MODERN AND ART CONTEMPORARY 現當代藝術 HONG KONG 31 MARCH 2019 香港 2019 年 3 月 31 日

MODERN AND CONTEMPORARY ART 31 MARCH 2019 HKS1019 現 當 代 藝 術 • +852 2303 9899 樓 7 期 1 號太古廣場 88 香港金鐘金鐘道 7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • KONG HONG ADMIRALTY, 88 QUEENSWAY, PLACE, ONE PACIFIC 7TH FLOOR, LOT 180 局部 DETAIL LOT 197 局部 DETAIL 101 102 103

KAWS (AMERICAN, B. 1974) KAWS (AMERICAN, B. 1974) KAWS (AMERICAN, B. 1974) Ups and Downs Ups and Downs Untitled KAWS 上上下下 KAWS 上上下下 KAWS 無題

Executed in 2013 Executed in 2013 screenprint screenprint edition: 13/100 edition: 13/100 87.8 x 57.4 cm. (34 1/2 x 22 1/2 in.) 87.8 x 57.4 cm. (34 1/2 x 22 1/2 in.) editioned, signed and dated '13/100 KAWS..13' (bottom) editioned, signed and dated '13/100 KAWS..13' (bottom)

Provenance Provenance Private Collection, Asia Private Collection, Asia Executed in 2006 2006 年作 diamond dust on screenprint 鑽石粉 絲網 版畫 edition: 8/50 版數：8/50 2013 年作 2013 年作 50.5 x 50.5 cm. (20 x 20 in.) 款識：8/50 KAWS..06（底部） 絲網 版畫 絲網 版畫 editioned, signed and dated '8/50 KAWS..06' (bottom) 版數：13/100 版數：13/100 來源 款識：13/100 KAWS..13（底部） 款識：13/100 KAWS..13（底部） Provenance 直接得自於藝術家 Acquired directly from the artist 蘇富比 香港 2017年10月1日 編號720 來源 來源 Sotheby's Hong Kong, 1 October 2017, Lot 720 現藏者購自上述拍賣 亞洲 私人收藏 亞洲 私人收藏 Acquired from the above sale by the present owner

HK$ 60,000 - 120,000 HK$ 60,000 - 120,000 HK$ 120,000 - 200,000 US$ 7,700 - 15,400 US$ 7,700 - 15,400 US$ 15,400 - 25,600

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JEFF KOONS (AMERICAN, B. 1955) JEAN-MICHEL BASQUIAT (AMERICAN, 1960-1988) Ballon Rabbit (Red) Flexible 傑夫．昆斯 氣球兔（紅色） 尚．米榭．巴斯基亞 靈活

Executed in 2016 2016 年作 Executed in 2017 2017 年作 screenprint 絲網 版畫 porcelain with high-gloss glazing sculpture 瓷 釉彩 雕塑 edition: 25/85 版數：25/85 edition: 910/999 版數：910/999 148 x 110.5 cm. (58 1/4 x 43 1/2 in.) 款識：25/85（右下）；Lisane Basquiat Jeanine Heriveaux 5/13/16 25/85 14 x 20 x 29 cm. (5 1/2 x 7 3/4 x 11 1/2 in.) 款識：Jeff Koons LIMITED EDITION/FINE PORCELAIN 910/999' 17 JEFF editioned '25/85' (lower right); signed, dated and editioned by the Basquiat （畫背標簽） signed, inscribed, editioned and titled 'Jeff Koons LIMITED EDITION/FINE KOONS BALLOON RABBIT（底部） Foundation administrators 'Lisane Basquiat Jeanine Heriveaux 5/13/16 25/85' PORCELAIN 910/999' 17 JEFF KOONS BALLOON RABBIT' (bottom) (label on the reverse) 來源 來源 美國 紐約 私人收藏 Provenance 亞洲 私人收藏 Provenance Private Collection, Asia Private Collection, New York, USA 附 美國 紐約 Flatiron Editions開立之原作保證書 附 法國 Bernardaud Edition Limitée 開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Bernardaud This work is to be sold with a certificate of authenticity issued by Flatiron Editions, Edition Limitée, France. New York, USA.

HK$ 100,000 - 200,000 HK$ 350,000 - 550,000 US$ 12,800 - 25,600 US$ 44,900 - 70,500

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JEAN-MICHEL BASQUIAT (AMERICAN, 1960-1988) JEAN-MICHEL BASQUIAT (AMERICAN, 1960-1988) Liberty Olympic 尚．米榭．巴斯基亞 自由 尚．米榭．巴斯基亞 奧林匹克

Executed in 2017 2017 年作 Executed in 2017 2017 年作 screenprint 絲網 版畫 screenprint 絲網 版畫 edition: 33/50 版數：33/50 edition: 33/50 版數：33/50 56.4 x 76.2 cm. (22 1/4 x 30 in.) 款識：33/50（右下）；Lisane Basquiat Jeanine Heriveaux 12/7/17（畫 56 x 76.5 cm. (22 x 30 in.) 款識：33/50（右下）；Lisane Basquiat Jeanine Heriveaux 12/7/17（畫 editioned '33/50' (lower right); signed and dated by the Basquiat Foundation 背） editioned '33/50' (lower right); signed and dated by the Basquiat Foundation 背） administrators 'Lisane Basquiat Jeanine Heriveaux 12/7/17' (on the reverse) administrators 'Lisane Basquiat Jeanine Heriveaux 12/7/17' (on the reverse) 來源 來源 Provenance 美國 紐約 私人收藏 Provenance 美國 紐約 私人收藏 Private Collection, New York, USA Private Collection, New York, USA 附 美國 紐約 Flatiron Editions開立之原作保證書 附 美國 紐約 Flatiron Editions開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Flatiron Editions, This work is to be sold with a certificate of authenticity issued by Flatiron Editions, New York, USA. New York, USA.

HK$ 120,000 - 180,000 HK$ 120,000 - 180,000 US$ 15,400- 23,100 US$ 15,400 - 23,100

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YOSHITOMO NARA (JAPANESE, B. 1959) Untitled 奈良美智 無題

Painted in 2003 2003 年作 coloured pencil on paper 彩色鉛筆 紙本 21.3 x 30.5 cm. (8 1/2 x 12 in.) 來源 Provenance 美國 洛杉磯 Blum & Poe畫廊 Blum & Poe Gallery, Los Angelas, USA 亞洲 私人收藏 Private Collection, Asia 出版 Literature 《奈良美智：作品全集 第2卷—紙本作品》美術出版社 東京 日本 2011年 Yoshitomo Nara: The Complete Works Volume 2–Works on Paper, Bijutsu Shuppan （圖版，第D-2003-115圖，第208頁） Sha, Tokyo, Japan, 2011 (illustrated, plate D-2003-115, p. 208).

HK$ 480,000 - 680,000 US$ 61,500 - 87,200

8 poly auction hong kong Modern and Contemporary Art 9 109 ZHANG KAI YOSHITOMO NARA (JAPANESE, B. 1959) 張 凱 童話 Unknown (Q) 奈良美智 未知（Q）

迪亞哥．維拉斯奎茲《穿藍色衣服的特麗莎公主》1659年作 奧地利 維也 納 藝術史博物館藏 Diego Velázquez, Infanta Margarita Teresa in a Blue Dress, 1659, Collection of Kunsthistorisches Museum, Wien, Austria Lot 110

「張凱的作品如同他本人一樣，似乎來自一個美麗的童話世界，恬靜中透出典雅的氣質。在張凱營造出的童話世界裡充滿了浪漫的美學意蘊， 儘管其中也有一份憂傷的成份，但是其作品中顯現出對待美麗的嚴肅態度卻十分鮮明，這種嚴肅的態度來源於張凱質樸和真誠的繪畫觀。

張凱不在意藝術是否完全與現實相吻合的通常意 義，他關心的只有他個人世界裡的視覺故事和情 感依附，這一點使藝術家得以悠然於自我 空間並十分嚴肅的對待他的每一份體驗。 張凱對待古典繪畫的膜拜是虔誠的， 其作品的視覺構成幾乎完全來源於古 典繪畫，並以此進行再構，對內容 的置換和挪移則是藝術家個人精神 世界裡超群的想像結果。正是作 品樣式和內容之間的高度統一 才使得張凱的童話語境得以 完美呈現。

張凱始終如一地在作品中 編撰他的童話夢想，無所 謂隱喻什麼特別概念， 也無所謂製造什麼時代 觀念，其嚴肅的繪畫態 度足以把他的童話世界 不斷持續。」

─劉兆武〈嚴肅的童話〉

“Zhang Kai’s work, just like himself, displays the figure of quietness and elegance that seems to have come from a wonderland. It is full of romantic aesthetic implication in the world he created though there is a trace of sadness. However, what is reflected in his painting is the serious attitude distinctively to the beauty, and it is root in the sincere and pristine of Zhang Kai’s artistic values.

Zhang Kai doesn’t put emphasis on whether the art would meet the ordinary meanings of the reality, what he concerns is the visible stories and emotional attachments in his inner world. This allows an artist a Painted in 1996 1996 年作 ink and coloured pencil on paper 墨水 彩色鉛筆 紙本 feeling of easiness in the self-space and, enables him to be serious about to every 20.5 x 14.6 cm. (8 x 5 3/4 in.) 款識：なら'96.（右下）；YN-0003（畫背） experience. The visual elements in Zhang Kai’s work are mostly based on classical painting, signed in Japanese; dated ''96.' (lower right); inscribed 'YN-0003' (on the reverse) and then reframes the basic elements since he conducts devout method to worship them. The 來源 substitution and transformation are the harvest of the artist’s fantastic personal inner world. The fairy-tale Provenance 日本 東京 小山登美夫畫廊 context comes true due to the intense combination with style and content. Tomio Koyama Gallery, Tokyo, Japan 美國 洛杉磯 私人收藏 Private Collection, Los Angeles, USA 亞洲 私人收藏 Zhang Kai consistently keeps his fairy-tale dream in the productions, regardless of the particular concept of metaphor or manufacturing concept of era. His serious Private Collection, Asia attitude is enough to enable his fairy tale world to go on forever.”

- Liu Zhaowu, “The Solidification of Poetry and the Solemnity of Fairy Tales” HK$ 280,000 - 480,000 US$ 35,900 - 61,500

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ZHANG KAI (CHINESE, B. 1985) ZHANG KAI (CHINESE, B. 1985) Little Princess Hello My Memory 張凱 小公主 張凱 你好我的記憶

Painted in 2012 2012 年作 oil on canvas 油彩 畫布 80 cm. (31 1/2 in.) in diameter 款識：ZK（中下） Painted in 2009 2009 年作 signed 'ZK' (lower centre) oil on canvas 油彩 畫布 來源 59.5 x 50.5 cm. (23 1/2 x 20 in.) 款識：ZK 09（中下） Provenance 亞洲 私人收藏 signed and dated 'ZK 09' (lower centre) Private Collection, Asia 展覽 展覽 Exhibited 2013年1月19日-2月28日「把我的世界留在這兒—張凱個展」藝．凱旋畫廊 Exhibited 2013年1月19日-2月28日「把我的世界留在這兒—張凱個展」藝．凱旋畫廊 China, Beijing, Triumph Gallery, Leave My World Here: Zhang Kai Solo Exhibition, 19 北京 中國 China, Beijing, Triumph Gallery, Leave My World Here: Zhang Kai Solo Exhibition, 19 北京 中國 January-28 February, 2013. January-28 February, 2013.

HK$ 240,000 - 360,000 HK$ 260,000 - 360,000 US$ 30,800 - 46,200 US$ 33,300 - 46,200

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AYAKO ROKKAKU (JAPENESE, B. 1982) Untitled 六角彩子 無題

Painted in 2015 2015 年作 acrylic on canvas 壓克力 畫布 120.5 x 190.3 cm. (47 1/2 x 75 in.) 款識：2015 ロッカクアヤコ（右下） dated '2015'; signed in Japanese (lower right) 來源 Provenance 荷蘭 阿姆斯特丹 Delaive 畫廊 Galerie Delaive, Amsterdam, Netherlands 現藏者購自上述畫廊 Acquired from the above gallery by the present owner

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

「我是盡力回到兒時的心境和初衷來作畫的，每個人小時候都有過不加思考，只是拼命塗寫 畫畫的經歷，觀眾看了我的畫，可能會回憶起那時的心境吧。」 ─六角彩子

"When I'm painting, I try to get in touch with the way I felt as a child-to get back to my starting point, if you like. Everyone goes through a stage of being totally into drawing and painting when they are small. Children can get completely absorbed in their pictures. I think maybe my pictures help to remind people of how they felt back then." - Rokkaku Ayako

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JIA AILI (CHINESE, B. 1979) Dolly! Dolly! 賈藹力 多莉！多莉！

Painted in 2008 2008 年作 oil on paper, in frame painted by the artist 油彩 紙本 藝術家手繪框 84 x 58.5 x 3 cm. (33 x 23 x 1 1/2 in.) 款識：JAL 2008（右下） signed and dated 'JAL 2008' (lower right) 來源 Provenance 中國 北京 站台中國當代藝術機構 Platform China Contemporary Art Institute, Beijing, China 現藏者購自上述畫廊 Acquired from the above gallery by the present owner 展覽 Exhibited 2008年8月30日-10月12日「微妙」站台中國當代藝術機構 北京 中國 China, Beijing, Platform China Contemporary Art Institute, Subtlety, 30 August-12 October, 2008.

HK$ 400,000 - 500,000 US$ 51,300 - 64,100

2008年8月著名策展人凱倫．史密斯在站台中國策展了名為「微 In August 2008, the renowned curator Karen Smith curated a joint exhibition 妙」的聯展，以當代社會議題引發的議題為創作出發點，此次上拍 inspired by the issues in contemporary society of that time, titled "Subtlety" at Platform China Contemporary Art Institute. Dolly! Dolly! (Lot 113) was one of (Lot 113) 1996 作品《多莉！多莉！》 則是當時參展作品之一。 年人 the works exhibited. In 1996, Dolly the sheep became the first successful cloning 類第一隻成功複製的哺乳動物多莉誕生，但存活時間僅為7年，是一 of a mammal in human history. Dolly lived only to the age of seven, which is 般羊壽命的一半。賈藹力以此社會題材為思考點，直接以IKEA的現 half of a sheep's normal lifespan. Jia Aili applied this social topic as a starting point, used IKEA's ready-made picture frames as a medium, and utilised brisk 成畫框為媒材，運用充滿速度感的筆觸描繪出多莉的樣貌，靠近框 brushstrokes to depict the image of Dolly. The picture blurs towards the frame 架處逐漸虛化，透出了IKEA印刷品的字樣，藝術家獨一無二的手繪 edges and reveals the inprints on IKEA's products. The artist combines unique 與工業社會大量製造的裝飾品在此交會，《多莉！多莉！》跳脫了 hand-painting and industrially mass-produced decorations in this single work of 傳統繪畫與裝置、現成物作品的分類，賈藹力以媒材的特殊性加深 art. Dolly! Dolly! cannot be classified as a traditional painting, an installation or a ready-made. The specificity of medium applied by Jia Aili in this work deepens its 了作品所欲傳達的多重內容與象徵意義。畫裡的羊眼神天真無辜充 diverse content and symbolic meaning. The sheep's eyes in the painting portray a 滿靈性，脖子繞著的繩子一直延伸到畫框上面，體現了生命與科學 sense of innocence and are full of spirituality. The rope around her neck extends 發展下的種種衝突和限制，述說了藝術家對人類科技文明進步所帶 beyond the frame, reflecting the conflicts and limitations which accompany the 來的與社會倫理道德之衝突的思考與控訴。 development of life and science. The work exemplifies the artist's concerns and objections upon the moral conflicts generated by technological advancements in the ever developing human civilization.

16 poly auction hong kong Modern and Contemporary Art 17 CHEN KE 陳 可 敏感的神經

不同於飽受社會巨大變革影響的老一輩中國 壓力和內心深深的孤獨感帶來的苦澀。陳可創 當代藝術家，成長過程中歷經國際多重文化 作中標誌性的小女孩被置於畫面正中央，這個 強烈衝擊的「八零後」更加善於迎接並吸納 常常被看做是藝術家內心自我投射的人物形象 新鮮事物。他們以追求自由、釋放自我的鮮 以略帶不安與拘束的姿態靜靜佇立，雙手緊握 明個性將更加直觀的藝術語言帶入到自己的 於胸前，唇部微微張開、欲言又止，而與觀眾 創作中，更加強調個人符號、充滿幽默玩味 最直觀交流的雙眼被白色布條緊緊蒙住；這個 性。生於70年代末尾的陳可，以成熟精細的 充滿自我懷疑，懼怕與外界交流的姿態，似乎 筆觸，將其略帶憂傷的思緒與記憶通過超現 正是當時陳可內心孤寂與對新環境迷茫的真實 實的畫面呈現於觀者面前，在「卡通一代」 寫照。然而所有指向內部與自我的肢體信號與 藝術家中尤為突出。 頭頂彷彿開枝散葉般蔓延出的不計其數的螢光 色觸角，在視覺上形成了收與放的鮮明對比， 2005-2006年是陳可藝術生涯轉折的重要階 這些光亮的、柔軟的枝節，像是藝術家豐富思 段，彼時的她，第一次跳離自己生活與成長 緒的敏感神經，又或許是與外界交互信息的紐 了近30年的舒適圈—四川，毅然踏上了「北 帶，試圖在一切交流渠道被封鎖的同時從另一 漂」的征途。北京陌生的環境對陳可來說充滿 角度建立起與觀者的某種聯繫，這正是陳可內 了機遇與挑戰，她在自傳中提到「…走在兩邊 心渴望突破與周圍環境生疏感的內心獨白。畫 高大的廠房裏，就覺得自己的渺小…一切都得 面對於細節的描繪和情緒的精準把握是藝術家 重頭開始…」。在這個多元廣袤、一切都被放 逐漸邁向創作成熟期的最佳印證，內容上衝突 大的城市裏，她的迷茫、不安與自我質疑漸漸 性與平衡感的相互作用更開啟了未來走向更多 蛻變為了心境上的成長與創作風格的豐富與 元創作的開端。《敏感的神經》述說的是陳可 成熟，《敏感的神經》(Lot 114) 正是這個時 年輕時面對社會內心最真實，最柔軟的情緒， 期藝術家不斷的自我辯證歷程中極具特色的 同時也為一代或許在新環境中迷茫的年輕人找 代表作品。畫面的青灰色背景，有如北京迷迷 到了精神出口。 雷內．馬格利特《戴禮帽的男人》1964年作 濛濛的空氣，彷彿映射著藝術家因為大城市的 René Magritte, Man in a Bowler Hat, 1964

Unlike China's elder generation who experienced a changing society through blue-gray background alludes to the smoggy sky of Beijing, and also reflects the Cultural Revolution, those who were born in the 80s received many cultural artist's bitterness from the pressure and loneliness of living in a big city. Chen's shocks while growing up, and were more open and accepting towards new iconic protagonist, often referred to as the artist's self avatar, is quietly standing things from around the world. They pursuit freedom, disconstrain themselves in the center with a sense of uncertainty and restraint. Her hands are held and bring more intuitive artistic language into their works. Their artworks together tightly, lips slightly open, as if to speak but restrained from doing so. emphasize individualism with humour and playfulness. Born in the late 70s, Blindfolded by a piece of white cloth, disrupting her only direct connection with Chen Ke developed a mature and fine brushstroke which was always hinted the viewer. The self-questioning, anti-social stance of the figure is an authentic with sorrow, presented in the surreal scenes of her works. She is especially portrayal of Chen's loneliness and confusion caused by the new environment. outstanding amongst her peers of the "Cartoon Generation" in China. However, countless neon antennas reached out from the top of her head, creating a strong visual impact in contrast to her appearant introvert physical 2005-2006 was the turning point for Chen's artistic career. She left Sichuan, the stance. These luminous, soft antennas are arguably the best indication of the comfort zone where she has lived for more than 30 years, and moved to Beijing. artist's complex thoughts and "sensitive nerves". This only channel to connect For her, the new environment was unfamiliar yet filled with opportunities and with the outside world was probably Chen Ke's inner monologue of seeking a challenges. As she once mentioned in her autobiography,"... I felt insignificant breakthrough. In this painting, every detail is captured with precision and the while walking among those gigantic factories… I had to reposition myself and artist was confident in creating conflicts within the scene, reflecting a stage of restart…" Within this cosmopolis where everything was magnified, both Chen's personal artistic maturity. Sensitive Nerve expresses Chen's most sincere and character and her art manifested through a journey of confusion, anxiety and softest emotions when facing an unfamiliar environment in her youth; in a way, self-questioning, her works of this time developed a more mature and diversified and comfort youngsters whenever they feel lost in a new place. quality. Sensitive Nerve (Lot 114) is an iconic piece created during this time. The

Modern and Contemporary Art 19 114

CHEN KE (CHINESE, B. 1978) Sensitive Nerve 陳可 敏感的神經

Painted in 2006 2006 年作 oil on canvas 油彩 畫布 160 x 160 cm. (63 x 63 in.) 款識：“敏感的神經”布上油畫 160 x 160 cm 陳可 2006 "Sensitive Nerve" titled, inscribed and signed in Chinese; inscribed, dated, titled and signed '160 x Oil on canvas 160 x 160 cm Chen Ke 2006（畫背） 160 cm 2006 "Sensitive Nerve" Oil on canvas 160 x 160 cm Chen Ke 2006' (on the reverse) 來源 歐洲 私人收藏 Provenance Private Collection, Europe 展覽 2008年1月18日-2月23日「和你在一起，永遠不孤單」 瑪蕊樂畫廊 米蘭 Exhibited 義大利 Italy, Milan, Primo Marella Gallery, With You, I Will Never Feel Lonely, 18 January-23 2009年12月11日-2010年2月7日「中國：當代的新生」米蘭王宮 米蘭 February, 2008. 義大利 Italy, Milan, Palazzo Reale, China: the Contemporary Rebirth, 11 December, 2009- 7 February, 2010. 出版 《陳可》Kehrer Verlag 海德堡 德國 2009年（圖版，第63頁） Literature 《中國：當代的新生》Federico Motta出版社 米蘭 義大利 2009年（圖版， Chen Ke, Kehrer Verlag, Heidelberg, Germany, 2009 (illustrated, p. 63). 第195頁） Cina Rinascita contemporanea, Federico Motta Editore, Milan, Italy, 2009 (illustrated, p. 195).

HK$ 600,000 - 800,000 US$ 76,900 - 102,600

20 poly auction hong kong Modern and Contemporary Art 21 115 116

YUAN YUAN (CHINESE, B. 1973) YUAN YUAN (CHINESE, B. 1973) Rearwindow I Stable Table 袁遠 後窗 壹 袁遠 平穩的桌子

Painted in 2012 Painted in 2014 oil on canvas oil on linen 153.6 x 59 cm. (60 1/2 x 23 1/4 in.) 200 x 84.9 cm. (78 3/4 x 33 1/2 in.) titled, dated and signed 'Rearwindow I 2012 Y.yuan.; signed in Chinese (on the signed, titled and dated 'Y.yuan. 2014 2014'; titled and signed reverse) in Chinese (on the reverse); signed and dated 'Y.yuan 2014' (side of the canvas)

Provenance Provenance ShanghART Gallery, Shanghai, China ShanghART Gallery, Shanghai, China Private Collection, Amsterdam, Netherlands Private Collection, Amsterdam, Netherlands

Exhibited China, Shanghai, ShanghART H-Space, Yuan Yuan: Imagined Memory- A Home From 2014 年作 Home-2012 Glenfiddich Artists in Residence Programme, 30 November, 2012-13 油彩 亞麻布 January, 2013. 款識：Y.yuan. 2014《平穩的桌子》袁遠 2014（畫背）; Y.yuan 2014（畫布側邊）

2012 年作 來源 油彩 畫布 中國 上海 香格納畫廊 款識：《Rearwindow》I 袁遠 2012 Y.yuan.（畫背） 荷蘭 阿姆斯特丹 私人收藏

來源 中國 上海 香格納畫廊 荷蘭 阿姆斯特丹 私人收藏 HK$ 400,000 - 600,000 展覽 US$ 51,300 - 76,900 2012年11月30日-2013年1月13日「袁遠：賓至如歸–2012年格蘭菲迪藝術 家駐村項目」香格納H空間 上海 中國

HK$ 220,000 - 320,000 US$ 28,200 - 41,000

22 poly auction hong kong Modern and Contemporary Art 23 In the late 1990s, Shanghai was developing at an unprecedented speed, new skyscrapers, colourful neon lights were coming out everyday, making DING YI the city shine with its new appearance. Those bright, colourful visual 丁 乙 elements has inspired Ding Yi to employ gorgeous fluorescent colours onto 城市景觀 his canvas, to echo with this new appearance of the city. "Fluorescence is an artificial colour, it has nothing to do with nature. But, this colour is more stimulating and radiant. It can make people sense the dazzling aspects of this city." Created in 2008, Appearance of Crosses 2008-15 (Lot 117), exhibits the vitality of Shanghai through the repetition of crosses. Drawing the Chinese character of " " from " ", and even " " with a square frame, adds one more layer 米of complexity十 to Ding Yi's works.米 Ding 「整個上海城市化的進程非常快速，它的強 Yi uses changing colour tones to explore spatial density. The dark coloured blocks of the picture are disseminated from the center, suggesting that 度也非常震撼，當時，我希望我的作品能夠 Shanghai is not developed from a single core but a connection of many co-prosperous cities. While Ding Yi uses an overlooking perspective to present an unrestricted view, serving as a metaphor for the ever-changing 跟現實有某種關聯，我創作了一系列螢光顏 urbanization process, which enables the picture to display macroscopic narrative characteristics.

色的作品來對應城市化的話題。」 Appearance of Crosses 2008-15 serves as a continuation of his earlier series using charcoal pencil. With a texture, the " " and " " are regularly sorted. Ding Yi further strengthens object十 properties米 using differences ─丁乙 in colour depth. Differences in reflective intensity create the illusion of flickering and swaying. Through the artist's skillful arrangement of the regularity of the picture, he creates an orderly urban scene consisting of dense spaces. Lurking within countless spots of light, the flickering fragments of rapid change serve as testament to Ding Yi's presentation 1986年丁乙首次使用印刷時套色的座標精準細線「十字」，作為 of the sensations of light and shadow across a flat canvas. Appearance 繪畫創作的唯一元素，脫離任何具體形象的描繪，回歸最原始的線 of Crosses 2008-15 gathers decades of research by Ding Yi on " ". He always adheres to the most original language of painting. Along十 with 條組構。「從符號的單一性上，我是一個極簡主義藝術家；但是從 the development of civilization and the passage of time, he focuses on 創作的深度和創作所投入的時間，我完全不是一個極簡主義的藝術 changes in the social environment. His works imply the process of different 家，所有的作品都是經歷漫長的過程和漫長的考驗，沒有辦法簡， cultural forms amidst social development. Presenting abstract landscapes in the context of contemporary painting, they record the evolution of 唯一的簡只是思想的簡」。 society after China's reform and opening up.

1990年代晚期，上海的高度發展使城市面目一新，新建的摩天高樓 與色彩斑斕的霓虹燈，改變城市的色彩風貌，五光十色強烈的視覺 衝擊，使丁乙開始使用絢爛的螢光色，直觀的反映城市的新容顏。 「螢光色是一個被塑造的顏色，它是跟自然沒有關係的顏色。但這 個顏色更加地刺激、更加地閃耀，更加地能夠讓人感受到這個城市 1. 所眩目的這一面。」創作於2008年的《十示 2008-15》(Lot 117) 螢光色系的重複「十示」展現上海旺盛的生命活力，從「十」衍生 "I was so shocked by the rapid speed of 出「米」甚至是帶有方框「米」，更豐富的符號書寫，使丁乙畫面 urbanisation of Shanghai. At that time, I 更具有層次性。丁乙運用色彩的深淺變化作為對空間密度的探索， 畫面以中心向四周發散的區塊性深色布局，暗示上海非單一核心發 hoped that my work can somehow connect 展，而是多處共榮的城市現況，同時丁乙採用一種俯瞰的視角呈現 不受限定的透視效果，隱喻日新月異的都市化進程，使得畫面具有 with real-life matters, so I created a series 某種宏觀的敘事特性。 with fluorescent colours to echo with such 《十示 2008-15》延續早期炭筆的創作媒材風格，不同質地的 urbanisation." 「十」、「米」規律地排序，丁乙更進一步透由顏色彩度的落差強 化物質特性，不同的反光強度創造明滅晃蕩的錯覺，透過藝術家嫻 - Ding Yi 熟對畫面規律的排列，創造疏密空間有序的城市光景，潛伏於其中 In 1986, Ding Yi started to use the printing coordinates to create the 無數的光點，一明一滅瞬息變化的片段，是丁乙將光影瞬間感官的 precise lines as the sole element in his "crosses". Instead of depicting 刺激以平面畫布呈現的例證。《十示 2008-15》集結丁乙數十年對 image of any specific objects, he returned to the most original idea of pure composition of lines. "With the symbolic uniformity, I might be regarded 2. 於「十」的研究，他始終堅持以最原始的繪畫語彙，伴隨文明發展 as a minimalist artist. But, from the perspective of creation intuition and 與時間的推移，關注時代變遷對社會環境的影響，作品隱含社會發 time invested in creation, I am not a minimalist artist at all. All of my works 1. 維克多．瓦沙雷利《星體》1959-1961年作 英國 倫敦 泰特現代美術館藏 展中的文化形態不同面貌的進程，於當代的繪畫語境中呈現抽象風 undergo a long process of planning and takes a long time for execution. Victor Vasarely, Supernovae, 1959–1961, Collection of Tate Modern, London, UK There is no way to simplify this process. The only simplicity is found in the 景，紀錄中國改革開放後社會的遞變。 simplicity of thought." 2. 布里奇特．萊利《猶豫》1964年作 英國 倫敦 泰特不列顛博物館藏 Bridget Riley, Hesitate, 1964, Collection of Tate Britain, London, UK

Modern and Contemporary Art 25 117

DING YI (CHINESE, B. 1962) Appearance of Crosses 2008-15 丁乙 十示 2008-15

Painted in 2008 2008 年作 crayon and charcoal on canvas 蠟筆 炭筆 畫布 120 x 100 cm. (47 1/4 x 39 1/4 in.) 款識：Ding Yi 2008（右下）；"Appearance of Crosses 2008-15" Ding Yi signed and dated 'Ding Yi 2008' (lower right); titled, signed and dated '"Appearence 2008.（畫背） of Crosses 2008-15" Ding Yi 2008.' (on the reverse) 來源 Provenance 亞洲 私人收藏 Private Collection, Asia

HK$ 800,000 - 1,200,000 US$ 102,600 - 153,800

26 poly auction hong kong Modern and Contemporary Art 27 118

QIU XIAOFEI (CHINESE, B. 1977) Anamnesis 仇曉飛 既往症

Painted in 2009 2009 年作 oil on canvas 油彩 畫布 120.2 x 100.5 cm. (47 1/2 x 39 1/2 in.) 款識：《既往症》(anamnesis) 100 cm x 120 cm 布上油畫 仇曉飛 2009 titled, inscribed and signed in Chinese; titled, inscribed and dated '(anamnesis) （畫背） 100 cm x 120 cm 2009' (on the reverse) 來源 Provenance 中國 香港 當代唐人藝術中心 Tang Contemporary Art, Hong Kong, China 佳士得 香港 2015年5月31日 編號199 Christie's Hong Kong, 31 May 2015, Lot 199 現藏者購自上述拍賣 Acquired from the above sale by the present owner

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

28 poly auction hong kong Modern and Contemporary Art 29 WANG GUANGLE 王光樂 光之讚頌

「這是一個關於時間的故事。」 —王光樂

2000年畢業於中央美院的王光樂，是青年藝 的手和腳也被光斑模糊了邊界。物的隱退， 術團體N12的創始人之一，在中國70後年輕 「無」的境界，更彰顯神秘性，強烈的精神 藝術家中具有舉足輕重的地位。 內核，及王光樂對精神性一以貫之的追求。 《光．影．手》是王光樂創作風格上承上啟 時間年輪的光之讚頌 下的轉折之作，同年他已開始「水磨石」系 「光」是貫穿王光樂早期創作的核心元素， 列的創作，作為一個階段的結束，《光．影 他通過描繪照入工作室地面與牆壁的光線， ．手》有著極為重要的代表意義。 將難以觸碰的無形與質地堅實的結構有機結 合，原本凝固的靜態室內空間在午後陽光的 維度的創作方法論 加入下被賦予了時間的維度。 如果說早期「午後」系列中的形式化表達還留 有一些傳統學院派的具象蹤跡，那麼從「水磨 《光．影．手》(Lot 119) 從上部俯視的第一 石」開始，王光樂的作品就走向了觀念。他的 角度描繪了光透過窗欄而形成的規律斑點， 創作漸漸摒棄了一切可被具象化的描繪對象— 均勻的鋪灑在站在藤椅上的藝術家的雙腳與 「光線」、「工作室」，用更抽象的主題與純 一只手上。這個瞬間的原型來自於王光樂在 粹的創作手法取而代之；而後的「壽漆」系列 工作室時無心拍下的一張照片，半年後，他 則是藝術家從過去的生活體驗中汲取靈感，借 用顏料將這個意外卻又浪漫的一刻再現於畫 由觀念化的形式凸顯創作過程的時間意識。在 布之上。畫面中，手與腳的對話充滿儀式 一步一步趨向純粹的過程中，王光樂的創作獲 感，時間、空間與光都在瞬間被定格。敘事 得了前所未有的自由。 Lot 120 2. 性和抒情性，空間與時間，光與物（藝術家 的手腳）一同成為主角，但籐椅已被光斑幾 王光樂不斷強調創作過程本身以一以貫之的禪 近消解，背景單純得幾乎只剩下光，藝術家 宗為脈絡，著重將形而下的「修禪」與形而 上的「悟道」糅合以達到作品的內在統一。在最終作品的呈現上，並 未落入過去西方抽象藝術中「有意味的形式」，他的畫面剔除了敘事 性與感情色彩，簡單而純粹。2006年，王光樂從「壽漆」系列衍生 出更極簡、更冷峻的「無題」系列。藝術家以一種儀式感的自律以一 天兩次的頻率，遵從外輪廓逐漸縮小的規律，在畫布上施加顏料，最 「…也就是說，內容變得不重要了，所有的 終呈現矩形結構由外到內縮減，色調卻逐漸變深的形態。畫面既有因 顏料越來越厚帶來的結構上雕塑般的由下自上的立體感，同時兼具色 這些空間、內容、時間都會過去的，只有這 彩過渡帶來的由外而內的空間縱深感。他以完成時的年月日直接命名 每件畫作，彷彿是對最終成果的一種宣言式的總結，這也是藝術家秉 個過程最有意思也最重要… 」 承自己觀念性創作核心思想的最佳佐證。《090906》(Lot 120) 中， 畫布之內的空間由外緣的白漸漸過渡到紅，直至最中心深不見底的暗 —王光樂 紅，遠遠看去，好似一團向外發散、沒有邊界的光暈，走近時，大到 彷彿要將人吞噬的畫面似乎具有了一種神奇的力量，如同正在邁入美 國抽象表現主義大師羅斯科所打造的教堂與場域，正在邀請觀者一同 深入探索這個未知的無盡空間。 1. 弗蘭克．斯特拉《灰色擾亂》1968-1969年作 美國 紐約 古根漢美術館藏 雖然難以看到任何直接的「光」的痕跡，時間卻是王光樂創作不變 Frank Stella, Grey Scramble, 1968-1969, Collection of Guggenheim Museum, New York, USA 的主線，他用越來越純粹具體的圖像語彙暗示時間緩緩的流逝。在 2. 詹姆斯．特瑞爾《培雷火山》2014年作 這毫無雜質的美中，人們彷彿能感受到時間延綿不絕的力量。 James Turrell, Pelée, 2014 1. Lot 119

30 poly auction hong kong Modern and Contemporary Art 31 WANG GUANGLE 王光樂 PORTRAYING TIME

inspiration from his personal experiences, using conceptualisation to foreground "This is a story about time." the sense of time. During the process of reaching purity, Wang's creations - Wang Guangle achieved unprecedented freedom. Wang constantly emphasises the concept of Zen in his process of creation. He stresses the integration of physical Zen and metaphysical consciousness to achieve internal unity in his works. In the presentation of the final works, he did not fall into the concept of creating meaningful forms as some of the Western Abstract Expressionists. Rather, his pictures are void of narration and sentiment; they are simple and pure. In 2006, Wang created the simpler and colder Untitled Wang Guangle graduated from the Central Academy of Fine Arts in 2000. As series as a continuation of his Coffin Paint series, which included ritualistic one of the founders of the youth art group N12, he holds a significant position practices of self-discipline. The artist has restricted himself to apply pigments among post-70s young artists in China. to the canvas twice in a day, tracing along the outer edges towards the inner, to A praise for the passage of time through light produce a reclining rectangular structure, but the colour tone were gradually deepening as the form travels further from the edges. Due to layering of the "No matter where you live, no matter what your style is, we share one thing in pigment, the thickening surface of the canvas presents a sculpture-like structure, common, that is time. Whether you like it or not, time passes away." gives out a sense of tridimensional. At the same time, it conveys spatial depth - Wang Guangle brought by the colours shading from outside in. Wang names these works by directly using the date of completion, as if announcing that the process comes In Wang Guangle's early creations, "Light" has always been his main focus. to an end. This is also the best indication of the artist's focus on conception. By depicting the light beams that broke into his studio floor and walls, he In 090906 (Lot 120), the space of the canvas gradually changes from white, at organically integrates formlessness and intangibility with a solid structure. With the edges, to red, and then to a deep mahogany at the center that is seemingly the afternoon sunlight shining through, the still and rigid indoor space has been unfathomable. Viewed from afar, it is like a halo emitting lights outward. When gifted with the dimension of time. coming up close, the overwhelming size of the image confronts the viewers immediately, as if the space is about to swallow them. The image is conveyed Artist Portrait (Lot 119) is painted from a top-down perspective, portraying the with power, viewers were invited to explore this unknown and endless space orderly light spots that were projected onto the feet and left hand of the artist, as if they were entering the Chapel of American abstract expressionist Mark who was standing on a rattan chair. This is a glimpse of a casual moment, as the Rothko. image was a photograph accidentally taken by the artist himself pressing the camera shutter while working in the studio. After six months, the artist decided Although Wang's later work no longer portrays light, time has always been to reproduce this image using oil paints. As the hand and feet create their own Wang's form. He uses the gradually purified language of concrete images to dialogue filled with a ritualistic bond, all sense of time, space, and light are frozen imply the its gradual passing. In this pure beauty, people can feel the endless instantly. The narration, the sentiment, the space and time, and the light and the power of time. objects (i.e., the artist's hand and feet) all become the subjects. However, the rattan chair stands at the background and the outlines of the artist's hand and feet are blurred that almost dissolves. The retreat of the object to nonexistence emphasises the sense of mystery, the strong spiritual core of Wang's work, and his persistent pursuit of spirituality. Artist Portrait is a piece created when Wang was changing his creative style. In the same year, he started his Terrazo series. Thus, it is a significant representative work that marks the end of his previous style. Dimensions and its Creative Methodology "…in other words, the content is not important any more. All the space, content, and time will pass. Only the process is most interesting and most important…"

- Wang Guangle

If one says that Wang's early Afternoon series still contains some traces of traditional academic training, then since the beginning of his Terrazo series, the artist has committed himself to shift towards pure conception. He has gradually abandoned to depict any definable subjects in his works, such as "light" and "studio space". Instead, they were replaced by more abstract forms through his more concise techniques. In the later Coffin Paint series, the artist obtained 美國 休斯頓 羅斯科教堂 The Rothko Chapel, Houston, USA

Modern and Contemporary Art 33 119

WANG GUANGLE (CHINESE, B. 1976) Artist Portrait 王光樂 光．影．手

Painted circa 2002 約 2002 年作 oil on canvas 油彩 畫布 88.5 x 124 cm. (34 3/4 x 48 3/4 in.) 款識：《光．影．手》布上油畫 88.5 x 124 cm 2003 王光樂（畫背） titled, inscribed and signed in Chinese; inscribed and dated '88.5 x 124 cm 2003' (on the reverse) 來源 亞洲 私人收藏 Provenance 保利 香港 2015年4月6日 編號248 Private Collection, Asia 現藏者購自上述拍賣 Poly Auction Hong Kong, 6 April 2015, Lot 248 Acquired from the above sale by the present owner

HK$ 650,000 - 850,000 US$ 83,300 - 109,000

34 poly auction hong kong Modern and Contemporary Art 35 120

WANG GUANGLE (CHINESE, B. 1976) 090906 王光樂 090906

Painted in 2009 2009 年作 acrylic on canvas 壓克力 畫布 280 x 180.3 cm. (110 1/4 x 71 in.) 款識：090906 布上丙烯 280 x 180 cm 王光樂（畫背） titled and inscribed '090906 280 x 180 cm'; inscribed and signed in Chinese (on the reverse) 來源 保利 香港 2015年4月6日 編號249 Provenance 現藏者購自上述拍賣 Poly Auction Hong Kong, 6 April 2015, Lot 249 Acquired from the above sale by the present owner

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

36 poly auction hong kong Modern and Contemporary Art 37 中難以用語言所表達出的秩序之美。綜觀劉韡近十年的作品會發 《三明治No.6》(Lot 122) 創作於2014年，畫面由無數的縱向直線與 LIU WEI 現，劉韡在這一時期的創作極具張力，在繪畫方面「天安門」系列 層層疊疊的顏色構成。看起來像是經過數碼化的縱向線條在畫布排 劉 韡 用視覺呈現秩序 與「三明治」系列有著優雅和諧的美感；在裝置與雕塑方面的風格 開，形成複雜且有秩序的結構；不同飽和度的顏色橫向延伸，顏色 卻有著粗獷的力量感，藝術家的視覺語彙是如此的豐富，使得作品 的排列非常緊密，沒有絲毫空隙的一層壓向一層，如三明治一般， 之間看似關聯不多，卻共同有著「秩序感」的內核，且在宏觀的創 看似簡單明瞭，卻自成系統。整張畫面看起來如同是影片的時間軸 作上達到了美與暴力的平衡。 被縮小成的每一幀，當藝術家選擇抽離了具體內容，只留下物化的 形式，則「美」的本身也因形式而產生新的意涵。藝術家透過「三 創作於2009年的《場域》(Lot 121) 是劉韡創作中較為少見的帶有 明治」的隱喻折射出了社會現實，同時又給出了他心中的解決方 「同一個東西可以用雕塑、錄像和電影各種 劉韡作為市場關注度最高的中國當代藝術家之一，其創作媒介與題材 抽象氣息的具象作品，藝術家曾解釋《場域》屬於「天安門」系列 案，那就是—秩序，作品中所呈現的秩序感是他對這個社會的憧憬 十分廣泛，包括繪畫、影像、雕塑、裝置等，同時他又作為20世紀末 作品，但相較於《天安門》中明確的地點描述，《場域》除了相同 與希冀。 形式，就找一個最適合，在同一個內容上再 期中國當代藝術史上最重要的藝術行動之一—「後感性」的藝術家當 的路燈外跳脫了建築物與場景的描述，4.4米寬的畫面簡潔，色彩 中的旗幟性角色。「後感性」藝術家通過作品與觀者的交流是基於一 豐富，構圖嚴謹有序，顯得冷靜而抽離。樹叢、路燈與天空反差強 對於一個「永遠要去挑戰所有的既有觀念」的藝術家來說，試圖單 調節它們的感覺，如繪畫就是用作調節自己 種感官的延伸，也是最基礎的心理感覺和生理感覺而非理性的解讀。 烈，藝術家將光影及景深抽離成色塊與線條，非常俐落且理智，同 純用語言文字去闡釋劉韡的創作並非易事，因為他的作品本身就是 無論以何種媒介，劉韡的創作觀念通過他非常強烈以及風格化的視覺 時極富動感。畫中對天空的描寫尤為精彩，紅色的天空應出層次非 極致純粹的視覺性體現。劉韡的作品無論是繪畫抑或是雕塑、裝 感覺的一種東西。」 語言傳達出來，使觀者能夠感知並捕捉到他創作中圍繞的所謂某種秩 常豐富的光影，使得畫面整體的時間感呼之欲出。藝術家取材於生 置，其展現的都是一種井井有條的、精密的形式感，但其創作核心 序，呈現出了他對於純粹的形式感以及秩序感的思考和探索。 活中常見的風景，卻是經過計算機精確的設計製作出圖像，而後根 卻並不是形式主義的，藝術家通過深刻的思考以及嚴謹的呈現過 —劉韡 據放大而產生的新的像素來重新調整排列，描繪出抽離的幾何色 程，忠於內心地去表達他心中對於「現實」以及「秩序」的感受。 劉韡的繪畫作品最為直觀的感受就是構圖的嚴謹與色彩的和諧，充 塊，這使得人們面對畫中似曾相識的場景，卻給人感覺難以分辨虛 滿了多層次的複雜性，之所以能夠有如此觀感其本質就是藝術家心 擬與現實，且有一種遙遠的陌生感。 LIU WEI 劉 韡 Visualization of Order

Liu Wei is one of the most notable contemporary Chinese artist. The diversity of his themes are matched by the variety of his creative media, which include painting, video, sculpture, and installation. He is the representative figure for one of the most critical art movements of Chinese contemporary art in the late 20th century—Post-Sensibility. The interaction between works by Post-Sensibility artists and their viewers are often conducted through an extension of the senses, which is not a rational interpretation but a fundamentally psychological and physiological sensation. Regardless of the media, Liu's creative concepts are expressed through his visual language, which is strong and full of personal style. The viewer can feel and capture a certain sense of order surrounding his works, one that reflects his thinking and exploration behind pure form and order.

The most direct feeling one gets from Liu's painting is the vigorous composition and the harmony of the colours amidst complex layers. The essence of the complexity lies behind the beauty in the order that the artist cannot express through words. Looking back at Liu's work produced in the last decade, one will discover that his works are filled with tension. Tian'anmen series and Sandwiches series both present with a sense of elegance and harmony. By contrast, his installation works and sculptures express a sense of brutal power. The visual language of Liu is so rich that, although his works seem unrelated from the outset, they share a common sense of order. Macroscopically, his creations achieve a balance between elegance and brutality.

Created in 2009, Field (Lot 121) is a rare figurative work by Liu Wei with hints of abstraction. The artist once described Field as part of the Tian'anmen series, but in contrast to the locational clarity of Tiananmen, Field does not provide any indication of specific architecture or scenery, apart from the similar street lights. The 4.4m wide painting shows a clear and orderly structure with vibrant colours, which creates a sense of calmness and detachment. The bushes and streetlights To an artist who always challenges established concepts, it is difficult to use depicts a strong contrast with the sky. The artist abstracted the light and shadows plain words to interpret his creations, in that his works are extremely pure and the depth of field into colour blocks and lines, which seem neat, rational, representations of the visual. Liu's work, be they paintings, sculptures, or yet extremely dynamic. The depiction of the sky is especially outstanding. The installations, present an organized and precise form; however, the core of his red sky echoes light and shadow with rich layers, creating a particularly engaging creative concept is not formalism. Rather, his profound thinking and a rigorous sense of time within the whole painting. The artist adopted a common and presentation process portrays his feelings towards reality and order with mundane scene, but he precisely calculated the design and produced images sincerity. that were later enlarged, creating new pixels for rearrangement. The detached geometrical colour blocks provide the viewer with a scene that feels somewhat familiar, but cannot determine whether it is real or illusionary, ultimately creating a sense of distanced strangeness.

Sandwiches No. 6 (Lot 122) was created in 2014. It is composed of numerous vertical lines and layers of colours. The vertical lines look digitalised upon the canvas, forming a complex but orderly structure. Colours of varied saturation expand horizontally. The arrangement of colour is tight, without gaps, one layer pressing onto the next. Like a sandwich, it seems simple but abides by its own "If the same object can be presented through various forms, such system. The whole work looks like a video whose timeline is compressed. When the artist chose to detach the concrete content and leave only the objectified as sculpture, video, and film, then I would find the most suitable form, "beauty" itself derives a new meaning through the form. Through "Sandwich" and its underlying metaphor, the artist reveals the realistic society, and provides his solution—order. The sense of order presented in this work 艾爾斯沃茲．凱利《光譜 I》1953年作 美國 舊金山 舊金山現代藝術博物館藏 one and adjust the sensations of the content. Painting, for Ellsworth Kelly, Spectrum I, 1953, Collection of San Francisco Museum of represents his longing and hope towards this society. Modern Art, San Francisco, USA example, is a means to adjust my feelings." - Liu Wei

40 poly auction hong kong Modern and Contemporary Art 41 121

LIU WEI (CHINESE, B. 1972) Field 劉韡 場域

Painted in 2009 oil on canvas 180.3 x 442.2 cm. (80 x 174 in.)

Provenance Galerie Hussenot, Paris, France Collection of Guy and Myriam Ullens de Schooten Sotheby's Hong Kong, 4 April 2016, Lot 767 Acquired from the above sale by the present owner

Exhibited France, Paris, Galerie Hussenot, Liu Wei: The Forgotten Experience, 10 October- 12 November, 2009.

2009 年作 油彩 畫布

來源 法國 巴黎 Hussenot畫廊 蓋伊·尤倫斯和米莉恩．尤倫斯收藏 蘇富比 香港 2016年4月4日 編號767 現藏者購自上述拍賣

展覽 2009年10月10日-11月12日「被遺忘的經驗」Hussenot 畫廊 巴黎 法國

HK$ 2,800,000 - 3,600,000 US$ 359,000 - 461,500

劉韡《天安門》2009-2010 年作 佳士得 香港 2015年11月28日 成交價：6,640,000港元 Liu Wei, Tiananmen, 2009-2010, Christie's Hong Kong, 28 November 2015, Sold for HK$ 6,640,000

42 poly auction hong kong Modern and Contemporary Art 43 122

LIU WEI (CHINESE, B. 1972) Sandwiches No. 6 劉韡 三明治 No. 6

Painted in 2014 2014 年作 oil on canvas 油彩 畫布 180 x 220 cm. (70 3/4 x 86 1/2 in.) 款識：劉韡 Liuwei 2014（畫背） signed in Chinese; signed and dated 'Liuwei 2014' (on the reverse) 展覽 Exhibited 2015年1月11日-2月1日「製新一處—居然．丹蒙首屆當代藝術新年展」 China, Beijing, Easyhome Sino-Italy Top Design Center, Easy Home．Diamond-The 居然頂層設計中心 北京 中國 First Contemporary Art New Year Exhibition, 11 January-1 February, 2015.

HK$ 1,800,000 - 2,600,000 US$ 230,800 - 333,300

44 poly auction hong kong Modern and Contemporary Art 45 WANG GUANGYI 王廣義 時代浪潮敘事

作為中國新藝術運動的重要參與者之一，王廣義於1984年在浙江美 術學院油畫系畢業。此時正值中國「85新潮」美術運動，這次美術運 動是中國當代藝術史中第一次全國性大規模的先鋒藝術運動，標誌著 中國當代藝術的開端及重要轉折點，對中國當代藝術的發展影響極為 深遠，同時確立了中國當代藝術與國際藝壇之間的格局及關係。

九十年代，西方流行文化開始陸續進入剛剛開始改革開放的中國， 在時代更替、文化交流的大潮席捲而來的背景下，王廣義開始了 「大批判」系列的創作，「大批判」系列將文化大革命時期的宣傳 海報及西方現代消費商品二者結合，創造出諷刺而具有戲劇張力的 效果。在「大批判」系列中，西方消費文化和中國當代改革開放後 仍存留的文化背景形成尖銳的衝突，正如王廣義所說，「在我看 來，我在『大批判』系列想表達的觀點，就是西方文化與社會主義 2. 意識型態之間的敵對觀念。」

《大批判系列：迷你庫伯》(Lot 123) 創作於2006年，「迷你庫伯」 最初由英國汽車公司BMC及其承繼公司在1959年至2000年期間生 In 1984, Wang Guangyi graduated with a degree in national flag and Chinese Communist Party emblem. 產，成為六七十年代西方轎車文化的指標之一。MINI的字樣被擺在 Oil Painting from the China Academy of Art (formerly Just like a propaganda poster from the period of 畫面的正中上方。畫面中紅黃為主要色調，紅黃二色也正是中國國 Zhejiang Academy of Art), and became one of the Cultural Revolution, a group of workers, peasants, and most prominent figure in the "85 New Wave" art soldiers carry large texted posters, while raising "The 旗及黨徽等的象徵顏色。如同文革時期的宣傳海報畫面一般，一群 movement of the 1980s Chinese art scene (a pioneer Little Red Book" (a book of quotations from Chairman 工農兵手捧大字報，手中高舉「小紅書」，彷彿正在向遠處吶喊。 national art movement in Chinese contemporary Mao Tse-tung), as if they were shouting into the 畫面底部否定意味的英文「NO」，似乎在暗示對西方潮流文化的 history which marked the beginning of a new era); distance. The word "NO", placed at the bottom 拒絕。畫面上可見一些散落分佈的數字，藝術家曾解釋，最初在創 the movement had deeply influenced the direction of of the image is probably suggesting a rejection of 作時並沒有主觀上想賦予畫面中的數字任何意義，後來隨著時間推 Chinese contemporary art, and helped in establishing western Pop Culture. Numbers are scattered within the pictorial space, yet the artist once explained 移，逐漸隱含「數字化時代」的含義。《大批判系列：迷你庫伯》 its position Internationally. that no intentions were made to give the numbers 雖在高聲吶喊對西方文化侵入的反對，然而同時也代表著當代改革 Western Pop Culture entered and penetrated the any meaning when they were first been introduced 開放與中西文化交流勢不可擋，這一趨勢對有著傳統文化信仰的中 society of newly-reformed and opened China in onto the canvas. However, as time progressed, 國造成的強大衝擊。藝術家對於傳統思想及新進流行的西方思想批 the 90s. Amidst a new generation and a wave of they slowly carry the hidden meaning that signifies 判及思考，提醒著大眾對日益變化的文化環境的審視，是中國當代 cultural exchange, Wang Guangyi launched The Great Digital Era. Even though Great Criticism Series: Mini- Criticism series. The Great Criticism series merges 藝術探討的重要課題之一。王廣義具有標誌性的諷刺批判創作風 Cooper explicitly cries out a rejection of the invasive the propaganda posters from the Cultural Revolution influences of western culture, it also conveys the 格，使其成為「中國政治波普之父」，也是最早在國際藝壇上發聲 with modern Western commercial goods, playing bitter inevitability of cultural interaction between the 的藝術家之一，在中國當代藝術史上有著不可磨滅的地位。 upon the effects of irony and dramatic tension. In The Western and Chinese under the scheme of opening Great Criticism series, Western consumer culture and and reform. This trend created a huge, and lasting, the cultural background of the newly-reformed and impact on a nation that held on to its traditional opened China generated a strong level of conflict. As beliefs. The artist's critique and reflection upon the Wang Guangyi said, "From my perspective, the point interaction between the traditional values, and the that The Great Criticism series is trying to convey is fresh and trendy western mind-set, encourages the hostile attitude between Western culture and and reminds the public to contemplate upon the socialist ideology." constantly shifting cultural environment. This remains incredibly relevant in contemporary society, and is Great Criticism Series: Mini-Cooper (Lot 123) was one of most significant topics of discussion in Chinese created in 2006. Originally manufactured by the contemporary art. The symbolic sarcasm and critical British Motor Corporation (BMC) and its contracted artistic style of Wang Guangyi made him "the Father companies from 1959 to 2000, the Mini-Cooper 1. 工農兵宣傳海報 of Chinese Political Pop Art". He also was the first Propaganda poster of workers, peasants and became one of the representative figure of western soldiers. artist to directly express opinions on the international automobile culture in the 60s and 70s. The logo art scene, creating a powerful legacy in the history of 2. 羅伊．利希滕斯坦《哇！》1963年作 英國 "MINI" is placed at the centre of the image with Chinese contemporary art. 倫敦 泰特現代美術館藏 predominant tones of red and yellow. These two Roy Lichtenstein, Whaam!, 1963, Collection of Tate Modern, London, UK colours present an obvious allusion to the Chinese

1.

Modern and Contemporary Art 47 123

WANG GUANGYI (CHINESE, B. 1957) Great Criticism Series: Mini-Cooper 王廣義 大批判系列：迷你庫伯

Painted in 2006 2006 年作 oil on canvas 油彩 畫布 300.1 x 199.7 cm. (118 1/4 x 78 1/2 in.) 款識：2006年Wang Guang Yi 王廣義（畫背） dated and signed '2006 Wang Guang Yi'; signed in Chinese (on the reverse) 來源 Provenance 直接得自於藝術家 Acquired directly from the artist 中國 北京 私人收藏 Private Collection, Beijing, China 美國 紐約 私人收藏 Private Collection, New York, USA

HK$ 1,100,000 - 2,000,000 US$ 141,000 - 256,400

48 poly auction hong kong Modern and Contemporary Art 49 124 125

LI SHAN (CHINESE, B. 1942) PAN DEHAI (CHINESE, B. 1956) Yellow Double Mao The Laborer Series - Tiananmen 李山 黃色雙面毛澤東 潘德海 勞動者系列─天安門

Executed in 1995 1995 年作 acrylic and collage on canvas 壓克力 拼貼 畫布 Painted in 2007 2007 年作 40.1 x 42 cm. (15 3/4 x 16 1/2 in.) 款識：李山 li shan 1995 紐約（右下） oil on canvas 油彩 畫布 signed and inscribed in Chinese; signed and dated 'li shan 1995' (lower right) 170.5 x 201 cm. (67 1/4 x 79 1/4 in.) 款識：潘德海 2007（畫背） 來源 signed in Chinese; dated '2007' (on the reverse) Provenance 直接得自於藝術家 出版 Acquired directly from the artist 美國 邁阿密 私人收藏 Literature 《潘德海》藝．凱旋藝術空間 北京 中國 2008年（圖版，第47頁） Private Collection, Miami, USA 美國 紐約 私人收藏 Pan Dehai, Triumph Art Space, Beijing, China, 2008 (illustrated, p. 47). Private Collection, New York, USA

HK$ 200,000 - 300,000 HK$ 120,000 - 180,000 US$ 25,600 - 38,500 US$ 15,400 - 23,100

50 poly auction hong kong Modern and Contemporary Art 51 126

LIU YE (CHINESE, B. 1964) Composition with Square No. 2 劉野 方格子的構圖2號

Painted in 1998 1998 年作 acrylic on canvas 壓克力 畫布 24.3 x 24 cm. (9 1/2 x 9 1/2 in.) 款識：98 YE（右中） dated and signed '98 YE' (middle right) 來源 Provenance 藝術家自藏 Collection of the artist 印尼 雅加達 私人收藏 Private Collection, Jakarta, Indonesia 西泠印社 杭州 2011年7月16日 編號848 Xiling Yinshe Hangzhou, 16 July 2011, Lot 848 現藏者購自上述拍賣 Acquired from the above sale by the present owner 展覽 Exhibited 2015年5月1日-6月28日「梳理貳：尋找東方印」索卡藝術中心 北京 中國 China, Beijing, Soka Art Beijing, Looking for the Mark of China, 1 May-28 June, 2015. 出版 《梳理貳：尋找東方印》索卡當代藝術有限公司 北京 中國 2015年（圖版， Literature 第31頁） Looking for the Mark of China, Soka Art Beijing, Bejing, China, 2015 (illustrated, 《劉野全集 1991-2015》Hatje Cantz出版 奧斯特菲爾德爾恩 德國 2015年 p. 31). （圖版，第279頁） Liu Ye, Catalogue Raisonné 1991-2015, Hatje Cantz Verlag, Ostfildern, Germany, 2015 (illustrated, p. 279).

