SPRING AUCTION 2010 HONG KONG

RAVENEL SPRING AUCTION 2010 HONG KONG

Modern and Contemporary Art

羅芙奧香港 2010 春季拍賣會

現代與當代藝術

AUCTION 拍賣日期/地點
 
Monday, May 31, 2010, 11:30am – 1:00pm 2010年5月31日（一）上午 11:30 至 下午 1:00
Grand Hyatt Hong Kong – Grand Ballroom 香港君悅酒店（宴會大禮堂）
1 Harbour Road, Wanchai, Hong Kong 香港灣仔港灣道1號
 
PREVIEWS 預展日期/地點
 
Taichung 台中
Saturday, May 8 – Sunday, May 9, 2010, 1:00pm – 7:00pm 2010年5月8日（六）至 5月9日（日）下午 1:00 至 下午 7:00
GSR Gallery 由鉅藝術中心（月光流域大樓）
1F, No. 83, Gong Zheng Road, Taichung, Taiwan 台中市公正路83號1樓
 
Taipei 台北
Saturday, May 15 – Sunday, May 16, 2010, 10:00am – 7:00pm 2010年5月15日（六）至 5月16日（日）上午 10:00 至 下午 7:00
Fubon National Conference Center 富邦人壽大樓國際會議中心
B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan 台北市敦化南路一段108號B2
 
Hong Kong 香港
Saturday, May 29, 2010, 1:30pm – 7:00pm 2010年5月29日（六）下午 1:30 至 7:00
Sunday, May 30, 2010, 10:00am – 7:00pm 5月30日（日）上午 10:00 至 下午 7:00
Grand Hyatt Hong Kong – Grand Ballroom 香港君悅酒店（宴會大禮堂）
1 Harbour Road, Wanchai, Hong Kong 香港灣仔港灣道1號

MODERN & CONTEMPORARY ART

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In
addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This
auction catalogue: HK$ 300 per copy

2
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3
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羅芙奧香港 2010 春季拍賣會服務部門及連絡人

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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 Yoshitaka AMANO 天野喜孝 001
Dipo ANDY 狄波．安迪 058

3 羅芙奧之服務 C
CAO Jingping 曹靜萍 026
Ravenel Services CHEN Ke 陳可 036
CHU Teh-chun 朱德群 015, 016

5 藝術家索引 D
Heri DONO 赫利．多諾 059
Index
F
FANG Lijun 方力鈞 039
7 現代與當代藝術
G
Modern and Contemporary Art GAO Huijun 高惠君 051
GUO Jin 郭晉 050
GUO Wei 郭偉 049
130 藝術家簡歷
H
Artist Biographies
HE Sen 何森 054
J
395 委託競投表格 JI Dachun 季大純 008
Absentee Bid Form JIAO Xingtao 焦興濤 031
JU Ming 朱銘 012, 013, 014, 020
K
397 業務規則 Yayoi KUSAMA 草間彌生 007
Transaction Agreement L
LI Chen 李真 033
LI Shan 李山 044
LI Zhanyang 李占洋 029
LIN Fengmian 林風眠 021, 024
LU Hao 盧昊 011
M
MA Yunfei 馬雲飛 057
MAO Xuhui 毛旭輝 037, 047
O
Makoto OGISO 小木曾誠 005
Toul OTSUKI 大槻透 003

P
Nam Jun PAIK 白南準 006
PAN Dehai 潘德海 035
Haris PURNOMO 哈里斯．普爾諾莫 056
Q
QIU Xiaofei 仇曉飛 053
QU Guangci 瞿廣慈 030

R
Ayako ROKKAKU 六角彩子 002

S
SANYU 常玉 019
SHENG Qi 盛奇 052

T
TANG Zhigang 唐志剛 048
Walasse TING 丁雄泉 060
Hiroaki TSUJII 辻井宏明 004
W
WANG Guangyi 王廣義 043
5 WANG Luyan 王魯炎 028
W
WANG Mai 王邁 010
WU Guanzhong 吳冠中 022
X
XIANG Jing 向京 034
XIN Haizhou 忻海洲 027
XU Bing 徐冰 045
Y
YANG Jing 楊靜 009
YE Jianqing 葉劍青 023
YIN Zhaoyang 尹朝陽 046
YUE Minjun 岳敏君 042
Z
ZAO Wou-ki 趙無極 017, 018
ZENG Fanzhi 曾梵志 038
ZHANG Donghong 張東紅 025
ZHONG Biao 鍾飆 055
ZHOU Chunya 周春芽 032, 040, 041

6
001
Yoshitaka AMANO
(Japanese, b. 1952)

Red Quartz Girl

2008
Automotive paint on aluminum panel
50(L) x 50(W) x 10(D) cm 天野喜孝
Signed on side Y. Amano in English 紅石英女孩
2008
HK$ 120,000-180,000 汽車漆 鋁板
NT$ 490,000-740,000 50(長) x 50(寬) x 10(厚) cm
US$ 15,700-23,600 簽名側面：Y. Amano
002
Ayako ROKKAKU
(Japanese, b. 1982)

Blue Car and Girl

2008
Acrylic on canvas
100 x 100 cm
Signed lower right Ayako Rokkaku in Japanese 六角彩子
and dated 2008 藍汽車與女孩
2008
HK$ 85,000-130,000 壓克力 畫布
NT$ 350,000-530,000 100 x 100 cm
US$ 11,200-17,100 簽名右下：2008 ロッカクアヤコ

8
003
Toul OTSUKI
(Japanese, b. 1973)

Pond Shinobazu – Summer 1

2006
Oil, watercolor, tempera on canvas with gold
leaf, cloth, rhinestone collage
180 x 70 cm

EXHIBITED:
Toul Otsuki Solo Exhibition, Usui Department
Store, Koriyama, Japan, May 24-29, 2007

HK$ 40,000-60,000
NT$ 160,000-250,000
US$ 5,200-7,900

大槻透
不忍池－夏之一
2006
油彩 水彩 蛋彩 畫布 金箔 花布 萊茵石 拼貼
180 x 70 cm

展覽：
「大槻透個展」，薄井百貨，郡山市，
日本，展期自2007年5月24日至5月29日
004
Hiroaki TSUJII 辻井宏明
(Japanese, b. 1975) 思考中的女孩
2006
EXHIBITED:
Thinking Girl 油粉彩 壓克力 木板
Hiroaki Tsujii Exhibition, Gallery ES, Tokyo, 146 x 141 cm
2006 Nov 14 - Nov 19, 2006 簽名畫背 : Hiroaki Tsujii 2006
Oil pastel and acrylic resin on wood panel
146 x 141 cm HK$ 45,000-75,000 展覽：
Signed on the reverse Hiroaki Tsujii in English, NT$ 180,000-310,000 「辻井宏明展」，E S畫廊，東京，展期
dated 2006 US$ 5,900-9,800 2006年11月14日至11月19日

10
005
Makoto OGISO
(Japanese, b. 1975)

Invisible Moment

2006
Oil and acrylic on cotton cloth, wood
162 x 162 cm
Titled on the reverse Invisible Moment in 小木曾誠
Japanese, dated Nov 2006, oil and acrylic on 看不到的時光
cotton cloth, wood, signed Makoto Ogiso in 2006
Japanese 油彩 壓克力 綿布 木板
162 x 162 cm
HK$ 110,000-170,000 簽名畫背 : 「見えない刻のなか」2006.11
NT$ 450,000-700,000 木版に綿布 白亜地 油絵具 テンペラ絵具
US$ 14,400-22,300 小木曾誠
006
Nam June PAIK
(Korean-American, 1932-2006)
Nam June Paik, a Korean-born American artist, is known as "The Father of Video Art". He played
a very important role in leading the video and multi media arts; combining technology and video art
MT-TV together. His impact on the visual art world can be compared to that of 20th century artists such as
Joseph Boyce, Marc Duchamps and Andy Warhol.
1994
4 inch TV monitor, electrical wire and mixed
In the 1950's, Nam June Paik was educated in Japan and Germany in music and philosophy. During
media, edition of 20 T/P (trial proof)
his studies in Germany, he was influenced by the American avant-garde music composer John Cage,
32.7(L) x 34.8(W) x 38(H) cm
with whom he began his path in the electronic arts. In 1963, he used black and white TV as a media
Signed Paik in English
to create his first video installation. He is truly an international artist, a mixture of Eastern and
Numbered on the back T/P
Western cultures, born in Seoul, Korea, enlightened in classical music and philosophy in Japan, active
in German avant-garde art circles and finally settling down in New York. He travelled the world
HK$ 200,000-300,000
participating in many exhibitions.
NT$ 820,000-1,230,000
US$ 26,200-39,400
韓裔美國藝術家白南準被譽為「錄像藝術之父」，他不僅是影像藝術、多媒體藝術的先驅，
白南準 開創科技與藝術結合的先河，其影響力可與20世紀藝術家波依斯（Joseph Boyce）、杜象
MT-TV （Marc Duchamps）、安迪沃荷（Andy Warhol）齊名。
1994
4吋電視螢幕 電線 綜合媒材 白南準1950年代留學日本及德國，修習音樂及哲學。在德國期間受到美國前衛音樂家約翰．
限量20 版次 T/P（試版） 凱吉（John Cage）的影響至深，啟發他往電子科技藝術之路發展。1963年白南準首度以黑白
32.7(長) x 34.8(寬) x 38(高) cm 電視作為媒材，經過藝術改造完成首件電視裝置藝術。白南準是一位跨越文化的藝術家，兼
簽名正面 : PAIK 容東西文化的特質，他出生於韓國首爾，在日本接受古典音樂與哲學啟蒙，後來又活躍於德
編號背面 : T/P 國前衛藝術圈，定居於紐約後，往來於世界參與美術展覽。

12
 007
Yayoi KUSAMA
(Japanese, b. 1929)

Vegetables

1989
Acrylic on canvas
38 x 45.5 cm
Signed on the reverse Yayoi Kusama in English,
dated 1989, titled Vegetables in Han characters

This painting is to be sold with a registration

card issued by Yayoi Kusama Studio, Tokyo.

HK$ 150,000-250,000
NT$ 620,000-1,030,000
US$ 19,700-32,800

草間彌生
野菜
1989
壓克力 畫布
38 x 45.5 cm
簽名畫背 : Yayoi Kusama 1989 野菜

附草間彌生工作室開立之作品登錄卡

14
008 季大純
JI Dachun ILLUSTRATED:
靜物
(Chinese, b. 1968) 2003
Ji Dachun, Soka Art Centre, Taipei, 2004, color
油彩 畫布
illustrated, pp.126-127
Still Life 149 x 109 cm

2003 HK$ 160,000-260,000 圖錄：

Oil on canvas NT$ 660,000-1,070,000 《季大純》，索卡藝術中心，台北，2004，
149 x 109 cm US$ 21,000-34,100 彩色圖版，頁126-127

16
009
YANG Jing
(Chinese, b. 1976)

Me No. 4

2007
Oil on canvas
130 x 80 cm
Titled on the reverse Me No. 4 in Chinese,
signed Yang Jing in Chinese, size 130 x 80 and
dated 2007

HK$ 75,000-100,000
NT$ 310,000-410,000
US$ 9,800-13,100

楊靜
伍至肆（我之四）
2007
油彩 畫布
130 x 80 cm
簽名畫背：《伍至肆》楊靜 130 x 80 2007
 010
WANG Mai
(Chinese, b. 1972)

The Brilliance of Capitalism No. 1

2006
Mixed media on canvas
160 x 80 cm (x3)
Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f
Capitalism No. 1 left (A set of 3) in Chinese,
dated 2006, size 160 x 80cm, signed Wang Mai
in Chinese and English
Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f
Capitalism No. 1 center (A set of 3) in Chinese,
dated 2006, size 160 x 80cm, signed Wang Mai
in Chinese and English
Ti t l e d o n t h e r e v e r s e T h e B r i l l i a n c e o f
Capitalism No. 1 Right (A set of 3) in Chinese,
dated 2006, size 160 x 88cm, signed Wang Mai
in Chinese and English

ILLUSTRATED:
Wang Mai, Kwai Fung Art Publishing House,
Hong Kong, 2007, color illustrated, pp. 28-29

HK$ 200,000-350,000
NT$ 820,000-1,440,000
US$ 26,200-45,900

王邁
資本的光輝 No. 1
2006
綜合媒材 畫布
160 x 80 cm (x3)
簽名畫背 : 資本的光輝 No. 1 左 (三聯之一)
2006 160 x 80 cm 王邁 Wang Mai
簽名畫背 : 資本的光輝 No. 1 中 (三聯之一)
2006 160 x 80 cm 王邁 Wang Mai
簽名畫背 : 資本的光輝 No. 1 右 (三聯之一)
2006 160 x 88 cm 王邁 Wang Mai

圖錄：
《王邁》，季豐美術出版社，香港，2007，
彩色圖版，頁28-29

18
011
LU Hao
(Chinese, b. 1969)

The Flower, Bird, Insect & Fish 盧昊 scaled-down architectural models of important
Series - Flower Vase 花鳥蟲魚之花盆 cultural and historical sites in Beijing. He titled
them "Flower, Bird, Insect, Fish". This lot, the
1992
1992 "Flower Vase", is one of the four works in this
有機玻璃 2/4
Plexiglass, edition no. 2/4 series.
112(長) x 75(寬) x 25(高) cm
112(L) x 75(W) x 25(H) cm
The artist employed plexiglas, a translucent
展覽：
EXHIBITED: and fragile medium to construct his miniature
「第48屆威尼斯雙年展」，義大利，1999
The 48th Venice Biennale, Venice, 1999 architectural models. This work is the Great Hall
「跨世紀彩虹—艷俗藝術展」，泰達美術
China Gaudy Art, Tianjin Taida Art Gallery, of the People which symbolizes Beijing's central
館，天津，1999
Tianjin, 1999 political power. He has distorted the ideological
「里昂當代藝術雙年展」，法國，2000
The 5th Lyon Biennale of Contemporary Art, features of the structure and filled it with
「二手現實」，今日美術館，北京，2003
Lyon, 2000 animate and organic subjects such as goldfish,
The Second-Hand Reality, Modern Art crickets and flowers. Perhaps, the artist is trying
Exhibition, Today Art Museum, Beijing, 2003 to comment on the absurd changes with Chinese
圖錄：
modernization.
《麻將—希克收藏的中國當代藝術》，哈
ILLUSTRATED: 耶．卡恩茨出版社，德國，2005，彩色圖
Mahjong - Contemporary Chinese Art from the 版，頁224
Sigg Collection, Hatje Cantz-Verlag, Germany, 《明日不回眸》，關渡美術館，台北，
盧昊成長於北京城南的一個傳統四合院家
2005, color illustrated, p. 224 2005，彩色圖版，頁128
庭。池塘裡的魚、盛開的鮮花、嘰嘰喳喳叫
Always to the Front, China Contemporary Art, 《盧昊：消失的家園》，四川美術出版社，
著的小鳥，以及寧靜的氛圍，都是他童年最
Kuandu Museum of Fine Arts, Taipei, 2005, 成都，2006，彩色圖版，頁196
美好的記憶。
color illustrated, p. 128
Lu Hao: Vanishing Homes, Sichuan Fine 在現代化建設和改革的推動下，城市結構發
Arts Publishing House, Chengdu, 2006, color Lu Hao grew up in a traditional courtyard 生變化。和大多數北京人一樣，盧昊驚詫地
illustrated, p. 196 house south of Beijing. His fondest memories 親身目睹了北京舊城的變遷。
of his youth were pond fish, blooming flowers,
HK$ 250,000-350,000 chirping birds and the tranquil atmosphere. 驚異於城市的巨變，藝術家愈來愈喜歡表達
NT$ 1,030,000-1,440,000 對傳統建築的懷舊情結。盧昊極具渲染力的
With modernization and the changes in the 單色調胡同畫就是一個代表。此外，他還製
US$ 32,800-45,900
urban structures under the reform process, it's a 作一系列精緻的北京重要歷史文化遺址的精
shocking experience for most Beijing natives, 細模型。把這些模型命名為花、鳥、蟲、
including Lu, to see the demolition of the old 魚。作品「花盆」就是這個系列的作品之
cityscape. 一。

Struck by how the city was changing, Lu 藝術家使用透明易碎的有機玻璃材質，製成

became increasingly interested in expressing his 了象徵北京政治中心的建築模型作品「人民
nostalgia for traditional architecture. This can be 大會堂」。而他一改建築原有的形象，在裡
seen in his powerful monochromatic paintings 面融入了金魚、蟋蟀、花朵等充滿生命力的
of the city's small alleyways. In addition, Lu has 自然素材。或許，藝術家想用這種荒誕的變
produced a series of installations of exquisitely 化來提及中國社會的現代化反思。

20
 012
JU Ming
(Taiwanese, b. 1938)

Living World Series - Skirt Story

2006
Bronze, edition no. 1/4
56.5(L) x 36.8(W) x 77.5(H) cm
Engraved on the base Ju Ming in Chinese,
numbered 1/4, dated 2006

This sculpture is to be sold with a certificate

of authenticity issued by Jun Youn Sculpture
Gallery, and a certificate of authenticity issued
by Opera Gallery, Hong Kong.

HK$ 300,000-400,000
NT$ 1,230,000-1,640,000
US$ 39,400-52,500

朱銘
人間系列—裙的故事
2006
銅雕 1/4
56.5(長) x 36.8(寬) x 77.5(高) cm
簽名雕刻台座：朱銘 1/4 2006

附雋永藝術畫廊開立之原作保證書
附香港歌劇美術館開立之原作保證書

22
013
JU Ming
(Taiwanese, b. 1938)

Taichi Boxer with subdued force, while the left shoulder is

turning forward to create a forward movement.
1991 The defense has a bearing of offense as the
Bronze, edition no. 1/20 hand gestures in a cloud-like floating manner
50.8(L) x 38.3(W) x 75(H) cm and naturally pushes forward. From these
Engraved Ju Ming in Chinese, numbered 1/20 defense and possession, forward and backward
movements arise the Taichi concept of yin and
This sculpture is to be sold with a certificate yang and continuity. Ju Ming has fully expressed
of authenticity issued by Buschlen Mowatt the underlying essence of Taichi in his creations.
Gallery, Vancouver, Canada. As the renowned art historian Michael Sullivan
said: "In his Taichi Series, this conflict of forces
is explicit, in the dualism of the figures who
HK$ 800,000-1,200,000
thrust and retreat, give and take, in a dynamic
NT$ 3,280,000-4,920,000
relationship with one each other. An invisible
US$ 105,000-157,500 electric current seems to flow between them".

朱銘
太極 從雙人對打雕塑開始，朱銘的「太極」系列
1991 The "Taichi" Series by Ju Ming took on a 進入一個全新的層次。在單一人物的太極雕
銅雕 1/20 whole new dimension when the artist started 塑中，太極的力量和節奏通過身體的運動來
50.8(長) x 38.3(寬) x 75(高) cm to produce works involving twin-sparring- 表達。但太極在本質上，可說是兩極相生：
簽名雕刻 : 朱銘 1/20 figures. With the single Taichi figures, through 陰和陽。這兩極相互關聯，循環往復合為一
the bodily movement, the force and rhythm of 體，構成剛柔相濟的太極運動。
附加拿大溫哥華布許倫．莫瓦特畫廊開立之 Taichi were expressed. However the nature of
原作保證書 Taichi is such that there are two chi to begin 本件作品《太極》呈防禦姿態、靜中有動。
with: the yin and the yang. These two entities 與進攻招式相比，它的動態力量毫不遜色。
have a mutual reciprocating relationship and are 雙腿微曲，蓄勢待發，而左肩向前。雙手作
embodied as one, creating a harmonious and 雲手狀前推，防禦之中蘊含攻勢。通過這些
powerful movement. 防禦和控制，向前和向後運動表現了陰陽的
雙極理念和連續性。朱銘的作品充分表現了
This lot, the "Taichi boxer", poses with a 太極拳的內涵。著名的藝術歷史學家麥可．
defensive gesture but suggests motion within a 蘇立文說：「在他（朱銘）的『太極』系列
still stance. It does not lose its dynamic quality 中，力量的衝突通 過雕塑的進退和得失得到
as compared to the attack gesture. Both legs 了明確的體現。它們之間似乎有一種無形的
are slightly bent to create a form endowed 電流在流動。」

24
014
JU Ming
(Taiwanese, b. 1938)

Taichi - Golden Rooster Standing In March 1976, Ju Ming held his first solo
exhibition at Taiwan's National Museum of
1995 History under an arrangement by his mentor
Bronze, edition no. 4/10 Yuyu Yang. Most of the works exhibited were
66(L) x 40.6W) x 72.4(H) cm wooden sculptures of subjects taken from
Engraved Ju Ming in Chinese, dated 95, Taiwanese folklore and folk life such as Kuan
numbered 4/10 Kung (Guangong), Lu Chih Shan (Lu Zhisen)
and animal subjects like buffalos.
This sculpture is to be sold with a certificate of
authenticity issued by Hanart TZ Gallery, Hong Having attained fame for his Nativist Series in
Kong. his premier exhibition, Ju Ming moved to his
Taichi style the same year. His original series
HK$ 800,000-1,200,000 was called "Kung-Fu" and he completed works
NT$ 3,280,000-4,920,000 including his famous "Single Whip", "Cloud
US$ 105,000-157,500 Hands", "Advancing Step Barricade Moving
Punch", "Shoulder Through Arm" among others.
朱銘 "Golden Rooster Standing" is from these early
works. These works were exhibited in Ju's
太極系列—金雞獨立
first overseas exhibition in the Tokyo Central
1995
Museum in January 1977.
銅雕 4/10
66(長) x 40.6(寬) x 72.4(高) cm
簽名雕刻：朱銘 95 4/10
"Golden Rooster Standing" is clean and
simple in form but voluminous in its presence.
The artist has made use of clean and precise
sculptural cutting to mold the voluminous
surface area. From the waist to the shoulder
runs an astonishingly bold cutting mark that
vividly models the energy and sense of speed
of a kick from the right leg. Art critic Chang
Tsong-zung has said: "In the sculptural art of Ju
Ming the signature cutting strokes are attuned by
their usage in sculpting figurative form, where
spirit and likeness should be captured with
minimal strokes". Ju Ming's Taichi sculptures
depict diverse movements expressing a delicate
balance between movement and immobility.
1976年3月，在導師楊英風的精心安排下，
朱銘在台灣國立歷史博物館舉辦首次個展。
展出作品多是木作雕塑，取材於關公、魯智
深等台灣民間傳說，以及水牛等一些動物等
民間生活場景。

首次個展就以鄉土系列成名，朱銘在同年轉
附香港漢雅軒
而創作「太極」風格作品。最初此系列稱為
開立之原作保證書
「功夫」。1976年，朱銘繼續以「功夫」為
主題，完成一系列作品。這其中包括著名
的「單鞭下勢」， 「雲手」， 「進步搬攔
捶」和「扇通臂」。 「金雞獨立」是朱銘
創作的早期作品。其實，同樣作品於1977年
1月東京中央美術館，朱銘的海外首展也曾
展示過。

《金雞獨立》形式上清新、簡樸、氣勢磅
礡。藝術家精準的雕塑工藝形塑出渾厚的作
品表面。從雕塑的肩膀到腰部，採用非常粗
狂的切割痕跡，生動地傳遞了力量以及速度
感。張頌仁評論道：「朱銘的雕塑藝術將形
象描繪與象徵手法相結合，以最細微的筆觸
捕捉作品的神似與形似。」朱銘的太極雕塑
描繪了不同的運動，表達了運動和靜止之間
的微妙平衡。

26
 015
CHU Teh-chun
(Chinese-French, b. 1920)

Le souffle qui libére la matière

2006
Oil on canvas
130 x 97 cm
Signed lower right CHU TEH-CHUN in
Chinese and English, dated 2006
Titled on the reverse Le souffle qui libére
la matière in French, CHU TEH-CHUN in
Chinese and English, dated 2006

EXHIBITED:
Chu Teh-chun: Peintures Récentes, Galerie
Patrice Trigano, Paris, Sept. 13 - Oct. 14, 2006

HK$ 850,000-1,300,000
NT$ 3,490,000-5,330,000
US$ 111,500-170,600

朱德群
氣騰於形
2006
油彩 畫布
130 x 97 cm
簽名右下：朱德群 CHU TEH-CHUN 2006
簽名畫背："Le souffle qui libére la matière"
CHU TEH-CHUN 朱德群 2006

展覽：
「朱德群近作展」，帕帝斯．提卡諾畫廊，
巴黎，展期自2006年9月13日至10月14日

28
016
CHU Teh-chun
(Chinese-French, b. 1920)

Paysage Hivernal Chinese-French artist Chu Teh-chun has never
(Winter Landscape) been satisfied to stand-still with his work, and
has throughout his life constantly challenged
1985-1986 himself to find new creative forms of expression.
Oil on canvas This is evident in his later paintings which
116.5 x 89 cm have a distinctly broader scope and are larger
Signed lower right CHU TEH-CHUN in in size than his earlier works. His unique style
English and Chinese and dated 86 of depicting traditional Chinese-influenced
Signed on the reverse CHU TEH-CHUN in landscapes in abstract form without losing a
English and Chinese and dated 1985-86 romantic appeal has long been acknowledged
and even in his later years, he continues to
constantly. This phenomenon filled my mind with
images of clouds continuously floating on a bed
of white. My spirit felt as though it was floating
up and down in concert with the changes in the
shade and density of that scene and in a flash,
many of the familiar images portrayed in the
Tang poems rushed into my head. I simply could
not wait to go home and put these images on
canvas. I wanted to capture in paint my feelings
in that moment..."(Liao Chiung-fang, Overseas Chinese
Fine Arts Series II: Chu Teh-chun, Artist Publishing Co., Taipei,

PROVENANCE: surprise his admirers with every painting. The January 1999, p. 56)
Galerie Septentrion, Marcq-en-Baroeul, France, much praised "Snow Scenes" series completed
1988 between 1985 and 1989 comprises about 20 In their pursuit towards excellence and bringing
Acquired from the above by the previous pieces and this rarity has made it one of Chu’s forth new ideas, many contemporary artists
owner, France most sought after series. rely on external influences. However, Chu Teh-
chun, heavily influenced by his Chinese culture,
EXHIBITED: is a firm believer in Fan K'uan's statement, "I
Chu Teh Chun, Galerie Septentrion, Marcq-en will rather not rely on external beings but turn
Baroeul, France, 1988, no. 10/88 to my inner most feelings." Chu Teh-chun,
in true Chinese fashion, relies on his inner
HK$ 2,000,000-2,800,000 feelings, and this has enabled him to open new
NT$ 8,200,000-11,480,000 frontiers in expressing his aesthetic sense of
US$ 262,500-367,500 judgment. When he first arrived in France, Chu
continued to read the "Complete Collection of
Tang Poetry" and the "Complete Collection
朱德群
of Song Poetry" For many years, as his spirit
雪景系列—冬景 wandered among Chinese classical poetry and
1985-1986 prose seeking to enhance his appreciation of
油彩 畫布 beauty and make it a more joyful process, his
116.5 x 89 cm inspiration was often ignited, and he poured
簽名右下：朱德群 CHU TEH-CHUN 86 forth his inner most feelings in his paintings.
簽名畫背：CHU TEH-CHUN 朱德群 1985-86 He also listen extensively to Western classical
Chu Teh-chun’s major influence for the music, and the influence of this is also seen in
來源： exquisite series was from time he spent in his works. Many Western commentators have
席普丹提庸畫廊，馬爾克昂巴勒勒，法國， Geneva in 1985. He told Taiwanese art critic noted that his paintings are poetic pieces of
1988 Chu Ko during an interview: "I have done many abstract art. In the "Snow Scenes" one cannot
私人收藏，法國（得自上述來源） paintings with various shades of white, inspired help but wonder if the artist was thinking of
by the snow-capped mountains I saw in the Alps the magnificent winter scene described by the
展覽： while traveling in Geneva. On a cloudy day, the Tang poet Li Po "in the bitter cold, the snow
「朱德群」，席普丹提庸畫廊，馬爾克昂巴 white from the sea of clouds and the white of keeps falling like a giant hand smothering the
勒勒，法國，1988，編號10/88 the snow were clearly discernible and changing snow-covered ground" or the flurry of activity in

30
 another poet Tu Fu's "under the low lying clouds,
the snow flakes dance merrily in the wind."
Imagine a scene of snow flakes floating gently
from the sky and dancing in the cold wind, a
breathtaking sight indeed.

Chu Ko, commented, "Chu Teh-chun is a master

who used oil painting to depict the Chinese
spirit of water brush paintings…. Chu Teh-chun
employs oil painting to display the Chinese
spirit of water brush paintings and the strokes
and lines with variations of darkness and depth
and the rendering effect in the space contain the
joy of brush ink that amazes everyone." (Chu Ko,
'Cloud Emerge and Sunset Beauty: Attempt to Examine Chu
Teh-chun's art significance', Chu Teh-chun Painting Collection,

Jingling Arts Center, Taipei, August 1989, p. 9; p. 11) The

beauty of art can transcend time and integrate
West and East, and Chu Teh-chun reveals the
beauty of this great rapport. He once said, "The
blending of East into West isn't the combination
of East and West, but the integration of
philosophies. I was educated in China, so my
paintings convey the abstract art of Chinese
poetry with the artistic mentality of the Tang and
Song."

