 x 18 cm
簽名右下：Yun Gee
c. 1932
Ink on paper NT$ 200,000-350,000 來源：
23.5 x 18 cm US$ 6,100-10,700 藝術家之妻朱海倫舊藏
Signed lower right Yun Gee in English HK$ 47,000-82,000 蘇富比台北拍賣，1999年10月17日，編號32
062
SHIY De-jinn
Coastal Mountains at Dawn, Taiwan
1979
Ink and color on paper
64 x 100 cm
Signed lower right Shiy De-jinn in Chinese and 席德進
dated 1979 湖山曉色
1979
NT$ 200,000-350,000 彩墨紙本
US$ 6,100-10,700 64 x 100 cm
HK$ 47,000-82,000 簽名右下：席德進 1979
112
063
CHAO Chung-hsiang
(Chinese, 1910-1991)
Couple
1979
Acrylic, ink and color on paper, mounted onto board
48 x 45 cm
Signed upper right Chung-hsiang in Chinese 趙春翔
and Chao in English, dated 79 佳偶
1979
NT$ 260,000-350,000 壓克力彩墨紙本裱於木板
US$ 8,000-10,700 48 x 45 cm
HK$ 61,000-82,000 簽名右上：春翔 Chao 79
064
CHAO Chung-hsiang
(Chinese, 1910-1991)
Celebrating Life's Cycles
Acrylic, ink and color on paper, mounted onto board

45 x 45 cm
Signed upper right Chung-hsiang in Chinese
and Chao in English 趙春翔
循環不息
NT$ 260,000-350,000 壓克力彩墨紙本裱於木板
US$ 8,000-10,700 45 x 45 cm
HK$ 61,000-82,000 簽名右上：春翔 Chao
114
065
CHUA Hu
(TASI Yun-cheng)
(Chinese-Philipino, 1929-2009)
蔡雲程
Manila Small Bridge 馬尼拉小橋風景
1970
1970 油彩纖維板
Oil on fiberboard 60 x 60 cm
60 x 60 cm 簽名畫背：CHUA HU 呈 -1970-
Signed on the reverse CHUA HU in English,
Cheng in Chinese and dated 1970 This painting is to be sold with a picture of the 圖錄：
artist taken with the artwork. 《蔡雲程畫集》，中國藝術出版社，香港，
ILLUSTRATED: 2005，彩色圖版，頁21（歸類為六十年代時
Album of Chua Hu, Chinese Art Publishing NT$ 300,000-500,000 期）
Company, Hong Kong, 2005, color illustrated, US$ 9,200-15,300
p. 21 (categorized in 60's) HK$ 71,000-118,000 附藝術家與作品合影照片
066
LIU Kuo-sung
Changes in the Sun
1969
80 x 70 cm
Signed lower right Liu Kuo-sung and dated
1969 in Chinese
With one seal of the artist 劉國松
Signed on the reverse Liu Kuo-sung in Chinese, 日之銳變
titled Changes in the Sun in Chinese, dated 1969
1969, size 80 x 70 cm 彩墨紙本
80 x 70 cm
NT$ 350,000-450,000 簽名右下：劉國松一九六九
US$ 10,700-13,800 鈐印右下：一個東南西北人
HK$ 82,000-106,000 簽名畫背：劉國松作日之銳變 1969 80 x 70 cm
116
067
CHIU Ya-tsai
Man in Red
Oil on canvas
142 x 87 cm
Signed lower left Chiu Ya-tsai
in Chinese
NT$ 700,000-900,000
US$ 21,400-27,500
HK$ 165,000-212,000
邱亞才
凝視的紅衣男子
油彩畫布
142 x 87 cm
簽名左下：邱亞才
068
CHUANG Che
Abstract Landscape
1980
Oil on canvas
128 x 100 cm 莊喆
Signed lower right Chuang Che in Chinese 抽象山水
Dated on the reverse 8051 1980
油彩畫布
NT$ 450,000-600,000 128 x 100 cm
US$ 13,800-18,300 簽名右下：莊喆
HK$ 106,000-141,000 題識畫背：8051
118
069
Walasse TING
Reclining Lady with Fan
Acrylic on rice paper

97 x 177.5 cm
With one seal of the artist 丁雄泉
持扇美人
NT$ 700,000-950,000 壓克力紙本
US$ 21,400-29,100 97 x 177.5 cm
HK$ 165,000-224,000 鈐印：採花大盜
070
WANG Zhijie
(Chinese, b. 1931)
Roses
Mixed media on canvas, mounted onto panel

62 x 80 cm
Signed lower right Wang.Z.J. in English 汪志傑
玫瑰
NT$ 450,000-650,000 綜合媒材畫布裱於木板
US$ 13,800-19,900 62 x 80 cm
HK$ 106,000-153,000 簽名右下：Wang.Z.J.
120
071
YANG Din
(Chinese, b. 1958)
Paysage III
1994
Oil on canvas
160 x 160 cm
Signed lower right Yang Din in French 楊登雄
Signed on the reverse Yang Din in French, titled 風景之三（白葉）
Paysage III in French, dated 1994.3. 1994
油彩畫布
NT$ 550,000-750,000 160 x 160 cm
US$ 16,800-22,900 簽名右下：Yang Din
HK$ 129,000-176,000 簽名畫背： Yang Din 1994.3. "Paysage III"
072
ZHOU Chunya
(Chinese, b. 1955)
Lily 1990年代起，周春芽開始「花卉」系列 Chunya recreates this concept in his “Flower”

的創作。花卉題材一直是中國傳統文人樂 series. In the work "Lily", Zhou Chunya
1998 於表現的內容，而在周春芽的手法下有了 has integrated the language of traditional
Oil on canvas 嶄新詮釋。《百合》作品中，周春芽以西 Chinese painting with western sketching. Most
72.5 x 60.5 cm 方的寫生方法將中國傳統繪畫語言融入其 importantly is that he has adopted a totally
Signed lower right ZHOU CHUNYA in Chinese 中，最重要的是採用完全不同的技巧，即 different technique. He has used the expression
and English, dated 1998 以大筆觸的表現手法，充分展示大膽、粗 technique of liberal strokes, fully demonstrating
放的表現主義風格。在周春芽的畫中，傳 his bold and broad style of expressionism. In
This painting is to be sold with a certificate of 統的中國主題—花卉在西方繪畫技巧的光 Zhou Chunya's painting, flowers, the traditional
authenticity signed by the artist. 環下折射出迷人光彩，實現了中西兩種繪 Chinese theme, presents charming glory under
畫語言的完美融合。此外，周春芽的大膽 the aura of Western painting skill, realizing
NT$ 950,000-1,600,000 用色與其大筆觸的表現手法更是相得益 a perfect integration of Chinese and Western
彰，色彩與構圖均給人奔放神秘之感，這 painting languages. Additionally, Zhou Chunya's
US$ 29,100-48,900
種新穎、大膽的藝術創作達到了奇異的效 bold color application and his expression mode
HK$ 224,000-376,000
果。在周春芽看來，這種「離經叛道」的 of liberal strokes complete each other. Both color
作品形態正好契合了他的天性，並以他 and composition present a bold and mysterious
周春芽的放肆詮釋了傳統文人繪畫「溫和、內 sense. Such innovative and bold artistic creation
百合向」。 has reached an extraordinary effect. In Zhou
1998 Chunya's view, form and color of such non-
油彩畫布 mainstream works align with his disposition.
72.5 x 60.5 cm As early as the beginning of 1990, Zhou Chunya With his uninhibited traits he constructs
簽名右下：1998 周春芽 ZHOU CHUNYA had begun the creation of his "Flower" series. traditional humanistic paintings that are "warm
Flowers have been a traditional motif for and introvert".
附藝術家簽名之原作保證書 Chinese artists to express in their works. Zhou
122
073
ZHOU Chunya
(Chinese, b. 1955)
Lilies 從德國留學回國後，1990年代周春芽開始創 of the famous rock, vase and green dog

作具有中國傳統文化內涵的繪畫。《百合》 series. The way of his expression has totally
2000 是2000年周春芽在山石、瓶花、綠狗等主題 changed the graphic perspective approach by
Oil on canvas 後的成熟嘗試。藝術家簡單佈局百合花的姿 the traditional scholars. The simplicity of the
100 x 80 cm 態，且充分發揮油畫的材質特性，豐富的細 composition of the lilies has fully executed in
Signed lower right ZHOU CHUNYA in Chinese 節與肌理置換了筆墨的柔緩抒情，繁複錯落 the oil-painting medium; the rich detail of oil
and English, dated 2000 的體積結構，改變了文人畫平面的視覺特 has replaced the softness of the ink strokes.
性。
NT$ 1,200,000-1,800,000 Zhou Chunya has been seeking a more intimate
US$ 36,700-55,000 周春芽一直在尋求與大自然更加親密和自發 and spontaneous relationship with the nature, so
的關係，以便能夠捕捉其最為本質的形式和 as to capture the essence of the most essential
HK$ 282,000-424,000
表現。周春芽描畫的花卉用筆極為精練，如 forms and expressions. His proficient painting
同八大山人畫中的一尾魚，一塊石，一隻 technique, gaining strength from surrounding
周春芽鳥，一筆不多，一筆不少。著名評論家殷雙 space can be compared the to famous artist, Ba
香水百合喜評價周春芽：「將宋元古典山水的意象與 Da (i.e. Zhu Da), who painted a fish, a rock, a
2000 西方繪畫框式取景奇特地組合起來，具有了 bird – with exact number of strokes, no more
油彩畫布一種跨越人文地理與歷史文化的超然氣息， or less. Shuangxi Yin, a well-known critic,
100 x 80 cm 使人們猶如進入宇宙洪荒、天地蒼茫的夢幻 appraised Zhou Chunya with the comments,
簽名右下：2000 周春芽 ZHOU CHUNYA 境界。」 "(His paintings) have peculiarly combined
classical landscape imagery in Song and Yuan
dynasties with frame structure in western
After returning from his studies in Germany, paintings, which produced an overriding
Zhou Chunya began to create works with atmosphere spanning human geography and
traditional Chinese cultural connotation in the historical culture, and making people seemed
early 1990s. "Lilies" created in 2000, is one of like to enter the universe of prehistoric heaven
his mature series of work after his achievement and the realm of fantasy."
124
074
YANG Shaobin 楊少斌是所謂玩世現實主義運動的領導人
(Chinese, b. 1963) 物。1963年出生於河北省唐山市，1983年畢
業於河北輕工業學校美術系。1991年遷居北
京圓明園藝術村，四年後在藝術家群聚的近
Shadow 郊通縣落腳，成立畫室。
2006
作為那一世代藝術家的代表，楊少斌在畫布
Oil on canvas
呈現摔角和打鬥的暴力狀態。帶有末世啟示
122 x 151 cm
的語調，楊少斌的繪畫描繪打鬥本身，表面
Titled on the reverse Shadow in Chinese, YANG
上似乎是身體的交戰，猶如畫中形象企圖激
SHAOBIN in Chinese and English
烈地超越自身，這些作品帶有政治控訴暗示
的意圖，但他們所形成的暴力，使人聯想到
NT$ 1,100,000-1,800,000
更寬更深的寓意。
US$ 33,600-55,000
HK$ 259,000-424,000 強納森．古德曼
楊少斌
陰影 Yang Shaobin is a leading painter in the
2006 movement called Cynical Realism. Born
油彩畫布 in 1963 in Tangshan, Hebei Province, he
122 x 151 cm graduated from Hebei's Polytechnic University
簽名畫背：2006-2《陰影》YANG SHAOBIN in 1983. In 1991, he moved to the Beijing
楊少斌 artist village of Yuanmingyuan, and four years
later, he chose a studio in Tongxian, a suburb
of Beijing where many Chinese artists now
live.

As a m a jo r, rep res en ta tive a r tis t o f h is
generation, Yang became known for his
sprawling canvases depicting figures in violent
states of wrestling and fighting. Apocalyptic
in tone, Yang's paintings portray a struggling
self, seemingly at war with its body, as if the
figure were attempting to violently transcend
itself. One is tempted to see the works as
indicative of political complaint, but their
overarching violence suggests a broader, even
an allegorical, reading.
- Jonathan Goodman
126
075
HUANG Gang
(Chinese, b. 1961)
Star and Box
2007
Mixed media on board
150 x 150 cm
Signed lower right Huang Gang in English and
Chinese, dated 2007
Exhibited:
Art Shanghai, Shanghaimart, Shanghai, April
18-22, 2007
This piece is to be sold with a certificate of

authenticity issued by Modern Art Gallery,
Taichung.
NT$ 1,200,000-2,200,000
US$ 36,700-67,300
HK$ 282,000-518,000
黃鋼
五星與箱子
2007
綜合媒材木板
150 x 150 cm
簽名右下：Huang Gang 黃鋼 2007
展覽：
「上海春季藝術沙龍」，上海世貿商城，
上海，展期自2007年4月18日至22日
附現代藝術空間開立之原作保證書
128
076
XIA Junna
(Chinese, b. 1971)
這位出生於1970年代的年輕畫家，創作擁有 feminine gentleness together. In Xia Junna's
鮮明成熟的個人風格。她的繪畫帶有一股濃 lady paintings, it seems always having the
Insect Lovers
厚的異國情調，而其豐富精巧的用色則摻雜 intention or no intention to transmit one
1995 著一份詩意的裝飾和女性的溫婉。夏俊娜的 kind of tranquil gentle breath. in Xia's lady
Oil on canvas 少女圖，似乎總在有意無意中傳遞著一種寧 paintings.
162 x 130 cm 靜平和的氣息。
Signed lower right XJN in English and dated This painting, "Insect Lovers" was created
95/12 《窗前》繪於1995年，以她喜歡的少女為 in 1995. She used lady as the subject. Xia
創作主題，在濕潤朦朧的油彩中畫出一個 once said, "The lady who is so beautiful or
拿捕蟲網的女孩。夏俊娜曾經說：「太標致 has delicate features won't appear in my
ILLUSTRATED:
Drawing World of Xia Junna, Liaoning Fine Arts 的眉清目秀的女人不入我的畫，我筆下的 painting. All beautiful ladies which I paint
美女都有一張歪長的臉，因為我畫的不是肖 have a crooked and long face, because what
Press, February, 2003, color illustrated, p. 13
像畫。」她也解釋這種對於面貌模糊化的處 I draw isn't portrait painting." she also
Li Fang ed., Estheticism-Celebrated Female
Painters Series, Yang Liu Qing Painting Publishing, 理，是為了避免太過清楚搶眼的臉龐會讓觀 explained that the blurry faces are meant to
眾忽略畫面的整體感覺。夏俊娜的作品在中 let the audience seeing the whole picture,
Tianjin, 2005, color illustrated, p. 140
性調中仍然充滿了甜美，顛覆了過去的甜 but not to be misled by a detailed portrait.
美，而將中西的審美觀點嫁接在一起的創作 Xia Junna's works moved with neutrality but
NT$ 1,600,000-2,800,000
方式，讓她的畫作呈現出近似象徵主義或超 still fill delightful and has overthrown the
US$ 48,900-85,600
現實主義般的神秘氛圍。 past delight. Her creative way to combine the
HK$ 376,000-659,000 aesthetic view of both East and West lets her
藝術家毛焰也曾說：「夏俊娜在孜孜不倦地 paintings present the mystical atmosphere
夏俊娜描繪美麗少女的同時，似乎總是將她們置於 which nearly like what the symbolism or the
窗前（昆蟲愛好者）現實的場景之外，即使是富麗的光芒，也來 surrealism have.
1995 自那些無名的花草，原本無謂的場景，卻被
油彩畫布安排得情趣盎然。她把自己圈定在一個較為 Artist, Mao Yan also said: "When Xia Junna
162 x 130 cm 恬靜的空間裡，無意糾纏於時尚的觀念之 makes efforts to depict the beautiful lady, she
簽名右下：XJN 95/12 中，獨享一種快樂明朗的繪畫。」 often seems to put them out of the realistic
scene. Even the gorgeous lights were coming
圖錄： from the flowers and grasses. The scene is
《夏俊娜的繪畫世界》，遼寧美術出版社， This young painter, having the bright and arranged with fun and excitement. She puts
瀋陽，2003，彩色圖版，頁13 mature individual style in her creations, herself in a relatively quiet space, having
李放著，《唯美至上—著名女油畫家系列》， was born in 1970's. Her paintings possess no intention to be involved in fashionable
天津楊柳青畫社，天津，2005，彩色圖版， rich exoticism and her usage of colors concepts. She enjoys a kind of bright and
頁140 jumbled a poetic sentiment decoration and happy painting by herself."
130
077
HONG Ling
(Chinese, b. 1955)
Mid-Spring
2008
Oil on canvas
120 x 190 cm
Signed lower left Hong Ling in Chinese and dated 08
NT$ 1,700,000-2,500,000
US$ 52,000-76,500
HK$ 400,000-588,000
洪凌
仲春
2008
油彩畫布
120 x 190 cm
簽名左下：洪凌 08
132
078
LIU Wei
(Chinese, b. 1965)
Flowers
2006 「玩世現實主義」代表人物之一的劉煒， Cynical Realism. For a long time Liu Wei

Oil on canvas 畢業於中央美術學院版畫系。長久以來， has always overturned the aesthetic habits
50 x 50 cm 劉煒一直以其標誌性的筆觸和構圖顛覆 of viewers with his symbolic painting and
Signed upper left Liu Wei in Chinese and 著觀賞者的審美習慣。其作品主要涉及風 composition way. Most of his works are deal
English, dated 2006, titled center left 景、花朵、鳥、兒童、軍人等主題。劉煒 with landscapes, flowers, birds, children,
FLOWERS in Chinese and English 對藝術創作總是追求新鮮的嘗試，有時信 soldiers and matters like these. Liu Wei is
手拈來的做法，巧妙地把隨心所欲的藝術 always pursuing new attempts of art creation.
NT$ 2,800,000-3,800,000 命題發揮得淋漓盡致。他不喜歡重複自 Sometimes he makes it easily and causally to
US$ 85,600-116,200 己，曾經說過：「一批東西做完，我以後 exert freewheeling art issues vividly in a very
永遠不會做一樣的。」藝術評論家栗憲庭 subtle way. He doesn't like to repeat himself
HK$ 659,000-894,000
也以「才情畫家」讚譽劉煒。 and once said, “ I will never do the same thing
after they're done.” The art critic Li Xianting
劉煒作品《花兒》創作於2006年，為藝術家近期 also praises Liu Wei as a “talented painter”.
花兒作品的主要表現題材。他詮釋出花朵造型的
2006 隨性而多變，色彩以及筆法表現，構築出難 The work “Flowers” was created in 2006. It
油彩畫布以形容的細膩和美感。對葉子的表現，則徹 is the main representative subject of the artist
50 x 50 cm 底體現了他狂野不羈的性格。藝術家將流 recently. Indescribably exquisiteness and
簽名左上：劉煒 Liu Wei 2006 動、細碎的筆觸任意塗抹，使畫面充滿了生 beauty has been made during his interpreting
款識左方：花兒 FLOWERS 機和力量。 of the causal and fickle shapes of flowers,
colors, and painting styles. However, the
representations of leaves show his wild
Liu Wei, who graduated from the printmaking character thoroughly. The artist paints freely in
department of the Central Academy of Fine a trickling and gentle way to make the picture
Arts, is one of the leading representatives of full of vitality and power.
134
079
HUANG Gang 作為上個世紀1960年代出生的藝術家，經歷
(Chinese, b. 1961) 的歷史變遷和社會背景構成了創作的一條線
索。黃鋼從2002年開始不斷地創作抽象畫。
Rotation of Sun and Moon (Diptych) 他將抽象藝術引導到強調社會性、批判性，
遠離了強調色彩、線條等藝術語言的視覺與
2007 心理作用；他的作品超越純粹抽象，用東方
Mixed media on board 的抽象語言延展了抽象繪畫的意義。
200 x 200 cm
Signed lower right Huang Gang in English and 在黃鋼的作品中最顯著的是他對藏經刻板的
Chinese, dated 2007 運用，畫家將材料作為一種載體，利用挪用
和拼貼，再加入藝術家的油畫語言。隱喻一
EXHIBITED: 種特殊的文化符號。此幅作品材料自西藏的
Revolving the Golden Imprint Huang Gang, 印版經，構圖取材於藏傳佛教中的曼陀羅為
Ping Art Space, Taipei, Aug. 3-Sep. 5, 2008 形式，是一種佛教的宇宙觀。畫面中的佛經
刻版彷彿沉澱了僧侶們的靈修，傳達出佛教
ILLUSTRATED: 的信念。表述了畫家對西藏藏民生活和佛教
Revolving the Golden Imprint Huang Gang, 的文化，也表明了藝術家對於中國傳統文化
Ping Art Space, Taipei, 2008, color illustrated, 和藏文化的一種態度，一種虔誠的相互溝
p. 9 & p. 104 通，一種對中國傳統文化的尊重。

authenticity issued by Ping Art Space, Taipei. Taking the social change and background in
this period as a clue, Huang Gang, born in the
NT$ 3,200,000-4,600,000 1960s, has embarked on the creation of abstract
US$ 97,900-140,700 art painting since 2002. His paintings show
his shift of emphasis away from the usually
HK$ 753,000-1,082,000
accepted visual and psychological effect of
artistic languages such as color and line art
黃鋼 to the social and critical function of abstract
轉動日月（二聯幅） paintings. His works go beyond purely abstract
2007 art, extending its function through the use of
綜合媒材木板 Eastern abstract language.
200 x 200 cm
簽名右下：Huang Gang 黃鋼 2007 Huang Gang’s works are notable for his apt
diversion and collage of Buddhist scripture
展覽： boards, which he uses as carriers and symbols
「黃鋼：轉動黃金印記」，藏新畫廊， of special cultural meanings, and completed
台北，自2008年8月23日至9月5日 with his oil painting skills. As to this painting,
it expresses the Buddhist world view, with the
圖錄： Tibetan Buddhist scripture board as material
《黃鋼：轉動黃金印記》，藏新藝術有限公 and a Tibetan mandala as its form. The Buddhist
司出版，台北，2008，頁9與頁104 scripture board seems to be precipitated by
the spiritual practice of Buddhism monks and
附平藝術空間開立之原作保證書 conveys Buddhism faith. This painting spells
out, firstly, the artist’s attitude toward not
only Tibetan life and Tibetan culture, but also
Chinese traditional culture and Tibetan culture;
secondly, the devoutness to communicate;
and thirdly, the respect for Chinese traditional
culture.
136
080
SUN Lisha
(Chinese, b. 1984)
Net No. 2
2007
Oil on canvas
100 x 80 cm
Signed lower right Sun Lisha in Chinese and 孫立沙
dated 2007.7 網之二
2007
NT$ 90,000-160,000 油彩畫布
US$ 2,800-4,900 100 x 80 cm
HK$ 21,000-38,000 簽名右下：孫立沙 2007.7
138
081
JIANG Jianqiu
(Lao JIANG) 太陽，還有經典遊戲《超級瑪麗》所搆成
(Chinese, b. 1972)
的後現代場景。油畫作品《紅先生—戰鬥
蔣建秋（老蔣）
No1》的原型，即是來自藝術家FLASH版本
Mr. Red - Fight No. 1 紅先生─戰鬥之一
系列的圖像。
2007
2007 壓克力畫布 "Mr. Red" is named after the title of a song by
Acrylic on canvas 100 x 80 cm
Cui Jian, a rock and roll star. Jiang initially
100 x 80 cm 簽名畫背：老蔣 Lao Jiang Acrylic on canvas
incarnated Mr. Red, his alter-ego, in various
Signed on the reverse Lao Jiang in Chinese and 80 x 100 cm 2007.10
cartoon flash images, such as cartoon Mr. Red
English, media Acrylic on canvas in English and aged Mr. Red, which contain the galloping
and size 80 x 100 cm, dated 2007.10 《紅先生》一題取自知名搖滾歌手崔健的 train, long alleys, charming girls, heart-shaped
同名曲。藝術家老蔣最初以F L A S H動漫 sun and the post-modern scenes created by the
NT$ 100,000-200,000 的形式，賦予崔健替身「紅先生」各種形 classic Super Mario. The prototype of "Mr. Red
US$ 3,100-6,100 象，包括Q版、老年版。圖像內容有飛奔 - Flight No.1", the oil painting work, originates
HK$ 24,000-47,000 的列車、悠長的胡同、魅惑女郎、心形紅 from the images in the flash versions.
082
XU Maomao
(Chinese, b. 1979)
Chinese and size 120 x 170 cm 徐毛毛
In That Distant Place 在那遙遠的地方
This painting is to be sold with a certificate of 2005
2005 authenticity issued by DuBang Contemporary 油彩畫布
Oil on canvas Space, Miaoli, Taiwan. 170 x 120 cm
170 x 120 cm 簽名右下：徐毛毛 05.8
Signed lower right Xu Maomao in Chinese and NT$ 160,000-280,000 簽名畫背：在那遙遠的地方 120 x 170
dated 05.8 US$ 4,900-8,600
Titled on the reverse In That Distant Place in HK$ 38,000-66,000 附杜邦當代空間開立之原作保證書
140
083
HSIAO Chu-fang
Biting Ear
2007
Acrylic on canvas
227 x 182 cm
NT$ 260,000-350,000
US$ 8,000-10,700
HK$ 61,000-82,000
蕭筑方
咬耳朵
2007
壓克力畫布
227 x 182 cm
084 廖堉安
LIAO Yu-an 無理的邀約之二
(Taiwanese, b. 1979) 2007
壓克力畫布
Impolite Invitation No.2 162 x 130 cm
簽名畫背：廖堉安 Liao Yu An
2007
Acrylic on canvas 展覽：
162 x 130 cm ILLUSTRATED: 「不溫柔的愛撫—2008廖堉安個展」，亞洲
Signed on the reverse Liao Yu An in Chinese Fondile Without Tenderness: 2008 Yu-an Liao 藝術中心，台北，展期2008年12月20日至
and English Solo Exhibition, Asia Art Center Co.,Ltd., 2009年1月18日
Taipei, 2009, color illustrated, p. 71
EXHIBITED: 圖錄：
Fondile Without Tenderness 2008 Yu-an Liao NT$ 200,000-300,000 《不溫柔的愛撫—2008廖堉安個展》，亞洲
Solo Exhibition, Asia Art Center, Taipei, US$ 6,100-9,200 藝術中心有限公司，台北，2009，彩色圖
Dec. 20, 2008 - Jan. 18, 2009 HK$ 47,000-71,000 版，頁71
142
085
Xavier Wei
(WEI Chen-hung)
My Friends in Paris (triptych)
2004
Oil on canvas
80 x 40 cm (x3) 魏禎宏
我的巴黎朋友們（三聯作）
NT$ 220,000-350,000 2004
US$ 6,700-10,700 油彩畫布
HK$ 52,000-82,000 80 x 40 cm (x3)
086
YANG Chihung
Still Life
1990-1991
Oil on canvas
76 x 101.5 cm
Signed lower left C. Yang in English and dated
90 楊識宏
Signed on the reverse Chihung Yang in English, 靜物
titled Still Life in English and dated 1990-1991 1990-1991
油彩畫布
NT$ 160,000-240,000 76 x 101.5 cm
US$ 4,900-7,300 簽名左下：C. Yang 90
HK$ 38,000-56,000 簽名畫背：Chihung Yang Still Life 1990-1991
144
087
SONG Yonghong
(Chinese, b. 1966)
The Bath of Consolation
2003
Oil on canvas
80 x 100 cm
Signed on the reverse Song Yong Hong in 宋永紅
Chinese and English, dated 2003 慰藉之浴
2003
NT$ 260,000-350,000 油彩畫布
US$ 8,000-10,700 80 x 100 cm
HK$ 61,000-82,000 簽名畫背：宋永紅 2003 Song Yong Hong
088
CHANG Chen-yu
(Taiwanese, b. 1957) 張振宇
道德玩具
The Moral Toys 1993
油彩畫布
1993 ILLUSTRATED: 100 x 130 cm
Oil on canvas Chen-Yu Chang Retrospect on Neo-Humanism 簽名左下：振宇 '93
100 x 130 cm 1975-1994, Chen-Yu Chang's Studio, Taipei, 簽名畫背：張振宇一九九三道德玩具
Signed lower left Chen-yu in Chinese and dated 1994, color illustrated, no. 51
'93 圖錄：
Signed on the reverse Chang Chen-yu in NT$ 220,000-350,000 《張振宇 1975-1994 新人文主義作品集》，
Chinese, dated 1993 in Chinese and titled The US$ 6,700-10,700 張振宇工作室，台北，1994，彩色圖版，編
Moral Toys in Chinese HK$ 52,000-82,000 號51
146
089
YANG Din
(Chinese, b. 1958)
Paysage III
1993
Oil on canvas
162 x 114 cm 楊登雄
Signed lower right Yang Din in French 風景之三（樹）
Signed on the reverse Yang Din in French and 1993
dated 1993. 11, titled Paysage III in French 油彩畫布
162 x 114 cm
NT$ 350,000-450,000 簽名右下：Yang Din
US$ 10,700-13,800 簽名畫背：Yang Din 1993. 11 "Paysage III"
HK$ 82,000-106,000 93
090
JAN Chin-shui
The Daylight
2005
120 x 162 cm
Signed lower right Chin-shui in Chinese and
dated 2005
Signed on the reverse Jan Chin-shui in Chinese,
dated 2005, size 100F and titled The Daylight
in Chinese
ILLUSTRATED:
Time Within Landscape, Ravenel Fine Art Ltd.,
Taipei, 2007, color illustrsted, pp. 138-139
NT$ 550,000-650,000
US$ 16,800-19,900
HK$ 129,000-153,000
詹金水
天光
2005
綜合媒材畫布
120 x 162 cm
簽名右下：金水 2005
簽名畫背：詹金水 2005年 100F 天光
圖錄：
《山水光陰》，睿芙奧股份有限公司，
台北，2007，彩色圖錄，頁138-139
148
091
YANG San-lang
Paysage
Oil on canvas
45.5 x 53 cm
Signed lower left S. Yang in English
NT$ 850,000-1,200,000
US$ 26,000-36,700
HK$ 200,000-282,000
楊三郎
風景
油彩畫布
45.5 x 53 cm
簽名左下：S. Yang
150
092
LIEN Chien-hsing
Water's Edge
1995
Oil on canvas
89.5 x 145.5 cm
Signed lower right Lien Chien-hsing in Chinese
and dated 1995
Dated on the reverse 1995, size 80M, signed
Lien Chien-hsing in Chinese and titled Water's
Edge in Chinese
ILLUSTRATED:
C.H. Lien, Cherng Piin Gallery, Taipei, 1995,
color illustrated, p. 43
NT$ 800,000-1,600,000
US$ 24,500-48,900
HK$ 188,000-376,000
連建興
淨心池畔Ⅱ
1995
油彩畫布
89.5 x 145.5 cm
簽名右下：連建興 1995
簽名畫背：1995 80M 連建興歡喜浴佛
圖錄：
《連建興》，誠品畫廊，台北，1995，彩色
圖版，頁43
152
093
KUO Wei-kuo
Red Curtain
2002
Oil on canvas
130 x 97 cm
Signed lower left Kuo's in English and dated
2002.10

Taipei.
EXHIBITED: 郭維國
The Era of Contention: Contemporary 紅色布簾
Taiwanese Visual Culture, Cornell University 2002
Herbert F. Johnson Museum of Art (cooperated 油彩畫布
with Taipei Fine Arts Museum), Ithaca, New 130 x 97 cm
York, April – August, 2004 簽名左下：Kuo's 2002.10

ILLUSTRATED: 附大未來畫廊開立之原作保證書
Diagram of Commotion and Desire – Towards
a Bright Start From the Deep Forest, Kuo Wei- 展覽：
Kuo, Lin & Keng Gallery, Taipei, 2005, color 「正言世代展：台灣當代視覺文化」（台北
illustrated, p. 45 市立美術館合作），康乃爾大學強生美術
Wu Chia-chi, A Study of the “Diagram of 館，紐約，展期2004年4月至8月
Commotion and Desire” by Kuo Wei-Kuo,
(master thesis), Institute of Art Studies, NCKU, 圖錄：
Tainan, Taiwan, 2007, color illustrated, no. 29 《暴喜圖：柳暗花明—郭維國》，大未來畫
廊，台北，2005，彩色圖版，頁45
NT$ 850,000-1,500,000 吳家綺，《郭維國暴喜圖系列之研究》（碩
US$ 26,000-45,900 士論文），國立成功大學藝術研究所，
HK$ 200,000-353,000 台南，台灣，2007，彩色圖版，編號29
154
094
LIEN Chien-hsing
Hidden Dance, Love Song
2001
Oil on canvas
97 x 145.5 cm
Signed lower left Lien Chien-hsing in Chinese
and dated 2001
Titled on the reverse Hidden Dance, Love Song
in Chinese, size 80P, dated 2001 and signed
Lien Chien-hsing in Chinese
ILLUSTRATED:
Lien Chien Hsing - Lonely Earth, Eslite Gallery,
Taipei, 2001, color illustrated
NT$ 1,100,000-1,800,000
US$ 33,600-55,000
HK$ 259,000-424,000
連建興
隱舞情歌
2001
油彩畫布
97 x 145.5 cm
簽名左下：連建興 2001
簽名畫背：隱舞情歌 80P 2001 連建興
圖錄：
《連建興—寂寞樂土》，誠品畫廊，台北，
2001，彩色圖版
156
095
Walasse TING
Do You Like My Tiger Cat?
1985
Acrylic on canvas
71 x 100 cm
Titled on the reverse Do you like my tiger cat?
in English, signed Ting in English and dated
1985
NT$ 1,200,000-2,200,000
US$ 36,700-67,300
HK$ 282,000-518,000
丁雄泉
喜歡我的虎斑貓嗎?
1985
壓克力畫布
71 x 100 cm
簽名畫背：Do you like my tiger cat? Ting
1985
丁雄泉的作品，常有著親暱淺白的命名，如
對著想像中的好友絮絮叨叨。真切又滿溢的
情感是註冊商標，歡迎觀者直闖他最眷戀的
感官世界。他認為，女人的身上沒有直線，
全是美麗的線條。藝術家用創作垂涎生命的
青春，希望藉此攫取生命最風光的時刻。
此幅為丁雄泉仕女畫中難得一見的畫布媒材
，以書法筆觸勾勒輪廓，以繽紛飽滿的壓克
力彩平塗線條內的空間。兩個女子抱著一隻
虎般貓，貓跟女人一樣眼神迷濛，表情溫馴
而色彩斑瀾。如丁氏一貫風格，盡量讓畫面
以全體簇擁的方式呈現，散發如夏日般的喧
鬧與豐盈。他的作品常出現鸚鵡、貓或馬、
158
孔雀、錦鯉；對這樣的安排，丁雄泉說只因
牠們都是美麗的動物，就如他最愛描繪的花
和女人。換言之，形相本身的美貌，是他將
之入畫的主要關鍵。過度的學理剖析並不適
用於丁雄泉的藝術。視覺的歡愉、滿溢而出
的色相，以純粹的感官世界洗滌現代人過於
複雜的心境。
Walasse Ting’s oil paintings often have a

straightforward and lovely name, like a friend
talking to you. Genuine and full emotions are
his registered trademark, leading the audience
directly into his deepest sensory world.
According to Ting, there are no straight lines
on a female body; all are beautiful lines and
curves. The artist worships the youth of life
using his artistic creation, in the hope of seizing
the most beautiful moment of life.
This oil painting uses canvas as the media,

which is rare and precious among his belle
paintings. The calligraphic brush depicts the
contoured outline and the full and rich acrylic
colors fill the space encircled by the lines. Two
young belles hold a pair of tiger cats in their
arms; the cats and the belles have similar misty
eyes, tame and colorful. In typical Walasse Ting
style, the whole image is presented, conveying
hustle and affluence in summer. Frequently
seen in his paintings are parrots, cats, horses,
peacocks, or golden carp; and Ting explains
this is because they are all beautiful animations,
just like the flowers and belles he likes best to
paint. In other words, beautiful appearance is
the focus in his paintings. Excessive theoretic
analysis is not suitable for Ting’s art. A visual
feast, an overflowing beauty, and a pure sensory
world cleanse the overly complex mentality of
modern people.
096
CHUANG Che
(Chinese, b. 1934)
Mist-covered Waters
2006
Oil on canvas
168 x 168 cm
Signed lower right Chuang Che in Chinese and
dated 2006
NT$ 1,500,000-2,500,000
US$ 45,900-76,500
HK$ 353,000-588,000
莊喆
煙波浩瀚
2006
油彩畫布
168 x 168 cm
簽名右下：2006 莊喆
160
097
Yun GEE
Horses
Oil on canvas 作為二十世紀早期海外華人藝術家研究現代 the early 20th century, Yun Gee embraced the
72 x 59 cm 前衛藝術理論最為深入的一人，朱沅芷在異 whole world with his persistence in art, and
Signed lower left Yun Gee in English 域開闢繪畫天地，成為中國近現代美術運動 was successfully ahead of the times.
史邁向現代化進程中極為關鍵的角色。在
PROVENANCE：二十世紀初期華人備受歧視的艱困環境中， From San Francesco to Paris and to New York,
Acquired directly from the artist by the 他以對藝術的執著與敞開擁抱世界的胸襟， with a keen interest in Cubism, Fauvism,
previous owner who was the artist's dentist in 始終超前於他的時代。 Synchronism, Futurism and Social Realism,
New York. Yun Gee learnt from the most modern forms of
Sotheby's Hong Kong, May 1, 2005, lot 31 從舊金山、巴黎到紐約，懷著對立體派、野 art, and then started diverse stages of painting
獸派、共色主義、未來主義和社會寫實主義 styles. Yun Gee created personally characterized
NT$ 4,200,000-5,200,000 等現代藝術理論的濃厚興趣，朱沅芷迅速吸 paintings with a mixture of the discovery of
US$ 128,400-159,000 收最前衛的藝術形式，展開不同階段的繪畫 colors and structures. Although Gee’s skills
HK$ 988,000-1,224,000 風格，融合對於色彩與結構的探索，創作出 were quite advanced, he despised his fellow
足以表現個人風格的作品。他作品的技巧儘 countymen who worshiped everything foreign
管現代，但他鄙視同胞因崇洋而離棄傳統， and abandoned tradition. Yun Gee tried to
朱沅芷
嘗試將中國傳統融入西方現代藝術中。 add Chinese traditional elements into western
群馬 modern art.
油彩畫布《群馬》原收藏者居住於紐約，為朱沅芷的
72 x 59 cm 牙醫。畫面以傳統中國畫的構圖展開，前景 The original holder of “Horses” was Yun Gee’s
簽名左下：Yun Gee 的馬兒姿態各異，輕盈的線條與豐富的色彩 dentist, who lived in New York. The traditional
展露出馬兒旺盛的生命活力，與遠景的房屋 Chinese composition creates a casual, elegant
來源：與田野渾然一體，營造出分外閒適、優雅的 atmosphere scene. In the near view, the horses
原藏者為朱沅芷紐約牙醫，直接得自藝術家畫面空間。據朱沅芷女兒朱禮銀女士回憶， show various postures, the light stokes and the
本人。儘管生活困頓，父親依舊堅持匯錢回到中 various colors reveal the vitality of the horses.
蘇富比香港拍賣，2005年5月1日，編號31 國，並表演音樂與舞蹈、舉辦展覽義賣為故 Together with the houses and fields in the
鄉的水患災民募款，展現人道關懷，瞭解藝 distant view, the painting forms a unified entity,
術家不為人知的另一面，讓我們對於藝術家 and creates an exceptionally leisurely and
更為感佩。 elegant image space. As Yun Gee’s daughter Li-
lan recorded, despite the difficulties in life, her
father still persisted in remitting money back to
As a 20th century early overseas Chinese China. In order to raise money for the victims
artist, who was dedicated to the study of the who suffered from floods in his homeland, Yun
theory of modern avant-garde art, Yun Gee Gee held exhibitions at charity bazaars and
started his own painting career in foreign performed music and dance as well. All these
fields, and became a leading person in the reflected the great care and the unknown side of
shift from Chinese artistic campaign history to the artist, who was respected even more by the
modernization. Under the circumstances of the people.
discrimination against the overseas Chinese in
162
098
Yun GEE
(Chinese, 1906-1963)
Adam and Eve
1939
Oil on canvas
75 x 63 cm
Signed lower left Yun Gee in English
EXHIBITED:
Experiences of Passage: The Paintings of Yun
Gee and Li-lan, Lin & Keng Gallery, Beijing,
Nov. 15-Dec. 16, 2008
ILLUSTRATED：
Experiences of Passage: The Paintings of Yun
Gee and Li-lan, Lin & Keng Gallery, Inc.,
Taipei, 2008, color illustrated, pp. 78-79

Taipei.
NT$ 4,200,000-5,600,000
US$ 128,400-171,300
HK$ 988,000-1,318,000
朱沅芷
亞當與夏娃
1939
油彩畫布
75 x 63 cm
簽名左下：Yun Gee
展覽：
「行旅生涯—朱沅芷與朱禮銀之繪畫」，
大未來畫廊，北京，展期2008年11月15日
至12月16日
圖錄：
《行旅生涯—朱沅芷與朱禮銀之繪畫》，大
未來畫廊藝術有限公司，台北，2008，彩色
圖版，頁78-79
附大未來畫廊開立之原作保證書
164
099
ZAO Wou-ki
30.11.74
《30.11.74》為趙無極1974年完成的作品，病逝，哀痛逾恆根本無心作畫。當畫家面
1974 粉色大地筆觸舒緩悠揚，深色處層次分明對油畫布，本需要做足準備，需要高度的
Oil on canvas 斑斕，畫布間蘊藏溫潤真摯的情緒。此時專注力，當時他沒法思考或繼續作畫。然
60 x 73 cm 他逐漸地走出喪妻的哀痛，結識了梵思娃而，繪畫同時也是療癒心靈的最佳良方，
Signed lower right Wou-ki in Chinese and ZAO （Françoise Marquet）他未來的人生伴侶。尤其是他曾經最熟悉的信手塗塗畫畫。偶
in French 此時的筆觸已不見1960年代那般激越高亢然間他拿起了毛筆紙墨，童年時的經驗竟
Titled on the reverse 30.11.74, signed ZAO 的風格，對色彩的掌握益加沈穩、內斂，然慢慢浮現，毛筆的柔軟，紙與墨的相互
WOU-KI in French and size 60 x 73 cm 纖維線條的痕跡仍舊保留，弧狀的線條則溫潤、包容，恢復了趙無極繪畫的力量，
帶有毛筆柔性的特色，整體佈局轉趨輕盈雖然此次的水墨經驗很短暫，內心深處仍
ILLUSTRATED: 開闊，不禁讓我們聯想起中國水墨的留有稍許疑慮。不過，當再次面對畫布時，
Jean Leymarie, Zao Wou-ki, Editions Cercle 白，除非深諳水墨精神的華人，無法完成他已重新找回內在的平靜，也發現新的作
d'Art, Paris, 1986, black-and-white illustrated, 如此輕盈飄逸的繪畫空間。畫方式，再次擴展了他的繪畫天地。因
no. 465, p. 342 此，1973年以後的油畫，竟也產生不同以
Pierre Daix, Zoo Wou-ki, l'oeuve 1935-1993, 多位藝評家皆認為，1973年起趙無極進入往的溫潤情調。
Ides et Calendes, Berne, 1994, color illiustrated, 了另一個藝術的階段。自中國探親歸來、
p. 124 「重拾水墨畫創作」無疑是關鍵性的影 1974年開始，中國水墨畫對趙無極而言
響。趙無極在自傳中提起這一段轉變的過不再僅止於是一種技巧的磨練，或是無法
NT$ 7,800,000-11,000,000 程：「我知道，從1973年開始，我的畫作油畫時的休息、消遣，他掃除了記憶裡
風變了，因為我的朋友常常這麼說，尤其曾有的罣礙疑慮。重拾中國水墨，豐富
US$ 238,500-336,400
常常這麼寫，也許這時我成熟了，過去累了趙無極原本早已成熟的繪畫形式，色
HK$ 1,835,000-2,588,000
積的努力，有了成果。一切都變得容易多彩更富麗明亮，光影線條柔和，恢復寬
了。我也知道，我愈來愈愛畫，愈來愈有闊的畫幅，在油畫裡添加了水墨的暈染
趙無極話要說，也愈來愈怕自我重複。我畫我的感，追求更高遠細膩的和諧感。可以說，
30.11.74 生活，但也想畫一個眼睛看不見的空間、《30.11.74》是一幅寧靜的心靈風景，趙
1974 一個夢的空間，一個使人永遠感覺和諧的無極藉著繪畫也走進了另一段新的生命旅
油彩畫布所在，即使用的是充滿矛盾力量的不安的程。
60 x 73 cm 形式。每一幅畫，從最小的到最大的，都
簽名右下：無極ZAO 是這夢的空間的一部份。」（參閱趙無極、梵思此時趙無極的人生進入成熟階段，中國易
簽名畫背：ZAO WOU-KI 30.11.74 60 x 73 cm 娃著、劉俐譯《趙無極自畫像》，藝術家出版社，台北，理、老莊思想，屈原、李白、杜甫的詩
1992初版，頁147）意，乃至於米芾、范寬的山水畫，他再度
圖錄：歸夢於年輕時代接受的民族文化素養，在
尚．雷馬利，《趙無極》，藝術圈出版社， 1948年趙無極抵達法國，初期為避免有取巴黎他溝通了中西藝術的差異，使其諧和
巴黎，1986，黑白圖版，編號465，頁342 巧之嫌，擔心掉入所謂的中國水墨趣味，成為開人眼界的新視覺語彙，他畢生用心
皮耶．戴，《趙無極：1935-1993作品》，意加以對於油畫的狂熱，使他完全遺棄了水經營，彩繪出高妙的抽象藝術，終於使自
得與卡蘭德，伯恩，1994，彩色圖版，頁124 墨畫。1972年趙無極遭逢巨變，妻子美琴己成為享譽國際的華人抽象藝術宗師。
166
168
open, reminding us of the “leaving empty” in From 1974, Chinese water-ink painting was
Chinese water-ink paintings. It takes a Chinese no longer a mere technique for Zao Wou-
artist that knows the water-ink spirit well to ki or a relaxation or time killer when he was
create such a light, smooth, flowing painting. unable to focus on oil painting. By then,
he had eliminated all concerns and doubts
Many art critics consider that, Zao Wou-ki about Chinese water-ink painting. Picking up
began another art stage after 1973. After he Chinese water-ink painting again, he enriched
visited relatives and returned from China, his already-mature painting form, with more
his paintings “Regain the creation from ink bright colors and soft lines of light and shade,
painting”, and his visit obviously had a clear a spacious painting canvas, and water-ink
impact on his future work. Zao Wou-ki says smudges in oil painting, as he sought a higher
in his autobiography: “I know that from 1973 and finer sense of harmony. It may be said
my paintings changed because my friends that “30.11.74” is a tranquil mental landscape.
often told me and especially wrote to me about Through painting, Zao Wou-ki has started a
it. Maybe I had matured, the point where new journey of life.
all my experiences came together, where
everything became easy, after many efforts By this time, Zao Wou-ki entered into a mature
and unremitting work? I know for certain that stage of his life: from the “Book of Changes”,
I loved to paint more and more, that I had the Taoism ideas of Lao-Tse and Chuang
more and more to express, with constant fear Tzu, the poetry of Qu Yuan, Li Bai, and Du
of repeating myself. I painted my own life but I Fu, and the landscape paintings of Mi Fu and
was also searching to paint an invisible place, Fan Kuan, once again, he immersed himself
a dream place, a place where one feels always in Chinese culture. In Paris, he perceived and
in harmony, even with faced with contrary bridged the difference between Chinese and
forms and agitations.” (Zao Wou-ki & Françoise Western art, combining the two harmoniously
Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 pp. to become an eye-opening visual language.
157-158) Throughout his life, he has been pursuing and
exploring the lofty and supreme abstract art,
In 1948, Zao arrived in France. For fear of finally making himself the most renowned
being considered as opportunistic by using the Chinese abstract art master in the world.
北宋畫家范寬《谿山行旅圖》
so-called Chinese water-ink influences, and
絹本‧淺設色畫軸，206.3 x 103.3 cm
because of his passion for oil paintings, Zao
現藏於台北國立故宮博物院
completely abandoned water-ink painting.
FAN K'uan, Travelers Among Mountains and Streams
Hanging scroll, ink and light colors on silk,
In 1972, his wife May passed away. Because
206.3 x 103.3 cm of his great sorrow, Zao could not focus on
Collection National Palace Museum, Taipei painting. Oil painting requires sufficient
preparation and highly focused attention, Zao
was unable to think or continue with painting.
The painting “30.11.74” was created by Zao However, when he accidentally picked up a
Wou-ki in 1974: the pink land has smooth writing brush and ink, childhood memories
and lasting strokes, the deep colors have a emerged in his heart and the softness of the
clear hierarchy, and the whole canvas conveys brush, the gentleness and interactivity of the
warm and genuine feelings. At this period, Zao paper and ink brought back his strength and
gradually walked out of the sorrow for the loss faith in life. It was a short moment, leaving
of his wife and was getting to know Françoise still some worry and concern unsoothed
Marquet, his future wife. His paintbrush at in the depth of his hearth. However, when
the time was no longer as excited and high- confronting an oil painting canvas again,
pitched as in the 1960s; instead, he had a more he had recovered his serenity inside and
米芾《書法》
steady and mature command of colors and a discovered a new painting method, expanding Callgraphy of Mi Fu (1051-1107)
reserved means of tracing lines. The arching once again his painting horizon. Therefore,
lines have a special softness from the brush Zao’s oil paintings from 1973 on have an
and the overall layout becomes light and unprecedented warmth and gentleness.
100
WU Guanzhong
(Chinese, b. 1919)
The Flying White of Waterfalls
1983
70 x 140 cm
With two seals of the artist
吳冠中的畫作多以中國的民族、地域風格、 In “The Flying White of Waterfall”, Wu paid
EXHIBITED: 特色為題材，並將這些題材以獨特的繪畫語 special attention to the self-discipline of
Wu Guanzhong: A Contemporary Artist of 言──點、流動的線、與塊面連接起來，表 visual elements: during the painting process,
China, The Chinese Culture Foundation of San 達自己對故鄉的眷戀之情。吳冠中曾說： he resorts to the natural texture of water-
Francisco, an itinerant museum exhibition in San 「藝術只能在純真無私的心靈中誕生，只能 color paper as a natural painting medium. He
Francisco, Birmingham, Kansas, Saint Johns, 在自己的土壤裡發芽。」憑著「從自己傳統 uses the a firm and decisive brush to create an
1989-1990 的根基上發出新枝」的信念，融入西方抽象 effect similar to the technique of leaving white
的即興與自動性特質，以及個人對審美的造 space in each stroke in calligraphy. The artist
型要求，創作出屬於個人風格強烈的繪畫。 uses the contrast between black and white
ILLUSTRATED:
and other colors to systematically present the
The Complete Works of Wu Guanzhong Vol.V,
吳冠中在《飛白》中特別關注視覺要素的 intrinsic structure of nature: the lines in motion
Hunan Fine Arts Publishing House, Changsha,
自律性，水彩紙紙面的自然紋路，將繪畫 continuously propagate themselves and they
2007, Hunan, color illustrated, pp. 256-257
過程處理成一種天然的繪畫肌理，畫家用筆 chase each other, move in space and form a
果斷、俐落，製造出類似書法飛白的效果。 dynamic style. Wu promotes abstraction from
NT$ 6,000,000-9,000,000
畫家將黑白關係與色彩關係的整體對比，系 reality and nature and transforms it to a sublime
US$ 183,500-275,200
統化地展現出自然界的內在結構。運動中的 sense. The simplifying of the structure allows
HK$ 1,412,000-2,118,000 線條不斷地自我增殖，它們在顫動中互相跟 the internal harmony and beauty of the painting
隨，在空間中運動，產生了變動不拘的形 to burst forth.
吳冠中態。吳冠中將對現實與自然的提煉，轉化為
飛白感覺的昇華，過程間藉由結構形式的簡化，
1983 實現作品本身的內在協調與美感。
彩墨紙本
70 x 140 cm
鈐印右下：吳冠中 Wu’s paintings incorporate the features and
鈐印左上：八十年代 characteristics of traditional arts in China; he
uses a special painting language—dots, flowing
展覽： lines, and planes—to connect his themes and
「吳冠中─一個當代中國藝術家」，美國舊 express his love for the motherland. Wu said
金山中華文化基金會，美國舊金山、伯明 that: “Art can only be born in a pure and
翰、堪薩斯、聖約翰、底特律五市博物館巡 unselfish soul and germinate in its own soil.”
迴展，1989到1990年 “Growing new branches from traditional
roots”, integrating abstract improvisation and
圖錄： spontaneity, Wu created paintings with a strong
《吳冠中全集5》，湖南美術出版社， personal style.
長沙，2007，彩色圖版，頁256-257
170
101
LIN Fengmian
(Chinese, 1900-1991)
Still Life, Figure, Fish, Cactus
c. 1977 林風眠一生的繪畫題材以風景、戲劇人物、中國民間藝術與西方立體主義的風格，採方

