MODERN AND CONTEMPORARY ART
現(xiàn)當代藝術(shù)
7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG ? 香港金鐘金鐘道 88 號太古廣場
1
期
7
樓 ? +852 2303 9899
10 OCTOBER 2022 HKF1022
現(xiàn)當代藝術(shù)
MODERN AND
CONTEMPORARY ART
HONG KONG 10 OCTOBER 2022
香港 2022 年 10 月 10 日
LOT 110 局部 DETAIL LOT 135 局部 DETAIL
LOT 115 局部 DETAIL LOT 117 局部 DETAIL
LOT 118 局部 DETAIL
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POLY AUCTION (HONG KONG) SALES CALENDAR
MODERN AND CONTEMPORARY ART
SALE: HKF1022
MONDAY, 10 OCTOBER 2022
11:00AM
IMPORTANT TANG TREASURES FROM THE TEN-VIEWS LINGBI ROCK RETREAT COLLECTION
SALE: HKF3322-2
MONDAY, 10 OCTOBER 2022
1:30PM
CHINESE CERAMICS AND WORKS OF ART
SALE: HKF3322-1
MONDAY, 10 OCTOBER 2022
3:00PM
RARE PU'ER TEA, MOUTAI AND WHISKY
SALE: HKF1622
TUESDAY, 11 OCTOBER 2022
11:00AM
MAGNIFICENT JEWELS, WATCHES AND HANDBAGS
SALE: HKF2622
TUESDAY, 11 OCTOBER 2022
3:00PM
FINE CHINESE PAINTINGS AND CALLIGRAPHY
SALE: HKF3022
WEDNESDAY, 12 OCTOBER 2022
10:00AM
保利香港 拍賣日程
現(xiàn)當代藝術(shù)專場
編號：HKF1022
2022 年 10 月 10 日 星期一
上午 11:00
花舞大唐：
北美十面靈璧山居珍藏唐代藝術(shù)珍品
編號：HKF3322-2
2022 年 10 月 10 日 星期一
下午 1:30
中國古董珍玩專場
編號：HKF3322-1
2022 年 10 月 10 日 星期一
下午 3:00
時光之味
——陳年普洱茶、茅臺及威士忌
編號：HKF1622
2022 年 10 月 11 日 星期二
上午 11:00
璀璨珠寶、鐘錶及手袋尚品專場
編號：HKF2622
2022 年 10 月 11 日 星期二
下午 3:00
中國書畫專場
編號：HKF3022
2022 年 10 月 12 日 星期三
上午 10:00
現(xiàn)當代藝術(shù)專場
MODERN AND
CONTEMPORARY ART
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Chinese Ceramics and Works of Art, Magnificent
Jewels and Important Watches, Noble Handbags and
Hype Collectibles, Rare Wine, Whisky and Chinese Tea
5 to 9 October 2022
Poly Gallery Hong Kong
Suites 701-708, 7/F, One Pacific Place
88 Queensway, Admiralty, Hong Kong
10:00 am to 7:00 pm
Modern and Contemporary Art, Fine Chinese Paintings
and Calligraphy
7 to 9 October 2022
Suites 1512, 15/F, One Pacific Place
88 Queensway, Admiralty, Hong Kong
10:00 am to 7:00 pm
Auctions
10 to 12 October 2022
Poly Gallery Hong Kong
Suites 701-708, 7/F, One Pacific Place
88 Queensway, Admiralty, Hong Kong
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Poly Auction Hong Kong Autumn Auctions 2022
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2022 年 10 月 5 至 9 日
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現(xiàn)當代藝術(shù)及中國書畫
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太古廣場一期 7 樓 701-708 室
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2022 年保利香港秋季拍賣會
拍賣
2022 年 10 月 10 日 星期一
上午 11:00（拍品 Lots 101-143）
拍賣編號：HKF1022
AUCTION
Monday 10 October 2022
11:00 am (Lots 101-143)
Sale Number: HKF1022
MODERN AND CONTEMPORARY ART SPECIALISTS
現(xiàn)當代藝術(shù)部專家
HEAD OF DEPARTMENT
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CREDITS
LOT 127, 132
? 2022, PROLITTERIS, ZURICH
LOT 133, 134
? CHU TEH-CHUN / ADAGP, PARIS - SACK, SEOUL, 2022
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LOT 133 局部 DETAIL
?事?主?
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現(xiàn)當代??
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中國古??玩
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目錄
CONTENTS 2 拍品
Property for Sale
149 索引
Index of Artists
150 重要通告及目錄編列方法之說明
Important Notices and Explanation of Cataloguing Practice
153 業(yè)務(wù)規(guī)則
Condition of Business
163 競投登記須知
Important Notice about Bidding Registration
164 財務(wù)付款須知
Important Notice about Payment
165 拍賣品提存運送出口須知
Important Notices about Storage Collection Shipping and Export
167 競投登記表格
Bidding Registration Form
169 委託競投表格
Absentee Bid Registration
現(xiàn)當代藝術(shù)專場
MODERN AND
CONTEMPORARY ART
LOT 107 局部 DETAIL
讓颶風(fēng)進來
2019 年作
油彩 畫布
款識：Tania Marmolejo （中右）；'Tania
Marmolejo \"LET THE HURRICANE IN\" 64 x
68 inches. (163 x 173 cms)（畫背）
展覽
2020年2月1日-4月30日「Santas y tígueras」
坎迪多·比多博物館 博瑙 多明尼加共和國
Let the Hurricane in
Painted in 2019
oil on canvas
160 x 169 cm. (63 x 66 1/2 in.)
signed 'Tania Marmolejo' (centre right);
signed, titled, inscribed 'Tania Marmolejo
“LET THE HURRICANE IN” 64 x 68 inches.
(163 x 173 cms)' (on the reverse)
EXHIBITED
Dominican Republic, Bonao, Museo Cándido
Bidó, Santas y tígueras, 1 February-30 April,
2020.
HK$ 150,000 - 250,000
US$ 19,200 - 32,100
TANIA MARMOLEJO
塔尼亞·馬爾莫列霍 101 DOMINICAN, B. 1975
2 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 3
鍋浴
2020 年作
壓克力 畫布
款識：「お釜風(fēng)呂」2020 キャンバスに
アクリル 金田涼子 Ryoko 2020（畫背）
展覽
2020年3月20日-4月5日「Ametsuchi個
展」Gallery Yukihira 東京 日本
附日本 東京 Yukihira畫廊開立之藝術(shù)家親簽
原作保證書
Pot Bath
Painted in 2020
acrylic on canvas
65.5 x 91.1 cm. (26 x 36 in.)
titled, inscribed and signed in Japanese;
dated and signed '2020 Ryoko 2020' (on
the reverse)
EXHIBITED
Japan, Tokyo, Gallery Yukihira, Ametsuchi,
20 March-5 April, 2020
This work is to be sold with a certificate of
authenticity signed by the artist, issued by
Gallery Yukihira, Tokyo, Japan.
HK$ 100,000 - 200,000
US$ 12,800 - 25,600
KANETA RYOKO
金田涼子 102 JAPANESE, B. 1991
4 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART
5
山上的畫家
2021 年作
油彩 畫布
款識：MS （右下）；Matías Sánchez
Sevilla, 2021 PINTOR EN LA COLINA
（畫背）
來源
西班牙 馬德里 Veta by Fer Frances
現(xiàn)藏者購自上述來源
Pintor en la colina
Painted in 2021
oil on canvas
73 x 60 cm. (28 1/2 x 23 1/2 in.)
signed 'MS' (lower right); signed, inscribed,
dated and titled 'Matías Sánchez Sevilla,
2021 PINTOR EN LA COLINA' (on the
reverse)
PROVENANCE
Veta by Fer Frances, Madrid, Spain
Acquired from the above by the present
owner
HK$ 80,000 - 150,000
US$ 10,300 - 19,200
MATíAS SáNCHEZ
馬蒂亞斯·桑切斯 103 SPANISH, B. 1972
6 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 7
鸚鵡人的角色扮演─哈利波特
2022 年作
壓克力 畫布
款識：Chang Teng Yuan（右面畫側(cè)）；
ParrotMan（左面畫側(cè)）；Chang Teng
Yuan 2022（畫背）
來源
英國 倫敦 Akrilyc
現(xiàn)藏者購自上述來源
展覽
2022年4月22-24日「當代生活課程」46畫廊
倫敦 英國
Parrotman's Human
Cosplay - Harry Potter
Painted in 2022
acrylic on canvas
79.8 x 79.8 cm. (31 1/2 x 31 1/2 in.)
signed 'Chang Teng Yuan' (right edge);
inscribed 'ParrotMan' (left edge); signed
and dated 'Chang Teng Yuan 2022' (on the
reverse)
PROVENANCE
Akrilyc, London, UK
Acquired from the above by the present
owner
EXHIBITED
UK, London, Gallery 46, Contemporary Life
Lessons, 22-24 April, 2022.
HK$ 30,000 - 50,000
US$ 3,800 - 6,400
CHANG TENG-YUAN
張騰遠 104 CHINESE, B. 1983
8 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART
9
惡魔峰
2018 年作
壓克力 畫布
款識：'DEVIL PEAK MR DOODLE! 2018'
（畫背標籖）
來源
現(xiàn)藏者直接得自於藝術(shù)家
附藝術(shù)家親簽原作保證書
Devil Peak
Painted in 2018
acrylic on canvas
30.5 x 30.5 cm. (12 x 12 in.)
titled, signed and dated 'DEVIL PEAK MR
DOODLE! 2018' (label on the reverse)
PROVENANCE
Acquired directly from the artist by the
present owner
This work is to be sold with a certificate of
authenticity signed by the artist.
HK$ 40,000 - 60,000
US$ 5,100 - 7,700
MR. DOODLE
塗鴉先生 105 BRITISH, B. 1994
10 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 11
當所有落葉都幻化成了花
朵，秋天便成就了它的第二
春（之二）
2019 年作
壓克力 畫布
款識：Benrei H. 2019（右下）
展覽
2021年7月3-31日「隨省三姿」誠品畫廊
臺北 臺灣
出版
《來自雲(yún)間的尼尼：打開畫家的靈感之
門》大田出版有限公司 臺北 臺灣 2021年
（圖版，第191頁）
《黃本蕊 2021》誠品股份有限公司 臺北
臺灣 2021年（圖版，第40及84頁）
附臺灣 臺北 誠品畫廊開立之藝術(shù)家親簽
原作保證書
Autumn Makes its Own
Spring when all Leaves
Turn into Flowers -2
Painted in 2019
acrylic on canvas
76 x 60.7 cm. (30 x 24 in.)
signed and dated 'Benrei H. 2019' (lower
right)
EXHIBITED
Taiwan, Taipei, Eslite Gallery, Shapes of SelfReflection, 3-31 July, 2021.
LITERATURE
Nini from the Clouds: Open the Door to the
Painter's Inspiration, Titan Publishing Co., Ltd,
Taipei, Taiwan, 2021 (illustrated, p. 191).
Benrei Huang 2021, Eslite Corporation,
Taipei, Taiwan, 2021 (illustrated, pp. 40 &
84).