Pierre Cabanne, the famous French art critic

once wrote: "A real painting results from
memory." The lyric paintings of Chu Teh-
chun are also pictures from his memory. His
paintings reflect the spirit of traditional Chinese
mountain–water paintings. They guide us to
a brand-new world. From his brushwork, and
use of color and structure, viewers can enjoy
a spiritual journey. The present lot, "Paysage
Hivernal"(Winter Landscape), created in
1985-1986, possesses a grand beauty as Chu
elegantly presents a cold winter scene with
profound connotations, expressed romantically
and with freedom of imagination. As a Chinese
abstract painter seeking to integrate both poetry

32
and painting, his work possesses a spiritually 朱德群的「雪景系列」起始於1985年，靈感
refreshing concept which leaves the audience 最初來自歐洲旅行途中所見。他曾經對台灣
with a sense that their soul has undergone a 藝評家楚戈細細描述靈光乍現時的內心悸
thorough baptism. 動：「我曾畫過好幾個白色調子的畫，那是
我在日內瓦的途中，看到阿爾卑斯山覆滿了
"Paysage Hivernal" (Winter Landscape), 白雪，當雲霧瀰漫之時，雲霧的白和雪白的
imbued with a poetic lair and aesthetic image, 白層次分明而充滿了變化，此時我心中只有
is like the playing of an impromptu musical 雲霧在白地上移動的景象以及湧現的層次，
episode. Its free-style brush strokes, dabs and 心靈似乎也跟著那深淺濃淡的變動而若浮若
daubs being dimly visible are reminiscent of 沈，一下子浮現了很多唐詩的意象。回來就
traditional Chinese techniques. The falling 忍不住想作畫。…我要畫的是『我』對她那
night occupies the center of the canvas, as a 一剎那的感受。…」 （廖瓊芳，《華裔美術選集
snowstorm creates a flurry of what seem like II：朱德群》，藝術家出版社，台北，1999 年1月，頁56 ）
pearls, sleek lines twist and turn forming nets,
while a grey curtain descends speckled with 現代藝術家的藝術求變求新，多需求助於
stars, as the world becomes a silverish grey. A 外在事物。然而受中國文化影響甚深的朱
sense of warmth is somewhat created by the use 德群，並未選擇師法於物的道路，信奉范寬
of light yellow hues. 「吾與其師於物者，未若師諸心」的信念。
朱德群希望從內心的審美感動開拓新的繪畫
His fellow artist Wu Guanzhong believed that 世界。朱德群從台灣遷居巴黎之後，除了每
Chu Teh-chun's snow scenery reflected his inner 日瀏覽法國知識界喜歡閱讀的《世界報》，
life experience and wrote, "Painting according 投入最多的閱讀便是《全唐詩》和《全宋
to his whims and desires, the painter painted 詞》。多年來他神遊於中國古典詩詞的世
diversified, varied, surreal dreams, happiness 界，追求審美的愉悅畫，往往能點燃他的靈
and anger looming..., this all equates to the luck 思，轉化為畫面裡美麗的形形色色。
and sorrow in one's life experience, a gauze
that breaks through the innermost feelings, 朱德群既喜愛閱讀中國詩詞，也聆聽西方古
showcasing path and marks in the author's long 典音樂，它們自然而然漸漸融入他的藝術之
artistic life." (Please refer to Zhu Wei, Chu Teh-chun 中。西方評論家認為朱德群的繪畫是詩意的
Biography, HoKe Art, Taipei, 1st Aug 2003, 1st Edition, pp. 抽象畫，絕非偶然。而當畫家在畫架前描繪
225-226.) 雪景的感動，是否曾聯想起唐朝大詩人李白
「地白風色寒，雪花大如手」的豪壯，或是
杜甫「亂雲低薄暮，急雪舞迴風」詩句裡動
華裔藝術大師朱德群對創作始終秉持著旺盛 勢十足的絕美情境？
的企圖，力求各個階段皆能有創新精神，後
期仍舊創作不懈，不斷挑戰自我。其筆下特 台灣藝評家楚戈認為：「朱德群是用油畫
有的中國詩情抽象山水，在耳順之年再造藝 畫出中國水墨畫精神的大師。……朱德群
術的光輝。1985至1989年之間他所發展出漂 不但用油彩畫中國水墨的精神；而且畫中的
亮的「雪景系列」，即是評價極高的巔峰之 線條，在輕重濃淡，甚至有渲染效果的空間
作，藝術媒體曾報導此系列作品數量不到20 中，居然有筆墨的趣味，就不得不使人欽
幅，因其藝術性與稀有性，「雪景系列」一 服了。」（楚戈〈雲興霞蔚：試為朱德群先生的藝術定
直是朱德群迷亟欲找尋的標的之一。 位〉，《朱德群畫集》，金陵藝術中心，台北，1989年8
月，頁9、頁11）對於東西方藝術的融合，朱德
群自言：「東西融合不是東西拼湊，而是思
想的融合。我是在中國受的教育，所以我的
油畫是具有中國詩意的抽象畫。我比較傾向
於唐宋時代的藝術意境。」
「真實的繪畫來自回憶！」 （藝評家皮耶．卡班
語）朱德群以自身回憶譜寫出一幅抒情的圖
畫，而這些繪畫具有中國傳統山水的精神，
可以將人帶入一個新的世界。觀者藉由他的
筆法、用色和結構，也展開一趟精神遨遊。
朱德群創作於1985-1986年間的作品《雪景
系列－冬景》，有畫家所欲表達的優雅與寒
凝之美，內涵深邃，動人心絃，他兼顧了藝
術本身浪漫的抒發與想像的自由。作為一位
出身講求詩畫合一的中國抽象畫家，他的繪
畫有高靈空妙的意境，令觀者感受到靈魂清
澈的洗禮。
此作《雪景系列－冬景》的確是飽含詩意的
圖畫，意境唯美清遠，如同演奏一首即興的
樂章。畫家將冬賞寒林景致描寫得細膩，行
草般錯落的線條，充滿律動感。霜雪飛撒，
如串串珍珠抖落，輕快悠揚，灰藍的簾幕裡
映照出大地的雪白顏色。幽幽的淡黃色，為
寒色雪景增添些許溫情。
吳冠中認為，朱德群的雪景其實反映了自身
的生命體驗，他寫道：「畫家任性揮灑，繪
出了繁雜多樣、虛實夢幻、喜怒奔放……，
這一切均係人生經歷中所積澱的哀怨與幸
運，一朝衝破內心深處的幕紗，展示出作者
漫長藝術生涯的軌跡與烙印。」 （參閱祖慰著
《朱德群傳》，霍克國際藝術，台北，2003年8月1日首
版，頁 225─226）
017
ZAO Wou-ki
(Chinese-French, b. 1921)

15.7.93 tones. The overall effect is intensely emotive

and expressive – an exploration of the soul's
1993 wanderings in the cosmos. The stronger
Oil on canvas color tones that appear here and there in the
65 x 81 cm paintings seem like a memory of the artist's
Signed lower right Wou-Ki in Chinese and ZAO youth. 15.7.93, painted in 1993, is one of Zao
in French Wou-ki's finest recent works. A painting full
Signed on the reverse Zao Wou-Ki in French, of refined, elegant colors, it is not large in
titled 15.7.93 and size 65 x 81 cm size, and yet offers unlimited scope for the
imagination. Despite Zao's advancing years,
HK$ 1,200,000-1,800,000 his paintings seem as young and fresh as ever.
NT$ 4,920,000-7,380,000 Zao has succeeded in retaining the passionate
enthusiasm of his youth. As he himself puts
US$ 157,500-236,200
it, art "has no clear-cut ending." Zao feels
impelled to continue painting; one cannot but
趙無極 admire his spirit and his commitment to his art.
15.7.93
1993
油彩 畫布 Jonathan Hay, Ailsa Mellon Bruce Professor 美國紐約大學美術史講座教授喬迅
65 x 81 cm of Fine Arts at New York University, wrote an （Jonathan Hay），為趙無極2003年紐約個
簽名右下：無極 ZAO article for the catalog for an exhibition of works 展目錄寫過一篇評論文章，提及畫家後期油
簽名畫背：ZAO WOU-KI 15.7.93 65 x 81 cm by Zao Wou-ki that was held in New York in 畫作品的轉變︰「1979年前後趙無極完全捨
2003, in which he commented on the change 棄早年的方法，全心投入1970年代有些重要
in Zao's oil painting style in his later work: 作品即已勾勒出的新風格走向，這樣的轉變
"In the course of 1979 Zao abandoned his 延續了十年，達到一種優雅的狀態：卸下急
older approach altogether and devoted himself 躁，創造出更強勁『繪畫骨法』（中國書畫
entirely to the new stylistic direction that he had 用詞）的筆勢特質，光線從無窮溫柔底處慢
traced out for himself in a few key paintings of 慢湧現擴大，將黑暗圍繞，某種圖誌形式開
the 1970s. Out of this shift came a decade of 啟了寂靜與靜默。」
work that attains a state of grace: a quality of
gesture that is stripped of all hurriedness and 趙無極1980、1990年代的繪畫提昇至幽緲的
creates a more powerful "bone-structure" (to use 心靈視界，技法自然爐火純青，早期激昂、
a term from Chinese calligraphy and painting), 澎湃的纖維性線條不再，轉以沈潛高妙的空
a luminosity extending from infinite softness to 間佈局，色彩傾向於輕盈、華麗、潤澤，整
enveloping darkness, a topography of form that 體營造出迷濛的抒情美感，追尋心靈可遨遊
opens itself to stillness and silence." Jonathan 其間的宇宙。偶然也會見到高色調的色彩，
Hay, 'Recent Works by Zao Wou-ki', 2003 那是畫家對於青春的恆久記憶。創作於1993
年的《15.7.93》是趙無極近期佳作之一，
Zao Wou-ki's paintings from the 1980s and 色彩清雅娟秀，尺幅不巨大，寓藏的想像
1990s embody a high degree of spirituality. The 空間卻是無窮。即使年齡近黃昏，趙無極的
technique is effortless and mature. The intense, 繪畫卻更顯得年輕。他始終懷抱兒年的創作
almost manic lines of some of Zao's earlier 熱情，他曾說繪畫之於他是「沒有純粹的終
work are no longer to be seen; instead, there is 局」，別無他途，唯有不斷地畫，其精神令
spatial arrangement of great depth and meaning, 人感佩。
with lighter, brighter and more lustrous color

34
018
ZAO Wou-ki
(Chinese-French, b. 1921)

Ville Chinoise (Chinese Village) "Ville Chinoise" (Chinese Village) is an oil poetic depiction of the scenery of the Chiang
painting that Zao Wou-ki created in 1955, during Nan region of China; both feature a broadly
1955 the period in which he was moving away from rectangular arrangement and a largely blue color
Oil on canvas non-figurative art towards abstract art, a period scheme, although "Ville Chinoise" is a slightly
54 x 65 cm which also saw Zao at his most creatively fertile. larger painting.
Signed lower right Wou-ki in Chinese, ZAO in Today, most of the world's leading modern art
French, dated 55 museums have at least one painting by Zao Zao Wou-ki was born into a refined, literati
Signed on the reverse Wou-ki in Chinese, ZAO Wou-ki that dates from 1955 in their collections; family that claimed descent from the Sung
in French, titled Ville Chinoise in French, dated the Tate Gallery in the U.K. has "Avant l'Orage" Dynasty imperial house. Although Zao Wou-
1955. (Before the Storm), the Musée National d'Art ki himself was born in Beijing, he grew up
Moderne, Center Georges Pompidou in Paris in Central and South China; Shanghai and
PROVENANCE: has "L'incendie", the Guggenheim in New York Hangzhou were the scenes of most of his
Galerie Jean-Louis Roque, Paris childhood and teenage memories. Since time
Acquired directly from the above by the immemorial, Chinese literati have been praising
previous owner in the mid 1970s the beauties of the Chiangnan region in poetry
and in paintings. Although Zao Wou-ki, who
This painting is to be sold with a certificate moved to France before the age of 30, gradually
of authenticity issued by Jean-Louis Roque in succeeded in making a name for himself in
1978, and a certificate of authenticity signed by European art circles, he was often beset by
the artist. homesickness and nostalgia. He missed his
father's garden, rivers running under little
HK$ 2,600,000-4,500,000 bridges, and the excitement of village festivals.
NT$ 10,660,000-18,450,000 Zao Wou-ki's works from the early 1950s often
US$ 341,200-590,600 趙無極《火災》 have an inscription in French on the back of the
1954-1955，油彩 畫布，130 x 195 cm canvas. On the back of this particular painting,
巴黎國立現代美術館龐畢度中心收藏
Zao Wou-ki wrote the name "Ville chinoise"
趙無極 ZAO Wou-ki, L’incendie
1954-1955, oil on canvas, 130 x 195 cm
(Chinese Village).
中國城
Centre Georges Pompidou, Musée national d’art moderne, Paris
1955 In his autobiography, Zao Wou-ki describes
油彩 畫布 his recollections of West Lake in Hangzhou:
54 x 65 cm has Mistral, among others. "Hommage à Tou "This was a place where all the Chinese poets
簽名右下：無極 ZAO 55 Fu", which commanded a higher price at auction gathered to recite their works. As a teenager,
簽名畫背：無極 ZAO Ville Chinoise 1955 than any other work by Zao Wou-ki to date, was I would come here every day, walking along
also painted in 1955. the banks of the lake without ever getting tired,
來源： enraptured by the spectacle of nature changing
尚路易．羅克畫廊，巴黎 "Ville Chinoise" can be thought of as forming constantly according to the time of day and with
原收藏者1970年代中期直接得自上述來源 a pair with "Petit pont et l'eau coule" (Small the changing of the seasons. I was fascinated by
Bridge over the Stream), which was sold at the diversity of the space on the surface of the
附巴黎尚路易．羅克畫廊於1978年開立之原 auction by Ravenel in the autumn of 2009. water, by the weightlessness of the light and by
作保證書 They were painted during the same period, and how thin it seemed to be between the lake and
附藝術家親筆簽名之原作保證書 both feature nostalgic subject matter, with a the sky. I would spend hours watching the effect

36
of the wind on the calm waters, the breezes that 《中國城》是趙無極1955年所創作的油畫， 人喜愛以詩畫歌詠江南之美好，三十歲不到
disturbed the leaves of the birch and maple trees. 正值他從非具象畫進入抽象畫的關鍵階段， 遷居法國的趙無極，在歐洲藝壇逐漸受人矚
My vision of this world did not encompass any 同時也是一段創造力豐沛的時期。目前世界 目。然而，思鄉的情緒不免常常縈繞心頭，
ornate bridges (although they certainly existed) 主要現代美術館都有珍藏趙無極1955年的油 他最懷念父親的花園，小橋流水，或是節慶
or bamboo leaves fluttering down onto the 畫︰例如英國泰德畫廊的《暴風雨前夕》、 的村鎮。1950年代初期的作品，畫家常會在
surface of the clear water; what I wanted to see 巴黎國立現代美術館龐畢度中心的《火 畫背上題寫法文標題。趙無極也為這幅畫起
was the space, the way it stretched and contorted 災》、紐約古根漢美術館的《強風》等等。 了一個法文畫名：Ville chinoise，意思即是
itself, and the infinite complexity of the blue in 而至今趙無極拍賣市場最高價的《向杜甫致 「中國的城鎮」。
the tiny reflection of a leaf on the water." (Zao 敬》也是這一年的作品。
Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions 在畫家的自傳裡，描述了一段他對杭州西湖
Fayard, 1988 p. 26) 的回憶：「許多中國詩人都曾在此徜徉、吟
詠。少年時代，我每天都在湖邊流連，從不
Zao Wou-ki's aim in his close observation of 厭倦。大自然隨著時辰的推衍、季節的嬗遞
nature was not to try to copy or replicate nature, 而變化無窮。水波的瀲豔、光的靈動，水天
but rather to feel nature, and the spiritual 之間的煙嵐都使我出神入迷。我常在湖邊，
space that it created. It was this urge that 一坐數小時，守候空氣漾過平靜的湖面，風
gave his romantic, abstract art its own unique 輕搖樺樹和槭樹葉，我眼中所見不是精雕細
style. The art critic Jean Leymarie suggested 琢的小橋亭台、水面映照的竹葉，我要看的
that Zao Wou-ki's paintings from the 1950s 是空間：空間的伸展、扭轉，和一片樹葉
embodied a sense of "Chuang-tzu's Dream." 在水中倒影幻化出的無窮的藍。」 （參閱趙無
The fine tracery in his paintings displays 極、梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版

immense variation, sometimes heavy and 社，台北，1992初版，頁15）

thick, sometimes sharp, sometimes elegant;
趙無極《小橋流水》
refinement and firmness of will co-exist with 羅芙奧2009秋季拍賣會，編號039，1560萬台幣成交
趙無極親炙大自然、觀察大自然之餘，並非
one another. After the symbolic exploration ZAO Wou-ki, Petit pont et l'eau coule 想要忠實去呈現自然，或是複製自然，而是
of his Klee period, Zao's art entered a more (Small Bridge over the Stream) 以情思去感受自然，及自然所營造的心靈空
poetic era, in which he found a way to fuse 1955, oil on canvas, 46 x 55 cm
間，這是他以抒情抽象藝術見長的風格。藝
Ravenel Autumn Auction 2009, lot 039, US$ 485,075 sold
Chinese and Western art effectively. Inspiration 評家雷馬利（Jean Leymarie）認為，1950年
from the abstract aspect of the ancient 代的趙無極繪畫出傳達出莊子《逍遙遊》的
Chinese "oracle bone script" encouraged him 自在意境。他的纖細線條帶有多變的效果，
to incorporate a more Asian spirit into his 此次的拍品《中國城》與羅芙奧2009年秋季 或濃重、或尖銳或優雅，精緻與堅毅可同時
art. "Ville Chinoise", this painting from the 拍賣的《小橋流水》，兩者堪稱姊妹之作， 存在。在歷經過克利時期（Klee Period）的
mid-1950s, also incorporates the romantic 年代相同，主題皆在抒發對懷鄉的情懷，憶 符號性探索，趙無極的作品進入詩的境界，
sensibility that Zao had acquired from living in 寫江南的旖旎風光，而且都屬於方形格局的 找到中西藝術融合的捷徑。而甲骨文字的抽
Paris; it is perhaps the gentlest, most peaceful 藍色調作品，不過《中國城》的尺幅略大一 象啟發，開擴了他畫中的東方精神。在1950
work by Zao dating from this period. The 些。 年代中期的《中國城》一作中，趙無極添加
pulsing lines threading their way through the 了巴黎帶來的浪漫感知，可謂同一年份作品
canvas hint at the serried rows of houses, while 趙無極身上流有宋代皇族的血液，家族有雅 中最柔美的表現。顫動的線條，穿梭在畫布
the layers of soft colors in different shades 好文藝的傳統。雖然趙無極出生地在北京， 間，暗示著櫛次鱗比的屋舍，層層的淡色暈
create the effect of a "dream city," embodying 然而成長的背景都在中國南方。上海，杭 染，宛如夢幻的城堡，那是他對遙遠中國美
Zao's beautiful memories of a distant China. 州，是他留下最多青春回憶的地方。自古文 好的記憶空間。

38
 019
SANYU
(CHANG Yu)
(Chinese-French, 1901 - 1966)

Chrysanthemums with Green

Leaves

1929
Oil on canvas
81 x 45 cm
Signed lower right Yu in Chinese, SANYU in
French and dated 1929

PROVENANCE:
Henri-Pierre Roché, Paris
Jean-Claude Riedel, Paris
Home Gallery, Taipei 常玉
Sotheby’s Taipei, April 16, 1994, lot 80 綠葉盆菊
Private collection, Taipei 1929 油彩 畫布 81 x 45 cm
簽名右下：玉 SANYU 1929
EXHIBITED:
The Exhibition of Sanyu, National Museum of 來源：
History, Taipei, Oct. 14 - Nov. 26, 1995 昂利．皮耶．侯謝，巴黎
In Search of a Homeland – The Art of San Yu, 尚．克勞德．希耶戴，巴黎
National Museum of History, Taipei, Oct. 13 - 家畫廊，台北
Dec. 2, 2001 蘇富比拍賣，台北，1994年4月16日，編號80
私人收藏，台北
ILLUSTRATED:
Home Collection, Home Gallery, Taipei, 1992 展覽：
Antoine Chen, Overseas Chinese Fine Arts 「雙玉爭輝」，國立歷史博物館，台北，展
Series – Sanyu, Artist Publishing Company, 期自1995年10月14日至11月26日
Taipei, 1995, color illustrated, no. 45, p. 101 「鄉關何處－常玉的繪畫藝術」，國立歷史
The Art of Sanyu, National Museum of History, 博物館，台北，展期自2001年10月13日至12
Taipei, 1995, color illustrated, no. 8, p. 17 月2日
Masters of Chinese Painting – Sanyu, Chin
Hsiu Publishing Company, Taipei, 1997, p. 26 圖錄：
Rita Wong ed., Sanyu: Catalogue Raisonné Oil 《家藏》，家畫廊，台北，1992，彩色圖版
Painting, Yageo Foundation, Lin & Keng Art 陳炎峰，《華裔美術選集─常玉》，藝術家
Publications, Taipei, 2001, color illustrated, 出版社，台北，1995，彩色圖版，編號45，
no. 139, p. 253 頁101
In Search of a Homeland – The Art of San Yu, 《常玉畫集》，國立歷史博物館，台北，
National Museum of History, Taipei, Oct. 2001, 1995，彩色圖版，編號8，頁17
color illustrated, no. 43, p. 90 《中國巨匠美術周刊─常玉》，錦繡出版
社，台北，1997，頁26
HK$ 12,500,000-17,000,000 衣淑凡編，《常玉油畫全集》，國巨基金
NT$ 51,250,000-69,700,000 會、大未來藝術出版社，台北，2001，彩色
圖版，編號139，頁253
US$ 1,640,400-2,231,000
《鄉關何處－常玉的繪畫藝術》，國立歷史
博物館，台北，2001年10月出版，彩色圖
版，編號43，頁90

40
Sanyu was one of the first generation of
outstanding Chinese artists going to France
to study and pursue a career as a painter.
His elegant yet unrestrained style made
him particularly stand out among his many
talented peers. His works were shown
in numerous important salon exhibitions
in France, and he was counted as one of
the Ecole de Paris ("School of Paris").
In 1932, Sanyu's name even appeared
in the third volume of preeminent arts
publisher Art et Editions' "Dictionnaire
biographique des artistes contemporains
1910-1930". In a time and age when racial
prejudice was still very widespread, it
was no small feat for a Chinese painter to
make it into a biographical encyclopedia
of internationally acclaimed artists-Sanyu
was in fact the first Chinese artist to be
thus honored, and this was certainly no
accident.
Many other Eastern artists who came
to France with the first wave of foreign
students described Sanyu as already having
the air and reputation of a great master,
even in his early years. But at the same
time, his rather reckless and dissolute
character, and his unwillingness to break
his back to do something as "trivial" as
earning his daily bread, meant that in
the end he died a poor man in a foreign
country. Wu Guanzhong, one of the doyens
of modern Chinese painting, met Sanyu once
in Paris. He has words of high praise for his
fellow painter, calling him a "true artist," and
rating him much higher than, say, Pan Yu-liang
or Xu Beihong. Wu on Sanyu, "His paintings
are quite good, really. They have style, and
they have character. I'd say that among all the
Chinese oil painters who developed their career
in the West, Sanyu deserves the place of honor."
42
常玉《雙裸女》羅芙奧台北2010春季拍賣會，編號149
SANYU, Two Pink Nudes, 1929, oil on canvas, 81 x 55 cm
Ravenel Spring Auction 2010 - Taipei, lot 149
In Wu's opinion, Sanyu's brushwork is similar
to the traditional Chinese "freehand" style, but
his sense of shape and color, and the general
structure of his compositions, are largely rooted
in modern Western concepts.
Today, there is no doubt that Sanyu is one
of the most distinguished members of the
first generation of modern Chinese-origin oil
painters. The aesthetic appeal of
his work surpasses the boundaries
of time and space, and to this day
his paintings remain among the
favorite objects of many collectors'
d e s i r e . I n c i d e n t a l l y, S a n y u ' s
aesthetics are clearly indebted to
the Chinese cultural tradition, even
though most of his output has been
in Western genres and formats, in
particular oil painting, watercolor,
sketch/ drawings and prints. Born
in Nanchong in Sichuan Province,
China, he was first instructed in
calligraphy and painting by his
father, Chang Shu-fang. At about the
age of 12, Sanyu began to display
his extraordinary talent, much
influenced and inspired by his father's
work. Chang Shu-fang had quite a
reputation for his exquisite animal
painting, especially his depictions
of lions and horses. Possibly as a
result of this, and a subtle form of
paying respect to his father, landscape
compositions featuring horses as the
dominant theme run through Sanyu's
entire oeuvre. The seeds of traditional
Eastern art would continue to sprout
and bear fruit throughout his whole
life, even though he spent most of it as
a stranger in strange lands. Although
he roamed in the Western world, the
basics of his art are unmistakably pervaded
by a Zen-like rhythm, an almost mystical
vibrancy that shows in his lines, brushwork,
compositional and spatial arrangements, as
well as his use of color. Though he chose to
make Europe his permanent abode, the core of
his work is yet brimming with the essence of
Chinese culture.
When he was still a young man, his father
arranged for Sanyu to study calligraphy under
the famous Sichuan master Zhao Xi (1877-
1938). Zhao Xi's poetry, calligraphy, and
painting (the three of which were considered
to be an integral unit in classical Chinese art)
enjoyed wide renown across the country, and
some of his art (mostly calligraphy) is preserved
in the temples, steles, and other historical
relics of Sichuan Province. Under the tutelage
of this master, the foundations of Sanyu's
aesthetical education were laid, with a strong
emphasis on grace, elegance and beauty. With
the blessing and encouragement of his father,
Sanyu embarked on his journey as an aspiring
artist. Moving to Shanghai, he received much
visual stimulation from the folk art designs of
the advertising billboards, posters, and calendars
one could encounter everywhere in the big city.
Another influence on Sanyu were the flower
painting styles of the Shanghai and Jinshi
schools, and the artist in particular absorbed the
classical tradition of artists like Shi Tao (1642-
1718) and Chu Ta (1626-1705) and incorporated
them in his own stylistic repertoire.
Between 1918 and 1919, Sanyu visited his
second brother in Tokyo, where he spend
more than a year and managed to have some
of his calligraphy published in Japanese art
magazines—an indication that at this point in
his career, he had already reached a considerable
degree of skill and maturity in the traditional
Chinese genres. While not many of Sanyu's
calligraphic works are extant today, one can
catch more than a glimpse of his fluid brushwork
and assured elegance in his early Paris nude
female sketches: his technique is impeccable,
his compositions all of a piece, done in one go
without later corrections or changes. This near
perfection, praised and envied by many of his
contemporaries, also became a hallmark of his
oil paintings, where he employed the lively yet while, but doomed to fade and wither quickly.
abstract lines of calligraphy to draw the contours It is a mournful sight, really, the sadness only
of human bodies, animal shapes, still lifes, and enhanced by the sheer splendour of the subject.
flowers. The overwhelming visual density is but the result
of cutting and arrangement, an effect produced
Sanyu's preferred motifs were female nudes, by squeezing thick clusters of lowers into too
lowers and other still lifes, animals, and a small a vase or pot, thus losing all sense of
small number of landscape paintings. He never natural proportions. When this happens, some
tired of these themes, and especially pictures have plaintively observed, one forces these
of flowers and plants make up a large portion delicate plants to subsist on a little water or a
of his oeuvre. His favorites were the classical few crumbs of soil, cutting them off from the
subjects of Chinese painting, plum blossoms, generous nourishment of Mother Earth. Why
bamboo, lotus, and chrysanthemums. Among would Sanyu be so sensitive to these truths?
these, he particularly loved chrysanthemums, Why, his compassion and sympathy clearly
and consequently they frequently appear in his derive from the fact that he was in a similar
flower painting, messengers of a deeply felt situation himself! I think he was a 'potted plant,'
nostalgia that is yet never more than hinted at a 'lower in a vase,' too, a bonsai from the East
with subtle restraint. In the Chinese tradition, transplanted to the huge garden that is Paris."
chrysanthemums are symbols of a reclusive (From Wu Guanzhong, 'About Sanyu'.) Scholar-painter
life, signifying a hermit or a poet. They stand and writer Chiang Hsun expressed a similar
for a spontaneous, independent spirit that has
probably been best captured in Tao Yuanming's
famous lines from one of his Wine Poems,
"Chrysanthemums I was picking under the
east hedge / When the South Range met my
tranquil eyes … The soul of nature was here
revealed / Too subtle it was for words." We can
be sure that Sanyu shares these sentiments on
a very profound level, because he reveals his
views on life and genuine beauty through his
depictions of lowers, using them as an outlet
for metaphorically expressing the sadness and
forlornness lurking immediately under the
surface of his merry Paris life.
As Wu Guanzhong writes, "Sanyu was a great
painter of flower stills and potted plants, and
they are always blossoming in the most exquisite
shapes and colors, brimming with life. Yet in
truth, lowers in a vase are but beautiful blooms
約翰．法蘭寇與常玉合照
on stalks or branches already severed from Johan Franco and Sanyu
the true sap of life— lingering on for a short
impression when he said that "Sanyu's life
was like the flowers he painted." Looking
at the lowers and their graceful yet lonely
poise, we can get some idea of what the
artist's inner life must have been like.
If life is indeed like a flower, then Sanyu’s
career was one of the most brilliant
blossoms you are likely to find. In 1928,
when he was 27 years old and had already
spent seven years in the City of Light,
He decided that he wanted to stay here
and continue to enjoy the free Bohemian
lifestyle. He married Marcelle Charlotte
Guyot de la Hardrouyère (born 1904),
whom he had first met at the Académie
de Grande Chaumière and been seeing for
three years. Their marriage lasted only
three years, yet they spent some happy
times together. When reminiscing on their
relationship more than 60 years later,
Marcelle wrote about their rich spiritual
and intellectual lives, "We were always with
friends, and we were never bored. There
were always nice things to see." She also
said, "I miss Sanyu." (Rita Wong, 'Chronology,’
Sanyu: Catalogue Raisonné Oil Painting)
In 1929, Sanyu made the acquaintance
of renowned art dealer and collector
Henri-Pierre Roché, who was also a respected
journalist and novelist. In his capacity as a
connoisseur and patron of the arts, Roché
had previously helped to discover the likes of
Marie Laurencin, Georges Braque, Constantin
Brancusi, Marcel Duchamp, and Ebihara
Kinosuke. He was immediately enamored of
Sanyu’s work, and although their cooperation
44
常玉《青花盆與菊》
3482萬港元（約1億4624萬台幣）成交
SANYU, Potted Flowers in a Blue and White Jardiniere
c. 1950s, oil on masonite, 91 x 62 cm, HK$ 34,820,000 sold
was comparatively short-lived, there can be
no doubt that Roché saw great potential in his
latest protégé. He bought a number of Sanyu’s
paintings for his own collection, treasuring them
all his life. In economic terms, the late twenties
were hard times, and Sanyu was fortunate
in finding a sponsor who could give him an
opportunity to make a name for himself in
the art market. This lot, "Chrysanthemums
with Green Leaves", is one of the paintings
that formerly belonged to the Henri-Pierre
Roché collection.
"Chrysanthemums with Green Leaves" is
dated by the artist ("1929" in the painting’s
bottom right corner) and belongs to Sanyu’s
earliest batch of flower stills. In fact,
records show that the artist only began to
try his hand at canvas painting in that same
year—whereas he previously had focused
primarily on pencil and charcoal sketches of
persons, Chinese ink-and-wash paintings,
and sometimes watercolors. Since the early
twenties, Sanyu was considered to be a
member of the École de Paris, and his work
was regularly displayed at various salon
exhibitions. Sanyu was a free spirit who
mingled effortlessly, and struck up many
friendships with the artists and intellectuals
he met in the numerous cafés and bistros
of Paris. A romantic at heart, he was never
one to let his creative urges be stifled
by formalism or conventions. Yet while
he gave free rein to his artistic impulses
and predilections, he also observed the
styles and techniques of other artists, and
incorporated anything that he found useful
or appealing into his own approach. The 1920s
are known as the "Roaring Twenties" (or, in
France, "les années folles"), but the exhilarating
wildness and bohemian decadence of the era
were tempered by the spirit of Greek classicism
and humanism, which pervaded everything and
exerted a subtle influence on some of Sanyu’s
work. Examples of this can be seen in decorative
patterns the artist sometimes employs, or his Sanyu’s character is clearly mirrored in his such that even when he was painting "just a few
penchant for two-dimensional compositions. flower stills, a unique mixture of aloofness and flowers" in gentle pastel hues, the result was a
indulgence, of dynamic individualism and a picture sparkling with joie de vivre and brilliant
Generally, Sanyu’s oeuvre shows a marked touch of intellectual pride—all in all, a miniature poise.
tendency towards simplicity and conciseness. reflection of his experiences in Paris, a city
He usually limits his palette to relatively few steeped in artistic and cultural traditions. We
colors. Around 1930, his oil paintings exhibit should not forget that for a Chinese painter in the 常玉是中國第一代留法的傑出美術家，優
an affinity for shades of white and pink, with early 20th century, it was by no means a small 雅、自由的繪畫風格，在同代藝術家中顯
the occasional dash of black, a combination feat to not only survive, but also succeed and 得十分突出，作品曾多次入選法國重要沙
often regarded as a typically Parisian "romantic prosper in a strange land far away from home. 龍展，被視為「巴黎畫派」的成員之一。
style." For all the much-praised terseness However, Sanyu certainly rose to the challenge, 1932年時，常玉的名字還曾被刊載於巴黎藝
of his approach, Sanyu’s paintings are not and the splendor of his creative genius was 術出版社所發行的《1910－1930當代藝術家
devoid of grandeur and elegance. Quite the 生平辭典》第三卷。在種族偏見仍深的年
contrary! Flippancy is not Sanyu’s style, and 代，中國人的名字首度登錄國際性的美術家
his flamboyance is never carried to gaudy 生平辭典，絕非僥倖可獲致。
extremes. Coming from a distinguished and
wealthy family, he had something of a playboy 早年多位留法的藝術家提起常玉，直言他
about him, and he certainly knew how to have 當年已有大師級的名氣，只是放蕩不羈的
a good time. But there was another side to this 性格，拒絕為五斗米折腰，晚年窮困客死異
bon vivant: deep down inside, Sanyu was a 鄉。曾在巴黎與常玉有一面之雅的老畫家吳
devoted artist, and in the final consequence, 冠中，讚揚常玉是真正的藝術家，認為其藝
he was not overly concerned with fame and 術遠在潘玉良、徐悲鴻等人之上，他曾說
riches. "Chrysanthemums with Green Leaves" 道：「常玉的畫相當不錯，有格調，有性
is a representative piece from the artist’s 格，我覺得中國人畫油畫到西方去的，常玉
late twenties to early thirties period. The 是第一個。」在他的觀察，常玉的油畫近乎
background is mostly kept in pastel whites, 寫意，但形與色的構成仍本於西方現代造型
with hints of blue intimating space and depth. 觀念。
The chrysanthemums, executed with particular
care, are brimming with an understated beauty 在第一代中國油畫家行列裡，常玉無疑是非
that is both refined and down-to-earth: an 常突出的一位，具有超越時空的美學魅力。
impression that is further enhanced by the lush 至今，他仍是許多藝術收藏者的最愛。儘管
green leaves and stalks, standing out particularly 今日常玉留世的作品以油畫、水彩、素描、
vividly against the white backdrop and the 版畫等西方創作形式為主，但他的的美學內
pink-and-white blossoms. As a whole, this lot 常玉《藍底瓶花》 涵與中國文化其實深不可分。出生於中國四
is overflowing with a sense of serene happiness 羅芙奧2009秋季拍賣會，編號102，5984萬台幣成交 川南充的他，受到父親常書舫的書畫啟蒙，
blended with inspirational vigor, as epitomized SANYU, Vase of Flower with Blue Ground 12歲即展露藝術的才華。常書舫以獅、馬等
1956, oil on canvas, 72.4 x 46.4 cm
by the pastel chrysanthemums reaching right to 動物繪畫聞名南充，潛移默化了常玉。在常
Ravenel Autumn Auction 2009, lot 102, US$ 1,860,697 sold
the top of the painting. 玉從早期到晚期的作品中，經常以風景畫中
的馬為創作主題，頗有幾分向父親致敬之 疲。其中「花卉」的題材在常玉一生創作中 得常玉自己就是盆景，巴黎花圃裡的東方盆
意。傳統藝術的因子，一直藏在飄浪性格藝 佔有極大的比重，多以描寫中國傳統書畫中 景。」 （節錄自吳冠中〈說常玉〉一文） 美學家蔣
術家常玉的創作血液之中，不論是線條、筆 常見的梅、竹、荷、菊，其中尤其偏愛畫 勳也從常玉的花卉畫裡讀出「此生如花」的
法、構成空間、色彩運用，還有繪畫中透露 菊。「菊」，經常出現在他的花卉畫裡，隱 聯想，認為花卉的姿態反映出藝術家的自我
的禪意與神韻，雖然身在歐洲，但筆下的靈 藏著濃濃的鄉愁記憶。菊是花中隱士，也是 人生。
魂，滿溢著中華文化的影響。 詩人的象徵。陶淵明的「採菊東籬下」的優
雅，想必在常玉心裡有深刻的了解。他的生 此生如花的聯想，回顧常玉的一生確實已是
少年常玉在父親的安排下，曾跟隨四川名書 命價值觀與美學思考，透過花卉畫的描寫抒 一則傳奇。1928年常玉27歲，來到巴黎已有
法家趙熙（1877-1938）習字。趙熙的詩書 發，彷彿也想藉由花的姿態暗寓自己漂泊異 7年光陰，他非常享受巴黎自由的人生，打
畫名聞遐邇，墨跡存於四 算常駐於此。那一年他與
川名勝古蹟間。在其優雅 大茅屋工作室（Académie
的藝術涵養與尚美的情操 de Grande Chaumière）結
薰陶下，常玉頗受感召， 識而交往三年的法籍女
得到父兄的許可與鼓勵之 同學—瑪素．哈祖尼耶
下，走上藝術之路。他轉 （Marcelle Charlotte Guyot
赴上海生活，接收了廣告 de la Hardrouyère, 1904）
月份牌和宣傳海報圖式的 結婚，雖然後來婚姻僅維
民間藝術的視覺刺激， 繫三年，但兩人的確渡過
當時盛行的海上畫派、金 一段快樂的日子。60多年
石畫派等花卉的表現技 後，瑪素回憶起那段精神
法，傳承自石濤、八大山 生活充實的時光，她曾寫
人等藝術古風，對後來常 道：「我們總是跟朋友們
玉的繪畫思維起了一定的 在一起，從不感到沈悶。
影響，奠定藝術養分之基 身邊永遠有美好的事物可
礎。 供欣賞。」「我懷念常
玉。」 （參閱衣淑凡著《常玉油
1918至1919年間，常玉到 畫全集》生平年表）
東京探望二哥，停留一年
餘，期間傳有其書法作品 常玉（右前）與法國友人聚會合影，約1925年 1929年常玉結識了巴黎重
刊載於日本藝術雜誌，足 Sanyu (right, front row) and his French friends, c. 1925 要的藝術收藏家與畫商侯
見當時常玉已有中國書藝 謝（Henri-Pierre Roché），
之相當基礎。雖然後來存世的常玉書藝創作 鄉的身軀。 侯謝同時也是一位知名的小說家兼畫商，
不多，但寫得一手好字的常玉，在巴黎時初 曾經慧眼發掘羅蘭珊（Marie Laurencin）、
期以毛筆速寫裸女，功力一流，經常一氣呵 吳冠中曾寫道：「常玉畫了那麼多盆景，盆 布拉克（G e o r g e s B r a q u e）、布朗庫西
成，不需太多思索，往往引起其他畫家的讚 景裡開出綺麗的繁花，生意盎然；盆景裡芶 （Constantin Brancusi）、杜象（Marcel
嘆。後來他也透過油畫，也把書法的功力展 延著凋零的殘枝，悽悽切切，卻鋒芒畢露。 D u c h a m p）、海老原喜之助（E b i h a r a
現於人體、動物、靜物、花卉姿態等線條 由於剪裁形式構成的完整飽滿，濃密豐厚的 Kinosuke）等現代藝術家。侯謝對常玉的畫
上。 枝葉花朵往往種植於顯然不成比例的極小花 作一見傾心，合作時間雖不長，但他的確把
盆裡，有人慨嘆那是由於失去大地，只依靠 常玉視為潛力藝術家，並收藏一批畫作直至
就創作的主題來看，常玉多選擇女體、花 一點點土壤成活的悲哀。這敏銳的感觸，這 晚年。當時歐洲經濟仍艱困的年代裡，常玉
卉、靜物、動物及少數的風景，並樂此不 意味深長的慨嘆緣於同命運的相憐吧！我覺 的繪畫得以進入藝術市場，可說是難得的機