Ink and color on paper 仕女、花鳥、靜物為主，其中靜物畫的留世形佈局，方中有圓，乃是林風眠繪畫格體的
68 x 68 cm 數量較少，然其繪畫形式卻是林風眠最率性顯現。此畫全以毛筆畫就，筆法精練，色彩
Signed center left Lin Fengmian in Chinese 的表現，有人稱之為林風眠「最洋派」的創鮮豔，構圖豐富，為林風眠靜物畫的經典特
With one seal of the artist 作。雖然古埃及墓穴、古希臘藝術曾出現以色。墨色氳染的全黑背景，挪借中國歷史悠
宗教或寓言形式存在的靜物圖畫，然而「靜久的工藝美學—漆畫特質，造型採用平面
PROVENANCE: 物畫」在西方藝術史中仍屬於一項新的繪化，佈局講究均衡。窗幔的圖案斑斕，帶有
Collection of Sanhuai House, Hong Kong 畫門類，17世紀時才確立，經過荷蘭畫家野獸派的近東遺風，藉其位置暗示出畫面空
的努力，19世紀中期產生變革，後來在19世間，既寫意又現代感十足。
ILLUSTRATED: 紀末的印象派、象徵主義，以及20世紀的野
Zhu Pu ed., Modern Artists Theory, Work, 獸派、表現主義、超現實主義等流派的推波左方的戲劇人物，採用多重三角形的組合，
Biography: Lin Fengmian, Xue Lin Publishing, 助瀾下後，靜物畫異彩紛呈。而中國美術裡有如民間剪紙藝術的造型用以描繪仕女的衣
Shanghai, 1988, black-and-white illustrated, 靜物畫的類別也不顯著，中國繪畫傳統比較飾，連仕女的鼻、頸項都呈現三角形，而人
no. 121 (with the title of “Still Life") 重視山水，所謂靜物畫通常歸類於花鳥畫範物在黑色背景中呈現有如皮影戲的造型趣
Zhou Weiming ed., Collection of Art Garden 疇，描寫花卉蟲草鳥獸等自然景物；西方靜味。根據文獻照片，林風眠上海時期南昌路
Studio No. 72: Sanhuai House’s Modern 物畫講求對象物的寫實描寫，對象物未必是的住所，牆上曾貼有類似的戲劇人物造型圖
Chinese Paintings, People Fine Arts Publishing 活的，死去的禽鳥魚獸也是畫家描繪的對片，他特別將此戲劇融入到此幅靜物畫中。
House, Shanghai, 2004, color illustrated, 象，中西觀念大不相同。右方的仙人掌比例刻意誇大，豐盛的新綠恣
no. 20, p. 13 意綻放，圓形的造型則與左方的三角造型戲
身為20世紀中國最重要的美術教育家，林偶形成對話，同時也呼應了畫面中下方的黑
NT$ 8,500,000-12,000,000 風眠受到西方藝術的啟迪甚早。1919年他白魚盤。盤子是圓形，盤腳卻是呈三角形，
以勤工儉學名義，先後留學法國、德國，在即使雙魚的造型也採圓形與三角並用，形成
US$ 259,900-367,000
歐洲生活六年之久。他曾進入迪戎美術學院既衝突又平衡的趣味。
HK$ 2,000,000-2,824,000
（Ecole des beaux arts de Dijon）學習，受到
院長楊西斯（Ovid Yencesse, 1869-1947）的根據現有的文獻資料，林風眠採取仕女、魚
林風眠鼓勵與賞識。後來又進入巴黎高等美術學院盤、仙人掌靜物等元素、類似構圖的畫作共
魚盤仙人掌靜物柯蒙（Ecole des Beaux-Arts de Paris, l’atelier 有兩幅，一幅出現在1979年雄獅美術圖書公
約1977 de Cormon）的畫室，學習寫實的技巧。楊司出版、席德進撰寫《改革中國畫的先驅
彩墨紙本西斯則建議他要多方擴展所學，尤其是中者—林風眠》一書第75頁，畫題為《靜物》
68 x 68 cm 國民族藝術的研究，因此林風眠旅法期間（尺寸不明），仕女的紋飾與盤子形狀略有
簽名左下：林風眠跑遍各大博物館，最常流連的是巴黎東方不同，兩幅畫應為同時期姊妹作。而另一幅
鈐印左下：林風瞑印藝術博物館（Musée Guimet）與陶瓷博物館就是此次的拍品《魚盤仙人掌靜物》，知名
（Musée national de la Céramique）。20世紀林風眠收藏家香港三槐堂主人收藏多年，其
來源：西方現代大師如馬蒂斯（Matisse）等都在吸圖片曾刊印於1988年呂蒙寫序、朱樸編著的
三槐堂收藏，香港收和借鑑東方藝術，而林風眠身為中國人，《現代美術家畫論．作品．生平—林風眠》
尤其體認民族藝術之可貴，曾為歐洲博物館一書，圖版編號121，書中的畫題也是取名
圖錄：收藏的中國的雕刻、工藝品、繪畫，對他後為《靜物》。呂蒙也是畫家出身，與林風眠
朱樸編著，《現代美術家畫論．作品．生來的藝術產生深刻的影響。而遊學柏林期間是莫逆知交，曾擔任上海林風眠藝術研究會
平—林風眠》，學林出版社，上海，1988，接觸北歐表現主義，亦豐富其油畫創作形的首任會長，多次為林風眠畫集出版作序，
黑白圖版，編號121（原畫題為《靜物》）式。而朱樸則是曾擔任副會長。該書收錄的圖版
周衛明編，《藝苑掇英第七十二期：三槐堂數量不多，《魚盤仙人掌靜物》的重要性可
藏現代書畫專輯》，上海人民美術出版社，創作於1977年左右的《魚盤仙人掌靜物》作見一斑。
上海，2004，彩色圖版，編號20，頁13 品，結合靜物畫與戲劇人物兩大主題，融入
172
Lin Fengmian’s paintings throughout his life first France then Germany on a work-study
were mainly landscapes, opera characters, basis. He studied in the Ecole des Beaux-Arts
lady figures, flowers, birds and still lifes. Lin’s de Dijon, where his talent was recognized and
still lifes are quite rare but they reflect the encouraged by Ovid Yencesse (1869-1947),
most straightforward part of Lin Fengmian’s Director of the Ecole. Later, Lin studied at
character. His still lifes are considered to be Ecole des Beaux-Arts de Paris in “l’atelier
his “most western” compositions. “Still de Cormon”, Corman’s Art Studio, where
life” as an art form has existed since he learned realistic painting skills. Yencesse
ancient times, from the tomb art of suggested that Lin should broaden his field of
ancient Greece and Egypt where it study, especially in traditional Chinese arts. For
appeared in the form of religious this reason, Lin shuttled back and forth between
and fable representations, In various large museums. Lin most frequently
modern Western art history “Still visited Musée Guimet of Eastern Art and Musée
Life” became established in the National de la Céramique, the national museum
17th century, and thanks to the of ceramics. Western modern masters such
efforts of Dutch painters, it was as Matisse were also learning and absorbing
much improved in the mid-19th from ideas and concepts from Eastern art. Lin
century. Subsequently influenced Fengmian, as a Chinese, cherished the value of
by impressionism and symbolism in traditional art. The Chinese carvings, art and
the late 19th century, and by fauvism, crafts, and drawings collected by European
expressionism, surrealism and others in museums deeply influenced Lin’s later art
the 20th century, “Still Life” became far more compositions. In addition, northern European
colorful and splendid. “Still Life” is not a expressionism, which Lin embraced when he
prominent category in Chinese art. Traditional was travelling and studying in Berlin enriched
Chinese paintings mainly concentrate on the diversity of his oil paintings.
mountains and water. Chinese “Still Life”
usually falls to the concept of “flowers and The painting “Still Life, Figure, Fish, Cactus”,
birds”, which depicts flowers, insects, grass, painted around 1977, combines the two major
birds, animals and other natural beings themes of still life and figure. It integrates
and objects. Western “Still Life”, however, Chinese traditional art and Western cubism.
highlights realistic and factual description Lin’s square arrangement with round shapes
of objects, which don’t have to be living; in the picture fully displays Lin’s painting
Inanimate objects may also be represented style. It was painted with Chinese brush. The
in Western paintings. This reflects a value succinct brushmanship, fresh colors and rich
difference between Chinese and Western composition constitute the typical features of
paintings. Lin Fengmian’s still life paintings. The ink-
painted black background is borrowed from
As the most significant art educator in the the character of lacquer painting, a traditional
20th century in China, Lin Fengmian had been Chinese handicrafts art with a long history. The
inspired by Western art early in his career. two-dimensional formative design, the balanced
From 1919, he lived and studied in Europe arrangement, the colorful fauvistic patterned
174
window-curtains, the Near-East style, and the are slightly different. These two paintings are
space implied by the position of the curtains, all probably twin paintings composed at the same
reflect the freehand style of traditional Chinese period. “Still Life, Figure, Fish ,Cactus” in the
brushwork and the modern style of Western auction belonged for many years to the owner
paintings. of San Huai House in Hong Kong, who is a
well-known collector of Lin Fengmian works.
The female figure on the left is composed of A photo of this painting, plate 121, appears in
multiple triangles, including her accessories “Modern Artists Theory, Work, Biography: Lin
and clothes, which are of traditional Chinese Fengmian” in 1988 with a preface by Lü Meng
paper cutting. Even her nose and neck are and compiled by Zhu Pu. It is titled “Still Life”.
triangular. The figure shows interesting shadow Lü Meng was also born into an artist’s family,
patterns with black background. According to and was Lin Fengmian’s confidant. He was the
documentary photos, similar pictures of such a first President of the Shanghai Lin Fengmian
figure were hung on the wall of Lin’s residence Art Research Association. Lü wrote the preface
on Nanchang Road when he lived in Shanghai. of many of Lin’s albums. Zhu Pu was the Vice-
Lin particularly refers the figure in this still life President of the Association. Not many of Lin’s
to that image on his wall. The proportion of the paintings are collected in this book, and thus
cactus on the right is deliberately magnified to the significance of this painting:“Still Life,
emphasize the verdure color and vitality of the Figure, Fish, Cactus” is clearly emphasized.
plant. The round shapes on the right respond
to the triangles on the left, and echo the round
black-and-white fish plate in the middle. The
plate is round-shaped with a triangular leg.
The two fish are composed of circles
and triangles, forming an interesting
contradiction and balance.
According to current
documentation, there are two
paintings of similar composition
where Lin Fengmian selected
the elements of female figure,
fish plate and cactus. One
a p p e a r s o n P. 7 5 i n “ L i n
Fengmian, Innovation Pioneer
of Chinese Painting” (written by
Shiy De-jinn, and published by
Hsiung Shih Art Book Pte. Ltd),
titled as “Still Life” (unknown
size). The pattern of the women’s
clothes and the shape of the plates
102
SANYU (CHANG Yu) 《藍底瓶花》一作完成於1956年，這是一年，卻淪落到傢具店鋪描繪圖案及兼零工
(Chinese-French, 1901-1966) 幅難得有畫家同時標記年代、簽名及題寫維生，內心的鄉愁和惆悵可想而知。
地址的作品，原始畫背上簽有「常玉。沙
坑街28號，巴黎，1956」的法字字樣。我從書香世界富家子弟，到飄零異鄉的落魄
Vase of Flower with Blue Ground
們無法臆測常玉是否有意在何處發表這幅畫家，繁華與空寂的強烈對比，在常玉的
1956 作品，因而慎重其事地填寫上詳細的畫作繪畫裡我們看出不可言說心境。尤其1950
Oil on canvas 說明，特別是他所居住的工作室地址。根年代之後的花卉靜物畫，可說道盡了繁
72.4 x 46.4 cm 據衣淑凡女士所編寫的畫家〈生平年表〉華落盡後的悽愴寂寞。花卉的題材是常玉
Signed lower right Yu in Chinese in a square （參考2001年出版《常玉油畫全集》，頁62-72），終生最主要的題材，有人從常玉的花卉看
and SANYU in English 到中國文學名著《紅樓夢》的盪氣迴腸。
同為旅法的藝術家熊秉明曾以「盆、魂、
PROVENANCE: 痕、昏」《紅樓夢》書中〈白海棠詩〉的
Parke Bernet sale, c. 1970 (former name of 四個韻腳，形容常玉小小盆栽的孤獨、
Sotheby's) 寂寞、沈湎與耽溺。而美學家蔣勳則從他
Collection of Ken Ferris & Amy Schor Ferris 的的花卉裡聯想到，賈府四千金的名字組
(Amy Schor's mother acquired directly from 合「元迎探惜」（元春、迎春、探春、惜
the above auction) 春），被後人解讀的「原應嘆息」，暗示
Sotheby's Sale, Hong Kong, Oct. 28, 2001, 著春去春回，美好花季無法長存，絕美的
lot 30 短暫，令人嘆息。
常玉的繪畫和生命的確留予後人無限低
NT$ 30,000,000-40,000,000
吟，1956年的《藍底瓶花》風格簡潔洗
US$ 917,400-1,223,200
鍊，不以多重色彩鋪陳豐華，僅以藍白兩
HK$ 7,059,000-9,412,000 色即能展現花的清艷，頗有中國水墨的極
簡味道。淨白的瓶身採取中國瓷瓶的形
常玉制，在滄茫的深藍背景裡昂然直立，崚嶒
藍底瓶花的枝葉如海底的珊瑚，晶瑩透亮，隨波浪
1956 輕輕搖曳。《藍底瓶花》所呈現的是瀟灑
油彩畫布的常玉及其孤芳自賞的心境。自幼受過東
72.4 x 46.4 cm 方書畫的薰陶，常玉擅長疏密有致的線條
簽名右下：玉 SANYU 1943年之後常玉遷居巴黎第十四區的沙坑勾勒，兼採中西形式構成，單色調的層層
街，一直到1966年生命結束。而從1943、敷染，融入現代繪畫的質感。常玉一生在
來源： 1944、1945、1947、1948、1954、1955、巴黎追求西方自由開放的藝術空氣，但他
帕克博耐特拍賣，約1970（蘇富比前身） 1956年歷屆的「獨立沙龍」展覽目錄裡，的血脈流淌的，自始至終仍是東方文人的
肯．費瑞斯與愛咪．索爾．費瑞斯收藏（愛可以尋見常玉作品參展的記錄，書上的文傲氣，這種精神在他的後期花卉作品更是
咪．索爾的母親購自上述拍賣）字都會寫道「常玉。沙坑街28號」以及歷展露無疑，其中他所開創的個人風格，後
蘇富比拍賣，香港，2001年10月28日，次參展的作品題目。人全然無法仿效。
編號30
1948至1950年其間常玉前往紐約尋求發在百家爭鳴的巴黎畫派中，常玉的繪畫遺
展，中斷了在巴黎的展覽，然而遠渡重洋世獨立，一個幾乎被人遺忘的名字，直至
並未為他帶來經濟上的改善。畫家生前八 20世紀後期終於找到知音，他的一批晚期
年的1956年最後一次參加獨立沙龍展覽之花卉作品現在保存在台灣的國立歷史博物
後，似乎不再積極參與當時巴黎最前衛的館，成為華人世界重要的瑰寶。2004年巴
展覽之一。生活困頓潦倒，畫作銷售的失黎東方博物館以「身體語言」為題，展出
利，本想靠乒乓網球發跡的美夢也宣告破百餘幅常玉的創作，將這位來自中國的藝
碎了。一人離開故鄉寄居藝術之都達四十術家介紹給國際藝壇。
176
“Vase of Flowers with Blue Ground” was
completed in 1956. It is one of the rare works
by Sanyu that come complete with signature,
address and date, which were all written on
the back of the original painting as follows:
“SANYU, 28 Rue de Sablière, Paris, 1956”.
We can only make conjectures as to whether
Sanyu had any intention of publishing this
picture anywhere-this would explain why he
went to the trouble of providing all the above-
mentioned details, in particular the address of
his studio, which was also the place where he
lived. According to the Biographies of Painters
compiled by Rita Wong (cf. Sanyu-A Catalogue
Raisonné of Oil Paintings, pp. 62-72, which was published in
2001), Sanyu moved to the Rue de Sablière in

the 14th arrondissement of Paris in 1943, where
he would have his residence until the end of his
life in 1966. In the exhibition catalogues of the
Salon de Indépendants for the years 1943, 1944,
1945, 1947, 1948, 1954, 1955 and 1956, we find
records of works by Sanyu on show, all with the
notation “SANYU, 28 Rue de Sablière”, and
a list with the titles of his works that were on
display through the years.
Between 1948 and 1950, Sanyu went to New

York to search for new creative outlets, which
led to a hiatus in his Paris exhibitions. Yet
his trip to the United States did by no means
improve Sanyu’s financial fortunes. After his
last participation in a Salon de Indépendants
exhibition (1956), it seems that Sanyu no longer
showed an active interest in being part of one
of the most avant-garde showcase events of the
time. He hit hard times, his paintings no longer
sold well, and his dreams of making a career as
a table tennis player also came to nothing. After
having spent forty years far away from home, all
on his own in the Capital of Arts, he eventually
came down so much in the world that he had to
work as a technical drawer and take other odd
jobs at a furniture store. We can easily imagine
178
the frustration and sadness in his heart, and his rising proudly against the background of deep
nostalgia about his native country. blue that seems to be stretching on forever like a
vast ocean. In this “marine” ambience, the stalks
Coming from a wealthy, renowned family, and leaves are floating like corals at the bottom
Sanyu must have felt keenly the stark contrast of the sea, sparkling and translucent as they
with his later lonely days as an impoverished sway gently with the movement of the water.
painter down on his luck in a foreign country. We can say that “Vase of Flowers with Blue
In his oeuvre, we can sense some of the artist’s Ground” amply conveys both Sanyu’s dashing
poignant mood. In particular his flower stills and unrestrained personality and his sense of
of the 1950s and later are brimming with the aloofness from a world that does not know how
forlorn desolation that follows when one falls to properly appreciate his talent. Having been
from the heights of a careless life in prosperous exposed to Oriental painting and calligraphy
circumstances. Flowers were probably the most since his early childhood, Sanyu excels at the
important single motif in Sanyu’s work, and execution of supple and graceful lines of varying
some people have detected the heartrending spirit shape that are interwoven with a fine sense for
of the famous classical Chinese novel Honglou spacing and composition. Cleverly blending the
Meng (The Dream of the Red Chamber) in his formal principles of Eastern and Western art,
flower paintings. One of his compatriots and Sanyu applies dry monochromatic layers but
fellow painters in France, the native Chinese infuses them with the substance and significance
artist Xiong Bingming, once took the four rhyme of modern painting. Sanyu spent almost his
words of the “Ode to the Baihaitang”, a poem entire life in Paris in pursuit of the more liberal
in the Honglou Meng, “pen, hun, hen, hun” to 常玉《青花盆與菊》 and uninhibited ways of Western art, yet it was
describe the isolation and loneliness, but also 羅芙奧2004秋季拍賣會，編號133 ，2037萬台幣成交 still the blood of a Chinese scholar-painter that
the self-indulgence and over-indulgence in drink SANYU was pumping through his veins. It is this proud
Potted Flowers in a Blue and White Jardiniere
and other vices that were all characteristic of spirit of the Eastern literati that is fully displayed
Oil on masonite, 91x62 cm
Sanyu, this “small transplanted bonsai” under in his later flower stills, works in which Sanyu
Ravenel Autumn Auction 2004, lot 133
strange skies. And aesthetician Jiang Xun was NT$ 20,370,000 sold
finds his definitive and unique style that remains
inspired by Sanyu’s flower stills to make another inimitable to this day.
association: if you take the names of the four
daughters of the once powerful and prosperous Sanyu. Among the many different schools and styles
Jia household in the novel Honglou Meng of painting competing with each other in Paris,
(Yuanchun, Yingchun, Tanchun and Xichun, the Sanyu’s life and work certainly had and has the Sanyu remained independent and aloof in his
second element in all the names being identical, power to deeply move his posterity. The painting approach. For some time, his name was almost
meaning “spring”) and combine them into a “Vase of Flowers with Blue Ground” from 1956 completely forgotten, yet there has been a strong
sentence of similar-sounding characters, you gives evidence of his succinct style: no multiple revival in the appreciation of his art since the
end up with something like “There’s truly good layers of variegated colors to express some kind late 20th century. A number of his late flower
reason to heave a heavy sigh”, an allusion to of brilliant splendor, but only dry slabs of blue paintings are currently kept at the National
the fact that spring comes and goes, and that the and white which yet completely suffice to bring Museum of History in Taiwan, precious gems of
beautiful season of blossoming flowers is always out the flower’s refined elegance. The simplicity the Chinese world. In 2004, the Musée des Arts
short-spring as an eternal metaphor for the of style is rather reminiscent of traditional Asiatique Guimet held an exhibition under the
ephemeral quality of extraordinary beauty. This Chinese ink and wash painting. The shape and title “L’écriture du corps” featuring more than
interpretation by some readers of the novel came form of the vase, painted in pure white, also is one hundred of Sanyu’s works, introducing his
to Jiang’s mind when pondering the sad fate of that of conventional Chinese porcelain vases, oeuvre to an international audience.
103
ZAO Wou-ki
17. 4. 64
1964 趙無極，一位擅長在繪畫中藏詩的藝術家，描、國畫與西洋繪畫理論，在師長林風眠

Oil on canvas 他的繪畫也容易打動詩人的心，多年來研究（1900-1991）、潘天壽（1897-1971）、吳
114 x 162 cm 趙無極藝術的專書圖冊不少，其中不少歐洲大羽（1903-1988）的指導下六年間完成繪
Signed lower right Wou-ki in Chinese and ZAO 的藝評賞析都出自詩人藝評家之手。趙無極畫基礎的養成。1941年年方20的趙無極，因
in French 的創作抒情抽象繪畫，以西方的油彩完成潑為戰亂之故，家庭與學校都避難四川重慶，
Signed on the reverse ZAO WOU-KI in French 墨山水的意境，創新所謂文人畫的視野，在路途上屢遇挫折，但未曾消減創作的欲望。
and titled 17.4.64 中外皆起共鳴，他更是華人現代抽象藝術首他在重慶舉辦了生平的第一次個展，也參加
推的大師人物。唐代詩人王維（八世紀）以中國現代繪畫的重要聯展，和前輩藝術家
ILLUSTRATED：詩入畫，首度提出「詩中有畫，畫中有詩」關良（1900-1986）、丁衍庸（1902-1978）
J e a n L e y m a r i e, Z a o Wo u - K i, E d i c i o n e s 的觀念。到了宋朝，蘇軾（1037-1101）、及李仲生（1912-1984）發表創作。1945年
Poligrafa S.A., Barcelona, Documentation by 黃庭堅（1045-1105）、米芾（1051-1107）戰爭結束，回到上海的家，也回到杭州的校
Françoise Marquet, 1978, black-and-white 父子，以王維文人畫理論基礎，以書法入園。
illustrated, no. 342 畫，實踐水墨畫的發展。而蘇軾的「士人
Jean Leymarie, Zao Wou-ki, Editions Cercle 畫」又將文人畫更趨成熟、往前邁一大步。 20世紀初期的中國極不寧靜，軍閥割據、內
d'Art, Paris, 1986, black-and-white illustrated, 北宋的山水畫對自然山水懷抱崇高的理想，外交戰、飢餓蕭條，幼時的趙無極慶幸家境
no. 356, p. 328 當畫家在畫山水時，不在意寫實技巧，而是富裕，但仍親眼目睹時代的動盪流離。二次
開闢一個可以冥想、遨遊的虛空。趙無極其世界大戰之後，中國更是處於一個紛擾的時
NT$ 46,000,000-62,000,000 一生的創作軌跡，可謂一位現代新文人畫期，歷史的因素迫使人類大規模的遷徙逃
US$ 1,406,700-1,896,000 家，而他終其一生遊歷世界，見證數十載的難，生命處於極度的不安全感。而伴隨著身
HK$ 10,824,000-14,588,000 時代脈動，其藝術影響力尤其在今日世界仍心的交迫衝突，就趙無極的記憶裡，繪畫是
有可貴的回饋。可以遠離諸多紛亂的避難所。而對繪畫的莫
大熱愛與日俱增，繪畫的空間才是他心靈的
趙無極
無極，他的名字有浩瀚無窮的奧義，是中國真正依歸。他知道此時留在中國不可能全心
17.4.64 道家觀念裡萬物的伊始、萬物的依歸。而他的畫畫，於是1948年在父親的同意下，他帶
1964 的抽象繪畫也正反映出對宇宙萬物的觀點。著妻子離開，到法國追求自由創作的理想。
油彩畫布有評論家形容他是一位飄浪的藝術家，應與那年搭乘的郵輪，三十年前亦曾載著他的恩
114 x 162 cm 他出生自文化中國，生活在藝術巴黎有關。師林風眠到法國展開西畫探索。前人開荊闢
簽名右下：無極 ZAO 他的身體在有形的世界遷徙，而他的心靈也棘指引捷徑，此時他也恭逢歐洲抽象繪畫運
簽名畫背：ZAO WOU-KI 17.4.64 在東方與西方之間擺渡，歷經傳統與創新的動盛會，不久即成為歐洲藝壇出色的新巴黎
反思沈澱，因為生命中種種的遭遇與追尋，畫派一員。
圖錄：而使得趙無極的繪畫能夠跨越世俗的疆界，
尚．雷馬利，《趙無極》，與梵思娃．馬凱給予觀者一種淬勵後的美的感受。初抵巴黎時，趙無極仍以具象繪畫為主題，
文獻研究，波利格拉法出版社，巴塞隆納，清新素雅的色調。他的具象畫裡有風景、建
1978，黑白圖版，編號342 繪畫正是趙無極的人生里程的記錄，無論地築和大自然，皆是生活裡可見的景物，雕塑
尚．雷馬利，《趙無極》，藝術圈出版社，理的遷徙，到心靈的追尋，皆為其一生的藝家傑克梅第（Jacometti）的畫室和他比鄰而
巴黎，1986，黑白圖版，編號 356，頁328 術留下影響。趙無極1921年出生於歷史悠久居，他非常欣賞趙無極繪畫裡的具象部份一
的北京，趙家書香世界，為宋朝皇族後裔。種潦草、顫動的感覺。而這種帶給傑克梅第
而他幼時遷居南通，爾後上海。家學淵源之讚賞的功夫，也是自幼早已嫻熟的筆墨書寫
故，極早接觸書畫與文學，培養藝術人文的了。1950年代初期畫中間雜著線條和符號，
涵養。14歲離開上海到了杭州，考進中國南逐漸簡化為抽象的圖騰，脫離了敘事性的描
方重要的藝術學府—杭州藝專，期間學習素寫，形成詩意的自由空間。1954年之後，趙
180
影響繪畫色彩的細膩變化。而1964年藝評家此幅自信又多感的繪畫鉅作裡，傳達變幻無
史奈德（Pierre Schneider）邀請15位當代藝窮的想像世界。猶如法國知名藝評家亨利．
術家參加「超規格繪畫」畫展，趙無極是其米修（Henri Michaux）對趙無極此階段繪畫
中一位。此時因應美國藝壇偏愛大幅畫的風的溢美之詞，他寫道：「趙無極的繪畫，其
潮，趙無極在繼續歐洲人偏愛的小畫之餘，巨大的維度裡，與沛然情感幅員等量齊觀，
也開始創作大尺幅繪畫，開創格局盛大的經擴大轉換成為大地的強力假想。大自然，為
典作品。趙無極帶來一個大地形成之初的輝煌時期。
翩翩飄逸，混沌朦朧，飛舞昇騰，籠罩著畫
1964年趙無極的創作力尤為旺盛，此時作面。不言而喻，趙無極的繪畫給人以美的享
品帶有畫家內在的狂烈激情。儘管他已在受。」 (摘自1970年克羅德．華編輯之《趙無極》再版
藝壇上備受矚目，幾年前分別和美國庫茲序言) 趙無極以現代的方式，具體真實的呈現
畫廊（Kootz Gallery）以及法國一流畫廊精神藝術的偉大遺產，面對巨變的時代，讓
法蘭西畫廊（Galerie de France）簽訂定期人重拾尊嚴，激昂出開放向上的自由意志。
畫展的合約，更和法國首位文化部長馬勒
侯（Malraux）交誼甚深，受其鼓勵入籍法
國。但由於當時妻子美琴身體孱弱，舊疾復 Zao Wou-ki is an artist who is good at hiding
發，焦慮非常的趙無極常把繪畫當作情緒宣 poems in his paintings. So his paintings can
洩的出口。繪畫有時是心靈的避難所，但碰 move poets very easily. Many books and
觸藝術時，畫室往往也是意志與情感的競技 compilations study Zao Wou-ki’s art and among
場，尤其面對大畫布時，人不可能置身其 them, many of the reviews and appreciations
外，必須完全的投入。本幅拍品《17.4.64》 come from poetic art reviewers. Zao Wou-ki's
即是此一階段的代表作，畫中風雲變化萬 works are full of lyricism and abstraction. He
千，飛揚的線條彷如風馳電掣，為趙氏不可 uses Western oil paints to form splashed-ink
趙無極《19. 7. 63》多得的極品。 landscapes creating views which seem to have
羅芙奧2007秋季拍賣會，編號071，4876萬台幣成交
been painted by a poet. His art resonates both
ZAO Wou-ki, 19. 7. 63
《17.4.64》一畫以1960年代特有的古銅 at home and abroad. He is a leading master
Ravenel Autumn Auction 2007, lot 071, US$ 1,511,235 sold 黃褐色為基調，橫幅巨大的空間裡，畫家 of Chinese abstract art in modern times. The
的思緒在其間奔流，豐富色階的顫動、纖 poet Wang Wei (8th Century) in the Tang
細敏感的線條躍動，輕盈、濃烈並重。情 Dynasty introduced poems into his paintings
無極的繪畫受中國漢代拓片、甲骨文字的啟感原來仍是低迴纏綿的水流，但瞬時河海 and created “paintings in poetry and poetry in
發，在畫作中加入草書的影響，融入石濤、翻騰，洶湧澎湃，衝擊著觀者的心靈。儘 paintings” for the first time. By the time of the
八大的意境，以及美國行動繪畫的直率，漸管面對內在的恐懼，精神的苦悶，趙無極 Song Dynasty, based on the theory of literary
漸開展出屬於趙無極個人風格的抽象繪畫。以其熱愛和諧、自由的意志，為他筆下的 paintings, Su Shi (1037-1101), Huang Ting-
作品賦予向上升揚的精神，其色彩、光影 chien (1045-1105), Mi Fu (1051-1107) and
趙無極曾說塞尚（Cézanne）啟發了他了解空間都能掌握得奧妙，此時畫風因繪畫元 his son, added calligraphy to their paintings
中國的自然，西畫讓他更容易接近中國傳統素多元而產生富麗之感。趙無極出生自悠 developing ink and wash paintings. Su Shi’s
藝術的精髓。他說別人服膺於一種傳統，久歷史的中國，其繪畫內蘊藏著文化的傳 “scholar paintings” made “literary paintings”
他則服膺於兩種傳統。因為中西兩種文化承，以及古老歷史的軌跡，相較於同代歐 take a big step ahead and become more
的衝擊，使得趙無極能恣意揮灑，交匯出更美抽象畫家，書畫的傳統，讓他擁有更富 established. The landscape paintings of the
豐富的創作空間。1960年代，趙無極自言繪足的背景元素。文人墨戲，高山、漁隱， Northern Song Dynasty cherish lofty ideals of
畫有了飛快的進展，前所未有的旺盛創造數百年中國繪畫大師借畫寓情，不在描繪 landscape. When painting landscape, the artists
力。1963年他的新畫室竣工，那是一處隱密實景實物，而是書寫內在微觀。趙無極不 didn’t care about realistic skills but creating a
的空間，依照他的設計開窗位置，光線自北也是懷抱崇高理想，在異鄉的畫室內，為 void for traveling meditation. Examining the
方來，能夠掌握色彩的密度，不致於使日光自己開闢一處可以冥想遨遊的山水空間。 entire life creations of Zao Wou-ki, we can say
182
he is a new modern literary painter. And he has years he acquired a deep foundation in painting painting became a refuge to escape to from the
been traveling around the world in a lifetime under the tutelage of renowned masters, Lin endless turmoil in Zao Wou-ki's memory. His
to witness the pulse movement of the times in Fengmian (1900-1991), Pan Tianshou (1897- passion for painting grew with each passing
decades. His art influence still gives a valuable 1971), and Wu Dayu (1903-1988). When he day, and painting was the real refuge for his
feedback in today’s world. was 20 years old, he, his family and the school soul. He knew that it was out of the question to
moved to Chongqing, Sichuan to escape stay safely to paint in China. So in 1948, with
The name Wou-ki in Chinese evokes a meaning from war. These frustrations never lessened the agreement of his father, he left with his wife
that is both mysterious and full of grandeur. his desire for creation. He held his first solo to pursue the ideal of creating freely in France.
The Chinese characters mean the beginning and exhibition in Chongqing, and also attended The ship he took that year was also the one that
returning of the world in Chinese Taoism. Zao's important group exhibitions of Chinese modern had taken his respected teacher Lin Fengmian
abstract paintings reflect his opinions on the paintings showing works with his seniors Guan to France to explore Western painting 30 years
cosmic inventory. Some critics describe him Liang (1900-1986), Ding Yanyong (1902-1978), before. His predecessor had beaten a short track
as a dislocated artist. That is mostly because and Li Chun-shan (1912-1984). When the war through brambles and thorns, and now Zao
he was born into Chinese culture but lives in ended in 1945, Zao went back to Shanghai and was meeting the pageant of European abstract
the art world of Paris. Just as his body has school in Hangzhou. painting with respect. Soon he would become
been relocated in the real world, so his soul a standout member of the New Paris School in
swings between East and West. He has gone China was restless at the beginning of the the European art scene.
through self-examinations and the culminations twentieth century: the country was torn apart by
of tradition and creation. His experiences and warlords, wars raged inside and out, starvation Zao Wou-ki still used figurative paintings
pursuits in life have made Zao Wou-ki step and depression were everywhere. Though as subjects in his early years in Paris. His
across the boundaries of social worlds and Zao Wou-ki came from a rich family, he saw paintings had fresh, simple but elegant tones
enable him to show his audience a sense of the unrest with his own eyes. China was in and were involved with landscape, architecture,
beauty. an even more restless period after the Second and nature, things which could be seen in real
World War. People moved on mass to escape life. The studio of sculptor Jacometti was next
His paintings record the milestones of his life. disaster. The general populace lived excessively to Zao's, and Jacometti appreciated a kind of
Both his geographical movements and his anxious and insecure lives. With constant squiggly and quivering feel in the figurative
spiritual pursuits influence his art style. Zao conflict and suffering of body and soul, part of Zao Wou-ki's paintings. This skill was
Wou-ki was born in 1921 in Beijing, a Zao’s good calligraphy foundation from
city with a long history. Zao's family his childhood. From the beginning of
was very cultural. They are royal the 1950s, Zao mixed lines and signs in
descendants from the Song Dynasty. his paintings which he later simplified
He lived in Nan Tong as a child and into abstract totems generally. His
then moved to Shanghai. His erudite paintings moved away from narrative
ancestral family gave Zao the chance description to creating poetic free
to come into contact with calligraphy, spaces. After 1954, his paintings were
painting and literature, and enabled influenced and enlightened by Chinese
him to cultivate a culture of art and the rubbings from the Han Dynasty and
humanities. He moved from Shanghai oracle bone inscriptions. He used
to Hangzhou when he was 14, and cursive script influences in his paintings
entered a key art school in the south- 趙無極《4. 4. 85》 to blend into the poetic imagery of Shi
-Hangzhou National College of Art . 羅芙奧2007春季拍賣會，編號068，1億1820萬台幣成交 Tao (1641-1718) and Ba Da (c.1626-
ZAO Wou-ki, 4. 4. 85
During this period he learned theories 1705), combined with the frankness of
of line drawing, Chinese painting, and Ravenel Spring Auction 2007, lot 068, US$ 3,579,107 sold American action painting. His abstract
Western painting. Studying for six style became defined.
Zao Wou-ki once said that it was Cézanne who abundant painting elements. Zao Wou-ki was
enlightened him to get to know the nature of born in China with its long history. Compared
China, and Western paintings which allowed with European abstract painters at the same
him to get more close to the soul of Chinese time, Zao’s cultural heritage, and ancient
traditional art. He said that others obeyed one historic tracing in his paintings give him more
tradition, but he obeyed two. And the conflict abundant background elements. Over hundreds
between Chinese and Western cultures made of years, Chinese painting masters used literary
Zao Wou-ki use his brush to sweep and dash devices and ink plays, high mountains, and
freely to create a more luxuriant creation space. fishing in seclusion to express themselves in
In the 1960s, according to Zao Wou-ki, his art their paintings. They were not painting real
experienced unprecedented fast development landscapes but expressing their innermost
and a thriving creativity in his paintings. His microcosms. Zao Wou-ki also cherishes a grand
new studio was built in 1963. It was a special ideal to open a space for himself to meditate
place, and according to his design for the freely in the studio on the foreign land.
windows, the light came from the north, which
made him control the density of colors so that He painted an ever-changing imagined world
the sun could not influence the delicate changes in this confident and emotional painting.
of his painting colors. The famous French art critic Henri Michaux
showed his appreciation for Zao Wou-ki’s
In 1964, art critic Pierre Schneider invited 15 paintings of this period. He wrote, “In Zao
contemporary artists to attend an exhibition Wou-ki’s paintings, of gigantic dimensions, in
"Peinture hors dimensions", and Zao Wou-ki proportion to the extent of his feelings, there
was one of them. At that time, the American art are – magnifying transfer – ever increasingly
scene was dominated by large-scale paintings. powerful assumptions of earth. Enormous
So while continuing to work on the small-scale masses, when the time comes, must gain
paintings that Europe preferred, Zao Wou-ki height. This nature recreates for Zao Wou-ki a
began to create large scale paintings making splendid geological period. Here predominate
large classic works. levitations, mixing, upheaval. It is well-known
that Zao Wou-ki’s canvases have a particular
趙無極《5. 12. 69》
“17.4.64” is based on a copper-colored yellow virtue: they are beneficent.” (refer to the preface, Zao
羅芙奧2006秋季拍賣會，編號060，9093萬台幣成交
brown tone that was only characteristic in ZAO Wou-ki, 5. 12. 69
Wou-ki, edited by Claude Roy, second revision, published in
the 1960s.The painter's thoughts are rushing 1969, oil on canvas, 194 x 96 cm 1970)Zao Wou-ki uses a modern way to display
in the large space with abundant quivering Ravenel Autumn Auction 2006, lot 060, US$ 2,813,428 sold a grand heritage of spiritual art concretely and
color gradation and slight sensitive jumping veritably. Facing an age full of great change,
lines. Both lightness and heaviness show in heart and depression in his soul, Zao Wou- this painting enables the watchers to find
the painting. The emotion is like circuitous ki still uses his harmoniousness-loving free dignity again and spirit up an open and upward
windings at this moment but instantaneously the will to give an upward spirit to his painting. free will.
seas are rising and surging to strike the hearts He has mastered the secret of color and light-
of people watching. Though facing fear in his shadow space. His style looks splendid with
184
104
CHU Teh-chun
Force d'âme
2004-2005
Oil on canvas
195 x 456 cm (Quadtych)
Chinese and English, dated 2004-05
Titled on the reverse Force d'âme in French,
CHU TEH-CHUN in English and Chinese,
dated 2004-05, QUADRIPTYQUE in English
and Chinese
EXHIBITED:
C h u Te h - c h u n , S h a n g h a i A r t M u s e u m ,
Shanghai, October 12 - November 10, 2005
ILLUSTRATED:
Chu Teh Chun, Shanghai Bookstore Publishing
House, Shanghai, 2005, color illustrated,
pp. 106-107
P i e r r e - J e a n R é m y, C h u Te h - C h u n , L a
Différence, Paris, 2006, color illustrated,
pp. 286-287
Solo Exhibition of Chu Teh-Chun, The Ueno
Royal Museum (catalogue), Tokyo; Thin
Chang Corporation, Taipei, 2007, color
NT$ 28,000,000-42,000,000
US$ 856,300-1,284,400
HK$ 6,588,000-9,882,000
朱德群
意志堅強
2004-2005
油彩畫布
195 x 456 cm (四聯幅)
簽名右下：朱德群 CHU TEH-CHUN 2004-05
簽名畫背："F o r c e d'â m e" "意志堅強"
CHU TEH-CHUN 朱德群 2004-05 四連作
(QUADRIPTYQUE)
展覽：
「朱德群近作展」，上海美術館，上海，展
期自2005年10月12日至11月10日
圖錄：
《朱德群》，上海書店出版社，上海，
2005，彩色圖版，頁106-107
皮耶－尚．雷米，《朱德群畫集》，拉迪
夫羅斯出版社，巴黎，2006，彩色圖版，
頁286-287
《大象無形—朱德群作品展》，上野之森
美術館，東京；台灣馨昌股份有限公司，
台北，2007，彩色圖版，頁370-371
186
朱德群的畫作具有高度精神性，構圖徬若磅
礡而出的宇宙，其所引起的審美感受異常宏
觀，直達人性的精神本源。前法國文化部部
長雅克．朗（Jacques Lang）指出，朱德群
的作品傳達出身為宇宙中唯一主人的空靈感
受。此幅四聯作《意志堅強》是2004-2005
年間的作品，可視為兩百年來首位華裔法
蘭西學術院院士晚年代表作之一。畫面中依
稀可見其潛藏其中、湧動不息的靈魂。朱德
群極愛藍色， 2005年肖小蘭女士為上海美
術館策劃的「朱德群近作展」，展場內深深
淺淺的藍，遠看像一片海洋。朱德群認為，
顏色中最富有表現力的就是藍色。藍色的包
容、凝練，可以將內心的力量在畫布上發揮
到極致。
朱德群1920年出生於江蘇，1941年畢業於
國立杭州藝專（今中國美術學院），師承林
風眠。林風眠認為中西繪畫的融合要義在於
「形式與情緒之表達」，這對朱德群影響深
遠，讓他繼承師後踏上西方新世界，也讓他
到了巴黎馬上被抽象繪畫吸引，進而展開一
生探索抽象繪畫的旅程。初始學習以西方的
眼睛觀察對象物，試圖以「非」或「去」的
哲學，將自然剝離、簡化外部世界、慢慢體
會到抽象的內涵不在抽離，而是對「外部世
界」的「肯定」。而後內化和交融，「心」
與「境」合一，使其深知回到中國文化的養
分中找尋創作內涵與動機。漸漸地，由描寫
對象進而內化對象，於是他開始訴說存於心
底的自然。
擅長書法藝術之故，用筆、筆觸的表現，一
直是朱德群的油畫特色之一。他謹記古代畫
家的格言，用毛筆令世事從渾沌中脫穎而
出。他的筆觸無所忌憚，大筆刷出濕潤的韻
律，在畫面上形成優美、富涵力度的肌理。
光線的運用，讓他的作品有一種古典氣勢，
像古典繪畫般的莊嚴、神聖（朱德群自稱他
的「光」來自於林布蘭的啟發）。他的光線
除了具有光源的性質外，也與印象派相關。
光線決定了畫面的色彩和結構，形成色暈
的交輝和意境的生成。閔希文認為，「朱德
群七十年代之後許多作品中的『光』可視為
中國傳統文化中『陰』與『陽』的關係……
188
『光』已從『光源』散落開來，撒到畫面的 of the most important works of Chu’s late age. It should be a positive attitude towards the
每一個角落，使世界在『陰』與『陽』的互 We can feel his lively soul in the painting. Chu outside world. After his true understanding of
補中獲得生機。同時，這些『光』還以『留 Teh-chun loves the color blue. There were the outside world, he knew he had to get back
白』的方式創造了空間，它在『空無』中放 plenty of blue paintings in the exhibition named to Chinese culture to find out the motivation
飛人的想像，在『無』中催生了『有』—— “The Recent Works of Chu Teh-chun”, curated for his creativity. As a result, he changed his
朱德群將中國的智慧與西方的眼睛有機地結 by Ms. Xiao Xiaolan in 2005. When people style from illustrating the true outside world, to
合在一起，在一個有限的空間中創造了無 saw the paintings from far away, the exhibition expressing the imagination of Mother Nature.
限。」 venue looked like an ocean. Chu believes that,
the most expressive color is blue. It can be used Since he was well versed in calligraphy, one
巴黎評論家夏布朗（J e a n-F r a n ç o i s to express the power inside his mind. of the characteristics of his paintings is the
Chabrun）評論朱德群為20世紀的「宋代畫 use of brush strokes. He remembered the
家」，此評價讓世人看到朱德群在「中體西 Chu Teh-chun was born in Juangsu in 1920. words from ancient painters, saying that the
用」、「西體中用」的辯正中一個巧妙而 He graduated from Hangzhou National College function of a brush is to make things stands
獨特的切入點。閔希文認為，「表面看， of Art (the former China Academy of Art) out from a chaotic world. His brush has a fluid
他以西方之『體』（眼睛）來駕馭中國之 in 1941. His teacher was Lin Fengmian. Lin rhythm, creating beautiful, powerful lines
『用』（智慧），實質卻是以中國之『體』 believed that the point of combining the style on the paintings. On the other hand, his use
（智慧）來調動西方之『用』（眼睛）。在 of Chinese and Western painting is to emphasis of light makes his works look classical. (He
這裡，『西方的眼睛』是他的形式，『中國 “the expression of form and emotion”. This said the light in his paintings is inspired by
的智慧』是他的內涵，他以西方之『眼睛』 influenced Chu Teh-chun deeply, and influenced Rembrandt.) His use of light is also influenced
來把握和認識這個世界，而以中國之『智 him to go to the West to explore the new world. by Expressionism. The light decides the
慧』來充實和豐富這個世界。因此，朱德群 After he went to Paris, he was attracted by arrangement of color and structure in his
的作品仍然是油畫（不僅是材料上的），在 abstract paintings immediately. As a result, he paintings, it constructs the atmosphere of the
這一點上他已超越了整個中國當代油畫中的 started his journey of exploring abstraction. images. His fellow artist, Min Xiwen once
『融合主義』取向，甚至已超越了傳統的 In the beginning, he learned to use a western said, “The light in Chu Teh-chun's works can
『體用論』，而讓我們看到了中國藝術新 perspective to observe the environment. For be seen as the expression of Yin and Yang. It
的希望和可能。」（參考：閔希文，〈旅法著名抽 example, he tried to simplify the outside world. also creates spaces in the paintings. He uses
象畫家朱德群〉，《烽火藝程》，中國美術學院出版社， Gradually, he realized that the meaning of Chinese wisdom to fulfill the physical world.”
1998年4月版；《朱德群》，上海書店出版社，上海，
abstraction is not deduction, or simplification.
2005，彩色圖版，頁106-107〔原標題為法
文〕）
The Paris Critic, Jean-François
Chabrun said Chu Teh-chun is
a Song-Dynasty Painter in the
Paintings of Chu Teh-chun are Twentieth Century. It points out the
highly spiritual. The composition of specialty of Chu’s paintings as a
his works is like a great universe. theory of “Western and Eastern style
They enhance the imagination of combined”. Min Xiwen believes
the sense of beauty, sometimes the that, “We can see a new pathway
imagination reaches deep inside. from Chu Teh-chun’s Paintings.”
The former French Minister of (References: Min Xiwen, Chu Teh-chun The
Culture, Jacques Lang once pointed Famous Abstract Painter, Chu Teh-chun Living
out that, Chu’s works express a in France, A Shining Artistic Career of Art,
feeling of loneliness; a feeling like, Press of China Academy of Art Press, April,
you are the only creature in the 1998; Chu Teh-chun, Shanghai Bookstore
朱德群《復興的氣韻》
whole world. This 4 panel work 2003，油彩畫布，430 x 730 cm 上海歌劇院收藏 Publishing House, Shanghai, 2005, graphic
“Force d’âme” was created during CHU Teh-chun, Symphonie Festive
version, pp. 106-107)
2003, oil on canvas, 430 x 730 cm, Shanghai Opera House, Shanghai
2004-2005. It can be seen as one
105
JU Ming
Taichi Duo 朱銘，1938年生於苗栗通宵，幼時家貧， abstract concepts in his late period, from wood
15歲時拜雕刻師李金川為師，開始雕刻生 sculpture to the diversified application of
1990 涯。31歲進入楊英風門下學習後，朱銘逐 materials, his work was perpetually changing
Wooden sculpture 漸從一個雕刻匠師蛻變成為藝術家。這段 with a diversified outlook.
61(L) x 28(W) x 59(H) cm 期間的創作多為鄉土題材，卻遂漸朝向現
Engraved Ju Ming in Chinese and dated '90 代雕塑發展。他從最早的傳統寫實，至後 Following his teacher Yuyu Yang’s advice, Ju
期的較抽象理念的表現，材質由木雕至複 Ming began to learn Taichi for physical fitness.
NT$ 9,000,000-15,000,000 合媒材的多樣性運用，其作品不斷蛻變， During the practice, he realized the spirit of
US$ 275,200-458,700 面貌十分多元。 Taichi and used it as an inspiration for his work.
HK$ 2,118,000-3,529,000 His Taichi sculpture series in the 1970s earned
由於老師楊英風曾建議他學習太極以強健 a reputation for him in Asian art circles. Using
體魄，朱銘從練習過程中悟出太極的精 thick wood to show the gentleness of Taichi
朱銘
神，並將之內化成為創作題材。1970年代 boxing, he applied freehand modeling and
雙人太極開展的太極雕塑系列，為他在亞洲藝壇奠 blocks to show the power and vigor of Taichi.
1990 下聲名。朱銘在厚重的木材上表現出太極 His technique was skillful and overwhelming,
木雕拳的柔美之處，造型以寫意為主，並以量 displaying the delicacy of the art at every stroke
61(長) x 28(寬) x 59(高) cm 塊呈現中國太極拳的架勢，刀法雄健有 of sculpting.
簽名雕刻：朱銘 '90 力，在凹凸處皆超脫匠人的斧鑿而能達到
極致。 This wood sculpture “Taichi Duo” is delicate
in size and simple in structure. Ju Ming was
這件木雕雙人太極，尺幅不大，簡約流 not rigidly confined to the expression of the
暢，朱銘已經不拘泥於招式的表現，只想 Taichi moves, but rather focused on the spirit
太極的精神，看似簡單，卻爆發出驚人的 of Taichi. As a result, the seemingly simple
能量。 posture actually implies an amazing burst of
energy.
Ju Ming was born in Tongxiao Town, Miaoli

County in 1938. A child from a poor family,
the sculpting master Li Jinchuan became his
teacher when he was 15 and thus he began
his lifelong career of sculpting. At the age of
31, he became a student of Yuyu Yang and
gradually grew from an ordinary sculptor
into an artist craftsman. During this period he
mostly took local scenery as his theme, but
was already groping his way toward modern
sculpture. From the earliest tradition of realistic
creation to the expression of considerable
190
106
JU Ming
Taichi Series (A pair)
1995
Bronze sculpture, edition no. AP 4/10
Left: 30(L) x 19.7(W) x 38.7(H) cm
Right: 28(L) x 21(W) x 32.8(H) cm
Engraved Ju Ming in Chinese, numbered AP
4/10 and dated '95 (left)
Engraved Ju Ming in Chinese, numbered AP
4/10 and dated '95 (right)
This Sculpture is to be sold with a certificate

signed by the Artist.
NT$ 2,300,000-3,400,000
US$ 70,300-104,000
HK$ 541,000-800,000
192
朱銘
太極系列（一對）
1995
銅雕自4/10
左：30(長) x 19.7(寬) x 38.7(高) cm
右：28(長) x 21(寬) x 32.8(高) cm
簽名雕刻：自4/10 '95 朱銘（左）
簽名雕刻：朱銘自4/10 '95（右）
附藝術家親筆簽名之原作保證書
107
Yun GEE
Couple Walking
Created in 1932
Bronze sculpture, edition of 7
13(L) x 6(W) x 48(H) cm
Engraved on the base Yun Gee in English, dated
1932 New York in English
PROVENANCE：
Lin & Keng Gallery, Taipei
EXHIBITED: 《並行漫步》銅雕作品曾參加1992年台北市
The Art of Yun Gee, Taipei Fine Arts Museum, 立美術館舉辦的「朱沅芷作品展」，台灣美
Taipei, March 25 - June 14, 1992 術史學者王德育曾讚美此作品的開創與前衛
性格，他寫道：「朱沅芷受立體主義影響而
ILLUSTRATED: 表現最淋漓盡致者是他的少數雕刻，1932年
The Art of Yun Gee, Taipei Fine Arts Museum, 所作由木刻翻鑄的青銅作品《並行漫步》即
Taipei, 1992, color illustrated, p. 136 為一例。在此，我再三強調，此時立體主義
尚未妥當的介紹給紐約觀眾，立體主義式的
NT$ 750,000-1,000,000 作品為紐約觀眾視為前衛作品。」（摘自王德
育〈朱沅芷一九三六年前的生平暨藝術〉一文，《朱沅芷
US$ 22,900-30,600
作品展》目錄，台北市立美術館，1992，頁45）
HK$ 176,000-235,000
朱沅芷 The bronze “Couple Walking” had been

並行漫步 exhibited at the exhibition of “The Art of Yun
1932 Gee”, organized by Taipei Fine Arts Museum
銅雕（限量7件） in 1992. Art Historian, David Teh-yu Wang,
13(長) x 6(寬) x 48(高) cm made positive comments on its creativity and
簽名雕刻底座：Yun Gee 32 New York originality, “Under a stronger Cubist influence
on Gee at the time is most clearly shown in one
來源： of the rare sculptures made by Gee, ‘Couple
大未來畫廊，台北 Walking’, from 1932, a bronze cast made from
the original wood sculpture. However, I would
展覽： like to reiterate the fact that Cubism was yet
「朱沅芷作品展」，台北市立美術館， to be properly introduced to New Yorkers,
台北，展期自1992年3月25日至6月14日 and works in Cubist manner were regarded
avant-garde by New Yorkers.” (refer to ‘Yun Gee
圖錄： Retrospective His Life and Art Before 1936’ by David Teh-
《朱沅芷作品展》，台北市立美術館， yu Wang, catalogue of “The Art of Yun Gee”, Taipei Fine Arts
台北，1992，彩色圖版，頁136 Museum, 1992, p. 19)
194
108
LIANG Pin-cheng 梁平正開啟一種新的木雕視覺感，顛覆了傳 Taiwan, in 1958, Liang Ping-cheng has always
(Taiwanese, b. 1958) 統木雕的形體描繪，有別於西方雕塑的原型 been deeply interested in nature, myths, and
理論，而以寫意的造型及觀念轉換，傳達作 Taiwanese aboriginal culture with a special
Triangular Fertile Land No. 1 品裡的對話。梁平正，1958年出生於台灣屏 affection for mountains and forests. In 1983
東，自小對於自然、神話、原住民文化便有 when he was still a student in the Department
2006 著深厚的興趣，對山林更有獨特的情感。 of Art, Chinese Culture University, he won
Mixed media, wood 1983年仍就讀文化大學美術系時更一舉拿 first prize in the Hsiung Shih New Artist Prize,
72(L) x 68(W) x 134(H) cm 下雄師美術新人獎首獎，在當時誠屬難得。 which was rare for student at that time. After
Signed Liang Pin-cheng in Chinese and dated 畢業後赴美國紐約大學深造，開拓眼界。回 graduation, he pursued further study in New
2006 國後對於原生材質的變異，從單一材質到多 York University. On returning to Taiwan, he
種材質的試驗，結合木雕與不鏽鋼的雕塑作 experimented with the evolution of the texture
ILLUSTRATED: 品，呈現媒材的多樣變化，堪稱為跨時代的 of Taiwanese aboriginal works especially from
La Mo 2006, Nature Create, Taipei, 2006, color 新觀念。 single to multiple textures. He also combined
illustrated, pp. 9-10 woodcarving with stainless steel sculpture,
作品《一號三角沃土》透過破壞與重建，提 creating a diversification of media, which is
NT$ 240,000-280,000 出一種翻轉、倒置與挖空心思的想法，不拘 recognized as a new concept of the new age.
US$ 7,300-8,600 泥於材質，又超越材質的限制，開啟了當代
雕塑的新觀點。梁平正曾自述其創作心跡： “Triangular Fertile Land No.1”, through
HK$ 56,000-66,000
「原野大地上的一片沃土，孕育著人類無盡 destruction and reconstruction, introduces
的優質生命，當繁華落盡、物換星移之後在 the idea of overturn and inversion, breaking
梁平正有形的物質世界中，藝術家透過摸索、探尋 through the constraints of the material and
一號三角沃土及創造─讓作品超越時間，留在每一個人的 texture, and initiating a new perspective in
2006 心裡。」 modern sculpture. Liang explains his own
綜合媒材木雕 creation concept as: “the fertile soil breeds
72(長) x 68(寬) x 134(高) cm the endless life of humanity; when prosperity
簽名：梁平正 2006 Liang Ping-cheng created a new woodcarving perishes, as time passes by, in the visible
visual effect eschewing conventional Western material world, the artist explores, seeks,
圖錄： woodcarving techniques. Instead he borrowed and creates, making his works surpass the
《藍墨作品集》，創意坊開發有限公司， a vision and viewpoint more aligned to constraint of time and leave a lasting memory
台北，2006，彩色圖版，頁9-10 traditional Chinese painting. Born in Pingtung, in the heart of everybody.”
196
109
Alixe FU
Breasts
1995-1997
Fiberglass
36(L) x 31(W) x 41(H) cm
Signed Alixe FU in English, dated '95-'97 and
titled Breasts in Chinese
NT$ 160,000-260,000
US$ 4,900-8,000
HK$ 38,000-61,000
傅慶豊
雙乳
1995-1997
玻璃纖維
36(長) x 31(寬) x 41(高) cm
簽名：Alixe FU '95-'97 Alixe FU 199741 雙乳
198
110
LIN Chien-jung
Conversation Series No. 1
2008
Fiberglass, mixed media, edition no. 2/3
Figure: 50(L) x 80(W) x 105(H) cm
Egg: 149(L) x 126(W) x 46(H) cm
Signed Lin Chien-jung in English and
numbered 2/3
NT$ 400,000-500,000
US$ 12,200-15,300
HK$ 94,000-118,000
林建榮
對話系列之一
2008
玻璃纖維綜合媒材 2/3
燈泡人：50(長) x 80(寬) x 105(高) cm
荷包蛋：149(長) x 126(寬) x 46(高) cm
簽名：Lin Chien-jung 2/3
111
LI Chen
Pure Land
李真
1998 無憂國土
Bronze sculpture, edition no. 33/99 1998
45(L) x 16(W) x 27(H) cm 銅雕 33/99
Engraved Li Chen in Chinese, numbered 33/99 45(長) x 16(寬) x 27(高) cm
簽名雕刻：李真 33/99
EXHIBITED:
Li Chen in 52nd Venice Biennale – Energy 展覽：
of Emptiness, Telecom Italia Future Centre, 「第52屆威尼斯國際藝術雙年展—尋找精神
Venice, June 10 – November 21, 2007 (Similar 的空間．虛空中的能量：李真雕塑展」，未
version) 來展望美術館，威尼斯，展期自2007年6月
10日至11月21日（另一尺寸版本）
ILLUSTRATED:
Li Chen Energy of Emptiness 52nd International 圖錄：
Art Exhibition - La Biennale de Venezia, Asia 《李真－虛空的能量：第52屆威尼斯國際
Art Center Co.,Ltd., Taipei, 2007, color 藝術雙年展》，亞洲藝術中心有限公司，
illustrated, pp. 30-41 (Similar version) 台北，2007，彩色圖版，頁30-41（另一尺
寸版本）
This piece is to be sold with a certificate of
authenticity issued by Asia Art Center Co. Ltd., 附亞洲藝術中心有限公司開立之作品保證書
Taipei
NT$ 350,000-450,000
US$ 10,700-13,800
HK$ 82,000-106,000
200
112
LEE Jae-hyo
(Korean, b. 1970)
0121-1110=109
2009
Chestnut wood (unique)
100(L) x 41(W) x 100(H) cm 李在孝
Titled 0121-1110=109 0121-1110=109
2009
ILLUSTRATED: 木雕栗木（單一件）
Return to Nature: Lee Jae-Hyo, Ever Harvest 100(長) x 41(寬) x 100(高) cm
Art Gallery, Taipei, 2009, color illustrated, 題款：0121-1110=109
pp. 22-23
圖錄：
NT$ 350,000-450,000 《李在孝─反璞歸真》，日升月鴻畫廊，
US$ 10,700-13,800 台北，2009，彩色圖版，頁22-23
HK$ 82,000-106,000
113
HUANG Po-ren
The New World 成長於台中大甲著名的木雕世家，黃柏仁從 three-dimensional concept in the very early