This work is to be sold with a certificate of
authenticity signed by the artist, issued by
Eslite Gallery, Taipei, Taiwan.
HK$ 100,000 - 200,000
US$ 12,800 - 25,600
HUANG BENREI
黃本蕊 106 CHINESE, B. 1959
12 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 13
裁剪─19
2018 年作
壓克力 拼貼 畫布
款識：YH. 18 （畫背）
來源
臺灣 臺北 伊日藝術(shù)計劃
現(xiàn)藏者購自上述來源
附臺灣 臺北 伊日藝術(shù)計劃開立之原作保
證書
Cropping-19
Executed in 2018
acrylic and collage on canvas
90.6 x 116.2 cm. (35 1/2 x 45 1/2 in.)
signed and dated 'YH. 18' (on the reverse)
PROVENANCE
Yiri Arts, Taipei, Taiwan
Acquired from the above by the present
owner
This work is to be sold with a certificate
of authenticity issued by Yiri Arts, Taipei,
Taiwan.
HK$ 300,000 - 400,000
US$ 38,500 - 51,300
YUICHI HIRAKO
平子雄一 107 JAPANESE, B. 1982
14 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 15
藝術(shù)家工廠 4
2005 年作
壓克力 畫布
款識：Plans（右下）；AN ARTIST FACTORY
（左上）
來源
西班牙 馬德里 Candelabro 畫廊
西班牙 私人收藏
亞洲 私人收藏
An Artist Factory 4
Painted in 2005
acrylic on canvas
150 x 150 cm. (59 x 59 in.)
signed 'Plans' (lower right); titled 'AN ARTIST
FACTORY' (upper left)
PROVENANCE
Galleria Candelabro, Madrid, Spain
Private Collection, Spain
Private Collection, Asia
HK$ 380,000 - 500,000
US$ 48,700 - 64,100
EDGAR PLANS
艾德加·普連斯 108 SPANISH, B. 1977
16 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 17
鹽田千春：顫動的靈魂
CHIHARU SHIOTA: THE SOUL TREMBLES
紅線是血液中的紅色，也是
人們之間關(guān)係的象徵。紅色
在亞洲有著很強烈的含義，
同樣，紅線也是。你的生命
所有其實就是紅色的線，我
們都跟隨著這些紅色的線，
如同我們的命運。
─鹽田千春
The red line has the same colour of our blood
and is viewed as a symbol of the relationship
between people. The colour red has a very
strong connotation in Asian cultures, and
so do the red lines. Your whole life is linked
with red threads, and we all follow these red
threads, as if they are our destiny.
--Chiharu Shiota
鹽田千春，她是當前藝壇集結(jié)裝置、雕
塑、繪畫，最受關(guān)注的藝術(shù)家之一。本次
秋拍，保利香港推出鹽田千春專輯，涵蓋
畫布、紙本、裝置、版畫等媒材，包括
迄今出現(xiàn)拍場的最大尺幅鹽田千春畫布作
品，完整呈現(xiàn)藝術(shù)家的創(chuàng)作脈絡(luò)。
鹽田千春近年在藝術(shù)市場崛起，歸功於從
2019年於森美術(shù)館舉行的「鹽田千春：顫
動的靈魂」大展，一路從東京，巡迴至臺
北、上海，乃至此刻正於澳洲昆士蘭藝術(shù)博
物館與現(xiàn)代藝術(shù)博物館舉行，每每都吸引了
Chiharu Shiota is one of the most soughtafter artists in the art world today, specializing
in installation, sculpture and painting. For this
autumn auction, Poly Auction Hong Kong presents
a collection of works by Chiharu Shiota, covering
canvas, paper, installation and printmaking,
including the largest canvas work by Chiharu Shiota
to date to present a complete picture of the artist's
creative process.
Chiharu Shiota's rise to prominence in the art
market in recent years has been attributed to the
success of the exhibition \"Chiharu Shiota: The
Soul Trembles\" held at the Mori Art Museum in
2019. From Tokyo to Taipei, Shanghai and now
the Queensland Art Museum and the Museum
of Modern Art in Australia, the exhibition has
attracted large audiences. Mami Kataoka, curator
of \"Chiharu Shiota: The Soul Trembles\" and director
of the Mori Art Museum, observes: \"The driving
force behind Chiharu Shiota's work is an invisible
fear of life and death, of the unknown future. This
resonates greatly with the contemporary society,
where most people are living in a state of great
uncertainty.\"
THE FLOW OF THREADS-THE UNIVERSE
STARTS WITH A SINGLE THREAD
She is the best-known contemporary artist who
uses wool in creations. In the hand of Chiharu
Shiota, wool is described as a material to connect
the self with the universe. She constructs
geometric shapes through threads, and the closely
interconnected threads in turn form energetic
spaces. While exploring each external space, the
artist also interprets and explores one's inner
emotions and feelings through these intertwined
threads.
When Chiharu Shiota was diagnosed with ovarian
cancer in 2005, the attack of the disease inspired
the artist to incorporate the interrogation of life
and death into her artwork. Perhaps because her
body was reeling from the treatment, it prompted
Lot 109
18 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 19
大批觀眾。森美術(shù)館館長，亦是《顫動的靈
魂》策展人片岡真實這樣觀察：「驅(qū)使鹽田
千春創(chuàng)作的原動力，是一種面對生和死、面
對將來種種未知狀態(tài)產(chǎn)生的『看不見的恐
懼』。這對生活在高度不確定中的當代社會
大眾而言，非常能產(chǎn)生共鳴?！?/p>
線之流動，宇宙從一根線開始
她，是將毛線運用到藝術(shù)創(chuàng)作最為人知的
當代藝術(shù)家。鹽田千春手中的毛線，被
其稱為一種自我與宇宙天地建立聯(lián)繫的材
料，她透過線來構(gòu)造幾何形狀，這些相
互密切連接的線條組合而成充滿能量的空
間，在探究每一個外部空間的同時，藝術(shù)
家同時也透過這些交錯相織的毛線，對人
內(nèi)心的情緒感情做出演繹與探究。
2005年，鹽田千春被診斷罹患卵巢癌，疾
病襲來使得藝術(shù)家將對生死的詰問置入自
己的藝術(shù)創(chuàng)作中?；蛟S因為身體面對治療
與癌癥的反復(fù)，使其面對生死的思考更為
迫切，這些超越國籍文化的撞擊更加倍促
成了鹽田千春作品裡，能深深引發(fā)觀者共
鳴的情愫。
日本 東京 森美術(shù)館「顫動的靈
魂」展覽現(xiàn)場
Exhibition view of \"The Soul
Trembles\" at the Mori Art
Museum, Tokyo, Japan
her to ponder and her thoughts on life and death
became more urgent. Thus, the impact of these
transcendent cultural influences contributed to
the deep emotions that resonate with the viewer
in her works.
Born in Osaka in 1972, Chiharu Shiota was
determined from an early age to become an
artist and leave her family of fishermen's factories
behind. In 1992 she enrolled in the Department
of Oil Painting at the Faculty of Fine Arts at Kyoto
Seika University and then went to Australia to
study as an exchange student. However, she
found it difficult to be creative in her paintings,
and she gradually shifted from two-dimensional
space painting to performance art and other
broader art forms. In 1997, Chiharu Shiota moved
to Germany to study at the University of Art in
Braunschweig and later at the Berlin University
of the Arts. At the time, she was a student of
the world-renowned performance artist Marina
Abramovi? of Yugoslavia and participated in many
of Abramovi?'s performance art activities. The
various forms of performance and multimedia
have also greatly influenced her use of space
and objects in subsequent works. As a fusion of
many aspects of performance art, sculpture and
installation art, Chiharu Shiota's work has formed
the artist's unique vocabulary of artistic expression.
Skin (Lot 110) (Size: 170 x 140 cm) on auction
this time, is the largest canvas work by Chiharu
Shiota ever to appear in the auction market. The
red yarn is wrapped around the canvas to form a
red abstract painting, named Skin. The red yarn
is the most iconic medium for Chiharu Shiota's
20 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 21
鹽田千春1972年出生於大阪，從小便立
志決定成為藝術(shù)家脫離原本的漁業(yè)工廠家
庭，她1992年就讀京都精華大學(xué)美術(shù)學(xué)部
的油畫系，而後前往澳洲作為交換生學(xué)習(xí)
進修。但她發(fā)現(xiàn)，自己很難在繪畫中脫突
創(chuàng)新，她逐漸從二維空間的繪畫轉(zhuǎn)向行為
藝術(shù)等更廣泛藝術(shù)形式的嘗試。1997年，
鹽田千春來到德國的布倫瑞克造型藝術(shù)學(xué)
院進修，之後就讀柏林藝術(shù)大學(xué)。當時的
鹽田千春是世界著名行為藝術(shù)家，南斯拉
夫的瑪莉娜．阿布拉莫維奇的學(xué)生，跟隨
其參與了阿布拉莫維奇的多項行為藝術(shù)活
動。而行為、多媒體等各種藝術(shù)形式也對
鹽田千春爾後創(chuàng)作中涉及到對空間，對物
件的運用起了至關(guān)重要的影響作用。鹽田
千春的作品融合連接了行為藝術(shù)、雕塑和
裝置藝術(shù)中的許多層面，成為藝術(shù)家獨一
無二的藝術(shù)表達語彙。
此次的《肌膚》(Lot 110) 一作，達170×140
cm，是拍場上迄今出現(xiàn)最大尺幅的鹽田千春
畫布作品，透過紅色的紗線，纏繞於畫布上
形成了一片紅色的抽象畫作，命名為肌膚。
紅色紗線，是鹽田千春最具標誌性的創(chuàng)作媒
材；線與線之間會緊繃，拉扯之下會斷裂，
會糾纏不清，各式各樣的關(guān)係就在線與線之
中，這就宛如人與人之間細膩糾葛的情感關(guān)
係。
《肌膚》創(chuàng)作於2016年，紅線交織而成的
畫面錯落有致，藝術(shù)家作品以粗細不同質(zhì)
地的線編制畫面，左上方猶如濃雲(yún)密佈，
而延至中心則僅有稀疏的細線，精密的構(gòu)
圖猶如濃雲(yún)密佈的天空，又好似一副濃淡
合宜的水墨抽象作品。實質(zhì)上藝術(shù)家以無
意識方式進行作品的構(gòu)圖，呈現(xiàn)的其實是
草間彌生《無限之網(wǎng) (BSGK)》
2015年作 保利 香港 2022年7月
22日 成交價：19,800,000港幣
Yayoi Kusama, Infinity Nets
(BSGK), 2015, Poly Auction Hong
Kong, 12 July 2022, Sold for HKD
19,800,000
work. On the canvas, the threads are stretched,
broken and entangled with each other. All kinds
of relationships can be found within the threads,
just like the delicate and entangled emotional
relationships between people.