46
會。而此幅《綠葉盆菊》油畫過去也曾是侯
謝的收藏品之一。

《綠葉盆菊》的畫面右下方有常玉題具的
1929字樣，是常玉最早出現的一批花卉油
畫。根據文獻資料，1929年常玉才首度以帆
布（canvas）來作畫。在此之前，多數為鉛
筆、炭筆、毛筆速寫的人物素描，以及數量
不甚多見的水彩畫。整個1920年代，常玉也
是巴黎畫派（Ecole de Paris）的成員之一，
經常參選藝術沙龍展，平日出入咖啡廳、酒
吧，與巴黎藝文圈人士交誼。天生的藝術家
流浪性格，想像與創作不受拘束，他也觀察
當時各家各派的繪畫風格，1920瘋狂年代古
典風格復辟，對於他的繪畫也產生若干的影
響，如裝飾性圖紋、構圖平面化形式等。

大抵而言，常玉的繪畫傾向於極簡主義，
用色不多，1930年代前後他的油畫作品多
採白色、粉紅淺色調，偶而加上黑色，屬於
巴黎特有的浪漫風情。不過雖然畫面的構成
簡單，然而常玉表現出來的氣息卻是富貴而
華麗的，沒有輕挑俗氣之感。他出身富庶家
庭，出入流露紈褲子弟的習性，卻又淡泊名
利。以《綠葉盆菊》作品為例，粉白的背景
裡，藍色暗示出地面的空間，常玉仔仔細細
地畫上許多粉菊，姿態優雅娟秀，花間襯著
茂密的綠枝、綠葉，整幅作品洋溢幸福的氣
氛，粉菊向上生長延展，給人生機勃勃的感
受。

常玉的花卉靜物畫顯現出他的性格，不媚世
俗，我行我素，有幾分文人的傲氣，反映出
他在巴黎的人生經驗。20世紀初，華人生活
在異鄉的土地，何其不容易，當然要綻放光
華，即使是粉色的小花，也要開得艷燦、自
信。
 020
JU Ming
(Taiwanese, b. 1938) HK$ 9,500,000-15,000,000
NT$ 38,950,000-61,500,000
Single Whip US$ 1,246,700-1,968,500
1988
Bronze, edition no. 4/6 朱銘
265(L) x 118(W) x 157(H) cm 單鞭下勢
Engraved on the back Ju Ming in Chinese and 1988
English, dated 88 and numbered 4/6 銅雕 4/6
265(長) x 118(寬) x 157 (高)cm
This sculpture is to be sold with a certificate of 簽名雕刻背面：朱銘 Ju Ming '88 4/6
authenticity issued by the nonprofit organization
Juming Culture and Education Foundation - 附財團法人朱銘文教基金會
Juming Museum. 朱銘美術館作品鑑定報告書

48
Ju Ming was born in 1938 in
Tunghsiao, Miaoli County, which is a
center of wood carving in Taiwan. He
received very little formal education
in the arts, and at the age of 15, he
was apprenticed to Lee Chin-chuan,
a famous traditional master wood-
carver. When he was 30, he decided
to give up a well-paid position
as a chief craftsman in a large
woodcarving factory. He left Miaoli
to study sculpture with the master
sculptor Yuyu Yang with whom
he studied for eight years. Yang
suggested to Ju Ming that he take up
Taichi boxing, the traditional Chinese
boxing, as he had a frail constitution,
and it would help him to improve his health.
Ju Ming soon discovered that practicing the
ancient 'martial art' did more than just make him
stronger: it gave him much food for thought and
opened up profound new vistas for his creative
work. Ju gained firsthand experience of the awe-
inspiring vital force that circulates through all
living creatures, and as he gradually adopted this
new philosophy and internalized its principles,
he also started to express it in his art. This was
the point of departure for his Taichi series, a
collection of works brimming with impressive
momentum and a joyful spirit. In these pieces,
Ju managed to sublimate the abstract essence
of traditional Chinese culture and to pour it
into his creations that transcend language and
geographical barriers.
In 1978, Ju Ming had his second exhibition
at the Central Art Museum in Tokyo, and his
"Taichi Series" attracted international attention
for the first time. A monumental bronze "Single
Whip" was collected by the Hakone Open-Air
Museum, which features works from world-
renowned artists including Henri Moore and
Picasso. His "Taichi Series" began a new
direction in his creativity. A forerunner of the
series, a woodcarving of a Kung Fu fighter
50
漢查森藝廊，紐約 Max Hutchinson Gallery, New York
had been shown in the 1976 exhibition in
Taipei which launched his fame. This carving
displayed the basic pose of the "Single Whip"
series.
For Ju Ming, the "Taichi Series" is the starting
point of his own unique style. He expresses the
vital inner force discovered in Taichi boxing
in a form that immediately resonates with a
profound understanding of the energy within. In
the "Taichi Series", Ju creates a tension between
geometric abstract forms which bring forth the
active and forceful postures of the figures. This,
along with the contrast between the dynamic
poses and the static material, and the rough
and terse finishes create a rich rhythm in the
works. The sculptures also play with a colorful
effect of change between light and shadow. In
"Single Whip", Ju Ming found his own voice
and creates works of tremendous vitality and
irresistible power as he explores the pure energy
of traditional Taichi boxing.
The "Taichi Series" integrates the traditional
concepts of sculpture with a new an exciting
‘capturing' of nature and energy. The works are
created for public display in a public space and
bring a very humanistic prospect to urban life.
With its unique visual symbols and sculptural
graphic arts, the "Taichi Series" is
very ‘urban' but its energy and force is
from nature. The works visual effect is
of the dynamic conquering the static
material, creating an excitement that
is immediately apparent to the viewer.
The sculptures are totally modern yet
imbued with primitive life forces.
"Single Whip" is internationally
the most well known of Ju's "Taichi
Series". Taichi boxing seems to be
quiet and powerless, however it
combines the many contradictions
of life. It is the Yin and Yang of
traditional Chinese thinking. As a
response to reality it involves activity
and quietness, rigidity and fluidity. The posture
causes the body to balance between both action
and stillness, bringing quietness and peace to the
practitioner.
Ju Ming created many pieces of the "Single
Whip" which all have the same name. However,
each piece is unique as it captures a different
manner and imposing appearance. Taichi
boxing stresses uniform, slow, soft, and round
movements, creating very aesthetic poses, but
these poses will all have different dynamics
with different people practicing them. So, each
individual work has a unique vitality imbued
with its own life force.
The present piece, "Single Whip" made in 1988,
is an early work from the series and was made
in a limited edition of 6, measuring 265cm long
and 157cm high, similar in size to the piece
collected by the Hakone Open-Air Museum in
Japan. This is an extremely rare opportunity to
have it offered in auction.
Currently, monumental bronzes of "Single
Whip" can be found in many museums
and public collections, including Japan's
Hakone Open-Air Museum (created in 1977-
1978, around 150cm high), Bank of China
in Central Hong Kong, Exchange Square in 在朱銘眼中，「太極系列」才是他個人風 致的節奏變化；雕塑在光線和陰影之中形
Hong Kong (created in 1986, 280cm high), 格的代表，而他所要表達的那份生命力， 成有層次的變化效果。而在巨型《單鞭下
and Taiwan's Juming Museum (created in 是由內而外，而非由外而內。太極拳看似 勢》銅雕中，朱銘憑藉著自身的閱歷與判
1986, 467x188x267cm; created in 1999, 柔軟無力，實則陰陽相生、柔中寓剛、剛 斷，將人們熟知的太極文化，以及相關的
185.5x94x123cm). 柔並濟、動靜相隨，它以架勢誘導身體產 拳術套路轉化為一種藝術形式，從以往的
生調和動作的均衡，氣體運行，而達平與 意象架構中脫離出來，讓人生動地感覺出
靜的效果。太極拳講究勻、慢、柔、圓， 單鞭即下的大器、力沉與勢不可擋。
朱銘1938年出生於台灣的苗栗縣通宵 充分體現美學思想，宛如同不同的人練太
鎮，早年未接受完善的美術教育，15歲時 極同一招式時，會展現不同的力度。因 「單鞭下勢」，無疑是朱銘「太極系列」
跟隨李金川師傅學習傳統木雕技藝。30歲 此，當朱銘在雕塑每一件太極時，也賦予 作品中最為人熟知的造型。從1970年代
時，他放棄在大雕刻廠首席師傅的高薪， 他們獨特的生命力。 後期開始，朱銘雕刻過多件《單鞭下勢》
離開故鄉，向雕刻大師楊英風學藝術現代 銅雕，名稱雖然相同，但其神態、氣勢不
雕塑，為期八年。當年朱銘身體瘦弱，楊 朱銘在「太極系列」創作同時參照、融合 同，各有千秋，極具視覺張力及造型美
英風建議他修習太極拳養身。練太極拳原 架上雕塑與空間環境雕塑，引進現代雕塑 感。不過，如同此件1988年的戶外大型
本僅為了強身，然而領悟力極強的朱銘， 的新觀念。朱銘的雕塑作品為現代化的公 《單鞭下勢》，數量無多，該版次僅限
卻從中體會到思想與心靈 量六件，寬度有
上的奧妙。 265公分，高度
157公分左右，
以太極拳調養與修行期 接近日本雕刻之
間，朱銘體會到自然萬 森美術館所收藏
物、大氣運作的能量與蘊 的朱銘銅雕規
涵，內化為個人思想體系 格。造型姿態漂
後，漸表諸於雕刻創作 亮，在拍賣市場
上。於是，氣勢磅礡的快 稀有少見。
意大作「太極」系列，便
在朱銘的領悟與體會下以 類似戶外型「單
藝術創作成形，「太極系 鞭下勢」銅雕鑄
列」雕塑的抽象意涵，將 件已廣獲博物館
中國文化傳統化為超越語 與基金會機構收
言、國界的藝術創作。 藏，例如最早的
日本雕刻之森美
1978年，朱銘二度赴日 術館（約1977-
本東京中央美術館舉辦展 漢查森藝廊，紐約 Max Hutchinson Gallery, New York 1978年作，高
覽，他的「太極系列」也 150公分）、香
首度在國外發表。其中一 港中國銀行大
件高150公分左右的《單鞭下勢》銅雕， 共空間賦予廣闊的視覺創造以及經典人文 樓、香港交易廣場（1986年作，高280
後來為日本箱根雕刻之森美術館典藏，它 圖景。其中尤以「太極系列」之獨特的視 公分）及台北縣的朱銘美術館（1986
是日本第一座戶外美術館，以展出並收藏 覺符號和雕塑形態，成為都市生活的互補 年作，467x188x267公分；1999年作，
二十世紀藝術大師如畢卡索與亨利摩爾等 和自然造化的延伸。作品形成以靜制動的 185.5x94x123公分）等，為世人熟知的
人傑作聞名國際。「太極系列」也為朱銘 視覺張力，震撼人心的體量感，具有特定 公共空間收藏範例。
的創作生涯開闢了另一個旅程。其實在此 的時代感召力，富有當代審美精神的想像
之前，朱銘曾在1976年台灣國立歷史博 和陶冶。
物館的個展中發表一件名為《功夫》的木
雕，它可說是「太極系列」的真正發端， 連結了幾何化抽象體面以及人物動勢造
而《功夫》木雕人像所採取的姿態正是 型，「太極系列」雕塑在三度空間語言中
「單鞭下勢」。 動與靜、粗放與簡潔的對比，形成豐富有
 021
LIN Fengmian
(Chinese, 1900-1991)

Oriental Beauty with Fan

c. 1950s, ink and color on paper, 70 x 67 cm

Signed lower right Lin Fengmian in Chinese
With one seal of the artist

ILLUSTRATED:
Lin Fengmian, Shanghai Fine Arts Publishing
House, Shanghai, May 1997, color illustrated,
p. 23, (titled "Lady")

EXHIBITED:
Exhibition for Celebration of the Reunification
of Hong Kong with China, National Art
Museum of China, Beijing, 1997

HK$ 2,000,000-2,800,000
NT$ 8,200,000-11,480,000
US$ 262,500-367,500

林風眠
東方美人
約1950年代 彩墨 紙本 70 x 67 cm
簽名右下：林風眠
鈐印右下：林風瞑印

圖錄：
中國藝術大展組織委員會編，《中國藝術大
展作品全集—林風眠卷》，上海書畫出版
社，上海，1997年5月，彩色圖版，頁23，
（畫題為《仕女》）

展覽：
「慶祝中國政府恢復對香港行使主權；中國
藝術大展：林風眠作品展」，中國美術館，
北京，1997

52
"Oriental Beauty with Fan" is a 1950s The flat color application between two lines
belle painting by Lin Fengmian. Utilizing and the gradation of mid-tone colors are a feat
symmetrical composition, a court lady with a almost unachievable by human hands. I dream
topknot sits in the center of the picture. Painted of achieving this when I paint the human form."
in rich and harmonious colors, the background Lin's romanticism and ideals are expressed in his
is decorated with flowers and floral patterns. belle paintings, and the "Oriental Beauty with
Lin Fengmian's paintings combine Chinese Fan" represents Lin's pursuit of classic beauty
and Western styles. Impressionist colors and and eternal art.
lighting, Modigliani's figures, and Matisse's
fauvist decorative style all influenced his figure
paintings to some extent, while Han dynasty 《東方美人》為林風眠1950年代仕女畫，採
tombstone carvings, porcelains, lacquerware, 均衡式構圖，梳髻仕女端立畫面中央，背景
murals, shadow puppetry and other folk arts of 左右有花卉、圖紋等裝飾，色彩濃郁、和
ancient China silently nourished him. It is truly a 諧。林風眠的繪畫兼容中西，西方印象派的
rare achievement that Lin's early belle paintings 色彩光影，莫迪里亞尼（Modigliani）的人
closely followed the traditional, yet remain 物造型、野獸派馬蒂斯（Matisse）的裝飾風
distinct from the works of other Chinese or 格，對其人物畫形塑有一定的啟發；而古老
Western painters while retaining his own unique 中國的漢碑、瓷器、漆器、壁畫、皮影戲等
aesthetic style. 民間藝術則默默滋養了他。林風眠的早期仕
女畫接近傳統，卻又不類同於任一位中西畫
The sketching and coloring of "Oriental Beauty 家，保有自己獨特的美學風格，殊為難得。
with Fan" emphasizes a strict symmetry. The
court lady looks dignified and demure; the way 《東方美人》的勾勒填色講求嚴謹對稱，
she lowers her head and holds the fan reminds us 仕女造型端莊嫻靜，低首、持扇的姿態，
of the elegance of Guan Yin. The dark coloring 令人聯想起白衣大士的優雅。人物黝黑的色
of the figure appears to have been influenced by 彩處理，應是受到敦煌壁畫的影響，層層敷
the Dunhuang murals. His use of layered colors 色細細描塗，營造出古壁畫的斑斕質感。藝
and meticulous application together create the 評家郎紹君認為，1940年代林風眠避居重慶
splendid texture of an ancient mural. Art critic 時可能看過張大千臨摹的敦煌壁畫。後來
Lang Shaojun believes that Lin may have seen 1940-50年代左右林風眠繪過幾幅與敦煌相
Chang Dai-chien's copies of the Dunhuang 關的人物畫，逐漸探索出後期仕女畫的典
murals when he took refuge in Chongqing in 型。
the 1940s. During the 1940s and 1950s, Lin did
several figure paintings relating to Dunhuang 林風眠在一次寫給學生的信中提及：「你偶
and gradually developed the classic form 然見到敦煌石室的壁畫，那是東方最好的美
featured in his later belle paintings. 術品，許多歐洲大畫家理想中所追求而沒有
得到的東西，高更（Gaugin），就是最明顯
Lin Fengmian once wrote in a letter to his 的例子．我追求這東西好久了，看起來很簡
student, "If you have the chance to view the 單，但是畫起來真不容易，兩線之間的平
murals in the Dunhuang Grottoes, you will 塗，中間色的度數，幾乎是人手不能畫出來
witness the greatest artworks of the East. They 的。畫人體時，我就夢想這種東西。」《東
are an ideal that many European masters, like 方美人》表現出林風眠對美人典型與永恆藝
Gaugin, pursued but failed to attain. I have 術的追求，藉由仕女畫創作亦抒發出其浪漫
been pursuing this ideal for so long, one that 情懷與理想。
seems very easy but is actually difficult to attain.

54
022
WU Guanzhong
(Chinese, b. 1919)

Hometown

1980s
Ink and color on paper
44 x 68 cm
With two seals of the artist

ILLUSTRATED:
WU Guanzhong Collection, Der-Yi
Art Company, Hong Kong, 1988, color
"Hometown" created in the 1980s, is a superb lifelong memories. We are also fortunate that he
illustrated, pp. 98-99
example of Wu Guanzhong's "Hometown" chose to share these memories with us in such an

series. Portraying a typical village in the south evocative and emotional way, creating for us a
HK$ 1,100,000-1,700,000
of China, the houses are depicted with black cherished picture of a village in Southern China.
NT$ 4,510,000-6,970,000
tiles and white walls, reminiscent of Chinese
US$ 144,400-223,100 calligraphy, and with water flowing under
willow trees in spring, it is highly evocative of 創作於80年代的《故鄉》是一幅典型的「故
吳冠中 Chinese traditional painting. 鄉」系列作品。白牆黑瓦、春柳流水，上鈐
故鄉 「吳冠中印」一方。
1980年代 Wu Guanzhong, throughout his life, painted
彩墨 紙本 wonderfully expressive images of his 有哪個藝術家像吳冠中一樣孜孜不倦地表現
44 x 68 cm hometown. And especially from 1981, after 兒時的故鄉。這股鄉愁被他轉化成畫筆下的
鈐印右上：八十年代 he had returned to his hometown of Yixing 白牆黑瓦、小橋流水和春柳飛燕等美景，被
鈐印左下：吳冠中印 in Jiangsu Province, where he spent a month 他抒發成文筆下的曼妙文字。很難想像，一
sketching his old haunts. From the series, a very 個人的童年要過得多麼美好，才至於如此不
圖錄： clear and deep feeling of nostalgia emanates 願意忘懷。也正因為他的不願意忘懷，成就
《吳冠中畫集》，德藝藝術公司， from every brushstroke. In our present work 了其個人藝術創作的亮點，也成全了無數藝
香港，1988，彩色圖版，頁98-99 "Hometown", Wu's deep connections with his 術愛好者的欣賞點。
childhood village are wonderfully captured in
every brushstroke of the black tiles and white 「故鄉」是吳冠中作品中最常被表現的題材
walls, the little bridge over the flowing stream, 之一。早在1981年，吳冠中就回到江蘇宜興
the spring willows and the soaring swallows. 老家開始為期一個月的寫生，目的是「表現
All of these beautiful scenes are captured and 童年最親切的故鄉情調」。在此之後，吳冠
depicted gracefully. We can imagine that Wu 中創作了一系列懷鄉作品。這個系列的作品
had a wonderful childhood in the countryside, 如此經典，以至於一想到江南和故鄉，吳冠
which left him with such unforgettable and 中創作的「故鄉」形象便躍然心上。

56
023
YE Jianqing
(Chinese, b. 1972)

Snow Scene II

2004
Oil on canvas
180 x 95 cm
Signed on the reverse Ye Jianqing in
Chinese, dated 2004

PROVENANCE:
iPreciation Gallery, Singapore

This painting is to be sold with a

certificate of authenticity signed by the
artist.

HK$ 60,000-100,000
NT$ 250,000-410,000
US$ 7,900-13,100

葉劍青
雪景 II
2004
油彩 畫布
180 x 95 cm
簽名畫背 : 葉劍青 於2004年

來源：
誰先覺畫廊，新加坡

附藝術家親筆簽名之原作保證書

58
024
LIN Fengmian
(Chinese, 1900-1991)

Lady

Ink and color on paper

33 x 33 cm
Signed lower right Lin Fengmian in Chinese 林風眠
With one seal of the artist 仕女
彩墨 紙本
HK$ 120,000-200,000 33 x 33 cm
NT$ 490,000-820,000 簽名右下：林風眠
US$ 15,700-26,200 鈐印：林
025
ZHANG Donghong 張東紅
(Chinese, b. 1967) 花
2005
ILLUSTRATED:
Flower 油彩 畫布
Zhang Donghong, Yan Club Arts Center, 150 x 110 cm
2005 Beijing, 2005, color illustrated 簽名中下：東紅 2005
Oil on canvas
150 x 110 cm HK$ 55,000-95,000 圖錄：
Signed lower center Donghong in Chinese and NT$ 230,000-390,000 《張東紅》，仁藝術中心，北京，2005，彩
dated 2005 US$ 7,200-12,500 色圖版

60
026
CAO Jingping
(Chinese, b. 1972)

Rust

2005
Acrylic on canvas
180 x 150 cm 曹靜萍
Signed lower left Jingping in Chinese, dated 2005 鏽蝕
2005
HK$ 70,000-100,000 壓克力 畫布
NT$ 290,000-410,000 180 x 150 cm
US$ 9,200-13,100 簽名左下 : 靜萍 2005
027
Xin Haizhou Titled on the reverse Sleep in Chinese, size
(Chinese, b. 1966) 忻海洲
180 x 150 cm, media oil, charcoal, tempera, 睡眠 (4人)
on canvas, signed Xin Haizhou in Chinese, and
Sleep Series 1996-1997
dated 1996.1-1997.10, Chongqing China in 油彩 炭鉛筆 膠 畫布
1996-1997 Chinese 180 x 150 cm
Oil, charcoal, tempera on canvas 簽名左下：Hai Zhou Xin 96-97.10
180 x 150 cm HK$ 150,000-220,000 簽名畫背：標題：《睡眠》180 x 150 cm 材
Signed lower right Hai Zhou Xin in English and NT$ 620,000-900,000 料：布面油畫，炭鉛筆，膠 作者：忻海洲
dated 96-97.10 US$ 19,700-28,900 創作時間：1996.1-1997.10. 地點：中國．重慶

62
028
WANG Luyan
(Chinese, b. 1956)

Bird Cage

2004
Acrylic on canvas
220 x 110 cm
Signed lower center WANG Luyan in English

HK$ 200,000-280,000
NT$ 820,000-1,150,000
US$ 26,200-36,700

王魯炎
鳥籠
2004
壓克力 畫布
220 x 110 cm
簽名中下 : WANG Luyan
029
LI Zhanyang
(Chinese, b. 1969)

Phenomenon of the World (V)

1999
Bronze, edtion no. 3/3
28(L) x 20(W) x 25(H) cm

This sclpture is to be sold with a certificate

of authenticity issued by Kwai Fung Hin Art
Gallery, Hong Kong.

HK$ 42,000-60,000
NT$ 170,000-250,000
US$ 5,500-7,900

李占洋
人間萬象之五
1999
銅雕 3/3
28(長) x 20(寬) x 25(高) cm

附香港季豐軒畫廊開立之原作保證書

64
030
QU Guangci
(Chinese, b. 1969)

City Lovers - Spring

2000
Bronze, edition no. 6/7
30(L) x 18(W) x 74(H) cm

This sclpture is to be sold with a certificate

of authenticity issued by Kwai Fung Hin Art
Gallery, Hong Kong.

HK$ 60,000-100,000
NT$ 250,000-410,000
US$ 7,900-13,100

瞿廣慈
都市戀人—春
2000
銅雕 6/7
30(長) x 18(寬) x 74(高) cm

附香港季豐軒畫廊開立之原作保證書
 031
JIAO Xingtao
(Chinese, b. 1970)

Green Bust

2006
Enamel paint on bronze, edition no. 5/6
63.5(L) x 38.1(W) x 73.6(H) cm
Signed Jiao Xingtao in Chinese and numbered 5/6

EXHIBITED:
Face East: Contemporary Chinese Art,
Robinson Gallery, Denver, January 10 to March
1, 2008

This sculpture is to be sold with a certificate of

authenticity issued by Robinson Gallery, USA,
and a certificate of authenticity signed by the
artist.

HK$ 120,000-180,000
NT$ 490,000-740,000
US$ 15,700-23,600

焦興濤
綠胸像
2006
瓷漆 銅雕 5/6
63.5(長) x 38.1(寬) x 73.6(高) cm
簽名：焦興濤 5/6

展覽：
「面對東方：中國當代藝術」，羅賓森畫
廊，美國丹佛，展期2008年1月10至3月1日

附美國羅賓森畫廊開立之原作保證書
附藝術家親筆簽名之原作保證書

66
032
ZHOU Chunya
(Chinese, b. 1955)

Excited Heigen

2005
Bronze, edition no. 3/8
27(L) x 20(W) x 33(H) cm (including the base)
Engraved Zhou Chunya in Chinese
Signed on the base: ZHOU CHUNYA in
English, dated 2005 and numbered 3/8

ILLUSTRATED:
Blooming Stories, Sichuan Fine Art
Publishing Co., Chengdu, 2007, color
illustrated, pp. 120-121

HK$ 100,000-150,000
NT$ 410,000-620,000
US$ 13,100-19,700

周春芽
興奮的黑根
2005
銅雕 3/8
27(長) x 20(寬) x 33(高) cm (含台座)
簽名雕刻：周春芽
簽名台座：2005 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120-121

68
033
LI Chen
(Taiwanese, b. 1963)

Shambala

1998
Bronze, edtion no. 1/8, 47(L) x 13(W) x 25(H) cm
Engraved on the reverse Li Chen in Chinese, dated
1998 and dated 2542 in Buddhist Calendar

This sculpture is to be sold with a certificate of

authenticity signed by the artist.

