保利香港|現當代藝術專場

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保利香港|現當代藝術專場

LOT 118 局部 DETAIL 預先登記 PRE-REGISTRATION若閣下是首次參與競投,同時未獲得保利香港拍賣有限公司認可的註冊客戶推薦,保證金為港幣 500,000 元。如閣下打算競投高估價拍賣品(在圖錄內及 / 或電子圖錄內標有〇符號之拍賣品),保證金為港幣 1,000,000 元。保利香港拍賣有絕對權力隨時調整高估價拍賣品之保證金及 / 或手續 , 而不需要另行通知◦在閣下競投前 , 本公司亦有絕對權力向閣下要求提供任何有關閣下的財務證明。本公司有絕對權力拒絕任何人之競投登記而不需給予任何解釋◦If this is the first time you bid with Poly Auction (Hong Kong) Limited, and you are not recommended by a registered client endorsed by us, the deposit will be HK$500,000. If you intend to bid on a “Premium Lot”(i.e., a lot marked with〇 in t... [收起]
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保利香港|現當代藝術專場
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作為保利拍賣的重要一員,保利香港致力為海內外藏家提供藝術精品、專業諮詢和優質服務。
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第1页

MODERN AND CONTEMPORARY ART

現當代藝術

7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 香港金鐘金鐘道 88 號太古廣場

1

7

樓 • +852 2303 9899

10 OCTOBER 2022 HKF1022

現當代藝術

MODERN AND

CONTEMPORARY ART

HONG KONG 10 OCTOBER 2022

香港 2022 年 10 月 10 日

第3页

LOT 110 局部 DETAIL LOT 135 局部 DETAIL

第4页

LOT 115 局部 DETAIL LOT 117 局部 DETAIL

第5页

LOT 118 局部 DETAIL

預先登記 PRE-REGISTRATION

若閣下是首次參與競投,同時未獲得保利香港拍賣有限公司認可的註冊客戶推薦,保證金為港幣 500,000 元。如閣下打算競投高估價拍賣

品(在圖錄內及 / 或電子圖錄內標有

〇符號之拍賣品),保證金為港幣 1,000,000 元。保利香港拍賣有絕對權力隨時調整高估價拍賣品之

保證金及 / 或手續 , 而不需要另行通知◦在閣下競投前 , 本公司亦有絕對權力向閣下要求提供任何有關閣下的財務證明。本公司有絕對權力

拒絕任何人之競投登記而不需給予任何解釋◦

If this is the first time you bid with Poly Auction (Hong Kong) Limited, and you are not recommended by a registered client endorsed by us,

the deposit will be HK$500,000. If you intend to bid on a “Premium Lot”(i.e., a lot marked with

〇 in the printed catalogue and/or the digital

catalogue), the deposit will be HK$1,000,000, please be aware the amount of deposit and/or bidding registration procedure for “Premium

Lot” can be changed at any time at Poly Auction(Hong Kong)’s sole discretion without prior notice. In either case, you must deliver to Poly

Auction (Hong Kong) Limited such necessary financial references, guarantees, deposits and/or such other security as Poly Auction (Hong

Kong) Limited may in its absolute discretion require for before your bid. Poly Auction (Hong Kong) Limited may refuse any bidding registration

without any explanation at its’ sole discretion.

