623
LEE Yih-hong
(Taiwanese, b. 1941)
Meditating among the Lotus
1992
Ink and colour on paper, framed
44.5 x 48 cm
Signed LEE Yih-hong in Chinese
With two seals of the artist
PROVENANCE
Private collection, Taipei
NT$ 60,000 - 120,000
HK$ 16,000 - 31,000
US$ 2,000 - 4,000
RMB 14,000 - 27,000
李義弘
香遠(yuǎn)益清
1992
水墨 設(shè)色 紙本 鏡框
44.5 x 48 cm
釋文：處處虛堂望眼寬，荷花荷葉過欄干。遊人去後
無歌鼓，白水青山生晚寒。
款識(shí)：壬申炎夏，藉題姜白石湖上寓居詩，李義弘畫。
鈐?。毫x弘染翰（白文）、在川小記（朱文）
來源
私人收藏，臺(tái)北
52
624
WU Ping
(Taiwanese, 1920-2019)
Fish Swimming among Fragrant Flowers
(A Set of Six)
Ink and colour on paper, scroll
136.8 x 21.8 cm (each)
Signed WU Ping in Chinese
With twelve seals of the artist
PROVENANCE
Acquired directly from the artist
NT$ 60,000 - 120,000
HK$ 16,000 - 31,000
US$ 2,000 - 4,000
RMB 14,000 - 27,000
吳平
魚游花香（六件一組）
水墨 設(shè)色 紙本 立軸
136.8 x 21.8 cm（每件）
款識(shí)：
（一）丁亥之春，堪白吳平寫於我思齋。
（二）堪白吳平敷色，丁亥春三月中瀚。
（三）堪白吳平，丁亥。
（四）丁亥三月，堪白吳平以期長年。
（五）堪白吳平作，丁亥春。
（六）我思齋涉筆寄興，丁亥堪白吳平。
鈐?。簠瞧娇鞍字。ò孜模?、姚江（朱文）
來源
現(xiàn)藏家直接得自藝術(shù)家本人
625
CHENG Shan-hsi
(Taiwanese, b. 1932)
Residing in the Countryside
1989
Ink and colour on paper, framed
60 x 30 cm
Signed Shan-hsi in Chinese
With one seal of the artist
This lot is to be sold with a certificate
of authenticity signed by the artist and
issued by Magnet Art Gallery, Taipei.
NT$ 80,000 - 160,000
HK$ 21,000 - 42,000
US$ 2,700 - 5,300
RMB 18,000 - 36,000
鄭善禧
山居圖
1989
水墨 設(shè)色 紙本 鏡框
60 x 30 cm
款識(shí)：歲己巳之秋，善禧製。
鈐?。亨崳ㄖ煳模?/p>
附吸引力畫廊開立與藝術(shù)家親筆簽名之原作
保證書
54
626
TUNG Chiao
(Chinese, b. 1942)
Calligraphy
2018
Ink on gold-flecked paper, framed
25 x 67.5 cm
Signed TUNG Chiao in Chinese
With two seals of the artist
NT$ 80,000 - 160,000
HK$ 21,000 - 42,000
US$ 2,700 - 5,300
RMB 18,000 - 36,000
董橋
濃腴
2018
水墨 灑金箋 框
25 x 67.5 cm
釋文：濃腴。
款識(shí)：戊戌元月開筆大吉，董橋於香島舊時(shí)月色樓頭。
鈐?。憾瓨颍ㄖ煳模⒌?yún)微雨養(yǎng)花天（朱文）
627
PU Tzu
(Taiwanese, 1959-2013)
Calligraphy in Cursive
Script
Ink on paper
180 x 96 cm
Signed PU Tzu in Chinese
With one seal of the artist
PROVENANCE
Moon Gallery, Taichung
Acquired from the above by the present
owner
ILLUSTRATED
Solo Exhibition of Bu Zi, Moon Gallery,
Taichung, 2008
NT$ 80,000 - 160,000
HK$ 21,000 - 42,000
US$ 2,700 - 5,300
RMB 18,000 - 36,000
卜茲
神乎神，客在門
水墨 紙本
180 x 96 cm
釋文：神乎神，客在門。
款識(shí)：溪心人卜茲悵。
鈐?。翰菲潱ㄖ煳模?/p>
來源
月臨畫廊，臺(tái)中
現(xiàn)藏家得自上述來源
圖錄
《大河之流—卜茲草書的舞動(dòng)》，月臨畫
廊，臺(tái)中，2008
56
628
YU You-ren; YI Jun-zuo
(Taiwanese, 1879-1964); (Taiwanese, 1899-1972)
Calligraphy in Running Script
(A Set of Two)
Ink on paper, scroll
70 x 34 cm; 92.7 x 30 cm
Signed YU You-ren and YI Jun-zuo in Chinese
With two seals of the artists
PROVENANCE
Acquired directly from the family of the recipient
NT$ 80,000 - 160,000
HK$ 21,000 - 42,000
US$ 2,700 - 5,300
RMB 18,000 - 36,000
于右任 ; 易君左
行書書法（兩件一組）
水墨 紙本 立軸
70 x 34 cm ; 92.7 x 30 cm
釋文：（左）桃源若近遠(yuǎn)，漁子棹輕舟。川路行難盡，
人家到漸幽。山禽拂席起，溪水入庭流。君是何年
隱，如今成白頭。奚賈詩。
（右）近挹金臺(tái)第一峯，雲(yún)蒸霞蔚碧籠蔥。獨(dú)來獨(dú)
往三千里，如躍如飛十二重。曾上天山餐大雪，又
浮東海挾雄風(fēng)。詩歌不是平凡筆，要奪乾坤造化功。
款識(shí)：（左）應(yīng)符老弟，于右任。
（右）甲辰夏，由港返國書近作，過嘉義望玉山一首，
對(duì)墀先生兩正，弟易君左於新營。
鈐?。海ㄗ螅┯胰危ㄖ煳模?/p>
（右）易君左章（白文）
來源
直接得自上款人家屬註
上款人「對(duì)墀先生」、「應(yīng)符老弟」即為黃對(duì)墀，
字應(yīng)符，為中華民國陸軍少將，曾任警務(wù)處處長、
臺(tái)北市政府警察局局長、警察學(xué)校校長及內(nèi)政部警
政司司長。
629
YU You-ren
(Taiwanese, 1879-1964)
Calligraphy Couplet in
Running Script
Ink on paper, scroll
118 x 28 cm (each)
Signed YU You-ren in Chinese
With one seal of the artist
PROVENANCE
Acquired directly from the family of the
recipient
NT$ 150,000 - 240,000
HK$ 39,000 - 62,000
US$ 5,000 - 8,000
RMB 34,000 - 55,000
于右任
行書五言聯(lián)
水墨 紙本 立軸
118 x 28 cm（每件）
釋文：心積和平氣，手成天地功。
款識(shí)：應(yīng)符先生，于右任。
鈐?。河胰危ㄖ煳模?/p>
來源
直接得自上款人家屬註
上款人「應(yīng)符先生」即為黃對(duì)墀，字應(yīng)符，
為中華民國陸軍少將，曾任警務(wù)處處長、
臺(tái)北市政府警察局局長、警察學(xué)校校長及
內(nèi)政部警政司司長。
58
630
TAI Jing-nong
(Taiwanese, 1902-1990)
Calligraphy Couplet in Running Script
Ink on paper, framed
88 x 16 cm (each)
Signed Jing-nong in Chinese
With two seals of the artist
PROVENANCE
Gloria Art Center, Taipei
Acquired from the above by the present owner
NT$ 140,000 - 220,000
HK$ 36,000 - 57,000
US$ 4,600 - 7,300
RMB 32,000 - 50,000
臺(tái)靜農(nóng)
行書六言聯(lián)
水墨 紙本 鏡框
88 x 16 cm（每件）
釋文：倚南窗以寄傲，臨清流而賦詩。
款識(shí)：靜農(nóng)於龍坡。
鈐?。红o農(nóng)無恙（白文）、龍坡（朱文）
來源
鴻展藝術(shù)中心，臺(tái)北
現(xiàn)藏家得自上述來源
631
PU Hsin-yu
(Taiwanese, 1896-1963)
Calligraphy Couplet in
Running Script
Ink on paper, scroll
131 x 32 cm (each)
Signed Hsin-yu in Chinese
With two seals of the artist
NT$ 150,000 - 240,000
HK$ 39,000 - 62,000
US$ 5,000 - 8,000
RMB 34,000 - 55,000
溥心畬
行書七言聯(lián)
水墨 紙本 立軸
131 x 32 cm（每件）
釋文：別墅王維經(jīng)一卷，著書宏景閣三層。
款識(shí)：心畬。
鈐?。轰呷逯。ò孜模?、心畬（朱文）
60
632
TONG Yang-tze
(Taiwanese, b. 1942)
My Heart is Like Water
2008
Ink on gold-coated paper
69 x 138 cm
With four seals of the artist
PROVENANCE
Private collection, Taiwan
EXHIBITED
\"Silence is gold: Calligraphy Works of Tong Yang-Tze\",
Eslite Gallery, Taipei, 10 January, 2009 - 8 February, 2009
ILLUSTRATED
Calligraphy Works of Tong Yang-Tze, Eslite Corporation,
Taipei, 2008, Plate 4
This lot is to be sold with a certificate of authenticity
signed by the artist.