小耳濡目染，雕刻如同吃飯一樣是生活中再 age. However, he was not content to be another
2009 自然不過的一部分。然而他並不想繼承父業 successful woodcarver. His innate artistic gift
Bronze sculpture, edition no. 3/8 成為另一位木雕師傅，內心對創作與對精神 and desire for creation drove him to explore the
63(L) x 49(W) x 45(H) cm 美感的強烈渴望引領他走上了藝術創作之 art world and became an outstanding sculptor.
Initialed PR in English, dated 2009, and 路。
numbered 3/8 With delicate lines and sheer facets, Huang
《新大陸》一作將來自於不同生活圈的土狗 Po-ren rendered pithy forms of his subjects.
NT$ 400,000-600,000 與熊貓加以聯結，讓牠們打破故有藩籬，以 Complexity was abandoned to bring out the
US$ 12,200-18,300 嶄新的合作模式創造未來。黃柏仁以其一貫 spirit and characters of the creatures.
簡潔充滿力量的造型，充分顯示土狗與熊貓
HK$ 94,000-141,000
的活力與積極。這件作品具有明快亮眼的當 Looking deeper into Huang Po-ren’s works, we
代特質，同時展現受到儒家思想啟發的深厚 realized that Confucianism is the basic principle
黃柏仁底蘊，是黃柏仁「狗札記」系列極為出色的 that runs through his recent works. The idea
新大陸作品。 of Confucianism emphasizes cultivating one’s
2009 moral character, which is then extended to
銅雕 3/8 accomplish a good household, a good nation,
63(長) x 49(寬) x 45(高) cm As the son of a renowned woodcarving master, and finally achieve a peaceful world.
簽名：2009. PR 8-3 Huang Po-ren acquired carving skills and
202
114
Hung Yi
Great Duck
2008
Lacquered steel
140(L) x 73(W) x 135(H) cm
Signed Hung Yi in Chinese and dated 2008
NT$ 350,000-450,000
US$ 10,700-13,800
HK$ 82,000-106,000
洪易
大鴨
2008
鋼板烤漆
140(長) x 73(寬) x 135(高) cm
簽名：洪易 2008
204
115
LI Chen
Avalokitesvara
1999 李真
Bronze sculpture, edition no. 15/30 大士
49(L) x 23(W) x 41(H) cm 1999
Engraved Li Chen in Chinese and English, 銅雕 15/30
numbered 15/30 49(長) x 23(寬) x 41(高) cm
簽名雕刻：李真 Li Chen 15/30
The piece is to be sold with a certificate of
authenticity issued by Asia Art Center Co. Ltd., 附亞洲藝術中心有限公司有限公司開立之作
Taipei 品保證書
NT$ 650,000-750,000
US$ 19,900-22,900
HK$ 153,000-176,000
116
ZHU Shijie
(Chinese, 1900-1990)
Landscape
1934
Oil on canvas
28.5 x 17.5 cm
Signed lower right Shijie in Chinese
NT$ 80,000-160,000
US$ 2,400-4,900
HK$ 19,000-38,000
朱士傑
風景
1934
油彩畫布
28.5 x 17.5 cm
簽名右下：N.Y 士傑
206
117
CHANG Chih-cheng
A Voyager
2009
Oil on canvas
65 x 95 cm
Signed lower right CHANG in English
Signed on the reverse CHANG CHIH-CHENG 張志成
in Chinese and English, dated 2009, Beijing in 旅行者
Chinese, media oil on canvas, size 96 x 65 cm, 2009
titled A Voyager in Chinese 油彩畫布
65 x 95 cm
NT$ 160,000-260,000 簽名右下：CHANG
US$ 4,900-8,000 簽名畫背：張志成 CHANG CHIH-CHENG
HK$ 38,000-61,000 2009 北京油畫畫布 96 x 65 公分旅行者
118
SUN Yuntai
(Chinese, 1913-2005)
Landscape with Green Cloud
1995
Oil on canvas
45 x 53 cm
Signed lower left Sun Yuntai in Chinese and 孫雲台
dated 1995 綠雲千里
1995
NT$ 140,000-220,000 油彩畫布
US$ 4,300-6,700 45 x 53 cm
HK$ 33,000-52,000 簽名左下：孫雲台 1995
208
119
LEI Shuang
(Chinese, b. 1950)
Flourishing Love
1995
Oil on canvas
43.5 x 36.5 cm
Signed lower left Lei Shuang in Chinese and dated 雷雙
95 戀之春華
Titled on the reverse Flourishing Love in Chinese
1995
油彩畫布
NT$ 120,000-220,000 43.5 x 36.5 cm
US$ 3,700-6,700 簽名左下：雷双 95
HK$ 28,000-52,000 簽名畫背：戀之春華
120
CHANG Chih-cheng
Face of Childhood 張志成

童年
2006 2006
Oil on canvas 油彩畫布
80 x 100 cm This Painting is to be sold with a certificate of 80 x 100 cm
Signed lower left CHANG in English and dated authenticity issued by DuBang Contemporary 簽名左下：CHANG 06
06 Space, Miao-Li, Taiwan. 簽名畫背：張志成 CHANG CHIH-CHEN
Signed on the reverse CHANG Chih-cheng 2006 Beijing 798畫室油畫畫布 80 x 100 公分
in Chinese and English, dated 2006, Beijing NT$ 180,000-280,000 童年
studio798, media oil on canvas, size 80 x 100 cm, US$ 5,500-8,600
titled Face of Childhood in Chinese HK$ 42,000-66,000 附杜邦當代空間開立之原作保證書
210
121
SHI Lei
(Chinese, b. 1980) 石磊
尋找我們的規範
Text of Dissuasion 1997
油彩畫布
1997 160 x 180 cm
Oil on canvas EXHIBITED: 簽名右下：石磊 1997
160 x 180 cm Shi Lei, Kwai Fung Art Publishing House, 簽名畫背：《尋找我們的規範》160 x 180 cm
Signed lower right Shi Lei in Chinese and dated Hong Kong, 2007, color illustrated, p. 17 石磊 1997
1997
Titled on the reverse Text of Dissuasion in NT$ 260,000-350,000 圖錄：
Chinese, size 160 x 180 cm, Shi Lei in Chinese US$ 8,000-10,700 《石磊》，季豐美術出版社，香港，2007，
and dated 1997 HK$ 61,000-82,000 彩色圖版，頁17
122
ZHAO Gang
(Chinese, b. 1961)
Mao
2006
Oil on canavs
60 x 80 cm
Signed on the reverse GANG ZHAO in English 趙剛
and dated 06 毛澤東
2006
NT$ 120,000-180,000 油彩畫布
US$ 3,700-5,500 60 x 80 cm
HK$ 28,000-42,000 簽名畫背：GANG ZHAO 06
212
123
LU Hao
(Chinese, b. 1969)
Home in Memory No. 12
2006
Oil on canvas
130 x 110 cm
Titled on the reverse Home in Memory No. 12 盧昊
in Chinese, signed Lu Hao in Chinese, size 記憶中的家之十二
110 x 130 cm and dated 2006 2006
油彩畫布
NT$ 260,000-350,000 130 x 110 cm
US$ 8,000-10,700 簽名畫背：110 x 130 cm 記憶中的家之十二
HK$ 61,000-82,000 盧昊 2006
124
LU Hao
(Chinese, b. 1969)
Home in Memory No. 9
2006
Oil on canvas
110 x 130 cm
Titled on the reverse Home in Memory No. 9 in 盧昊
Chinese, size 110 x 130 cm, signed Lu Hao in 記憶中的家之九
Chinese and dated 2006 2006
油彩畫布
NT$ 260,000-350,000 110 x 130 cm
US$ 8,000-10,700 簽名畫背：110 x 130 c m 記憶中的家之九
HK$ 61,000-82,000 盧昊 2006
214
125
QI Zhilong
(Chinese, b. 1962)
Red Guard
1995
Oil on canvas
35 x 27 cm
Signed on the reverse Qi Zhilong in Chinese 祁志龍
and dated 1995 紅衛兵
1995
NT$ 240,000-350,000 油彩畫布
US$ 7,300-10,700 35 x 27 cm
HK$ 56,000-82,000 簽名畫背：祁志龍 1995
126
CHEN Liu 陳流
(Chinese, b. 1973) 破碎的天空
2002
The Segmented Series 壓克力畫布
140 x 110 cm
2002 ILLUSTRATED: 簽名右下：CL 2002.5
Acrylic on canvas Em inent Chinese Ar tist Chen L iu - T he 簽名畫背："破碎的天空" 布面丙烯 2002年5
140 x 110 cm Celestial, Ping Art Space, Taipei, 2008, color 月 140 x 110 cm 作者：陳流
Initialed lower right CL and dated 2002.5 illustrated, p. 27
Signed on the reverse The Segmented Series 圖錄：
in Chinese, dated 2002.5, media acrylic on NT$ 350,000-450,000 《中國當代名家系列：陳流─天降大任》，
canvas, size 140 x 110 cm, signed Chen Liu in US$ 10,700-13,800 藏新藝術有限公司，台北，2008，彩色圖
Chinese HK$ 82,000-106,000 版，頁27
216
127
ZHU Yan 朱岩
(Chinese, b. 1982) 他很偉大之二
2008
ILLUSTRATED:
He is Great No. 2 油彩畫布
Zhu Yan, HuaRen Contemporary Art Museum, 160 x 150 cm
2008 Chongqing, 2008, color illustrated 簽名右下：Zhu Yan 2008
Oil on canvas
160 x 150 cm NT$ 350,000-550,000 圖錄：
Signed lower right Zhu Yan in English and US$ 10,700-16,800 《朱岩》，華人當代美術館，重慶，2008，
dated 2008 HK$ 82,000-129,000 彩色圖版
128
GAO Yu
(Chinese, b. 1981)
Unexpected Love, Devil Bean,

Jewel Heart, Book Ghost 高瑀
意外的愛、魔豆、寶石心、書鬼
2007 Titled on the reverse Jewel Heart in Chinese, 2007
Acrylic on canvas size 20 x 20 x 8.5 cm, media acrylic on canvas, 壓克力畫布
20(L) x 20(W) x 8.5(D) cm (x4) dated 2007 and signed Gao Yu in Chinese 20(長) x 20(寬) x 8.5(深) cm (x4)
Titled on the reverse Unexpected Love in Titled on the reverse Book Ghost in Chinese, 簽名畫背：
Chinese, size 20 x 20 x 8.5 cm, media acrylic size 20 x 20 x 8.5 cm, media acrylic on canvas, 《意外的愛》20 x 20 x 8.5 cm 布面丙烯
on canvas, dated 2007 and signed Gao Yu in dated 2007 and signed Gao Yu in Chinese 2007 高瑀
Chinese 《魔豆》20 x 20 x 8.5 cm 高瑀 2007 布面丙烯
Titled on the reverse Devil Bean in Chinese, NT$ 350,000-550,000 《寶石心》20 x 20 x 8.5 cm 布面丙烯 2007
size 20 x 20 x 8.5 cm, media acrylic on canvas, US$ 10,700-16,800 高瑀
dated 2007 and signed Gao Yu in Chinese HK$ 82,000-129,000 《書鬼》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀
218
129
HAN Yajuan
(Chinese, b. 1980)
The Flower Alley
2006
Oil on canvas
100 x 100 cm
Signed lower right HAN YA JUAN in English
and dated 2006
Titled on the reverse The Flower Alley in 韓婭娟
Chinese, media oil on canvas in Chinese, size 花間道
100 x 100 cm, signed Han Ya Juan in Chinese 2006
and dated 2006 油彩畫布
100 x 100 cm
NT$ 450,000-550,000 簽名右下：HAN YA JUAN 2006
US$ 13,800-16,800 簽名畫背：花間道布面油畫 100 x 100 cm
HK$ 106,000-129,000 韓婭娟 2006
130
WANG Kai
(Chinese, b. 1980)
Flawless
2009
Oil on canvas
140 x 200 cm
Titled on the reverse Flawless in English ,
Wang Kai in Chinese, size 140 x 200 cm and 王凱
dated 2009 無瑕
2009
NT$ 350,000-550,000 油彩畫布
US$ 10,700-16,800 140 x 200 cm
HK$ 82,000-129,000 簽名畫背：《無瑕》王凱 140 x 200 cm 2009
220
131
YANG Jing 楊靜
(Chinese, b. 1976) 我們什麼也沒做
2004
EXHIBITED:
We Do Nothing 油彩畫布
Exit Festival, Créteil Maison des Arts, Paris, 170 x 130 cm
2004 March 8-17, 2009 簽名左下：2004 Yang Jing
Oil on canvas
170 x 130 cm NT$ 450,000-550,000 展覽：
Dated lower left 2004 and signed Yang Jing in US$ 13,800-16,800 「出口藝術節」，克提爾藝術之家，巴黎，
English HK$ 106,000-129,000 展期自2007年3月8日至17日
132
CHEN Liu
(Chinese, b. 1973)
The Celestial Battle - Pike and

Broadax
2007
Oil on canvas
140 x 200 cm
Signed lower right Chen Liu in Chinese and
dated 2007.5
ILLUSTRATED:
Eminent Chinese Ar tist Chen L iu - T he
Celestial, Ping Art Space, Taipei, 2008, color

authenticity issued by Ping Art Space, Taipei.
NT$ 450,000-650,000
US$ 13,800-19,900
HK$ 106,000-153,000
陳流
天空界對打系列之長矛與大釜
2007
油彩畫布
140 x 200 cm
簽名右下：陳流 2007.5
圖錄：
《中國當代名家系列：陳流─天降大任》，
藏新藝術有限公司，台北，2008，彩色圖
版，頁76-77
附平藝術空間開立之原作保證書
222
133
YIN Kun
(Chinese, b. 1969)
尹坤
Titled on the reverse CHINESE BABY in
Chinese Baby 中國寶貝
English, media oil on canvas, size 150 x 180 cm 2007
2007 and dated 2007.3 油彩畫布
Oil on canvas 150 x 180 cm
150 x 180 cm NT$ 260,000-450,000 簽名右下：尹坤 2007.4
Signed lower right Yin Kun in Chinese and US$ 8,000-13,800 簽名畫背：C H I N E S E B A B Y O I L O N
dated 2007.4 HK$ 61,000-106,000 CANVAS 150 x 180 cm 尹坤 2007.3
224
134
LIN Hairong
(Chinese, b. 1975)
Titled on the reverse Red Star Shining Forever 林海容
in Chinese, size 150 x 150 cm, media oil on
Red Star Shining Forever canvas, dated 2007 and signed Lin Hairong in
閃閃紅星酷萬代
2007
Chinese
2007 油彩畫布
Oil on canvas 150 x 150 cm
150 x 150 cm NT$ 550,000-750,000 簽名右下：林海容丁亥年五月
Signed lower right Lin Hairong in Chinese and US$ 16,800-22,900 簽名畫背：閃閃紅星酷萬代 150 x 150 cm
dated 2007 May in Chinese HK$ 129,000-176,000 布面油畫 2007年林海容
135
CHIU Ya-tsai
(Taiwanese, b. 1949) 邱亞才
This painting is to be sold with a certificate 性情中人
of authenticity issued by Goethe Art Center,
A Decent Man 1993
Taichung. 油彩畫布
1993 130 x 97 cm
Oil on canvas NT$ 500,000-650,000 簽名右下：邱亞才
130 x 97 cm US$ 15,300-19,900
Signed lower right Chiu Ya-tsai in Chinese HK$ 118,000-153,000 附哥德藝術中心開立之原作保證書
226
136 李繼森
LI Jisen 天邊的雲
(Chinese, b. 1970) 2007
ILLUSTRATED: 油彩畫布
Eminent Chinese Artist, Li Jisen - Great Ambition,
Cloud over the Horizon 180 x 150 cm
Ping Art Space, Taipei, 2008, color illustrated, 簽名右下：李繼森 2007.8 Li Jisen
2007 pp. 76-77
Oil on canvas 圖錄：
180 x 150 cm NT$ 550,000-650,000 《中國當代名家系列：李繼森─志在千
Signed lower right Li Jisen in Chinese and US$ 16,800-19,900 里》，藏新藝術有限公司，台北，2008，
English, dated 2007.8 HK$ 129,000-153,000 彩色圖版，頁76-77
137
Chang-Ling 從『五花肉』系列作品來看，由「肉兵器」 reaches back to his childhood memories
(Taiwanese, b. 1975) 衍伸肉戰爭之創作思考概念是藝術家返回記 and explores his reaction to setbacks. By
憶的庫房，挖掘根源以對應於現實環境的挫 presenting the sweet and pure desire for war
Pork Belly Series - Flesh Weapons - 折，將孩童時代對於戰爭玩具喜好的甜蜜單 games in childhood, the artist examines and
Junk 純慾望，以再現的方式表達成年後於海外求 questions the cultural conflicts confronted
學時面對異國文化下的衝撞反思，這些以玩 by overseas students in adulthood. Set
2006 具手槍、飛機、坦克車和潛水艇為主體的 against a multi-hierarchical background
Oil on canvas 『肉兵器』，在由不同深色累積滲透出來的 of different shades, these flesh weapons of
162.5 x 129.5 cm 多層次背景烘托下，營造出一種由肉體堆疊 toy guns, aircrafts, tanks, and submarines
Titled on the reverse Pork Belly Series - Flesh 出的異樣血紅世界；象徵慾望的柔軟肉體成 create an abnormally blood-red world piled
Weapons - Junk in Chinese, Chang-Ling in Chinese 了血腥的戰爭殺人工具，記憶中的西洋玩具 up with flesh and bodies. The soft flesh
and dated 2006 不再只是玩樂中的打殺，反而更顯得殺氣騰 that symbolizes desire and lust becomes
騰，在一片血肉模糊的構圖下，隱喻出藝術 bloody man-slaughtering tools in war; and
NT$ 220,000-280,000 家對來自於西方強勢文化殖民下的自覺與抵 Western toys in the memory are no longer
US$ 6,700-8,600 禦，並從自我的意識源頭開始，揪出這個時 toys but become homicidal weapons. This
HK$ 52,000-66,000 代大多數台灣人在文化認同上的盤根錯節與 construction of mutilated flesh suggests
糾葛，像是在一片漆黑的殺戮戰場上，對於 the artist’s consciousness of and resistance
看不見的異國文化展開絕地反擊，進行文化 against Western cultural colonialism and
常陵主體的追尋，只是在伸手不見五指的暗色世 depicts, from his own origin of consciousness,
五花肉系列—肉兵器—帆船界裡，常陵以略帶挑釁與冒險意味的探索向 the complexity of cultural recognition by the
2006 前衝撞，總讓人覺得有股恐懼的暗流汩汩流 majority of Taiwanese in this era. As if on
油彩畫布出。 a pitch-black battlefield, the artist fights a
162.5 x 129.5 cm desperate war against invisible alien cultures
簽名畫背：五花肉系列—肉兵器帆船常陵（節錄自胡朝聖〈肉身世界裡的大千山水〉一文） and pursues the cultural subject. However,
2006 this helpless and adventurous exploration in
the shade makes one feel the trickle of fear.
The “Pork Belly” Series extends from flesh
weapons to the war of the flesh. The artist (Quoted from The World in the Flesh, by Hu Chao-sheng)
228
方力鈞
無題（三件一組）
2000
木刻版紙
138
122 x 81 cm (x3)
FANG Lijun
簽名右下：2000.6.15 60/60 方力鈞 (左)
(Chinese, b. 1963) 簽名右下：2000.5.5 29/65 方力鈞 (中)
ILLUSTRATED:
簽名右下：2000.6.25 44/65 方力鈞 (右)
Li Luming ed., Fang Lijun, Hunai Fine Arts
Untitled (A set of 3)
Publishing House, Changsha, China, 2001,
展覽：
2000 illustrated, pp. 196-199
「中國人：介於傳統與現在的藝術家」，波
Woodblock print Fang Lijun, the artist’s catalogue, Beijing,
坦察市立美術館，義大利，2001年4月至6月
122 x 81 cm (x3) 2002, pp. 196-199
Signed lower right Fang Lijun in Chinese and Stone Face - China's First Group Printing
圖錄：
dated 2000.6.15, numbered 60/60 (left) Exhibition, Art Now Gallery, Beijing, 2004,
李路明編，《方力鈞》，湖南美術出版社，
Signed lower right Fang Lijun in Chinese and illustrated, pp. 23-32
長沙，中國，2001，圖版，頁196-199
dated 2000.5.5, numbered 29/65 (center) Cinesi: Artisti fra Tradizione e Presente,
《方力鈞》，藝術家目錄，北京。2002，圖
Signed lower right Fang Lijun in Chinese and Potenza Pinacoteca Provinciale, Italy, April -
版，頁196-199
dated 2000.6.25, numbered 44/65 (right) June 2004, (2000.6.15 illustrated as frontispiece
《板起面孔：中國現在藝術第一次版畫聯
to color plates section and p. 61)
展》，現在畫廊，北京，2004，黑白圖版，
EXHIBITED: 頁23-32
Cinesi: Artisti fra Tradizione e Presente, NT$ 400,000-500,000 《中國人：介於傳統與現在的藝術家》，波
Potenza Pinacoteca Provinciale, Italy, April - US$ 12,200-15,300 坦察市立美術館，義大利，2001年4月至6月
June 2004 HK$ 94,000-118,000 （2000.6.15刊插圖與頁61）
230
139
LI Shan
(Chinese, b. 1942)
Rouge Series - Mao
2005
Acrylic on canvas, collage
51 x 40.5 cm
Signed on the reverse Li Shan in
Chinese and English, dated 2005
NT$ 650,000-850,000
US$ 19,900-26,000
HK$ 153,000-200,000
李山
胭脂系列—毛澤東
2005
壓克力畫布拼貼
51 x 40.5 cm
簽名畫背：李山 Li Shan 2005年
140
CAI Guo Qiang
(Chinese, b. 1957)
Man, Eagle, and Eye in the Sky,

(Siwa, Egypt) No. 16 & No. 18
2003
Gunpowder on cardboard and artist book in
signed wooden box
56 x 28.5 x 3 cm (x2) (gunpowder drawing)
67 x 53 x 12 cm (x2) (wooden box)
Signed on the wooden box Cai in Chinese,
No.16
Cai Gua Qiang in English, dated 2003, titled
Man, Eagle and Eye in the Sky, Siwa, Egypt in
Chinese and English
NT$ 500,000-700,000
US$ 15,300-21,400
HK$ 118,000-165,000
蔡國強
天空中的鷹、眼睛和人們（錫瓦，埃及）
No. 16 & No. 18
2003
火藥瓦楞紙板；藝術家簽名木盒圖書
56 x 28.5 x 3 cm (x2)（眼睛草圖）
67 x 53 x 12 cm (x2)（木盒）
簽名木盒：天空中的鷹，眼睛和人們錫
瓦，埃及蔡 Cai Guo Qiang 2003 Man, Eagle
and Eye in the Sky Siwa Egypt
No.18
232
141
CHAO Chung-hsiang
(Chinese, 1910-1991) 趙春翔
ILLUSTRATED: 何日君再來
Love You Forever Chao Chung-hsiang, Alisan Fine Arts 1970
彩墨紙本裱於畫布
Limited, Hong Kong, 1997, black-and-
1970 68.5 x 67 cm
Ink and color on paper, mounted onto canvas
white illustrated, no. 98, p. 142 簽名右下：何日君再來春翔 Chao 紐約 70
68.5 x 67 cm
Titled lower right Love You Forever in Chinese, NT$ 500,000-750,000 圖錄：
signed Chung-hsiang in Chinese and Chao in US$ 15,300-22,900 《趙春翔》，藝倡藝廊，香港，1997，黑白
English, New York in Chinese and dated 70 HK$ 118,000-176,000 圖版，編號98，頁142
142
XIN Haizhou
(Chinese, b. 1966)
Look, Nothing No. 8
2007
Oil on canvas
200 x 125 cm
Signed upper right Xin Haizhou in Chinese and
English, dated 2007.10
NT$ 750,000-950,000
US$ 22,900-29,100
HK$ 176,000-224,000
忻海洲
白，哪的事兒啊
2007
油彩畫布
200 x 125 cm
簽名右上：忻海洲 Xin Haizhou 2007.10
234
143
JIA Gang
(Chinese, b. 1974)
Chess
2007
Oil on canvas
150 x 200 cm
Signed lower right Jia Gang in Chinese and 賈剛
dated 2007 對峙
2007
NT$ 700,000-900,000 油彩畫布
US$ 21,400-27,500 150 x 200 cm
HK$ 165,000-212,000 簽名右下：2007 賈剛
144
LI Shan
(Chinese, b. 1942)
Rouge Series - Double Mao
2005
Oil on canvas, collage
50 x 40 cm
Signed on the reverse Li Shan in Chinese and
English, dated 2005
NT$ 600,000-700,000
US$ 18,300-21,400
HK$ 141,000-165,000
李山
胭脂系列—雙重毛澤東
2005
油彩畫布拼貼
50 x 40 cm
簽名畫背：李山 Li Shan 2005年
236
145
JI Dachun
(Chinese, b. 1968)
Why the New Marriage Guerrilla

Don't Go to the Battlefield?
1999
140 x 109 cm
Titled on the reverse Why the New Marriage 季大純
Guerrilla Don't Go to the Battlefield in 為什麼游擊隊員新婚免赴戰場
Chinese, dated 1999, signed Dachun in Chinese 1999
and size 140 x 109 cm 綜合媒材畫布
140 x 109 cm
NT$ 800,000-950,000 簽名畫背：
US$ 24,500-29,100 《為什麼游擊隊員新婚免赴戰場》1999年
HK$ 188,000-224,000 大純制 140 x 109 cm
146
XU Bing
(Chinese, b. 1955)
New English Calligraphy XB-029 -

Nursery Rhymes Six: The Cat and
the Fiddle
2003
Ink on paper
46 x 70 cm 徐冰
Signed lower right XU BING in English 新英文書法—兒歌六：貓咪和小提琴
With a seal of the artist 2003
水墨紙
Quotation content: 46 x 70 cm
The cat and the fiddle 簽名右下：XU BING
Hey diddle diddle 鈐印：XU BING
The cat and the fiddle
The cow jumped over the moon 引文翻譯：
The little dog laughed to 貓咪和小提琴
See such sport and the dish ran 嘿！快搖、快搖
Away with the spoon 貓咪和小提琴
母牛跳向月亮
Nursery Rhymes Six 小狗哈哈笑
Xu Bing 看到碟子離開
湯匙無影無蹤
NT$ 800,000-1,100,000
US$ 24,500-33,600 兒歌六
HK$ 188,000-259,000 徐冰
238
147
XU Bing
(Chinese, b. 1955)
New English Calligraphy - Nursery

Rhymes Five: Jack and Jill
2003
Ink on paper
46 x 70 cm 徐冰
Signed lower right XU BING in English 新英文書法—兒歌五：傑克和吉兒
With a seal of the artist 2003
水墨紙
QUOTATION CONTENT: 46 x 70 cm
Jack and Jill 簽名右下：XU BING
Went up the hill 鈐印：XU BING
To fetch a pail of water
Jack fell down 引文翻譯：
And broke his crown 傑克和吉兒
And Jill came tumbling after 爬到山坡去
想提一桶水
Nursery Rhymes Five 傑克跌倒
Xu Bing 打破頭
吉兒跟著滾下去
NT$ 800,000-1,100,000
US$ 24,500-33,600 兒歌五
HK$ 188,000-259,000 徐冰
148
WANG Guangyi 利用文革時期的圖片和形象，結合西方消費 the seductive attraction of Western branding
(Chinese, b.1957) 主義知名品牌，王廣義為我們生活中的符號 seems to suggest that people are at the mercy
角色，以及它們控制我們的力量提出頗具諷 of overpowering images wielded by a higher
刺又寓意甚深的問題。共產主義宣傳畫意識 authority.
Dell
形態的力量，結合西方商標品牌的刺激吸引
力，似乎在暗示，人民在權威操縱鋪天蓋地 Wang also examines important questions
2005
的宣傳畫面前是無能為力的。 concerning the role of an artist. During the
Oil on canvas
Cultural Revolution, an artist’s only role was
60 x 70 cm
王廣義還提出了一些關於藝術家角色的重要 to portray the ideological dictates of the Gang
Signed on the reverse Wang Guangyi in English
議題。文革期間，藝術家唯一的作用，就是 of Four in the billions of propaganda posters
and Chinese, dated 2005
繪製數百萬張繪畫的宣傳畫，為傳達四人幫 produced. However, an artist should take a
指示意識形態而服務。不過，藝術家對於社 much more critical approach towards events in
NT$ 800,000-1,100,000
會事件應該更具批判性，事實上藝術家需要 society, and indeed the artist needs to critically
US$ 24,500-33,600
批判的眼光檢視社會、權力及權力所造成的 examine society, power, and the wielding of
HK$ 188,000-259,000 影響。 that power.
王廣義這幅畫的主題是兩個文革時期人物的形象： Two revolutionary figures take center stage in

戴爾一位領導正在向下屬傳達思想體系，下屬將 the picture. A leader, passing on the ideology
2005 受命把這些信仰強加於人民，而領導在無處 to a follower who will be entrusted to impose
油彩畫布不在的宣傳畫中被描述成神一般的角色，兩 the beliefs on the general population is an
60 x 70 cm 位主角的表情都十分嚴肅，下屬接受了任務 almost godlike figure as he’s portrayed from
簽名畫背：2005 Wang Guangyi 王廣義後，兩人緊握的雙手顯示出正在進行的事情 a low perspective common to the ubiquitous
攸關重大，而的確如此。年輕人佩戴的清晰 propaganda posters. The seriousness in the
顯現的中國四人幫臂章標誌說明很明顯他是 faces of both protagonists, and their clasped
個紅衛兵。紅色背景也暗示著一切都屬共產 hands as the young follower receives his
主義，但同時也暗示著流血，在強加意識形 assignment suggests that they are dealing
態的進程中時有發生。 with a life or death matter, which indeed they
were. The Chinese characters for Gang of
戴爾的商標印在畫的左上角，黑色的背景 Four clearly displayed on the young man’s
和白色的字體和神秘的宣傳畫人物形成強烈 armband clearly indicating that he is a red
的對比。背景、人物／符號、以及傳達的訊 guard. The red background is both suggestive
息，一切都呈現著鮮明的對比。但它們的作 of all things communist, but also suggests spilt
用又是一致的，那就是它們都是各自意識形 blood, which is too often a part of enforced
態系統的傳達者。 ideologies.
The brand name Dell is stamped in the top

Juxtaposing images and icons from the left hand corner, it’s black background and
Cultural Revolution with major brand names white form almost in violent contrast to the
from Western Consumerism, Wang poses esoteric nature of the propaganda figures.
deep and ironic questions about the role of Everything is in sharp contrast, backgrounds,
symbols in our lives, and the power they have figures/symbols, and messages. But both sets
over us. The combination of the ideological of images share the same role, messengers of
power of Communist propaganda images and their respective ideological systems.
240
山石畫法是傳統山水畫中重要之門類，勾、 reined a set of writing symbols, depicting
皴、擦、染、點五個步驟，山石的形態、山 the traditional Chinese rocks in a profound
石的構造，決定了不同的表現手法，進而形 miracle. Following similar lifestyle of
成不同風格與流派。山水畫家長期觀察自然 ancient scholars, Zhou Chunya likes to spend
現象提煉出筆法符號，將中國山石圖像塑造 some time drinking tea, listening to zither,
得深邃曼妙。效法古代文人生活態度，周春 appreciating ancient rhyme, discussing art and
芽偶而也會花些時間飲茶、聽古箏、品古 life. Zhou Chunya has a desire to use merely a
韻，偕友探討藝術和人生。周春芽希望能以 few strokes to depict the complex life forcibly
一種「自然」的基本方法，僅用寥寥數筆， in a "natural" basic way.
在畫中將複雜的生活有力的表現出來。
Zhou Chunya came back from his further
1989年周春芽德國留學三年歸國，此後將中 education of 3 years in Germany in 1989.
國傳統的古典山水意象和西方繪畫技法融合 Afterward he began to combine the spirits
在一起，在1990年代創作出一系列具中國傳 of traditional Chinese landscape paintings
統內涵的作品。「山石」系列中，力度和筆 with western painting skills to create a series
法的處理，以及大膽用色，使畫增加異彩， of artworks featuring traditional Chinese
149 進而重新詮釋了傳統山水。面貌相異，色彩 connotations in the 1990s. His unique
ZHOU Chunya 和傳統大不相同，彷彿傳統山水上有一層增 application of force and painting skills,
(Chinese, b. 1955) 生物，暗示出模糊的天然本性。 combined with his bold application of colors
make his paintings stunningly unique in
Mountain Stones 周春芽筆下的色彩和形體，洋溢著他的情感 representing traditional landscape in a new
表達，無論是山還是水，乃至大千萬物，都 way. The big difference in presentation and
1994 在他的筆下揮灑自如，正是由於他融合古典 coloring seems to apply a tier of addition to
Oil on canvas 山水意象和西方繪畫技法，超越人文地理和 the traditional landscape, implying the obscure
60 x 50 cm 歷史文化的範疇，突破傳統山水畫的色彩表 matter of nature.
Signed lower right Zhou Chunya in Chinese 達，在德國表現主義的洗禮後，情緒熱烈得
and dated 1994 以進而擴展，帶人進入一種超自然的夢幻境 Under the influences of Germany
地。 Expressionism, Zhou Chunya expresses his
NT$ 850,000-1,000,000 feelings and emotions with colors and shapes.
US$ 26,000-30,600 Landscape and everything come out naturally
The brushwork for mountain rock is a very from his casual and elegant moves of hands.
HK$ 200,000-235,000
important category for Chinese traditional It is because he has combined the spirit of
landscape paintings. It has five approaches traditional Chinese landscape paintings with
周春芽 in respect to tick, crimple, rub, dye and dot. western painting skills to break through
山石 The form and the structure of mountain the limits of traditional representation of
1994 rock decide the expression of the painting colors, so as to extend the expression of
油彩畫布 methods, and in turn, different styles and strong emotions and bringing people into
60 x 50 cm genres are formed. The historical observation a supernatural dreamland that goes beyond
簽名右下：1994 周春芽 of natural phenomena by ancient painters has cultures and history.
242
150
HE Sen
(Chinese, b. 1968)
Smoking Series
2004
Oil on canvas
150 x 150 cm
Signed lower left HE SEN in English and
Chinese, dated 2004
NT$ 950,000-1,100,000
US$ 29,100-33,600
HK$ 224,000-259,000
何森
抽菸女子
2004
油彩畫布
150 x 150 cm
簽名右下：HE SEN 2004 何森
244
151
XU Bing 北島是中國知名當代詩人，祖籍浙江湖州， the combination of symbol and image, created
(Chinese, b. 1955) 1949年生於北京。著有詩集《太陽城劄 by his clear mind and intuition constitutes
記》、《北島詩選》、《北島顧城詩選》 the obvious artistic features of Bei Dao. His
New English Calligraphy - Poem 等。從1970年代開始創作以來，一直是中國 poems own unique artistic strength which
of Bei Dao (A pair) 當代詩歌先行者。清醒的思辨與直覺思維產 force people rethink their values. There are
生的隱喻、象徵意象相結合，是北島詩顯著 paradox epigrams with brief expressions inside
2008 的藝術特徵，具有高度概括力的悖論式警 his poems. His works have been translated
Ink on paper 句，造成了北島詩獨有的振聾發聵的藝術力 and published in more than 20 languages.
153.5 x 38 cm (x2) 量。北島的作品已被譯成二十多種文字出 "The Answer" in 1976 is his masterpiece and
Signed Xu Bing in English and dated 2008 版。代表作包括作於1976年的《回答》，其 “Debasement is the password of the base;
With two seals of the artist 中的「卑鄙是卑鄙者的通行證，高尚是高尚 nobility the epitaph of the noble.” has become
者的墓誌銘」已經成為中國新詩名句。在美 a renowned Chinese aphorism. In the USA, the
QUOTATION CONTENT: 國，其作品由Zephyr Press出版。曾多次獲 poem of Bei Dao were published by Zephyr
"The Answer" Poem of Bei Dao 諾貝爾文學獎提名。是當今影響最大，也最 Press. His works were nominated for the Nobel
Debasement is the password of the base 受國際承認的中國詩人。 Prize several times. He is the most influential
Chinese poet who is widely-accepted by the
Nobility the epitaph of the noble 作品《新英文書法—北島詩句》是著名藝術 international community.
Xu Bing Two thousand and eight 家徐冰為一項非營利文學活動所捐贈的作
品。內容取自中國當代著名詩人、數次獲諾 The work “New English Calligraphy - Poem of
貝爾文學獎提名的北島先生《回答》—詩的 Bei Dao” was donated by the famous artist Xu
NT$ 1,500,000-2,500,000
名句。這兩句詩在八十年代曾膾炙人口、傳 Bing for a nongovernmental literary activity.
US$ 45,900-76,500
誦一時，至今仍激勵著無數文學青年。聞名 The content was the well-known sentence
HK$ 353,000-588,000 世界的著名藝術家徐冰用獨創的新英文書法 from poem "The Answer" written by Bei Dao,
創作了這幅作品。新英文書法自問世以來， who has been nominated for the Nobel Prize
徐冰一直受到廣泛關注，世界各大博物館及重要 several times. These two sentences were in
新英文書法—北島詩句（一對）藏家爭相收藏。完美的藝術形式與深邃的詩 everyone’s mouth in the 1980s, and even now
2008 歌內涵，藝術界與文學界的兩位巨擘結合在 inspire many young people who are interested
水墨紙一起，將使這幅作品成為世人矚目之作。 in literature. The world-famous artist Xu Bing
153.5 x 38 cm (x2) used his specially created kind of calligraphy
簽名：XU BING 2008 to compose this picture. Since the release of
鈐印：XU Bei Dao is a modern poet in China. His the New English Calligraphy, it received much
鈐印：BING roots were in Huzhou, Zhejiang Province. public attention, many major museums around
Bei was born in Beijing. He has published the world and some important collectors
引文翻譯： the poetry anthologies: “Extracts of the Sun scrambled to have it in their own collection.
『回答』北島詩句 City”, “The Collection of poems of Bei Dao”, The perfect artistic form and the deep intention
卑鄙是卑鄙者的通行證 “The Collection of Poems of Bei Dao and Gu of the poems, the combination of the great
Cheng”. Since he began writing in the 1970s, masters from the artistic circle and the literary
高尚是高尚者的墓誌銘 Bei has always been the frontrunner in Chinese circle enable this composition to be an eye-
徐冰 2008 modern poetry. The metaphor, together with catching one.
246
152
ZHOU Chunya
(Chinese, b. 1955)
Heigen 1994年朋友送給畫家周春芽一條叫做「黑 some memories of when Heigen and he were

根」的德國牧羊犬，狗與人越熟悉，彼此 together, “When it was a little dog, it slept,
1995 彷佛都能心領神會，默契十足。周春芽記憶 walked and had meals together with me. He
Oil on canvas 與黑根相處的點滴︰「牠小時候與我同睡一 stayed by my side watching me when I painted.
72 x 60 cm 床，一起吃飯散步。我畫畫時，它在一旁注 So I would rather paint him that was near me
Signed lower right Zhou Chunya in Chinese and 視我。我想，與其畫那些距離遠的東西，還 than other things that were far away. So Heigen
dated 1995 不如畫身邊的事物。於是，黑根成為我畫中 became the leading actor of my paintings.” And
的主角。」黑根很快成為周春芽的模特兒， soon Heigen became a model for him and one
NT$ 2,500,000-3,600,000 是他最鍾愛的繪畫主題之一。 of his beloved painting subjects .
US$ 76,500-110,100
用黑色畫的黑根，更像是書寫畫家的一篇生 The black painting of Heigen was more like a
HK$ 588,000-847,000
活日記。黑根的稟性讓周春芽心情愉悅，幾 diary that showed the artist’s real life. Heigen’s
幅命名為《平頂上玩耍的黑根》、《跑動的 natural disposition made him very happy.
周春芽黑根》和《站立的黑根》等畫作，就表明畫 Paintings called Heigen Played on the Flat Top,
黑根家與愛犬的情感互動。1995年創作的《黑 Running Heigen, Standing Heigen and so on
1995 根》，油畫筆觸如書畫中枯枝山石的皴法， showed the emotional connections between the
油彩畫布承接了周春芽1990年代在山石與花卉題材 artist and his beloved dog. Heigen was painted
72 x 60 cm 的探索。散開的筆鋒皴擦、拖曳，交替著順 in 1995. The style of painting, which carried
簽名右下：1995 周春芽筆、逆鋒、側鋒，使整幅畫面生氣勃勃，呈 on from Zhou Chunya’s exploration of rock
現出藝術家心境上的回歸—輕鬆愉快，自然 and flower subjects in 1990s, was just like the
樸實的心路歷程。 textural stroke of wood and rocks in painting
and calligraphy. The scattered strokes are
dragging, wrinkling and rubbing, with brush
A friend sent Zhou Chunya a German shepherd in sequence inverse, and aside, and make the
dog named Heigen as a gift in 1994. The whole painting filled with energy. It shows a
more familiar it became with people, the more return of the artist’s mood—an easy and natural
understanding it had of people. It seemed that journey of the heart filled with pleasure and
they can understand each other even without simplicity.
saying anything at all. Zhou Chunya recalled
248
153
ZHOU Chunya
(Chinese, b. 1955)
Roses 周春芽十分喜歡植物和動物，因為他喜歡它 roses are a symbol of love. Zhou Chunya had

們的純潔。花卉物語有多種含義，桃花象徵 been seeking a more intimate and spontaneous
1994 著春天的到來，而玫瑰花的圖像則象徵著愛 relationship with nature in order to capture the
Oil on canvas 情的開始等等。周春芽一直在尋求與大自然 most essential forms and ways of expression,
100 x 80 cm 更加親密和自發的關係，以便能夠捕捉其最 so he uses a variety of natural substances,
Signed lower right Zhou Chunya in Chinese 為本質的形式和表現，於是利用各種自然物 and materializes them in a primitive or even
and dated 1996 語，將原始到甚至野蠻的性愛活力轉化為非 brutal way into very elegant and sophisticated
常高雅與複雜的外觀。在周春芽的筆下，新 forms. With his brushes, the new doctrine of
NT$ 2,800,000-3,800,000 表現主義的技法與中國傳統的筆墨意趣、繪 the technique, the charm of traditional Chinese
US$ 85,600-116,200 畫構成、畫面主題融合為一體，無不滲透著 paintings, the composition, and the theme, are
HK$ 659,000-894,000 獨特的抒情與浪漫。 all permeated with a unique romance.
這是畫於1994年的一件花卉作品，造型與色 In this painting of a flower in 1994, the style

周春芽
彩已被抽象化，色彩的堆疊、渲染、塗抹與 and color have been abstracted, the painting
紅玫瑰
色調交織的繪畫語言，畫面整體採用獨特的 language is embodied by the heaping and
1994 對角線式構圖，色彩明快，技法嫻熟。畫中 applying of colors with hues, and the picture
油彩畫布大朵大朵的盛開著的玫瑰花與枝幹糾纏一 takes a unique diagonal-type composition,
100 x 80 cm 起，景象在畫家筆下代表著性愛的本質。蘊 complete with bright colors and ripe techniques.
簽名右下：1996 周春芽含了畫家對生命的體驗和思索。 The large roses in full bloom and entangled
branches represent the nature of love and sex,
周春芽的藝術融合表現主義與中國傳統繪畫 bearing the artist's thoughts and understanding
於一體，他畫中的色彩和形體，乃至大千世 on life.
界都無區別地表達出藝術家的情感經驗。無
論是樹木花草，或動物、人物，都在作者揮 Z h o u ’s w o r k s a r e a c o m b i n a t i o n o f
灑自如的筆下呈現出輕鬆恣意而又若有所思 expressionism and traditional Chinese painting
的意境。 in one. The color and shape, and even the
boundless world are applied to convey the
artist's emotion and experience. The trees and
Zhou Chunya is very fond of plants and animals plants, animals, or characters under the author's
for their purity. There are many meanings brushes show the artist’s ease and artistic
conveyed by flowers, for example, peach pension.
flowers symbolize the arrival of spring, while
250
154
MAO Xuhui
(Chinese, b. 1956)
Inclined Scissors in Black and White
2007 1993 年，毛旭輝的身體狀況出現了一些危

Oil on canvas 機，在他生病期有很多藥罐、藥水、煙灰
180 x 250 cm 缸、藥片還有剪刀都放在桌子上，出於對線
Titled on the reverse Inclined Scissors in Black 條與形體的特殊敏感性，剪刀強烈地出現在
and White and signed Mao Xuhui in Chinese, 藝術家的視野中，最後成為藝術家表達自己
size 180 x 250 cm and dated 2007 情緒的真正出口。這正如藝術家自己的解
釋：「有時我也把剪刀作為一怪異的符號來
EXHIBITED: 使用，將它拼貼在各種現實生活的場景中，
Intimate Trend-Painting from Sichuan and 以表達我的某種憤怒和不安的情緒，通過這
Taiwan, Kuandu Museum of Fine Arts, Taipei 樣的階段之後，我現在畫剪刀已用不著去想
National University of the Arts, Taipei, July 4 - 權力的問題，我更加關注於剪刀的造型因素
Sep. 7, 2008 上，一把剪刀的造型會使人聯想到剪刀的功
能，其實現在我以為，重要的不是去談論它
ILLUSTRATED: （剪刀）要去剪掉一些什麼，而是這個造型
Intimate Trend-Painting from Sichuan and 的感覺—它的意義—形的意義—它作
Taiwan, Kuandu Museum of Fine Arts, Taipei 為造形而不是實際意義的那種效果。確切地
National University of the Arts, Taipei, 2008, 說，我畫的不是剪刀，而是一些剪刀的造
color illustrated, pp. 32-33 型。」 ( 摘自1998年〈關於「剪刀系列」的反省〉一文）
NT$ 2,700,000-3,600,000
US$ 82,600-110,100 Mao Xuhui was not well in 1993. During his
HK$ 635,000-847,000 illness, a lot of gallipots, potions, ashtrays, pills,
and scissors were put on the table. A special
sensitivity to the lines and shapes made the
毛旭輝 scissors burst into the artist's sight intensively
黑白剪刀—斜放 and finally became the real way out to express
2007 himself. As the artist explained, “Sometimes I
油彩畫布 also use scissors as a weird sign. I patch it into
180 x 250 cm scenes of real life to express some anger and
簽名畫背：《黑白剪刀．斜放》180 x 250 cm anxiety. After going through stages like this,
毛旭輝 2007 I no longer need to think about the questions
of power when painting scissors. I pay more
展覽： attention to the shaping factors. The design of a
「親潮─兩岸架上繪畫新流向」，國立台北 pair of scissors makes a functional association,
藝術大學關渡美術館，台北，展期2008年7 but now in my opinion, it is not important to
月4日至9月7日 talk about what the scissors cut, but the feelings
of the design--its meaning--meanings of the
圖錄： shape--Not the function but the shape effects.
《親潮─兩岸架上繪畫新流向》，國立台北 To be precise, I'm not painting scissors but
藝術大學關渡美術館，台北，2008，彩色圖 some designs of scissors.” ("Reflections about the
版，頁32-33 Scissors Series", 1998) .
252
155
YIN Zhaoyang
(Chinese, b. 1970)
Me 美國記者愛德格．斯諾的《紅星照耀中國》 an octagonal cap with red stars, and he is

一書中，〈毛澤東在陝北〉的影像照片可說 clearly in high spirits. This image of Mao has
2007 是一張傳世之作。它拍攝於1936年的保安。 been deeply ingrained in the hearts of several
Oil on canvas 當時43歲的毛澤東，頭戴紅星八角帽，神采 Chinese generations. Yin Zhaoyang, who was
180 x 150 cm 奕奕。因對於中國人民的某種特殊意義，毛 born in 1979, has also been deeply impressed.
Signed lower right Zhaoyang in Chinese and 的形象根植幾代中國人的心中。1970年出生
dated 2007 的尹朝陽也是如此。 Yin Zhaoyang has expressed his admiration
for Mao. That is why he puts Mao, red flags,
NT$ 3,200,000-4,200,000 尹朝陽曾經敘述過自己對毛的敬仰。所以在 Tiananmen and revolutionary images such
US$ 97,900-128,400 一系列的作品中，他用毛、紅旗、天安門等 as these into his artistic works, and uses a
HK$ 753,000-988,000 形象，將革命以浪漫主義方式理想地拼貼著 romantic way to match the revolution to his
自己人生歷程的熱情和夢想。但此時畫面是 own passions and dreams. When painting this
帶有渾濁的紅色，並不是鮮紅。它是藝術家 picture, Yin decided not to chose a bright color
尹朝陽
某種情緒的暈染—追憶著一位偉人，一個 but muddy red a shading which represents the
我偉大時代的失去。也很難說，不是藝術家對 mood of the artist at the time of painting--to
2007 自己風華正茂「黃金時代」的追憶。 reminisce about a great man, and the loss of a
油彩畫布 great generation. It is difficult to say if it is also
180 x 150 cm 仔細看，那堅定的眼神並不是來自毛，而 a reminiscence about the artist's own golden
簽名右下：朝陽 2007 是藝術家自己的臉龐。在與藝術評論家朱 age when he was in full bloom and vigor.
其的訪談中，尹朝陽笑著說，那代表了一種
參與。「我當時想只有以這樣一種態度才能 When studied carefully, you can see that the
表達我一種情緒，這也是當時埋了一個小小 unwavering eyes of the work are not Mao’s but
的伏筆，或者挖了一個陷阱一樣，猛一看是 the artist’s himself. During an interview with
毛，仔細去看的話，會發現是我。」（尹朝陽 art critic Zhu Qi, Yin Zhaoyang laughed and
訪談之二） said that it presented a kind of participation. “At
that time I thought that I could only express my
mood in this attitude and it was also a small
Among the illustrations of "Red Star Over foreshadowing making at that time. Or it is
China" by the American reporter Edgar Snow, like a trap: It looks like Mao at first sight, but
"Mao Zedong in Shanbei" is a picture that can if studied carefully, you will find it is me.” (The
live through the ages. It was shot in Yan'an in Second Interview of Yin Zhaoyang)
1936. Mao Zedong, 43 at the time, is wearing
254
156
FENG Zhengjie
(Chinese, b. 1968)
Chinese Portrait Series
2008 …Different from Gaudy and Pop art, while

Oil on canvas Feng Zhengjie employs ready-made images,
210 x 210 cm the antitype of these images is not important
Signed lower right FENG ZHENG JIE in at all. It is important that Feng Zhengjie
Chinese and English, dated 2008 has developed a form of image according to
contemporary visual experience. The works
NT$ 3,800,000-5,800,000 look like exaggerated photographs related
US$ 116,200-177,400 to fashion, but are imagined and constructed
artificially. During the period of creation, the
HK$ 894,000-1,365,000
artist abandons ethical judgment. If Gaudy
Art is spiritually centered on irony, then Feng
俸正傑 Zhengjie’s spiritual core is to develop a new
中國肖像系列 aesthetic interest and means of processing
2008 images by borrowing from commercial culture
油彩畫布 and popular culture, to achieve a new form
210 x 210 cm of contemporary commercial images through
簽名右下：俸正傑 FENG ZHENG JIE 2008 imitation.
- Excerpt from the essay “Transcending Meretriciousness”

和艷俗藝術以及波普藝術不一樣，雖然還是
by Pi Li, translated by Karen Smith, first published in the
使用現成圖像，但是這些圖像的原型已經不
catalogue “Feng Zhengjie” on the occasion of his solo
重要了。重要的是俸正傑已經發展出一種依
exhibition at Marella Gallery (November-December 2005).
據當代的視覺經驗建立起來的圖像方式。他
們看起來像那些誇張的照片構圖和造型，但
是卻是用人工的方式來想像和構造出來的。
在這些創作的過程中，藝術家放棄了道德判
斷。如果艷俗藝術以反諷維精神核心的，那
麼俸正傑的精神核心是通過借用商業文化和
大眾文化的方式發展出一種新的審美趣味和
圖像處理方式，通過模仿、仿造和改寫，揭
示出當代商業圖像的生產機制。
摘錄自皮力〈超越艷俗〉一文，《俸正傑》個展目錄，瑪
蕊樂畫廊，2005年11月至12日
256
157
WANG Guangyi 1990年代末，王廣義創作了「大批判」系 through juxtaposing these figures with some
(Chinese, b. 1957) 列。王廣義對於文化大革命宣傳招貼以及 of the world’s most recognizable brand names.
西方品牌中的肖像崇拜提出了質疑。以刻畫 The image we are left with is emblematic of
Great Criticism Series - Channel V 軍人、工人和農民的偶像形象，王廣義把這 China’s contemporary struggle, grappling with
些形象與一些世界最著名的品牌名稱並列排 its past while figuring out its future.
2002 放，啟發觀眾對消費文化的觀察。
Oil on canvas “Great Criticism Series – Channel V” is
120 x 150 cm 《大批判系列—Channel V》主要刻畫了大 dominated by a large group of young proletarian
Signed on the reverse Wang Guang Yi in 量的年輕無產階級學生、軍人、工人和農 students, soldiers, workers and peasants, the
Chinese and English, dated 2002 民，他們都是革命的英雄，穿著傳統的革命 heroes of the revolution. Dressed in traditional
裝束，充滿熱情地聚集在一起，揮舞著他們 revolutionary garb, they are massed together
NT$ 4,000,000-6,000,000 的小紅本書。他們在集會中狂熱地呼喊，而 enthusiastically waving their Little Red Books.
US$ 122,300-183,500 他們微笑和歡快的臉龐看上去完全無害。集 They are ecstatically shouting out at a rally,
會的發言人並不在台上，而Channel V的品 and their smiling, cheerful faces seem totally
HK$ 941,000-1,412,000
牌似乎是這群擁擠的人群的焦點。藝術家的 benign. The speaker at the rally is off stage,
批判似乎顯而易見：一個空虛而腐敗的體系 and the large V of the brand ‘Channel V’
王廣義極易被其他體系所取代。 seems to be the center of focus of the teeming
大批判系列─Channel V masses. The criticism seems to be implicit one
2002 王廣義的油畫採用了波普藝術的「平面風 corrupt and empty system is in danger of being
油彩畫布格」，採用相同的單色以獲得突出的效果。 replaced by another.
120 x 150 cm 紅色背景代表了共產主義，同時也暗示了血
簽名畫背：王廣義 2002年 Wang Guang Yi 和流血。畫中人物以尖銳的單色刻畫，身著 Wang paints in the ‘flat style’ of Pop Art, and
相同的帶有毛主席衣領和紅色勳章的黃色制 employs the same monochromatic colors
服。覆蓋著整個畫布的範本化、重複數位進 to great effect. The red background is both
一步暗示了同一性的概念及個性的缺失。 suggestive of all things communist as well as a
much deeper meaning of blood and blood spilt.
王廣義對於共產主義制度的評論是深沉而深 The figures are drawn in sharp monochromatic
刻的。在文化大革命中成長，王廣義切身地 outlines and they are all wearing the same
體會到無所不能的領袖所具有的權力和權 yellowish uniforms with Mao collars and red
威。人群臉上狂熱的表情將被他們對西方品 badges. The concept of uniformity and lack
牌的崇拜所取代。 of individuality is further enhanced by the
stenciled repeated numbers all over the canvas.
Wang created his “Great Criticism“ series in Wang’s critique of the legacy of the communist
the late 1990s. In the series, Wang is raising system is profound and deep. He grew up
questions about dominance and icon-worship, under the Cultural Revolution and knew at
both in Cultural Revolution propaganda posters first hand the power of an omnipotent ruler.
and Western Brands. Taking iconic images of The mass hysteria of that time as shown in the
soldiers, laborers and peasants, Wang provokes faces of the crowd is about to replaced by mass
us to look more closely at what we are seeing, adulation of Western brands.
258
158
WANG Guangyi
(Chinese, b. 1957)
Coca Cola (triptych)
2005
Oil on canvas
120 x 450 cm
Signed lower center Wang Guang Yi in
English and Chinese, dated 2005
NT$ 9,000,000-12,000,000
US$ 275,200-367,000
HK$ 2,118,000-2,824,000
王廣義
可口可樂（三聯幅）
2005
油彩畫布
120 x 450 cm
簽名中下：2005年 Wang Guang Yi
王廣義 2005年
260
王廣義1956年出生於黑龍江省的哈爾濱，在但是這些紅色從來都和血腥毫無關聯。在這深黑色的背景強調了宣傳海報中毫不妥協
文革中度過了他的成長歲月，對他的藝術之後，王廣義在帆布上創作了一個西方品牌的革命英雄人物形象。這幅作品中主要的
創作產生了深遠的影響。1976年文革結束，名稱，就是把來自於兩個不同系統的一些圖形象是一位年輕的革命女戰士，彎曲著膝
他開始接受教育，在1977年進入浙江美院，示融合在一起，提出了深刻的問題。權威人蓋，帶著步槍。這個姿勢看上去有點威脅的
1984年畢業。畢業時，他深受美國都會文化士們也很難反對這些倍受尊敬的形象。雖然意思，也很危險。她把槍瞄準了人群中的某
中波普藝術的影響，以平板風格及這一風格不很贊同這位當代藝術家具有諷刺意味的弦一個人，此刻，我們是否親眼見證了一場處
的單色調顏色為起點，王廣義的第一幅作品外之音，但卻無法否定這種藝術形式。決呢？兩邊的兩群人似乎都沉浸在各自的活
展現了普通人的日常生活。動裡，沒有人注意到可能將要發生的暴力事
繼「大批判系列」之後，王廣義想要回歸到件。這種對人物形象的曝光處理增加了整個
十年文革過後，1977年中國向世界敞開大他自己所說的那種「最初始的狀態」。他畫面的緊張氣氛。
門，當代藝術得以蓬勃發展。各種思想紛紛寫道：「從概念上來說，這個回歸原始表
由國外引入，曾經被迫為文革宣傳的藝術家現方式的過程對我來說，是回到最初意識形可口可樂的商標則用單色來描繪，並且是已
們，特別渴望創作及自由表達。他們熱切歡態的世界觀，它在我最初接受教育的時候就經褪色的感覺。這種灰藍色的色調顯得厚重
迎西方的前衛藝術，以此來表達個性，社會一直指導著我的思想，並且影響了之前我所而壓抑。灰藍色很諷刺地佔據了整幅作品，
關注內心世界和藝術家與社會關係。學到的一些對待問題的看法。事實上，也可它集中在中心的位置，從而延伸到下面的場
景。作為西方消費主義的象徵，商標似
1989年，當代藝術的時代似乎到來，前乎和下方那個危險的場面形成了鮮明的
衛藝術作品首次被批准在北京國家博物對比。
館展出。這是當時藝術界的盛事，對其
作品藝術性的認可。但是，災難接踵而在王廣義早期的「大批判」系列中，
至，在展會開幕式上，一位藝術家在現「可口可樂」失去了它暖暖的喜氣。這
場開槍。展覽隨即關閉。當權者開始公幅作品中，他似乎把更多精力地集中在
開敵視藝術家們，警告不再寬容任何批對真理和大自然的力量的檢閱。革命形
評，迫使藝術家轉入地下。藝術家社團象的圖示產生的視覺誘惑，以及無人不
走向破裂，思考並尋找新的方向。1989 知的西方商標（可口可樂），都無法掩
年6月，更惡劣的事件席捲了天安門。經蓋真實的大自然力量，及其腐敗與破壞
受打擊之後，整個社會趨於平靜。過去的能力。
十年的激情和能量遽然而止。如果要生
存，就要保持安靜！
Born in 1956, in Harbin, Heilongjiang
在此後的兩年裡，整個藝壇變得沉寂。 Province in 1956, Wang spent his formative
開放地探索當代社會、個人的人際關王廣義《路易威登》 years growing up under the Cultural
羅芙奧2009年春季拍賣會，編號088，88萬5000台幣成交
係，或是批判腐敗的官僚和社會體系， Revolution, an event which has had a
WANG Guangyi, Louis Vuitton
這樣的事情已經銷聲匿跡，因為這些行 profound influence on his art. Denied an
為會導致那些當權者的強烈反對。藝術 Ravenel Spring Auction 2009 Taipei, lot 088, US$ 27,064 sold education until the Cultural Revolution
家們耗費兩年時間來反思、反省，他們 had ended in 1976, he entered the Zhejiang
思考了怎樣表達他們內心最關注的東 Academy of Art in 1977, and he graduated
西，並且把權威者的憤怒透過他們的畫作表以這麼說，我現在做的所有工作都和『回歸 from there in 1984. After graduating Wang
現出來。漸漸地，藝壇在1990年代早期又逐原始』這個想法有關，將事物最大限度地簡 was immensely influenced by the ‘Pop Art’ of
步復甦。然而對於焦慮、憤怒、批判，還有化。以前，我從沒這樣想過，但現在跟隨著 urbane American Culture. Taking the ‘flat style’
對於腐敗體系的直接評論已經不見蹤影，取我自己成長發展的軌跡，我意識到這對於一 and monochromatic colors of this style as a
而代之的是調侃和諷刺。諷刺的「政治波個藝術家而言，是如此關鍵。」（《王廣義： starting point, Wang began to produce his first
普」和調侃的「玩世現實主義」應運而生。英雄主義的神話》漢雅軒，香港，2004年出版，頁5）可 works, studies of ordinary people in everyday
口可樂三聯畫便是王廣義在這段新時期的作 activities.
在這段時間，王廣義開始創作著名的「大批品。
判系列」，這個系列源自於他早期平面波普 As China opened its doors to the world in 1977
藝術作品。王廣義從「文化大革命」的社會自2004到2005年，這種大尺幅的三聯畫是王 after 10 years of the Cultural Revolution, the
主義藝術海報中選取元素，這些海報讚頌了廣義持續關注的事物的成熟表現，也是對於 contemporary art scene exploded. As ideas and
英雄們，還讚美了一些行為，它們出自一些權力的象徵和行使霸權主義的關注。最赤裸 concepts flowed in from abroad, artists who
理想化的形象：毛澤東主義、士兵、工人和裸的「可口可樂」形象飽含張力，它充滿了 had been starved of originality and freedom
農民。繪製圖像時，都採用單色背景，通常對於圖示真正意義的探索。 of expression, as they were forced to produce
使用紅色，以此暗示了它的共產主義成分， Propaganda art for the Cultural Revolution,
262
eagerly embraced avant-garde Western artistic At this time, Wang began to produce his and reducing things to their essentials. In the
styles as they sought ways to express their famous “Great Criticism Series”, which grew past, I never thought this way, but now I am
individuality, their social concerns, their inner out of his flat pop art earlier works. Wang following the trajectory of my own growth of
world and their relationship to society. borrowed iconic images from the socialist development, I realize that is very important for
art posters of the Cultural Revolution which an artist” [Wang Guangyi: The Legacy of Heroism, Hanart
In 1989, it seemed the coming of age for extolled the heroic nature and actions of the TZ Gallery, Hong Kong, 2004, p. 5]. The triptych Coca-
Contemporary art had arrived, when the first idealized figures of Maoism, soldiers, laborers Cola is a work from this new period.
exhibition of avant-garde works was allowed and peasants. He painted them against a
at the National Museum in Beijing. It was a monochromatic background usually red with From 2004/2005, this large-scale triptych
major moment in the lives of all living artists, all its communist overtones but even more is a mature expression of Wang’s major on-
the validation of their work as art. But disaster so its associations with blood. Wang then going concerns, the power of symbols and
was to strike. At the exhibition opening an blazoned a Western brand name across the the hegemony they wield. Stripped down to
installation artist fired live shots from a gun. canvas, thus juxtaposing iconic symbols of two bare essentials “Coca Cola” is a dramatic and
The exhibition was immediately closed down. very different systems, raising very profound tension filled exploration of the true meaning of
The authorities now became openly hostile to questions. The authorities could hardly symbols.
contemporary artists warning them
that criticism would not be tolerated, The dark black background
and forcing them underground. The highlights the starkly drawn, hard-
artistic community was devastated. lined figures of revolutionary heroes
They spent the next few months from the propaganda posters. The
trying to figure out what direction to work is dominated by a young
take. In June 1989, and even worse revolutionary female soldier bent
blow was to fall with Tiananmen on one knee, rifle aiming. The pose
Square. After the crackdown, the is sinister and menacing. Are we
whole of society became quiet. The witnessing an execution as she points
energy, passion and joie de vivre of her gun at one of the groups of
the previous decade ended abruptly. people? The two groups of people
If you were to survive, you needed to on either side seem to be lost in their
be quiet. respective activities unaware of the
violence that seems about to break
The art world became very silent forth. The depiction of the figures in
for the next two years. A realization 王廣義《大批判—VOLVO》 X-ray form adds to the sinister and
had descended that openly exploring
羅芙奧2005年秋季拍賣會，編號066，693萬台幣成交 tension laden scene.
WANG Guangyi, Great Criticism - VOLVO
contemporary society, individual 2004, oil on canvas, 200 x 300 cm
relationships with it, or criticizing The Coca Cola logo is likewise
Ravenel Autumn Auction 2005, lot 066, US$ 206,989 sold
corrupt authorities or the communist depicted in monochromatic washed
system would unleash a fierce out color. Its grayish-blue hue is
backlash from those in power. Artists spent object to its most revered images and artistic subdued and heavy. It ironically dominates the
the 2 years in introspection, reflection, and style being adopted by a contemporary artist entire work as it stands centre stage over the
contemplation of how to express their inner notwithstanding its ironic overtones. unfolding scene below. As a symbol of Western
most concerns with drawing down the wrath of Consumerism it seems to stand in stark contrast
the authorities. Slowly art began to reappear in After the Great Criticism series Wang wanted to the sinister scene being enacted below it.
the early 1990s. Gone was the open expression to return to what he calls “the original state
of anguish, anger, criticism, and direct of condition.” “Conceptually speaking, this “Coca Cola” has lost the warm playfulness of
commentary on a corrupt system. Instead, in process of returning to the original expression Wang’s earlier works in the “Great Criticism”
a society that doesn’t like open criticism, a has meant for me a return to the original series. In this work Wang seems to be much
Chinese answer was found. Instead open anger ideological worldview that guided my earliest more focused on examining the true meaning
and anguish were replaced by irony and humor. educational experience, and, by extension, to and nature of power. The visual seductiveness
‘Political Pop’, which took the road of irony the earliest views on the questions of form that of the iconic revolutionary figures and the
and ‘Cynical Realism’, which took the path of were imparted to me. In fact, it could be said ubiquitous Western logos should not hide from
humor were born. that all the work I am now doing is related us the true nature of power and its ability to
to this idea of going back to the original, corrupt and destroy.
159
YUE Minjun
(Chinese, b. 1962)
Contemporary Terracotta Warriors