HK$ 130,000-200,000
NT$ 530,000-820,000
US$ 17,100-26,200

李真
無憂
1998 銅雕 1/8 47(長) x 13(寬) x 25(高) cm
簽名雕刻背面：李真 1998 二五四二（佛曆）

附藝術家親筆簽名之原作保證書
 Xiang Jing graduated in 1988 from the affiliated high school of the Central China Academy of Fine Art
(CAFA) then went on to graduate from the CAFA's Department of Sculpture in 1995. She is currently
teaching at the Fine Arts College of the Shanghai Normal University's sculpture workshop. Her
graduation project "Lucky Charm", now in the collection of the CAFA, was given the first class award
at the CAFA graduates exhibition and from Japan's Matsuoka Family Foundation. Her work "Empty
034
Room" was selected for China's most important annual art exhibition the '9th National Exhibition of
XIANG Jing Fine Art' where it received a commendation; she has entered works in many domestic/foreign joint
(Chinese, b. 1968) exhibitions, solo exhibitions such as "Daydream", "The Works of Xiang Jing", "The Woman in the
Mirror", "Keeping Silent" and "Your Body". Her artworks are now in several internationally renowned
Smoking Girl collections such as those of the Beijing Contemporary Art Gallery, the Shanghai Art Museum and the
Saatchi Gallery. Today Xiang Jing is one of the leading representatives of China's younger generation
2007 of sculptors.
Bronze, edition no. 3/7
20(L) x 34(W) x 78(H) cm
Signed on the base Xiang Jing in Chinese, 向京，1988年畢業於中央美術學院附中，1995年畢業於中央美術學院雕塑系，現任上海師範
dated 2007, numbered 7-3 大學美術學院雕塑工作室教師。畢業作品《護身符》等獲中央美術學院畢業生作品展一等獎
及日本松岡家族基金會一等獎，作品被中央美術學院收藏。其作品《空房間》入選中國最具
HK$ 150,000-250,000 權威性的年度美術大展「第九屆全國美展」並獲優秀獎；多次參加國內外聯展，目前已舉辦
NT$ 620,000-1,030,000 「白日夢」、「向京作品」、「鏡子裡的女人」、「保持沈默」、「你的身體」等個展，作
US$ 19,700-32,800 品被北京當代美術館、中國美術館、上海美術館以及英國薩奇畫廊等全球著名收藏機構和個
人關注並收藏。目前已成為中國當代年輕一代雕塑家的代表。
向京
抽煙的女孩
2007
銅雕 3/7
20(長) x 34(寬) x 78(高) cm
簽名台座：向京 2007 7-3

70
 035
PAN Dehai
(Chinese, b. 1956)

Life is Still Good

2008
Oil on canvas
170 x 200 cm
Signed on the reverse Pan Dehai in Chinese,
dated 2008

HK$ 320,000-480,000
NT$ 1,310,000-1,970,000
US$ 42,000-63,000

潘德海
人生還是美好的
2008
油彩 畫布
170 x 200 cm
簽名畫背：潘德海 2008

72
74
036
CHEN Ke
(Chinese, b. 1978)

Storm is Coming

2006
Oil on canvas
160 x 160 cm
Signed lower left Ke in Chinese and dated 2006
Titled on the reverse Storm is Coming in
Chinese and English, media oil on canvas in
Chinese and English, size 160 x 160 cm, signed
Chen Ke in Chinese and English, dated 2006

PROVENENCE:
Marella Gallery, Milan

ILLUSTRATED:
Claudia Albertini, Avatars and Antiheroes -
A Guide to Contemporary Chinese Artists,
Kodansha International, Tokyo, 2008, color
illustrated, p. 25

HK$ 420,000-650,000
NT$ 1,720,000-2,670,000
US$ 55,100-85,300

陳可
暴雨將至
2006
油彩 畫布
160 x 160 cm
簽名左下：可 2006
簽名畫背：暴雨將至 布上塑形膏 油畫
160 x 160 cm 陳可 2006 Storm is Coming oil
on canvas 160 x 160 cm Chen Ke 2006

來源：
瑪蕊樂畫廊，米蘭

圖錄：
克勞蒂雅．安伯提尼，《阿凡達與反英雄─
導讀中國當代藝術家》，講談社，東京，
2008，彩色圖版，頁25
 037
MAO Xuhui
(Chinese, b. 1956)

The Cross

2005
Oil on canvas
195 x 175 cm

HK$ 400,000-600,000
NT$ 1,640,000-2,460,000
US$ 52,500-78,700

毛旭輝
十字形剪刀
2005
油彩 畫布
195 x 175 cm

76
 038
ZENG Fanzhi
(Chinese, b. 1964)

Landscape

2006
Oil on canvas
70 x 200 cm
Signed lower right
Zeng Fan Zhi in Chinese
and English, dated 2006

HK$ 1,800,000-2,800,000
NT$ 7,380,000-11,480,000
US$ 236,200-367,500

曾梵志
風景
2006
油彩 畫布
70 x 200 cm
簽名右下：曾梵志 2006 Zeng Fan Zhi

78
Zeng Fanzhi stands out in many ways from his
peers in contemporary Chinese art, displaying
an uncommon maturity both in terms of
expression and technique. Primarily concerned
with the inner world, his body of work reflects
his deep psychological unease and search for
meaning in a bewildering new world. While
his contemporaries mostly focused on political
and social issues in a newly open and emerging
China, Zeng from the beginning of his career
focused on the alienation and detachment of the
individual in a frightening new environment.
Zeng is not just unique in his themes, he has
also been an experimental
technician in painting
methods and particularly
in the great Chinese
tradition of brush strokes
and use of space. Both
his universal themes of
the pain of alienation
and detachment and
his masterful use of
the paintbrush have
brought him worldwide
曾梵志《無題No. 7》羅芙奧2008台北秋季拍賣會，編號287，401萬台幣成交
recognition and made him
one of the most important
of Chinese contemporary
artists.
Zeng Fanzhi was born in Wuhan in Hubei
Province in 1964. As a child, he was introverted
and was deeply affected by the chaos and
irrationality in the society of his youth. His
psyche was deeply traumatized by what it
observed and art was the only outlet for his
inner turmoil. He was immediately attracted
80
to German Expressionism at the Hubei
Academy of Fine Arts, and his studies were
to have a life-long influence on his works and
techniques. Wild strokes, fleshy colors and
brooding expressions were to become part of
his hallmarks and were to allow him to express
his angst and alienation in apocalyptic imagery
and colors. However, such introspection
and expressionistic tendencies found little
acceptance in his native Wuhan and so in 1994
Zeng moved to Beijing. Here, he suffered the
full trauma of alienation and disconnection.
ZENG Fanzhi, Untitled No. 7, 2004, oil on canvas, 50 x 150 cm
Ravenel Autumn Auction 2008 Taipei, lot 287, US$ 119,618 sold
Zeng's body of work is a detailed expression
of his psychological state at each period in his
life. Unlike most of his contemporaries who are
happy to stick with winning formulas in their
artwork, Zeng has consistently introduced new
series of works, and pushed the boundaries
of his artistic style to constantly create new
and arresting expressions of his inner-state.
While still in Wuhan, he produced his first two
series of works "Hospital" and "Meat" both of
which were directly influenced by horrifying
early experiences for the young introvert. In
the 1960's most homes in China didn't have
a bathroom. The young Zeng had to use the
one in the local hospital. His sensitivities were
traumatized by the chaotic scenes he witnessed
there on a daily basis. His resulting "Hospital"
series typically depicts uncaring doctors and
terrified patients. "Meat", his second series,
results from his experience of passing by his
local butchers on his way to and from school
everyday. In the heat of
summer, the only way for
the workers to cool down
was to lie on the frozen
carcasses which resulted
in them being covered
in blood. For the highly
sensitive Zeng, this was
deeply disturbing.
On moving to Beijing
Zeng was hoping to
find acceptance and
understanding of his art.
Instead he found himself
isolated and cut off
from the mainstream. Faced with loneliness,
detachment and alienation, he produced his
"Mask" series for which he has become most
famous. The face of each of his protagonists
is hidden by a flat mask which sublimates
all expression and feeling. Well-dressed,
professional, young urbanites mask their true
inner selves subjugating their feelings and
emotions, and negating their lives. After the
"Mask" series, Zeng started to move to more
abstract forms. In 2000, he began to depict
figures without masks. These figures may
have regressed even more than his masked
characters as their vacant and expressionless
eyes are empty and hauntingly portray the
loneliness and isolation of the individual. As
in all Zeng's works the depicted persons have
very large hands in strong poses seemingly
emphasizing that although we can hide our
inner most feelings most carefully behind an
expressionless face our agitated hands will
always betray our true inner turmoil.
The "Unmask the Mask" series also marks a
deeper connection for Zeng with traditional
Chinese painting techniques. Combining
expressionism with the abstractness of
traditional Chinese water and ink painting,
The figures often float suspended in an empty
background while any details are portrayed
in a very minimalist way, allowing Zeng to
emphasize the isolation and detachment of his
character. This very forceful effect is taken
directly from traditional Chinese paintings.
Zeng's brush strokes are also strongly
influenced by traditional Chinese water
and ink brush strokes. Large single strokes
with wide brushes create an abstract feeling
while narrow brush strokes are used to create
strong, emphatic lines reminiscent of Chinese
calligraphy.
In 2004, Zeng began to produce landscapes, and
figures isolated in landscapes. The present work
comes from this period. While the paintings
with figures continue his theme of detachment,
loneliness and alienation, the landscape pictures
seem to offer some sort of redemption. Wild
and chaotic strokes depict strong and vibrant
grasses growing around mountains and blowing
freely in the wind. It's as if Zeng is finally
beginning to accept that his deep emotional
inner turmoil and perturbations are something
natural and part of nature, something not to be
afraid of, something to be let loose and freed no
matter how frightening, to be unconstrained and
ultimately to be unmasked.
This lot "Landscape" depicts wild grasses
growing luxuriantly around a dark brooding
mountain set against a white sky splashed with
red at dusk. Zeng has moved away from his
earlier expressionism and has moved closer to
the abstractness and spiritualism of traditional
Chinese art. The grasses are strong and chaotic
in dark colors, almost net like, or a wild plant
in our nightmares entangling and ensnaring us.
The dark colors of the brooding mountain add
further to a sense of uneasiness. However, the
white and reds of the sky bring a sense of peace
and calmness. While our emotions and feelings
as represented by the grasses are chaotic and
frightening, they are not something we need
to repress or run away from. As night falls, the
grasses are strong, vigorous and vibrant perhaps
like our deepest emotions and thoughts.
Zeng's masterful brush strokes add to the
heightened sense of power and emotion.
They are indicative of his free flowing and
subconscious painting style, allowing his
moods and emotions to flow onto the canvas.
Zeng uses two brushes held in one hand
between different fingers to create his chaotic,
wild strokes. Just as with a pair of chopsticks,
one brush is held firmly with three fingers
while the second one moves freely between
two fingers. The first one creates deliberate
thought out strokes, the second follows, freely
creating whatever lines it wants. The first stroke
is like our conscious, controlled thoughts,
the second stroke like our wild, uncontrolled
emotions allowing Zeng to create an abstract
landscape of our inner psychological state. This
psychological state is further represented by
the peaceful and calm sky juxtaposed with the
dark, mysterious hill covered in wild vigorous
grasses. Calmness and turmoil are wonderfully
rendered.
Zeng's brush technique has created a new
representational language combining the
logical and irrational. The logical mind sits
side by side with the unconscious, intuitive
and emotional mind, just as the two brushes
sit side by side in the hand. The deep linear
marks stroked into the surface of the painting
draw attention to the surface of the painting
and the chaotic nature of the grasses. This is
highly reminiscent of the abstract calligraphic
representational techniques of ancient Chinese
art.
Zeng Fanzhi's oeuvre charts a major exploration
of the emotional and psychological state of
the artist in an alienating and chaotic society.
Zeng's unique voice is the true voice of an artist
as he expresses his innermost turmoil and deep
emotional disturbances.
在中國當代藝術領域，從不同角度看曾梵 和情緒，否定他們的生活。《面具》系列之 孤立 在風景畫中。雖然人物的描繪繼承了孤
志，都在同行中脫穎而出，顯示出他在表現 後，曾梵志開始轉向更抽象的表現形式。在 獨的主題，而風景畫看上去像是在表現一種
手法和技法上罕見的成熟度。作品主要關注 2000年，他開始描繪不帶面具的人物。這些 贖罪感。狂放不羈的線條描繪出頑強而充滿
內心世界，反映強烈的心裡不安，及尋求混 人物形象比之前帶著面具的人物更加畏縮， 活力的野草，在高山峻嶺間生長，在風中自
亂新世界的意義。與他同時期的藝術家，大 空洞而目無表情的眼睛，深刻的描繪個體的 由搖曳。這說明曾梵志承認他內心深處的騷
多在表現開放與崛起中的中國大環境下的政 孤獨與孤立。曾梵志作品中的人物，都有一 動與混亂是自然的一部分，無須害怕，無論
治與社會問題，而曾梵志卻將目光集中在這 雙姿態有力的碩大雙手，在在顯示：儘管我 多麼恐懼，都應該得以放鬆並釋放，得到自
可怕的新環境中，個體的異化和冷漠。他的 們可以將內心感受小心翼翼地藏在面無表情 由，最終擺脫掩飾。
作品不僅主題獨特，對中國偉大的傳統筆觸 的臉孔下，激動的雙手卻總是出賣了我們最
和空間使用等技法也有所研究。他永恆的主 真實的內心感受。 此幅《風景》作品描繪在黑暗陰沉的山谷
題——異化與冷漠的痛楚，與他嫻 周圍，茂密生長的野草，與薄暮中
熟的畫筆運用，使全世界認可他是 漸漸染紅的白色天空形成鮮明的對
位中國當代最重要的藝術家之一。 比。曾梵志脫離他早期的表現主
義，而更逼近中國傳統藝術的抽象
曾梵志於1964年生於湖北省武漢 與精神。以暗色調描繪狂放不羈的
市。兒時內向，青年時期受當時社 野草，就像一張網，或者一種我們
會混亂和不理性的影響，被所觀察 在夢魘中糾纏我們的野生植物。陰
到的事物深深地傷害，而藝術是他 沉的山谷更增添一種不安的感覺。
唯一的宣洩方式。在湖北美術學 雖然我們的情緒與情感正如這些野
院，他被德國印象主義吸引，也進 草所表現般混亂而恐懼，但這並不
而影響了他的作品和技法。筆法粗 是我們需要抑制或逃避的。當夜幕
獷，色調飽滿、以及沉重的表現形 降臨時，這些草是狂放，活力而戰
式成為他的標誌，用具啟發性的圖 慄的，正如人們最深處的情緒與想
像和色彩，表現憤怒與孤立。 法一般。

曾梵志的作品，詳盡表現生活中每 曾梵志嫻熟的筆觸增強了力量和情
個時期的心理狀態。與其他藝術家 感。這是他自由隨性與潛意識作畫
在作品中堅持的獲勝法則不同，曾 風格的象徵，使他的心情和情緒流
梵志不斷創造表現他內心狀態的新 淌在畫布上。藝術家一手上抓著兩
表現形式。在武漢時期，他創造了 把筆刷，創造出混亂野性的線條。
兩個早期系列作品：《協和醫院》 正如使用筷子，一把刷子用手指緊
和《肉聯》。這兩部系列的創作， 緊夾住，而另外一把刷子則在兩手
都是直接受到這位年輕內向藝術家 指間自由移動。第一把刷子構造的
早期的可怕經歷所影響。20世紀60 第一根線條，像我們被抑制的意識
年代，中國大多數家庭都沒有浴 與思想，第二把刷子構造的第二根
室。年輕的曾梵志不得不使用當地 線條就像我們不受控制的情緒。曾
醫院的浴室。他每天目睹醫院裡混 梵志創造出人們內心狀態的抽象風
亂的景象，感覺情感受到創傷。他 景。這種心理狀態，以黑暗神秘的
因此創作的《協和醫院》系列，反 山谷與充滿活力的野草，加上平寧
映出漠不關心的醫生與驚嚇不安的 靜的天空來詮釋，平靜與混亂得到
病人。《肉聯》是他第二個系列， 了完美的平衡。
源自他每日上下學途中經過販肉攤
的經歷。在炎熱的夏季裡，工人們唯一的降 曾梵志的技法創造出一種結合邏輯與不理性
溫方式就是躺在凍肉上，使他們渾身都沾滿 《假面》系列也傳達出曾梵志與中國傳統水 的新式語言。邏輯的思維與無意識、直覺及
鮮血。對於極其感性的曾梵志而言，這個景 墨畫之間的聯繫。曾梵志將表現主義與中國 感性相聯繫，正如手中兩支筆刷一樣。畫作
象讓他感到非常不安。 傳統水墨畫結合，作品中人物通常懸浮在空 表面勾勒的深線條加強了畫作表面的注意力
蕩的背景中，突顯藝術家的孤僻與冷靜。這 以及野草混亂的本性。這像極了中國古代藝
搬到北京後，曾梵志希望他的藝術能夠被接 種極其強烈的效果直接取自中國傳統的畫 術中抽象的書法再現技術。
受和理解。但是，他發現他自己與主流脫 法。他的技法筆觸也深受傳統水墨的影響。
節。面對這種孤獨、冷漠和分離，他創作了 寬筆刷繪出的長單筆劃構造出抽象的感覺， 曾梵志的作品表達出生活在孤立混亂的社會
他的成名作《面具》系列。作品中每個角色 而細筆刷用於畫出強健有力的線條，與中國 中，藝術家的情感和心理狀態。曾梵志獨特
都隱藏在平面面具之後，昇華了所有的表現 的書法十分相似。 的心聲是一個藝術家真實的聲音，表現了他
方式和感覺。穿著入時的都市年輕白領，掩 內心深處的騷動和情感憂慮。
飾了他們內心真實的自我，抑制他們的感情 2004年，曾梵志開始創作風景畫，並將人物

82
039
FANG Lijun
(Chinese, b. 1963)

2001.7.31 Fang Lijun is one of the major leaders of the
Cynical Realist movement which was born after
2001 the traumatic events of 1989. He was born in
Acrylic on canvas 1963 in Hebei Province and after the Cultural
180.5 x 80 cm Revolution he studied the ancient Chinese art of
Signed upper right Fang Lijun in Chinese print making at the Central Institute of Fine Arts.
Signed on the reverse Fang Lijun in Chinese While recognized as a master in woodblock
and titled 2001.7.31 printing, he has become a household name for
his unrelenting portrayal of the disenchantment
PROVENANCE: and disillusionment of the youth of China post-
Max Protech Gallery, New York 1989 both in his prints and his paintings.
on its first day after one artist fired a gun at her
installation. The authorities became reactionary
and warned artists that works criticizing the
government or society would not be tolerated.
The events of Tiananmen Square were to be the
final nail in the coffin for the art world. Many
artists passionately supported the democratic
movement and they along with society were
appalled at the events which unfolded. Ten years
of unbridled optimism and idealism had come to
an end.

ILLUSTRATED: Fang Lijun along with the rest of the art world
C h i n e s e A r t i s t s o f To d a y : F a n g L i j u n retreated into a silence and isolation which was
Documentation Library of Today Art Museum, to last two years. Artists were being watched
Hebei Education Press, Hebei, China, 2006, and it was dangerous for them to associate with
color illustrated, p. 415 each other. During the silence, they brooded
and contemplated and slowly in the early 1990s
This painting is to be sold with a certificate of new art movements began to emerge. Fang
authenticity issued by Max Protetch Gallery, was to be the main protagonist in one of the
New York. most important of these movements Cynical
Realism, a new, cold, detached and ironical
HK$ 1,800,000-2,800,000 view of society. The bald headed youth of his
NT$ 7,380,000-11,480,000 paintings has become an iconic image of the
US$ 236,200-367,500 Chinese contemporary art world, and a symbol
of disillusionment, mockery and rebellion, the
prevailing moods after the events of 1989.

方力鈞
1989 was a watershed year in China’s modern
2001.7.31 history, and particularly for the avant garde art
2001 world. With China’s opening to the world in
壓克力 畫布 the 1970s artists of Fang’s generation had their
180.5 x 80 cm first exposure to Western art. They were initially
簽名右上：方力鈞 mesmerized at the possibilities of expression,
簽名畫背：方力鈞 2001.7.31 especially as during the Cultural Revolution
they were forced to paint only Socialist
來源： Realist propaganda posters. Coming together
馬克斯．波太奇畫廊，紐約 primarily in Beijing, there was a great sense of
community, idealism and hope in the art world.
圖錄： However, these were shattered by two events.
《今日中國藝術家─方力鈞─今日美術館書 The first exhibition of avant garde art was held
庫》，河北教育出版社，河北，2006，彩色 at the National Art Museum of China in Beijing
圖版，頁415 in 1989. This was the first official recognition of
modern art and the first acceptance for the New
附紐約馬克斯．波太奇畫廊開立之原作保證書 Wave artists. The Exhibition was closed down
Fang’s bald headed youth is invariably depicted
in an aggressive way often with a lost or
oblivious look on his face. Often there are
multiple representations of the youth, as if
representing the de-personified, manipulated
masses of the repressed as they suffer in their
angst and disquietude. It seems that Fang,
is exploring the plight of the individual in a
meaningless and uncaring system.
Fang’s painting is deeply expressive and he
conveys his meaning not just in his angst ridden
youth, but also in his painting style. At first
glance his works seem to follow the flat style of
pop art with strong primary colors. But on closer
inspection the faces of his youth, are depicted
with great use of light and shadow heightening

84
and adding to their disenchantment. Fang, also same time are crying out in pain and anguish 物總以多重表徵呈現，彷彿是在告知世人，
often depicts the background, clouds, sky, or sea have assured him of his place with the giants of 壓抑的 大眾已被焦慮與不安折磨得失去了人
in a hyper-realistic and detailed way. Clearly the contemporary Chinese art. His portrayal of his 性，可隨意操控。如此看來，畫家本人正是
ability to render these details so expertly comes bald headed youth seems to be saying that the 在一個毫無意義可言的冷漠社會體系中，探
from his mastery of woodblock printing. only way to experience calmness and peace is 究個人的苦境。
to rely on yourself as an individual, and not in
Fang Lijun is one of the most recognized mindlessly following dictates from an uncaring 方力鈞的畫風極富表現力，無論是畫中焦慮
and most appreciated contemporary Chinese authority. 深重的青年，抑或畫作風格本身，無不透露
artists. He has held many solo exhibitions in 畫家欲表達的意義。乍看之下，他的作品所
Europe, the USA and Japan and his works 遵循的，是原色濃重的波普風格。但仔細觀
are often included in group exhibitions such 方力鈞是1989學潮之後玩世現實主義的代表 察，會發現畫家正是利用明暗對比，來突出
as at The 48th Venice Biennale in 1999. 人物之一。1963年出生於河北省，文革結束 青年們幻滅的神情。方力鈞也常採用超現實
His works are in the permanent collections 後就讀於中央美術學院版畫系。方力鈞不僅 及細膩的手法描繪背景─浮雲、天空、大
of major museums worldwide such as the 是圈內公認的版畫大師，他對於中國後89年 海。顯然，方力鈞能以高超的技藝詮釋這些
Museum of Contemporary Art, Tokyo, the 輕一代的醒悟與幻滅，以版畫和油畫極其真 細節，全得益於深厚的版畫功底。
San Francisco Museum of Modern Art, the 實的描述，使其成了家喻戶曉的藝術家。
Shanghai Art Museum and the Singapore Art 作為廣受認可和讚許的中國當代藝術家，方
Museum. One of the most famous images of 1989年可說是中國當代史，特別是先鋒藝術 力鈞在歐洲、美國和日本多次舉行個展，他
Chinese contemporary art, is from his painting 界的一道分水嶺。隨著1970年代中國改革開 的作品，不但曾參展1999年第48屆威尼斯雙
“November 2, 1992”, in the Ludwig Museum in 放，方力鈞和他的同代藝術家開始接觸西方 年展群展，還被世界各主要博物館（東京都
Cologne, Germany. 藝術。首先是自我的藝術表達成為可能，這 現代美術館、舊金山現代美術館、上海美術
對於在文革時期，無奈被迫創作宣揚社會主 館以及新加坡美術館）永久珍藏。中國當代
Our present lot “2001.7.31”, is a major 義寫實宣傳畫的藝術家們而言，是個極富吸 藝術最具代表性的肖像，來自方力鈞的油畫
Fang Lijun piece. The large face of the main 引力的轉變。北京作為最初的藝術聚集地， 《系列2 之2》，該作品現收藏於德國科隆
protagonist dominates the lower center of 凝聚了藝術世界的理想主義與希望。但此種 路德維希博物館。
the picture. The face seems to have a serene 凝聚力被接下來發生的兩件事擊得粉碎。第
and calm expression as the light from the sun 一屆先鋒藝術展於1989年在北京中國美術館 此次的拍品是方力鈞 的名作《2001.7.31》。
bathes it in a soft warm glow. However, the 舉行，當代藝術及新浪潮藝術家首次被接受 一群光頭嬉皮擁簇在畫布下方，陽光灑下，
painting in contrast to this serenity is loudly 和認可。但藝展僅開幕一天，就在一位女畫 淡淡地溫暖著那一張張平靜而安詳的臉。與
proclaiming turmoil and disturbance. The cast 家朝自己的裝置作品開槍後落幕。當局者的 這種安詳形成對比的，是畫作所彰顯的躁動
of characters in the lower half of the picture is 態度開始轉向保守，並向藝術家發出了將嚴 與不安，擁擠在畫布下方的人物，不禁教人
strongly reminiscent of Western scenes of hell 懲反動作品的警告。天安門事件是對藝術界 想起那些受困在地獄的囚犯，正向冷漠的神
where the condemned plead and beg for mercy 最後的致命一擊。不少熱血藝術家都竭力支 明哀求寬恕的場景。但這畫中的人們到底是
from a detached and uncaring god. But as usual 持這場民主運動，他們以及整個社會，卻為 哀求寬恕，還是正在崇拜神靈？我們無法道
with Fang, it’s not clear-cut exactly what the 後來所發生的暴力鎮壓驚駭不已。持續了十 明，這便是方力鈞塑造筆下人物的一貫手
actions of his characters are. Are they begging 年的樂觀精神與理想主義就此壽終正寢。 法。也正是運用了此種對比鮮明卻又模棱兩
for mercy, or are they in fact worshipping? It 可的手法─不安而焦慮的臉；沐浴在暖和柔
is this contrast and ambiguity which brings so 方力鈞與同代藝術家隨即選擇孤身隱退，這 光裡的臉，讓方力鈞的作品深受喜愛。預示
much appeal to Fang’s paintings. The faces 一隱退便是兩年。當時，藝術家們被暗中監 著暴風雨即將來臨的天空下更增添畫面的躁
look very disturbed and anxious, yet they are 視，彼此的來往也成了危險的舉動。在這段 動感，盤繞的雲層彷彿隨時隨地會吞噬下方
also bathed in the soft, warm light. The sense of 沉寂的時期裡，他們冥思深慮，1990年代初 的乞求者。
turmoil is further added to by the menacing, and 新藝術運動逐漸浮現。在諸多運動中，以玩
threatening sky. It seems as if a storm is about 世現實主義為首，它以全新、冷酷、漠然且 方力鈞成功地塑造了中國後89一代的真實精
to break lose. It’s almost as if the funneling 嘲諷的姿態審視社會，而方力鈞便是玩世現 神面貌：木訥地屈從於統治時的那份安詳與
tempestuous cloud will devour the supplicants. 實主義的領導者。他筆下的光頭青年，成了 平靜，木訥地屈從於統治時聲聲悲苦從心底
中國當代藝術界的代表形象，象徵89學潮事 吶喊。對於這種雙重特徵到位地拿捏，使方
Fang Lijun has achieved his fame for portraying 件後盛行在社會中那股幻滅、輕視和反叛的 力鈞無疑成為中國當代藝術大師。他筆下的
the true psychological state of the Chinese youth 主流情緒。 光頭嬉皮給人們的啟示是：唯有依靠自己，
post-1989. His ability to portray characters 而非愚昧地順從於冷漠的當權者，方能體會
that can seem both serene and calm as they 方力鈞筆下的光頭青年不乏攻擊性，並時常 到安寧與平和。
mindlessly obey the authorities, and at the 以迷失或是健忘的神態出現在畫中。這些人

86
040
ZHOU Chunya
(Chinese, b. 1955)

Peach Blossoms Series - Flower

Blooms, Flower Fades, Year after
Year

2009
Oil on canvas
200 x 150 cm
Signed lower right Zhou Chunya in Chinese
and English, dated 2009

HK$ 1,800,000-2,800,000
NT$ 7,380,000-11,480,000
US$ 236,200-367,500

周春芽
桃花系列—花落花開年復年
2009
油彩 畫布
Zhou Chunya has become well known for three series of works: Mountain Stones, Green Dog, and
200 x 150 cm
Peach Blossoms. Zhou returned to China in the early 1990s from his studies in Germany where he had
簽名右下：2009 周春芽 Zhou Chunya
been influenced by German expressionism. In 1991, he began his mountain stone series, re-interpreting
famous natural stones with abstract and complex elements. He painted the rocks using different shades
and hues to create textures and form. Then through the influence of Chinese ink and water brush
strokes he used short and powerful strokes to suggest the natural shape of the stones. A major critic Yin
Shuangxi says, "In the early 1990s, after Zhou Chunya returned to China from his studies in Germany,
he began painting strange Chinese scenery."

Zhou's strong attraction to expressionism is also seen in his "Green Dog" series which he began in 1997.
The subject of the paintings was his beloved Haigen, a German Shepherd and his closest and most

88
90
trusted companion. The green dog floating on a 周春芽主要的創作系列有「山石」、「綠
large white canvas is imbued with an arresting 狗」和「桃花」等。1991年周春芽開始以
visual and emotional strength. Zhou has said that 抽象而混沌的元素重新詮釋山石，他把山石
"the green dog is a sign, a symbol, indicating 埋藏在凹凸起伏的顏料中，善用皴擦的短線
the loneliness of man and the emotional danger 和隨意交叉的劃痕勾勒山石模糊的天然形
between people". Then in 2000 Zhou began his 態。殷雙喜先生說：「90年代初，周春芽從
"Peach Blossoms" series further extending his 德國留學回國後，創作了一批頗為怪異的中
artistic language and expression. This series, 國風景。」1994年，朋友送給周春芽一隻叫
more than the others shows the deep influence of 做「黑根」的德國牧羊犬，這條狗與畫家一
traditional Chinese brushwork and themes of the 同吃飯、一床睡覺、一起散步，成為了畫家
great Chinese masters. 在90年代重要的精神伴侶和繪畫對象。1997
年周春芽改用綠色描畫「黑根」，巨大而空
The "Peach Blossoms" series resonates with 曠的白色畫布上，漂泊著一隻大狗，綠色的
bright greens, pinks and reds, which are worked 身影、充實的質感和強烈的視覺感，令人不
with free and flowing brush strokes creating a 能忘懷。不久之後畫家和他的「綠狗」一起
vivid and enticing scene. Although reminiscent 揚名國際藝術界。畫家曾經詮釋道：「《綠
of traditional Chinese paintings the energetic 狗》是一個符號，一種象徵，暗示了現在人
and vivid strokes set the works apart from the 的孤獨，和人與人之間的危險。」 2000年
soft and elegant images traditionally rendered. 之後，周春芽再次處於語言實驗與變轉時
Both the colors and the compositions have a 期，相比而言，更具有中國文人色彩的桃花
bold and unrestrained expression as if emotions 系列便在這個時候出現了。
have been set free. Zhou is considered the
greatest master in the use of colors in Chinese 「桃花系列」以油綠與粉紅為主，潑辣生
contemporary painting. 動，筆觸自由、色彩絢麗，打破了中國傳統
繪畫的淡雅形象，從色彩到構圖均給人鬼魅
In the Peach Blossoms series, the peach flowers 奔放之感，畫家也因此被認為是中國當代繪
bloom luxuriantly and enticingly. The strong 畫界中對色彩把握最好的畫家之一。
and vibrant colors add to the luxury and
enchantment of the peach garden. In the garden, 引述一段關於「桃花」系列的評論：「在
peach blossoms, traditional symbols of fertility 『桃花』系列中，桃花濃烈而妖豔地盛
and lust in Chinese culture, wave and glisten 開，姿色寫意，富於變幻的散漫色彩為桃
in the sun. Under the blossoms entwined lovers 園增添了妖嬈和放縱。桃樹花團錦簇，異
caress, embrace, copulate, or sometimes gaze, 常明媚燦爛，一對對紅色男女情人的裸
seemingly perplexed. The lush and resplendent 體，或忘情親昵，或緊緊相擁，或翻雲覆
peach blossoms create a harmony with the 雨，或凝視觀眾，或混沌迷茫，或眼望別
passionate lovers, as the painting expresses 處，體現出情色意味。畫家放縱恣意地表
the full vigor and spontaneity of life. However, 現絢爛的桃花與激情的紅色男女人物，兩
the blossoms are also transitory representing 者奇異地呼應，充分象徵了生命的旺盛和
the fleeting nature of life. The peach blossoms 衝動。但花期短暫則暗喻生命的輪回與稍
in full bloom will be short-lived heralding 縱即逝，桃花怒放，隱含凋謝的不安，揭
the shortness of life for all living things. The 示萬物自然的自由與限制。桃花開，人生
blooming of the peaches represents the ecstasy 的極樂；桃花落，不可阻止的傷悲。怒放
of life; while the falling of the peach blossoms 而短暫的桃花隱喻愛情的轟轟烈烈和轉眼
brings unstoppable sorrow. The flamboyant yet 即逝，也可理解為瞬間的獲得與無法永恆
fleeting peach blossoms represent passionate, 擁有的失落，在靈與肉的對撞中，悲劇的
unbounded yet fleeting love. The paintings 意味呈現:對精彩的生命旅程的無限留戀與
can also be understood as representing the 肉身必死的矛盾。」（解讀周春芽「桃花紅人」系
acquisition of the thing most desired at a 列作品（節選）劉立策《文藝爭鳴》 2008年第05期）
particular moment, and the failure to possess
that forever. Between the desires of the flesh and
the soul, a tragedy is unfolding, as we grasp at
beauty and love and contemplate life's journey
we are always faced with inevitability of death.
(Interpreting "Peach Blossoms and Lovers" Series of Zhou

Chunya (excerpt), Liu Lice, Wen Yi Zheng Ming, 2008, Issue 05)
 041
ZHOU Chunya
(Chinese, b. 1955)

Green Dog

2002
Oil on canvas
250 x 200 cm
Signed on lower right ZHOU CHUN YA in
Chinese and English, dated 2002

ILLUSTRATED:
Michel Nuridsay, China Art Now, Edition
Flammarion, Baker & Taylor Books, Paris,
2004, p. 105

HK$ 2,500,000-4,500,000
NT$ 10,250,000-18,450,000
US$ 328,100-590,600

周春芽
綠狗
2002
油彩 畫布
250 x 200 cm
簽名右下 : 2002 周春芽 ZHOU CHUN YA

圖錄：
米歇．紐里薩尼，《中國當代藝術》，出版
社：貝克及泰勒圖書公司，巴黎，2004，彩
色圖版，頁105

92
 Zhou sees the green dog as a symbol, a sign. 是非常偶然的出現。正因為現實中的無，對
'Green' represents tranquility, romanticism, 比著創作中的有，而顯得「綠狗」更刺激，
lyricism, a state of quietness before an outburst 主觀的表現更強烈。反自然色彩的運用，使
of energy. Such a symbol makes sense when it is 擁有各種各樣姿勢的狗有著不同的情緒。
understood to represent the image of Heigen, his
beloved dog. In 1999, the death of Heigen from 周春芽說，綠狗是一個符號，一種象徵，
illness caused Zhou great pain and he stopped 重複畫一隻風格化的狗，變成一種符號，
painting green dogs. Then, in early 2001, once 甚至，一隻狗就是一幅畫。在周春芽看來，
he had come to terms with his loss, he began to 綠色是寧靜的、浪漫的、抒情的，包含了爆
paint again his green dog. Almost in celebration 發前的寧靜意境。但是這種象徵只在表現黑
of Heigen, he painted very big green dogs and 根時才有具體的意義。1999年，黑根突然病
the images produced were much more striking 死，周春芽極度痛苦，暫停畫「綠狗」。
and exciting than before. This present painting, 2001年初，在心情平復後，周春芽開始新的
created in 2002, is an early work of this big green 綠狗創作，則變成了「大綠狗」，圖像更加
dog series. 醒目刺激。此幅創作於2002年的《綠狗》即
是此系列較早期的創作。
Taking a more expressionist viewpoint, Zhou
placed the big green dog in the visual center of 在「大綠狗」系列中，畫家進一步放棄對形
周春芽《綠狗》
羅芙奧2007春季拍賣會，編號137，920萬台幣成交
his canvases. The silhouette of the green dog 體的追求，且直接將綠狗置於視覺中心，巨
ZHOU Chunya, Green Dog against a huge white backdrop, the luxuriant 大而空曠的白色畫布上，綠色的身影、充實
1998, oil on canvas, 150 x 120 cm texture of the paintwork and the heightened 的質感和強烈的攻略性，令人久久無法忘
Ravenel Spring Auction 2007, lot 137, US$ 278,698 sold
emotional displays of the dog, leave a deep 懷。狗被色彩和筆觸虛擬化了，對象的存在
impression on the viewer. The dog is brought 與特徵只是通過不同的筆法提示著。綠狗或
The "Green Dog" series is immediately into being through color and brush strokes. The 站立，或打滾，或跳躍，或行走，在畫面中
identifiable as one of Zhou Chunya's most pure existence of the subject is not so important 呼之欲出。另一方面，新綠狗已不實在，牠
recognized group of works. It has been described anymore, the essence, the spirit of the subject is 已經轉變成狗的姿態、畫面結構和畫家態度
as "sculpture on canvas". The art critic Lu Peng now express in the brush strokes. Whether the 的完整整合。
says in Narrating the Green Dog, "His dog was a dog is standing, rolling, jumping or walking, its
big responsibility in the artist's life more so than energy is so vividly captured and rendered that it
human being. A dog as a companion has become seems the dog will respond immediately to our
an unconscious desire of many people living call, almost ready to bound from the canvas. The
in cities and urban areas as they have become big green dog is a true expression of the artists
divorced and separated from nature. The loyalty understanding of the meaning of a great friend
and dependability of a dog is a comfort to people, that he was lucky to encounter in his life.
and adds a depth of meaning, bringing color
and feeling to an otherwise dull and meaningless
life." 綠狗系列是周春芽最負盛名的代表作，被形
容為「畫布上的雕塑」。 藝術評論家呂澎
Zhou's green dog was inspired by Heigen, 在〈綠狗敘事〉一文中評述：「狗在畫家的
his close companion during many years. He 生活中是潛在的需要，這樣與人相比看來似
presented the "Green Dog" series for the first 乎無意識的生命成為逐漸減少自然性的都市
time in 1997. Why a 'green' dog? Even Zhou 環境中人的一種渴望。事實上，只有一種通
has no answer for this, other than green is his 情理的、具有依附性的生命也許可以讓人感
favorite color. Perhaps the color just flowed from 受到慰藉，使你在枯燥和空乏的社會環境裡
his unconsciousness. His paintings are imbued 沾染一點自然與淳樸的氣息。」
with a strong subjective expression, which is
enhanced by the non-realistic use of 'green' and 綠狗的創作來自「黑根」，畫家飼養的一隻 周春芽《綠狗》
羅芙奧2008春季拍賣會，編號111，755萬台幣成交
the realistic representation of a dog. This contrast 德國牧羊犬。1997年，周春芽首次將黑根畫
ZHOU Chunya, Green Dog
creates a great energy both on the canvas and in 成綠色，推出「綠狗」系列。現實中的狗有 1998, oil on canvas, 150 x 120 cm
feeling. This use of 'green' has also allowed Zhou 很多種顏色，卻獨獨沒有綠色。綠色是怎麼 Ravenel Spring Auction 2008, lot 111, US$ 248,380 sold
to explore different poses and expressions of 出現在畫布上的？周春芽自己也說不清楚
emotions with his 'dog sculptures'. 了，只是綠色是他最喜歡的顏色。或許，只