NT$ 150,000 - 300,000
HK$ 39,000 - 78,000
US$ 5,000 - 9,900
RMB 34,000 - 68,000
董陽孜
心如水
2008
水墨 金宣紙
69 x 138 cm
釋文：心如水。
鈐?。憾ò孜模㈥枺ò孜模?、孜（白文）、天真（朱文）
來源
私人收藏，臺(tái)灣
展覽
「沉默是金—董陽孜作品展」，誠品畫廊，臺(tái)北，展期
2009 年 1 月 10 日至 2009 年 2 月 8 日
圖錄
《沉默是金 : 董陽孜作品集》，誠品，臺(tái)北，2008，圖版 4
附藝術(shù)家親筆簽名之原作保證書
董陽孜不以書法家自居，而是將己身視為以文字、線條創(chuàng)
作的藝術(shù)家，她認(rèn)為中文字書法藝術(shù)保有東方文化的主體
性，字可成字、亦能成書，在她恢弘的筆下更成為灑脫一
氣的文字藝術(shù)。董陽孜書法由顏楷書、魏碑入手，後專研
蘇軾、黃庭堅(jiān)等行草書式，融合雄渾奇肆與飛舉崢嶸於一
體。此幅《心如水》以難度甚高、具墨不易的金宣紙寫
成，董陽孜重現(xiàn)十七世紀(jì)明清文人筆墨的逸趣，透過巨幅
的書體展露出強(qiáng)勁的筆勢(shì)；書法名家臺(tái)靜農(nóng)曾為董陽孜撰
文作序，點(diǎn)評(píng)其書法深具「陽剛之美」，在其縱筆揮灑、
運(yùn)奇布巧之間可知書畫同源的妙意，董陽孜貫徹融會(huì)其書
Tong Yang-tze transformed calligraphy into a visual
representation of lines and words, while adhering to the
cultural aesthetic quality of Eastern calligraphy, making
her calligraphy an exuberant masterpiece, with reference
藝於此《心如水》一作，寫此三字至剛至柔：至剛處在於
「心」字行筆走勢(shì)如椽，「如」字落墨力破整齊，「水」
字則飛白拖絲作出如鳳舞飛動(dòng)的態(tài)勢(shì)，遠(yuǎn)觀猶如山水畫，
三字相鄰仿若山勢(shì)錯(cuò)間，空白處似水奔流，佈局構(gòu)圖相映
成趣，渾然莫辨是書法或是畫作：至柔處則隱含老子「水
善利萬物而不爭」的意涵，取有少說多做的期許。
to works of Yan Zhen-xin, Wei rubbings, Su Shi and
Huang Ting-jian. This piece was skillfully depicted on
gold-coated paper in a scholastic beauty of Ming and
Qing. Strokes were expressive on this gigantic panel.
As Tai Jing-nong once commented on Tong's work
with a beauty of masculinity, the three characters of this
work can be viewed as a perfect balance of masculinity
and fluidity. From the structure, the spacing to the
arrangement of the characters, this work shows a scene
of harmony, an essential philosophy in Chinese culture
through to Chinese art and landscape paintings.
62
633
TONG Yang-tze
(Taiwanese, b. 1942)
Hundreds of Blessings
2005
Ink on gold-coated paper, four-panel screen
52 x 210.5 cm
With two seals of the artist
PROVENANCE
Private collection, Taiwan
EXHIBITED
\"Chen Mo Shi Jin (Ink Like Gold): Calligraphy Works of Tong
Yang-Tze\", Eslite Gallery, Taipei, 15 April, 2006 - 7 May,
2006
ILLUSTRATED
Calligraphy Works of Tong Yang-Tze, Eslite Corporation,
Taipei, 2006, p. 68
This lot is to be sold with a certificate of authenticity signed
by the artist.
NT$ 180,000 - 360,000
HK$ 47,000 - 94,000
US$ 6,000 - 11,900
RMB 41,000 - 82,000
董陽孜
百福
2005
水墨 金宣紙 四折屏風(fēng)
52 x 210.5 cm
釋文：福。
款識(shí)：百福，乙酉冬日。
鈐?。憾。ò孜模㈥栕危ㄖ煳模?/p>
來源
私人收藏，臺(tái)灣
展覽
「沉墨似金—董陽孜作品展」，誠品畫廊，臺(tái)北，
展期 2006
年
4
月 15 日至 2006
年
5
月
7
日
圖錄
《沉墨似金 : 董陽孜作品集》，誠品，臺(tái)北，2006
，
頁 68
附藝術(shù)家親筆簽名之原作保證書
董陽孜的藝術(shù)奠基於西方美術(shù)教育，後融會(huì)貫通自幼臨摹
書帖習(xí)字的訓(xùn)練，將中國文字的字型提取出造形的態(tài)勢(shì)，
以文字意義與畫幅構(gòu)圖佈局出近似西方抽象畫的美感；董
陽孜的作品既能巧妙地結(jié)合東西方文化脈絡(luò)，又結(jié)合書畫
同源與平面造型的美學(xué)，形構(gòu)出獨(dú)樹一格的書法風(fēng)格。此
幅《百?！窞槎栕巫黛?005年的作品，自1998年開始，
董陽孜以「一同享?！沟纳钋凶ｎ?yuàn)，每年歲末為世人寫下
一百個(gè)福字，以各個(gè)姿態(tài)豐貌的碑帖書體寫於純手工渲染
的金宣紙上，將傳統(tǒng)文人的書法藝術(shù)融於現(xiàn)代人文的生活
之中。《百?！肺淖謺w結(jié)合了沉著穩(wěn)重的楷書、從容多
變的隸書、嚴(yán)正緩筆的篆書及行雲(yún)流水的行草體等書體，
書藝除了展現(xiàn)其深厚的功法底蘊(yùn)之外，更蘊(yùn)含書者自身的
修為與品性涵養(yǎng)，《百福》以巨幅三摺四面屏風(fēng)的形式表
現(xiàn)了董陽孜對(duì)古代冊(cè)頁形式的追尋，讓沉穩(wěn)的墨色在華貴
的金宣紙上形構(gòu)出書畫合一、如詩悠然的畫境，實(shí)為難得
罕見的代表巨作。
With a background of Western art, Tong Yang-tze
transformed and revived Chinese calligraphy to
heighten its aesthetic quality based on abstract art
from the West. Her works capture the essence of
both Western and Eastern art and design aesthetics,
enhancing the uniqueness of her art. This work,
created in 2005, is from a series of works on which
Tong wrote “blessing” a hundred times by the end
of each year since 1998. Each character was written
in different styles chosen by the artist to bring
classical art to the modern lifestyle. Each word has
its own character of formality, elusiveness, sturdiness
and fluidity presented by the calligrapher in different
scripts on folded panels, imitating the form of an
ancient book. Gold-coated paper was used to
highlight the luxurious elegance of this rare and
poetic calligraphy masterpiece.