Series No. 6
2005
45.7(L) x 61(W) x 287.7(H) cm
Engraved Yue Minjun in English, titled No. 6, 岳敏君於2000年開始發表「現代兵馬俑」 and idolatry by creating groups of figures with
dated 2005 and numbered 9/25 系列雕塑創作，靈感來自1974年被陝北農 uniform self-images, each with a laughing face
夫發現的秦陵巨大雕塑群。兵馬俑容貌乍看 and wide opened mouth.
EXHIBITED: 相同，細看各有變化，然而冷漠表情卻是一
Yue Minjun and the Symbolic Smile, Queens 致的，兵馬俑的出土是中國雕塑藝術一大發 Yue Minjun’s terracotta warrior sculptures
Museum of Art, New York, Oct. 14, 2007-Jan. 6, 現。岳敏君借用封建歷史的結束，探討集體 demonstrate a blend of historical implications
2008 與個體之平衡關係，以一組組完全相同張口 and the potency of the self-image. These figures
大笑的自我形象，顛覆新的英雄主義與偶像 are reminiscent of ideological aesthetics found
ILLUSTRATED: 崇拜。 in older Chinese art. Their exaggerated limbs
Melissa Chiu, Chinese Contemporary Art 7 and large heads give the sculptures a touch
Things You Should Know, AW Asia, New York, 岳敏君說道︰「它對應了秦始皇的兵馬俑， of modernity. These sculptures are made of
2008, color illustrated, p. 94 產生了對歷史的反諷和幽默。所有的雕塑形 bronze, and stand in an apex or circle formation.
象應用我一貫的作風以我自己為模特，表現 They represent a unified force, the power of
NT$ 4,000,000-5,000,000 自我成為偶像，通過的是不斷重複和大量生 the self-image, and the many contradictions
US$ 122,300-152,900 產，量的增加能夠產生質的飛躍。同時，能 that contemporary China faces as it continues
HK$ 941,000-1,176,000 噴發出巨大的能量。尤其是這些傻呼呼的沒 to develop in the twenty-first century. Yue
有頭腦的傻笑人，在視覺上具有很強的破 Minjun’s work portrays his own likeness; figures
壞力量，這些人同時也是容易被驅使和容 and faces leering, laughing and enjoying life.
岳敏君
易上當的人。但我並不是一個悲觀的人，我 Although Yue Minjun’s characters are always
現代兵馬俑系列之六
只是對生活採取一種無奈和放棄的態度。這 smiling, they also convey a sense of irony.
2005 些傻笑人有他們自身的問題，（這些問題是
銅雕 9/25 我的問題的放大），同時他們也是富有情感
45.7(長) x 61(寬) x 287.7(高) cm 的人，他們是活著的人，他們深深的感覺到
簽名雕刻：Yue Minjun No. 6 9/25 2005 了什麼，所以大笑不止。」（摘錄藝術家創作自
述）
展覽：
「岳敏君和他的符號化笑容」，皇后美術
館，紐約，展期自2007年10月14日至2008年 Yue Minjun started to create his “Contemporary
1月6日 Terracotta Warriors” sculpture series in 2000.
The series is inspired by the terracotta warrior
圖錄： sculptures, which evoke great wonder, which
招穎思，《中國當代藝術：你該知道的七 were discovered in the area of the Qin Tombs
件事》，AW A s i a，紐約，2008，彩色圖 in 1974 by a peasant from North Shaanxi. The
版，頁94 warriors all look the same at first glance, but
differences are apparent if they are observed
carefully. They share the same reserved
and aloof facial expressions. The Terracotta
Warriors were a great discovery in China’s
field of sculpture art. Yue Minjun explores the
balanced relationship between collective and
individual through the ending of the history of
feudal society. He overturns the new heroism
264
160
XIANG Jing
(Chinese, b. 1968)
End (A pair)
2002
Fiberglass, edition no. 1/6
65(L) x 55(W) x 165(H) cm
Signed Xiang Jing in Chinese, dated 2002 and
numbered 6-1 (1 of group)
Signed Xiang Jing in Chinese, dated 2002 and
numbered 6-1 (2 of group)
ILLUSTRATED：
Xiang Jing, Shanghai Bookstore Publishing
House, Shanghai, 2006, color illustrated, p. 55
This pair of sculptures is to be sold with a

certificate of authenticity issued by Asia Art
Center Co. Ltd, Taipei.
NT$ 2,600,000-3,800,000
US$ 79,500-116,200
HK$ 612,000-894,000
向京
盡頭（一對）
2002
玻璃纖維 1/6
65(長) x 55(寬) x 165(高) cm (x2)
簽名：向京 2002 6-1 (1 of group)
向京 2002 6-1 (2 of group)
圖錄：
《向京》，上海書店出版社，上海，2006，
彩色圖版，頁55
附亞洲藝術中心有限公司開立之作品保證書
266
161
LI Hui
(Chinese, b. 1977)
Buddhist Altar
2004
Acrylics, neon lamp, stainless steel, edition no. 5/8
180(L) x 38.5(W) x 45(H) cm
Signed Li Hui in Chinese and English,
numbered 5/8
NT$ 3,500,000-4,500,000
US$ 107,000-137,600
HK$ 824,000-1,059,000
李暉
佛龕
2004
壓克力霓虹燈不鏽鋼 5/8
180(長) x 38.5(寬) x 45(高) cm
簽名：李暉 Li Hui 5/8
268
162
LU Hsien-ming
Opportunities
Oil on canvas
61 x 73 cm
Signed on the reverse Lu Hsien-ming in
Chinese 陸先銘
先機
NT$ 120,000-260,000 油彩畫布
US$ 3,700-8,000 61 x 73 cm
HK$ 28,000-61,000 簽名畫背：陸先銘
270
163
Michell HWANG
(HWANG Ming-che) 黃銘哲
(Taiwanese, b. 1948) 女人
Woman 油彩畫布
65 x 52.5 cm
Oil on canvas NT$ 140,000-200,000 簽名右下：哲
65 x 52.5 cm US$ 4,300-6,100
Signed lower right Che in Chinese HK$ 33,000-47,000 附藝術家簽名原作保證書
164
YANG Din
(Chinese, b. 1958)
Lily Pond
1991-1992
Oil on canvas
92 x 90 cm
Signed lower right Yang in French and dated 91 楊登雄
Signed on the reverse Yang Din in French and 荷塘
dated 1992 II 1991-1992
油彩畫布
NT$ 140,000-260,000 92 x 90 cm
US$ 4,300-8,000 簽名右下：Yang 91
HK$ 33,000-61,000 簽名畫背：Yang Din 1992 II
272
165
LIN Wen-chiang
Worker
Oil on canvas
65 x 80 cm
Signed lower right Wen-chiang in Chinese 林文強
勞動者
NT$ 140,000-220,000 油彩畫布
US$ 4,300-6,700 65 x 80 cm
HK$ 33,000-52,000 簽名右下：文強
166
YANG Chihung
Looking into the Subconscious
1986
56.5 x 76 cm
Signed lower right C. Yang in English and 楊識宏
dated '86 潛意識之追索
1986
NT$ 120,000-220,000 綜合媒材畫布
US$ 3,700-6,700 56.5 x 76 cm
HK$ 28,000-52,000 簽名右下：C. Yang '86
274
167
YANG Din
(Chinese, b. 1958)
Poésie
2007
Oil on canvas
100 x 81 cm
Signed lower right Yang Din in French
Titled on the reverse Poésie in French, dated
2007 and size 100 x 81 cm
NT$ 260,000-350,000
US$ 8,000-10,700
HK$ 61,000-82,000
楊登雄
月光曲
2007
油彩畫布
100 x 81 cm
簽名右下：Yang Din
簽名畫背：Yang Din "Poésie" 2007 100 x 81 cm
168
HWANG Jyi
Player
1995-1999
Oil on canvas
130 x 130 cm
Signed upper left Jyi in Chinese and dated
1995-1999 黃楫
Titled on the reverse Player in Chinese, Huang 玩物者
Jyi in Chinese and dated 1995-1999 1995-1999
油彩畫布
NT$ 500,000-600,000 130 x 130 cm
US$ 15,300-18,300 簽名左上：楫 1995-1999
HK$ 118,000-141,000 簽名畫背：玩物者黃楫 1995-1999
276
169
Tzu-chi YEH
Taiwanese Dog
2002-2004
89 x 127 cm
Signed lower right Tzu-chi Yeh in Chinese and 葉子奇
dated 2002-'04 一隻台灣的狗
2002-2004
NT$ 550,000-750,000 卵彩油彩亞麻布
US$ 16,800-22,900 89 x 127 cm
HK$ 129,000-176,000 簽名右下：葉子奇 2002-'04
170
LEE Jaesun
(Korean, b. 1971)
Parade (I)
2007
Fire resistant material on canvas, adhesive,
coffee, ink, carbon stick
130 x 160 cm
Signed upper right Lee Jaesun in Korean and
dated 20070914 李在先
Signed on the reverse Parade (I) in Korean, 走（I）
dated 2007 and size 160 x 130 cm 2007
防火塗料白乳膠咖啡墨色炭精條畫布
NT$ 550,000-650,000 130 x 160 cm
US$ 16,800-19,900 簽名右上：20070914 이자선
HK$ 129,000-153,000 簽名畫背：가다(I) 2007年 160 x 130 cm
278
171
Ayako ROKKAKU
(Japanese, b. 1982)
Untitled
2008
Acrylic on canvas
101 x 153 cm
Signed lower right Ayako Rokkaku in Japanese 六角彩子
and dated 2008 無題
2008
NT$ 500,000-650,000 壓克力畫布
US$ 15,300-19,900 101 x 153 cm
HK$ 118,000-153,000 簽名右下：2008 ロッカクアヤコ
172
LIAO Yi-pai
(Chinese, b. 1971)
Unlimited Ideas, Humble Actions
2008
39(L) x 26(W) x 49(H) cm 廖一百
致虛極守靜篤
NT$ 220,000-280,000 2008
US$ 6,700-8,600 不鏽鋼 1/8
HK$ 52,000-66,000 39(長) x 26(寬) x 49(高) cm
280
173
LIU Fenghua & LIU Yong
(Chinese, b. 1956 & b. 1971)
New Terracotta Warrior
2009
Acrylic on ceramic (unique)
17(L) x 15(W) x 59(H) cm
Signed Liu FengHua, Liu Yong in English and
dated 2009 No. 2
NT$ 140,000-180,000
US$ 4,300-5,500
HK$ 33,000-42,000
劉楓華&劉勇
新兵馬俑
2009
壓克力陶器（單一件）
17(長) x 15(寬) x 59(高) cm
簽名：2009 No. 2 Liu FengHua, Liu Yong
174
JIANG Jianqiu
(Lao JIANG)
(Chinese, b. 1972)
Mr. Red - the End
2007
Toy Boy: 31(L) x 22(W) x 16(H) cm
Pillar: 35(L) x 35(W) x 180(H) cm
Signed Lao Jiang in Chinese and English, numbered
3/8 and dated 2007.9 (toy boy)
Signed Lao Jiang in Chinese, numbered 3/8 and
dated 2007.9 (pillar)
NT$ 260,000-350,000
US$ 8,000-10,700
HK$ 61,000-82,000
蔣建秋（老蔣）
紅先生─盡頭
2007
玻璃纖維 3/8
公仔：31(長) x 22(寬) x 16(高) cm
柱子：35(長) x 35(寬) x 180(高) cm
簽名：老蔣 Lao Jiang 3/8 2007.9 (公仔)
簽名：老蔣 3/8 2007. 9 (柱子)
282
175
ZHOU Chunya
(Chinese, b. 1955)
Shouting
2007
Bronze, edition no. 3/8
20(L) x 20(W) x 32(H) cm
Engraved ZHOU CHUNYA in English and
numbered 3/8
ILLUSTRATED:
Blooming Stories, Sichuan Fine Art Publishing Co.,
Chengdu, 2007, color illustrated, pp. 106-107
NT$ 450,000-550,000
US$ 13,800-16,800
HK$ 106,000-129,000
周春芽
吶喊的黑根
2007
銅雕 3/8
20(長) x 20(寬) x 32(高) cm
簽名雕刻：ZHOU CHUNYA No: 3/8
圖錄：
《花間記》，四川美術出版社，成都，
2007，彩色圖版，頁106-107
176
WANG Keping
(Chinese, b. 1949)
Untitled
Wooden sculpture
18(L) x 22(W) x 42(H) cm
Engraved bottom Wang in Chinese and K in
English
NT$ 650,000-850,000
US$ 19,900-26,000
HK$ 153,000-200,000
王克平
無題
木雕
18(長) x 22(寬) x 42(高) cm
簽名雕刻底部：王 K
…王克平挑戰所有風格概念—他的藝術取法
自然。他的藝術語彙在具象雕塑世界中仍然
神祕未知。我們不要忘記，蒙德里安曾在冬
日凝視樹枒時發現了幾何抽象。
…王克平聲明：「我在我的雕刻中尋找中國
古代原始藝術的源頭，我走的越遠，越接近
我的現代藝術觀念。」
至於我，我要聲明，王克平是極稀少數有能
力影響當代藝術演變的藝術家之一。
- 摘錄自巴黎麥約美術館策展人伯特朗．羅侃〈王克平復興
雕刻〉一文，《王克平》目錄
…Wang Keping steps outside of all notions of

style – his art is dictated by nature. His artistic
vocabulary is still unknown to the world of
figurative sculpture. Let us not forget that Mondrian
found geometric abstraction when contemplating
tree branches in winter.
…Wang Keping declares: “In my sculpture, I strive

to find that which is universally in primitive Chinese
form and the further I go to the origins of this art,
the close I am to my idea of contemporary art.”
As for me, I declare that Wang Keping is one of the

few artists with the capacity to change the evolution
of contemporary art.
- Excerpts from his essay for the “Wang Keping” catalogue;

Bertrand Lorquin, Curator of the Maillol Museum, Paris
284
177
JIAO Xingtao
(Chinese, b. 1970)
Double Mint

117(L) x 100(W) x 110(H) cm
Signed Jiao Xingtao in Chinese and numbered
2/6
NT$ 850,000-950,000
US$ 26,000-29,100
HK$ 200,000-224,000
焦興濤
綠箭
玻璃纖維 2/6
117(長) x 100(寬) x 110(高) cm
簽名：焦興濤 2/6
178
QU Guangci
(Chinese, b. 1969)
Pig Farmer
2006
55(L) x 55(W) x 52(H) cm
Signed on the base Guangci in Chinese, dated
2006 and numbered 7-3
NT$ 700,000-850,000
US$ 21,400-26,000
HK$ 165,000-200,000
瞿廣慈
牧豬人
2006
銅雕 3/7
55(長) x 55(寬) x 52(高) cm
簽名台座：廣慈 2006 7-3
286
179
Sui Jianguo
(Chinese, b. 1956)
Slave
2001
27(L) x 19(W) x 69.5(H) cm
Engraved Sui Jianguo in English
NT$ 850,000-950,000
US$ 26,000-29,100
HK$ 200,000-224,000
隋建國
奴隸
2001
銅雕 4/8
27(長) x 19(寬) x 69.5(高) cm
簽名雕刻：Sui Jianguo
180
Yuyu YANG
(YANG Ying-feng)
Return to the Beginning
1986
72(L) x 60(W) x 78(H) cm
Engraved on th base Yuyu Yang in Chinese
and English, Yang YF in English, dated '86 and
numbered 17/20

Taipei.
NT$ 550,000-750,000
US$ 16,800-22,900
HK$ 129,000-176,000
楊英風
回到太初
1986
不鏽鋼 17/20
72(長) x 60(寬) x 78(高) cm
簽名雕刻台座：'86 呦呦楊英風 Yuyu YANG
Yang YF, 17/20
288
181
Yuyu YANG
(YANG Ying-feng)
Evolution
1972
Bronze, edition no. 11/30
42(L) x 35(W) x 81.5(H) cm
Engraved lower reverse Ying-feng in Chinese,
dated '72, Taipei in Chinese, numbered 11/30
ILLUSTRATED:
Yuyu Yang's Collection Vol.1, Art venue
Publishing, Taipei, 2005, p. 232

Taipei.
NT$ 800,000-1,400,000
US$ 24,500-42,800
HK$ 188,000-329,000
楊英風
有容乃大
1972
青銅 11/30
42(長) x 35(寬) x 81.5(高) cm
簽名雕刻後側下方：英風 '72 台北 11/30
圖錄：
《楊英風全集》第一卷，藝術家出版社，
台北，2005年，頁232
290
182
KIM Byung Jin
(Korean, b. 1974)
Apple Drawing 2
Steel wire (unique)

30(L) x 30(W) x 38(H) cm
NT$ 80,000-120,000
US$ 2,400-3,700
HK$ 19,000-28,000
金炳真
繪蘋果之二
鐵金屬線（單一件）
30(長) x 30(寬) x 38(高) cm
292
183
Yayoi KUSAMA
(Japanese, b. 1929) 草間彌生
重複
Repetition B,T,Z 1996
壓克力畫布照片拼貼
1996 PROVENANCE: 23 x 16 cm
Acrylic on canvas, photo collage Moma Gallery, Fukuoka, Japan 簽名畫背：YAYOI KUSAMA 1996 レペテ
23 x 16 cm ション B,T,Z
Signed on the reverse YAYOI KUSAMA in NT$ 140,000-240,000
English, dated 1996 and titled Repetition in US$ 4,300-7,300 來源：
Japanese, and B,T,Z in English HK$ 33,000-56,000 日本福岡Moma畫廊
184
LEE Jaesun
(Korean, b. 1971)
Two Women with One Eye Closed
2007
Fire resistant material on canvas, adhesive,
coffee, ink, carbon stick
40 x 68.5 cm
Titled on the reverse Two Women with one Eye
Closed in Korean, size 68.5 x 40 cm, dated
2007.8.29 and signed Lee Jae Sun in English
NT$ 70,000-100,000
US$ 2,100-3,100
HK$ 16,000-24,000
李在先
閉一邊眼的兩個女人
2007
防火塗料白乳膠咖啡墨色炭精條畫布
40 x 68.5 cm
簽名畫背：한쪽눈올 감고 앗는 두여자
68.5 x 40 cm 2007年8月29日 Lee Jae Sun
185
LEE Hye-Rim
(Korean, b. 1963)
Candyland
Digital print, edition of 5

Diameter 70 cm
EXHIBITED：
Fictitious Reality: Asian Contemporary Image
Exhibition, Chen Ling Hui Contemporary Space,
Taipei, Aug. 29 - Oct. 11, 2009
NT$ 90,000-160,000
US$ 2,800-4,900
HK$ 21,000-38,000
李惠林
甜心地
數位輸出限量5件
70 x 70 cm (直徑)
展覽：
「虛擬真實：亞洲當代影像展」，陳綾蕙當
代空間，台北，展期2009年8月29日至10月
11日
294
186
Kwon Kyung Yup
(Korean, b. 1975)
LOVE
2008
Oil on canvas
97 x 162 cm 權慶燁
Signed on side Kwon Kyung Yup in Korean 愛
2008
NT$ 120,000-200,000 油彩畫布
US$ 3,700-6,100 97 x 162 cm
HK$ 28,000-47,000 簽名側邊：컨경엽
187
KIM Duck Yong
(Korean, b. 1961)
Grain - Peaches
2004
Mixed media on wood
35(L) x 83(W) x 4(D) cm 金德龍
With one seal of the artist 木紋系列—桃子
With one seal of the artist on the reverse 2004
綜合媒材木板
NT$ 140,000-220,000 35(長) x 83(寬) x 4(深) cm
US$ 4,300-6,700 鈐印左下：龍
HK$ 33,000-52,000 畫背鈐印：龍
296
188
Kwon Kyung Yup
(Korean, b. 1975)
Bloodshot
2008
Oil on canvas
161.5 x 130 cm
Signed on side Kwon Kyung Yup in Korean
NT$ 140,000-240,000
US$ 4,300-7,300
HK$ 33,000-56,000
權慶燁
紅眼睛
2008
油彩畫布
161.5 x 130 cm
簽名側邊：컨경엽
189
SHIN Young-Mi
(Korean, b. 1979)
Cactus
2006
Acrylic on panel
100 x 55 cm
EXHIBITED:
Another Home, Cais Gallery, Hong Kong,
April 27-June1, 2007

of authenticity issued by Cais Gallery, Hong
Kong.
NT$ 140,000-240,000
US$ 4,300-7,300
HK$ 33,000-56,000
申英美
仙人掌
2006
壓克力木板
100 x 55 cm
展覽：
「另一個家」，Cais畫廊，香港，展期2007
年4月27日至6月1日
附香港Cais Gallery開立之原作保證書
298
190
YANG Ren-ming
New Plants in the Water Pool
1993
Oil on canvas
80 x 100 cm
Signed lower right Yang Ren-ming in Chinese
Titled on the reverse New Plants in the Water 楊仁明
Pool in Chinese, dated 1993, size 100 x 80 cm, 水池中的新植物
media oil on canvas and signed Yang Ren-ming 1993
in Chinese 油彩畫布
80 x 100 cm
NT$ 350,000-450,000 簽名右下：楊仁明
US$ 10,700-13,800 簽名畫背：水池中的新植物 1993 100 x 80 cm
HK$ 82,000-106,000 油.布楊仁明
191
HUNG Tung-lu
(Taiwanese b. 1968)
Bounty Hunter No. 1
2002-2006
Type-C print, edition no. 5/8
94 x 125 cm
Signed bottom Hung Tung Lu in English, titled 洪東祿
Bounty hunter-1 in English, edition numbered 賞金獵人之一
5/8 and dated 2002-2006 2002-2006
數位輸出相紙 5/8
NT$ 140,000-220,000 94 x 125 cm
US$ 4,300-6,700 簽名下方：Bounty hunter-1 5/8 Hung Tung
HK$ 33,000-52,000 Lu 2002-2006
300
192
HWANG Hyun Seung
(Korean, b. 1980)
Sweet (2008 No. 20)
2008
Oil on canvas
145.5 x 112.1 cm
Signed on the reverse Hwang Hyun Seung in
Korean, titled Sweet in English, size 112.1 x 145.5 黃炫升
cm, media oil on canvas, dated 2008 No. 20 甜蜜 (2008 No. 20)
Signed Korea Hwang Hyun Seung in English 2008
油彩畫布
NT$ 240,000-350,000 145.5 x 112.1 cm
US$ 7,300-10,700 簽名畫背：Sweet 112.1 x 145.5 cm Oil on
HK$ 56,000-82,000 Canvas 2008 no. 20 Korea Hwang Hyun Seung
193
HWANG Jyi
A Man in Front of a Black and

White Portrait
1995-1996
Oil on canvas
130 x 162 cm
Signed lower right Jyi in Chinese and dated
1995-96 黃楫
Titled on the reverse A Man in Front of a Black 在黑白畫像前的男人
and White Portrait in Chinese, Hwang Jyi in 1995-1996
Chinese and dated 1995-96 油彩畫布
130 x 162 cm
NT$ 700,000-900,000 簽名右下：楫 1995-96
US$ 21,400-27,500 簽名畫背：在黑白畫像前的男人黃楫
HK$ 165,000-212,000 1995-96
302
194
LEE Woo Lim
(Korean, b. 1972)
Dream
2003
Oil on canvas
130 x 162 cm
Titled on the reverse Dream in Korean and 李佑林
Han character, dated 2003, LEE-WOO-LIM in 夢
Korean, English and Han character
2003
油彩畫布
NT$ 350,000-450,000 130 x 162 cm
US$ 10,700-13,800 簽名畫背：옹(夢) 2003 이우림 LEE-WOO-LIM
HK$ 82,000-106,000 李佑林
195
YOON Jongseok
(Korean, b. 1970)
Net Hanging Down the Concealed

Inside - Pattern of Dot
2008
Acrylic on canvas
97 x 162 cm
Signed on side Yoon Jongseok in English and 尹鍾錫
dated 2008 隱藏的垂網─點的圖案
2008
NT$ 450,000-650,000 壓克力畫布
US$ 13,800-19,900 97 x 162 cm
HK$ 106,000-153,000 簽名側邊：Yoon Jongseok 2008
304
196
KWON Ki Soo
(Korean, b. 1972)
Dongguri
2009
Acrylic on canvas
117 x 91 cm
Signed on the reverse KWON Ki-soo in Han
character and English, dated 2009
NT$ 450,000-550,000
US$ 13,800-16,800
HK$ 106,000-129,000
權奇秀
當咕尼
2009
壓克力畫布
117 x 91 cm
簽名畫背：權奇秀 KWON Ki-soo 2009
197
KWON Ki Soo
(Korean, b. 1972)
4 Seasons - Brown
2008
Acrylic on canvas
162 x 130 cm
characters and English, dated 2008

authenticity issued by Park Ryu Sook Gallery,
Seoul.
NT$ 600,000-800,000
US$ 18,300-24,500
HK$ 141,000-188,000
權奇秀
四季—棕
2008
壓克力畫布
162 x 130 cm
附首爾朴麗淑畫廊保證書
306
198
HUNG Tung-lu
(Taiwanese, Donglu HONG, b. 1968)
Pretty Solider: Sailor Moon

Lynn Minmay
Street Fighter: Chun Li
Evangelion: Ajanami Rei
1999
Type-C print, edition no. 6/8
121 x 96 cm x 4 (image)
128 x 102 cm x 4 (with frames)
EXHIBITED:
Close to Open, 48th Venice Biennale: The
Taiwan Pavillion Exhibition, Venice, 1999
The Darker Side of Playland - Childhood 洪東祿
Imagery from the Logan Collection, San 美少女戰士、林明美、春麗、凌波玲
Francisco Museum of Modern Art, San 1999
Francisco, 2000 數位輸出相紙 6/8
From Iconoclam to Neo-Iconolatry: Taiwan's 121 x 96 cm x 4 （影像）
Contemporary Art in the Post-Martial Law 128 x 102 cm x 4 （含框）
Era, Eslite Gallery, Taipei, June 2001; Chinese
Information and Culture Center, New York; 展覽：
Manhattanville College, New York, 2001 「意亂情迷—台灣藝術三線路」，第48屆威
Full Frontial: Contemporary Asian Artists 尼斯雙年展，威尼斯，1999
from the Logan Collection, Denver Museum, 「遊樂場的陰暗面—羅根夫婦收藏展」，舊
Denver, Colorado, 2003 金山現代美術館，舊金山，2000
Fiction@Love, Museum of Contemporary Art 「從反聖像到新聖像：後解嚴的台灣當代藝
Shanghai, Shanghai, 2006 術」，誠品畫廊，台北；紐約文化中心台北
畫廊，紐約；紐約州曼哈頓村學院，2001
ILLUSTRATED: 「正面全裸：羅根收藏之當代亞洲藝術家
Mei Dean-e etc., Lin Hsiao-yun & Wang 展」，丹佛美術館，丹佛，科羅拉多州，
Ping-hua ed., Flux and Imagines: Taiwanese 2003
Contemporary Art in 1990s, S-An Cultural 「虛擬@愛」，上海當代藝術館，上海，
Foundation & Ecus Culture Publishing, Taipei, 2006
2001, color illustrated, pp.126-128 & p. 162
Li Wei-jing, Portraits of Young Artists, Artist 圖錄：
Publishing, Taipei, 2002, color illustrated, 梅丁衍等著，林小雲、王品驊主編，《流變
pp. 32-34 與幻形：當代台灣藝術．穿越九○年代》，
Hsieh Tung-shan, Contemporary Art in 世安文教基金會、木馬文化，台北，2001，
Taiwan, Artist Publishing, Taipei, 2002, color 彩色圖版，頁126-128與頁162
illustrated, no. 132 & 133, pp. 131-132 李維菁，《程式不當藝世代18》，藝術家出
Fiction@Love, Museum of Contemporary Art, 版社，台北，2002，彩色圖版，頁32-34
Shanghai, 2006, color illustrated, pp. 15-16 謝東山主編，《1980-2000台灣當代藝
術》，藝術家出版社，台北，2002，彩色圖
NT$ 700,000-800,000 版，編號132、133，頁131-132
US$ 21,400-24,500 《虛擬＠愛》，上海當代藝術館，上海，
HK$ 165,000-188,000 2006，彩色圖版，頁15-16
308
199
J. C. KUO
(KUO Jen-chang)
Saint Taiwan - Floating
1997
Acrylic on canvas, wooden sculpture
170(L) x 95(W) x 7.5(D) cm
Signed bottom Kuo Jen-chang in Chinese, JC.
KUO in English and dated '97
NT$ 850,000-950,000
US$ 26,000-29,100
HK$ 200,000-224,000
郭振昌
聖台灣─飄然
1997
壓克力畫布木雕
170(長) x 95(寬) x 7.5(深) cm
簽名下方：郭振昌 '97 JC. KUO
310
200
KWON Ki Soo
(Korean, b. 1972)
Blow Off Day - Silver
2008
Acrylic on canvas
194 x 130 cm
characters and English, dated 2008
NT$ 650,000-950,000
US$ 19,900-29,100
HK$ 153,000-224,000
權奇秀
放天空─銀
2008
壓克力畫布
194 x 130 cm
312
201
Nam June Paik
(Korean-American, 1932-2006)
TV Rabbit
1999
Video installation 韓裔美國藝術家白南準被譽為「錄像藝術 and multi media arts; combining technology and
66(L) x 64(W) x 119(H) cm 之父」，他不僅是影像藝術、多媒體藝術 video art together. His impact on the visual art
Signed lower left PAIK in English and dated '99 的先驅，開創科技與藝術結合的先河，其 world can be compared to that of 20th century
影響力可與20世紀藝術家波依斯（J o s e p h artists such as Joseph Boyce, Marc Duchamps
NT$ 2,900,000-3,600,000 Boyce）、杜象（Marc Duchamps）、安迪 and Andy Warhol.
US$ 88,700-110,100 沃荷（Andy Warhol）齊名。
In the 1950’s, Nam June Paik was educated in
HK$ 682,000-847,000
白南準1950年代留學日本及德國，修習音樂 Japan and Germany in music and philosophy.
及哲學。在德國期間受到美國前衛音樂家約 D u r i n g h i s s t u d i e s i n G e r m a n y, h e w a s
白南準翰．凱吉（John Cage）的影響至深，啟發 influenced by the American avant-garde music
電視天線兔他往電子科技藝術之路發展。1963年白南準 composer John Cage, with whom he began his
1999 首度以黑白電視作為媒材，經過藝術改造完 path in the electronic arts. In 1963, he used
錄像裝置成首件電視裝置藝術。白南準是一位跨越文 black and white TV as a media to create his first
66(長) x 64(寬) x 119(高) cm 化的藝術家，兼容東西文化的特質，他出生 video installation. He is truly an international
簽名左下：PAIK '99 於韓國首爾，在日本接受古典音樂與哲學啟 artist, a mixture of Eastern and Western
蒙，後來又活躍於德國前衛藝術圈，定居於 cultures, born in Seoul, Korea, enlightened in
紐約後，往來於世界參與美術展覽。 classical music and philosophy in Japan, active
in German avant-garde art circles and finally
《電視天線兔》是一件電視錄像裝置，內容 settling down in New York. He travelled the
包括一台老式電視櫃，1990年代使用的LD world participating in many exhibitions.
彩色電視錄像，及象徵電視天線的兔子銅
雕。因岔開的造型如兔耳，所以電視天線的 “TV Rabbit” is a video installation. It is made
英文俗稱「TV Rabbit」，白南準在此將天 up of an old style TV cabinet, a 1990’s LD color
線化為實體的金屬兔，展現幽默感。富有歷 video recorder, and a sculpture of a rabbit that
史感的日常現成物，混雜傳統與現代、東方 represents TV antenna. As the antenna look like
與西方文化對比的聲光，化身為一件具有多 the ears of a rabbit, it is named “TV Rabbit”.
元人文涵養的多媒體藝術裝置。 Nam June Paik has animated the antenna as a
metallic rabbit, showing a humorous side to his
creation. The piece is a multi media installation
Nam June Paik, a Korean-born American artist, based on a historical object, while merging old
is known as “The Father of Video Art”. He and new cultures, and creating a contrast of East
played a very important role in leading the video and West.
314
202
LEE Lee Nam
(Korean, b. 1969)
Mini Digital 8 Fold Screen 2
2009
5 minutes video installation, painted plastic
with LED screens, edition no. 3/10
86(L) x 27(W) x 29(H) cm
This work is to be sold with a certificate of

NT$ 350,000-450,000
US$ 10,700-13,800
HK$ 82,000-106,000
李二男
迷你數位屏風之二
2009
五分鐘錄像裝置 3/10
86(長) x 27(寬) x 29(高) cm
附藝術家親筆簽名之原作保證書
316
203
YI Hwan-Kwon
(Korean, b. 1974)
Untitled
2001
Painted fiberglass, edition no. 2/3
14(L) x 14(W) x 70(H) cm
Signed lower reverse Yi Hwan-kwon in Korean,
dated 01 and numbered 2/3
NT$ 550,000-650,000
US$ 16,800-19,900
HK$ 129,000-153,000
李桓權
無題
2001
玻璃纖維著色 2/3
14(長) x 14(寬) x 70(高) cm
簽名後側下方：01 이한컨 2/3
204 金炳真
KIM Byung Jin 神秘的盛開
(Korean, b. 1974) 鐵金屬線（單一件）
200 x 200 cm
Mysterious Blossom
ILLUSTRATED：展覽：
Steel wire (unique) Drawing a Space Kim Byung-Jin, Ganna Art 「畫一個空間：金炳真」，仁寺藝術中心，
200 x 200 cm Gallery, Seoul, 2008, color illustrated, pp. 8-9 首爾，展期2008年2月27日至3月4日
EXHIBITED： NT$ 280,000-450,000 圖錄：

Drawing a Space Kim Byung-Jin, INSA Art Center, US$ 8,600-13,800 《畫一個空間：金炳真》，加那畫廊，首
Seoul, Feb. 27-Mar. 4, 2008 HK$ 66,000-106,000 爾，2008，彩色圖版，頁8-9
318
205
Madoka TAKAGI
(Japanese, b. 1983)
E-little 004
2008
Acrylic, clay, papier-mache (unique)
37(L) x 45(W) x 86(H) cm
Signed left sole Madoka in English

authenticity issued by Gallery Tsubaki, Tokyo.
NT$ 140,000-260,000
US$ 4,300-8,000
HK$ 33,000-61,000
高木まどか
小人偶
2008
壓克力黏土混凝紙漿（單一件）
37(長) x 45(寬) x 86(高) cm
簽名左腳鞋底：Madoka
附東京樁畫廊所開立之原作保證書
206 城田圭介
Keisuke SHIROTA 距離感 N0. 25
(Japanese, b. 1975) 2007
壓克力畫布彩色照片拼貼
EXHIBITED:
A Sense of Distance No. 25 80 x 117 cm
Fictitious Reality: Asian Contemporary Image 簽名畫背：A SENSE OF DISTANCE #25
2007 Exhibition, Chen Ling Hui Contemporary 2007 Shirota
Acrylic on canvas, color photograph, collage Space, Taipei, Aug. 29 - Oct. 11, 2009
80 x 117 cm 展覽：
Titled on the reverse A SENSE OF DISTANCE NT$ 90,000-180,000 「虛擬真實：亞洲當代影像展」，陳綾蕙當
#25 in English, dated 2007 and signed Shirota US$ 2,800-5,500 代空間，台北，展期2009年8月29日至10月
in English HK$ 21,000-42,000 11日
320
207
Ai KATO &
Aida MAKOTO
(Japanese, b. 1975 & 1965)
Ai-chan Bonsai (Pine) at Japanese-

style Restaurant
2008
Lambda print, edition no. 2/10
87 x 125 cm
Signed on the reverse Kato Ai in Japanese and 加藤愛 & 會田誠
English, Makoto Aida in Japanese and English, 小愛盆栽（中國燈籠草）日式餐廳
dated 2008 and numbered 2/10 2008
數位輸出 2/10
NT$ 120,000-180,000 87 x 125 cm
US$ 3,700-5,500 簽名畫背：加藤愛 Kato Ai
HK$ 28,000-42,000 會田誠 Makoto Aida 2008年 2/10
208
Ai KATO &
Aida MAKOTO
(Japanese, b. 1975 & 1965)
Ai-chan Bonsai (Pine) in the Garden
2008
Lambda print, edition no. 2/10
95 x 68 cm
Signed on the reverse Kato Ai in Japanese and 加藤愛 & 會田誠
English, Makoto Aida in Japanese and English, 小愛盆栽（松）庭園中
dated 2008 and numbered 2/10 2008
數位輸出 2/10
NT$ 120,000-180,000 95 x 68 cm
US$ 3,700-5,500 簽名畫背：加藤愛 Kato Ai
HK$ 28,000-42,000 會田誠 Makoto Aida 2008年 2/10
322
209
Natsuko KITAMURA
(Japanese, b. 1982)
Cat
2008
Acrylic on panel, wooden sculpture 北村奈津子
65 x 100 cm, size 6(L) x 14(W) x 9(H) cm (cat) 貓
2008
NT$ 160,000-280,000 壓克力木板木雕
US$ 4,900-8,600 畫作尺寸：65 x 100 cm
HK$ 38,000-66,000 小貓尺寸：6(長) x 14(寬) x 9(高) cm
210
Ai YAMAGUCHI
(Japanese, b. 1977)
Ganryuukotobuki
2000
Acrylic on oke tub
Diameter 21cm 山口藍
Thickness 7.5cm 丸龍壽
Signed bottom ai in English and dated 2000 2000
壓克力橡木盆
NT$ 160,000-240,000 直徑：21cm
US$ 4,900-7,300 厚度：7.5cm
HK$ 38,000-56,000 簽名盆底：ai 2000
324
211
Yayoi KUSAMA
(Japanese, b. 1929)
Pumpkin 草間彌生
This painting is to be sold with an art work 南瓜
1992 registration card issued by Yayoi Kusama 1992
Acrylic on canvas Studio, Tokyo. 壓克力畫布
16 x 23 cm 16 x 23 cm
Signed on the reverse YAYOI KUSAMA in NT$ 280,000-350,000 簽名畫背：YAYOI KUSAMA 1992 かぼちや
English, dated 1992 and titled Pumpkin in US$ 8,600-10,700
Japanese HK$ 66,000-82,000 附草間彌生工作室開立之作品登錄卡
212
Yoshitaka AMANO
(Japanese, b. 1952)
Candy Girl S12
2008
Automotive paint on aluminum panel
50 x 50 cm 天野喜孝
甜心女孩 S12
NT$ 350,000-550,000 2008
US$ 10,700-16,800 汽車漆鋁板
HK$ 82,000-129,000 50 x 50 cm
326
213
Hiroyuki MATSUURA
(Japanese, b. 1964)
松浦浩之
F'Language (Face it) 面對它
This painting is to be sold with a certificate of 2009
2009 authenticity issued by Tokyo Gallery, Tokyo. 壓克力畫布
35 x 35 cm NT$ 400,000-500,000 簽名畫背：Hiroyuki Matsuura 2009.3.28
Signed on the reverse Hiroyuki Matsuura in US$ 12,200-15,300
English and dated 2009.3.28 HK$ 94,000-118,000 附東京畫廊開立之原作保證書
214
Mayuka YAMAMOTO
(Japanese, b. 1964)
Egg
2006
Oil on canvas
130 x 97 cm
Titled on the reverse Egg in English, signed
Mayuka in English and dated 2006
EXHIBITED：
Mayuka Yamamoto Solo Exhibition, Gallery
Tsubaki, Tokyo, Nov. 6-Nov. 18, 2006
NT$ 550,000-750,000
US$ 16,800-22,900
HK$ 129,000-176,000
山本麻友香
蛋
2006
油彩畫布
130 x 97 cm
簽名畫背：Egg Mayuka 2006
展覽：
「山本麻友香展」，樁畫廊，東京，展期自
2006年11月6日至11月18日
328
215
Soju TAO
(Japanese, b. 1977)
Apples
2007
Mixed media on canvas, collage
198 x 149 cm
Signed on the reverse Soju Tao in English and 田尾創樹
dated 2007 蘋果
2007
NT$ 650,000-750,000 綜合媒材畫布拼貼
US$ 19,900-22,900 198 x 149 cm
HK$ 153,000-176,000 簽名畫背：2007 Soju Tao
216
Izumi KATO
(Japanese, b. 1969)
Moku (Silent Woman)
2001
Oil on canvas
145.5 x 89.4 cm
Titled on the reverse Moku in Japanese, dated 加藤泉
2001, size 145.5 x 89.4 cm (80M) and media 沉默的女子
Oil on canvas 2001
油彩畫布
NT$ 750,000-850,000 145.5 x 89.4 cm
US$ 22,900-26,000 簽名畫背：モク 2001 145.5 x 89.4 cm (80M)
HK$ 176,000-200,000 Oil on canvas
330
217
Mayuka YAMAMOTO
(Japanese, b. 1969) 山本麻友香
水池
Pool 2006
PROVENANCE：油彩畫布
2006 Gallery Tsubaki, Tokyo 162 x 162 cm
Oil on canvas 簽名畫背：Pool Mayuka 2006
162 x 162 cm NT$ 850,000-950,000
Titled on the reverse Pool in English, signed US$ 26,000-29,100 來源：
Mayuka in English and dated 2006 HK$ 200,000-224,000 椿畫廊，東京
218
Yoshitaka AMANO
(Japanese, b. 1952)
Gatchaman - June the Swan
Automotive paint on aluminum panel

140(L) x 100(W) x 10(D) cm
NT$ 700,000-1,100,000
US$ 21,400-33,600
HK$ 165,000-259,000
天野喜孝
科學小飛俠─珍珍
汽車漆鋁板
140(長) x 100(寬) x 10(深) cm
332
219
Hiroyuki MATSUURA
(Japanese, b. 1964)
Sleep Flying
2006
Acrylic on canvas
162 x 162 cm
Signed on the reverse Hiroyuki Matsuura in
English and dated 2006.10.6
EXHIBITED:
Ultra New Visions, Eslite Gallery, Taipei, Apr.
7-Apr. 29, 2007 松浦浩之原先擔任平面設計師，因一種「百 and a kind of metaphoric humor that makes
分之百按照自己想法」的欲望，而開始投入 people amused involuntarily. The dazzling and
ILLUSTRATED: 創作。卡通造型、平塗繽紛的色彩，帶有隱 diverse shine and variety of visual styles come
Ultra New Visions Hiroyuki Matsuura, Eslite 喻及令人莞爾的幽默是松浦浩之作品的獨特 from the aesthetics driven by the animation and
Corporation, Taipei, 2007, color illustrated, 風格。松浦浩之作品中繽紛炫目的光澤及變 cartoons of the new century.
pp. 18-19 幻多端的視覺造型，源自於動畫與漫畫所帶
2007 Hiroyuki Matsuura Catalogue, Tokyo 動的新世紀美學，他運用伴隨多數人成長的 He uses the New Aesthetics of Comics and
Gallery + Beijing Tokyo Art Projects, Tokyo, 「動漫新美學」，憑藉著平面設計師本具有 Animation which grow with most people, and
2007, color illustrated, p. 36 的技巧，將虛擬國度中的「角色」一一拉 the natural techniques of a graphic designer to
出，創造出既純粹又可愛的世界。 draw out “characters” in a fictitious kingdom
NT$ 1,600,000-2,400,000 one by one to create a pure and lovely world.
本作品松浦浩之的《夢境飛翔》曾於2007年
US$ 48,900-73,400
誠品畫廊「松浦浩之個展」中展出。松浦浩 This "Sleep Flying" of Matsuura was shown
HK$ 376,000-565,000
之說：「『他們』擁有著壓克力的肌膚，想 at the “Hiroyuki Matsuura Solo Exhibition” in
要和我們擁有同樣的生命」。松浦浩之以 Eslite Gallery in 2007. Matsuura said, “‘They’
松浦浩之「他們」這些角色為題，將故事性融入作品 have acrylic skin and want to live a life like us.”
夢境飛翔中，讓觀者欣賞作品時能有無限的想像空 Matsuura uses ‘they’ as the subject to blend
2006 間，更因觀者的想像，賦予畫中角色獨一無 the stories into the works, and make boundless
壓克力畫布二的生命。 imagination space for people looking at the
162 x 162 cm work. It is the imaginations of the watching
簽名畫背：Hiroyuki Matsuura 2006.10.6 松浦浩之認為這些角色是一種能超越語言的 people that give a one and only life to the
圖像，會隨著數位化時代的腳步而逐漸進 characters in the paintings.
展覽：化，進而成為世界性的存在。可以超越成人
「松浦浩之個展」，誠品畫廊，台北，展期與孩童、男人與女人、人類所構築的無形城 In Matsuura’s opinion, these characters are
2007年4月7日至4月29日牆，甚至可以代替世界的共通語言。 kinds of images that can surpass language.
They will make a gradual evolution following
圖錄： the steps of the digital times to be a worldwide
《超—新視野：松浦浩之》，誠品股份有限 Matsuura began as a graphic designer. He existence. They can surpass the dimmateriality
公司，台北，2007，彩色圖版，頁18-19 began his own creations from a desire to “do walls built by adults, children, men and women
《2007松浦浩之目錄》，東京畫廊+北京東 in his own way absolutely”. His special styles and all human beings. They can even replace
京藝術工程，東京，2007，彩色圖版，頁36 include cartoons, diverse flat-painting colors, the common language of the world.
334
220
John WAY 魏樂唐
(Chinese-American, b. 1921) 抽象
1996
ILLUSTRATED:
Abstract 油彩畫布
John Way, Shanghai Art Museum, Shanghai, 77 x 57 cm
1996 2001, color illustrated, p. 228 簽名右下：John Way 96
Oil on canvas
77 x 57 cm NT$ 220,000-350,000 圖錄：
Signed lower right John Way in English and US$ 6,700-10,700 《魏樂唐八十回顧》，上海美術館，上海，
dated 96 HK$ 52,000-82,000 2001，彩色圖版，頁228
336
221
CHIU Ya-tsai
Blue Youth
1989
Oil on canvas
133 x 77 cm
Signed lower left Chiu Ya-tsai in Chinese
and dated 89
NT$ 650,000-800,000
US$ 19,900-24,500
HK$ 153,000-188,000
邱亞才
藍色青年
1989
油彩畫布
133 x 77 cm
簽名左下：邱亞才 89
222
HUANG Gang
(Chinese, b. 1961)
Tribute Vase
2003
Mixed media on board
83.5 x 125 cm
Signed lower right Huang Gang in English and 黃鋼
Chinese, dated 2003 供養寶瓶
2003
NT$ 550,000-750,000 綜合媒材木板
US$ 16,800-22,900 83.5 x 125 cm
HK$ 129,000-176,000 簽名右下：Huang Gang 黃鋼 2003
338
223
SINGH Bhagat
(Indian, b. 1965)
巴哈哥特．西恩
Signed lower right on the reverse BHAGAT SINGH
Peacock with Red Lotus in English, titled Peacock With Red Lotus in
孔雀與紅蓮
2009
English, media oil and size 4 x 3 ft.
2009 壓克力畫布
122 x 92 cm NT$ 220,000-350,000 簽名右下：BHAGAT SINGH - 09
Signed lower right BHAGAT SINGH in English US$ 6,700-10,700 簽名畫背：BHAGAT SINGH PEACOCK
and dated 09 HK$ 52,000-82,000 WITH RED LOTUS OIL, 4 X 3 ft.
224
Deddy PAW
(Indonesian, b. 1963)
Weapon Series No. 4
2008
Oil on canvas
140 x 250 cm
Signed lower left PAW in English and dated
2008
Titled on the reverse WEAPON SERIES #4 in
English, dated 2008, media Oil on canvas and
size 140 x 250 cm
ILLUSTRATED:
Deddy Paw Say It With Apple, Art Seasons Pte
Ltd., 2009, color illustrated, p. 27
NT$ 200,000-300,000
US$ 6,100-9,200
HK$ 47,000-71,000
戴迪．鮑
武器系列之四
2008
油彩畫布
140 x 250 cm
簽名左下：PAW 2008
簽名畫背："WEAPON SERIES #4" 2008, Oil
on canvas 140 x 250 cm
圖錄：
《戴迪．鮑—以蘋果說出》，季節畫廊有限
公司，2009，彩色圖版，頁27
340
342
225
Budi KUSTARTO
(Indonesian, b. 1972)
Cinnamon Raisin and Ice Cream
2008
Oil on canvas
179.5 x 300 cm
Signed lower right BUDI KUSTARTO in English
and dated 2008
Signed on the reverse BUDI KUSTARTO in
English and dated 2008
NT$ 1,700,000-2,500,000
US$ 52,000-76,500
HK$ 400,000-588,000
布迪．庫斯塔托
肉桂葡萄冰淇淋
2008
油彩畫布
179.5 x 300 cm
簽名右下：BUDI KUSTARTO 2008
簽名畫背：BUDI KUSTARTO 2008
226
Chintan UPADHYAY
(Indian, b. 1972)
Flirting with Reality
2008 中我們失去了自己的文化傳統。《現實的挑 created babies have their skin covered in