HK$ 1,500,000 - 2,000,000 US$ 192,300 - 256,400

「我的畫基本上是屬於我的個人生活。童年 在我來說，是一個黃金年代，我的畫在許多 方面反映我童年時的夢想和幻想。」 ─劉野

52 poly auction hong kong Modern and Contemporary Art 53 LIU YE LIU YE 劉 野 並非童話 劉 野 NOT FAIRY TALE

"Most of my painting pertains to my personal life. I had a happy and memorable childhood, in many ways, my painting reflects the dreams and fantasies I had ever since my childhood." - Liu Ye

Where the Story Begins Liu Ye was born in Beijing in the 1960s. His father was a writer of children's literature, who often brought books by Lewis Carroll and Hans Christian Anderson's Fairy Tales, the books which were at the time banned from government, to his son. Those fairy tales with hidden adult humor and metaphors for life were like small theatrical plays that keep on playing within characteristic facial ornament that was popular during the Republic of China Lot 126 young Liu Ye's wild imagination. As time pass by, those thoughts were growing period), fully conveying cynical playfulness in the vein of ancient oriental culture, like sprout, they germinate in his mind and finally became the artist's unique strikingly adding a deeper layer of order and balance while breaking the low-key language of artistic expression which he shows on canvas. ambiance created through the calm hues in the tableau. However, this strange scene of unusual union, conveyed through the accumulative effect of repetitive 故事的開始 板，是藝術家此階段反覆使用的標誌性元素， 遊離於現實與夢境中的哲學思辨 A Journey of Self-Exploration elements, is disrupted by the girls' inconsistent gestures upon closer scrutiny. 劉野出生於60年代的北京，父親是一位兒童 它的簡潔工整，冷峻靜謐，為視覺上的平衡與 王爾德曾說：「所有的藝術都是表象與象徵 In the early 1990s, Liu Ye returned to China after his four years of art study in With some arms open wide, some crossed, or one even pointed upwards. With Germany; by then, he chose to deliberately kept away from the political sarcasm their mouths murmuring, they seem to be seriously involved in a one-act play 文學作家，常常將當時被視為禁書的路易斯． 嚴謹秩序感做出了鋪陳。「我也想解決單純 的共存」，而劉野在其創作中也從未停止追 en vogue in the Chinese art world and rather focused on what he believed to on a theater stage. The painting thus expresses a strong animated emotional 的問題」，這是將蒙德里安理性創作理念深植 卡羅和安徒生的童話故事帶給他閱讀，那一個 求表面意義與隱匿內容間的理想平衡，正如 be more important for an artist-self-exploration. While traces of collectivism tension, which represents the final liberation of the artist's emblematic humor 個天馬行空卻又暗含成人世界中幽默與隱喻的 心中的劉野進行畫面佈局時的思維邏輯。在 他所說：「我對童話故事和哲學有著同樣的 inevitably show their mark in his work, his long-time admiration for western within set rules. 《方格子的構圖2號》這個超現實時空里，四 artists like Mondrian, Vermeer, Paul Klee and others has helped him to gradually 小劇場在童年劉野的心中埋下了充滿想像力的 熱情。」。《方格子的構圖2號》正是這樣一 Philosophical Enquiry Roaming between Reality and open up a unique artistic style by drawing cartoonish figures with rigorous 種子，隨著他的漸漸成長，這種對心中夢幻樂 個卡通形象、具有天使雙翅的小女孩如同國際 個富含兩面性的藝術家個人界域；一方面， Dreamland compositions and philosophical metaphors; he was true to himself within a 象棋中的棋子一般靜靜佇立，不知名的光線從 園的迷戀在他的腦海中不斷生根發芽，並最終 藝術家通過植根於現實經驗的觀察，以精準 paradoxical context between Oriental and Western cultures. According to Wilde, "all art is at once surface and symbol", similarly, Liu Ye never 以圖像的語言呈現在他的畫布之上。 畫面的左方斜射進來，照亮了她們正面抬頭仰 嚴密的構圖，對西方現代主義傳統的表達致 ceases to pursue the ideal balance between seeking superficial meaning and The canvas of Composition with Square No. 2 (Lot 126) is rhombus, which implicit content in his art. Like he said, "I have equal passion for stories and 望的面龐，並將這四個小小的身影投射在地面 敬，同時，代表人類縮影的天使形象的介入 unusual for a Liu Ye's work. The black and whote tiled floor at the background philosophy." Composition with Square No. 2 precisely incarnates the artist's 自我探索的童話旅程 上，二維平面瞬間被注入勃勃的生機與動感。 為場景創造出了一層視覺謎面，又拉開了與 assembles the typical interior floor design of "Dutch Golden Age" households. personal realm that is full of duality. On the one hand, Liu Ye deploys a precise 90年代初期，經德國留學四年剛剛歸國的劉 小女孩們身著格外亮眼的紅色短裙，面帶民 現實生活的距離；這個看似通俗易懂的輕鬆 There were several paintings of the artist of this period which also employed and vigorous composition by means of observation rooted in real experiences, 野，選擇與當時充滿政治嘲諷的藝壇主流保持 國樣式的圓形墨鏡，充滿來自古老東方文化玩 場景，在劉野細膩的筆下，這一個個面帶微 the use of these composition-they are simple, delicate, with calm feeling, and thus paying homage to the representation of Western Modernist tradition. On they help in building up the base line for the visual balance and a rigorous sense the other hand, the intervention of the angel-like figures which epitomises the 一定距離，以構圖嚴謹的哲學性卡通畫面堅 世不恭的戲謔，在打破畫面中冷靜色彩建立起 笑的小小身軀散發出生動的色彩。藝術家將 of order in the tableau. "Yes, I want to solve simple problems," with Mondrian's human form creates a visual enigma for the scene and detaches it from real 持了回歸個人的主張。雖身上不可避免的帶有 的沉寂調性的同時，又點睛一般構建起更深一 所有符號化元素，在有限的畫布空間內精密 rational creative concept deeply rooted in his mind, this statement of the artist life. While the nonchalant scene seems mundane and easy to grasp, the tiny 集體主義烙印的遺留，但對西方藝術家蒙德里 層的秩序與平衡。然而這個由重複元素堆疊所 排列，構成視覺與情感上富有超現實意味的 best addresses his logic behind his canvas structure. Composition with Square bodies with smiles exude lively colours through the artist's subtle brushstroke. No. 2 displays a surreal scene, where people could not sense time and location, Liu Ye carefully deploys all the elements into signs upon the limited space of the 安、維梅爾、保羅．克利等的崇敬使得藝術家 傳達出空前統一感的怪誕場面，卻被小女孩們 記憶點，為觀眾提供了一個進行反覆思辨的 within there, four girls were depicted in a cartoonish style. With angel wings on canvas, creating points of recollection that are somewhat surreal, both visually 在東西方文化的矛盾語境中逐漸開拓出了一條 細看下並不一致的姿態而打破，她們的雙臂 心靈窗口。 their back, they were standing upright, quietly, as if they were like chesses on and emotionally, thus presenting a mental window for thought and analysis to 忠於自我、獨一無二的藝術道路。 或是張開、或是環抱胸前、又或是指向天空念 board. An unidentifiable light source beams from the left, lighting up the girls' the viewer. 皮耶．蒙德里安《畫面第四號：紅、灰、藍、 念有詞，好似在戲劇舞臺中認真出演著一齣獨 黃、黑的菱形畫》1925年作 美國 華盛頓 美國 faces that are turning upwards looking at the viewer, and projects the shadows 《方格子的構圖2號》(Lot 126) 有著劉野作品 幕戲，畫面也由此真正展現出情緒上的靈活張 國家美術館藏 of these four tiny figures on the ground. The two-dimensional plane is suddenly Piet Mondrian, Tableau No. IV: Diamond Painting imbued with an abundance of vitality and motion. Dressed in particularly 中罕見的菱形尺幅，背景中頗有荷蘭黃金時 力，是劉野簽名式幽默在理性框架內的最終釋 in Red, Grey, Blue, Yellow, and Black, 1925, 約翰內斯．維米爾《音樂課》1662-1665年作 英國 溫莎 溫莎城堡藏 Collection of National Gallery of Art, Washington, eye-catching red mini-skirts, the little girls are wearing round sunglasses (a Johannes Vermeer, The Music Lesson, 1662-1665, Collection of The Windsor 代所流行的室內裝潢異曲同工之感的黑白格地 放。 D.C., USA Castle, Windsor, UK

54 poly auction hong kong Modern and Contemporary Art 55 維克多．瓦沙雷利 VICTOR VASARELY

「形狀是色彩表現的基礎，而色彩同時也成 就了形態的建構。」 —維克多．瓦沙雷利

1965年，美國紐約現代美術館舉辦名為「眼睛的反應」展覽引起了 學界及公眾的關注，展出作品均通過幾何圖形的變化及色彩運用而 帶給觀者視覺刺激，歐普藝術的概念正源自於此。維克多．瓦沙雷 利在1950年代發表了系列文章，論述如何在藝術創作中運用光學現 象而造成特殊的視覺感受，並已創作實踐而影響深遠，被譽為歐普 藝術之父。歐普藝術以抽象主義為基底，不注重表達感情和情緒， 1. 2. 其發展更可追溯到二十世紀初期由義大利興起的未來主義，以及德 國的包豪斯，是現代藝術史上極為重要的藝術運動之一。 "Every form is a base for colour, every colour 「這是冰冷且屬於大腦的藝術？不是的─它是一種純淨的藝術，或 是說，注入了極深的靈性，以晶體或原子般精密組織及建立而成的 is the attribute of a form." 藝術。瓦沙雷利作品的結構是極其豐富的，以特殊的元素排列，製 造出那些有特色、具有刺激性以及最終引起觀者共振觀感的作品。 - Victor Vasarely 這也是動態藝術之特徵，也正是瓦沙雷利創造了這一名詞。他沒有 Lot 127 將色彩及形態分開思考，但是將二者作為一個整體的統一運用…」 In 1965, The Museum of Modern Art held "The Responsive Eyes" exhibition, conveys "space" and "motion" through colour and geometry. In the initial phases 的姿勢，畫面雖依據理性排列，卻以色彩和幾何圖形洋溢著活潑靈 ─瑪律塞．佐瑞《維克多．瓦沙雷利》 which captivated the attention of the public and the art world. The exhibited of development, most of the works were created in black and white. As early as 動的韻律感。瓦沙雷利在作品《小丑》中，精妙地使用圖形及色彩 works provided the viewers with visual stimulation through geometric changes the 1930s and 40s, Vasarely's signature work, Zebra, was the first of its kind to 及其間所形構的關係，將現實世界的題材透過自己的感知再現於畫 and colour application. And that forms the foundation of OP Art. In the 1950s, establish the genre of OP Art. Later, Vasarely began to add colour to his creations, 維克多．瓦沙雷利1930年來到法國巴黎定居，就此展開個人的藝 布上，正如他所說：「所有都在這裡了，空間性、持續性、微粒及 Victor Vasarely published a series of articles on how to use optical effects and furthered the exploration of the relationship between colour, shape, and 術探索及理念建構。當時歐洲的抽象藝術有兩大方向：一是俗稱的 in artworks to create special visual experiences, and by putting that into his space. 波動、關係和場域。我的藝術再次將自然轉換，而這一次是純粹物 「冷抽象」，一般運用幾何形式建構畫面；另一相對應的則為「抒 artistic practices, he is regarded as the father of OP Art. OP Art is based on 理性的，使得觀者對世界有物理上的完整感知」。瓦沙雷利帶領觀 Created at the peak time of his artistic career, Harlequin (Lot 127) serves 情抽象」，著重運用色彩、筆觸等表達主觀情感。瓦沙雷利在冷抽 Abstractionism and does not focus on expressing emotions or sentiments. 者以他的方式重新理解世界。 Its development dates back to Futurism, which originated in Italy in the early as a masterpiece of Vasarely's use of colour and form. The contours of the 象的系統之下，透過色彩及幾何圖形的傳達「空間」與「動感」。 twentieth-century, as well as from the influence of Bauhaus in Germany. It is one background and subject are completely comprised of geometric shapes: 早期多以黑白二色進行創作，早在三四十年代，其代表作《斑馬》 of the most prominent art movements in modern art history. they resemble twisted squares of varying colours and sizes. These patches gradually change from brown to red, orange, and yellow on a brown-yellow 便為確立歐普藝術流派的第一幅作品。而後，瓦沙雷利開始在其創 "Is it a cold and cerebral art? No-a purified art, rather, marked with a deep background, culminating into a contrast between brightness and saturation. 作之中加入彩色，以進一步探索色彩、形體與空間的立體感及運動 spirituality, ordered and built as is the crystal or the atom. A great richness of The contrast between the red blocks and the gray squares of the edges gives 感之關係。 invention appears in Vasarely's structures, in which the special arrangement the canvas an effect of moving towards the center, creating a prominent three- of the elements produces that characteristic, irritating, and finally appealing dimensional visual sensation. The outline of the protagonist is highlighted by the 創作於其巔峰時期的《小丑》(Lot 127) 為瓦沙雷利色彩及形態運用 vibration. For here everything contributes to the kinetic form (la plastique conflict between the warm and cold colours of the squares. The artist's careful cinétique), a term of which he is in fact the inventor. He does not consider forms calculations visually construct the three-dimensionality of the clown's body 技法集大成之作，畫面背景及主體的勾勒完全使用幾何圖形：大小 and colors separately, but as a form-color whole, which has become a plastic and the posture of the limbs swinging and dancing. The colours and geometric 不一，色彩各異，亦或彷彿經過扭曲的方形。這些色塊在棕黃色背 Unity…" -Vasarely by Marcel Joray shapes are filled with a lively and dynamic rhythm. In his work, Harlequin, 景下由四周到中心、由深褐色至紅、橘與黃色逐漸變化，明度與彩 1. 皮耶．蒙德里安《作品 編號2/構成 編號七》1913年作 美國 紐約 所羅 Vasarely exquisitely utilises shapes and colours, and the relationships they form 門．古根海姆博物館藏 In 1930, Victor Vasarely settled down in Paris, and began his personal artistic to project his own perceptions of real-world themes onto the canvas. As he said, 度的對比之應用在這裡達到了極致，紅色色塊與邊緣的灰色調方塊 Piet Mondrian, Tableau No. 2/Composition No. VII, 1913, Collection of exploration and conceptual construction. At that time, abstract art in Europe was "Everything is there: Space, Persistence, Corpuscles and Waves, Relations and 對比使畫面出現向中心運動之效果，且造成一種三維突出的視覺感 Solomon R. Guggenheim Museum, New York, USA heading in two major directions: one is commonly known as "Cold Abstraction", Fields. My art transfers Nature once again, this time that of pure physics, in such 受。主角的輪廓通過方塊之間冷暖色調的衝突勾勒而出，均通過藝 2. 維克多．瓦沙雷利《斑馬》1932-1942年作 佳士得 倫敦 2017年3月7日 which generally uses geometric shapes to construct pictures; while the other a way as to enable a physical understanding of the world." Vasarely leads the 成交價：485,000 英鎊 術家精心計算，在視覺上建構小丑身軀的立體感以及四肢搖擺舞動 Victor Vasarely, Zebras, 1932-1942, Christie's London, 7 March 2017, Sold one is "Lyrical Abstraction", which focuses on the use of colours and brushstrokes viewers to form a new understanding of the world through his eyes. for GBP 485,000 to express subjective emotions. Under the cold abstraction system, Vasarely

56 poly auction hong kong Modern and Contemporary Art 57 127

VICTOR VASARELY (HUNGARIAN, 1906-1997) Harlequin 維克多．瓦沙雷利 小丑

Painted circa 1987 約 1987 年作 acrylic on canvas 壓克力 畫布 232.3 x 160.5 cm. (91 1/2 x 63 1/4 in.) 款識：vasarely-（中下） signed 'vasarely-' (lower centre) 來源 Provenance Ketterer 慕尼黑 1996年12月2日 編號134 Ketterer Munich, 2 December 1996, Lot 134 德國 私人收藏 Private Collection, Germany Ketterer Kunst GmbH 慕尼黑 2014年12月6日 編號843 Ketterer Kunst GmbH Munich, 6 December 2014, Lot 843 歐洲 私人收藏 Private Collection, Europe 歐洲 私人收藏 Private Collection, Europe 附 皮埃爾．瓦沙雷利所開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Pierre Vasarely. 此作將收錄於由藝術家基金會正在編纂的《維克多．瓦沙雷利作品集》 The work will be included in the artist's forthcoming catalogue raisonné prepared by Foundation Vasarely.

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

58 poly auction hong kong Modern and Contemporary Art 59 喬治．康多 GEORGE CONDO

「我一直都堅信融匯各種風格的重要，即便 從最初的創作，我已經開始代換任何及所有 藝術史參考文獻中採用的語彙，最後形塑成 一個我的獨有圖像。人們可以尋著各種路線 圖前進，但最終落點在一個完全未知的地 方。」 ─喬治．康多

喬治．康多出生於1957年的美國，他在大學主修音樂理論和藝術 史，出於對龐克搖滾的熱愛，他在1979年的一次樂團活動上認識 了對音樂有著同樣喜好的尚．米榭．巴斯奇亞，這也促使他搬去紐 約，從而展開對藝術的追尋之旅。東村是紐約反文化的中心，也是 紐約藝術和康多藝術生涯的發源地，康多曾在1980年初期於安迪． 沃荷的工作室短暫打工，當時他雖然才20歲出頭，卻已在東村數家 畫廊舉辦過展覽。之後他頻繁的來往於歐洲和美國之間，與多家國 際畫廊合作，逐漸嶄露頭角。

康多在1980年代與巴斯奇亞及凱斯．哈林共同代表了紐約藝術的新 興力量，他的作品在首次展覽便銷售一空，甚至連沃荷都在不知道康 多曾是他員工的情況下收藏了幾件。他的繪畫時而糅合歐洲傳統技 巧和波普藝術理念的繪畫風格，就如同他所說的：「我喜歡西洋古典 油畫，所以我就是要畫它們。」康多延續了肖像繪畫自林布蘭、畢卡 索、培根等人傳承下來的精神，以真實維度的視覺經驗去詮釋一個虛 幻的觀念，容納詼諧、嘲諷、致敬等元素的方式，他稱之為「人工寫 實」。保利香港是次有幸徵得三件康多的油畫創作，其中兩件創作於 80年代的早期作品，讓我們得以一窺藝術家的完整創作歷程，其中 2007年作的《夢境》(Lot 129) 更是藝術家極其豐富、集數十年藝術生 涯於一身的大成之作。

1983年是康多相當繁忙的一年，他短暫搬去洛杉磯舉辦了他在當地 的首次個展，並在回到紐約後不久便首次踏上他所憧憬的歐洲土地。 該年作的《無題》(Lot 130) 是藝術家早期受沃荷波普藝術影響的一件 大尺幅之作，他融合自身文化源頭的印地安圖騰，將其與美國傳統節 日的聖誕樹形象合併，形成一個存在於波普印象和真實維度之間的混

Modern and Contemporary Art 61 合體，而這也就是藝術家所注重的人工寫實概 不同的、非連貫的時刻裡，性格裡的各種心理狀 有潛在的心理狀態同時在一張臉龐上釋放，裸 回應主題，以更加激烈的情緒與相異動態表述 念。康多在色彩表現上，選擇以紅和綠作為主 態。」《異形頭像》是康多對於傳統肖像畫的一 露的形象使得反差和張力顯得更加強烈，營造 潛意識中的欲望和壓力。《亞維農的少女》可 要搭配，採用了聖誕節的代表性顏色，但因缺 次全新闡釋，他借鑒了立體派的形象表現並在其 出扣人心弦的官能畫面。 說是畢卡索確立嶄新繪畫語言的一座里程碑， 乏了物體和空間光線性的描寫，更加強了藝術 中注入了心理狀態的個人詮釋，將內在層面的複 透過向這轉折時期的關鍵代表作致敬，康多同 家創作理念的人工性。在圖騰後方的平塗背景 雜性提升至全新的高度。 康多製造畫面上衝突的方式不單是心理式的， 樣整理了數十年以來藝術的個人經驗總結。無 下隱藏著一個人體的線條，空洞、骷髏似的眼 也得益於他對樂理的研究。他說：「我喜歡研 論是構圖的豐富性或者結構、色彩的完整性， 神和左手中所持的戰錘，在看似歡樂的題材下 畢卡索對於康多的影響深遠且有非凡意義，康 究巴哈線性結構及對位結構的編曲，然後將那 《夢境》可說是康多在藝術歷程與多元探索上 隱匿了一絲戾氣，人像右手位於圖騰桿的後方 多自認為他的風格可稱作「心理立體主義」， 些旋律與不和諧的音韻轉錄成圖像和繪畫。」 又一次強而有力的印證。 就像是要將其提起的姿態，影射了印地安和新 比如說：「畢卡索在一個平面上同時詮釋了四 這也說明了他在對比色的運用和構圖線條上的 移民幾世紀前的緊張情緒。 個不同視角的小提琴，而我作的不過是顯現它 差異性。《夢境》以大紅色為背景，飽和的色 康多的繪畫是由線條、色彩、形體交織所形成 們的心理狀態。」2007年作的《夢境》中描繪 彩為畫面帶來一種動態、不安定的隱喻，人物 其獨有的時間性，而非單純組織現有的空間維 1989年作《異形頭像》(Lot 128) 參照了分析性立 層層堆疊的多重人像，怪誕的臉孔塑造、扭曲 著色從中心女性正常的膚色開始，從面容綠色 度。他藉由一個極其人為的方式描繪自然存在 體派對於空間的解析，被分割而重新組合的背 的肢體形象，彷彿讓觀者直入畫中人物心靈， 的變異開始往外擴散，連同下方帶紫色、藍色 的型態，廣泛而深遠地帶給觀者複雜的心理寓 景以平塗色塊形成分離，如同拼圖的謎題式排列 與同共遊虛幻夢境。「夢」的視覺本質通常 的臉孔和左方具有強烈個性的鮮黃色人體一起 意。在全球化影響和世代交替的因素下，視覺 突出了主角的神祕感，其細長的肢體和充滿張力 具有高度的幻想性，往往將不同對象和地點融 相互爭奇鬥艷，試圖激發觀者的心理共鳴，後 文化的普及達到前所未有的高度，康多的繪畫 的四根手指彷彿訴說著自身非自然的身份。它的 合在一起，反映出人的記憶和生活體驗，人們 方人物交叉的手臂以簡約線條描邊勾勒，更 語言確實走在時代的最尖端，使他成為現今最 頭顱結構扭曲，以二度空間的多視角交錯，兩隻 透過夢境可以通往潛意識與各式幻想。康多在 加深了藝術家來回游走於現實與心靈疆界的 炙手可熱的當代藝術家之一，如果說我們對其 1. 巴勃羅．畢卡索《坐在搖椅上的裸女》 眼睛被分至馬蹄形頭顱的兩側尾端，一紅、一 形象的不穩定性表述上下了許多功夫，從畫面 1956年作 澳洲 雪梨 新南威爾斯畫廊藏 藝術風格。有趣的是，《夢境》在人物肢體形 怪誕的視覺語言產生異樣的共鳴，那是否代表 Pablo Picasso, Femme nue à la chaise à bascule, 綠呈現出各自別異的心靈狀態。身上著用的黃 主角變形誇張的圖像和荒誕的組構可以看得出 1956, Collection of the Art Gallery of New South 象、色階的調和、甚至於畫中人數都與畢卡索 我們生活周遭的各類文化，本質跟康多筆下的 Wales, Sydney, Australia 綠橫間條紋T恤在形象上揶揄了畢卡索的穿著風 他受象徵主義和表現主義的影響。人物暴露的 的《亞維農的少女》相仿，畫面中一人半遮臉 世界同樣如此瘋狂和荒謬？或許在藝術家天才 格，同樣的條紋衣物也時常出現在畢卡索的畫 唇齒、眼窩和軀體彷彿將現實剖開般地給出暗 2. 巴勃羅．畢卡索《亞維農的少女》1907年 龐、立體主義表現的野性臉孔以及手臂交錯於 心性下摧毀圖像結構後再重組的性質，才是他 作 美國 紐約 現代藝術博物館藏 中。就像他所說的：「我想在觀者面前打破一種 示，深層心理中的焦慮狀態緩緩地溢出畫面。 Pablo Picasso, Les Demoiselles d'Avignon, 1907, 腦後的肢體語言也如出一轍。《夢境》則彷彿 期許社會邁向進步的根本理論。 Collection of The Museum of Modern Art, New 『鏡像』，讓觀眾能一次全面地看見肖像人物在 康多注重人物心靈上極致的情感表現，他將所 York, USA

Lot 128 1. 2. Lot 129

62 poly auction hong kong Modern and Contemporary Art 63 128

GEORGE CONDO (AMERICAN, B. 1957) Unidentified Head 喬治．康多 異形頭像

Painted in 1989 1989 年作 oil on canvas 油彩 畫布 60.9 x 50.5 cm. (24 x 20 in.) 款識：unidentified head condo 89（畫背） titled, signed and dated 'unidentified head condo 89' (on the reverse) 來源 Provenance 美國 紐約 佩斯畫廊 Pace Gallery, New York, USA 美國 私人收藏 Private Collection, USA 佳士得 紐約 2011年3月10日 編號115 Christie's New York, 10 March 2011, Lot 115 美國 私人收藏 Private Collection, USA 歐洲 私人收藏 Private Collection, Europe

HK$ 1,100,000 - 1,600,000 US$ 141,000 - 205,100

64 poly auction hong kong Modern and Contemporary Art 65 129

GEORGE CONDO (AMERICAN, B. 1957) The Dream 喬治·康多 夢境

Painted in 2007 2007 年作 oil on canvas 油彩 畫布 81.1 x 71.2 cm. (32 x 28 in.) 款識：07（左上）；condo 07（畫背） dated '07' (upper left); signed and dated 'condo 07' (on the reverse) 來源 Provenance 美國 紐約 Luhring Augustine 畫廊 Luhring Augustine Gallery, New York, USA 美國 私人收藏 Private Collection, USA 歐洲 私人收藏 Private Collection, Europe

HK$ 4,000,000 - 5,000,000 US$ 512,800 - 641,000

66 poly auction hong kong Modern and Contemporary Art 67 喬治．康多 GEORGE CONDO

Born in the 1957 United States, George Condo present three oil paintings by the artist. Two of majored in music theory and art history in college. them early works painted in the 1980s, allowing In light of his passion in Punk Rock, he met Jean- of a closer look at the artist's complete career. In Michel Basquiat, who also shares the same interest, particular, The Dream (Lot 129) painted in 2007 is at a band event in 1979. It was the encounter that the artist's tour de force which is extremely rich and motivated him to move to New York and begin synthesizes decades of his artistic career. a journey of artistic pursuit. East Village was the centre of counter-culture in New York, and also For Condo, 1983 was a rather busy year. He moved "I had always believed in synthesizing the birthplace of New York's art scene and Condo's to Los Angeles briefly and held his first local solo artistic career. In the early 1980s, Condo temporarily exhibition. After which, he returned to New York worked part-time in Andy Warhol's studio. As early as shortly before stepping on, for the first time, the things ever since the very beginning in his early twenties, he had held exhibitions in several land of Europe he longed for. Untitled (Lot 130) galleries in East Village. He went on to frequently painted that same year in Condo's early career is a and I began to interchange languages travel between Europe and the U.S. to collaborate large-scale piece influenced by Warhol's Pop Art. He with many international galleries, gradually emerging combines Indian totems drawn from his own cultural from any and all art historical in the art world. root with the image of Christmas tree drawn from the traditional American holiday to create a mixture references in order to arrive at a In the 1980s, Condo together with Basquiat and existing between Pop impression and the realm of Keith Haring represented the emerging force of reality, incarnating the concept of Artificial Realism he the New York art scene. He sold every single work emphasises. In terms of colour expression, red and singular image that could only be mine. in his very first exhibition. Even Warhol collected green emblematic of the Christmas are chosen to be some pieces without knowing the artist to have main matching colours. Yet the absence of depiction One can see the various roadmaps worked for him. His paintings sometimes combined of objects and light in the space further enhances traditional techniques from Europe and style in the artificiality of Condo's creative concept. Against taken, but end up in a completely the vein of Pop Art, attesting to his words, "I like the flatly-coloured background behind the totem is a Old Master paintings, so I'm just going to paint hidden contour of a body with a skull-like haloed eye unchartered place." them." In continuing the spirit of portraiture and a war hammer held in the left hand, implying a passed down from Rembrandt, Picasso, Bacon, gleam of violence underneath the seemingly merry etc., Condo interprets some eerie concept through subject. The figure's right hand is behind the totem - George Condo visual experience drawn from reality by containing pole; the gesture seems like raising the pole, alluding 法蘭西斯．培根《以受難為題的三張習作》約 1944年作 英國 倫敦 泰特不列顛美術館藏 elements of humour, sarcasm, homage, and such, to the nervous tension between the Indians and new Francis Bacon, Three Studies for Figures at the an approach he coined as Artificial Realism. In this immigrants centuries back. Base of a Crucifixion, c. 1944, Collection of Tate auction, Poly Auction Hong Kong is honoured to Britain, London, UK

Modern and Contemporary Art 69 contrasting colours and compositional lines. Against a scarlet backdrop, the saturated colours of The Dream bring forth dynamic and uncanny metaphors to the picture. In terms of colouration, starting from the woman's natural skin colour at the centre, a mutation starts to spread outwards from the green of the face which competes for attention with the purplish and bluish visage below and the bright yellow body who exposes a strong character to the left, attempting to trigger the viewer's mental resonance. The crossed arms of the figure behind are sketched with simple lines, enhancing the artist's style wavering between boundaries of reality and psyche. Interestingly, the limbs' shapes, the harmony of colour scales and even the number of characters in The Dream are all in accordance to those in Picasso's Les Demoiselles d'Avignon. So is the body language: a character's face half-covered, the others' wild visages painted Lot 128 in Cubist manner with one's arms crossed behind the head. As for The Dream, it seems to correspond Unidentified Head (Lot 128) painted in 1989 refers to superimposed figures piled in layers. Through the with its subject matter, interpreting unconscious the spatial analysis of Analytical Cubism. The sliced eerie formation of the visages and the distorted desire and pressure through ever stronger emotion and recombined background is divided through flatly forms of members, the viewer seems to directly and diverse motions. Les Demoiselles d'Avignon is coloured areas. The puzzle-like enigmatic deployment enter the characters' psyches and tour in the dream arguably the milestone in Picasso's establishment of a further expresses the protagonist's mysterious air. world with them. In general, the visual nature brand new artistic language. By paying homage to the His slender members and four fingers full of tension of "dream" is highly illusionary. Often combining key iconic work of a turning period, Condo also sums seem to relate his unnatural identity. The structure of different characters in multiple locations, it reflects up his personal experience through the decades the skull is distorted, caught in an intersection made human memory and life experience, and through of his artistic career. The compositional richness, of multi-perspectives of two-dimensional space. The dream, one can approach the subconscious as well as structural completeness and colours of The Dream two eyes are separated respectively to the ends of all sorts of fantasies. Condo devoted a great amount strongly attest to Condo's diverse explorations in his two sides of the u-shaped skull; one is red and the of effort in order to present the destabilization of ongoing journey of art. other green, they represent diverse mental states. In the image. The protagonists' deformed, exaggerated terms of image, the figure wears a T-shirt in yellow images and awkward constructions reveal influences In Condo's painting, lines, colours and shapes are and green stripes, a mockery of Picasso's dressing of Symbolism and Expressionism. The figures' interwoven into particular temporality rather than style; similar clothes in stripes are also recurrent exposed lips and teeth, eye sockets and bodies seem simply organized in existing spatial dimensions. He in the latter's paintings. As Condo put it, "I want to to provide hints like dissecting reality, through which, depicts naturally existing shapes through a very crack the 'mirror' in front of them and have a viewer anxious states deep within the psyches slowly exude personal way, conveying complex mental connotation see his personality in many different psychological from the picture. By releasing all latent psychological to the viewer in a wide and profound language. states from various non-sequential moments, all at states on the same visages, Condo pays attention Due to the impact of globalization and factors of once." Unidentified Head is Condo's advancement to extreme emotional expression of the characters' generation alteration, visual culture has become in interpreting traditional portraiture. He refers to minds. The naked bodies enhance the contrast and unprecedentedly widespread. Condo's painting the Cubist representation of forms while imbuing a the tension, thus creating a sensational picture that is language is indeed cutting-edge, making him one personal rendition of mental state, elevating inner intriguing but also sensual at the same time. of the most renowned contemporary artists in our complexity to an unprecedented level. time. If Condo's visually challenging language arouses The way that Condo fabricates pictorial clashes is strange resonance in us, could it be that the essence The influence of Picasso on Condo is profound and not only psychological but also benefits from his of various cultures in our daily life is as crazy and particularly significant. Condo considers his own style investigation in music theory. He said that "I love absurd as the world depicted by him? Perhaps only Psychological Cubism. He took an example, "Picasso to study the linear or contrapuntal compositions the quality recombined after images' structures are painted a violin from four different perspectives of Bach and transcribe that kind of melodic and destroyed through the artist's genius mind comes to at one moment. I do the same with psychological dissonant notation into drawing and painting." 畢卡索穿著橫間條紋T恤 incarnate the essential theory he holds in expecting states." Painted in 2007, The Dream depicts This also demonstrates the differences in his use of Picasso in striped t-shirt the society to move forward.

70 poly auction hong kong 130

GEORGE CONDO (AMERICAN, B. 1957) Untitled 喬治．康多 無題

Painted in 1983 1983 年作 oil on canvas 油彩 畫布 173 x 122.3 cm. (68 x 48 1/4 in.) 來源 Provenance 美國 紐約 Pat Hearn畫廊 Pat Hearn Gallery, New York, USA 美國 紐約 Vrej Baghoomian畫廊 Vrej Baghoomian Gallery, New York, USA 佳士得 紐約 2006年11月16日 編號448 Christie's New York, 16 November 2006, Lot 448 美國 紐約 私人收藏 Private Collection, New York, USA 蘇富比 紐約 2012年11月14日 編號307 Sotheby's New York, 14 November 2012, Lot 307 美國 私人收藏 Private Collection, USA 美國 私人收藏 Private Collection, USA 歐洲 私人收藏 Private Collection, Europe

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

72 poly auction hong kong Modern and Contemporary Art 73 約瑟夫．亞伯斯 JOSEF ALBERS

1. 2.

二十世紀初期，第一次世界大戰結束後，重視傳統美學的古典主義 鹽的晶體中，我們每天都能使用到的鹽，但我們仍需要用顯微鏡才 建築和設計，在四處革命的社會背景之下變得不合時宜，現代工業 能看到…總而言之，我還是認為方形是人類的產物，而這個想法， 設計領域迎來一次全新的革命運動，也就是包豪斯。包豪斯最初是 使我異常興奮。」 當時德國建築師沃爾特．格羅佩斯成立的一所設計學院。而後包豪 斯更是發展成為現代藝術及設計中最重要流派之一，以形隨功能和 除了對正方形的極致探究及運用，《向方形致敬》同時可見藝術家 少即是多的設計創作原則與二十世紀現代藝術重要流派極簡主義及 對色彩應用的深入挖掘，探討觀者與色彩之間的關係。亞伯斯認為 奧普藝術的誕生及發展息息相關。 因明度，色調和色相的不同，大自然中的顏色是無窮盡的，更是無 法用語言形容的，只能由觀者自行體會。「為了有效的使用顏色， 約瑟夫．亞伯斯1920年進入包豪斯設計學院學習玻璃繪畫，而後由 必需瞭解顏色是有欺騙性」在其環境色不同時，色彩所傳達出張力 於其出色表現，受聘為包豪斯學校的教師。1950年起擔任耶魯大 與情感可以完全不同。畫面外圍是冷色調的墨綠色，中間是偏橘的 學設計系主任。除了是影響了幾代藝術家的偉大教育家，亞伯斯更 深黃色，再中間則是較淺的黃色。在冷色調的墨綠色對比之下，橘 是二十世紀冷抽象體系之下最重要的藝術家之一。由於其對極簡主 黃顯得更為沉穩收斂，而中心的黃色方塊則更為出跳，冷暖色調的 義的推進，及作為美國奧普藝術最著名的先驅藝術家，亞伯斯作品 對比映襯，使得畫面有種前後推移的空間移動感。畫面中正方形邊 為泰特美術館、大都會藝術博物館、古根漢姆美術館等世界頂尖美 緣線條之間的比例也是經過藝術家精心思考排佈後得出的。可以三 術館所收藏，早在1955年便受邀參加第一屆卡塞爾文獻展，更是於 個正方形看到上邊寬下邊窄，兩邊距離均等，形成重心下壓的視覺 1971年大都會藝術博物館便為其舉辦了個人特展，可見亞伯斯於西 效果。且三個正方形邊緣之間的距離由外向內增大，暗示了面積上 方藝術史地位之顯赫。 的變化而產生收放的視覺感受，同時以每個正方形間細微差異的筆 觸構成變化，透露出藝術家對於每處細節的精心構思。 1950年代末期，亞伯斯開始創作「向方形致敬」系列，這也是藝術 家一生中的代表之作。此次上拍作品《向方形致敬》(Lot 131) 正是 亞伯斯對色彩的應用及理論探索影響了而後幾代的藝術家及藝術流 藝術家在1962年創作的「向方形致敬」系列之一。「向方形致敬」 派發展，作品《向方形致敬》全面地呈現了色彩與直線間的精確呼 「顏色是藝術創作中最重要的媒介，而我們從來不真正看見我 系列均以大小的正方形色塊進行疊加或排列，通過對冷暖色彩色調 應關係，是藝術家兼具有系統性、秩序性、實驗性的融會貫通之 的精密分析及運用，將顏色以或衝突或相互映襯的方式呈現於畫面 作，是藏家們能一窺西方現代大師頂級作品的契機，實屬難得。 們所見。在變換的光源之下，甚至在不同的心情之下去接近色 中，以追求色彩純粹的表現力。在眾多的幾何圖形線條中，亞伯斯 對正方形有近乎偏執般的獨特偏愛。「長久以來，圓形彷彿總是愚 弄我，使我不知它到底是否靜止還是運動，如果一個圓形在滾動， 彩，產生的觀感也是每分鐘在變換。而在最後，對色彩的探究 1. 包豪斯建築學院 由於它的線條，你是看不見的。相對的，方形則誠實多了，我可以 The Bauhaus School of Architecture 知道它就停留在四條邊界線的其中一條之上，通常是作為基準的水 便是對我們自我的詰問。」 2. 約瑟夫．亞伯斯《在綠色框中向方形致敬》1963年作 美國 紐約 大都會 準方向那條。同時，我認為方形是人類的產物，因為你無法在自然 藝術博物館藏 Josef Albers, Homage to the Square in Green Frame, 1963, Collection of The ─約瑟夫．亞伯斯 界中看到一個方形。但後來糾正了自己的想法，因為正方形存在於 Metropolitan Museum of Art, New York, USA

74 poly auction hong kong Modern and Contemporary Art 75 約瑟夫．亞伯斯 JOSEF ALBERS

Through the precise analysis and application of cold in the strokes of each square reveal the artist's careful and warm tones, colours are presented on the canvas construction of each detail. in a conflicting or reciprocally contrasting manner to pursue a pure expression of colour. Amongst Albers' application and theoretical exploration of the numerous geometric lines, Albers was specially colour have influenced the development of artists addicted to squares. "I have known for a long time and art schools of later generations. Homage to the that a circle always fools me by not telling me whether Square provides a comprehensive representation it's standing still or not. And if a circle circulates you of an intricate relationship between colour and don't see it. The outer curve looks the same whether line. Integrated with Albers' systematic, orderly, and it moves or does not move. So the square is much experimental style, Homage to the Square is a rare more honest and tells me that it is sitting on one line opportunity for collectors to get a glimpse into the of the four, usually a horizontal one, as a basis. And I exceptional work of Western modern masters. have also come to the conclusion that the square is a human invention, which makes it sympathetic to In the early twentieth-century, it was just after me. Because you don't see it in nature. As we do not World War I, traditional theories and aesthetics in see squares in nature, I thought that it is man-made. architecture and design became obsolete, and the But I have corrected myself. Because squares exist in modern industrial design field ushered in a new salt crystals, our daily salt. We know this because we revolutionary movement, namely Bauhaus. Even can see it in the microscope... I still like to believe that though Bauhaus was initially founded by the German the square is a human invention. And that tickles me. architect Walter Gropius as a design college, it has So when I have a preference for it then I can only say then evolved to become one of the most important excuse me." schools in Modern art and design. Characterised by its principle of "form follows function" and "less In addition to the ultimate exploration of the square is more", Bauhaus is closely related to the birth form and incorporation of squares in his paintings, Colour is the most relative medium in art, and development of Minimalism and Op Art in the Homage to the Square (Lot 131) is also a good twentieth century. demonstration of the artist's in-depth exploration of colour applications and examines the relationship and that we never really see what we see. Josef Albers went to the Bauhaus School of Design between viewers and colours. Albers believes that in 1920 to learn glass painting, and was later because of the differences in brightness, tone and All neighboring means which occur every employed as a teacher at the Bauhaus School due hue, nature possesses infinite amount of colours to his outstanding performance. In 1950, Albers that cannot simply be described in words. They can minute different, not only in changing light became the chair of the Department of Design at only be experienced by the viewers. "In order to Yale University. In addition to being a great teacher use colour effectively it is necessary to recognize but also by our changing moods. And in the who has influenced generations of artists, Albers that colour deceives continually." The tensions and is also one of the most important Geometric emotions conveyed by colours can be completely end, the study of colour again is a study of Abstraction artists of the twentieth-century. As an different according to the changes in environment. advocate of Minimalism and one of the most famous The outskirts of the canvas harbour a cold dark green pioneering artists of Op Art, Albers' work is collected with a dark orange-yellow in the middle, and a lighter ourselves. by world renowned galleries such as Tate Modern, yellow is set in the center. In contrast with the cool the Metropolitan Museum of Art, the Guggenheim green tone, the orange-yellow colour appears more - Josef Albers Museum, and other internationally recognised art calm and stable, while the yellow square at the centre institutions. In 1955, Albers was invited to participate appears to jump out. The contrast of warm and in the first Kassel Documenta, and in 1971 he held a cold tones gives the canvas a fluid sense of spatial solo exhibition at the Metropolitan Museum of Art, movement. The proportions between the lines at the which address his prominent status in the history of edges of the squares were also drawn after careful Western art. consideration by the artist. For all three squares, it can In the late 1950s, Albers began to create his signature be seen that the top edge is wider while the bottom is Homage to the Square series. The work included in narrower, with equal distance between the two sides, this season's sale is a painting Albers created in 1962 forming a visual effect of a pressing center of gravity. The distance between the edges of the three squares as part of his Homage to the Square series. Homage 瓦西里．康丁斯基《顏色習作．方形及同心圓》 to the Square series utilises different sized squares increases from the outside to the inside, suggesting 1913年作 德國 慕尼黑 倫巴赫美術館藏 which are stacked or placed within one another. a change in area, thereby producing a visual sense of Vassily Kandinsky, Color Study, Squares with Concentric retraction. At the same time, the minuscule changes Circles, 1913, Collection of Len bachhaus Museum, Munich, Germany

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JOSEF ALBERS (GERMAN, 1888-1976) Homage to the Square 約瑟夫．亞伯斯 向方形致敬

Painted in 1962 1962 年作 oil on masonite 油彩 纖維板 46 x 46 cm. (18 1/4 x 18 1/4 in.) 款識：A62（右下） signed and dated 'A62' (lower right) 來源 Provenance 法國 巴黎 Denise René畫廊 Galerie Denise René, Paris, France 義大利 私人收藏 Private Collection, Italy 佳士得 巴黎 2017年6月7日 編號6 Christie's Paris, 7 June 2017, Lot 6 英國 私人收藏 Private Collection, UK 歐洲 私人收藏 Private Collection, Europe 附藝術家基金會所開立之原作認證書 The work is to be sold with registration of the archive of the Josef and Anni Albers Foundation. 此作將收錄於由藝術家基金會正在編纂的《約瑟夫 亞伯斯作品集》 ・ The work will be included in the artist's forthcoming catalogue raisonné prepared by the Josef and Anni Albers Foundation.

HK$ 2,000,000 - 4,000,000 US$ 256,400 - 512,800

78 poly auction hong kong Modern and Contemporary Art 79 羅伯特·印第安納 ROBERT INDIANA

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In the late 1950s, Robert Indiana moved to New York City, a global hub where the world's art elites would gather and introduce a diverse range of new ideas and concepts. Similar to those by many artists from that era, Indiana's works were strongly inspired by Consumerism and Pop Culture. After his early iconographies and serigraphs, Indiana selected the world's most emotion infused word based on the highly pursued and emphasized American iconography of pop culture after years of repeated consideration - LOVE. He sampled the font and presentation of American Hay Company typography in the 19th century, and created the most iconic works of his career - the LOVE series, which is well- known and praised all over the world. The series established not only his position

1. among American artists, but also his influence on the following generations. "I'd like to cover the world with hope" 文字符號的藝術性隱喻 In 2008, 80-year-old Indiana had been living a secluded life, isolating himself 《HOPE》(Lot 132) 圍繞印第安納「文字視覺化」的創作理念，將 from the mundane world while living on a small island. The old man, who stood on a relatively undisputed position among other Pop Artists, created the 「H」、「O」、「P」、「E」四個字母上下排列，這個四方形的 HOPE series in a very similar layout with his iconic LOVE. The artist expressed 對稱整體消解了單詞僅作為訊息傳遞符號原有意義，被賦予新的生 his vision of modern society in the simplest yet most representative way. Under 命與含義。雕塑中被斜置的右上方字母「O」，彷彿承載著「HOPE Indiana's interpretation, the power of the word has surpassed its short, simple appearance. It is seen as a prescription to cure everything, as well as an icon of （希望）」這個單詞本身的含義，在原本平靜穩定的框架下用活潑 the American people, and even the people around the world. Similar to what 戲謔的姿態遙指遠方，那是遙不可及的未來與近在咫尺的希望。雕 Indiana stated "I wanted to help name and empower the next generation and I 塑外觀紅色的色調靈感取自於Phillip 66汽油公司的消防車（他的父 felt that HOPE encompassed the needs of our time." 親曾於美國經濟大蕭條時期被調入這家公司），是印第安納對父親 Metaphor of Iconography 緬懷與追憶的最佳印證，而立體字母內側簡潔純粹的白，與紅色形 HOPE (Lot 132) is based on Indiana's verbal-visual creative concept. He 成視覺上冷暖的衝撞與情緒上熱烈與平靜的融合，「HOPE」四個字 stacked "HO" and "PE" to form a square-shaped symbol. The symmertical solid 母在這樣的映襯下更富靈性，彷彿在向觀者傳遞一種訊息—文字所 structure eliminates the original meaning as a word to give the work a new life and message. The tilted letter "O", which was on the top right corner of the 蘊含的能量不可小覷。印第安納的雕塑完成了將原本只表現於二維 structure, playfully leans at a 45-degree angle, and is pointing towards outside, 空間的理念引入三維立體的蛻變，從視覺上以更富感染力的形態喚 which symbolizes that the future might be at far distance but hope is always 起人們內心對美好的祈願。現如今，這個標誌性的藝術符號已作為 close at hand. The red colour painted at the surface of the sculpture is from 地標遍佈全世界，成為跨越無論種族、年齡、性別的普世符號。 the fire engines of the Phillips 66 Company (Indiana's father was assigned to this company during The Great Depression), which was a homage to Indiana's 20世紀50年代晚期，羅伯特．印第安納選 的藝術生涯中最重要，也是至今都為全世界 「希望」，藝術家以看似最簡單，但也是最 father. The pale white colour painted on the inner side of the stereoscopic letters 印第安納曾說：「在某種程度上，我關注的是作品本身…所使用單 擇移居紐約這個匯聚藝界精英、促進多元化 所知與追捧的「LOVE」系列作品，藉此奠定 具個人代表性的方式表達了自己對的當下社 establishes a visual contrast with red colour's warm tone, fusing emotions of 詞的原本含義即為這件作品最好的詮釋與定義…」，《HOPE》抽象 思想迸發的世界級藝術樞紐，正如很多同時 了他在美國普普藝術家中不可撼動的地位以 會發展的美好願景。HOPE這個簡短的詞組 passion and serenity. The artist's interpretation makes the word "HOPE" more 的結構下所蘊含的詩意與敘事性像一首抒情的唱曲，不斷提醒著人 spiritual, sending a message to its viewers to never underestimate the power of 期的藝術家一樣，他受到了時下消費主義和 及對後輩的影響力。 在印第安納的詮釋下所蘊含的強大力量早已 們：永遠不要失去希望。 a simple word. By making the painting into a sclupture, Indiana sculptures has 流行文化的強烈影響，並決定以此為靈感源 超越了其簡單抽象的外觀，它彷彿一劑可以 transformed a strictly two-dimensional flat concept into the three-dimensional 泉進行藝術創作。在一些最初的符號性疊塗 「我想讓世界充滿希望」 治癒一切的靈藥，成為當時美國甚至全世界 visual one, which visually inspires viewers through a more engaging and impactful form. The iconic art symbol has become a landmark all over the world, 創作後，印第安納以被大眾強調與追捧的美 2008年，已達80歲高齡的印第安納，早已 的民眾希望的寄託標籤，正如印第安納所闡 and carries a healing power for people of all race, age and gender. 國式符號文化為根基，選取了世界公認最飽 移居小島過著 遠離世俗紛爭的隱居生 述：「我想要幫助下一代定義未來的方向， 清靜 含情感的、經他多年反復斟酌理解的單詞： 活。這位與其他普普藝術家相較頗為與世無 《HOPE（希望）》的出現正合時宜」。 As Indiana has asserted, "In a sense, I got down to the subject matter of my 1. 羅伯特．印第安納正在創作《HOPE》繪畫 work... the subject is defined by its expression in the word itself..." The poetic LOVE（愛），並結合19世紀美國乾草公司印 爭的老人，以與《LOVE》十分相似的排列 Robert Indiana working on HOPE meanings and narratives under the abstract structure of HOPE are like a song 組合創作了《HOPE》，「HOPE」的直譯為 2. 羅伯特．印第安納《HOPE》雕塑於紐約第六大道 刷模板的字體呈現形式，創作出了此後在他 The sculpture HOPE by Robert Indiana on the 6th Avenue in New York that constantly reminds people they should never lose hope.

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ROBERT INDIANA (AMERICAN, 1928-2018) Hope (Red/White) 羅伯特．印第安納 希望（紅/白）

Executed in 2009 2009 年作 painted aluminium sculpture 彩繪鋁 雕塑 edition: 3/9 版數：3/9 46 x 22.8 x 45.6 cm. (18 x 9 x 18 in.) 款識： R. INDIANA 2009 III/IX（底部） signed, dated, and editioned '©R. INDIANA 2009 III/IX' (bottom) 藝術家鈐印© one seal of the artist

Provenance 來源 Acquired directly from studio of the artist 直接得自於藝術家工作室 Rosenbaum Gallery, Bal Harbour, USA 美國 保羅哈博 Rosenbaum畫廊 Private Collection, Europe 歐洲 私人收藏

This work is to be sold with a certificate of authenticity issued by Rosenbaum 附 美國 保羅哈博 Rosenbaum Contemporary所開立之原作保證書 Contemporary, Bal Harbour, USA.

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

82 poly auction hong kong Modern and Contemporary Art 83 133

SAM FRANCIS (AMERICAN, 1923-1994) Untitled (SFP61-1049) 山姆．弗朗西斯 無題（SFP61-1049）

Painted circa 1961-1992 約 1961-1992 年作 acrylic on canvas, laid on cardboard 壓克力 畫布 裱於紙板 61 x 90 cm. (24 x 35 1/2 in.) 款識：Sam Francis DEL 3912（畫背） signed and inscribed 'Sam Francis DEL 3912' (on the reverse) 藝術家基金會印章（畫背） A stamp of The Sam Francis Estate (on the reverse) 來源 Provenance 私人收藏 Private Collection 荷蘭 阿姆斯特丹 Delaive畫廊 Gallery Delaive, Amsterdam, Netherlands 歐洲 私人收藏 Private Collection, Europe 出版 Literature 《山姆．弗朗西斯油畫集1946-1994》加州大學出版社 伯克利 美國 2011年 Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, （圖版，第SFF.1851圖） University of California Press, Berkeley, USA, 2011 (illustrated, plate SFF.1851). 附 美國 帕薩迪納 山姆．弗朗西斯基金會所開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Sam Francis Foundation, Pasadena, USA.

HK$ 500,000 - 700,000 Sam Francis travelled across the East and the West for more than half a decade during his artistic career. He transformed his sights and feelings into a unique US$ 64,100 - 89,700 artistic language that integrated Western expressive characteristics with Oriental qualities. His work presents to the viewer abstract forms with strong lyrical 山姆．弗朗西斯在其五十餘年的藝術生涯中遊歷駐足東西方各國， abstraction features. With such unique qualities, his works are collected by the 他將自己的所見所感化為融合西方表現特質與東方氣韻的獨特藝術 world's most recognisable art institutions, such as New York Museum of Modern Art, etc., and himself is one of the most admired contemporary abstract artists in 語言，通過帶有強烈抒情色彩的抽象表現形式呈現給大眾，也因 North America. 此早年即獲得了世界頂尖藝術機構例如紐約現代藝術博物館等的青 睞，是北美當代最偉大的抽象表現藝術家之一。 Untitled (SFP61-1049) (Lot 133) was created during the years from 1961 to 1992, it is a result of the artist's repeated consideration upon the intricacies of 《無題（SFP61-1049）》(Lot 133) 創作於1961至1992年，長達30 pictorial composition over the long, 30-year span. Unlike his common practice of using bold, audacious colours and unrestrained splashed-paint effect with full 年之久的創作歷程是藝術家對於畫面構成反覆斟酌的結果，珍貴性 emotion, the style of this work is innovative and refreshing: on the upper left 可見一斑。它與弗朗西斯向來大膽張揚的用色的以及蘊含飽滿情緒 corner of the horizontal white rectangular-shaped plane, there are tinted light- 奔放瀟灑的潑墨效果有著完全不同的風格：橫置的白色長方形空間 blue dots gradually scattering across the canvas in a randomised way, mimicking 的左上角，似東方傳統卷軸墨繪的淡藍色暈染墨點以瀟灑隨意的姿 the traditional Eastern ink scroll paintings in both technique and its unique ambience. Furthermore, tiny colourful dots with a Western personality flutter 態向畫布其餘方向緩緩發散開來，為畫面整體營造出一種中國水墨 and disperse with density and emotional tension. Their colour gradually transit 畫獨有的情緒鋪陳；在這樣的基調之上，具有西方個性的小塊斑斕 from bright yellow to orange, then to dark blue, and eventually to black at the 色點以更高的密度和情緒張力飛舞發散，他們從源頭處的亮黃逐漸 opposite corner of the canvas. These large or small, divergent or condensed 過渡到橘，繼而變為深藍，最終在靠近畫布另一端逐漸變為黑色。 spots of light form a wonderful dynamic and lyrical balance within the canvas, with the essence of Pollock's drip paintings. Inside this limited space, the colour 這些或大或小，或發散或凝聚的光點，在畫布上形成了一種富有動 dots with two distinct personalities overlap to create layering in this two- 感的絕妙平衡，是波洛克潑墨畫的一種富有禪意的簡化與聚合。方 dimensional space. The "existence" of colours and the large area of deliberate 寸之間，兩種性格色點的重合為純白的二維空間構建起豐富的層次 "blankness" on the canvas, form a conscious and emotional dialogue. Since 感，而顏色的「存在」與畫布上大面積的刻意「留白」形成了意 the 1970s, Francis had been creating a series of "frame painting", in which he deliberately left the center of the canvas empty and only drew colour at the 識與情感上的呼應。弗朗西斯從70年代起便開始創作一種僅在畫 border. The artist constructs an abstract landscape that embodies "coincidental" 框邊緣進行人為創造，中心刻意留空的「邊框畫」，這是藝術家通 properties through the meditative use of brushes and colours. Peter Selz, an art 過冥想式的運用筆刷和色彩，創造出的一種具有「偶發性」特質的 historian and former curator of the Museum of Modern Art, once described: 抽象山水圖景。藝術史學家兼現代藝術博物館的前館長彼得．賽爾 "...that kind of white is a light source, which constantly fills the center of the picture with tranquility and meditation." The "nothingness" in this image is a 茲曾描述：「…那種白是一種光源，時刻以寧靜和沉思填充著畫面 field of meditation created by the artist for the viewer based on his belief in Zen 中心…」；而這種表象上的「虛空」，是藝術家基於對佛教禪宗的 Buddhism. As Francis himself said, "The space in the center of these paintings is 篤信為觀者打造的一片駐足凝思的場域，正如弗朗西斯本人所說： reserved for you." 「這些畫作中間的空間是為你而留的。」 Francis never ceased to record the appearance and movement of light and shadow through his powerful colours. Within limited physical space, he 弗朗西斯從未停止通過富有力量感的色彩記錄光影，他在有限空間 enlightens and promotes a world view of multicultural integration through 內以一種東方禪思的視角，通過在「有」與「無」之間構築的平衡 the balance between "existence" and "nothingness" drawn from Eastern 啟發多元文化融合的世界觀。 meditations of Zen.

84 poly auction hong kong Modern and Contemporary Art 85 134 135

INOUE YU-ICHI (JAPANESE, 1916-1985) INOUE YU-ICHI (JAPANESE, 1916-1985) Gen Tetsu 井上有一 幻 井上有一 徹

Painted in 1980 1980 年作 ink on Japanese paper 水墨 和紙 Painted in 1960 1960 年作 107.5 x 174.5 cm. (42 1/4 x 68 3/4 in.) 鈐印：有 paste ink on Japanese paper 漿狀水墨 和紙 one seal of the artist 145.3 x 174.5 cm. (57 1/4 x 68 3/4 in.) 來源 來源 Provenance 日本 京都 藏丘洞畫廊 Provenance 日本 京都 藏丘洞畫廊 Zokyudo Gallery, Kyoto, Japan Zokyudo Gallery, Kyoto, Japan 出版 出版 Literature 《井上有一全書業：1949-1985第三卷》UNAC Tokyo 株式會社 東京 日本 Literature 《井上有一全書業：1949-1985第一卷》UNAC Tokyo 株式會社 東京 日本 Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 3, UNAC 1998年（圖版，第80029圖，第290頁） Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 1, UNAC 1998年（圖版，第60041圖，第176頁） Tokyo, Tokyo, Japan, 1998 (illustrated, plate 80029, p. 290). Tokyo, Tokyo, Japan, 1998 (illustrated, plate 60041, p. 176). 附海上雅臣親題之作品描述及編號標籤，編號為CR 80029；及80292 附海上雅臣親題之作品描述及編號標籤，編號為CR 60041 This work is to be sold with two labels signed by Unagami Masaomi stating the This work is to be sold with a label signed by Unagami Masaomi stating the work work description and number as CR 80029; & 80292. description and number as CR 60041.

HK$ 230,000 - 320,000 HK$ 350,000 - 500,000 US$ 29,500 - 41,000 US$ 44,900 - 64,100

86 poly auction hong kong Modern and Contemporary Art 87 136 137 138

INOUE YU-ICHI (JAPANESE, 1916-1985) YASUO SUMI (JAPANESE, 1925-2015) HIROSHI SUGIMOTO (JAPANESE, B. 1948) Ren Untitled Sam Eric, Pennsylvania 井上有一 蓮 鷲見康夫 無題 杉本博司 山姆·艾瑞克劇院，賓夕法尼亞

Executed in 1978 gelatin silver print edition: 20/25 42 x 54.5 cm. (16 1/2 x 21 1/2 in.) signed and inscribed 'Hiroshi Sugimoto 202' (lower right); one embossed seal: title, dated, editioned and inscribed 'Sam Eric Pennsylvania 1978 20/25 202'

Provenance Sonnabend Gallery, New York, USA Acquired from the above gallery by the present owner

Exhibited Korea, Seoul, Samsung Museum of Art, Hiroshi Sugimoto, 5 December, 2013- 23 March, 2014 (alternate edition exhibited).

Literature Hiroshi Sugimoto: Theaters, Takaaki Matsumoto, New York, USA, 2016 (illustrated, p.29).

1978 年作 銀鹽相紙 版數：20/25 Painted in 1963 1963 年作 款識：Hiroshi Sugimoto 202（右下）； ink on Japanese paper 水墨 和紙 鋼印：Sam Eric Pennsylvania 1978 20/25 202 120.3 x 171.5 cm. (47 1/4 x 67 1/2 in.) 來源 Painted in 2008 來源 Provenance 日本 京都 藏丘洞畫廊 mixed media on canvas 美國 紐約 索納班畫廊 Zokyudo Gallery, Kyoto, Japan 101.7 x 67.2 cm. (46 x 26 1/2 in.) 現藏者購自上述畫廊 出版 signed in Japanese; signed 'y.sumi' (lower left); inscribed and signed in Japanese; 展覽 Literature 《井上有一全書業：1949-1985第一卷》UNAC Tokyo 株式會社 東京 日本 signed 'y.sumi' (on the reverse) Yu-ichi [Yu-ichi INOUE]: Catalogue Raisonné of the works 1949-1985 Vol. 1, UNAC 1998年（圖版，第63001圖，第272頁） 2013年12月5日-2014年3月23日「杉本博司」三星美術館 首爾 韓國（展覽 Tokyo, Tokyo, Japan, 1998 (illustrated, plate 63001, p. 272). 為另一版數） 附海上雅臣親題之作品描述及編號標籤，編號為CR 63001 2008 年作 This work is to be sold with two labels signed by Unagami Masaomi stating the 綜合媒材 畫布 出版 work description and number as CR 63001. 款識：鷲見y.sumi（左下）；作品 鷲見康夫 y.sumi（畫背） 《杉本博司：劇院》松本設計出版社 紐約 美國 2016年（圖版，第29頁）

HK$ 300,000 - 500,000 HK$ 60,000 - 80,000 HK$ 150,000 - 250,000 US$ 38,500 - 64,100 US$ 7,700 - 10,300 US$ 19,200 - 32,100

88 poly auction hong kong Modern and Contemporary Art 89 139 140

WANG KEPING (CHINESE, B. 1949) GU WENDA (CHINESE, B. 1955) Twisted Female Mythos of Lost Dynasties H Series #8 王克平 扭曲的女子 谷文達 遺失的王朝H系列第八號

Painted circa 2002 約 2002 年作 wood sculpture 木雕 雕塑 ink on paper 水墨 紙本 40 x 25 x 42.5 cm. (15 3/4 x 9 3/4 x 16 3/4 in.) 款識：王K（底部） 96.4 x 59.5 cm. (38 x 23 1/2 in.) 款識：H 八 文達（左中） signed in Chinese; signed 'K' (bottom) titled 'H'; titled and signed in Chinese (middle left) 藝術家鈐印 來源 two seals of the artist Provenance 直接得自於藝術家 來源 Acquired directly from the artist 中國 香港 10 Chancery Lane畫廊 Provenance 直接得自於藝術家 10 Chancery Lane, Hong Kong, China 美國 紐約 私人收藏 Acquired directly from the artist 美國 紐約 私人收藏 Private Collection, New York, USA Private Collection, New York, USA

HK$ 120,000 - 180,000 HK$ 100,000 - 150,000 US$ 15,400- 23,000 US$ 12,800 - 19,200

90 poly auction hong kong Modern and Contemporary Art 91 141 142 143

XU BING (CHINESE, B. 1955) QIU ZHIJIE (CHINESE, B. 1969) NATEE UTARIT (THAI, B. 1970) Book from the Sky Dictionary Series Untitled (Reason & Monsters Project) 徐冰 析世鑒 邱志傑 辭典系列 納堤．尤塔瑞 無題（理性與怪獸系列）

Executed in 1989 woodblock print edition: 1/1 175 x 97 cm. (69 x 38 1/4 in.) inscribed, editioned, signed and dated '10-1 1/1 Xu Bing 1989'; titled and signed in Chinese (lower right) one seal of the artist

Provenance Acquired directly from the artist Jack Tilton Fine Art, New York, USA Private Collection, New York, USA

1989 年作 木刻 版畫 版數：1/1 款識：10-1 1/1 析世鑒 徐冰 Xu Bing 1989（右下） 鈐印：徐

來源 直接得自於藝術家 美國 紐約 Jack Tilton Fine Art畫廊 美國 紐約 私人收藏

HK$ 120,000 - 180,000 US$ 15,400 - 23,100

Painted in 2005 oil and woodstain on canvas Painted circa 1995 69.8 x 100.5 cm. (27 1/2 x 39 1/2 in.) ink on paper signed and dated 'Natee Utarit 05' (on the reverse) 233.8 x 91.5 cm. (92 x 36 in.) six seals of the artist PROVENANCE Valentine Willie Fine Art, Kuala Lumpur, Malaysia Provenance Acquired from the above gallery by the present owner Private Collection, New York, USA

2005 年作 約 1995 年作 油彩 木材染劑 畫布 水墨 紙本 款識：Natee Utarit 05（畫背） 藝術家鈐印 來源 來源 馬來西亞 吉隆坡 Valentine Willie Fine Art 美國 紐約 私人收藏 現藏者購自上述畫廊

HK$ 60,000 - 80,000 HK$ 100,000 - 150,000 US$ 7,700- 10,300 US$ 12,800 - 19,200

92 poly auction hong kong Modern and Contemporary Art 93 「很多人問我為何想到用鞋履、衣服作為藝 PENG WEI 彭 薇 福壽如意 術載體，我說我不是想出來的，而是突然遇 到這個主題，它遇到了我，我撞到了它。」 —彭薇

"There were many people who asked me why I used shoes and clothes for the making of my art. I claimed that actually it was not my intentional idea. These subject just came across me. It ran into me, and I bumped into it."

- Peng Wei This painting, Happiness, Longevity and Satisfaction Symbolizing Robe (Lot 144) of the Samite series depicts the Kesi Twelve pattern "Happiness, Longevity and Satisfaction" Imperial Robe from the Wanli period (late Ming dynasty). Worn by the Wanli Emperor during ceremonies, the Imperial Robe is interwoven with the symbols of the Kesi Twelve Pattern: sun, moon, seven-star constellation, mountain, fu pattern, axe head, dragon, flowery creatures, seaweed, sacrificial cup, flames and grain. These patterns are intended to remind the emperor to observe the many details of the world to serve the greater good. Peng Wei provides a precise replica of this gorgeous costume. This Imperial Robe suffered 明顯的「戀舊」情結，她從傳統服飾入手，以這種懷古的方式去追 serious carbonisation during its unearthing at Dingling Mausoleum in the Ming 尋已逝去的時空，與她在技法中強調的下筆時機所體現出的時間感 Tombs of Beijing, resulting in an incomplete presentation. The artist chose 得到了巧妙的呼應。彭薇在「錦繡」系列中追求克制與含蓄，通過 to refer to the "original appearance" when it was first unearthed instead of the version restored and replicated by the professional team to complete the 一種精細又清新的「挪用」與「再構圖」的方法來重新定義傳統服 missing part. Instead of vibrant yellow, she employs a more settle yellow tone 飾以及圖飾紋樣，她流暢地運用細膩的工筆以及傳統中國書畫水墨 along with a touch of transparency to depict this 500 year-old cultural relic with 的暈染，將古文物重新詮釋，賦予它們在當代時空的嶄新意義。 a subtle blue tone. The artist uses delicate brush strokes to depict an appearance of the Imperial Robe that emphasises its existence over hundreds of years since the Ming dynasty. Under Peng Wei's brush, this precious and gorgeous Imperial Robe of the Wanli Emperor bears the imprints of time, as if narrating the story of a distant age. From this, it can be seen that Peng Wei's artworks 彭薇在傳統水墨畫的題材與技法中，以當代視角與創作媒介為國畫 曆朝黃緙絲十二章「福壽如意」袞服。袞服是萬曆皇帝祭祀時所 With the themes and techniques of traditional ink painting, Peng Wei injects are with nostalgic characters. Starting with traditional costumes, she pursues a 注入了一絲實驗性的色彩，她的作品從遺石、華服與繡履等，無不 穿，織有十二章紋，即「山、龍、華、蟲、日、月、星辰、宗彝、 a touch of experimental colour into Chinese paintings using contemporary distant time and space through this sense of nostalgia. Her emphasis upon the perspectives and creative media. Her works utilise stone, Chinese wardrobes, placement, both spatial and temporal, of the brushstrokes resonates with this 體現了自身獨特的藝術語言。她鍾情於中國古典的工筆技法，同時 藻、火、黼、黻和粉米。」，這些圖案都是意在提醒皇帝要明察秋 and embroidery to present a unique artistic language. With a fondness for sense of time. In her Samite series, Peng Wei pursues re-straint and subtlety. 也在畫作中融入了人們所熟知的傳統水墨畫的載體以及筆墨規則的 毫，為天下蒼生謀福祉。彭薇對這件華麗的袞服進行了同比例、同 classical Chinese meticulous painting techniques, she also incorporates the forms Through an elegant, yet novel level of appropriation and recomposition, she 思考，繼而創作有著別具一格的審美洞察力的當代作品。陳丹青曾 尺寸的精準描繪，值得一提的是，這件袞服於北京明十三陵的定陵 and rules of traditional ink painting to create contemporary works with unique redefines traditional costumes and patterns. Seamlessly, she utilises meticulous aesthetic insights. Chen Danqing once commented that Peng Wei's Samite brushwork along with the smudges of traditional Chinese painting to reinterpret 評價彭薇「錦繡」系列「兼具中國畫的古典雅趣和後現代的符號性 出土時經歷了嚴重的碳化，使得布料殘缺不全，藝術家選擇參照剛 series features both the ancient elegance of Chinese painting, and the symbolic ancient artifacts, and provides them with a new meaning in this contemporary 簡潔」，與中國傳統水墨如出一轍的是對於技法的注重，她對顏色 出土時的「原來面貌」而去描繪，而非參考經過專業修復團隊進行 simplicity of post-modernism. With the focus similar to traditional Chinese ink time and space. 以及水墨的掌握都十分精細嚴謹，除此之外她的作品中又帶有著某 復原以及複製的版本去補全缺失的部分。其用色沒有選擇明度較高 painting, Peng has a special emphasis upon her technique. Her mastery of colour 種「戲謔」與「重構」的味道，在如此自由的表達方式裡，我們可 的黃色，而是利用明度較低帶有一些透明感的顏色來描繪這件距今 and ink is extremely fine and detailed. In addition, her works employ a particular sensation of "playfulness" and "reconstruction". With such a free method of 以看到傳統與當代理念的奇妙化學反應，傳統文本與當代觀念在她 約有500年歷史的文物，畫面中的袞服隱隱泛青，藝術家用細膩的筆 expression, we can observe a wonderful interplay between traditional and 的作品中得到了和諧的統一。 觸描繪出這件袞服於明代皇陵中留存數百年後重現的面貌。在彭薇 contemporary ideas. Traditional texts and contemporary concepts in her works are harmoniously united. 的筆下，這件珍貴華美的萬曆帝袞服帶有著時間的印記，彷彿訴說 黃緙絲十二章「福壽如意」袞服 明代 中國 北京 定陵博物館藏 本幅畫作是「錦繡」系列的《福壽如意》(Lot 144)，繪就的是明萬 著那久遠年代的故事，意境高古。由此可見彭薇的藝術創作有一種 Kesi Happiness, Longevity & Satisfaction Imperial Robe, Ming dynasty, Collection of Dingling Museum, Beijing, China

94 poly auction hong kong Modern and Contemporary Art 95 144

PENG WEI (CHINESE, B. 1974) Happiness, Longevity and Satisfaction Symbolizing Robe 彭薇 福壽如意

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 2005 2005 年作 ink and colour on paper 水墨 設色 紙本 160 x 250 cm. (63 x 98 1/2 in.) 款識：彭薇 2005年畫（右下） signed and inscribed in Chinese; dated '2005' (lower right) 鈐印：薇 one seal of the artist 展覽 Exhibited 2007年9月19日-10月2日「雲裳—彭薇畫展」萬玉堂畫廊 香港 中國 China, Hong Kong, Plum Blossoms Gallery, Woven Clouds: Peng Wei's Recent Paintings, 19 September-2 October, 2007. 出版 《雲裳—彭薇畫展》萬玉堂畫廊 香港 中國 2007年（圖版，無頁碼） Literature 《彭薇》耿畫廊 台北 台灣 2010年（圖版，第82-83頁） Woven Clouds: Peng Wei's Recent Paintings, Plum Blossoms Gallery, Hong Kong, China, 2007 (illustrated, unpaginated). Peng Wei Works, Tina Keng Gallery, Taipei, Taiwan, 2010 (illustrated, pp. 82-83).