64
溥心畬
幽香清遠(yuǎn)
水墨 紙本 鏡框
58.5 x 27.5 cm
釋文：香隨童子佩，蘭繫楚臣纓。
款識(shí)：心畬。
鈐?。号f王孫（白文）、溥儒（白文）、鶴汀姜義才
珍藏書畫（朱文）
來源
私人收藏，臺(tái)北
註
「鶴汀姜義才珍藏書畫」屬臺(tái)灣著名藝術(shù)家姜義才
鑑藏印。
634
PU Hsin-yu
(Taiwanese, 1896-1963)
Orchid
Ink on paper, framed
58.5 x 27.5 cm
Signed Hsin-yu in Chinese
With two seals of the artist and one seal of the collector
PROVENANCE
Private collection, Taipei
NT$ 150,000 - 240,000
HK$ 39,000 - 62,000
US$ 5,000 - 8,000
RMB 34,000 - 55,000
1949年溥心畬隨國民政府渡海抵臺(tái)，其寓臺(tái)期間的創(chuàng)作
概念都以去國懷鄉(xiāng)之愁思為主軸。此幅《幽香清遠(yuǎn)》為歷
代文人墨客常所描繪的題材，蘭花的造型簡潔素雅、葉形
花姿優(yōu)美且?guī)в兴氐南?，藉由蘭花的清秀俊雅作為君子
的象徵；而無根墨蘭的構(gòu)圖形式則始於南宋末年鄭思肖的
《墨蘭圖》，溥心畬畫蘭採以傳統(tǒng)畫蘭技法：先由書法中
鋒的筆勢(shì)、蘸濃墨作出三瓣主要的蘭葉，接續(xù)以攢三聚五
的方式將外圍的蘭葉佈滿，呈現(xiàn)內(nèi)層緊束、外層開散的構(gòu)
圖，行筆之間可看出溥氏以往對(duì)於書畫同源的要求，提按
轉(zhuǎn)折之處作出蘭葉的正反側(cè)面，筆力剛強(qiáng)健勁之處亦能銜
接貫氣；行筆所到之處皆舒緩有變化，藉由敷墨的乾濕變
化讓行筆截?cái)嘀幦杂挟嬕庀噙B之感，葉片間的穿插疏密
有致，藉由蘭葉墨色的濃淡變化呈現(xiàn)出畫面的層次感與空
間感；蘭花以五筆一花頭及淡墨點(diǎn)醒，再以濃墨細(xì)筆點(diǎn)出
花蕊，溥心畬的造境功力直追前人，無著根部的蘭花雖寥
寥數(shù)筆，但在疏花簡葉之間可看出溥氏以「舊王孫」的身
份寄予墨蘭其不同流於俗世之意。
Since his relocation to Taiwan in 1949, Pu Hsin-yu’s
subjects surrounded his reminiscence of the past
kingdom. Orchid in ink became a common subject of
the period. The elegant flower was lightly coloured with
gently twisted leaves. It has become a representation of
a noble scholar. Such a depiction of the flower without
roots was common from Southern Song after Zheng Sixiao’s Orchid in Ink. In this work, Pu used the classical
technique to paint the subject matter. Central brush was
used with occasional application of dark ink on the leaves
which spread from the center. Calligraphy strokes were
employed along with the movement and the variation
of moisture from the brush to depict the fluidity of the
twisted leaves. Through the control of density of the ink,
depth and space of the orchid were created. Fine brush
was used to sketch the stamen of the flower. With few
exceptional strokes, the orchid was painted showing the
noble and hermit character of the artist.
66
635
PU Hsin-yu
(Taiwanese, 1896-1963)
Red Bamboo with a Spider
Ink and colour on paper, framed
33 x 56 cm
Signed Hsin-yu in Chinese
With two seals of the artist
EXHIBITED
\"A Study on the Art of Pu Shin-Yu- The Compilation of the
Research and the Exhibition Catalogue\", Taiwan Museum of
Art, Taichung, 11 July, 1992 - 23 August, 1992
\"Paintings by Pu Hsin-Yu\", National Taiwan Normal
University Art Gallery, Taipei, 27 February, 2021 - 3 March,
2021
ILLUSTRATED
A Study on the Art of Pu Shin-Yu- The Compilation of the
Research and the Exhibition Catalogue, Taiwan Museum of
Art, Taichung, 1992, p. 216
Paintings by Pu Hsin-Yu, My Humble House Co., Ltd., Taipei,
2021, p. 147
NT$ 190,000 - 300,000
HK$ 49,000 - 78,000
US$ 6,300 - 9,900
RMB 43,000 - 68,000
溥心畬
喜結(jié)雙朱
水墨 設(shè)色 紙本 鏡框
33 x 56 cm
釋文：竹寒霜作雪，葉靜月生波。氣肅飛蟲盡，因何
設(shè)網(wǎng)羅。
款識(shí)：心畬。
鈐?。号f王孫（朱文）、溥儒（白文）
展覽
「溥心畬繪畫藝術(shù)之研究」，臺(tái)灣省立美術(shù)館，臺(tái)
中，展期 1992 年 7 月 11 日至 1992 年 8 月 23 日
「師古超塵 - 溥心畬藝術(shù)精品展」，國立臺(tái)灣師範(fàn)大
學(xué)德群畫廊，臺(tái)北，展期 2021 年 2 月 27 日至 2021
年 3 月 3 日
圖錄
《溥心畬繪畫藝術(shù)之研究研究報(bào)告展覽專輯彙編》，
臺(tái)灣省立美術(shù)館，臺(tái)中，1992，頁 216
《師古超塵：溥心畬藝術(shù)精品集》，寒舍股份有限
公司，臺(tái)北，2021，頁 147
文人寫朱竹始於北宋蘇軾，蘇軾寫竹以不重形似為主張，藉由
「逸筆草草，聊以自娛，非求人賞」為己樂。溥心畬《喜結(jié)雙
朱》一作，其書法運(yùn)筆力透紙背，佈局以圖面左下方拔出的竹
節(jié)為起筆，先用濕筆撇按、直至乾筆以草書拖尾掃出竹節(jié)勁挺
的樣態(tài)，旁出竹枝則用篆法做出曲折；畫竹葉則用介字法，主
從相隨、夾葉藏鋒之間仍可見其落筆之雄渾，澹然的朱色盡顯
蒼勁，竹葉相互夾疊的狀態(tài)，能於虛實(shí)相映之處見其速疾猷勁
的筆力。溥心畬善作工筆花鳥蟲蟻，此作朱竹枝葉之間以細(xì)筆
勾描蜘蛛結(jié)網(wǎng)的生態(tài)，藉由勾勒佈局的設(shè)計(jì)讓蛛網(wǎng)將開散的竹
葉收攏成視覺焦點(diǎn)，此作既能由實(shí)見虛、又可得溥氏墨韻的神
貌；中國傳統(tǒng)水墨畫蜘蛛代表喜事將臨，朱竹的秀逸蒼潤之態(tài)
亦有招福意涵，溥心畬畫雙朱依循文人畫正脈、並以摹寫自然
為師，畫中靈動(dòng)的線條與醇厚的用色，能在傳統(tǒng)寫意畫的基礎(chǔ)
上做出變通並予以活用，更在細(xì)膩處做出絕妙傳神的描繪，別
有一番風(fēng)韻意趣，此作實(shí)為溥心畬畢生精妙的書法造詣與超越
前人畫技之展現(xiàn)。
Red bamboo is a classical subject matter among scholars
such as Su Shi of Northern Song. He painted bamboo
with a few strokes at leisure. This painting was created
by Pu on a paper showing qualities of the brush. The
stem was sketched with wet ink, while the leaves were
completed with swift cursive strokes on dry brush. The
branches were completed with seal script. The downward
dropping leaves were swiftly painted with strength. Pu
Hsin-yu excelled in painting with gongbi strokes. By
adding the spider and its web in between the bamboo,
the composition brings the focus to the center, balancing
the scattered bamboo leaves. Spiders were considered
as a blessing, enhancing the message brought by the red
bamboo. From this work, Pu respected traditions while
bringing realistic nature to the paper panel and displayed
the artist’s exceptional skills as an ink master.
68
636
PU Hsin-yu
(Taiwanese, 1896-1963)
Black Magpie on Branch
Ink and colour on paper, scroll
60 x 27.5 cm
Signed Hsin-yu in Chinese
With one seal of the artist
PROVENANCE
Private collection, Taipei
NT$ 240,000 - 380,000
HK$ 62,000 - 99,000
US$ 8,000 - 12,600
RMB 55,000 - 86,000
溥心畬尤善工筆花鳥畫，其作品筆墨變化豐富，風(fēng)格深具
多樣性，寓臺(tái)後於花鳥的描繪上傾向任性自然的文人寫意
畫，如八大山人筆下鳥獸的荒率畫風(fēng)，構(gòu)圖上亦力求清簡
雅淡，全作以左側(cè)出圖的春柳枝幹破題，中鋒用筆取重墨
以沒骨法畫成，筆勢(shì)曲折之間可看出篆籕筆意，用筆圓轉(zhuǎn)
瘦硬，頗有唐篆法風(fēng)，柳幹旁支走勢(shì)斜下、停頓轉(zhuǎn)折之間
多用拖尾飛白作出柳枝的俯仰之姿；柳條則以實(shí)筆入、托
筆寫成，放鋒收筆流暢宛轉(zhuǎn)，盡顯柳樹柔軟輕盈的樣貌；
柳葉以夾葉法蘸花青，由左下至右上分次撇寫，以濃色嫩
枝、枯墨粗幹的對(duì)比帶出柳枝柔中帶剛的氣韻。烏鵲以濃
墨快速刷出鳥身、尾羽，細(xì)筆勾勒腿爪，焦墨施色將翅羽
的層次析出，溥氏別出心裁以留白作出頸羽，可見其深厚
的構(gòu)圖功力。溥心畬常以臺(tái)灣風(fēng)土動(dòng)植物作為繪畫題材，
《烏鵲報(bào)春》即以臺(tái)灣常見的禽鳥喜鵲入畫。烏鵲即喜
鵲，古人以鵲噪而行人至，常以烏鵲啼叫預(yù)示遠(yuǎn)人將歸，
又臺(tái)灣俗語稱烏鵲為「客鳥」，多喻為旅人之意，由此可
探知溥心畬畫烏鵲帶有客居外地的身世寄託。
Pu Hsin-yu excelled in gongbi flower-and-bird paintings
with a variety of techniques and styles. After residing
in Taiwan, the genre was mostly depicted in expressive
strokes in the same style as Bada Shanren. The
composition is carefree with a branch on the left and the
subject matter depicted with a central brush, thick ink
and changes of strokes, in the style of Seal script of Tang.