Painted fiberglass, wood board (unique) 逗》體現了屋帕玳伊的所有焦慮。嬰兒臉上 traditional Indian miniature techniques and
58(L) x 60(W) x 102(H) cm 變形的表情告訴觀眾現實難以接受。眼睛上 iconography, questioning the originality and
方象徵魔鬼尖角的掛衣鉤，強化了略帶邪惡 identity not just of the traditional art but the
NT$ 1,200,000-1,800,000 情，暗示著嬰兒面對現實所受到的震撼和恐 cloned form of each baby. In the modern
US$ 36,700-55,000 慌。與其目睹事物的真實狀態，不如垂掛大 world a true or essential identity is impossible
HK$ 282,000-424,000 衣遮住雙眼。 to find, as we are increasingly alienated by
commoditization and commercialization, and
嬰兒試圖以一種更加愉快的狀態自我複製， we become detached, alienated and isolated.
清滕．屋帕玳伊
使整幅作品顯得詭異驚恐。在變形的複製
現實的挑逗中，嬰兒有了兩個多餘的頭和不對稱的四 One of the key concerns that Upadhyay
2008 肢，而身體則覆蓋在印度傳統縮微的狩獵場 comments on is cloning. Not just genetic
玻璃纖維著色木板（單一件）景中：攜帶著槍支劍戟的捕獵者們顯得龐大 engineering but also the fact that we are all
58(長) x 60(寬) x 102(高) cm 而邪惡，他們悄悄地接近並狩獵野豬和群 becoming clones as a result of globalization,
鴨。這幅作品暗示我們在日益功利和失去個 which is forcing us to lose our cultural
性的世界中業已淪為獵物，我們將經歷一切 traditions and identity as we bow before
清滕·屋帕玳伊出生於1972年，其藝術作扭曲與變形以重新製造或複製自我，而無法 the altar of commercialization and thus
品，深受印度鄉村傳統藝術及電腦生成技術看清這個殘酷及充滿狡詐的現實世界，在這 homogenization. “Flirting with Reality”
的影響，表達了生長於傳統社會但卻處在全樣的現實中，我們的個性或自我毫無價值。 embodies all of Upadhyay’s concerns as the
球化過程中的藝術家所面臨及思考的社會及我們將在現實的幻滅中試圖展現一張假裝快 contorted expression on the baby’s face tells us
文化問題。屋帕玳伊最初的夢想是成為一名樂的臉龐，卻不能正面現實生活中真實的疏 that reality is too difficult to accept or deal with.
科學家，但最終選擇成為了藝術家，因為對離與淡漠。 The slightly demonic expression, enhanced by
他來說，藝術可以探索現代生活的核心問 the coat hooks, which resemble devil’s horns,
題：身份的缺失、民族文化與外來文化的雜 on the eyes, tells us that the baby is shocked
交融合、基因工程、消費主義與商業化等 Chintan Upadhaya, born in 1972, creates and horrified when it tries to face reality. It’s
等。 artistic works that are influenced by the far better to hang coats over our perception
traditional art of rural India, the production than to see the true state of things.
「設計師嬰兒」是屋帕玳伊的第一個關鍵形 techniques of computers, and imbued with
象作品，塑造出一位理想化的小男嬰；屋帕 the social and cultural questions and concerns The figure appears both haunted and hunted
玳伊探索認同議題以及在越來越同質化的社 of the artist growing up in a traditional as it tries to clone itself in a more happy state.
會所出現的疏離感。屋帕玳伊出生於印度鄉 society but very much part of a globalized In a contorted cloning effort it produces two
村，然後在科技發達的現代社會中成長。他 world. Originally wanting to be a scientist, more heads and misaligned limbs as it tries
的作品反映了生活在充滿困惑及混亂的社會 Upadhyay instead chose to be an artist because to find a happy clone. The body is covered
中所面臨與經歷的衝突分歧。在「設計師嬰 he felt that art would allow him to examine in hunting scenes from the Indian miniature
兒」這幅作品中，屋帕玳伊刻畫了一群科技 key issues of modern life, loss of identity, tradition. The hunters with guns and spears
生成的嬰兒，他們的皮膚為傳統的印度縮微 cultural hybridization, genetic engineering, are large and sinister, as they stalk their prey
技術及圖像所覆蓋，對傳統藝術以及每個嬰 consumerism and commercialization. both boar and ducks. This work suggests that
兒的複製形式的原始性及身份提出質疑。在 we too are prey for an increasingly utilitarian
現代社會中已經難以找尋到真實或核心的身 He began his art with a key image the and depersonalized world and that we will go
份，因為我們已經在日益發達的商業化和商 "Designer Baby", an idealized male baby through any contortions to reinvent or clone
品化發展中變得疏離與陌生。 which allowed him explore issues of identity ourselves rather than see reality for what it
and alienation in an increasingly homogenized is a cruel and manipulative world that places
屋帕玳伊經常提出的一個主要問題是對於 world. Born in rural India, but raised in a no value on our individuality or self-identity.
「複製」的憂慮：不僅僅是基因工程技術本 modern technologically advanced society, We will in self-delusion try to present a happy
身，更重要的是我們每個人都在全球化發展 Upadhyay’s works reflect the dichotomy he face rather than confront the true alienation of
中失卻了個性，成為彼此的附製品，當我們 experiences in living in an apparently confusing modern life.
屈從於商業化和同質化的聖壇時，不知不覺 and mixed up world. His technologically
344
227
Gabriel BARREDO
(Philipino, b. 1957)
Swaying Tree of Life 1
2008
Rubber, fibergalss aluminum, metal with
electrical installation (unique)
63(L) x 65(W) x 230(H) cm
ILLUSTRATED:
Gabriel Barredo: Visions, Soka Art Center,
Taipei, 2008, color illustrated, pp. 41-42
NT$ 700,000-900,000
US$ 21,400-27,500
HK$ 165,000-212,000
蓋伯瑞．博瑞多
晃動的生命之樹 1
2008
橡膠玻璃纖維鋁金屬電動裝置（單一件）
63(長) x 65(寬) x 230(高) cm
圖錄：
《蓋伯瑞．博瑞多：幻像》，索卡藝術中心，
台北，2008，彩色圖版，頁41-42
346
Lots 003, 026, 169
Lots 002, 007, 009
Lot 001
LEE Ming-chung (Taiwanese, b. 1961) TAI Hoi Ying (Chinese-French, b. 1946) Tzu-chi YEH (Taiwanese, b. 1957)
Born in Taipei. he was studied in the Fine Arts Depart- Born in Guangdong and immigrated to Hong Kong in Born in Yuli, Hualien in 1957, Yeh held his undergradu-
ment of Chinese Culture University from 1981 to 1985. 1962. He went to France in the autumn of 1970 and was ate study at the National Taiwan Academy of Arts in
In 2006, he graduated from Taipei National University educated in Ecole Superieure des Arts Appliques for 2 1977 and graduated from the Fine Arts Department,
of the Arts, Graduate School of Fine Arts, MFA. From years. In 1975 he had the first individual exhibition and Chinese Culture University in 1981. He acquired his
1994-2005, his artworks,“The Ant with Diamond Eyes”, then was constantly invited to various other art shows. master’s degree from Fine Arts Graduate School, Brook-
“Please Stop Playing Tricks on Fool’s Day” and “An After 1990s when new art form keeps on changing and lyn, City University of New York, USA in 1989. His
Evening just after Raining”, were collected respectively confuses the idea and notion of beauty, Tai’s personal works were often seen in local and foreign personal and
by the Taipei Fine Arts Museum, DEOA and National insitence to people for its sincerity. joint exhibitions, including personal exhibitions held
Taiwan Museum of Fine Arts. Selected Group Exhibi- at the Taipei American Culture Center in 1987 and the
tions: “Hometowns and Flowing - Three Generations of Westbeth Gallery, NY in 1989. He attended the Asian
Taiwanese Art” (2004,USA); “Scylla and Charybdis in Youth Art Exhibition in Hong Kong in 1980 and was
Love: The Challenges Facing Contemporary Taiwanese invited by Alternative Museum to attend the Invitational
Artist” (2005, Taipei, Taichung, Korea); “Macro Vision, Joint Exhibition “The Day of Death” in 1989 and 1990.
Micro Analysis, Multiple Reflections-Contemporary Art
in Taiwan since 1987” (2006, Taichung); he has held
numerous solo exhibitions in Taiwan.
李民中 (台灣，1961年生) 戴海鷹 (華裔法籍，1946年生) 葉子奇 (台灣，1957年生)

生於台北。1981-1985年就讀中國文化大學美術系。廣東人，1962年移居香港，1970年秋天抵達法國，戴海 1957年生於花蓮玉里，1977年國立藝專肄業，1981年中
2006年畢業於台北藝術大學美術創作研究所碩士班。鷹在巴黎藝術學院修習了二年，並進入七七版畫工作國文化大學美術系西畫組畢業。1989年獲美國紐約市立
1994-2005，其作品《有鑽石眼睛的螞蟻》、《在魚仁室；1975年舉辦第一次個展，此後不斷獲邀參加各類展大學布魯克林藝術研究所碩士。作品多次參加國內外個
結請時停止胡鬧》和《一個下雨後的傍晚》分別被台出。1990年代後期當新的藝術形式不斷地改變，割裂著展及聯展。包括1987年於台北美國文化中心、1989年於
北市立美術館、帝門教育基金會和國立台灣美術館收人們對美的看法，戴海鷹的「堅持」自然流露了真誠的紐約衛斯貝斯畫廊個展。1980年參加香港舉行的亞洲青
藏。聯展：「原鄉與流轉─台灣三代美術」（2004，芳香。年畫展。1989及1990年均獲邀參加紐約替代美術館「死
美國）；「愛之維谷─台灣當代繪畫的迴旋曲式」亡之日」邀請展。
（2005，韓國）；「巨視．微觀．多重鏡反─台灣當代
藝術特展」（2006，台中）。並多次在台灣舉辦個人展
覽。
348
Lots 006, 011, 027, 163
Lots 004, 117, 120
Lot 005
Michell HWANG (HWUNG Ming-che)

CHANG Chih-cheng (Taiwanese, b. 1954) CHOI So-Young (Korean, b. 1980) (Taiwanese, b. 1948)
Born in Taipei, he graduated from the National Col- Born in Busan Korea, Choi graduated from Dong Eui Born in Taiwan. First solo exhibition, Taiwan Provincial
lege of Arts (now the National Taiwan University of University in Busan. Choi first earned recognition at the Museum: Pursued advance study in Europe and USA,
Arts) Western Painting Department. Enlightened by his Soho Exhibition of The Six Seers in Busan, 2000. Choi’s 1976 to 1980. Solo exhibition “The King’s Dream”,
mentor Li Shih-chiao, he studied under the guidance works have subsequently been exhibited at a range of National Taiwan Museum of Fine Arts, Taipei; “Night-
of professors Hung Jui-lin and Chen Ching-jung. After major local and international exhibitions, such as “City mare”, Taipei Fine Arts Museum, “Dignified Symbol”
graduation, Chang taught as an instructor; he also held and Art - Time and Space” in the Busan Metropolitan collected by the Museum, 1995. Established Hwang
numerous exhibitions, individually and jointly. He fully Art Museum in 2001; “True Landscape” in 2003, and Ming-che 3-D Art Workshop, 1996. “From Construction
translates human figures and still objects onto flat sur- “Traveling Art Museum” in 2004, in the National Mu- to Deconstruction and Back to Construction: Hwang
faces by using a limited number of colors and elements seum of Contemporary Art, Gwacheon Choi was also Ming-che Solo Exhibition”, Forum of Creativity in
to form bold yet delicate visual effects. selected in 2004 to participate in the International Art Art held by Kaoshiung Museum of Fine Arts, 1998.
Fair in San Francisco, the Art Chicago Fair in Chicago Hwang’s 3-D artwork collected by the Museum. Solo
and the Art Miami Basel Fair. Choi’s works have been Exhibition, “Shanghai-Taipei”, Shanghai Fine Arts Mu-
acquired by many local and international private collec- seum, “A Group of Women in East Taipei” collected by
tors and institutes. the Museum, 2001. “Construction of Belief,” Solo 3-D
Artwork Exhibition, Taipei Fine Arts Museum, Taipei,
2001. “The Multiform Nineties: Taiwan’s Art Branches
Out”, Taipei Fine Arts Museum, 2004. Arario Beijing,
2006, Solo Exhibition, National Art Museum of China,
Beijing; 798 Beijing Art Center, Beijing, 2007; “Flower
and Hammer”, Main Trend Gallery, Taipei; Commercial
spokesperson of Volkswagen Phaeton Series, designed
gifts for VW’s new car owners.
張志成 (台灣，1954年生) 崔素榮 (韓國，1980年生) 黃銘哲 (台灣，1948年生)

台灣台北人。1978年畢業於國立藝專美術科西畫組，曾生於韓國釜山。畢業於釜山的東義大學。崔素榮於2000 1948年生於台灣，1976年至1980年首度油畫個展於台灣
受李石樵老師啟蒙，藝專期間，受洪瑞麟，陳景容教授年起於釜山的「六位先知者」展覽中，作品展現過人的省立博物館，同年遊學於歐美。1992年應邀於國立美術
指導，畢業後曾任教職工作，曾多次於國內舉行聯展與才華，深獲肯定。接著陸續受邀於國際以及國內的重要館舉行個展—「國王的夢」，並典藏作品。1995年台北
個展。作品風格多以人體與靜物為其表現特色，喜以限展覽中展出作品，如：2001年「城市、藝術與空間」於市立美術館個展—「夢魘」，並典藏作品《尊嚴的符
量的造型元素與色像，在平面上展現出豐厚紮實卻細緻釜山城美術館；2003年「真實的風景畫」與2004年「旅號》。1996年成立「黃銘哲立體作品工作室」。1998年
的色彩效果。行的美術館」於韓國國立當代美術館中展出。另外在高雄市立美術館「創作論壇」—「從結構、解構、再結
2004年間，進而在舊金山國際藝術博覽會，芝加哥藝術構的黃銘哲」個展，並典藏立體作品。2001年上海美術
博覽會及巴塞爾邁阿密藝術博覽會展出。崔素榮的作品館新館，「上海—台北風華再現」個展，並典藏作品
廣為國際私人藏家及機構所典藏。《東區的一群女人》；台北市立美術館，「信仰的打
造」黃銘哲立體作品個展。2004年「立異—九○年代台
灣美術發展」台北市立美術館。2006年本位．面對，第
一接觸在北京，李錫奇 VS 黃銘哲；「超驗的中國」阿
拉里奧開幕聯展，阿拉里奧北京藝術空間。2007年北京
中國美術館個展；北京798亞洲藝術中心個展。2008年
黃銘哲個展《花與鐵鎚》台北大趨勢畫廊；為福斯汽車
旗艦車款Phaeton廣告代言；並為福斯汽車打造藝術品作
為其交車禮。
349
Lots 008, 092, 094 Lot 010
Lots 012, 021, 067, 135, 221
SU Wong-shen (SU Wang-shen)

LIEN Chien-hsing (Taiwanese, b. 1962) (Taiwanese, b. 1956) CHIU Ya-tsai (Taiwanese, b. 1949)
Born in 1962 in Keelung, Taiwan. He graduated from Born in Chiayi, Taiwan. Su Wong-shen currently works Chiu was born in 1949 in Yi-lan on the east coast of
the Western Painting Section of the Art Department of and lives in Kaohsiung. He graduated from the Fine Arts Taiwan. A loner and an underachiever in school, he
the Chinese Culture University, Taiwan. In 1984, he was Department of Chinese Culture University. Su's first began his mandatory military service and at the same
selected for the first annual Republic of China Modern solo exhibition was held in the American Culture Center time began to read. Beginning with Chinese history and
Painting Outlook Exhibition. In 1987, he joined the in Taipei. He held another solo exhibition in the Taipei progressing to the classics of Western literature in trans-
group exhibition of the award-winners of the Shiy De- Fine Arts Museum in 1988 and continued to exhibit ex- lation for example the masterpieces of Shakespeare and
jinn Award. In 1989, he joined a largescale exhibition of tensively thereafter in both solo and group exhibitions. Dostevsky, he was inspired by tales of heroes and began
the Taipei Painting Association organized by the Taipei Su's early work in the 1980s was abstract and it was to write and paint. Chiu's portraits of Taiwan's modern-
Fine Arts Museum. In 1992, he became the representa- only in the 1990s that he moved to more realist work. day literati are greatly influenced by the figure painting
tive artist of Cherng Piin Gallery (Eslite Gallery). Lien Most of his recent work uses dogs as a metaphor for so- of the Tang dynasty (618-906 AD) seen in the hooked
Chien-hsing first came to prominence in the 80s with his cial criticism. His work is found in the public collections noses and almond-shaped eyes. Elegant androgynous-
superb Realistic technique. In the 90s, using different of the Taipei Fine Arts Museum and the National Taiwan looking men and women with elongated, oval faces are
pictures, he has created Realistic works recalling images Museum of Fine Arts. shown seated or standing in partial profile. The subjects
from his childhood, heavy with personal coloring. His appear to be lonely, even melancholic, but controlled
works subtly reveal a feeling of pessimism, combined and self-possessed. In the 1980s, Chiu persevered with
with a subconscious, mysterious shadow to become a his literary and artistic works in a well-known cultural
unique kind of "magical realism". salon “Wisteria” in Taipei. His paintings have been
widely exhibited in Spring Gallery (Taipei), the National
Museum of History and the Taiwan Museum of Art.
連建興 (台灣，1962年生) 蘇旺伸 (台灣，1956年生) 邱亞才 (台灣，1949年生)

台灣基隆人。中國文化大學美術系西畫組畢業。1984年台灣嘉義人，目前居住於高雄。1979年畢業於文化大學 1949年生於宜蘭縣，非學院派畫家，自幼對正規學業不
獲得第一屆中華民國現代繪畫新展望入選。1987年席德美術系。1985年首次個展於美國文化中心，1988年台北感興趣，退伍後才開展對文字藝術的追求，以及對人性
進繪畫大獎得獎畫家聯展。1989年參加台北市立美術館市立美術館個展，歷年舉辦多次個展及聯展。其作品從的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基等
舉辦之台北畫派大展。1992年起為誠品畫廊代理畫家。早期切割畫面的構成，至近期以「狗」為隱喻手法，表大師巨著的閱讀經驗，豐富其往後繪畫中的人物深度。
連建興在1980年代以超寫實技巧嶄露頭角，1990年代藉現當今社會現象。收藏機構：台北市立美術館、國立台邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗
不同的既成圖像，並置合成出屬於他個人童年生活記憶灣美術館等。深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，
幻景的寫實作品，個人色彩濃厚。他的作品畫面中隱隱雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈靜。
自然滲出的思愁，融合著潛意識的神秘陰影，反省轉化 1980年代他經常於台北知名文化沙龍「紫藤廬」一隅創
成獨具一格的「魔幻寫實主義」。作，以成無數畫作及小說。作品曾於台北春之藝廊、歷
史博物館及省立美術館等處展出。以肖像畫著稱，藉由
畫筆直嘆身埋人類理性面具下的卑微、傲慢、頹廢與脆
弱，細膩優雅中洋溢著文人感懷落寞的頹靡氛圍。
350
Lot 015
Lots 013, 109 Lot 014
Alixe FU (Taiwanese, b. 1961) JENG Jun-dian (Taiwanese, b. 1963) CHEN Shuxia (Chinese, b. 1963)
Born in Yunlin, Taiwan in 1961, he graduated from the Born in Kimen, graduated from National Institute of Born in Zhejiang Province, Chen was graduated from
Chinese Culture University in Taipei. Since his first in- the Arts (the former Taipei National University of the the Central Academy of Fine Arts in 1987, currently is
dividual exhibition in 1983 in Taipei, he has had many Arts). Important solo exhibitions include: “Jeng Jundian the associate professor of art education department of
individual shows in Taiwan, France, Japan and New Works 2004-2008” (2008, Eslite Gallery, Taipei), “The Central Academy of Fine Arts. She had won the silver
York. He has been living and working in France since Body and the Nature” (2004, Marlborough Gallery, New award in the China Annual Oil Painting exhibition and
1987. In 1991, he was given a studio in Auvers-sur- York), “City and Scenery”, (2005, Marlborough Gallery, 3rd place in the 9th national art exhibition; her works
Oise by the French Ministry of Culture. His solo exhi- New York). are collected by National Art Museum of China, Hong
bitions include: 2002, “Vegetable Man, Animal Man I”, Kong University Museum and Art Gallery, Shenzhen
Miyabi Gallery, Nagoya (Japan); 2003, “XVI Nagoya Art Museum, Tianjin Teda Museum of Fine Arts and
Contemporary Art Fair”, Gallery Miyabi, Nagoya, Ja- International Yi Yuan Art Museum. She started to held
pan; 2004, “Vegetable Man, Animal Man III” in Blois exhibitions nationally and internationally since 1991 and
Chateau and Museum, Blois, France. received great feedbacks, this year, she had The Virtual
and the Actual: Chen Shuxia Oil Paintings Exhibition in
Shanghai Art Museum and in the National Art Museum
of China in Beijing, she also participated in the “magery
of Mt. Wuyi: the Debut Interactive Creation of Chinese
vis-à-vis German Artists on International Tours”.
傅慶豊 (台灣，1961年生) 鄭君殿 (台灣，1963年生) 陳淑霞 (中國，1963年生)

1961年出生台灣雲林，畢業於中國文化大學美術系。 1963年生於金門，1987年畢業於國立藝術學院（現國立生於中國浙江省，1987年畢業於中央美術學院，現任北
1983年在台北首次個人畫展，隨後在巴黎、紐約、北台北藝術大學）。重要個展包括：「鄭君殿作品2004- 京藝術設計學院副教授，曾獲中國油畫年展銀獎及第九
京、法國、日本、台灣等地個展。1987年以藝術家身份 2008」（2008年誠品畫廊，台北）、「身體與自然」屆全國美展銅獎，在中國美術館、香港大學美術館、深
旅居法國， 1991年獲法國巴黎西北郊三十公里梵谷村國個展（2004年瑪博洛畫廊，紐約）、「城市與風景」圳美術館、天津泰達美術館及國際藝苑美術館均有其畫
家永久畫室。傅慶豊曾舉辦過的個人展覽包括：2002 （2005年瑪博洛畫廊，紐約）。作收藏。1991年起即陸續於國內、外舉辦展覽，屢獲好
年「植物人、動物人I」，美雅畫廊，名古屋，日本；評，今年除了在上海美術館、北京中國美術館舉辦虛實
2003年「X V I屆名古屋當代藝術博覽會個展」美雅畫兩境－陳淑霞油畫展，也參加中、德國舉辦「意象武夷
廊，日本； 2004年「植物人、動物人III」布洛斯古堡美－中德兩國藝術家首次面對面互動創作」國際巡迴展。
術館，布洛斯市，法國。
351
Lots 017, 090 Lots 018, 033, 046, 069, 095
Lot 016
CHENG Tsai-tung JAN Chin-shui Walasse TING

(Taiwanese, b. 1953) (Taiwanese, b. 1953) (Chinese-American, b. 1929)
Born in Taipei, and graduated from the World College Born in Miao-li, Taiwan. Jan Chin-shui graduated Born in Wuxi, Jiangsu, China, but raised in Shanghai
of Journalism and Communications in Taipei. Active in from the Fine Arts Department of the National Taiwan where, by his own account, he first began painting
the Taiwan art world during the 1980’s and the 1990’s, Academy of Arts. He was awarded first prize in the 11th on sidewalks. Ting ever enrolled Shanghai Fine Arts
he created gloomy and reminiscent oil paintings. He National Fine Arts Exhibition in 1987 and the Golden School. He moved to Hong Kong in 1946. Then he
held many exhibitions in Taiwan and abroad at places Literature & Art Prize from the Ministry of Education moved to Paris in 1952 where he formed close relation-
like the American Cultural Center, Taipei Fine Arts in 1989. Jan participated in an important exhibition of ships with members of the CoBra group. In 1960, he
Museum, National Museum of History and received the Chinese contemporary art in Shanghai in 1997. He has immigrated to New York, where he became involved
Hsiung-Shih Award for Creativity in 1992. After the turn published four exhibition catalogues and his works can with Pop artists. Ting published a book of his poems
of the century, Cheng Tsai-tung relocated his studio to be found in the public collection of the Taipei National entitled One Cent Life illustrated with original litho-
Shanghai to view the sights of Jiangnan and to capture Taiwan University of the Arts (today’s Taipei University graphs by numerous American and European artists.
their eternal beauty on canvas, and in turn became the of the Arts). He became American citizen in 1974. In 1977, he was
first Taiwanese artist to formally develop his career in awarded a fellowship from the John Simon Guggenheim
Shanghai. 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 Gug-
genheim Museum of Arts.
鄭在東 (台灣，1953年生) 詹金水 (台灣，1953年生) 丁雄泉 (華裔美籍，1929年生)

台灣台北人。台北世界新聞專科學校畢業，活躍於二十台灣苗栗人。專業畫家，擅長油畫。1986年國立藝專美江蘇無錫人。成長背景在上海，自食其力，在街頭作
世紀80、90年代的台灣藝壇，以惆悵的傷逝與懷舊的文術科畢業。1987年曾獲第十一屆全國油畫展金牌獎，畫。曾入上海美術專科學校學習，1946年遷居香港。
人油畫，創作一系列膾炙人口的作品。1980年多次在海 1989年獲教育部文藝創作獎油畫金牌獎。1997年參加上 1952年前往巴黎，期間和眼鏡蛇畫派成員結為好友。
內外舉辦個展及聯展：包括美國文化中心、台北市立美海舉辦之中國當代藝術大展。出版有四本個人畫集。作 1960年移居紐約，發展出新畫風，成為美國普普藝術家
術館、歷史博物館等。1992年榮獲雄獅美術創作獎。新品收藏機構有國立藝術學院（今國立台北藝術大學）。一員。出版一本名為《一分人生》的詩集，內容並包括
世紀之後，他將工作室遷往上海，親臨記憶中的江南，了多位美國及歐洲藝術家的版畫原作。1977年獲得古根
繪寫亙古的千山萬水，成為台灣藝術家正式轉往上海發漢紀念基金會的獎助學金，並出版了一本以女性為題材
展的第一位。的情色素描與繪畫書籍，名為《紅唇》。丁雄泉的展覽
遍及世界各地，同時亦出版許多著作與畫冊。2001年起
定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物
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。
352
Lot 022
Lots 019, 162
Lot 020
HAN Hsiang-ning
LU Hsien-ming (Taiwanese, b. 1959) YANG Mao-lin (Taiwanese, b. 1953) (Chinese-American, b. 1939)
Born in Taipei in 1959, he graduated from the fine art Yang was the first director and a founding member Born in Chongqing, 1939. In 1960, Han Hsiang-ning
department of the Chinese Culture University in Taipei. of the Taipei School, in 1991 he won the first Art graduated from the Art Department of National Taiwan
His solo exhibitions include: “Blue Tremble” in Chiaug Creation Award of Hsiung Shih Fine Arts; his works Normal University and joined the Fifth Moon Group. In
Ren Gallery, Taipei, 1985; “City Aesthetics” in Taiwan have been shown in numerous exhibitions, includ- 1961, he was selected for the Biennale International of
Art Gallery, Taipei, 1993; “Bold Design” in Impressions ing his first solo exhibition at the Taipei Fine Arts Sao Paolo. He migrated to New York City in 1967 and
Art Gallery Part II, Taipei, 1998. Since 1982, he has par- Museum; in 1990 he participated in the Taiwan Art joined the O.K. Harris Works of Art from 1971 to1984.
ticipated in joint exhibitions frequently, such as, “Pusan Han has participated in important exhibitions at many
Museum Exhibition “300 years of Taiwan Art”; in
Youth Biennial” in 1987, “The Contemporary Art of museums including the Museum de Arte Moderna in
1995 his works were included in the “Exhibition
Taiwan”, Museum of Contemporary Art, Sydney, Aus- Sao Paulo, Musée d’Arte Moderne in Paris, Museum of
of Taiwanese Art” in Rome. Yang Mao-lin's works
tralia in 1995, “Taiwan- Present Art”, Ludwig Forum of Recklinghausen in Germany, the Tokyo Metropolitan
International Art, Ludwig, Germany in 1996, and “The represent a segment of Taiwanese history and build Art Museum, The Brooklyn Museum in New York, The
Odyssey of Art in Taiwan, 1950-2000” in the National up time/space juxtapositions; they take a critical and Art Institute of Chicago, Whitney Museum of American
Art Museum of China, Beijing in 2006. Awards: Hsiung- even subversive view of Taiwanese historical events. Art, and Hirshhorn Museum in Washington D.C.. Han
shih Awards for New Artist, first prize, 1981; Taipei Since the 1990s, he has criticized Taiwanese social has served as visiting artist for The School of Chicago
Biennial, first prize, 1992; Liao Chih-chun Award, first phenomena under the long-term influence of Ameri- Institute of Art, and artist-instructor for N.Y.U. graduate
prize of oil painting, 2002. can culture and Japanese culture. Then he added art program.
multiple-media in his installation work to respond
to current Taiwan society. Yang has been frequently
invited to participate in international art exhibitions.
In 1999, his early series of Zeelandia Memorandum
was shown at the 48th Venice Biennale and was well
received by international art critics and collectors.
陸先銘 (台灣，1959年生) 楊茂林 (台灣，1953年生) 韓湘寧 (華裔美籍，1939年生)

台灣台北人。1982年畢業於文化大學美術系。1993年任 1953年生於彰化。1979畢業於台北文化大學美術生於重慶市，原籍湖南省湘潭縣，1960年畢業於台灣師
「台北畫派」會長。1985年加入宣言以歷史的再閱讀、系，1985年為台北畫派創始成員並推選為第一任會大藝術專修科，同年加入「五月畫會」。1961年參加巴
美術史的再閱讀、表徵大眾文化價值為目標的藝術團體長。1991年榮獲第一屆雄獅美術創作新人獎。展覽西聖保羅國際雙年展，並入選巴黎國際青年雙年展。
「台北畫派」。陸先銘的個展為1985年嘉仁畫廊的「藍 1964年出席日本東京第四屆國際版畫展。1966年首次於
紀錄豐富，如：1987年第一次個展於台北市立美術
色驚悸」、1993年台灣畫廊的「都市美學」、1998年的台北國立藝術館舉行個展。1967年移民美國紐約，1971
館，1990參加台灣省立美術館舉辦的「台灣三百年
「悍圖」等。從1982年起即經常參與聯展，韓國「中韓年至1984年間，以照相寫實風格而成為O.K.哈里斯畫廊
作品展」，1995年於義大利羅馬舉行的「台灣當代
現代美術交流展」、日本「第六屆亞洲國際美展」、的經紀畫家。經常往來紐約與台北工作、展覽。主要展
藝術展」等。於楊茂林的作品中，我們可以看到對
「1992台北現代美術雙年展」、「台灣美術新風貌」覽有聖保羅現代藝術館、巴黎現代美術館、德國瑞克林
台灣歷史的片斷及多元時空的交錯，其作品以批
等。得獎經歷：1981年曾獲第六屆美術新人獎首獎、浩森美術館、惠特尼美術館、華盛頓特區赫胥宏美術
1992年台北現代美術雙年展首獎及2002年廖繼春油畫創判，顛覆的手法對台灣歷史事件作一另類省思。館、台北市立美術館舉行回顧展等。曾應邀擔任芝加哥
作獎首獎等。 1990年代之後，從美國、日本文化影響，創作「文藝術學院客座教授，以及紐約大學研究所工作室個別指
化篇」系列作品，嘗試多媒體與裝置創作，掌握時導。
代脈動，呈現今日社會文化面向。1990年代獲國際
邀展不斷，1999年以《熱蘭遮紀事》等早期作品參
加第四十八屆威尼斯國際藝術雙年展，受到國際藝
評家與收藏家的注意。
353
Lot 025
Lots 023, 196, 197, 200 Lot 024
KWON Ki Soo (Korean, b. 1972) AHN Sung Ha (Korean, b.1976) JUNG Jae Ho (Korean, b. 1970)
Kwon Ki Soo was born in 1972 in Young-ju, Korea. He Born in 1976, Korea. Ahn SungHa graduated from the Jung Jae Ho got a B. F. A. and a M. F. A. in 1996
attained his B.F.A. and M.F.A. from Hongik Univer- Department of Painting at Hongik University in 2001, and 1999 in Se-Jong University, Korea. After that he
sity, Seoul, in 1996 and 1998 respectively. He has held and proceeded to attain her MFA at the same university completed his study from San Francisco Art Institute
various solo exhibitions including “The Show 1998” at in 2004. Her works have been presented in solo exhibi- in 2002. He teaches in Se-Jong University at present.
Kwan Hoon Gallery (1998) and “A Red Fountain” at tions at the Seoul Arts Center (2004) and Insa Art Center Selected solo exhibitions including: “Euphoria” (Seoul,
Gallery Fish (2004) in Seoul. He has also participated in (2007). She has also participated in various group exhi- 2007), “Made” (Goyang Art Studio Gallery, 2006),
numerous notable group exhibitions, including through- bitions, including the “Grand Art Exhibition of Korea” “Sweet World” (Seoul, 2005). Selected group exhibi-
out Seoul, such as “Pleasure Factory” at the Seoul Mu- at the National Museum of Contemoporary Art (2001, tions including: “First Steps - New Art From Korea”
seum” of Art (2003), “The Elegance of Silence: Contem- Kwachun); “Korean Young Artists Biennale 2002” at (Beijing, 2008), “Flowers” (Seoul, 2007), “Korea Art
porary Art From East Asia at the Mori Art Museum in Daegu Arts Center (2002, Daegu); “Korean Women Festival” (London, 2006).
Japan (2004), “Traveling Art Museum” at the National Artists” at Vasby Art Hall (2005, Sweden); “1st Seoul
Museum of Contemporary Art in Korea (2004), as well Young Artists Biennale” at the Seoul Museum of Art
as “Listening 2004 N.Y”. at the Jacob Javits Convention (2006, Seoul); and “Illusion/Disillusion” at Seoul Mu-
Center in New York (2004). seum of Art (2006, Seoul). Ahn has received numerous
awards, including the “Nationwide University Fine Arts
Festival Bronze Statue in 2000”, “Grand Art Exhibition
of Korea Special Prize” from the National Museum of
Contemporary Arts in 2002, and “Joong-Ang Fine Arts
Competition Excellent Statue” from Ho-Am Gallery in
2002.
權奇秀 (韓國，1972年生) 安誠河 (韓國，1976年生) 鄭在祜 (韓國，1970年生)

1972年生於韓國。1996年於弘益大學獲得美術文學士學 1973年生於韓國，2001年畢業於韓國弘益大學繪畫專鄭在祜於1996年及1999年先後拿到韓國世宗大學學士
位，1998年在本校獲得美術碩士學位。他舉辦過的個展業，於2004年完成碩士學位。分別在2004和2007年，在和碩士學位，隨後2 002年畢業於舊金山藝術學院，
包括1998年首爾寬勳美術館畫廊舉辦的「展覽1998」和韓國首爾藝術中心和仁寺藝術中心舉辦過個人展覽，另目前任教於韓國世宗大學。重要個展包括：「心情愉
2004年魚畫廊的「紅色水泉」。他參與過的重要團體參加多次國際展覽，如「韓國盛大畫展」（2001，韓快」（首爾，2007年）、「製作」（高陽藝術工作室，
展，當中包括2003韓國美術館的「快樂工廠」、2004年國）、「2002韓國新世代藝術家雙年展」（2002，韓 2006年）、「甜美世界」（首爾，2005年）。重要聯展
森美術館的「沉默的優雅－東亞近代美術」、2004韓國國）、「韓國女藝術家作品展」（2005，瑞士）、「幻有：「第一步—韓國新藝術」（北京，2008年）、「花
國立近代美術館的「遊歷美術博物館」和2004年美國紐覺或覺醒」（2006，韓國）、「第1屆首爾新世代藝術朵」（首爾，2007年）、「韓國藝術節」（倫敦，2006
約賈維茲會議中心的「傾聽紐約2004」等。家雙年展」（2006，韓國）。她榮獲許多獎項，其中包年）。
括2000年全國性大學美術銅獎，2002年韓國盛大畫展特
別獎，以及 2002年中央美術大賽傑出雕像獎等。
354
Lots 028, 029, 043, 056, 057, 105, 106
Lots 031, 044, 091
Lots 030, 060, 102
SANYU (CHANG Yu)

JU Ming (Taiwanese, b. 1938) (Chinese-French, 1901-1966) YANG San-lang (Taiwanese, 1907-1995)
Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Born in 1901, Sichuan. Sanyu attended the Art College Born in Taipei, Taiwan. Yang moved to Japan in 1923
Yang (1926-1997), a master sculptor, from 1968 to 1976. in Shanghai and went to Japan in 1919. In 1920, he went where he studied at the school of Fine Arts and Crafts in
Ju was chosen as one of the Ten Outstanding Young Per- to France as part of the first wave of Chinese artists to Kyoto. He was then transferred to the Western Painting
sons in Taiwan in 1976, a recognition given each year to study there. Unlike most of his contemporaries, Sanyu Programme in the Kansai Art Academy. He returned to
ten young men and women in any field of endeavor. He decided to remain in Paris. Since 1925, Sanyu exhibited Taiwan in 1927, and founded the Ruddy Island Associa-
was presented with a National Cultural Award in recog- his work regularly at the Paris salons and in local gal- tion together with Ni Chiang-huai and Liao Chi-chun.
nition of his artistic accomplishments. His most famous leries. Before World War II, Sanyu returned to China In 1929, he won the first prize of the Taiwan Exhibition.
Series are the “Nativist”, the “Taichi” and the “Living briefly and then moved on to New York where he lived Yang went to France in 1931 where he studied European
World”. In December 1997, his works were exhibited in for two years. In 1948, the Museum of Modern Art in paintings in the museums. In the following year, his
Place Vendome, Paris. The Juming Museum was estab- New York held an exhibition of his work. Since Sanyu's works were selected for the Autumn Salon in Paris. In
lished in Chin-shan, Taipei County in 1999. Ju Ming's death in Paris in 1966, the National Museum of History 1934, he together with Chen Cheng-po, and Liao Chi-
work can be found in major public collections at the in Taipei has held three retrospective exhibitions of his chun established the Taiyang Art Association. Yang had
Taipei Fine Arts Museum, National Taiwan Museum of works. To celebrate the 100th anniversary of Sanyu, the numerous solo shows and received many awards from
Fine Arts, Kaohsiung Museum of Fine Arts and Juming National Museum of History held a grand exhibition of important art exhibitions including : “Fifty Years of
Museum. over 129 oil paintings. In 2004, the Musée National des Studying Art” at the Provincial Museum in 1973 and “Oil
Arts Asiatiques-Guimet held a restrospective show of Paintings by Yang San-lang” in 1979, and “Retrospective
Sanyu’s 60 works. Exhibition of Yang San-lang's Paintings” in 1983 at the
National Museum of History. Yang received a special
national art award in 1986 for his great contribution to
the Taiwanese art world.
朱銘 (台灣，1938年生) 常玉 (華裔法籍，1901-1966) 楊三郎 (台灣，1907-1995)

出生於台灣苗栗。1953-1957年從李金川學習木刻，生於四川，少年時就讀上海美術學校，1919年至日本生於台北，1923年赴日本留學，首先進入京都美術工藝
1968-1976年從楊英風（1926-1997）學習現代雕塑，以留學，1920年轉赴法國留學，成為中國最早期的留法學校。後轉入關西美術學院西洋畫科，受嚴格的學院派
純樸的天性、卓越的才華，將過去賴以維生的木雕工學生之一，之後留居巴黎。1925年起，其作品屢見於巴教育。1927年回台灣，和倪蔣懷、廖繼春創辦「赤島
藝，逐次提升為富有生命意味的藝術創作。作品廣泛而黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後社」。1929年榮獲台灣美術展覽會特選第一名。楊氏於
深切地感動了國人，已漸受西方社會矚目。曾獲選十大轉至紐約生活兩年。1948年，紐約現代美術館替他舉辦 1931年赴法國留學，並潛心研究歐洲諸大博物館所藏名
傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系個展。在其1966年於巴黎逝世後，台北國立歷史博物館畫，次年他的作品入選法國秋季沙龍。1934年返台，並
列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵曾分別於1978、1984、1990年共舉辦三次他的回顧展，在教育會館舉行個展，同年秋季與陳澄波、廖繼春等人
登廣場盛大展出其著名的太極系列。1999年於朱銘美術 2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀組成「台陽美術協會」。楊氏舉行過多次個展，並多次
館成立於台北縣金山鄉。主要收藏機構：台北市立美術念大展，2004年6月巴黎國立居美東方美術館舉辦常玉在台灣美術展上獲獎。其中比較重要的展覽有1973年和
館、國立台灣美術館、高雄市立美術館、朱銘美術館回顧展，展出60餘件作品。足見其作為海外華人藝術家 1983年分別在國立歷史博物館舉行的「楊三郎油畫個
等。在中國畫壇的重要性。主要收藏機構有：台北國立歷史展」和「楊三郎油畫回顧展」。1995年，國父紀念館舉
博物館、中國美術館等。行「楊三郎近作展」楊氏以其在畫壇上卓越的成就，曾
於1986年榮獲國家文藝特別貢獻獎。
355
Lots 034, 100
Lots 032, 047 Lots 035, 101
George CHANN
(Chinese-American, 1913-1995) WU Guanzhong (Chinese, b. 1919) LIN Fengmian (Chinese, 1900-1991)
Born in Guangdong, China. In 1934, he entered the Otis Born in Yixing, Jiangsu. Wu Guanzhong’s training in Born in Guangdong, China. Lin Fengmian went to
Institute of Arts in Los Angeles; his teachers included Western art began at the Hangzhou National College of France to study painting in 1918. During his 4-year
Alexander Brook. His success earned him a full scholar- Art in 1936 under Lin Fengmian (1900-1991). After his stay, he studied in Dijon and Paris. Upon Cai Yuanpei's
ship there, and in 1940, he earned his master’s degree in graduation in 1942, he obtained a teaching position at invitation, Lin returned to China in 1926 and became
fine arts, holding his first individual exhibition the fol- the National Chung-ching University. He then traveled president of the Beijing Academy of Fine Arts. He was
lowing year at the California Art Club in Los Angeles. to France where he spent the next four years studying oil also responsible for setting up the Hangzhou National
More individual exhibitions followed in major cities painting under Professor Jean Souverbie (1891-1981) at Academy of Art (formely known as Hangzhou National
throughout the US in the years 1942-1946. From 1947 the Ecole Nationale Supérieure des Beaux Arts and the College of Art). Lin is one of the most influential art-
to 1949 he returned to Mainland China, exhibiting at the ateliers of André Lhote (1885-1962) and Othon Frieze ists and teachers of that time. In 1952, Lin retired from
Public Archives Museum in Guangzhou and in Shang- (1879-1949). He is currently a professor at the Central teaching and devoted his energies to painting. In 1977,
hai. In 1950, he returned to the US and began to study Academy of Fine Arts and Crafts. He has painted in oil he moved to Hong Kong where he lived until his death.
abstract painting. During the years from 1969 through since 1950, even during the Cultural Revolution. His His ninety years retrospective exhibition was held in the
1973, 50 of his abstract works were exhibited at the in- international fame is evident in two recent exhibitions National Museum of History, Taipei in 1989. In 2000,
vitation of the Pasadena Fine Arts Museum. of his traditional oil paintings at the Chinese Culture Shanghai Art Museum and Sun Yat Sen Memorial Hall
Foundation of San Francisco (1989-90) and the British of Taipei both held a commemorative exhibition of Lin's
Museum in London (1993). Hong Kong Museum of Art 100th year.
and National Museum of History in Taipei held solo ex-
hibitions of Wu’s work in 1995 and in 1997 respectively.
陳蔭羆 (華裔美籍，1913-1995) 吳冠中 (中國，1919年生) 林風眠 (中國，1900-1991)

生於廣東，12歲中學畢業，1934年進入美國洛杉磯奧蒂生於江蘇。1936年進入國立杭州藝專，在林風眠的指導廣東梅縣人。1918年參加政府勤工儉學政策赴法留學，
斯藝術學院就讀，師事布魯克及維色卡。就學期間因成下開始研習繪畫。1942年畢業後，在國立重慶大學執分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國
績優異獲全額獎學金，並於1940年取得美術碩士學位，教。1946年獲教育部獎學金赴法國留學。在法國四年期立北平藝專校長。1928年在杭州創辦國立藝術院，後來
次年於洛杉磯加州藝術俱樂部舉行首次個展。1942- 間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比改名杭州藝專，經常撰文宣傳中西藝術結合的創作經驗
1946年間陸續於美國各大城市舉辦展覽。1947-1949年（1891-1981）教授學習油畫，並入洛特（1885-1962）及理論，是當時中國最有影響力的畫家及美術教育家，
返回中國，個展於廣州市文獻館及上海。1950年返美，和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習趙無極、吳冠中、席德進等人皆為其學生。1952年自教
並開始研究抽象畫，於1969-1973年間應南加州帕撒狄美術史。1950年回到中國後，先後在中央美術學院，清職退休專事繪畫，文革期間被貶抑為黑畫家，被拘入獄
納美術館之邀舉行個展，展出50件抽象作品，其作品被華大學及北京藝術學院任教，現為中央工藝美術學院教達四年之久。1977年後旅居香港，繼續創作不輟，直至
聖地牙哥博物館及美國數個市立美術館永久珍藏。授。吳氏數十年間持續進行油畫創作，即使在文化革命 1991年病逝。1989年，國立歷史博物館為其舉行九十回
中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展顧展。自1999年上海美術館、台北國父紀念館分別舉辦
及1992年在倫敦大英博物館舉辦個展，其作品受到世界「林風眠百歲誕辰紀念展」。
的重視，1995年香港藝術館以及1997年台北國立歷史博
物館亦為其舉辦講座及個展。
356
Lots 038, 049
Lots 036, 039, 055, 099, 103
Lots 037, 052, 061, 097, 098, 107
ZAO Wou-ki (Chinese-French, b. 1921) Yun GEE (Chinese-American, 1906-1963) LIAO Chi-chun (Taiwanese, 1902-1976)
Born in Beijing, Zao studied at the Hangzhou National Born in Guangdong, China. Yun Gee enrolled in the San Born in Taichung. After graduating from Taipei Nor-
College of Art under the direction of Lin Fengmian Francisco Art Institute when he moved to San Francisco mal School in 1922, Liao Chi-chun studied in Japan at
(1900-1991) and Wu Dayu (1903-1988). After his in 1921. In 1925, he studied at the California School the Tokyo Fine Arts School. While in Japan, Liao was
graduation in 1941, he remained at the College to teach. of Fine Art under Gottardo Piazzoni and Otis Oldfield. strongly influenced by contemporary developments in
He held his first solo exhibition in Chung Ching in the He had his first solo exhibition in 1926, where he met Western art. Liao was a co-founder of both the Ruddy
same year. He emmigrated to Paris in 1948. Zao held a his first patrons, the Prince & Princess Achilles Murat, Island Association and the Taiyang Fine Arts Associa-
solo show every year at Kootz Gallery, N.Y. from 1959 who encouraged him to go to France. Gee had several tion. He was also an art professor at National Taiwan
to 1965. He was included in the French pavillion at the solo exhibitions during his stay in Paris. In 1932, Gee Normal University until his retirement in 1973. In 1957,
Venice Biennial in 1960 and has also taken part in the was invited to participate in the exhibition “Murals by he encouraged his students to form the Fifth Moon
Tokyo International Biennial. Taipei Fine Arts Museum American Painters and Photographers”. He spent the Group in Taiwan. In 1962 he toured Europe and the
and the Kaohsiung Museum of Fine Arts organized an next phase of his life traveling between New York City United States at the invitation of the USA State Depart-
exhibition of his works in 1993 and 1995 respectively. and Paris before he passed away at the age of 57. In ment. Later, he changed to a new art style in pink color
In 1994, Zao was awarded the Premium Imperial Award 1968, the Robert Scholkopf Gallery in New York held a and his distinguishing characteristic became mature.
of Painting, Japan. A more recent retrospective show retrospective of his works, reviving Gee’s memory after Liao received the Golden Cup Award for Chinese Paint-
which took place in 1998, toured three major museums: he had been forgotten for many years. ing from the Chinese Painting Society and the Sun Yat
Shanghai Museum of Art and Beijing’s China Art Gal- Sen Foundation’s Literary Awards. He passed away
lery. Zao’s compelling abstract paintings have won him in Taipei in 1976. The Liao family donated several of
international fame and his paintings are much sought Liao’s paintings to the Taipei Fine Arts Museum.
after. His work is found in major public collections such
as the Musée d’art moderne in Paris.
趙無極 (華裔法籍，1921年生) 朱沅芷 (華裔美籍，1906-1963) 廖繼春 (台灣，1902-1976)

生於北京，趙無極在國立杭州藝專師承林風眠（1900- 生於廣東。15歲時赴美依親，不久便進入舊金山藝術學生於豐原，1922年台北師範學校畢業，後赴日本就讀於
1991）與吳大羽（1903-1988），於1941年畢業於杭州院，1925年進入加州美術學校習畫，受教於皮亞佐尼與東京美術學校，1927年畢業後返台。深受當時西方美術
藝專，同年在重慶舉行首次畫展，並留校任助教。1948 歐特斯·歐菲德，並與後者成為好友。1926年協助華人在風潮所影響，活躍於各項展覽及多個組織，為「赤島
年往巴黎深造，並結交不少歐洲藝術界人士。從1959至舊金山成立現代藝廊，同時舉行首次個展。其才華也因社」及「台陽美協」的發起人之一。並任教於國立台灣
1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年此獲得法國親王穆哈特夫婦的賞識，而鼓勵他前往巴黎師範大學及中國文化大學美術系。1957年鼓勵支持學生
代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 發展，駐巴黎期間舉行多次個展，1932年應邀參加紐約成立「五月畫會」，為台灣現代藝術催生。1962年應邀
年應邀在台北及高雄市立美術館展覽。1994年獲得日本現代美術館的壁畫展。1963年病逝於紐約。1968年紐約赴歐美考察，此後畫風真淳，色彩活潑華麗卻和諧適
天皇美術獎。1998年更經由法國文化部策劃其回到中國羅博·蕭柯夫畫廊為其舉行遺作展，使其藝術再度受到世意，粉紅色大量出現，發展出特殊個人風格。其作品曾
上海博物館、北京中國美術館、廣東美術館舉辦回顧人矚目。至今，世界各地已舉行過多次回顧展，其中包獲中山學術文藝創作獎及中國畫金爵獎。1976年病逝台
展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在括台北市立美術館。朱沅芷的繪畫受亦師亦友的歐菲德北。1997年廖氏家屬為體現廖繼春畢生奉獻美術教育之
中國現代藝術家中首推趙無極在西方的藝術成就最高，影響甚大，如立體派、未來派及達達主義，而其作品表精神，於1997年捐贈一批代表作與台北市立美術館，同
而其作品更廣為世界著名的博物館，如法國國家現代美現共色主義的風格，並被認為是一位現代主義的畫家。時由民間企業贊助設置廖繼春紀念獎助金，以鼓勵從事
術館、舊金山現代美術館等美術館及私人企業機構所珍油畫創作與藝術理論研究之後進，遺愛在人間。
藏。
357
Lots 040, 041, 051, 053, 054, 104 Lots 042, 180, 181 Lot 045
Yuyu YANG (YANG Ying-feng)

CHU Teh-chun (Chinese-French, b. 1920) (Taiwanese, 1926-1997) ZHANG Hongtu (Chinese, b. 1943)
Born in 1920 in Jiangsu, China. In 1935, he passed the Born in I-lan, Taiwan. Yang studied architecture at the Born in Gansu, China, Zhang graduated from the Affili-
examination for Hangzhou National College of Art, Tokyo Art School in Japan, fine arts at Fu Jen University ated Senior High School of the Central Academy of Fine
which at the time had Lin Fengmian as its director. In in Beijing, and sculpture at the National Academy of Arts and the Central Academy of Arts and Design. In
1949, he came to Taiwan. In 1951. he taught at the Tai- Art in Rome. During 1964-1966, he held exhibitions in 1982, he settled down in the United States. Zhang rein-
wan Normal University. In 1954, he held his first solo major cities in Italy and was awarded the gold metal in terprets the masterpieces of traditional Chinese painting
exhibition at the Taipei Chung Shan Hall. In 1955, he painting and a silver medal in sculpture at the Olimpiadi and calligraphy with western colors and brush marks. He
went to France to further his studies. In 1957, he won d'Arte e Cultura Abano Terme in 1966. He was also reserves the composition and wide horizon of traditional
the Silver Award at the Paris Salon du Printemps. In awarded the World Peace Prize for Culture and Arts by Chinese landscape painting fully with western painting
1969, he entered the Tenth Sao Paolo Biennial Interna- the ROC's Literature and Arts Society. In 1991 Yang techniques and starts the conversations between past and
tional Exhibition in Brazil. In 1982, he held a solo ex- held a Stainless Steel Sculpture Exhibition in the Na- present, east and west with his own paint brush. He frees
hibition at the André Moreau Contemporary Art Studio tional Museum of Singapore. himself boldly from the traditional Chinese and western
in le Havre in France. In 1987, the National Museum aesthetics and provides the viewers with a whole new
of History held a solo exhibition of his works, his first visual experience from an objective perspective.
one in Taiwan since leaving thirty-two years before. In
1997, he was inducted into the prestigious L’Institute de
France, as a member of the Beaux-Arts.
朱德群 (華裔法籍，1920年生) 楊英風 (台灣，1926-1997) 張宏圖 (中國，1943年生)

生於江蘇省，1935年考入國立杭州藝專，當時林風眠任生於台灣宜蘭縣，曾進修於日本東京美術學校建築系，出生於中國甘肅。張宏圖畢業於北京中央美術學院附
校長。1949年來台。1951年任教於台灣師範學院。1954 北平輔仁大學美術系及國立台灣師範大學藝術系，其後中、中央工藝美術學院，1982年到美國定居。張宏圖將
年於台北中山堂舉辦首次個展。1955年赴法國深造。又習雕塑於義大利羅馬藝術學院。1964至1966年間於義中國古代名家的經典字畫，以西方大師的用色及筆觸重
1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹新詮釋，運用西畫畫法很好地保留了中國傳統山水畫的
十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和構圖及遼闊視野，讓古與今、東方與西方借著畫家的彩
館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他平文化藝術大獎。1991年應新加坡之邀作個人展覽。筆展開對話，大膽跳脫了傳統中西方的美學，以客觀的
離台十二年後第一次畫展。1997年當選法蘭西學院藝術角度提供觀者一種全新的視覺體驗。
院士。他的繪畫充滿詩意的氣質，用色兼容沈穩奔放，
線條飛騰有如狂草，具有東方藝術的細膩與西方繪畫濃
厚而重的色彩，極具中國水墨山水與書法的逸趣。他的
抽象繪畫是一種自然的流露，顫動的、熱情的，是一種
抒情的奉獻，低聲傾訴生命的奧祕。
358
Lots 058, 062
Lot 050
Lot 048
CHEN Te-wang
(Taiwanese, 1910-1984) PANG Jiun (Taiwanese, b. 1936) SHIY De-jinn (Taiwanese, 1923-1981)
Born in Taipei, Chen studied painting with Yenge Mo- Born in Shanghai, Pang graduated from the Beijing Born in 1923, Sichuan, China. At the age of five, he
moko when he was young. He attended the Dadaocheng Central Art Institute. For the next sixteen years, Pang’s began learning to draw. In 1948, he graduated from the
Institute of Western Painting in 1927 and was taught works were widely exhibited in China. He has held solo Hangzhou National College of Art. He carried on from
by Kinichiro Ishikawa. From 1929 to 1940, he went to exhibitions in Hong Kong Arts Centre since 1980 and his teacher Lin Fengmian. After graduation, he moved to
Japan and studied art at Hongu Art Institute and Nika also participated in the Biennial Exhibition of Contem- Taiwan to teach at the provincial Chiayi High School. In
Art Institute. Upon returning to Taiwan he joined the porary Chinese Art in Hong Kong. Pang has also been 1957, he held his first solo exhibition. In 1962, together
Taiyang Fine Art Association with several other artists. a strong force in promoting fine arts education and has with Liao Chi-chun, he accepted an invitation of the
Chen was not a prolific artist, he spent most of his time published books such as “Techniques for Oil Painting.” U.S. State Department to visit the United States. After-
researching art and perfecting his own creations. Chen Pang’s name has been included in several major publi- ward, he went to France to study in Paris for three years.
died in Taipei, 1984. cations of Who’s Who in the Contemporary Art World. After his return to Taiwan, he taught at the Tamkang
Pang’s works are held in numerous private and museum University architecture department and National Taiwan
collections, including the Chinese Art Museum and Chi- Normal University. In1975, he won the Chungshan
nese History Museum in China, the Museum of Art in Literary Prize Award. Shiy De-jinn was known for the
Mexico and the Taipei Fine Arts Museum, Taiwan. lyrical mood of his watercolors, at the same time being
influenced by Pop Art and Op Art. His favorite subject
matter was old-style traditional Taiwan architecture. He
traveled all over the villages and counties of Taiwan
seeking inspiration. His works richly display Taiwan's
folk scenes and customs.
陳德旺 (台灣，1910-1984) 龐均 (台灣，1936年生) 席德進 (台灣，1923-1981)

1910年2月生於台北市。幼年曾隨鹽月桃甫習畫。1927 出生於上海。畢業於北京中央美術學院。1954-1980年生於四川，五歲開始習畫。1948年畢業於杭州藝專，師
年在大稻埕洋畫研究所受教於石川欽一郎。1929至1940 間參加七次全國美術展覽，八次北京美術展覽。80年代承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉
年間前往日本，先後就學於本鄉繪畫研究所、川端畫起在香港藝術中心舉行個展，及「當代香港藝術雙年辦首次個展。1962年與廖繼春同應美國國務院之邀訪
學校及二科會研究所等。回台後參加台陽美協，並與展」，深獲好評。龐氏於藝術創作之餘，並積極推廣藝美，之後赴法國巴黎進修三年，回台後任教於淡江大學
畫友創立Mouve美術家團體（後改名為台灣造型美術協術教育，著作《油畫技法哲學》等。1994年納入大陸出建築系及師範大學。1975年獲中山文藝創作獎。席德進
會）。陳氏創作態度嚴謹，作品無多。1984年逝於台版之《中國當代藝術界名人錄》，次年並列入《英國劍以抒情風格的水彩畫著稱，並受到普普，歐普等現代藝
北。橋世界名人錄》。龐氏作品廣為海內外美術館及私人珍術思潮的影響。他最喜歡的題材是老式的傳統台灣建
藏，包括：中國美術館、中國歷史博物館、墨西哥博物築，曾遍遊台灣各鄉鎮尋找靈感，其畫作充分表現台灣
館、台北市立美術館等。的風土民情。
359
Lot 059
Lots 063, 064, 141 Lot 065
CHAO Chung-hsiang CHUA Hu (TSAI Yun-cheng)