Created in 2016, Skin is a staggered composition
of red lines. The artist's work is composed of
thick and thin lines of different textures, with
the upper left side resembling dense clouds and
the centre extending with only sparse lines. The
precise composition is like a cloudy sky, but also
like an abstract Chinese ink and wash painting with
appropriate shades of ink. In essence, the artist
has composed the work unconsciously, presenting
the most direct and pure sense and intuition of
the artist's stream of consciousness. The bloodcoloured red lines that wrap around the canvas
appear to the naked eye as the interplay of lines,
but beneath the surface is a presence that does
not exist. This is at the heart of Chiharu Shiota's
work: a metaphor for the bond between blood
relationship and life, which the artist intends
to make people wonder. The size of this work,
Skin, is like a large installation of museum-quality
work concentrated in this work. A closer look at
the details of the work is like observing people's
blood vessels through a microscope. The ultimate
weaving process, where every square inch has
an abstract beauty and the threads are linked
to form a vast network of blood lines, maps out
the ever-changing connections between people
and drawing us into the world of the work. This is
the unparalleled charm of Chiharu Shiota's work,
which draws us into the world of the work and
makes us think about ourselves.
There are two works on paper on auction this
time, in which the artist uses oil and watercolour
to paint her own state of being. In Red Balloon
(Lot 112), a pregnant figure (could be the artist
herself or anyone else) is lying on her back in a bed
that appears to be woven with wool, holding the
red balloon and looking towards the sky. From a
distance, the scene looks like a ship about to sail
on an unknown journey. In Light (Lot 111), a girl
wearing a dress can be seen reaching out to the
sky, as if she’s welcoming a new day. She was once
so frustrated by her inability to produce original
works that she almost gave up painting. It was not
until 2005, after she had diagnosed with cancer
that she started painting again. At that time,
Chiharu Shiota suddenly realized that painting is
not with the eyes but with the heart, and that she
can paint whatever she wants. This enlightenment
has kept her painting ever since.
The installation work State of Being, a series by
Chiharu Shiota, is made of red, black and white
wool. In the State of Being (Scissors) (Lot 109)
presented this time, white wool is wrapped around
a white metal frame with two scissors inside. The
scissors can be used as a tool for cutting thread in
creating process, while similar scissor models are
also reminiscent of the professional tools used in
surgery in hospitals, both of which are important
companions to the artist's art creation and life. The
simple, ready-made components are combined to
make a meaningful work of art. The white colour
represents purity and symbolises the beginning
of something from nothing. From the beginning
to the end, purity, scissors, are arranged and
combined to create works that allow people to
reflect on their own state of existence. In the State
of Being series, we can see people through the
objects in the metal boxes, and people leave traces
and memories on the objects they use, even
when they have passed away. This is the 'nonexistent presence' in the work of Chiharu Shiota.
As an important artist who has already taken up
a chapter in contemporary art history, Chiharu
Shiota is weaving her threads to transform our
contemporary art world, page after page.
22 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 23
藝術(shù)家意識流中最直接純粹的感觸與直
覺。血色般的紅線纏繞於畫布上，肉眼看
上去是線與線之間的交錯，但表相之下，
是不存在的存在，亦是鹽田千春作品的核
心：意喻著血緣與生命之間的羈絆，藝術(shù)
家透過作品讓人們深深思索。這幅《肌
膚》一作的尺寸，就像藝術(shù)家把美術(shù)館展
覽等級的大型裝置之作，濃縮於這幅《肌
膚》裡；仔細探究作品的細節(jié)，既像是人
們血管的微觀，亦像是極致的編織工藝，
每一塊方寸之地都有著抽象的美感，絲線
連結(jié)起來則構(gòu)成了龐大的血脈網(wǎng)絡(luò)，映射
出人與人之間千變?nèi)f化的種種關(guān)連，吸引
著我們進入作品世界，思索自身，這就是
鹽田千春作品旁人難以企及的魅力。
此次有2幅紙本作品，是藝術(shù)家使用油彩與
水彩顏料，繪出自身的狀態(tài)?！都t氣球》
(Lot 112) 一作，像是懷孕的藝術(shù)家或任何
人，仰躺在彷彿用毛線編織而成的床，拿著
紅氣球望向天際；遠遠望之，畫面又像是一
艘船即將遠行，航向未知的旅途?！豆狻?/p>
(Lot 111)一作，穿著連身裙的女子雙手展開
迎向天際，就像是迎接著一輪一輪的紅日。
鹽田千春曾經(jīng)苦惱於無法畫出原創(chuàng)的作品，
而幾乎放棄了繪畫創(chuàng)作；她直到2005年罹
癌後才重新提筆，當時，鹽田千春突然有一
種體悟，繪畫不是用眼睛而是用心，想畫什
麼就畫什麼，於是她豁然開朗，迄今持續(xù)提
筆繪畫。
而鹽田千春知名的裝置「生存的狀態(tài)」系
列，主要有紅色、黑色與白色三種毛線媒
材，此次呈現(xiàn)的《生存的狀態(tài)（剪刀）》
(Lot 109) 一作，以白線的毛線纏繞白色的
鐵框，內(nèi)置2把剪刀。剪刀可以是藝術(shù)家創(chuàng)
作時裁斷線的工具；同時類似的剪刀模型
也讓人想起醫(yī)院中手術(shù)必備的專業(yè)工具，
而此二種剪刀，均對藝術(shù)家的創(chuàng)作與人生
有著重要的陪伴之意涵。簡單的現(xiàn)成物構(gòu)
件，背後組合成意味深遠的藝術(shù)作品。白
色代表純潔，亦象徵著從無到有的起始狀
態(tài)。開始到終結(jié)，純潔，剪刀，排列組合
而成讓人們對映自身存在狀態(tài)的作品，這
就是鹽田千春作品的獨到之處。「生存的
狀態(tài)」系列裡，我們可以透過鐵盒裡的物
件看到人，人們在使用的物件上留下痕
跡，留下記憶，即便斯人已逝，這就是鹽
田千春作品裡「不存在的存在」。鹽田千
春，一位已然占據(jù)當代藝術(shù)史篇章的重要
藝術(shù)家，正用她織就的線條，一頁又一頁
翻新我們的當代藝術(shù)世界。
24 POLY AUCTION HONG KONG
生存的狀態(tài)（剪刀）
2020 年作
金屬 框 剪刀 線 雕塑
款識：CS.（底部）
來源
韓國 首爾 Gana Art Center
現(xiàn)藏者購自上述畫廊
附韓國 首爾 Gana Art畫廊開立之原作保
證書
State of Being (Scissors)
Executed in 2020
metal, frame, scissors and thread sculpture
30 x 30 x 30 cm. (12 x 12 x 12 in.)
signed 'CS.' (bottom)
PROVENANCE
Gana Art Center, Seoul, Korea
Acquired from the above gallery by the
present owner
The work is to be sold with a certificate of
authenticity, issued by Gana Art Center,
Seoul, South Korea.
HK$ 350,000 - 600,000
US$ 44,900 - 76,900
CHIHARU SHIOTA
鹽田千春 109 JAPANESE, B. 1972
26 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 27
肌膚
2016 年作
線 畫布
款識：CS.（畫背）
來源
法國 巴黎 Templon畫廊
私人收藏（2016年購自上述來源）
現(xiàn)藏者購自上述來源
Skin
Executed in 2016
thread on canvas
170.5 x 140.5 cm. (67 1/4 x 55 1/4 in.)
signed 'CS.' (on the reverse)
PROVENANCE
Galerie Templon, Paris, France
Private Collection (acquired from the above
in 2016)
Acquired from the above by the present
owner
HK$ 1,200,000 - 2,200,000
US$ 153,800 - 282,100
CHIHARU SHIOTA
鹽田千春 110 JAPANESE, B. 1972
28 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 29
光
2014 年作
水彩 油彩 墨水 紙本
款識：CS.（右下）；Light 2014 Jan（畫背）
附西班牙 馬德里 NF Nieves Fernández 開立
之原作保證書
Light
Painted in 2014
watercolour, oil and ink on paper
38.9 x 28.8 cm. (15 1/2 x 11 1/2 in.)
signed 'CS.' (lower right); titled and dated
'Light 2014 Jan' (on the reverse)
The work is to be sold with a certificate of
authenticity, issued by NF Nieves Fernández,
Madrid, Spain.
HK$ 150,000 - 250,000
US$ 19,200 - 32,100
CHIHARU SHIOTA
鹽田千春 111 JAPANESE, B. 1972
30 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 31
紅氣球
2014 年作
水彩 油彩 墨水 紙本
款識：CS.（右下）；\"Red balloon\" 2014
Jan（畫背）
來源
亞洲 私人收藏
附西班牙 馬德里 NF Nieves Fernández
開立之原作保證書
Red Balloon
Painted in 2014
watercolour, oil and ink on paper
39.6 x 29.4 cm. (15 1/2 x 11 1/2 in.)
signed 'CS.' (lower right); titled and dated
'\"Red balloon\" 2014 Jan' (on the reverse)
PROVENANCE
Private Collection, Asia
The work is to be sold with a certificate of
authenticity, issued by NF Nieves Fernández,
Madrid, Spain.
HK$ 140,000 - 240,000
US$ 17,900 - 30,800
CHIHARU SHIOTA
鹽田千春 112 JAPANESE, B. 1972
32 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 33
細胞
2020 年作
石版 版畫
版數(shù)：18/40
款識：18/40（左下）；藝術(shù)家簽名（右
下）
Cell
Executed in 2020
lithograph
edition: 18/40
65 x 50 cm. (25 1/2 x 19 3/4 in.)
editioned '18/40' (lower left); signed with
artist's signature (lower right)
HK$ 15,000 - 30,000
US$ 1,900 - 3,800
CHIHARU SHIOTA
鹽田千春 113 JAPANESE, B. 1972
34 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 35
托馬斯肖像
2005 年作
油彩 畫布
款識：MY 2005（右下）
Portrait of Thomas
Painted in 2005
oil on canvas
35.6 x 27.3 cm. (14 x 10 3/4 in.)