The spring willow was depicted using careful strokes to
enhance fluidity and light-weighted leaves. Colours were
applied in stages to allow layers to be depicted. The
variegated tones of branches form a balance of character.
The black bird was coloured with swift strokes for the
body and feathers. Fine strokes were outlined by a fine
brush. Dry ink was applied to form layers of feathers,
while the artist carefully left the neck blank as white
feathers. The bird is common in Taiwan and is known
as ‘guest bird’, as it sings when guests arrive. Since Pu’s
arrival, the bird was used as a subject matter, hinting his
wish to reside temporarily in Taiwan.
溥心畬
烏鵲報(bào)春
水墨 設(shè)色 紙本 立軸
60 x 27.5 cm
釋文：烏鵲報(bào)春。
款識(shí)：心畬。
鈐?。轰呷澹ò孜模?/p>
來源
私人收藏，臺(tái)北
70
637
CHEN Chi-kwan
(Taiwanese, 1921-2007)
Collaboration
1984
Ink on paper, framed
34.5 x 34 cm
Signed CHEN Chi-kwan in Chinese
With one seal of the artist
This lot is to be sold with a certificate of authenticity signed
by the artist and issued by Magnet Art Gallery, Taipei.
NT$ 190,000 - 300,000
HK$ 49,000 - 78,000
US$ 6,300 - 9,900
RMB 43,000 - 68,000
陳其寬
協(xié)力
1984
水墨 紙本 鏡框
34.5 x 34 cm
款識(shí)：陳其寬筆。
鈐印：陳其寬?。ㄖ煳模?/p>
附吸引力畫廊開立與藝術(shù)家親筆簽名之原作保證書
638
TAI Jing-nong
(Taiwanese, 1902-1990)
Calligraphy Couplet in
Running Script
Ink on paper, framed
101 x 21.8 cm (each)
Signed TAI Jing-nong in Chinese
With two seals of the artist
NT$ 150,000 - 240,000
HK$ 39,000 - 62,000
US$ 5,000 - 8,000
RMB 34,000 - 55,000
臺(tái)靜農(nóng)
行書七言聯(lián)
水墨 紙本 鏡框
101 x 21.8 cm（每件）
釋文：滿架薔薇春自好，一簾芍藥興尤濃。
款識(shí)：澄清夫人雅賞，臺(tái)靜農(nóng)於龍坡丈室。
鈐?。号_(tái)靜農(nóng)（白文）、龍坡丈室（朱文）
72
釋文：
（一）文殊院。文殊座立遙相望，迎送松環(huán)一線天。今玉屏樓
之所在，五上黃山歸寫。
（二）蓮花峰。居黃山之中，獨(dú)出諸峰之上，即天都亦俯首矣。
東望天目，西瞻匡廬，北窺九華，極目壯觀也。
（三）夢(mèng)筆生花。北海散花塢左有一孤立石峰頂上，巧生奇松
如花，棱棱石骨氣象殊，寫遍奇峰入畫圖，悠然觀造化，亦夢(mèng)
筆寫心。
（四）鯽魚背。竹杖芒鞋脊上行，兩側(cè)萬丈淵谷，深不可測(cè)。
此乃登天都峰至險(xiǎn)之處也，天地造化之奇，至此難忘。
（五）飛來石。光明頂平天矼西端群峰。此巨石如天上飛來，
端坐於此，奇哉。
（六）雲(yún)谷。宋丞相程元鳳，曾於此隱居讀書，又名丞相源，
明文士傅嚴(yán)遊此，應(yīng)擲鉢禪僧之求，手書雲(yún)谷二字故有此名。
遊黃山覽松石之奇，雲(yún)嵐之幻，頗感乾坤造化之神妙，實(shí)非吾
輩所能臆也。寫心中之思得十二頁記之。
（七）接引松。登始信峰，有石橋與此松接引而渡。
（八）十八羅漢朝南海。羅漢參差貌入神，為朝南海駕雲(yún)層。
於始信峰上觀石筍矼，見此乃天下奇絕。昂首向蒼穹，奇姿各
不同，時(shí)時(shí)參萬象，證得色為空。
（九）煉丹臺(tái)。傳軒轅仙帝與容成子、浮邱公修煉之所，丹井
藥竈，不知其處矣。
（十）仙人曬靴。排雲(yún)亭前幽谷，入西海峽谷之始，仙人修煉
之奇想。
（十一）百步雲(yún)梯。自鰲魚洞磴道而下，百步雲(yún)梯客心驚，曲
折蜿蜒接太清。
（十二）步仙橋。雙峰之間石橋穿洞相連，松舞風(fēng)鳴，深谷不
見其底，天邊群山橫嶺，險(xiǎn)絕魂欲消也。
639
CHIANG Yi-tsai
(Taiwanese, b. 1973)
Journey to Huangshan
(A Set of Twelve)
2022
Ink and colour on paper, framed
34 x 20.5 cm (each)
Signed CHIANG Yi-tsai and Yi-tsai in Chinese
With thirty seals of the artist
NT$ 120,000 - 240,000
HK$ 31,000 - 62,000
US$ 4,000 - 8,000
RMB 27,000 - 55,000
姜義才
黃山遊記（十二件一組）
2022
水墨 設(shè)色 紙本 鏡框
34 x 20.5 cm（每件）
款識(shí)：
（一、三、四、五）義才。
（六）壬寅春日，姜義才於鶴汀。
（七）壬寅夏，義才。
（八）壬寅夏日，姜義才。
（九）壬寅初春，姜義才。
（十一）壬寅夏日，姜義才。
（十二）壬寅立春，姜義才。
鈐?。?/p>
（一）義才（朱文）、澄觀（白文）
（二）姜氏（白文）、義才（朱文）、仁壽（白文）
（三）義才（朱文）、日利（白文）
（四）義才（朱文）、坐看雲(yún)起時(shí)（朱文）
（五）義才（白文）、閒雲(yún)（朱文）
（六）姜（白文）、義才（朱文）、臥雲(yún)（朱文）
（七）姜（白文）、義才（朱文）、鶴肖?。ㄖ煳模?/p>
（八）義（朱文）、才（朱文）、佛肖印（朱文）
（九）姜（白文）、義才（朱文）、佛肖?。ㄖ煳模?/p>
（十）姜（白文）、義才（朱文）、得高趣（白文）
（十一）姜（白文）、義才（朱文）
（十二）姜（朱文）、山不在高有仙則名（白文）
74
640
ZHOU Cheng
(Taiwanese, 1941-2022)
Spring Blossoms by Mountainous River,
Eternal View, Cold Stream and Fallen
Leaves and Crispness of a Winter View
( A Set of Four)
(4) 1988
Ink and colour on paper, framed
33 x 24 cm (each)
Signed ZHOU Cheng in Chinese
With seven seals of the artist
PROVENANCE
Private collection, Taipei
ILLUSTRATED
(2, 3, 4) Joyful Insight, Art Book Co., Ltd., Taipei, 2004, pp.