AI Xuan (Chinese, b. 1947) (Chinese, 1910-1991) (Chinese-Philipino, b. 1929)
Born in Zhejiang, graduated from the Central Fine Arts From 1932 to 1939, Chao studied at Henan Normal Born in 1929, Fujian, China. He migrated to Philippine
Institute Attached Middle School in 1967, presently is School followed by the Hangzhou National Academy along with the family at ten years old and studied the
Beijing Art Academy’s specialty painter. Since 1980, of Art where he was awarded 16 prizes. Chao’s early painting from the Southeast Asia famous teacher. He
Ai Xuan work has attended the national art exhibition work has been collected by his tea-chers Lin Fengmian majors in Fine arts at college. In his 29 years old, he
many times, won an award at the 1981 2nd session of and Teng Gu. In 1939, his works were exhibited in the won the champion in Philippines fine arts competition.
national youth art exhibition. He participated in the 2nd first National Art Exhibition where he won a prize in From this time on, he begins as a budding artist in artis-
session of Asian fine arts in Japan, the 18th session of watercolor. In 1956, Chao received a scholarship to tic world. After 1970s, he holds the exhibitions in places
international fine arts in Paris in 1986, and received hon- Spain where he later became a permanent member of the such as American New York, French Paris, and Ameri-
ors from both. He went to US in 1987 to hold a solo ex- National Art Association of Spain. He moved to USA can Los Angeles. His name has been included in several
hibition and to study. His works deeply attains the high in 1958 and devoted the next three decades to exploring major publications of “The International Who’s who”,
praise; commentaries appeared in the New York Times, and developing his own artistic style. While living in International Biography Center, Cambridge, England,
the Wall Street Journal, the Christianity word newspaper USA, Chao met his American contemporaries such as and since half century has won an award innumerably.
and the Art News magazine. Art News called described Roy Lichtenstein (1923-1997) and Mark Rothko (1903- He is the famous artist using a brush with blue paint,
him as “a rising star”, “United Press International” also 1970). In 1965, he held a solo exhibition and lecture become one and the only found of the Blue School.
made the correlation report. In 1998, he returned to at the Guggenheim Museum. In 1980, he returned to
Beijing, his works besides collected by the Chinese art Taipei for a solo exhibition and 4 years later, decided
museum, also collected by private collectors and muse- to establish an art studio there. From 1984 to his death
ums in US, Singapore, Hong Kong, Taiwan, Germany, in 1991, Chao traveled frequently between New York,
Canada and Japan. Taipei, China and Hong Kong in his search for artistic
fulfillment.
艾軒 (中國，1947年生) 趙春翔 (中國，1910-1991) 蔡雲程 (華裔菲律賓籍，1929年生)

浙江人。1967年畢業於中央美術學院附中，現為北京畫 1932至1939年間就讀於河南省第一師範學校藝術系及國生於中國福建，10歲隨家人移居菲律賓，師從東南亞名
院專職畫家。自1980年以來，艾軒的作品多次參加全國立杭州藝專，期間曾經榮獲16項獎項，其作品亦被林風師學畫，並在大學主修美術，29歲參加菲律賓全國美術
美展，在1981年的第二屆全國青年美展上獲獎。1986年眠（1900-1991）與滕固兩任校長收藏，1939年參加南比賽奪冠，從此在藝壇嶄露頭角。1970年代起，陸續在
參加在日本舉行的第二屆亞洲美術展及巴黎舉行的第京第一屆全國美展，並獲人物水彩畫獎。1956年因獲西美國紐約、法國巴黎、美國洛杉磯等地舉辦畫展，曾被
十八屆國際美術展並榮獲榮譽。1987年赴美國舉行個展班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年英國康橋國際名人傳記協會列入世界名人錄，半個世紀
及研習。作品深獲好評，《紐約時報》、《華爾街日移居美國，往後三十年中探索並發展新的繪畫風格，並以來獲獎無數，他擷取了以藍色為主題的油畫創作，創
報》、《基督教緘言報》及《藝術新聞雜誌》均有評結識同時期美國藝術家如李奇登斯坦（1923-1997）與立了「藍色畫派」，在繪畫世界獨樹一幟。
論，《藝術新聞》稱之為「一顆上升的星」，「合眾國羅斯科（1903-1970）等人。1963年，代表中華民國參
際社」也做了相關報導。1998年返回北京，作品除被中加紐約古根漢美術館舉行個展及演講。往後數年，趙春
國美術館收藏外，還被美國、新加坡、香港、台灣、德翔在美國各家畫廊及博物館等地舉行展覽及演講活動；
國、加拿大和日本的私人及博物館收藏。 1980年返台舉行個展，並於1984年成立個人畫室。1991
年病逝於台灣。作品廣受各地私人與美術館收藏，如古
根漢美術館、紐約大都會美術館及台北市立美術等。
360
Lot 070
Lot 066 Lots 068, 096
LIU Kuo-sung
(Taiwanese, b. 1932) CHUANG Che (Taiwanese, b. 1934) WANG Zhijie (Chinese, b.1931)
Born in Chinchou, Shandong, he graduated from the Born in Beijing, Chuang's father was a great calligra- Wang Zhijie, a native of Jingde, Anhui Province, was
National Normal University art department, and initiated pher, who was the vice-director of the National Palace born in Beijing. He graduated from the Fine Arts De-
the Fifth Moon Group, arduously promoting the Taiwan Museum in Beijing, Chuang was introduced to art by his partment of Shanghai Yu Cai College in 1953, and
modern art movement. When he was twenty seven years father when he was little. He moved to Taiwan in 1948. graduated as the first graduate student in 1955 to stay
old, he deeply felt the importance of national charac- After graduating from Taiwan National Normal Uni- as a teacher. His works were showed in the Seven Na-
teristics and cultural traditions, he was like a man on a versity in 1958, Chuang taught at Tunghai University. tions of Europe and Soviet Russia. He also attended the
mission, to find for twentieth century Chiniese drawing He joined the Fifth Moon Group and actively pushed National Fine Arts Exhibition and received an award. In
a new tradition to be spared no effort, and gave brush the modernization of Chinese painting. On receiving 1980 he transferred to Shanghai Painting Institute and
ink in traditional Chinese paintings a new definition, and a scholarship from the Rockefeller Foundation, he left Studio of Oil Painting and Sculpture. In 1983, he took
promoted the theory of “texture with the brush”. This Taiwan and settled in Ann Arbor, Michigan. In 1988, he charge of building the Art Department of East China
kind of Chinese traditional painting doesn’t need a pen moved to New York, concentrated on his abstract paint- Normal University and serviced as the department head.
to be painted, although receiving criticism at the time, at ings, and was invited by the Taipei Fine Arts Museum In 1990 he was assigned by Ministry of Culture to visit
present, including mainland painters, critics as well as to hold a solo exhibition in 1992. Chuang's works have Paris, France, later he lived there and entered the Acad-
art historians, have all accepted this idea. Liu Kuo-sung been exhibited widely and housed by many local and emy of Fine Arts. His works are oil painting “Quicksand
also puts to this kind of theory the implemention with, foreign museums and private collectors. River in the Front of Saimosaimu Thousand Buddha
in his individual practices, innovating with the color and Caves” (received the Silver Medal of National Fine Arts
ink techniques for more than 30 years, creating many Exhibition and collected by National Art Museum of
kinds of different forms and individual styles. China), the acrylic painting “Father of Iceberg- Muzta-
gata “, “Dried Up River Under the Muztagata”, “Under
the Gaochang City”, “Beauty in the Front of the Holy
Sepulchre” and so on.
劉國松 (台灣，1932年生) 莊喆 (台灣，1934年生) 汪志傑 (中國，1931年生)

山東青州人，國立台灣師範大學藝術系畢業，為五月畫生於北京，其父親莊嚴為已故名書法家暨前北京故宮博生於中國北京，祖籍安徽旌德。1947年畢業於上海育才
會創始之一，倡導台灣現代藝術運動不遺餘力。劉國松物院副院長，莊自小培養出熱愛中國藝術興趣。1948年學校美術系。1953年為首屆中央美術學院畢業生，並於
自14歲開始學習傳統國畫，大學二年級後轉為專心研究遷居台灣，1958年畢業於國立師範大學美術系，加入五 1955年為首屆研究生畢業，留校任教。作品曾赴歐洲七
西洋近代繪畫及現代藝術理論，27歲時深感民族性及民月畫會，積極參與中國繪畫現代畫運動。1966年獲美國國及蘇聯巡迴展出及參加全國美展並獲獎。1980年調入
族文化傳統之重要，一種使命感與責任心促使他為創建洛克斐勒基金會的贊助，赴美考察國際當代藝術之發上海畫院、油畫雕塑創作室。1983年負責創建上海華東
廿世紀中國繪畫的新傳統不遺餘力，給予國畫傳統中的展，後返台任教於東海大學。1973年移居美國密西根師範大學藝術系，並任該系系主任、教授。1990年由文
皴法及「筆墨」一種新的意義，並倡導「革筆的命」的州，於1988年遷居紐約，專注於抽象繪畫之創作，1992 化部派遣赴法國巴黎訪問，後旅居法國，為法國藝術家
理論，這種畫國畫不一定要用筆的見解，當時雖受到批年應台北市立美術館邀請回國舉辦個展，也曾多次在國協會會員。作品有油畫《賽摩賽姆千佛洞前的流沙河》
判，但到現在，包括大陸在內的畫家，評論家以及美術際展覽中出現，作品廣為國內外美術館及私人珍藏。 (獲第六屆全國美展銀質獎章，為中國美術館收藏)，丙
史家都已接受此一觀念。劉國松並將此種理論付諸實烯畫《冰山之父—穆士塔格峰》、《穆士塔格峰下乾涸
行，在其個人創作實踐中，創新水墨的皴法和技巧，河谷》，《高昌城下》、《聖墓前的女郎》等。作品曾
三十餘年來，已創造了多種不同形式的個人風格。現任在日本、美國、西歐各國及台灣、香港等地展出。
東海大學美術系所專任教授。
361
Lot 074
Lots 071, 089, 164, 167 Lots 072, 073, 149, 152, 153, 175
YANG Din (Chinese-French, b. 1958) ZHOU Chunya (Chinese, b. 1955) YANG Shaobin (Chinese, b. 1963)
Born in Shantou (Guangzhou), China. He lives and Born in 1955 in Chengdu, Sichuan Province. Zhou Born in Tangshan, Hebei Province, China. He gradu-
works in Paris since 1980. He graduated from L’Ecole Chunya graduated from the Department of Oil Paint- ated from the Hebei Light Industry Institute in 1983 and
Nationale Superieure des Beaux-Arts de Paris (Paris ing of the Sichuan Institute of Fine Arts in 1982. Zhou moved into the artist village at Yuanmingyuan, Beijing
National Art School) in 1987. He was a professor at also graduated from the Fine Arts College of German in 1991. In 1995, Yang relocated to Tongxian, in the
ASDASCS center in Clairvaux, France. Since 1990, he Kassel University. He currently works as an artist at the suburbs of Beijing. In 2000, he won the prize for Con-
has held solo exhibitions in France, Belgium, the Neth- Chengdu Academy of Painting in Sichuan. Zhou's works temporary Chinese Art Awards (CCAA). His selected
erlands, Taipei, Hong Kong and Macau. Awarded First have been shown at "The Documentary Exhibition of exhibitions: “First Exhibition of Professional Artists”
Prize at the Aube Art Fair organized in Troyes, France. Chinese Contemporary Art" (Beijing, 1991), "China (China, 1992); “Faces Behind the Bamboo Curtain -
Experience" (Chengdu, 1993), "China's New Art - Post Works by Yue Minjun and Yang Shaobin” (1994, Hong
'89" (Hong Kong, 1993), "The Annual Exhibition of Art Kong); “China!” (1996, Berlin); “the History of Chinese
Critics Nomination" (Beijing, 1994), "China!" (Bonn, Oil Painting: From Realism to Post-Modernism” (1997,
1996) and "The Shanghai Biennial" (Shanghai, 1996). Brussels); “Venice Biennale” (1999, Italy); “Portraits of
His work can be found in the public collection of the Contemporary China” (2000, France); “Art Forum Ber-
Austria Linz Art Museum. lin” (2001, Germany); “First Guangdong Triennale: Re-
interpretation, Ten years of Experimental Chinese Art”
(2002, Guangdong); “Prague Biennale” (2005, Czech
Republic).
楊登雄 (華裔法籍，1958年生) 周春芽 (中國，1955年生) 楊少斌 (中國，1963年生)

出生於中國廣東汕頭市。1980年起定居法國巴黎。1987 四川成都人。1982年畢業於四川美術學院油畫系。1988 生於河北省唐山市，1983年畢業於河北輕工業學校美術
年畢業於巴黎國家高等藝術學院。1993-94年於克雷佛年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現系，1991年遷入圓明園畫家村，1995年定居於北京通縣
教育中心擔任美術老師。自1990年起，曾於法國、比利在為成都畫院專職畫家。1980年作品入選第二屆全國青小堡村，2000年獲CCAA中國當代藝術獎。曾參加的展
時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲年美展獲二等獎。1982年參加紐約中國當代油畫展，覽：「首屆中國職業藝術家聯展」（1992，中國）；
法國特羅瓦省歐柏藝術藝術沙龍獎。 1984年參加香港四川油畫展，同年參加前進中的中國青「竹簾後的臉——楊少斌、岳敏君畫展」（1994，香
年畫展。1987年舉辦個人畫展於德國杜塞道夫，1988年港）；「中國！」（1996，德國）；「中國油畫的歷
於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德史：從現代主義到後現代主義」（1997，比利時）；
國際五人作品展。1992年入選「廣州九十年代藝術雙年「48屆威尼斯國際藝術雙年展」（1999，義大利）；
展」獲學術獎。1993年參加香港「後八九中國新藝術「當代中國肖像」（2000，法國）；「柏林藝術博覽
展」，同年與葉永青、張曉剛等舉辦中國新經驗展。會」（2001，德國）；「十年回顧首屆廣東三年展：
1996年應邀參加第一屆上海雙年展。作品為奧地利林茨廣東美術館」（2002，中國）；「布拉格雙年展」
美術館典藏。（2005，捷克）。
362
Lot 077
Lots 075, 079, 222 Lot 076
HUANG Gang (Chinese, b. 1961) XIA Junna (Chinese, b. 1971) HONG Ling (Chinese, b. 1955)
Born in Beijing in 1961, he graduated from the Central Born in Inner Mongolia, 1971. In 1984, she attended Born in Beijing, China, 1955. Hong Ling graduated
Industrial Art Institute. During the 80's, paintings with Weihai No.2 Middle School and studied portrait paint- from the Fine Arts Department of Beijing Normal
a Tibet theme were extremely popular; people loved the ing with Cong Jian Zi, who introduced her to a certain College in 1979. In 1985, he entered the Oil Painting
pureness, the mystery, and the nature of Tibet, which is field of art. She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts and
not yet polluted by civilization. Huang Gang became Department of the Central Academy of Fine Arts. Her currently holds the position of associate professor there.
interested in the culture, religion, and art of Tibet, and work “Autumn” won silver prize at the 1995 Annual Ex- His oil paintings have been exhibited in the first and
started his own Tibet classical drawing artware collec- hibition of Chinese Oil Paintings. Her works were also second annual exhibition of “Chinese Oil Paintings”
tion, studies society, religion, philosophy background shown at the Shanghai Biennale and Contemporary Art and the “1994 Critics Nomination Exhibitions.” Hong
which this kind of art produced. He created the Tibet Exhibition held in Beijing in 1996. In 1997, she joined has won many awards for his art. A solo exhibition was
writing series work afterwards, but he is a different “China Young Oil Painting” Exhibition in Beijing. In held in Hong Kong in 1995. He also participated in the
artist, he used an unprecedented artistic way to carry 1998, she joined “Century-Female Art Exhibition” and 47th Venice Biennale in 1997. His work is found in the
on the creation. Huang Gang’s works were exhibited won a collector award. In 2000, she joined “Twentieth public collection of the National Art Museum of China,
many times in the world. Solo exhibitions were held in Century China Oil Painting Exhibition”, “Youngs Series Beijing.
Germany, France, Switzerland, the US and Hong Kong, Exhibition”. Beijing Evening News used “Six Main
and had enormous success. He obtained different cul- Courses in Grant Banquet of Centurial Oil Painting” as
tural contextual views from different countries and high the title and commend her as the most representative
praise. painter in China. Taiwan magazine, CANS, used “From
Li Tiefu to Xia Junna” as the slogan to summarize Xia’s
historic significance in inheriting from centurial Oil
painting. Her paintings are collected by private collec-
tors at home and abroad in recent years.
黃鋼 (中國，1961年生) 夏俊娜 (中國，1971年生) 洪凌 (中國，1955年生)

1961年出生中國北京，畢業於中央工藝美術學院。1980 出生於內蒙古，1984年就讀於威海市第二中學，師從美雲南白族人，1955年生於北京。1979年畢業於北京首都
年代在中國內地以西藏題材創作藝術作品十分流行，人術啟蒙老師叢建子先生學習國畫人物，初步接觸繪畫藝師範學院美術系，專長油畫。1985年入中央美術學院油
們大都熱衷於表現這裡神奇而未被現代文明污染的壯美術。1995年畢業於中央美術學院油畫系，畢業創作獲畫系研習班，目前為中央美術學院油畫系副教授。油畫
的自然環境、獨特的風土人情，黃鋼於那時開始對西藏得中央美術學院優秀獎和日本岡松家族獎學金。作品作品曾參加第七屆全國美展、首屆中國油畫展、第一與
文化、宗教、藝術產生濃厚興趣，開始了西藏古典繪畫《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加第二屆中國油畫年展，以及1994美術批評家年度提名展
藝術品的收藏，研究這種藝術產生的社會、宗教、哲學「上海美術雙年展」，「北京中國當代藝術展」。1997 等展覽，並多次獲獎，1995年在香港舉辦個人展覽。
背景。之後創作了西藏文字系列作品，但他是以一種不年參加「中國青年油畫展」及「中國藝術大展」。1998 1997年參加第47屆義大利威尼斯雙年展。作品《秋草》
同於其他藝術家，前所未有的藝術方式進行創作。黃鋼年參加「世紀－女性」藝術展，獲收藏家獎。2000年參為中國美術館收藏。
的藝術作品在世界各地多次展覽。在德國、法國、瑞加「二十世紀中國油畫展」，北京晚報也以「百年油畫
士、美國等國家及香港舉辦過個人展覽，並獲得極大成盛宴的六道大菜」為題，把夏俊娜提為中國最有時代代
功。得到了不同國家不同文化背景的關注、認同和高度表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到
評價。夏俊娜」來概括百年油畫的歷史承繼性，其作品被海內
外私人廣為收藏。
363
Lot 078 Lot 080 Lots 081, 174
JIANG Jianqiu (Lao JIANG)

LIU Wei (Chinese, b. 1965) SUN Lisha (Chinese, b. 1984) (Chinese, b. 1972)
Born in Beijing. Graduated from Central Academy of Born in Shijiazhuang, Hebei, She entered into Central Born in Anhui Provenance, China. He graduated from
Fine Arts in 1989, majoring in printing. Currently lives Academy of Fine Arts in 2004. Her major exhibitions The Fine Arts School of China Central Academy of Fine
in Beijing. “Attended the 45th Venice Biennial”, “the are: 2007 “Gathering Sandcastles - Chinese New Gen- Arts in 1991 and Print Making Department of China
22nd Saint Paul Biennial” and “Mao, Toward Pop” eration Artists Award Exhibition”, Beijing; 2006 “On the Central Academy of Fine Arts in 1995. He is known
Exhibition, Australia in 1994; attended “Chinese New Road - Oil Painting Exhibition”, Beijing; 2004 “Beijing for these exhibitions: 2001 “Loft New Media Art Fes-
Artist Exhibition”, Germany in 1995; attended “China!” Impression So Wonderful - New Year’s Art Exhibition tival”, Beijing; 2002 “Long March - A Walking Visual
Exhibition, Germany in 1996; attended “Made in China- of Young Artists”, Beijing. In 2005 her photographic Display”, Beijing; 2005 “The Game of being Low and
Contemporary Chinese Art” Exhibition, Berlin, Ger- work won the Award of Excellence in Epson Interna- Shallow: The Rising of the Cartoon Generation Contem-
many in 1998; attended “New Modernism in New Mil- tional Imaging Contest. porary Art Exhibition”, Beijing; 2005 “Art of the Post -
lennium” Exhibition, San Francisco in 1999. Attended 70s: The Chinese Generation after the Market Reform”,
“New Faces in China” Exhibition, Sydney in 2000. Held Beijing; 2005 “Bad Boy’s Sky”, Beijing; 2007 “Exit -
solo exhibition at Loft Art Gallery, Paris in 2001. Entrance”, Beijing.
劉煒 (中國，1965年生) 孫立沙 (中國，1984年生) 蔣建秋 (老蔣) (中國，1972年生)

生於中國北京。1989年畢業於中央美術學院版畫系，現中國河北石家莊人，女性藝術家。2004年考入中央美術中國安徽人，1991年畢業於中央美術學院附中，1995年
居北京。1994年參加「第45屆威尼斯雙年展」、「第22 學院。主要展覽有：2004年「北京印象」；2006年「在畢業於中央美術學院版畫系。重要展覽有： 2001年「北
屆聖保羅雙年展」、澳大利亞「毛澤東走向波普」展；路上油畫作品展」，北京；2006年「太美好－青年藝術京藏庫新媒體藝術節展覽，北京； 2002年參加「長征—
1995年參加德國「中國新藝術展」；1996年參加德國家新年作品鑒賞展」，北京； 2007 年「聚沙塔－中國一個行走中的視覺展示」巡迴展覽；2005年「低和淺的
「中國！」展；1998年參加德國柏林「中國製造—中國新銳繪畫展」，北京。2005年攝影作品參加愛普生國際遊戲：漫畫一代的崛起」，北京； 2005年「70後藝術—
當代藝術展」；1999年參加舊金山「新千年的新現代主影像大賽獲優秀獎。市場改變中國後的一代」，北京；2005年「壞孩子的天
義」展；2000年參加雪梨「中國的新面孔展」；2001年空」，北京；2007年「出口—入口」藝術展，北京。
於巴黎Loft畫廊舉辦個展。
364
Lot 082 Lot 083 Lot 084
XU Maomao (Chinese, b. 1979) HSIAO Chu-fang (Taiwanese, b. 1980) Liao Yu-an (Taiwanese, b. 1979)
Born in Xinjiang Province, Xu graduated from Xi’an Hsiao Chu-fang graduated from Graduate institute of Born in Taipei in 1979 and won the “Taipei Arts Award”
Academy of Art in 2002. He held solo exhibition “Won- Plastic Arts, Tainan National University of the Arts in in 2003, Liao Yu-an is a promising young artist in
derland” at One and J. Gallery in Seoul, Korea in 2007. 2008. Selected Solo exhibition including: “It occurred to contemporary art. The making of his art is a deeply per-
He attended “Ideal of A New Generation – the Chinese me that…the solo exhibition of Hsiao Chu-fang” (Tainan, sonal one, and the theme of alienation and isolation is
New Generation” at He Xiangning Art Museum in Shen- 2006), “Line Show, the Solo Exhibition of Hsiao Chu- beautifully described in his artworks. Liao has set about
zhen; He participated in Beijing Star Gallery’s “Next fang” (Taipei, 2007). Important awards including: the making art that begans as a voyage of self-exploration
Station, Cartoon?” exhibition and “Post 70s The Gen- prize of S-An Cultural Foundation in 2004, 2007 and the and self-discovery and is now a comment on the society
eration Changed By the Market” exhibition organized Taipei Art Prize 2007. in which he lives. He made for himself a theater of pos-
by Shenzhen He Xiangning Art Museum respectively in sibilities that has embraced deeply personal moments
2006; Beijing Star Gallery’s “Naughty Kids” exhibition of his life and his insecurities, as well as some astute
and “Wonderland–Xu Maomao & Wang Ting” exhibi- observation on the society in which he finds himself
tion in 2007. as a young artist. Being an emerging artist, Lao Yu-an
already had several solo exhibitions., which including
“I think what I am” ( Shin Leh Yu-an Art Space,Taipei
, 2003) “Perplexity” (Absolutely SPP, Kaohsiung,
2004), “Drowse” (Butchart International Contemporary
Art Space, Taipei, 2007), “Death Pretentious” (IT Park,
Taipei, 2007), “Fondle Without Tenderness” (Asia Art
Center, Taipei, 2008)
徐毛毛 (中國，1979年生) 蕭筑方 (台灣，1980年生) 廖堉安 (台灣，1979年出生)

生於新疆。2002年畢業於西安美術學院。2007年在韓國台灣嘉義人2008年畢業於國立台南藝術大學造形藝術研廖堉安生於台北市。2005年畢業於國立台南藝術大學造
首爾One and J.畫廊舉辦「童話」個展。2004年參加「少究所。重要個展有：「它曾經在我身上發生…蕭筑方個形藝術研究所。廖的作品以自身形象與心理狀態為創作
年心氣—中國新銳繪畫展」；2005年參加「下一站，卡展」（台南，2006）；「線條秀－蕭筑方個展」（台題材，對都會人群的生活型態和人際互動關係的進行一
通嗎？」畫展、「70後藝術：市場改變中國之後的一北，2007）。重要獲獎有：2007年及2004年世安美學系列的描摹。他畫作中的人物之間瀰漫著濃稠的「疲憊
代」畫展；2006年參加「壞孩子的天空」畫展、「童獎、2007台北美術獎優選。感」，溝通成為一種艱澀的行動，軟弱地再一次去嘗試
話—徐毛毛與王婷」畫展。接觸與對話，而疲憊彷彿是個共通的經歷，凝聚著矛盾
而疏離的情感，靜靜的發散。儘管是一位藝術界的新
秀，但是廖堉安已經舉辦過多場個展，2003年的「自
以為是…」於台北的新樂園藝術空間；2004年的「Per-
plexity 不知所措」於高雄的新濱碼頭舉辦。2007年「假
寐」在台北的布查國際當代藝術空間以及「活殺自在之
術？」於伊通公園舉辦。2008年「不溫柔的愛撫」於亞
洲藝術中心。
365
Lot 085
Lots 086, 166

Lot 087
Xavier WEI (WEI Chen-hung) YANG Chihung

(Taiwanese, b. 1966) (Taiwanese, b. 1947) SONG Yonghong (Chinese, b. 1966)
Born in Chaiyi, Taiwan, he graduated from fine arts Born in Taoyuan, Yang Chihung graduated from the Born in Quyang, Hebei in 1966, originally from Shanxi,
department of Tung Hai University in 1989. He got the fine arts department of the National Taiwan College of graduated from the Department of Printmaking, Zheji-
Diplome National Superieur d’Arts Plastiques avec les Arts in 1968. In 1976, he traveled to the United States, ang Academy of Fine Arts in 1988, taught at the Beijing
Felicitations du jury in Ecole National Superieur des where he studied at Pratt Institute. From 1978 to 1979 Art & Craft College in 1988, and currently a profession-
Beaux-Art, Paris. Important Exhibitions include “The he taught at the Taiwan Art College. He emigrated al artist. Attended New York MOMA “Chinese Modern
Black Forest” in Taipei Fine Art Museum in 1998, and to the United States in 1979. His art was exclusively Art Exhibition” in 1998, and San Francisco Limn Gal-
the group exhibition in The Modern and Contemporary represented by Siegel Contemporary Art in New York lery “Chinese Modern Art Exhibition” in 1999.
Art museum in Liege, Belgium. His work has been between 1984 and 1987 and in 1987 by Michael Wallis.
collected by National Taiwan Museum of Fine Arts in More than twenty one-man exhibitions were held for his
2008. works in the United States, Taiwan and Hong Kong. In
addition, he was participated in many important exhibi-
tions in Taiwan and abroad.
魏禎宏 (台灣，1966年生) 楊識宏 (台灣，1950年生) 宋永紅 (中國，1966年生)

生於台灣嘉義市，1989畢業於東海大學美術系。1995 於出生於台灣桃園，楊識宏於1968年畢業於國立藝術專美生於河北曲陽，祖籍山西，1988年畢業於浙江美術學院
巴黎國立高等美術學院獲法國國家高等造型藝術文憑及術科。1976年赴美國，並進入紐約普拉特版畫中心研究版畫系，1988年任教於北京市工藝美術學校，現為職業
評審團獎。重要展覽有1998年底於台北市立美術館發表版畫。1978至1979年在國立藝專美術科任教，隨後於藝術家。1998年參加美國紐約現代美術館「中國現代藝
「黑森林」個展、2000年於比利時列日現代及當代美術 1979移居美國。自1984至1987年他是紐約西葛畫廊的專術展」，1999年參加美國舊金山Limn畫廊「中國當代藝
館的群展外。2008年獲國立台灣美術館典藏作品。屬畫家。楊氏在美國、台灣及香港舉行二十多次個展，術展」。
並數次參加海內外重要美術展覽。
366
Lot 088
Lot 093 Lot 108
LIANG Ping Cheng (Lan Mo)

CHANG Chen-yu (Taiwanese, b. 1957) KUO Wei-kuo (Taiwanese, b. 1960) (Taiwanese, b. 1956)
Born in Taichung, graduated in B. F. A. National Normal Born in Taipei, Taiwan. Kuo was the winner of the Lion Born in Pingtung, Taiwan. In 1983, he won the 8th
University in Taipei, Taiwan in 1979. His landmark ex- Arts Rookie Prize in 1983, the 8th “Modern Painting Hsiung Shih New Artist Prize. Graduated from the
hibitions as follow: first solo exhibition in Appollo Gal- Prize of Li Zhong-Sheng Foundation” in 2003, and the Fine Arts Department of Chinese Culture University.
lery, Taipei, 1980; Solo exhibition in museum of State “Liao Chi-chun Oil Painting Award” in 2005, and has Past exhibitions include: “Deep-Consciousness Series
University of New York in 1987; Solo exhibition in Tai- organized 8 solo exhibitions since 1993. Starting with oil painting individual exhibition” (American Institute,
pei East Gallery, 1989; Solo exhibition in Contemporary the “Diagram of Commotion and Desire” in 1998, Kuo Taiwan, 1987), “Flying-Land Series, individual exhibi-
Gallery, Taipei; 1992, solo exhibition in New Trends has explored his dark dreams in his four chronological tion” (Galerie Pierre, Taichung, 2002), “Fertile-Land
Gallery, Taichung; “Neo- Humanism” solo exhibition in exhibitions, “From the Deep Forest 1997-1999, Faint Series, individual exhibition” (Herb 24 home Museum,
Taipei Fine Arts Museum, 1994. Dawn 2000-2002, Enlightenment 2003-2005”, and “To- Eslite Bookstore, Xinyi, Taipei, 2006)
wards a Bright Start 2006”, by digging out the soul from
the depths to re-discover the light of hope. These four
chronological series touch audiences when their eyes
meet the author’s.
張振宇 (台灣，1957年生) 郭維國 (台灣，1960年生) 梁平正 (藍墨) (台灣，1958年生)

生於台灣台中。1979年畢業於師大美術系並在師大藝廊生於台灣台北。1983年獲雄獅美術新人獎優選。2003年出生於台灣屏東，1982年參與創立「笨馬藝術團體」，
舉辦個展。重要個展如下：1980年阿波羅畫廊首次個為第八屆「李仲生基金會現代繪畫獎」得主。2005年獲 1983年獲第八屆雄獅美術新人獎。1985年畢業於文化美
展，1987年紐約州立大學美術館個展，阿波羅畫廊第三廖繼春油畫創作獎。1993年起至今已舉辦8次個展。郭術系。歷年展覽有：「深意識系列油畫個展」（美國在
次個展；1989年台北東之畫廊個展，1991年台北時代畫維國自1998年起發表了「暴喜圖」之後，展開「柳暗台協會，台灣，1987年）；「飛行系列雕塑個展」（臻
廊個展，1992新展望畫廊個展，1994年台北市立美術館 1997-1999」、「熹微2000-2002」、「豁然2003-2005」品藝術中心，台中，2002年）；「沃土系列個展」（信
「新人文主義歷程展」。及「花明2006」四個階段，傾向於在灰暗如夢的場域探義誠品草本24 Home Museum，台北，2006年）。
索，不吝地掏盡躲在深處的自我，漸漸進入到心底對下
一個光亮晨曦的嚮往心境。透過精采的脈絡串連，提供
觀者與作者眼神交會時瞬間觸動的滿足感。
367
Lot 110 Lots 111, 115 Lot 112
LIN Chien-jung (Taiwanese, b. 1970) LI Chen (Taiwanese, b. 1963) LEE Jae-hyo (Korean, b. 1970)
Born in 1970 in Taichung, Taiwan, Lin Chien-jung Li Chen was born in Taiwan, in 1963. He has extraor- Born in 1970, Korea. Lee Jae-hyo graduated from
graduated from the Department of Fine Arts of Tunghai dinary performance in molding the traditional Buddhist Hongik University as a BFA in Plastic Arts in 1992.
University in 1993, and received his master’s degree sculptures. Later he infused emotion of the heart into the He received numerous awards including, “Grand Prize
in 1998 from the Graduate Institute of Plastic Arts of works and studied a variety of Confucian, Buddhist, and Winner of Osaka Triennial” (1998, Japan), “Kim Sae-
Tainan National University of the Arts. He lives and Taoist scriptures, and even instilled new contemporary Jung Young Artist Prize” (2000, Korea), “Sculpture in
works in Taichung as a Lecturer in the Department of thoughts, which provided a new creativity to Li Chen’s Woodland Award” (2002, Ireland), “Pize of Excellence
Interior and Landscape at Feng Chia University. He sculptures. Solo Exhibitions:2007 “52nd International of Hyogo International Competition of Painting” (2005,
has won fellowships to join as residence artist in “The Art Exhibition – La Biennale di Venezia”, Venice, Italy Korea), and “Prize of Excellence of 2008 Olympic
Gasworks Artists’ Studio” (London) and the “ARCUS (Asia Art Center), 2005 “Li Chen Sculpture” Taipei Art Landscape Sculpture Contest” (2008, Beijing). His
Project 2004” (Ibaraki, Japan) in 2002 and 2004 respec- Fair, Taiwan (Asia Art Center), 2003 Series of “Spiritual works has been shown in several solo exhibitions in
tively. His solo exhibitions include “Omen to Leave” Journey Through The Great Ether” Michael Goedhuis Seoul, Tokyo, Beijing, and New York. The artist also
(2000, Taipei); “Lin Chien-Jung Solo Exhibition” (2000, Gallery, New York, U.S.A; International Group Exhibi- participated in various group exhibitions, such as the
Taipei); “z Z Z” (2003, Taipei); “Hell-O” (2004, Japan). tions: 2004 “OPENASIA” 7th International Exhibition “Young Korean Artist Exhibition” (2000, Korea), “As-
Some of the group shows he joined are: “Very Fun Park of Sculptures and Installations, Venice, Italy. 2007 “A sociation of Asian Contemporary Sculpture” (2001,
- Contemporary Art from Taiwan” (2001, Australia); “Art Truth Beyond the Real – 14 Chinese Contemporary Art- Korea), “Out of Wood” (2003, Korea), “Vibration”
of the “E” Generation in Taiwan” (2005, Taichung); ists” Doosan Art Center, Seoul, Korea. (2005, Korea), “Art Canal” (2006, Switzerland), “Art
“Licensing International Show – Art in Taiwan” (2005, Basel” (2006, USA), “Five Space & I” (2007, Korea),
New York); “ART TAIPEI 2005”; “Hualien Interna- and “Opening of the 10th Municipal Museum of Art”
tional Stone Sculpture Festival – Exhibition of Future (2008, Korea).
Sculpture” (2005, Hualien, Taiwan).
林建榮 (台灣，1970年生) 李真 (台灣，1963年生) 李在孝 (韓國，1970年生)

1970年生於台灣台中，1993年畢業於東海大學美術系，雕塑家李真，1963年出生，早期製作傳統佛像就有特殊 1973年生於韓國，1992畢業於韓國弘益大學造型藝術專
1998年畢業於國立台南藝術大學造形藝術研究所，現表現。其後李真融入自我攝心之情感，涉略佛學、道家業，獲得藝術學士學位。他榮獲許多獎項，其中包括
為逢甲大學建築系及室內／景觀設計系兼任講師，居等經典，更結合當代思維使其雕塑作品上有著創新的突「大阪三年展大獎」（1998，日本）、「金大中青年藝
住台中。曾於2002年獲選為英國倫敦蓋斯沃克藝術工破，呈現既古典又現代的面貌。個展：2007受邀於「第術家獎」（2000，韓國）、「林地雕塑大獎」（2002，
作室的駐村藝術家，後於2004年赴日參加日本茨城縣 52屆威尼斯雙年展 – 虛空中的能量」個展；2006年台北愛爾蘭）、「兵庫縣國際繪畫競賽優勝獎」（2002，日
的阿庫斯駐村藝術家計畫。發表過的個展有「離鄉的國際藝術博覽會「李真雕塑展」(亞洲藝術中心)；2005 本）、「2008奧林匹克景觀雕塑競賽優勝獎」（2008，
預感」(2000，台北)、「林建榮個展」(2000，台北)、年台北國際藝術博覽會「李真雕塑展」(亞洲藝術中北京）。於 1996開始在東京、紐約、首爾、北京等
「z Z Z」(2003，台北)、「地獄-O」(2004，日本)。也心)；2003 美國紐約古豪士畫廊「大氣神遊」。國際大地舉辦過12次個展，也參加過多次群展，包括「韓國
參加過眾多聯展，例如：「台灣當代藝術展�粉樂町」型展覽：2004 義大利威尼斯第七屆國際雕塑及裝置大展青年藝術家展」（2000，韓國）、「亞洲當代雕塑聯
(2001，澳洲)、「E術誕生—台灣藝術新秀展」(2005， -「OPENASIA」；2007年韓國首爾「世事而非–14位中展」（2001，韓國）、「運河藝術博覽會」（2006，
台中)、「2005紐約國際授權展—Art in Taiwan台灣館」國藝術家對真實形象的變異及探索」韓國斗山藝術中心瑞士）、「五個空間&我，Moran美術館」（2007，韓
(2005，美國)、「2005台北國際藝術博覽會」、「花蓮策劃。國）、「第10屆釜山市立美術館開幕展」（2008，韓
國際石雕藝術季－未來雕塑主題展」(2005，花蓮)。國）。
368
Lot 113
Lot 114
Lot 116
HUANG Po-ren (Taiwanese, b. 1970) HUNG Yi (Taiwanese, b. 1970) Zhu Shijie (Chinese, 1900-1990)
Born in Taichung, Taiwan. Huang Po-ren graduated Born in 1970, Taichung. He was once an owner of 9 Zhu Shijie was born in Guangzhou and learned tradi-
from the department of sculpture of Fu-Hsin Trade & restaurants, and at the age of 30, decided to live his life tional Chinese, flower and bird, and landscape paint-
Art School. He won first prize and a major award in the as an artist when he was nominated as the artist of “Stock ings from Yan Chunsheng and Fan Shaoyun in 1912. In
art exhibition in central Taiwan “Flying 99” and partici- 20 in Taichung Railway Station” (2002). His work is in- 1918, he decided to try oil painting. In 1922, along with
pated in the Art Taipei International Fair. 2001, “Emotion spired by his surroundings and life experiences. The art- two other artists Yan Wenliang and Hu Cuizhong, He
of Track” sculpture exhibition, Sculpture Museum of ist uses a lot of bright primary colors his works are bold established the Suzhou Academy of Fine Arts. In 1985,
Miaoli. 2002, the first international mini sculpture exhi- and lively, which clearly represent the local Taiwanese he was invited to exhibit all of his major works from his
bition in Taiwan. 2004, “Wood Horse” was collected by culture. Hung Yi’s major solo exhibitions include the “Art lifetime in Beijing. 9 works including “Jing Gangshan
Taichung County Culture Center. 2005, “Note of Dogs”, in Taiwan, Interesting Taiwan” (2004, Taipei), “Life in Mountain” and “Small Wharf at Dongting Lake” have
the artist’s solo exhibition in Taichung County Culture the World” (2002, Taipei), and “Meet Hung Yi” (2008, been collected by the National Art Museum of China in
Center, which also published “Iron Wood Forest”. “Note Taipei). Besides works shown in exhibitions, his works Beijing. Jiangsu Fine Arts Museum also collected his
of Dogs” in the same year. 2006, “Happy Time of the can also be seen in many public art locations. work “Casting Net”. He used to teach in Eastern China
Note of Dogs” was collected by National Taiwan Muse- College of Art, the former Nanjing Academy of Fine
um of Fine Arts. 2007, he participated in the Art Taipei Arts.
International Fair.
黃柏仁 (台灣，1970年生) 洪易 (台灣，1970年生) 朱士傑 (中國，1900-1990)

1970年出生於台中，台灣。1989年復興商工雕塑組畢 1970年生於台中，曾開設九間風格獨特的餐廳，在他朱士傑生於廣州。1912年跟隨畫家顏純生、樊少雲學習
業，1999年中部美展雕塑類第一名及市長獎，參加台北三十歲那年，毅然走向藝術家這條路。2000年獲選為國畫兼攻花鳥與山水。1918年作自製的油畫顏料試作油
國際藝術博覽會；2001年，雕痕情深木雕展，苗栗木雕「20號倉庫—鐵道藝術網絡台中站」駐站藝術家。洪易畫。1922年與顏文樑和胡粹中兩位畫家共同創建蘇州美
博物館，以及同年的奧地利格拉茲國際雕塑展；2002 的作品風格、靈感皆來自他的週遭環境與生活經驗，從術學校。1985年應邀於北京展出他的生平創作，其中
年，台灣第一屆國際袖珍雕塑展；2004年，其作品《木廟宇文化探掘台灣的原生色彩，大膽活潑並充滿愉悅《井岡山》、《洞庭小船埠》等九幅作品，已為北京中
馬》受台中縣立文化中心典藏；2005年，於台中縣立文感。他的雕塑作品經常使用紅黃藍綠等強烈的原色；自國美術館收藏，江蘇美術館也收藏了他的《撒網》。曾
化中心舉行「狗札記．黃柏仁雕塑展」，及出版《鐵木發性以及原生性的創作風格十分具有台灣獨特的視覺意任教於華東藝專，即現在的南京藝術學院。
叢林．狗札記作品集》；2006年，《狗札記之快樂時象。流暢的線條、奔放的色彩、充滿活力的快樂感及敘
光》為國立台灣美術館購藏；2007年參加台北國際藝術述式構圖是洪易作品的特定標誌。他的重要個展包括
博覽會。「普羅眾生」(2002，台北)、「台灣有藝術，台灣有意
思」(2004，台北)、「偶遇洪易」(2008，台北)。除多
次參與國內外展覽之外，更能在許多公共藝術中，看見
洪易深具絢麗活力的作品。
369
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Lot 121
Lot 119
SUN Yuntai (Chinese, 1913-2004) LEI Shuang (Chinese, b. 1950) SHI Lei (Chinese, b. 1961)
Born in Hwanghsien, Shandong, China, Sun Yuntai Born in Changsha, Hunan, China. Lei Shuang is current- Born in 1961 in Dezhou city of Shandong Province,
went to Russia in 1931, and entered the Moscow Rus- ly a professional artist at the Henan Sculpture and Paint- China, Shi Lei graduated from the Arts Department of
sian aristocrat painter Pakistan Knoff’s studio to learn to ing Academy. She majored in Chinese and graduated in Hebei Normal University in 1985, and began working
paint. He conducted many teacher-and-student joint ex- Henan. In 1989, she enrolled in the Central Academy of at the Institute of Mural Painting and Sculptural Arts. In
hibitions during the 30’ and 50’. He conducted his solo Fine Art for studying oil painting. From 1991, she began 1991, he completed his master degree studies at the Hu-
exhibitions in Moscow and Tokyo. In 1943, with the to hold solo exhibitions and flowers were her main sub- bei Fine Arts Academy, and afterwards worked in Hubei
company of his teacher, they evaded to Heilongjiang. ject matter. In Chinese Art, flowers are the very familiar Provincial Fine Arts Academy. In 1995, he worked as
During the 50’ and 60’, there were about 20 of his works subjects. But Lei Shuang endows them with profound a researcher in the Fine Arts College of South China
collected by Diaoyutai State Guesthouse in Beijing. depth and subtlety, giving us a new perspective. Lei Sh- Normal University, and is now a professor in the same
Meanwhile, with Fu Baoshi, and Guan Shanyue, they uang’s flowers are presented to us in a seemingly simple college. His exhibitions include: “First Annual National
attained invites to paint for the Great Hall of the People
tableau that causes the viewer to pause for thought. A Oil Painting Exhibition” (Beijing, 1991); “Contemporary
in Beijing. During that time, Sun Yuntai completed his
beautiful vision to be enjoyed, Lei Shuang’s flowers also Chinese Oil Painting Exhibition” (Hong Kong, 1994);
huge oil painting Forest. And during the Great Cultural
have the power to make one contemplate about larger is- “Asia International Fine Art Exhibition” ( Japan, 1999);
Revolution in 1965, he was criticized, and lived in se-
clusion. After he returned to China, he conducted his sues in life. Public collections: National Art Museum of “Chinese Contemporary Art Exhibition” (Italy, 2000);
first solo exhibition within decades at Howard Hotel in China (Beijing) and WCA (USA). “City Ecology—Contemporary Art Exhibition” (Poland,
Taipei in 1992, and received brilliant feedbacks. In 1993 2002); “In Honor of ’85—Contemporary Art Exhibi-
he held a second solo exhibition in Hong Kong, and tion” (Shanghai, 2005) and “Chinese Contemporary Art
published the Sun Yuntai oil painting album. Annual Exhibition” (Beijing, 2006).
孫雲台 (中國，1913-2004) 雷雙 (中國，1950年生) 石磊 (中國，1961年生)

中國山東省黃縣人。1931年赴俄羅斯，入莫斯科白俄貴湖南長沙人，女性藝術家。目前任河南省雕塑書畫院畫 1961年生於中國山東省德州市，1985年畢業於河北師範
族畫家洛巴諾夫畫室習畫。30-50年代多次舉辦師生聯師。畢業於河南中文系，1989年考入中央美術學院油畫大學美術系後，於石家莊壁畫雕塑研究所任創作員。
展。個展於莫斯科和日本東京，享譽盛名。1943年偕同系創作研究班，1991年畢業。1988年首次個展於上海科 1991年獲湖北美術學院碩士學位，並到湖北省美術院任
恩師洛巴諾夫避居黑龍江。50-60年代先後有20多幅作技大學畫廊，後來經常舉辦展覽於上海、台灣，1998年美術師，1995年於（廣州）華南師範大學美術研究所
品被北京釣魚台國賓館收藏。同時與傅抱石，關山月大中國美術館油畫個展。其作品取材以花為主，對中國藝任副研究員，現為該校美術學院教授。其參與展覽包
師獲邀為北京人民大會堂繪製作品。孫雲台繪製完成巨術來說，花是極為熟悉的題材，但是雷雙卻賦予其新意括：1991年首屆「中國油畫年展」（北京）、「中國油
幅油畫作品〈森林〉。1965年文化大革命被批判，隱表現出不加修飾的低沈心境，雷雙的花帶來的思想矛盾畫展」（1994，香港）、「亞洲藝術展」（1999，日
居。1992年在臺北福華飯店舉辨返中國後第一次個展，與感情壓抑，遠超過了視覺上的賞心悅目，激發思考很本）、「中國當代繪畫展」（2000，義大利）、「城市
轟動畫壇。1993年在香港藝術中心舉辦第二次個展。在多花草以外的問題。作品收藏機構有中國美術館、美國生態－中國當代藝術展」（2002，波蘭）、「85’致敬
香港出版《孫雲台油畫選》。婦女藝術會議等。 ─當代藝術展」（2005，上海）、「中國當代藝術年鑒
展」（2006，北京）等。
370
Lot 122
Lots 123, 124 Lot 125
ZHAO Gang (Chinese, b. 1961) LU Hao (Chinese, b.1969) QI Zhilong (Chinese, b. 1962)
Born in Beijing, he graduated from New York Vassar Born on February 9, 1969 in Beijing, China. 1992, Born in Hohhot, Inner Mongolia in 1962, Qi gradu-
College, USA in 1984; and from New York Bard Col- Graduated from the Central Academy of Fine Arts, Bei- ated from the Central Academy of Fine Arts in Beijing
lege in 1998 with a master’s degree. As a professional jing, China. Solo Exhibitions: 2006 Xin Dong Cheng in 1987. His works have been showed in prestigious
painter, his works took part in the “Stars Art Exhibition” Space for Contemporary Art, Beijing, China Arario, exhibitions at home and abroad, selected shoes include
launched by the National Art Museum of China in Bei- Seoul, South Korea. He Xiangning Art Museum, Shen- Art Asia ‘95 at the Convention aand Exhibition Center
jing in 1980; “The Chinese Avant-Garde Art Exhibition” zhen, China. Kwai Fung Hin Art Gallery, Hong Kong, in Hong Kong (1995); The Masses Model at Beijing Art
in New York in 1986; “Stars: the Tenth Year” in Paris in China. 2005, Goedhuis Contemporary, New York, U.S.A. Museum in Beijing (1996) the Shanghai International
1989; “The Door Art Exhibition” in New York and Long Beijing Art Now Gallery, Beijing, China. Tokyo Gallery, Art Fair in Shanghai (2000); the Chicago Art Fair 2002
Island in 1990; an exhibition in New York Volpato Gal- Tokyo, Japan. 1996, “Experimental Inks”, Yun Feng in the United States (2002) and Le Printemps de Chine
lery in 1991 and an exhibition in Philadelphia in 1998. Art Gallery, Beijing, China. 1995, “Experimental Inks”, at CRAC Alsac Altkirch, France (2004). Recently, Qi
In addition to these, he has held solo exhibitions in New International Art Gallery, Holiday Inn Crown Plaza, has held solo exhibitions in international locations in-
York Volpato Gallery in 1989 and 1990, in Paris in 1991 Beijing, China. Collective Exhibitions: 2006, “Mahjong cluding Hong Kong, Switzerland and Australia.
and Beijing Court Yard Gallery in 1999. China Contemporary Art from the Sigg Collection”,
Museum of Contemporary Art, Hamburg, Germany; Pu-
san Biennale, South Korea.
趙剛 (中國，1961年生) 盧昊 (中國，1969年生) 祁志龍 (中國，1962年生)

出生於中國北京。1984年畢業於美國紐約瓦薩爾學院，出生於中國北京。1992年，畢業於中國中央美術學院。 1962年出生於內蒙古呼和浩特，1987年畢業於北京中央
1998年畢業於紐約巴德學院，並獲碩士學位。現為職業個展：2006年，「盧昊個展」，程昕東國際當代藝術空美術學院。他曾參與海內外許多知名展覽，包括「1995
畫家。作品曾參加1980年在北京中國美術館舉辦的「星間，北京，中國。「盧昊個展」，阿拉里奧畫廊，首亞洲藝術展」（香港國際會議展覽中心，1995年）、
星」畫展，1986年在美國紐約舉辦的「中國前衛藝術爾，韓國。何香凝美術館，深圳，中國。季豐軒畫廊，「大眾樣板」（北京藝術博物館1996年）、「上海藝術
展」，1989年在法國巴黎舉辦的「星星：十年」藝術香港，中國；2005年，個展，古德豪斯當代畫廊，紐博覽會」（上海，2000年）、「芝加哥藝術博覽會」
展，1990年在紐約及長島舉辦的「門」藝術展，1991年約，美國。個展，北京現在畫廊，北京，中國。個展，（美國，2002年），以及「中國的春天」（法國阿爾奇
紐約沃爾帕畫廊舉辦的展覽以及1998年費城鵬畫廊舉辦東京畫廊，東京，日本；1996年，「個人實驗水墨畫斯萊因當代藝術中心，2004年）。祁志龍最近也分別在
的展覽。此外曾於1989年、1990年在紐約沃爾帕畫廊，展」，北京雲峰畫廊，中國；1995年，「個人實驗水墨香港、瑞士及澳洲等地舉辦個展。
1991在法國巴黎，1999年在北京四合苑畫廊舉辦個展。畫展」，北京國際藝苑美術館，中國。群展：2006年，
「麻將—中國當代藝術席克收藏展」，漢堡當代美術
館，德國。「釜山雙年展」，釜山，韓國。
371
Lots 126, 132
Lot 127 Lot 128
CHEN Liu (Chinese, b. 1973) ZHU Yan (Chinese, b. 1982) GAO Yu (Chinese, b. 1981)
Born in 1973 in Kunming, Chen Liu graduated from Born in 1982 in Hebei, China, Zhu Yan graduated from Born in Guizhou, Gao Yu graduated from the Sichuan
the Central Art & Crafts College in 1996, in which year the Oil Painting Department of Tianjin Academy of Fine Fine Arts Institute in 2003 with a bachelor’s degree. In
he won the first prize of Ikuo Hirayama Award, and is Arts, and taught afterwards at the Affiliated High School 2006, he held “Specimen” a solo exhibition in Beijing;
now a professor in the Yunnan Academy of Fine Arts. of Tianjin Academy of Fine Arts. He now lives in Bei- and in 2007, a solo exhibition “Five Elements Moun-
His works have been published in Chenliu Water Color jing working as a professional artist. He has participated tain” in Beijing. He attended the exhibition known as
Paintings (2001) and Segment, Chenliu Art Works (2004); in exhibitions including “The 1st Contemporary Art “Ideal of A New Generation–the Chinese New Genera-
and he has shown his works in several exhibitions such Exhibition of Coast Terminal” (2007, Beijing); “MULPA tion” in He Xiangning Art Museum, Shenzhen in 2004;
as his solo exhibitions “Watercolor Paintings of Chen 798 – Mind + Body” (2007, Beijing); “Art Space” (2008, in 2005 he took part in “The Self-Made Generation - A
Liu” (2004, Kunming) and “Segments—Oil Paintings USA). And he has recently held his solo exhibition “Zhu Retrospective of New Chinese Painting” exhibition in
of Chen Liu” (2004, Kunming); “Contemporary Tradi- Yan” at Can Art Center in Beijing (2008). Zendai Moma, Shanghai, “Post 70s - The Generation
tion—Invitational Exhibition of Chinese Artists” (2006, Changed By the Market” exhibition co-organized by
Milan); “International Contemporary Art Fair 2007” Shanghai Mingyuan Art Center and Beijing Today Art
(Hong Kong); “Asian Contemporary Art Fair 2007” Museum and “Next Station, Cartoon?” exhibition co-
(New York); and in the recent group exhibition “I’m organized by Star Gallery and Shenzhen He Xiangning
Ready” (2008, Taipei). Art Museum; in 2006 he attended “Beyond Experi-
ence: New China” exhibition held by Beijing Arario
Gallery and Star Gallery’s” “Naughty Kids” exhibition;
he participated in Nokia’s art works creation known as
“Fashion! The Top One is Prism!” .
陳流 (中國，1973年生) 朱岩 (中國，1982年生) 高瑀 (中國，1981年生)

1973年生於中國昆明，1996畢業於中央工藝美術學院裝 1982年生於河北唐山，於2005年畢業自天津美術學院油生於中國貴州。2003年畢業於四川美術學院，獲學士學
飾藝術系裝飾繪畫專業，於1996榮獲中央工藝美術學畫系，並於畢業後曾於天津美術學院附屬中學任教，位。2006年在北京舉辦個展「標本」，2007年在北京舉
院「平山鬱夫獎」一等獎，目前則是任教於雲南藝術目前則居住在北京，為職業藝術家。曾參加的展覽包辦個展「五行山」。2004年參加深圳何香凝美術館舉辦
學院美術學院油畫系。出版過多本畫冊，如《陳流水括「東岸碼頭首屆當代藝術展」(2007，北京)、「物的「少年心氣—中國新銳繪畫」展； 2005年參加上海證
彩畫集》(2001)、《片斷——破碎的天空陳流作品集》波798心與身」(2007，北京)、「Art Space」(2008，美大現代藝術館舉辦的「自我造局—中國當代繪畫」展、
(2004)。繼2004在雲南昆明舉辦的個展「陳流水彩畫國)；以及近期在北京燦藝術中心舉辦的「朱岩」個人上海明園藝術中心聯合北京今日美術館舉辦的「70後藝
展」、「片斷—陳流油畫作品展」，另參加多次國際展 (2008)。術：市場改變中國之後的一代」畫展、北京星空間聯合
展覽，如「當代的傳統—中國畫家邀請展」(2006，米深圳何香凝美術館舉辦的「下一站，卡通嗎？」畫展；
蘭)；「2007國際當代藝術博覽會」(2007，香港)；「亞 2006年參加北京阿拉里奧畫廊舉辦的「超驗的中國」畫
洲當代藝術展覽2007」(2007，紐約)；「我準備好了」展、北京星空間舉辦的「壞孩子的天空」畫展；2007參
(2008，台北)。加諾基亞「時尚，角度至上」主題創作。
372
藝術家簡歷
Lot 130
Lot 129 Lot 131
HAN Yajuan (Chinese, b. 1980) WANG Kai (Chinese, b. 1980) Yang Jing (Chinese, b. 1976)
Han Yajuan was born in Qingdao, 1980. She graduated Born in 1980, Shandong, China, he graduated from Oil Born in Beijing, Yang graduated from the attached
from the Oil Painting Department of China Academy Painting Department, Central Academy of Fine Arts school of Central Academy of Fine Arts in 1996 and
of Fine Arts with a Bachelor’s Degree and started to in 2003. His major solo exhibitions are: 2008 “Salad graduated from Mural department of Central Academy
work in Basic Education Centre of Visual Art College of Days”, SOKA Art Center, Taipei; 2006 “The Chinese of Fine Arts in 2000. She h as taken part in distinguished
China Academy of Fine Arts. She continued her educa- Mona Lisa”, Paris; 2001 “Wang Kai, Shandong Institute collective shows “N12” at the Gallery of Central Acade-
tion in 2005 in the Oil Painting Department of the same of Fine Arts”, Shandong. His joint exhibitions include: my of Fine Arts in Beijing in 2003 and 2004. Her works
Academy for a Master’s Degree. She held her solo exhi- 2008 “Flowery Spring”, Hebei, The “Third Beijing In- participated in “Chinese Modern Art Exhibition of Fresh
bition “Milk·Sugar Life” in Art Beatus Gallery in HK in ternational Art Biennale”, Beijing; 2007 “China’s Atmo- Artists”, Beijing Sanhe Arts in 2004, and “Get It Loud-
2006. In her works, people often see a lovely little milch sphere”, Beijing, “Gathering Sandcastles, 2007 Chinese er” tour exhibitions in Shenzhen, Beijing and Shanghai
cow with spots all over the body, and the cow is as thick New Generation Artists Award Exhibition”, Beijing; in 2005. Her work “Puppet Carnival” participated in
as thieves with girls. The cow is a bit like a pet of girls. 2006 “The Art Exhibition of Modern China”, Japan; “Fiction@Love” exhibition, Seoul, Korea in 2006.
If the cow does not appear in the painting, the spots 2005 “The Second Beijing International Art Biennale”,
would surely be found in girls’ clothing. In Han Yajuan’s Beijing, “Exhibition of China’s Modern Art”, Korea.He
works, the cow is a quite of a symbolic meaning of gen- has won the “Excellence Award” in National Art Exhibi-
der, representing female, the young generation of girls. tion of 2004 and the Award of Mary Art.
Her work with the representation of young women actu-
ally shows the young generation’s dreams of life.
韓婭娟 (中國，1980年生) 王凱 (中國，1980年生) 楊靜 (中國，1976年生)