signed and dated 'MY 2005' (lower right)
HK$ 200,000 - 300,000
US$ 25,600 - 38,500
MAO YAN
毛焰 114 CHINESE, B. 1968
36 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 37
時代與個人的對話
A DIALOGUE OF THE TIMES AND INDIVIDUALS
中國當代70後藝術(shù)家，這二年在二級市
場，有幾位傑出藝術(shù)家重新被發(fā)掘再梳
理，包括陳可、宋琨、歐陽春、韋嘉等，
他們近二十年間的作品，循著社會環(huán)境的
變遷與個人的變化，作品反射了藝術(shù)家的
心境體悟。若要探究中國社會這二十年的
多元變化，1975年次的韋嘉，成長於90年
代，他面對社會主義與資本主義衝擊下的
創(chuàng)作，恰是一面鏡子，折射了時代與個人
的某個視角。2012年《站著亮》(Lot 115)
作品，就是其中的佳作。以超現(xiàn)實的畫
面，述說著社會真實。
畫中，一大一小兩位主角，蓄著鬍子，就是
藝術(shù)家本人形象的投射。大韋嘉與小韋嘉，
戲劇性站在一起。從遠處望向畫面，中間彷
如一個大「A」字，形成穩(wěn)固畫面的中間力
量；再細觀之，是隱隱然的高個子男子，有
著第三隻手，依賴著小男子，才形成了身體
的平衡力量；高個男子雙手持槍，彷彿要拉
開手槍的保險，隨時準備駁火。持槍男子，
眼神木然，緊抿雙唇，作品的張力就從畫面
透了出來；小男孩雙手像是被縛在後，僅著
內(nèi)褲，是不是高個男子前方的目標的形象投
影？是小韋嘉的心靈力量支撐著大韋嘉？還
是小韋嘉拉著大韋嘉？兩人的關(guān)係為何？韋
嘉的作品，留下了線索謎團，讓我們解碼探
究，追尋自己的解答。
韋嘉出生成都，15歲時以第一名考上川
美附中，可惜沒有如願進入中央美院油畫
系，而進入版畫系主攻石版畫。但他無法
忘情架上繪畫，28歲在創(chuàng)作上開始主攻架
上繪畫，深具特色，一出道即一鳴驚人。
2006年9月，《Hi藝術(shù)》創(chuàng)刊，這本見證
中國當代蓬勃起飛的藝術(shù)雜誌，創(chuàng)刊號封
面作品即為韋嘉的2006年作品《門當戶
對》。當時的韋嘉，被歸類為「新卡通繪
In the past two years, several outstanding
Chinese contemporary post-70s artists have been
rediscovered and re-composed in the secondary
market, including Chen Ke, Song Kun, Ouyang
Chun and Wei Jia. Their works over the past twenty
years have followed the changes in the social
environment and personal changes, reflecting the
artists' state of mind. If we want to explore the
diverse changes in Chinese society in the past two
decades, their works are things worth exploring.
Wei Jia, born in 1975, grew up in the 1990s and his
works under the impact of socialism and capitalism
are a mirror that reflects a certain perspective of
the times and individuals. Standing in Brightness
(Lot 115) created in 2012, is one of his best works.
It is a surreal picture that speaks of social reality.
There are two figures in the work - one large
and one small, with moustaches. The figures are
projections of the artist's own image. Big Wei
Jia and Little Wei Jia are standing together in a
dramatic way. When viewed from a distance, the
middle of the painting appears to be a large 'A',
forming a central force that stabilises the painting.
When viewed more closely, it is the tall man, with
a third hand, relying on the smaller man, to gain
the balance of his body, because the taller man is
holding a gun with both hands, as if he is about to
pull the trigger on his pistol and fire. The man with
the gun has a blank look in his eyes and his lips are
pursed, enabling the tension of the work to come
through. The small man's hands appear to be tied
behind his back and he is wearing only his pants --is
this a projection of the image of the target in front
of the taller man? Is it the strength of Little Wei
Jia's mind that supports Big Wei Jia? Or is it Little
Wei Jia pulling Big Wei Jia? What is the relationship
between the two figures? Wei Jia's work leaves
clues and mysteries for us to decode and explore
in search of our own answers.
Born in Chengdu, Wei Jia was admitted to the
the preparatory High School of the Sichuan Fine
Arts Institute at the age of 15, but was unable to
enter the oil painting department of the Central
Academy of Fine Arts as he had hoped. He entered
1.法蘭西斯．培根《Landscape
with Pope/Dictator》約1946年作
私人收藏
Francis Bacon, Landscape with
Pope/Dictator, c. 1946, Private
Collection
2.盧西安．佛洛依德《Reflection
of Two Children （ SelfPortrait）》1965年作 私人收藏
Lucian Freud, Reflection of Two
Children (Self-Portrait), 1965,
Private Collection
1. 2.
38 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 39
the printmaking department to specialise in
lithography. Out of the passion for easel painting,
he began to focus on easel painting at the age of
28. In September 2006, the inaugural issue of Hi
Art, an art magazine that has witnessed the takeoff of Chinese contemporary art, featured Wei
Jia's 2006 work Door to Door: A Perfect Match on
the cover. At the time, Wei Jia was classified as a
member of the 'new cartoon painting' generation.
As a young man in his thirties, Wei Jia's youthful
exuberance is spread through the emotions of his
protagonist and thus viewed as a representative
of the new cartoon painting. Since 2010, Wei
Jia began to incorporate his studies in classical
oil painting into his works, and the mood and
atmosphere of his paintings were clearly different
from those of his earlier works. The naked and
melancholic young man in the picture is no longer
there, and his 2012 work, Standing in Brightness,
is representative of his work at this stage. The
dialogue between the Big Wei Jia and Little Wei
Jia, the figure with the gun, is representative of the
atmosphere of the time in Chongqing. It is a time
of the individual, a time of Young Wei Jia and Child
Wei Jia. The classical oil painting ambience of the
acrylic works is placed in the context of the dark
and moist backdrop of the foggy mountain city
where Wei Jia lived and created, where beauty and
violence are presented. The artist has left clues in
the light above the painting, like the shadowless
lamp hanging above the operating room, under
which the protagonists are standing bright and
waiting to be healed.
In his 2012 work Standing in Brightness, Wei Jia
uses his own image to represent and project the
relationship between the individual and society,
and his own inner dialogue with himself, not only
as a snapshot of the social landscape of southwest
China in 2012, but also as a way for each viewer
to see the painting as they see themselves. In
the aftermath of the previous wave of Chinese
contemporary art, Wei Jia's work has become
increasingly fascinating as it settles down and
acquires depth.
畫」一代。三十而立的韋嘉，少年飛揚，
他將少年敏感不羈的情懷，透過畫面主人
翁的情緒鋪展開來，被喻為新卡通繪畫的
代表；而2010年後，韋嘉開始將其對古
典油畫的研究置入創(chuàng)作，在情境氛圍上明
顯與早期作品脫勾，當年畫面裡赤裸憂鬱
的少年不再，《站著亮》一作，就是其
2012年的創(chuàng)作代表，是大韋嘉與小韋嘉的
對話，持槍的主角，恰也點出那個年代，
重慶社會群體的時代氛圍。個人與時代，
青年韋嘉與少年韋嘉，古典油畫氛圍置入
的壓克力彩作品，彷若黝黑朧朦又溼潤的
背景天地，正是韋嘉生活、創(chuàng)作的山城霧
都，美麗與暴力就在畫面裡。畫面上方的
燈光，藝術(shù)家留下了線索，像是手術(shù)室上
方的無影燈，在燈光下，站著亮，也是在
燈光下，需要被治癒的主角。
2012年《站著亮》作品，韋嘉透過自己
的形象，代入和投射個人與社會之間的關(guān)
係，自身與自身的內(nèi)心對話，不僅是2012
年中國西南社會風(fēng)貌的時代縮影，也讓每
一位觀者，見畫如同觀照自身。在中國當
代前一波的暴起喧囂之後，沉澱的韋嘉作
品，愈見魅力。
《Hi藝術(shù)》雜誌，2006年9月的
雜誌創(chuàng)刊號
Hi Art magazine, in September
2006
MODERN AND CONTEMPORARY ART 41
站著亮
2012 年作
壓克力 畫布
款識：《站著亮》200 x 150 cm 布面丙
烯 韋嘉 2017 ( 畫背）
展覽
2012年9月16日-10月28日「PORTRAIT」
谷公館 臺北 臺灣
出版
《PORTRAIT》谷公館 臺北 臺灣 2012年
（圖版）
Standing in Brightness
Painted in 2012
acrylic on canvas
199 x 149 cm. (78 1/4 x 58 3/4 in.)
titled, inscribed and signed in Chinese;
inscribed and dated '200 x 150 cm 2017'
(on the reverse)
EXHIBITED
Taiwan, Taipei, Michael Ku Gallery,
PORTRAIT, 16 September-28 October, 2012.
LITERATURE
PORTRAIT, Michael Ku Gallery, Taipei,
Taiwan, 2012 (illustrated).
HK$ 480,000 - 700,000
US$ 61,500 - 89,700
WEI JIA
韋嘉 115 CHINESE, B. 1975
42 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 43
五木田智央作為當今最具國際影響力的日
本當代藝術(shù)家之一，以黑、白、灰色調(diào)的
人像畫創(chuàng)作風(fēng)格廣為人知。原本作為插畫
家和平面設(shè)計師的五木田智央，以即興手
繪的素描作品引發(fā)各界關(guān)注，而後在2005
年投身於全職的藝術(shù)創(chuàng)作中，其鮮明的繪
畫風(fēng)格則源自於當時拮據(jù)的生活狀況，為
了節(jié)省費用的他選擇只使用黑、白、灰
三個顏色來創(chuàng)作，然而這樣的插曲造就了
今日代表他的獨特風(fēng)格。五木田智央受到
60、70年代美國文化及波普藝術(shù)的影響，
將照片、廣告、唱片封面、色情雜誌等元
素融入進他的創(chuàng)作慨念中，並以西方和日
本的流行文化與次文化作為靈感。
五木田智央的作品主要以具象的人物為題
材，運用現(xiàn)成的圖像作為參照，並以超現(xiàn)實
和新表現(xiàn)主義的手法在畫面的部分加以變
形，通過塗抹將畫面中人物的五官或是型態(tài)
去除，而這種模糊、變形、混濁的樣貌，恰
恰吸引人們對於完好樣貌的想像，製造出神
秘且具有表現(xiàn)張力的畫面氛圍，也使得整體
作品透露出一絲戲謔及幽默的成分。
《純真的愛情》(Lot 116) 創(chuàng)作於2018年，
並在同年五木田智央東京的Peekaboo展覽
展出。這件作品是以壓克力和水粉兩種媒
Mr. Gokita’s vocabulary
barrels across illustration,
pornography, abstraction,
children’s drawing,
calligraphy and signpainting, with a perfect
control, velvety surfaces
and tonal range that makes
black-and-white feel like
living color makes blackand-white feel like living
colour
—Roberta Smith, The New York
Times, 9 March, 2005.
五木田智央
TOMOO GOKITA
五木田先生之創(chuàng)作語彙橫跨插畫、情色刊
物、抽象主義、兒童畫、書法以及廣告創(chuàng)作
等領(lǐng)域，完美的畫面控制、光滑如絨的質(zhì)感
以及色調(diào)運用，為黑與白賦予了鮮活生命
—蘿伯塔·史密斯《紐約時報》
電影《夜長夢多》
Still image of The Big Sleep
1969年
, 1969
2005 年 3 月 9 日
Tomoo Gokita as one of the most influential
contemporary Japanese artists today is widely
known for his portraits in black, white and grey.
Gokita drew attention to his improvised sketches
before taking up a full-time career in 2005 as
an illustrator and graphic designer originally. His
distinctive painting style was developed because
of his difficult living situation at the time, so he
chose to use only black, white and grey to create
in order to save money. However, this interlude
has created the unique style that represents him
today. Influenced by American culture and pop
art in the 60s and 70s, Tomoo Gokita incorporates
elements from photographs, advertisements,
record covers and pornographic magazines into his
compositions, using Western and Japanese pop
culture and the underground culture as inspiration.