29, 54, 64
NT$ 120,000 - 220,000
HK$ 31,000 - 57,000
US$ 4,000 - 7,300
RMB 27,000 - 50,000
周澄
東風(fēng)送暖、海氣盪胸、寒江落葉及楚峯晴雪
（四件一組）
（四）1988
水墨 設(shè)色 紙本 鏡框
33 x 24 cm（每件）
釋文：
（一）百花潭上鎖春雲(yún)，霧磴煙嵐帶夕曛，渭北江東
意如許，春天回首更思君。
（二）負(fù)手偶徒巖下立，四圍海氣盪吾胸。
（三）山木半落葉，西風(fēng)方滿林。無人到此地，野意
自蕭森。
（四）沙鳥去已盡，江流寒更清。雲(yún)橫落日處，一片
楚峰晴。
款識(shí)：
（一、二、三）蓴波周澄畫。
（四）戊辰重陽前，蓴波周澄畫。
鈐?。?/p>
（一）周澄（白文）、阿波（朱文）
（二）周澄（白文）
（三）周（朱文）、澄（朱文）
（四）周澄（白文）、阿波（朱文）
來源
私人收藏，臺(tái)北
圖錄
( 二、三、四）《山清氣爽：周澄工筆山水》，藝術(shù)
圖書公司，臺(tái)北，2004，頁 29、54、64
76
641
HUANG Chun-pi
(Taiwanese, 1898-1991)
Iguazu Falls
1969
Ink and colour on paper, framed
53 x 88 cm
Signed HUANG Chun-pi in Chinese
With one seal of the artist
PROVENANCE
Private collection, Taipei
NT$ 190,000 - 300,000
HK$ 49,000 - 78,000
US$ 6,300 - 9,900
RMB 43,000 - 68,000
黃君璧
衣瓜索瀑布
1969
水墨 設(shè)色 紙本 鏡框
53 x 88 cm
款識(shí)：己酉三月，遊巴西衣瓜索觀瀑
所臨之稿，南海黃君璧。
鈐印：黃君璧?。ò孜模?/p>
來源
私人收藏，臺(tái)北
黃君璧的山水畫以西方繪畫的寫生之法
結(jié)合中國水墨的施墨佈局，創(chuàng)造出獨(dú)具
一格的筆法，其作品常以雲(yún)水瀑布為
題，藉由醇厚的筆墨構(gòu)築出如同實(shí)境般
的畫面，此幅《衣瓜索瀑布》為1969
年完成之作品，用筆顫動(dòng)是其慣用筆
法，全圖仿擬了瀑布奔騰的水流及空氣
中布滿氤氳水氣的效果，是為黃君璧經(jīng)
典的水瀑精品之一；該年黃君璧甫結(jié)束
於南非所舉行的畫展，遂前往巴西探訪
好友張大千，於巴西期間搭乘專機(jī)參觀
了舉世聞名的依瓜索瀑布，藉由各種角
度鳥瞰飛瀑，進(jìn)而捕捉雲(yún)水流瀑融會(huì)於
水墨畫中的靈感，自此名山巨瀑成為黃
君璧藝術(shù)生涯嶄新的階段?！兑鹿纤髌?/p>
布》用左右各二截的瀑布景佈局，以墨
色輕掃、乾筆斜刷及水彩點(diǎn)染的技法畫
出流瀑千變?nèi)f化的姿態(tài)，觀之富有動(dòng)感
卻無有虛浮之貌，彷彿可以感受到瀑布
濕氣飽滿、水流滂薄的氣勢(shì)；再以顫筆
濃墨點(diǎn)出遠(yuǎn)近景中的樹叢林木，兼用些
許的淡赭、花青染出山石光影，右方以
曲徑帶出空間感，細(xì)筆作出山崖邊欄及
憑欄觀景的遊人，全畫盡顯水色淋漓之
貌，意境甚為悠遠(yuǎn)。
Huang Chun-pi had a philosophy to
incorporate realistic depiction into
Chinese ink art with his individualistic
style. His works feature clouds
and waterfalls in a utopian scene.
This painting showcased his iconic
irregular strokes, the fluidity of water
and humidity of the air. The work was
completed in 1969, when his exhibition
in South Africa was completed and
when he embarked on his journey to
visit Zhang Da-qian. During the private
tour at the Iguazu Falls, he observed
the scene from the private jet and
later depicted it in his painting. Since
then, waterfalls has become Huang’s
favourite subject matter in his later
works. With a two-sided structure,
Huang depicted the scene with light
ink and dry brush finished with dots to
highlight the elusive qualities of water.
Humidity of the scene is featured with
accents on the majestic beauty of the
waterfall. Touches of ink and colours
depicted the lushness of vegetation
with light and shadow. The depth of
the work was enhanced by the path
on the right. Hikers were depicted
with fine brush, forming a majestic
and animated scene.
78
642
CHIANG Chao-shen
(Taiwanese, 1925-1996)
Appreciating the Lush Forest
1988
Ink and colour on paper, framed
62 x 99 cm
Signed CHIANG Chao-shen in Chinese
With three seals of the artist
PROVENANCE
Private collection, South Korea
NT$ 280,000 - 420,000
HK$ 73,000 - 109,000
US$ 9,300 - 13,900
RMB 64,000 - 95,000
江兆申
翠嶺長林
1988
水墨 設(shè)色 紙本 鏡框
62 x 99 cm
釋文：林嶺靄春暉，程程入翠微。泉聲
落坐石，花氣上行衣。詩正情懷淡，禪
高論語稀。蕭閒水西寺，駐錫莫忘歸。
林和靖詩句。
款識(shí)：戊辰，江兆申畫。
鈐?。赫咨陼嫞ò孜模?、靈漚（朱文）、
萬人如海一身藏（朱文）
來源
私人收藏，韓國
江兆申八零年代以降的水墨畫進(jìn)入了結(jié)合傳統(tǒng)
與自出新意的創(chuàng)作期，融合了南北宗山水精練
磅礴的畫風(fēng)，筆墨之間又盡顯吳浙派的疏秀清
冷，作於1988年的《翠嶺長林》可見出江兆
申不拘泥於實(shí)景山水的意象，江氏精於山水取
景、造境及交融的創(chuàng)作形式，常作畫不打草
稿，構(gòu)圖佈局先以墨色進(jìn)行重複的堆積，讓厚
積薄發(fā)的墨色入紙，作出山體的厚重感，後用
中鋒勾勒解索、披麻等皴法，營造書法線條的
張力，再以苔點(diǎn)破筆表現(xiàn)出巖壁的蒼鬱渾重的
質(zhì)感。全畫佈局之奇詭在於前景左側(cè)聳立的筍
峰與右側(cè)岔出的巨巖，除求取畫面的平衡外，
高巔峰頂?shù)陌才配佋O(shè)險(xiǎn)中求穩(wěn)、出奇不意，環(huán)
繞層峰疊翠的森然林樹以花青罩染出氤氳之
狀，右方高士策杖徐行，正欲拾階而上造訪夾
恃於山壁中的房舍，其文友閑坐悠然望松，一
派寧靜致遠(yuǎn)的畫境油然而生；畫中遠(yuǎn)景佈局以
吳派水墨暈染作為表現(xiàn)，以多變的澹墨、赭色
與花青水色烘染出雲(yún)天連綿的風(fēng)貌，江兆申用
筆精絕，讓上下兩段的山勢(shì)既能遙應(yīng)又可連成
一片，呈現(xiàn)出山景的靈秀與豐潤。
Since the 1980s, Chiang Chao-shen’s
paintings have shown a transition from
classical styles to an individualistic
character, incorporating the styles of
Southern and Northern Schools and
the elegance of the Wu Zhe School.
This work was completed in 1988 in
departing from the genuine landscape.
Chiang would create landscape
structures with ink without any drafts.
Hills were formed by the spontaneity
of ink absorbed into the paper. Central
strokes would be used for outlining
and cun for texture of rocks. Dots
would be added to depict the lush
vegetation on cliffs. Ridges on the left
echo with the mountains on the right,
balancing the structure while adding
volume to the whole scene. The dense
forest enhances the luxuriant misty
scene. A hiker on the right walking
towards a friend residing in the kiosk.
The scene was structured in the style of
Wu with a variation of tones, colours to
depict a serene and elegant landscape.
80
643
HUANG Bin-hong
(Chinese, 1865-1955)
Misty Landscape
Ink and colour on paper, scroll
66 x 32.8 cm
Signed Pu-tsun and HUANG Zhi in Chinese
With two seals of the artist and one seal of the collector
PROVENANCE
Private collection, Taipei
NT$ 380,000 - 600,000
HK$ 99,000 - 156,000
US$ 12,600 - 19,900
RMB 86,000 - 136,000
黃賓虹
雲(yún)峰秀澤
水墨 設(shè)色 紙本 立軸
66 x 32.8 cm
釋文：
（一）有明王仲山，書法極妙，所寫六法亦饒宋元人逸趣，
試擬之。
（二）抱香先生自美洲歸，道經(jīng)滬豄過訪庽齋，曲敘離悰，
相見甚懽，回檢舊作以誌雪泥鴻爪云。
款識(shí)：
（一）樸存。
（二）黃質(zhì)。
鈐?。狐S質(zhì)之?。ò孜模?、黃質(zhì)私?。ò孜模顔⒘兀ㄖ?/p>
文）
來源
私人收藏，臺(tái)北
註
「楊啟霖」屬新加坡著名收藏家楊啟霖鑑藏印。
黃賓虹的藝術(shù)展現(xiàn)出強(qiáng)烈的自我審美與創(chuàng)作觀念，其專研
傳統(tǒng)繪畫流派並提倡與寫生並進(jìn)，黃氏早年創(chuàng)作受新安畫
派的影響，著重乾筆淡墨的筆法與清逸疏澹的畫意為特
色，世人稱之為「白賓虹」，《雲(yún)峰秀澤》即為此時(shí)期難
得的珍品。此作筆法得力於李長衡、程邃，作畫力求清朗
並善用金石章法，全圖以中景的尖石峻山、亂石矮坡所環(huán)
繞的山河景色為視覺重心，再以左側(cè)斜岔出的壁巖及雙鉤
法畫成的古樹形成高深遠(yuǎn)近的平衡，黃氏多用長披麻皴析
出山石層次走向，以筆線點(diǎn)面的走勢(shì)作出筆筆相生相應(yīng)的
動(dòng)感，筆勢(shì)的轉(zhuǎn)折起伏更讓山川景色呈現(xiàn)千變?nèi)f化之姿，
並打破了中國傳統(tǒng)水墨畫的固定模式；石面敷墨以赭色罩
染，更顯出山水畫面的剛健崢嶸，兼皴袋染之間與雄偉的
金石氣象相互襯托。黃賓虹藉由書畫筆法將師古人與師造
化融合於一，藉由線條的氣韻酣暢以重振文人畫一脈，綜
觀全圖造境古意盎然，畫風(fēng)舒雅秀逸，其山勢(shì)望之儼然，
其水景即之廣遠(yuǎn)，呈現(xiàn)出一派晚明文人畫的閒情雅致，對(duì)
於忘懷名利、幽居隱世的嚮往。
The art of Huang Bin-hong was known for a strong
individualistic quality with his dedication to different
schools of art and to life drawings. With an early
influence by the Xinan School, light ink and dry brush
was used resulting in elegant paintings. He was called
Bai Binhong during this period. This is a work of the Bai
Binhong period where references could be traced to Li
Chang-heng and Cheng Sui with hints of Jinshi strokes.