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

96 poly auction hong kong Modern and Contemporary Art 97 LIU WEI LIU WEI 劉 煒 新文人畫 劉 煒 New Literati Painting

在人物刻畫上採用漫畫式的滑稽形象，誇大 的肌肉線條、奇裝異服和各種歪七扭八的臉 部形象，搭配小品似的閒散情趣，給人一種 結合潑皮、幽默、諷刺和荒謬的古怪感受。 藝術家用了揶揄和變形的圖象刺激觀者， 將之帶入更深的思索。「醜美」在此是藝術 家對於現實社會的評語，劉煒形象化了魯迅 所言「紅腫之處，艷若桃李；潰爛之時，美 如醴酪」中那屬於中國近代社會的「腐敗之 美」，低俗，虛偽，人們卻也打死不肯睜眼 直視其不堪，反倒欣賞其美的荒誕現象。

栗憲庭曾針對「玩世現實主義」的藝術家評 論道：「人及其個性、私生活還得不到社 會普遍尊重時，無形的壓力仍然對他們構成 一種自覺不自覺的心理負擔，這使他們的藝 Lot 145 2. 術充滿了既嘲笑社會又嘲笑自己的痞氣和幽 默。」《京城艷婦圖》表達了劉煒在那個時 代背景下最為真實的生存狀態和直覺感受， 透過他的畫筆，後人得以一窺當時藝術家的 Liu Wei graduated from the Department of Print-making of the Central Academy thinking. Here, "ugly-beauty" is the artist's comment upon society. Liu has made 心境和對於現實社會的直觀情緒。劉煒以紙 of Fine Arts in Beijing in 1989. Later, his joint exhibition with Fang Lijun held in what Lu Xun said into a piece of iconography: "Swollen with redness, beautiful as 本創作的各種可能性，深刻探討了其在當代 Beijing Diplomatic Apartment in 1991 attracted Li Xianting's attention. And that plums and peaches; while rotting away, one still sees oneself as beautiful as the 語境下的生命力，紙所包含的中國傳統文化 has inspired Li Xianting to propose "Cynical Realism", a new concept in Chinese sweet wine and cheese." This belongs to the notion of the "decadent beauty" contemporary scene, which set off the starting point of Liu Wei's artistic career. in modern Chinese society; it is filled with vulgarity and hypocrisy. Nonetheless, 內涵在他的筆下有了嶄新的延續，劉煒與紙 At the age of twenty-six, the artist created the Revolutionary Family series. The people stubbornly refuse to be confronted with this extremity. Instead, they 碰撞的結果也是傳統銜接當代的絕妙縮影。 choice of symbols was closely related to his military family heritage. He was establish an absurd phenomenon of attempting to find and appreciate its 他在90年代中期後逐漸離開符號象徵的束 granted the title of "The Talented Painter" through a combination of unique 'beauty'. 縛，也表示了他走出「玩世現實主義」的限 technique, various political metaphors and the cynical attitude that his paintings present. Rather, works on paper that were created in the same period takes Li Xianting once commented on artists of "Cynical Realism": "In a time when 制，《京城艷婦圖》不僅是早期的創作精 on themes of eroticism. The particularity of the material further highlights people and their personalities and private lives are not commonly respected by 華，更是劉煒「玩世現實主義」最具中國傳 his touches of narrative style, and profoundly expresses the chaotic mood of the society, the invisible pressure still constitutes a conscious and unconscious psychological burden on them, which filled their art creations with rogue Lot 145 1. 統元素及內涵的罕見作品。 contemporary values. temperament and humor that mocks the society and the artists themselves." Created in 1989 and 1993 respectively, Liu Wei's Beauties from Peking (Lot Beauties from Peking expresses the most realistic state of life in modern society, 劉煒於1989年從北京中央美術學院版畫系 他的抒寫式筆觸，深刻表達出當代價值觀的 145) is a set of seven pieces of paintings on paper. It is also during these two and Liu Wei's intuitions as an artist under the backdrop of that era. Through his 畢業，隨後他和方力鈞於1991年在北京外 混亂情緒。 years in which he graduated from the Central Academy of Fine Arts in Beijing, paintings, future generations have the opportunity to glimpse into the mind of 交公寓一同舉辦的畫展引起了栗憲庭的關 and participated in the Venice Biennale for the first time. Paintings on paper an artist who lived during that time, and his honest emotional responses towards created by Liu in this period were summarised by Li Xianting as "New Literati such a reality. Liu profoundly explored the vitality in the contemporary context 注。也正因為這個展覽，栗憲庭提出了「玩 劉煒的《京城艷婦圖》(Lot 145) 為一組七件 Paintings", while his peers were called "Hooligan Groups". These works embody with the various possibilities of paper-based paintings. The traditional Chinese 的紙上作品，分別創作於1989及1993年， 世現實主義」的概念，為劉煒的藝術生涯起 literati ink strokes with a refreshing recklessness and exaggeration, the pictures cultural connotations of using paper as a medium has been inherited and gifted 到了關鍵的推進作用。當時26歲的劉煒在畫 也是他畢業以及首次參加威尼斯雙年展的同 are filled with inscription fonts lying on all sides and patchworks of title poems with new possibilities in his paintings. The result of the collision between Liu 1. 唐寅《王蜀宮妓圖》明代 中國 北京 故宮博 布上表現「革命家庭」系列，符號的選擇與 年。劉煒這個時期的紙本創作被栗憲庭歸納 物院藏 for paintings. The colourful ink in flamboyant red and green deepened the Wei and his artistic creation on paper is also a wonderful microscope emblem 於「新文人畫」，同輩藝術家則被他稱之為 Tang Yin, Court Ladies in the Shu Palace, Ming thematic interpretation of "sex". In portraying his characters, Liu Wei employs of the convergence between the traditional and modern creation. He managed 他軍人世家的背景有著緊密的關聯性，畫中 dynasty, Collection of The Palace Museum, humorous and comic-like imagery with exaggerated body contours, wearing to gradually free himself from the restrictions of representative symbols, which 「潑皮群」，這些作品有著肆意誇張的文 Beijing, China 各種政治隱喻和玩世不恭的態度，配合他獨 exotic costumes and posing various facial expressions. Combined with the also indicated his breakthrough from the limitations of "Cynical Realism". 特的用筆方式，使他得到了「才情畫家」的 人墨戲線條，畫面中佈滿東倒西歪的題款字 2. 周昉《簪花仕女圖》唐代 中國 瀋陽 遼寧省 casual touches of a sketch, the artwork portrays a strange and complex aura Beauties from Peking is not only a masterpiece of his early career, but also the 博物館 that combines irony, absurdity and a brutal sense of humor. Liu utilises images of best representative of his Cynical Realism style, and a rare piece that embodies 稱號。同一時期所創作的紙本作品，則是以 體和東拼西湊的題畫詩，豔俗的紅、綠色 Zhou Fang, Court Ladies Wearing Flowered 系彩墨更加深了他主題「性」的詮釋。劉煒 Headdresses, Tang dynasty, Collection of the ridiculous distortions to provoke viewers, thus bring them into a deeper way of traditional Chinese elements and connotations. 情色作為主題，因媒材的特殊性更加彰顯了 Liaoning Provincial Museum, Shenyang, China

98 poly auction hong kong Modern and Contemporary Art 99 145

LIU WEI (CHINESE, B. 1965) Beauties from Peking 劉煒 京城艷婦圖

Painted in 1989; &1993 1989 年作；及 1993 年作 a set of seven mixed media on paper 綜合媒材 紙本（一組共七件） 1. 44 x 18 cm. (17 1/4 x 7 in.); 2. 34 x 32 cm. (13 1/2 x 12 1/2 in.); 3. 39 x 38 cm. 藝術家鈐印 (15 1/4 x 15 in.); 4. 27 x 20 cm. (10 3/4 x 7 3/4 in.); 5. 54 x 42 cm. (21 1/4 x 16 1/2in.); 6. 21 x 26 cm. (8 1/4 x 10 1/4 in.); & 7. 50 x 33 cm. (19 3/4 x 13 in.) 來源 1. five seals of the artist; 2. five seals of the artist; 3. seven seals of the artist; 4. 中國嘉德 北京 2009年11月21日 編號120 nine seals of the artist; 5. eight seals of the artist; 6. six seals of the artist; & 7. 現藏者購自上述拍賣 five seals of the artist 展覽 Provenance 1993年「劉煒個展」克里斯畫廊 費城 美國 China Guardian Beijing, 21 November 2009, Lot 120 1996年「劉煒」RCCA藝術中心 紐約 美國 2. Acquired from the above sale by the present owner

Exhibited USA, Philadelphia, Creese Gallery, Solo Exhibition of Liu Wei, 1993. USA, New York, RCCA Arts Centre, Liu Wei, 1996. 3.

HK$ 1,200,000 - 1,800,000 US$ 153,800 - 230,800

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100 poly auction hong kong Modern and Contemporary Art 101 LI CHEN 李 真 天界山水

「我不只在做雕塑，我在創造幸福，創造一 傾的姿勢，雕塑整體線條顯得更為流暢，托著燭光的主角彷如我們 的化身，小心翼翼珍惜生命的每個美好時刻。 種讓人享受的東西。」 李真以《天界山水》提出高速發展的社會中人類與自然之間關係的 ─李真 反思，而《追燭》則表現出人們在繁華忙碌的都市生活中對內心寧 靜祥和心態之追求。縱觀李真的藝術創作，在汲取東方哲學、宗 教、美學的特點基礎上，將自己的精神領悟注入作品中，不斷地反 李真作為最具代表性的當代華人雕塑家之一，其大型戶外展覽曾在台 思突破，以自己獨特的創作詞彙，在視覺上融入西方現代造型藝術 北中正紀念堂、新加坡國家美術館與巴黎凡登廣場舉行，在亞洲各地 美學，表達出對現代社會生活的種種反思與詰問。 乃至歐洲皆得到熱烈迴響。李真在現代雕塑教育的背景之下成長，因 緣際會之下從事傳統民藝的創作，也是這一特殊經歷影響了其創作的 理念和元素，使得傳統文化與民間精神始終深紮於李真的作品之中。 以西方的當代雕塑形構，揉合東方傳統哲思於一體，渾圓黑色的身 軀，祥和的面部表情，再加之以銀或金點綴，已成李真個人獨特風格 的代表。李真創造的雕塑身軀大多為黑色，正如他所說「通常我們看 到黑色的物質，總是沉重的。當你打坐或者閉上眼睛的時候，黑色卻 是最輕的。但重要的是在表像之外的內心語言。」黑色原本給人以下 沉重實之感，但通過李真的手，這裡的黑色圓融完滿，既充滿了精神 的能量而又輕盈靈動，賦予雕塑空靈之美。

李真創作之根基來自於東方傳統哲學精神，儒家思想中有「比德說」 一說，即是將大自然中的山水對比代表人類的美好品德。以孔子為代 表的儒家相信大自然與人是相通一致的，《論語》中有「知者樂水， 仁者樂山。知者動，仁者靜。知者樂，仁者壽」，儒家學說中的山水 觀正對應中華民族的美好品格，《天界山水》(Lot 146) 的創作意念根 基也正是建立於這一傳統精神之上，人物腳踏兩朵祥雲，張口微笑著 的人物左手托著「銀海」，右手拿著「金山」，除了傳統儒家的山水 觀文化，金銀更寓意富足吉祥，有圓滿而喜樂之感。

「天燧是一種儀式，『盈昃』才是它真正的 生命。」 ─李真

2009年，李真從嘈雜的外界回到家中寧靜的佛堂，點燃一根許久 未用的蠟燭，這難得的獨自安靜時光啟發起藝術家創作「天燧」系 列，《追燭》(Lot 147) 也最為體現藝術家創作此系列的靈感來源。 燭火，是人類文明起源最重要元素之一，人因有火而能生熱、能取 食，而後有了生生不息的生命延續。所以說，火是人類平安、神 聖、智慧和幸福的代表，對人類的意義歷久而彌新。《追燭》中祥 雲繞身的人物以特別碩大的右腳支撐身體，後腳揚起，身軀前傾， 雙手作出托住燭臺的姿勢，彷彿在空中追逐心中的一盞明燈。藝術 家將雕塑的下肢處理得較為粗大，而頭及手部則相對細小，加之前

102 poly auction hong kong 146

LI CHEN (CHINESE, B. 1963) Landscape in Heaven 李真 天界山水

Executed in 2001 2001 年作 bronze sculpture 銅雕 雕塑 edition: 8/8 版數：8/8 107 x 91 x 164 cm. (42 x 35 3/4 x 64 1/2 in.) 款識：Li Chen 8/8（下背） signed and editioned 'Li Chen 8/8' (lower back) 藝術家手刻鈐印：李真 one carved seal of the artist 展覽 Exhibited 2007年6月11日-11月21日「虛空中的能量：第52屆威年斯雙年展」義大利 Italy, Venice, Telecom Italia Future Centre, Energy of Emptiness, 52nd Venice 未來展望美術館 威尼斯 義大利（展品為另一尺寸、版數） Biennale, 11 June-21 November, 2007 (alternate sized version and edition 2008年4月29日-5月11日「尋找精神的空間」中國美術館 北京 中國（展品 exhibited). 為另一尺寸、版數） China, Beijing, National Museum of China, In Search of Spiritual Space, 29 April-11 2009年9月17日-12月9日「李真：精神．身體．靈魂」新加坡美術館 新加坡 May, 2008 (alternate sized version and edition exhibited). （展品為另一尺寸、版數） Singapore, Singapore Art Museum, Li Chen: Mind Body Spirit, 17 September-9 2011年11月6日-12月4日「大氣—李真台灣大型雕塑首展」中正紀念堂及自 December, 2009 (alternate sized version and edition exhibited). 由廣場 台北 台灣（展品為另一尺寸、版數） Taiwan, Taipei, Chiang Kai-shek Memorial Hall and Freedom Square, Greatness 2013年9月2-29日「既重又輕—李真2013巴黎凡登廣場大型雕塑個展」凡登 of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 6 November-4 December, 廣場 巴黎 法國（展品為另一尺寸、版數） 2011 (alternate sized version and edition exhibited). France, Paris, Place Vendôme, Li Chen's Major Sculpture Solo Exhibition, 2-29 出版 September, 2013 (alternate sized version and edition exhibited). 《李真—大氣神遊》亞洲藝術中心 台北 台灣 2006年（圖版為另一尺寸、版 數，封面） Literature 《李真—虛空中的能量：第52屆威尼斯雙年展》亞洲藝術中心 台北 台灣 Li Chen: Oriental Sculpture Spiritual Journey, Asia Art Center, Taipei, Taiwan, 2006 2007年（圖版為另一尺寸、版數，第104-107頁） (alternate sized version and edition illustrated, cover). 《李真—尋找精神的空間：中國美術館個展》亞洲藝術中心 台北 台灣 2008 Li Chen: Energy of Emptiness 2007 Solo Exhibition at 52nd International Art 年（圖版為另一尺寸、版數，第30-37、170、174及176頁） Exhibition-La Biennale di Venezia, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2007 《李真—精神．身體．靈魂：2009新加坡美術館個展》新加坡美術館 新加 (alternate sized version and edition illustrated, pp. 104-107). 坡 2009年（圖版為另一尺寸、版數，第138、150及153-154頁） Li Chen: In Search of Spiritual Space 2008 Solo Exhibition at National Art Museum of 《李真—大氣︰李真台灣大型雕塑首展》亞洲藝術中心 台北 台灣 2012年 China, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2008 (alternate sized version and （圖版為另一尺寸、版數，第28及80-81頁） edition illustrated, pp. 30-37, 170, 174 & 176). 《李真—既重又輕︰2013巴黎凡登廣場大型雕塑個展》亞洲藝術中心 台北 Li Chen: Mind. Body. Spirit, Li Chen Solo Exhibition at Singapore Art Museum, 台灣 2014年（圖版為另一尺寸、版數，第65及84-85頁） Singapore Art Museum, Singapore, 2009 (alternate sized version and edition illustrated, pp. 138, 150 & 153-154). 附台灣 台北 亞洲藝術中心開立之原作保證書 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2012 (alternate sized version and edition illustrated, pp. 28 & 80-81). Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendome Paris, Asia Art Centre Co. Ltd., Taipei, Taiwan, 2014 (alternate sized version and edition illustrated, pp. 65 & 84-85).

This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei, Taiwan.

HK$ 1,800,000 - 3,000,000 US$ 230,800 - 384,600

另一角度 alternative view

104 poly auction hong kong Modern and Contemporary Art 105 "I'm not only making sculptures, I'm creating LI CHEN 李 真 The Pursuer a concrete form for happiness, which people can sense and feel." - Li Chen

his arms and holds a candleholder; the gesture seems to imply the pursuit of an "Behind the Beacon series is a ceremonial internal bright light in the air. The legs rendered rather sturdy and the relatively small head and slim arms along with the forward-inclining posture contribute process; the essence lies in Yinze-the full or to the overall smoothness of the sculpture's outlines. The protagonist holding candlelight seems to embody ourselves who carefully cherish each beautiful diminishing glory of the sun and the moon." moment in life. With Landscape in Heaven, Li Chen suggests reflections on relationships - Li Chen between man and Nature in a society of accelerated development. As for The Pursuer, it expresses man's pursuit of a tranquil and peaceful state of mind in prosperous and busy urban life. Li Chen's artmaking is based on qualities drawn from oriental philosophy, religion and aesthetics; the artist imbues his own As one of the leading Chinese contemporary sculptors, Li Chen's works have spiritual comprehension into his works and persistently meditates and breaks been exhibited in Chiang Kai-shek Memorial Hall and Freedom Square in Taipei, through. With his particular creative vocabulary, Li Chen visually integrates Singapore Art Museum and Place Vendome in Paris, etc., and that have helped aesthetics of western modern plastic arts, conveying various reflections and him to become a world wide acclaimed artist across Asia and Europe. Having interrogations towards modern social life. received professional academic training, together with experiences in creating traditional folk arts, Li Chen had found his unique language in art making, which had organically fused the traditional culture and spirit of folk art. Based on western contemporary frameworks, together with the integration of oriental philosophy, Li Chen's signature figures are with round dark bodies, peaceful facial expression and always come with silver or gold as highlights. With most of them of black-coloured bodies, he explained, "Looking at black things usually makes people feel lumber-some or serious. But if one closes his eyes, black colour carries the lightest weight. Yet the most important thing is the mental language beyond appearance." Although black originally implies downwardness and solidness, Li Chen's hands render it into something well-rounded and complete, full of spiritual energy while seemed lightweight and animated, endowing an ethereal beauty to the sculpture.

The root of Li Chen's creation lies in the traditional philosophical spirit of the East. There is a saying in Confucianism that "the doctrine of analogy of virtue", which precisely compares landscape in Nature to refined virtues representative of man. There is a belief in Confucianism that Nature and Man are connected. In Confucian Analects, it was written "the wise find pleasure in water; the virtuous find pleasure in mountain. The wise are active; the virtuous are tranquil. The wise are happy; the virtuous are long-lived." The concept of landscape in Confucianism precisely corresponds to the refined character of Chinese people. The artistic concept of Landscape in Heaven (Lot 146) is also rooted in and constructed on such a traditional spirit. The smiling figure with both feet on two auspicious clouds holds "silver ocean" in his left hand and "gold mountain" in his right hand. In addition to signifying the culture and point of view of landscape suggested by traditional Confucianism, gold and silver further connote abundance and luck with a sense of perfection and joy.

In 2009, Li Chen returned to the tranquil worshipping hall at home, as an escape from the outside tumultuous world. By igniting a long-time unused candle, he felt a precious moment of tranquil solitude, and that later became the inspiration of the Beacon series. The Pursuer (Lot 147) best incarnates the source of inspiration for the series. Candlelight was one of the key factors of the genesis of human civilization. It is the source of heat and allows human beings to cook, enabling humankind to pass down generations. Fire then becomes the totem for safety, holiness, wisdom and happiness. Surrounded by auspicious cloud, the protagonist of The Pursuer supports his body with his significantly huge right leg while raising his left leg behind. lnclining his body forwards, the figure stretches

106 poly auction hong kong 147

LI CHEN (CHINESE, B. 1963) The Pursuer 李真 追燭

Executed in 2010 bronze sculpture edition: 3/8 145 x 59 x 65 cm. (57 x 23 1/4 x 25 1/2 in.) dated, signed and editioned '2010 Li Chen 3/8' (lower back) one carved seal of the artist

Exhibited China, Beijing, National Museum of China, In Search of Spiritual Space, 28 April-11 May, 2008 (alternate sized version and edition exhibited). Taiwan, Taipei, Chiang Kai-shek Memorial Hall and Freedom Square, Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 6 November-4 December, 2011 (alternate sized version and edition exhibited). France, Paris, Place Vendôme, Li Chen's Major Sculpture Solo Exhibition, 2-29 September, 2013 (alternate sized version and edition exhibited).

Literature The Beacon Series When Night Light Glimmers, Asia Art Center, Taipei, Taiwan, 2010 (alternate sized version and edition illustrated, pp. 70-77). Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, Taiwan, 2012 (alternate sized version and edition illustrated, pp. 114-115 & 204-205). Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendôme Paris, Asia Art Center, Taipei, Taiwan, 2014 (alternate sized version and edition illustrated, pp. 16-17, 32, 62-63, 73 & 106-107).

This work is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei, Taiwan.

2010 年作 銅雕 雕塑 版數：3/8 款識：2010 Li Chen 3/8（下背） 藝術家手刻鈐印：李真

展覽 2008年4月28日-5月11日「尋找精神的空間」中國美術館 北京 中國（展品 為另一尺寸、版數） 2011年11月6日-12月4日「大氣－李真台灣大型雕塑首展」中正紀念堂 台北 台灣（展品為另一尺寸、版數） 2013年9月2-29日「李真2013巴黎凡登廣場大型雕塑個展」凡登廣場 巴黎 法國（展品為另一尺寸、版數）

出版 《李真─天燧系列：夜光盈昃》亞洲藝術中心 台北 台灣 2010年（圖版為另 一尺寸、版數，第70-77頁） 《李真─大氣︰李真台灣大型雕塑首展》亞洲藝術中心 台北 台灣 2012年 （圖版為另一尺寸、版數，第114-115及204-205頁） 《李真─既重又輕︰2013巴黎凡登廣場大型雕塑個展》亞洲藝術中心 台北 台灣 2014年（圖版為另一尺寸、版數，第16-17、32、62-63、73及106- 107頁）

附台灣 台北 亞洲藝術中心開立之原作保證書

HK$ 1,000,000 - 2,000,000 US$ 128,200 - 256,400

108 poly auction hong kong Modern and Contemporary Art 109 身的中國傳統文化底蘊以及視覺經驗讓畫中各元素自然而然的去連 ZHOU CHUNYA 結。主題性上，周春芽塑造了一個超現實的場景，他將內心的風景 周春芽 重組並置入畫面，在代表他情感層面的嫣紅桃花後方延伸的湖面是 形色之舞 他首次在繪畫中具體詮釋「水」這個元素的嶄新嘗試，純淨的水藍 色平衡了前景所帶來視覺刺激的嬌媚色彩，達到天人合一的哲學觀 念。而畫面上方的湖心亭和兩旁衍生出的淡紫色太湖石群皆代表了 中國傳統文化中極為重要的審美符號，在豐富了空間層次的同時， 更使作品承載了深邃的文化意蘊。

周春芽在經歷後印象主義和表現主義洗禮後產生對自身文化的追 求，他醉心於發掘當代繪畫的語言詮釋文人傳統的奧妙。他常走 訪江南的園林，也曾提到特別鍾愛蘇州獅子林，《桃花風景系列 2006—蘇州桃花》裡的湖心亭跟太湖石群與獅子林內的即有異曲同 工之妙，畫面充斥豐富的形態和複雜結構所帶來的視覺張力，藝術 家富有表現性的靈動筆觸帶著強大的自信，他解釋道：「中國的江 南園林是柔性的、有機形的，是畫出來的，就像毛筆的筆尖，勾、 皴、擦、點、染，充滿了繪畫的語言層次感… …江南園林或許啟發 了我的繪畫語言，包括筆觸形態，這在我早期的山水、石頭作品中 有痕跡，人工化的又充滿教養感的園林景觀，曾經在相當長一段時 間中是我表現的興趣點。」相比之前形態張揚、充滿爆發力的直接 表述，此時周春芽繪畫關注的不僅僅是技巧和情感的顯現，畫面中 所傳遞出的信息層面更加的豐富、廣泛。他透過傳統文化的借鏡與 承襲，梳理自身經歷淵源，衍生出飽含寓意的細膩畫面。汲取文人 傳統與表現主義風格的展現，周春芽在《桃花風景系列2006—蘇州 桃花》中達到了絕佳的平衡點，這樣的方式在當代藝術的領域中獨 樹一格，甚至與西方畫壇相比也毫不遜色。如此散發著熾烈情懷和

1. 勃勃生機的迷人風景，正是周春芽「桃花」系列的魅力所在。

桃之夭夭，灼灼其華－文人趣味和內在情感的交匯激盪 周春芽對於繪畫性的追求和過人的創造力讓他探索出獨特的繪畫語 言，他被認為是對色彩把握最好的中國當代藝術家之一，刺激的反 自然色彩運用強調視覺上的衝擊力，畫面和心理的反差讓人情不自 禁沉浸在其中。周春芽在2005年開啟了「桃花」系列，他筆下的桃 花可說是情緒與物象融合的產物，藉由桃花探討情慾的同時，他也 希望能在自己的藝術中展現人類與大自然旺盛的生命力。

2006年作的《桃花風景系列2006—蘇州桃花》(Lot 149) 可說是「桃 花」系列的代表作，不但構圖疏密得宜，恣意淋漓的筆法更是一氣 Lot 149 呵成，營造出渾然天成的流動感。周春芽在遠景的處理上將輪廓消 融，從而解構具象的畫面，呈現出一種模糊的效果，在增加了語言 上曖昧性的同時，更突顯出有著清晰焦距的桃花、枝幹和湖心亭， 最大程度的強調了畫面的主題性。相較於近期所創作的「桃花」， 2. 「色彩不是擺放或塗抹在物體上的裝飾，色彩本身就具有一種神祕的力量感，在畫布上奔 這樣注重於單點透視的方式只見於早期作品，除了十分珍稀可貴之 外，更是難得層次感豐富的上乘之作。 1. 亨利．馬諦斯《梅花，綠色背景》1948年作 涌、流淌，那顏色是活的，它刺激、助推著你的想像和書寫！」 周春芽在《桃花風景系列2006—蘇州桃花》的構圖方式上踏出了極 Henri Matisse, Plum Blossoms, Green Background, 1948 為關鍵的突破，跟先前「它山之石」、「綠狗」等系列迥異的是， 2. 仇英《桃源仙境圖》（局部）明代 中國 天津 天津博物館藏 Qiu Ying, Fairyland of Peach Blossoms (detail), Ming dynasty, Collection of the ─周春芽 他首度跳脫詮釋單一物件或主題的固有方式，並將焦點打散，以本 Tianjin Museum, Tianjin, China

110 poly auction hong kong Modern and Contemporary Art 111 「我並沒有像國畫家那樣在材質 屬性和圖形程式上去理解，而 是按照我的表現意圖去尋找那些 令我覺得陌生又能帶來驚喜的東 西，我在肌理和質感上花費了很 大的工夫，近似於強迫症似的去 捕捉和玩味那些潛藏在石頭自然 1. 2. 屬性中的視覺因素。」

1. 蘇州留園冠雲峰 ─周春芽 形質冠今古，氣色通晴陰－當代審美下的文化傳承 Cloud-Crowned Peak, The Lingering Garden, Suzhou 周春芽在2011年一次上海之行，決定開始詮釋豫園的園林景觀， 2. 吳冠中《獅子林》1988年作 他說：「完全是個意外，在我走進那個園林的那一刻我決定畫 Wu Guanzhong, Lion Woods, 1988 它！」周春芽在90年代經過雅安上里的石頭和「紅石」系列，便 3. 恩斯特．路德維希．克爾希納《採石場》約1923年作 Ernst Ludwig Kirchner, Steinbruch bei Wildboden, c. 1923 與石頭結下了不解之緣，園林景觀中的太湖石本身自然鑿成的痕 跡跟藝術家熟悉的表現性在理念上不謀而合。反覆研究之下，他 發現紫色可以很好地表現石頭的陰影部份，便在新系列中，大量 運用紫色，透過誇張色彩的提煉，製造出衝突、動盪的色感，營 造一種若即若離的詭譎和神祕感。濃郁的色塊將優美、典雅的園 林景觀轉化為一種厚重、卻又秩序井然的形象。

2015年作的《太湖石與花》(Lot 148) 作為「園林」系列的一個 衍生，並未完整將園林景緻納入畫面，反之，周春芽將所有情感 濃縮，回歸早期純色、異空間似的背景，將略帶紫色太湖石置於 畫面的正中央。「那些石頭本身看起來就很豐富，不只是形態和 結構，它自身已經是有背景和文化內涵的石頭… …因此用怎樣 的色澤、肌理、質地和構圖去表現這種豐富，我是費了腦筋的。 我其實是用了反向的修辭去體現那種不可捉摸的厚重和神祕，用 充滿變換的書寫筆觸去實現塑造的體量感，用一種錯覺感去置換 對象物體的真實感，遠看非常真實、實在，連細節肌理都高度逼 真，但湊近一看，恍然大悟，語言其實非常簡括、輕鬆。」周春 芽如是說。太湖石在傳統美學的審視下既可作為環境的衍生也可 獨立完整的審美，他將古典概念化，萃取了其中內涵，傳承了歷 史價值。

周春芽結合東方文人氣質和西方表現技巧的風格在《太湖石與 花》中得以全然展現，揉合中國文人畫的筆墨意趣，鵝黃淡雅的 背景色調恰到好處的襯托出山石崎嶇的造型和粉、紫牡丹的雍容 華貴，駕輕就熟的色彩和鬆動、精確的筆觸掌控可說是集他藝術 歷程之大成。周春芽的畫筆穿行在石頭形體的縫隙中，早期山石 那古典、沉穩的棕褐色與現今紫色濃烈而富含情感張力的油彩表 現相互交織，錯落有致的筆觸在色彩的堆疊中深化了太湖石的 量感與其表面的紋脈肌理，不僅承載了玩石傳統中對「奇」與 「怪」的審美觀，更成為抒發胸臆的一種媒介，讓觀者不由自主 的去感受他激昂的內在情緒。 3.

Modern and Contemporary Art 113 148

ZHOU CHUNYA (CHINESE, B. 1955) Taihu Stone and Flowers 周春芽 太湖石與花

Painted in 2015 2015 年作 oil on canvas 油彩 畫布 200 x 150 cm. (78 3/4 x 59 in.) 款識：二〇一五周春芽（右下） dated and signed in Chinese (lower right) 來源 Provenance 亞洲 私人收藏 Private Collection, Asia 展覽 Exhibited 2015年10月17日-2016年1月3日「始終是開始—周春芽作品2015」澳門藝術 China, Macau, Museu de Arte de Macau, Zhou Chunya–New Works 2015, 17 博物館 澳門 中國 October, 2015-3 January, 2016.

HK$ 2,400,000 - 3,200,000 US$ 307,700 - 410,300

114 poly auction hong kong Modern and Contemporary Art 115 DANCING IN FORMS AND 周春芽 COLOURS

"Colours are not ornaments placed The peach tree beams in flaming works. The pure blue of water sets a good balance or painted on the surface of objects. red, How brilliant are its flowers: with the charming, visually stimulant colours in the The intersection and agitation of foreground, to echo with the philosophical concept As they run and flow through the emotions and interest of literatis of "Nature Unity". The Mid-Lake Pavilion at the top of The pursuit of painterly and outstanding creativity of the image and lavender Taihu Lake Stones extending canvas, they are conveyed with Zhou Chunya allows him to discover a unique artistic from the two sides are important aesthetic symbols in language. He is considered as one of the best Chinese Chinese traditional culture, they enriched the image hidden power. Colours are alive, contemporary artists in mastering colours. His use to a spatial level, and also empower the artwork to of bright, vivid colours emphasises visual impact, convey a profound cultural implication. stimulating as they encourage and the contrast between visual and emotional representations creates an irresistible atmosphere for Zhou Chunya's pursuit of his own culture occurred viewers to immerse into the artwork. Zhou started after he was exposed to Post-Impressionism and people's imagination willingness to the Peach Blossom series in 2005. By fusing emotions Expressionism. He is fascinated by the insightful into the the visible objects, Zhou is expressing erotic discovery of contemporary artistic language express oneself." feelings as well as discovering the exuberant vitality of interpreting scholar traditions. He often strolled human and nature in his Peach Blossoms. through Jiangnan gardens, as he mentioned, he - Zhou Chunya was addictive to the Lion Forest Garden-one of the The Peach Blossoms Series 2006-Suzhou Peach most famous Suzhou gardens. The Mid-Lake Pavilion Blossoms (Lot 149) can be identified as a masterpiece and Taihu Lake Stones in the Peach Blossoms Series of Peach Blossom series, as it not only display well- 2006-Suzhou Peach Blossoms share similarities with balanced composition, but also creates a feeling the ones in Lion Forest Garden. The image is full of of natural flow from the artist's smooth brush visual tension brought by rich forms and complex strokes. In dealing with long-range perspective, Zhou structures. The artist's expressive and spiritual intentionally blurs the outlines of the concrete objects, brushstroke is accompanied by a strong confidence. deconstructing figuration in order to deliver a misty He explained, "From the perspective of a painter, effect, and this also helps in attracting audiences' the style of gardens in Jiangnan is soft and gentle, attention towards the main focus of the painting - the and organic. It seems that they were painted by blossoms, stems and the Mid-Lake Pavillion, and all a Chinese brush with the techniques of outlining, these together has enabled the artist to express an rubbing, scratching, dotting and dyeing, showing amative language. Such single-perspective method is layers of images like a painting… , …Jiangnan gardens only seen in Zhou's earlier works, with its richness in may have inspired my painting language, including texture and coherence of all the elements, making this the form of brush strokes, which can be found in my a superior piece with great significance. early paintings of landscapes and stones. The artificial and civilized garden scenery has been an interest for Zhou Chunya achieved a significant breakthrough in me for a long time." Compare with the flamboyant composition in Peach Blossoms Series 2006-Suzhou and explosively blunt expression delivered through Peach Blossoms. Unlike his previous Stone Hills his focus on techniques and emotions, Zhou began series and Green Dog series, for the first time, he to infuse deeper thoughts within his creations. By abandoned his common practice of interpreting a borrowing from and inheriting traditional culture, single object or theme, but has dispersed his focus. and adding a personal touch, Zhou has delivered By employing his abundant Chinese cultural heritage a delicate, meaningful image. Absorbing scholar and visual experience, he organically fused all the tradition and display of expressionism, Zhou achieved elements harmoniously within the painting. Zhou an extraordinary balance in Peach Blossoms Series created a surreal scene where he reconstructed and 2006-Suzhou Peach Blossoms, making himself reintegrated the landscape in his mind. There is a lake distinctive among contemporary artists. The blazing 徐渭《花竹》明代 台灣 台北 國立故宮博物院藏 behind the vivid red peach blossoms, and this marks emotion and exuberant vitality in the image is what Xu Wei, Flowers and Bamboo, Ming dynasty, Collection of the first time that Zhou has incorporate "water" in his makes Zhou's Peach Blossom series attractive. the National Palace Museum, Taipei, Taiwan

Modern and Contemporary Art 117 Integrating the style of Chinese literati paintings, the light yellow background cleverly accentuates the shape of the rugged mountain and the graceful pink and purple peonies. The appropriate use of colour, with loose, but accurate, brushstrokes can be identified as remarkable achievement. Zhou's brushstrokes travel between the space between the stones. The seattled brown colour of his earlier practices and the emotional purple colour intertwine with each other, altogether they display the weight and surface texture of Taihu Stones. Afterall, the painting doesn't only inherit the strange and odd aesthetics in the traditional study of stones, but it also becomes a medium to express one's inner feelings and overwhelms the viewers with his passion and excitement.

1.

Tangibility connects past and present, Ambience penetrates bright and gloom--The cultural inheritance of contemporary aesthetic. A trip to Shanghai in 2011 has inspired Zhou Chunya to depict Yuyuan "I did not seek to understand Garden. He said, "It was absolutely autonomous. The moment I walked into that garden, I decided to draw it!" All the stones that Zhou drew like the stones from Shangli Town in Ya'an and Red Stone series in the 90s set forth it from the angle of the a close bond between him and his depicted subject. The naturally chiseled marks on the Taihu Lake Stones from the garden scenery happen to coincide materials' properties and methodologically with the artist's familiarity in expression. With continuous study, he found purple as the most suitable colour in showing the true the patterns of imagery like a shade of the rock, and began to use its extensively. Through extracting the dramatic colour to establish distinct and chaotic tonalities, a mysterious and Chinese painter; instead, fluid atmosphere is created. The rich colour block transfers the beautiful and elegant garden into a heavy, yet organized image.

I followed my expressive Taihu Stone and Flowers (Lot 148) was created in 2015, it was deemed as an extension of the Garden series. Instead of depicting the entire intent to find things that garden landscape, Zhou Chunya condensed all emotions to return to his earlier background of pure colour and alternative dimension, placing the felt unfamiliar and might purple hued Taihu Lake Stones at the center of the image. "Those stones look meaningful not only in forms and structures, but also in historical bring surprises. I exerted a background and culture… …I thought very hard about how to use colours, textures, and composition to show this richness. I actually adopted reverse lot of energy on surfaces and rhetoric to represent its untouchable magnitude and mystery, used strokes full of variations to achieve the impact of size, and employed a sense of texture, obsessively capturing illusion to substitute the sense of reality of the object. They look real from afar; even the texture details seem to be true; while a close look of the paintings would make you realise the painting language is abstract and 2. and ruminating on the natural concise." Zhou said. Taihu Lake Stones can be viewed, under the traditional aesthetic scope, as a derivative of the environment or its own aesthetics. properties and visual elements He conceptualises the classical, extracts its connotation and inherits the historical value. 1. 蘇州獅子林 of the rocks." The Lion Forest Garden, Suzhou Zhou Chunya's combination of the eastern scholar aura with western 2. 陳洪綬《梅花山鳥》（局部）明代 台灣 台北 國立故宮博物院藏 expressionist techniques is thoroughly portrayed in the Taihu Stone and Flowers. Chen Hongshou, Plum Blossoms and Wild Bird (detail), Ming dynasty, - Zhou Chunya Collection of the National Palace Museum, Taipei, Taiwan

Modern and Contemporary Art 119 149

ZHOU CHUNYA (CHINESE, B. 1955) Peach Blossoms Series 2006 - Suzhou Peach Blossoms 周春芽 桃花風景系列2006—蘇州桃花

Painted in 2006 2006 年作 oil on canvas 油彩 畫布 200 x 250 cm. (78 3/4 x 98 1/2 in.) 款識：2006周春芽zhou chunya（右下） dated and signed '2006 zhou chunya'; signed in Chinese (lower right) 來源 Provenance 中國 上海 滬申畫廊 Shanghai Gallery of Art, Shanghai, China 現藏者購自上述畫廊 Acquired from the above gallery by the present owner 展覽 Exhibited 2006年4月23日-5月14日「生命、桃花、藝術—周春芽首次國內個展」滬申 China, Shanghai, Shanghai Gallery of Art, Solo Exhibition of Zhou Chunya, 23 April- 畫廊 上海 中國 14 May, 2006. 2007年3月3-23日「花間記－周春芽繪畫雕塑作品展」今日美術館 北京 中國 China, Beijing, Today Art Museum, Blooming Stories-Zhou Chunya's Painting and Sculpture Exhibition, 3-23 March, 2007. 出版 《藝術跟蹤特輯．個人專輯．周春芽卷》藝術跟蹤出版中心 北京 中國 2006 Literature 年（圖版，第62-63頁） Special Number of Track Art · Monograph · Zhou Chunya 1, Track Art Publishing 《花間記》四川出版集團、四川美術出版社 成都 中國 2007年（圖版，第56 Centre, Beijing, China (illustrated, pp. 62-63). 頁） Blooming Stories, Sichuan Publishing Group Company Limited, Chengdu, China, 《當代藝術家叢書第二輯．周春芽：新繪畫的春天》四川美術出版社 成都 2007 (illustrated, p. 56). 中國 2007年（圖版，第81頁） Contemporary Artist Series Volumn 2 · Zhou Chunya: The Spring of New Paintings, 《周春芽》東八時區 上海 中國 2010年（圖版，第476-477頁） Sichuan Art Publishing Company, Chengdu, China, 2007 (illustrated, p. 81). Zhou Chunya, Timezone 8 Limited, Shanghai, China, 2010 (illustrated, pp. 476- 477).

HK$ 7,500,000 - 10,000,000 US$ 961,500 - 1,282,100

120 poly auction hong kong 森林中的一草一木，露出難掩的點點春光：寒冬褪去，溫暖正在悄 HE DUOLING 然而至，自由也終將跟隨這位偉人腦海中樂觀堅強的人生態度—插 何多苓 俄羅斯情懷 上翅膀，飛向遠方。 感性從未離開 在何多苓的藝術裏，我們似乎很難抓到任何與極速變換的紛繁世界 相關聯的任何線索，並不是「傷痕」把他留在了那個年代，而是他 骨子裏那股略帶憂傷的氣質與從未遺失的真摯感情，將一幕幕零散 己的感知化為筆下具體的圖景—「俄羅斯森林」系列誕生了：那 卻又自成一格的片段相連接，構築出一首延綿不斷的抒情詩。 裡有被俄羅斯人民視作「母親」的浩瀚森林，有從歷史中走出的 那些令他難以忘懷的俄羅斯文學巨匠，更有藝術家四十餘載創作 生涯的思索與總結。 「……在何多苓的世界裏，俄羅斯變得越來 與多數正襟危坐的名人肖像相比，《俄羅斯森林（黃金時代）普 希金．自由》(Lot 150) 中的這位俄國黃金時代最著名的浪漫主義詩 越清晰，以至於，那些人物不再是遠方的偶 人，正放鬆地背靠在一顆高大的樹旁，他雙臂環抱於胸前，若有 所思的看向遠方。這個看似平淡真實的場景——俄羅斯名人於森林 像，而是朝他走來，變得跟他眼前所有真實 中，是藝術家將兩個不同場景的蒙太奇進行的「拼貼畫」式組合的 獨有靈感；在何多苓的筆下，歷史名人被冠以一種浪漫的敘事性， 的東西一樣…」 他（們）代表的是一種無絕對指向性的情感化形象，不再遙不可 及。何多苓口中這位「我的普希金」彷彿正在向觀眾述說藝術家創 ─藝術策展人．許晟 作生涯中對回歸生命本真的如一堅持，和內心從未改變的面對世界 時柔軟的情愫。何多苓或許正是出於對內心世界情感的堅守，以及 經年之後對創作與技法的不斷審視，《俄羅斯森林（黃金時代）普 希金．自由》中，描繪主體人物輪廓的線條在漸漸歸於平淡和單純 的色調中逐步消解，普希金的形象與身後的森林風景交融後散髮出 一種和諧一致的情緒論調，畫面整體呈現一種低飽和度的和諧朦朧 感，質樸的同時盡顯蒼茫。詩人彷彿正在從包容的森林中走來，又 將自己的自由意志帶到森林中去，吟唱那首耳熟能詳的詩歌：

1. 假如生活欺騙了你， 情感治癒「傷痕」 不要悲傷，不要心急！ 20世紀70年代末，隨著文化大革命正式宣告結束，人們開始從神 化的政治理論體系中回歸真實，發自內心的重新審視與理解世界的 憂鬱的日子里須要鎮靜： 原貌。一部揭露時代的小說—《傷痕》，一時間轟動全國，使飽經 心靈創痛的人民潸然淚下。在這個講求務實、回歸本真的時代，藝 相信吧，快樂的日子將會來臨！ 術家作為社會結構中的精神先驅，承擔起了帶領人民找回自我、重 建價值的重任。彼時正處青年時期的何多苓，以其充滿人文主義的 心兒永遠嚮往著未來； 抒情現實作品，成為「傷痕美術」極其重要的一員。 現在卻常是憂鬱。 生命．本真．回歸 縱觀何多苓的創作，似乎從來沒有離開過「人」這個不變的母 一切都是瞬息，一切都將會過去； 題，但畫面中的熟悉面孔或來自歷史的面龐，從不僅僅是需要被 記錄下來的「肖像」或是等待被藝術家描繪的「對象」；當他看 而那過去了的，就會成為親切的懷戀。 到成長於不同環境下的每個人內心深處那些相似的迷惘與孤獨， 他筆下的人物就蛻變為一種抽離出原本場景的象徵載體，串聯出 ─普希金《假如生活欺騙了你》 一條藝術家在時間的漫漫長河中歷經的感性軌跡。

蘇聯文化在何多苓這一代人的心中有著長久不可磨滅的深遠影 1. 何多苓正在創作《俄羅斯森林（黃金時代）普希金．自由》 He Duoling working on The Russian Forest Series (Golden Age) Pushkin Freedom 響，2014年，何多苓踏上了去往俄羅斯的旅途，這個腦海中念 2.《俄羅斯森林（黃金時代）普希金．自由》畫稿 念不忘的國家也終於以真實具體的面貌呈現在他的面前，他將自 Sketch of The Russian Forest Series (Golden Age) Pushkin Freedom

2. "…In the world of He Duoling, Russia became more and more vivid, so much so that the characters are no longer remote icons but a real subject in front of him, even walking toward him…" - Xu Sheng, curator

阿爾弗萊德．西斯萊《春天裡的小草堆》1880年作 英國 倫敦 泰特現代美 術館藏 Alfred Sisley, The Small Meadows in Spring, 1880, Collection of Tate Modern, London, UK

Feeling Cures the "Scar" well as the constant tender sentiment in facing the world. Perhaps due to the artist's steadfast on the sentiments of his inner world and incessant examination Toward the end of the 1970s when the Cultural Revolution formally ended and on creation and technique over the years, the contour outlining the protagonist the Gang of Four being destroyed, people began to move away from a system in The Russian Forest Series (Golden Age) Pushkin Freedom is gradually dissolved based on a political theory of deification and to return to reality. They faithfully among tones which slowly become simple and pure. Pushkin's image and the re-examined and understood the original features of the world. A novel revealing forest landscape behind are merged, exuding an emotional tone in perfect the situation of the era-The Scar, suddenly shocked the country, moving the harmony. The entire tableau presents some barely saturated harmony and traumatized people into tears. In the era of pragmatism and seeking truth, artists vagueness, appearing rustic yet hazy at the same time. The poet seems to walk as spiritual pioneers in the social structure took up the important responsibility near from the generous forest and also brings his free will into it, while chanting of leading the populace to introspect and re-establish values. A young man at that familiar poem: the time, He Duoling became an important player of "Scar Art" with his lyric realistic works full of humanistic spirit.

Life．Truth．Return If by life you were deceived, In general, He Duoling's work seems to always revolve around the same motif of "human being". Yet the familiar visages in his paintings or those from historical Don’t be dismal, don’t be wild! are much more than "portraits" or "objects" to be recorded and await the artist's depiction. The artist sees the similar confusion and solitude deep inside In the day of grief, be mild: everyone growing up in a different context; the characters born from his brush are transformed into a kind of symbolic vehicles detached from their original Merry days will come, believe. contexts. They are linked into a sensitive trace gone through by the artist along the long stream of time. Heart is living in tomorrow;

The Soviet culture left an indelible, profound impact in the minds of people from Present is dejected here. He Duoling's generation. In 2014, the artist embarked a journey in Russia. The country that had preoccupied him since long time was finally in front of him In a moment, passes sorrow; in reality. He turned his perception into concrete landscape through his brush, giving birth to The Russian Forest series: There are immense forests, regarded That which passes will be dear. as "mother" by the Russian people; historically great writers who were so memorable, moreover, the artist's thoughts and synthesis of his creative career - Pushkin,If by Life You Were Deceived of more than four decades.

Compared to portraitures of famous figures sitting in all seriousness, in The Grass and trees in the forest all disclose evident bits of the spring's splendor. Russian Forest Series (Golden Age) Pushkin Freedom (Lot 150), the most As the harsh winter fades, warmth quietly arrives. And freedom would finally renowned Romanticist poet of Russia's Golden Era leans on a big tree in a accompany the positive and strong attitude of life in the great man's mind: relaxed manner. Arms crossed in front of the chest, he looks to the distance endowed with wings and flying to the distance. ponderingly. The seemingly ordinary yet realistic scene, a Russian personality in a forest, actually comes from the artist's particular inspiration of making a Sensitivity Still Remains montage of two different scenes. His paintbrush endows historical figures with In He Duoling's art, it seems difficult to capture any clue related to the fast- a Romanticist narrative; the latter represent a kind of images imbued with changing bustling world. It is not the "scar" that attaches him to that era. emotion without any definite indication, no longer remote and inapproachable. Rather, the somewhat melancholic vein and sincere emotion in him always "My Pushkin", in He Duoling's term, seems to tell the viewer about the artist's remain, connecting the dissociated yet individual fragments one after another, insistence on steadily returning to true nature of life during his artistic career, as composing an ever-lasting lyric poem.

Modern and Contemporary Art 127 150

He Duoling (CHINESE, B. 1948) The Russian Forest Series (Golden Age) Pushkin Freedom 何多苓 俄羅斯森林（黃金時代）普希金．自由

Painted in 2017 2017 年作 oil on canvas 油彩 畫布 200 x 150 cm. (78 3/4 x 59 in.) 來源 Provenance 亞洲 私人收藏 Private Collection, Asia 展覽 Exhibited 2017年12月16日-2018年2月26日「2017藝術長沙」譚國斌當代藝術博物館 China, Changsha, Tan Guobin Contemporary Art Museum, 2017 Art Changsha, 長沙 中國 16 December, 2017-26 February, 2018. 2018年6月30日-9月12日「山水光氣—何多苓個展」西安美術館 西安 中國 China, Xi'an, Xi'an Art Museum, Gaze of Samsara-He Duoling Solo Exhibition, 2018年9月27日-10月11日「頑固的藝術」保利香港藝術空間 香港 中國 30 June-12 September, 2018. China, Hong Kong, Poly Gallery Hong Kong, The Art of Determination, 出版 27 September-11 October, 2018. 《山水光氣》何多苓美術館 成都 中國 2018年（圖版，第186頁）

Literature He Duoling: Gaze of Samsara, HDL Museum, Chengdu, China, 2018 (illustrated, p. 186).

HK$ 5,800,000 - 7,800,000 US$ 743,600 - 1,000,000

128 poly auction hong kong Modern and Contemporary Art 129 MAO YAN 毛 焰 情感氤氳

毛焰自幼跟隨父親習畫，耳濡目染下形成對 獲得了複雜的表述」。《女子肖像》(Lot 151) 藝術強烈的興趣與追求。因此對於他來說， 正是毛焰這個時期創作歷程的風格演繹論 藝術不僅僅是一種職業，而更是一種生命中 證，此一階段性的革新，更是激發出1999年 堅定不移的信念。自中央美院的求學時期 後「湯瑪斯」系列著重於筆觸表現的灰色調 開始，毛焰對西方古典主義便有著濃厚的情 肖像風格。 結，包括西班牙的戈雅、德國的丟勒及荷蘭 的維米爾，都是毛焰心中崇敬及創作的指標 《女子肖像》創作於1995年，畫面主角為毛 方向，也正是此時對西方古典及傳統語言的 焰當時的一位女學生，在灰色調抽象背景的 敬畏及迷戀，形成他往後創作中紮實的寫實 襯托下，中心是如花般綻放的棕黃色塊，居 功底與精神源泉。藝評家栗憲庭曾讚歎道： 中的女子望向一側，清秀的臉龐上神情謹慎 「毛焰的作品放在歐洲任何博物館的大師作 而略帶緊張，細膩的臉部線條與色調經過精 品前，都毫不遜色。」 心安排，有如在一束柔和的光源照射下，折 射出主角五官的盈動明暗，更凸顯女性的纖 1991年毛焰於中央美院畢業之後，並沒有追 秀特質。正如栗憲庭所說：「毛焰作品的精 隨同儕的腳步留在北京，而在因緣際會之下 彩之處，是他獨特的筆觸塑造對象尤其是臉 前往六朝古都─南京，從此毛焰開始了一系 部所用的明暗斑駁的技巧。才給人一種神經 列以周邊好友為原型的肖像畫，具底蘊深厚 質的敏感和緊張感，彷彿每一個小筆觸都是 的古都南京和這裡靜謐的城市特色與毛焰繪 一個神經末梢，在一明一暗的班駁中流露出 畫中流露出的傳統格調有著天然的契合，也 不安，疑慮和心跳過速。」毛焰善於擷取外 使其跳脫如北京等大都市的政治經濟主題， 在表面的特質，進一步彰顯人物的內在精神 而沉下心來以純粹尖銳的筆法專心刻畫身邊 與性格。觀者彷彿可以感知到畫中女子細緻 平凡人物的情緒與思想，毛焰將自己的敏銳 入微的內心世界，畫面的每個角落都充滿了 與張揚寄予在九十年代的肖像畫中，這一系 表情。 列也成為他最為人所知的代表作品，使其成 為中國最炙手可熱的當代藝術家之一。 毛焰曾如此評論自己的肖像畫：「我的『人 物』常常能表達出我正在思考，但還沒有結 毛焰曾說：「總體而言，1994-1995年對我 果的東西，所以，對我來說，人物是一個挖 來講也是一個分水嶺時期。」此階段的藝術 掘不盡的主題，我會就此一直考慮下去。」 家，從90年代前期對古典主義細膩造型與筆 《女子肖像》因此可視為他與內心的自我對 觸的側重，而轉為對主體靈性表現的追求； 話，畫中充滿情緒的女子同時也是藝術家心 更將多餘的背景物抽離畫面，純化色調，使 中多重內心思緒世界之呈現。在背景的烘托 用豐富而具流動性的筆觸呈現空間色彩的豐 下，她似乎如花綻放般的尖銳張揚，又似中 富層次性，從而突出畫面的主體人物。如李 性灰階色彩般的深沉脆弱，藝術家剝去外 小山所談到的作品特徵：「人的外形在他 [毛 在，將人之靈魄呈現於畫面之上，作品以特 焰] 那裡退居到次要的地位，精神的質地成為 殊的形構、筆觸及色調處理手法，使普羅大 「在毛焰的作品前面，人們能夠隱隱的發覺，作品背後晃動著的那個敏感、細膩、內斂、聰慧、 他的主旨。他要挖掘人性中最隱蔽最細微的 眾在日常生活下所產生之共生情緒及細微感 部分，將它們提煉為視覺的衝擊。毛焰故意 觸在這里得到感知與共鳴。 孤傲、焦慮的影子。超脫和願望和現實的渴望膠結在一起，在這裡，毛焰的個人情緒、個人願望 不去描繪衣著，故意抹去人的外表的時代特 徵，因此人變成了符號，個性變成了共性， 已經轉化為某種人性的普遍性，他本人成了他者，通過作品，毛焰被自己物件化了。就這一點 形象不再局限形象本身，而成為一種普遍意 義上人的靈性。個體的人進入了普遍的人， 毛焰《X的畫像》1996年作 北京保利 2017年6月4日 說，他的精神性顯著地呈現出來，個體轉化為普遍─成為某種氣質、某種類型的存在。」 物的存在演化成形而上的存在。毛焰由此提 成交價： 10,120,000 人民幣 升了自己藝術的品格，從貌似簡單的做法中 Mao Yan, The Portrait of X, 1996, Poly International —李小山 〈毛焰的執著〉 Beijing, 4 June 2017, Sold for RMB 10,120,000

130 poly auction hong kong Modern and Contemporary Art 131 151

MAO YAN (CHINESE, B. 1968) Portrait 毛焰 女子肖像

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1995 1995 年作 oil on canvas 油彩 畫布 99 x 99 cm. (39 x 39 in.) 款識：Maoyan 1995.5（中下） signed and dated 'Maoyan 1995.5' (lower centre) 來源 Provenance 亞洲 私人收藏（直接得自於藝術家） Private Collection, Asia (acquired directly from the artist) 亞洲 私人收藏 Private Collection, Asia 保利 北京 2007年11月30日 編號883 Poly International Beijing, 30 November 2007, Lot 883 現藏者購自上述拍賣 Acquired from the above sale by the present owner 展覽 Exhibited 1995年「中國當代油畫展」柯柏聯盟學院 紐約 美國 USA, New York, Cooper Union, Chinese Modern Oil Painting, 1995. 1995年「中國當代油畫展」中國僑報美術館 洛杉磯 美國 USA, Los Angeles, Overseas Modern Newspaper Art Museum, Chinese Modern Oil Painting, 1995.

HK$ 4,500,000 - 6,500,000 US$ 576,900 - 833,300

「我的繪畫是具有肖像屬性，但是所有東西都是一個載體，如果說 只是一個簡單的肖像畫，對於我來說，是沒有任何意義的。我的興 趣和願望就是在這個裡面，從這裡去提煉哪怕一點點東西。我自己 的真情實感，是我覺得最為精彩的概念。」 ─毛焰

"My painting pertains to portraiture. But all things carry a message. Those simple portrait merely does not mean anything to me. My interest and wish lie underneath, from where I distill even the least. I experience my truest emotions to be the most intriguing idea." - Mao Yan

132 poly auction hong kong Modern and Contemporary Art 133 of a subject's spirituality. Moreover, he removed unnecessary details at his background, purified the tonality, and employed vivid and flowing strokes ZHANG XIAOGANG to represent the rich gradation of colours in space, thus foregrounding the main figures in the tableaux. In respect to the characteristics of Mao's 張曉剛 works, Li Xiaoshan wrote, "In his [Mao Yan's] works, human forms are 生生不息 relegated to an inferior place while spiritual quality becomes the gist. He wants to dig into the most secret and subtle parts of human nature and refine them into visual impacts. Mao Yan deliberately avoids depicting details of clothes. In obliterating characteristics of the times shown through appearances, the artist manages to turn the figure of people to become a symbol; their personality converges, image is no longer merely an image in itself but becomes human spirituality in a universal sense. An individual man is integrated into a universal person; existence of things evolves into metaphysical existence. In this way, the artist raises the dignity of his art, obtaining complex representation from seemingly simple approaches." Portrait (Lot 151) precisely interprets and demonstrates the style in this period of Mao Yan's artistic career. Such a periodic reform further inspired the grayish portraiture of the Thomas series starting from 1999 and provided a foregrounded for his brushwork expression.

Portrait was painted in 1995, with the protagonist as one of Mao's female students at the time. She was standing against the grayish abstract background within the scene, the center presents a rust-coloured area that was in a shape of blossoming flowers. The woman in the middle looks aside with a somewhat nervous and discreet expression. The carefully arranged lines and tones of her face seem to be under a soft beam that reflects the shifting light and shade upon the heroine's features, further expressing her graceful femininity. As Li Xianting put it, "The intriguing part of Mao Yan's work lies in his particular brushwork with which he creates figures, especially the technique of light and dark mottles on the face…. Lending a neurotic sensitivity and nervousness, as if each tiny stroke is a nerve ending, disclosing uncanniness, doubt and fast heart-beating through light and dark mottles." Mao Yan excels in capturing external features to further express the subject's inner spirit and character. The viewer seems to be able to perceive the subtle inner mind of the woman in the picture; each corner of the tableau carries an abundance of expression.

Mao Yan learned to paint with his father since childhood, and that experience In talking about his portraits, Mao Yan said, "My 'man-figures' often express had motivated him to pursue a career in becoming an artist. For Mao Yan, art what I am thinking about but have not yet reached an answer. So, for me, people is not merely a profession, but rather an unwavering belief in life. Ever since his are an inexhaustible subject. I will continue to think this way." Therefore, Portrait school years at the Central Academy of Fine Arts, Mao Yan has been extremely can be regarded as his internal dialogue with himself. The woman with abundant infatuated with western Classicism. Spanish artist Goya, German master Dürer emotions in the picture also incarnates the intricate universe of thoughts within and Dutch painter Vermeer were among the icons he admired; their art was the the artist. Juxtaposed with the backdrop, she seems keen and audacious like beacon of his artistic orientation. It was also during that time in which his awe blossoming flowers. Meanwhile, she also looks profound and fragile as she was and infatuation for western classicist and traditional languages formed the base depicted in grayish tones. By peeling off the apparent surface, the artist presents of the solid realistic skills and spiritual source for his future art-making. Art critic the truth of human soul through his paintings. The composition, brushwork and Li Xianting once said, "Put in front of masterpieces in any museum in Europe, tones of the work altogether allows viewers to perceive and resonate with the Mao Yan's works never appear inferior." universal emotions and subtle feelings originated from their daily life. After graduating from the Central Academy of Fine Arts in 1991, Mao Yan did not stay in Beijing with his peers, but settled in the ancient capital of the six dynasties-Nanjing by chance. And since then, he began to make a series of portraits with his close friends as models. The city Nanjing, as an ancient capital, is with its profound cultural essence, as well as its tranquil quality, naturally corresponded with the traditional touch exuded from Mao Yan's painting. This also encouraged his shift away from political and economical subjects found in metropolises like Beijing, and calmly devoted to depicting sentiments and thoughts of ordinary people around him through precise brushwork. The artist integrates this enthusiasm and audacity in the portraits he made in the 1990s. The series also became his most renowned representatives, making him one of the most famous contemporary artists in China.