Tomoo Gokita's works are mainly based on
representational figures. He uses ready-made
images as references and uses surrealistic and neoexpressionist techniques to distort parts of the
images to remove the features or shapes of the
figures through painting. The blurry, distorted and
cloudy images inspired people's imagination to
the perfect appearance and created a mysterious
and expressive atmosphere which injects a hint of
humour and teasing the overall works.
Pure Love (Lot 116) was created in 2018 and
exhibited at Tomoo Gokita's exhibition, 'Peekaboo',
in Tokyo in the same year. This work is painted in
two mediums, which are acrylic and gouache. The
interaction between gouache and acrylic gives
the work a charcoal sketch-like quality, while the
matte texture reveals the ambiguous atmosphere
between the man and woman in the painting. The
composition of the work is mainly focusing on a
woman and a man. It is unusual that the faces of
the figures are fully visible, while the serious yet
playful look of Tomoo Gokita's work can be seen
in their facial expressions. In terms of colour, the
44 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 45
artist's distinctive grey tones are used. The subtle
grey gradations in the details of the figures, and
the contrast between light and dark make the
figures more vivid. The background is painted in a
looser style, creating a sense of blur and space in
the distant scenes. The overall composition and
colour palette of the painting create a vintage
black and white film atmosphere, which expresses
the emotional tension of a story in a seemingly still
picture.
In addition to his famous black and white palette,
Tomoo Gokita has incorporated many different
painting styles in his work, such as Pop Art,
Surrealism, Neo-Expressionism and Cubism, which
makes him stand out from the rest of contemporary
artists. He combines his specific aesthetic language
with the nostalgic and popular trends to create a
series of bold and intriguing paintings that have
made him one of the most promising artists in the
Japanese contemporary art circle.
材繪製而成，在水粉和壓克力顏料的相互
作用下，使得這件作品散發(fā)出素描炭筆的
風(fēng)味，霧面的質(zhì)感也透露出畫作中男女之
間的曖昧氣氛。作品畫面主要是一個女性
與一個男性組成，其特別是這件作品中的
人物面容是完整可見的，但在他們的神情
中還是可以看到五木田智央作品中那種嚴
肅卻又戲謔氣息。在色彩上，還是以藝術(shù)
家獨特的灰色調(diào)，人物細節(jié)細膩的灰色漸
層，配合明暗的對比將人物刻畫得更加生
動，背景則是以較為鬆散的畫法，製造出
遠景該有模糊和空間感，整體畫面構(gòu)圖與
色調(diào)展現(xiàn)出復(fù)古黑白電影的氛圍，即便是
靜態(tài)的畫面卻展現(xiàn)出故事般的情緒。
除了著名的黑白色調(diào)以外，五木田智央將
許多不同主義的繪畫風(fēng)格融入到他的作品
當中，像是波普藝術(shù)、超現(xiàn)實主義、新表
現(xiàn)主義、立體主義等等，使得他在當代眾
多藝術(shù)家中脫穎而出。他特殊的美學(xué)語言
結(jié)合懷舊和流行的趨勢，創(chuàng)造出一系列大
膽且耐人尋味的畫作，使他成為日本當代
藝術(shù)界最具潛力的藝術(shù)家。
巴布羅·畢加索《The Kiss (Le
baiser) Mas Notre-Dame-de-Vie,
Mougins》1969年作 美國 紐約
Koons收藏
Pablo Picasso, The Kiss (Le
baiser) Mas Notre-Dame-de-Vie,
Mougins, 1969, Koons Collection,
New York, USA
46 POLY AUCTION HONG KONG
純真的愛情
2018 年作
壓克力 水粉 畫布
款識：PURE LOVE Tomoo Gokita 2018
（畫背）
來源
日本 東京 Taka Ishii畫廊
現(xiàn)藏者購自上述來源
展覽
2018年4月14日-6月24日「PEEKABOO」
東京歌劇院畫廊 東京 日本
Pure Love
Painted in 2018
acrylic and gouache on canvas
194 x 162 cm. (76 1/4 x 63 3/4 in.)
titled, signed and dated 'PURE LOVE Tomoo
Gokita 2018' (on the reverse)
PROVENANCE
Taka Ishii Gallery, Tokyo, Japan
Acquired from the above by the present
owner
EXHIBITED
Japan, Tokyo, Tokyo Opera City Art Gallery,
PEEKABOO, 14 April-24 June, 2018.
HK$ 1,500,000 - 2,500,000
US$ 192,300 - 320,500
TOMOO GOKITA
五木田智央 116 JAPANESE, B. 1969
48 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 49
珍尼維·菲吉斯
GENIEVE FIGGIS
作為近年來備受矚目的愛爾蘭女性藝術(shù)家，
菲吉斯由最初被美國視覺藝術(shù)家理查得·普
林斯收藏其作品，並將其介紹到紐約藝術(shù)
圈，直至現(xiàn)今被世界頂尖畫廊代理，被世界
公共機構(gòu)及私人收藏，僅用了數(shù)年時間，可
見藝術(shù)圈對其作品的獨有偏愛。
菲吉斯癡迷於顏料媒材創(chuàng)作時的不確定
性，喜好以水與壓克力調(diào)和創(chuàng)造出獨有的
質(zhì)地畫面質(zhì)地，「我喜歡使用壓克力創(chuàng)作
時的感覺，當它是濕潤的時候，以及這種
使用一種在與我對抗著的顏料媒材而產(chǎn)生
的無限可能性?！勾舜紊吓淖髌贰杜颗c
狗（致敬庚斯博羅）》(Lot 117)是菲吉斯
典型的「龐大的液體拼圖」作品，宮廷背
《女士與狗（致敬庚斯博羅）》
2019年展覽於上海阿爾敏·萊希
畫廊
Lady with a Dog (After
Gainsborough) at Almine Rech
Shanghai Exhibition in 2019
景下描繪的是一位雍容華貴的貴婦與她的寵物
狗。藝術(shù)家致敬的是曾為英國王室服務(wù)的著
名肖像畫家庚斯博羅筆下的索菲亞·夏洛特王
后，而夏洛特王后也正是當時著名的藝術(shù)贊助
人之一。畫面中奢華裙飾物，背景中的布簾，
彷彿正在融化成奶油般的湖泊，夏洛特王后淡
藍的面容仍然嘗試展示出不失禮儀的微笑。壓
克力與水形成特有的質(zhì)地彷彿消融著幾百年前
的華貴禮儀，菲吉斯總以一種黑色幽默的方式
不經(jīng)意地撩撥著人類超越時空的欲望與虛榮，
在浮生如夢的場景中，將人性繁複累贅的皮囊
層層剝開，凝視人性的真實內(nèi)核。
Genieve Figgis, an Irish female artist, has
received a lot of attention in recent years.
Figgis's work was first collected by the
American visual artist Richard Prince and
introduced to the New York art scene. Her
works are now represented by the world's
leading galleries, and in public and private
collections worldwide. The whole change has
only taken a few years, which shows the unique
preference of the art world for her work.
Figgis is fascinated by the uncertainty of
working with pigmented media, and prefers
to blend water in acrylic to create a unique
textural surface texture. \"I like how acrylic
feels to work with, how it looks when it's wet,
and how anything is possible when working
with a material that battles with me.\" The
work on auction this time, Lady with a Dog
(After Gainsborough) (Lot 117), is a typical
'giant liquid puzzle' of Figgis', depicting a
magnificent noblewoman and her pet dog
against a courtly backdrop. The painting is a
Figgis' tribute to Queen Sophia Charlotte by
the famous portraitist Gainsborough, who
served the British royal family. Queen Sophia
Charlotte was one of the famous patrons of art
at the time. In the painting, Queen Charlotte's
pale blue face still attempts to display an
impeccable smile with her sumptuous dress,
standing in front of the curtains and the
creamy-like lake backdrop. The unique texture
of the mixture of acrylic and water seems to
melt away from the centuries-old pomp and
circumstance. Figgis always tantalizes human
desire and vanity that transcends through time
and space in a black and humorous approach.
He peels the cumbersome layers of humanity
in the dreamlike scene and reveals the true
essential of humanity.
Lot 117
托馬斯·庚斯博羅《夏洛特王
后》約1781年作 英國 倫敦 皇家
收藏基金會藏
Thomas Gainsborough, Queen
Charlotte, c.1781, Collection of
Royal Collection Trust, London,
UK
50 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 51
女士與狗（致敬庚斯博羅）
2019 年作
壓克力 畫布
款識：genieve figgis 2019（畫背）
來源
中國 上海 阿爾敏
·萊希畫廊
現(xiàn)藏者購自上述來源
展覽
2019年9月20日-10月19日「浮游世界」阿
爾敏
·萊希畫廊 上海 中國
Lady with a Dog (After
Gainsborough)
Painted in 2019
acrylic on canvas
120 x 100 cm. (47 1/4 x 39 1/4 in.)
signed and dated 'genieve figgis 2019' (on
the reverse)
PROVENANCE
Almine Rech Gallery, Shanghai, China
Acquired from the above by the present
owner
EXHIBITED
China, Shanghai, Almine Rech Gallery,
Floating World, 20 September-19 October,
2019.
HK$ 650,000 - 850,000
US$ 83,300 - 109,000
GENIEVE FIGGIS
珍尼維
·菲吉斯 117 IRISH, B. 1972
52 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 53
博伊曼斯1963年出生於比利時，工作室
設(shè)立在以「祭壇畫」聞名的比利時根特，
是揚·凡·艾克與其兄共同創(chuàng)作的史詩般
《神秘羔羊的崇拜》（1432年）祭壇畫
的所在地。博伊曼斯也曾在根特的教堂工
作，常常被教堂的巨大的雕像和彷彿帶有
強大能量的光線所震撼。正因如此，在他
的繪畫中不僅可以看到文藝復(fù)興藝術(shù)的精
湛技法，更會被畫面所帶來的厚重的歷
史、莫測的宗教感和引人入勝的哲學(xué)觀所
吸引，藝術(shù)家也藉由充滿戲劇張力的畫面
將無法直接解釋的主題輸出為可引起共鳴
的普世話題，引人深思。
博伊曼斯於2018年在香港卓納畫廊舉行
「太陽的火焰」個展，展出一系列以孩童
為主角的、聚眾出現(xiàn)並進行著某些神秘的
行為的創(chuàng)作，畫面都隱含著一種秘而不發(fā)
的張力，向觀眾展示一種沉靜的、等待人
們駐足觀看並破譯的力量。創(chuàng)作於2017年
的《太陽的火焰》(Lot 118) 是展覽中的其
中一件作品，畫面以大面積的米黃色為背
景，拋卻了空間和時間的特徵也讓人無從
分辨這裡是室內(nèi)還是室外，看不清面貌的
孩童彷彿是文藝復(fù)興壁畫中的小天使，但
他們姿態(tài)各異，彼此聚集卻又毫無關(guān)聯(lián)，
他們好似一起注視著某處，但又顯得彼此
孤立。孩童們一絲不掛、通身紅色，有一
種原始人類部落的象徵，又好似隱喻了脆
弱的血肉之軀暴露在某種危險的環(huán)境之
中。藝術(shù)家以富有層次的、優(yōu)雅俐落的筆
觸為我們構(gòu)建了一個好似某種底層潛意識
的思維空間，同時達成某種找不到明確敘
事卻又欲語還休的思考潛能。
作為歐洲最受讚譽的具象藝術(shù)家之一，博伊
曼斯的作品被納入眾多顯赫的公共收藏，例
如芝加哥藝術(shù)學(xué)院、克利夫蘭藝術(shù)博物館、
米凱爾·博伊曼斯
MICHA?L BORREMANS
萊昂納多·達·芬奇《巖間聖
母》約1483-1486年作 法國 巴
黎 盧浮宮藏
Leonardo da Vinci, Virgin of the
Rocks, c. 1483-1486, Collection
of The Louvre, Paris, France
Born in Belgium in 1963, Micha?l Borremans'
studio was set up in Ghent, Belgium, famous
for its 'altarpieces'. It is the home to the epic
The Adoration of the Mystic Lamb (1432), an
altarpiece created by Jan van Eyck and his
brother. Borremans also worked in the church in
Ghent and was often struck by its huge statues
and the light that seemed to carry a powerful
energy. This is why, one can not only see the
exquisite techniques of Renaissance art in his
work, but also be fascinated by the heavy history,
unpredictable religious sense and fascinating
philosophical view of the images. Furthermore,
by the dramatic tension of the artist's images,
which expressed unexplainable themes into
universal topics that resonate and provoke
thought.