Rugged ridges filled the work with scattered rocks
surrounding the river landscape. Rocky cliff spiked from
the left where a crooked tree emerged from the rocks.
Long cun strokes were used to depict the texture of the
rocks. The variations of strokes enhance the elusiveness
of the landscape, breaking away from classical Chinese
ink art. The rough surface of the rocks were coloured to
highlight the texture and the quality of Jinshi style. Such
a combination of classical style and realistic depiction
of nature enhance the scholastic quality of this majestic
landscape in the style of late Ming with a strong hermit
character.
82
644
HUANG Chun-pi
(Taiwanese, 1898-1991)
Pine Wood by the River
1983
Ink and colour on paper, framed
119.5 x 60.5 cm
Signed HUANG Chun-pi in Chinese
With three seals of the artist
PROVENANCE
Private collection, Taipei
NT$ 380,000 - 600,000
HK$ 99,000 - 156,000
US$ 12,600 - 19,900
RMB 86,000 - 136,000
黃君璧
松林山澗圖
1983
水墨 設(shè)色 紙本 鏡框
119.5 x 60.5 cm
釋文：雲(yún)展輕紗隱洞天，綠陰掩映碧巖邊，山居自有
忘機(jī)趣，松瀑風(fēng)清響玉泉。
款識(shí)：癸亥夏於白雲(yún)堂，八六叟黃君璧。
鈐?。狐S君璧印（朱文）、君翁（白文）、白雲(yún)堂（白
文）
來源
私人收藏，臺(tái)北
黃君璧，世稱「君翁」，其藝術(shù)學(xué)習(xí)階段正逢中西文化的
衝擊，師從李文顯游，將西畫透視立體概念、科學(xué)化的比
例原則與光影明暗表現(xiàn)的概念呈現(xiàn)在畫作裡，其後學(xué)國畫
筆墨，作品兼容了中國水墨與西方藝術(shù)理論，君翁善畫山
水，既有北派山水的雄渾，亦有南派山水的典雅。黃君璧
曾下苦工臨摹仿古，尤擅石谿畫風(fēng)，作於1983年的《松林
山澗圖》即脫自石谿典型的山水畫風(fēng)格；此作構(gòu)圖以嚴(yán)謹(jǐn)
繁密的前景與筆墨疏澹的後景組成疊石層坡的山澗風(fēng)景，
君翁以焦墨皴出紋理走勢(shì)、枯筆析出邊坡溪石，敷淡墨與
赭色渲染山石、石綠輕染做出石上苔痕、叢生的草地，巖
上野花以朱紅點(diǎn)醒為畫作增添雅意；後以兩岸夾一水的形
式，做出四段曲折湍流的山澗，由急趨緩的水紋走勢(shì)栩栩
如真。畫中主景用筆墨及西畫水彩暈染法鋪陳出鬱鬱蔥蔥
的松林與若隱若現(xiàn)的蒸融水氣，掩於松林間的房舍讓全圖
看似密不透風(fēng)，但仍可辨識(shí)出畫者觀景走訪的路徑；雲(yún)霧
繚繞的山景掛瀑作為後山景色，綜觀全圖佈局疏密有致，
融繁複細(xì)密與空靈粗放於一體，君翁筆下的山水氣韻淋
漓，獷野中又能蘊(yùn)蒼潤之質(zhì)。
Huang Chun-pi, known as “Chun-weng”, grew up
in the era when Western and Eastern art met. Under
the tutorship of Li Wen-xian, Western techniques of
perspective, proportion and chiaroscuro are incorporated
into art. Those techniques were further presented
through ink and brush, creating a blend of Chinese and
Western characteristics in his art. Landscape genre is
prevalent among Huang’s works with attention on the
grandiosity of the Northern School and the classical
elegance of the South. Huang learnt from classical art
and excelled in imitating the skills of Shixi. This work
was depicted in the style of Shixi in a classical landscape
genre. The structure was meticulously planned with
a transition of rocks in the foreground through to the
mountains at the back. Cun in dry ink was used to depict
the relief and pebbles, while light ink was used for the
rugged rocks. Colour was used for moss and grass with
highlights of red for the flowers.The typical structure
of a river carving through the landscape was used with
a natural depiction of the running water. Techniques
of aquarelle were used to depict pine and humidity,
enhancing the secludedness of the village among the
trees. Such a realistic depiction was heightened through
the brush and ink of Huang Chun-pi.
84
645
PU Hsin-yu
(Taiwanese, 1896-1963)
Kiosk by the River
Ink and colour on paper, scroll
32 x 20 cm
Signed Hsin-yu in Chinese
With three seals of the artist
EXHIBITED
\"Paintings by Pu Hsin-Yu\", National Taiwan Normal
University Art Gallery, Taipei, 27 February, 2021 - 3 March,
2021
ILLUSTRATED
Paintings by Pu Hsin-Yu, My Humble House Co., Ltd.,
Taipei, 2021, p. 90
NT$ 480,000 - 750,000
HK$ 125,000 - 195,000
US$ 15,900 - 24,900
RMB 109,000 - 170,000
溥心畬
秋江亭臨
水墨 設(shè)色 紙本 立軸
32 x 20 cm
釋文：亭臨秋水上，樹傍夕陽邊。
款識(shí)：心畬。
鈐?。褐袼兀ㄖ煳模?、溥儒之?。ò孜模?、心畬（朱文）
展覽
「師古超塵 - 溥心畬藝術(shù)精品展」，國立臺(tái)灣師範(fàn)大學(xué)德
群畫廊，臺(tái)北，展期 2021 年 2 月 27 日至 2021 年 3 月 3
日
圖錄
《師古超塵：溥心畬藝術(shù)精品集》，寒舍股份有限公司，
臺(tái)北，2021，頁 90
溥心畬《秋江亭臨》一作兼容南北宗山水畫法，畫幅以枯筆
淡墨作景，圖中做為畫面重心的山景取用斧劈、長披麻皴出
巨巖奇石，主體山勢(shì)為溥氏經(jīng)典的構(gòu)圖，由平緩直驅(qū)陡斜的
佈局，險(xiǎn)要的山型跌宕、其山石走勢(shì)及山面上竄生的雜樹盡
顯突兀崢嶸之貌；下方左側(cè)山壁延伸成臨江的岸石，以輕重
起伏的卷雲(yún)皴筆法讓線條流轉(zhuǎn)、變化萬千，溥心畬以花青、
淡墨層層罩染山景，略用淺絳敷染石面作出向光面，通幅畫
意顯露出宋代以來文人的古韻與境界。溥氏於畫面中心以雙
鉤筆勾勒出自石壁拔立而生的奇樹，點(diǎn)以墨苔成葉，高低取
勢(shì)與後景巨山形成對(duì)比，臨江岸邊以細(xì)筆勾畫亭子，亭中有
兩文士對(duì)坐閒看山川景色，一派清淨(jìng)野逸的畫境悠然而生；
綜觀此作墨色淡雅、筆法老練，溥氏雖多用北宗古樸之宗
法，但卻能融入浙派粗樸率真的況味，細(xì)品畫中精微的墨色
將山水風(fēng)景的秀潤合為一體，以實(shí)筆馭虛景，藉由觀山河自
然的變化而涵養(yǎng)自身安隱於世的品格。
This work shows a landscape scene in the style of
Southern and Northern Schools. The painting was
completed with dry brush and light ink. Rocky cliffs and
rocks were depicted by various cun strokes. A typical
composition of Pu Hsin-yu was used with a hill at the
back, trees encroaching among the rocks from the lower
ground, as the land extended from a rocky shore to the
river. Cun strokes, turquoise and light colours were used
to enhance the fluidity and elusive quality. The crooked
trees were outlined with double strokes while the leaves
were dotted with ink. The background was contrasted
with the low relief of the foreground. Meticulously
sketched with fine brush, the kiosk was occupied by
two scholars gazing into the landscape. The whole work
was lightly coloured and carefully painted to reflect
the schools of classical paintings showing Pu’s hermit
character.