Mao Yan once stated, "Looking as a whole picture, the period between 1994 and 1995 was a turning point that was pivotal for the change of my style" In this period, the artist shifted from emphasising subtle forms and strokes of Classicism in the first half of the 1990s, to seeking representation 盧西安．弗洛伊德《路易莎》1998年作 Lucian Freud, Louisa, 1998

134 poly auction hong kong 記憶回溯：探索個人情感表達的延綿絲線 息之愛》，隔年所作《生生息息．明天將要來臨》(Lot 152) 以畫面 張曉剛，一個以一張張嚴肅冰冷表情下隱藏中國政治發展進程中那 預示了未來與美好之可期，藝術家通過更加多元的用色平衡，是糅 段暗流湧動歷史真實記憶的人物面相，通過帶有個人符號化的標誌 合中國山水概念性表達與西方中世紀宗教元素的圖式之大成；畫面 性表現方式呈現而為現今社會所廣泛熟知的中國當代藝術巨匠，在 內容既是他對早期創作手法與人生思考的一種總結，同時在用色、 他30餘年的藝術創作歷程中，以一種抒情浪漫的敘事基調，從自我 符號語言的選擇中又埋下了藝術家後期最為人熟知表現手段的伏 為起點，歷經夢境構築和血緣脈絡延伸了「記憶」與「失憶」的矛 筆，是張曉剛藝術創作生涯中經歷不斷反省而後逐漸找出全新創作 盾主線，為一代經歷過集體夢想而後幻滅、對生命意義產生追問的 語言的承上啟下經典之作。 中國人搭建了情感宣洩與共鳴的出口。

而當我們沿著歷史的痕跡，追溯至張曉剛創作生涯之初，藝術家一 以貫之的那條從未進入主流價值體系的個人化表達脈絡卻開始日漸 「我從地獄中逃出來，去向『神』的世界 清晰：在20世紀80年代中國當代藝術的啟蒙時期，「鄉土寫實主 漫遊，試圖尋找生與死之謎的本質，尋找 義」及「傷痕美術」因其對現實批判的特質在經歷過「文革」洗禮 3. 的社會大環境下已蔚然成風；此時的張曉剛，卻選擇糅合及對比他 一種具有包容性的恆定的藝術規律。」 所了解的中國傳統文化與當時令他執迷的西方現代主義，基於個人 生存體驗，以內在化的意向表達，專注於創作「帶有表現主義情緒 的現代藝術作品」。他與毛旭輝、潘德海等藝術家組成了「新具象 ─張曉剛〈自述與手記〉 團體」，投入「85新潮」美術的運動中。而貫穿他整個八十年代藝 眼，以毫無戒備的安詳的身姿蜷縮休憩的他 級對立下的平衡。雖然這類圖示在藝術家創 術歷程中的那些帶有超現實氣質的創作，也無疑證實了藝術家作為 正在等待新生的降臨、並與萬物一同甦醒； 作歷程中僅佔據極其短暫的一瞬，但卻是一 一位時代先行者，勇於對他所認定的那些帶有「偽現代」影子的所 錯亂記憶創造的視覺迷宮 在不遠的後方，一位手持風箏的男子形象正 個承上啟下的重要時間節點，《生生息息． 謂主流文化提出大膽質疑批判：「我總認為，藝術首先應當是個人 《生生息息．明天將要來臨》創作於1989年初的冬春交際之時， 背對著觀眾，他正專注的風箏線那端，彷彿 明天將要來臨》不僅承襲了藝術家此階段對 的，然後才是公共的。」 內容上雖延續了《生生息息之愛》中的神話、宗教和歷史題材主 題，卻去除了畫面中的蕭索之意，樹木綠葉茂盛、場景開闊明亮， 耶穌受難終將得到靈魂釋放走向天堂解脫的 自身思考的總結，更是今後將描繪主體回歸 聯結自然與靈魂的信仰「彼岸」 不僅影射此時藝術家心境更加積極樂觀，也呼應了標題「明天將要 瞬間。畫中三位主角的平面化描繪，似乎是 到更純粹的人物，並走向高度符號化和象徵 藝術家對寫實主義的有意偏離，以此加深人 化開端的一個暗示。 對自己複雜內心世界那些低沈和悖謬的聲音的忠誠，使得張曉剛的 來臨」。畫中好似原始族人的形象，被置於一個概括鄉土自然圖 物內在連接所代表的生死輪迴，而構造了全 藝術創作從一開始就與任何具有社會統一幻象性的趨勢格格不入。 景與簡化的超現實未知時空裏，形成一個怪誕、卻似乎暗含生命啟 新的前、中及遠景的縱深感。這是關於萬物 「我們實際上是處在一個無處躲藏的充滿瘋 80年代初時那次由於極差的身體狀態而對生死最直觀的真實體驗與 示的夢境。畫中主角的造型頗具意大利文藝復興前期喬托宗教畫的 「生生息息」的美麗預示，是藝術家的「生 狂和病態的世界裏 … 通過描繪生命的悲劇和 經歷，促使他圍繞生存及生命議題進行了一段探索。在走出這段充 意味—前景中一位手勢略帶某種宗教儀式莊重感的「女神」，以充 命之流」，他的「明天」，或許也是我們的 死亡的壯麗，揭示存在的荒誕和神秘。」 滿死亡沈重氣息（被藝術家稱為「魔鬼時期」）的狀態後，與東方 滿超然堅定的眼神平視前方，面對觀眾向前行走，環繞她頭上黑白 「明天」都將紛然而至。 神秘主義的接觸讓他將注意力放在原始文化以及宗教藝術上。他通 相間的小圖式是藝術家此階段題材作品中經常出現、為畫面增添宗 —張曉剛〈自述與手記〉 過一系列富含西方宗教神話與東方老莊無為思想元素的內心獨白， 教神秘感的「陰陽果」，所有的符號化隱喻都似乎在暗示她把春 畫面中看似不經意散落的物件—象徵死亡的 邁向「彼岸時期」（「夢幻時期」）。1988年，他以生、死、愛這 天帶來、一切生靈即將復甦；畫面左邊身披僧袍的男子輕輕閉著雙 由史到詩—意識形態的回歸與重構 祭祀用羊頭，繡有雲南愛伲人生命圖騰的地 相對獨立卻又內在關聯的主題創作出一部宏大的三聯作—《生生息 古羅馬哲學家塞內卡曾說：「除了時間，我 毯，和那些或長青或正在萌芽的小樹混合在 們一無所有」，而在張曉剛的創作歷程中， 一起的錯亂世界，共同營造了一個關於愛、 那條從未隨時間改變的內心獨白式主線是他 生命與死亡超度的的神話；這種隱喻符號的 延綿不斷、始終如一的創作信仰。當90年代 介入也始終貫穿張曉剛的創作歷程—後期作 到來，藝術家的「血緣」系列實現了語言表 品中出現的書本、手電筒等富含某種記憶喚 達結構上由個人到公共，象徵內容上從古典 醒性質的日常小物件，都由此處萌發誕生。 的人神到現代人內在與外在探討的轉變；他 藝術家以蒙太奇拼貼般的突兀形式組合這一 通過更加深層的挖掘自己，最終表達出屬於 幕離奇、矛盾的景象，正是他孜孜不倦尋找 整體的觀念，「彼岸世界已離他越來越遠， 夢境中「彼岸」的過程。評論家巫鴻曾說此 而此岸世界就在眼底。」他的畫面儘管在呈 階段張曉剛在譜寫「有關人類主題的一則寓 現上經歷了由自然生活轉向虛擬空間，最終 言」， 通過對生命與死亡問題的理性審視， 1. 芙烈達．卡蘿《森林中的兩個裸女》1939年作 將真實場景進行虛擬重構的繁雜歷程，但卻 Frida Kahlo, Dos desnudos en el bosque (La tierra 重構了一個具有古典象徵主義人神符號對應 在細節處—那些總是相似的或睜大或凝視的 misma), 1939 的生活世界。藝術家敏感而有節制的線條描 雙眼中，詮釋著對於個體生命反思的不變主 2. 奧迪隆．雷東《黑色太陽》約1900年作 大都會 繪的那一個個消瘦卻又堅韌的軀體，是其此 藝術博物館藏 紐約 美國 題。這些關於存在與生命意義的探討，彷彿 Odilon Redon, The Black Sun, c. 1900, Collection of 階段受法國象徵主義畫家奧迪隆．雷東啟發 The Metropolitan Museum of Art, New York, USA 正在暗暗指引在永恆的記憶與不斷的失憶中 下的一種嘗試，他將情緒爆發刻意隱藏在扁 徘徊的「我」與「我們」。 3. 張曉剛《生生息息之愛》1988年作 蘇富比香港 平化的色彩平塗表象之下，創造了新表現主 2011年4月3日 成交價：79,060,000港幣 Zhang Xiaogang, Eternal Love, 1988, Sotheby's 義與西方傳統古典、形象寫實與虛幻內容兩 Hong Kong, 3 April 2011, Sold for HK$ 79,060,000 1. Lot 152 2.

136 poly auction hong kong Modern and Contemporary Art 137 152 〇 ZHANG XIAOGANG (CHINESE, B. 1958) Eternity．Tomorrow is Coming 張曉剛 生生息息．明天將要來臨

Painted in 1989 1989 年作 oil on canvas 油彩畫布 99 x 79 cm. (39 x 31 in.) 款識：曉剛（左下） signed in Chinese (lower Left) 展覽 Exhibited 1989年8月「慶祝中華人民共和國成立四十週年四川省美術作品展覽」四川 China, Chengdu, Sichuan Art Museum, Celebrating the 40th year Establishment of 省美術館 成都 中國 People's Republic of China-Art Works of Sichuan, August, 1989. 2007年6月30日-7月30日「1976-2006鄉土現代性到都市烏托邦：四川畫派 China, Beijing, Sino-Foreign Boyi Gallery, A Retrospective of The Sichuan School 學術回顧展」中外博藝畫廊 北京 中國 From 1976-2006: Rural Modernity to Urban Utopia, 30 June-30 July, 2007. 出版 Literature 《畫家》第11期 湖南美術出版社 長沙 中國 1990年（圖版，第4頁） Painter, vol. 11, Hunan Fine Arts Publishing House, Changsha, China, 1990, 〈張曉剛《生生息息》的彼岸之思〉《東方藝術》第九期 河南省藝術研究院 (illustrated, p. 4). 鄭州 中國 2008年（圖版，第48頁） "Thoughts on the other side of Zhang Xiaogang's Eternity", Oriental Art Classics, 《張曉剛：困擾的記憶》Paidon出版社 倫敦 英國 2015年（圖版，第24圖， Issue 9, Henan Academy of Arts, Zhengzhou, China, 2008 (illustrated, p. 48). 第51頁） Zhang Xiaogang: Disquieting Memories, Phaidon Press Limited, London, UK, 2015 《張曉剛：作品、文獻與研究1981-2014 I》四川美術出版社 成都 中國 2016 (illustrated, plate 24, p. 51). 年（圖版，第83圖，第145頁） Zhang Xiaogang: Works, Documents and Researches 1981-2014 I, Sichuan Fine Arts Publishing House, Chengdu, China, 2016 (illustrated, plate 83, p. 145).

HK$ 9,000,000 - 12,000,000 US$ 1,153,800 - 1,538,500

138 poly auction hong kong Modern and Contemporary Art 139 ZHANG XIAOGANG 張曉剛 ETERNITY

intuitive and real experience of life and death which prompted him to explore issues of existence and life. Recovering from the extremely tough and deathly situation (namely "Demon" period according to the artist), he turned to focus on producing a series of religious themed paintings through his exploration upon the topic of Oriental Mysticism. Through a series of inner soliloquy filled with elements of Western religions and myths as well as "inaction" thinking of Lao Zi and Zhuang Zi of the East, the artist marched toward "The Other Shore (Dream)" period. In 1988, Zhang Xiaogang made the grand triptych titled Eternal Love with each canvas focus on one subjects among Life, Death and Love respectively. The next year, he created Eternity．Tomorrow is Coming (Lot 152), a tableau with faith of a beautiful future, where he employed more diverse chromatic balance. The latter represents a grand synthesis integrating conceptual representation of Chinese landscape and elements drawn from Western medieval religious iconography. Its content sums up his early artistic approach and thought about life. Moreover, the artist's choices of palette and symbolic language implicitly indicated the most renowned approach later in his career, making the work a classic connecting his early and later endeavour through a brand new language attained after incessant reflection. "I escaped from Hell and roamed in 'God's' 1. realm, trying to explore the nature of the Retracing Memory: ExplorATION ALONG the Extending Thread of Expressing Personal Emotion enigma about life and death, looking for a 3. Works by Zhang Xiaogang represent cold and grave faces behind which are that epitomizes countryside landscape, creating a weird dream-world which, hidden undercurrents of real memory of a certain historic period in China's tolerant and constant artistic rule." however, seems to imply inspiration about life. Protagonists in the tableau are political developing process. For the social public today, he has become a widely stylized in a way rather similar to that of Giotto's religious paintings during the known contemporary art master for his iconic and personal approach based - Zhang Xiaogang, Autobiography and Notes first half of Italian Renaissance. The gesture of a "goddess" in the foreground on symbolization. For more than three decades of artistic career, the artist seems somewhat solemn like in a religious ceremony. With extremely detached composes a paradoxical axis linking bloodline to "memory" and "amnesia" based Visual Labyrinth Created from Disrupted Memory and resolute eyes, she looks horizontally toward the front, walking forward on a lyric and romantic narration, thus constructing outlets of emotional release while facing the viewer. The small black and white symbols surrounding her and empathy for the generation of Chinese people questioning the meaning of Eternity．Tomorrow is Coming was made in 1989 early spring. Despite its head, also known as "Yin Yang fruits", are recurrent in Zhang Xiaogang's works life after the disillusion in creating a collective dream. continuation of subjects of Eternal Love: myth, religion and history, the painting is on similar subjects from this period, adding religious mystic air to the picture. devoid of the desolation of the previous piece and rather represents flourishing All the symbolized metaphors seem to indicate that she brings the spring and Yet in tracing back to the origin of Zhang Xiaogang's art-making along historic foliage and an open, bright scene. This alludes to the more positive mental all beings are about to revive. The man in a frock at the left side gently closes his imprints, we gradually perceive better the artist's consistent personalized state of the artist while corresponding with the title, Tomorrow is Coming. The eyes; huddling and resting in his peaceful posture without any precaution, he is expressional context which always exists beyond the mainstream. In the figures looking like primitives are deployed in a surreal and unknown space-time waiting for the rebirth and revival with all beings. Not far behind at the backdrop, enlightenment period of China's contemporary art in the 1980s, "Rustic Realism" a male figure holding a kite stands with his back to the viewer. His attention is and "Scar Art", for their criticism of reality, have become en vogue in the general focused on the kite: a instance imitates crucifixion of Jesus, his soul heading social context which underwent the Cultural Revolution. At the time, however, Heaven. The flattened depiction of the three protagonist seems to indicate Zhang Xiaogang opted for merging and contrasting the traditional Chinese the artist's conscious veer away from Realism, thus deepening the life-death culture as he understood it and the Western modernism preoccupying him reincarnations represented through the figures' inner links and creating a brand by then. Based on personal experience of existence, the artist concentrated new depth among the foreground, the middle ground and the background. This on making "modern artworks imbued with Expressionist sentiments" through is a beautiful indication about "eternity" of all beings, representing the artist's internalized representation of attempt. Together with artists like Mao Xuhui and "current of life". His "tomorrows", which might also be ours, are close at hand. Pan Dehai, among others, they founded "New Figurative Group" and devoted to "85 New Wave Movement" in China. And the rather Surrealistic works he has been creating in his career throughout the 1980s unquestionably attested to his status as a pioneer ahead of the times, and his audacity to criticize and interrogate the so-called mainstream culture he held to be somehow "falsely 1. 張曉剛《血緣：大家庭第2號》1993年作 蘇富比 香港 2012年4月2日 成交價 ： modernist". For Zhang Xiaogang, "I always think art should be personal in the 52,180,000港幣 Zhang Xiaogang, Bloodline-Big Family No.2, 1993, Sotheby's Hong Kong, 2 April 2012, Sold first place and then public." for HK$ 52,180,000

The "Other Shore"-Linking Nature and Soul 2. 張曉剛與《生生息息．明天將要來臨》 Zhang Xiaogang with Eternity．Tomorrow is Coming Remaining faithful to the muffled and absurd sounds in his complex inner sphere, Zhang Xiaogang has been, since the very start of his artistic career, 3. 喬托．迪．邦多納《牧羊人中的約阿希姆》1303-1305年作 義大利 帕多瓦 斯克羅威 尼禮拜堂藏 incompatible with any trend imbued with illusionary quality of social union. Giotto di Bondone, Joachim among the Shepherds, 1303-1305, Collection of Scrovegni Plagued by physical illness in the early 1980s, the artist went through extremely 2. Chapel, Padova, Italy

140 poly auction hong kong Modern and Contemporary Art 141 153

LUO ZHONGLI (CHINESE, B. 1948) Waiting 羅中立 等待

Lot 152

creative process, it represented a vital temporal which seem incongruous to the viewer in terms of Objects with certain symbolic incations were juncture linking his previous and later phases. Not form of expression, the details-widely open or staring scattering on the ground of the scene, the goat only did Eternity．Tomorrow is Coming inherit the eyes-seem to always revolve around reflection on the head as sacrifice symbolizing death, the rugs with artist's conclusion of reflection on his self, it also life of an individual. The explorations about existence embroidered totems of life of the Aini people from indicated his return to and concentration on people and meaning of life seem to implicitly guide the Yunnan, together with the disordered world where as subject of depiction, as well as the emblematic "me" and the "us" who linger in eternal memory and evergreens and budding trees are mixed, come to beginning of higher extents of symbolization. constant amnesia. create a myth about love, life and releasing souls from purgatory. Such intervention of metaphoric symbols "We actually live in a morbid and extremely crazy are also recurrent throughout Zhang Xiaogang's world with nowhere to hide ourselves...I reveal the career. It also led to the genesis of the small ordinary absurdity and mystery of existence by depicting life's things of reminiscence in the artist's later works, tragedy and death's grandeur." including books, torches, etc. He composed the odd and incongruous scenes with abrupt forms like - Zhang Xiaogang, "Autobiography and Notes" collages of montage, which precisely incarnated the process of his tireless search for "The Other From History to Poetry: Ideological Shore" in dream. According to critic Wu Hung, Zhang Return and Reconstruction Xiaogang in this period was composing a fable about According to Roman Philosopher Seneca, "Nothing is the subject of man; through a rational investigation ours, except time." In Zhang Xiaogang's artistic career, oil on paper 油彩 紙本 on questions of life and death, he reconstructed the axis of inner soliloquy which remains over time is 54.2 x 39.2 cm. (21 1/4 x 15 1/2 in.) his ever-lasting and persistent artistic faith. Into the 款識：Luo.（左下）；藝術家補簽名 a sphere of life with correspondences between signed 'Luo.' (lower left); post-signed by artist symbols of man and gods of Classical Symbolism. The 1990s, he carried out, in his Bloodline series, shifts 出版 skinny yet firm bodies come from the artist's attempt from the personal to the public in terms of structure Literature 《羅中立．故鄉組曲》四川出版集團、四川美術出版社 成都 中國 2006年 inspired by French Symbolism painter Odilon Redon. of language expression, from classical exploration of Luo Zhongli．Homeland Portraits, Sichuan Publishing Group Company Limited, （圖版，第211頁） By consciously covering the bursting emotion under man and gods to exploring modern man's internal Sichuan Art Publishing Company, Chengdu, China, 2006 (illustrated, p. 211). the painted planar surface of flattened colours, the and external worlds in terms of symbolic content. By 附台灣 高雄 漢鄉畫廊開立；及林明哲親簽之原作保證書 artist created balances between Neo Expressionism digging deeper into his self, "the world at the other This work is to be sold with certificates of authenticity issued by Han Shiang shore is becoming more and more distant from him, 保羅．高更《黃色的基督》1889年作 美國 Gallery, Kaohsiung, Taiwan; & signed by Lin Ming Che. and Western traditional Classicism, as well as realistic 水牛城 奧爾布賴特-諾克斯美術館藏 depiction and illusory content. Although such while the one at this shore now coming to his eyes." Paul Gauguin, The Yellow Christ, 1889, iconography existed rather briefly in the artist's entire Although his paintings go through extreme mutations Collection of the Albright-Knox Art Gallery, Buffalo, USA HK$ 150,000 - 200,000 US$ 19,200 - 25,600

142 poly auction hong kong Modern and Contemporary Art 143 LUO ZHONGLI 羅中立 魂牽鄉土

一往情深的鄉土魂 從「人文」到「人道」—圍繞寫實主 「文革」期間，羅中立以知青身份被分配到 義的情感反思 荒涼貧瘠的四川大巴山，在這裡生活學習的 羅中立認為，農村是他事實上的故鄉，因而 七年間，與當地農民緊密頻繁的接觸使得他 他的創作雖然如同一面鏡子般細緻而客觀的 對獨特地域傳統文化的了解日漸深入，並對 反射了其所處時代社會中隱藏的痛苦與矛 農民產生了真摯而深厚的感情，由此，將大 盾，卻從未喪失飽滿的情感。1984年，羅中 巴山農民生活形態與人際互動呈獻給更多觀 立被公派至比利時安特衛普皇家美術學院學 眾的想法便深深的根植於藝術家的內心。進 習歐洲古典油畫，在創作技法更加成熟的同 入四川美院學習後的1980年，藝術家創作生 時，漸漸發展出獨具本土民俗特性的繪畫語 涯中里程碑式的寫實鉅作《父親》誕生。這 言。他此階段的創作，在母題上雖仍舊圍繞 件褪去政治圖解的枷鎖，使農民形象回歸純 大巴山農民，具體內容卻由特寫肖像逐漸轉 真樣貌的《父親》是中國藝術史上劃時代的 換至側重鄉村平凡的生活場景。藝術評論家 標桿，更是為藝術家日後創作的提供了風格 費新碑說：「他從一個具有理性認知、關心 與精神內核的雙重導向，此後的羅中立，無 社會問題的人文主義畫家，轉向一個富於感 論繪畫手法與表達形式的變化，以一種苦行 情，關注人生處境的人道主義畫家。」 尚．弗朗索瓦．米勒《拾穗者》1857年作 僧般的態度與堅持，將「大巴山」這個他發 法國 巴黎 奧賽美術館藏 《推磨的農婦》(Lot 154) 為羅中立1993年 Jean-François Millet, The Gleaners, 1857, 自內心熱愛的主題貫穿他的創作生涯。 Collection of Musee d'Orsay, Paris, France 所作，畫面以粗獷的筆觸與極具表現力色調

Modern and Contemporary Art 145 A Heart Set in the Countryside Visualising the Unadorned Life During the Cultural Revolution, Luo Zhongli was considered a "zhiqing", or an After the 1990s, Luo's brushstrokes gradually became bold and rough. The "educated youth," and was sent down to the barren Daba Mountains in Sichuan, pictures he portrayed transitioned from detailed depictions of country life to where he lived for seven years. During that time, he had frequent and close a more exaggerated, primitive expressionist style. Countrywoman portrays contact with local farmers. He gradually gained a profound understanding of the a theme different from that of the Father period, and the depiction of the traditional culture developed in the unique local landscape, and he developed characters in the foreground and the background environment are also proof sincere and deep feelings for the farmers. As a result, he longed to present the of the deviation of his style from photorealism to a more personal approach. farmers' lives and interactions in the Daba Mountains to more viewers. After he The artist abandoned meticulous depiction, and instead, used yellow, brown, studied at the Sichuan Fine Art Institute, in 1980, he composed his realist work and red to set up a emotional base tone. He used coarse strokes to outline Father, which set a milestone in his creative career. In this piece free of the yoke the foreground and the subjects. In the background, the sky, the meandering of politics, restoring the farmers' image to their pure form, Father is a ground- mountain paths, and the birds circling on the cottage fully expresses the breaking work in Chinese art history. Moreover, it also served as a multifaceted emotions of this setting. The artist tailored different approach in expressing model for the artist's later works, in terms of both style and spirit. From then different scenes. His bold expressionist techniques becomes apparent in Waiting on, Luo maintained the attitude and perseverance of a religious ascetic in his (Lot 153). A woman wearing a straw hat and a long scarf was standing in water, painting techniques and forms of expression. The theme of the Daba Mountains her right hand was lifting her headpiece. Her gaze seems to be directed across that he dearly loved was carried throughout his artistic career. the river, perhaps upon the beautiful field, or it could be her husband, who, like her, works hard every day. The artist boldly uses a thick-textured green as From humanism to humanitarian—an emotional the dominant colour, which presents a glimpse of this mundane scene to the introspection surrounding realism viewers in an extremely strong and visually impactful manner. The thick black Luo considered the countryside his real homeland. Although his creations are like lines depict the shape of the woman in the painting, and bright red and blue are mirrors that comprehensively and objectively reflect the pain and ambiguities used to seize the viewer's attention. In the background, although elements such hidden in the society of his time, his works have never lacked emotion. In 1984, as water buffalos and haystacks are executed with only a few brief strokes, they Luo was sent to The Royal Academy of Fine Arts, Antwerp, Belgium under fully express the essence of country culture. government-sponsored scholarship to study classical European oil painting. As his creative skills matured, he gradually developed a painting language that fuses Luo was the first artist to record the lifes of farmers in Chinese countryside, and Western technique with Chinese folk culture. Despite a consistent focus upon upheld this unaltered depiction throughout his career, and has influenced artists the farmers in the Daba Mountains, the actual depiction had gradually changed such as Zhang Xiaogang, Mao Xuhui in their early careers. Today, farmers are still from portraits to the ordinary scenes of daily life in the farming village. As the an indispensable backbone supporting the structure of Chinese social culture, art critic Fei Xinbei stated, "Luo transformed from a humanistic painter who had and the artist has assumed the role of communicator between the country rational understanding of and concerns about social problems, to a humanitarian and the city. Luo Zhongli brings the joys and sorrows of farmers in the Daba painter who was filled with emotions and cared about the predicaments in life." Mountains to the people in the city, those who have been caught up in the busy, fast-paced urban life and forgotten their true selves. His works provide people Countrywoman (Lot 154) was created in 1993, the picture used rough strokes sources to recall the sentiments of the simple folk, reminding viewers to return Lot 153 1. and expressive colour tones to vividly represent a working countrywoman. to their origins and become reacquainted with life. In front of a stone grinding wheel, a critical invention in China's thousand- year farming culture, she uses one hand to swipe in the grain that needs to be husked, and the other hand pushes the control bar to rotate the wheel forward. Even as she labours with this heavy device, she carries a school-aged child on 真實的再現了一個農村婦女勞作中的情景：在「石磨盤」這個中國 證。藝術家摒棄了細緻入微的描繪手段，以黃、棕、紅定義了畫面 her back. This kind of tough working conditions were common in the Chinese 千年農耕文明中沿用至今的重要發明前，她一隻手正在將需要脫殼 的情緒基調，加以粗獷的線條勾勒出前景描繪主體，而背景裏的天 remote farming countryside of the time, making the work a highly representative 的穀物掃進加工口，另一隻手推著控制桿向前轉動，而在她使用這 空，蜿蜒曲折的山野小徑，甚至茅草屋上方盤旋的飛鳥更是將此情 depiction of real-life matters. Within this scene, this young mother is labouring with firm and powerful steps. Both her and the child's eyes are gazing at the 厚重器物辛勤勞作的同時，還身背著一名學齡兒童，如此高密度的 此景下的情感烘托得淋漓盡致。藝術家對於不同情節場景都有獨 stone grinding wheel. In this mundane scene, the commoner's modest way of 體力工作，在彼時科技尚未發達的中國農村，是極其常見的景象。 到的處理，他大膽的表現主義手法在《等待》(Lot 153) 中更為直 life is thoroughly presented by Luo. His depiction is full of humanitarian concerns, 畫面中的年輕母親勞作的步伐堅韌而有力，雙眼和背後的孩子一同 觀，畫面中那位頭戴草帽與長巾的女子站在水中，右手輕輕扶起頭 and shines a spotlight upon their sincerity and honesty. These are authentic 專注於石磨盤之上；這個極其平凡場景中淋漓盡致展現自己質樸生 巾，讓自己的視線能夠更清晰的企及遠方，她的目光所至，似乎是 depictions of the working class in China, who remain strong and unyielding despite the tough environment. Behind this young mother, the artist uses daily 活方式的小人物，在羅中立充滿人文關懷的刻畫中，散發出最耀眼 河的對岸那片美麗的田野，又或許是與她相同，每日辛勤勞作的丈 life objects to construct a typical scene in the Chinese countryside. Vivid and 的樸實與真摯，是中國勞動人民在艱苦環境下仍保持堅強不屈韌性 夫。藝術家大膽的使用了帶有厚重質感的綠色為主調，將日常生活 realistic elements such as the farmland, scarecrows, and mud brick houses stand 的真實寫照。這位年輕母親的身後，藝術家用日常物件構築起了極 的一瞥以極強視覺衝擊力帶入觀者面前，黑色的粗線條勾勒出了畫 still in the steadily flowing stream of time. These mundane objects watch the simple characters from afar, those who stand firm and face the miscellaneous 典型的中國農村風貌，田地、稻草人，土坯房等元素他們真實而鮮 中女人的形體，並以鮮艷的紅色與藍色聚焦觀者的注意。背景中水 hassles of life. From Luo's paintings, the viewer can sense similar feelings that 活——在緩緩向前的時間的洪流中靜靜佇立，遙望著樸實的主人公 牛，草堆等鄉村元素的刻畫，雖只寥寥數筆，卻足以充分展現鄉村 French painter Jean-Francois Millet delivers in his works , as well as the direct 以堅定的姿態面對世間的紛雜。在羅中立的畫布上，我們彷彿能體 文化的精髓。 and unrefined emotional discourse of Belgian painter Bruegel Pieter. 會法國畫家米勒對日常生活的抒情讚頌，同時又富有比利時畫家布 魯蓋爾的那種率真與粗獷的情緒論調。 羅中立是第一位以「赤裸裸的真實」從一而終記錄中國鄉村的藝術 家，並以此影響了張曉剛、毛旭輝等藝術家的早期創作。時至今

樸實日常的視覺化表現 日，農民也仍舊是中國社會文化構成中不可或缺的中堅力量，藝術 1. 奧斯卡．柯克西卡《自畫像》1917 年作 德國 烏波塔爾 海德博物館藏 家以「鄉村與城市的溝通者」的角色將大巴山農民的喜怒哀樂、悲 Oskar Kokoschka, Self-portrait, 1917, Collection of Von der Heydt-Museum, 90年代後的羅中立，筆觸日漸大膽粗獷，他的畫面也因而開始從 Wuppertal, Germany 對鄉村生活的精細勾勒過渡到更加誇張的原始表現主義風格。《推 歡離合呈獻給都市中因忙碌節奏早已忽略掉生活最原始本質的你 2. 文森特．梵谷《壁爐旁煮飯的農婦》1885年作 美國 紐約 大都會藝術博物 磨的農婦》不僅在題材上有別於《父親》時期，前景人物與背景 我。他的作品在提供給人們緬懷與回味質樸民情與風土的同時，也 館藏 Vincent van Gogh, Peasant Woman Cooking by a Fireplace, Collection of the 環境的全新刻畫方式更是其跳脫照相寫實主義邁向風格化的最佳佐 在不斷提醒觀眾回歸初心，重新認識生活。 Metropolitan Museum of Art, New York, USA 2.

146 poly auction hong kong Modern and Contemporary Art 147 154

LUO ZHONGLI (CHINESE, B. 1948) Countrywoman 羅中立 推磨的農婦

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1993 1993 年作 oil on canvas 油彩 畫布 109 x 109 cm. (43 x 43 in.) 款識：luozhongli羅中立（右下）；《推磨的農婦》110 x 110（畫背） signed 'luozhongli'; signed in Chinese (lower right); signed in Chinese; inscribed '110 x 110' (on the reverse) 來源 中國嘉德 北京 2006年11月22日 編號64 Provenance 現藏者購自上述拍賣 China Guardian Beijing, 22 November 2006, Lot 64 Acquired from the above sale by the present owner 展覽 1993年「巴黎春季沙龍—中國現代藝術展」巴黎 法國 Exhibited 1993年「羅中立個展」南斯拉夫歷史博物館 貝爾格勒 塞爾維亞 France, Paris, Salon de Printemps, 1993. 1993年「羅中立個展」新光美術館 台北 台灣 Serbia, Belgrade, Museum of Yugoslavia, Luo Zhongli Solo Exhibition, 1993. 1994年「羅中立個展」中國美術館 北京 中國 Taiwan, Taipei, Shin Kong Gallery, Luo Zhongli Solo Exhibition, 1993. 1995年9月9日-10月8日「羅中立個展」皇家藝術與歷史博物館 布魯塞爾 China, Beijing, National Art Museum of China, Luo Zhongli Solo Exhibition, 1994. 比利時 Belgium, Brussels, Royal Museums of Art and History, Luo Zhongli Solo Exhibition, 9 September-8 October 1995. 出版 《羅中立》皇家藝術與歷史博物館 布魯塞爾 比利時 1996年（圖版， Literature 第57頁） Luo Zhongli, Royal Museums of Art and History, Brussels, Belgium, 1996 《當代名家油畫雕塑精選》浙江人民美術出版社 杭州 中國（圖版， (illustrated, p. 57). 第43頁） The Selection of Contemporary Artists' Oil Painting & Sculpture, Zhejiang Fine Arts Publishing House, Hangzhou, China (illustrated, p. 43).

HK$ 3,000,000 - 5,000,000 US$ 384,600 - 641,000

148 poly auction hong kong Modern and Contemporary Art 149 155

LENG JUN (CHINESE, B. 1963) Megranate 冷軍 石榴

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 2003 2003 年作 oil on canvas 油彩 畫布 35 x 30 cm. (13 3/4 x 11 3/4 in.) 款識：冷軍03.9（右下） signed in Chinese; dated '03.9' (lower right) 來源 Provenance 泓盛 上海 2006年12月20日 編號 97 Hosane Shanghai, 20 December 2006, Lot 97 現藏者購自上述拍賣 Acquired from the above sale by the present owner

HK$ 700,000 - 1,000,000 US$ 89,700 - 128,200

150 poly auction hong kong Modern and Contemporary Art 151 LENG JUN HSIA YAN 冷 軍 石榴 夏 陽 都市之鳥

Lot 156

「我們在藝術上，必須要先看整個的情況，才能捉住那個時代的實 "In art creation, the whole picture must be grasped before we can capture the reality of a particular era. And art creation is about the constant pursuit of that 在，而藝術正是不斷地在追求這個實在。」 Leng Jun is one of the most outstanding contemporary artists of hyperrealism. reality." Through extremely fine and meticulous oil painting techniques, he depicts various details that even a camera cannot fully capture. Viewers seem to be ─夏陽 - Hsia Yan able to experience the sensations and feelings of the artist directly through the Hsia Yan studied art with Lee Chun-Shan and is one of the leading figures in the painting, and form varying perceptions with each and every encounter. 夏陽是東方畫會的領軍人物之一，跟隨李仲生習畫，提倡現代繪畫 Eastern Art Group (Tung Fang Hua Hui). His work reflects modern techniques 並身體力行之典範。「人」一直是夏陽藝術脈絡的主角，巴黎時期 and is an advocate of the modern painting style. 'People' has always been the Megranate (Lot 155) is a classic still life painting by Leng Jun, the two Megranate 的「毛毛人」轉換成旅居紐約發展出的「飄飄人」系列，作品映現 major subject of Hsia Yang's artistic creations. The Fuzzy Figures created when lying in the corner of a rusted metal box is painted with precise detail in the he was in Paris has been transformed into a series of Floating Figures developed foreground, and accentuated by the monochrome black background in a 出藝術家在不同階段漂泊不定的宿命。1970年代初期受到紐約照相 in New York. The works reflect the inescapable destiny of the artist drifting back Lot 155 harmonious manner. Intricate brushstrokes bring to life the patterns on skin of 寫實的影響，大部分藝術家畫出紐約繁華的街景，夏陽則以觀察者 and forth, from place to place at different stages. In the early 1970s, influenced the two orange pomegranates, and the materiality of the rusted metal box. The by the Photorealism movement prevalent in New York, most artists painted 視角，如同按下相機的慢速快門，記錄下人群的動態樣貌。將「毛 two textures, although contrasting, are portrayed realistically in coexistence. the bustling and prosperous streetscape. However, Hsia Yan chose to record 冷軍是當代最為傑出的超寫實主義藝術家之一，透過極其細膩的油 The composition of the work differentiates from traditional paintings of still 毛人」的概念連接照相寫實主義進行變化，醞釀出他獨樹一幟的巔 the dynamics of the crowd from an observer's perspective, and created works 畫技巧，刻畫出相機也無法完整紀錄的種種細節，觀者彷彿能透過 life, and Leng's creativity can be seen from his choice of subject matter. As he 峰之作，「飄飄人」系列就此誕生。 that mimicked a photograph taken with slow shutter speed. His integration of the 'Fuzzy Figures' concept with the photorealistic techniques, gave birth to his 畫面，直接感受到冷軍所觀與所感，對於每一次的觀看產生不同的 states, "I dislike positioning objects in the ordinary manner". The rusty metal unique creation of the Floating Figures series. 感受。 box symbolises industrialisation, and the pomegranate was a suggestion of 《都市之鳥，之八》(Lot 156) 屬夏陽旅居紐約時期發展之系列。夏 life. With such combination, the artist is telling the audience that even though 陽堅信：「我們要發展中國自己的繪畫系統，尤其要使民族的況味 City Bird #8 (Lot 156) is a piece created by Hsia Yan when he was in New York. Hsia culture and technology may continue to develop, but people will inevitably face 《石榴》(Lot 155) 呈現冷軍典型的靜物構圖，在生鏽的鐵盒角落 Yan firmly believes: "We want to establish China's own painting system, especially limitations as a result of exhaustion of resources. The pomegranates in the box 寄寓其中」。在他細膩描繪的環境背景下，運用中國藝術特有的線 for it to be representative and embedded within the spirit of the nation". With 裡放著兩顆石榴，藝術家在精細刻畫的前景後，僅以黑色作為背景 remain vibrant and lively, suggesting that life will always persist to produce the 條營造動勢，勾勒正在行動的鴿子樣貌。夏陽試圖在平面空間帶入 the backdrop of his delicately depicted scenery, the adoption of the characteristic strokes of Chinese art creates a sense of momentum and movement upon the 和諧地襯托出畫面重點。細膩的筆觸栩栩如生的呈現兩顆橘色石榴 fruit of our efforts. This depiction reveals Leng's attention and interest in the 流動性，甚而成功捕捉時間流逝的美感，鴿子飄倏地穿過寫實的紐 pigeons. Hsia tried to bring liquidity into surfaces, and even succeeded in capturing 的紋路色澤以及鏽蝕鐵盒的細節，忠實地突顯相異材質的衝突與並 contemporary conditions of our society, and an understanding of reality that has been projected on canvas. 約街景，動靜之間，就此形成畫面張力。冷酷的畫面色調，如同在 the beauty of the passage of time. The pigeons fluttered through the realistically 存。作品畫面與布局有別於傳統寫實作品的元素，冷軍從選定主題 高度發展的社會，必然存在的共同感；鴿子猶如藝術家本人，身處 depicted New York street scene. The sharp contrast between the static background and the movements of the pigeon create tension in the picture. The cold tone 起始即是創作發想，如其所說的 「我不喜歡按照一般的靜物那樣 Leng Jun adopts a hyper-realistic style in composing Megranate to encourage 在一個陌生的都市裡，不安和焦躁真實反映在畫面中，這也真切顯 thought upon the properties of object, and a reflection of post-industralised of the picture indicating the highly developed society is deemed to stimulate 擺」可見一斑。鏽蝕鐵盒象徵工業化的發展，石榴作為果實表達了 resonance in the viewers. The pigeons are like the artist himself, wandering in society. Within the composition, Leng not only portrays the appearance of 示藝術家生活遇到的磨練，造就了他的藝術成就。 生命的概念，這樣的對比或許暗示著人類文明與科技雖持續進步， a strange city. A sense of restlessness and anxiety are reflected in the painting, objects, but also consist of a deep understanding of the visual phenomena. The indicating the challenges and torment the artist faced in real life, which became an 夏陽不斷創新與自我突破，保留中國藝術的內涵，廣納西方各種藝 但終將有所耗損與發展極限，盒中的石榴卻依然豐潤鮮活，仿若意 viewer may unleash their imagination far beyond the limitations of realism. inspiration for his artistic creations and spurred his achievement. 指生命的不屈不撓而終究碩果累累，這是他對現代人生存狀態的關 術表現手法，乃至超越個人及族群。獨創的慢速快門手法，在《都 Hsia Yan continues to exceed his own achievements through innovation. 市之鳥，之八》的每一細節都達到精細入微，抱持著創作的初衷： 注，也是藝術家對真實的理解和表現，並透過畫布實踐。 He retains the connotation of Chinese art while absorbing various Western 「繪畫及即人生，人生即繪畫的最單純願望」，一生體悟化為筆下 artistic expressions and techniques. His artistic style surpasses the concept of 冷軍以超寫實的手法建構《石榴》的畫面，藉此引導出對物體性質 的真情，蔓延於每件作品間。 individuals, and even of a certain ethnic group. The unique and original slow- 對比的思辨，並表達對後工業時代的一種反思。在纖毫畢現的構圖 shutter method expressed every detail of City Bird #8 with subtlety and intricacy. He adheres to the original intention of the creation: "Painting is about life and 中，不僅是客觀呈現事物的外在樣貌，更蘊含冷軍對於物象的深刻 雅各．梵瓦斯卡培《靜物及水果》1675年作 美國 華盛頓 國家美術館藏 life is about painting". With this simple desire in his heart, he infused his lifetime Jacob van Walscapelle, Still Life with Fruit, 1675, Collection of the National 格哈德．里希特《米蘭大教堂廣場》1968年作 理解，令觀者展開無限的想像，而遠遠超越了寫實的極限。 Gallery of Art, Washington D.C., USA Gerhard Richter, Cathedral Square, Milan, 1968 experiences into the brush in hand, and expressed his true enthusiasm and humor in every one of his artworks.

152 poly auction hong kong Modern and Contemporary Art 153 156

HSIA YAN (CHINESE, XIA YANG, B. 1932) City Birds #8 夏陽 都市之鳥，之八

Painted in 1989 1989 年作 oil on canvas 油彩 畫布 102 x 142.5 cm. (40 1/4 x 56 in.) 款識：YAN HSIA 89（右下）；Yan Hsia "City Birds #8" 1989 oil on canvas signed and dated 'YAN HSIA 89' (lower right); signed, titled, dated and inscribed 40" x 56"（畫背） 'Yan Hsia "City Birds #8" 1989 oil on canvas 40" x 56"' (on the reverse) 來源 Provenance 何明福舊藏 Former Collection of Ming-Fu Ho 亞洲 私人收藏 Private Collection, Asia 出版 Literature 《夏陽：1954-1994：創作四十年回顧展》台北市立美術館 台北 台灣 1994 Hsia Yan: Retrospective of Hsia Yan from 1954 to 1994, Taipei Fine Arts Museum, 年（圖版，第75頁） Taipei, Taiwan, 1994 (illustrated, p. 75). 《夏陽》聯合文學出版社 台北 台灣 2002年（圖版，無頁碼） Hsia Yan, Unitas Publishing Co Ltd., Taipei, Taiwan, 2002 (illustrated, unpaginated).

HK$ 550,000 - 850,000 US$ 70,500 - 109,000

154 poly auction hong kong Modern and Contemporary Art 155 157

YEH TZUCHI (CHINESE, YE ZIQI, B. 1957) Fukuyama Tribe - Northern Taiwan 葉子奇 福山部落．北台灣

Painted in 2018-2019 2018-2019 年作 oil over tempera on linen 油彩 蛋彩 亞麻布 71.3 x 107 cm. (28 x 42 1/4 in.) 款識：子奇 2018-'19（右下） signed in Chinese; dated '2018-'19' (lower right)

HK$ 450,000 - 650,000 US$ 57,700 - 83,300

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LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) A Village Entrance Peaceful Summer 羅爾純 村口 羅爾純 夏日的寧靜

Painted in 1990 1990 年作 oil on canvas 油彩 畫布 Painted in 1991 1991 年作 61 x 73 cm. (24 x 28 3/4 in.) 款識：爾純 90（右下）；村口 羅爾純畫展（畫背） oil on canvas 油彩 畫布 signed in Chinese; dated '90' (lower right); titled and inscribed in Chinese (on the 38 x 54 cm. (15 x 21 1/4 in.) 款識：爾純LUO LUO ER CHUN（左下） reverse) 來源 signed in Chinese; signed 'LUO LUO ER CHUN' (lower left) 亞洲 私人收藏 來源 Provenance Provenance 亞洲 私人收藏 Private Collection, Asia Private Collection, Asia

HK$ 200,000 - 300,000 HK$ 100,000 - 200,000 US$ 25,600 - 38,500 US$ 12,800 - 25,600

158 poly auction hong kong Modern and Contemporary Art 159 160 161 LUO ERCHUN LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) 羅爾純 至純盡美 Households with Bridge and Boat The Starting Point of Dunhuang 羅爾純 小船拱橋人家 羅爾純 敦煌的起點 「羅爾純的作品都從不被動地描摹對象，他總 是訴諸於主觀性的表達，以色彩之『眼』捕 捉生命之『魂』，在大刀闊斧中畫出『我』 對形象的感受。在這個意義上，他的藝術接 近於表現主義，充滿了創造的激情，充滿了 繪畫性的美感。使我們面對他的作品時，能 夠充分領略筆觸、色彩、線條這些繪畫因素 以及飽滿的形象所給予我們的喜悅。」

1984年羅爾純與詹建俊在畫室合影，背景為《望》(Lot 162) Luo Erchun and Zhan Jianjun in their studio in 1984 with Visiting —賈方舟 (Lot 162) as background

羅爾純的繪畫具有濃厚的自我情感抒發，以真實的生活體驗為題， 非常讚賞，他認為您的作品自成一體，有獨特的風格，在美國一定 注入主觀的情緒，他汲取西方現代藝術中色彩精髓，著重展現光色 會很受歡迎…」並且希望爾後羅爾純能夠定期於美國舉辦個展，加 表現，運用強烈色彩與自由的筆觸，對物象的色彩與型態進行誇飾 強兩國之間文化交流。《望》早在當時獲得了國際畫廊的關注，認 與變異，體現生命激情，於中國藝術史上熔煉出獨特且濃烈的個人 為足以作為中國當代藝術的代表，源於作品有別於羅爾純過去專注 風采，如同蘇立文在《二十世紀的中國畫和藝術家》中評論：「羅 單一人物神情捕捉，而是著重於以中國傳統農村生活為題，描寫人 爾純教授的油畫一掃中國油畫畫壇幾十年的沉悶空氣，以他明亮的 際關係的生存狀態，罕見的群體人物構圖，展現當時農村真實生活 色彩很自然的『變形手法』創造出『極鮮明的個人風格』。」羅爾 與人與人之間互動的情感，作品充分體現農村時代，富有強烈中國 純以嶄新的藝術觀點，親身實踐，打破封閉式的傳統規則，反叛傳 濃厚民族精神和文化特色。 統的表現主義風格，成功開創出自由且獨特的創作語彙。 《望》以不同色調的紅色塊交織突顯遠近的次序關係，運用色彩的 故鄉湖南的紅土丘陵提供羅爾純豐沛的創作靈感，他強調審美主體 結構來替代明暗變化，表現空間的延伸性。他自己曾說：「我喜歡 的情感與直覺領悟，以鮮明的色彩及敏銳且大膽的用色表現能力， 從它們的縱向造型和紅土丘陵的橫向起伏線條中去找尋形式和情 成為八十年代鄉土畫派的重要代表。賈方舟說；「能夠標示這一風 感的交匯點。」畫面中山巒橫向的起伏走勢，呼應著直式構圖的鋪 格的最早作品是以他的家鄉（湖南湘鄉）為主題的紅土，兒時常常 成，從前景佇立的群聚居民們，至中景簡約的屋舍，最遠處呼應著 玩耍的紅土地既是揮之不去的視覺記憶，也為他個人化的色彩傾向 遼闊的天際，垂直的結構與橫向的山巒線交匯，展現趣味和生機， Painted in 1992 Painted in 1992 oil on canvas oil on canvas 找到了源頭。」《望》(Lot 162)、《夏日的寧靜》(Lot 159)、《小船 使畫面富有節奏感，在形式元素的變化中跌宕有致。 50 x 60.5 cm. (19 3/4 x 23 3/4 in.) 50 x 60.5 cm. (19 3/4 x 23 3/4 in.) 拱橋人家》(Lot 160) 隨心所欲賦予風景主觀的用色，體現藝術家從 signed 'Luo-'; signed in Chinese (lower left) signed 'Luo-'; signed in Chinese (lower left) 記憶中提煉的情境，羅爾純以極大自由度的色彩調配，一以貫之延 陶咏白曾於《生命激情的變奏—羅爾純與其藝術》中提及：「畫中的 屋，也是七歪八斜，在稚拙的趣味中滲透著生活的質樸與淳厚。」羅 Provenance Provenance 續對鄉土主題的關注，畫面充滿鄉土氣息包含深刻的人文關懷，紀 Private Collection, Asia Private Collection, Asia 錄從中國農業社會過渡至工業文明的歷史關鍵時刻，為初始萌芽的 爾純不單在用色有獨到見解，對物體的線條造型也有獨特的處理，一 鄉土藝術思潮，在色彩掌握的運用上推進至一個嶄新的維度。 方面承襲印象派藝術家，因為光線的介入，使空氣顫動與色彩閃爍， 1992 年作 1992 年作 造成物象動態的視覺效果，因此發展出顫動線條，而另一方面由於早 油彩 畫布 油彩 畫布 罕見的早期鉅作《望》創作於1984年，同年即入選「第六屆全國美 年學習傳統書畫的經驗，使他畫面充盈寫意的成分，在以神寫形的發 款識：Luo-爾純（左下） 款識：Luo-爾純（左下） 展」，作品受到觀眾熱烈迴響，羅爾純於1998年自述《我的50年繪 展下逐漸刻意放大物體的本質特性，進而演化成的「變形手法」。 來源 來源 畫生活》提到此作，被《美術》和天津《畫廊》予以發表介紹，收 《村口》(Lot 158) 與《敦煌的起點》(Lot 161) 刻意扭曲的屋舍與樹木 亞洲 私人收藏 亞洲 私人收藏 錄《中國油畫》畫冊中，而美國知名赫夫納畫廊經營者也因此作認 線條，超越傳統美學中對「寧方勿圓」對於直線塑形的要求，直達心 識羅爾純，1987年不單邀請《望》與《鳳凰古城》於美國紐約「中 靈的語言狀態，生動傳遞具有生命感的瞬間。 HK$ 120,000 - 200,000 HK$ 120,000 - 200,000 國當代油畫展」展出，甚至通過秘書來信「赫夫納先生對您的作品 US$ 15,400 - 25,600 US$ 15,400 - 25,600

160 poly auction hong kong Modern and Contemporary Art 161 LUO ERCHUN 羅爾純 RAVISHING PURITY

"The works by Luo Erchun never passively portray a subject. Instead, he always resorts to subjective expressions that capture the 'soul' of life through the 'eye' of colour. Boldly, he paints his feelings towards the image of 'self'. In this sense, his art lies close to expressionism, filled with creative passion and the beauty of painting. When viewing his works, we can fully appreciate the joy that 1. 2. he gains through the elements that construct a picture, such as brushwork, colours, and regularly hold solo exhibitions in the United States the horizon of the vast sky. The vertical structure to help in facilitating the culture exchange between and horizontal mountain ranges intersect, lines, as well as the painting as a whole." the two countries. At the time, Visiting received presenting a sense of energy and vitality that growing attention from international galleries, and provides a rhythm pulse to the picture along with Lot 162 was regarded as the characteristic representation changes in its formal elements. - Jia Fangzhou of Chinese contemporary art. This stemmed from the fact that Luo Erchun no longer focused on Tao Yongbai once mentioned in The Variation of Life capturing a single expression as he did in the past, Passion-Luo Erchun and His Art: "The houses in the but instead, focused on depicting traditional life in painting are twisted and messy. Amidst a juvenile the countryside of China, as well as interpersonal sense of fun, there also permeates the simplicity With the expression of personal emotions, the paintings by Luo Erchun reflect colours." For Visiting (Lot 162), Peaceful Summer (Lot 159), and Households with relationships and rarely seen social group and honesty of life." Luo Erchun not only provides his real life experiences. Injected with subjective emotions, he draws upon Bridge and Boat (Lot 160), the artist painted freehand with a subjective choice compositions. These presented the sentiments of life unique insights into the use of colour, but also the essence of the use of colours in Western modern art, while emphasising of colours, signaling a recollection from the his memory. With a great level of and the interaction between people in rural areas at executes a special treatment of the lines and shapes the expression of light using strong contrast and free-hand brushstrokes. liberty in matching colours, Luo Erchun continues to focus on native themes. the time. As a wholesome reflection of the rural era, of the object. On one hand, he is an artist who has Exaggerating and manipulating the colour and shape of objects, he was Filled with the humanistic local culture, his images record the key moment the work embodies the national spirit and cultural learned from Impressionism-creating a dynamic expressing his passion for life, while forging a unique and strong personal style during which Chinese agricultural society transitioned to an overly industrialized characteristics of China. visual effect that display the vibrating air and the amidst the history of Chinese art. As Michael Sullivan noted in Art and Artists civilisation. Serving as the roots for native art, the trend has advanced to a new flickering colour caused by light, on the other hand, of Twentieth-Century China: "Professor Luo Erchun's works have swept away dimension through his masterful use of colour. Visiting utilises a mixture of different shades of his techniques learnt through the study of traditional the relatively doom air of Chinese oil paintings over the last few decades, and red colour blocks to highlight the sense of order Chinese painting and calligraphy has filled his canvas created a 'very distinctive personal style' through his 'deformation technique'". The rarely-seen early masterpiece Visiting was created in 1984. And at the year between near and far, while replacing changes with Chinese concept of Xieyi (expression of the With a novel artistic perspective and personal stylistic execution, he breaks apart it was finished, the painting has been nominated for "The 6th China National in light and dark with compositions of colour to spirit), he had deliberately magnifies the essential traditional rules, rebelling against the style of traditional Expressionism and Exhibition of Fine Arts", where it received lots of praise from the academic convey an extension of space. Luo once said, "I characteristics of the object under the development successfully creating a free yet unique creative vocabulary. and the general public. Luo Erchun mentioned this work in his autobiography, enjoy seeking the intersection and interrelation of a "divine format", evolving into the "deformation My Life of Painting over the 50 Years, in 1998, It was also introduced by Art between form and emotion among the vertical technique". A Village Entrance (Lot 158) and The The red-clay hills in Hunan Province is a source of creative inspiration for and Gallery (Tianjin), as well as included in the Chinese Oil Painting catalogue. 1. 文森．梵古《深谷》1889年作 美國 波士頓 and horizontal shapes together with the Starting Point of Dunhuang (Lot 161) deliberately Luo Erchun. Using vivid colours through a sharp and bold brushstroke, he The renowned Hefner gallery in America also came across the works of Luo 波士頓美術館藏 Vincent van Gogh, Ravine, 1889, Collection of undulating lines of the red clay hills." The rising twists the houses and trees, transcending the emphasised the emotional and intuitive comprehension of aesthetic subjects, Erchun by this painting. In 1987, Luo was not only invited to exhibit Visiting Museum of Fine Arts Boston, Boston, USA and falling horizontal lines of the mountains in requirements of using straight lines in the traditional and became an important figure of the native painting movement in the 1980s. and Fenghuang County at the "Contemporary Chinese Oil Paintings" exhibition his picture reflect the layout of such composition. aesthetics of "Ning Fang Wu Yuan (using a straight Jia Fangzhou said, "The Red Clay of his hometown (Xiangxiang, Hunan) play as in New York, but also received a letter from the secretary stating that, "Mr. 2. 埃貢．席勒《田野風景（克羅伊茨貝格近克 魯姆洛夫）》1910年作 阿爾貝蒂娜博物館 維 From the group of residents standing in the line to shape forms and draw edges and corners)", an important element that inspire Luo's early creations,. The Red-Clay ground Hefner is very appreciative of your work. He believes that your work is self- 也納 奧地利 foreground to the minimalistic houses in the achieving a spiritual vocabulary, and vibrantly where he often played within since his childhood serves as both a lingering visual contained and features a unique, recognisable style. It will definitely become Egon Schiele, Field landscape (Kreuzberg near Krumau), 1910, Collection of The Albertina middle of the scene, the furthest distance reflects conveying a fleeting moment of liveliness. memory for him, as well as the reason behind his inclination towards particular popular in the United States..." Furthermore, he hoped that Luo Erchun could Museum, Vienna, Austria

162 poly auction hong kong Modern and Contemporary Art 163 162

LUO ERCHUN (CHINESE, LO ERCHUN, 1930-2015) Visiting 羅爾純 望

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1984 1984 年作 oil on canvas 油彩 畫布 191 x 180 cm. (75 1/4 x 70 3/4 in.) 款識：北京 羅爾純《望》中央美院 5/8 羅爾純（畫背內框） inscribed, signed and titled in Chinese; inscribed '5/8' (on the stretcher) 來源 Provenance 美國 紐約 赫夫納畫廊 Hefner Galleries, New York, USA 蘇富比 紐約 2007 年 9 月 20 日 編號 94 Sotheby's New York, 20 September 2007, Lot 94 現藏者購自上述拍賣 Acquired from the above sale by the present owner 展覽 Exhibited 1984年「第六屆全國美展」 中國 China, China's 6th Fine Arts Exhibition, 1984. 1987年4月1-23日「中國當代油畫展」哈克尼斯藝術大廈 紐約 美國 USA, New York, The Harkness House, Contemporary Oil Paintings from the People's Republic of China, 1-23 April, 1987. 出版 《美術》第202期 人民美術出版社 北京 中國 1984年（圖版，第37頁） Literature 《中國第三代油畫家研究．羅爾純》廣西美術出版社 南寧 中國 2001年 Art, Issue 202, People's Fine Arts Publishing House, Beijing, China, 1984 （圖版，第 26 頁） (illustrated, p. 37). A Study of Third-Generation Chinese Oil Painters, Luo Erchun, Guangxi Arts Publishing House Co. Ltd., Nanning, China, 2001 (illustrated, p. 26).

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

164 poly auction hong kong Modern and Contemporary Art 165 163 164

YAN PING (CHINESE, B. 1956) SANYU (CHINESE, CHANG YU, 1895-1966) We Dance Again No. 1 Kiki on the Chair 閆平 我們再舞之一 常玉 坐在椅子上的琪琪

Painted in 1994 1994 年作 oil on canvas 油彩 畫布 140 x 120.5 cm. (55 x 47 1/2 in.) 款識：YP. 1994（左下） ink on paper 水墨 紙本 signed and dated 'YP. 1994' (lower left) 36.3 x 26 cm. (14 1/4 x 10 1/4 in.) 來源 來源 Provenance 亞洲 私人收藏 Provenance 美國 私人收藏 Private Collection, Asia Private Collection, USA 出版 附衣淑凡開立之原作保證書 Literature 《閆平》人民美術出版社 北京 中國 2006年（圖版，第14-15頁） This work is to be sold with a certificate of authenticity issued by Rita Wong. Yan Ping, People's Fine Arts Publishing House, Beijing, China, 2006 (illustrated, 《中國油畫名家．閆平》湖北美術出版社 武漢 中國 2007年（圖版，第9頁） 此作將收錄於由衣淑凡正籌備編纂的《常玉素描與水彩作品編年集》 pp. 14-15). This work will be included in the artist's forthcoming catalogue raisonné of Chinese Oil Painting Master．Yan Ping, Hubei Fine Arts Publishing House, Wuhan, Sanyu's drawings and watercolours prepared by Rita Wong. China, 2007 (illustrated, p. 9).

HK$ 180,000 - 260,000 HK$ 280,000 - 380,000 US$ 23,100 - 33,300 US$ 35,900 - 48,700

166 poly auction hong kong Modern and Contemporary Art 167 165 166

SANYU (CHINESE, CHANG YU, 1895-1966) SANYU (CHINESE, CHANG YU, 1895-1966) Sitting Woman Nude 常玉 坐姿女子 常玉 裸女

ink on paper 水墨 紙本 ink on paper 水墨 紙本 27 x 20.5 cm. (10 1/2 x 7 3/4 in.) 42.5 x 25.5 cm. (16 1/2 x 9 3/4 in.) 來源 來源 Provenance 尚．克勞德．希耶戴舊藏 Provenance 尚．克勞德．希耶戴舊藏 Former Collection of Jean-Claude Riedel 美國 私人收藏 Former Collection of Jean-Claude Riedel 美國 私人收藏 Private Collection, USA Private Collection, USA 附衣淑凡開立之原作保證書 出版 This work is to be sold with a certificate of authenticity issued by Rita Wong. Literature 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年（隨身 此作將收錄於由衣淑凡正籌備編纂的《常玉素描與水彩作品編年集》 Sanyu Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and 碟方式附錄，圖版，第 D0344 圖） This work will be included in the artist's forthcoming catalogue raisonné of Educational Foundation, Taipei, Taiwan, 2014 (USB flash drive, illustrated, plate Sanyu's drawings and watercolours prepared by Rita Wong. D0344).

HK$ 150,000 - 250,000 HK$ 150,000 - 250,000 US$ 19,200 - 32,100 US$ 19,200 - 32,100

168 poly auction hong kong Modern and Contemporary Art 169 167

SANYU (CHINESE, CHANG YU, 1895-1966) Fish Urn with Flowers 常玉 魚紋罐花

Painted in the 1920-1930s 1920-1930 年代作 ink and watercolour on paper 水墨 水彩 紙本 27.5 x 22.5 cm. (10 3/4 x 8 3/4 in.) 款識：玉 SANYU（右下） signed in Chinese; signed 'SANYU' (lower right) 來源 Provenance 蘇富比 台北 1997年4月13日 編號15 Sotheby's Taipei, 13 April 1997, Lot 15 現藏者購自上述拍賣 Acquired from the above sale by the present owner 出版 Literature 《常玉素描與水彩全集》財團法人立青文教基金會 台北 台灣 2014年 Sanyu: Catalogue Raisonné: Drawings and Watercolors, The Li Ching Cultural and （圖版，第W179 圖，第257頁） Educational Foundation, Taipei, Taiwan, 2014 (illustrated, plate W179, p. 257).

HK$ 600,000 - 800,000 In the early twentieth century, the cafes of Montparnasse and the Académie US$ 76,900 - 102,600 de la Grande Chaumière in Paris were clustered with artists. Sanyu was a frequent visitor to these two places in the early 1920s and devoted himself to the exuberant artistic atmosphere. In his essay titled "Atelier de la Grande Chaumière," Pang Xunqin recalled his experience by then: "the two years at Montparnasse were remarkable since I've learned things that were not taught at school…Recovered from the illness, I often went there together with Sanyu. He sketched with a Chinese ink brush. Popular among the local, he was always surrounded by crowds watching his creation when he came in. He depicted the 二十世紀初期巴黎的蒙帕納斯咖啡店和大茅屋學院為藝術家薈萃之 model when the posture of the model was right. He preferred to take people 地，常玉1920年代初期即投身於此，感染旺盛的創作氣息。 薰 around him as the subject and whole body female figure was his strong suit, 龎 琹 which took no more than ten minutes for him to finish. The most interesting 在〈格朗特歇米歐爾 [大茅屋學院音譯]〉一文曾回憶當時的經歷： thing was that he painted the people around him, whether male or female, 「在蒙巴爾拿斯的兩年活動，所學到的東西，是在任何學校中學不 young or middle-aged, into naked women, which was protested by none and 到的。……病後我往往和常玉同來，他是用毛筆畫速寫，很多人認 greatly appreciated on the contrary." The simplicity in Sanyu's depictions on outline and form was delicately expressed in works like Kiki on the Chair (Lot 識他，他一來很多人圍著他，坐在他周圍，模特兒的動作好，他畫 164), Sitting Woman (Lot 165) and Nude (Lot 166). In these works, the function 模特兒。他往往畫他周圍的人，他專畫全身女像，最多也只用十分 of line was brought to the utmost while all expressions directly appeal to the 鐘左右。最有趣的是他把周圍的人，不管是男的女的，年輕的或中 fluidity of Chinese calligraphy, returning to the most basic language of lines in 年人都畫成是女的裸體，沒有人提抗議，相反受到極大歡迎。」 Chinese traditions. 《坐在椅子上的琪琪》(Lot 164) 、《坐姿女子》(Lot 165) 和《裸 According to the latest literatures, there are fewer than 20 pieces of watercolour 女》(Lot 166) 可見常玉對於輪廓形體的簡約，將線條的功能發揮到 works on "still life" by Sanyu. Fish Urn with Flowers (Lot 167) is not only rare and 極致，一切表達直接訴諸於書法的流暢性，回歸了中國傳統最為基 valuable in terms of the theme, but also in its depicted subject since Chinese porcelain seldom appeared in Sanyu's repertoire, thus making the fish algae 礎的線條語言。 urn extremely precious. The yellow chrysanthemum in the picture has been simplified to present a flattened quality. Sanyu outlines the contour and fills 據目前現有的出版文獻顯示，常玉的靜物水彩作品僅有不到二十 the colours in between, giving the painting a taste of classic and simplicity. At 件，《魚紋罐花》(Lot 167) 不僅在主題上極為珍貴罕見，畫面中 the same time, as the most frequently seen subject in the creation of Sanyu's 的魚藻罐更是極為難得在其作品中出現的中國瓷器。畫面中的黃色 oil paintings, the yellow chrysanthemum has profound and representative meanings in traditional literati works and is presented in harmony with the 菊花經過簡化呈現了平面化的特徵，常玉以白描線條勾勒與填彩， pattern of the fish algae on the urn. However, unlike the solitary and arrogance 充滿了古典質樸的意趣，同時作為常玉油畫創作中最常出現的題 of chrysanthemum, the word "fish algae" originated from Psalms Minor: Fish 材，在傳統中具有深刻的文人象徵與代表意義，與罐中的魚藻紋樣 Algae in the Book of Songs, the poem reads: "The fishes are there, there among 相映成趣。然而不同於菊花的孤高，「魚藻」一詞起源於《詩經》 the pondweed, showing their large heads. The king is here, here in Hao, at ease and happy, while he drinks." Since Song dynasty, it has been used as a symbol 中的《小雅．魚藻》：「魚在在藻，有頒其首。王在在鎬，豈樂飲 with auspicious meaning, and later derived connotations such as "Peach blossom 酒。」，自宋代開始作為具有吉祥寓意的紋樣，而後衍生出「桃花 drifting with flowing water that hidden fat mandarin fishes" and "a fish leaping 流水鱖魚肥」、「鯉魚躍龍門」等意涵。《魚紋罐花》因此在簡單 over the dragon gate". Therefore, in the simple still life structure presented in the Fish Urn with Flowers, not only can we see the generalization of the object 的靜物組構中，不僅可見常玉早期創作中對於物象的歸納，其中對 in Sanyu's early creation, but also the embodiment of natural metaphor and the 於自然的隱喻和人文傳統意象的挪用，更成為貫穿他往後創作的中 employment of traditional humanistic image, which has become the centripetal 心思想。 idea throughout his later creation.

170 poly auction hong kong Modern and Contemporary Art 171 168

LÉONARD TSUGUHARU FOUJITA (JAPANESE-FRENCH, 1886-1968) Portrait of Keiko Kishi 藤田嗣治 岸惠子肖像畫

Painted circa 1960 pen on paper 24 x 18 cm. (9 1/2 x 7 in.) signed and inscribed 'Foujita Pour Dominique Cannes' (lower right); inscribed, signed and dated 'KeiKo Kishi epouse du Metteur en scence Yves CiAMPi Foujita Festival du Cannes 1960' (on the reverse)

Provenance Former Collection of The Family of Dominique Vernay Private Collection, France

約 1960 年作 鋼筆 紙本 款識：Foujita Pour Dominique Cannes（右下）；KeiKo Kishi epouse du Metteur en scence Yves CiAMPi Foujita Festival du Cannes 1960（畫背）

來源 多米尼．維克內家屬舊藏 法國 私人收藏

左：多米尼．維克內；右：岸惠子（畫中女子） HK$ 30,000 - 50,000 Left: Dominique Vernay; Right: Keiko Kishi (model of the work) US$ 3,800 - 6,400

172 poly auction hong kong 藤田嗣治 LÉONARD TSUGUHARU FOUJITA

1. 2.