94
 042
YUE Minjun
(Chinese, b. 1962)

Maze 4

2006
Acrylic on canvas
220 x 334 cm
Signed lower right Yue Minjun in English,
dated 2006

PROVENANCE:
Arario Gallery, Beijing

ExhibitED:
Looking For Terrorists, Beijing, June 9 - July
29, 2006

HK$ 1,500,000-2,500,000
NT$ 6,150,000-10,250,000
US$ 196,900-328,100

岳敏君
迷宮 4
2006
壓克力 畫布
220 x 334 cm
簽名右下：Yue Minjun 2006

來源：
阿拉里奧畫廊，北京

展覽：
「尋找恐怖主義者—岳敏君個展」，北京公
社，北京，展期自2006年6月9日至7月29日

96
Yue Minjun is one of the leading players in the
post-1989 "Cynical Realist' movement, one of
the major artistic movements in contemporary
Chinese art that arose after a silence of two
years following the traumatic events of 1989,
the closure on the opening day of the first avant-
garde art exhibition in the National Art Museum
of China in Beijing, and then the events of
Tiananmen Square in June. The trauma and pain
of these two events had a deep and profound
effect on the artistic world and were to have a
major influence on the new art which was to
emerge in the early 1990s. It was clear that open
questioning of the regime, or exploration of a
corrupt society in art, would not be tolerated by
the authorities. In fact, after the events of 1989,
artists were particularly vulnerable as a nervous
government was determined to stamp out all
dissent.
For Yue Minjun and his contemporaries this
was a period of terrible pain. Having grown
up in the chaos of the Cultural Revolution,
they had embraced the opening of China to the
West and explored all the new art forms they
discovered both in terms of style and substance.
Having been forced to paint only propaganda
posters, they reveled in the newfound freedom
of expression, and delved into the world of
individualism representing their angst, anger
and puzzlement in their artworks. 1989 brought
this new world crashing down. Two years of
profound silence, deep thought and complete
isolation followed. And then a very Chinese
answer to their conundrum emerged. The way
to deal with the absurdities of society was to
employ humor or irony. Humor became the great
weapon of "Cynical Realism', and Yue Minjun
one of its greatest proponents.
Yue was born in 1962 to parents working in
the oil industry, and who constantly migrated
throughout the oil fields of China. He grew up
in closed communities in oil companies and had
almost no contact with the outside world. His
education consisted of being told what to do
and what to think. He became an electrician in
the oil fields for five years and spent much of
this time in isolated places even on offshore oil
platforms often alone for long periods of time.
His only solace was his art, it was his only outlet
98
for expressing his inner-self. He enrolled in
Hebei Normal University to study oil painting
and on graduating received a secure job as an art
teacher. However, he was unable to contain an
energy flowing within, and quit his job, moving
to a very run down artists village in the outskirts
of Beijing. His parents were appalled, but Yue
was deeply attracted by his newfound freedom.
He could suddenly decide his own life, how to
spend a whole day and even how long to grow
his hair. It was a major shock for him to discover
that the life he had been leading was not the real
world and that something vital and vibrant had
been lost.
Laugh or cry? Yue was faced with the eternal
question when faced with the absurdities of
life. In true Chinese style, he chose to laugh,
and thus created one of the most recognizable
images or indeed icons of contemporary Chinese
art, his laughing self-image, an exaggerated
self. In Chinese tradition things shouldn't be
said directly, especially criticism. These things
should be hidden behind a veil, which in Yue's
case was ridiculous, absurd laughter. Painting
multiple laughing images of himself against
backdrops of serious major events allowed
Yue to express his feelings about things such
as revolutions and killings. The exuberant
laughter hides the real pain and trauma of Yue's
confusion at terrible human actions and also at
the constantly changing world.
In the mid 2000s Yue began to experiment
with different styles, and in 2006 he started
his "Maze" series and within that a sub-series
"Searching for Terrorist", our present work
comes from this period. In the "Maze" series
the most important theme is "searching'.
According to Yue, we are always searching for
things we cannot find, and invariably become
more and more lost in a maze, unable to find an
exit and ultimately confusion reigns. Painted
in his favored, bright colors, and employing
cartoonish images, the "Maze" pictures seem to
exude warm, happy, everyday scenes. However,
with Yue there is always a darker, more sinister
undertone, that we are really lost, and engaging
in absurd behavior.
Maze 4
"Maze 4" presents what at first seems like 家村。他的父母對此感到十分震驚，然而岳
a happy, everyday, normal scene, a crowd 敏君被他新發現的自由所深深吸引。他突然
of shoppers in a well-stocked supermarket. 間可以決定自己的生活，如何度過一天的時
However, we soon notice the figures all have 間，甚至可以留多長的頭髮。
wild crazy grins. Animated and excited, they
all seem to be having a good time going about 大笑還是哭泣？當他面臨生活的荒誕時，岳
their business. But they are also eyeless, and 敏君開始面對了這個永恆的問題。在真實的
therefore are not aware of what is around them, 中國風格中，他選擇了大笑，從而創造了一
in this case figures dressed as Arabs. As part of 個最成功的形象，甚至是中國當代藝術的象
the "Searching for Terrorist" series the painting 徵，他大笑的自我形象極具誇張意味。在中
is mocking our inability to see, let alone find, 國的傳統觀念中，許多事不能直接說出口，
what we should be looking for. Once again 尤其是在 批判時。這些事應該帶一層神秘的
Yue is employing mockery to point our human 面紗。對岳敏君而言，這層面紗就是滑稽荒
fallibility. 唐的大笑。他在嚴肅的重大事件背景下，畫
了多種大笑形象，表達他對革命和殺戮的感
覺。誇張的笑聲隱藏了岳敏君在可怕的人類
岳敏君是1989後「玩世現實主義」成員之 活動以及持續的世界變化中，他的困惑與真
一。「玩世現實主義」於1989年創傷性事 正的痛苦和創傷。
件（北京中國美術館舉辦的首屆先鋒藝術展
開幕日當天即宣告結束，及隨後在6月發生 2000年代中期，岳敏君開始嘗試不同的風
天安門廣場事件）的兩年後產生的，是中國 格。2006年，他開始創作《迷宮》系列。
當代的主要藝術運動之一。兩次事件的創傷 在《迷宮》系列中，最重要的主題就是「尋
與痛苦對藝術界具深遠影響，同時更影響了 找」。據岳敏君所言，我們總在尋找我們不
1990年代初產生的新藝術。由於中國政府當 能發現的事情，總在迷宮中迷失，無法找到
局不能容忍藝術中對政體進行公開的質疑， 出路，最終被困惑統治。採用他最喜歡的亮
藝術家們成為了特別易受攻擊的對象。 麗顏色，以及卡通形象進行繪畫，《迷宮》
系列的作品似乎流露出激動與高興的日常情
對岳敏君和他同時代的人而言，這是一段極 景。然而，對岳敏君而言，總有一種更黑暗
度痛苦的時期。他們在文化大革命的混亂中 更不祥的潛在含意，致使我們真正迷失並陷
長大，隨即接受中國向西方世界的開放，並 入荒謬的行為中。
探索所有他們在風格和內容上發現的新的藝
術形式。他們曾被迫為宣傳海報作畫，因此 迷宮4
非常雀躍於自由的表現形式，並在作品中探
求代表不安，憤怒和困惑的個人主義世界。 作品《迷宮4》描繪了乍看是歡樂的日常生
1989年新世界轟然倒塌，隨後兩年是全然的 活情景——一群在貨源充足超市中採購的顧
沉默及被孤立。後來，他們找到了一個極具 客。然而，我們很快注意到這些人物都有著
中國特色的答案。解決這種社會荒誕性的途 失控而瘋狂的微笑。卡通化的喜悅表情彷彿
徑是採用幽默與諷刺。幽默成為了「玩世現 正享受 著。但他們也很盲目，對周圍的事物
實主義」的利器，而岳敏君是最重要的支持 漠不關心，在這種情況下，人物穿著打扮如
者之一。 阿拉伯人一樣。作為《尋找恐怖主義者》的
一部分，這幅畫嘲笑著我們對本來應該尋
岳敏君出生於1962年，他的父母在石油業工 找，但是卻無法看見，更不用說發現的無能
作，不斷地在全中國的油田間遷移。他在石 為力。又一次，岳敏君採用嘲笑指出了我們
油公司的封閉環境中長大，幾乎與外界沒有 人類的不可靠。
聯繫。他被教育該做什麼以及如何思考。他
在油田中做了5年電工，在與世隔絕的環境
中唯一的慰藉就是他的藝術。他就讀河北師
範大學，主修油畫，畢業後得到一份穩定的
工作：美術教師。然而，他無法從中獲得
動力，所以他辭職，搬到北京近郊破舊的畫
043
WANG Guangyi
(Chinese, b. 1957)

Great Criticism Series - Art Nation

Wang Guangyi's works are some of the most
2005
recognizable and most appreciated in the
Oil on canvas
Chinese contemporary art world. Lauded as
140 x 180 cm
the leader of the post-1989 "Political Pop"
Signed on the reverse Wang Guang Yi in English
movement, his works, while reflecting the "flat
and Chinese, dated 2005, size 140 x 180 cm
style" of American "Pop Art", resonate with
a power and energy immediately identifiable
PROVENANCE:
with the New China. Juxtaposing iconic images
Private collection, USA
from the Cultural Revolution with iconic images
Aquired from the above
of Western consumerism, Wang's works are
saturated in irony as he explores the absurdity of
This painting is to be sold with a certificate of
images.
authenticity signed by the artist.
Wang was born in 1956 in Harbin, Heilongjiang
HK$ 1,200,000-2,000,000 Province, and like many of his contemporaries
NT$ 4,920,000-8,200,000 he grew up in the chaos of the Cultural
US$ 157,500-262,500 Revolution and witnessed at first-hand the
power and absurdity of the cult-like worship of
王廣義 heroic icons. He was denied any education until
大批判系列—藝術國族 1977 when he entered the Zhejiang Academy of
Art. This was the period when China first opened
2005
its doors to the West and Wang was immediately
油彩 畫布
captivated by the "Pop Art" of urban American
140 x 180 cm
culture. He began to produce studies of ordinary
簽名畫背 :
people in everyday activities depicting them in,
2005年Wang Guang Yi 王廣義 140 x 180cm
what were to become hallmarks of his oeuvre,
monochromatic colors and a flat style.
During this first period of opening outwards
there was a tremendous energy and excitement
in the contemporary art scene especially in
Beijing. All types of avant-garde art was
embraced by artists, however the authorities
remained very suspicious and were openly
hostile to something so spontaneous and
uncontrolled. 1989 was a watershed year.
Two events were to have profound long-
lasting effects on the Chinese art world. The
first exhibition of avant-garde art was allowed
at the National Art Museum in Beijing. This
was a major event in such a traditional and
conservative bound society. The exhibition was
closed down at its opening when one artist fired
a gun at her installation. The authorities warned
artists that open criticism would not be tolerated
and that examining society and the regime in
art would be dealt with harshly. Then in June,
the Tiananmen crackdown happened. For the
next two years society became very quiet, and
for the art world a realization dawned that "new

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現有收藏者得自上述來源

附藝術家親筆簽名之原作保證書

100
 produces a hugely ironic effect, as cultural 中國對外開放初期，當代藝術界充滿了活力
icons from two different systems sit side by side 及興奮感，尤其是北京。各種先鋒藝術被藝
in their absurdity. Wang calls this "anatomic 術家們接受，但當局仍心存疑慮，對一些自
structuralism", which destroys the original 發且無法控制的事情加以反對。1989年是一
intention of the image and instead reduces it to 個分水嶺。兩個事件對中國藝術界有著深遠
absurdity. 影響。先鋒派藝術首展獲准在北京中國美術
館展出。這對於一個深受傳統和保守約束的
"Art Nation" is a classic representation of 社會而言，是一次重要的事件。這次展覽因
Wang's "Great Criticism" series. The work is 一名女性藝術家朝著她的作品開槍，因此在
filled with great tension and drama as an armed 開幕當天就宣告結束了。當局警告藝術家，
group of peasants and soldiers are placed in 這種公開批判是不被允許的，在藝術作品中
王廣義《大批判系列－Channel V》 the centre. The serious expressions on their 評論社會和政治將被嚴格處理。同年6月，
羅芙奧2009秋季拍賣會，編號157，504萬台幣成交 faces as they wield guns, bayonets and the 天安門事件爆發。隨後兩年內，社會變得十
WANG Guangyi, Great Criticism Series - Channel V little red book, and their forward movement 分安靜，藝術界出現「新藝術」也將帶來政
2002, oil on canvas, 120 x 150 cm
create a sense of fear and latent violence. The 府當局強烈反彈。
Ravenel Autumn Auction 2009, lot 157, US$ 156,716 sold
background of red flags and black sky add to the
art" would bring a fierce backlash from the sinister atmosphere. Then in a superbly ironic 1990年代初期，當代藝術重新出現，公開評
authorities. statement, "Art Nation" is blazoned across the 論社會與對腐敗系統的苦悶，憤怒以及批判
top of the painting in the purity of the color 表現卻消失了。藝術家們發現一種具有中國
In the early 1990s contemporary art began to "white". Wang has juxtaposed two human 特色的探索社會方式；諷刺與幽默。「政治
reappear, but gone was the open examination activities which could not be more removed 波普」吸納了諷刺，而這一行動的先驅就是
of society and the open expression of anguish, from each other, war and art. The white arrow on 王廣義。儘管在作品和表現形式上看來十分
anger and criticism of a corrupt system. the bottom right-hand corner in the same style 簡單，但由於藝術家們採用文化大革命時期
Instead artists found a profoundly Chinese as "Art Nation" seems to be suggesting which 的肖像，因此「政治波普」實際上是當代中
way of exploring society; 國社會的深刻反映。
irony and humor. Irony
was to be embraced by 我們今天看到的就是王廣
"Political Pop" and its 義從此時開始創作的「大
leading adherent was to be 批判」系列。以軍人，農
Wang Guangyi. Although 民和工人的肖像宣傳畫進
seemingly simple in 行描繪，將政治宣傳符號
composition and execution, 與西方品牌結合，這個系
as artists employed iconic 列成為全世界最知名的作
images from the Cultural 王廣義《可口可樂》（三聯幅），羅芙奧2009秋季拍賣會，編號158，1440萬台幣成交 品之一，將王廣義推上中
Revolution, "Political WANG Guangyi, Coca Cola (triptych), 2005, oil on canvas, 120 x 450 cm
國當代藝術運動的前沿。
Ravenel Autumn Auction 2009, lot 158, US$ 447,761 sold
Pop" was in fact a deep 政治宣傳的無產階級形象
reflection on the realities of 取自文化大革命的宣傳海
contemporary Chinese society. activity is the way forward. 報，用筆替代槍和其它武器。背景通常為紅
色，表現共產主義與鮮血。加上西方消費主
Wang Guangyi began producing his "Great 王廣義的作品是中國當代藝術界最被認可， 義品牌，將表面上不同的兩種體制相結合，
Criticism" Series from which our present work 最受賞識者之一。他被稱為後1989「政治波 產生強烈的諷刺效果。王廣義稱此為「解構
comes. Characterized by the use of iconic 普」先驅，反映出美國「波普藝術」的「平 主義」，將背後涵義看似荒誕但極其真實的
propaganda images of soldiers, peasants and 面風格」，並與新中國類似的動力與活力產 表現出來。
workers, the great proletariat, juxtaposed with 生共鳴。王廣義一直在探索圖片的荒誕性，
iconic Western brand names, this series has 他將文化大革命時的宣傳圖片與西方的消費 藝術國族是王廣義「大批判」系列中的經典
become one of the most recognizable worldwide 主義符號相結合，作品極具諷刺意味。 代表作。這幅作品中央是一群武裝的農民和
and brought Wang to the forefront of the 員警，充滿極大的緊張感和戲劇感。他們手
Chinese contemporary art movement. Idealized 王廣義於1956年生於黑龍江省哈爾濱市，他 持槍，刺刀和一本小紅手冊，臉上凝重的表
images of the proletariat are taken directly 與同時期的人一樣，也生長在文化大革命的 情以及他們挺進的動作構成恐懼和潛伏的暴
from the propaganda posters of the Cultural 混亂中，親眼目睹邪教般的英雄崇拜主義之 力感。紅旗和黑色的天空烘托了這種不祥的
Revolution, but with guns and other weapons 力量和荒誕。直到1977年，他才接受教育， 氛圍。然後，在這極富諷刺意味的場景中，
often replaced by pens. Often the figures are 進入浙江美術學院。這時中國開始向西方敞 「藝術國族」的畫面上部以象徵純潔的「白
painted against a red background powerfully 開國門，王廣義很快就被美國城市文化的 色」繪製。王廣義將戰爭與藝術這兩種不能
evocative of both communism and spilt blood. 「波普藝術」吸引。他開始研究日常中尋常 相互脫離的人類活 動相結合。底部右手邊相
Then, blazoned across the canvas is usually 百姓的活動，將它們以單色平面風格繪製下 同風格的白色箭頭似乎在預示著前進的方
a Western consumerist brand name, which 來，成為他作品的標誌。 向。

102
104
044
LI Shan
(Chinese, b. 1944)

Rouge Series - Mao

2007
Oil on canvas
120 x 180 cm
Signed on the reverse Li Shan in Chinese, dated
2007 New York in Chinese

HK$ 800,000-1,200,000
NT$ 3,280,000-4,920,000
US$ 105,000-157,500

李山
胭脂系列—毛澤東
2007
油彩 畫布
120 x 180 cm
簽名畫背 : 李山 2007 紐約
About 2500 years ago, when Sakyamuni was of "the First Shanghai Concave – Convex 無心，得者無心。李山的胭脂系列中有不少
sermonizing his disciples, he suddenly quieted Exhibition" in 1986 and "the Second Shanghai 以「毛澤東」的形象，卻同樣具有「捻花一
down and picked up a flower, smiling to them. Concave – Convex Exhibition – The Last 笑」的意境。什麼都不必說，已表達了所
The saints looked in wonder at each other, with Supper" in 1988. His Rouge series was 有。
the exception of Kassapa Thera, who responded recognized as an important symbol of Political
by nodding and smiling back at Sakyamuni. Pop Art in the 1990s. The New Art from China: 李山的《胭脂》系列（自1989年至1993年一
This is the famous story of Sakyamuni "Twist Post-1989, Venice Biennale in 1993, and Sao 直沿用此「名稱」創作）流傳極廣。此件作
Flower Smile". In the Buddhism practice, the Paulo Art Biennial in Brazil in 1994 were the 品即是其中最具代表性的樣式：將毛澤東在
preaching of Zen has no form yet with pure key exhibitions where Li Shan's Rouge series 延安時期最英俊的肖像上，含上了一朵玫瑰
intention, and the receiver received the message gain increasing influence. Different from Li 花。對毛形象的使用，很容易產生作品「政
without even knowing. Li Shan's Rouge series Shan's own expression about his art, the art 治化」的聯想。以調侃的方式畫領袖，也很
has used images of Chairman Mao, with the critic Lu Peng believes that "Li Shan attempts 容易聯想到安迪．沃荷所畫的毛澤東肖像。
artistic conception of "Twist Flower Smile" - to express his opposed political differences 而李山的真實用意恰恰是「捻花一笑」。他
nothing is said, but all is expressed. by taking a stance of keeping away from the 沒有別的意思，只是認為社會賦予藝術的責
direct ideology and political confrontation; 任太重，藝術就是藝術，他畫毛澤東肖像不
This artwork is a good representation of Li he obscures his political view through using 過是開歷史的玩笑，解除藝術的重負，拿曾
Shan's popular Rouge series (title has been used metaphorical rhetoric. However, 經最為神聖的東西去向「歷史告別」是一種
from 1989 to 1993). The portrait of in the 1990s of China, within 非常好的方式。
Mao in the most handsome period in the historical context of
Yan'an with the mouth holding political pop art, Li Shan's 1989年在北京中國美術館舉辦的「中國現
a rose. Normally the use explanation was largely 代藝術展」上，李山以行為藝術「洗腳」
of Chairman Mao's image considered credible. The 聞名。在此之前，李山曾經策劃和參與了
has a political association. i ro n y, m e t o n y m y, m e t a p h o r, 1986年的「上海第一屆凹凸展」和1988年底
The painting of the leader jeer, indication, and analogy, 的「上海第二屆凹凸展——最後的晚餐」。
in a jesting and humorous which originally belong in the category 李山的《胭脂》被視為二十世紀90年代政治
way has also reminded us the of artistic rhetoric, were actually 波普的重要象徵。「後八九中國新藝術」、
Mao painted by Andy Warhol. a political discourse and an 1993年的「威尼斯雙年展」和1994年「巴西
The real intention of Li Shan is the ideological stance. It is in this 聖保羅雙年展」是李山「胭脂」形象產生影
same as in the story of "Twist Flower sense that Li Shan's art is an important part 響的關鍵性展覽。同李山對自己藝術的表述
Smile" - The Artist means nothing of the political pop art. At a stage of historical 不同，評論家呂澎認為：「李山的表述儘量
political. Instead, he believes that the society has transition, Li Shan has sent out the last 追求一種遠離意識形態和政治對抗的姿態，
placed too heavy a responsibility on the shoulder reminder, with his art, to those who are on the 他將藝術的目的用一種隱喻性的修辭遮蔽掉
of art; in his opinion, art is art itself. His painting brink of forgetting the history". 了。可是，在90年代的中國，在政治波普的
of Comrade Mao's is only a comical reflection 歷史語境中，李山的這種說法在多大程度上
of history, to relieve the heavy burden of art and 能夠被視為可信。那些看來是屬於藝術修辭
to say farewell to the history by using the once 大約2500年前，釋迦牟尼與眾聖講法，忽 層面的反諷、揶揄、隱喻、嘲笑、暗示、比
sacred object or image. 然沉寂下來，捻起一枝花，對著眾弟子微 喻，實際上也是一種政治的話語，一種意識
笑。眾聖不解其意，面面相覷，惟迦葉尊者 形態立場的選擇。正是從這個意義上講，李
At the China Modern Art Exhibition held in 有感於心，點頭回應，與佛祖相視一笑。這 山的藝術是『政治波普』中的重要部分。在
1989 at Beijing-National Art Museum, Li 個典故的意思是：最好的佛門正道就是不需 一個歷史轉型時期，李山用自己的藝術對即
Shan became famous for his performance 語言文字直接可以悟道。正因為如此，釋迦 將忘卻歷史的人們做了最後的提醒。」
art "Washing Feet". Prior to that, Li once 牟尼日後將衣缽交給了大弟子迦葉。這就是
participated in the planning and exhibition 著名的「捻花一笑」。所謂傳遞禪意，傳者

106
045
XU Bing
(Chinese, b. 1955)

Make the Past Serve the Present,

Make the Foreign Things Serve
China (a pair)

2004
Ink on Paper
135 x 34.5 cm (x2)
Signed XU BING in English
With one seal of the artist

Quotation Content :
Chairman Mao Said
Make the Past Serve the Present
Make the Foreign Things Serve China
In the letter to the students of the the Central Conservatory of Music in Feb 1964, Chairman Mao
Xu Bing
Zedong wrote, "Make the past serve the present, and make the foreign things serve China". All culture
and arts are inherited; the evolution is based on predecessors' contributions. To learn the essence from
HK$ 350,000-550,000 predecessors and use it to serve current circumstances, this is the definition of "making the past serve
NT$ 1,440,000-2,260,000 the present"; and to "make the foreign things serve China" is to adopt good qualities of foreign cultures
US$ 45,900-72,200 to enrich Chinese culture. It was Mao's belief to be discriminating in learning, we must absorb the good
and reject the rest. Xu Bing has applied the aphorism of learning from his predecessors in his artistic
徐冰 expression by writing English words using typical Chinese character forms and making them into
古為今用．洋為中用（一對） couplets. Such an act is also a reflection of the essence of "making the foreign things serve China, and
2004 making the past serve the present".
水墨 紙本
135 x 34.5 cm (x2) Xu Bing's artworks are stern and disciplined, and yet there is often a childlike sense of humor within his
簽名右方 : XU BING works. It is a great delight to see a presentation of neat and tidy English words composed into couplets
鈐印 : XU BING similar to those in ancient Chinese traditional writing. According to Xu Bing art itself is a language. "It
is my belief, an ultimate goal of a successful artist is to illustrate their expressions and thoughts through
引文翻譯： an unprecedented technique with specific vocabulary. Artists must have a powerful mind. History has
毛主席語錄 well documented the contribution to those artists possessing the ability in artistic language." (Dialogue:
Hu Jiujiu vs. Xu Bing, Jan 30, 2010)
古為今用
洋為中用
徐冰 1964年2月在中央音樂學院學生的一封信上，毛澤東批示了「古為今用，洋為中用」的理論。
一切文化藝術都是在繼承、借鑒前人的貢獻基礎之上發展而來，要汲取前人的精華，而為現
實情況服務，此即是「古為今用」；「洋為中用」則是也可學習外國優秀文化的營養，以豐
富中華文化。吸收其精華，剔除其糟粕，是為我所用的。今天徐冰將前人的警句成為他的藝
術表現內容，英語的詞句以中文典型的方塊字以毛筆撰寫成對子。這樣的詮釋也是一種「古
為今用，洋為中用」。

徐冰做作品的態度已經到了「較真」的程度。但是嚴謹的藝術語言中，又時常帶有童趣的幽
默。一副字跡工整，對仗貌似傳統中國古代的對聯，竟然是用英文單詞拼寫而成。他認為藝
術的本質就是語言：「我總想藝術家，他最終的本事還是在於，你必須把你的思想，用一種
前所未有的，而且是具體的語彙表達出來。藝術家都必須是思維能力很強的人。但所有嚴肅
的藝術史都是記載在藝術語言上有貢獻的人。」 〈胡赳赳對話徐冰，2010年1月30日〉

108
 046
YIN Zhaoyang
(Chinese, b. 1970)

Red Mao

2006
Oil on canvas
100 x 80 cm
Signed lower center Zhaoyang in Chinese and
dated 2006.8

PROVENANCE:
Aura Gallery, Hong Kong
Private collection, Asia (acquired from the
above in 2007)

HK$ 300,000-500,000
NT$ 1,230,000-2,050,000
US$ 39,400-65,600

尹朝陽
紅色毛澤東
2006
油彩 畫布
100 x 80 cm
簽名下方：朝陽 2006年8月

來源：
亦安畫廊，香港
私人收藏，亞洲（2007年購自上述來源）

110
047
MAO Xuhui
(Chinese, b. 1956)

Black and White Inverted Scissors A pair of scissor has become synonymous According to the art critic Wang Lin, "Chairs
with Mao Xuhui and the most recognizable and scissors in Mao's works are a symbol of
2007 symbol in his paintings, almost as if he were social power. His chairs represent the social
Oil on canvas the creator. Often referred to as the "scissor- relationship, while his scissors represent his
180 x 140 cm painter", Mao first began to paint scissors after psychological qualities. These are consistent
Titled on the reverse Black and White Inverted a serious illness in the early 1990s. Alone with his expressionism style and pursuit for the
Scissors in Chinese, size 180 x 140 cm, signed and isolated in hospital, he was surrounded inner soul and spirit."
Mao Xuhai in Chinese and dated 2007 only by ordinary and mundane objects such
as scissors. Slowly his mind became engaged
HK$ 200,000-350,000 with the ordinary and mundane and he saw new 剪刀並非毛旭輝的發明，更非他所創造。這
NT$ 820,000-1,440,000 and extraordinary possibilities and meaning 一形象鮮明的造型，在畫家畫了十年後，卻
US$ 26,200-45,900 in the everyday. Rather than present everyday 儼然成為畫家的代表。有時，他甚至被稱為
objects in a realistic way, Mao chose an artistic 「剪刀畫家」。90年代毛旭輝生了一場病
毛旭輝 language of graphical representation. His series 後，創作轉向對日常生活的關注，同時，在
of works with scissors or chairs evoke a strong 具體藝術語言上，重點經營圖形，而不再強
黑白剪刀．倒立
psychological reaction as they play with such 調場景。創作椅子、剪刀這類熟悉的日常物
2007
themes as social power and the inner-mind. 件，畫家的觀點是：「形象鮮明的作品，對
油彩 畫布
Believing that "works with vivid imagery have 人的影響比較大。」 在畫面中，每一把剪
180 x 140 cm
greater impact on people", Mao uses chairs 刀都尖利，或打開，或合攏，或完整，或殘
簽名畫背：<黑白剪刀倒立> 180 x 140 cm
as symbols of social power, while scissors 缺，但每一種狀態都表達著既冷靜又令人躁
毛旭輝 2007
represent psychological states. Each pair of 動不安的情緒。
sharp scissors is open or closed, complete or
broken; and each position represents a calm yet 剪刀因為具有女性縫縫補補的原始形象，往
undetermined and restless emotion immediately 往被理解成傾向女性的藝術想像力。事實
picked up by the viewer. 上，毛旭輝的剪刀更具有男性權利的表達。
評論家王林認為：「他的椅子和剪刀都象徵
Although scissors, often used in dressmaking 著權力關係，他的椅子更社會性一些，而他
or sewing are sometimes associated with a 的剪刀更具心理性，但這些與他的作品都帶
feminine quality, Mao's scissors are strongly 著表現主義的傾向、關注內心、關注精神層
masculine representations of male power. 面的追求是一脈相承的。」

112
 048
TANG Zhigang
(Chinese, b. 1959)

A Woman's Portrait

1993
Oil on canvas
81.5 x 75 cm
Signed lower right Tang Zhigang in English
and dated 93

HK$ 250,000-350,000
NT$ 1,030,000-1,440,000
US$ 32,800-45,900

唐志剛
女子肖像
1993
油彩 畫布
81.5 x 75 cm
簽名右下：93 Tang Zhigang

114
049
GUO Wei
(Chinese, b. 1960)

Mosquito Season No. 15

2001
Acrylic on canvas
100 x 80 cm
Signed lower left Guo Wei in English
Titled on the reverse Mosquito Season No. 15
in English, media acrylic, dated 2001, size
100 x 80 cm and signed GUO WEI in English

HK$ 75,000-110,000
NT$ 310,000-450,000
US$ 9,800-14,400

郭偉
蚊子系列之十五
2001
壓克力 畫布
100 x 80 cm
簽名左下 : Guo Wei
簽名畫背 : Mosquito Season
No. 15, Acrylic 2001
100 x 80 cm, GUO WEI

116
050
GUO Jin
(Chinese, b. 1964)

Children No. 1

2007
Oil on canvas
225 x 100 cm
Signed lower right Guo Jin in English, dated
2007

ILLUSTRATED:
Guo Jin, Kwai Fung Art Publishing House,
Hong Kong, 2007, color illustrated, cover page
and p. 25