86
646
CHIANG Chao-shen
(Taiwanese, 1925-1996)
Lofty Mountains in the Mist
1986
Ink and colour on paper, framed
69 x 134.5 cm
Signed CHIANG Chao-shen in Chinese
With three seals of the artist
PROVENANCE
Private collection, South Korea
NT$ 380,000 - 600,000
HK$ 99,000 - 156,000
US$ 12,600 - 19,900
RMB 86,000 - 136,000
江兆申
雪潤幽石
1986
水墨 設(shè)色 紙本 鏡框
69 x 134.5 cm
釋文：康樂遺蹤地，言歸已有期。江流富春闊，
山沓括蒼危。雪潤飛晴靄，寒羅濾曉澌。東巖有
幽石，應(yīng)許折松枝。林和靖詩。
款識(shí)：丙寅，江兆申畫。
鈐?。航咨暧。ò孜模⑵泩@染翰（白文）、
雙谿行者（白文）
來源
私人收藏，韓國
江兆申1980年代已移居汐止，此時(shí)期的創(chuàng)作博取內(nèi)化各家
之長，1986年完成的《雪潤幽石》即為難能可貴的大作；
畫面形式以自然寫生為主、並用宋人丘壑作為山勢(shì)主體，
兩山夾峙間以刻意的留白造出廣袤的雲(yún)雪風(fēng)景，既能分出
畫幅前後深遠(yuǎn)之景，具有畫面設(shè)計(jì)的戲劇效果，又能帶出
一股清冷洗滌俗塵的氣息。江氏畫山善用漸江鐵筆銀鉤法
析成山巒稜線，再反覆以大筆渲染、解索皴與積墨法疊成
山石，赭色罩染分出山壁向陽明暗，山形走勢(shì)章法奇險(xiǎn)，
既靈秀又厚實(shí)，深具傳統(tǒng)文人畫的氣韻精神。中景的描繪
鋪陳更別出心裁，右方走在隱於雲(yún)海山徑的持杖文士正要
穿越林樹，佈局以亂筆花青點(diǎn)染而成林木，樹色於霧氣繚
繞間叢生，呈現(xiàn)蒙茸綿密之狀；深景處以掩映林木間的茅
舍與細(xì)筆勾勒、朱紅點(diǎn)葉的奇樹做醒點(diǎn)，使得畫面冷暖變
化有致；左側(cè)則以錯(cuò)落的石岸、曲橋及泊舟成景，以簡淡
灑落的用筆與構(gòu)圖，將書畫線條完美地揉合於山水架構(gòu)之
中。畫中題款北宋隱逸詩人林和靖之詩句，更顯出江兆申
幽獨(dú)清高、淡泊名利的人格寫照。
After relocating to Xizhi in 1980, Chiang Chao-shen
embodied various styles into his paintings. This
masterpiece was completed in 1986 with hints of
realistic drawings and the skills of the Song School on
the mountains. Space was structured at the center to
enhance the elusiveness and depth in the painting.
Outlines on the mountains were made, and the hills were
coloured using a broad brush. Cun and dry ink enhance
the ruggedness of rocks. Light and shadow of the hills
were depicted through colours. Such a combination of
techniques shows the typical scholastic taste. Hikers
were depicted in the forest which was painted with dots
of turquoise. The elusiveness of the mists were created,
contrasting with the solid fine outlines of the kiosk, while
echoing with the red coloured leaves. The tranquil scene
was accentuated by depiction of rocky shores, bridges
and a boat. A poem from the Song scholar Lin He-jing
highlighted Chiang’s theme and his hermit personality.
88
647
CHIANG Chao-shen
(Taiwanese, 1925-1996)
Landscape in Four Seasons
Ink and colour on paper, framed
17 x 53.5 cm (each)
Signed CHIANG Chao-shen in Chinese
With sixteen seals of the artist
NT$ 280,000 - 420,000
HK$ 73,000 - 109,000
US$ 9,300 - 13,900
RMB 64,000 - 95,000
江兆申
四季風(fēng)情
水墨 設(shè)色 紙本 鏡框
17 x 53.5 cm（每件）
釋文：
（一）給園支遁隱，虛寂養(yǎng)身和。春晚羣木秀，間關(guān)黃鳥
歌。林棲居士竹，池養(yǎng)右軍鵝。炎月北窗下，清風(fēng)期再過。
唐孟浩然，晚春題遠(yuǎn)上人南亭。蕓閣朝來雪，飄颻正滿空。
褰開明月下，校理落花中。色向懷鉛白，光因翰簡融。能
令草玄者，回思入流風(fēng)。
（二）仙蹕禦層氛，高高積翠分。嚴(yán)聲中谷應(yīng)，天語半空
聞。豐樹連黃葉，函關(guān)入紫雲(yún)。聖圖恢宇縣，歌賦小橫汾。
蘇頲奉和登驪山高頂應(yīng)制。秋山寂寂是市喧不到處可羨。
（三）
幷數(shù)登高日，延齡命賞時(shí)。宸遊天上轉(zhuǎn)，秋物雨來
滋。降鶴承仙馭，吹花入睿辭。微臣復(fù)何幸，長得奉恩私。
蘇頲奉和聖製九日侍宴應(yīng)制。夏雲(yún)多奇峰。
（四）公子正邀歡，林亭春未蘭。攀巖踐苔易，迷路出花
難。窗覆垂楊暖，階侵瀑水寒。帝城歸路直，留興接鵷鸞。
春日宴宋主簿山亭唐沈佺期句。萬壑千嚴(yán)一樣寒，城中別
有玉龍?bào)础Ｅf人秉興扁舟處，今日詩仙戴笠看。姜白石句。
款識(shí)：
（一）
茮原江兆申書。庚午
茮原江兆申。
（二）
茮原江兆申。兆申偶作。
（三）
茮原江兆申。
茮原江兆申。
（四）
茮原江兆申。江兆申。
鈐?。?/p>
（一）兆申
茮原（白文）、雙菩提龕（白文）、兆申知印（白
文）、雙菩提龕（白文）
（二）兆申
茮原（白文）、雙菩提龕（白文）、江兆申（白
文）、
茮原（朱文）
（三）江兆申?。ò孜模⒔咨辏ò孜模?、
茮原（朱文）、
大方無禺（白文）
（四）兆申
茮原（白文）、雙菩提龕（白文）、兆申（白文）、
茮原（朱文）
90
648
DING Yan-yong
(Chinese, 1902-1978)
Strolling with a Crane in the Mountain
1973
Ink and colour on paper, framed
43 x 68 cm
Signed DING Yan-yong in Chinese
With two seals of the artist
NT$ 90,000 - 180,000
HK$ 23,000 - 47,000
US$ 3,000 - 6,000
RMB 20,000 - 41,000
丁衍庸
孤山放鶴
1973
水墨 設(shè)色 紙本 鏡框
43 x 68 cm
釋文：孤山放鶴圖。
款識(shí)：癸丑六月，丁衍庸寫。
鈐?。禾K軒（白文）、庸（白文）
649
LEE Yih-hong
(Taiwanese, b. 1941)
Residing by the Mountains
1989
Ink and colour on paper
69.5 x 138.5 cm
Signed LEE Yih-hong in Chinese
With three seals of the artist
ILLUSTRATED
Calligraphy and Paintings, Art of Japanese Calligraphers,
Japan, 1989, p. 36
NT$ 120,000 - 240,000
HK$ 31,000 - 62,000
US$ 4,000 - 8,000
RMB 27,000 - 55,000
李義弘
枕山棲谷
1989
水墨 設(shè)色 紙本
69.5 x 138.5 cm
款識(shí)：己巳仲夏於笛音凝室，李義弘坐雨。
鈐印：義弘染翰（白文）、在川小記（朱文）、
好翫之士（白文）
圖錄
《書畫藝術(shù)》，書畫篆刻研究日本書人會(huì)，日本，
1989，頁 36
92
650
LEE Yih-hong
(Taiwanese, b. 1941)
Trees in Vermilion-walled Front
Courtyard
1994
Ink and colour on paper, framed
48 x 62.4 cm
Signed LEE Yih-hong in Chinese
With three seals of the artist
PROVENANCE
Private collection, Taipei
NT$ 110,000 - 200,000
HK$ 29,000 - 52,000
US$ 3,600 - 6,600
RMB 25,000 - 45,000
李義弘
朱牆前庭
1994
水墨 設(shè)色 紙本 鏡框
48 x 62.4 cm
款識(shí)：甲戊冬日，李義弘畫。
鈐?。豪盍x弘（白文）、在川畫（朱文）、草地郎（朱
文）
來源
私人收藏，臺(tái)北
651
AU Ho-nien
(Taiwanese, b. 1935)
Ferocious Tiger
Ink and colour on paper, scroll
78 x 60 cm
Signed Ho-nien in Chinese
With one seal of the artist
This painting is to be sold with an original
wooden box with the signature of the artist.