對人像的精準描繪。他透過蜿蜒靈動的工筆 著自己在美學上的傳承與突破。同樣來自東 線條勾勒出了女子柔和細膩的身軀，區別於 方的常玉在同一時期的裸女作品也使用極簡 軀體的線條，藤田對於女子頭髮的描繪堪稱 的線條來勾勒人物的輪廓。在這一時期，他 是他東洋工筆技法極致的體現，棕金色的髮 筆下的裸女多以簡潔有力的白描線條勾勒輪 絲纖毫畢現，極為流暢並表現出髮絲如雲般 廓，其飽滿的情緒、書法般流暢灑脫的筆法 輕盈的動態感。藤田吸取西方古典繪畫中的 描繪出女性身軀的千種情緒、萬種風情。也 明暗法與暈塗法，為畫中女子的皮膚暈出細 由此可見練達的線條、簡明的色彩是那一時 膩過渡灰階，打造出柔和細膩的陰影，加強 期兩位東方藝術家在化繁為簡的探索中所做 藤田嗣治作為二十世紀初「巴黎畫派」中最 對空間進行過多的細節描繪，而是利用不同 了人物膚白勝雪的美感，同時使人物輪廓更 出的不同嘗試。藤田嗣治在這一時期的裸女 特別的藝術家之一，他別具一格的創作手 層次的白色和灰色打造出一個如夢似幻的場 加靈動立體。畫中女子唇如櫻、眉如黛，眼 人物畫中不僅體現了他對西方藝術題材與技 法、細膩的線條、浪漫的色彩以及作品中獨 景。將畫中女子置於這樣一個空間，使畫面 神清澈，凝望遠方，帶有一絲純真和迷茫。 法的嫻熟掌握，更為日本畫的傳承與突破作 特的東方審美使其成功進入巴黎藝術圈的核 的主體顯得更為突出。畫中女子慵懶的臥在 藝術家用至純的色彩、至精的用筆展示了他 出了完美的示範，他巧妙地平衡了東西方的 心，並成為在當時最具成就的亞洲藝術家。 鬆軟的枕頭上，佔據著畫布的大部分，立體 心目中的完美。 兩種截然不同的審美，並用他特有的東方情 藤田嗣治的裸女肖像畫自1920年代出現後， 而鮮明，構圖上極大的借鑒了西方古典肖像 思征服了巴黎。 成為藤田筆下最為常見的題材之一，畫中裸 畫的創作。藤田受傳統日本畫使用礦物顏料 藤田嗣治的畫中，無不體現著東方特有的審 女聖潔、空靈，眼神時常溫柔中透著一絲神 的啟發，會先在畫面上以白色滑石粉鋪底， 美觀，以及對日本傳統繪畫技法的傳承。東 1910年代末期，藤田嗣治在二十世紀初的巴 秘，藝術家常常融合西方古典女神的姿態， 再調以他獨特的「藤田白」，形成不同的透 方自古喜愛肌膚白皙，膚如凝脂的美人，唐 黎嶄露頭角，1917年首次於巴黎歇龍畫廊 卻從氣質上透露出濃厚的東方韻味。 明度和明暗創造出更多層次的白色，不僅加 代白居易形容楊貴妃是「雪膚花貌」，而日 創辦個展，畢卡索斷言「今後兩三年內，藤 強了畫面的縱深感，如此繪就的背景與充滿 本藝妓更是會以白粉塗面，白是東方對「極 田嗣治將位居於馬蒂斯於畢卡索之間，其作 1922年的法國春季沙龍，藤田嗣治創作的 表現性的人物相互輝映，人物與背景的虛實 致美」的解讀。「我們的祖先鈴木春信、喜 品將備受矚目。」在而後直到二戰爆發前的 《裸臥的琪琪》驚艷了整個巴黎，他筆下的 呼應已超脫具象與寫實， 同時擺渡觀者於現 多川哥麿都曾描繪過婦人的肌膚。我既為日 十年裡，他一躍成為巴黎藝壇最耀眼的「巴 當時被稱作「蒙帕納斯的女王」的琪琪，以 實與夢境之間，盡顯畫作的空靈意境。藤田 本人，理應踏著先人的足跡，去描繪人的肌 黎的寵兒」，他對白色的巧妙運用被讚譽為 「肌膚若冰雪，綽約若處子」的姿態出現在 在裸女肖像這一題材中，為更加凸顯畫中女 膚。」藤田嗣治對於這種審美觀顯然非常認 「絕妙的乳白色」，其作品也因此廣泛地被 畫中，至此藤田嗣治以「藤田白」在巴黎藝 子以「象牙般的白色」繪就的乳白色如嬰孩 同，他筆下的獨特的象牙般的白皙肌膚不僅 世界頂級美術館收藏，是次上拍的《側躺的 術圈聲名大噪。縱觀藤田的創作，他在1920 1. 愛杜爾．馬奈《奧林匹亞》1856年作 一般的細膩肌膚，因此藤田對於空間細節的 法國 巴黎 奧賽美術館藏 象徵著少女純潔無瑕的形象，同時亦體現藝 裸女》就創作於藤田在巴黎最為耀眼的「黃 年代尤其喜愛描繪裸女，並且專注於描繪人 Edouard Manet, Olympia, 1856, Collection of 描寫著墨不多，更注重的是利用不同灰階的 Musée d'Orsay, Paris, France 術家內心對純真的嚮往。他調和獨特的油彩 金時期」。藤田嗣治獨特的創作風格、聖潔 藤田嗣治《裸卧的琪琪》1922 年作 法國 巴黎 體的肌理和質感，創作於1927年的《側躺的 白色打造豐富的層次，使畫面主人公更加的 巴黎現代藝術博物館藏 2. 皮埃爾．奥古斯特．雷諾阿《裸體習作》 顏料，創作裸女潔白無暇的肌膚質感，加上 空靈的裸女作品注定與群星閃耀的「巴黎畫 Léonard Tsuguharu Foujita, Nu couché à la toile de 少女》(Lot 169) 就創作於這個時期。畫中裸 1910年作 私人收藏 立體和突出。藤田的線條則來自於他幼時書 傳統浮世繪纖細的墨線，如此將日本傳統技 派」一樣，是20世紀東西方藝術史上最為精 Jouy, 1922, Collection of Musée d'art Moderne, 女肖像處於極簡的空間之下，藝術家有意不 Pierre-Auguste Renoir, Study of a Nude Woman, Paris, France 法的訓練，且掌握日本傳統畫師做人物畫時 1910, Private Collection 法與西方古典主義的題材與構圖融合，尋求 彩的一頁。

174 poly auction hong kong Modern and Contemporary Art 175 painters, he has mastered in depicting human figure in a precise way, and were then combined with the traditional ukiyoe style fine ink line, so as to fuse through sinuous and flexible brush lines, he vividly depicted the soft and delicate Japanese traditional techniques with Western classical composition, seeking his female body. Unlike in the silhouette, Foujita's depiction of women's hair can be own aesthetic inheritance and breakthrough. In those years, another artist of 藤田嗣治 regarded as the superlative embodiment of his Oriental brushwork technique: the East, Sanyu have also incorporated delicate lines to outline the profile when the golden brown hair looks extremely detailed and smooth, light to the touch depicting nude women body. During this period the naked women in his works LÉONARD TSUGUHARU FOUJITA as dynamically floating clouds. Foujita adopted the chiaroscuro and sfumato had mostly been outlined with a concise and powerful technique; his extremely techniques of Western classical painting, creating transitioning tones of grey on emotional, freehand calligraphy-like brushwork was able to bring out all the the skin of the girl, which forms a soft and delicate shadow that intensifies the charms of the female body. It also can be noticed how, in that era, the concise beauty of her snow-white skin, making her figure look more solid and dynamic. lines and simple colours are the different attempts of two Eastern artists to turn The woman in the painting has plump cherry lips and perfectly shaped ink-black complexity into simplicity. Foujita's naked women portraits of these years not With innovative techniques, delicate lines, romantic colours, together with the layers of white and grey. Inside such an empty space, the girl's body looks even eyebrows, her eyes are gazing far away, hinting a glimpse of innocence, as well only embody his mastery of Western subjects and techniques, they also are the fusioning of Eastern aesthetic, Tsuguharu Foujita has successfully became one of more prominent: lazily lying on a soft pillow, her body occupies most of the as confusion. The pure colours and refined brushwork used by the artist show perfect demonstration of his inheritance and breakthrough from the Japanese the most outstanding Asian artists among the Paris School of the 20th century. canvas. Three-dimensional and distinctive, this composition is a clear reference his ideal of perfection. painting techniques. He skillfully balanced the two distinct Western and Eastern Since its appearance in the 1920s, the portraiture of naked women became one to classical western portrait. Inspired by the mineral pigments used in traditional aesthetics, seducing Paris with his unique Oriental sentiment. of Foujita's most recurrent subjects. The female nudes in his paintings look holy, Japanese paintings, Foujita would first lay a layer of white powder on the canvas All of Foujita's paintings reveals the Eastern aesthetics in beauty, and at the same ethereal, their tender eyes often reveal a hint of mystery. The artist frequently as a foundation of the whole painting, then mix it with his unique "Foujita's time shows traces inherited from the Japanese traditional painting techniques. Foujita made his mark in the early 20th century Paris at the end of the 1910s. incorporated postures and gestures typical of Western classical goddesses, yet white", which formed different transparencies and shading effects, creating Since ancient times, people from the East have been favouring women with a In 1917 he held his first solo exhibition at the Galerie Chelon. Picasso had then conferred his subjects with Oriental charm. multiple layers of white. This technique not only gives the whole image more smooth skin glossy like tone of skin colour. (In ancient China) the Tang poet Bai declared: "in the next two or three years, Foujita will rank between Matisse and depth, but allows the background and the extremely expressive female figure to Juyi described Yang Guifei, Emperor Xuan Zong's favourite lady, as: "the beauty Picasso, and his works will attract lot of attention". Within the 10 years before At the Salon d'Automne of 1922, Foujita's painting Nu couché à la toile de Jouy form a stronger contrast. The emptiness and echoes conveyed by the character of a flower, her skin was white as snow". In Japan, geishas paint their face with the outbreak of World War II, he had successfully became one of the most amazed the art scene of Paris. The woman he portrayed, Kiki, was then known as and background already transcend both representation and realism, leaving white powder, to show their fascination in white as what they deem as the favoured artists in Paris, and his skillful use of the colour white was praised as the "Queen of Montparnasse", and in this painting, she looks gracefully virginal, the viewer to wonder between reality and dream, and revealing the concept "ultimate beauty". "Both our predecessors, for example, Suzuki Harunobu and "the marvelous milky white". His works had been widely collected by world-class her skin icy and white as snow. From then on, "Foujita's white" came to fame of intangibility. To make the girl's naked body stand out even more, Foujita Kitagawa Utamaro, had a fascination in women's skin. As a Japanese myself, I art galleries, and the creation of Jeune Femme Allongée au Torse Nu marked the among the art circle of Paris. Looking at his creations, it is clear that, throughout painted it in "ivory", making her skin milky white, delicate and smooth as of a feel like following their footsteps and have some focus on expressing beautiful climax of Foujita's dazzling "golden age" in Paris. Foujita's unique creativity, as the 1920s, Foujita was particularly fond of depicting naked women, with a focus baby. Therefore, he did not focus on any spatial details that he sought was rather skin." And it is obvious from his paintings that Foujita had the same fascination, well as his portraits of the innocent naked women, are destined to become the on how to recreate the texture of human skin. The 1927 work Jeune femme irrelevant, but paid more attention in using different greyscale whites to create the ivory-white skin he created not only symbolizes the purity of the girl, but most exciting chapter in the history of both Eastern and Western 20th century allongée au torse nu (Lot 169) was created during this period. Here, the naked multiple layers at the background, so that the character appears as more solid also reflects the artist's yearning for innocence. In expressing the white and art, shining as bright as the star of the Paris School. girl is resting in a space with simple structure, where the artist intentionally and prominent. Foujita's technique in drawing lines was advanced during his flawless skin texture of a naked woman, Foujita blended oil paint himself which omitted some details, but instead created a dreamlike scene by using different childhood study of traditional calligraphy, by following the traditional Japanese

1. 常玉《花毯上的側臥裸女》1930年代作 Sanyu, Nude on Tapestry, 1930s 1. Lot 169

176 poly auction hong kong Modern and Contemporary Art 177 169

LÉONARD TSUGUHARU FOUJITA (JAPANESE-FRENCH, 1886-1968) Jeune femme allongée au torse nu 藤田嗣治 側躺的少女

Painted in 1927 1927 年作 oil on canvas 油彩 畫布 50 x 61 cm. (19 3/4 x 24 in.) 款識：嗣治 Foujita 1927（右中） signed in Japanese; signed and dated 'Foujita 1927' (middle right) 來源 Provenance 法國 私人收藏 Private Collection, France 蘇富比 紐約 2016年5月10日 編號250 Sotheby's New York, 10 May 2016, Lot 250 瑞秀樓收藏 Collection of Ruey Hsiu Lou 此作將收錄於由希薇．布伊森正籌備編纂的《藤田嗣治作品編年集》 This work will be included in the artist's forthcoming catalogue raisonné prepared by Sylvie Buisson.

HK$ 3,000,000 - 5,000,000 US$ 384,600 - 641,000

178 poly auction hong kong Modern and Contemporary Art 179 吳大羽一生艱苦，因戰亂而動盪不安，但這並未磨滅他的志向。吳 WU DAYU 大羽作為第一代最重要的現代藝術拓荒者之一，他在1922至1927 吳大羽 年留法，返國後隨即擔任杭州國立藝術院西畫系主任，與林風眠共 色韻 事，他視藝術教學為終身職志的宏願，教導出了吳冠中、趙無極、 朱德群等在華人藝術史上舉足輕重的藝術家。他早期的繪畫風格有 塞尚浪漫主義畫風的影子，同樣也受到印象派和立體派的影響。而 「對形體的恭順，無益於掌握形象。美的出 在1960年重回上海美術專科學校教油畫之際，他的畫風產生了較大 的變化，複雜、鮮豔的用色，輕快、充滿動感的筆觸，從具象轉化 現在形象和心象之間。」 為半抽象卻又無比和諧，晚期抒情抽象的風格代表了吳大羽一生堅 持不懈、不屈不撓的生命精神。

─吳大羽 《無題5》(Lot170) 約創作於1980年，原為藝術家家屬舊藏，作品尺 幅精巧，觀其顏色、結構、律動、輕重等因素，皆能充分感受到藝 術家透過繪畫來表達個人哲思，進而追求更高生命真諦的理想。正 所謂「具象者體現現實物象，抽象者掌握物象特徵」，吳大羽寥寥 幾筆便帶出畫面中心上方一隻展翅飛翔的鳥兒，看似簡單的形象， 卻需要長時間沉澱與自省。左右兩側分別以白色、黃色油彩作為突 顯主景結合普魯士藍和墨綠的花鳥基底，對立的純粹色階將主要形 象趨於畫面中心，透過藝術家強悍的筆勢震動，充滿速度感的筆觸 成形，彷彿音樂聲響，節奏感在藝術家被抑鬱的情感中爆發，盡顯 勢象之美。

吳大羽曾論：「…示露到人眼目的，祇能限於隱晦的勢象，這勢象 之美，冰清月潔，含著不具形質的重感，比諸建築的體勢而抽象 之，又像樂曲傳影到眼前，盪漾著無音響的韻致，類乎舞蹈美的留 其姿動於靜止，似佳句而不予其文字，他具有各種藝術門面的彷 彿…」他的繪畫著眼於深層次的思考，《無題5》中隱約乍現的視覺 片段，使得畫面空間帶有時間性，與觀者產生視覺經驗上的互動與 交錯。如他所說：「形的變動，力的變動，達到勢的階段；變動包 括時間、空間。勢隨形象變；事實上形象結構之外，也有勢，時間 不會停留，藝術也不要停留。」吳大羽對「勢象之美」的研究，從 用筆、賦形、彩度、結構到氣韻的建立，他藉由手中的畫筆，一步 步地將「勢」融入於形象中，最終達到心靈的大徹大悟，就像他說 的：「畫需要的是領悟，不是畫筆上的技巧，不要去畫物的外形， 需要的是超脫。」

據吳大羽學生的閔希文所憶：「冠中來信問：『大未來畫廊』寄了 羽師晚年五十六幅彩照來，我們只知羽師生前僅存八幅作品在上海 油雕院，怎能一下出現這麼多？令人既驚喜又疑慮。我託老同學張 功 去羽師家探問，證實是羽師留下的遺作，外人全然不知。」吳 慤 大羽早期作品多數已不復存在，他在古稀之年卻還能活出生命中最 炙熱的色彩，探索藝術內在的真諦。他充滿熱情與生命力的精神得 以在畫作中存留下來，能如此留下一批珍罕的傳世之作，實為世人 之所幸。吳大羽追求的中西融合之道，在他晚年碩然綻放，媲美野 獸派那熱情奔放的用色可見他對於色彩學研究的造詣，大膽遊走在 對比色之間，卻又能精準的相容協調。視覺上的衝擊，在色彩、線 條、物象、筆觸的律動間誕生出一個個抽象的世界。雖限於狹小的 閣樓而無法繪製大型作品，但他回歸繪畫的本質，同時融會西方抽 象和中國意象於畫布上，咫尺之間卻大氣磅礡、抒情述志，充滿生 命流動之美。就像他所說的：「繪畫即是畫家對自然的感受，亦是 瓊．米歇爾《和弦II》1986年作 英國 倫敦 泰特不列顛美術館藏 宇宙間一剎那的真實。」這也是吳大羽感動人心的力量所在。 Joan Mitchell, Chord II, 1986, Collection of Tate Britain, London, UK

Modern and Contemporary Art 181 WU DAYU 吳大羽 Rhythm of Colour

"Obedience for forms does no good in capturing images. Beauty appears when physical likeness and mental imageries fuse together." - Wu Dayu

Wu Dayu have lived a turbulent life, as it was a time of war and chaos, but that choreographed beauty leaves its gesture still, like refined, yet wordless, phrases. have never obliterated his dedication and passion as a pioneering artist, he was It seems to reflect facets of various arts…" His painting emphasises profound one of the most prominent figure among the first generation artists in Modern thinking. The faintly discernible visual fragments in Untitled 5 endow temporality Chinese Art scene. Wu travelled to France between 1922 and 1927 to study to the pictorial space, creating interactions and intersections with the viewer's Western painting techniques and returned back to China afterwards. He was visual experience. As Wu once noted, "Changes in form and changes in strength then nominated as the director of the Western painting department of China produce the inner energy of the painting; those include changes in time and Academy of Art in Hangzhou, working together with other great art masters of space. Inner energy follows from the images, but in fact, such energy also exists the time such as Lin Fengmian. With the ambition in art education as his life-long outside the structure of those images. Time never stops moving, and art should vocation, many of his students were the most prominent figures in the history never stop moving either." Wu's investigation on "the beauty of inner energy Lot 170 2. of Chinese modern art, including Wu Guanzhong, Zao Wou-Ki, Chu Teh-Chun, of forms" ranges from brushstroke, form, Chroma and structure to creating among others. Wu Dayu's early works were of a style thats in a vein of Cezanne's rhythmic vitality. Through the brush in his hand, Wu gradually integrated "inner Romanticism and was influenced by Impressionism and Cubism. Yet when he energy" into images, finally attaining the utmost awareness, attesting to his returned to teach oil painting at the Shanghai Art Academy in 1960, his painting words, "Painting requires comprehension rather than technique through the style has changed drastically. He employed a complex and bright palette, performed a lively and rather dynamic strokes. However, his shift from figurative to the semi-abstract style was perfectly harmonious. Wu's later lyrical abstract style represented his forever persistent and unyielding spirit towards life. brush. Rather than drawing the forms of things, what western elements pursued by Wu came to full bloom Untitled 5 (Lot 170) was created around the 1980s, petit in size, it belongs to the matters is detachment." in his later years. His passionate and free palette, with former collection of the artist's family. In examining its elements including colour, a quality never inferior when compared with works structure, vibration, light and heavy strokes, one can fully grasp the artist's Wu Dayu's student Min Xi-wen recalled, "Guanzhong by Fauvism, shows his erudition in chromatics. While presentation of personal philosophical thinking that lie beneath, before further had once wrote to me, saying that Lin & Keng audaciously moving among contrasting colours, the seeking the ideal of ultimate truth in life. This precisely exemplifies "the figurative Gallery sent 56 colour photos of Professor Wu's later artist accurately rendered them in a compatible embodies actual forms; the abstract captures their characteristics." With just few paintings. To our knowledge that during his lifetime, harmony. The visual impacts of colours, lines, object strokes, Wu Dayu was depictingto convey a bird spreading its wings high up at there were only eight works of him left at the Painting forms and vibration of strokes gave birth to abstract the centre of the canvas. The seemingly simple image required extended periods and Sculpture Academy in Shanghai. How come so worlds one after another. Confined by his narrow of self-reflection and the accumulation of ideas. At the left and the right sides, many works suddenly appeared? This is surprising attic and unable to make large paintings, the artist a backdrop of white and yellow accentuates the bird and flowers in the main but also doubtful. I asked old schoolmate Chang returned to the essence of painting. At the same scene, which are tinted with Prussian blue and dark green. The opposing colour Kung-cheuh to check with Professor Wu's family and time, he integrated western abstraction with Chinese blocks further draw attention to the centre of the image and its main subject. confirmed the works to be his posthumous pieces. imagery upon the canvas. Within a tiny space lies The artist's fiercely vibrating brushstrokes form a speedy symphony of strokes. 1. 瓦西裡．康定斯基《即興創作27（對公園的 Nobody knew, except his family." Most of Wu Dayu's magnificent momentum, and contains the artist's 愛II）》1912年作 美國 紐約 大都會藝術博物 early works no longer exist. Yet he managed to live A sense of rhythm bursts out of the artist's repressed emotions and thoroughly 館藏 emotion and ambition, full of the flowing beauty manifests the beauty of forms. Wu Dayu stated, "…what can be presented Wassily Kandinsky, Improvisation 27 (Garden through his late years with the most passionate of life. As Wu said, "Painting shows how the painter of Love II), 1912, Collection of The Metropolitan colours in his seventies, exploring the inner truth of feels about nature and also, it is a frozen moment of to the eyes is limited to implicit forms. Such beauty of forms of inner energy Museum of Art, New York, USA is clear as ice and bright as the moon, containing an immaterial heaviness. art. His spirit full of passion and vitality thus remained truth within the universe." The vitality of Wu Dayu's Abstract when being compared to energy of architectural masses, it is also like 2. 威廉．德．庫寧《無題》1976年作 美國 紐 in his paintings. It is indeed fortunate for us to be able paintings ultimately lies in their ability to touch and 約 大都會藝術博物館藏 to preserve the precious works passed down through move one's heart. a song delivered before the eyes, setting forth soundless charm and grace. Its Willem de Kooning, Untitled, 1976, Collection of The Metropolitan Museum of Art, New York, USA generations. The method integrating Chinese and 1.

182 poly auction hong kong Modern and Contemporary Art 183 170

WU DAYU (CHINESE, 1903-1988) Untitled 5 吳大羽 無題5

Painted circa 1980 約 1980 年作 oil on canvas, mounted on paperboard 油彩 畫布 裱於紙板 37 x 26 cm. (14 1/2 x 10 1/4 in.) 來源 Provenance 台灣 台北 大未來畫廊 Lin & Keng Gallery, Taipei, Taiwan 亞洲 私人收藏 Private Collection, Asia 蘇富比 香港 2015年10月4日 編號1008 Sotheby's Hong Kong, 4 October 2015, Lot 1008 現藏者購自上述拍賣 Acquired from the above sale by the present owner 展覽 Exhibited 2007年11月17日-12月30日「吳大羽個展」大未來畫廊 北京 中國 China, Beijing, Lin & Keng Gallery, Wu Dayu Exhibition, 17 November-30 December, 2007. 出版 《吳大羽》大未來畫廊 台北 台灣 2006年（圖版，第157頁） Literature 《海派百年代表畫家系列作品集：吳大羽》上海書畫出版社 上海 中國 Wu Dayu, Lin & Keng Gallery, Taipei, Taiwan, 2006 (illustrated, p. 157). 2013年（圖版，第77頁） Works of Representatives of Shanghai Artists in the Century: Wu Dayu, Shanghai Shu 《吳大羽作品集》人民美術出版社 北京 中國 2015年（圖版，第52頁） Hua Publishing House, Shanghai, China, 2013 (illustrated, p. 77). Works of Wu Dayu, People's Fine Arts Publishing House, Beijing, China, 2015 (illustrated, p. 52).

HK$ 5,500,000 - 7,500,000 US$ 705,100 - 961,500

184 poly auction hong kong Modern and Contemporary Art 185 的氣勢觸動了藝術家對於中國傳統文人山水 自然的時間與勢態轉化為極具動感的色彩與 CHU TEH-CHUN 畫的深遠情懷，也因此對唐宋文人山水作品 線條。由《第282號》可以窺見60年代末期 朱德群 永恆的東方之光 也進行了回溯與總結。中國傳統山水畫家通 藝術家利用顏色與明暗製造光影，開啟了70 過對大自然的體察與領悟，直抒胸臆，躍然 年代的將「光」的運用作為主要表現手法的 紙上，重「意」不重形，如此思想與西方現 先聲。藝術家追求道家「物我兩忘」之超然 代繪畫理念不謀而合，這也使得藝術家開始 境界，更神遊於古典音樂以及中國古典詩詞 在創作風格上進行更深層次的探索與轉型。 深處取得靈感與共鳴，身心靈與自然的融入 60年代中期後的朱德群，延續了50年代中 與和諧激發靈感迸出，畫筆繪就「宇宙間一 後期的對抽象表現主義的探索，藝術家的線 剎那的真實」可謂快意瀟灑、一氣呵成。 條愈發的灑脫，逐漸地擺脫了在探索時期強 烈銳利的剛性線條，轉化為剛柔並濟、講究 朱德群在杭州藝專扎實的基礎使得他踏上法 「抑揚頓挫」的書法式線條。在色彩方面藝 蘭西土地之後，迅速與西方繪畫接軌，繼而 術家因受北宋山水的感召，開始嘗試在畫布 完成了由具象寫實向抽象表現的過渡，因其 上創造出水墨暈染的感覺，由此可見他對媒 深厚的東方情懷和中國傳統文化根基使得他 材的精確的掌控力以及油彩的巧妙運用，每 對於唐宋山水的領悟頗深，從而開始了將東 一次落筆都是如此的恰如其分，在畫布上營 方哲學融入西方抽象表現主義的繪畫手法之 造出一個虛實呼應、深邃蒼茫的空間。 中，繼而探索出獨特的個人風格。在《第282 號》中，我們可以看到藝術家60年代後期 《第282號》中，畫面的上方與下方大面積的 作品中典型的富有動感的「山水之氣韻」， 使用明黃色，明暗過渡間似雲又似風，顯示 他汲取靈感於山水、詩詞與音樂，提煉自然 出極強的流動感，如此明亮柔和的色彩彷彿 風景入抽象，承襲東方寫意與西方抒情抽象 天地之間的祥瑞之氣。畫面的重心以赭色與 技法共融，色彩的冷暖濃淡各異其趣，激蕩 橘色勾勒出重岩疊嶂的山巒，小面積白色的 蜿蜒的線條順勢疾走，筆墨點染間，山石崢 點染好似山間的一汪汪清泉，且以飛白的方 嶸，水波不驚，亦動亦靜，極具張力，營造 式更加凸顯畫面中光影的對比，更具氣韻。 出獨特的詩畫交響。 深棕色與墨黑的線條交錯並陳，遒勁灑脫的 線條不受畫幅的限制無限延展，好似米芾書 光影流轉 視覺交響 法中的蒼茫，形成了深邃雄偉的詩意空間。 1990年代的朱德群已享譽國際，在東西方 畫面中晶瑩的綠色以橫刷或塊面暈染圍繞著 兩種文化的結合中已經探索了四十餘載，對 1. 米芾《盛制帖》北宋 中國 北京 故宮博物院藏 中心，以輕盈的跳躍方式出現，好像雨後剛 色彩與明暗的處理富有更多變化， 對自然 Mi Fu, Calligraphy, Northern Song, Collection of 宇宙的「寫意」愈加大氣磅礴，在這一時 the Palace Museum, Beijing, China 剛放晴之後瀰漫在山間的微微霧靄，藝術家 在甜美的暖色中注入點綴般的冷色，使得畫 期，他更加注重了對光源與光影的探索，利 2. 尼古拉．德．斯塔埃爾《景觀》1953年作 葡萄牙 里斯本 古伯金漢博物館藏 面用色更加平衡。藝術家營造出的光影氛圍 用明暗對照，抑或是不同明度的顏色來描述 Nicolas de Staël, Paysage, 1953, Collection of Calouste Gulbenkian Museum, Lisbon, Portugal 蘊含著無限的氣韻，在靜止的畫布之上將大 光線的轉折與層次，他畫作之中的高亮光點

Lot 171

學貫中西 融會貫通 宋山水與西方抽象表現主義的重要時期，書法線條更加靈性化且收 縱觀朱德群的創作歷程，杭州藝專的學藝經歷在其身上有著深刻的 放自如，構圖張弛有度、大開大閤，色彩方面也體現出對媒材的掌 烙印，初窺西方現代藝術的先鋒理念，而後更是因吳大羽所教誨的 控，運用中國傳統山水畫中的渲染呈現繁複多變的空間形構；《平 繪畫要注意「宇宙間一剎那的真實」的啟發，加之其幼時浸潤在 靜的山谷》(Lot 172) 則創作2007年，正值藝術家於千禧年之後又 中國傳統文化之中，由此奠定了朱德群繪畫融匯中西的創作基調。 一次創作的高峰期，經歷了近一個世紀對藝術的探索，他的作品展 1955年朱德群赴法，在斯塔埃爾回顧展中受到了強烈的衝擊，其 現出了一種更為空靈寫意的風格。正如他自己所言「我一直在追求 創作風格灑脫自由，遊走於具象與抽象來去自如，如此靈活多變、 將西方的傳統色彩與現代抽象藝術中的自由形態結合成陰陽和合之 不受束縛的風格深深地震動以及激勵了初到西方的朱德群，藝術家 體，成為無窮無盡的宇宙想像」。 也由此開始了多變的抽象創作歷程。此次上拍的兩件作品分別為早 期東方傳統與西方色彩結合的關鍵之作，以及晚期成熟風格的集大 祥瑞明黃 東方氣韻 成，中間跨越了四十年的歲月，完整闡述了他不同時期的風格遞變 基於藝術家與生俱來的東方意識，以及幼時家學在傳統文化方面的 與重要革新。1968年的《第282號》(Lot 171) 正值藝術家融會唐 啟蒙，藝術家於60年代曾到台北故宮欣賞范寬大作，唐宋山水雄渾

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186 poly auction hong kong Modern and Contemporary Art 187 CHU TEH-CHUN 朱德群 Eternal Light of the East

Lot 171

A Studied Mastery of China and the West. In the easy control of his calligraphic lines Chu West communicates spirituality; his free, open composition An overview of Chu Teh-Chun's creative career reveals balances tension and relaxation; and the work's how much his early period at the Hangzhou Academy colour also exhibits Chu's control of the medium. of Art left its mark. It was there that he got his first The washes of colour, borrowed from traditional glimpse of the avant-garde concepts of Western Chinese landscape painting, present a complex and modernism, and then, under the inspirational varied spatial structure. Paisible Vallon (Lot 172) instruction of Wu Dayu, he was inculcated with the dates from 2007, and represents the artist entering a idea that painting should capture "one moment of new creative peak just after the millennium. Having the truth of the universe." This, in addition to his undergone the artistic explorations of the previous Lot 172 upbringing immersed in Chinese traditional culture, century, his work now displays openness and lyricism. established the foundation for the creative merging As Chu Teh-Chun described it, "I have always been pursuing an integration of the traditional colours of 彷彿畫布之間跳躍的寶石，時而是刺破黑暗的一道強光，時而是 超脫物象 追求心相 of East and West that characterised his paintings. In 1955 he travelled to France, where a Nicolas de the West, and the free forms of its modern abstract 於幽冥之中透露一絲微光。1997年朱德群以高票當選法蘭西藝術 唐朝司空圖在他的《論二十四詩品》中評論詩詞的至高境界是： Staël retrospective had a tremendous impact on art, into a harmonious entity of balanced yin and 院終身院士，並於1999年授勛，成為了法蘭西學院在成立兩百年 「超乎象外，得其環中」，這句話用來評價朱德群的話也非常恰如 him. Chu, newly arrived in the West, was shaken by yang, to create an endless universe of imagination." 來首位華裔的終身院士，於千禧年之後，朱德群的藝術創作又達 其分，我們在朱德群的畫中經常見到的宏大的敘事、飽滿的情緒皆 de Staël's incisive but free style, his easy movement Eastern Spirit and Auspicious Yellow between figuration and abstraction, and his flexibility 到了一段高峰。 來自於藝術家對「象」的領悟，頗有幾分「道，可道，非常道。」 and freedom from restrictions; from that point on, Given the artist's innate Eastern consciousness and 的意味。他的畫中沒有「形」的束縛，但卻能從色彩之中感受到 Chu engaged in his own variegated exploration of his introduction to traditional culture as a boy, it was 《平靜的山谷》作於2007年，此時八十高齡的朱德群仍壯心不已， natural that during the 1960s he would travel to 「形」的存在，我們從畫面之中可以立刻捕捉到藝術家想要去描繪 abstraction. In this Spring sale, Poly Auction Hong 於是我們可以看到晚期創作中所洋溢的一種樂觀積極情緒。畫面下 Kong presents two Chu Teh-Chun works, one a key the National Palace Museum in Taipei to view the 的蘊含著無限生機的自然。藝術家非常重視視覺印象以及心靈體 great works of Fan Kuan. The tremendous power of 方以墨黑與深藍為底，黑色透露出山谷土地之厚重，藍色的筆觸若 early-period work, which blends Eastern tradition 驗，正如他的「精神導師」范寬所言「與其師於人者，未若師之 such Tang and Song landscapes engendered great 隱若現提現山谷之幽深與神秘。天空運用大面積的綠色，絢麗異 with Western use of colour, and the other, an 物；與其師之物，未若師於心」。他以「虛已待物」的胸懷觀照 accomplished work representing the mature style feeling in the artist for China's tradition of literati- 常，好像極地夏夜變幻莫測的極光照亮了山谷，與寂靜的山谷形成 painter landscapes, and he undertook to retrace 中國傳統文化，在繪畫中體驗「獨與天地精神往來」的境界，在 of his late period. The two works, apart 40 years, 強烈的反差，而畫面中心的片狀色塊以及星星點點的明黃色製造出 provide a complete overview of his stylistic transitions and summarise such works for himself. In traditional 「觀」與「畫」中實現精神的轉換。也正因藝術家如此重視對心靈 Chinese landscape painting, the artist would observe 高亮區域，反襯出濃暗處的深邃，使畫面更加通透生動，層次分 over this period and the significant innovations they and gain insight into nature, and then directly and 體驗的描繪，使得他的作品衝破了東西方文化的藩籬，超越了語言 倫勃朗．哈爾曼松．凡．萊因《綁架歐羅巴》 embodied. No. 282 (Lot 171), from 1968, derives 明。藝術家筆觸愈加快速，筆鋒也更為寬闊，由此繪就的塊面則能 與地域的限制，如那些恢宏的音樂、偉大的詩歌一樣，使得每一位 1632年作 美國 洛杉磯 蓋蒂博物館藏 directly from the critical period in which he drew vividly express his feelings on the painting paper. 更好的描繪出光影的流動性，畫中的韻律使人聯想到康定斯基的 Rembrandt Harmenszoon van Rijn, The The emphasis was on meaning or "idea," rather 觀者都可以在其畫作中找到共鳴！ Abduction of Europa, 1632, Collection of The J. on the landscape painting of the Tang and Song 「視覺的音樂」，充滿著節奏感與空間深度。 Paul Getty Museum, Los Angeles, USA dynasties, as well as the Abstract Expressionism of the than on accurate forms-an outlook which actually

188 poly auction hong kong Modern and Contemporary Art 189 171

CHU TEH-CHUN (CHINESE-FRENCH, ZHU DEQUN, 1920-2014) No. 282 朱德群 第282號

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1968 1968 年作 oil on canvas 油彩 畫布 97 x 130 cm. (38 1/4 x 51 1/4 in.) 款識：朱德群 CHU TEH-CHUN. 68.（右下）；CHU, TEH-CHUN 朱德群 signed in Chinese; signed and dated 'CHU TEH-CHUN. 68.' (lower right); signed, No 282 1968（畫背） titled and dated 'CHU, TEH-CHUN No 282 1968'; signed in Chinese (on the reverse) 來源 藝術家自藏 Provenance 美國 紐約 私人收藏 Collection of the artist 佳士得 香港 2011年11月27日 編號1120 Private Collection, New York, USA 現藏者購自上述拍賣 Christie's Hong Kong, 27 November 2011, Lot 1120 Acquired from the above sale by the present owner 此作品已經朱德群基金會確認

The authenticity of the art work has been confirmed by Fondation Chu Teh-Chun.

HK$ 7,000,000 - 10,000,000 US$ 897,400 - 1,282,100

190 poly auction hong kong 172

CHU TEH-CHUN (CHINESE-FRENCH, ZHU DEQUN, 1920-2014) Paisible Vallon 朱德群 平靜的山谷

Painted in 2007 oil on canvas 81 x 100 cm. (32 x 39 1/4 in.) signed in Chinese; signed and dated 'CHU TEH-CHUN. 07.' (lower right); titled, signed and dated "Paisible Vallon" CHU TEH-CHUN. 2007.'; signed in Chinese (on the reverse)

Provenance Marlborough Gallery, London, UK Private Collection, Asia

Exhibited China, Beijing, National Agricultural Exhibition Center, Art Beijing, 30 April-3 May, 2013.

2007 年作 油彩 畫布 款識：朱德群 CHU TEH-CHUN. 07.（右下）；"Paisible Vallon" CHU TEH-CHUN. 朱德群 2007.（畫背）

來源 英國 倫敦 瑪勃洛畫廊 亞洲 私人收藏

展覽 2013年4月30日-5月3日「藝術北京」全國農業展覽館 北京 中國

HK$ 1,800,000 - 2,600,000 US$ 230,800 - 333,300

Modern and Contemporary Art 195 corresponds well with Western modernist ideas Chu Teh-Chun's solid foundation from the Hangzhou about painting, and caused Chu Teh-Chun to engage Academy of Art meant that, after setting foot in deeper stylistic exploration and transformation. In on French soil, he quickly connected to Western the mid and late 1960s, Chu continued on exploring painting, in which he subsequently completed Abstract Expressionism he had begun during the his transition from figurative realism to abstract latter part of the '50s, but his lines now showed expressiveness. His deeply Eastern outlook and his greater ease and naturalness, gradually losing some grounding in traditional Chinese culture gave him of their earlier hard-edged sharpness. Exhibiting both great insight into the landscapes of Tang and Song, strength and suppleness, they displayed more of the inspiring him to blend Eastern philosophy with the rhythmic cadences stressed in calligraphy. In his use techniques of Western Abstract Expressionism, and of colour, he responded to the artists of the Northern ultimately, to arrive at his unique, personal style. Song by attempting to create, on his canvases, a No. 282 embodies the typical dynamic "landscape" sense of spreading halos of colour specific in ink conception we find in Chu Teh-Chun's work of the wash techniques, demonstrating both ingenuity and late '60s, its inspiration derived from landscapes, a precise awareness and control of the qualities of poetry, and music, its natural scenic elements refined the oil medium. Each brushstroke creates the exact and abstracted. Blending the Eastern impressionistic effect, producing on the canvas a resonance between styles he inherited with the techniques of Western the presence and absent, and a profoundly deep and lyrical abstraction, Chu provides an ideal mixture mystical space. of warm and cool tones, varying densities, and surging, snaking lines; towering cliffs emerge from In No. 282, bright yellow occupies large areas at the among his ink-like washes of colour, yet the feeling top and bottom of the canvas, while the wonderfully remains serene, its tensions ideally poised between fluid transitions between darker and lighter areas movement and stillness. The result is an exceptional suggest the movements of wind or clouds. Such creation, a symphony of poetry and light. bright and yet soft colours seem to cast an auspicious aura between the regions of heaven and earth. Flowing Light and Shadow in a The centre of gravity in No. 282 lies in the repeated Visual Symphony lines of rocks and cliffs that outline a mountain By the 1990s Chu Teh-Chun was already an range in orange and yellow. Smaller areas of white internationally renowned artist. He had already hint at gushing mountain springs, and these open, explored for more than 40 years on the topic of streaky whites accentuate the contrasts of light merging of Eastern and Western cultures, finding ever and shadow in the work to add a further distinctive greater possibilities in his handling of both colour and character. There are interwoven lines in black and of light and shadow. His impressionistic treatments dark brown, their strong, easily flowing contours of nature took on greater scale and grandeur, and extending beyond the boundaries of the canvas to during this period, he laid even greater stress on form a deep and majestic space with great poetry, exploring light sources and contrasts between light like the misty landscapes of Song calligrapher Mi Fu. and shadow. Using contrasts of bright and dark or the Shimmering greens, light and bouncing, are brushed differing brightness of colours to describe the layering in horizontally or spread in washes around the centre and refraction of light, the illuminated points of light of the composition, like mists filling the mountains in his paintings have now become jewels that dance just after a rain has cleared, and Chu's injection across the canvas, sometimes sending out shafts of this cooler colour into the surrounding warm, of light to pierce the darkness, or perhaps merely sweet colours helps maintain colouristic balance. a shimmering glow appearing from a mysterious The atmosphere of light and shadow thus created remoteness. In 1997, Chu was overwhelmingly voted exerts tremendous charm, transforming a specific to become a lifetime fellow in the French Académie time and pose of nature on the static canvas into a des Beaux-Arts, the first ethnically Chinese artist dynamic, moving play of lines and colours. In No. 282, to be so honoured during its two-century history. we can see how by the late '60s, the artist was using After receiving this honour, Chu's art entered a new colour and dark and light contrasts to suggest light creative peak following the turn of the millennium. and shadow, paving the way for the period during the 1970s in which portraying "light" would become Paisible Vallon dates from 2007, when the 80-year- his central expressive technique. Chu is aiming old Chu Teh-Chun was still healthy, and in it we can towards the Taoist spirit of forgetting the boundaries see how his late work radiates a mood of positive of oneself and others, while finding inspiration and optimism. Black and dark blue tones form a base at echoes in the worlds of classical music and Chinese the bottom of the composition, the black suggesting the breadth of the land in the valley while the elusive 關仝《關山行旅圖》五代 台灣 台北 國立故宮 poetry. Inspiration gushes forth from the harmonious 博物院藏 integration of mind, body, and nature, and the brush blue hues convey a sense of depth and mystery. Guan Tong, Traveling in Mountains, Five reveals "one moment of the truth of the universe," in A large area of green, both beautiful and unusual, dynasties, Collection of the National Palace forms the sky, as if the fleeting night-time auroras of Museum, Taipei, Taiwan a confident and joyous work of great unity.

196 poly auction hong kong the polar summer night illuminate the valley, while contrasting strongly with the quietness of the valley itself. Swathes of colour at the centre and the scattered specks of bright yellow, create a region of brightness, further setting off the depth of the darker areas and adding even greater vividness, transparency, and layering. The artist's brushstrokes here are faster, the brush tip wider, allowing for blocks of colour to better capture the flow of light and shadow; the cadences of this painting evoke associations with the "visual music" of Kandinsky, full of rhythmic movement and spatial depth. Mental Imagery Transcending Physical Likeness Tang dynasty's Si Kongtu, in Twenty-Four Poetic Styles, wrote that "Moving beyond the physical image, we reach the centre of the circle," a sentence that is useful in assessing some aspects of Chu Teh-Chun's work. The sense of grand narratives and bursting emotions that we find in his work comes from the artist's understanding of "the image," with more than a hint of "the Tao that can be told is not the eternal Tao." For often there are no real "shapes" in his paintings, yet we can sense the existence of shapes through the flow, and from his compositions we can immediately grasp the sense he wants to convey of nature's infinite vitality. The artist attached great importance to both visual impression and to accompanying mental experience, and as his "spiritual mentor," the great artist Fan Kuan, said, "Rather than learning from man, try to learn from things, but rather than learning from things, seek to learn from the heart." With the humility of "emptiness waiting for form," he absorbed traditional Chinese culture, and in his painting he experienced the realm of "an independent association with the spirit of heaven and earth." Between "absorbing" and "painting," he accomplished a transformation of the spirit. It was because of his concern with conveying the spiritual level of experience that the artist could break through the barriers between Eastern and Western cultures, transcending all differences in language and geographical region. And as with those great works of music or epic poetry, every viewer of Chu Teh- Chun's paintings will find something in them that resonates with their own hearts!

瓦西里．康定斯基《藍色繪畫》1944年作 美國 紐約 古根漢姆博物館藏 Vasily Kandinsky, Blue Painting, 1944, Collection of the R. Guggenheim Museum, New York, USA

198 poly auction hong kong CHEONG SOO PIENG 鐘泗濱 光耀南洋

「我不特意尋找或創作風 格，它是藝術家將情況和智 慧的表現，它是內存的記憶 和不同想法和情緒結合成的 創造力量。」 ─鍾泗濱

1.

鍾泗濱出生於廈門，曾就讀於當地的美術專 173) 即是此時期代表作，超越自然主義的直 科學校；1936年畢業後，赴上海進修。但由 觀表達風景記憶，以流動性的油彩創造瞬息萬 於戰爭關係，學業被迫終止，隨後移居新加 變的光影，朦朧多變的色彩層次，形塑出具有 坡。過去在中國鍾泗濱學習書畫，著重神韻 深度的空間感。鐘泗濱從觀察大自然景色的感 中的意境與精神，爾後擔任南洋藝術學院講 悟，連結自我主觀經驗，延伸出未知的想像空 師，則與西方現代主義接軌。在創作中不斷 間，使作品體現《老子》所言：「惚兮恍兮， 吸納西方式的語彙，成為融合中國寫意美學 其中有像，惚兮恍兮，其中有物」中若有似無 的完美代表。 1952 年劉抗與陳文希、陳宗 的形象。 瑞、鍾泗濱，結伴至峇里島采風，此行奠定 四人在「南洋畫派」中決定性的地位。而其 《奇異》以橘紅的色彩為畫面的主要基調， 中鍾泗濱更是南洋畫派中的奠基者、實踐者 懸空的圓形是構圖的主要核心，作為光源照 2. 和傳播者，被視為南洋畫派之首、現代主義 亮周圍一片寂靜的黑暗，以細膩的明暗對比 畫派的代表。 表現空間的結構性，延續鐘泗濱於歐洲時期 觀摩透納作品所領悟的薄油技法，他將厚重 1961年下旬，鐘泗濱辭去教職，成為一個職業 油彩轉化為水墨般流動感的技法，在畫布上 藝術家，並且於同年十月前往歐洲遊歷，首次 呈現水墨的擴散渲染，運用色彩濃淡之間產 1. 透納《一百個戰士英雄》約1800-1810年作 英國 倫敦 泰特不列顛美術館藏 親身接觸西方藝術大師的真跡，強烈的衝擊性 生多變的層次，創造出微妙的空間組構。鐘 J. M. W. Turner, The Hero of a Hundred Fights, c. 1800–1810, Collection of Tate Britain, 引領他朝現代主義發展，並從此展開具有代表 泗濱有意識遊走於兩種媒材之間特性，企圖 London, UK 性的抒情抽象風格。儘管這樣的純粹抽象系列 於西方的抽象風格中展現東方文人寫意抒情 2. 牧谿《漁村夕照圖》南宋 日本 東京 根津美 僅僅於1962-1963年間創作，作品數量相當稀 的意境，在中國美學的底蘊基礎上，結合西 術館藏 Mu XI, Fishing Village, Bathed in Sunset Glow, 少，但卻是標示鐘泗濱從南洋畫派轉為現代主 方的形式光影與色彩美學的論點，成為從傳 Southern Song, Collection of Neze Museum, Tokyo, Japan 義的關鍵轉折點。創作於1963年《奇異》(Lot 統走向現代的最佳例證 。

200 poly auction hong kong 1.

鐘泗濱對於不同媒材的探索一直保持高度興趣，從50年的木雕版畫 至60年代晚期「金屬」系列，綜合媒材的運用不僅使平面作品增加 立體的浮雕感，同時藉由異材質的組構增添畫面趣味性與質感。創 作於1981年的《馬來男孩與山羊》(Lot 174) 是藝術家歷經數十載對 2. 非油彩媒材探索後再次回歸繪畫的經驗總結，鐘泗濱使用點描法鋪 陳大自然背景以顯示蓬勃的生命氣息，而十字網紋茅草頂的木作建 築傳遞質樸溫潤的原始性，他以相異密度的紋理、多層次的區塊搭 建畫面，區分異材質間的質地屬性，成為藝術家對材質長期研究的 集大成。鐘泗濱從平面到現成物挪用，最終回歸平面繪畫，《馬來 男孩與山羊》不僅包含對於物件材質差異性刻畫，同時也於平面空 間搭建多重的立體視覺。

1979年後鐘泗濱鑽研北宋山水，回歸中國傳統使他晚期的作品中 流露「天人合一」人與自然和諧的靜謐氛圍。《馬來男孩與山羊》 畫面依舊是南洋題材，然而相對於早期對於人物強烈民族性格的誇 張表現，此時鐘泗濱更加重視自然與人之間的關係，不再僅注重人 物神態的描繪，而是增添許多對周圍環境的關注。《馬來男孩與山 羊》在構圖上特意將前景的人物比例縮小，以強調宏偉壯碩的山水 意境，遠處的山峰與茂密的枝幹不再僅是陪襯作用，儼然成畫作重 點之一，佇立於高架建築的鳥兒與覓食的山羊與畫面主人翁融洽的 相處，反映藝術家晚期對於人與自然間的關係思考。鐘泗濱歷經50 1. 董其昌《仿古山水圖冊》（局部）明代 中國 北京 故宮博物院藏 年代受現代主義發展出的立體派與野獸派，至60年代旅歐後的抒情 Dong Qichang, Landscapes after Old Masters (detail), Ming dynasty, Collection 抽象，過渡到金屬浮雕時期，最後到晚期對傳統文化中人文關係思 of The Palace Museum, Beijing, China 考。《馬來男孩與山羊》可說集結鐘泗濱一生中多變風格的成果， 2. 米芾《春山瑞松圖》（局部）北宋 台灣 台北 國立故宮博物院藏 Mi Fu, Spring Mountains and Auspicious Pines (detail), Northern Song, 在借鑒西方現代主義的過程中，充分體現中華文化的底蘊。 Collection of the National Palace Museum, Taipei, Taiwan

Modern and Contemporary Art 203 173

CHEONG SOO PIENG (SINGAPOREAN, 1917-1983) Strangeness 鐘泗濱 奇異

Painted in 1963 1963 年作 oil on canvas 油彩 畫布 81.7 x 102 cm. (31 3/4 x 40 1/4 in.) 款識：亖賓（右下）；Strangeness SooPieng 1963（畫背） signed in Chinese (lower right); titled, signed and dated 'Strangeness SooPieng 1963' (on the reverse) 來源 新加坡 私人收藏（直接得自於藝術家家屬） Provenance 亞洲 私人收藏 Private Collection, Singapore (acquired directly from the artist's family) Private Collection, Asia 展覽 1983年11月11-27日「鐘泗濱回顧展」新加坡博物館 新加坡（作品名稱於展 Exhibited 覽清單提及） Singapore, National Museum Art Gallery, Cheong Soo Pieng Retrospective, 11-27 2017年11月11日-12月31日「鐘泗濱百歲冥誕台灣回顧展」亞洲藝術中心 November, 1983 (work title included in the exhibition list). 台北 台灣 Taiwan, Taipei, Asia Art Center, Cheong Soo Pieng: A Centenary Celebration in Taiwan, 11 November-31 December, 2017. 出版 《泗濱》海峽商業畫廊 新加坡 1963年（黑白圖版，第8-9頁） Literature 《鍾泗濱》牛津圖形印刷 新加坡 2015年（圖版，第88頁） Soo Pieng, Straits Commercial Art Co, Singapore, 1963 (illustrated in black & white, pp. 8-9). 附新加坡 集菁藝社開立之藝術家女兒鐘靈月親簽原作保證書 The Story of Cheong Soo Pieng, Oxford Graphic Printers, Singapore, 2015 (illustrated, p. 88).

This work is to be sold with certificate of authenticity signed by the artist's daughter, Cheong Leng Guat issued by Artcommune Gallery Pte Ltd.

HK$ 1,800,000 - 2,800,000 US$ 230,800 - 359,000

204 poly auction hong kong Modern and Contemporary Art 205 CHEONG SOO PIENG 鐘泗濱 GLORY OF NANYANG

1. Lot 173 2. Lot 174

Soo Pieng, who was the founder, practitioner and distributor, is regarded as the forms of light, shadow, and colour on a basis of Chinese aesthetics, he provides a The birds standing on the elevated buildings, the foraging goats, and the people, "I do not search for it (style) consciously or most important figure who would lead Modern paintings. superb example of moving from tradition to modernity. were all set in a harmonious atmosphere, reflecting the artist's thoughts and investigation upon the relationship between man and nature in the later stages create it deliberately... It is a way of bringing In late 1961, Cheong Soo Pieng resigned his job as a teacher to become a Cheong Soo Pieng is always fascinated in the exploration among different media. of his career. Through Cheong Soo Pieng's artistic career, he has experienced professional artist. In October of the same year, he travelled to Europe and From woodblock prints during the 1950s to the Metal series in the late 1960s, the the art world's development from the Cubism and Fauvism in the 1950s, order and intelligence to what an artist is began his first encounter with the works of Western art masters. This experience the use of synthetic media not only added a three-dimensional relief to planar to Lyrical Abstraction in the 1960s, and then "Metal Relief" period and finally had a strong influence on his development towards modernism, from which he works, but also a level of amusement and texture through the composition examined relationships between human culture. We may conclude that Malay doing. It is a memory marker and also a developed a signature style of Lyrical Abstraction. His purely abstract works was of different materials. Created in 1981, Malay Boys with Goat (Lot 174) is a Boys with Goat bring together the achievements of Cheong Soo Pieng's various created between 1962 and 1963, and produced only a limited number of works. summary of the artist's experience of returning to painting after decades of stylistic experiments throughout his life. By drawing from elements of Western However, they marked a key turning point in Cheong Soo Pieng's transition from exploring non-oil painting mediums. Cheong Soo Pieng uses the technique of modernism, he thoroughly reflects the essence of Chinese culture. means of connecting different ideas and Nanyang painting to modernism. Created in 1963, Strangeness (Lot 173) is the stipple to build up a scene of nature as the backdrop, suggesting the vigorous masterpiece of this period. Transcending the intuitive expressions of the scenic vitality of human life. The cross netting and thatched the log cabin conveys a emotions, fusing them into a creative force." memories of naturalism, a changing of light and shadow is created with the simple and gentle sense of primitiveness. He constructs the picture through fluidity of oil, and the obscurely shifting colours construct a sense of depth. From using different densities of pigment textures and multi-layered structural blocks. - Cheong Soo Pieng observations of the natural scenery, Cheong Soo Pieng links his own subjective To explore the difference between the texture of various materials then became experiences and extends an unknown space for imagination, enabling the works the artist's long-term practice. Through Cheong Soo Pieng's art career, he has to reflect the seemingly lack of image mentioned in Laozi, "Evasive and elusive! experienced the switch of focus from two-dimensional to ready-made objects, And yet It contains within Itself a Form. Elusive and evasive! And yet It contains and eventually returned back to planar paintings, Malay Boys with Goat not only Born in Xiamen, Cheong Soo Pieng went to a local art school to study fine arts within Itself a Substance. Shadowy and dim! And yet it contains within Itself a exhibit the artist's experiment among the characteristics between materials, but and graduated in 1936. He then went to Shanghai to pursue further study. Core of Vitality." also build-up three-dimensional visuality in a planar space. However, due to the war, he was forced to suspend his studies and moved to Singapore. At the time when Cheong Soo Pieng lived in China, he studied The dominate colour tone of Strangeness is orange. The hanging circle is the After 1979, Cheong Soo Pieng studied the landscape paintings of Northern the techniques in traditional Chinese calligraphy and painting, with a focus on core of the composition, which serves as a light source to illuminate the silent, Song, and such return to Chinese traditions enabled his later works to display a the mood and spirit that lie underneath each charming scene. Later, Cheong surrounding darkness, as well as expresses the structural space through a harmonious and tranquil atmosphere between nature and humankind, often has became a lecturer in the Nanyang Academy Of Fine Arts in Singapore, delicate contrast between light and dark. Extending on the thin oil technique known as "Nature and Man in One". Malay Boys with Goat still features a and started to fuse his style with Western modernism. By absorbing Western that Cheong Soo Pieng founded in his works during his time in Europe, his Nanyang style. However, compared to his early works that exaggerates strong vocabulary into his artistic creation, Cheong Soo Pieng has become the master of technique transforms heavy oil paint into an ink-like flow. Across the canvas, ethnic features of the characters, Cheong Soo Pieng pays more attention to 1. 克勞德．莫內《倫敦，國會大廈》1904年作 法國 巴黎 奧賽美術館藏 Claude Monet, London, Houses of Parliament, 1904, Collection of Musée connecting and integrating the spirits of Chinese and Western culture. In 1952, the diffusion of ink is presented, and the layers of colour are used to create a the relationship between nature and people. For Malay Boys with Goat, the d'Orsay, Paris, France Cheong Soo Pieng traveled to Bali with artists Liu Kang, Chen Wen Hsi and Chen subtle spatial composition. Cheong Soo Pieng consciously wanders between the relative scale of people in the foreground has been deliberately reduced to characteristics of the two media, attempting to present the artistic conception emphasise how magnificent the landscape was. The distant peaks and dense 2. 保羅．西涅克《戈瓦里》1896年作 英國 伍斯特 伍斯特藝術博物館藏 Chong Swee, and were aiming at exploring local folk culture. And this trip have Paul Signac, Golfe-Juan, 1896, Collection of Worcester Art Museum, marked their decisive place in the Nanyang art style. Among the four, Cheong of Eastern literati into the abstract style of the West. By combining Western branches are no longer just backdrops, but became key parts of the painting. Worcester, UK

206 poly auction hong kong Modern and Contemporary Art 207 174

CHEONG SOO PIENG (SINGAPOREAN, 1917-1983) Malay Boys with Goat 鐘泗濱 馬來少年與羊

Painted in 1981 1981 年作 oil on canvas 油彩 畫布 109.5 x 85 cm. (43 x 33 1/2 in.) 款識：亖賓 1981（左下） signed in Chinese; dated '1981' (lower left) 來源 Provenance 亞洲 私人收藏 Private Collection, Asia 蘇富比 香港 2014年10月5日 編號 1020 Sotheby's Hong Kong, 5 October 2014, Lot 1020 現藏者購自上述拍賣 Acquired from the above sale by the present owner 展覽 Exhibited 2017年11月11日-12月31日「鐘泗濱百歲冥誕台灣回顧展」亞洲藝術中心 Taiwan, Taipei, Asia Art Center, Cheong Soo Pieng: A Centenary Celebration in 台北 台灣 Taiwan, 11 November-31 December, 2017. 出版 Literature 《泗濱》Summer Times出版社 新加坡 1983年（圖版，第7圖，無頁碼） Soo Pieng, Summer Times Publishing, Singapore, 1983 (illustrated, plate 7, 《鍾泗濱》牛津圖形印刷 新加坡 2015年（圖版，第188頁） unpaginated). The Story of Cheong Soo Pieng, Oxford Graphic Printer, Singapore, 2015 (illustrated, p. 188).

HK$ 3,000,000 - 4,000,000 US$ 384,600 - 512,800

喬治．秀拉《捷克島的星期天下午》1884-1886年作 美國 芝加哥 芝加哥藝術博物館藏 Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884-1886, Collection of The Art Institute of Chicago, Chicago, USA

208 poly auction hong kong Modern and Contemporary Art 209 AFFANDI 阿凡迪 鬥雞

緣起峇里 上的它們是主人男子氣概的化身，為了主人的社會地位，奮起搏 出生於印尼西爪哇的阿凡迪，於荷蘭殖民鼎盛時期成長，一生以民 鬥。美國人類學家克里福特．吉爾茲曾形容：「鬥雞過程中，人與 族獨立為信仰，企圖通過自己的創作破除當地以西方文化為主導的 獸、善與惡、自我與本我、激昂男性創造力與放縱獸性毀靈力所融 社會現狀。他在1939年首次造訪峇里後，彷彿終於找到了心中那片 合而成的一幕─憎惡、殘酷、暴力、死亡的血戰。」阿凡迪觀察到 令他創作靈感迸發的桃花源，並在其之後的藝術生涯中不斷嘗試通 了鬥雞熾烈氣氛下所蘊含的深遠並且多層次的民族傳統文化，借鑒 過自己獨特的方式刻畫在這裡的一切。可以說，峇里文化與阿凡迪 西方現代主義技法，以極富表現性的配色與筆觸為畫布前的觀眾生 之間互相影響的力量是密不可分的：一方面，藝術家將親身體驗的 動呈現這一場獨具東方韻味的對決儀式。 地域文化通過畫筆記錄下來展現給世人，成為這座小島當時珍貴的 色彩與質感承載的情緒迸發 原生態文明不可多得的歷史參考；同時，藝術家創作的成長歷程與 技法的發展脈絡在其對相似母題不斷的重復描繪中清晰可見。 《鬥雞》(Lot 175) 中，兩隻意氣風發的雄雞交鬥正酣，阿凡迪用明亮 的白色與黃色勾勒出鬥雞根根分明的羽毛，將雄雞盤旋飛舞的形態與 情緒碰撞的感官盛宴 浴血奮戰的高昂情緒生動的呈現於畫布之上，它們緊咬的嘴與錯落的 峇里的人文風貌與傳統，從歷史延續下來的種種儀式、寺廟節慶等 姿態，或許正在暗示畫外人現場難分伯仲的焦灼戰況。畫面右上角 傳統習俗中可見一斑，其中最具代表性的便是峇里鬥雞。這項傳統 男子的目光聚精會神、雙唇張大，右手更是伸入畫面中央好似正要將 歷史悠久的民間活動對每一代峇里人來說都充滿難以抗拒的魔力： 鬥雞抓起，用盡全力鼓舞代表自己的戰士在這場角逐中贏得榮光；而 山野田地中由人群臨時圍起而形成的鬥雞場，彷彿一個微縮的社 畫面左側的男子眉頭緊鎖，嘴角緊閉，顯現出他對這場重要賽事走向 會，所有人的目光都聚焦於兩隻面對面進行生死角逐的雄雞，戰場 謹慎的思考，彷彿正在試圖尋找壓制對手的突破關鍵，這兩名男子所 顯示出的神態和動作讓觀者對這場鬥雞幕後最真實的明爭暗鬥了然於 心。畫面的上下邊緣粗獷卻內含某種秩序的深色線條，是熙熙攘攘、 因下注而聚精會神觀戰的群眾。觀眾們的形象雖未被具象化表達，但 線條波瀾起伏的流動正是他們與自己心中的王者的姿態一齊律動，心 情跟隨場內戰況而起起伏伏的最佳寫照。

藝術家自1950年代通過逐漸摸索而形成的用手指直接塗抹擠在畫 布上顏料的創作方式，將這轉瞬即逝的一刻凝固於畫布之上，厚塗 油彩的質地與奔放的曲線迸發出的令人血脈噴張、極具感染力的能 量，不禁讓人想起梵谷的後印象主義風格。然而不同於大多數梵谷 描繪的靜態場景與物體，阿凡迪的畫面中多了一份生動與激情，他 強有力的表現主義手法彷彿在邀請觀者親臨這如火如荼的場景，並 隨著畫面充滿的張力獲得直擊心靈的震撼觀感。藝術家調色板上對 紅與綠、黑與白這些強烈對比顏色的偏愛，在視覺上將觀者的目光 牢牢鎖定在誓死拼殺的兩位主人公身上，同時也在感官上進一步將 情緒密度縮緊，深究其根源，似乎是在暗指當時的印尼作為新興民 族國家的政治張力。

《鬥雞》是阿凡迪最擅長的標誌性創作母題與最為人熟知的經典繪 畫技法淋漓盡致的呈現，動物交戰所迸發的熱情張力與觀戰人類的 緊張情緒相互交織，爆發的表現力下不失耐人尋味的豐富故事性。 這位藝壇巨匠將畢生所秉承的價值觀深深植入於自己的創作中，啟 發後世對美學表現以及社會責任的深度思考。

愛德華．孟克《吶喊》1893年作 挪威 奧斯陸 國家美術館藏 Edvard Munch, The Scream, 1893, Collection of The National Gallery, Oslo, Norway

Modern and Contemporary Art 211 AFFANDI 阿凡迪 Cocks Fighting

Bali - where everything begins generations, one can easily observe how traditional and conservative local Balinese culture is. Among Born in West Java of Indonesia, Affandi grew up under Lot 175 these, the most famous would be Tajen, or the peak of Dutch colonization, and he has firmly cockfighting. This folk activity has a long history, and developed a life-long belief of cultural independence. have never ceased its popularity. The wantilan, or Burst of emotions embodied by colour and texture of Using fingers instead of paint brush has became the Affandi's common practice He attempted to break through the Western cultural cockfighting arena, is a temporary site which is often the paint since the 1950s, and by doing this with the thick oil paint, he has captured the dominance of his society within his creations. In set at a random rural open-air area, the stage is In Cocks Fighting (Lot 175), two roosters are fighting like a raging fire. Affandi fleeting moment of cockfight, displaying infectious emotions. The thick texture of 1939, Affandi visited Bali for the first time, and this naturally formed by a group of people gathering to adapts pale white and yellow colour to depict their fine feather, vividly oil paints and the free curves generate an infatuated energy that is reminiscent trip has reawakened his creative inspiration and form a circle, with the two fighting cocks at the center. expressing the tension of the fight. The beaks of the two cocks are tightly shut of Vincent van Gogh. However, unlike most of van Gogh's paintings which record artistic motivation. He has then depicted everything Regardless of its temporality, the battlefield is like a and with their staggering postures, the artist is hinting at a close match. There the nature, Affandi conveys more vividness and passion. His strong and powerful in Bali with his own unique style throughout his miniature of the local society. With everyone gazing is a man, at the top right corner, who is watching the match attentively, with his expressionist technique seemingly invites the viewers into the heated scene, and artistic career. The relationship between Balinese at the two fighting roosters, which are the emotional arms extending widely and lips open. There, his right hand was trying to reach they are confronted by the explosive energy of the picture. The artist favoured culture and Affandi is reciprocal yet inseparable. On sustenance of their owners, they were battling towards the center to participate in the fight, madly cheering for his fighter to highly contrasting colours such as red and green, or black and white. Visually, one hand, the artist has recorded all the local culture for life or death. As the American anthropologist win him glory in the battle. In contrast, the other man standing on the left was he draws the viewer's gaze to the two fighting cocks, and simultaneously he has experienced and showed to the world with Clifford Geertz once wrote, "In the cockfight, man expressing completely different emotions, he was frowning, with his mouth heightens the emotional tension created by the sensual experience. The source his canvas which became a rare and significant point and beast, good and evil, ego and id, the creative tightly shut, seemingly concerned about the situation and was trying to find the of this tension may be reflective of political tensions at the time, specifically of of reference as a part of the island's history. On the power of aroused masculinity and the destructive key to suppress the opponent. The facial expressions and movements of these Indonesia's emergence as a nation. other hand, the artist's repetitive depiction of similar power of loosened animality fuse in a bloody drama two men reveal to the viewer actual conflicts beyond the cockfight. Rough, deep themes of Bali brings clarity upon the growing path of Cocks Fighting features Affandi's commonly revisited theme, and it is a prime of hatred, cruelty, violence, and death."Affandi has coloured bold lines at the top and bottom edges of the painting are indicating his artistic style and techniques. example of his reowned painting technique. The enthusiasm and tension the concentrated bustling audience, whom mostly have put their bet on one of closely observed the profound connotation and social sparked by animal fights is intertwined with the tension of the audience, and this the cocks. Although they were not depicted in precise detail, the artist's flowing A sensual feast of clashing sociological matters conveyed by the atmosphere of explosive representation lacks none of the richness of a storytelling narrative. 文森特．梵谷《桑棗樹》1889年作 美國 帕薩 and swirling lines were the best indication of the mood within the fight yard. emotions the zealous cockfighting. He used western modernist 迪納 諾頓西蒙美術館藏 This artistic master rooted his value system deep into his creations, inspiring later From various traditional rituals and temple techniques with expressive colours and strokes to Vincent van Gogh, The Mulberry Tree, 1889, generations to ponder deeply upon its aesthetic representations, as well as their present to the viewer on canvas this unique oriental Collection of Norton Simon Museum, Pasadena, celebrations that have been passed down in USA social responsibilities. dueling ritual.