HK$ 180,000-260,000
NT$ 740,000-1,070,000
US$ 23,600-34,100

郭晉
孩子肖像（一）
2007
油彩 畫布
225 x 100 cm
簽名右下 : Guo Jin 2007

圖錄：
《郭晉》，季豐美術出版社，香港，2007，
彩色圖版，封面及頁25
051
GAO Huijun 高惠君
(Chinese, b. 1966) 偷閒（天安門）
1997
ILLUSTRATED:
Stolen Leisure (Tiananmen) 油彩 畫布
Gao Huijun's Catalogue, China Blue Gallery, 105 x 170 cm
1997 Beijing, color illustrated, p. 20 簽名左下：G. Huijun 97
Oil on canvas
105 x 170 cm HK$ 70,000-100,000 圖錄：
Signed lower left G. Huijun in English and NT$ 290,000-410,000 《高惠君畫冊》，環碧堂畫廊，北京，彩色
dated 97 US$ 9,200-13,100 圖版，頁20

118
052
SHENG Qi
(Chinese, b. 1965) 盛奇
紅黑歷史—毛澤東（二聯幅）
History of Red and Black - Mao 2007
EXHIBITED:
(diptych) 油彩 畫布
History in Black and Red - Sheng Qi, 798 Red 100 x 80 cm (x2)
2007 Gate Gallery, Beijing, Oct. 20 - Nov. 11, 2007 簽名畫背：盛奇 Sheng Qi 2007
Oil on canvas
100 x 80 cm (x2) HK$ 80,000-120,000 展覽：
Signed on the reverse Sheng Qi in Chinese and NT$ 330,000-490,000 「紅黑歷史－盛奇作品展」，798紅門畫
English, dated 2007 US$ 10,500-15,700 廊，北京 ，展期2007年10月20日至11月11日
053
QIU Xiaofei
(Chinese, b. 1977)

Workwomen & Machine (a set of 2)

2007
Acrylic on canvas
30 x 40 cm (x2)
Titled on the reverse workwomen (1) in
Chinese and English, media acrylic on canvas
in Chinese and English, size 40 x 30 cm, dated
2007 and signed Qiu Xiaofei in Chinese and
English
Titled on the reverse machine (2) in Chinese
and English, media acrylic on canvas in
Chinese and English, size 40 x 30 cm, dated
2007 and signed Qiu Xiaofei in Chinese and
English

HK$ 55,000-85,000
NT$ 230,000-350,000
US$ 7,200-11,200

仇曉飛
女工與機器（二件一組）
2007
壓克力 畫布
30 x 40 cm (x2)
簽名畫背：
女工(1) workwomen (1) 布面丙烯 acrylic on
canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei
機器(2) machine (2) 布面丙烯 acrylic on
canvas 40 x 30 cm 2007 仇曉飛 Qiu Xiaofei

120
054
HE Sen
(Chinese, b. 1968)

Girl Calling

1999
Oil on canvas
149 x 119 cm
Signed lower left He sen in English and
Chinese, dated 1999 何森
Signed on the reverse He Sen in English and size 女孩通話
149 x 119 cm 1999
油彩 畫布
HK$ 120,000-220,000 149 x 119 cm
NT$ 490,000-900,000 簽名左下：HE SEN 1999 何森
US$ 15,700-28,900 簽名畫背：He Sen 149 x 119 cm
 055
ZHONG Biao
(Chinese, b. 1968)

Face of the Setting Sun

2001
Acrylic and charcoal on canvas
130 x 96.5 cm
Signed lower right Zhong Biao in Chinese
Titled on the reverse Face of the Setting Sun in
Chinese and English, Zhong Biao in English
and Chinese, dated 2001

HK$ 200,000-300,000
NT$ 820,000-1,230,000
US$ 26,200-39,400

鐘飆
夕陽的臉
2001
壓克力 炭筆 畫布
130 x 96.5 cm
簽名右下：鐘飆
簽名畫背：夕陽的臉 Face of the Setting Sun
ZHONG Biao 鐘飆 2001

122
124
056
Haris PURNOMO
(Indonesian, b. 1956)

Alienated Baby

2008
Oil on canvas
180 x 200 cm
Signed lower right HARIS PURNOMO in
English and dated 2008

HK$ 250,000-350,000
NT$ 1,030,000-1,440,000
US$ 32,800-45,900

哈里斯．普爾諾莫
疏離的嬰兒
2008
油彩 畫布
180 x 200 cm
簽名右下：HARIS PURNOMO 2008
057
MA Yunfei
(Chinese, b. 1960)

100, 000 Whys

馬雲飛
2006-2007 十萬個為什麼
Oil on canvas dated 2006.12.28, numbered 3 (lower left) 2006-2007
27 x 27 cm (x4) Signed on reverse Ma Yunfei in Chinese and 油彩 畫布
Signed on reverse Ma Yunfei in Chinese and dated 2006.12.26, numbered 4 (lower right) 27 x 27 cm (x4)
dated 07.1.4, numbered 1 (upper left) 簽名畫背 : 1 馬雲飛 07.1.4（左上）
Signed on reverse Ma Yunfei in Chinese and HK$ 20,000-35,000 簽名畫背 : 2 馬雲飛 06.12.29（右上）
dated 06.12.29, numbered 2 (upper right) NT$ 80,000-140,000 簽名畫背 : 3 馬雲飛 2006.12.28（左下）
Signed on reverse Ma Yunfei in Chinese and US$ 2,600-4,600 簽名畫背 : 4 馬雲飛 2006.12.26（右下）

126
058
Dipo Andy
(Indonesian, b. 1975)

Symbol

1999
Acrylic on canvas
190 x 145 cm
Signed upper right Dipo Andy 狄波．安迪
in English and dated 1999 符號
1999
HK$ 75,000-120,000 壓克力 畫布
NT$ 310,000-490,000 190 x 145 cm
US$ 9,800-15,700 簽名右上：Dipo Andy 1999
059
Heri Dono
(Indonesian, b. 1960)

Cinderella

2006
Acrylic and collage on canvas 赫利．多諾
150 x 150 cm 灰姑娘
Signed lower center heri dono in English and 2006
dated 2006 壓克力 畫布 拼貼
Titled on the reverse "CINDERELLA" in 150 x 150 cm
English, dated 2006, size 150 x 150 cm, media 簽名中下：heri dono 2006
Acrylic and collage on canvas and signed heri 簽名畫背：
dono in English Title: "CINDERELLA"
year: 2006
HK$ 100,000-160,000 size: 150 x 150cm
NT$ 410,000-660,000 technique: Acrylic and collage on canvas
US$ 13,100-21,000 heri dono

128
060 丁雄泉
Walasse TING PROVENANCE:
Galerie Moderne, Bruxelles
戴帽的女人
(Chinese-American, b. 1929) 彩墨 紙本 畫布
Acquired directly from the above by the present 65 x 96 cm
owner
Femmes aux capelines 鈐印左上：採花大盜

Ink and color on paper, mounted HK$ 100,000-166,000 來源：

65 x 96 cm NT$ 410,000-680,000 現代畫廊，布魯塞爾
With one seal of the artist US$ 13,100-21,800 現有收藏者購自上述來源
Lot 001
Yoshitaka AMANO (Japanese, b. 1952)
Born in 1952 in Shizuoka, Japan, he joined the early
Japanese anime movement in 1967, working on
character design for a number of Japanese TV programs,
including the series "Time Bokan", "Tekkaman",
"Gatchaman" and "Honey Bee". Amano has won several
prestigious awards including the Seiun Award in 1983-
1986 and the Dragon Con Award and the Eisner Award
in 2000. Amano has exhibited his art in prestigious
museums and galleries worldwide since 1989,
including the Orlean Museum of Art in France, Tokyo’s
Uenonomori Museum, The Angel Orensanz Foundation
in New York, and the Barbican Centre in London.
天野喜孝 (日本，1952年生)
1952年出生於日本靜岡縣。1967年開始從事日本早期動
畫製作，為日本電視節目設計角色，包括《救難小英
雄》及《宇宙騎士》、《科學小飛俠》及1983到1986年
連續四屆的星雲賞《小蜜蜂》等。其優異表現也讓他得
到許多知名的獎項：2000年的惡龍多媒體大會獎及艾斯
納獎。1989年起，多次在國際藝術機構舉辦個展，例
如：法國奧荷朗美術館、東京上野之森美術館、紐約安
琪．奧倫桑基金會、倫敦巴比肯中心。
Lot 002
Ayako ROKKAKU (Japanese, b. 1982)
Born in 1982 in Chiba, Japan, Ayako Rokkaku has
never received any academic art education but learned
to paint on her own. She started her career in painting
in 2002, and her works are already common in many art
fairs in Japan. Rokkaku has mastered her own painting
technique. She applies acrylic paint on cardboard sheets
with her bare hands. Adolescent children are the main
subjects in her work, and are mostly illustrated from
close-up. Rokkaku has won the prestigious Akio Goto
Prize at Geisai # 9. Her works appeared in many solo
exhibitions like shows held by Gallery Delaive (2007,
Holland); by Gallerie Moderne (2007, Denmark); by
Galerie Teo (2007, Tokyo); by Gallerie Wild (2008,
Germany); Juliana Gallery (2008, Korea). And she
has joined several international art fairs such as "Art
Cologne" (2007, Holland); "Shanghai Art Fair 2007";
"Art Singapore 2007"; "Art Fair Tokyo 2008"; "Art
Amsterdam" (2008); "Art Taipei 2008".
六角彩子 (日本，1982年生)
1982年出生於日本千葉，六角彩子從未上過任何藝術學
校，其畫作技巧與本領皆為自學，並從2002年起正式開
啟其繪畫創作之路，目前已在日本的許多藝術節上展出
了作品。六角彩子的繪畫技巧上已自成一派。她空手運
用丙烯酸樹脂漆在紙板上作畫；其畫作的主題是青少
年兒童，大部分從近距離進行描繪。 六角彩子曾在日
本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男
賞」獎。於2007年分別在荷蘭（德萊夫畫廊）、丹麥
（現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展，
2008年則在德國（Wild畫廊）、韓國（朱莉亞娜畫廊）
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。
130
Lot 003
Toul OTSUKI (Japanese, b. 1973)
Born in 1973 in Fukushima, Japan. Otsuki Toul
graduated from the painting department of the Tokyo
University of the Arts in 2002, and afterwards completed
his master’s program in 2004. He has held various solo
exhibitions including "Tokyo Wonder Wall Awards 2003
Jury Presidents Award" (2004, Tokyo); "Happiness
Bird " (2004, Tokyo); "Nazeka Shanghai" (2009,
Tokyo); "My Precious Girl" (2009, Tokyo); and group
exhibitions include "The Artists of Tokyo Wonder Wall
2000-2003" (2004, Tokyo); "Tokyo Designers Week
2004 Container Exhibition" (2004, Tokyo); "Toul Otsuki
& Naoko Fukui Exhibition" (2006, Tokyo); "Game Girl
Toul Otsuki & Naoko Fukui" (2007, Tokyo); "0×100 =
Hyakunin Ten" (2008 Tokyo); "New Contemporary Art
Fair 101 Tokyo" (2008, Tokyo); "Shanghai Art Fair "
(2008, Shanghai); "Young Artists Japan Vol.2" (2009,
Tokyo).
大槻透 (日本，1973年生)
1973年出生於日本福島縣，2002年畢業於日本美術學
校油畫科，並於2004年取得碩士學位。舉辦過多次個
展如「東京奇蹟牆2003審察委員長賞受賞展」(2004，
東京)、「幸福之鳥」(2004，東京)、「回億」(2008，
東京)、「為什麼上海」(2009，東京)、「我的小公主」
(2009，東京)。以及群展如「東京奇蹟牆藝術家展覽
2000-2003」(2004，東京)、「東京設計師週2004年集
裝箱」(2004，東京)、「大槻透&福井直子展」(2006，
東京)、「遊戲女孩 大槻透&福井直子」(2007，東京)
「0×100＝百人展」(2008，東京)、「東京101新當代藝
術博覽會」(2008，東京)、「上海藝術博覽會」(2008，
上海)、「日本年輕藝術家Vol.2」(2009，東京)。
Lot 004
Hiroaki TSUJII (Japanese, b. 1975)
Born in 1975, Kobe City, Japan. Tsujii Hiroaki graduated
from the Kyoto University of Art and Design. He has
participated in a number of group exhibitions including
"Mutsumi Harima & Hiroaki Tsujii Exhibition" by TOR
Gallery (2003, Kobe City); "Attention!" sponsored by
Artalive Co., Ltd (2006, Tokyo); "Hiroaki Tsujii & Ryoji
Nakajima – Art Exhibition" by Starbucks Coffee, Ginza
Maronie Street (2007, Toyko). He also held several
solo exhibitions such as "Hiroaki Tsujii Exhibition"
by Gallery ES, (2004 & 2006, Tokyo); "Viva Baby!
Boomers!" by Casper’s Gallery (2007, Tokyo).
辻井宏明 (日本，1975年生)
生於神戶，畢業於京都大學藝術設計系。他的作品曾參
與於多次聯展，包括2003年在神戶TOR畫廊舉辦的「張
間睦美和辻井宏明聯展」、2006年由Art Alive有限公司
贊助在東京舉辦的「注意了！」、2007年於東京銀座星
巴克咖啡舉辦的「辻井宏明和中島良二藝術展」。另
外，他亦曾舉辦個展，如2004年及2006年於東京ES畫廊
舉辦的「辻井宏明展覽」、2007年於東京Casper ’s舉辦
的「萬歲！嬰兒潮！」。
Lot 005 Lot 006
Makoto OGISO (Japanese, b. 1975) Nam June PAIK (Korean-American, 1932-2006)
Born in 1975, Nara, Japan. He graduated with a Master He was born in Seoul in 1932, he received B.A. in art
Degree from the Tokyo University of the Arts. He history at Tokyo National University, Japan in 1956.
works and lives in Tokyo. He is a lecturer at the Saga Afterwards he went to Germany and majored in music
University and Sokei Academy of Fine Arts & Design. history at Munich University in 1958. Since 1963 he
He received the 41st Showa-kai prize in 2006. He held participated in Fluxus movement, and had his solo
his solo exhibitions at the Galerie Nichido in 2007 & exhibition at Galeria Bonino, New York in 1965. Since
2009. then, he had his retrospective exhibition at Whitney
Museum, New York (1982) and produced "The More
the Better" for 1988 Seoul Olympics. He exhibited
at Venice Biennale 1993 in German section and won
the Golden lion, and was awarded the Asian Culture
prize in Fukuoka, Japan in 1995. He was included in
the "World’s Top 100 Artists" selected by the German
magazine Focus in 1996, and "Top 100 Artists" by
Germany’s Capital in 1997.
小木曾誠 (日本，1975年生) 白南準 (韓裔美籍，1932-2006)
生於日本奈良縣。2005年修畢東京藝術大學美術研究科 白南準出生於1932年首爾市。他於1956年畢業於東京國
大學院博士課程，現為日本佐賀大學油畫科之講師及日 立大學的藝術史系，兩年後前往德國幕尼黑大學主修音
本創形美術學校美術系講師。2006年獲得第41屆昭和作 樂史。從1963年起開始參加福魯克薩斯運動，於1965年
品展之獎項。2007及 2009年在東京日動畫廊舉辦「小木 於紐約波尼諾畫廊舉辦個展、1982年紐約惠尼美術館
曾誠展」。 舉辦回顧展、1988年為首爾奧林匹克製作了《越多越
好》。他於1993年在威尼斯雙年展的德國館中參展並
獲得金獅獎，並於1995年獲日本福岡的亞洲文化獎。
1996年他被德國雜誌《聚焦》選為「世界前一百大藝術
家」，於1997年被德國首都選為「前一百大藝術家」。
131
Lot 007

Lot 008 Lot 009

Yayoi KUSAMA (Japanese, b. 1929)
Born on 22nd, March, 1929. She was called the classic
artist still alive in Japan. She was born in Matsumoto
City in Nagano, Japan. In 1956 she moved to New
York, U.S.A. and began to show her unique avant-garde
artistic creation which takes a dominant place. She
once held exhibition with some current brillant artists
such as Andy Warhol, Claes Oldenburg and Jasper
Johns together. She lives in Tokyo in Japan now. She
has a wide artistic practice, including painting, collage,
sculpture, acting, filming, decorating and writing novels,
poems and music. When she was ten years old, he got
acousma 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.
JI Dachun (Chinese, b. 1968)
Born in Jiangsu, China, 1968. In 1993, Ji Dachun
graduated from the Central Academy of Fine Arts with
a B.A. (Oil Painting). He was invited to participate in
"the First Oil Painting Biennial of China" and later took
part in Chinese Contemporary Union Show in 1998,
Shanghai. At the same time, his instinctive style engaged
the attention of overseas market. In 1997, he attended
"Exceptional Realism" Show in the House of World
Cultures, Berlin, Germany. In 1999, BASE gallery
in Tokyo held his first solo exhibition. Among young
Chinese artists, he has an obviously unique style. Not
withstanding the multiplicity of art world, Ji Dachun’s
work combines an intuitive understanding of human
nature with a strong technique.
Yang Jing (Chinese, b. 1976)
Born in Beijing, China. Yang graduated from the
attached school of Central Academy of Fine Arts in
1996 and graduated from Mural department of Central
Academy of Fine Arts in 2000. She has taken part in
distinguished collective shows "N12" at the Gallery
of Central Academy of Fine Arts in Beijing in 2003
and 2004. Her works participated in "Chinese Modern
Art Exhibition of Fresh Artists", Beijing Sanhe Arts in
2004, and "Get It Louder" tour exhibitions in Shenzhen,
Beijing and Shanghai in 2005. Her work "Puppet
Carnival" participated in "Fiction@Love" exhibition,
Seoul, Korea in 2006.

草間彌生 (日本，1929年生) 季大純 (中國，1968年生) 楊靜 (中國，1976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 1968年生於江蘇，1993年畢業於中央美術學院，翌年受 出生於中國北京，1996年畢業於中央美術學院附中，
野縣松本市，在1956年移居美國紐約市，並開始展露她 邀參加「首屆中國油畫雙年展」，1998年參加上海劉海 2000年畢業於中央美術學院壁畫系。2003年及2004年參
佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家 栗美術館之「中國當代畫家聯展」。除了來自國內的肯 加北京中央美術學院畫廊「N12」展覽，2004年北京三
如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起 定，其特立風格同樣引起海外市場的注目，1997年季大 合藝術中心「中國當代藝術新人展」，2005年參加「大
聯展。現居住在日本東京。她的藝術實踐非常廣泛：繪 純於德國柏林世界文化宮「其他的現代藝術展」中展 聲展」深圳、北京、上海巡迴展，2006年作品《偶的嘉
畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和 出，1999年則在東京BASE畫廊舉行個展。新一代華人 年華》參加韓國首爾「虛擬@愛」展覽。
音樂。她十歲患病導致幻聽幻視。在美期間正值激進主 藝術家群中，季大純以紮實技法的基礎堅持自我風格，
義時期，此後她的藝術停留在激進、商業和反思的層面 在瞬息萬變的藝術領域中，更顯其穩健無華，簡練大度
上。她認為網狀結構象徵富有生機的生命本質。1966年 的寬厚風範。2001年應邀參加成都國際藝術雙年展。
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。她對自己的藝術經歷
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。

132
Lot 010
WANG Mai (Chinese, b. 1972)
Born in 1972, Heilonjiang Province, China and now
lives and works in Beijing. He is considered as a self-
taught artist as he has not received any formal art
training in the academy. He was among the first group
of artists that converged in the Yuan Ming Yuan and
also experienced the remarkable phases of "County
Tong" and "798 Art District". In 2002, he won the
Contemporary Art Prize from American Asia Culture
Council (ACC), U.S.A. His works are a combination of
realism and science fiction, characterized with traditional
symbols. He has exhibited his works in China,
Taipei, Hong Kong, Singapore, Seoul, Japan, Israel,
Switzerland, U.K., U.S.A, Germany, France, Italy, Spain
etc. He has held numerous solo exhibitions in Hong
Kong & Beijing include "Spring Festival Show 1999,
Beijing Design Museum, Beijing 1 May International
Labor Day, Self-owned Studio, Beijing" (1999, Beijing);
"Gateway of Infinite Wonders" (2004, Beijing); "Solo
Exhibition of Wang Mai" (2006, Beijing); "Brilliance of
Capitalism" (2007, Hong Kong).
王邁 (中國，1972年生)
出生於黑龍江省，現於北京生活及創作。他未曾進入學
院接受教育，是位自學的藝術家。他是早期聚集在北
京圓明園藝術群中的藝術家之一，經歷過「通縣」、
「798藝術區」三個中國當代藝術歷史上標誌性的階
段，憑著自我奮鬥及從現實社會汲取經驗，得以在藝術
界闖出成就，並於在2002年獲得美國亞洲文化委員會頒
發的當代藝術獎。他的作品揉合現實與科幻，作品中的
傳統符號亦成為他的獨特標誌。在中國、台北、香港、
新加坡、漢城、日本、以色列、瑞士、英國、美國、德
國、法國、義大利、西班牙等地均辦過展覽。他曾在香
港及北京等地舉辦個展，如「1999年春節聯歡會 五一國
際勞動節大合唱」(1999，北京)、「眾妙之門」(2004，
北京)、「王邁個展」(2006，北京)、「資本的光輝」
(2007，香港)。
Lot 011
LU Hao (Chinese, b. 1969)
Born on February 9, 1969 in Beijing, China. 1992,
Graduated from the Central Academy of Fine Arts,
Beijing, China. Solo Exhibitions: 2006 Xin Dong
Cheng Space for Contemporary Art, Beijing; Arario
gallery, Seoul, South Korea. He Xiangning Art Museum,
Shenzhen, China; Kwai Fung Hin Art Gallery, Hong
Kong, China; 2005, Goedhuis Contemporary, New
York, U.S.A; Beijing Art Now Gallery, Beijing, China;
Tokyo Gallery, Tokyo, Japan; 1996, "Experimental
Inks", Yun Feng Art Gallery, Beijing, China; 1995,
"Experimental Inks", International Art Gallery, Holiday
Inn Crown Plaza, Beijing, China; Joint Exhibitions:
2006, "Mahjong China Contemporary Art from the Sigg
Collection", Museum of Contemporary Art, Hamburg,
Germany; Pusan Biennale, South Korea.
盧昊 (中國，1969年生)
出生於中國北京。1992年畢業於中國中央美術學院。個
展：2006年 「盧昊個展」，程昕東國際當代藝術空間，
北京，中國；「盧昊個展」，阿拉里奧畫廊，首爾，韓
國；何香凝美術館，深圳，中國；季豐軒畫廊，香港，
中國；2005年，個展，古德豪斯當代畫廊，紐約，美
國；個展，北京現在畫廊，北京，中國；個展，東京畫
廊，東京，日本；1996年「個人實驗水墨畫展」，北京
雲峰畫廊，中國；1995年「個人實驗水墨畫展」，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。
133
Lots 012, 013, 014, 020
JU Ming (Taiwanese, b. 1938)
Born in Miaoli, Taiwan. Ju Ming studied with Yuyu
Yang (1926-1997), a master sculptor, from 1968 to
1976. Ju was chosen as one of the Ten Outstanding
Young Persons in Taiwan in 1976, a recognition given
each year to ten young men and women in any field of
endeavor. He was presented with a National Cultural
Award in recognition of his artistic accomplishments.
His most famous Series are the "Nativist", the "Taichi"
and the "Living World". In December 1997, his works
were exhibited in Place Vendome, Paris. The Juming
Museum was established in Chin-shan, Taipei County
in 1999. Ju Ming's work can be found in major public
collections at the Taipei Fine Arts Museum, National
Taiwan Museum of Fine Arts, Kaohsiung Museum of
Fine Arts and Juming Museum.
朱銘 (台灣，1938年生)
出生於台灣苗栗。1953-1957年從李金川學習木刻，
1968-1976年從楊英風（1926-1997）學習現代雕塑，以
純樸的天性、卓越的才華，將過去賴以維生的木雕工
藝，逐次提升為富有生命意味的藝術創作。作品廣泛而
深切地感動了國人，已漸受西方社會矚目。曾獲選十大
傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系
列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵
登廣場盛大展出其著名的太極系列。1999年於朱銘美術
館成立於台北縣金山鄉。主要收藏機構：台北市立美術
館、國立台灣美術館、高雄市立美術館、朱銘美術館
等。

Lots 015, 016
CHU Teh-chun (Chinese-French, b. 1920)
Born in 1920 in Jiangsu, China. In 1935, he passed the
examination for Hangzhou National College of Art,
which at the time had Lin Fengmian as his director.
In 1949, he came to Taiwan. In 1951. he taught at the
Taiwan Normal University. In 1954, he held his first
solo exhibition at the Taipei Chung Shan Hall. In 1955,
he went to France to further his studies. In 1957, he
won the Silver Award at the Paris Salon du Printemps.
In 1969, he entered the Tenth Sao Paolo Biennial
International Exhibition in Brazil. In 1982, he held a
solo exhibition at the André Moreau Contemporary
Art Studio in le Havre in France. In 1987, the National
Museum of History held a solo exhibition of his works,
his first 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)
生於江蘇省，1935年考入國立杭州藝專，當時林風眠任
校長。1949年來台。1951年任教於台灣師範學院。1954
年於台北中山堂舉辦首次個展。1955年赴法國深造。
1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第
十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術
館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他
離台十二年後第一次畫展。1997年當選法蘭西學院藝術
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。
Lots 017, 018
ZAO Wou-ki (Chinese-French, b. 1921)
Born in Beijing, China. Zao studied at the Hangzhou
National College of Art under the direction of Lin
Fengmian (1900-1991) and Wu Dayu (1903-1988). After
his graduation in 1941, he remained at the College to
teach. He held his first solo exhibition in Chongqing in
the same year. He emigrated to Paris in 1948. Zao held a
solo show every year at Kootz Gallery, N.Y. from 1959
to 1965. He was included in the French pavillion at the
Venice Biennial in 1960 and has also taken part in the
Tokyo International Biennial. Taipei Fine Arts Museum
and the Kaohsiung Museum of Fine Arts organized an
exhibition of his works in 1993 and 1995 respectively.
In 1994, Zao was awarded the Premium Imperial
Award of Painting, Japan. A more recent retrospective
show which took place in 1998, toured three major
museums: Shanghai Museum of Art and Beijing’s
China Art Gallery. Zao’s compelling abstract paintings
have won him international fame and his paintings are
much sought 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)
生於北京，趙無極在國立杭州藝專師承林風眠（1900-
1991）與吳大羽（1903-1988），於1941年畢業於杭州
藝專，同年在重慶舉行首次畫展，並留校任助教。1948
年往巴黎深造，並結交不少歐洲藝術界人士。從1959至
1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年
代時趙無極成為巴黎最傑出的中國畫家。於1993和1995
年應邀在台北及高雄市立美術館展覽。1994年獲得日本
天皇美術獎。1998年更經由法國文化部策劃其回到中國
上海博物館、北京中國美術館、廣東美術館舉辦回顧
展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在
中國現代藝術家中首推趙無極在西方的藝術成就最高，
而其作品更廣為世界著名的博物館，如法國國家現代美
術館、舊金山現代美術館等美術館及私人企業機構所珍
藏。
134
Lot 019
SANYU
(Chinese-French, 1901-1966)
Born in 1901, Sichuan. Sanyu attended Art College in
Shanghai and went to Japan in 1919. In 1920, he went
to France as part of the first wave of Chinese artists to
study there. Unlike most of his contemporaries, Sanyu
decided to remain in Paris. Since 1925, Sanyu exhibited
his work regularly at the Paris salons and in local
galleries. Before World War II, Sanyu returned to China
briefly and then moved on to New York where he lived
for two years. In 1948, the Museum of Modern Art in
New York held an exhibition of his work. Since Sanyu's
death in Paris in 1966, the National Museum of History
in Taipei has held three retrospective exhibitions of his
works. To celebrate the 100th anniversary of Sanyu, the
National Museum of History held a grand exhibition of
over 129 oil paintings. In 2004, the Musée National des
Arts Asiatiques-Guimet held a restrospective show of
Sanyu's 60 works.
常玉 (華裔法籍，1901-1966)
生於四川，少年時就讀上海美術學校，1919年至日本
留學，1920年轉赴法國留學，成為中國最早期的留法
學生之一，之後留居巴黎。1925年起，其作品屢見於巴
黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後
轉至紐約生活兩年。1948年，紐約現代美術館替他舉辦
個展。在其1966年於巴黎逝世後，台北國立歷史博物館
曾分別於1978、1984、1990年共舉辦三次他的回顧展，
2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀
念大展，2004年6月巴黎國立居美東方美術館舉辦常玉
回顧展，展出60餘件作品。足見其作為海外華人藝術家
在中國畫壇的重要性。主要收藏機構有：台北國立歷史
博物館、中國美術館等。