1980年生於中國青島。2002年畢業於中國美術學院油畫 1980年生於中國山東，2003年畢業於中央美術學院油畫出生於中國北京，1996年畢業於中央美術學院附中，
系，學士學位，2004年工作於中國美術學院視覺藝術學系。主要個展有：2001年「王凱」，山東美術學院； 2000年畢業於中央美術學院壁畫系。2003年及2004參加
院基礎教學中心，2005年中央美術學院油畫系，攻讀碩 2006年「中國的蒙娜麗莎」，巴黎；2008年「一場青北京中央美術學院畫廊「N12」展覽，2004年北京三合
士。2006 年在香港精藝軒舉辦「奶．糖生活」個展。在春」，台北索卡藝術中心。主要群展有：2005年「中國藝術中心「中國當代藝術新人展」，2005年參加「大聲
韓婭娟的作品中常常能找到一個與女孩們親密無間的、美術之今日展」，韓國、「第二屆北京國際美術雙年展」深圳、北京、上海巡迴展，2006年作品《偶的嘉年
可愛的、渾身斑點的小奶牛。它有點像女孩們的小寵展」，北京；2006年「現代中國美術展」，日本；2007 華》參加韓國首爾「虛擬@愛」展覽。
物，如果小奶牛暫時不在場，女孩們的衣著或服飾中肯年「中國氣氛」，北京、「聚沙塔—2007中國新銳繪畫
定有它的斑點出現。它是韓婭娟作品中的具有性別象徵展」，北京；2008年「Flowery Spring」，河北、「第三
意義的符號，代表女性，代表一代年輕女孩。韓婭娟的屆北京國際雙年展」，北京。曾獲得2004年第十屆全國
作品以年輕女性為代表言說的其實是這一代年輕人的生美展優秀獎、馬利藝術獎。
活夢想。
373
Lot 133
Lot 134 Lot 136
YIN Kun (Chinese, b. 1969) LIN Hairong (Chinese, b. 1975) LI Jisen (Chinese, b. 1970)
Born in Deyang, Sichuan in 1969, Yin Kun graduated Born in Heilongjiang, She graduated from Department Born in 1970, Tianjin, China, Li Jisen graduated from
from the Sichuan Apa Normal Junior College Fine Arts of Fine Arts, Henan Normal University in 1999 and re- the Tianjin Academy of Fine Arts, and studied in the
Department in 1992. He went to Beijing in 1993 and ceived her Master Degree from Sichuan Fine Arts Insti- Central Academy of Fine Arts in 1994, specializing in
became a free painter. His works participated in several tute in 2006 and now lives and works in Chongqing. She oil painting. The artist has shown his works in numer-
domestic and international exhibitions, and wildly has ever held his solo exhibitions as follows: 2007 “Lin ous exhibitions, among which are the “Third China
collected by collectors all over the world. Yin Kun is a Hairong”, Shanghai; 2006 “Attitudes”, Brussels, “Lin National Oil Painting Exhibition” (2003, Beijing); “The
wise, sensitive, and active young artist, painting is an Hairong”, Shanghai. Her major joint exhibitions include: Art of Time—Movado Touring Exhibition in 10 cities in
outlet or a record of his life, emotion, and his sensitive 2007 “Scope”, New York, “Arts & Antiques Fair”, China” (2005); “The Flying Moth” (2005) and “Power
and nervousness. His work involves different social Brussels, “Southwest China Contemporary Art Studio of Faith” (2006) solo exhibitions; the “Extraordinary
levels, through modern people’s ignorance towards Exhibition” , Shanghai; 2006 “Art Beijing”, Beijing, “Up Men – Group Exhibition of Contemporary Chinese Art”
certain social abnormal phenomena, promulgates the & Raising Shine Art Space”, Shanghai; 2005 “Meiyuan (2006, Beijing); the “Touched by the Color” solo ex-
question the key and the root. Yin Kun pays attention cup National Fine Art Student Contest”, Liaoning; 2004 hibition (2007, Beijing); the “Asian Contemporary Art
to the contemporary person's survival experience and “ Dragonair Emerging Chinese Artist Awards (DECAA) Fair 2007” (New York); the “Symbol & Metapho” solo
the reality feelings, absorbed the artistic forms and Art Scene Warehouse”, Shanghai. exhibition (2008, Korea); and the group exhibition “I’m
pictures such as pop, absurd realism, kitsch to transmit Ready” in Taipei (2008).
one kind of direct, incisive message. The gorgeous
picture color is for the purpose of arousing some hopes
and the optimistic life manner.
尹坤 (中國，1969年生) 林海容 (中國，1975年生) 李繼森 (中國，1970年生)

1969年生於四川省德陽。1992年畢業於四川阿壩師範專生於黑龍江。1999年畢業於河南師範大學美術系，2006 1970年生於天津，畢業於天津美術學院，於1994年繼續
科學校美術系。1993年到北京成為自由畫家。其作品多年畢業於四川美術學院獲碩士學位。現工作生活於重在中央美術學院油畫系進修。曾參加無數展覽，如「攜
次參加國內外大展，多件作品被海內外人士收藏。尹坤慶。曾舉辦的個展有：2006年「閑看庭前花開落」，手新世紀—中國第三屆油畫展」（2003，北京）；「瑞
是一位有才智、敏感、積極的年輕藝術家，畫畫是他對布魯塞爾、「林海容作品展」，上海；2007年「林海士摩凡陀時間的藝術—中國十城市巡展」（2005）；
生活、情感、敏感和神經質部分的宣洩或是記錄。其作容作品展」，上海。參加的聯展有：2004年「港龍航「飛蛾的故事」個人油畫作品展（2005）；「中國國際
品涉及到廣泛的社會層面，描述當代人對某些社會異常空中國新銳畫家飛揚大獎展」，上海；2005年「美苑杯畫廊博覽會」（2006）；「觸及心色」個展（2007，北
現象的普遍漠視，揭示問題的關鍵和根源。尹坤關注當－－全國高等美術院校作品展」，遼寧；2006年「藝術京）；「2007亞洲當代藝術博覽會」（紐約）；「象徵
代人的生存體驗和現實感受，吸收了波普、玩世現實主北京」，北京；2006年「攀升的力量」，上海；2007 與隱喻」油畫作品展（2008，韓國）；以及「我準備好
義、艷俗等藝術形式及圖片等藝術語言傳達出一種直接年「Scope」，紐約、「藝術與古董博覽會」，布魯塞了」台北聯展（2008）。
的、尖銳的訊息；艷麗的畫面色彩旨在喚起一些希望和爾、「西南當代藝術家工作室邀請展」，上海。
樂觀的生活態度。
374
Lot 138
Lot 137 Lots 139, 144
Chang-Ling (Taiwanese, b. 1975) FANG Lijun (Chinese, b. 1963) LI Shan (Chinese, b. 1942)
Born in Hualien County, Taiwan. Chang-Ling gradu- Born in Handan, Hebei Province, he graduated from the Li shan graduated in 1968 from the Shanghai Drama
ated from L’Ecole Nationale des Beaux-Art de Bourge Print Dept of the Central Institute of Fine Arts in 1989, Academy. His paintings have demonstrated a strong
in 2000, in which year he was admitted into the Ecole Current: Lives and Works in Beijing. Group Exhibitions: Expressionist vocabulary since the 1970s, and since then
Nationale Superieure des Beaux-Art de Paris and 1989 “China Avant-Garde Art Exhibition, National Art have shown increasingly Primitivist tendencies, includ-
studied under Christian Boltansky, Jean-Luc Vilmout Museum”, China; 1993 “China Avant-garde”, Germany; ing the incorporation of sexual imagery-a taboo subject
and Jean-Marc Bustamant. In 2004, he held art group 1994 “The 22nd International Biennale of San Paulo”, in Maoist era painting. His Primal Beginnings series are
“COLOCOLOC” in Paris and established an art publica- Brazil; 1995 “The 1st Kwangju Biennale”, Korea; 1999, intense expressions of the emotional turmoil, In 1988 Li
tion “Le Couteau de Paris”. His major solo exhibitions “Open Boundary: the 48th Venice Biennale”, Italy; 2002 Shan created his Mona Lisa series, a combination of lo-
are as follow: “Unnatural Exhibition” (2004, Hsinchu, “The Power of Image”, China. Solo Exhibitions: 1995, tus flower imagery from popular paintings and images of
Taiwan); “The First Flower of the Streaky Pork” (2005, “Fang Lijun”, France; 1998 “Fang Lijun”, the Nether- the Mona Lisa, which seeks to demonstrate the expres-
Taipei); “Hair Follicle” (2005, Taipei); “Streaky Pork lands; “Fang Lijun”, USA; 2000 “Fang Lijun”, Singa- sive power of allegorical symbols embedded in vulgar-
Series: Epoch-Making” (2007,Taipei); “Flesh Landscape pore; 2001 “Fang Lijun, Asian Fine Arts”, Germany; ized images. This theme becomes stronger and clearer
in Garden” (2007, Geneva, Switzerland); “Pork Belly 2004 “Fang Lijun”, Germany. in his recent Rouge Series, in which the artist uses
Flesh Series - Flesh Weapons” (2007, Taipei). huge canvases, finely detailed airbrush technique and
hermaphroditic images to create a climate of emotional
unease and to express the sense that people have been
“neutered” by the combined social effects of knowledge,
language and authority. Li Shan is one member of “New
Art From China: Post-1989” and become internationally
known as his Political Pop style.
常陵 (台灣，1975年生) 方力鈞 (中國，1963年生) 李山 (中國，1942年生)

常陵生於台灣花蓮，2000年畢業於法國國立步矩藝術學 1963年生於河北邯鄲，1989年畢業於中央美術學院，現 1942年生於黑龍江。1968年畢業於上海戲劇學院。1970
院，同年進入法國國立巴黎高等藝術學院，師事波坦斯居於北京。其作品多次參加國內外重要展覽：1989年年代以來，其繪畫顯示了一種強烈的表現語彙，自此持
基，韋勒蒙及布斯塔蒙，2004年畢業於法國國立巴黎高「中國現代藝術大展」，北京；1993年「中國前衛藝術續展現樸素主義的傾向，包括在毛澤東時代仍為繪畫禁
等藝術學院。2003年成立COLOCOLOC藝術團體於巴展」，柏林；1994年「聖保羅雙年展」，巴西；1995年忌的性圖像拼組。他的「初始」系列描寫深藏人類內心
黎，2004年創辦《巴黎小刀藝術報》於巴黎。個展：「光州雙年展」，韓國；1999年「開放的邊界第48屆威的情感波動。1988年李山創造「蒙娜麗莎」系列，從通
2004年，「非自然個展」於台灣國立交通大學藝文空尼斯雙年展」，義大利；2002年「圖像就是力量展」，俗圖畫擷取蓮花圖樣，再結合蒙娜麗莎的影像，尋求揭
間，新竹；2005年「五花肉之第一花」個展，一票票人何香凝美術館，深圳。並曾在法國巴黎、荷蘭阿姆斯露出寓言象徵嵌入粗俗圖像時的表現張力。這個主題在
畫廊，台北；「毛囊展」個展於關渡自強284，台北；特丹、美國紐約、日本東京等地舉辦了多次個人展：「胭脂帝國」系列表現得更強烈，他使用巨大畫布、細
2007年「五花肉系列－開天闢地」，也趣畫廊，台北； 1995年「方力鈞作品展」，巴黎；1998年「方力鈞作品膩的筆法以及雌雄同體的影像，創造出一種情緒不安氛
「肉－花園一遊」，蕾達畫廊邀請個展，日內瓦，瑞展」，荷蘭；「方力鈞作品展」，美國； 2000 年「方圍，藉以表達面對知識、語言和權力合而為一的社會效
士；「五花肉系列－肉兵器」，關渡美術館，台北。力鈞作品展」，新加坡；2001年「方力鈞亞洲當代藝應，人們的中性特質。李山也是中國藝壇「後九八中國
術」，德國；2004年「方力鈞」，德國。新藝術」的成員之一，以政治波普風格走紅國際，目前
定居上海。
375
Lot 143
Lot 140
Lot 142
CAI Guo Qiang (Chinese, b. 1957) XIN Haizhou (Chinese, b. 1966) JIA Gang (Chinese, b. 1974)
Born in 1957 in Quanzhou, Fujian, China. Cai graduated Born in 1966, Chengdu, he graduated in 1989 from Born in Liaoning, China, Jia graduated from the Acad-
from the Shanghai Drama Institute in 1985, specializing Department of Printmaking, Sichuan Fine Arts Institute emy of Arts and Design in Tsinghua University in 2001,
in Stage Design. Cai now lives in New York. Cai is and now teaches there. He has attended the following and participated in the “Young and Bold – Exhibition of
highly recognized by the international art world for his major exhibitions: 2001 “Chongqing Chilies”, Kassel; the new acts in the China art scene”; 2007, “Gestures”,
achievement in art. He was awarded the Golden Lyon 2000 “Gate of the Century: 1979-1999 Chinese Art In- Beijing New Age Gallery; “The Age of Pluralism, Being
Prize at “The 48th Venice Biennial” (1999); “Hiroshima vitation Exhibition”, Chengdu; 1999 “1999 Exhibition Persistent”, New Age Gallery, Beijing and Taichung.
Art Award” (2007, Japan); and he was appointed as of China’s Contemporary Art”, San Francisco; 1997
committee member for the creativity of the Opening “Mirage of Reality - Exhibition of Xin Haizhou Sketch”,
and Closing Ceremonies of the Beijing 2008 Olympic Hong Kong; 1995 “From Realism to Postmodernism -
Games and chief visual designer. His works are in col- Oil Painting Exhibition of Contemporary China”, Brus-
lections of world-famous art institutions and enterprises, sels; 1994 “Oil Painting Exhibition of Contemporary
such as Guggenheim Museum in New York, Metropoli- China”, Beijing; 1993 “Post 1989 - New Art Exhibition
tan Museum of Art (New York), Venice Naval History of China”, Hong Kong; 1992 “ The First Biennale Exhi-
Museum (Italy), Deutsche Bank collections (Germany) bition of Art in 1990s”, Guangzhou; 1991 “I Don’t Want
and Issey Miyake (Tokyo). The long list of Cai’s exhibi- to Play Cards with Cézanne”, California; 1989 “Exhibi-
tions includes the traveling exhibition “Inside Out: New tion of China’s Modern Art”, Beijing.
Chinese Art” (1998), “International Currents in Contem-
porary Art” (1999, Spain); Whitney Museum of Ameri-
can Art “Biennial Exhibition” (2000, N.Y.); and he held
solo exhibitions at world-wide famous art institutions
such as Smithsonian Institute (2004, Washington D.C.);
Metropolitan Museum of Art (2006, N.Y.); Deutsche
Guggenheim (2006, Berlin).
蔡國強 (中國，1957年生) 忻海洲 (中國，1966年生) 賈剛 (中國，1974年生)

1957年生於中國福建泉州，1985年畢業於上海戲劇學院 1966年生於成都。1989年畢業於四川美術學院版畫系，出生於中國遼寧，2001年畢業於清華大學美術學院，
舞台設計系。曾旅居日本多年，後於紐約定居至今。其現任教於四川美術學院。參加的主要展覽有：1989 2004年「少年心氣—中國新銳繪畫展」；2007年，「姿
藝術成就備受國際藝壇重視，名聲斐然，屢獲殊榮包括年「中國現代藝術展」，北京；1991年「不與塞尚玩態」，北京新時代畫廊；「多元世代，固執己見」，新
威尼斯第48屆雙年展「國際榮譽－金獅獎」（1999）、牌」，美國加州；1992年「廣州首屆九十年代藝術雙年時代畫廊，北京、台中。
「廣島藝術獎」（2007，日本廣島），並受委任為2008 展」，廣州；1993年「後89中國新藝術展」，香港；
年奧運開幕與閉幕儀的核心創意小組成員暨視覺設計總 1994年「中國當代油畫展」，北京；1995年「從現實
監。其作品廣為國際知名藝術機構及藏家所收藏，如紐主義到後現代主義－中國當代油畫展」，布魯塞爾；
約古根漢美術館、紐約大都會美術館、義大利威尼斯海 1997年「現實的幻影－忻海州素描展」，香港。1999
軍歷史博物館、德意志銀行藏館以及日本東京三宅一生年「1999中國當代藝術展」，舊金山；2000年「世紀
等企業。蔡國強參加過的展覽不計其數，如全球巡迴展之門：1979-1999年中國藝術邀請展」，成都；2001年
出的「蛻變與突破：中國新藝術」（1998）、「當代藝「重慶辣椒」，德國卡塞爾。
術的國際新潮」（1999，西班牙）、惠特尼美國藝術雙
年展（2000，紐約）；也曾多次在國際知名藝術機構舉
辦個展，如華盛頓史密松博物館聯辦的「蔡國強–旅行
者」（2004）、紐約大都會美術館（2006）、德國柏林
古根漢美術館（2006）。
376
Lots 148, 157, 158
Lot 145 Lots 146, 147, 151
JI Dachun (Chinese, b. 1968) XU Bing (Chinese, b. 1955) WANG Guangyi (Chinese, b. 1957)
Born in Jiangsu, China, 1968. In 1993, Ji Dachun gradu- Born in Chongqing, grew up in Beijing. Xu Bing gradu- Born in 1957, Wang Guangyi graduated from the Zhe-
ated from the Central Academy of Fine Arts with a B.A. ated from the Central Fine Arts Institute Print Depart- jiang Academy of Fine Arts in 1984. He is currently a
(Oil Painting). This year, he was invited to participate in ment in 1981, and stay teaching in school, attained the full-time artist in Beijing and his works were shown at
“the First Oil Painting Biennial of China” and later took Master of Arts degree from central fine arts institute in “The 1st Biennale Art Exhibition” (Guangzhou, 1992),
part in Chinese Contemporary Union Show in 1998, 1987. Went to America in 1990, and settled down in “China’s New Art Post-1989” (Hong Kong, 1993), “Pas-
Shanghai. At the same time, his instinctive style engaged New York. Participates in many important international saggio a Oriente - The 45th Venice Biennial” (1993),
the attention of overseas market. In 1997, he attended contemporary fine arts display several times, like the “22nd International Biennial of Sao Paulo” (Brazil,
“Exceptional Realism” Show in the House of World 45th Venice Biennale, Museum of Modern Art in New 1994) “New Asian Art” (Tokyo and Fukuoka, 1995),
Cultures, Berlin, Germany. In 1999, BASE gallery in York, the San Francisco Museum of Modern art, the “China!” (Bonn, 1996), “The Asia-Pacific Contempo-
Tokyo held his first solo exhibition. Among young Chi- Tokyo International Vision Transmission Center, New rary Art Triennial” (Queensland, 1996), “Inside Out”
nese artists, he has an obviously unique style. Not with- York PS1 and so on. In 1999 he obtained the American (New York and San Francisco, 1998-99), “20th Century
standing the multiplicity of art world, Ji Dachun’s work cultural circle highest prize-MacArthur Fellow. Chinese Oil Painting Exhibition” (Beijing, 2000) and
combines an intuitive understanding of human nature “New Images: 20 Years of Chinese Contemporary Art”
with a strong technique. (Beijing and Shanghai, 2000-01). His paintings have
been collected by the Kunst Museum, Ludwig, Germany
and the Asia & Pacific Art Museum, U.S.A.
季大純 (中國，1968年生) 徐冰 (中國，1955年生) 王廣義 (中國，1957年生)

1968年生於江蘇，1993年畢業於中央美術學院，翌年受重慶人。長於北京。1981年畢業於中央美術學院版畫中國哈爾濱人，是中國波普藝術最早的實驗者之一。
邀參加「首屆中國油畫雙年展」，1998年參加上海劉海系，留校任教。1987年獲中央美術學院文學碩士學位。 1984年畢業於浙江美術學院（今中國美術學院）油畫
栗美術館之「中國當代畫家聯展」。除了來自國內的肯 1990年赴美，並定居紐約。多次參加許多重要國際當代系，現居北京，職業畫家。作品曾展出於1992年廣州第
定，其特立風格同樣引起海外市場的注目，1997年季大美術展覽，如第45屆威尼斯雙年展、紐約現代美術館、一屆雙年展、1993年香港「後八九中國前衛藝術」、
純於德國柏林世界文化宮「其他的現代藝術展」中展舊金山現代美術館、東京國際視覺傳達中心，紐約PS1 1993年第45屆威尼斯雙年展、1994年巴西聖保羅國際雙
出，1999年則在東京BASE畫廊舉行個展。新一代華人等。1999年獲得美國文化界最高獎－麥克阿瑟獎。年展、1995年日本福岡亞洲新藝術展、1996年德國波昂
藝術家群中，季大純以紮實技法的基礎堅持自我風格，藝術館「中國展」、1996年澳洲亞太當代藝術三年展、
在瞬息萬變的藝術領域中，更顯其穩健無華，簡練大度 1998-99年紐約亞洲文化中心與舊金山現代美術館「蛻
的寬厚風範。2001年應邀參加成都國際藝術雙年展。變突破：中國新藝術」巡迴展、2000年北京「20世紀中
國油畫展」及「新形象：當代繪畫20年」巡迴展等。主
要作品收藏機構有美國加州亞太藝術博物館、德國路德
維美術館、馬德里蒂森美術館、成都上河美術館、舊金
山現代美術館、瀋陽東寧美術館等。
377
Lot 154
Lot 150 Lot 155
HE Sen (Chinese, b. 1968) MAO Xuhui (Chinese, b. 1956) YIN Zhaoyang (Chinese, b. 1970)
Born in 1968 in Yunnan, China, He Sen graduated from Born in Chongqing City, China, Mao Xuhui graduated Born in Henan, graduated from the Central Institute of
Sichuan Academy of Fine Arts in 1989. He now lives in 1982 from the Yunnan Arts University, Art Depart- Fine Arts in Beijing, Department of The Printmaking,
and works in Chengdu, China. His works were shown ment, majoring in oil painting, where he stayed teaching now resides in Beijing. Yin is an artist who selects the
in many international exhibitions, including solo ex- after graduation; and he is now a member of the Yunnan pulse of an era as his subject. His solo exhibitions in-
hibitions held by the Piltzer Gallery (2002, Paris); by Oil Painting Association, and Vice-Chairman of the clude “Myth” (2001, Beijing Art Museum) and “Utopia”
Marella Contermporary Art (2003, Milan); “Shadow” Yunnan Oil Painting Society. Since the opening up of (2004, Beijing Central Art Museum). Group exhibition
(2004, Beijing). He also participated in group shows China’s reformation, modern and contemporary Western he had participated includes “Gruelty of Youth Paint-
such as “New York Asia International Art Fair”(2002); art has taken root in China, and Mao Xuhui is one of the ing” (2002, Shanghai DDM Warehouse and Beijing Yan
“China Avant Garde”(2004, Jakarta, Indonesia); “New artists that has most assimilated and manifested Western Huang Art Museum), “Images Image Exhibition” (2003,
Perspectives in Chinese Painting”(2004, Milan); “Bei- art to its utmost, which makes him unique among his Shenzhen Art Museum), and “The Power of Personality
jing, Chongqing, Shanghai - Painting and Photography” fellow artists. - a travelling exhibition of progressive art”.
(2004, Munich).
何森 (中國，1968年生) 毛旭輝 (中國，1956年生) 尹朝陽 (中國，1970年生)

1968年生於中國雲南，1989年畢業自四川美術學院師範出生於中國西南地區的重慶市，1982年畢業於雲南藝術生於河南，畢業於北京中央美術學院版畫系，現居北
系，現定居與工作於成都。其作品曾於海內外個展展學院美術系油畫專業，1996年在母校同系任教，現為雲京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的
出，如皮爾策畫廊舉辦的「何森個人作品展」（2002，南油畫藝術委員會委員及雲南油畫學會副主席。中國改個展有2001年「神話」（北京藝術博物館）和2004年
巴黎）、米蘭馬蕊樂畫廊個展（2003）、「如影隨形」革開放以來，隨著西方現當代藝術在中國的本土化，他「烏托邦」（北京中央美術館）。曾參加的群展有：
（2004，北京）。另外，其參加過的聯展有紐約國際亞是眾多藝術家中將西方現當代藝術吸收消化得最徹底的 2001年成都雙年展、 2002年上海東大名藝術創庫和北
洲藝術博覽會（2002）、「中國前衛藝術展」（2004，一位，也是行進得最深遠的一位，在同一代藝術家中是京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館
印尼雅加達）、「中國繪畫新景觀」（2004，米蘭）、絕無僅有的。的「圖像的圖像展」及「個性力量－新銳藝術巡迴展」
「北京、重慶、上海—繪畫與攝影」（2004，德國慕尼等。
黑）等展覽。
378
Lot 156 Lot 159 Lot 160
FENG Zhengjie (Chinese, b. 1968) YUE Minjun (Chinese, b. 1962) XIANG Jing (Chinese, b. 1968)
Born in Sichuan Province, China, he graduated in 1992 Yue Minjun was born in Hei Longjiang Province. Stud- Born in Beijing. Xiang was graduated from the Affili-
from the Fine Arts Education Dept. of the Sichuan ied in Fine Art Department of Hebei Normal University ated Senior High School of Central Academy of Fine
Academy of Fine Arts, BFA. Graduated in 1995 from in 1985, joined “S Plastic Art Exhibition” in Hebei Pro- Arts in 1988. In 1995, she got her Master Degree from
the Oil Painting Dept. of the Sichuan Academy of Fine vincial Exhibition Hall; “Summer Palace Painters Ex- the department of sculpture of Central Academy of Fine
Arts, MFA. Currently lives and works in Beijing, China. hibition” in 1992, “China Oil Painting Exhibition-From Art in 1995, also participated in a four artist joint art
Important Solo Exhibitions: “Recounting of Skin” Realism to Post-Realism” in Belgium, 1995; “China” in exhibition held by Beijing Contemporary Art Museum
(1996, China); “Coolness” (2001, Canada); “Paintings Germany and “Basel Art Fair” in Swiss, 1996; “5000+10 on March same year. Her graduation portfolio Amulet
of Feng Zhengjie” (2002, Lithuania); “Regards vers Chinese Art” in Spain, London, Berlin, 1998; “48th had won the 1st prize from Central Academy of Fine
l’Est, Regards vers l’Ouest” (2003, France) ; “Kitsch as Venice Biennial” and “Fourteen Chinese Artists Exhibi- Art graduation portfolio exhibition and also from Japan
a Face Of Chinese Society” (2004, Singapore); “Paint- tion” in France, 1999; “Red Ocean” Sponsored by China Matsuoka Foundation, her work has been collected by
ings of Feng Zhengjie” (2005, France); “Paintings of Modem Art Gallery in London, Britain, 2000. Central Academy of Fine Art. In the same year, she par-
Feng Zhengjie” (2006, China); “New Works of Feng ticipated the exhibition of Chinese Female Artists held
Zhengjie” (2007, USA). my China National Museum of Art, also the “Century:
A Female Art Exhibition” and “Subaudition: An Art
Exhibition” at the same place in 1998. The next year,
she participated the 2nd “Artistic tour before the end of
the century” exhibition held by The New Dimension–
he Only Place for Art, her work was chosen by the 9th
“National Art Exhibition” and had won the award of
excellence.
俸正傑 (中國，1968年生) 岳敏君 (中國，1962年生) 向京 (中國，1968年生)

生於四川。1992年畢業於四川美院美術教育系，獲學士 1962年生於黑龍江。1985年就讀於河北師範大學美出生於北京。1988年畢業於中央美術學院附中。1995年
學位。1995年畢業於四川美院油畫系，獲碩士學位。現術系，1987年參加河北省展覽館舉辦的「S造型藝術畢業於中央美術學院雕塑系。1995年參加北京當代美術
工作生活於北京。重要個展：「皮膚的敘述」（1996，展」；1992年參與「圓明園畫家作品展」；1995年參加館舉辦的三月四人展。畢業作品《護身符》等獲中央美
中國）；「酷」,（2001，加拿大）；「俸正傑作品展」在比利時舉辦的「中國油畫展－從現實主義到後現實主院畢業生作品展一等獎及日本松岡家族基金會一等獎，
（2002，立陶宛）；「東張西望」（2003，法國）；義」；1996年參與在德國舉辦的「中國」展及參加瑞士作品被中央美院收藏。同年參加中國美術館舉辦的中華
「豔俗─是中國社會的一張臉」（2004，新加坡）；舉行的「巴塞爾藝術博覽會」；1998年參與在西班牙、女畫家邀請展。1998年參加中國美術館「世紀．女性藝
「俸正傑作品展」（2005，法國）；「俸正傑作品展」倫敦、柏林舉辦的「5000+10中國藝術」展；1999年參術展」、「弦外之音畫展」。1999年作品參加北京新
（2006，日本）；「俸正傑新作展」（2007，美國）。加「48屆威尼斯雙年展」及參加在法國舉辦的「十四位時空－ART專遞空間舉辦的「世紀末藝術之旅．第二回
中國藝術家展」；2000年參加英國倫敦中國當代藝術畫展」，作品入選「第九屆全國美展」並獲優秀獎，作品
廊所舉辦的「紅色的海洋」展覽。《一杯冰水》等五件作品參加成都現代藝術館舉辦的
「中國當代雕塑邀請展」，作品《我的娃娃》等九件作
品參加劉海粟美術館舉辦的「海平線－2000繪畫雕塑邀
請展」。2001年，作品《禁閉》、《冰涼的水》等四件
作品參加在成都現代藝術館舉辦的「架上樣板－第一屆
成都雙年展」。作品曾在《當代藝術：女性與藝術的生
態自述》、《藝術家》、《典藏》等刊物發表，並被海
內外機構及私人收藏。
379
Lot 161
Lot 165
Lots 168, 193
LI Hui (Chinese, b. 1977) LIN Wen-chiang (Taiwanese, b. 1943) HWANG Jyi (Taiwanese, b. 1953)
Li Hui was born in Beijing. From 1998 to 2003, he stud- Born in Nantou, Taiwan in 1943, Lin Wen-chiang re- Born in Chiayi in 1974. Works by Hwang Jyi were
ied in the department of sculpture of Central Academy ceived traditional art training at the National Taiwan shown in the 1989 L'Ecole Nationale Supérieures des
of Fine Arts. He won the Third Prize in “PE Sculpture Academy of Arts (now National Taiwan University of Beaux-Arts exhibition in Paris, and he later won first
Exhibition of New Beijing, Great Olympic”. In 2003, Arts) and teachings from artists including Wu Dong- prize in the National Fine Arts Exhibition. Hwang Jyi's
his works participated in “Beijing Biannual Exhibition”. cai, Yang San-lang, Hong Jui-lin, Chang Wan-chuan. works, often in the nature of surrealist epics, can be seen
At the same year, his work “Renewing Jeep- Smooth Lin received the Gold Medal honor at the National Art as a kind of personal creative journal, with strong senso-
Current and Counter Current” won the Golden medal in Exhibition in 1977. In 1980, he left for Paris, France, ry impact created through presentation of multi-layered
the competition of “Dalian Golden Cup” held by China
to further his art studies at Académie de la Grand- dimensions. They stand as unique stylistic achievements
Sculpture Website. His work “Acupoints” participated in
Chanmiére; there he revamped previous knowledge in modern Taiwanese art.
the exhibition of Shiseido Gallery, Tokyo in 2004. His
works are Shiseido highly praised by collectors all over of canvas making as well as the proper use of color.
the world. Works were selected multiple times at the French Salon
d’autumn and others. His unencumbered style allowed
him to break through convention, and chose subjects to
emphasize Taiwan ‘s people, culture, and heritage.
李暉 (中國，1977年生) 林文強 (台灣，1943年生) 黃楫 (台灣，1953年生)

出生於中國北京，1998-2003年就讀於中央美院雕塑生於台灣南投，1968年國立藝專接受傳統訓練，受教於生於台灣嘉義。其作品曾入選1989年巴黎高等美術學院
系。2001年作品獲「新北京新奧運－體育雕塑展」三等吳棟材、楊三郎、洪瑞麟、張萬傳等前輩。1977年獲全美展，而後又獲得第七屆全國美展首獎。其作品可謂是
獎，2003年作品參加北京「北京雙年展週邊展」，同年國美展金牌獎。1980年起遠赴法國巴黎大茅屋工作室畫一種個人的日記形式創作，畫中帶有超現實史詩的內
作品《改裝吉普－順流逆流》榮獲「中國雕塑網2003年院研習進修；到法國後，從畫布製作到顏料的正確使用涵，充滿多層次時空交替的感官接觸，為台灣當代藝術
大連金和杯全國畢業生作品大賽」一等獎，作品《穴法，皆重新作探討與研究。作品多次入選法國秋季沙龍中別樹一格的風格。
相》2004年參加日本資生堂畫廊邀請展，其作品廣受各及在阿基斯但國際美展中獲獎。風格不受侷限，屢作突
地收藏家喜愛。破，對作品體裁選擇多表現台灣人文、歷史之脈動和記
載，透過藝術形式表達，試圖對生命的意義作理解。可
稱為中堅輩畫家佼佼者之一。
380
Lot 171
Lots 170, 184
Lot 172
LEE Jaesun (Korean, b. 1971) Ayako ROKKAKU (Japanese, b. 1982) LIAO Yibai (Chinese, b. 1971)
Born in 1971. Lee Jaesun graduated from Kyungsung Born in 1982 in Chiba, Japan, Ayako Rokkaku has never Born 1971, Jiang An, Sichuan, China. Lives and works
University, majoring in Korean painting. In 2000, She received any academic art education but learned to paint in Beijing and Chongqing, China. 2001-2005 Lecturer,
did advanced studies in Wall Painting in the Department on her own. She started her career in painting in 2002, Department of Art Design, College of Art, Chongqing
of Fine Art of the Central Academy, and completed her and her works are already common in many art fairs in University 1997 Graduated from Sichuan Academy of
master’s studies in 2003. She has shown his works in Japan. Rokkaku has mastered her own painting tech- Fine Arts (SIFA). Important art exhibition: 1996 “Per-
many exhibitions including “2007 Art Taipei” (2007, nique. She applies acrylic paint on cardboard sheets with sonal Experience Exhibition”, Chongqing, China. 1998
Taipei); “Art Beijing 2007” (2007, Beijing). She has her bare hands. Adolescent children are the main sub- “Urban Personality Exhibition”, Chongqing, China.
held various solo exhibitions such as “Solo Exhibition” jects in her work, and are mostly illustrated from close- 2002 “China International City Sculpture Exhibition
at Gallery Guang in Sejong Center, Seoul and “The up. Rokkaku has won the prestigious Akio Goto Prize at & Symposium”, Beijing, China. 2003 “Wuyeshen -
Works of Lee Jaesun” at Gallery J. Chen (2008, Taipei). Geisai # 9. Her works appeared in many solo exhibitions New Documentary Exhibition of China”, Guangzhou,
like shows held by Gallery Delaive (2007, Holland); China. 2004 “MIP TV Cannes Program Fair”, France.
by Gallerie Moderne (2007, Denmark); by Galerie Teo 2005 “On Going Contemporary Art Show”, Haikou,
(2007, Tokyo); by Gallerie Wild (2008, Germany); Ju- China. 2006 “New Improvement Academy Invitation
liana Gallery (2008, Korea). And she has joined several Exhibition”, Guangdong, China. 2007 “Burning”, Bei-
international art fairs such as “Art Cologne” (2007, Hol- jing, China. 2008 “Germinators”, New York.
land); “Shanghai Art Fair 2007”; “Art Singapore 2007”;
“Art Fair Tokyo 2008”; “Art Amsterdam” (2008); “Art
Taipei 2008”.
李在先 (韓國，1971年生) 六角彩子 (日本，1982年生) 廖一百 (中國，1971年生)

1971年生，女性藝術家。1995年畢業於慶星大學校韓國 1982年出生於日本千葉，六角彩子從未上過任何藝術學 1971年生於中國四川江安；1991年畢業於四川美術學院
畫專業，2000年中央美術學院壁畫系，並於2003年完校，其畫作技巧與本領皆為自學，並從2002年起正式開附中；1997年畢業於四川美術學院油畫系第三工作室；
成碩士學位。其作品參加過台北藝術博覽會（2007，啟其繪畫創作之路，目前已在日本的許多藝術節上展出 2001-2005年任教於重慶大學人文藝術學院；現居北
台北）、北京藝術博覽會（2007，北京），並舉辦過了作品。六角彩子的繪畫技巧上已自成一派。她空手運京。主要展覽有：1996年「個人經驗展」，重慶；1998
多次個展，包括世宗文化會館別館G u a n g畫廊的個展用丙烯酸樹脂漆在紙板上作畫；其畫作的主題是青少年「都市人格展」，重慶；2002年「北京國際城市雕塑
（2006，首爾）及Gallery J. Chen的李在先個展（2008，年兒童，大部分從近距離進行描繪。六角彩子曾在日藝術展」，北京；2003年「五葉神中國新紀錄影展」，
台北）。本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男廣東；2004年「M I P T V 法國坎城節目交易展」，法
賞」獎。於2007年分別在荷蘭（德萊夫畫廊）、丹麥國；2005年「進行時當代藝術展」，海南；2006年「新
（現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展，改良－學術邀請展」，廣東；2007年「燃—廖一百個
2008年則在德國（Wild畫廊）、韓國（朱莉亞娜畫廊）展」，北京；2008年「雷達之下」，美國。
舉辦個展。另外也參加過許多重要的國際藝術展，如
2007年的「科隆國際藝術展」（荷蘭）、上海、新加坡
藝術博覽會；2008年的東京、阿姆斯特丹、台北藝術博
覽會。
381
Lot 177
Lot 173 Lot 176
LIU Fenghua & LIU Yong

(Chinese, b. 1956 & b. 1971) WANG Keping (Chinese, b. 1949) JIAO Xingtao (Chinese, b. 1970)
A couple. Husband Liu Fenghua born in 1956 in Born in Beijing in 1949, he is one of the founders of the Born in Chengdu, Sichuan in 1970, Jiao graduated from
Hebei, he graduated from the Central Academy of first non-conformist artist’s group “The Stars” (Xing Sichuan Academy of Fine Arts. Now works and lives
Fine Arts, Art Department in 1982. His works have Xing) which was formed in 1979 during the poet-cul- in Chongqing. He participated in various exhibitions,
been shown in solo exhibitions “Lost Culture” (1999, tural revolution “Beijing Spring”. He has been living in including: “Shanghai Jingwen Art Exhibition”, Shang-
Beijing);”Environment” (1999, Beijing); and group Paris since 1984. Wang’s creative language is plain and hai; “Beijing International Urban Sculpture Exhibition”,
shows in “Ink and Papers” (2003, France)”; “Quanchong simple, he uses woods as materials, adapts their natural China National Museum, Beijing, 2002; “Chongqing
Modern Art Exhibition” (2004, Beijing)”; “City’s Body, shapes to present the natural forms of human, however Art Museum opening exhibition - Intensely Interesting
Beijing” (2005, Beijing); “The Armory Show” (2006, he also wanted it to be unnatural, therefore he pour his Arts”, Chongqing; “Beijing 1st International Art Bian-
New York); “11th Beijing International Art Exposition” expressions into his works along with natural materials, nual Exhibition”, China National Museum, Beijing; “10
(2008, Singapore). and the result is amazing as if it came part of the natural Art Academy joint Exhibition”, Academy of Fine Arts,
world, the work itself explains all. His works are col- Tsinghua University, Beijing; “Japan Oita International
Wife Liu Yong born in 1971 in Shenyang, China, in
lected by Villes de Paris, Paris, France; The Olympic Sculpture Exhibition”, Japan, 2004; “The 2nd Chengdu
1996, she graduated from the Shanghai Drama Institute.
Sculpture Park, Seoul, Korea; Modern Art Museum, Biannual Exhibition”, Chengdu Modern Art Gallery,
her works “Terra-cotta Warriors and Horses” were
Taipei, Taiwan; and Aidekman Art Center, Boston. Solo Chengdu, 2005; “Contemporary Art Almanac Exhibition
selected by many exhibitions such as “Quanchong
exhibitions he held in New York, Paris, and London re- of China”, The Art Museum of the China Millennium,
Modern Art Exhibition” (2004, Beijing); “City’s Body,
flect his more serious and modest attitude after his mov- Beijing, 2006; “New South-West Contemporary Paint-
Beijing” (2005, Beijing); “London Art Festival” (2006,
ing to Paris, he continues to have conversations with art ing Exhibition 1985-2007”, Guangdong Museum of Art,
Britain); “The Armory Show” (2006, New York); “Milan
traditions originated from different places, and he’s full Guangzhou, 2007.
International Modern Art Exhibition” (2007, Italy); Liu
of confidence and strength.
Fenghua - Liuyong Works Exhibition” (2007, Beijing).
劉楓華＆劉勇 (中國，1956年生；1971年生) 王克平 (中國，1949年生) 焦興濤 (中國，1970年生)

兩人為夫婦。夫劉楓華1956年生於河北。1982年畢業於 1949年生於中國北京，1979 加入由北京藝術工作者成立 1970年出生於四川成都，1996年畢業於四川美術學院。
中央戲劇學院舞台美術系。其作品參加過個展：「失落的「星星畫會」，成為活躍成員。1984年定居於法國至現工作、生活於重慶。曾參與的展覽有：「上海精文
的文明」（1999，北京）、「處境」（1999，北京）；今。王克平的創作語言是簡單自然，以木頭為材料，以藝術大展」，上海；2002年「北京國際城市雕塑邀請
以及多次聯展「墨水與紙」（2003，法國）、「當代權其自然形式表現人的自然形態，既是用自然又要打破自展」，北京；「重慶美術館開館系列展之-耐人尋味的
衝藝術展」（2004，北京）、「城市與身體─當代藝然，把自己的表達加進去，最後作品處理又渾然天成，藝術」，重慶；2003年「北京首屆國際美術雙年展」，
術展」（2005，北京）、「軍械庫藝術展」（2006，讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、中國美術館，北京；「全國十所美術院校作品展」，清
紐約）、「第11屆北京國際藝術博覽會」（2008，新加台灣省立美術館、波士頓 Aidekman 藝術中心，都有收華大學美術學院，北京；2004年日本大分國際雕塑展
坡）藏他的作品，前後於紐約、巴黎、倫敦等各地畫廊的個「日本朝蒼文夫紀念館」，日本；2005年「第二屆成都
展，更反映出移居法國讓王克平以一種更嚴謹和內斂的雙年展」，成都現代藝術館，成都；2006 年「首屆中
妻劉勇，1971年生於東北瀋陽。1996年畢業於上海戲劇
態度，繼續與源自他方的藝術傳統對話，充滿著自信和國當代藝術年鑒展」，中華世紀壇現代藝術館，北京；
學院舞台美術系。劉勇的作品《新兵馬俑》曾參加過多
力量。 2007 年「從西南出發-西南當代藝術展1985-2007」，廣
次聯展，如「當代權衝藝術展」（2004，北京）、「城
東美術館，廣州等。
市與身體－當代藝術展」（2005，北京）、「倫敦藝
術節」（2006，英國）、「軍械庫藝術展」（2006，
紐約）、「米蘭國際當代藝術博覽會」（2007，義大
利）、「劉楓華、劉勇作品展」（2007，北京）。
382
Lot 178 Lo 179 Lots 182, 204
QU Guangci (Chinese, b. 1969) SUI Jianguo (Chinese, b. 1956) KIM Byung Jin (Korean, b. 1974)
A native of Shanghai, he graduated from the Affiliated Born in 1956, Qingdao, Shandong, China, he is now Born in 1974, Seoul. Kim Byung Jin graduated from
High School of the Zhejiang Academy of Fine Art in the Professor and Dean of Sculpture Department, Cen- the Sculpture Department and proceeded his MFA
1989. In 1994 he received his bachelor’s degree from tral Academy of Fine Arts. He received his Bachelor studies in Sculpture at the Suwon University College
the Department of Sculpture at the Central Art Academy, Degree in 1984 from the Fine Arts Department, Shan- of Arts. He held his two solo exhibitions, “Drawing
then a master’s degree in 1997. The artist is currently a dong Institute of Fine Arts and was conferred with his a Space” in Korea in year 2008 and 2009. The artist
teacher in the Sculpture Studio at the School of Fine Art, Master Degree in 1989 from Sculpture Department, also participated in various group exhibitions, includ-
Shanghai Normal University. His 1993 piece “Mother” Central Academy of Fine Arts. His major solo exhibi- ing “Korea-China Contemporary Sculpture Exchange”
was entered in the “National Commemoration of Com- tions are: 2007 “Speeding up – Sui Jianguo Space Vid- (2007, China), “Korea’s Enterprising Artists’ Speaking-
rade Mao’s Lecture at the Yan-an Art and Literature eo Arario – Beijing; 2005 “Sui Jianguo –The Sleep of Out” (2007, Korea), “Commemorating Exhibition
Workshop - 65th Anniversary Art Exhibition” where it Reason”, San Francisco; 1999 “Clothes Veins Study – Opening Cheonggyecheon Art Studio” (2007, Korea),
won an outstanding work award. The 1994 piece “Street” Exhibition of Work by Sui Jianguo”, Beijing; 1997 “You “Korea International Art Fair” (2008, Korea), “Seoul
participated in the “1994 Central Art Academy Gradu- Meet the Shadow of Hundred Years – Exhibition of Open Art Fair” (2008, Korea), and “Living Design
ate Exhibition” organized by the Central Art Academy Work by Sui Jianguo”, Melbourne; 1995 “Deposit and Fair” (2009, Korea).
display gallery and won a second rank award and was Fault- Exhibition of Work by Sui Jianguo”, New Delhi;
added to the academy’s collection. His work “Wang 1994 “Exhibition of Work by Sui Jianguo”, Taipei.
Family Well” won the gold medal for the Beijing district
in the “8th National Art Exhibition”, then went on to
win the grand prize at the “8th National Outstanding
Artwork Exhibition”.
瞿廣慈 (中國，1969年生) 隋建國 (中國，1956年生) 金炳真 (韓國，1974年生)

出生於上海。1989年畢業於浙江美術學院附中，1994年 1956年生於山東青島，現為中央美術學院雕塑系主任、 1974年生於韓國首爾，畢業於水原大學美術學院雕刻
畢業於中央美術學院雕塑系，獲學士學位。1997年畢業教授。1984年畢業於山東藝術學院美術系，獲學士學專業學士和碩士學位。分別在2008年和2009年，在韓
於中央美術學院雕塑系，獲碩士學位，現為上海師範大位。1989年畢業於中央美術學院雕塑系，獲碩士學位。國舉辦過2次個展「繪畫空間」，另參加過多次群展，
學藝術學院雕塑工作室教師。1993年作品《母》參加中現為中央美術學院雕塑系主任、教授。重要個人展覽如「中韓當代雕刻交流」 (2007，中國)、「韓國進取藝
國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談有：2007年「大提速—隋建國空間影像作品展」，北術家」(2007，韓國)、「清溪川藝術工作室開幕展覽」
會上的講話—六十五周年美術作品展」，並獲優秀作品京；2005年「隋建國—理性的沉睡」，三藩市；1999年 (2007，韓國)、「韓國國際藝術展」(2008，韓國)、
獎。1994年作品《街道》參加中央美術學院陳列館舉辦「衣紋研究—隋建國作品展」，北京；1997年「世紀的「首爾藝術展」(2008，韓國)；「生活設計展」(2008，
的「94中央美術學院畢業生作品展」獲二等獎，並被中影子—隋建國作品展」，墨爾本；1996年「隋建國作品韓國)。
央美術學院收藏。作品《王府井》獲「第八屆全國美展」，香港；1995年「沉積與斷層—隋建國作品展」，
展」北京地區金獎，並入選「第八屆全國美展優秀作品新德里；1994年「隋建國作品展」，台北。
展」獲大獎。1995年作品《黃昏》、《姿態》參加當代
美術館舉辦的「95國際青年美術家交流展」。1997年研
究生畢業作品《西藏組雕》獲「97中央美術學院畢業生
作品展」二等獎及日本岡松家族基金會二等獎，作品為
中央美術學院收藏。1999年作品《天路》參加中國美術
館舉辦的「第九屆全國美展」，獲頒銅獎。
383
Lot 183, 211 Lot 185 Lots 186, 188
Yayoi KUSAMA (Japanese, b. 1929) LEE Hye-Rim (Korean, b. 1963) KWON Kyung Yup (Korean, b. 1975)
Born on 22nd, March, 1929. She was called the classic Lee Hye-Rim was born in Seoul, graduated from Ewha Born in 1975, Korea. Kwon Kyung Yup began exhi-
artist stll alive in Japan. She was born in Matsumoto Women’s University with a Bachelor of Music (Voice) bitions after winning Special Prize at Danwon Arts
City in Nagano, Japan. In 1956 she moved to New York, in Seoul. She got a Bachelor’s degree of Fine Art in The Festival in 2006. He participated in various group
U.S.A. and began to show her unique avant-courier University of Auckland, New Zealand in 2003. Selected exhibitions, including “Korea International Art Fair”,
artistic creation which takes a dominant place. She once solo exhibitions includes: “Boom Boom: Super Heroine “Alternative Space Team Preview” (2007, Korea),
held exhibition with some current brillant artists such Super Beauty, 24 HR Art: The NT Centre for Contempo- “Next ART” (2008, Korea), and “MicroART69 - Hear”
as Andy Warhol, Claes Oldenburg and Jasper Johns to- rary Art” (2007, Darwin, Australia); “Candyland” (2006, (2008, Korea).
gether. She lives in Tokyo in Japan now. She has a wide Auckland); “Powder Room” (2005, Auckland). Selected
artistic practice, including painting, collage, sculpture, group exhibitions includes: “Mirror States” (2008, Syd-
acting, filming, decorating and writing novels, poems ney); “The New Media Festival 07” (2007, Miami); “Off
and music. When she was ten years old, he got acousma Loop ’06” (2006, Busan Biennale).
and heteroptics because she was ill. When she was in
America, it was the period of radicalness. And from then
on her arts stayed in the state of radical, commercial and
retrospective. She thinks that the net form means the
vividness of life. In 1966 her decorating work “Endless
Mirror Room” reveals the endless and the uncontrollable
of life.
草間彌生 (日本，1929年生) 李惠林 (韓國，1963年生) 權慶燁 (韓國，1975年生)

草間彌生被稱為日本現存的經典藝術家，出生於日本長出生於南韓首爾市，1985畢業於首爾梨花女子大學，音 1975年生於韓國。權慶燁繼2006年獲得「Danwon藝術
野縣松本市，在1956年移居美國紐約市，並開始展露她樂學士（聲樂）。2003 畢業於紐西蘭奧克大學Elam美節特別獎」開始參加展覽，其中包括「韓國國際藝術
佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家術學院美術學士。現居於紐約與紐西蘭奧克市。重要展」（2007，韓國）；「下一輪」（2008，韓國）；
如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起個展有「Boom Boom超級英雌與美女，二十四小時藝「替代空間團隊預展」（2008，韓國）。
聯展。現居住在日本東京。她的藝術實踐非常廣泛：繪術—北部當代藝術中心」（2007 ，澳洲達爾文市）、
畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和「糖果世界」（2006，紐西蘭奧蘭市）、「化妝間」
音樂。她十歲患病導緻幻聽幻視。在美期間正值激進主（2 005，紐西蘭奧克蘭市）。重要群展有「鏡述」
義時期，此後她的藝術停留在激進、商業和反思的層面（2008，雪梨）、「2007年新媒體節」（2007，邁阿
上。她認為網狀結構象徵富有生機的生命本質。1966年密）、「外環」（2006，釜山雙年展）。
的充滿神秘感的《無限鏡屋》的裝置作品反映了一種生
命力的無限廣博以及不可把握性。她對自己的藝術經曆
描述為：分解和積聚，增值和破碎，是對自己的湮沒和
對無形宇宙的回想。返日後用多種形式和材料探索無止
境的網狀結構。她的藝術中所蘊含的獨特的感知經驗和
不可觸摸的神秘。
384
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Lot 190
Lot 189
KIM Duck Yong (Korean, b. 1961) SHIN Young-Mi (Korean, b. 1979) YANG Ren-ming (Taiwanese, b. 1962)
Kim Duck Yong graduated in Painting from Seoul Uni- Shin was born in 1979 and graduated from the Fine Born in Kaohsiung, Taiwan, Yang graduated from the
versity and obtained a master’s degree in Painting from Arts Department and preceded her MFA studies in Fine Department of Fine Art Oil Paintings, Chinese Culture
Seoul National University in 1992. He was awarded Arts at Kookmin University. Important solo exhibitions University in 1985; he also received the Hsiung Shih
the Donga Art Festival Award in 1996 and the Award include “Hidden Dreams” (2004, Soeul), “Ah! ... Mr. New Artist award in the same year. In 1988 he studied
for Outstanding Artist at MANIF Seoul International Narcissus,” (2004, Soeul). Important group exhibitions abroad in France. After his return in 1994 he held the
Art Fair in 2002. He exhibited his works at the Korean include “Competition” (2004, Seoul Art Gallery) “An- “New Plants Grown from Black Water” exhibition in
Culture and Art Foundation and the National Museum ticipation 2005” (2005, Seoul), “Imaginary Diet” (2003, Galerie Pierre, Taichung. He had a solo exhibition in
of Contemporary Art, Korea as he participated in Seoul) the Grigny Culture Center in France, held “Between
Grand Art Exhibition of Korean in 1995. Imagination and Reality” exhibition in the American
Cultural Center, Taipei; Triennial exhibition in Dae-
jeon, Korea; Biannual exhibition in Taipei Fine Arts
Museum; “The Educated Man” dual solo exhibition in
Chicago Gallery; and “New Plants Grown from Black
Water”, the 8th Fukuoka Asian Art Museum interna-
tional art exhibition.
金德龍 (韓國，1961年生) 申英美 (韓國，1979年生) 楊仁明 (台灣，1962年生)

金德龍於1992年獲得韓國漢城大學美術學院的藝術碩申英美1979年出生，畢業於國民大學美術系大學部和研台灣高雄人，1985畢業於文化大學美術系西畫組，同年
士學位。於1996年榮獲東亞藝術獎，於2002年獲首爾究所。重要個展有（暗藏的夢想）（2004，首爾）、獲選雄獅新人獎。1988 赴法研習。回台後1994年於臻
Manif藝術博覽會的傑出藝術家獎。他曾於韓國文化藝（啊！…那西斯先生）（2004，首爾）。重要聯展如於品藝術中心舉辦個展「從黑水長出來的新植物」，期間
術基金會及韓國國立現代美術館展出，並參加1995年的首爾美術館的（競爭）（2004，首爾）、（預期2005）舉辦法國葛里尼文化中心個展、台北美國文化中心個展
韓國大藝術展。（ 2005 ，首爾）、於省谷美術館的（虛構的飲食）「在想像與現實之間」、韓國大田三年展、台北市立美
（2003，首爾）。術館雙年展、芝加哥畫廊博覽會雙個展「知識份子」、
日本第八屆福岡亞細亞國際美展「從黑水長出來的新植
物」等。
385
Lot 194
Lots 191, 198 Lot 192
HUNG Tung-lu
(Taiwanese, b. 1968) Hwang Hyun Seung (Korean, b. 1980) Lee Woo Lim (Korean , b. 1972)
Graduated from National Tainan College of Art Gradu- Hwang Hyun Seung obtained his BFA from Sangmyung Lee intentionally arranges figures, clothes, landscapes,
ate Institute of Plastic Arts, Hung had major exhibitions University in Seoul. He has participated different group light and shade, to represent his own story and psycho-
in Taipei Fine Arts Museum, I-Tong Park, Contemporary exhibitions: “UN World Peace Art Exhibition”, Danwon logical drama. His work appears figurative, yet blends
Art Museum of Italy, and Hall-Ottawa Gallery in Cana- Gallery, Seoul, 2006; “Art Singapore 2007”; “First Steps the visible with some imaginative elements, departing
da. He was invited to participate in several international – New Art from Korea”, Art Seasons, Singapore, 2008 from realism. Each object, while delicately and crisply
exhibitions: Venice Biennial (1999), 3les Recontres etc.. rendered, is not placed in a consistent context but linked
internationales de la Photographie, Arles (2000), Taipei to each other fictitiously. Lee Woo-Lim’s work is an
Biennial (2000), Arco (2001) and Shanghai Biennale evocation of the spirituality of modern people derived
(2004). His work is collected by China Century Foun- from their secret, mystic contact with nature.
dation in Paris, Marco Noire in Italy and Taipei Fine
Arts Museum. His work “Virtuality Is Reality” from the
“Nirvana” image series is an actual practice of totally
digitalized virtual arts. Hung currently lives and works
in Shanghai.
洪東祿 (台灣，1968年生) 黃炫升 (韓國，1980年生) 李佑林 (韓國，1972年生)