212 poly auction hong kong Modern and Contemporary Art 213 175

AFFANDI (INDONESIAN, 1907-1990) Cocks Fighting 阿凡迪 鬥雞

Painted in 1961 1961 年作 oil on canvas 油彩 畫布 97 x 117.4 cm. (38 1/4 x 46 in.) 款識：AF 1961（右下） signed and dated 'AF 1961' (lower right) 來源 Provenance 亞洲 私人收藏 Private Collection, Asia 出版 Literature 《阿凡迪第二冊》比娜．萊達利．布達亞基金會 新加坡 2007年 Affandi Vol. II, Bina Lestari Budaya Foundation, Singapore, 2007 (illustrated, p. 114). （圖版，第114頁）

HK$ 1,600,000 - 2,600,000 US$ 205,100 - 333,300

214 poly auction hong kong Modern and Contemporary Art 215 「許多人認為林風眠是中國現代繪畫的開拓 LIN FENGMIAN 林風眠 雋永的詩意 者，是成功地實踐了『融合中西』理想的藝 術家。他的『融合中西』，不是著眼繪畫技 巧層面，不是著眠於社會思想層面，而在審

林風眠1919年參與留法勤工儉學運動後，以巴黎的藝術院校為榜 美層面的融合。他『融合』並沒有使中國繪 樣，針對中國當時藝術狀況提出了「介紹西洋藝術，整理中國藝 術，調和中西藝術，創造時代藝術」的辦學宗旨，創立了國立藝術 畫進入另一種範型，而是擴展和豐富了中 院（後改為國立杭州藝專）。作為跨時代的先驅者，他以自身創作 具體實踐他所提倡的中西繪畫調和融合，在藝術理論與教育中對後 國繪畫的審美天地。還沒有另一個當代畫 世產生重要而深遠的影響，為中國現代藝術的啟蒙導師。是次春 拍，保利香港將呈現兩件林風眠精品：約1950至1960年代作的《花 家，以個人的創作開闢出如此多樣的審美境 園中靜坐的仕女》(Lot 177) 源自於一英國重要私人收藏，該藏家的 父輩為一位船長，於1965年一次上海之行經由英國領事的引薦而直 界。」 接向藝術家求得此件作品；1963年作的《山居秋色》(Lot 176) 則為 難得具有出版紀錄的作品，構圖和色彩均屬早期的典型風格代表， ─藝術評論家，水天中 在林風眠傳世作品中實屬少見。

古典造型和現代空間解析的交匯 林風眠自身對於傳統文化的執著以及從西方現代藝術所萃取的養 分，成為他容納中西道路上的基石。他受到立體派空間概念的影 響，借鑒了畢卡索、馬諦斯、布拉克的藝術軌跡，以此為入門之 徑，尋求中國繪畫嶄新的局面。林風眠分析立體主義，將幾何分 割、重疊後的表現方式在《花園中靜坐的仕女》中無所不在的 「方」與「圓」隱約展露。人物充滿動感的造型、畫面右下方的方 形坐毯以及後方充滿韻律感的修長葉片錯落白紫漸層的紫藤花，皆 表現出構圖中人、事、物的關係借鑒了塞尚的空間構成手法。但不 同於晚期作品中常見的構圖形式，異化的空間感跳脫出傳統思維以 擺件、家飾和瓶花所佈置的場景，此處的仕女好比置身於盧梭那原 始、純真的花園，林風眠簡化葉面造型的概念化規則與盧梭精準、 鉅細靡遺的風格卻大相逕庭，兩者在幻想空間的架構重疊既微妙又 和諧，產生了東西文化交流所帶來的嶄新秩序。

源自於敦煌石窟飛天造型的「仕女」可說是林風眠最具代表性的經 典題材之一，他同樣參照了民間剪紙、皮影戲的造型，融合中國傳 化的構圖上顯現藝術家對於調和中西的獨到見解。水墨在宣紙上的 統與民俗技藝，以高古游絲描綜合平塗區分輪廓的技法修飾出此 透明感本身就富有空靈、飄逸的神韻，林風眠以白色水粉的細線在 作中古裝仕女那纖細柔軟的修長體態。如同他說的：「人體的線條 色塊上形成半透明質感的薄紗，色彩與淡墨交織產生了豐富的光影 是流動的，把線畫活起來！」林風眠對於人物線條的精準掌控，簡 層次與空間深度，完成了畫面美感的平衡與調和。林風眠曾說過： 練而有力，盡顯其筆墨功力。從柳葉式的黑色眼睛亦可看出巴黎畫 「一個藝術家沒有像一把火在燃燒的激情，是畫不好畫的。」他落 派對林風眠造型上也有一定程度的影響，與莫迪里亞尼的人物表現 筆前的每個細節都經過大量練習與分析，才得以達到《花園中靜坐 有著異曲同工之妙，然而沒有顯露情感的面容和靜止的佛像端坐姿 的仕女》中線條力量均衡、造型流暢精確、豐富多彩的美感。他富 態，異於西方著重於感官的情緒描寫，更加深了東方古典中溫柔婉 有表現性的筆觸和柔韌有力的線條，結合中國傳統繪畫和書法的基 約的氣質塑造。 礎，在西方現代藝術理念中將中國現代藝術推前，實踐了他「調和 中西」的藝術理念。 畫面捕捉了女子靜坐的一瞬間，身後的逆向黃光隱約透過中心人物 身上平塗的重彩，與藍綠主色調起到強烈的對比，形成一種虛幻的

空間效果。林風眠活用了同色系的中間色調，以漸層的方式來表現 顧愷之《女史箴圖》（局部）六朝 英國 倫敦 大英博物館藏 出人物的立體感，這樣的方式同樣源自於敦煌壁畫的啟發，在平面 Gu Kaizhi, The Admonitions Scroll (detail), Six dynasties, Collection of The British Museum, London, UK

Modern and Contemporary Art 217 外師造化，中得心源－色彩與光線的自然韻律 彩的運用上作出突破，更引入光影變化的理論概念。他說：「繪 1963 年作的《山居秋色》是林風眠改革中國傳統山水畫的代表作， 畫上單純的描寫，應以自然現象為基礎，單純的意義，並不是繪畫 他的風景畫在50年代之後日趨成熟，率性、粗獷的筆觸和冷暖交織 中所流行的抽象的寫意畫－文人隨便幾筆技巧的戲墨－可以代表， 的色調是他在這個時期的明顯特色。「細細體味自然的生趣，是修 是向複雜的自然物象中，尋求它顯現的性格質量和綜合的色彩表 養自己感覺的最好辦法」，林風眠在生活中追求對自然的感悟，再 現。」除了用色方式受到西方現代主義的影響，林風眠豐滿的構圖 將以投射畫中，以心造境，創出有詩性情調的自然意境。 也和中國追求虛實相生的意境相輔相成，不過他更在意色彩、光線 交織所帶來時間、空間的複雜變化。林風眠筆下墨色和水粉的協奏 構圖上林風眠選擇以單點透視法拆解前景、中景和遠景，層層的 就如同他一生努力不懈地穿梭於中西兩方的關聯性，既衝突但卻得 堆疊營造出空間深度。在遠方氤氳的灰藍雲彩下是成排的山巒， 以調和，在自然的美感下開闢出新的天地。 其下的翠綠樹海蔓延到了中景轉變成橘色、黃色相間的高聳林 木，厚塗水粉在相近色調加疊下製造出肌理、光影之美，盡帶秋 風蕭瑟感，藝術家對於自然界中音樂性的描寫，在色階變化中顯 「從小我就習慣於接近自然，對樹木崖石、河水，它們縱然不會說話，但我總離不開它們， 現，奏出抒情、和諧的旋律。中景內以水粉在重彩上突顯半透明 質感來詮釋山村屋舍幾何造型，前景山丘和草地的顏色和墨色混 可以說是對它們很有感情，不管怎樣的景色，也許看來最平淡的東西，在平原上幾株樹、幾 合，黃綠調和的半透明色調形似水面倒影，以色彩光線的轉移來 間小屋、一條河、鐵路旁邊的一溝水、水裡有的有水草或荷葉，我永遠不會感到厭倦。」 營造詩畫般的情緒。 保羅．塞尚《聖維克多山》約1902-1906年作 美國 紐約 大都會藝術博物 林風眠對於自然意境的追求，並不限於中國傳統山水畫中拆解元素 館藏 Paul Cézanne, Mont Sainte-Victoire, c. 1902-1906, Collection of The ─林風眠 來組合搭配的方式，他追求東西方繪畫觀念的並駕齊驅，除了在色 Metropolitan Museum of Art, New York, USA

218 poly auction hong kong Modern and Contemporary Art 219 of the figure, the square rug at the lower right, to the rhythmic flurry of long Western concepts, and achieving in this work his ideal of "harmonising" Chinese leaves against the white and violet shades of the wisteria, Lin borrows Cézanne's and Western art. LIN FENGMIAN methods of building up space in the relationship between the central figure TIMELESS POETRY and her surroundings. Unlike later-period works in which the alienated spaces Learn from Nature, Capture the Heart-the Natural 林風眠 Rhythms of Colour and Light of his compositions have departed from the traditional placement of objects, ornaments, and vases, the female figure here seems situated in the same kind of Village in Autumn, from 1963, is a representative work showing how Lin primitive and pure garden as in Rousseau; Lin Fengmian's conceptualized leaves, Fengmian reformed Chinese landscape painting. His landscape paintings however, differ from Rousseau's precise and detailed depictions. Yet a new endeavoured greater maturity after the 1950s; willful and rough brushwork, kind of interchange between East and West can be found in the way that both along with mixtures of warm and cool colours, were the hallmarks of his style structure their fantastical spaces subtly and harmoniously through repetition during this period. "Developing a fine appreciation of life in nature is the best and overlapping figures. way of cultivating your feelings," he said. Lin sought insights into nature through living, and projected these insights onto his work, allowing subjective feelings to The theme of traditional courtly ladies, the presentation of the motif based on inform his paintings, and produce natural scenes with conceptions full of poetic the graceful, flying figures in the Dunhuang caves, is a classic, representative feeling. subject in Lin Fengmian's depictions. Drawing from the folk craft in paper-cutting and shadow-puppet theatre, Lin merged China's traditional and folk arts with his In terms of composition, Lin chooses a single-point perspective, dividing the own "lofty archaic gossamer thread" in mixture of establishing contours through scene into foreground, middle ground, and distant view, and uses their layered separation of colour scheme, to present the slim and slender figure in ancient progression to produce spatial depth. Blue-grey mists in the distance enfold costume. He once said, "The lines of the human figure are flowing—make them a mountain range, while jade-green forests extend from there to the middle come alive!" The practiced, firm, and precise control of the lines in Lin's human ground, where lofty trees spread yellow and orange leaves. Lin's thickly applied subjects demonstrate his outstanding skill with brush and ink. In her leaf-shaped gouache builds up to create beautiful light, shadows, and textures, while the eyes we also see an echo of Modigliani's approach to portraying his subjects, and artist's musical presentation suggests the rustling of the leaves in the chilly fall some degree of influence from the "Paris School". Yet, the impassive face of his wind. His shifting colour scales create a melodically lyrical and harmonious feel. model and her Bodhisattva-like pose differ from the Western focus on expressive Gouache in the middle ground over heavy colour produces a semi-transparent facial features, deepening the sense of a classical Eastern grace and reserve on effect in the shaping of the village dwellings. The colours of the small hills the part of this character. and grassy areas of the foreground blends with the black tones, while semi- transparent yellow-green tones suggest the reflective surface of the water, Lin captures this peacefully posed woman in a fleeting moment, backlit by creating a poetic atmosphere from their shifts in colour and light. yellow light that suffuses the dark, flat areas of colour in her figure, and contrasts strongly with the principal blue-green tones of the painting to create the sense In pursuing conceptions of nature in his paintings, Lin Fengmian did much more of an illusory space. Lin employs medium tones in a single color series and than deconstruct and rearrange the elements of traditional Chinese paintings. creates weight and mass through the gradual transition of shades, a method also He sought a paralleled union of Eastern and Western concepts, leading to inspired by the paintings of the Dunhuang caves. The flattened compositional breakthroughs in the use of colour and introducing theoretical ideas about spaces of this painting, also portrays the artist's unique approach upon changes in light and shadow. Lin said, "Simple portrayals in paintings should be Lot 177 combining the Eastern and Western. The transparency of ink on Chinese xuan based upon natural phenomena. The meaning of simplicity is not the popular paper creates a light and spare gracefulness, and Lin employs fine white lines idea of lyrical abstraction. That can easily be accomplished by a few strokes of a literati painter's brush. It means that in the complex phenomena of nature we After participating in the Chinese work-study program in France in 1919, Lin over blocks of colour to form gauzy, semi-transparent textures. The interweaving Many people believe that Lin Fengmian was seek the character, weight, and overall colour that nature displays." In addition Fengmian set out objectives targeting Chinese art education based on the of colour and lightly applied ink produces rich layers of light, shadow, and spatial to the influence of Western modernism on his use of colour, Lin Fengmian's rich system of Parisian art colleges. Those objectives involved "introducing Western depth, balancing and harmonising the aesthetics of the composition. Lin once compositions support the Chinese concept of the interdependence of form and a pioneer of modern Chinese painting, an art, reorganising Chinese art, harmonising Chinese and Western art, and creating said, "An artist who does not have passion like a raging fire will not paint well." emptiness. But his real concern was with the complex expressions of time and art for our own era," and on that basis, he established the National Academy of Only his habit of practicing and analysing every detail before putting brush to space resulting from his interweaving of light and colour. The interplay of inks artist who succeeded at realizing the ideal of Art (later renamed the National Hangzhou Academy of Art). As a pioneer and paper could produce the balanced strength of the lines in Seated Lady in the and guoache in Lin Fengmian's work mirror his lifetime of tireless integration a transitional figure between eras, Lin embodied in his own work the ideals he Garden, along with its fluid, precise forms and rich sense of colour. Expressive between Chinese and Western forms, sometimes clashing yet capable of being a fusion of Eastern and Western art. But his espoused regarding harmonising and merging Chinese and Western art. As a brushwork and soft, supple lines, melded with the techniques of Chinese harmonised, through which he discovered new regions of natural beauty. theorist, an educator, and an enlightened instructor guiding Chinese modern traditional painting and calligraphy, advanced Chinese painting with modern, fusion of East and West was not a question art, he had far-reaching influence on later generations. For this spring sale, Poly Auction Hong Kong will present two well inherited works of Lin Fengmian: of technique, nor was it concerned with Seated Lady in the Garden (Lot 177), dating from the 1950s-60s, acquired from an important British private collection. The collector's father was a captain "I've loved getting close to nature ever since I was a boy. social outlook, but instead, took place at the who, when passing by Shanghai in 1965, purchased this work directly from the artist through a referral by the British Consulate. Village in Autumn (Lot 176), Trees, cliffs, and rivers can't speak, but I have so much feeling level of aesthetics. His fusion did not push from 1963, is a rare Lin Fengmian work with a literature record; its colour and composition are representative of the artist's early creative process, and is a truly for them that I just can't leave them. Regardless of the scene, Chinese painting into new stylistic areas, but remarkable piece in Lin Fengmian's repertoire The Crossing of Classically-Shaped Forms and Modern even things that look ordinary, such as a few trees on a plain, rather, expanded and enriched its aesthetic Spatial Deconstruction The cornerstones of Lin's motivation to blend Eastern and Western art were his several small buildings, a river, a ditch full of water next to a possibilities. No other contemporary allegiance to traditional culture, and his ability to absorb elements from Western modern art. Influenced by the spatial concepts of the Cubists, he drew on the railway, which might have waterweeds or lotuses in it-I will work of Picasso, Matisse, and Braque as a starting point from which to seek a painter has opened up such diverse aesthetic 亨利．盧梭《林中散步的婦人》1905年作 美國 new kind of Chinese painting. Indications of Lin's analytical Cubism can be found 費城 巴恩斯基金會藏 never tire of any of these things." in the square and circular forms seen throughout Seated Lady in the Garden, as Henri Rousseau, Femme se promenant dans une territories with his individual creativity. the artist breaks forms into overlapping geometric shapes. From the dynamism forêt exotique, 1905, Collection of The Barnes Foundation, Philadelphia, USA - Lin Fengmian - Shui Tianzhong, art critic

220 poly auction hong kong Modern and Contemporary Art 221 176

LIN FENGMIAN (CHINESE, 1900-1991) Village in Autumn 林風眠 山居秋色

Painted in 1963 1963 年作 ink and colour on paper 水墨 設色 紙本 67.5 x 68.4 cm. (26 1/2 x 27 in.) 款識：林風眠（右下） signed in Chinese (lower right) 鈐印：林風瞑印 one seal of the artist 來源 Provenance 亞洲 私人收藏 Private Collection, Asia 出版 Literature 《中國現代主義繪畫的先驅者：林風眠》加拿大亞太國際藝術顧問有限公司 Leader of Chinese Modernism Art: Lin Fengmian, Asia Pacific Art Promotions Ltd., 台北 台灣 1999年（圖版，第258及296頁） Taipei, Taiwan, 1999 (illustrated, pp. 258 & 296).

HK$ 1,500,000 - 2,500,000 US$ 192,300 - 320,500

222 poly auction hong kong Modern and Contemporary Art 223 177

LIN FENGMIAN (CHINESE, 1900-1991) Seated Lady in the Garden 林風眠 花園中靜坐的仕女

Painted circa 1950-1960s 約 1950-1960 年代作 ink and colour on paper 水墨 設色 紙本 69.5 x 66.5 cm. (27 1/4 x 26 in.) 款識：林風眠（左下） signed in Chinese (lower left) 鈐印：林風眠印 one seal of artist 來源 Provenance 英國 私人收藏（1965年原藏者之父母於上海直接得自於藝術家） Private Collection, UK (acquired directly from the artist by the parents of owner in 佳士得 香港 2013年11月24日 編號103 Shanghai, 1965) 現藏者購自上述拍賣 Christie's Hong Kong, 24 November 2013, Lot 103 Acquired from the above sale by the present owner

HK$ 2,200,000 - 3,200,000 US$ 282,100 - 410,300

中國 安西 榆林窟 第15窟 唐代 飛天 Figure of Flying Apsara, Tang dynasty, Cave 15, Yulin Caves, Anxi, China

224 poly auction hong kong Modern and Contemporary Art 225 風箏不斷線 UNBROKEN LINE 178 〇 WU GUANZHONG (CHINESE, 1919-2010) Black Pines 吳冠中 黑松

Painted in 1992 1992 年作 oil on canvas 油彩 畫布 73.1 x 60.1 cm. (28 3/4 x 23 3/4 in.) 款識：荼 九二（右下） signed and dated in Chinese (lower right) 展覽 Exhibited 1993年11月20日-1994年1月2日「吳冠中水墨新作、油畫及素描展」塞努奇 France, Paris, Musée Cernuschi, Recent Ink & Brush Works, Oil Paintings and 博物館 巴黎 法國 Sketches by Wu Guanzhong, 20 November, 1993-2 January, 1994. 出版 Literature 《吳冠中92' 新作選》一畫廊 香港 中國 1992年（圖版，第24頁） Recent Works by Wu Guanzhong 92', Yan Gallery, Hong Kong, China, 1992 《吳冠中水墨新作，油畫及素描》塞努奇藝術博物館 巴黎 法國；藝達作坊 (illustrated, p. 24). 新加坡 1993年（圖版，第91頁） Contemporary Chinese Artist - Recent Ink & Brush Works, Oil Paintings and Sketches by 《中國近現代名家畫集—吳冠中》錦繡文化企業 台北 台灣；人民美術出版 Wu Guanzhong, Musée Cernuschi, Paris, France; L'Atelier Productions, Singapore, 社 北京 中國 1994年（圖版，第172頁） 1993 (illustrated, p. 91). 《吳冠中精品選集》藝達作坊 新加坡 1996年（圖版，第97頁） Chinese Modern and Contemporary Master-Wu Guanzhong, Chin Hsiu Cultural 《生命的風景：吳冠中藝術專集 III卷》生活．讀書．新知 三聯書店 北京 Enterprises, Taipei, Taiwan; & People's Fine Arts Publishing House, Beijing, China, 中國 2003年（圖版，第29頁） 1994 (illustrated, p. 172). 《吳冠中作品收藏集I》人民美術出版社 北京 中國 2003年（圖版， Wu Guanzhong-A Selection of 128 Fine Works, L'Atelier Productions, Singapore, 第170-171頁） 1996 (illustrated, p. 97). 《吳冠中全集—第四卷》湖南美術出版社 長沙 中國 2007年（圖版， The Landscape of Life-Wu Guanzhong's Album In Art III, SDX Joint Publishing 第35頁） Company, Beijing, China, 2003 (illustrated, p. 29) Collected Works of Wu Guanzhong I, People's Fine Arts Publishing House, Beijing, China, 2003 (illustrated, pp. 170-171). The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 35).

HK$ 8,000,000 - 12,000,000 US$ 1,025,600 - 1,538,500

226 poly auction hong kong Modern and Contemporary Art 227 WU GUANZHONG 吳冠中 黑松

「從生活中來的素材和感受，被作者用減法、 除法或別的法，抽象成了某一藝術形式，但 仍須有一線聯繫著作品與生活中的源頭。風 箏不斷線才能把握觀眾與作品的交流。 」 ─吳冠中

「歲寒，然後知松柏之後凋也。」經冬不凋的松樹被稱之為「歲寒 三友」之一，其堅韌耐寒的品格受文人雅士們喜愛，認為是高尚氣 節與品質的象徵，歷來被文人墨客謳歌讚頌，抒發胸臆。而遒勁屹 立百年的老樹，長久以來對吳冠中都具有深刻的情懷，其中「色黝 黑，腰桿直」的松樹，其頂風傲雪堅挺不拔的風姿多次成為吳冠中 筆下的主角，《黑松》(Lot 178) 樹株傲然挺立的枝幹矗立於畫面 中心，樹梢以線段牽引成舞動的枝椏，張牙舞爪的盤踞畫面上方， 群聚成茂密的松林，錯落於林間五彩的小色塊，像是簇簇垂掛的松 針與松果，五彩斑斕交錯於一團墨黑之間。經由長期思考沉澱的視 覺演繹，《黑松》傲骨的軀幹不單體現松樹本質的特性，同時亦反 映藝術家對於人生的嚮往，驗證蒙德里安在《繪畫的新造型手段》 裡提到：「真正的抽象藝術家有意識地在美的情感中感覺到抽象 性。」吳冠中在繪畫與對景物描繪的過程中，吳冠中直抒胸臆寄托 自身強心鐵骨，獨立超然對藝術追求的執著。

吳冠中在《黑松》中著眼於強調形象特色的局部的特寫鏡頭造景， 緊緊捉住大自然的形態淋漓盡致展現其特徵。畫面中心是「亂立無 行次，高下亦不齊」前後錯落交織的四棵松樹，沿襲石濤於《苦 瓜和尚畫語錄》言：「吾寫松柏古槐古檜之法，如三五株，其勢似 英雄起舞，俯仰蹲立，蹁躚排宕。」對寫樹章法的探究。吳冠中不 折線條間，點與線的交錯和竄動，於大塊狀體積下，構成空間虛實 單重視每棵樹的體態性格，更著眼於樹群之間的呼應，生動有致參 交錯的鋪陳。《黑松》體現吳冠中經於物象的抽象概括後，把握色 差高下的排列，墨黑與灰色的線性結構，蘊含了樹枝轉折的變化動 點、線條與塊面的整體造型功能，回歸物體最為原始的幾何形狀， 勢，遊走的線條時而交纏時而分離，筆順間牽引無數隱含著東方書 在油彩創作中運用線條，將東方線條與西方塊面結合為獨特嶄新的 法筆墨裡的抑揚、頓挫的線條使畫面產生流動感的旋律空間，同時 形式語言，豐富的空間層次表達，達到他致力探索油畫民族化的創 也體現樹木的舞動性，使畫面充滿輕巧的節奏與韻律感。 作理念。

康丁斯基說：「線是點移動的軌跡，是點的結果，點的運動產生非 穩定，非封閉的點，從靜態跳到動態。」《黑松》繽紛而跳耀的細 碎紫、綠色塊在畫面中心四散，攀附於曲折的線條，最底層襯墊 著黑色塊狀樹林，進一步運用線條的流動性打破塊狀面積的沉重， 創造石濤所言；「黑團團里墨團團，黑墨團中天地寬。」《黑松》 以點、線、面的構成，建構一個多重層次的世界，在充滿動勢的曲 趙之謙《墨松圖》1872年作 中國 北京 故宮博物院藏 Zhao Zhiqian, Ink Pine, 1872, Collection of The Palace Museum, Beijing, China

Modern and Contemporary Art 229 WU GUANZHONG 吳冠中 BLACK PINES

2.

"Now the weather is cold, and we see that the pines powerful, and free." Wu's method of depicting and the cypresses hold the longest lifespan." Pines, trees involved stressing the posture and character which remain fresh through the hard cold winter, are of each individual tree, while also attending to the called by the Chinese as one of the "Three Friends interactions between them, vividly depicting the of Winter " (namingly pines, bamboo, plums), and jagged unevenness in their heights. Wu's structure were loved by the literati for their ability to endure of black and grey lines conveys the twisting, turning cold weather. Taking them as symbols of noble dynamic of their trunks, while the wandering character and integrity, they became a symbol lines sometimes weave together and sometimes through which literati used in expressing their (similar) separate. His lines, in their pauses and turns, move quality in personality. Such tough trees also had in cadences similar to those of Eastern calligraphy to deep appeal for Wu Guanzhong, who made pines, produce a flowing, melodic feel, while embodying with their "darker colours and straight trunks" the the dancing movement of the trunks. The result fills subject of many paintings in which he portrayed his composition with a sense of graceful rhythm and their strong, unyielding character. In Black Pines (Lot harmonious motion. 178), the proudly erect trunks stand at the center of the painting, as finer lines lead outward towards According to Kandinsky, "the geometric line is the the gracefully dancing tips of their branches that track made by a moving point; that is, its product. It occupy the upper and outer segments of the work. is here that the leap from static to dynamic occurs." This dense clump of pines, set in the midst of the Scattered, ragged fragments of green and purple small blocks of colour representing the colourful colour spread through the center of Black Pines. The forest and the sets of hanging pine cones and winding lines climb along the trunk, supporting at the needles, are themselves set against a darker black bottom the black forms of the trees, while in other background. After a long period of considering his cases the flowing quality of coloured lines breaks visual interpretation of these trees, the proud trunks through the heaviness of the dark blocks of colour. As of Wu's Black Pines not only embody the essential Shi Tao said, "Within the blocks of black are deeper, character of the trees themselves; they also reflect inky blocks, and within these black, inky blocks, Lot 178 1. the artist's own aspirations towards life, testifying heaven and earth spread out in all their breadth." The to what Mondrian once said, in "Neo-Plasticism in points, lines, and planes that structure Black Pines Pictorial Art", that "A real abstract artist consciously create a multi-layered world. The dynamically curving feels abstraction in his emotion upon beauty." In his lines, the interlacing of points and lines within these depiction of subjects, Wu Guanzhong directly poured large volumes and masses, produce an interwoven out his deepest feelings, projecting into his paintings presentation of positive and negative spaces. Black "Artists can extract materials and feelings from daily life into a certain art through reduction, or his own strength and his lofty, independent pursuit of Pines embodies Wu Guanzhong's brilliance in what he thought to be the best in art. presenting abstract, generalized objects and his grasp elimination, or other methods. But there still has to be a thread that connects the piece of art of the functions of points, lines, and planes in the In Black Pines, Wu Guanzhong focus on a close-up overall modeling of the work. He returns to the most work with their origins in daily life. The connection between the spirit of work and feelings of partial view, capturing the natural features of the fundamental geometric shapes of objects, and within 1. 石濤《採菊圖》（局部）1672年作 中國 scene incisively. At the center of the painting, four the oil medium, employs lines to unite Eastern linear 北京 故宮博物院藏 pines intertwine and "stand in random disorder, characteristics with Western colour blocks, creating a the audience should be like a kite with an unbroken string." Shi Tao, Chrysanthemum (detail), 1672, Collection of The Palace Museum, Beijing, China and uneven in height as well." As Shi Tao wrote in unique and new formal language. His rich expression Monk Bitter Gourd's Analects on Painting, "When of spatial layering achieves the creative goals for - Wu Guanzhong 2. 古斯塔夫．克林姆《白樺樹1》1903年作 德 I paint pines and cypresses, or the scholar tree or which he strove, to promote nationalistion of oil 國 德累斯頓 德累斯頓國家藝術館藏 Gustav Klimt, Beech Forest I, 1903, Collection of juniper, I take three or five; in their poses they stride painting in China. Staatliche Kunstsammlung Dresden, Dresden, like heroes, rising above or crouching down, bold, Germany

230 poly auction hong kong Modern and Contemporary Art 231 風箏不斷線 UNBROKEN LINE 179

WU GUANZHONG (CHINESE, 1919-2010) Pondside Households (Hometown) 吳冠中 池塘人家（故鄉）

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1996 1996 年作 oil on board 油彩 木板 61.4 x 46 cm. (24 1/4 x 18 in.) 款識：荼96（左下）；故鄉吳冠中1996（畫背） signed in Chinese; dated '96' (lower left); titled and signed in Chinese; dated '1996' (on the reverse) 來源 保利 香港 2013年10月6日 編號 14 Provenance 現藏者購自上述拍賣 Poly Auction Hong Kong, 6 October 2013, Lot 14 Acquired from the above sale by the present owner 出版 《吳冠中全集─第四卷》湖南美術出版社 長沙 中國 2007年（圖版， Literature 第167頁） The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 167).

HK$ 7,000,000 - 10,000,000 US$ 897,400 - 1,282,100

232 poly auction hong kong Modern and Contemporary Art 233 WU GUANZHONG 吳冠中 池塘人家（故鄉）

「自從塞尚覺察物象均可分析其幾何形體的基本構成，到布 拉克突出塊面組建畫面，繪畫展示了塊面在表現中的魅力。 中國傳統繪畫的法寶是線和點渲染也只是線和點的侍從。學 西方法畫，入手便離不開塊面之運用。我畫過大量江南題材 的油畫，在白牆黑瓦的塊面間搏鬥，在桃柳飄搖的線之穿插 中徬徨。泊來的立體塊面，祖傳的筆墨點線，都不曾奴我， 卻為我奴役了。」 —吳冠中

水鄉撫育吳冠中的童年，因此成年後他跑遍江 舍、黑色屋簷與白色牆面，以簡約的幾何形狀 南的村鎮，以此景致追求他對於形式美的嚮 造型，運用塞尚幾何形體分析的理論，利用交 往。「當我嚴格、準確地畫下對象，便失去屋 錯的塊狀和層次關係創造空間深度。吳冠中曾 宇參差，錯綜複雜之人家密集感。於是須緊 評論塞尚：「用錐形、圓形、球體等幾何形因 張地捕獲黑、白塊面之跳躍，大塊小塊之對 素建造形象，像結晶體一般組成堅實的體。他 照與呼應，紅、綠色彩之分布，點、線之鑲 運用色彩的冷暖轉折造型，完全拋棄了靠明暗 保羅．塞尚《加爾達納》1886年作 美國 紐約 大都會藝術博物館藏 嵌……。」《池塘人家（故鄉）》(Lot179) 便 渲染的古老手法。」《池塘人家（故鄉）》表 Paul Cézanne, Gardanne, 1886, Collection of 是這段話的具體寫照。畫面中鄰水人家的屋 現吳冠中成功的將西方繪畫的塊面構成，轉介 The Metropolitan Museum of Art, New York, USA

Modern and Contemporary Art 235 PONDSIDE HOUSE- 吳冠中 HOLDS (HOMETOWN)

"The charm of colour blocks has been apparent ever since Paul Cézanne sensed that objects could be analysed in terms of constituent geometric structures, and Georges Braque began using colour blocks to construct images. The magic of traditional Chinese painting has always been found in its lines and points, and even colour-wash 1. 2. techniques are just their subsidiary. But in Western painting, everything begins with 至對江南水鄉的東方情思描寫，以西方現代主義對於物象的分析和解 而是運用景物的不同穿透性構成均稱而靈活的幾何結構美感，相較 構，轉化為作者主觀情感與自然的相互交融。 過去畫面更顯得活潑。吳冠中曾於《百代宗師一僧人—談石濤藝 colour blocks. In my many oil paintings of 術》談論過對石濤創作的感想，「山石林木間有幾間大大的房屋， the Jiangnan region, I struggled with the 1974年吳冠中開始嘗試水墨創作，80年代水墨技巧逐漸臻熟，水墨 不僅為了點綴屋子有人在享閑居之樂，更關鍵的著眼點在於，房屋 中的寫意因子逐漸滲透至以油彩為媒材的表現之中，而90年代的作品 的塊面之形與山石林木的線組織間的對照與變化，共同構成了新穎 blocks of white walls and black roofs, and I 簡潔、概括的寫意傾向就更加鮮明。《池塘人家（故鄉）》簡化了風 多樣的畫面。」他認為石濤活潑的構圖，將大自然繪寫成一幅幅具 景的寫實細節，「其中白牆、黑瓦、黑門窗之間的各式各樣的、疏密 有獨自個性的肖像畫，此段評論不僅是對石濤的讚賞，同時也是吳 hesitated over the lines of swaying willows. 相間的黑白幾何形，構成了具有迷人魅力的形式美。」吳冠中逐漸脫 冠中秉持的創作理念，他以中國傳統山水的元素，在構圖上援用靈 I've never been a slave to neither the colour 離物象外觀的刻畫，轉向反映構成美的內在因素與條件，突出風景蘊 活的形式，呈現自然風景「可游可居」景觀，重現了中國傳統文化 藏的幾何抽象美感，注意畫面韻律、意境、精神感悟，體現中國的傳 所追求，人與自然契合無間、「天人合一」的美好願景。 blocks I borrow from the West, nor the 統山水畫強調藝術家的自我主觀，以寫意的自然景致，反射藝術家情 感粹煉的凝聚，在自然景觀的客觀重現下，注入東方山水寫意情境， Chinese dots and lines I've inherited. Instead 體現90年代吳冠中穿梭於油畫與水墨兩種媒材，在西方與中國兩種美 學體系互相牽引與追尋，「水陸兼程」的絕佳範例。 they are slaves in the labour of my art."

90年代吳冠中對《石濤畫語錄》熟讀精通後，將石濤尊奉為「現 - Wu Guanzhong 代繪畫之父」，對於「古人之鬚眉不能長我之眉目」，反對承襲前 人的囿限，必須創造自己的繪畫語言，貫徹於吳冠中往後的創作理 念。其中石濤對繪畫構圖的方式，深刻影響吳冠中90年代後構圖 思維，他反對程式化的山水結構因而提出：「分疆三疊兩段，偏要 突手作用，才見筆力，即入千峰萬壑，俱無俗跡。」石濤認為不可

拘泥於三疊兩段的章法中，必須要敢於突破，不落俗套，靈活運用 1. 保羅．塞尚《普羅旺斯的房子：愛思塔克的附近的里亞爾山谷》約1883 地、樹、山三者，從而構成主中有賓，賓中有主的豐富結構。《池 年作 美國 華盛頓特區 國家畫廊藏 Paul Cézanne, Houses in Provence: The Riaux Valley near L'Estaque, c. 1883, 塘人家（故鄉）》依傍山巒的樓房，臨水而建，屋舍的倒影依稀， Collec-tion of National Gallery of Art, Washington, D.C., USA

湖水映照出波光粼粼的倒影，虛實交錯，於是空間便出現一種跳躍 2. 夏圭《溪山清遠圖》（局部）南宋 台灣 台北 國立故宮博物院藏 Xia Gui, Remote View of Streams and Hills (detail), Southern Song, Collection 變化的節奏感，畫面的層次復迭，不單只是強調單一主體的型態， of the National Palace Museum, Taipei, Taiwan

236 poly auction hong kong folds, two sections" concept of dividing a landscape; he believed you must have the courage to innovate, to be unconventional, to make imaginative use of land, forests, and mountains, in order to create a rich composition with main and subsidiary points of interest. In Pondside Households (Hometown), multi- story dwellings are set against the mountains and built to the edge of the pond, their misty reflections appearing on its clear, gleaming surface. Clear forms mix with suggested outlines in a rhythmic pattern of change across the space of the painting; its various layers emphasise its single subject, while the penetration of the other scenic objects into the space creates a balanced and vivid geometric beauty, often with a livelier feel than Wu's earlier compositions. In 2. A Monk, A Great Scholar of a Hundred Generations- On the Art of Shi Tao, Wu Guanzhong discussed his feelings about Shi Tao's work: "Among the In the 1990s, having read and studied Shi Tao's mountains, rocks, and forest there are several large Discussions on Painting, Wu Guanzhong proclaimed dwellings, suggesting people within enjoying a life of Shi Tao "the father of modern painting." Shi Tao peace and quiet. But an even more interesting point opposed continuing to pass on the restrictive is the way in which the blocked-out forms of the rules of earlier eras, saying that "the beards and houses and the lines of the boulders and forests echo eyebrows of the ancients won't grow on my face." each other, and together, create a novel and varied The idea that an artist must create his own painting composition." Wu Guanzhong believed that Shi Tao's vocabulary became a part of Wu Guanzhong's lively compositions painted nature as a series of creative outlook. Shi Tao's ideas about composition portraits, each with their own individual character, influenced Wu's thinking on the subject in the '90s; and Wu's commentary, beyond praising Shi Tao's art, Lot 179 1. Shi Tao had opposed formulaic, structured depictions sets out the principles that Wu Guanzhong himself of landscapes, and said, "Dividing the border, three held. With elements of traditional Chinese landscape folds, two sections – you must simply extend your painting, the flexible forms of Wu's compositions Wu Guanzhong grew up in wateryown, and later, In 1974 Wu began experimenting with ink-wash hand and work, so you can see the energy of the present views of natural scenery in which one can as he roamed through Jiangnan, it was scenes painting, and as his impressionistic ink techniques brushstrokes, and eliminate whatever is common roam or one can live, reproducing the traditional from these villages that embodied his search for matured during the '80s, they began to find their and vulgar from your rows of mountain peaks and ideals of Chinese culture-a vision of man in harmony beauty of form in painting. "When I try to strictly, way into his works in the oil medium. By the 90s, valleys." Shi Tao did not believe in following the "three with nature. accurately paint what I see, I lose the uneven jumble the clean, simple, and abstract character of these of the houses and the complex patterns of people impressionistic techniques became ever clearer. In crowded altogether. Therefore I strain to capture Pondside Households (Hometown), Wu simplifies the the leaps of those blocks of white and black, the realistic elements of the painting's scenery: "Among echoes and resonances between the large blocks them, it was the various types of black and white and the small, and how to inlay the patterns of red geometrical shapes in the white walls and the black and green lines and points...." Wu's observations are doors, windows, and roofs, and their varied spacing, reflected in his Pondside Households (Hometown) that could produce that intensely appealing beauty (Lot 179), as he lays out the houses at the bank side, of form." He gradually departed from exact depiction the black rooftops and the white walls in simplified, of external details, turning instead toward reflecting geometrical forms. Using Cézanne's method of the inner factors that produce beauty, highlighting geometrical analysis, he employs overlapping blocks the hidden charm of geometrical abstraction within of colour and layering relationships to create spatial a scene. He brought out harmonious rhythms, depth. Wu Guanzhong once said of Cézanne that artistic conceptions, and awareness of spirit, "Building images from basic geometric elements embodying in his paintings the idea of the artist's such as cones, circles, and spheres, he formed solid personal, subjective view that was so important in objects with crystal-like structures. Shifting between traditional Chinese landscape painting. His freestyle warm and cool tones in his colours, he completely depictions of natural scenes reflect the artist's 1. 馬遠《梅石溪鳧圖》南宋 中國 北京 故宮博 does away with old methods that depended on light refined, concentrated emotions, and within his 物院藏 Ma Yuan, Plum Blossoms above Rocks and Wild and shadow." Pondside Households (Hometown), objective reproduction of these natural scenes, Ducks, Southern Song, Collections of The Palace a scene from the water villages of the Jiangnan Wu injects the impressionistic elements of Eastern Museum, Beijing, China region, shows how successfully Wu Guanzhong landscape painting. Wu once referred to himself as an 2. 王蒙《具區林屋圖》（局部）元代 台灣 introduced Western methods of structuring "amphibian" painter due to his equal facility with the 台北 國立故宮博物院藏 paintings with blocks of colour into the Eastern "watery" medium of inks and the more "dry" medium Wang Meng, Forest Chamber Grotto at Juqu (detail), Yuan dynasty, Collection of the National ambience and presentation of such a work. The of oils. Pondside Households (Hometown) perfectly Palace Museum, Taipei, Taiwan analysis and deconstruction of Western modernism embodies the artist's way of moving between the ink are transformed here into unification of the artist's and oil mediums in the '90s, and how both Western 3. 巴勃羅．畢卡索《山坡上的房子》1909年 作 德國 柏林 貝格魯恩博物館藏 subjective feelings with nature. and Chinese approaches influenced his work, making Pablo Picasso, Houses on the Hill, 1909, it a brilliant example of his dual approach. Collection of Berggruen Museum, Berlin, Germany 3.

238 poly auction hong kong Modern and Contemporary Art 239 風箏不斷線 UNBROKEN LINE 180

WU GUANZHONG (CHINESE, 1919-2010) Banyans and the Sea 吳冠中 榕樹與海

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 亞洲重要私人收藏

Painted in 1987 1987 年作 ink and colour on paper 水墨 設色 紙本 95.5 x 112.5 cm. (37 1/2 x 44 1/4 in.) 鈐印：冠中寫生、八十年代 two seals of the artist 展覽 Exhibited 1989年7月10日-8月19日「吳冠中—一個當代中國藝術家巡展」舊金山中華 USA, San Francisco, Chinese Culture Center of San Francisco, Wu Guanzhong: A 文化中心 舊金山 美國 Contemporary Chinese Artist, 10 July-19 August, 1989. 1989年9月24日-11月19日「吳冠中—一個當代中國藝術家巡展」伯明罕美術 USA, Birmingham, Birmingham Museum of Art, Wu Guanzhong: A Contemporary 館 伯明罕 美國 Chinese Artist, 24 September-19 November, 1989. 1990年1月21日-3月4日「吳冠中—一個當代中國藝術家巡展」斯賓塞美術館 USA, Kansas, Spencer Museum of Art, Wu Guanzhong: A Contemporary Chinese 堪薩斯 美國 Artist, 21 January-4 March, 1990. 1990年4月3日-5月29日「吳冠中—一個當代中國藝術家巡展」赫爾伯特． USA, Ithaca, Herbert F. Johnson Museum of Art, Wu Guanzhong: A Contemporary 強森美術館 伊薩卡 美國 Chinese Artist, 3 April-29 May, 1990. 1990年9月8日-11月4日「吳冠中—一個當代中國藝術家巡展」底特律美術館 USA, Detroit, Detroit Institute of Arts, Wu Guanzhong: A Contemporary Chinese 底特律 美國 Artist, 8 September-4 November, 1990. 1997年5月10日-7月13日「吳冠中畫展」國立歷史博物館 台北 台灣 Taiwan, Taipei, National Museum of History, Exhibition of Wu Guanzhong Paintings, 1997年7月19日-9月14日「吳冠中個展」山美術館 高雄 台灣 10 May-13 July, 1997. 2009年7月25日-9月13日「墨韻—中國當代水墨展」山藝術．北京林正藝術 Taiwan, Kaohsiung, Mountain Arts Museum, Exhibition of Wu Guanzhong Paintings, 空間 北京 中國 19 July-14 September, 1997. 2014年4月25日-5月25日「收藏有藝事」中正紀念堂 台北 台灣 China, Beijing, Mountain Art Foundation+Frank Lin Art Center, Rhythm of Ink, 25 July-13 September, 2009. 出版 Taiwan, Taipei, National Chiang Kai-shek Memorial Hall, The Joy of Collecting Art: 《吳冠中回顧展》香港藝術中心 香港 中國 1987年（圖版，第100圖， Lin Ming-Che's Art Collection, 25 April-25 May, 2014. 無頁碼） 《吳冠中畫展》舊金山中華文化基金會 舊金山 美國 1989年（圖版， Literature 第34圖，第105頁） Wu Guanzhong: A Retrospective, Hong Kong Arts Centre, Hong Kong, China, 1987 《吳冠中自選畫集》東方出版社 北京 中國 1992年（圖版，第96頁） (illustrated, plate 100, unpaginated). 《名家翰墨叢刊中國近代名家書畫全集21 吳冠中/故城》翰墨軒出版有限公 Wu Guanzhong: A Contemporary Chinese Artist, Chinese Culture Foundation of San 司 香港 中國 1997年（圖版，第84頁） Francisco, San Francisco, USA, 1989 (illustrated, plate 34, p. 105). 《吳冠中畫展圖錄》國立歷史博物館 台北 台灣 1997年（圖版，第77頁） Wu Guanzhong's Personal Selection of Paintings, The Oriental Press, Beijing, China, 《山藝術雜誌》No. 87 傑出文化出版有限公司 高雄 台灣 1997年（圖版， 1992 (illustrated, p. 96). 第73頁） Han Mo Series A21 Wu Guanzhong-Ancient City, Han Mo Xuan Publishing Co., Ltd., 《中國當代藝術選集1—吳冠中》山美術館 高雄 台灣 1997年（圖版， Hong Kong, China, 1997 (illustrated, p. 84). 第89頁及封底） Exhibition of Wu Guanzhong Paintings, National Museum of History, Taipei, Taiwan, 《生命的風景：吳冠中藝術專集 II卷》生活．讀書．新知 三聯書店 北京 1997 (illustrated, p. 77). 中國 2003年（圖版，第140-141頁） Mountain Art, No. 87, Outstanding Culture Publishing Co. Ltd., Kaohsiung, Taiwan, 《吳冠中全集—第六卷》湖南美術出版社 長沙 中國 2007年（圖版， 1997 (illustrated, p. 73). 第124頁） Works Selection of Chinese Contemporary Art I–Wu Guanzhong, Mountain Arts 《墨韻》山藝術．北京林正藝術空間 北京 中國 2009年（圖版，第145頁） Museum, Kaohsiung, Taiwan, 1997 (illustrated, p. 89 & back cover). 《收藏有藝事》藝術家出版社 台北 台灣 2014年（圖版，第214頁） The Landscape of Life - Wu Guanzhong's Album In Art II, SDX Joint Publishing Company, Beijing, China, 2003 (illustrated, pp.140-141) The Complete Works of Wu Guanzhong Vol. VI, Hunan Fine Arts Publishing House, Changsha, China, 2007 (illustrated, p. 124). Rhythm of Ink, Mountain Art Foundation+Frank Lin Art Center, Beijing, China, 2009 (illustrated, p. 145). The Joy of Collecting Art: Lin Ming-Che's Art Collection, Artist Publishing, Taipei, Taiwan, 2014 (illustrated, p. 214).

HK$ 6,000,000 - 10,000,000 US$ 769,200 - 1,282,100

240 poly auction hong kong WU GUANZHONG 吳冠中 榕樹與海

「六十年江湖生涯，老樹最是莫逆之 交。濱江的大榕樹，偏體垂掛著氣根， 蓬頭散髮，永葆婆娑風範。」

—吳冠中〈說樹〉 2.

「國畫也好，西畫也好，學著學著，我越來 越發現它們之間藝術規律的共同性。於是， 我想建造一座橋，是東方和西方，人民和專 家，具象和抽象之間的橋。」 1. —吳冠中

創作於1987年《榕樹與海》(Lot 180) 取材於 作的主要手段，數量和質量頗有壓倒油畫之 吳冠中熟悉的老樹，聳立於岸邊的大榕樹。多 趨勢……四十餘年的油畫功力倒做了水墨畫 角度的取景，源自於寫生多年來的習慣，藝術 的墊腳石。」歷經十多年的不斷演繹，創 家試圖以不同切入點描繪各局部的精彩，營造 作於1980年代末的《榕樹與海》可說體現 海》中枝幹與氣根交織曲線與直線之間複雜的關係，充滿氣勢美感 一個充滿寫意的想像視野。從高處俯瞰巨石， 他此階段著重情感與畫面共鳴的情緒特徵， 的草書式運筆，飛舞流轉的墨線，呈現樹幹彎曲的姿態，以一揮而 提供觀賞彎曲木根攀附大石的視角，而水平直 如同〈風景寫生回憶〉中提到：「我作風景 就的速度，施加錯落其間從天而降的直線，吳冠中刻意局部取景強 視無法一眼望盡的枝幹延伸觀者對大樹的想 畫往往是先有形式，先發現具形象特色的對 調曲線與直線相互交織後空間的秩序，《榕樹與海》恰如其分運筆 像。在構圖方面《榕樹與海》以局部近景參天 象，再考慮其在特定環境中的意境。」《榕 融合書法中筆畫間的節奏與韻律，體現明代書法家趙宧光於《寒山 大樹矗立正中央，向四周伸展枝幹，與垂掛的 樹與海》連續曲折的樹枝與從天而降的氣根 帚談》所言：「 直則剛，曲則柔，折則剛，轉則柔。」《榕樹與 氣根交織遠處波光粼粼的海面，吳冠中刻意以 線段，為藝術家受景物激發靈感所展現的張 海》大面積扭轉的線條穿行畫面的主幹表現曲線之媚柔，而右上半 緊張的節奏鋪成近景的空間，密實的水波紋隨 力表現，而碩大塊狀的巨石盤踞於畫面的底 小區塊強勁有力垂掛的細根掌握陽剛之氣，曲與直之間的和諧分 空間的過渡逐漸紓緩開，一方面營造遼闊的海 部顯其厚實，四散的彩點點綴其間，吳冠中 寸，如同剛與柔調節，使畫面產生均衡的整體美感。正如吳冠中於 岸線，一方面前實後虛與疏密相間的構圖，增 拆解真實「形體」的枷鎖，以點、線、面的 〈曲〉中說：「繪畫中離不開曲線和直線，但毋需曲線板和三角 加畫面強烈的層次性。無論是多重角度的取景 元素重構山水風景，昇華生活場景中具體形 板，因那曲線和直線並非絕對意義上的曲與直，而彼此間有著相互 或虛實交錯的構圖，體現吳冠中80年代從油 象，強調形式元素，展現線條、結構之間的 滲透的微妙關係。……書法寫一橫，一波三折，繪畫中的直線有時 畫轉向水墨發展後，對於線性表現嫻熟的掌握 純粹，將主觀情感與客觀風景聯繫，捕捉形 仿屋漏之痕，屈曲伸延。柔中有剛，曲線綿延中隱隱受控於橫直線 能力，堪稱此時期代表作。 象表達意境，預示90年代下一個階段的抽象 的秩序，否則易流於油滑。大師、工匠、民間藝人，在創造美感中 風格表現。 對把握曲直之間的分寸，心有靈犀一點通，這個分寸確實成為美醜 1970 年代晚期在油畫創作之餘，吳冠中開 的分界線。」 1. 李成、王曉《讀碑窠石圖》北宋 日本 大阪 始專研水墨畫，面對歷代傳承下的傳統思 吳冠中〈老樹〉：「我愛老樹，不是為了珍 大阪市立美術館藏 Li Cheng and Wang Xiao, Reading The Memorial 維，他以創新的筆法與表現形式，擺脫筆墨 視它的年輪，說穿了是愛其形象蒼勁之美。 《榕樹與海》畫面便充份表現了老樹靈動的神韻，吳冠中從構圖、 Stele, Northern Song, Collection of Osaka City Museum of Fine Arts, Osaka, Japan 的限制與墨守陳規的構圖，以半抽象的手法 我跑到海南島、鼓浪嶼、西雙版納、南寧尋 形式與線條呈現東方風景的蘊含寫意韻律，以簡約的線條，含括 萃取風景中描繪對象的本質，在陸路行走多 找大榕樹，那虬曲的軀幹，層層垂掛的氣 海、石、樹三者間充滿動勢曲折姿態，打造一種跌宕起伏的節奏和 2. 傑克遜．波洛克《第23號》1948年作 英國 倫敦 泰特現代美術館藏 年的積澱下，轉乘水路，使其藝術生涯進入 根，可以讓寫實的畫家無窮無盡的探索，可 韻律感，將其感知淬鍊為對景物的半抽象表達，在東方與境中表現 Jackson Pollock, Number 23, 1948, Collection of Tate Modern, London, UK 階段性高峰時期，「80年代水墨成了我創 以予抽象派繪畫以不盡的啟發。」《榕樹與 西方抽象藝術的形式語言，實現藝術家「中國畫現化代」理念。 WU GUANZHONG 吳冠中 BANYANS AND THE SEA

1. 2.

Breaking free from traditional restrictions and tree rings but, speak in truth, because I love their Instead, they subtly become part of each other....A outmoded styles of composition, he captured the rough, yet beautiful appearance. I went to Hainan, horizontal calligraphy stroke may have its own essence of natural scenes in a semi-abstract style. Kulangsu, Xishuangbanna, and Nanning, looking for twists and turns, and a straight line in a painting After the accumulated experience of his overland these old Banyan trees. A realist painter can explore may sometimes be like the stains from a leaky roof, travels through the years, a fresh focus on China's those twisting trunks and the layers of aerial roots crooked but extending into a straight line. There is waterways brought his art to a new level: "Ink- forever, and painters of the abstract schools can find strength in softness, and a curved line, as it extends, wash became my principal medium in the 80s. My great inspiration too." must subtly conform to the order of a horizontal ink works were overtaking my oils, both in terms stroke if it is not to become too uncontrolled. of quantity and quality....My more than 40 years of In the twisting trunks and branches of Wu's banyans, Whether you're a great master, a craftsman, or a folk Lot 180 Lot 178 work in the oil medium, in fact, became a stepping- in the vertical reach of their aerial roots, and in the artist, you have to have the same aesthetic mentality stone toward my ink works." Having refined his complex relationships of their straight and curving with regard to the right degree of control over curved ink painting style over the previous decade, Wu lines, Wu Guanzhong employs brushwork with all the lines. Getting it right marks the dividing line between Guanzhong's Banyans and the Sea portrays a unique energy and beauty of Chinese cursive calligraphy. His beauty and ugliness." style of his work during this period, where emotion black lines float and soar as he outlines the twisting The subject of Banyans and the Sea (Lot 180), which dates from 1987, presents resonates with the pictorial space. As he wrote in posture of the trees in decisive strokes. In choosing to Banyans and the Sea conveys the otherworldly grace "Old trees have been some of my best friends a grand example of this species with which Wu Guanzhong was so familiar. Wu's "Memories of Painting Nature from Life", "Painting depict the straight lines that drop down from above, of these old trees as Wu's composition, with his custom, after many years of painting from life, was to depict a scene from several natural scenes, I typically first find a form; I discover Wu Guanzhong is deliberately emphasizing the spatial forms and lines, displays the Eastern ideal of scenic during my 60-year career as an artist who is different angles, presenting details in an eye-catching manner and creating elements that serve as images, and then I consider an effects created by the interweaving of those straight painting with its rhythmic, impressionistic character. imaginative visions full of lyrical feeling. In Banyans and the Sea, the viewer looks overall concept that fits that specific environment." lines with the more curved ones. Banyans and the He captures in his simplified lines the sense of always wandering around. Great banyans down on a great boulder from an elevated vantage point, so as to take in the The lines of the twisting, stretching trunks and Sea also conveys the rhythms and the pleasing writhing and twisting movement in the sea, rocks, curved roots climbing across its surface; such a view holds greater appeal for the branches and the downward-shooting roots embody proportions of calligraphic brushstrokes, embodying and trees, and the free, natural undulations of their at the riverside lean over me and send out imagination than would a direct horizontal view that lacks the full sweep of the the dramatic tension that inspired Wu to paint this the words of the Ming dynasty calligrapher Zhao forms. As Wu refines and melds his perceptions into trunk and branches. The composition of Banyans and the Sea is based on close- scene. The blocky, massive form of the great boulder Yiguang, who wrote in Han Shan Zhou Tan that "The this semi-abstract depiction, the Western vocabulary their aerial roots, as their rich and disheveled up views of this towering tree, centrally placed on the canvas, while its branches occupies the bottom of the composition, while dots straight line is strong, and the curved one soft; the of abstract forms expressed in it are a realization of span outward and its aerial roots weave their way above the rippling surface of coloured ink spread across its surface. Wu bursts broken line is strong, and the bending line is again the artist's concept of "the modernisation of Chinese of the sea. Wu deliberately laid out the foreground in tight, compact rhythms. apart the fetters of actual forms, reconstructing soft." Much of the painting's space is occupied by the painting". foliage sways above me." Closely packed wavelets on the ocean gradually spread out with distance to his landscape scenes using dots, lines, and planes, twisting lines that run through the trunks of the trees, create the sense of a broad shoreline, while the contrasting densities of the solid sublimating concrete images from everyday scenes expressing the softness of curved lines. The smaller - Wu Guanzhong, "Trees" foreground and the vague, rippling ocean depict further layering. Wu's multi- into something entirely new. By emphasizing the areas with the straight lines of the fine, tough hanging roots express a more masculine atmosphere. The 1. 皮耶．蒙德里安《灰色的樹》1911年作 faceted composition, his mix of forms and empty space, display the proficient, formal elements and conveying the purity of lines 荷蘭 海牙 海牙市立美術館藏 expressive way with lines he had developed by the time he turned from oils to and structures, Wu connects subjective feelings to straight and the curved are harmonised, achieving Piet Mondrian, Gray Tree, 1911, Collection the ink medium in the 80s, making Banyans and the Sea a strong representative objective landscape scenes. He captures images a pleasing, beautiful balance between strength and of Gemeentemuseum den Haag, Hague, Netherlands work from this period. and develops a unique conception that anticipates softness. As Wu Guanzhong wrote in "Curvature", abstraction in his next stylistic phase in the 90s. "Painting will always be constructed by curved and 2. 趙佶《草書千字文》（局部）宋代 中國 Apart from executing oil paintings in the 1970s, Wu Guanzhong also began straight lines, but you don't need a triangle or a 瀋陽 遼寧省博物館藏 Zhao Ji, Thousand-character Essay in Cursive experimenting with the ink medium. Confronting the long, inherited tradition In "Old Trees", Wu Guanzhong wrote, "I love old French curve tool to make them, because none Script (detail), Song dynasty, Collection of of ink painting, he created innovative brushwork styles and forms of expression. trees, not because I place value on the number of of them fit the exact curving of curved or straight. Liaoning Provincial Museum, Shenyang, China

246 poly auction hong kong Modern and Contemporary Art 247 風箏不斷線 UNBROKEN LINE 181 〇 WU GUANZHONG (CHINESE, 1919-2010) Guilin 吳冠中 桂林

Painted 1977-1996 1977-1996 年作 oil on board (diptych) 油彩 木板（雙聯作） each: 42.5 x 44 cm. (16 3/4 x 17 1/4 in.) 款識：荼 96（左下）；桂林 吳冠中 1977-96（畫背） overall: 42.5 x 88 cm. (16 3/4 x 34 3/4 in.) signed in Chinese; dated '96' (lower left); titled and signed in Chinese; dated 展覽 '1977-96' (on the reverse) 1999年「一九九九年吳冠中藝術展」中國美術館 北京 中國

Exhibited 出版 China, Beijing, National Art Museum of China, 1999 Wu Guanzhong Art Exhibition, 《吳冠中藝術展作品集》廣西美術出版社 南寧 中國 1999年（圖版， 1999. 第122-123頁） 《畫外話—吳冠中卷》人民文學出版社 北京 中國 1999年（圖版， Literature 第31-32頁） Wu Guanzhong Exhibition Catalogue, Guangxi Fine Arts Publishing House, Nanning, 《吳冠中—山水屐痕》廣西美術出版社 南寧 中國 2003年（圖版， China, 1999 (illustrated, pp. 122-123). 第85頁） The Dialogues Outside of the Paintings-Wu Guanzhong, People's Literature 《吳冠中作品收藏集I》人民美術出版社 北京 中國 2003年（圖版， Publishing House, Beijing, China, 1999 (illustrated, pp. 31-32). 第228-229頁） Wu Guanzhong-Shan Shui Ji Hen, Guangxi Fine Arts Publishing House, Nanning, 《文心獨白》山東畫報出版社 濟南 中國 2006年（圖版，第223頁） China, 2003 (illustrated, p. 85). 《吳冠中全集—第四卷》湖南美術出版社 長沙 中國 2007年（圖版， Wu Guanzhong Connosseurs' Choice I, People's Fine Arts Publishing House, Beijing, 第174-175頁） China, 2003 (illustrated, pp. 228-229). 《吳冠中文叢．文心畫眼》團結出版社 北京 中國 2008年（圖版， Wen Xin Du Bai (Written by Wu Guanzhong), Shandong Graphic Newspaper 第206頁） Publishing House, Jinan, China, 2006 (illustrated, p. 223). 《吳冠中畫集 下卷》江西美術出版社 南昌 中國 2008年（圖版， The Complete Works of Wu Guanzhong, Vol. IV, Hunan Fine Arts Publishing House, 第306-307頁） Changsha, China, 2007 (illustrated, pp. 174-175). 《看日出 吳冠中老師66封信的世界》中國建築工業出版社 北京 中國 Wu Guanzhong Book Series．Wen Xin Hua Yan, Tuan Jie Press, Beijing, China, 2008 2011年（圖版，第139頁） (illustrated, p. 206). Wu Guanzhong Painting Collection Vol.II, Jiangxi Fine Arts Publishing House, Nanchang, China, 2008 (illustrated, pp. 306-307). Watching Sunrise-Wu Guanzhong's World in 66 Letters, China Construction Industry Press, Beijing, China, 2011 (illustrated, p. 139).