Lots 021, 024
LIN Fengmian (Chinese, 1900-1991)
Born in Guangdong, China. Lin Fengmian went to
France to study painting in 1918. During his 4-year
stay, he studied in Dijon and Paris. Upon Cai Yuanpei's
invitation, Lin returned to China in 1926 and became
president of the Beijing Academy of Fine Arts. He was
also responsible for setting up the Hangzhou National
Academy of Art (formely known as Hangzhou National
College of Art). Lin is one of the most influential artists
and teachers of that time. In 1952, Lin retired from
teaching and devoted his energies to painting. In 1977,
he moved to Hong Kong where he lived until his death.
His ninety years retrospective exhibition was held in the
National Museum of History, Taipei in 1989. In 2000,
Shanghai Art Museum and Sun Yat Sen Memorial Hall
of Taipei both held a commemorative exhibition of Lin's
100th year.
林風眠 (中國，1900-1991)
廣東梅縣人。1918年參加政府勤工儉學政策赴法留學，
分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國
立北平藝專校長。1928年在杭州創辦國立藝術院，後來
改名杭州藝專，經常撰文宣傳中西藝術結合的創作經驗
及理論，是當時中國最有影響力的畫家及美術教育家，
趙無極、吳冠中、席德進等人皆為其學生。1952年自教
職退休專事繪畫，文革期間被貶抑為黑畫家，被拘入獄
達四年之久。1977年後旅居香港，繼續創作不輟，直至
1991年病逝。1989年，國立歷史博物館為其舉行九十回
顧展。自1999年上海美術館、台北國父紀念館分別舉辦
「林風眠百歲誕辰紀念展」。
Lot 022
WU Guanzhong (Chinese, b. 1919)
Born in Yixing, Jiangsu. Wu Guanzhong’s training in
Western art began at the Hangzhou National College of
Art in 1936 under Lin Fengmian (1900-1991). After his
graduation in 1942, he obtained a teaching position at
the National Chung-ching University. He then traveled
to France where he spent the next four years studying oil
painting under Professor Jean Souverbie (1891-1981) at
the Ecole Nationale Supérieure des Beaux Arts and the
ateliers of André Lhote (1885-1962) and Othon Frieze
(1879-1949). He is currently a professor at the Central
Academy of Fine Arts and Crafts. He has painted in oil
since 1950, even during the Cultural Revolution. His
international fame is evident in two recent exhibitions
of his traditional oil paintings at the Chinese Culture
Foundation of San Francisco (1989-90) and the British
Museum in London (1993). Hong Kong Museum of
Art and National Museum of History in Taipei held
solo exhibitions of Wu’s work in 1995 and in 1997
respectively.
吳冠中 (中國，1919年生)
生於江蘇。1936年進入國立杭州藝專，在林風眠的指導
下開始研習繪畫。1942年畢業後，在國立重慶大學執
教。1946年獲教育部獎學金赴法國留學。在法國四年期
間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比
（1891-1981）教授學習油畫，並入洛特（1885-1962）
和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習
美術史。1950年回到中國後，先後在中央美術學院，清
華大學及北京藝術學院任教，現為中央工藝美術學院教
授。吳氏數十年間持續進行油畫創作，即使在文化革命
中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展
及1992年在倫敦大英博物館舉辦個展，其作品受到世界
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。
135
Lot 023
YE Jianqing (Chinese, b. 1972)
Born in Zhejiang Province, China. Studied in the
Central Academy of Fine Arts in Beijing from 1994 and
has received his PHD in 2007. He’s now a teacher at the
Wall Painting Department in the academy. YE studied
Chinese painting in his early years, subjects of his works
are rich in traditional Chinese culture. He is adept in
using western oil painting techniques and concepts to
the Chinese traditional painting themes and spirit. His
artworks are like old black and white photographs, not
only capturing the image but also the spirit of nature.
The layer of oil in his works is light and thin and also
extremely blurry. Ye would like to bring out the theme
– the contradiction of history and reality; old culture is
fading out in the face of modernization and urbanization.
He has participated in various exhibitions at home and
aboard, including: "Ye Jianqing Artworks Exhibition",
iPreciation Gallery, Singapore, 2004 & 2005; "China’s
Emerging – Ye Jianqing Works Exhibition" in Hong
Kong and "Beijing International Art Biennale Show",
Beijing in 2007,"Hutong Memory", iPreciation Gallery,
Hong Kong, 2009.
葉劍青 (中國，1972年生)
生於浙江省，1994年起就讀北京中央美術學院，並於
2007年取得博士學位，現於母校壁畫系任教。他早年曾
學國畫，作品的主題帶有濃郁的中國傳統文化氣息。他
善於以西方油畫的技巧和概念，表達中國傳統繪畫題材
和精神；以油彩配合中國傳統水墨的技巧，透過細膩模
糊的筆觸，畫出一幅幅像黑白照片似的油畫。他的作品
充滿朦朧、虛幻的感覺，喜歡以淺薄的色彩帶出作品主
題–歷史與現實的矛盾。令讀者反思以往的歷史文化特
色，將會在工業化急速發展的情況下逐漸消逝。他曾參
與多次國內外的展出，其中包括2004及2005年於新加坡
誰先覺畫廊舉辦的「葉劍青作品展」、 2007年香港舉辦
的「中國的浮現-葉劍青作品展」、同年於北京舉辦的
「北京國際藝術雙年展」、2009年香港誰先覺畫廊舉辦
的「胡同記憶」。
Lot 025
ZHANG Donghong (Chinese, b. 1967)
Born in Jiling, China in 1967, graduated with BA from
the Department of Art, Jiling Institute of Fine Arts in
1992, taught in the Department of Art, Jiling Institute of
Technology the same year, established an art workshop
in Beijing in 1995, and currently a professional painter.
Starting attending international exhibitions since 1994,
including "the Chinese Modern Art Exhibition" in
Holland in 1994, "the Contemporary Art Exhibition"
in Berlin Germany in 1995, "the Chinese Modern Art
Exhibition" in Singapore in 1997, "the China Youth
Artists Joint Exhibition" in Milan Italy in 1998, "the
Contemporary Art Exhibition" in London UK in 2000,
"the Chinese Modern Art Exhibition" in Houston US in
2001 & 2002, "the Chinese Artist Collection Exhibition"
in London UK in 2004, "the International Modern Art
Exhibition" in Italy in 2005, and the "Classic Decade"
Modern Art Exhibition held by Beijing China Museum
of Art in 2006. Solo exhibitions have also been held
in galleries in Hong Kong, Shanghai, Beijing and
Singapore.
張東紅 (中國，1967年生)
1967年生於中國吉林，1992年畢業於吉林藝術學院美術
系，獲學士學位，同年任教於吉林工學院美術系，1995
年在北京建立藝術工作室，現為職業畫家。自1994年開
始參與國際性展覽，包括1994年荷蘭的「中國現代藝術
展」、1995年德國柏林的「當代藝術展」、1997年新加
坡的「中國現代藝術展」、1998年義大利米蘭的「中國
青年藝術家聯合展」、2000年英國倫敦的「當代藝術
展」、2001年及2002年於美國休斯頓舉行的「中國當代
藝術展」、2004年英國倫敦的「中國藝術家收藏展」、
2005年義大利「國際當代藝術展」、2006年北京中國美
術館舉行的「經典十年」當代藝術展等。其個人展覽亦
曾於香港、上海、北京及新加坡等地畫廊舉行。
Lot 026
CAO Jingping (Chinese, b. 1972)
Cao Jingping was born in Chongqing, China, graduated
from the Affiliated High School of Sichuan Art
Institute in 1992, 1996 graduated from Department of
oil Painting in Sichuan Fine Arts Institute and acquired
bachelor degree. During 1997-1998, Cao went to
Germany Kassel Academy of Fine Arts to pursue
advanced studies, in 1999 graduated from Department
of oil Painting in Sichuan Fine Arts Institute and
acquired master degree. In 2001, Cao participated the
"Sweet Illusions" six-artist joint exhibition in Shanghai
museum of Fine Arts, China; "Chongqing Chilies" in
Kulturbahnhof, Germany; and "Post-Politics" in The
Bloxham Galleries, London, UK.
曹靜萍 (中國，1972年生)
出生於重慶。1992年畢業於四川美術學院附中，1996年
畢業於四川美術學院油畫系並獲學士學位，1997-1998
年赴德國卡塞爾美術學院學習，1999年畢業於四川美術
學院油畫系並獲碩士學位。2001年「甜蜜的幻覺」當代
藝術六人作品展中國上海美術館。「重慶辣椒」展於德
國卡塞爾文化車站。「後政治」藝術作品展於英國倫敦
的布洛克斯翰畫廊。
136
Lot 027
XIN Haizhou (Chinese, b. 1966)
Born in 1966, Chengdu, China, he graduated in 1989
from Department of Printmaking, Sichuan Fine Arts
Institute and now teaches there. He has attended the
following major exhibitions: 1989 "Exhibition of
China’s Modern Art", Beijing; 1991 "I Don’t Want to
Play Cards with Cézanne", California; 1992 " The First
Biennale Exhibition of Art in 1990s", Guangzhou; 1993
"Post 1989 - New Art Exhibition of China", Hong Kong;
1994 "Oil Painting Exhibition of Contemporary China",
Beijing; 1995 "From Realism to Postmodernism - Oil
Painting Exhibition of Contemporary China", Brussels;
1997 "Mirage of Reality - Exhibition of Xin Haizhou
Sketch", Hong Kong; 1979-1999 Chinese Art Invitation
Exhibition", Chengdu; 1999 "1999 Exhibition of China's
Contempory Art", 2000 "Gate of the Century: 1979-
1999 Chinese Art Invitation Exhibition", Chengdu; 2001
"Chongqing Chilies", Kassel.
忻海洲 (中國，1966年生)
1966年生於成都。1989年畢業於四川美術學院版畫系，
現任教於四川美術學院 。參加的主要展覽有：1989
年「中國現代藝術展」，北京；1991年「不與塞尚玩
牌」，美國加州；1992年「廣州首屆九十年代藝術雙年
展」，廣州；1993年「後89中國新藝術展」，香港；
1994年「中國當代油畫展」，北京；1995年「從現實
主義到後現代主義－中國當代油畫展」，布魯塞爾；
1997年「現實的幻影－忻海州素描展」，香港。1999
年「1999中國當代藝術展」，舊金山；2000年「世紀
之門：1979-1999年中國藝術邀請展」，成都；2001年
「重慶辣椒」，德國卡塞爾。

Lot 028
WANG Luyan (Chinese, b. 1956)
Born in 1956, Beijing, China and now lives and
works there. In 1970s, introduced by Huang Rui,
WANG became the member of Star Group. During
1988 to 1995, Wang was deeply involved with
the New Measurement Group, a three-member
party initiated by Wang Luyan, Gu Dexin & Chen
Shaoping. Wang has considered as one of the
initiation of conceptual artists and also the initiation
of Beijing "Apartment Art" in terms of the sentiment
of self criticism of the avant-garde mainstream. He
has participated in various exhibitions such as "Star
Group Exhibition" (1979, Beijing); "Contemporary
Chinese Art Exhibition" (1989, Beijing); "China
Avant-garde Artists Exhibition – Exit" (1991,
Fukuoka); "Silent Energy : New Art from China"
(1993, Oxford); He has returned to the art worlds
until 2007 when he held a solo exhibition – "Sawing
or Being Sawed" (by OCT Contemporary Art
Terminal, Shenzhen). In 2008, He held another solo
exhibition "Wang Luyan: The Other side of Totality"
(by Joy Art, Beijing).
王魯炎 (中國，1956年生)
生於北京，現於北京生活及創作。1970年代由黃銳
介紹加入「星星畫會」。1988-1995年跟顧德新、陳
少平組成「新刻度小組」，是中國最早期的觀念藝
術家之一，亦是北京「公寓藝術」的發端。他曾參
與過多次重要展覽，包括1979年於北京中國美術館
外舉辦的第一屆「星星畫展」；1989年北京中國美
術館舉辦的「中國現代藝術展」；1991年在日本福
岡由新刻度小組舉辦的「中國前衛藝術家展（非常
口）」；1993年在英國牛津現代藝術館舉辦的「沉
默力量的中國–中國當代藝術展」。2007年高調復
出，並於同年在北京阿拉里奧和深圳何香凝美術館
O C AT當代藝術中心舉辦個展「被鋸的鋸」。更於
2008年北京卓越藝術舉辦個展「王魯炎–整體的背
面」。
Lot 029
LI Zhangyan (Chinese, b. 1969)
Born in Changchun, Jilin Province, China. He graduated
from the Sculpture Department of the Central Academy
of Fine Arts, Beijing in 1999. He works and lives in
Chongqing and teaches at the Sculpture Department
of the Sichuan Fine Arts Institute, Chongqing. His
artworks are originated from everyday life observations
as his inspiration. Through sculpting the physical
environment and scenes, his artworks revealed mutual
disregard and alienation among people in the society but
yet they are close in proximity. His works could be seen
in many joint exhibitions such as 2005, 2006 & 2007
"Mahjong – Contemporary Chinese Art from the Sigg
Collection", Sweden, Germany & Austria; 2003 "An
Opening Era – Celebration of the 40th Anniversary of
Founding of the Natinal Art Museum of China", Beijing;
2005 "Grounding Reality", Seoul; 2007 "Grassroots
Humanism : 21 Cases of Contemporary Art", Beijing;
2007 "Urban Mirroring – Contemporary Art Exhibition",
Shenzhen. He also held various solo exhibitions such as
1998 "LI Zhangyan Solo Sculpture Exhibition", Beijing;
2003 "Life Myraid", Beijing; 2006 "Scenes", Lucerne,
Switzerland; 2008 "Rent", Beijing.
李占洋 (中國，1969年生)
生於吉林長春市。1999年畢業於北京中央美術學院雕塑
系，現任教於重慶四川美術學院雕塑系。擅長場景雕
塑，喜歡以日常生活的體驗作為作品主題。透過塑造車
站、酒吧、按摩室等場景雕塑，記錄當時當刻他想回味
的生活細節，表達人與人之間雖然近在咫尺，卻又漠不
關心的社會現象。作品曾參與多次國內外的展覽，如
2005、2006及2007分別在瑞士、德國及奧地利舉辦的
「麻將－中國當代藝術希克收藏展」；2003年在北京中
國美術館舉辦的「開放的時代－紀念中國美術館建館40
周年展」；2005年在韓國首爾舉辦的「著陸現實」；
2007年在北京原創藝術博展中心舉辦的「底層人文－當
代藝術的21個案例」；同年在深圳美術館舉辦的「都市
鏡像－當代藝術邀請展」。另外，他亦舉辦了多次個人
展覽，包括1998年在北京中央美術學院通道畫廊舉辦的
「李占洋雕塑作品展」；2003年在北京藝術文件倉庫舉
辦的「人間萬象」；2006年在瑞士盧森麥勒畫廊（北京
－盧森）舉辦的「場景」及2008年在北京麥勒畫廊（北
京－盧森）舉辦的「租－收租院」等。
137
Lot 030
QU Guangci (Chinese, b. 1969)
A native of Shanghai, China, he graduated from the
Affiliated High School of the Zhejiang Academy of
Fine Art in 1989. In 1994 he received his bachelor’s
degree from the Department of Sculpture at the Central
Art Academy, then a master’s degree in 1997. The
artist is currently a teacher in the Sculpture Studio at
the School of Fine Art, Shanghai Normal University.
His 1993 piece "Mother" was entered in the "National
Commemoration of Comrade Mao’s Lecture at the Yan-
an Art and Literature Workshop - 65th Anniversary Art
Exhibition" where it won an outstanding work award.
The 1994 piece "Street" participated in the "1994
Central Art Academy Graduate Exhibition" organized
by the Central Art Academy display gallery and won
a second rank award and was added to the academy’s
collection. His work "Wang 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)
出生於上海。1989年畢業於浙江美術學院附中，1994年
畢業於中央美術學院雕塑系，獲學士學位。1997年畢業
於中央美術學院雕塑系，獲碩士學位，現為上海師範大
學藝術學院雕塑工作室教師。1993年作品《母》參加中
國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談
會上的講話—六十五周年美術作品展」，並獲優秀作品
獎。1994年作品《街道》參加中央美術學院陳列館舉辦
的「94中央美術學院畢業生作品展」獲二等獎，並被中
央美術學院收藏。作品《王府井》獲「第八屆全國美
展」北京地區金獎，並入選「第八屆全國美展優秀作品
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。

Lot 031
JIAO Xingtao (Chinese, b. 1970)
Born in Chengdu, Sichuan in 1970, Jiao graduated
from Sichuan Academy of Fine Arts in 1996. Now
works and lives in Chongqing. He participated in
various exhibitions, including: "Shanghai Jingwen Art
Exhibition", Shanghai; "Beijing International Urban
Sculpture Exhibition", China National Museum, Beijing,
2002; "Chongqing Art Museum opening exhibition
- Intensely Interesting Arts", Chongqing; "Beijing
1st International Art Biannual Exhibition", China
National Museum, Beijing, 2003; "10 Art Academy
joint Exhibition", Academy of Fine Arts, Tsinghua
University, Beijing, 2003; "Japan Oita International
Sculpture Exhibition", Japan, 2004; "The 2nd Chengdu
Biannual Exhibition", Chengdu Modern Art Gallery,
Chengdu, 2005; "Contemporary Art Almanac Exhibition
of China", The Art Museum of the China Millennium,
Beijing, 2006; "New South-West Contemporary Painting
Exhibition 1985-2007", Guangdong Museum of Art,
Guangzhou, 2007.
焦興濤 (中國，1970年生)
1970年出生於四川成都，1996年畢業於四川美術學院。
現工作、生活於重慶。曾參與的展覽有：「上海精文
藝術大展」，上海；2002年「北京國際城市雕塑邀請
展」，北京；「重慶美術館開館系列展之—耐人尋味的
藝術」，重慶；2003年「北京首屆國際美術雙年展」，
中國美術館，北京；「全國十所美術院校作品展」，清
華大學美術學院，北京；2004年日本大分國際雕塑展
「日本朝蒼文夫紀念館」，日本；2005年「第二屆成都
雙年展」，成都現代藝術館，成都；2006 年「首屆中
國當代藝術年鑒展」，中華世紀壇現代藝術館，北京；
2007 年「從西南出發—西南當代藝術展1985-2007」，
廣東美術館，廣州等。
Lots 032, 040, 041
ZHOU Chunya (Chinese, b. 1955)
Born in 1955 in Chengdu, Sichuan Province, China.
Zhou Chunya graduated from the Department of Oil
Painting of the Sichuan Institute of Fine Arts in 1982.
Zhou also graduated from the Fine Arts College of
German Kassel University. He currently works as an
artist at the Chengdu Academy of Painting in Sichuan.
Zhou's works have been shown at "The Documentary
Exhibition of Chinese Contemporary Art" (Beijing,
1991), "China Experience" (Chengdu, 1993), "China's
New Art - Post '89" (Hong Kong, 1993), "The Annual
Exhibition of Art Critics Nomination" (Beijing, 1994),
"China!" (Bonn, 1996) and "The Shanghai Biennial"
(Shanghai, 1996). His work can be found in the public
collection of the Austria Linz Art Museum.
周春芽 (中國，1955年生)
四川成都人。1982年畢業於四川美術學院油畫系。1988
年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現
在為成都畫院專職畫家。1980年作品入選第二屆全國青
年美展獲二等獎。1982年參加紐約中國當代油畫展，
1984年參加香港四川油畫展，同年參加前進中的中國青
年畫展。1987年舉辦個人畫展於德國杜塞道夫，1988年
於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德
國際五人作品展。1992年入選「廣州九十年代藝術雙年
展」獲學術獎。1993年參加香港「後八九中國新藝術
展」，同年與葉永青、張曉剛等舉辦中國新經驗展。
1996年應邀參加第一屆上海雙年展。作品為奧地利林茨
美術館典藏。
138
Lot 033
LI Chen (Taiwanese, b. 1963)
L i C h e n w a s b o r n i n Ta i w a n , i n 1 9 6 3 . H e h a s
extraordinary performance in molding the traditional
Buddhist sculptures. Later he infused emotion of the
heart into the works and studied a variety of Confucian,
Buddhist, and Taoist scriptures, and even instilled new
contemporary thoughts, which provided a new creativity
to Li Chen’s sculptures. Solo Exhibitions:2007 "52nd
International Art Exhibition – La Biennale di Venezia",
Venice, Italy (Asia Art Center), 2005 "Li Chen
Sculpture" Taipei Art Fair, Taiwan (Asia Art Center),
2003 Series of "Spiritual Journey Through The Great
Ether" Michael Goedhuis Gallery, New York, U.S.A;
International Group Exhibitions: 2004 "OPENASIA" 7th
International Exhibition of Sculptures and Installations,
Venice, Italy. 2007 "A Truth Beyond the Real – 14
Chinese Contemporary Artists" Doosan Art Center,
Seoul, Korea.
李真 (台灣，1963年生)
雕塑家李真，早期製作傳統佛像就有特殊表現。其後李
真融入自我攝心之情感，涉略佛學、道家等經典，更結
合當代思維使其雕塑作品上有著創新的突破，呈現既古
典又現代的面貌。個展：2007受邀於「第52屆威尼斯雙
年展 – 虛空中的能量」個展；2006年台北國際藝術博覽
會 「李真雕塑展」(亞洲藝術中心)；2005年台北國際藝
術博覽會 「李真雕塑展」(亞洲藝術中心)；2003 美國紐
約古豪士畫廊「大氣神遊」。國際大型展覽：2004 義大
利威尼斯第七屆國際雕塑及裝置大展-「OPENASIA」；
2007年韓國首爾「世事而非–14位中國藝術家對真實形
象的變異及探索」韓國斗山藝術中心策劃。
 Lot 035
Lot 034 Lot 036

XIANG Jing (Chinese, b. 1968)
Born in Beijing, China. Xiang was graduated from the
Affiliated Senior High School of Central Academy of
Fine Arts in 1988. In 1995, she got her Master Degree
from the department of sculpture of Central Academy
of Fine Art in 1995. She has participated in a four-
artist joint art exhibition held by Beijing Contemporary
Art Museum in March the same year. Her graduation
portfolio "Amulet" had won the 1st prize from Central
Academy of Fine Art graduation portfolio exhibition
and also from Japan Matsuoka Foundation, her work
has been collected by Central Academy of Fine Art. In
the same year, she participated the exhibition of Chinese
Female Artists held by 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–the Only Place for Art, her work
was chosen by the 9th "National Art Exhibition" and had
won the award of excellence.
PAN Dehai (Chinese, b. 1956)
Born in Jilin City, Liaoning Province, China, he
graduated from the Fine Art Department, Northeast
Normal University. In 1989, Pan won an award in the
7th National Art Exhibition. From 2002, he has worked
for the Fine Arts College, Yunnan Arts University as
a lecturer. His important exhibitions include "China
Contemporary Art Exhibition" (1988, Chengdu); "From
Mao to Pop Art" (1993, Melbourne); "Reality, Today,
and Tomorrow" (1996, Beijing); "Asian Contemporary
Art Exhibition" (2000, London); "International
Art Exposition" (2006, Beijing); "Pan Dehai Solo
Exhibition" (2007, Beijing).
CHEN Ke (Chinese, b. 1978)
Born in Tongjiang, Sichuan Province, China, Chen Ke
graduated from the Oil Painting Department of Sichuan
Institute of Fine Arts in 2002 and an MFA in 2005.
Chen Ke is currently working and living in Beijing.
She was awarded the Inaugural Chengdu Biennial for
Art Academy Students in 2001. In 2007, She held the
exhibition "With you, I will never feel lonely" at Beijing
Star Gallery and Milano Marella Gallery. Chen Ke is a
representative artist. Her artworks derive aesthetics from
animation and cartoons, closely connecting the affection
in the virtual world with real life. The digital images
from her painting demonstrates bright and colorful light,
contributing to the diversity of her visual layout. She
creates a popular cartoon world with kaleidoscopic and
dazzling imagination.

向京 (中國，1968年生) 潘德海 (中國，1956年生) 陳可 (中國，1978年生)

出生於北京。1988年畢業於中央美術學院附中。1995年 生於吉林省四平市。1982年7月畢業於東北師範大學美 生於四川省通江。2002年畢業於四川美術學院油畫系。
畢業於中央美術學院雕塑系。1995年參加北京當代美術 術系油畫專業。1989年，曾獲得「第七屆全國美展」的 2005年畢業於四川美術學院油畫系碩士學位。現工作生
館舉辦的三月四人展。畢業作品《護身符》等獲中央美 獎項。2002年調入雲南藝術學院美術學院任教，現任雲 活於北京。2001年獲第一屆成都雙年展學生特展「新秀
院畢業生作品展一等獎及日本松岡家族基金會一等獎， 南藝術學院美術學院講師。重要展覽包括「88年中國現 獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂
作品被中央美院收藏。同年參加中國美術館舉辦的中華 代藝術展」（1988，成都）；「走向波普」（1993， 畫廊舉辦「和你在一起，永遠不孤單」個展。陳可是一
女畫家邀請展。1998年參加中國美術館「世紀．女性藝 墨爾本）；「現實、今天和明天」（1996，北京）; 位很有代表性的藝術家，她的作品由動畫、漫畫帶動美
術展」、「弦外之音畫展」。1999年作品參加北京新 「亞洲當代藝術展」（2000，倫敦）；「國際藝術博覽 學，從虛擬世界裡的情愛和真實人生的情感密切互動，
時空－ART專遞空間舉辦的「世紀末藝術之旅．第二回 會」（2006，北京）；「潘德海個人畫展」（2007，北 由數位影像呈現的鮮亮色光，構成變換多端的視覺造
展」，作品入選「第九屆全國美展」並獲優秀獎，作品 京）。 型。她用繽紛炫奇的想像營造一個大眾的卡通新世界。
《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。

139
 Lot 038

Lots 037, 047 Lot 039

MAO Xuhui (Chinese, b. 1956)
Born in Chongqing City, China, Mao Xuhui graduated in
1982 from the Yunnan Arts University, Art Department,
majoring in oil painting, where he stayed teaching after
graduation since 1996; and he is now a member of the
Yunnan Oil Painting Association, and Vice-Chairman
of the Yunnan Oil Painting Society. Since the opening
up of China’s reformation, modern and contemporary
Western art has taken root in China, and Mao Xuhui
is one of the artists that has most assimilated and
manifested Western art to its utmost, which makes him
unique among his fellow artists.
ZENG Fanzhi (Chinese, b. 1964)
Born in Wuhan, Hubei, China, Zeng Fanzhi graduated
from the oil painting department of the Hubei Fine Arts
Institute in 1991. Presently lives in Beijing as a painter.
He conducted many important exhibitions, including
the "Zeng Fanzhi Art Exhibition" held in Hubei Fine
Arts Museum in 1990, the "80's China Fine Arts (oil
paintings) Biannual Exhibition" held in Guangzhou
in 1992, "Post-'89 China New Art Exhibition" held
in Hong Kong in 1993, "Walk Away from National
Ideology- China New Art" held in Hamburg
international avant-grade cultural center in Germany in
1995, "Zeng Fanzhi: False Face" held in the Barcelona
Contemporary Art Museum in Spain and Hanart T Z
Gallery in Hong Kong, "The Future" held in the Macao
Contemporary Art Center in 2000, "Behind the Mask"
held in Shanghai Shangrila Gallery in 2001, "Paris-
Beijing" held in the Pierre Cardin Center in France and
"The 1st Session Guangzhou 3 Years Exhibition" in the
Guangdong Art Museum in 2002, and "I, We" held in
the Shanghai Art Museum in 2003.
FANG Lijun (Chinese, b. 1963)
Born in Handan, Hebei Province, he graduated from the
Print Dept of the Central Institute of Fine Arts in 1989,
Current: Lives and Works in Beijing. Group Exhibitions:
1989 "China Avant-Garde Art Exhibi- tion, National Art
Museum", China; 1993 "China Avant-garde", Germany;
1994 "The 22nd Interna- tional Biennale of San Paulo",
Brazil; 1995 "The 1st Kwangju Biennale", Korea; 1999,
"Open Boundary: the 48th Venice Biennale", Italy;
2002 "The Power of Image", China. Solo Exhibitions:
1995, "Fang Lijun", France; 1998 "Fang Lijun", the
Netherlands; "Fang Lijun", USA; 2000 "Fang Lijun",
Singapore; 2001 "Fang Lijun, Asian Fine Arts",
Germany; 2004 "Fang Lijun", Germany.

毛旭輝 (中國，1956年生) 曾梵志 (中國，1964年生) 方力鈞 (中國，1963年生)

出生於中國西南地區的重慶市，1982年畢業於雲南藝術 生於湖北武漢，1991年畢業於湖北美術學院油畫系。現 生於河北邯鄲，1989年畢業於中央美術學院，現居於北
學院美術系油畫專業，1996年在母校同系任教，現為雲 居北京，職業畫家。舉辦的重要展覽包括，1990年湖北 京。其作品多次參加國內外重要展覽：1989年「中國現
南油畫藝術委員會委員及雲南油畫學會副主席。中國改 美術院美術館「曾梵志作品展」1992年廣州「九十年代 代藝術大展」，北京；1993 年「中國前衛藝術展」，
革開放以來，隨著西方現當代藝術在中國的本土化，他 中國美術（油畫）雙年展」，1993年香港藝術中心「後 柏林；1994年「聖保羅雙年展」，巴西；1995年「光州
是眾多藝術家中將西方現當代藝術吸收消化得最徹底的 89’ 中國新藝術展」，1995年德國漢堡國際前衛文化中 雙年展」，韓國； 1999年「開放的邊界第48屆威尼斯
一位，也是行進得最深遠的一位，在同一代藝術家中是 心「從國家意識形態出走－中國新藝術」，西班牙巴賽 雙年展」，義大利；2002年「圖像就是力量展」，何香
絕無僅有的。 隆納現代藝術博物館，以及香港漢雅軒畫廊「曾梵志： 凝美術館，深圳。並曾在法國巴黎、荷蘭阿姆斯特丹、
假面」，2000年澳門當代藝術中心「未來」，2001年上 美國紐約、日本東京等地舉辦了多次個人展： 1995年
海香格納畫廊「面具之後」，2002年法國皮爾卡登中心 「方力鈞作品展」，巴黎；1998年「方力鈞作品展」，
「巴黎－北京」，廣東美術館「首屆廣州三年展」， 荷蘭；「方力鈞作品展」，美國； 2000 年「方力鈞作
2003年上海美術館「我、我們」等。 品展」，新加坡；2001年 「方力鈞亞洲當代藝術」，德
國；2004年「方力鈞」，德國。

140
Lot 042
YUE Minjun (Chinese, b. 1962)
Yue Minjun was born in Heilongjiang province, China.
He studied in the Fine Arts Department of Hebei
Normal University in 1985. He joined "S Plastic Art
Exhibition" in Hebei Provincial Exhibition Hall in 1987;
"Summer Palace Painters Exhibition" in 1992, "China
Oil Painting Exhibition-From Realism to Post-Realism"
in Belgium, 1995; "China" in Germany and "Basel Art
Fair" in Switzerland, 1996; "5000+10 Chinese Art" in
Spain, London, Berlin, 1998; "48th Venice Biennial"
and "Fourteen Chinese Artists Exhibition" in France,
1999; "Red Ocean" sponsored by the China Modem Art
Gallery in London, Britain, 2000.
岳敏君 (中國，1962年生)
生於黑龍江。1985年就讀於河北師範大學美術系，1987
年參加河北省展覽館舉辦的「S造型藝術展」；1992年
參與「圓明園畫家作品展」；1995年參加在比利時舉辦
的「中國油畫展－從現實主義到後現實主義」；1996年
參與在德國舉辦的「中國展」及參加瑞士舉行的「巴塞
爾藝術博覽會」；1998年參與在西班牙、倫敦、柏林舉
辦的「5000+10中國藝術展」；1999年參加「48屆威尼
斯雙年展」及參加在法國舉辦的「十四位中國藝術家
展」；2000年參加英國倫敦中國當代藝術畫廊所舉辦的
「紅色的海洋」展覽。
Lot 043
WANG Guangyi (Chinese, b. 1957)
Born in Harbin, Heilongjiang, China in 1957, Wang
Guangyi graduated from the Zhejiang Academy of
Fine Arts in 1984. He is currently a full-time artist in
Beijing and his works were shown at "The 1st Biennale
Art Exhibition" (Guangzhou, 1992), "China’s New Art
Post-1989" (Hong Kong, 1993), "Passaggio a Oriente -
The 45th Venice Biennial" (1993), "22nd International
Biennial of Sao Paulo" (Brazil, 1994) "New Asian
Art" (Tokyo and Fukuoka, 1995), "China!" (Bonn,
1996), "The Asia-Pacific Contemporary Art Triennial"
(Queensland, 1996), "Inside Out" (New York and
San Francisco, 1998-99), "20th Century Chinese Oil
Painting Exhibition" (Beijing, 2000) and "New Images:
20 Years of Chinese Contemporary Art" (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.
王廣義 (中國，1957年生)
中國哈爾濱人，是中國波普藝術最早的實驗者之一。
1984年畢業於浙江美術學院（今中國美術學院）油畫
系，現居北京，職業畫家。作品曾展出於1992年廣州第
一屆雙年展、1993年香港「後八九中國前衛藝術」、
1993年第45屆威尼斯雙年展、1994年巴西聖保羅國際雙
年展、1995年日本福岡亞洲新藝術展、1996年德國波昂
藝術館「中國展」、1996年澳洲亞太當代藝術三年展、
1998-99年紐約亞洲文化中心與舊金山現代美術館「蛻
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。
141
Lot 044
LI Shan (Chinese, b. 1942)
Li Shan graduated in 1968 from the Shanghai Drama
Academy. His paintings have demonstrated a strong
Expressionist vocabulary since the 1970s, and since
then have shown increasingly Primitivist tendencies,
including the incorporation of sexual imagery - a taboo
subject in Maoist era painting. His Primal Beginnings
series are intense expressions of the emotional turmoil,
In 1988 Li Shan created his Mona Lisa series, a
combination of lotus flower imagery from popular
paintings and images of the Mona Lisa, which seeks
to demonstrate the expressive power of allegorical
symbols embedded in vulgarized images. This theme
becomes stronger and clearer in his recent Rouge Series,
in which the artist uses 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.
李山 (中國，1942年生)
生於黑龍江。1968年畢業於上海戲劇學院。1970年代以
來，其繪畫顯示了一種強烈的表現語彙，自此持續展現
樸素主義的傾向，包括在毛澤東時代仍為繪畫禁忌的性
圖像拼組。他的「初始」系列描寫深藏人類內心的情感
波動。1988年李山創造「蒙娜麗莎」系列，從通俗圖畫
擷取蓮花圖樣，再結合蒙娜麗莎的影像，尋求揭露出寓
言象徵嵌入粗俗圖像時的表現張力。這個主題在「胭脂
帝國」系列表現得更強烈，他使用巨大畫布、細膩的筆
法以及雌雄同體的影像，創造出一種情緒不安氛圍，藉
以表達面對知識、語言和權力合而為一的社會效應，人
們的中性特質。李山也是中國藝壇「後九八中國新藝
術」的成員之一，以政治波普風格走紅國際，目前定居
上海。
Lot 045
XU Bing (Chinese, b. 1955)
Born in Chongqing, China, grew up in Beijing. Xu
Bing graduated from the Central Fine Arts Institute
Print Department in 1981, and stay teaching in school,
attained the Master of Arts degree from central fine arts
institute in 1987. Went to America in 1990, and settled
down in New York. Participates in many important
international contemporary fine arts display several
times, like the 45th Venice Biennale, Museum of
Modern Art in New York, the San Francisco Museum of
Modern art, the Tokyo International Vision Transmission
Center, New York PS1 and so on. In 1999 he obtained
the American cultural circle highest prize-MacArthur
Fellow.
徐冰 (中國，1955年生)
重慶人。長於北京。1981年畢業於中央美術學院版畫
系，留校任教。1987年獲中央美術學院文學碩士學位。
1990年赴美，並定居紐約。多次參加許多重要國際當代
美術展覽，如第45屆威尼斯雙年展、紐約現代美術館、
舊金山現代美術館、東京國際視覺傳達中心，紐約PS1
等。1999年獲得美國文化界最高獎－麥克阿瑟獎。
Lot 046
YIN Zhaoyang (Chinese, b. 1970)
Born in Henan, China, graduated from the Central
Institute of Fine Arts in Beijing, Department of The
Printmaking, now resides in Beijing. Yin is an artist
who selects the pulse of an era as his subject. His solo
exhibitions include "Myth" (2001, Beijing Art Museum)
and "Utopia" (2004, Beijing Central Art Museum).
Group exhibition he had participated includes "Gruelty
of Youth Painting" (2002, Shanghai DDM Warehouse
and Beijing Yan Huang Art Museum), "Images Image
Exhibition" (2003, Shenzhen Art Museum), and
"The Power of Personality - a travelling exhibition of
progressive art".
尹朝陽 (中國，1970年生)
生於河南，畢業於北京中央美術學院版畫系，現居北
京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的
個展有2001年「神話」（北京藝術博物館）和2004年
「烏托邦」（北京中央美術館）。曾參加的群展有：
2001年成都雙年展、 2002年上海東大名藝術創庫和北
京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館
的「圖像的圖像展」及「個性力量－新銳藝術巡迴展」
等。
142
Lot 048
TANG Zhigang (Chinese, b. 1959)
Ta n g Z h i g a n g w a s b o r n i n K u n M i n g S h i , Yu n
Nan Province, China. He was graduated from the
Department of Fine Arts in PLA Art Academy, Beijing
in 1989. Same year, he participated in the 7th National
Art Exhibitions in Nanjing. In 1995, he participated in
the "Current State" exhibition in Columbia University
in US; 1999, participated in the "The New Artist from
Kun ming" in Hong Kong; 2000, participated in Asia
Contemporary Art Exhibition in London; and 2001,
participated the Vasl International Artists Workshop.
唐志剛 (中國，1959年生)
生於雲南省昆明市。1989年 畢業於解放軍藝術學院美
術系（北京）。1989年參加第七屆全國美術作品展（南
京）。1995年 參加美國哥倫比亞大學美中文化交流
《現在狀態》展。1999年參加漢雅軒《來自昆明的新藝
術家》展（香港）。2000年參加亞洲當代藝術展（倫
敦）。2001年 參加「Vasl 國際藝術家工作室」 。