In his solo exhibition 'Fire from the Sun' at David
Zwirner Gallery in Hong Kong in 2018, Borremans
presents a series of works featuring children
who appear in crowds and perform mysterious
acts, all of which imply a secret tension, showing
the viewer a quiet power that is waiting to be
seen and deciphered. Fire from the Sun (Lot
118), created in 2017, is one of the works in the
exhibition, with a large beige background, leaving
out the characteristics of space and time and
making it impossible to tell whether this is an
indoor or outdoor area. Children with invisible
faces are like cherubs in Renaissance frescoes,
but their gestures are different, and they are
clustered together but not connected. They seem
to be gazing at something together yet appear to
be isolated from each other. The children, naked
and red, are symbolic of a primitive human tribe
and seem to be a metaphor for the fragile flesh
and blood exposed to a dangerous environment.
The artist's layered and elegant brushwork
constructs a space for us to think as if there is
some kind of underlying subconscious space. At
the same time, it provokes some kind of thinking
potential that cannot find a clear narrative but
still wants to express.
As one of Europe's most acclaimed figurative
artists, Borremans' work is included in many
prominent public collections, such as the
School of the Art Institute of Chicago (SAIC),
the Cleveland Museum of Art, Musée d
Art Moderne, the Museum of Fine Arts in
Boston, and the Museum of Modern Art
(MoMA), among others. Borremans created
figurative 'people' rather than portraits, as
he once explained \"My work is two things at
the same time: It's holding a mirror onto the
complex, often dark facets of human nature
while borrowing a very familiar vocabulary of
classic portraiture…It's contradictory and it's
alienating the beholder, and that's the fun of
it.\" This is why his paintings often display a
very subtle and fascinating quality, namely, the
use of beautiful colour, light and brushwork
to depict strange and enigmatic narratives
with no definite answers, which keeps people
immersed in his visual labyrinth and resulting
in unforgettable experiences.
54 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 55
巴黎現(xiàn)代藝術(shù)博物館、波士頓美術(shù)館、紐約
現(xiàn)代藝術(shù)博物館。博伊曼斯創(chuàng)作的是具象的
「人」而非肖像，他曾解釋：「我的作品同
時包含兩件事：它是一面鏡子，一面照映人
性中複雜的、通常是黑暗的一面，同時借用
了經(jīng)典肖像畫中非常熟悉的詞彙…這是矛盾
的，它疏遠了旁觀者，這就是它的樂趣所
在?！挂虼瞬┮谅估L畫中經(jīng)常展現(xiàn)出一種
非常微妙迷人的氣質(zhì)，即以優(yōu)美的顏色、光
線、筆觸來描繪怪誕成謎、沒有確切答案的
敘事，使人不斷沉浸在他的視覺迷宮裡並難
以忘懷。
弗朗西斯科·戈雅《鍛造爐》約
1817年作 美國 紐約 弗里克收藏
館藏
Francisco Goya, The Forge,
c. 1817, Collection of The Frick,
New York, USA
我的作品同時包含兩件事：
它是一面鏡子，一面照映人
性中複雜的、通常是黑暗的
一面，同時藉用了經(jīng)典肖像
畫中非常熟悉的詞彙…這是
矛盾的，它疏遠了旁觀者，
這就是它的樂趣所在。
─米凱爾·博伊曼斯
My work is two things at
the same time: It's holding
a mirror onto the complex,
often dark facets of human
nature while borrowing a very
familiar vocabulary of classic
portraiture…It's contradictory
and it's alienating the
beholder, and that's the fun
of it.
--MICHA?L BORREMANS
56 POLY AUCTION HONG KONG
太陽的火焰
2017 年作
油彩 木板
款識：MICHAEL M.C.G BORREMANNS
FIRE FROM THE SUN 2017 26/34 cm
（畫背標
籖
）
來源
中國 香港 卓納畫廊
現(xiàn)藏者購自上述來源
展覽
2018年1月27日-3月9日「太陽的火焰」卓
納畫廊 香港 中國
出版
《太陽的火焰》卓納畫廊 香港 中國 2018
年（圖版，第8頁）
Fire from the Sun
Painted in 2017
oil on panel
25.6 x 34 cm. (10 x 13 1/2 in.)
signed, titled, dated and inscribed 'MICHAEL
M.C.G BORREMANNS FIRE FROM THE SUN
2017 26/34 cm' (label on the reverse)
PROVENANCE
David Zwirner, Hong Kong, China
Acquired from the above by the present
owner
EXHIBITED
China, Hong Kong, David Zwirner, Fire from
the Sun, 27 January-9 March, 2018.
LITERATURE
Fire from the Sun, David Zwirner, Hong Kong,
China, 2018 (illustrated, p. 8).
HK$ 1,800,000 - 2,800,000
US$ 230,800 - 359,000
MICHA?L BORREMANS
米凱爾
·博伊曼斯 118 BELGIAN, B. 1963
58 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 59
這是一幅充滿著繽紛色彩，帶給人們濃濃
好奇心，想要探究畫布世界裡的女孩，她
正在想什麼，想要做什麼，為什麼像是極
目遠眺，露出有些睥睨世界的眼神？
近2米的畫作，線條筆觸極富手感深具辨識
度，此幅《無題》(Lot 119)，正是近三年急
速在二級市場崛起的六角彩子精品。大眼
睛女孩，長胳膊，是六角彩子女孩的經(jīng)典
元素，在此幅作品占據(jù)達三分之一面積；
畫面女孩有著金黃色的頭髮，綴以藝術(shù)家
其它的想像色調(diào)，珍珠髮飾紮著馬尾，就
是這個世代的女孩形象，畫面有紅、綠、
藍的三原色，延伸出黃、紫、粉紅色，呈
現(xiàn)出繽紛的奇幻世界；而隱身在這用手指
六角彩子
AYAKO ROKKAKU
準備好付出一切
準備展示一切
準備接受一切
準備好愛一切
準備扔掉一切
準備戰(zhàn)鬥
準備摔倒和折斷
準備變強
準備好大笑
準備好愛一切
─六角彩子
Be ready to give everything
Be ready to show everything
Be ready to receive everything
Be ready to love everything
Be ready to throw away
everything
Be ready to fight
Be ready to fall and break
Be ready to be strong
Be ready to laugh
Be ready to love everything
- AYAKO ROKKAKU
MODERN AND CONTEMPORARY ART 61
完整囊括六角彩子的異想世界
A Complete Collection of Ayako Rokkaku's Whimiscal World
MODERN AND CONTEMPORARY ART 63
能在公眾面前創(chuàng)作的極具魅力風(fēng)格。每當
六角彩子在美術(shù)館或是藝博會的公開創(chuàng)
作，或是疫情期間透過線上直播，總能吸
引滿滿的人流。這位自承與他人溝通，總
是害羞的藝術(shù)家，當面對畫或是紙板創(chuàng)作
時，無論身旁擠滿了多少觀眾卻是專注異
常。但六角彩子不是承襲日本具體派大師
白髮一雄，這位以腳，以身體進行行為創(chuàng)
作的宗師，她完全自成一格。日後，當六
角彩子第一次到紐約，到了大都會博物
館，到了紐約現(xiàn)代藝術(shù)博物館，看到了波
洛克、湯布雷、巴斯奇亞作品，她感受到
一種歸屬感，一種被認可的震撼，「好像
遇到了不知名的親戚?！沽遣首舆@樣
說。她非常喜歡湯布雷的一件作品，「彷
彿充滿了光和風(fēng)，像要爆炸，同時卻是靜
謐的。整個房間，都充滿著那幅畫的能
量?！顾氖种?、手掌下的女主角，已然
跟一個世紀前的印象派大師雷諾瓦，用畫
筆創(chuàng)作的女孩形象迥然相異；也與她的前
輩日本當代宗師奈良美智筆下的女孩形象
不同，六角彩子用手掌畫出屬於她的全新
世代。
The skeleton, which is supposed to be the
representative of darkness, is not scary at all.
All these unique and representative elements
are combined to form this masterpiece with the
classic element of Ayako Rokkaku.
Ayako Rokkaku is one of the most well-known
female artists in the contemporary art world.
She has been working in the art world as an
untrained artist for twenty years. Before she
became a professional artist, she worked in
a restaurant and painted at the same time.
Her success is an inspiration to young men
and women who want to make a career in the
art world. In 2002, at the age of 20, Rokkaku
participated in a two-day 'Design Festa' in
Tokyo, where any amateur artist could rent a
booth to display their work. This event sparked
her unique style of painting with bare hands.
She did not bring any of her finished works to
the booth and created on-site, drawing the
attention of the audience. On a whim, she put
the brush aside and started to paint with her
hands, achieving excellent effect. Rokkaku said
she had painted a picture with her fingers once
but had never painted with her hand.