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

現當代藝術專場

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、茅台及威士忌

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

第6页

現當代藝術專場

MODERN AND

CONTEMPORARY ART

掃描以瀏覽拍賣詳情

Scan to view auctions details

Preview

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

Enquiries

Tel: +852 2303 9899

Email: info@polyauction.com.hk

Poly Auction Hong Kong Autumn Auctions 2022

預展

中國古董珍玩、璀璨珠寶及名貴鐘錶、尚品手袋及潮玩、

珍茗佳釀

2022 年 10 月 5 至 9 日

保利香港藝術空間

香港金鐘金鐘道 88 號

太古廣場一期 7 樓 701-708 室

上午 10 時至晚上 7 時

現當代藝術及中國書畫

2022 年 10 月 7 至 9 日

香港金鐘金鐘道 88 號

太古廣場一期 15 樓 1512 室

上午 10 時至晚上 7 時

拍賣

2022 年 10 月 10 至 12 日

保利香港藝術空間

香港金鐘金鐘道 88 號

太古廣場一期 7 樓 701-708 室

查詢

電話:+852 2303 9899

電郵:info@polyauction.com.hk

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

第7页

MODERN AND CONTEMPORARY ART SPECIALISTS

現當代藝術部專家

HEAD OF DEPARTMENT

部門主管

JAMIE YU

余箐憫

SENIOR SPECIALIST

高級專家

JOSEPH YANG

楊宗勳

SENIOR SPECIALIST

高級專家

JUNE HSU

許維筑

SPECIALIST

專家

JUNNAN MA

馬俊楠

DIRECTOR

總監

YA-WEI LIN

林亞偉

JUNIOR SPECIALIST

初級專家

HOLLY ZHANG

張華桐

SPECIALIST TRAINEE

實習專家

DOMINIQUE WONG

黃蔚恩

POLY AUCTION (HONG KONG) LIMITED

MANAGING DIRECTOR

保利香港拍賣 董事總經理

ALEX CHANG 張益修

ACHANG@POLYAUCTION.COM.HK

HEAD OF DEPARTMENT

部門主管

JAMIE YU 余箐憫

JYU@POLYAUCTION.COM.HK

DIRECTOR 總監

YA-WEI LIN 林亞偉

YWLIN@POLYAUCTION.COM.HK

SPECIALISTS 專家

JUNE HSU 許維筑

JHSU@POLYAUCTION.COM.HK

JOSEPH YANG 楊宗勳

JYANG@POLYAUCTION.COM.HK

JUNNAN MA 馬俊楠

JMA@POLYAUCTION.COM.HK

HOLLY ZHANG 張華桐

HTZHANG@POLYAUCTION.COM.HK

DOMINIQUE WONG 黃蔚恩

DWONG@POLYAUCTION.COM.HK

CREDITS

LOT 127, 132

© 2022, PROLITTERIS, ZURICH

LOT 133, 134

© CHU TEH-CHUN / ADAGP, PARIS - SACK, SEOUL, 2022

POLY AUCTION (HONG KONG) LIMITED

MANAGING DIRECTOR

保利香港拍賣 董事總經理

ALEX CHANG 張益修

ACHANG@POLYAUCTION.COM.HK

SPECIALISTS 專家團�

+ 852 2303 9823

JEW@POLYAUCTION.COM.HK

HEAD OF DEPARTMENT

珠寶�尚品部部門主管

SZE SZE � 思

SPECIALIST- WATCH & CLOCK

鐘錶專家

KAREN NG ���

SPECIALIST- HANDBAG

�貴手袋專家

AMANDA ZHAO �晶晶

SPECIALIST TRAINEE- JEWELLERY

��專家

KATHY IP 葉啟�

BUSINESS REPRESENTATIVE(TAIPEI)