1999年畢業於國立台南藝術學院造形藝術研究所。2002 黃炫升生於1980年，於首爾的祥明大學取得學士學位，李佑林1972年出生。透過人體、服裝、景色、光與影呈
年在北美館、伊通公園、義大利當代美術館、加拿大魁曾參加過不同的聯展，2006年，首爾丹旺藝廊的「世界現自己的故事和心靈舞臺。他的作品以象徵手法呈現並
北克大學渥太華分校藝術中心畫廊均有個展。多次參和平藝術展」；2007年「新加坡藝術博覽會」；2008 結合超脫現實之外的異想元素。畫作中的物體優美且清
加國際當代藝術大展，如1999年「第48屆威尼斯雙年年，新加坡季節畫廊的「第一步─韓國新藝術」展等。新，看似無關聯性的擺放實則環環相扣。李佑林的作品
展」、2000年法國阿爾國際攝影節、2000年「台北雙年可視為靈性的感召，宛如現代人與大自然神秘地連結。
展」、2001年「西班牙拱之大展」、2004年「上海雙年
展」等。作品亦被巴黎中國世紀基金會、義大利馬可．
諾瓦畫廊、台北市立美術館等收藏。其創作《涅盤》影
像系列《虛擬即真實》，是全數位化虛擬藝術的一種實
踐。目前生活及創作於上海。
386
Lot 195
Lot 201
Lot 199
J. C. KUO (KUO Jen-chang)

YOON Jongseok (Korean, b. 1970) (Taiwanese, b. 1949) Nam June PAIK (Korean, 1932-2006)
Born in 1970 in Seo-cheon Chung-nam, Korea, YOON Kuo born in Lukuang in 1949, graduated from the He was born in Seoul in 1926, he received B.A. in art
Jongseok graduated from Hannam University in 2000. Department of Fine Arts, Chinese Culture University history at Tokyo National University, Japan in 1956.
Solo exhibitions: “Firing of Aerial Time” (1998, Seoul); in 1973 and learned how to paint at the Li Chun-shan Afterwards he went to Germany and majored in music
“Pure Contradiction” (Seoul, 2002); “Drawing” (2006, Studio during 1968-73. Sponsored by Asia Foundation, history at Munich University in 1958. Since 1963 he
Italy).He has also shown his works in many group ex- USA during 1974-79, he devoted himself to researching participated in Fluxus movement, and had his solo exhi-
hibitions including “Korean Youth Artists Art Festival” Taiwan folk arts and participated in practical fieldwork. bition at Galeria Bonino, New York in 1965.Since then,
(2001, Seoul); “Exchange Exhibition between Korea and Influenced by Pop Art in the 70’s, he formed an unique he had his retrospective exhibition at Whitney Museum,
Japan” (2001, Japan); “Korean Dream” (2002, France); personal creative style in the 80’s-the combination of New York (1982) and produced “The More the Better”
“International Art Fair in China” (2005, Beijing). Han-Tang figures and totems or symbols of Chinese folk for 1988 Seoul Olympics. He exhibited at Venice Bien-
arts as well as a strong western vocabulary. In the 90’s nale 1993 in German section and won the Golden lion,
he expanded to landscape paintings and Chinese classi- and was awarded the Asian Culture prize in Fukuoka,
cal fairytales. His works are collected by the Taipei Fine Japan in 1995. He was included in the “World’s Top
Arts Museum, the Kaohsiung Museum of Fine Arts, the 100 Artists” selected by the German magazine Focus in
National Taiwan Museum of Fine Arts, and the Hara 1996, and “Top 100 Artists” by Germany’s Capital in
Museum of Contemporary Art, Japan. 1997.
尹鍾錫 (韓國，1970年生) 郭振昌 (台灣，1949年生) 白南準 (韓國，1932-2006)

1970年生於韓國舒川忠南。2000年畢業於韓南大學美 1949年生於彰化鹿港，1973年中國文化大學美術系畢白南準出生於1926年首爾市。他於1956年畢業於東京國
術學院。尹鍾錫舉辦過多次個展，如「飄忽飛行時業。1968~73年入李仲生畫室習畫。1947~79年間曾獲美立大學的藝術史系，兩年後前往德國幕尼黑大學主修音
的火焰」（1998，首爾）、「純然的對比」（2002，國亞洲基金會贊助，投入台灣民俗藝術研究，並實際參樂史。從1963年起開始參加福魯克薩斯運動，於1965年
首爾）、「繪畫」（2006，義大利）。他的作品也曾與民間田野調查工作。1970年代因受到普普藝術影響，於紐約波尼諾畫廊舉辦個展、1982年紐約惠尼美術館
參加過多次聯展，包括：「韓國青年藝術家藝術節」 1980年代出現擷取中國漢唐時期人物造型及中國民間藝舉辦回顧展、1988年為首爾奧林匹克製作了《越多越
（2001，首爾）、「韓日交流展」（2001，日本）、術圖騰符號結合強烈的西方語彙，形成獨特的個人創作好》。他於1993年在威尼斯雙年展的德國館中參展並
「韓國夢」（ 20 0 2，法國）、「中國國際藝術節」風格。而後1990年代擴大至山水風景及中國古典神話。獲得金獅獎，並於1995年獲日本福岡的亞洲文化獎。
(2005年，北京)。其作品獲台北市立美術館、高雄市立美術館、國立台灣 1996年他被德國雜誌《聚焦》選為「世界前一百位藝術
美術館及日本原美術館等收藏。家」，於1997年被德國首都選為「德國前一百位藝術
家」。
387
Lot 202
Lot 203 Lot 205
LEE Lee Nam (Korean, b. 1969) Yi Hwan Kwon (Korean, b. 1974) Madoka TAKAGI (Japanese, b. 1983)
Born in 1969 in Damyang, Korea, Lee Lee Nam gradu- Yi Hwan Kwon was born in Seoul, Korea. He gradu- Born in 1983 in Tokushima, Japan. IIDA Kiriko gradu-
ated from Chosun University in 1995, majoring in ated from the Environmental Sculpture Department and ated from Printmaking Course, Department of Painting,
sculpture and afterwards completed his master’s studies proceeded his MFA studies in Environmental Sculp- Tama Art University, M.A in 2008. She has shown her
in Yonsei University in 2005. Now he is a professor in ture at the Kyungwon University. Yi has participated works in many exhibitions including “Gallery Tsubaki
the Sichuan Fine Arts Institute. He was awarded Spe- in numerous notable group shows throughout Korea, GT2” (2007, Tokyo); “Marginality” (2008, Taipei).
cial Award of the Grand Art Exhibition in 1997; Grand including “Porfolio2005” at the Seoul Museum of Art
Prize for 8th Gwangju Shinsegae Art Competition in in 2005. Yi has also received numerous awards, includ-
2005; Special Award, Artist of the Year/ 2005 Award, ing the “Superior Prize” at the 10th Korean Figurative
Youth Artist of the Year. He has shown his works in Sculpture Exhibition in 1999.Yi Hwan-Kwon first pho-
many exhibitions including “Seoul International Media tographs his subjects then crushes the image through
Art Biennale” (2006, Seoul); “Beijing International computer graphics. The end product is one that wavers
Art Fair” (2007, Beijing); “New York International Art between the two-dimensional and three-dimensional
Fair” (2007, New York). He also held a solo exhibition forms, the realistic and fictional.
“Myth Inside Monitor - Lee Lee Nam” at Metaphysical
Art Gallery (2008, Taipei).
李二男 (韓國，1969年生) 李桓權 (韓國，1974年生) 高木まどか (日本，1983年生)

1969年生於韓國潭陽。1995年畢業於韓國朝鮮大學美術李桓權出生於韓國首爾，畢業於暻園大學環境雕塑系學高木まどか，1983年出生於日本德島縣，2008年畢業於
學院雕塑藝術系，2005年取得韓國延世大學視覺傳達研士與碩士學位。他曾參加多項著名聯展，包括2005年首多摩美術大學繪畫系版畫專業。其作品參加過多次展
究所碩士學位，現任四川美術學院教授。他曾獲得1997 爾美術館「首爾青年美術展」。也榮獲許多獎項，包括覽，如樁畫廊「GT2」（2007，東京）、也趣畫廊「邊
年韓國藝術大展特別獎、2005年第八屆光州新世界藝術 1999年於「第十回韓國人物雕刻大展中獲優秀獎。李桓緣性」（2008，台北）等。
大賽首獎及2005年青年藝術家特別獎。其作品曾於多次權先為雕塑對象拍照，接著用電腦軟體將之變形。最後
聯展展出，包括「首爾國際媒體藝術雙年展」（2006，創作出界於二度空間和三度空間、介於真實和虛構的雕
首爾）、「北京國際藝術博覽會」（2007，北京）、塑成品。
「紐約國際藝術博覽會」（2007，紐約）；以及於形
而上畫廊舉辦個展「李二男�影像神話」（2008，台
北）。
388
Lot 209
Lot 206 Lots 207, 208
Ai KATO & Makoto Aida

Keisuke SHIROTA (Japanese, b. 1975) (Japanese, b. 1984 & b. 1965) KITAMURA Natsuko (Japanese, b. 1982)
Born in 1975 in Kanagawa, Japan. SHIROTA Keisuke Born in 1984 in Tokyo. “Kyupin”(2009, Tokyo) is her Born in 1982 in Miyagi Prefecture, Japan. Kitamura
graduated from Tokyo National University of Fine Arts first solo exhibition. Her works have also been shown Natsuko graduated from the Tama University of Arts in
and Music, Faculty of Fine Arts in 2001, and received in various exhibitions including Aichan-Bonsai “Villa 2006, completion of the Painting Course, and majoring
his master’s degree in 2003. He participated in various Yurinso Special Open: Aida Makoto / Ozawa Tsuyoshi in Oil-Painting. She has held various solo exhibitions
/ Yamaguchi Akira” (2005, Okayama) “Nishiogi Bien-
exhibitions, including: “Tokyo Art University Gradua- nale” (2005, Tokyo); Live- painting “Natural Hi!! Ai including “A Retired Man with a Dream of Owning
tion Work Exhibition” (2003, Tokyo); “Shell Art Award” Madonna project”; “Japan Week 2007 in Warszawa”; a Farm, and his Room” (2004, Tokyo); “Agri-house:
(2004, Tokyo); “A Sense of Distance” (2004, Tokyo); “Tokyo Contemporary Art Fair” (2007, Tokyo); “Tokyo Focus on Asparagus ” (2006, Tokyo); “Hanging” (2008,
“VOCA 2005” (2005, Tokyo); “Overlap” (2006, Seoul); Nonsense” (2008, LA); “Jiji” (2008, Tokyo); “Eyes & Tokyo); “Swimming Pool” (2009, Tokyo); and group
“Young Japanese Landscape” (2007, Vienna); “Group Curiosity 5 – Japanese Contemporary Art” (2008, Tai- shows in “Art@Tsuchizawa Artfestival” (2006, Iwate);
Exhibition of Lee Wonchul, Shirota Keisuke and Wang pei). “Art in Dojima,” (2007, Osaka); “Machida Hospital
Fenghua” (2007, Taipei); “Fictitious Reality: Asian Con- Aida born in Niigata, in 1965, he lives and works in Art Project” (2007-2008, Tokyo); “Swaying Life
temporary Image Exhibition” (2009, Taipei). Chiba at present. He got a B.F.A. and a M.F.A. in 1989 Crossroads of Arts - Visions of a New Generation of
and 1991 respectively from Tokyo National University Artists” (2009, Fukushima).
of Fine Arts and Music. Selected solo exhibitions:
“I’m working on huge paintings in Beijing” (2009,
Beijing), “I’m Iwaki of Mizuma Art Gallery !!” (2008,
Tokyo), “Picture of Mountain Stream and others” (2006,
New York). Selected group exhibitions “Mangamania
Comic-Kultur in Japan 1800-2008” (2008, Frankfurt,
Germany), “All About Laughter: The Role of Humor in
Contemporary Art” (Mori Art Museum, Japan, 2007)
城田圭介 (日本，1975年生) 加藤愛＆會田誠 (日本，1984年生；1965年生) 北村奈津子 (日本，1982年生)

城田圭介，1975年出生於日本神奈川縣，2001年畢業於加藤愛，1984年出生於日本東京。「K Y U P I N展」北村奈津子，1982年出生於日本宮城縣，2006年畢業於
日本國立東京藝術大學美術系，並於2003年取得藝術碩（2009，東京）為首次的個展，加藤愛的作品亦參加過多摩美術大學油畫科。舉辦過多次個展如「夢想退休
士的學歷。參加過的展覽有「東京藝術大學畢業聯展」多次展覽，包括：小愛盆栽「平成17年春，大原美術館之後經營牧場的男子與他的房間」（2004，東京）、
（2003，東京）、「Shell藝術獎」（2004，東京）、有隣莊特別公開-會田誠、小澤剛、山口晃」（2005，「農業家：以蘆筍為題」（2006，東京）、「懸掛」
「距離的意識」（2004，東京）、「VOCA現代美術展岡山）、「西荻雙年展」（2005，東京）、現場創作（2008，東京）、「游泳池」（2009，東京）。以及群
望2005」（2005，東京）、「重疊」（2006，首爾）、「嗨！自然。愛—瑪丹娜計劃」（2007，東京）、「華展如「藝術＠土澤藝術節」（2006，岩手）、「藝術
「年輕的日本風景」（2007，維也納）、「李原喆、城沙2007年日本週」（2007，東京）、「東京當代藝術博在堂島」（2007，大阪）、「町田市民醫院藝術計劃」
田圭介、王風華聯展」（2007，台北），以及「虛擬真覽會」（2007，東京）、「東京毫無道理」（2008，洛（2007-2008，東京）、「搖擺不定的生活藝術的交叉
實：亞洲當代影像展」（2009，台北）。杉磯）、「時時」（2008，東京）、「大開眼界5－日點─新進藝術家的觀點」（2009，福島）。
本當代藝術」（2008，台北）。
會田誠出生於日本新瀉，於1989年和1991年獲得東京國
立美術音樂大學學士和碩士學位，目前工作生活於日本
千葉縣。重要個展包括：「我在北京畫大畫」（2009，
北京）、「我是三瀦畫廊的岩鬼」（2008，東京）、
「山水畫與其他」（2006，紐約）。重要聯展有：「漫
畫迷在日本的漫畫文化 1800-2008」（德國，法蘭克
福，2008）、「笑話的全貌：看現代藝術的幽默規則」
（東京森美術館，2007）。
389
Lot 210 Lots 212, 218 Lots 213, 219
Ai YAMAGUCHI (Japanese, b. 1977) Yoshitaka AMANO (Japanese, b. 1952) Hiroyuki MATSUURA (Japanese, b. 1964)
Yamaguchi was bron in 1977. Since participating in the Born in 1952 in Shizuoka, Japan, he joined the early Born in Tokyo, Japan. He started to work as a graphic
Hiropon Show in LA (1998), Yamaguchi has partici- Japanese anime movement in 1967, working on char- designer: advertising, packaging, binding and logo
pated in number of group exhibitions both at home and acter design for a number of Japanese TV programs, design in 1984. And the artist started to produce
abroad. These include Tokyo Girls Bravo held in Hara- including the series “Time Bokan”, “Tekkaman”, “Gat- “Poster+Package+Skateboad” designS using “character
juku Nadiff, Tokyo, Japan; Officina Asia held at Galleria chaman” and “Honey Bee”. Amano has won several illustration” themes. Exhibitions: 2007, “aniManga”,
d’Arte Moderna in Bologna, Italy in 2004 as well as prestigious awards including the Seiun Award in 1983- VIA07 Festival international, France. 2007, “Ultra New
various other exhibitions whichhave been held in venues 1986 and the Dragon Con Award and the Eisner Award Visions”: Hiroyuki Matsuura Solo Exhibition, Eslite
throughot Japan and the USA. Selected solo exhibitions
in 2000. Amano has exhibited his art in prestigious mu- Gallery, Taipei, Taiwan. 2006, “Super Acrylic Skin, Mi-
including “Kamuro” held in Kanazawa, Japan in 2000;
Sukutoko at Roberts & Tilton in LA and “Oyasumi” at seums and galleries worldwide since 1989, including the rai projects” solo exhibition, Stockholm, Sweden. 2006,
Shaheen Contemporary in Cleveland, USA in 2003 and Orlean Museum of Art in France, Tokyo’s Uenonomori “Japanimation!”, Beijing Tokyo Art Projects, Beijing,
2004 respectively. The work by Yamaguchi offered this Museum, The Angel Orensanz Foundation in New York, China. 2005, “Super Acrylic Skin”, Hiroyuki Matsuura
sale consists of five exquisite lithograph prints, each and the Barbican Centre in London. Solo Exhibition, Tokyo Gallery, Tokyo, Japan.
depicting young kimono-clad girls. These girls occupy a
fantasy world, which is rooted in the exceptional history
and traditions of Edo Japan’s “floating world”. Ai Yama-
guchi’s works are truly timeless; they draw on both
classical Japanese themes and contemporary styles. The
artist’s first American gallery show, “Sukutoko” (Roberts
& Tiltion, LA, 2003) was an instant sellout and earned
her work reviews in Art in America and the cover of Gi-
ant Robot Magazine.
山口藍 (日本，1977年生) 天野喜孝 (日本，1952年生) 松浦浩之 (日本，1964年生)

生於1977年。1998年她在洛杉磯參加了「美少女戰士 1952年出生於日本靜岡縣。1967年開始從事日本早期動出生於日本東京，松浦浩之自1984年開始從事平面設計
展」後，在國內外參與多項藝展，包括2004年東京原宿畫製作，為日本電視節目設計角色，包括《救難小英師的工作，設計廣告、出版、包裝、裝訂等事項，從
新藝術書店(Nadiff)舉辦的「東京女生萬歲」展，同年雄》及《宇宙騎士》、《科學小飛俠》及《小蜜蜂》 1999年起，開始創作以「角色圖案」為題材的「海報
在義大利波隆納現代藝術中心舉辦的「亞洲藝術營」以等。其優異表現也讓他得到許多知名的獎項：2000年的＋包裝＋滑板」設計。展覽：2007年「動漫展」，VIA
及其他在日本與美國舉行的多項藝展。山口藍個展包括惡龍多媒體大會獎及艾斯納獎，及1983到1986年連續四 07 國際影城，法國；2007年，「新異術」，松浦浩之
2000年在日本金澤市的「花魁貼身丫環展」，2003年屆的星雲賞。1989年起，多次在國際藝術機構舉辦個個展，誠品畫廊，台北，台灣；2006年，「超級丙烯外
洛杉磯羅伯茲與提爾登藝廊所舉辦的「Sukutoko－蝕展，例如：法國奧荷朗美術館、東京上野之森美術館、衣」個展，「未來計畫」個展，斯德哥爾摩，瑞典；
刻版畫展」，以及在克里夫蘭夏馨當代藝術中心所舉辦紐約安琪．奧倫桑基金會、倫敦巴比肯中心。 2006年，「日本動漫！」，北京東京藝術工程，北京，
的「晚安」展等。是次拍賣山口藍的作品是五張精緻的中國；「超級丙烯外衣」，松浦浩之個展，東京畫廊，
蝕刻版畫，每一幅畫上都印有穿著和服的女孩。這些女東京，日本。
孩存在於一個神奇的世界，充滿了江戶日本傳統與歷史
之紫嫣紅的浮世聲色。藝術家運用了傳統的風格，加上
一些當代的時代感。山口藍獨特的作品在美國與亞洲
地區均受到收藏家的注目，更在她第一個美國畫廊展
覽「Sukutoko-蝕刻版畫展」（羅伯茲與提爾登畫廊，
2003年於洛杉磯）大獲好評，並成為美國《鐵甲人》雜
誌的封面。
390
Lots 214, 217 Lot 215 Lot 216
Mayuka YAMAMOTO (Japanese, b. 1964) Soju Tao (Japanese, b. 1977) Izumi KATO (Japanese, b. 1969)
Born in 1964 in Okayama, Japan, Yamamoto received Born in 1977 in Tochigi, Japan. He now lives and works Born in 1969 in Shimane Prefecture, Japan. Izumi Kato
her master degree at Masashino Art University in Tokyo in Kyoto and Tokyo. Soju Tao graduated from the Chel- graduated from the Department of Oil painting, Musash-
in 1990, and joined the Japanese Government Overseas sea college of Art and Design, London, UK in 2002, and ino Art University in 1992. Her works have been shown
Study Program for Artist to continue her studies in Lon- graduated from the Slade School of Fine Art, London, in solo exhibitions “Hadaka No Hito” (2005, Tokyo);
don until 1999. Her works have been shown in several UK with a Master degree in 2003. His works have been “Izumi Kato” (2005, Italy); “Moku” (2007, Tokyo);
solo shows held by Gallery Tsubaki, Japan since 1993– shown in solo exhibitions “Okame Pro” (2006, Tokyo); “Dear Humans” (2007, Tokyo); “The Riverhead” (2008,
2006, and her recent solo show “Deer Boy and Other “Project N30 Soju Tao” (2007, Tokyo); and He also Tokyo); and group shows in “Venice Biennale 52nd In-
infants” was held by Canvas International Arts gallery participated in various exhibitions, including: “Whis- ternational Art Exhibition” (2007, Italy); “MOT Annual
in Amsterdam (2007). She also participated in group pers Behind the Wall” (2006, New York); “Not only A 2007-From a World as Large as Life” (2007, Tokyo); “Art
shows as “Korean International Art Fair” (2004–2007); but also B” (2007, Washington D.C); “Chanel Project: Scope 2007/2008-Faces of Existence” (2008, Tokyo);
“Young Japanese Painting” (2007, Amsterdam). Mobil Art Exhibition (2009, Paris/London/Tokyo/Hong/ “Neoteny Japan─from Takahashi Collection” (2009,
Kong/Moscow/LA /NY/Taipei”). Tokyo); “Long Season” (2009, Taipei).
山本麻友香 (日本，1964年生) 田尾創樹 (日本，1977年生) 加藤泉 (日本，1969年生)

1964年出生於日本岡山縣，於1990年於武藏野美術大學田尾創樹，1977年出生於日本栃木縣，目前居住於日本加藤泉，1969年出生於日本島根縣，1992年畢業於日
碩士畢業後，以日本文化廳藝術家研究員身分赴英國研京都與東京。2002年畢業於倫敦雀兒喜美術與設計學本武藏野美術大學造形部油畫科。其作品參加過多
修至1999年返回日本。其作品自1993年起定期於日本椿院，並於2003年取得倫敦斯雷德美術學校美術碩士。田次個展「裸體的人」（2005，東京）、「加藤泉展」
畫廊舉辦多場個展（1993-2006），近期也在荷蘭畫布尾創樹曾多次舉辦個展，如「Okame Pro展」（2006，（2005，義大利）、「默」（2007，東京）、「給人
國際藝術畫廊舉辦個展「鹿男孩與其他孩童」（2007，東京）、「Project N 30 田尾創樹」（2007，東京）。以們」（2007，東京）、「河源」（2008，東京）。以及
阿姆斯特丹）。較近期的聯展則是參加過「韓國國及多次群展，如「牆後的呢喃」（2006，紐約）、「不群展如「第52屆威尼斯雙年展」（2007，義大利）、
際藝術博覽會」（2004-2007）、「日本年青畫作」只是A也是B」（2007，華盛頓特區）、「香奈兒當代「MOT2007年展—等比例的約定」（2007，東京）、
（2007，阿姆斯特丹）。藝術活動:流動藝術展覽」（2008，巴黎／倫敦／香港／「藝術領域2007/2008—面對存在」（2008，東京）、
莫斯科／洛杉磯／紐約／台北）。「日本年輕藝術—高橋收藏展」（2009，東京）、「長
季」（2009，台北）。
391
Lot 224
Lot 220 Lot 223
John WAY
(Chinese-American, b. 1921) Bhagat SINGH (Indian, b. 1965) Deddy PAW (Indonsian, b. 1963)
Born in Shanghai. Way has held his own shows in Born in 1965 in New Delhi, India, Bhagat Singh gradu- Born in Magelang, Central Java, 1963, he studied at
Shanghai since 1937. From 1951 his works have been ated from the National Islamic University in 1990, ma- Faculty of Visual Arts, Jakarta Arts Institute (1999-
selected to show at the Hong Kong Art Club Annual jored in Painting, and afterwards completed his master 2005), School of Design Interstudi Jakarta (1994-1995)
Exhibition for five consecutive years. Way settled program in 1992. His works have been shown in solo and Pusat Grafica Indonesia Jakarta (1990-1991). He
down in Boston in 1956, where he studied abstract exhibitions “B/W Drawing show” (2000, New Delhi); received several awards for Best Artistic & Best Poster
painting in the West. Throughout the 1960s Way had “Celebrating Nature” (2006, New Delhi & Kolkata); in Festival Teater Jakarta in 1998 and the 1st winner
held many solo shows in Boston, including one in and group shows in “Naturescape”(2006, New Delhi); News Paper Design Competition for National Event
Nexus Gallery in 1960 and one in MIT’s Art Museum “Summer Art Show” (2006, India); “Art Fair India” in 1994, 1996 and 1998. He has participated in many
in 1968. In 1965, his work was showed alongside (2007, New Delhi); “49th National Exhibition of Art” joint exhibitions.
other well-acclaimed contemporary artists including (2007, New Delhi). He was awarded for Best Entry
Hans Hartung and Andy Warhol, in a joint exhibition Award in “All India W/C Art Exhibition” (2004, New
“Painting Without a Brush” held at the Accademia del Delhi); and “All India Annual Art Exhibition” Draw-
Verbano in Italy. His works are in the collections of ing Section Award (2005, New Delhi) among his other
both the Stanford University Art Museum and the San awards and achievements in art.
Francisco Art Museum.
魏樂唐 (華裔美籍，1921年生) 巴哈哥特．西恩 (印度，1965年生) 戴迪．鮑 (印尼，1963年生)

出生於上海，1937年起即於上海畫廊展出，1951年起連 1965年生於印度新德里，巴哈哥特．西恩於1990年畢業 1963年出生於爪哇中部的馬格朗，1999年至2005年就讀
續5次入選香港美術協會年展。1956年移居美國，並專於印度國立伊斯蘭大學繪畫系，並於1992年取得碩士於雅加達藝術學院視覺藝術系，1994年至1995年就讀於
心投入抽象繪畫，為當代華人藝術家中最早專研抽象繪學位。其作品曾參加個展「B/W繪畫展」（2000，新德雅加達的設計學院，1990年至1991年於雅加達製圖學
畫者之一。1960年代起曾在波士頓舉行多項展覽，包括里）、「慶祝自然」（2006，新德里、加爾各答）；以校。1998年曾於雅加達戲劇節獲得最佳藝術及最佳海報
1960年在納思畫廊及1968年在麻省學院藝術館之個展，及多次聯展「自然發展」（2006，新德里）、「夏季藝的殊榮，1994、1996及1998年皆獲得印尼國內報紙紙張
並入選1965年波士頓現代美術館之「不用畫筆的畫作」術展」（2006，印度）、「印度藝術展」（2007，新德設計競賽第一名，過去並曾參與許多聯展。
聯展，參展畫家包括國際著名的當代畫大師如哈同及安里）、「第49屆全國藝術展」（2007，新德里）。巴
迪沃荷等。其作品為美國史丹佛美術館及舊金山美術館哈哥特．西恩也曾獲頒多次獎項，如「全印度W/C藝術
等典藏。展」最佳作品獎（2004，新德里）、「全印度年度藝術
展」繪畫獎（2005，新德里）等藝術成就獎項。
392
Lot 225
Lot 226 Lot 227
Budi KUSTARTO (Indonesian, b. 1972) Chintan UPADHYAY (Indian, b. 1972) Gabriel BARREDO (Philipino, b. 1957)
Born in 1972 in Karang, West Java, Indonesia, Kustarto Chintan Upadhyay was born in Rajasthan, India. He Born in 1957 in Manila, Philippines, Gabriel Barredo
graduated from the Sculpture Department of Indonesia lives and works in Mumbai currently. Solo exhibitions: now resides in Manila. He has held solo exhibitions
Institute of Art in 2003. He has held solo exhibitions “Conkers Installation Project” at Spike Island, Bristol, as Philippine Representative to the “Sao Paolo Bien-
“Budi” (2005, Jakarta) and “Hetero: Green” (2006, UK, 2004; “I Want to Be an International Artist”, solo nale” (1993, Singapore); “Anima & Persona” (1999,
Semarang, Indonesia). He participated in group shows performance, Seoul Art Center, Korea, 2006; “Tentuaa Manila); and group exhibitions “Soka’s view” Southeast
“CP Open Biennale” (2003, Jakarta); Yogyakarta Bien- Dabaa Do (Kill Her)”, Jawahar Kala Kendra, Jaipur, Asian Contemporary Art (2007, Taipei); “13th Asian
nale VIII “Here & Now” (2006, Indonesia); Jakarta Art India, 2007. Selected group exhibitions: “KAAM”, International Art Exhibition” (1998, Kuala Lumpur).
Biennale 2006 “Beyond the Limits and its Challenges”; Arts India Gallery, New York; “Bombay Maximum In addition, the artist is awarded for “1994 Ten Out-
“Soka’s View – Southeast Asian Contemporary Art” City, Lille 3000”, Lille, France, 2006; “Here & Now: standing Artists – Diwa Ng Sining Awards” ; and “Art
(2007, Beijing; Taipei). He has been given the Phillip Contemporary Voices from India”, Grosvenor Gallery, Association of the Philippines Annual Competition for
Morris awards in 1998 and 2001 in Jakarta. London, 2007; “Have You Eaten Yet? - 2007 Asian Sculpture”, Gold medal, in 1981.
Art Biennale”, National Taiwan Museum of Arts, Taic-
hung, Taiwan.
布迪．庫斯塔托 (印尼，1972年生) 清滕．屋帕玳伊 (印度，1972年生) 蓋伯瑞．博瑞多 (菲律賓，1957年生)

1972年生於印尼西爪哇的卡朗，2003年畢業於印尼藝術清滕．屋帕玳伊於1972年出生在拉賈斯坦邦，印度，目 1957年生於菲律賓馬尼拉，現定居於馬尼拉。曾舉辦多
學院雕刻系。曾舉辦個展「布迪」（2005，雅加達），前於孟買工作及居住。其個展如下：2004年，「康克士次個人展，如「聖保羅雙年展」菲律賓代表（1993，新
以及「同性：綠」（2006，印尼三寶壟）。參加過的聯裝置計劃」，英國布里斯托，2006年「我想要成為一位加坡）、「生命與角色」（1999，馬尼拉）；以及團體
展有：「C P雙年展開幕展」（2003，雅加達）、「感國際級藝術家」，個人行為藝術，韓國首爾藝術中心；展「索卡新觀點」東南亞當代藝術展（2007，台北）、
同身受」日惹雙年展VIII （2006，日惹，印尼）、「超 2007年，「殺了她」，加瓦哈．卡拉．肯德拉，印度齊「13屆亞洲國際藝術展」（1998，吉隆坡）；並曾榮獲
越，限制與挑戰」雅加達雙年展 (2006)、「索卡新觀浦爾。聯展：2006年，「卡姆」，紐約印度美術館；「十大傑出藝術家之一Diwa Ng Sining獎」（1994）、
點—東南亞藝術展」（2007，北京、台北）。也曾於「孟買最大城市，里拉3000」，法國里拉；2007年，「菲律賓藝術協會雕刻藝術年度競賽」（1981）金獎等
1998年和2001年，於雅加達獲頒飛利浦．摩里斯藝術「此時此刻：來自印度的當代發聲」，倫敦哥斯浮尼爾多項殊榮。
獎。畫廊；「食飽未？─2007亞洲藝術雙年展」，國立台灣
美術館，台灣台中。
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委託競投表格
委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真拍賣名稱：羅芙奧台北2009秋季拍賣會
至：亞洲現代與當代藝術
客戶服務部：台北拍賣日期：
電話：+886-2-2708 9868 2009年12月6日（星期日）下午2:30
傳真：+886-2-2701 3306 富邦人壽大樓地下二樓國際會議中心
台北市敦化南路一段108號B2
投標者資料
客戶編號（如有）
姓名
身份證字號
地址
郵碼
電話（住宅）
　　（辦公室）
傳真
簽名
（本公司在取得閣下之簽名後方才接受競標）
茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。
本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，
以最先收到者優先辦理。
本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服
務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公
司，落槌價於新台幣貳仟萬元以下者含貳仟萬元以20％計算；（2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以20％計
算，超過新台幣貳仟萬元之部份以12％計算。）
本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚
拍賣品編號競投價（新台幣）
（按數字順序）名稱（服務費不計在內）
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查
證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明
銀行名稱
銀行地址
銀行帳戶名稱羅芙奧股份有限公司台北市106敦化南路二段76號15樓之2

銀行帳號 15F-2, No. 76, Sec. 2, Tun-Hwa S. Rd., Taipei 10683, Taiwan
銀行聯絡者 Tel : +886 2 2708 9868 - Fax : +886 2 2701 3306
www.ravenelart.com
銀行電話
ABSENTEE BID FORM
The absentee bid forms must be delivered to the Customer Service Depart- Auction RAVENEL AUTUMN AUCTION 2009 TAIPEI
ment at least 24 hours before the auction begins. The bid forms may be Modern and Contemporary Asian Art
faxed to: Customer Service Department Date Sunday 6 December 2009 at 2:30pm
Tel: +886 2 2708 9868 Location Fubon National Conference Center
Fax: +886 2 2701 3306 Address B2, No. 108, Section 1, Tun-Hwa South Road,
Taipei, Taiwan
Bidder’s Details
Name
ID number
Address
Post code
Tel: (Daytime)
(Evening)
Fax
Signature
(We must have your signature to execute this bid.)
It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder.
I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid.
If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid
is first received.
I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall
be calculated as 18% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the
Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the
Company. For hammer price below NT$ 20,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer
price higher than NT$ 20,000,000, the first NT$ 20,000,000 should be calculated at 20% and the rest of the amount should be 12%.)
The bid shall be subject to the transaction agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that
may be provided for certain items.
PLEASE PRINT LEGIBLY

Auction item number Title Bid price (NT$)
(in numerical order) (excluding service fee)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the
auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in ad-
vance of the auction date.
Bank Reference Approval

Name of the bank
Address of the bank
Name of the account Ravenel Ltd.

Account number 15F-2, No. 76, Sec. 2, Tun-Hwa S Rd., Taipei 10683, Taiwan
Tel: +886 2 2708 9868 - Fax: +886 2 2701 3306
Contact of the bank
www.ravenelart.com
Tel. No.
業務規則
下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為賣家之代理人以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當
與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留意日匯率，折合所繳付之等值貨幣計算。
第5條，其對本公司之法律責任作了限定。
c. 拒絕入場
Ⅰ.買家拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，
本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍
1. 羅芙奧(以下稱本公司)作為代理人賣。
作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在本
公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成 d. 競投之前作出登記
之合約。每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證
明。準買家應注意，本公司通常會要求對買家作出信用核查。
2. 拍賣前
a. 鑑定物品 e. 競投者為買家
本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人
品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外，不為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。
對買家作任何保證。
f. 委託競投
b. 拍品狀況之重要注意事項如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡
請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司
提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無保證就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價
任何拍賣腕錶處於良好運作狀態，同時目錄中任何拍賣品之描述皆不應視乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之
為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使
應視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳述的缺乏或本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之
損害鑑定的缺乏，並不代表拍賣品是為良好狀態、運作正常或可享有免費免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家
修復或更換機件。如希望確保競投成功，應親自出席競投。
本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況
應經由親自檢閱，如果準買家無法對拍品進行檢閱，本公司基於服務至上 g. 電話競投
的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟本公司如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，
並不是專業鐘錶修復者，因此任何在目錄中所列出的陳述是為純粹本公司使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或
的主觀意見。任何準買家均不負任何責任。
務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型，因此不
應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶匠檢 h. 匯率轉換顯示板
查該等手錶。在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開
務請注意，拍買品早前的修復工作或許已經導致原廠零件的更換，因此我市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。
們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以「現匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台
狀」售出。本公司對於任何拍出之狀態不作代表或保證，除非另有註明，幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤
否則將不提供保單。差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之
任何損失，本公司概不負責。
c. 目錄說明
本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、 i. 錄映影像
尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成
對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何
之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉責任。
以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應依據為拍賣
品會成功拍賣之價格或拍賣品作其他用途之價值陳述。 j. 拍賣官之決定權
許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、
或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤
而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述差或爭議，將拍賣品重新拍賣。
特定缺陷，亦不表示並無其他缺陷。
k. 成功競投
d. 買家之責任在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買
有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚並確使自家之成功拍賣合約之訂立。
己感到滿意。
4. 拍賣後
3. 拍賣時 a. 買家支付每件拍品之服務費率
a. 買方應繳之營業稅（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣
依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交貳仟萬元以下者含貳仟萬元以20％計算。
「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內有＊符（2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以
號之編號者），若係於中華民國境外交付買方，並由羅芙奧處理相關之運 20％計算，超過新台幣貳仟萬元之部份以12％計算。
貨事宜，則買方無須支付營業稅。買方若欲於中華民國境外取貨，應於拍
賣日後兩個工作天內以書面通知本公司。 b. 稅項
買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅
b. 估價（不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責
目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須按有關法律所規定之稅率及時間繳付此稅款。
397
c. 付款 5. 本公司之法律責任
成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論賣
供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、
槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何
品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之
買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保，
使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以均不包含在本條之內。
外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費
與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依 6. 膺品之退款
拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款項則退還
證為準。予買家。但如：a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者或
專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家普
d. 領取已購拍賣品遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之方
除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在
項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間，拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程
由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述
取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準），條件下方可獲得退款：
拍賣品之風險全由買家承擔。（1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關
拍賣品乃膺品；
e. 包裝及搬運（2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當
本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家日相同；及
承擔。（3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃
膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人之
f. 介紹裝運及運輸公司索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣
本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求品而支付之款項，而買家亦不能索取利息。
下本公司可介紹承運人，但本公司在此方面不負任何法律責任。本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本
發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，
g. 不付款或未有領取已購拍賣品之補救辦法而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學
如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用
辦法：或已在使用。
本條件不適用於硬幣、獎牌、珠寶及畫。
（1）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加
10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依 II.買家與賣家均適用之條件
賣價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷
本公司或其他附屬公司在任何其他交易中欠下買家之款項。 1. 版權
（2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本
權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。
出售並將收益用以清償該未付之欠款。
（3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用 2. 通知
以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付
以清償該筆款項。郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後
（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，第五個工作天。
或在接受其任何競投之前先收取買家一筆保證金。如買家未有在
三十五天內付款，本公司除上述者外，另有權： 3. 可分割性
（5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執
賠償為基準之法律程序之訴訟費。行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大範
（6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予圍內須繼續有效及可強制執行。
買家之拍賣品之交易。
（7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同 4. 法律及管轄權
因買家未有付款而引致之任何費用一併向買家索償。本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法
律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。
h. 未有領取已購拍賣品
如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本
公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保賣方業務規則請參閱羅芙奧藝術網站
險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購
http://www.ravenelart.com
拍賣項目。
i. 出口許可證
除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買
家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。
如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請
有關之付出款項及零碎開支連同任何有關之增值稅。
如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買
家因此而引致之任何利息或其他開支。
398
Transaction Agreement
The following provisions are entered into by and between the Company, as collect the items auctioned outside the R.O.C.
the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also
entered into by and between the Company as the agent of the Seller and the b. Estimates
Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully The prices in US dollars or other currencies reproduced in the auction and this
review all provisions hereunder. The Buyer should pay special attention to catalogue are for reference only. The Buyer is requested to pay by New Taiwan
Article 5 which provides limitations as to the legal responsibilities of the dollars or other foreign currencies in its equivalency based on the exchange rate
Company. of the payment day.
I. The Buyer c. Refusal of admission
The auction is held at the premises of the Company or any location where the
1. Ravenel as the Agent Company has control of for the auction. The Company has full discretion to
The Company, as the auctioning party, shall act as the agent of the Seller. Except exercise the right to refuse entry to the premises for the auction or to prevent
otherwise provided, items successfully sold in the auction held by the Company participation in the auction.
shall be bound by the agreement made by and between the Seller, through the
agency of the Company, and the Buyer. d. Registration prior to the bidding
Prospective buyers must fill in and sign the registration forms prior to the
2. Prior to the auction bidding and provide personal identification. Prospective buyers should also note
a. Authentication that the Company may be requested to conduct credit checks against buyers.
We strongly recommend that the prospective buyers conduct their own
authentication for the items they are interested in bidding prior to the auction. e. The bidder is the Buyer
We provide no guarantees to the buyer (with the exception of the guarantee with Unless a written agreement has been made upon registration that the bidder
regard to counterfeits as defined in Section III of the Transaction Agreement). will be the agent who acts on behalf of a third person and such third person is
accepted by the Company, the bidder will be deemed as the Buyer who will bear
b. Important Notice individual legal responsibilities.
Attention, prospective buyers: As far as possible, the descriptions of auction
items will mention obvious defects of the items; however, they do not f. Commission bids
necessarily include all flaws, defects, or incomplete aspects. The Company The Company will make every effort to bid for the prospective buyers who
regrets that it is unable to guarantee that the wristwatches on auction are in good instruct us to bid on their behalf by using the forms attached to the explanations
working condition and the descriptions in the catalogue must not be construed of the catalogue; provided, however, bid commission instructions are delivered
as implying such. The description of the auction items also do not imply that the to the Company prior to the auction. If the Company receives several
items have not gone through readjustment or repair or allude anything about the commission bids for one particular item, with all bid prices being equal and of
current state or storage conditions of the items. Any omission in the catalogue the highest bid price at the auction, priority shall be given to the Buyer whose
description regarding the current condition or the appraisal of defects in the bid commission is delivered to the Company first. Commission bids are subject
items by no means represent that those items are in good condition, function to auction conditions. The situation at the auction may prevent the Company
normally, or that there will be any free repair or replacement of parts. We from making the bid as commissioned. This is a free service provided by the
strongly recommend prospective buyers to personally view the items for which Company to the prospective buyers pursuant to the provisions prescribed.
they plan to bid before the auction itself. If a prospective buyer is unable to view The Company will not be held legally liable if it fails to make the bid as
an item for whatever reason, then in our role as a service provider, we would commissioned. Prospective Buyers should attend the auction in person if they
be more than happy to offer our opinion of an item's special characteristics wish to ensure a successful bid.
and current condition. However, the Company is not a professional restorer
of wristwatches; therefore, any description in the catalogue is purely the g. Bid by phone
Company's subjective opinion and not a statement of fact. The Company will make proper effort to contact the bidder so he can participate
Please note: The outer shells of many of the water-resistant watches have been in the auction by phone if the prospective buyer make arrangements with
opened in order to investigate their working condition and their type; therefore, the Company prior to the auction. However, the Company will bear no
it must not be assumed that they are currently water-resistant. We recommend responsibilities to the Seller or any prospective buyer if no contact is made
buyers to have such watches checked by a competent watchmaker before use. under any circumstances.
Please note: The restoration of the items on auction may have resulted in
original parts being replaced; therefore, we are unable to guarantee that any h. Exchange rate conversion board
given watch's parts are from the original set of parts. There will be an exchange rate conversion board operating at some auctions.
All of the items on auction are being sold in "as is" condition.the Company The exchange rate is calculated at the exchange rate of the one-month future
does not provide any representation or guarantee as to the condition of any of goods reported to the Company from the bank when starting business on the day
the items. Unless otherwise stated, the Company does not provide any warranty of the auction. Nonetheless, the auction will still be conducted in NT dollars.
with the items. The exchange rate conversion board is not absolutely reliable. The accuracy of
either the Lot numbering shown on the board or the equivalent of the bid price
c. Catalogue Explanations in any foreign currency is not within the control of the Company. The Company
Any statement of the author, history, date, year, size, material, ownership, will not be responsible for any losses caused by the reliance of the Buyer on the
authenticity, origin, condition of preservation or estimated selling price of exchange rate conversion board.
any of the Lots shown in the catalogue or the authentication opinion made by
the Company, or any other verbal or written statements made separately shall i. Recorded images
be solely statements of opinions and shall not be deemed the basis for the There is image projection in some auctions; however, errors may occur
statements of actual fact. The photographs shown in the catalogue shall serve during the operation. The Company is not liable for the color accuracy of the
as reference only and shall not be deemed as the basis for determining the color reproduced image and whether the projected image corresponds to the item
or tone of any Lots or disclosure of the defects of such item. The estimates being auctioned.
of the auction price shall not be deemed the price at which such item will be
successfully sold or the statement of the value of the item for other purposes. j. Determining power of the auctioneer
Many auction items fail to maintain their perfect condition because of time and The auctioneer has the absolute power to reject any bid, push for bids at his
other environmental factors. Some of the explanations in the catalogue or the discretion, withdraw any auction items, separate or combine two or more
authentication opinions will state defects and/or the repair background of the auction items, and if there is any error or dispute, re-auction the items.
Lots. Such information is meant for reference only. Missing information in the
statements does not mean the Lot has no defects or has not been repaired. Any k. Successful bids
statement of one particular defect does not mean there is no any other defect. Under the discretion of the auctioneer, the fall of the hammer indicates the
acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a
d. Responsibility of the Buyer successful auction agreement.
The Buyer is responsible for clarifying and satisfying himself about the
condition of the items and any related matters stated in the catalogue 4. Following the auction
descriptions. a. The service fee of each lot payable by the Buyer
(1) The Buyer should pay the hammer price and, in addition, the service
3. In the auction fee to the Company. For hammer price below NT$ 20,000,000
Sales Tax Payable by the Buter (inclusive), the service fee should be calculated at 20% of the hammer
a. The Buyer shall pay (value added) sales tax in the amount of 5% of price.
the Hammer Price with respect to imported works of art collected by the (2) For hammer price higher than NT$ 20,000,000, the first
Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not re- NT$ 20,000,000 should be calculated at 20% and the rest of the
quired to pay sales tax if such imported works of art (with * marks by the amount should be 12%.
number in the catalogue) are delivered to the buyer outside the R.O.C. and are
handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel b. Taxes
in writing within two business days following the auction day if he desires to All the payments payable by the Buyer to the Company do not include any
399
commodity or service taxes or any other value added taxes (whether imposed by behalf, the Company is entitled to collect monies made in connection with such
the Taiwanese government or elsewhere). The Buyer should be responsible for an application and any miscellaneous expenses together with any relevant value
paying any applicable taxes as required by the law. added taxes.
If the Buyer makes the payment regardless of the fact that an export permit is
c. Payment needed, the Company is not responsible for returning to the Buyer any interest
The Buyer should provide his name and permanent address to the Company or other expenses incurred therefrom.
upon the successful bid. Relevant bank information should also be provided
upon request. All payments due (including the hammer price, service fee and 5. The legal responsibility of the Company
any applicable taxes) should be paid within 7 days following the auction date. The Company is responsible for returning payment to the Buyer pursuant to
The aforesaid provision also applies if the Buyer intends to export the Lot and Article 6. Otherwise, whether the Buyer, the Company, any employees or agents
(may) need the export permit. of the Company will not be held liable for any statements of the author, history,
If the Buyer fails to pay to the Company all the payments due, the Buyer will not date, year, ownership, authenticity or origin of any auction item or any errors
acquire the ownership of the Lot even if the Company has delivered such item with respect to any explanations and any flaws or defects of any auction item.
to the Buyer. If the payment to Ravenel are made in any currency other than NT The Buyer, the Company, the employees or the agents of the Company make no
dollars, the Company will collect from the Buyer any foreign exchange expense guarantee with respect to any auction items. Any warrantee of any kind shall not
incurred therefrom, including bank charges and foreign exchange service fees. be included herein.
The exchange rate of the payments to the Company in any currency other than
NT dollars should be the exchange rate reported by the Bank of Taiwan to the 6. Return of payments for counterfeits
Company on the auction date and should be based on the certificates issued by The transaction will be cancelled and payments made will be returned to the
the Company according to such exchange rate. Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if:
a. The catalogue explanations or the notice at the auction distributed on the
d. Collection of the Lot sold auction day corresponds to the opinions generally accepted by the academic or
Unless otherwise agreed by the Company, the Company will hold temporarily professional fields;
the successfuly sold Lots until all payments to the Company are made in full. b. The method used to prove that the Lot is a counterfeit is a scientific procedure
The Lot will be covered by the insurance of the Company from the auction date not generally accepted for use before the publication of the catalogue or a
for 7 days during the temporary holding period. The insurance coverage will procedure unreasonably expensive on the day of the auction, or impractical, or
terminate upon collection of such item. The Buyer should be responsible for all may cause damage to the Lot;
risks following expiration of the said 7-day period or the collection (whichever the Company is not liable for the return of any payment under any
is the earlier). circumstances. In addition, the Buyer's payment can only be refunded when the
following terms are met:
e. Packaging and transportation (1) The Buyer must notify the Company in writing within 10 days following
The Buyer is requested to note that he should bear all the risks upon expiration the auction day that he considers the relevant auction item a counterfeit.
of the said 7 days period or from collection of such items. (2) The Buyer must return the Lot to the Company within the following 14
days and the condition of the item must be the same as on the auction day.
f. Referral of packaging or transportation companies (3) Upon returning the Lot, the Buyer must present evidence as soon as
The shipping department of the Company may act as the agent of the Buyer possible to convince the Company that the Lot is a counterfeit. The Buyer
to arrange for delivery. Although we can refer freight forwarders upon special may also assign the good ownership of the Lot to the Company, which shall
request, the Company will not be held liable for any legal responsibilities in this not concern any third party claim.
regard.
Under no circumstances is it necessary for the Company to pay the Buyer an
g. Remedies for non-payment or non-collection of items sold amount more than what the Buyer pays in connection with the Lot and the
The Company is entitled to exercise one or more of the following rights or Buyer can not claim interests.
remedies if the Buyer fails to make payment within 7 days: The interests of the warrantee cannot be assigned and belong solely to the Buyer
(1) An interest at the annual rate of no higher than 10% plus the base interest who receives the original invoice from the Company when the Lot is sold. Such
rate of Bank of Taiwan will be imposed on all of the payment due if Buyers shall remain the owner of the auction Lot and cannot assign any interest
payment is not made within 7 days following the auction date. Besides, of the Lot to any other person. The Company is entitled to ascertain that the
we have the right of charging also 1% selling price (including of hammer Lot is not a counterfeit based on a scientific procedure or any other procedure,
price and the commission) multiplied by the number of delayed days as regardless of whether such procedure is being used on the day of the auction.
fine for the default. The payment to be made by the Buyer should offset The aforementioned does not apply to coins, medals, jewelry and paintings.
any payment owed by the Company or its subsidiaries to the Buyer for any
other transactions. II. Terms applicable to both the Buyer and the Seller
(2) To exercise lien of any items owned by the Buyer and held by the Company
for any purpose. The Company may arrange to sell such items after serving 1. Copyright
a 14-day notice to the Buyer about his non-payment. The proceeds shall The copyright of all the images, photographs and written material in connection
make up for the payment due. with the Lot shall maintain and belong to the Company at any time. The Buyer
(3) If the Buyer owes the Company several payments as a result of different or any person may not use such items without obtaining prior written consent
transactions, the payments will setoff any payments due in any particular from the Company.
transaction, regardless of whether the Buyer specifies to setoff such
payments. 2. Notices
(4) Refuse the Buyer to make, or to make on behalf of others, bids in any All the notices distributed according to the Transaction Agreement herein shall
future auctions and/or to require a security deposit from the Buyer before be made in writing. Any notice shall be deemed served to the recipient on the
accepting any future bids from him. If the Buyer fails to make payment second day following delivery if sent by mail. If the recipient is abroad, the
within 35 days, the Company is entitled to exercise the following rights in notice shall be deemed served on the fifth working day following delivery by
addition to the aforementioned: mail.
(5) To bring legal proceedings against the Buyer on behalf of the Seller
to claim the entire payment due and the legal fees resulting from such 3. Severability
proceeding based on a total claim. If any part of the Transaction Agreement is deemed invalid, illegal or
(6) Cancel the transaction of Lots bid by the Buyer or any other auction items unenforceable by any court, such part can be ignored and the rest of the
sold to the Buyer at the same or any other auctions. Transaction Agreement continues to be valid and enforceable to the maximum
(7) To arrange a public or private re-sale of the Lot. If the re-selling price is extent permitted by the law.
lower, the difference will be claimed against the Buyer together with any
cost incurred as a result of the non-payment by the Buyer. 4. Jurisdiction
The Transaction Agreement are governed under the ROC law and the
h. No collection of the Lot sold interpretation and effect of the Rules shall be subject to the laws of Taiwan. The
The Company will arrange for the storage of the Lot if such item sold is not Buyer and Seller shall submit themselves to the exclusive jurisdiction of the
collected within 7 days of the successful auction, regardless of payment. Such Taiwanese court for the interests of the Company.
storage cost will be borne by the Buyer. Only when the storage, shipping,
insurance cost and any other expenses together with any other payments due to
the Company are paid can the sold Lot be collected.
Please refer to our website for seller’s transaction agreement.
i. Export permit
Except where otherwise agreed in writing by the Company, the fact that http://www.ravenelart.com
the Buyer's wishes to apply for an export permit does not affect the Buyer's
responsibility to make the payments in 7 days; nor does it affect the Company's
right to impose interest on delayed payments.
If the Buyer requests that the Company applies for the export permit on his
400
401
402

Ravenel Autumn Auction 2009 Taipei 羅芙奧台北2009秋季拍賣會

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Ravenel Autumn Auction 2009 Taipei 羅芙奧台北2009秋季拍賣會

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AUTUMN AUCTION 2009 TAIPEI

RAVENEL AUTUMN AUCTION 2009 TAIPEI

MODERN & CONTEMPORARY ART

藝術品諮詢專家 註一：如您無法親臨拍賣現場，可以電話投 取貨及運輸事宜

業務協理 台灣、香港 香港、亞洲、歐美

ART CONSULTANTS Remarks: COLLECTION AND SHIPPING

K Bhagat SINGH 巴哈哥特．西恩 223

Janela Aberta (Open Window)

The Path to Childhood

Front Door and Back Yard 蘇旺伸

Homme et femme nus

EXHIBITED: NT$ 350,000-550,000 圖錄：

Yun Mountain Memorandum M9222

Red River with Flowers Flame

City Scape - 4 (diptych)

Yan-Ming Mountain in June

This sculpture is to be sold with a certificate

Taichi Series - The Arch

This small painting comes from a collector who

This painting is to be sold with a certificate of

From the 1950s to 1970s, Wu Guanzhong

This painting is to be sold with a certificate

Petit pont et l'eau coule

“Small Bridge over the Stream” is a typical

Composition No. 166 1955年離開台灣前往巴黎發展的朱德群， 驗，其形式純粹是西方的，但是他的繪畫

sudden an image from Chinese poems in the Museum, 2000, p. 17)

Advent of the Phoenix II

This sculpture is to be sold with a certificate of

This sculpture is to be sold with a certificate

From his mid life, Yang San-lang’s works have

Ni Zan - Monet No. 5

Red Horse 此作品正來自於法蘭西斯家族的收藏，畫

丁雄泉在巴黎與眼鏡蛇畫派的阿勒辛 “Red Horse” belonged to Sam Francis’s estate.

Oil on canvas, collage

Still Life with Roses

The Best Scenery in the World

NT$ 2,500,000-3,600,000 As well as creating street scenes and park

Resonance des lumières

Oiseaux volent partout 趙無極 當時雕塑

Taichi Series - Raise Hands

This sculpture is to be sold with a certificate

Chess (32 pieces)

A Portrait of Ning Xiaoqing

Charcoal and ink on paper

Coastal Mountains at Dawn, Taiwan

Celebrating Life's Cycles

Acrylic, ink and color on paper, mounted onto board

Changes in the Sun

Reclining Lady with Fan

Acrylic on rice paper

Mixed media on canvas, mounted onto panel

Lily 1990年代起，周春芽開始「花卉」系列 Chunya recreates this concept in his “Flower”

Lilies 從德國留學回國後，1990年代周春芽開始創 of the famous rock, vase and green dog

Star and Box

This piece is to be sold with a certificate of

2006 「玩世現實主義」代表人物之一的劉煒， Cynical Realism. For a long time Liu Wei

This painting is to be sold with a certificate of

My Friends in Paris (triptych)

The Bath of Consolation

This painting is to be sold with a certificate

Hidden Dance, Love Song

Do You Like My Tiger Cat?

Walasse Ting’s oil paintings often have a

This oil painting uses canvas as the media,

藝術品諮詢專家註一：如您無法親臨拍賣現場，可以電話投取貨及運輸事宜

業務協理台灣、香港香港、亞洲、歐美

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