After that exhibition, she started the fascinating
style of drawing by hand and creating in front of
the public. She always attracted a large crowd
whenever she created in public at art museums
or art fairs, or through online broadcasting
during the epidemic. This artist, who selfclaimed to be very shy in communicating with
others, is very attentive when working with
canvas or on paper, no matter how many people
are crowded around her. However, Rokkaku did
not inherit from Kazuo Shiraga, the master of
the Japanese Gutai art collective, who created
works with feet and body. Later, when Rokkaku
went to New York for the first time, she visited
the Metropolitan Museum of Art and the
Museum of Modern Art, and saw the works of
Jackson Pollock, Cy Twombly, and Jean-Michel
與手掌塗抹而出的萬象森林裡，還有骷髏
精靈，原本該是暗黑代表的骷髏，卻一點
兒也不可怕，合組而成這幅具備六角彩子
經(jīng)典元素的傑作。
六角彩子，她已然躋身當代藝壇最具知名度
的女性藝術(shù)家之一，她以素人畫家之姿在藝
術(shù)世界拚搏，其實也已經(jīng)二十年。六角彩
子在正式以職業(yè)藝術(shù)家為職志之前，是在餐
館打工一邊工作一邊畫畫，她的創(chuàng)作成功故
事，恰恰激勵著有志在藝壇大展身手的青年
男女。2002年，當時20歲的六角彩子參加?xùn)|
京一場為期二天的「Design Festa」活動，任
何藝術(shù)業(yè)餘愛好者，都可以租展位展示自己
的作品。這場展會，觸發(fā)了六角彩子日後以
手繪畫的獨特風(fēng)格。愛畫畫的她，沒有帶任
何一幅作品到展位，她現(xiàn)場作畫，但她想引
起現(xiàn)場觀眾的注意，於是心血來潮，靈機一
動，把畫筆放在一旁，就開始用手做畫了，
而且效果極佳，這是六角彩子第一次在這麼
多人面前創(chuàng)作。六角彩子說，她曾經(jīng)用手指
畫過一幅畫，但從來沒有用過整個手畫畫。
那次展會，開啟了六角彩子以手繪圖，且
This is a painting full of colours that makes
people curious and want to explore the girl in
the world of canvas: what she is thinking, what
she wants to do, and why does she look at the
world with a look out of the corner of her eye?
Standing at nearly 2-meters, with its highly
recognizable lines and strokes, Untitled (Lot 119)
is one of Ayako Rokkaku's best works. In the past
three years, she has been rising rapidly in the
secondary market. The girl with big round eyes
and long arms is the classic image of the Ayako
Rokkaku's girls, occupying one-third space of
this work. The girl has golden hair, decorated
with other colours of the artist's imagination.
With pearl hair tied in a ponytail, this is the
image of the girl of this generation. The painting
has three primary colours of red, green and
blue, which extend into yellow, purple and pink,
presenting a colourful fantasy world. Hidden
in this forest of Vientiane forest created by
fingers and palms, there are skeleton spirits.
六角彩子總是使用手掌與手指創(chuàng)作
Ayako Rokkaku always creates
with the palm of the hand and
fingers
64 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 65
都深受漫畫人物的影響。六角彩子的工作
室從東京，搬到荷蘭阿姆斯特丹，再搬到
德國柏林，成為世界公民；而她的創(chuàng)作之
路也隨著旅行與居住的軌跡，愈來愈廣。
而今的六角彩子從紙板、畫布到雕塑媒
材，都有她不同系列的作品?？梢灶A(yù)見，
近三年以銳不可擋之姿在拍賣市場強勢表
現(xiàn)的六角彩子，將會被愈來愈多人看見；
而2015年《無題》之作，正是藝術(shù)家從日
本來到歐洲，一路成長的關(guān)鍵精采之作。
through the stacking of colours. Look closely at
the 'hand touch' in the painting, the artist uses
the palm or finger to draw a quarter arc. Round
and round of arcs of different colours form a
dreamlike colourful landscape. Taking a closer
look at different parts of the work, you will see
one abstract painting after another, combined
to form a figurative picture of a girl. It is no
wonder that after seeing Pollock and Twombly's
paintings, she has the sense of meeting an
unknown relative and feels a strong sense of
belonging.
Nowadays, Ayako Rokkaku is an iconic artist of
this generation, and her works can fill the room
with the invincible energy of youth. She grew
up in Japan, and the lines of the girl protagonist
and the other characters in her paintings, such
as the rabbit ghost or the skeleton spirit, are all
influenced by the subtle influence of Japanese
cartoons. Even the artist herself admits that
it was only after she settled in Europe that
she discovered that she had been influenced
by her own cartoon culture since she was a
child. For example, in this present work, the
eyes, hair lines, mouth and nose of the girl
are almost all drawn with the smallest line
width, all of which are deeply influenced by
the manga characters. Rokkaku's studio moved
from Tokyo to Amsterdam, the Netherlands,
and then to Berlin, Germany, where she
became a global citizen. Her creative path has
also expanded with her travels and changes of
residences. Nowadays, she has a wide range of
works on paper, canvas and sculptural media.
It is foreseeable that Rokkaku, who has been
performing strongly in the auction market
for the past three years, will be seen and
recognized by more and more people. Untitled
created in 2015 is the representative work of
the artist's growth from Japan to Europe with
vital significance.
奈良美智《溫室女孩》2007年作
Yoshitomo Nara, Hothouse Doll, 2007
奧古斯特．雷諾瓦《A Young Girl
with Daisies》1989年作 美國 紐
約 大都會藝術(shù)博物館藏
Pierre-Auguste Renoir, A Young
Girl with Daisies, 1989, Collection
of The Metropolitan Museum of
Art, New York, USA
此次上拍的《無題》堪稱六角彩子邁向成
熟的精彩之作，塗鴉手掌下的女孩洋溢著
活力，靈動的大眼會說話，而背景的創(chuàng)
作，亦是藝術(shù)家最厲害之處，透過色彩的
堆疊，呈現(xiàn)明亮歡快的空間；細看畫面裡
的「手觸」，用手掌或手指擦畫出四分一
的弧形，不同色彩一圈又一圈的弧形，合
組成六角彩子這幅作品宛如夢幻般的色彩
景觀。細看作品的局部，就是一幅又一幅
的抽象畫，合組而成女孩的具象畫面。無
怪六角彩子見到了波洛克，見到了湯布雷
的畫作，直呼遇到了不知名的親戚，有著
濃濃的歸屬感。
而今的六角彩子，她是這個世代裡的指標
藝術(shù)家，她的作品能讓房間充滿著青春無
敵的能量。她成長於日本的背景，女孩主
角的線條，畫面裡的其它角色例如兔子鬼
魂或是骷髏精靈，都是來自日本卡漫的潛
移默化；就連藝術(shù)家本人也自承，她是到
了歐洲定居，才發(fā)現(xiàn)自己原來深受從小耳
濡目染的自身卡漫文化影響。例如此幅
《無題》，從女孩主角的雙眼、髮絲線條
到口鼻，幾乎都以最小的線寬描繪而出，
Basquiat and had a sense of belonging, a shock
of recognition, 'as if she had met an unknown
relative', says Rokkaku. She was fascinated by
one of Twombly's works: \"It seems to be full of
light and wind, like it's about to explode, but
at the same time it's quiet. The whole room is
filled with the energy of that painting\". The girls
created by her fingers and palms are already
very different from the images of girls created
by the Impressionist master Pierre-Auguste
Renoir a century ago, and from those of her
predecessor Yoshitomo Nara, a contemporary
Japanese master. Ayako Rokkaku has painted a
new generation of girls with her palms.
Untitled on auction this time can be called a
masterpiece of Ayako Rokkaku that is close to
perfect mastery. The girl under the palm of
the graffiti hand is full of vitality, and her big,
nimble eyes can speak. The creation of the
background is also the artist's most powerful
feature, presenting a bright and cheerful space
66 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 67
無題
2015 年作
壓克力 畫布
款識：2015 ロッカクアヤコ（右下）
來源
荷蘭 阿姆斯特丹 Delaive 畫廊
保利 香港 2019年3月31日 編號112
現(xiàn)藏者購自上述拍賣
Untitled
Painted in 2015
acrylic on canvas
120.5 x 190.3 cm. (47 1/2 x 75 in.)
dated '2015'; signed in Japanese (lower
right)
PROVENANCE
Galerie Delaive, Amsterdam, Netherlands
Poly Auction Hong Kong, 31 March 2019,
Lot 112
Acquired from the above sale by the present
owner
HK$ 5,500,000 - 7,000,000
US$ 705,100 - 897,400
AYAKO ROKKAKU
六角彩子 119 JAPANESE, B. 1982
68 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 69
WALASSE TING
丁雄泉
CHINESE-AMERICAN, DING XIONGQUAN, 1929-2010
我愛夏天
1976 年作
壓克力 畫布
款識：Kiss me Ting 76 Summer（畫背）
來源
西班牙 瓦倫西亞 私人收藏
亞洲 私人收藏
保利 香港 2012年11月24日 編號115
現(xiàn)藏者購自上述拍賣
展覽
2012年1月7日-3月3日「抽象．具象─朱德
群、丁雄泉、趙無極」VG 維嘉畫廊 臺北
臺灣
出版
《抽象．具象─朱德群、丁雄泉、趙無
極》VG 維嘉畫廊 臺北 臺灣 2012 年（圖
版，第48-49頁）
Summer
Painted 1976
acrylic on canvas
74.5 x 89.6 cm. (29 1/2 x 35 1/2 in.)
signed, dated and title 'Kiss me Ting 76
Summer' (on the reverse)
PROVENANCE
Private Collection, Valencia, Spain
Private Collection, Asia
Poly Auction Hong Kong, 24 November
2012, Lot 115
Acquired from the above sale by the present
owner
EXHIBITED
Taiwan, Taipei, Vintage Gallery, Abstraction
and Figuration: Concrete Chu Teh-Chun,
Walasse Ting and Zao Wou-Ki, 7 January-3
March, 2012.
LITERATURE
Abstraction and Figuration: Concrete Chu TehChun, Walasse Ting and Zao Wou-Ki, Vintage
Gallery, Taipei, Taiwan, 2012 (illustrated, pp.
48-49).
HK$ 300,000 - 500,000
US$ 38,500 - 64,100
120
70 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 71
無題
鉛筆 紙本
來源
Jean-Claude Riedel收藏
Artcurial 巴黎 2017年11月28日 編號83
現(xiàn)藏者購自上述拍賣
出版
《常玉素描與水彩全集》財團法人立青文
教基金會 臺北 臺灣 2014年（隨身碟方式
附錄，圖版，第D1346圖，第79頁）
Untitled
pencil on paper
44.6 x 25.3 cm. (17 1/2 x 10 in.)
PROVENANCE
Collection of Jean-Claude Riedel
Artcurial Paris, 28 November 2017, Lot 83
Acquired from the above sale by the present
owner
LITERATURE
Sanyu Catalogue Raisonné: Drawings and
Watercolours, The Li Ching Cultural and
Educational Foundation, Taipei, Taiwan,
2014 (USB flash drive, illustrated, plate
D1346, p. 79).