HK$ 20,000,000 - 30,000,000 US$ 2,564,100 - 3,846,200

248 poly auction hong kong WU GUANZHONG 吳冠中 桂林

「爬上桂林疊彩山，秀麗江山盡收眼底， 看山前，看山後，層次分明，卻亦朦朧。 大山懷抱人家村落，藏鮮艷色塊於黑壓壓 的深谷中，景色宜人，風光入畫。但果真

要在畫幅中表現此江山勝景，導遊人探 1. 幽，則僅寫生某一角落只觀其一斑，不見

全豹。我一味想捕獲全豹，便前、後、 刪繁就簡，將複雜的事物歸納、錘煉成單純、素靜，提供觀者窺 象美感與中國美學精神的融合，同時代表他對風景描繪的提升和邁 吳冠中從70年代開始即對桂林反覆描寫，顯示了藝術家對於此景之 探藝術家經過陸續的風格轉折後對桂林景色的抒寫與感知。 進，也直接啟導後來的「風箏不斷線」理論與美學發展。 喜愛，《桂林》相較於早期作品明顯已經過藝術家去除不必要的寫 左、右、山上山下各種視角形象構建畫 生細節，轉化為更為精煉的形式元素組構，作為「桂林」系列的集 70年代基於寫生的創作方法，吳冠中的用色傾向大自然的真實重 《桂林》依山巒起伏的屋舍以塊狀造型交錯，色塊看似隨意率性的 大成，吳冠中在對於景物的取、捨、提煉和概括後，這不僅是西方 面，兩日之工專心於構建、繪寫，那是 現，翠綠的山林與村落間白牆黑瓦，是藝術家基於環境色彩的如 散落，實則嚴謹縝密的考慮，創造了明快躍動的畫面節奏，讓人想 現代主義對於物象的分析和解構，更是中國傳統山水畫中人在自然 實再現，然而隨著他對於寫生取材依賴的降低，吳冠中的用色逐 到後印象派的塞尚，而吳冠中表現群山峭拔和村落房屋體積量感 遊歷後，轉化為作者主觀情感與自然的相互交融，充分見證了吳冠 七十年代中期。 」 漸注入自我的想像，開始90年代對色彩視覺新的領悟。《桂林》 的手法又可見中國傳統畫裡面的點、染、皴、擦等豐富筆觸。墨綠 中二十年間創作風格的遞嬗，完整書寫他縱橫於油彩與水墨的突破 畫面中五彩繽紛的小屋，以天青、粉紅、鵝黃、赭紅濃麗的色調 與灰棕色彩主導著畫面，配合上 白、黃、紅、黑等不斷變化的色 與成就。 —吳冠中 的小點，錯落點綴於山谷間，豔麗不規則的小色塊，切割畫面成 塊，傳達出人文與自然景象交錯的生機盎然。吳冠中〈繪畫的形式 為細小的單位面積，看似隨性的排列，藉由明、暗、疏、密的空 美〉：「我常喜歡畫鱗次櫛比、密密麻麻的城市房屋或參差錯落的 間關係，暗藏嚴謹的空間結構，如同塞尚所認為：「線是不存在 稠密山村，美就美在鱗次櫛比和參差錯落。」《桂林》畫面中蘊含 的，明暗也不存在，存在色彩之間的對比。物象的體積是從色調 的色面層次及結構美感，造成了一種跌宕起伏的節奏和韻律感，營 準確的相互關係中表現出來。」《桂林》體現吳冠中此時對色彩 造了吳冠中所追尋「鱗次櫛比和參差錯落」的形式美。 配置與空間體積更嫻熟的掌握，透過色彩的對應、動態的筆觸， 1972年，吳冠中偕妻子去貴陽探望岳母，途經桂林時，便因美 調整顏色與位置以達均衡之美，形成如音符般時急時緩的旋律， 為表現具體物象的真實感，吳冠中早期經常使用「搬家寫生」嫁接 景邁不開腳步，停留在陽朔山寫生。爾後吳冠中數度來到桂林， 輕快層次律動感，一方面直觀的抒發吳冠中的心象風景與情緒感 不同視角的構圖，達到主觀世界與客觀世界碰撞的交集。70 年代 進行多次寫生采風，桂林的風光成為吳冠中的重要畫題，以不同 受，另一方面吳冠中借用西方的美學經驗，以色塊的對比關係， 「桂林」系列的構圖，多將畫面以「一層地、二層樹、三層山」的 媒材和風貌出現於藝術家不同階段的作品中，其中創作於1977- 營造畫面虛與實的相對空間，連結東方傳統哲學的宇宙觀，揭示 「三疊式」傳統架構。90年代吳冠中放棄現場寫生的習慣，一來因 1996年的《桂林》(Lot 181)，歷經二十年的歲月沉澱，橫跨吳 中西美學本質上相通的意涵。 為創作方式的改變，也因其長年對中國傳統 山水畫的鑽研，「我吸 冠中70年代專注於油畫，藉西方油畫色感表達中國情意的風景景 收的中國古畫中的構圖特色，就是取很多個景組成一個大場面，結 觀，實現「油畫民族化」的理想。至80年代由於開拓彩墨，使中 水墨畫寫意的因子伴隨吳冠中70年代開始的水墨創作，逐步的滲 合古畫與油畫的優點，使畫面呈現感人的形象、色彩與壯麗的空間 國水墨寫意情懷流淌於風景油畫創作，達到了「中國畫現代化」 透於油畫之中，日趨意象的風格引導藝術家半抽象表現的開端。 感。」90年代吳冠中創作一系列的俯視構圖，以環繞式場景展現雄 的突破。最終90年代則達到藝術家所說的「水陸兼程」，《桂 有別於早期對於景物細膩的刻畫，此時吳冠中轉向「肇自然之 偉的壯麗感。始於70年代的《桂林》採取雙聯形式，更見橫幅構圖 林》匯集藝術家經年累月的心血結晶，代表了吳冠中一生對中西 性，成造化之功。」追求明代徐渭於《書夏圭山林圖卷》題跋： 之開闊與宏偉氣勢，一方面保留早期創作中巍峨的叢山峻嶺，另一 美學探索所樹立的典範。 「觀夏圭此畫，蒼潔曠迥，令人舍形而悅影。」寫意不寫形的藝 方面隨著藝術家經年累月對桂林景致的掌握下，意圖變化與創新， 2. 術主張，屏棄了對具體事物客觀的描述，經過對於物象的抽象概 以散點透視進行佈局，三足鼎立的雄偉山勢，將由右下往左上斜傾 1977年吳冠中於寫生時完成《桂林》初稿，1996年重新改筆， 括後，把握色點、線條與塊面的整體造型功能。《桂林》幾何元 的村落環抱，中景呈現出貫穿前後的曲線，斜對角線的「之」字形 他曾於《畫眼》中提到：「90年代翻閱這幅《桂林江山》（即 素的組構中蘊含深刻的文化內涵，反映藝術家所言：「關鍵是要 構圖使繁密的景觀彷彿隨著右邊江面無限延伸，使得作品主體更為 《桂林》），明悟畫面過於囉嗦，破壞了整體腔調，於是重施刀 1. 屈鼎《夏山圖》宋代 美國 紐約 大都會博物館藏 分析對象的形式特點，突出其形式中的抽象的特點。『美』的因 突出，令人聯想到元代倪瓚「一河兩岸」的布局，景物由遠至近迎 筆，調整色彩，在減法中經營畫面，居然再現了20年前所探尋的 Qu Ding, Summer Mountains, Song dynasty, Collection of The Metropolitan 素和特色總潛藏在具象之中，要撥開具象中掩蓋了 『美』的蕪雜 面蜿蜒而來，引人入勝。 Museum of Art, New York, USA 桂林江山。 」90年代吳冠中在風景畫類的探索和技藝已經達到 部分，使觀眾驚喜美之顯露。」《桂林》見證了吳冠中在形式抽 2.埃貢．席勒《克魯姆洛夫風景》1910-1916年作 圓融成熟的新高度，此幅作品在70年代的寫生基礎上，在創作中 Egon Schiele, Landscape at Krumau, 1910-1916

Modern and Contemporary Art 253 WU GUANZHONG 吳冠中 GUILIN

Lot 181

"Climbing up Guilin's Die Cai Hill, I take in the beautiful panoramic view of the country before my eyes. The atmosphere is hazy, but the layers from the front to the back In 1972, Wu Guanzhong and his wife travelled to Guiyang to visit his mother- viewers are given a glimpse of how the artist, after undergoing a series of stylistic of the mountains are clear. The large mountain embraces the in-law. Passing through Guilin, they were stunned by the beauty of its scenery changes, later responded to this Guilin scene and gave it lyrical expression in this and could not resist staying to paint from life. Wu Guanzhong returned to Guilin painting. houses of the village, while blocks of bright color are hidden numerous times in the following years, frequently painting from life. Being portrayed with various media and styles throughout different stages of Wu's During the '70s, Wu Guanzhong's interest in painting from life meant that his within the darkness of the valley. This pleasing scenery is my lifetime, the landscape of Guilin has become an important subject of his work. colours tended to realistically reflect the actual colours of nature. Jade green Among of them, Guilin (Lot 181), dating from the 1977-1996, encapsulates forests, or the white walls and black tiles of the villages, were reproduced two decades ideas and thought. In the 19'70s, he focused on the oil medium, faithfully in terms of colour. As he came to rely less on painting from life, subject. But since I want to paint this great landscape, it's easy expressing scenic views with a Chinese sensibility by means of the colours however, his colour reflected a greater degree of personal imagination, leading of Western oils, in order to achieve "nationalization of oil painting." As he him toward new realizations about colour and visual effects in the '90s. The to get too remote, to just paint one small corner, to paint one developed his freehand with coloured inks in the '80s, freer flowing of the ink- colourful cottages in Guilin appear in small, dense spots of colour in azure, wash styles entered his landscape paintings in oil, achieving breakthroughs in pink, eider-down yellow, and red ochre that spread throughout the valley. spot rather than the whole leopard. But I'm definitely after the modernizing Chinese painting. Both his skills in ink and oil paintings have finally These rich, irregularly-shaped small colour blocks divide the pictorial space into reached a level of maturity in the '90s, becoming an "amphibian" painter, as he small units of area which seem randomly placed, yet their contrasting levels whole thing, so I construct my painting from images from all calls himself. Guilin is a summation of the artist's accumulated experience over of darkness, brightness, and density in spacing actually hide a rather rigorous those years, an emblematic work representing his lifetime of exploration in both spatial structure. Cézanne once pointed out that "Lines don't actually exist in around-left, right, mountaintop, valley, and various views-and Eastern and Western aesthetics. nature, and neither do contrasts of light and shadow. What exists are contrasts between colours. The weight and mass of objects is expressed through accurate Wu completed an initial draft of Guilin in 1977, painting from life, and in 1996, relationships between colours." Guilin exhibits Wu Guanzhong's highly proficient I spent two days of work just to construct this scene and paint he decided to tackle the painting again. In The Painter's Eye, he wrote, "In the grasp of colour relationships and spatial volume during this period. With his '90s I looked at this Guilin Mountains and Streams (now Guilin), and I clearly saw dynamic brushstrokes and the echoes between these colours, Wu's positioning it. That was during the mid-'70s." that the composition was too busy, which ruined the overall atmosphere. So I of colours achieves a wonderfully balanced beauty, like a melody that sometimes took out my brushes and palette knives and reworked the canvas by reducing pauses and other times surges ahead. The light, rhythmic movement of these - Wu Guanzhong the clutter, and surprisingly, the Guilin mountains and streams that I had been layers of colour show the artist, on the one hand, giving voice to his intuitive, exploring 20 years earlier reappeared." By the '90s, Wu's technical ability and his mental imagery and his emotional reaction. In another respect, we also see him exploration of the landscape genre had already brought him to a new level of using his knowledge of Western aesthetics in his contrasting blocks of colour maturity and control, and beginning with this work, painted from life in the '70s, to create relationships that define positive and negative spaces. This in turn

李可染《灕江勝境圖》1977年作 he sought to find simplicity and eliminate its overly complex aspects. Complex connects to a traditional Chinese sense of cosmology, illustrating how certain Li Keran, Li River Landscape, 1977 objects were summarized, abstracted and refined into simple, quiet shapes; aesthetic meanings essentially belong to both East and West.

254 poly auction hong kong Modern and Contemporary Art 255 the way in which, in traditional Chinese landscape painting, the artist surveys a natural scene and then transforms it into a blend of subjective, personal emotion with the natural world. Guilin testifies to the progression of Wu Guanzhong's ideas over a 20-year period, a work fully revealing of all his breakthroughs and accomplishments, in both the oil and the ink-wash medium.

Lot 181

The lyrical elements of ink-wash painting accompanied carefully and meticulously considered, to create a Wu Guanzhong's work throughout the ''70s as he vivid and pulsating pictorial rhythm reminiscent of explored that medium, but gradually also penetrated the Post-Impressionist Cézanne. At the same time, into his oil works. His more imagistic style guided Wu Guanzhong's method of expressing the weight the artist towards the beginning of his semi-abstract and volume of the mountains, their height, and the expressions. By contrast with his earlier, detailed houses also reveals the kind of brushwork found depictions of scenic objects, Wu now turned toward in traditional Chinese paintings with their dots and the ancient idea of "Awaken the spirit within nature smears and their broken or rubbing strokes. Dark green and grey-brown dominate the picture, with to accomplish the work of creation." The Song painter 1. Xu Wei, in Notes on the Handscroll of Mountains constantly changing smaller blocks of white, yellow, and Streams by Xia Gui, noted that "Viewing this red, and black interspersed among them, conveying painting by Xia Gui, the skies are clean and open, and a bustling vitality in the mixture of humanity we abandon real forms and delight instead in their and nature. In "Beauty of Form in Painting", Wu the advantages of ancient landscapes and oil paintings, so that my paintings impressions." The notion of painting impressions Guanzhong wrote, "I often like to paint houses in a present moving images, colours, and a grand and beautiful space." Wu painted rather than forms means abandoning objective city, densely packed row on row, or the dense clusters a number of compositions during the '90s representing views from high vantage depictions of concrete objects, and by abstracting and of mountain villages. Their beauty lies exactly in that points, presenting grand, beautiful views that sweep all around the given scene. generalizing objects, to grasp the overall modeling of kind of uneven scattering." The composition of Guilin The Guilin began in the '70s is a diptych, spreading out with the openness and dots of colours, lines and blocks. The structuring of embodies just this kind of layered colour and beauty grandeur of a horizontal scroll painting. It preserves the sense of lofty mountain geometrical elements in Guilin hides a deep cultural of structure, creating free, rhythmic movement and ranges from earlier paintings, while reflecting his growing experience with the meaning, reflecting the ideas of the artist, "The key the beauty of form that Wu found in that "uneven scenes of Guilin and his intent to focus on change and innovation. Using a multi- lies in analyzing the special features of the forms that scattering." point perspective to lay out his composition, majestic mountains rise up in three you paint, and to highlight the abstract features of points, surrounded by the city that rises in a diagonal from lower right to upper their forms. The elements and features of 'beauty' are To capture a sense of realism in concrete objects, Wu left. The middle section shows a curved line running from front to back, the always beneath within figuration. You have to peel Guanzhong used what he called his "moving house" diagonal "z" shape composition seeming to extend, following the river, into the away those miscellaneous aspects of figuration that (depict from life) technique, in which he grafted far distance on the right, which by contrast further highlights the main subject of cover up the 'beauty,' and the viewer enjoys having it together compositions from different points of view, the painting. This approach recalls the Yuan dynasty painter Ni Zan and his "one revealed." Guilin testifies Wu Guanzhong's blend of until his subjective world intersects and mixes with river, two shorelines" approach, creating appealing compositions as the scenery the abstract beauty of form with the spirit of Chinese the objective one. Wu's series of Guilin compositions winds toward us from the distance along the river. aesthetics. At the same time, it represents a further from the '70s were based on the traditional "three- advance and elevation of his abilities in depicting layer" formulation of "land as base, trees on top, and The fact that Wu Guanzhong painted Guilin scenes so many times, beginning scenic landscapes, and it led directly toward the later final layer of mountains." During the '90s, Wu gave in the '70s, was a sign of his love for this scenery. Guilin shows that the artist, theories and aesthetic developments tied in with his up painting from life, partly because his creative style by contrast with his earlier paintings, eliminates unnecessary details of those notion that "a kite with an unbroken string." was changing, and partly because after so many years 1. 吳冠中《灕江之濱（一）》1977年作 painted-from-life scenes and producing an even more refined structure from of studying traditional Chinese landscape painting, "I Wu Guanzhong, By the Side of the Li River (I), 1977 the formal elements. As a great conclusion to his series of Guilin paintings, this The houses in Guilin follow the rise and fall of the had absorbed the essential features of composition 2. 倪瓚《容膝齋圖》元代 台灣 台北 國立故宮 painting shows Wu Guanzhong consciously selecting, rejecting, and then refining mountain, their blocks of colour seemingly about in ancient paintings, which is to combine a number 博物院藏 and abstracting the elements of the scene, an essentially Western, modernist Ni Zan, Rongxi Studio, Yuan dynasty, Collection randomly and casually. In fact they have been of smaller scenes into one grand scene. I combine of the National Palace Museum, Taipei, Taiwan approach to the analysis and deconstruction of a scene. It is also an example of 2.

256 poly auction hong kong Modern and Contemporary Art 257 182

HONG LING (CHINESE, B. 1955) Snowscape No.3 洪凌 穹雪之三

Painted in 2004 2004 年作 oil on canvas 油彩 畫布 250 x 150 cm. (98 1/2 x 59 in.) 款識：洪凌04.8（左中） signed in Chinese; dated '04.8' (middle left) 出版 Literature 《洪凌—山水精神》河北教育出版社 石家莊 中國 2006年（圖版， Hong Ling: Spirit of Landscape, Hebei Education Press, Shijiazhuang, China, 2006 第137頁） (illustrated, p. 137).

HK$ 750,000 - 1,200,000 US$ 96,200 - 153,800

Having received professional training, Hong Ling had adapted comprehensive techniques to paint. Though he was born in Beijing - the gigantic cultural and 洪凌與《穹雪之三》 Hong Ling with Snowscape No.3 social hub of China, his eager to escape from the secular lifestyle and and wish for a life of peace and solitude has never ceased. In 1992, Hong Ling left Beijing and arrived at the foot of Huangshan Mountain in southern Anhui. He spent 科班出身、接受過扎實學院訓練的洪凌，雖出生於大城市北京，內 several years building his own courtyard and settled there, cultivating his life 心卻渴望超脫世俗且嚮往寧靜。最終，洪凌於1992年離開北京，來 and art with mountains and rivers. As he stated, his ideal was to "Incorporate your whole life into a return to nature." At this time, Hong Ling's had gradually 到皖南黃山腳下，花費數年打造了自己的庭院，定居於此，以山水 formed his unique personal painting vocabulary and style. He had, using his 叢林滋養自己的生活及創作。正如他所說，「把自身的整體生命融 brushes, to depict the undulating mountain peaks under different weather and 入、回歸於自然。」此時，洪凌獨特的個人繪畫詞彙風格已逐漸形 seasons. When viewing his paintings from afar, there is a feeling of the majestic 成，筆下有起伏連綿不絕的山脈峻峰，也有因朝暉夕陰，四季變換 momentum of the mountains; and when comes closer up, the delicate changes in the forest trees, and the warm texture of the mist is revealed. Created in 2004, 而引起的風雨雲霧變化。遠觀其勢，有北方大山之雄渾氣勢，再近 Snowscape No.3 (Lot 182) utilizes the ingenious composition of "One Corner 看其質，可見山林樹木紋路的細膩變化，或流水霧氣的溫潤質感。 Ma" by Ma Yuan from the Southern Song. The picture has been divided into 《穹雪之三》(Lot 182) 創作於2004年，在構圖上沿用南宋馬遠「馬 two parts: the mountain forest in the foreground of the picture, and the area 一角」的巧思構圖。畫面被一分為二，畫面中山林被置於畫面前 of blankness in the upper section at the background to represent sky. Concepts of fullness and vacancy are utilised to expresses a sense of space and lush 景，上方則留出較大面積的空曠天色，一空一滿，以「留白」的手 poetry, incorporating upon the Chinese tradition of "blankness", and allowing 法表現遼遠的空間感及蔥鬱的詩意，給觀者留下無限遐思。藝術家 the viewer to delve into their limitless imaginations. The artist sketches the 以不同筆觸和肌理勾勒出山林的脈絡，再加之雪白素裹，天空的藍 veins of the mountains using different brushstrokes and textures, and the blue hues of the sky reflects upon the snow-covered ground. The mountain and the 色反射到地面，於是山林白色的雪景中也透出淡淡的藍色微光，與 white snow glow with a blue hint, resonating with the dark blue sky above, and 上方深藍的天空相互映襯，連綿蒼茫一片，使觀者彷彿沉浸於「萬 create a flowing endless sight. The vast sky invites viewers to be immersed in the 樹松蘿萬朵銀」的無窮天地之中，空靈而幽靜美好。 boundless ethereal and secluded world of "trees in full blossom of clouds".

258 poly auction hong kong Modern and Contemporary Art 259 「到2000年……我已經在黃山生活近10年了，其間對自然有了更多體 183 悟。比如油畫比較注重外在表達，水有倒影，山有遠近，樹有體積和投 SU XIAOBAI (CHINESE, B. 1949) 影。但中國哲學認為投影會隨時間、光線這些不固定因素變化，只是生 Kaogong 81 蘇笑柏 考工81 命流轉的記號，還不屬於那個『真』。中國畫看重的是生命本身。而生 命是有呼吸的，中國畫也注重呼吸，所以我們是把畫當作生命看待，讓 氣息在畫面裡流動、貫通。我雖然創作材料是油畫，但努力把這種山水 精神和生命觀放進畫面。」 ─洪凌 "By 2000….I already lived on Huangshan for nearly ten years. From this experience, I gained much insight into nature. For example, oil paintings place a greater focus on external expressions-water features reflections, mountains have distance, trees have volume and projection. However, Chinese philosophy states that projections will always change along with non-fixed factors, such as time and light. These are only signifier of the circulation of life, however, and do not belong to any 'truth'. Chinese painting is about life itself, and life is always breathing. Chinese painting also pays attention to breathing. As a result, we view painting as life, and let the breath flow through the picture. Although I create oil paintings, I try to inject this type of landscape spirit and life perspective into my paintings." - Hong Ling

Executed in 2008 2008 年作 oil and lacquer on linen and tile 油彩 大漆 麻布 瓦片 49.5 x 24 cm. (19 1/2 x 9 1/2 in.) 款識：Xiaobai 考工81（畫背） signed and titled 'Xiaobai 81'; titled in Chinese (on the reverse) 出版 Literature 《蘇笑柏》大未來林舍畫廊 台北 台灣 2011年（圖版，第59頁） Su Xiaobai, Lin & Keng Gallery, Taipei, Taiwan, 2011 (illustrated, p. 59). 附台灣 台北 大未來林舍畫廊開立之藝術家親簽原作保證書 This work is to be sold with a certificate of authenticity signed by the artist and issued by Lin & Lin Gallery, Taipei, Taiwan.

HK$ 80,000 - 120,000 US$ 10,300 - 15,400

Modern and Contemporary Art 261 SU XIAOBAI 蘇笑柏 剛柔並濟

「繪畫絕對是一段觸發感知、尋找真實的過 "Painting is definitely a process of triggering 程。」 perception and finding the truth." —蘇笑柏 - Su Xiaobai

上世紀八十年代，蘇笑柏在接近不惑之年時，毅然決定離開央美油 Reaching his 40s in the 1980s, Su Xiaobai was determined to leave the Oil 畫系前往德國杜塞爾多夫藝術學院深造，彼時的他渴望掙脫學院派 Painting department of the China Central Academy of Fine Arts to study at the Kunstakademie Dusseldorf in Germany. Eager to break the academic shackles 的桎梏，在異國尋求更多元的視角和發展的可能性，藝術家在經歷 at the time, he sought more diverse perspectives and possible personal 文化衝突以及思想的蛻變之後，於1999年歸國旅程中在福建發現了 development abroad. Having gone through cultural conflicts and transformation 他之後最為癡迷的媒材—大漆，並於2004年之後開始用大漆進行創 in mind set, the artist discovered what later became the medium of his infatuation-Chinese lacquer in Fujian during his trip back to China in 1999 and 作。蘇笑柏曾說：「大漆作為顏料在我的繪畫中得到使用，在媒材 began to, in 2004, create works based on the medium. Su Xiaobai said, "Used as 特性上並不具備特殊的含義，與弘揚中華民族傳統瑰寶毫無關係。 paint in my art, Chinese lacquer does not imply any particular meaning in terms 它只是一種繪畫過程中的染色而已。使用大漆作色，也不基於任何 of medium characteristics. Neither does it have anything to do with propagating 新奇的想法，只是源於我的一次試驗，即如何把繪畫中的色彩佈置 Chinese people's traditional treasure. It's just a kind of dye in the painting process. The use of Chinese lacquer as colour is not based on some novel idea, 得更好」。蘇笑柏的大漆作品是非敘事性的，他希望呈現的是媒材 but simply resulted from an experiment I conducted on how to better arrange 本身的力量與肌理，因此作品是純粹視覺性與精神性的，大漆作為 the colours in painting." Su Xiaobai's works with Chinese lacquer does not 一種古老的顏料，在藝術家的筆下成為一種媒介─連接觀者走進藝 provide a narrative. What he wants to represent is the power and texture of the 術家抽象表達的背後是一種蒼茫無盡的東方意涵。 medium itself. Therefore, the works are purely visual and spiritual. As an ancient paint, Chinese lacquer becomes a medium through the artist's paintbrush. It brings the viewer into the artist's abstract expression, behind which lies a 《雲夢》(Lot 184) 以大面積的紅色與墨黑色為底，畫面之中透著 boundless and infinite oriental connotation. 一種古樸深邃的美感，油漆的疊加與裂變所產生的肌理與層次感， 以及作為過渡色的朱紅形成了既分裂又融匯的對比，畫作背後的精 The underlying layer of A Dream Behind the Cloud (Lot 184) is composed of large red and dark black areas, disclosing an ancient, simple and profound 神張力呼之欲出。藝術家在深沉的色調之上覆蓋以小面積的白色色 beauty to the image. The texture and sense of layering generated through 塊，如果說紅色與黑色的厚重代表著蒼茫扎實的土地，那這些白色 superimpositions and fissions of paint form a splitting, yet integrating contrast 則為一縷雲煙，輕盈縹緲。整張畫面剛柔並濟，藝術家對大漆這種 to the bright red as a transitional colour; the spiritual tension behind the 古老媒材的運用，使得它發揮出了獨有滄桑古樸的美感。《雲夢》 painting becomes rather evident. The artist adds small white areas on the dark hues. While the thick and heavy red and black represent vast and solid land, vessels, Yu painted the outside black and the inside bright red." Chinese lacquer 跨越東西方文化，融蘇笑柏的人生感悟於畫布之上，他在技術上利 the white areas represent a thread of ethereal and lightweight mist, making is the most ancient herbal paint in China. Originated from the ancient times, 用大漆在色彩與透明度上的特性，進一步探索媒材與繪畫之間的 the whole picture strong but also soft. Due to the artist's unique approach lacquer ware is a living entity of "paint" has withheld the passing of time. 關係，也因此賦予了這個媒材全新的呈現方式。在《考工81》(Lot in using the ancient medium of Chinese lacquer, the paint comes to exude a Therefore, the existence of the paint extends beyond the material itself, and unique ancient and simple beauty tinged with vicissitudes. A Dream Behind 185) 中，藝術家致力於尋找純粹至誠的畫面空間，他捨棄了傳統意 remains a symbol in our culture even after thousands of years. Starting from the Cloud traverses eastern and western cultures, with Su Xiaobai's feeling and a pure artistic idea, Su Xiaobai employs a succinct and abstract composition 義上的描繪，而是專心於營造一個簡潔、純淨同時又富有變化的畫 reflection of life integrated onto the canvas. In terms of technique, he made and integrates the ancient medium of the East into the language of western 面，畫面以黑色與紅色的大色塊作為呈現方式，雖不見任何物像， use of Chinese lacquer's qualities in terms of colour and transparency to further painting; the collision gives birth to a new expression implying both tradition and 但顏色與形式的純粹美學卻能引發觀者直接的審美感受。 explore relationships between the medium and painting, thus endowing a brand characteristics of the new era. new form of representation to the medium. In Kaogong 81 (Lot 185), the artist strives to find a pure and honest pictorial plane. He abandoned sketching in the 戰國時期《韓非子》中記載：「禹做祭器，黑漆其外而朱畫其 traditional sense, and instead, focused upon creating a simplistic, untainted and 內。」大漆是中國最古老的植物塗料，最為古老的漆器也可以作為 simultaneously fluid image. The painting is dominated by two large red and black 「漆」的生命體延續至今，因此漆的存在是超越物質本身的，歷經 colour blocks without any object imagery, which fixates a pristine aesthetic of 千年，卻依然是我們文化中的一種符號。蘇笑柏以純粹的創作理 colour and form, and evokes an unequivocal experience of visual beauty for the viewers. 念，利用簡潔抽象的構圖，將東方古老的媒材融入西方的繪畫語彙 海倫．弗蘭肯特爾《改革》1976年作 美國 舊金山 舊金山藝術博物館藏 Helen Frankenthaler, Crusades, 1976, Collection of Fine Arts Museums of San 之中，碰撞出兼具傳統與時代性的嶄新面貌。 In Han Feizi from the Warring States Period, it was written, "In making sacrificial Francisco, San Francisco, USA

Modern and Contemporary Art 263 184

SU XIAOBAI (CHINESE, B. 1949) A Dream Behind the Cloud 蘇笑柏 雲夢

Executed in 2006 2006 年作 oil and lacquer on linen and board 油漆 大漆 麻布 木板 192.8 x 170 cm. (76 x 67 in.) 款識：Xiaobai（右下） signed 'Xiaobai' (lower right) 來源 Provenance 天衡 上海 2014年12月31日 編號577 Tianheng Shanghai, 31 December 2014, Lot 577 現藏者購自上述拍賣 Acquired from the above sale by the present owner 出版 Literature 《蘇笑柏》大未來林舍畫廊 台北 台灣 2011年（圖版，第13頁） Su Xiaobai, Lin & Keng Gallery, Taipei, Taiwan, 2011 (illustrated, p. 13).

HK$ 1,000,000 - 1,500,000 US$ 128,200 - 192,300

264 poly auction hong kong Modern and Contemporary Art 265 185 186

RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) May 1; May 2; May 3; & May 4 Spring; Summer; Autumn; & Winter 林壽宇 五月一日；五月二日；五月三日；及五月四日 林壽宇 春；夏；秋；及冬

Executed in 1966 a set of four screenprints edition: 7/10 each: 52.5 x 60 cm. (20 3/4 x 23 1/2 in.) 1. Spring: titled, dated, inscribed, editioned and signed 'Spring 1966 proof 7/10 Richard Lin 1966' (bottom) 2. Summer: titled, dated, inscribed, editioned and signed 'Summer 1966 proof 7/10 Richard Lin 1966' (bottom) 3. Autumn: titled, dated, inscribed, editioned and signed 'Autumn 1966 proof 7/10 Richard Lin 1966' (bottom) 4. Winter: titled, dated, inscribed, editioned and signed 'Winter 1966 proof 7/10 Richard Lin 1966' (bottom)

Provenance Acquired directly from the artist by the present owner 1.

Exhibited 1. Spring: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010. 2. Summer: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010 (alternate edition exhibited). 3. Autumn: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010. 1. 2. 4. Winter: Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of Work by Richard Lin, 15 May-26 September, 2010 (alternate edition exhibited).

Literature Homeage to the Master: One is Everything: 50 Years of Work of Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, pp. 166-169). 2.

1966 年作 絲網 版畫（一組共四件） 版數：7/10 款識： 1.《春》：Spring 1966 proof 7/10 Richard Lin 1966（底部） 2.《夏》：Summer 1966 proof 7/10 Richard Lin 1966（底部） 3.《秋》：Autumn 1966 proof 7/10 Richard Lin 1966（底部） 4.《冬》：Winter 1966 proof 7/10 Richard Lin 1966（底部）

來源 現藏者直接得自於藝術家

展覽 1.《春》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 3. 市立美術館 高雄 台灣 2.《夏》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 3. 4. 市立美術館 高雄 台灣（展品為另一版數） Executed in 1971 1971 年作 3.《秋》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 a set of four, two screenprints on paper and acetate 兩件絲網版畫於紙本及膠片（一組共四件） 市立美術館 高雄 台灣 edition: 56/70; 27/70; 23/70; & 44/70 版數：56/70；27/70；23/70；及44/70 4.《冬》：2010年5月15日-9月26日 「一即一切：林壽宇50年創作展」高雄 each: 51 x 51 cm. (20 x 20 in.) 款識： 市立美術館 高雄 台灣（展品為另一版數） 1. May 1: editioned and signed '56/70 lin' (bottom) 1.《五月一日》：56/70 lin（底部） 2. May 2: editioned and signed '27/70 lin' (bottom) 2.《五月二日》：27/70 lin（底部） 出版 3. May 3: editioned and signed '23/70 lin' (bottom) 3.《五月三日》：23/70 lin（底部） 《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 4. May 4: editioned and signed '44/70 lin' (bottom) 4.《五月四日》：44/70 lin（底部） 2010年（圖版，第166-169頁）

HK$ 150,000 - 350,000 HK$ 250,000 - 350,000 US$ 19,200 - 44,900 US$ 32,100 - 44,900 4.

266 poly auction hong kong Modern and Contemporary Art 267 187 188

RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) Gestural Drawing Work on Paper 林壽宇 示意素描 林壽宇 紙上作品

Painted in 1964 1964 年作 acrylic on paper 壓克力 紙本 Executed in 2008 2008 年作 56 x 71 cm. (22 x 28 in.) 鋼印：LIN mixed media on paper 綜合媒材 紙本 one embossed seal: LIN 39.6 x 55 cm. (15 1/2 x 21 3/4 in.) 款識：Lin 2008（右下） 來源 signed and dated 'Lin 2008' (lower right) Provenance 現藏者直接得自於藝術家 展覽 Acquired directly from the artist by the present owner Exhibited 2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 展覽 Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of 高雄 台灣 Exhibited 2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 Work by Richard Lin, 15 May-26 September, 2010. Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of 高雄 台灣 出版 Work by Richard Lin, 15 May-26 September, 2010. Literature 《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 出版 Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, 2010年（圖版，第221頁） Literature 《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 221). Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, Kaohsiung 2010年（圖版，第121頁） Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 121). HK$ 240,000 - 450,000 HK$ 250,000 - 350,000 US$ 30,800 - 57,700 US$ 32,100 - 44,900

268 poly auction hong kong Modern and Contemporary Art 269 189 RICHARD LIN RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) 林壽宇 大道至簡 Work on Paper 林壽宇 紙上作品

1966年胡安．米羅拜訪林壽宇工作室後說：「在白色的世界中，無 林壽宇不同於其他藝術家從具象逐漸邁入抽象繪畫脈絡，他初始的 人能比的上你。」對白色爐火純青的發揮，使「白色」系列成為林 風格即以抽象抒情開始。創作於1957年「日月」系列中的《紙上作

Painted in 1957 1957 年作 壽宇享負盛名的代表作。今次我們從他創作生涯的萌芽處，1958年 品》(Lot 189) 演繹日、月宇宙運行的軌跡，一揮而就的速度筆觸源 oil on paper 油彩 紙本 首次正式舉行個人展覽之罕見抽象表現鉅作，至饒富禪意的早期紙 於長年來書法的學習，以厚薄的油彩交迭，說明林壽宇對東方觀點 52.1 x 63.8 cm. (20 1/2 x 25 in.) 款識：Lin Show yu 1957（右下） 本，銜接60年代至70年代於國際美術史留下重要份量的「白色」系 中宇宙永恆的求索。 而1964年的《示意素描》(Lot 187) 饒富禪意的 signed and dated 'Lin Show yu 1957' (lower right) 來源 列，一路梳理到1984年後藝術家宣稱繪畫已死，以複合媒材為元素 簡筆畫，肆意將油彩赤裸的擠壓於平面，未經抹平的油彩，膏狀的 Provenance 現藏者直接得自於藝術家 的拼貼作品，一系列完整作品創作年代跨越半世紀的時間，囊括林 質地附著紙面造成立體的肌理效果，展現林壽宇開始對立體浮雕感 Acquired directly from the artist by the present owner 展覽 壽宇藝術生涯各個重要階段，清晰的架構此位時代巨匠，不同時期 的關注，他將雕塑的視覺效果體現於平面繪畫的語言，於二維平面 Exhibited 2010年5月15日-9月26日「一即一切：林壽宇50年創作展」高雄市立美術館 對藝術理念不斷更迭的主張。 上討論立體的空間維度，建構新的藝術體驗。 Taiwan, Kaohsiung, Kaohsiung Museum of Fine Arts, One is Everything: 50 Years of 高雄 台灣 Work by Richard Lin, 15 May-26 September, 2010. 趙無極將中國山水意念轉化為抽象繪畫，朱德群以色彩的律動傳遞 1950年代末期，時值抽象表現主義巔峰，林壽宇深受羅斯科的繪畫 出版 Literature 《向大師致敬：一即一切：林壽宇50年創作展》高雄市立美術館 高雄 台灣 傳統詩曲的視覺旋律，而林壽宇提煉中國文化的哲學思想，在作品 感召，他說：「羅斯科畫面裡大塊的色彩，彷彿來自很遠很遠，悠 Homeage to the Master: One is Everything: 50 Years of Work by Richard Lin, 2010年（圖版，第93頁） 體現老莊思想中「無為」的價值核心，運用西方冷抽象的繪畫語言 揚不斷的大鼓聲沉、渾厚，在心裡來回不停激盪著。」羅斯科著重 Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2010 (illustrated, p. 93). 將中國哲學形象化，並成為首位入選德國卡塞爾文件展的華人，其 精神內涵表現，力圖運用有限的色彩與形狀，無焦點的繪畫構圖， 對二十世紀華人戰後美術史篇章的重要性可謂不言而喻。 使觀者浸淫其中，與創作融為一體的大色域繪畫，帶領林壽宇從飽 HK$ 250,000 - 350,000 US$ 32,100 - 44,900

270 poly auction hong kong Modern and Contemporary Art 271 含情感的筆觸中，進入對簡單形與色構成的追求，《15-7-58》(Lot 「一旦色彩超出顏料的可能性，它就會展現 190) 將情緒筆觸抽離，僅使用大色塊為創作的基本單位元素，巨大 的畫幅、無中心焦點的結構，將觀者的視線環繞於畫面之中，使觀 一個人的行為世界，涉及特定的時間、特定 看的臨場經驗成為視覺體驗的一環，如同羅斯科所言：「我畫大幅 畫，因為我要創造一種親切的氣氛。一幅大畫是一種直接的交流， 的事件，以及他是如何審視時間和事件的。 它把你帶進畫中。」 我的色彩是一種經驗性的色彩，它和某天的 《15-7-58》以赭紅背景鋪墊，林壽宇縝密控制塗色力道，隱藏筆刷 的運行軌跡，畫布上的色彩層次節奏來自不同次數疊加所產生的不 光線有關，和整個人的精神狀態有關。」 同透光性所導致，相近色調細微差異的色面使畫面營造安寧神聖的 冥想空間。 —馬克·羅斯科 「從1958年起他就開始發展一系列黑、白色調混搭的大塊面重疊創 作，在畫布有限的框架中，應用著色調接近但表面肌理與質感有著 維妙差異的色面搭疊，進行畫布上層深、淺對比的排列，極工整的 線條與邊框，成為畫面中引導心靈平和的地平線。」

— 羅潔尹〈一即一切：林壽宇50年創作展〉 1960 年代林壽宇開始「白色」系列，前期焦點關注正方形大塊面積 組合之間的結構關係，而隨著時間的推演，大面積的區域逐漸區分 《15-7-58》在單色背景之上，疊加瘦長黑色長方形，墨黑的塊狀彷 為多重的幾何方形，1960年代末期「白色」系列進入成熟期，他開 彿是自然發光體，上下兩側透出微光，打亮赭紅的畫布中間段，由 始以畫刀作畫，將白色層層疊疊達到「白分五色」，如同中國文人 左到右橫跨完整畫面，清晰俐落的邊界線，有別於羅斯科色塊間運 水墨畫中墨分五彩境界。在整體的白色佈局中，只見「白中白」的 用油彩稀釋互相滲透的流動性，使顏色之間微妙的過渡，產生朦朧 無限延伸，驗證他於1968年一次歐洲展覽訪談中提及，其藝術理具 柔和的邊界。筆直明確的邊際線，將畫面穩定工整的平分為水平區 有濃厚的老莊思想， 「天地萬物生於有，有生於無。」「白色」系 塊，源於其建築系背景的學習，簡約利索的幾何圖形，與完美的比 列建構多重空間的無限延伸，述說宇宙太虛的本體，表現東方哲學 例切割原則，不僅是對大師羅斯科的致意，同時預示林壽宇朝低限 中宇宙空間的內涵性。 主義風格發展的重要線索。

2.

1. 馬克．羅斯科《棕色上的黑色》1959年作 英國 倫敦 泰特現代美術館藏 Mark Rothko, Black on Maroon, 1959, Collection of Tate Modern, London, UK

2. 皮耶．蒙德里安《巴黎：白色、黑色與紅的組成》1936年作 美國 紐約 現代藝術博物館藏 Piet Mondrian, Composition in White, Black, and Red. Paris, 1936, Collection of the Museum of Modern Art, New York, USA 1.

272 poly auction hong kong 1.

1964年，林壽宇以方形塊狀疊堆的浮雕繪畫，入選德國卡塞爾第三 1970年代立體現成物逐漸消失於林壽宇的畫面之中，取而代之除了 屆文件展，成為此國際重要展覽的首位華人藝術家。而 1966年創作 較為複雜的色階，也因為前一年一家人搬遷至倫敦郊區，與大自然 的《春；夏；秋；及冬》(Lot 186) 更以數量不等的方形色塊描繪季 生活使為其作品添加不同色彩。大自然的色彩如紅、黃甚至綠，清 節的屬性，幾何多重並列的方塊呈現林壽宇脫離抽象抒情的開端。 新點綴於極簡的畫布之上。《致Katya》(Lot 191) 在白色塊下端未 而《五月一日；五月二日；五月三日；及五月四日》(Lot 185) 這套 勾勒完全的黃色線段，刻意留白的比例是林壽宇經過精確計算的架 版畫每件作品皆由兩部分組成，除了底層的白色絲網版畫，上層透 構，呈現具有理性的結構性與空間構成，為穩定的節奏感增添韻律 明片上的壓克力色條是手工一件件黏貼，展現了豐富的層次變化與 的變化。 藝術家細膩、嚴謹的思維。同時，這兩套版畫的另一版次皆是英國 泰特美術館中的典藏，見證了西方的重要美術館機構對於林壽宇在 藝壇地位的認可 。

藝評家王秀雄曾說：「林壽宇簡直把自己限定於長方形和白色的最簡 要素內，譜出最大的律動和最豐富的白色層次。這一種豐富的白色層 次和長方形的反覆，所構成的內涵是如此的緊湊和多樣。」《三三》 (Lot 192) 經過精密的理性切割，層層漸進的白色越往上疊加面積越縮 小，最後在帶有黑色、黃色的線段上結束，儘管畫面隱藏了空間的深 Lot 191 度，但卻在遞進的過程中創造了無限的空間。擁有厚度的淺灰色壓克 力版，做為兩個乳白方形色階間的銜接，使光源的介入立體物件呈現 陰影的效果，實體物質的存在加強畫面空間意識，超越平面的限制， 據目前可查閱的公開文獻，林壽宇曾以女兒Katya為題創作過三件 立體浮雕感擺弄觀眾的真實視覺於幻覺、現實與超現實之間的微妙切 作品，其中包含一件現存於英國米德爾斯堡現代美術館藏品，「我 換，林壽宇讓二維平面的繪畫與具有三維空間的現成品之間建立起有 的每件作品具有紀念性的，每件作品都描繪一個故事和描寫一個 1. 林壽宇與Katya Lin 機的協調關係，在形體轉化之下建立嶄新的空間秩序。 人。」《致Katya》是藝術家對女兒綿密情感的釋放，紀念著他們一 Richard Lin and Katya Lin 起擁有的生活記憶，而本件創作於1970年《致Katya》為其他同名系 2. 本．尼科爾森《1937 六月（繪畫）》1937年作 英國 倫敦 泰特現代美 列作品中，年代最早且尺寸最大的一件，作為此系列的開端，更想 術館藏 Ben Nicholson, June 1937 (painting), 1937, Collection of Tate Modern, 2. 必對於林壽宇而言包含著更加原始與純粹的情感。 London, UK

274 poly auction hong kong Modern and Contemporary Art 275 190

RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) 15-7-58 林壽宇 15-7-58

Painted in 1958 1958 年作 oil on canvas 油彩 畫布 122 x 215 cm. (48 x 84 3/4 in.) 款識：84 x 48 15-7-58 LIN SHOW YU（畫背） inscribed, titled and signed '84 x 48 15-7-58 LIN SHOW YU' (on the reverse) 來源 Provenance 現藏者直接得自於藝術家 Acquired directly from the artist by the present owner

HK$ 5,000,000 - 8,000,000 US$ 641,000 - 1,025,600

276 poly auction hong kong 191

RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) For Katya 林壽宇 致Katya

Painted in 1970 1970 年作 oil on canvas 油彩 畫布 63.8 x 63.5 cm. (24 3/4 x 24 3/4 in.) 款識：RICHARD LIN ''FOR KATYA'' SPRING 1970 25'' x 25'' oil/ signed, titled, dated and inscribed 'RICHARD LIN ''FOR KATYA'' SPRING 1970 canvas（畫背） 25'' x 25'' oil/canvas' (on the reverse) 來源 Provenance 佳士得 台北 1999年4月18日 編號47 Christie's Taipei, 18 April 1999, Lot 47 現藏者購自上述拍賣 Acquired from the above sale by the present owner

HK$ 1,800,000 - 2,800,000 US$ 230,800 - 359,000

Poet Roman said, "Richard Lin not only absorbed the West's emphasis on 'consciousness' and 'concept' in his forms and symbols, but also always strictly adhered to the 'implications' and 'moods' favoured in the East. In the full performance of the creative spirit of humankind, this comes close to an ideal that is worthy of attention."

Modern and Contemporary Art 281 詩人羅門說：「林壽宇不但在形式與符號中 RICHARD LIN 吸納了西方所偏重的『意識』與『觀念』， ART THROUGH 林壽宇 SIMPLICITY 而且更始終堅持東方所偏持的『玄念』與 『意境』。這在人類創作精神全面統合的表 現上，應是更接近理想與值得重視的。」

1984年林壽宇宣稱「繪畫已死」至此封筆不再作畫，轉向雕塑與裝 置藝術。創作於2008年的《紙上作品》(Lot 188) 運用煙盒中的錫 箔紙與紙片等現成物為材料作為立體造型的發想，再落實為大型裝

置藝術的實驗。林壽宇60年代的「浮雕繪畫」於平面中延展至三度 Lot 187 空間，晚年最終從牆面走向地面，搭建起建築立體空間。如同鄭芳 和：「建築與藝術是一體兩面，《道德經》第十一章云：『有之以 為利，無之以為用。』建築是實用性的，是有；藝術是非實用性， 是無。林壽宇以建築的實用性，建構藝術的非實用性，在建築與藝 術的有無之間轉換、架接，正顯示他的藝術由絕對轉向『可變的開 始』。」林壽宇一生的創作理念契合老莊思想的「空」與「無」透 過有限的色彩和極簡的形體，以西方的抽象語言，建構秩序性的幾 何關係，將東方哲學的意涵具象化於空間中，代表著藝術家對宇宙 萬物及自己內心的自省與詰問。繼趙無極、朱德群為首的抽象表現 1. 2. 主義後開創另一篇章，以不同風格的抽象形式，共同於二十世紀的 華人現代藝術史中，為中國傳統美學精神重新注入新的養分並發揚 光大。

In 1966, when Joan Miro visited Richard Lin at his abstractionism. He was the first Chinese included in studio, she commented, "In the world of white, you the Kassel "Documenta" in Germany, which marks his are without equal." Because of Lin's adept use of importance in post-war Chinese art scene.

Lot 188 white, his White series became the representative work that marked his artistic achievement and world- Unlike other artists whose artistic context always wide fame. In this Spring Sale, Poly Auction Hong transform from figurative to abstraction, Lin's artistic Kong have traced back to the nascence of his creative career began with lyrical abstraction straight away. life in 1958, to include one of his early, rarely seen His Works on Paper (Lot 189) of the Sun Moon abstractionist work that was featured in his first solo series in 1957 depicts the trajectories of the sun and exhibition; paper works based on the concept of Zen; the moon in the universe. The expressive, skillful the remarkable works of the White series produced in brushstrokes was the best indication of the skills he the 60-70s; and mixed-media collage works executed built up after years of study on traditional Chinese after 1984, when the artist claimed that painting was calligraphy. The conversion between thick and thin oil dead. This entire series spans across half a century paint reveals Lin's pursuit of the eternal universe from and covers each important stage in Lin's artistic his oriental perspective. His 1964 Gestural Drawing career, bringing clarity upon the structure of the (Lot 187) contains simple strokes with the concept of artistic ideals of this great master through different Zen. He freely pressed the oil paint onto the paper, periods. the unflattened oil paste was stucking on the surface of the paper, creating a texture of three-dimensional. Zao Wou-Ki has uncovered the concepts that lie This represents a kind of prelude to his later pursuit beneath Chinese landscape paintings through his of "relief" painting effects on flat surfaces, embodying 1.「一即一切：林壽宇50年創作展」展覽現場 abstract works; Chu Teh-Chun utilised the rhythm visual effects like those of sculpture but within Exhibition view of "One is Everything: 50 Years of of colours to convey the visual melody of traditional the vocabulary of painting on a planar surface. Work by Richard Lin" Chinese poetry; Lin, however, extracted philosophical Lin's ability to examine spatial dimensions within a 2. 卡齊米爾．馬列維奇《黑圓圈》1915年作 thinking from the core of traditional Chinese culture, two-dimensional pictorial surface allowed him to 林壽宇《致Katya》1974年作 英國 米德爾斯堡 米德爾斯堡現代藝術學院藏 俄羅斯 聖彼得堡 俄羅斯國家美術館藏 Richard Lin, For Katya, 1974, Collection of Middlesbrough Institute of Modern Kazimir Malevich, Black Circle, 1915, Collection presenting the concept of "inaction" in Laozi and construct a new kind of artistic experience. Art, Middlesbrough, UK of State Russian Museum, St. Petersburg, Russia Zhuangzi through the language of western cold Lot 189

282 poly auction hong kong Modern and Contemporary Art 283 1. 卡齊米爾．馬列維奇《黑與紅方塊》1915 On 15-7-58, a black, rectangular-shaped belt was him the first Chinese artist to be included in this 年作 美國 紐約 現代藝術博物館藏 Kasimir Malevich, Black Square and Red crossing the single-coloured background from left Internationally recognised show. The 1966 works- Square, 1915, Collection of the Museum of to right, with its top and bottom emitting light, it Spring; Summer; Autumn; & Winter (Lot 186), employ Modern Art, New York, USA seemed to be naturally luminous, and that lights up varying numbers of square coloured blocks, through 2. 馬克．羅斯科《棕色上的黑色》1959年作 the middle section of the maroon canvas. The clear which he delineates his attribution to different 英國 倫敦 泰特現代美術館藏 and neat edges make the work to differ from the season. The geometric juxtaposition of multiple Mark Rothko, Black on Maroon, 1959, Collection fluid effect and the blurry boundaries that Rothko square shapes marks Lin's departing from lyrical of Tate Modern, London, UK creates on his canvas by using diluted oil paints to abstraction, as well as the start of his White series. penetrate each colour block. Lin used to major in The set of prints May 1; May 2; May 3; & May 4 (Lot architecture, and thats the reason for him to employ 185) each consist of two parts - a base layer of white neat geometric lines with clear boundary to divide silkscreen print, and an upper layer consisting acrylic the canvas with optimal ratios, creating balanced colour strips on a transparent plate. Each of these horizontal zones, it could be regarded as homage were made by hand, producing rich layering effect to Rothko and a hint of his artistic focus gradually and demonstrates the artist's meticulous, rigorous shifting towards minimalism. attitude towards the making of his work. Another edition of each of these sets of prints belonged to In the 1960s, Lin started his White series. In the early the collection of Tate Modern, which shows the stage, his focus was on the structural relationships recognition and appreciation of the artist's work in between the arrangement of large squares. As time Western art scenes. went by, those large areas have been divided further into different rectangular shapes. In the late 1960s, Art critic Frank S.H. Wang once said, "Lin has limited the White series reached its stage of maturity. Lin himself to the absolute simplest elements of started to use palette knives, stacking the white- rectangles and shades of white, but with these he has coloured pigments onto each other, creating "five composed the greatest rhythms and the richest white shades of white," just as the five different degrees layers. Within these rich layers of white and repeated of ink shades in traditional Chinese ink paintings. In rectangles, he structures these implications, which the arrangement of those whites, the concept of are so compact and yet so diverse." "white on white" extends beyond boundaries, which reinforce his earlier statement at an interview for an In Three Three (Lot 192), the canvas space has been exhibition in Europe in 1968, about Taoism beening precisely divided under the artist's rational planning his main artistical focus: All things under heaven and calculation, the white shades are diminishing as sprang from It as existing (and named); that existence the layers build up, and finally ends at a straight line sprang from It as non-existent (and not named). The of black and yellow. Although the picture obscures White series constructs the endless extension of spatial depth, but a boundless space is created during multi-dimensional space, depicting the core of the the process of building up. A light grey acrylic plate universe and showing the content of the space of the with visible thickness is bridging up the two milk-white universe in Eastern philosophy. rectangular colour scales. As the light source have In the late 1950s, abstractionism was best rewarded and respected. Lin was created shadows for the three-dimensional objects, profoundly influenced by Mark Rothko's paintings. He stated, "Looking at the In 1964, Richard Lin's "relief" paintings, built up and the existence of concrete objects strengthens the large colour blocks in Rothko's paintings is like listening deep sound of large by square blocks, was selected to be shown in the spatial consciousness of the image. This work exceeds "I use colours that have already been drums coming from far, far away, and that sound echoes in my heart." Rothko "Documenta III" held in Kassel, Germany, making the restriction of a two-dimensional plane, and the emphasised the representation of the spirit and content. He restricted himself 1. experienced through the light of day and to only use a few colours and shapes to compose gigantic paintings with no focal point, creating an immersive experience for the viewer. Walking into a painting of large blocks of colours, the viewer and the canvas finally merge into one. Lin through the state of mind of the total man. In was led from strokes full of emotion to the pursuit of simple shapes and colours. In 15-7-58 (Lot 190), he refrained himself from using emotional strokes, instead, other words, my colours are not colours that only employed large colour blocks as the basic elements in his creations. This large-scale painting of a structure without a focal point leaves the viewer's eyes are laboratory tools which are isolated from to wander around the picture, and the on-site viewing experience becomes pure visual sensation. As Rothko said, "The reason I paint large canvases is that I want all accidentals or impurities so that they have to be intimate and human." 15-7-58 lays down maroon as the base colour of the background, and Lin precisely controlled the force with which he applied the a specified identity or purity." colour to hide any trace of brush strokes. The layers of colours and the rhythm on the canvas originate from different and multiple overlapping layers, resulting in different degrees of translucence. The colour fields, slightly varied in tone, - Mark Rothko create a tranquil and holy space for meditation.

"In 1958, he started developing a series of works with large black and white colour blocks. Within the limited space on canvas, he arranged colour fields with similar tones but slightly different textures to show contrasts in their translucence. He uses extremely neat lines and frames to create a horizon within the picture, which leads to the peace of mind."

- Luo Jieyin "One is Everything: 50 Years of Work by Richard Lin" 2.

284 poly auction hong kong Modern and Contemporary Art 285 Cheng Fang-Ho once stated, "Architecture and art are two sides of the same coin. And Chapter 11 of Tao Te Ching have stressed: what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness. Architecture is practical, so it 'existence'. Art is impractical, so it is 'nothingness.' Lin used the practicality of architecture to construct the impractical theory underlie in art. His transfer and connection between the 'existence' and 'non-existence' between architecture and art reflects that his art shifted from absolute to the beginning of mutability."

With his restricted colour palette and minimalist forms, Richard Lin constructs orderly geometric relationships with the Western language of abstraction. He transforms the meanings of Eastern 1. philosophy into concrete representations in space, images that stand for the artist's introspection and questioning of the universe and his own heart. Following the Abstract Expressionism exemplified by such artists as Zao Wou-Ki and Chu Teh-Chun, Lin's work could be deemed as the start of a new era. All with different styles, these great masters of Chinese modern art in the 20th century helped to carry forward traditional Chinese aesthetics in the international art scene.

2.

sense of three-dimensional embossing manipulates named three of his creations that were related to the viewer's vision, alternating among illusion, reality, with his daughter Katya, one of which is now in the and the surreal. Lin built up a harmonious relationship collection of the Middleborough Institute of Modern between two-dimensional painting and ready-mades Art, Great Britain. "My works are souvenirs. Each that occupies three-dimensional space. Through the depicts a story or commemorates somebody." For transformation of form, he established a brand-new Katya depicts the artist's deep love for his daughter, spatial order. commemorating the life they once shared. Among his 3. other works with the same name, For Katya, created When it comes to 1970s, three-dimensional ready- in 1970, was the first ever produced and the largest. made forms had gradually disappeared on Lin's As it marks the beginning of this series, this work canvas, and were replaced by more complex colour must contain the most primitive and purest affection blocks. The year before, Lin's family had moved to the of Richard Lin. suburb of London, the experience of residing in the nature was probably the main reason why colours In 1984, Lin proclaimed, "Painting is dead" and 1. 德國卡塞爾「第三屆文件展」展覽專輯封面 start to appear in Lin's works. Natural colours such as stopped to execute any canvas works, instead, he 暨封底 red, yellow, and even green refreshed his minimalist- turned his focus toward sculpture making. Work Cover of the exhibition catalogue of "Documenta Ⅲ" style canvas. Within For Katya (Lot 191), there was a on Paper (Lot 188), executed in 2008 incorporated partially drawn yellow line at the bottom of the white ready-made materials such as tin foil and the paper 2. 德國卡塞爾「第三屆文件展」展覽圖錄對林 壽宇與作品的介紹 colour block. And such blank was left intentionally found in cigarette packs as an inspiration, and they Introduction of Richard Lin and his works of the through Lin's careful calculation, altogether they serve as the blue print for his larger installations. exhibition catalogue of "Documenta Ⅲ" present a space that is both rational and spatial, with Painting Relief, created in the 1960s has expanded 3. 艾格尼絲．馬丁《無題第5號》1975年作 rhythm sensation. from surface plane to three-dimensional space and 美國 紐約 現代藝術博物館藏 finally, in the artist's late years, transferred from wall Agnes Martin, Untitled Number 5, 1975, According to the open literature sources, Lin has to the floor, forming an architectural form. Just as Collection of The Museum of Modern Art, New York, USA

286 poly auction hong kong 192

RICHARD LIN (CHINESE-BRITISH, LIN SHOW-YU, 1933-2011) Three Three 林壽宇 三三

Executed in 1968-1969 1968-1969 年作 oil and aluminum on canvas 油彩 鋁 畫布 101 x 112 cm. (39 3/4 x 44 in.) 款識：RICHARD LIN ''THREE THREE'' 1968-1969 40''x44'' 101.6cm. signed, titled, dated and inscribed 'RICHARD LIN ''THREE THREE'' 1968-1969 x111.8 cm. RICHARD LIN ''THREE THREE'' 1968-1969 44''x40''（畫背內 40'' x44'' 101.6cm.x111.8 cm. RICHARD LIN ''THREE THREE'' 1968-1969 框）；RICHARD LIN 1968-1969 40x44（畫背） 44''x40''' (on the stretcher); signed, dated and inscribed 'RICHARD LIN 1968- 1969 40x44' (on the reverse) 來源 蘇富比 台北 1999年10月17日 編號138 Provenance 現藏者購自上述拍賣 Sotheby's Taipei, 17 October 1999, Lot 138 Acquired from the above sale by the present owner

HK$ 4,000,000 - 6,000,000 US$ 512,800 - 769,200

288 poly auction hong kong Modern and Contemporary Art 289 193 194 195

HSIAO CHIN (CHINESE, XIAO QIN, B. 1935) HSIAO CHIN (CHINESE, XIAO QIN, B. 1935) HSIAO CHIN (CHINESE, XIAO QIN, B. 1935) RH-65 li Giardino viola Tempesta Solare-3 (Solar Storm) 蕭勤 RH-65 蕭勤 紫色花園 蕭勤 太陽風暴 3

Painted in 1998-2008 acrylic on canvas 70 x 90 cm. (27 1/2 x 35 1/2 in.) signed, dated, titled and inscribed 'Hsiao 1998-2008 "li Giardino viola" 70 x 90 Painted in 1988 cm.'; signed and titled in Chinese (on the reverse) acrylic on canvas 90 x 70 cm. (35 1/2 x 27 1/2 in.) Literature signed 'Hsiao'; signed and dated in Chinese (middle right); titled, inscribed and Hsiao Chin．Eternal Energy, Lotus Art Gallery, Kaohsiung, Taiwan, 2014 (illustrated, dated 'Tempesta Solare-3 Acrilico su tela 90 x 70 cm 1988' (on the reverse) p. 44). This work is to be sold with a photo of authenticity signed by the artist. 1998-2008 年作 Painted in 1960 1960 年作 壓克力 畫布 1988 年作 oil on canvas 油彩 畫布 款識：Hsiao勤 1998-2008 「紫色花園」"li Giardino viola" 70 x 90 cm（畫背） 80.3 x 100.4 cm. (31 3/4 x 39 1/2 in.) 款識：五 60 HSIAO 勤（右下）；HSiAO CHiN "RH-65" 1960 蕭勤（畫背） 壓克力 畫布 dated and signed in Chinese; dated and signed '60 HSIAO' (lower right); signed, 出版 款識：Hsiao 勤 八八.（右中）；Tempesta Solare-3 Acrilico su tela 90 x 70 cm 1988（畫背） titled and dated 'HSiAO CHiN "RH-65" 1960'; signed in Chinese (on the reverse) 附藝術家親簽之原作保證書 《蕭勤．永恆能量》荷軒新藝空間 高雄 台灣 2014年（圖版，第44頁） This work is to be sold with a certificate of authenticity signed by the artist. 附藝術家親簽之原作照片

HK$ 120,000 - 220,000 HK$ 180,000 - 280,000 US$ 15,400 - 28,200 HK$ 120,000 - 180,000 US$ 23,100 - 35,900 US$ 15,400 - 23,100

290 poly auction hong kong Modern and Contemporary Art 291 196

LIU GUOSONG (CHINESE, LIU KUO-SUNG, B. 1932) Emerging Light 劉國松 現出了光

Painted in 1972 ink and colour on paper 36.5 x 91.5 cm. (14 1/4 x 35 3/4 in.) signed and dated in Chinese (lower right) two seals of the artist

Provenance Former Collection of The Denver Art Museum, Denver, USA Private Collection, USA

1972 年作 水墨 設色 紙本 款識：劉國松 一九七二（右下） 鈐印：劉、益都劉國松印

來源 美國 丹佛 丹佛美術館舊藏 美國 私人收藏

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

292 poly auction hong kong Modern and Contemporary Art 293 In 1961, Liu Guosong's style has formally moved away from Western painting and returned to Chinese ink-wash. His deep awareness of the importance of LIU GUOSONG nationality as well as cultural traditions urged him to abandon oil-a medium he 劉國松 現代山水圖景 was skilled in and opted for the ink-wash expression of the Chinese tradition. Although the form pertained those in western Abstract painting, the concept was arguably a continuation of reforming ink-wash painting advocated by artists like Lin Fengmian. In terms of technique, Liu Guosong held that the linear quality and texture represented through Chinese calligraphy was limited; in order to adequately express effects in a work, the artist should go beyond the brush as the sole tool of expression. Thus, he innovated several new materials and techniques during his decades of artistic investigation, including ink rubbing, tearing fibers from paper, water rubbing, etc., to replace brush and express certain effects. However, rather than abandoning traditional brushwork, they incarnates deeper aesthetic exploration on forms of ink and brushwork, completely merging the spirit of the latter into ink-wash expression, thus expanding rhythm and cadence of the tableau and further pursuing artistic 2. essence.