NT$ 120,000 - 220,000
HK$ 31,000 - 57,000
US$ 4,000 - 7,300
RMB 27,000 - 50,000
歐豪年
雄視
水墨 設(shè)色 紙本 立軸
78 x 60 cm
款識(shí)：豪年。
鈐印：豪年私?。ò孜模?/p>
附歐豪年題簽原裝木盒
94
652
WU Shi-wei
(Taiwanese, b. 1957)
Potted Greenery
2013
Ink and colour on paper, framed
135 x 69 cm
Signed WU Shi-wei in Chinese
With four seals of the artist
ILLUSTRATED
Artwork of Taiwanese Artists in Zhou Zhuang,
Taipei Brick House Cultural Ltd., Taipei, 2013,
pp. 58-59
Solo Exhibition of Wu Shi-Wei, Show Gallery,
Kaohsiung, 2013, pp. 80-81
NT$ 180,000 - 280,000
HK$ 47,000 - 73,000
US$ 6,000 - 9,300
RMB 41,000 - 64,000
吳士偉
江南香影
2013
水墨 設(shè)色 紙本 鏡框
135 x 69 cm
釋文：江南香影。周莊是中國江南古鎮(zhèn)，環(huán)境
清幽，建築古樸，歷經(jīng)九百多年的歲月仍完整
的保存著水鄉(xiāng)古鎮(zhèn)的完整風(fēng)貌，其中葉楚滄故
居庭院內(nèi)花木扶疏，錯(cuò)落有致天井處高盈數(shù)尺
逾兩層樓高之臘梅盛開，令人驚艷不已，歸來
入畫以誌紀(jì)念。
款識(shí)：二Ｏ一三年三月吳士偉畫。
鈐?。簠牵ㄖ煳模?、士偉（白文）、凝香（白文）、
照見山河萬朵（朱文）
圖錄
《旅人．映影－臺(tái)灣藝術(shù)家行旅周莊創(chuàng)作集》，
臺(tái)北紅館文化事業(yè)有限公司，臺(tái)北，2013，頁
58-59
《花長好
– 吳士偉作品》，小畫廊，高雄，
2013，頁 80-81
653
YU You-ren
(Taiwanese, 1879-1964)
Calligraphy in Running Script
Ink on paper, scroll
133 x 33.5 cm
Signed YU You-ren in Chinese
With one seal of the artist
NT$ 260,000 - 400,000
HK$ 68,000 - 104,000
US$ 8,600 - 13,300
RMB 59,000 - 91,000
于右任
行書書法
水墨 紙本 立軸
133 x 33.5 cm
釋文：水清月現(xiàn)，月本非來，雲(yún)遮月隱，月亦非去。心淨(jìng)見佛，
非是佛來，心垢不見，亦非佛去。故經(jīng)云：如來者，無所從來，
亦無所去，故名如來。
款識(shí)：庭芳先生，于右任。
鈐?。河胰危ㄖ煳模┰]
上款人「庭芳先生」即為楊庭芳，1926 年考入黃埔軍校第四
期，且曾被授予國民黨陸軍一級(jí)中將。
96
654
TAI Jing-nong
(Taiwanese, 1902-1990)
Calligraphy in Running Script
Ink on paper, framed
65.5 x 31 cm
Signed Jing-nong in Chinese
With three seals of the artist
NT$ 80,000 - 160,000
HK$ 21,000 - 42,000
US$ 2,700 - 5,300
RMB 18,000 - 36,000
臺(tái)靜農(nóng)
行書書法
水墨 紙本 鏡框
65.5 x 31 cm
釋文：銀燭秋光冷畫屏，輕羅小扇撲流螢。天階夜色
涼如水，臥看牽牛織女星。繁華事散逐香塵，流水無
情草自春。日暮東風(fēng)怨啼鳥，落花猶似墜樓人。
款識(shí)：杜牧之詩書，為守庾小姐清賞。靜農(nóng)書於龍坡。
鈐?。号_(tái)靜農(nóng)（白文）、靜者（朱文）、龍坡（朱文）
655
WU Ping
(Taiwanese, 1920-2019)
Calligraphy in Regular Script of Wei
2009
Ink on paper, scroll
136.2 x 33.8 cm (each)
Signed WU Ping in Chinese
With two seals of the artist
PROVENANCE
Acquired directly from the artist
NT$ 50,000 - 100,000
HK$ 13,000 - 26,000
US$ 1,700 - 3,300
RMB 11,000 - 23,000
吳平
節(jié)臨衡方碑（六幅）
2009
水墨 紙本 立軸
136.2 x 33.8 cm（每件）
釋文略
款識(shí)：節(jié)臨衡方碑，己丑堪白吳平。
鈐?。簠瞧街。ò孜模?、堪白長年（朱文）
來源
現(xiàn)藏家直接得自藝術(shù)家本人
98
656
CHU Ko
(Taiwanese, 1931-2011)
Landscape
1987
Ink and colour on paper
69 x 133 cm
Signed CHU Ko in Chinese
With two seals of the artist
PROVENANCE
Private collection, South Korea
NT$ 50,000 - 100,000
HK$ 13,000 - 26,000
US$ 1,700 - 3,300
RMB 11,000 - 23,000
楚戈
石韻山情
1987
水墨 設(shè)色 紙本
69 x 133 cm
釋文：朝涉白水源，暫與人俗疎。島嶼佳境色，江天
涵清虛。目送去海雲(yún)，心閑遊川魚。長歌盡落日，乘
月歸田廬。
款識(shí)：李白遊南陽白水登石激作。丁卯年，楚戈於臺(tái)
北外雙谿。
鈐?。涸滦牵ò孜模⒊辏ㄖ煳模?/p>
來源
私人收藏，韓國
657
CHENG Ting-lu; HUANG Jun;
ZHENG Mu-kang
(Chinese, 1796-1858); (Chinese, 1775-1850);
(Chinese, 1901-1982)
Spring River, Mountains amidst Clouds
and River Gorge (A Set of Three)
(Middle) 1827; (Right) 1948
Ink and colour on paper, scroll
98 x 33 cm; 139 x 37 cm; 104 x 51 cm
Signed Ting-lu, HUANG Chun and Mu-kang in Chinese
With six seals of the artist and two seals of two collectors
PROVENANCE
Private collection, Taipei
NT$ 50,000 - 100,000
HK$ 13,000 - 26,000
US$ 1,700 - 3,300
RMB 11,000 - 23,000
程庭鷺 ; 黃均 ; 鄭慕康
溪山春風(fēng)圖、雲(yún)擁寒峰及深谷鄰溪（三件一組）
（中）1827 ; （右）1948
水墨 設(shè)色 紙本 立軸
98 x 33 cm
；139 x 37 cm
；104 x 51 cm
釋文：
（左）何處溪山有此春，春風(fēng)不度馬駝塵。洞門倘遣飛雲(yún)
入，會(huì)向花源一問津。
（中）百屯雲(yún)擁數(shù)峯寒，雨後泉聲處處灘。性懶不隨鷗鷺
去，溪頭閒卻釣魚竿。
（右）倣周東邨於檉華館。
款識(shí)：
（左）撫趙鷗波春山積翠圖，庭鷺。
（中）丁亥冬日，倣大癡老人法，為子醇先生雅教，穀原
黃均。
（右）戊子十月上澣，慕康鄭師玄。
鈐印：
（左）碩庭珍藏（朱文）、程氏（白文）
（中）黃均私?。ò孜模?、穀原（白文）、姜氏筱珊珍賞
（朱文）
（右）鄭師玄?。ò孜模⒛娇担ㄖ煳模?、檉華（朱文）
來源
私人收藏，臺(tái)北
100
658
CHAO Shao-an
(Chinese, 1905-1998)
Warbler and Bamboo
1987
Ink and colour on paper, framed
29.5 x 37 cm
Signed Shao-an in Chinese
With two seals of the artist
PROVENANCE
Private collection, Asia
NT$ 30,000 - 60,000
HK$ 8,000 - 16,000
US$ 1,000 - 2,000
RMB 7,000 - 14,000
趙少昂
竹葉小鳥
1987
水墨 設(shè)色 紙本 鏡框
29.5 x 37 cm
釋文：
啘囀弄芳辰。
款識(shí)：丁卯秋十月，少昂時(shí)年八十三。
鈐印：趙（白文）、少昂（朱文）
來源
私人收藏，亞洲