HK$ 150,000 - 250,000
US$ 19,200 - 32,100
SANYU
常玉 121 CHINESE, CHANG YU, 1895-1966
72 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 73
退戌戊橋
2007 年作
油彩 畫布
款識：
龎均 2007（左下）
藝術(shù)家手繪鈐?。壕?/p>
來源
亞洲 私人收藏
展覽
2007年11月4日-12月2日「
龎均的藝術(shù)─
鄉(xiāng)情與視角」常熟美術(shù)館 常熟 中國
出版《龎均》 上海人民美術(shù)出版社 上海 中國
2007年（圖版，第58頁）
附臺灣 臺中 由鉅藝術(shù)中心開立之原作保
證書
Back to Xuwu Bridge
Painted in 2007
oil on canvas
59.5 x 71.8 cm. (23 1/2 x 28 1/2 in.)
signed in Chinese; dated '2007' (lower left)
one painted seal of the artist
PROVENANCE
Private Collection, Asia
EXHIBITED
China, Changshu, Changshu Art Museum,
Art of Pang Jiun: Nostalgia and Perspective, 4
November-2 December, 2007
LITERATURE
Pang Jiun, Shanghai People's Publishing
House, Shanghai, China, 2007 (illustrated,
p. 58)
This work is to be sold with a certificate of
authenticity issued by GSR gallery, Taichung,
Taiwan
HK$ 200,000 - 400,000
US$ 25,600 - 51,300
PANG JIUN
龎均 122 CHINESE, PANG JUN, B. 1936
74 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 75
花下一漁舟
2012 年作
油彩 畫布
款識：龎均 2012 （右下）
藝術(shù)家手繪鈐印：均
來源
日升月鴻畫廊 臺北 臺灣
保利 香港 2013年10月5日 編號132
現(xiàn)藏者購自上述拍賣
Boat Between The Flowers
Painted in 2012
oil on canvas
91.3 x 117 cm. (36 x 46 in.)
signed in Chinese; dated '2012' (lower right)
one painted seal of the artist
PROVENANCE
Ever Harvest Art Gallery, Taipei, Taiwan
Poly Auction Hong Kong, 5 October 2013,
Lot 132
Acquired from the above sale by the present
owner
HK$ 600,000 - 1,200,000
US$ 76,900 - 153,800
PANG JIUN
龎均 123 CHINESE, PANG JUN, B. 1936
76 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 77
吳冠中對風(fēng)景畫類的創(chuàng)新和發(fā)展，一方面
在於從風(fēng)景提煉、強調(diào)形式元素，展現(xiàn)對
線條、結(jié)構(gòu)及色彩的純美感受。另一方
面，他的突破在於把中國傳統(tǒng)藝術(shù)「意
境」、「情調(diào)」的概念引入現(xiàn)代風(fēng)景畫，
超越單純的客觀再現(xiàn)，自然地把個人感情
與客觀風(fēng)景聯(lián)繫一起，達到「形式之中蘊
藏著情意」的獨特審美境界。吳冠中曾在
《貴州山叢尋畫》中描寫在1980年前往
貴州寫生的經(jīng)歷：「我不是徐霞客，我的
目的是作畫，千里迢迢而來，為的是想捕
捉粗獷原始之美……心想，這是我這輩子
最後一次冒險了！但大自然無窮的生命力
永遠在吸引人，誰能真保證老年人就不再
吳冠中
WU GUANZHONG
我不是徐霞客，我的目
的是作畫，千里迢迢而
來，為的是想捕捉粗獷
原始之美……心想，這
是我這輩子最後一次冒
險了！但大自然無窮的
生命力永遠在吸引人，
誰能真保證老年人就不
再著魔??！
─吳冠中
Lot 124
李唐《萬壑松風(fēng)圖》北宋 臺灣
臺北 故宮博物院藏
Li Tang, Wind in Pines Among a
Myriad Valleys, Northern Song,
Collection of the National Palace
Museum, Taipei, Taiwan
MODERN AND CONTEMPORARY ART 79
著魔??！」《侗家山寨》(Lot 124) 即是他
深入原始山林、結(jié)合大自然與人文風(fēng)光的
力作，展現(xiàn)了精煉的形式元素與作者的主
觀情感，具體呈現(xiàn)他風(fēng)景創(chuàng)作的美學(xué)突破
與成就。
烏江為貴州省第一大河，吳冠中在《風(fēng)光
風(fēng)情說烏江》一文中對於當?shù)氐拿枋龈?/p>
《侗家山寨》之美的直觀呈現(xiàn)：「木結(jié)構(gòu)
的吊腳樓美，從形式美的結(jié)構(gòu)角度看，可
說是玲瓏剔透，尤其是臨江高踞大山間，
真是畫家們眼中的仙居?！狭烁咂?，
俯瞰，黑壓壓的連成游動的龍、盤踞的
雕，奔騰的烏江永遠圍繞著他們呼嘯，江
的呼嘯是生命的伴奏、山鄉(xiāng)人民的頌歌
吧！下到江邊，仰畫飛檐，檐密密，參差
錯落，檐下鮮豔的色塊斑斕，是家家晾曬
的衣裳?！?/p>
《侗家山寨》前景描繪俯視的屋舍，自
右下角往上延伸，宛如近在觀者眼前，層
層錯落的吊腳樓與樹叢、瀑布往左上方延
伸，挺拔的杉樹更有頂天立地之勢，吳冠
中在此採用了豐富的冷暖色調(diào)，深褐色與 貴州 侗家山寨
Kam Village, Guizhou
Wu Guanzhong's innovation and advancement
on landscape painting lie in two aspects. Firstly,
he derives and strengthens formal elements
from the scenery, and presents the pure sense
of aesthetics towards line, structure and colour.
Secondly, by introducing the \"poetic mood\"
and \"emotional appeal\" concepts in traditional
Chinese art into modern landscape painting, he
breaks away from mere realistic reproduction
and naturally links personal sentiments with
descriptive landscapes, to achieve the unique
aesthetic realm of \"containing sentiments in form\"
In Seeking Inspiration for Painting in Mountains of
Guizhou Province, Wu Guanzhong once described
his experience of travelling to Guizhou in 1980 to
sketch in the Guizhou mountains: \"I am not Xu
Xiake, my purpose was to paint not to travel, and
I came all the way here to capture the rugged and
primitive beauty… I was thinking, this is the last
adventure of my life! But the infinite vitality and
forces of nature always attracts people, even an
old man like me cannot resist!\" A Mountain Village
of the Dong People (Lot 124) is his masterpiece
that goes deep into the primitive mountains and
forests to capture nature and humanistic scenery,
showing refined formal elements and the artist's
subjective emotions. It is a concrete presentation
MODERN AND CONTEMPORARY ART 81
綠色調(diào)、黃橙至橘紅色，從色調(diào)的對比和
細微變化表達了景深與空間層次，一方面
突顯來自遠景的右側(cè)光源，繁複的色彩變
化呈現(xiàn)出景物的多樣；另一方面，江岸以
淺色系的柔和漸層鋪陳，令觀者感到江面
漸次開闊的場景，從下方的樓舍至小船引
導(dǎo)與延伸了視覺的方向性，隨著江面的曲
折，至背景的樹叢與遠山轉(zhuǎn)為明亮的冷色
調(diào)，因而視覺逐漸豁然開朗，可見吳冠中
運用色彩之巧妙，以及畫面主題和主觀感
受的層層相扣?！抖奔疑秸凡粌H於《吳
冠中全集第三卷》當中收錄，右側(cè)江岸細
節(jié)更極為罕見地以全頁的篇幅呈現(xiàn)，此件
作品之珍貴與特殊，在吳冠中創(chuàng)作生涯之
重要性可見一斑。
此外，吳冠中以直幅描寫《侗家山寨》，
更加強了吊腳樓層層而上的垂直角度與多
變的風(fēng)姿，忠實呈現(xiàn)了他所說的「瞬息萬
變的江山剪影」與「瓊樓玉宇」。畫面在
布局上特地挪用傳統(tǒng)山水畫的散點透視，
藝術(shù)家曾寫道：「在油畫風(fēng)景寫生中，構(gòu)
圖時最難處理的也是前景……。這是油
畫風(fēng)景與水墨山水邂逅的第一個回合。通
過這個回合，我不再侷限於一個視點或一
個地點寫生一幅油畫，而移動畫架組合寫
生?！埂抖奔疑秸芬蚨谝朁c的變換
下，將山中村寨的種種風(fēng)光景致融於一
爐，不再是視覺觀感的單一呈現(xiàn)，而是吳
冠中將旅途與經(jīng)歷去蕪存菁，在飽遊飫看
後的體悟與感想。因而透過畫面，我們可
以清晰地感受到當下景致的引人入勝與對
於山水的嚮往，可說吳冠中以油彩為媒
介，真正在中西美學(xué)形式的融合中，實現(xiàn)
了郭熙所言的可行、可望、可居與可遊，
深刻地呈現(xiàn)他對於中國山川風(fēng)景的熱愛，
保羅 · 塞尚 《黑色城堡》 1900-
1904年作 美國 華盛頓 國家藝廊
館藏
Paul Cézanne, Chateau Noir,
1900-1904, Collection of National
Gallery of Art, Washington D.C.,
USA
of his aesthetic breakthrough and achievement in
landscape creation.
Wu Guanzhong's description of the area in his
article Landscape and Scenery about Wujiang
(the largest river in the province) is an intuitive
representation of the beauty of the A Mountain
Village of the Dong People: \"The beauty of the
wooden structure of Diaojiaolou (stilted building),
from the perspective of the formal aesthetics
of the structure, can be said to be exquisite and
transparent, especially those along the river that is
perching high in the mountains, are really dream
houses in painters' eyes…Go on the high slope and
take a overlook, you will find the running black
water of Wujiang, like a swimming dragon, a coiled
eagle is always surrounding them and whistling.
The river's whistling is the accompaniment of life,
the hymn of the people of the mountains! When
you go down to the riverside and look up, you can
see the flying eaves that are densely packed and
staggered and clothes that each family dry form
brightly colored patches under the eaves.\"
The foreground of A Mountain Village of the Dong
People depicts cottages with overlooking view,
extending upward from the lower right corner,
as if they are close to the viewer's eyes. Layers of
staggered stilted building, trees and waterfalls are
extending to the upper left, and the upright cedar
trees standing in a dominant manner, reaching to
the sky. The artist uses a rich palette of warm and
cold colours, from sepia and green tones to yelloworange and orange tones, to express the depth of
field and spatial layers from the contrast and subtle
changes in different colour temperature. On the
one hand, it highlights the light source from the
right side of the distant scene, and the complex
shifts of colour show the diversity of the scenery;
on the other hand, the river bank is gradually
spread with light colours, which makes the viewer
feel the scene of the river gradually opening up.
The buildings below and the boat guide and extend
the visual direction. As the river twists and turns,
the trees and distant mountains in the background
turn into bright cool colours to gradually open up
the vision. This shows the mastery use of color
by Wu Guanzhong and the interlocking of the
subject and subjective feeling of the painting. Not
only is A Mountain Village of the Dong People
included in Wu Guanzhong's Complete Works,
Vol.3, but the detail of the riverbank on the right
is rarely presented in a full page, which shows the
importance of this work in Wu's creative career.
In addition, Wu Guanzhong depicts A Mountain
Village of the Dong People in a straight frame,
reinforcing the vertical angle of the stilted building
and its changing posture, faithfully presenting
what he calls ‘the ever-changing silhouette of the
river and the mountain' and ‘richly decorated
towers and buildings'. The scattered perspective
of traditional landscape painting is intentionally
used in this painting, as the artist once wrote \"In
蕭照《山腰樓觀圖》北宋 臺灣
臺北 故宮博物院藏
Xiao Zhao, Mountainside Building
View, Northern Song, Collection
of the National Palace Museum
Taipei, Taiwan
82 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 83