Lot 049
GUO Wei (Chinese, b. 1960)
Guo Wei graduated from Sichuan Academy of Fine
Arts in 1989, and currently lives and works in Sichuan
Province, China. Since 1992, the artist’s works have
been shown in numerous national and international
exhibitions, including his first solo exhibition "Bound
States Guo Wei’s Works" in 1999, Kaoshiung; Guo
Wei’s solo exhibition in 2001, Los Angeles & San
Francisco; "Indoor With Mosquitoes and Moths" (2004,
Barcelona); and group exhibitions such as "Dream. 2001
Chinese Contemporary Art" (London); "Face to Face.
Six Artists and One Time" (2004, Taiwan); "Biennale
del’art contemporain Chinois" (2005, France); "Unclear
and Clearness" (2006, South Korea); "Brothers" (2006,
Beijing); "Figurative Possibilities" (2007, New York).
郭偉 (中國，1960年生)
生於四川成都，1989年畢業於四川美術學院版畫系，
現居成都。其作品自1992年起參加過無數個海內外展
覽，如1999年舉辦的首次個展「包紮狀態」(高雄)、
「郭偉個人畫展」(2001，洛杉磯、舊金山)、「室內、
蚊子與飛蛾」(2004，巴塞隆納)；以及豐富的聯展經
驗，如「夢：2001中國當代藝術」(倫敦)、「面對面–
六個畫家和一個時代」(2004，台南)、「中國藝術雙年
展」(2005，法國)、「虛虛實實–亞洲當代藝術的再發
現」(2006，韓國)、「兄弟」(2006，北京)、「交疊」
(2007，紐約)。
Lot 050
GUO Jin (Chinese, b. 1964)
Born in Chengdu, Sichuan, China, he graduated in
1990 from the School of Oil Painting at the Sichuan
Academy of Fine Arts, stayed on as a teacher and
currently resides in Chongqing. Since entering his work
in the Guangzhou’s "First Nineties Guangzhou Biennial
Exhibition" in 1992, Guo has been involved in many
major exhibitions locally and overseas such as: the 1994
"Exhibition of Chinese Oil Paintings-From Realism
to Post-Modernism" in Brussels, the 1997 "Sharing
of Dreams - Five Artists from China" in New York,
"The Faces and Bodies from the Middle Kingdom - An
Exhibition of Chinese Art" at the Rudolfinum Gallery in
Belgrade and the 2001 "Guo Jin Exhibition" in London.
Guo’s artworks are widely collected today.
郭晉 (中國，1964年生)
生於四川成都。1990年畢業於四川美院油畫系，並留校
任教。現居重慶。收藏機構：澳門東印度公司總裁官邸
東方基金會、新加坡博物館、上海美術館、成都上河美
術館、瀋陽東宇美術館、德國波昂藝術文化基金會、日
內瓦奧蘭斯卡基金會、深圳美術館。
143
Lot 051
GAO Huijun (Chinese, b. 1966)
Born in Baoding, Hebei, China, Gao Huijun graduated
from the Hebei Light Industry School in 1986,
graduated from the Central Industrial Art Institute in
1992. He became a professional painter since 1994.
He attended the Beijing China art exhibition and won
the outstanding works prize in 1995. In the same year
she also participated in the German China modern
art exhibition. After 1996, he held solo exhibitions in
Beijing and Singapore; his works are also collected by
Teda Contemporary Art Museum in Tianjin.
高惠君 (中國，1966年生)
生於河北保定。1986年畢業于河北輕工業學校，1992畢
業於中央工藝美術學院。1994年成為職業畫家。1995年
參加北京中國藝術博覽會，獲優秀作品獎，同年也參與
德國中國現代藝術展。1996年起先後在北京、新加坡舉
辦個人畫展，其作品也為天津泰達當代藝術博物館收
藏。
Lot 052

Lot 053

Lot 054

SHENG Qi (Chinese, b. 1965)
Sheng Qi was born in Hefei, China and graduated from
the Central Academy of Art and Design, Beijing, in
1988. From 1989 to 1992, he was lived and worked
in Italy. In 1998, he received MFA from Central Saint
Martin’s College of Art and Design London. He
currently lives and works as a professional artist in
Beijing. Solo Exhibitions: "Are You Willing to Shake
My Hand?" (Tokyo, 1998); "Melbourne Fringe Festival",
(Melbourne, 2000); "Madness and Appropriation",
(Beijing, 2004); "Confidential", (Beijing, 2006); "Zhu
Yi!", (Spain, 2007).
QIU Xiaofei (Chinese, b. 1977)
Born in Harbin, Heilongjiang Province, China. From
1994 to 1998, he studied at the Central Academy of
Fine Arts Subsidiary School, Beijing. In 2002, he
graduated from No.3 Oil Painting Studio of the Oil
Painting Department of the Central Academy of Fine
Arts, Beijing. Important Exhibitions: "The Second
Factory Time" (2000, Beijing); "Back" (2001, Beijing);
"N12 New Painting-No.2" (2003, Beijing); "Feeling
Memory" (2004, Shanghai); "Together" (2004, Beijing);
"Welcome, Welcome" (2005, Tokyo); "Huge Steamship"
(2005, Beijing); "Expression" (2005, Luoyang,);
"Mahjong - Wuly Heak Collection Exhibition" (2005,
Switzerland); "Naughty Kids" (2005, Beijing).
HE Sen (Chinese, b. 1968)
Born in 1968 in Yunnan, China, He Sen graduated
from Sichuan Academy of Fine Arts in 1989. He now
lives and works in Chengdu, China. His works were
shown in many international exhibitions, including
solo exhibitions held by the Piltzer Gallery (2002,
Paris); by Marella Contermporary Art (2003, Milan);
"Shadow" (2004, Beijing). He also participated in group
shows such as "New York Asia International Art Fair"
(2002); "China Avant Garde" (2004, Jakarta, Indonesia);
"New Perspectives in Chinese Painting"(2004,
Milan); "Beijing, Chongqing, Shanghai - Painting and
Photography" (2004, Munich).

盛奇 (中國，1965年生) 仇曉飛 (中國，1977年生) 何森 (中國，1968年生)

出生於合肥，1988年畢業於中央工藝美術學院，1989至 生於哈爾濱。1994至1998年就讀於中央美術學院附屬 生於中國雲南，1989年畢業自四川美術學院師範系，現
1992年工作於義大利，1998年畢業於英國倫敦聖馬丁藝 中學，2002年畢業於中央美術學院油畫系三畫室。重 定居與工作於成都。其作品曾於海內外個展展出，如皮
術設計學院，獲藝術碩士學位。目前，在北京生活工 要畫展：「二廠時代」（2000，北京）；「向後退」 爾策畫廊舉辦的「何森個人作品展」（2002，巴黎）、
作。重要個展： 1998年「您願意與我握手嗎？」，東 （2001，北京）；「n12 第一回展」（2003，北京）； 米蘭馬蕊樂畫廊個展 （2003）、「如影隨形」（2004，
京；2000年「墨爾本國際邊緣藝術節」，墨爾本；2004 「感覺記憶」（2004，上海）；「在一起」（2004， 北京）。另外，其參加過的聯展有紐約國際亞洲藝術博
年「瘋狂的竊取—盛奇作品展」，北京； 2006年「機密 北京）；「歡迎歡迎」（2005，東京）；「大輪船」 覽會（2002）、「中國前衛藝術展」（2004，印尼雅加
檔案」，北京；2007年「注意！」，西班牙。 （2005，北京）；「表達」（2005，洛陽）；「麻將」 達）、「中國繪畫新景觀」（2004，米蘭）、「北京、
（2005，瑞士）；「壞孩子的天空」（2005，北京）。 重慶、上海—繪畫與攝影」（2004，德國慕尼黑）等展
覽。

144

Lot 055
ZHONG Biao (Chinese, b. 1968)
Born in 1968 in Chongqing, China, Zhong Biao
graduated from the China Academy of Art, majoring
in the Oil Painting Department in 1991; and he is
now Associate Professor of the Sichuan Fine Arts
Institute. He has shown his works in many exhibitions
including "The First Chinese Oil Painting Biennial
Exhibition"(1993, Beijing), "The Art Asia Expo
1995" (1995, Hong Kong); "Art Taipei 1995" (1995,
Taipei); "At the New Century, 1997-1999: Chinese
Contemporary Art Works" (2000, Chengdu); "China
Art Now" (2001, Singapore); "SF4 - San Francisco
International Art Exposition" (2001, California); and
solo exhibitions "The Fable of Life" (1996, China; 1997,
Hong Kong); "A Chance Existence" (2001, Hong Kong).
鐘飆 (中國，1968年生)
生於中國重慶，於1991年畢業於中國美術學院油畫系，
現任教於四川美術學院。 其作品曾參加「首屆中國油
畫雙年展」（1993，北京）、「香港亞洲藝術博覽會」
（1995）、「台北國際藝術博覽會」（1995）、「世
紀之門–1979-1999中國藝術邀請展」（2000，成都）、
「2001中國當代藝術展」（新加坡）、「舊金山藝術博
覽會」（2001）；並舉辦個展「生命預言」（1996，中
國；1997，香港）、「偶然存在」（2001，香港）。
Lot 056
Lot 057
Haris Purnomo (Indonesian, b. 1956) MA Yunfei (Chinese, b. 1960)
Born in Delanggu, Klaten (Central Java), Indonesia, Born in 1960, Yanji, Jilin Province, China. Ma graduated
Haris Purnomo graduated from Sekolah Seni Rupa from the Department of Fine Arts of Northwest
Indonesia Art School, Yogyakarta in 1975, and Sekolah Normal University in 1983. He participated in various
Tinggi Seni Rupa Indonesia Asri Colleage of Fine Art in exhibitions, including: 1998 "It’s me", Taimiao, Beijing;
1984. Purnomo has participated in various solo or group 1999 "Fortune Forum Art Exhibition", Jinmao Plaza,
exhibitions since 1978, such as "Art Singapore 2007", Shanghai, 2002 "Run, Jump, Climb, Walk", Yuanyang
"Shanghai Art Fair 2007". He also won the "Sovereign Art Center, Beijing; 2003 "CONTROL-Z", Taikang Top
Asian Award" in 2007. Space, Beijing; 2004 "Art Exhibition", Taikang Top
Space, Beijing; 2004 "Asian Workshop", Bolunniya
Modern Gallery, Italy; 2005 "Group Space", La Art
Space, Hong Kong; 2007 "Chen Linghui Contemporary
Space", Hong Kong; 2008 "Valencia 55 Days", Spain.
哈里斯．普爾諾莫 (印尼，1956年生) 馬雲飛 (中國，1960年生)
出生於印尼中爪哇省克拉登得郎古，普爾諾莫1975年從 生於中國吉林省延吉市，1983年畢業於西北師範大學
爪哇日惹市的印尼藝術學院畢業，1984年畢業於汀吉藝 美術 系。曾參與的展 覽包括 19 98 年 北京 太廟 舉 辦 的
術大學；1978年起，他參加了無數的個展及聯展，如 「是我」、1999年於上海金茂大廈舉辦的「財富論壇
2007年的「新加坡藝博會」及「上海藝術博覽會」； 畫展」、2002年於北京遠洋藝術中心舉辦的「跑跳爬
2007年，他曾獲得「傑出亞洲藝術獎」。 走」、2003年於北京泰康頂層空間舉辦的「CONTROL-
Z」、2004年於北京泰康頂層空間舉辦的「畫展」、同
年於意大利波倫尼亞現代館舉辦的「亞洲工廠」、2005
年於香港LA藝術空間舉辦的「集體空間」、2007年於
北京舉辦的「陳綾蕙當代空間」、2008年於西班牙舉辦
的「瓦倫西亞55天」。
145

Lot 058
Dipo ANDY (Indonesian, b. 1975)
Born in 1975, Sumbawa, Indonesia. Dipo Andy was
graduated from the Indonesia Institute of the Arts,
Yogyakarta. In 1995 & 1998, he won the Finalist
Indonesia Art Award in Jakarta. In 1999 he was one of
the "Top 5 Winner" of Indonesia Art Award in Jakarta.
His works has been exhibited in Jakarta, Yogyakarta,
Bangladesh, Kuala Lumpur, Bandung etc. He has held
numerous solo exhibitions including "Voice of Nation",
Intaran gallery Bandung, 1999; "Muka-kamu-amuk-
muak (Serigraph of 500 face of Indonesia Parliament
Member 1999-2004)", Nasional Museum Jakarta, 2001;
"Bolart : Choreography of Soccer (Serigraph of 750
face – World Cup Player 2002)", Sport Museum, TMII
Jakarta, 2002; "Mirror : Masters Revisited", Vanessa Art
Link, Jakarta, 2006.
狄波．安迪 (印尼，1975年生)
生於印尼松巴瓦，畢業於日惹印尼藝術學院。1995年及
1998年，於雅加達獲得印尼藝術獎。1999年於雅加達獲
得印尼藝術獎之首五名。他曾參與多地聯展，包括雅加
達、日惹、孟加拉、吉隆坡、萬隆等。另外，他亦曾舉
辦個展，如1999年於庫萬隆舉辦的「民族聲音」、2001
年於日惹舉辦的「Muka-kamu-amuk-muak – 1999至2004
年500位印尼國會議員的版畫」、2002年於雅加達舉辦
的「Bolart – 足球的舞蹈 – 2002年750位世界盃參與者
的版畫」、2006年於雅加達舉辦的「鏡子–大師再訪」
等。
Lot 059
Heri DONO (Indonesian, b. 1960)
Born in Jakarta, Heri Dono studied at the Indonesian
Arts Institute in Yogyakarta and also in Basel,
Switzerland and Wales. Besides painting, he is known
for his controversial installations and is known to
adapt from the traditional wayang subjects to create
his signature caricatured wayang figures on the canvas.
The artist has exhibited extensively in Southeast Asia,
Europe and in the United States of America.
赫利．多諾 (印尼，1960年生)
出生於印尼雅加達，他曾就讀於位於日惹的印尼藝術學
院、瑞士巴塞爾及威爾斯。除了繪畫以外，他最有名的
創作就是具爭議性的裝置作品，以及受印尼古典玩偶劇
《哇揚戲》影響的、誇張化的哇揚偶形象創作。赫利．
多諾的展覽遍及東南亞、歐洲以及美國。
146
Lot 060
Walasse TING
(Chinese-American, b. 1929)
Born in Wuxi, Jiangsu, China, but raised in Shanghai
where, by his own account, he first began painting
on sidewalks. Ting ever enrolled Shanghai Fine Arts
School. He moved to Hong Kong in 1946. Then
he moved to Paris in 1952 where he formed close
relationships with members of the CoBra group. In
1960, he immigrated to New York, where he became
involved with Pop artists. Ting published a book of his
poems entitled One Cent Life illustrated with original
lithographs by numerous American and European artists.
He became American citizen in 1974. In 1977, he was
awarded a fellowship from the John Simon Guggenheim
Foundation and published Red Mouth, a book of erotic
drawings and paintings. Since 2001, he has resided in
Amsterdam. The use of color was unique. His paintings
have also been collected by many museums, including:
Metropolitan Museum in New York, MoMA and
Guggenheim Museum of Arts.
丁雄泉 (華裔美籍，1929年生)
江蘇無錫人。成長背景在上海，自食其力，在街頭作
畫。曾入上海美術專科學校學習，1946年遷居香港。
1952年前往巴黎，期間和眼鏡蛇畫派成員結為好友。
1960年移居紐約，發展出新畫風，成為美國普普藝術家
一員。出版一本名為《一分人生》的詩集，內容並包括
了多位美國及歐洲藝術家的版畫原作。1977年獲得古根
漢紀念基金會的獎助學金，並出版了一本以女性為題材
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。
PARTICIPATING GALLERIES
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Tel. No.
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：羅芙奧香港2010春季拍賣會
至： 現代與當代藝術
客戶服務部： 香港拍賣日期：
電話：+852 2889 0859 2010年5月31日（星期一） 上午11:30至下午1:00
傳真：+852 2889 0850 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號

投標者資料
客戶編號 （如有）
姓名
身份證號碼
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，落槌價於港幣伍佰萬元以下者含伍佰萬元以20％計算；（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以20％計算，超過
港幣伍佰萬元之部份以12％計算。）
本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚
拍賣品編號 競投價（港元）
（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
MODERN & CONTEMPORARY ART

銀行帳戶名稱 羅芙奧股份有限公司 香港中環畢打街20號會德豐大廈17樓

銀行帳號 17/F Wheelock House, 20 Pedder Street, Central, Hong Kong
銀行聯絡者 Tel: +852 2889 0859 - Fax: +852 2889 0850
www.ravenelart.com
銀行電話
Transaction Agreement
The following provisions are entered into by and between the Company, as
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
Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully
review all provisions hereunder. The Buyer should pay special attention to
Article 5 which provides limitations as to the legal responsibilities of the
Company.
I. The Buyer
1. Ravenel as the Agent
The Company, as the auctioning party, shall act as the agent of the Seller. Except
otherwise provided, items successfully sold in the auction held by the Company
shall be bound by the agreement made by and between the Seller, through the
agency of the Company, and the Buyer.
2. Prior to the auction
a. Authentication
We strongly recommend that the prospective buyers conduct their own
authentication for the items they are interested in bidding prior to the auction.
We provide no guarantees to the buyer (with the exception of the guarantee with
regard to counterfeits as defined in Section III of the Transaction Agreement).
b. Important Notice
Attention, prospective buyers: As far as possible, the descriptions of auction
items will mention obvious defects of the items; however, they do not
necessarily include all flaws, defects, or incomplete aspects. The Company
regrets that it is unable to guarantee that the wristwatches on auction are in good
working condition and the descriptions in the catalogue must not be construed
as implying such. The description of the auction items also do not imply that the
items have not gone through readjustment or repair or allude anything about the
current state or storage conditions of the items. Any omission in the catalogue
description regarding the current condition or the appraisal of defects in the
items by no means represent that those items are in good condition, function
normally, or that there will be any free repair or replacement of parts. We
strongly recommend prospective buyers to personally view the items for which
they plan to bid before the auction itself. If a prospective buyer is unable to view
an item for whatever reason, then in our role as a service provider, we would
be more than happy to offer our opinion of an item's special characteristics
and current condition. However, the Company is not a professional restorer
of wristwatches; therefore, any description in the catalogue is purely the
Company's subjective opinion and not a statement of fact.
Please note: The outer shells of many of the water-resistant watches have been
opened in order to investigate their working condition and their type; therefore,
it must not be assumed that they are currently water-resistant. We recommend
buyers to have such watches checked by a competent watchmaker before use.
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
given watch's parts are from the original set of parts.
All of the items on auction are being sold in "as is" condition.the Company
does not provide any representation or guarantee as to the condition of any of
the items. Unless otherwise stated, the Company does not provide any warranty
with the items.
c. Catalogue Explanations
Any statement of the author, history, date, year, size, material, ownership,
authenticity, origin, condition of preservation or estimated selling price of
any of the Lots shown in the catalogue or the authentication opinion made by
the Company, or any other verbal or written statements made separately shall
be solely statements of opinions and shall not be deemed the basis for the
statements of actual fact. The photographs shown in the catalogue shall serve
as reference only and shall not be deemed as the basis for determining the color
or tone of any Lots or disclosure of the defects of such item. The estimates
of the auction price shall not be deemed the price at which such item will be
successfully sold or the statement of the value of the item for other purposes.
Many auction items fail to maintain their perfect condition because of time and
other environmental factors. Some of the explanations in the catalogue or the
authentication opinions will state defects and/or the repair background of the
Lots. Such information is meant for reference only. Missing information in the
statements does not mean the Lot has no defects or has not been repaired. Any
statement of one particular defect does not mean there is no any other defect.
d. Responsibility of the Buyer
The Buyer is responsible for clarifying and satisfying himself about the
condition of the items and any related matters stated in the catalogue
descriptions.
3. In the auction
a. Refusal of admission
The auction is held at the premises of the Company or any location where the
Company has control of for the auction. The Company has full discretion to
exercise the right to refuse entry to the premises for the auction or to prevent
participation in the auction.
b. Registration prior to the bidding
Prospective buyers must fill in and sign the registration forms prior to the
151
bidding and provide personal identification. Prospective buyers should also note
that the Company may be requested to conduct credit checks against buyers.
c. The bidder is the Buyer
Unless a written agreement has been made upon registration that the bidder
will be the agent who acts on behalf of a third person and such third person is
accepted by the Company, the bidder will be deemed as the Buyer who will bear
individual legal responsibilities.
d. Commission bids
The Company will make every effort to bid for the prospective buyers who
instruct us to bid on their behalf by using the forms attached to the explanations
of the catalogue; provided, however, bid commission instructions are delivered
to the Company prior to the auction. If the Company receives several
commission bids for one particular item, with all bid prices being equal and of
the highest bid price at the auction, priority shall be given to the Buyer whose
bid commission is delivered to the Company first. Commission bids are subject
to auction conditions. The situation at the auction may prevent the Company
from making the bid as commissioned. This is a free service provided by the
Company to the prospective buyers pursuant to the provisions prescribed.
The Company will not be held legally liable if it fails to make the bid as
commissioned. Prospective Buyers should attend the auction in person if they
wish to ensure a successful bid.
e. Bid by phone
The Company will make proper effort to contact the bidder so he can participate
in the auction by phone if the prospective buyer make arrangements with
the Company prior to the auction. However, the Company will bear no
responsibilities to the Seller or any prospective buyer if no contact is made
under any circumstances.
f. Exchange rate conversion board
There will be an exchange rate conversion board operating at some auctions.
The exchange rate is calculated at the exchange rate of the one-month future
goods reported to the Company from the bank when starting business on the day
of the auction. Nonetheless, the auction will still be conducted in HK dollars.
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
in any foreign currency is not within the control of the Company. The Company
will not be responsible for any losses caused by the reliance of the Buyer on the
exchange rate conversion board.
g. Recorded images
There is image projection in some auctions; however, errors may occur
during the operation. The Company is not liable for the color accuracy of the
reproduced image and whether the projected image corresponds to the item
being auctioned.
h. Determining power of the auctioneer
The auctioneer has the absolute power to reject any bid, push for bids at his
discretion, withdraw any auction items, separate or combine two or more
auction items, and if there is any error or dispute, re-auction the items.
i. Successful bids
Under the discretion of the auctioneer, the fall of the hammer indicates the
acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a
successful auction agreement.
4. Following the auction
a. 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 HK$ 5,000,000 (inclu-
sive), the service fee should be calculated at 20% of the hammer
price.
(2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000
should be calculated at 20% and the rest of the amount should be
12%.
b. Taxes
All the payments payable by the Buyer to the Company do not include any
government tax, any commodity or service taxes or any other value added taxes.
The Buyer should be responsible for paying any applicable taxes as required by
the law.
c. Payment
The Buyer should provide his name and permanent address to the Company
upon the successful bid. Relevant bank information should also be provided
upon request. All payments due (including the hammer price, service fee and
any applicable taxes) should be paid within 7 days following the auction date.
The aforesaid provision also applies if the Buyer intends to export the Lot and
(may) need the export permit.
If the Buyer fails to pay to the Company all the payments due, the Buyer will not
acquire the ownership of the Lot even if the Company has delivered such item
to the Buyer. If the payment to Ravenel are made in any currency other than HK
dollars, the Company will collect from the Buyer any foreign exchange expense
incurred therefrom, including bank charges and foreign exchange service fees.
The exchange rate of the payments to the Company in any currency other than
HK dollars should be the exchange rate reported by the Hongkong and Shanghai
Banking Corporation (HSBC) to the Company on the auction date and should
be based on the certificates issued by the Company according to such exchange
rate.
d. Collection of the Lot sold
Unless otherwise agreed by the Company, the Company will hold temporarily
the successfuly sold Lots until all payments to the Company are made in full.
The Lot will be covered by the insurance of the Company from the auction date
for 7 days during the temporary holding period. The insurance coverage will
terminate upon collection of such item. The Buyer should be responsible for all
risks following expiration of the said 7-day period or the collection (whichever
is the earlier).
e. Packaging and transportation
The Buyer is requested to note that he should bear all the risks upon expiration
of the said 7 days period or from collection of such items.
f. Referral of packaging or transportation companies
The shipping department of the Company may act as the agent of the Buyer
to arrange for delivery. Although we can refer freight forwarders upon special
request, the Company will not be held liable for any legal responsibilities in this
regard.
g. Remedies for non-payment or non-collection of items sold
The Company is entitled to exercise one or more of the following rights or
remedies if the Buyer fails to make payment within 7 days:
(1) An interest at the annual rate of no higher than 10% plus the base interest rate
of Hongkong and Shanghai Banking Corporation (HSBC) will be imposed on all
of the payment due if payment is not made within 7 days following the auction
date. Besides, we have the right of charging also 1% selling price (including of
hammer price and the commission) multiplied by the number of delayed days
as fine for the default. The payment to be made by the Buyer should offset any
payment owed by the Company or its subsidiaries to the Buyer for any other
transactions.
(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 a
14-day notice to the Buyer about his non-payment. The proceeds shall make up
for the payment due.
(3) If the Buyer owes the Company several payments as a result of different
transactions, the payments will setoff any payments due in any particular
transaction, regardless of whether the Buyer specifies to setoff such payments.
(4) Refuse the Buyer to make, or to make on behalf of others, bids in any future
auctions and/or to require a security deposit from the Buyer before accepting
any future bids from him. If the Buyer fails to make payment within 35 days,
the Company is entitled to exercise the following rights in addition to the
aforementioned:
(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 proceeding based
on a total claim.
(6) Cancel the transaction of Lots bid by the Buyer or any other auction items
sold to the Buyer at the same or any other auctions.
(7) To arrange a public or private re-sale of the Lot. If the re-selling price is
lower, the difference will be claimed against the Buyer together with any cost
incurred as a result of the non-payment by the Buyer.
h. No collection of the Lot sold
The Company will arrange for the storage of the Lot if such item sold is not
collected within 7 days of the successful auction, regardless of payment. Such
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.
i. Export permit
Except where otherwise agreed in writing by the Company, the fact that
the Buyer's wishes to apply for an export permit does not affect the Buyer's
responsibility to make the payments in 7 days; 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
behalf, the Company is entitled to collect monies made in connection with such
an application and any miscellaneous expenses together with any relevant value
added taxes.
If the Buyer makes the payment regardless of the fact that an export permit is
needed, the Company is not responsible for returning to the Buyer any interest
or other expenses incurred therefrom.
5. The legal responsibility of the Company
The Company is responsible for returning payment to the Buyer pursuant to
Article 6. Otherwise, whether the Buyer, the Company, any employees or agents
of the Company will not be held liable for any statements of the author, history,
date, year, ownership, authenticity or origin of any auction item or any errors
with respect to any explanations and any flaws or defects of any auction item.
The Buyer, the Company, the employees or the agents of the Company make no
guarantee with respect to any auction items. Any warrantee of any kind shall not
be included herein.
6. Return of payments for counterfeits
The transaction will be cancelled and payments made will be returned to the
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
auction day corresponds to the opinions generally accepted by the academic or
professional fields;
b. The method used to prove that the Lot is a counterfeit is a scientific procedure
not generally accepted for use before the publication of the catalogue or a pro-
cedure unreasonably expensive on the day of the auction, or impractical, or may
cause damage to the Lot;
the Company is not liable for the return of any payment under any circumstanc-
es. In addition, the Buyer’s payment can only be refunded when the following
terms are met:
(1) The Buyer must notify the Company in writing within 10 days following the
auction day that he considers the relevant auction item a counterfeit.
(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.
(3) Upon returning the Lot, the Buyer must present evidence as soon as possible
to convince the Company that the Lot is a counterfeit. The Buyer may also as-
sign the good ownership of the Lot to the Company, which shall not concern any
third party claim.
Under no circumstances is it necessary for the Company to pay the Buyer an
amount more than what the Buyer pays in connection with the Lot and the Buy-
er can not claim interests.
The interests of the warrantee cannot be assigned and belong solely to the Buyer
who receives the original invoice from the Company when the Lot is sold. Such
Buyers shall remain the owner of the auction Lot and cannot assign any inter-
est of the Lot to any other person. The Company is entitled to ascertain that the
Lot is not a counterfeit based on a scientific procedure or any other procedure,
regardless of whether such procedure is being used on the day of the auction.
The aforementioned does not apply to coins, medals, jewelry and paintings.
II. Terms applicable to both the Buyer and the Seller
1. Copyright
The copyright of all the images, photographs and written material in connection
with the Lot shall maintain and belong to the Company at any time. The Buyer
or any person may not use such items without obtaining prior written consent
from the Company.
2. Notices
All the notices distributed according to the Transaction Agreement herein shall
be made in writing. Any notice shall be deemed served to the recipient on the
second day following delivery if sent by mail. If the recipient is abroad, the
notice shall be deemed served on the fifth working day following delivery by
mail.
3. Severability
If any part of the Transaction Agreement is deemed invalid, illegal or
unenforceable by any court, such part can be ignored and the rest of the
Transaction Agreement continues to be valid and enforceable to the maximum
extent permitted by the law.
4. Jurisdiction
The Transaction Agreement are governed under the Hong Kong laws and the
interpretation and effect of the Rules shall be subject to the laws of Hong Kong.
The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the
Hong Kong courts for the interests of the Company.
Please refer to our website for seller’s transaction agreement.
http://www.ravenelart.com
152
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
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
第5條，其對本公司之法律責任作了限定。
Ⅰ.買家
1. 羅芙奧(以下稱本公司)作為代理人
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
之合約。
2. 拍賣前
a. 鑑定物品
本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物
品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外，不
對買家作任何保證。
b. 拍品狀況之重要注意事項
請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已
提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無保證
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
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
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
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
修復或更換機件。
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
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
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
的主觀意見。
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
查該等手錶。
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
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
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，
否則將不提供保單。
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、
尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行
對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實
之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉
以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應依據為拍賣
品會成功拍賣之價格或拍賣品作其他用途之價值陳述。
許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明
或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引
而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述
特定缺陷，亦不表示並無其他缺陷。
d. 買家之責任
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
己感到滿意。
3. 拍賣時
a. 拒絕入場
拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，
本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍
賣。
b. 競投之前作出登記
每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證
明。準買家應注意，本公司通常會要求對買家作出信用核查。
153
c. 競投者為買家
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
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。
d. 委託競投
如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡
適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司
就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價
乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之
人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使
本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之
免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家
如希望確保競投成功，應親自出席競投。
e. 電話競投
如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，
使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或
任何準買家均不負任何責任。
f. 匯率轉換顯示板
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
市時向本公司報出之一個月期貨匯率計算。然而競投仍會以港幣進行。
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港幣
競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。
買家因依賴匯率轉換顯示板（而非因以港幣競投）所導致而蒙受之任何損
失，本公司概不負責。
g. 錄映影像
在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成
功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何
責任。
h. 拍賣官之決定權
拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、
將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤
差或爭議，將拍賣品重新拍賣。
i. 成功競投
在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買
家之成功拍賣合約之訂立。
4. 拍賣後
a. 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，落槌價於港幣伍
佰萬元以下者含港幣伍佰萬元以20％計算。
（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以20％
計算，超過港幣伍佰萬元之部份以12％計算。
b. 稅項
買家應付予本公司之所有款項均不包括任何國家或地區稅賦、
貨物或服務稅或其他增值稅。如有任何此等稅項適用，買家須負責按有關
法律所規定之稅率及時間繳付此稅款。
c. 付款
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
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
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
品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。
買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即
使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外
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。以港幣以外之貨幣付款予本公司之匯率，依拍賣
日現場公佈之匯率（香港匯豐銀行），並以本公司就此兌換率而發出之憑
證為準。
d. 領取已購拍賣品
除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣
項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間，
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
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），
拍賣品之風險全由買家承擔。
e. 包裝及搬運
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
承擔。
f. 介紹裝運及運輸公司
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
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。
g. 不付款或未有領取已購拍賣品之補救辦法
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
辦法：
（1）在拍賣日期後超過七天仍未付款，則按不超過香港匯豐銀行基本利
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。
（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
權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出售並
將收益用以清償該未付之欠款。
（3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用
以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用以清償
該筆款項。
（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或
在接受其任何競投之前先收取買家一筆保證金。如買家未有在三十五天內
付款，本公司除上述者外，另有權：
（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
賠償為基準之法律程序之訴訟費。
（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
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
因買家未有付款而引致之任何費用一併向買家索償。
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
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
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。
5. 本公司之法律責任
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
家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、
日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何
拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之
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，
均不包含在本條之內。
6. 膺品之退款
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
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
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
法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在
拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程
序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述
條件下方可獲得退款：
（1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關
拍賣品乃膺品；
（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
日相同；及
（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
索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣
品而支付之款項，而買家亦不能索取利息。
本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本
發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身分，
而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學
程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用
或已在使用。
本條件不適用於硬幣、獎牌、珠寶及畫。
II.買家與賣家均適用之條件
1. 版權
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
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。
2. 通知
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
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
第五個工作天。
3. 可分割性
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
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
圍內須繼續有效及可強制執行。
4. 法律及管轄權
本業務規則受香港法律規限，本業務規則之解釋與效力均適用香港法律。
為本公司之利益而言，賣家與買家須服從香港法院之排他性管轄權。
賣方業務規則請參閱羅芙奧藝術網站
http://www.ravenelart.com
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