According to renowned art historian Michael Sullivan, "He [Liu Guosong] thought new understanding of the universe. The Sun and the Moon thus became the axis that he must seek his roots within his own tradition in order to find out the of Liu Guosong's Space series. In Space Series-Path of the Sun (Lot 197), five suns reason why Chinese painters painted in such unique ways. Similar to Zao Wou- are arranged parallel with each other with equal intervals in the sky. The artist Ki when he was in Paris earlier on in his life, Liu Guosong discovered the origin seems to suggest the passage of time is parallel with the sun's horizontal axis. of abstract art through the moisture of the brush within Chinese calligraphy. The saturated orange colour symbolizes the suns in the mid-sky; the Earth below More than just expressions of forms, such moisture of brush carry significance involves various abstract blocks and colours deployed through water rubbing. Liu beyond forms. Philosophically, the moisture of brush in calligraphy expresses Guosong brilliantly exploits the contrast between hard-edge abstract shapes and the superb dynamism between heaven and earth. No matter how abstract Liu the irregular fluid shapes made through water rubbing, alluding to the hundreds Guosong's ink paintings may seem, they still possess impressions of landscape." of millions kilometers between the Sun and the Earth. In the recurrent cycles, Lot 197 Emerging Light (Lot 196) created in 1972, during the artist's transitioning phase the Sun keeps on shining on the land at all things, generating animated vitality between his Abstract Wild Cursive and Space series: thick-ink and flying-white and vivid diversity. By inheriting the cosmic philosophy inherent in Chinese strokes in the foreground compose the hilltops nearby; behind the mountain culture, Liu Guosong juxtaposes natural phenomena and all beings on Earth. cloud and mist are blocks in diluted ink painted through wrinkle method and Although abstract shapes of the red suns and the idea of colour gamut are 1961年劉國松正式從西畫回歸中國水墨的創作。劉國松深感民族性 們未曾成為主要焦點。1969年隨著阿姆斯壯登陸月球後，人類開 water rubbing. As for the upper left part, the white aura might represent the Sun drawn from Abstract Expressionism of the West, the land is shrouded in a halo 及民族文化傳統之重要，從此放棄已經運用純熟的油畫材料，改採 始對太空宇宙有前所未有的新認識，因而使太陽與月亮成為劉國松 or the Moon. The artist interpreted strong light sources with opaque white. The spreading through gradation, representing a well-rounded and complete state of 中國傳統的水墨表現，雖在形式上為西方的抽象繪畫，但實際上的 「太空系列」的創作主軸。《太空系列─日之運行》(Lot 197)中五 title Emerging Light refers to the viewer's feeling in staring at the painting. Liu painting full of vitality. 概念可說承接了林風眠等藝術家的水墨畫改革主張。在技法上，劉 個平行的太陽在天空等距排列，藝術家似乎暗示著時間的推移和太 Guosong not only obtained balance among shifts and constructions of abstract, formal elements and concrete scenes with his own technique, but further In Space Series-Path of the Sun, the picture is divided into two by the Earth's 國松認為，書法所表現的線條性質與肌理是有限的，為了表現作品 陽的水平軸線平行，背景的飽和橘色象徵著如日中天，下方的地球 inaugurated incessant breakthrough and innovation on ink-wash for the future. surface. The upper part shows an immense universe occupied by five red suns 的效果，不應以毛筆為唯一的表現工具，因而在數十年的藝術鑽研 以水拓技法鋪陳了多樣的抽象塊面與色彩，劉國松巧妙運用了硬邊 while the part below represents the vast and boundless surface of the Earth. Long time before the first man landed on the Moon, Liu Guosong had started to The horizontal format further widens and extends the vision. There seems to 中開發許多新材料和新技法。例如：拓墨、撕紙筋、水拓法等代替 幾何造型與水拓具流動性的不規則形狀之間的對立，影射了太陽與 paint geometrical circles in his works. Yet in the customs of traditional Chinese be no starting point or ending in the symmetric picture; time and space here 毛筆來表現出特殊效果，這並非放棄傳統筆法的運用，而是將筆墨 地球間隔著億萬公里的距離，在這周而復始的循環中，太陽普照大 landscape painting, the Sun and the Moon are not the focus but only for thus become eternal. The Earth's surface on the lower part is proof of the 形式進入更深層的美學意涵探討，使筆意完全融入水墨的表現中， 地與萬物，因而生機勃勃、璀璨紛陳。劉國松以繼承自中國固有文 ornamentation. In 1969, Neil Armstrong landed on the Moon, opening a brand artist's shift in man's relation towards the outer space. Having explored the 拓展畫面節奏、韻律及氣韻的追尋。 化的宇宙哲學觀，將自然現象與大地萬物並置，紅日的幾何形體與 outer space, man's perspective is no longer towards the Sun facing up, but instead now facing down towards the Earth from a point in the universe. The 色域的概念雖來自西方抽象表現主義，卻以漸層擴散的光暈籠罩大 static Earth revolves around the turning Sun; the Sun's movement involves the 著名的藝術史學者蘇立文曾說：「他 [劉國松] 認為必須在自己的 地，表現出圓融飽滿、生意盎然的畫境。 passing of time, and thus this process is integrated into the picture. The viewer 傳統中追根溯源，找出身為中國人以這種特殊方法作畫的原由。正 can feel seasons change as well as the permanent motion, decline and growth 如較早時在巴黎的趙無極一般，劉國松在中國書法的筆潤中發現抽 《太空系列─日之運行》地球的表層將畫面一分為二，上半部是 of the universe; ideas that are inherent to Chinese traditions. Furthermore, this 象藝術的根源。書法的筆潤向來不僅是形式的表現，其中還含蘊超 被五個紅太陽佔據著的浩瀚宇宙，而另一半則是廣闊無垠的地球 symbolizes the strong vitality of all things, like the description, "The dark wide goose cries. The sun rises," written in The Book of Odes. Although being inspired 乎形式的意義。在哲學的層面上，書法的筆潤飾天地之間磅礡氣勢 表面，橫幅的畫面延展視覺的廣度，對稱的畫面彷彿沒有開始與 by a breakthrough in Western technology, Liu Guosong continues to trace back 的表現。劉國松的水墨畫看來不論多麼抽象，卻始終還有山水的意 盡頭，時間與空間在此因而永恆。畫面下半部的地球表面，是人類 to traditional Chinese culture, as he stated, "The aim of countering tradition is 味。」如創作於1972年的《現出了光》(Lot 196)，恰介於劉國松 與太空關係轉變的證明，由於登入太空後，視角由以往對太陽的仰 to create a new tradition that exerts existed qualities. Rather than revolt just to revolt in a nihilistic way, involving a deeper meaning of creation. Therefore, in my 「狂草抽象」與「太空」系列的轉折期，前景以濃墨與飛白筆觸創 望，改成從宇宙回望地球。靜止的地球，環繞著運行的太陽，將具 1. own artistic life, understanding tradition is a process of countering the traditions; 造了近在眼前的山頭，隔著山嵐霧靄為皴擦與水拓法的淡墨色塊， 時間移動的太陽運轉納入一個畫面，結合觀者感到的時序變化和中 it is a preparation to create." 畫面左上的白色光暈可能為日或為月，藝術家以不透明的白色詮釋 國固有觀念中宇宙的恆動與消長，更象徵《詩經》中「緇緇鳴雁， 強烈光源，觀者直視畫面時因而感受題名「現出了光」，在抽象形 旭日始旦」萬物生機蓬勃的預兆。即便受到西方科技突破的啓發，

式元素和具象場景的切換與組構中，劉國松不僅以自身的技法改革 劉國松仍不忘對傳統文化的回溯，如同他說：「反傳統的目的，是 1. 范寬《溪山獨釣圖》南宋 美國 華盛頓 弗利爾美術館藏 Fan Kuan, Fishing Alone in a Mountain Stream, Southern Song, Collection of 取得平衡，更開拓了往後水墨持續不斷的突破與革新。 為了創造一個更新的傳統，使舊有的優點得以發揚，並非是虛無的 The Freer Gallery of Art, Washington D.C., USA 為反叛而反叛，他有著一更積極的意義，那就是創造。所以，在我 2. 阿道夫．戈特利布《日蝕》1952年作 西班牙 馬德里 索菲亞王后國家藝 早在人類登入月球前，劉國松的作品已經出現圓形的幾何圖案，但 個人的藝術生命中，認識傳統即是反傳統的一個過程，為達到創造 術中心博物館藏 如同中國傳統山水畫，日與月在畫面中僅僅扮演著點綴的角色，它 Adolph Gottlieb, Eclipse, 1952, Collection of the Museo Nacional Centro de 的一種準備。」 Arte Reina Sofía, Madrid, Spain Lot 196

294 poly auction hong kong Modern and Contemporary Art 295 197

LIU GUOSONG (CHINESE, LIU KUO-SUNG, B. 1932) Space Series - Path of the Sun 劉國松 太空系列—日之運行

Painted in 2014 ink and colour on paper 77.4 x 207.7 cm. (31 1/2 x 81 3/4 in.) signed in Chinese; dated '2014' (lower centre) one seal of the artist

This work is to be sold with a certificate of authenticity signed by the artist and issued by Soka Art Center, Taipei, Taiwan.

2014 年作 水墨 設色 紙本 款識：劉國松 2014 鈐印：一個東西南北人

附台灣 台北 索卡藝術中心開立之藝術家親簽原作保證書

HK$ 2,500,000 - 3,500,000 US$ 320,500 - 448,700

296 poly auction hong kong Modern and Contemporary Art 297 198 199

QIU DESHU (CHINESE, B. 1948) YANG CHIHUNG (CHINESE, YANG SHIHONG, B. 1947) Fissuring Leap 仇德樹 裂變 楊識宏 躍進

1. 2. 3. 4. 5.

Painted in the 2000s 2000 年代作 acrylic on paper, laid on canvas (pentaptyph) 壓克力 紙本 裱於畫布（五聯作） each: 147.3 x 46.5 cm. (58 x 18 1/4 in.); 款識： overall: 147.3 x 232.5 cm. (58 x 91 1/2 in.) 1. 德樹（右下） 1. signed in Chinese (lower right) 藝術家鈐印 one seal of the artist 2. 德樹（左下） 2. signed in Chinese (lower left) 藝術家鈐印 one seal of the artist 3. 德樹（左下） 3. signed in Chinese (lower left) 藝術家鈐印 one seal of the artist 4. 德樹（右下） 4. signed in Chinese (lower right) 藝術家鈐印 one seal of the artist 5. 德樹（左下） 5. signed in Chinese (lower left) 藝術家鈐印 one seal of the artist 來源 Provenance 現藏者直接得自於藝術家 Acquired directly from the artist by the present owner 展覽 Painted in 2014 2014 年作 Exhibited 2009年10月10日-2010年1月17日「開顯與時變－創新水墨藝術展」台北市 acrylic on canvas 壓克力 畫布 Taiwan, Taipei, Taipei Fine Arts Museum, Open Flexibility: Innovative Contemporary 立美術館 台北 台灣 71.5 x 162 cm. (28 1/4 x 63 3/4 in.) 款識：Chihung Yang Leap 2014（畫背） Ink Art, 10 October, 2009-17 January, 2010. signed, titled and dated 'Chihung Yang Leap ©2014' (on the reverse) ©

HK$ 280,000 - 360,000 HK$ 220,000 - 320,000 US$ 35,900 - 46,200 US$ 28,200 - 41,000

298 poly auction hong kong Modern and Contemporary Art 299 200 201

CHUANG CHE (CHINESE, B. 1934) PANG JIUN (CHINESE, PANG JUN, B. 1936) Untitled The Kakis are Ripe 莊喆 無題 龎均 柿子熟了

Painted in 2018 2018 年作 Painted in 1981 1981 年作 oil on canvas 油彩 畫布 oil and acrylic on canvas 油彩 壓克力 畫布 97 x 130 cm. (38 1/4 x 51 1/4 in.) 款識：龎均 2018（右下） 100.5 x 127 cm. (39 1/2 x 50 in.) 款識：81 莊喆（右下） signed in Chinese; dated '2018' (lower right) 藝術家手繪鈐印：均 dated '81'; signed in Chinese (lower right) one painted seal of the artist 附美國 紐約 David Findlay Jr. Fine Art畫廊開立之原作保證書 來源 This work is to be sold with a certificate of authenticity issued by David Findlay Provenance 亞洲 私人收藏 Jr. Fine Art, New York, USA. Private Collection, Asia

HK$ 150,000 - 250,000 HK$ 420,000 - 820,000 US$ 19,200 - 32,100 US$ 53,800 - 105,100

300 poly auction hong kong Modern and Contemporary Art 301 PANG JIUN WALASSE TING 龎 均 柿子熟了 丁雄泉 採花大盜

生命是一場盛宴 丁雄泉生活地如其畫作一般活色生香，外放灑脫，他這種強烈的慾 望同時也體現在其作品之上，他喜好用鮮豔大膽的色彩和揮灑寫意 的筆觸，不拘泥於細微形態的方式來描繪筆下之人和物。這樣肆意 的筆法除了來自東方的寫意精神，同時可見當時眼鏡蛇畫派的構型 理論。

女人、馬、動物及靜物等都是丁雄泉筆下常見之題材。而女人則是 眾所皆知的丁雄泉之摯愛題材。他自號「採花大盜」或「風流先 《一吻一吻》(Lot 204) 同樣創作於1970年代中期，畫面中的兩位女 生」，自詡是女性美真正的擷英者。以強烈鮮活的色彩及大膽出挑 子頭髮一紅一藍，用色及構型都極為大膽，螢光色的紅、黃、藍、 的造型歌頌女人的靈肉之媚與柔。《香草味》(Lot 203) 作為描繪 橙構成女子的身軀髮膚，再在空間內加入抽象元素，畫面豐富、雀 女體之代表之作，女體側躺著，懷抱花簇，身邊彩色的背景使其彷 躍而又強烈，正是生氣勃勃色彩明艷的丁雄泉風格！《鯊魚》(Lot 彿置身於鮮豔的花叢中。「每一次我看見美麗的女人就會聯想到鮮 202) 則是藝術家創作中少見的大尺幅描繪動物的作品，畫面中一隻 花，鮮花的美使我愛，使我新鮮。我畫上的女人、貓、鮮花、鳥， 碩大的鯊魚，只見其前額細長，眼神銳利，以不可擋之勢正從海面 都在表現新鮮，在新鮮中藏著美。」對丁雄泉而言，女體之優美唯 躍起，尾部濺起水花，栩栩如生氣勢十足，有如藝術家充滿銳氣的 Lot 201 有鮮花蝴蝶可相稱，畫面大量採用鮮艷的黃、綠、藍色塊，高純度 的自我形象。畫面的構型以大塊的色墨及簡潔的線條勾勒出來，對 的色塊相互衝擊，畫面呈現出平面化卻極具衝擊感。再加之藝術家 應了原始藝術粗獷簡約之主體表現手法，使得作品純真而表現出充 均擅於將東方美學的文人情思巧妙地結合西方油彩的表現性，以 Pang Jiun has the ability to ingenuously unite the aesthetics of the Eastern literati 隨性大氣的筆觸，畫中的裸女在鮮花映襯下愈發鮮活，性感、慵 盈的力量。《鯊魚》題材在丁雄泉作品中非常少見，且具有上海美 龎 展現中國文化獨有的意境，同時也不失西方現代主義的特質，為東 with the expressions of Western oil paintings. Through such, he reveals the 懶，一如香草口味的甜膩與撩人。《花園中的貓》(Lot 205) 運用純 術館著錄，是市場上難得一見之佳作。 unique ambience of Chinese culture, as well as the characteristics of Western 度極高的色彩形成強烈的對比，丁雄泉以迅捷有力的蠟筆筆觸勾勒 方繪畫創造了嶄新風格與高度。從小受古典音樂和詩詞薰陶的他， modernism, which brings paintings of the oriental to a new creative pinnacle. 透過純熟的寫生技巧，營造「詩中有畫，畫中有詩」之情境，樹立 Nurtured by classical music and poetry from a young age, Pang Jiun establishes 出花園中草叢及貓身的明暗。牠曲蜷著彷似休息，卻又眼神靈動， 個人風格。他對於顏色的掌握十分敏感，熱衷運用大膽、強烈的色 his personal style and the ancient scholar ideal of "there is painting in poetry just 似乎下一秒便要縱身躍入旁邊的花草叢中，實為丁雄泉動物主題作 as there is poetry in painting" through his proficient technique of life paintings. 彩，保留畫面厚重的油彩強調筆觸肌理，將美感、趣味和生命力與 品中極具代表性之作。 His grasp upon the use of colours is especially delicate, and is fond of employing 他的藝術修養完美結合。 daring and vibrant colours. Further, he retains the heaviness of the image through oil, and emphasises the texture of brushstrokes to integrate his artistic 均的創作源自於生活題材或是走遍江山南北的寫生經歷，第一時 upbringing with aesthetics, amusement and vitality. Life is a feast as the flavour of vanilla. In the Cat in the Garden (Lot 205), a sense of conflict is 龎 created by highly-saturated contrasting colours, Walasse Ting has used crayon 間用繪畫記錄下體悟和情感，將所見之美納進畫布。《柿子熟了》 Walasse Ting lived his life just like his paintings - splendid and wild. Depicting to depict the figure of a cat, resting among the grass. The cat, seems at rest at Pang Jiun's creations draws inspiration from everyday subject matters, or his his passion and desire through his artworks, he used bright, bold colours and (Lot 201) 採用柔和的黃色為背景，運用源自傳統書畫的黑色線條勾 first glance, but when looking closely, his eyes are gazing at the viewer, as if he is life drawing experiences travelling across lands far and wide. He would record swaying brushstrokes to draw figures and objects without stickling subtle details. 勒果實的輪廓，柿子時而青綠、時而橘紅，在強烈對比下增添畫面 going to jump outside the frame, all the elements form a representative work for his experiences and emotions in the moment, and bring the beauty of his His arbitrary brushstrokes draw from an Eastern freehand spirit, as well as Walasse Ting's work. 的活力。畫面中粗細交疊的樹枝從斜角延伸，彷彿清風拂過，熟透 sights onto the canvas. The Kakis are Ripe (Lot 201) employs a warm yellow as concepts of CoBrA art. the background, and uses traditional black outlines to sketch out the shape of 的柿子便會掉落。 均以細枝椏暗示了無限延伸的景深與空間感， Similar to Vanilla Flavor, A Kiss, A Kiss (Lot 204) was created in the mid-70's. The 龎 the fruit. Some of the kakis are grass green, some others are more orangey, Women, horses, animals and still objects are common themes in Ting's artwork. two ladies in the painting have red and blue hair, respectively. In the bold use of 在有限的畫布中譜出和諧的韻律，調和了畫面之間冷暖色調的對比 this contrast in colour adds a layer of playful energy to the painting. Branches His love to depict women is particularly well-known. He even nicknamed himself colours and composition, neon red, yellow, blue and orange colours compose 關係。 of different thickness weave diagonally across the canvas, and, it seems, if a the "Flower Thief" or "Mr. Ladies' Man", claiming to be a collector of female the bodies, hair and skin of the ladies. The addition of abstract elements present gust of wind brushed past, the plump kakis will drop from the branches. Pang beauty. He praised the feminine spirit, boldly presenting glamorous bodies using a level of richness, excitement and intensity that are all typical of the dazzling 均創作的不同之處在於他不過分強調物象的形似和寫實，在自由 Jiun extended the slender branches to create a sense of bottomless depth and intense colours and striking poses. Vanilla Flavor (Lot 203) is his most iconic and vibrant Walasse Ting style. Shark (Lot 202) is a rare piece of artwork by Ting 龎 spatiality. Upon a limited and static canvas, he composed a harmonious balance portrait of female body. The woman in the picture lies on her side, holding a 和概念化間取得平衡，《柿子熟了》遠看是具象的作品，近看則帶 in its large-scale depiction of an animal subject. The giant shark in the painting between the warm and cool tones. flower bouquet in her arms. The vibrant background seems to place her amidst has a long, thin forehead with sharp eyes. It leaps out of the water surface with 有幾何抽象的組構，如同他自述：「我寫生不求寫實，而是創作， a sea of colourful flowers. "I think of fresh flowers every time I see a beautiful an unstoppable momentum and makes huge splashes with its tail. The energetic 畫山不必真似山，畫水亦不必真似水，江山不如畫。」即是 均獨 The distinctiveness of Pang Jiun's paintings arise from the balance he created woman. The beauty of fresh flowers is rejuvenating to me. All those women, 龎 between freedom and conceptualism, rather than over exaggerating the and lifelike shark may be the artist's self-portrait. The composition of the picture 樹一幟的畫風。 cats, flowers and birds in my paintings represent a sense of freshness and the is depicted through large areas of ink and simplistic outlines, which corresponds details of the objects. The Kakis are Ripe seem concrete from afar, but reveals beauty hidden within it." For Walasse Ting, fresh flowers and butterflies are the to the crude expression of primitive art, and present a straight-forward image a composition employing geometric abstraction up close. Like he said, "I draw only suitable objects for the elegance of female body. In Vanilla Flavor, the artist filled with energy. The theme of Shark is one that is very rare among the works from life, not to depict what is real, but to create something new. To draw a has incorporated large blocks of bright yellow, green and blue, these colour of Walasse Ting. Collected by the Shanghai Art Museum, it is considered a rare mountain does not necessarily have to look like a mountain, to draw a lake blocks create high contrast, making the flat surface an extremely lively one to does not necessarily have to look like a lake. Mountains and lakes are inferior to and outstanding work of Walasse Ting on the market. 牧谿《六柿圖》宋代 日本 京都 大德寺龍光院藏 look at. With the artist's wild brushstrokes, the fresh flowers accentuate the Mu Xi, Six Persimmons, Song dynasty, Collection of Daitoku-ji, Kyoto, Japan drawings." liveliness of the naked women. She is sexy, relaxed, just as sweet and alluring

302 poly auction hong kong Modern and Contemporary Art 303 202

WALASSE TING (CHINESE-AMERICAN, DING XIONGQUAN, 1929-2010) Shark 丁雄泉 鯊魚

acrylic on paper 128.5 x 249 cm. (50 1/2 x 98 in.) one seal of the artist

Provenance Private Collection, Singapore (acquired directly from the artist) Poly Auction Hong Kong, 4 April 2016, Lot 135 Acquired from the above sale by the present owner

Literature A Very Hot Day, Shanghai Art Museum, Shanghai, China, 1997 (illustrated, p. 339).

壓克力 紙本 鈐印：採花大盜

來源 新加坡 私人收藏（直接得自於藝術家） 保利 香港 2016年4月4日 編號135 現藏者購自上述拍賣

出版 《好熱的天》上海美術館 上海 中國 1997年（圖版，第339頁）

HK$ 400,000 - 600,000 US$ 51,300 - 76,900

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WALASSE TING (CHINESE-AMERICAN, DING XIONGQUAN, 1929-2010) Vanilla Flavor 丁雄泉 香草味

Painted in 1975 1975 年作 acrylic on canvas 壓克力 畫布 102 x 66 cm. (40 1/4 x 26 in.) 款識：Vanilla flavor ting 75（畫背） titled, signed and dated 'Vanilla flavor ting 75' (on the reverse) 來源 Provenance 佳士得 香港 2010年5月30日 編號1350 Christie's Hong Kong, 30 May 2010, Lot 1350 現藏者購自上述拍賣 Acquired from the above sale by the present owner

HK$ 320,000 - 500,000 US$ 41,000 - 64,100

306 poly auction hong kong Modern and Contemporary Art 307 204 205

WALASSE TING (CHINESE-AMERICAN, DING XIONGQUAN, 1929-2010) WALASSE TING (CHINESE-AMERICAN, DING XIONGQUAN, 1929-2010) A Kiss, A Kiss Cat in the Garden 丁雄泉 一吻一吻 丁雄泉 花園中的貓

Painted in 1974 1974 年作 Painted in 1978 1978 年作 acrylic and crayon on paper 壓克力 蠟筆 紙本 acrylic and crayon on cardboard 壓克力 蠟筆 紙板 71.5 x 111.5 cm. (28 1/4 x 44 in.) 款識：A Kiss, A Kiss ting 74（畫背） 59 x 90.4 cm. (23 1/4 x 35 1/2 in.) 款識：Cat in the garden ting 78 april 25（畫背） titled, signed and dated 'A Kiss, A Kiss ting 74' (on the reverse) titled, signed and dated 'Cat in the garden ting 78 april 25' (on the reverse) 來源 來源 Provenance 蘇富比 香港 2016年10月3日 編號 5108 Provenance 亞洲 私人收藏 Sotheby's Hong Kong, 3 October 2016, Lot 5108 現藏者購自上述拍賣 Private Collection, Asia Acquired from the above sale by the present owner 附美國 布魯明頓 OriginalArtBroker.com及Griffin畫廊開立之原作保證書 出版 This lot is to be sold with a certificate of authenticity issued by OriginalArtBroker. Literature 《紅唇系列1—丁雄泉 1973-1977 丙烯 蠟筆 西洋紙上作品》龍門雅集 上海 com and Griffin Gallery, Bloomington, USA. Red Mouth Series 1-Walasse Ting 1973-1977 Acrylic & Oil Pastel on Western Paper, 中國 2012年（圖版，第65及85頁） Longmen Art Project, Shanghai, China, 2012 (illustrated, pp. 65 & 85). 附美國 紐約 丁雄泉遺產檔案庫開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Walasse Ting HK$ 120,000 - 240,000 Estate Archive, New York, USA. US$ 15,400 - 30,800

HK$ 300,000 - 600,000 US$ 38,500 - 76,900

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CHIU YA-TSAI (CHINESE, QIU YACAI, 1949-2013) JU MING (CHINESE, ZHU MING, B. 1938) Gentleman Taichi Series 邱亞才 紳士 朱銘 太極系列

Executed in 1995 bronze sculpture edition: 1/10 23 x 18.5 x 31 cm. (9 x 7 x 12 1/4 in.) signed in Chinese; editioned and dated '1/10 '95' (lower back)

This work is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

1995 年作 銅雕 雕塑 Painted in 1993 1993 年作 版數：1/10 oil on canvas 油彩 畫布 款識：朱銘 1/10 '95（下背） 91 x 73 cm. (35 3/4 x 28 3/4 in.) 款識：亞才93（左下） signed in Chinese; dated '93' (lower left) 附台灣 台北 真善美畫廊開立之原作保證書

HK$ 160,000 - 260,000 HK$ 200,000 - 300,000 另一角度 alternative view US$ 20,500 - 33,300 US$ 25,600 - 38,500

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JU MING (CHINESE, ZHU MING, B. 1938) Taichi Series - Sparring 朱銘 太極系列—對打

Executed in 1994 two bronze sculptures edition: 8/20; & 18/20 32 x 16 x 25 cm. (13 x 6 1/4 x 9 3/4 in.); & 25 x 18.5 x 30 cm. (9 3/4 x 7 x 11 3/4 in.) signed in Chinese; editioned and dated '8/20 '94' (bottom); & signed in Chinese; editioned and dated '18/20 '94' (lower back)

These works are to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

1994 年作 銅雕 雕塑（共兩件） 版數：8/20；及18/20 款識：朱銘 8/20 '94（底部）；及朱銘 18/20 '94（下背）

附台灣 台北 真善美畫廊開立之原作保證書

HK$ 500,000 - 800,000 US$ 64,100 - 102,600

另一角度 alternative view

312 poly auction hong kong Modern and Contemporary Art 313 209

JU MING (CHINESE, ZHU MING, B. 1938) Taichi Series - Preparation for Underarm Strike 朱銘 太極系列—十字手

Executed in 1995 1995 年作 bronze sculpture 銅雕 雕塑 edition: 2/7 版數：2/7 34 x 20.7 x 37 cm. (13 1/4 x 7 3/4 x 14 1/2 in.) 款識：朱銘 自 2/7 '95（下背） signed in Chinese; editioned and dated '2/7 '95' (lower back) 附台灣 台北 真善美畫廊開立之原作保證書 This work is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei, Taiwan.

HK$ 240,000 - 340,000 US$ 30,800 - 43,600

另一角度 alternative view

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LE NANG HIEN (VIETNAMESE, 1921-2014) NGUYEN TRUNG (VIETNAMESE, B. 1940) NGUYEN TRUNG (VIETNAMESE, B. 1940) MAI TRUNG THU (VIETNAMESE, 1906-1980) Woman with Cat Girl with Flower Girl Enfant (Self Portrait) 黎能賢 女子與貓 阮忠 執花少女 阮忠 少女 梅忠恕 孩童（自畫像）

Painted in 1990 Painted in 1971 ink and gouache on silk ink and gouache on silk in original frame painted by the artist 59 x 39.7 cm. (23 1/4 x 15 1/4 in.) Painted in 1974 Painted in 1974 15 x 5 cm. (6 x 2 in.) signed and dated 'NANG HIEN 1990' (upper right) oil on canvas oil on canvas signed 'MAI THU'; dated in Chinese (upper centre) one seal of the artist 80 x 65 cm. (31 1/2 x 25 1/2 in.) 79 x 79 cm. (31 1/4 x 31 1/4 in.) one seal of the artist signed and dated 'ng Trung 74' (lower left) signed and dated 'ng Trung 74' (lower left) Provenance Provenance Private Collection, France Provenance Provenance Private Collection, France Private Collection, France Private Collection, France

1990 年作 1971 年作 水墨 水粉 絹本 1974 年作 1974 年作 水墨 水粉 絹本 藝術家手繪原框 款識：NANG HIEN 1990（右上） 油彩 畫布 油彩 畫布 款識：MAI THU 七十一年（中上） 藝術家鈐印 款識：ng Trung 74（左下） 款識：ng Trung 74（左下） 藝術家鈐印

來源 來源 來源 來源 法國 私人收藏 法國 私人收藏 法國 私人收藏 法國 私人收藏

HK$ 40,000 - 60,000 HK$ 40,000 - 60,000 HK$ 40,000 - 60,000 HK$ 100,000 - 200,000 US$ 5,100 - 7,700 US$ 5,100 - 7,700 US$ 5,100 - 7,700 US$ 12,800 - 25,600

316 poly auction hong kong Modern and Contemporary Art 317 214

MAI TRUNG THU (VIETNAMESE, 1906-1980) L'été 梅忠恕 盛夏

Painted in 1976 1976 年作 ink and gouache on silk in original frame painted by the artist 水墨 水粉 絹本 藝術家手繪原框 25 x 10 cm. (9 3/4 x 4 in.) 款識：MAI THU 七十六年（左下） signed 'MAI THU'; dated in Chinese (lower left) 藝術家鈐印 one seal of the artist 來源 Provenance 法國 私人收藏 Private Collection, France

HK$ 200,000 - 400,000 US$ 25,600 - 51,300

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GEORGE CHANN (CHINESE-AMERICAN, CHEN T'ANG HAYWEN (CHINESE-FRENCH, TANG CHEN TING-SHIH (CHINESE, CHEN TINGSHI, ZAO WOU-KI (CHINESE-FRENCH, ZHAO WUJI, YINPI, 1913-1995) THEN PHUOC, 1927-1991) 1916-2002) 1920-2013) Ballet Girl Compositions Day and Night; & Day and Night #36 Arbrisseaux 陳蔭羆 芭蕾舞女孩 曾海文 構成 陳庭詩 晝與夜；及晝與夜#36 趙無極 林間

1.

1. 2.

Executed in 1975; & 1976 two lithographs edition: 33/90; & 425/500 1. 71.3 x 51.2 cm. (28 x 20 in.); & 2. 84.1 x 62.5 cm. (33 x 24 in.) 2. 1. Day and Night: titled, editioned, signed and dated 'Day and Night 33/90 Chen Ting-Shih 1975' (bottom) Painted circa 1970 2. Day and Night #36: titled, editioned, signed and dated 'Day and Night #36 two ink on paper (diptych) 425/500 Chen Ting-Shih May 1976' (bottom) Executed in 1951 1. each: 29.7 x 21 cm. (11 1/2 x 8 1/4 in.) one seal of the artist etching with burin overall: 29.7 x 42 cm. (11 1/2 x 16 1/2 in.); & edition: 18/50 2. each: 70 x 50 cm. (27 1/2 x 19 3/4 in.) Literature 21.7 x 26.5 cm. (8 1/4 x 10 1/4 in. ) overall: 70 x 100 cm. (27 1/2 x 39 1/2 in.) 2: Speechless Great Talent: Chen Ting Shih Posthumous Artwork, National Taiwan editioned and signed '18/50 ZAO'; signed in Chinese (bottom) Museum of Fine Arts, Taichung, Taiwan, 2003 (illustrated, plate AP00009, p. 268). Provenance Day and Night, Providence University Art Center, Taichung, Taiwan, 2008 Provenance Azur Enchères Cannes, 28 October 2017, Lot 8; & Lot 36 (illustrated, p. 43). Private Collection, Asia Acquired from the above sale by the present owner oil on canvas Literature 46.2 x 35.9 cm. (18 1/4 x 14 1/4 in.) The works will be included in the catalogue raisonée preparing by the T'ang 1976；及 1975 年作 Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & signed 'GEO.CHANN' (lower right) Haywen Archives and Philippe Koutouzis, and numbered as MDENS-KY-36 & LDI- 石版 版畫（共兩件） Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 60, p. 46). KW-26. 版數：33/90；及425/500 Provenance 款識： Private Collection, Los Angeles, USA 1.《晝與夜》：Day and Night 33/90 Chen Ting-Shih 1975（底部） 1951 年作 Private Collection, Asia 約 1970 年作 2.《晝與夜#36》：Day and Night #36 425/500 Chen Ting-Shih May 1976 推刀 蝕刻 版畫 水墨 紙板（兩件雙聯作） （底部） 款識：18/50 無極ZAO（底部） 鈐印：陳 油彩 畫布 來源 來源 款識：GEO.CHANN（右下） Azur 拍賣 坎城 2017年10月28日 編號 8；及編號 36 出版 亞洲 私人收藏 現藏者購自上述拍賣 2：《大器無言－陳庭詩遺作彙編》國立台灣美術館 台中 台灣 2003年（圖 來源 版，第AP00009圖，第268頁） 出版 美國 洛杉磯 私人收藏 此拍品將被收入由曾海文檔案庫及Philippe Koutouzis編寫的曾海文作品全集 《晝與夜：陳庭詩版畫中的天地觀》靜宜大學藝術中心 台中 台灣 2008年 《趙無極版畫集 1937-1995》Heede & Moestrup出版社 哥本哈根 丹麥 亞洲 私人收藏 中，編號為MDENS-KY-36；及LDI-KW-26 （圖版，第43頁） 1994年（圖版，第60圖，第46頁）

HK$ 50,000 - 80,000 HK$ 50,000 - 100,000 HK$ 30,000 - 60,000 HK$ 40,000 - 80,000 US$ 6,400 - 10,300 US$ 6,400 - 12,800 US$ 3,800 - 7,700 US$ 5,100 - 10,300

320 poly auction hong kong Modern and Contemporary Art 321 219 220 221 222

ZAO WOU-KI (CHINESE-FRENCH, ZHAO WUJI, ZAO WOU-KI (CHINESE-FRENCH, ZHAO WUJI, LIU YE (CHINESE, B. 1964) YUE MINJUN (CHINESE, B. 1962) 1920-2013) 1920-2013) Chorus Smile-ism No. 12; & Smile-ism No. 7 Untitled; & Untitled Untitled 劉野 合唱團 岳敏君 微笑主義 No. 12；及微笑主義 No. 7 趙無極 無題；及無題 趙無極 無題

1. 2. 1.

Executed in 1954; & 1957 etching, lithographs edition: 56/120; & edition of 120 15.8 x 10.5 cm. (6 x 4 in.); & 15.8 x 13.2 cm. (6 x 5 in.) 1. Untitled: editioned, signed and dated '56/120 ZAO 54'; signed in Chinese Executed in 1974 (bottom) lithograph 2. Untitled: signed in Chinese; signed and dated 'ZAO 57' (bottom) edition: E.A. 43.5 x 61 cm. (17 x 24 in.) Literature 1. Zao Wou-Ki Les estampes 1937-1974, Arts et Metiers Graphiques, Paris, editioned, signed and dated 'E.A. ZAO 74'; signed in Chinese (bottom) France, 1975 (illustrated in black and white, plate 95, p. 59). Executed in 2001 2. Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & Provenance silkscreen on canvas Private Collection, USA Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 92, p. 64). edition: 92/100 2. Zao Wou-Ki Les estampes 1937-1974, Arts et Metiers Graphiques, Paris, 54.3 x 70 cm. (21 1/2 x 27 1/2 in.) Literature Executed in 2006 France, 1975 (illustrated in black and white, plate 114, p. 68). editioned, signed and dated '92/100 liuye 2001'; signed in Chinese (bottom) Zao Wou-Ki Les estampes 1937-1974, Arts et Métiers Graphiques, Paris, France, two lithographs Zao Wou-Ki: The Graphic Work, A Calatogue Raisonné 1937-1995, Edition Heede & 1975 (illustrated in black and white, plate 253, p. 139). Provenance edition: 41/45; & 24/45 Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 112, p. 74). Zao Wou-Ki: The Graphic Work, A Catalogue Raisonne 1937-1995, Edition Heede & Private Collection, New York, USA 1. 110.2 x 90.2 cm. (43 1/2 x 35 1/2 in.); & 2. 80.2 x 110.2 cm. (31 1/2 x 43 1/2 in.) Moestrup, Copenhagen, Denmark, 1994 (illustrated, plate 252, p. 143). 1. Smile-ism No. 12: editioned and signed '41/45 yueminjun' (bottom); & 1954 年作 ; 及 1957 年作 Literature 2. Smile-ism No. 7: editioned and signed '24/45 yueminjun' (bottom) 蝕刻 版畫；及石版 版畫 Liu Ye: Red Yellow Blue, Schoeni Art Gallery, Hong Kong, China, 2004 (illustrated, 1974 年作 版數：56/120；及 總版數：120 p. 44). Provenance 石版 版畫 款識： Private Collection, New York, USA 版數：藝術家試版 1.《無題》：56/120 無極 ZAO 54（底部） 款識：E.A. 無極 ZAO 74（底部） 2001 年作 2.《無題》：無極 ZAO 57（底部） 絹印 畫布 2006 年作 來源 出版 版數：92/100 石版 版畫（共兩件） 美國 私人收藏 款識：92/100 liuye 野 2001（底部） 版數：41/45；及 24/45 1.《趙無極版畫集1937-1974》Arts et M tiers Graphiques 巴黎 法國 1975 款識： 年（圖版，第95圖，第59頁） é 出版 來源 1.《微笑主義 No. 12》：41/45 yueminjun（底部） 《趙無極版畫集1937-1995》Edition Heede & Moestrup 哥本哈根 丹麥 《趙無極版畫集》Arts et M tiers Graphiques 巴黎 法國 1975年（黑白圖 美國 紐約 私人收藏 2.《微笑主義 No.7》：24/45 yueminjun（底部） 1994年（圖版，第92圖，第64頁） é 版，第253圖，第139頁） 2.《趙無極版畫集1937-1974》Arts et M tiers Graphiques 巴黎 法國 1975 《趙無極版畫集 1937-1995》Edition Heede & Moestrup 哥本哈根 丹麥 出版 來源 年（圖版，第114圖，第68頁） é 1994年（圖版，第252圖，第143頁） 《劉野：紅、黃、藍》少勵畫廊 香港 中國 2004年（圖版，第44頁） 美國 紐約 私人收藏 《趙無極版畫集1937-1995》Edition Heede & Moestrup 哥本哈根 丹麥 1994年（圖版，第112圖，第74頁）

HK$ 60,000 - 80,000 HK$ 30,000 - 50,000 HK$ 40,000 - 60,000 HK$ 20,000 - 40,000 US$ 7,700 - 10,300 US$ 3,800 - 6,400 US$ 5,100- 7,700 US$ 2,600- 5,100

322 poly auction hong kong Modern and Contemporary Art 323 223 224 225 226

TAKASHI MURAKAMI (JAPANESE, B. 1962) TAKASHI MURAKAMI (JAPANESE, B. 1962) YAYOI KUSAMA (JAPANESE, B. 1929) YAYOI KUSAMA (JAPANESE, B. 1929) We are Destined to Meet Someday! But for Now, Panda Family and Me; & I Met a Panda Family Seeking the Soul Buried in a Flower Garden We Wander in Different Dimensions; & DOB: Myxomycete 村上隆 熊貓家族與我；及我遇見了熊貓家族 草間彌生 靈魂之求索 草間彌生 埋藏於花園 村上隆 我們有一天終將會遇見！只是現在我們仍徘徊 於不同維度；及 DOB：粘菌

1. 1.

© YAYOI KUSAMA © YAYOI KUSAMA Executed in 2012 Executed in 2011 etching embossing screenprint etching embossing screenprint edition: H.C. 3/5 edition: H.C. 3/5 61 x 72.5 cm. (24 x 28 1/4 in.) 37.8 x 45.3 cm. (14 1/2 x 17 3/4 in.) editioned, dated and signed 'H C 3/5 2012 yayoi Kusama'; titled in Japanese editioned, dated and signed 'H C 3/5 2011 yayoi Kusama'; titled in Japanese (bottom) (bottom) 2. 2. Provenance Provenance Executed in 2016; & 2017 Private Collection, Japan Private Collection, Japan two offset lithographs edition: 77/300; & 75/300 Executed in 2013 Literature Literature each: 68 x 68 cm. (26 3/4 x 26 3/4 in.) two offset lithographs Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 1. We are Destined to Meet Someday! But for Now, We Wander in Different Dimensions: edition: 52/300; & 198/300 (illustrated, plate 388, p. 223). (illustrated, plate 370, p. 212). titled, dated, signed and editioned '®We are Destined to Meet Someday! But for each: 50 x 50 cm. (19 1/2 x 19 1/2 in.) Now, We Wander in Different Dimensions ©2016 Takashi Murakami/Kaikai Kiki 1. Panda Family and Me: titled, dated, signed and editioned '®Panda Family and This work has been confirmed by the Yayoi Kusama Studio as original print. This work has been confirmed by the Yayoi Kusama Studio as original print. Co., Ltd All Right Reserved. 77/300' (bottom) Me ©2013 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 52/300' 2. DOB: Myxomycete: titled, dated, signed and editioned '®DOB: Myxomycete (bottom) ©2017 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 75/300' 2. I Met a Panda Family: titled, dated, signed and editioned '®I Met a Panda Family 2012 年作 2011 年作 (bottom) ©2013 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Reserved. 198/300' 蝕刻壓印 絲網 版畫 蝕刻壓印 絲網 版畫 (bottom) 版數：H.C. 3/5 版數：H.C. 3/5 款識：H C 3/5 魂を求めて 2012 yayoi Kusama（底部） 款識：H C 3/5 花園にうずもれて 2011 yayoi Kusama（底部） 2016 年作；及 2017 年作 膠印 版畫（共兩件） 2013 年作 來源 來源 版數：77/300；及 75/300 膠印 版畫（共兩件） 日本 私人收藏 日本 私人收藏 款識： 版數：52/300；及198/300 1.《我們有一天終將會遇見！只是現在我們仍徘徊於不同維度》： We 款識： 出版 出版 are Destined to Meet Someday! But for Now, We Wander in Different® 1.《熊貓家族與我》： Panda Family and Me 2013 Takashi Murakami/ 《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 Dimensions 2016 Takashi Murakami/Kaikai Kiki Co., Ltd All Right Kaikai Kiki Co., Ltd All® Right Reserved. 52/300（底部）© （圖版，第388圖，第223頁） （圖版，第370圖，第212頁） Reserved. 77/300（底部）© 2.《我遇見了熊貓家族》： I Met a Panda Family 2013 Takashi Murakami/ 2.《DOB：粘菌》： DOB: Myxomycete 2017 Takashi Murakami/Kaikai Kaikai Kiki Co., Ltd All Right® Reserved. 198/300（底部） © 經藝術家工作室確認此拍品為原作版畫 經藝術家工作室確認此拍品為原作版畫 Kiki Co., Ltd All Right® Reserved. 75/300'（底部）©

HK$ 10,000 - 20,000 HK$ 100,000 - 200,000 HK$ 60,000 - 120,000 HK$ 10,000 - 20,000 US$ 1,300 - 2,600 US$ 12,800 - 25,600 US$ 7,700 - 15,400 US$ 1,300 - 2,600

324 poly auction hong kong Modern and Contemporary Art 325 227 228 229

YAYOI KUSAMA (JAPANESE, B. 1929) YAYOI KUSAMA (JAPANESE, B. 1929) YAYOI KUSAMA (JAPANESE, B. 1929) Flower Bloomed in My Heart Mushrooms TZXT Girls AAA 草間彌生 花朵綻放於我心 草間彌生 蘑菇TZXT 草間彌生 女孩AAA

© YAYOI KUSAMA © YAYOI KUSAMA

Executed in 2011 Executed in 2012 etching embossing screenprint etching edition: H.C. 3/5 edition: H.C. 3/5 45.5 x 38 cm. (17 3/4 x 15 in.) 45 x 52.5 cm. (17 3/4 x 20 1/2 in.) editioned, dated and signed 'H C 3/5 2011 yayoi Kusama'; titled in Japanese editioned, titled, dated and signed 'H.C. 3/5 MUSHROOMS TZXT 2012 yayoi (bottom) Kusama' (bottom)

Provenance Provenance Private Collection, Japan Private Collection, Japan

Literature Literature Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 (illustrated, plate 372, p. 213). (illustrated, plate 393, p. 228). © YAYOI KUSAMA

This work has been confirmed by the Yayoi Kusama Studio as original print. This work has been confirmed by the Yayoi Kusama Studio as original print. Executed in 2011 2011 年作 screenprint 絲網 版畫 2011 年作 2012 年作 edition: H.C. 3/5 版數：H.C. 3/5 蝕刻壓印 絲網 版畫 蝕刻 版畫 53 x 65 cm. (20 3/4 x 25 1/2 in.) 款識：H.C. 3/5 girls AAA 2011 yayoi Kusama（底部） 版數：H.C. 3/5 版數：H.C. 3/5 edtioned, titled, dated and signed 'H.C. 3/5 girls AAA 2011 yayoi Kusama' 款識：H C 3/5 花は心の中で咲いた 2011 yayoi Kusama（底部） 款識：H.C. 3/5 MUSHROOMS TZXT 2012 yayoi Kusama（底部） (bottom) 來源 日本 私人收藏 來源 來源 Provenance 日本 私人收藏 日本 私人收藏 Private Collection, Japan 出版 《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 出版 出版 Literature （圖版，第362圖，第206頁） 《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 《草間彌生全版畫1979-2017》阿部出版株式會社 東京 日本 2017年 Yayoi Kusama Prints 1979-2017, ABE Publishing LTD., Tokyo, Japan, 2017 （圖版，第372圖，第213頁） （圖版，第393圖，第228頁） (illustrated, plate 362, p. 206). 經藝術家工作室確認此拍品為原作版畫

經藝術家工作室確認此拍品為原作版畫 經藝術家工作室確認此拍品為原作版畫 This work has been confirmed by the Yayoi Kusama Studio as original print.

HK$ 70,000 - 140,000 HK$ 80,000 - 150,000 HK$ 100,000 - 200,000 US$ 9,000 - 17,900 US$ 10,300 - 19,200 US$ 12,800 - 25,600

326 poly auction hong kong Modern and Contemporary Art 327 230 231

YAYOI KUSAMA (JAPANESE, B. 1929) YAYOI KUSAMA (JAPANESE, B. 1929) Pumpkins Pumpkins 草間彌生 南瓜 草間彌生 南瓜

© YAYOI KUSAMA © YAYOI KUSAMA

Executed in 2002 2002 年作 Executed in 2002 2002 年作 a set of five ceramic sculptures 陶瓷 雕塑（一組共五件） a set of five ceramic sculptures 陶瓷 雕塑（一組共五件） edition: 114/130 版數：114/130 edition: 126/130 版數：126/130 each: 10.5 x 9 x 8 cm. (4 1/4 x 3 1/2 x 3 1/4 in.) 款識：yayoi Kusama 2002 114/130（每件底部） each: 9.5 x 9.3 x 8 cm. (3 1/2 x 3 1/2 x 3 in.) 款識：yayoi Kusama 2002 126/130（每件底部） signed, dated and editioned 'yayoi Kusama 2002 114/130' (bottom of each) signed, dated and editioned 'yayoi Kusama 2002 126/130' (bottom of each) 來源 來源 Provenance 美國 私人收藏 Provenance 美國 私人收藏 Private Collection, USA Private Collection, USA 附日本 大阪 FMR有限公司開立之原作保證書 附日本 大阪 FMR有限公司開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by FMR Limited, This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan. Osaka, Japan.

HK$ 180,000 - 280,000 HK$ 180,000 - 280,000 US$ 23,100 - 35,900 US$ 23,100 - 35,900

328 poly auction hong kong Modern and Contemporary Art 329 232 233

YAYOI KUSAMA (JAPANESE, B. 1929) YAYOI KUSAMA (JAPANESE, B. 1929) Pumpkins High-heel with Bow (Gold) 草間彌生 南瓜 草間彌生 蝴蝶結高跟鞋（金）

© YAYOI KUSAMA

© YAYOI KUSAMA

Executed in 2013 2013 年作 a set of two porcelain sculptures 瓷 雕塑（一組共兩件） edition: H.C. 3/5 版數：H.C. 3/5 Executed in 2002 2002 年作 each: 8 x 22 x 15 cm. (3 1/4 x 8 1/2 x 6 in.) 款識： a set of five ceramic sculptures 陶瓷 雕塑（一組共五件） editioned, inscribed, signed and dated 'HC 3/5 L yayoi Kusama 2013' (bottom of HC 3/5 L yayoi Kusama 2013（左鞋底部） edition: 103/130 版數：103/130 the left) HC 3/5 R yayoi Kusama 2013（右鞋底部） each: 7.3 x 7.3 x 8.8 cm. (2 3/4 x 2 3/4 x 3 1/2 in.) 款識：yayoi Kusama 2002 103/130（每件底部） editioned, inscribed, signed and dated 'HC 3/5 R yayoi Kusama 2013' (bottom signed, dated and editioned 'yayoi Kusama 2002 103/130' (bottom of each) of the right) 來源 來源 日本 私人收藏 Provenance 美國 私人收藏 Provenance Private Collection, USA Private Collection, Japan 附日本 大阪 FMR有限公司開立之原作保證書 附日本 大阪 FMR有限公司開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by FMR Limited, This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan. Osaka, Japan.

HK$ 160,000 - 260,000 HK$ 120,000 - 150,000 US$ 20,500 - 33,300 US$ 15,400 - 19,200

330 poly auction hong kong Modern and Contemporary Art 331 Executed in 2012-2015; 2013; 2017; 2003-2015; 2017; 2003; 2015; & 2005 234 235 1. a set of three porcelain plates; 2. mixed media; 3. wax candle; 4. mixed media; 5. two PVC; 6. plastic motor; 7. mixed media; & 8. mixed media YOSHITOMO NARA (JAPANESE, B. 1959) 1. 17 cm. (7 in.) in diameter x 2.2 cm. (3/4 in.); 2. 3.2 x 2.5 x 8.5 cm. (1 1/4 x 3/4 x 31/4 YAYOI KUSAMA (JAPANESE, B. 1929) 1. Life is Only One; 2. Mini Mori Girl; 3. Mori Girl Candle; in.); 3. 10 x 9.5 x 24 cm. (4 x 3 1/2 x 9 1/2 in.); 4. 9 x 9 x 10.5 cm. (3 1/2 x 3 1/2 x 4 in.); High-heel with Bow (Silver) 4. Abandoned Puppy in the Fountain; 5. The Aomori Dog 5. each: 8 x 16 x 19 cm. (3 1/4 x 6 1/4 x 7 1/2 in.); 6. 18 x 18 x 22.5 cm. (7 1/4 x 71/4 8 3/4 in.); 7. 6.2 x 3.5 x 5 cm. (2 1/4 x 1 1/4 x 2 in.); & 8. 31 x 12.5 x 19 cm. (12 1/4 x4 草間彌生 蝴蝶結高跟鞋（銀） (White & Blue); 6. Pupcup; 7. Shinning Doggy (White); & 8. 3/4 x 7 1/2 in.) My Sweet Dog 2012-2015 年作；2013 年作； 2017 年作；2003-2015 年作；2017 年作； 奈良美智 1. 無常人生；2. 小森子；3. 森女孩蠟燭；4. 被 2003 年作；2015 年作；及 2005 年作 遺棄在井里的小狗；5. 青森犬（白色及青色）；6. 夢遊小狗 1. 瓷盤（一組共三件）；2. 綜合媒材；3. 蠟燭；4. 綜合媒材；5. 聚氯乙烯 杯；7. 燈光小狗（白色）；及8. 我的甜蜜小狗 （共兩件）；6. 注液翻模塑料；7. 綜合媒材；及8. 綜合媒材

HK$ 15,000 - 25,000 US$ 1,900 - 3,200

5.

6. 1.

3.

2. 8. Lot 235 4. 7.

236 YOSHITOMO NARA (JAPANESE, B. 1959) Cosmic Girls (Eyes Opened; & Eyes Closed) 奈良美智 宇宙女孩（睜眼；及閉眼）

Executed in 2008 a set of two offset lithographs edition of 500 each: 67.5 x 48.7 cm. (26 1/2 x 19 1/4 in.) © YAYOI KUSAMA 2008 年作 石版 版畫（一組共兩件） 總版數：500

HK$ 30,000 - 50,000

US$ 3,800 - 6,400 Lot 236

Executed in 2013 2013 年作 a set of two porcelain sculptures 瓷 雕塑（一組共兩件） 237 edition: H.C. 4/5 版數：H.C. 4/5 each: 8 x 22 x 15 cm. (3 1/4 x 8 1/2 x 6 in.) 款識： TAKASHI MURAKAMI (JAPANESE, B. 1962) editioned, inscribed, signed and dated 'HC 4/5 L yayoi Kusama 2013' (bottom of HC 4/5 L yayoi Kusama 2013（左鞋底部） MURAKAMI X COMPLEXCON KAIKAI & KIKI the left) HC 4/5 R yayoi Kusama 2013（右鞋底部） editioned, inscribed, signed and dated 'HC 4/5 R yayoi Kusama 2013' (bottom 村上隆 MURAKAMI X COMPLEXCON KAIKAI & KIKI of the right) 來源 日本 私人收藏 Executed in 2018 Provenance a set of two vinyl multiples Private Collection, Japan 附日本 大阪 FMR有限公司開立之原作保證書 1. Kaikai: 13.5 x 8.5 x 23 cm. (5 x 3.5 x 9 in.); & 2. Kiki: 13.5 x 9 x 19.5 cm. (5 x 3 x 7.5 in.) This lot is to be sold with a certificate of authenticity issued by FMR Limited, Osaka, Japan. 2018 年作 乙烯基（一組共兩件）

HK$ 120,000 - 150,000 HK$ 20,000 - 30,000 2. 1. US$ 15,400 - 19,200 Lot 237 US$ 2,600 - 3,800

332 poly auction hong kong Modern and Contemporary Art 333 238 241 TAKASHI MURAKAMI (JAPANESE, B. 1962) KAWS (AMERICAN, B. 1974) MURAKAMI X COMPLEXCON DOBTOPUS BY BAIT X The Twins (Brown; Black; & Pink) SWITCH (A; & B) KAWS 雙胞胎（棕；黑；及粉） 村上隆 MURAKAMI X COMPLEXCON DOBTOPUS BY BAIT X SWITCH（A；及B） Executed in 2006 three sets of vinyl multiples each: 7 x 6 x 20.5 cm. (2 3/4 x2 1/4 x 8 in.) Executed in 2017 two vinyl multiple sculptures 2006 年作 A: edition of 400; 乙烯基（共三組） B: edition of 800 36 x 29 x 26.5 cm. (14 1/4 x 11 1/2 x 10 1/2 in.); & 34 x 22 x 24 cm. (13 1/2 x 83/4 9 1/2 in.) Lot 241 HK$ 28,000 - 38,000

2. 2017 年作 US$ 3,600 - 4,900 1. 乙烯基 雕塑（共兩件） Lot 238 A：總版數：400； 242 B：總版數：800 KAWS (AMERICAN, B. 1974) BFF (Black; Pink; & Blue); & Seeing/Watching HK$ 20,000 - 50,000 KAWS 永遠最好的朋友（黑；粉；及藍）；及觀看 239 US$ 2,600 - 6,400 TAKASHI MURAKAMI (JAPANESE, B. 1962) Executed in 2017; & 2018 three vinyl multiples; plush MURAKAMI X COMPLEXCON MR. DOB (Gold; & Original) each: 14.5 x 8.5 x 33.5 cm. (5 3/4 x 3 1/4 x 13 1/4 in.); & 33 x 9.5 x 38 cm. (13 x3 村上隆 MURAKAMI X COMPLEXCON MR. DOB（黃金； 3/4 x 15 in.) 及經典） 2017 年作；及 2018 年作 乙烯基（共三件）；及毛絨公仔 Executed in 2016 two vinyl multiple sculptures Gold: edition of 250; HK$ 10,000 - 20,000 Lot 242 Original: edition of 750 US$ 1,300 - 2,600 each: 28.5 x 19.5 x 23 cm. (11 1/4 x 7 3/4 x 9 in.) inscribed '© TM/KK COMPLEXCON BAIT SWITCH' (bottom of each)

2016 年作 1. 2. 243 乙烯基 雕塑（共兩件） Lot 239 黃金：總版數：250； KAWS (AMERICAN, B. 1974) 經典：總版數：750 Companion (Together) (Black; Grey; & Brown) 款識： TM/KK COMPLEXCON BAIT SWITCH（每件底部） © 240 KAWS 同伴（一起）（黑；灰；及棕）

HK$ 20,000 - 40,000 KAWS (AMERICAN, B. 1974) Executed in 2018 US$ 2,600 - 5,100 Chum (White; & Transparent) three sets of vinyl multiples KAWS 密友（白；及透明） each: 24.1 x 14.9 x 29.2 cm. (9 1/2 x 5 1/2 x 11 1/2 in.) Lot 243 2018 年作 Executed in 2002 乙烯基（共三組） two vinyl multiples White: 324/500 244 Transparent: 621/1000 HK$ 15,000 - 25,000 1. White: titled, editioned and inscribed 'CHUM 500/324 :CHUM..©KAWS..02' KAWS (AMERICAN, B. 1974) US$ 1,900 - 3,200 (bottom) Companion (Passing Through) (Black; Grey; & Brown); & each: 19 x 10.5 x 32 cm. (7 1/2 x 4 x 12 1/2 in.) Small Lie (Brown; Grey; & Black) 2. Transparent: titled, editioned and inscribed 'CHUM 1000/0621 :CHUM..©KAWS..02' (bottom) KAWS 同伴（穿過）（黑；灰；及棕）；及小謊言（棕； 灰；及黑） 2002 年作 乙烯基（共兩件） Executed in 2018; & 2017 白：324/500； six vinyl multiples 透明：621/1000 each: 13 x 12.5 x 27.5 cm. (5 x 5 x 10 3/4 in.); & each: 19 x 12 x 30 cm. (7 1/2 x 4 款識: 3/4 x 11 3/4 in.) 1. 白：CHUM 500/324 :CHUM.. KAWS..02'（底部） 2. 透明: CHUM 1000/0621 :CHUM..© KAWS..02'（底部） 2018；及 2017 年作 © 乙烯基（共六件） HK$ 10,000 - 20,000 HK$ 15,000 - 30,000 1. 2. US$ 1,300 - 2,600 Lot 244 Lot 240 US$ 1,900 - 3,800

334 poly auction hong kong Modern and Contemporary Art 335 245 248 KAWS (AMERICAN, B. 1974) KAWS (AMERICAN, B. 1974) x HAJIME SORAYAMA (JAPANESE, B. 1947) Companion (Grey; Brown; Black; Brown (Dissected); Black No Future Companion (Silver Chrome; & Black Chrome) KAWS X 空山基 沒有未來的伴侶（銀鉻；及黑鉻） (Dissected); Grey (Dissected); & Red (Dissected); Red) KAWS 同伴（灰；棕；黑；棕（解剖）；黑（解剖）； 灰（解剖）；紅（解剖）；及紅）

Executed in 2016 eight vinyl multiples Lot 245 each: 12.7 x 7.6 x 27.9 cm. (5 x 3 x 11 in.)

2016 年作 乙烯基（共八件） 246 HK$ 30,000 - 60,000 KAWS (AMERICAN, B. 1974) US$ 3,800 - 7,700 Clean Slate (Grey; Black; & Brown) KAWS 盡棄前嫌（灰；黑；及棕）

Executed in 2018 three vinyl multiples each: 18.5 x 16 x 36 cm. (7 x 6 1/4 x 14 1/4 in.)

2018 年作 乙烯基（共三件）

HK$ 12,000 - 22,000 US$ 1,500 - 2,800

247 Lot 246 KAWS (AMERICAN, B. 1974) Clean Slate (Black; Grey; & Brown); Companion (Passing Through) (Grey; Black; & Brown); & Companion (Together) (Brown; Grey; & Black) KAWS 盡棄前嫌（黑；灰；及棕）；同伴（穿越）（灰；黑；及棕）；及同伴（在一起）（棕；灰；及黑）

2. 1.

Executed in 2008 2008 年作 2. two metallized plastic sculptures 鍍金屬塑膠 雕塑（共兩件） Lot 247 1. 3. edition: 51/500; & 197/500 版數：51/500；及 197/500 each: 18.5 x 18.5 x 31.5 cm. (7 x 7 3/4 x 12 1/4 in.) 款識： 1. No Future Companion (Silver Chrome): inscribed, signed, editioned and dated 1.《沒有未來的伴侶》（銀鉻）：OriginalFake KAWS.. Sorayama Executed in 2018 2018 年作 'OriginalFake® KAWS.. Sorayama EDITION 51/500 MEDICOM TOY 2008 MADE IN EDITION 51/500 MEDICOM TOY 2008 MADE IN CHINA（底部）® nine vinyl multiples 乙烯基（共九件） CHINA' (engraved on the bottom) 2.《沒有未來的伴侶》（黑鉻）：OriginalFake KAWS.. Sorayama each: 13 x 12.5 x 27.5 cm. (5 x 5 x 10 3/4 in.); 2. No Future Companion (Black Chrome): inscribed, signed, editioned and dated EDITION 197/500 MEDICOM TOY 2008 MADE IN ®CHINA（底部） 18.5 x 16 x 36 cm. (7 x 6 1/4 x 14 1/4 in.) 'OriginalFake® KAWS.. Sorayama EDITION 197/500 MEDICOM TOY 2008 MADE 24.1 x 14.9 x 29.2 cm. (9 1/2 x 5 1/2 x11 1/2 in.) IN CHINA' (engraved on the bottom) HK$ 22,000 - 32,000 HK$ 100,000 - 150,000 US$ 2,800 - 4,100 US$ 12,800 - 19,200

336 poly auction hong kong Modern and Contemporary Art 337 249 250 251 HAJIME SORAYAMA (JAPANESE, B. 1947) KAWS (AMERICAN, B. 1974) x BE@RBRICK KAWS (AMERICAN, B. 1974) x BE@RBRICK Future Mickey (Retro) ; & (Color) 空山基 未來的米奇（（復古）；及（彩色）） Dissected (Black) (1000%; 400%; & 100%) Dissected (Grey) (1000%; 400%; & 100%) KAWS X 積木熊 解剖（黑）（1000%； 400%；及100%） KAWS X 積木熊 解剖（灰）（1000%； 400%；及100%）

Executed in 2011 Executed in 2010 three vinyl multiples three vinyl multiples 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.) 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.)

2011 年作 2010 年作 乙烯基（共三件） 乙烯基（共三件）

HK$ 40,000 - 60,000 HK$ 40,000 - 60,000 US$ 5,100 - 7,700 US$ 5,100 - 7,700

Lot 250 Lot 251 252 253 KAWS (AMERICAN, B. 1974) x BE@RBRICK BE@RBRICK Dissected (Brown) (1000%; 400%; & 100%) International Love Heart (1000%; 400%; & 100%) KAWS X 積木熊 解剖（棕）（1000%； 400%；及100%） 積木熊 International Love Heart（1000%； 400%；及 100%） Executed in 2009 three vinyl multiples Executed in 2009; 2007; & 2007 1000%: 34 x 24.5 x 72 cm. (13 1/4 x 9 1/2 x 28 1/2 in.); three vinyl multiples 400%: 13 x 10 x 29 cm. (5 x 4 x 11 1/2 in.); & 1000%: 35.5 x 24 x 71.5 cm. (14 x 9 1/2 x 28 1/4 in.); 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.) 400%: 12 x 11 x 28 cm. (4 3/4 x 4 1/4 x 11 in.); & 2009 年作 100%: 3.5 x 2 x 7 cm. (1 1/4 x 3/4 x 2 3/4 in.) 乙烯基（共三件） 2009；2007； 及 2007 年作 乙烯基（共三件） 1. 2. HK$ 40,000 - 60,000 US$ 5,100 - 7,700 HK$ 65,000 - 120,000 US$ 8,300 - 15,400

Executed in 2004 2004 年作 two metallized plastic sculptures 鍍金屬塑膠 雕塑（共兩件） edition: 1/1000; & AP 版數：1/1000；及藝術家試版 each: 20 x 26 x 32.5 cm. (7 3/4 x 10 1/4 x 12 1/2 in.) 款識： 1. Future Mickey (Retro): inscribed and editioned 'TOMY® MADE IN CHINA 1.《未來的米奇（復古）》：TOMY MADE IN CHINA Disney LIMITED ©Disney LIMITED EDITION 1/1000'; & 2. Future Mickey (Color): inscribed and EDITION 1/1000；及 ® © editioned 'TOMY® MADE IN CHINA ©Disney LIMITED EDITION AP' 2.《未來的米奇（彩色）》：TOMY MADE IN CHINA Disney LIMITED EDITION AP ® © Lot 252 HK$ 30,000 - 50,000 Lot 253 US$ 3,800 - 6,400

338 poly auction hong kong Modern and Contemporary Art 339 257 258 254 BANKSY (BRITISH, B. 1975) BANKSY (BRITISH, B. 1975) Monkey Sign (Black; & White) Flower Bomber (Original Version; & Concrete Version) BANKSY (BRITISH, B. 1975) 班克斯 掛牌的猴子（黑；及白） 班克斯 擲花者（白版；及黑版） Flying Ballons Girl 班克斯 氣球女孩

Executed in 2018 polystone multiple 14.8 x 19 x 54.2 cm. (5 1/2 x 7 1/2 x 21 1/4 in.)

2018 年作 寶麗石粉樹脂

HK$ 8,000 - 12,000 US$ 1,000 - 1,500

255 BANKSY (BRITISH, B. 1975) Bucket on the Head (White; & Original) 班克斯 頭戴鐵桶（白；及經典）

Executed in 2017 two polystone multiples each: 26 x 12.5 x 38.5 cm. (10 1/4 x 4 3/4 x 15 in.)

2017 年作 寶麗石粉樹脂（共兩件）

HK$ 10,000 - 20,000 US$ 1,300 - 2,600

256

BANKSY (BRITISH, B. 1975) Suicide Man (White; & Original) 班克斯 自殺的人（白；及經典） Executed in 2016 Executed in 2017; & 2018 Executed in 2017 two polystone multiples two polystone multiples two polystone multiples each: 18.5 x 12 x 35.5 cm. (7 x 4 3/4 x 13 3/4 in.) each: 34 x 9.5 x 39 cm. (13 1/2 x 3 1/2 x 15 1/4 in.) each: 21 x 21 x 41.5 cm. (8 1/4 x 8 1/4 x 16 1/4 in.)

2017 年作 2016 年作 2017；及 2018 年作 寶麗石粉樹脂（共兩件） 寶麗石粉樹脂（共兩件） 寶麗石粉樹脂（共兩件）

HK$ 12,000 - 22,000 HK$ 15,000 - 30,000 HK$ 10,000 - 20,000 US$ 1,500 - 2,800 US$ 1,900 - 3,800 US$ 1,300 - 2,600 END OF SALE

340 poly auction hong kong Modern and Contemporary Art 341