���務代�

SHALLY LIN 林�

ADMINISTRATION 行政團�

KELLY DANG �凱�

TRINITY YU 余��

專家及服務查詢

SPECIALISTS AND SERVICES

ENQUIRIES

WORLDWIDE ��

HONG KONG 香港

T: + 852 2303 9899

F: + 852 2303 9888

Email: info@polyauction.com.hk

SHANGHAI 上�

Zhang Jin �瑾

T: + 86 21 5178 0360

F: + 86 21 5178 0361

Email: shanghai@polyauction.com

TAIPEI 台�

Jasmine Chang ���

T: + 886 2 2581 3855

F: + 886 2 2522 2595

Email: taipei@polyauction.com.hk

MACAU �門

Miu Cheang ��賢

T: + 853 2875 1013

F: + 853 2875 1014

JAPAN 日�

Haruko Kazami �見��

T: + 81 3 6278 8011

F: + 81 3 6278 8012

NEW YORK ��

Kenny Wong

T: +1 212 273 0822

請部門自行確認

�利�港拍賣�� Poly Auction Hong Kong Website

�利�港拍賣����� Poly Auction Hong Kong WeChat

���利拍賣����� Beijing Poly Auction WeChat

�利香港拍賣�用程式

Poly Auction Hong Kong App

專家及服務查詢

SPECIALISTS AND SERVICES ENQUIRIES

第8页

LOT 133 局部 DETAIL

�事�主�

CHAIRMAN

��春 Jiang Yingchun

現當代��

MODERN AND CONTEMPORARY ART

+852 2303 9880

CMCA@POLYAUCTION.COM.HK

余�憫 Jamie Yu

林亞� Ya-wei Lin

許維� June Hsu

楊�� Joseph Yang

馬�楠 Junnan Ma

張�桐 Holly Zhang

��恩 Dominique Wong

中國古��玩

CHINESE CERAMICS AND WORKS OF ART

+852 2303 9863

WOA@POLYAUCTION.COM.HK

��舟 Li Yizhou

杜紀波 Du Jibo � 犇 Hu Ben

曾�� Kathy Tsang

��爾 Joyce Tsoi

�義文 Arvin Lu

中國書畫

CHINESE PAINTINGS AND CALLIGRAPHY

+852 2303 9805

+86 10 6408 3508

FCPC@POLYAUCTION.COM.HK

��� Cheng Yuanfeng

��求 Tony Cheng

��明 Andrew Wu

� � Gigi Zhao

許�童 Alisa Hui

�事��理

MANAGING DIRECTOR

張益� Alex Chang

��珠���貴��

MAGNIFICENT JEWELS AND PRESTIGE

WATCHES

+852 2303 9823

JWL@POLYAUCTION.COM.HK

��� Kathy Ip

劉�� Geoffrey Liu

党凱� Kelly Dang

��� Kate Chow

林� Shally Lin

錢佑尔 Summer Qian

莫彩楹 Tiffany Mok

尚品手��潮品

NOBLE HANDBAGS AND HYPE

COLLECTIBLES

+852 2303 9827

BAG@POLYAUCTION.COM.HK

�晶晶 Amanda Zhao

陳嘉� Rita Chan

��佳�

RARE WINE, WHISKY & CHINESE TEA

+852 2303 9852

CWW@POLYAUCTION.COM.HK

桂 湘 Liam Gui

丘�� George Yau

鍾依� Melanie Chung

�務拓����

BUSINESS DEVELOPMENT AND

OPERATIONS

+852 2303 9875

BD@POLYAUCTION.COM.HK

駱�� Jenny Lok

副��理暨財���

DEPUTY GENERAL MANAGER AND CHIEF

FINANCIAL OFFICER

呂學民 Robin Lyu

����場

PUBLIC RELATIONS & MARKETING

+852 2303 9892

PR@POLYAUCTION.COM.HK

陳�� Jessica Chen

������拍

CUSTOMER RELATION AND BIDS

+852 2303 9862

CS@POLYAUCTION.COM.HK

張佩� Denise Cheung

�務�物�

WAREHOUSE & LOGISTICS

+852 2303 9871

SHIPPING@POLYAUCTION.COM.HK

徐 � Xu Cheng

���

RECEPTION

+852 2303 9899

SALE@POLYAUCTION.COM.HK

�������代�

REPRESENTATIVE OF POLY AUCTION HK

(TAIPEI OFFICE)

+886 2 2581 3855

TAIPEI@POLYAUCTION.COM.HK

張�� Jasmine Chang

�����上�代�

REPRESENTATIVE OF POLY AUCTION HK (SHANGHAI OFFICE)

+86 21 5178 0360

SHANGHAI@POLYAUCTION.COM

張 瑾 Zhang Jin

專��服務��

SPECIALISTS AND SERVICES ENQUIRIES

第9页

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 業務規則

Condition of Business

163 競投登記須知

Important Notice about Bidding Registration

164 財務付款須知

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

現當代藝術專場

MODERN AND

CONTEMPORARY ART

LOT 107 局部 DETAIL

第10页

讓颶風進來

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

第11页

鍋浴

2020 年作

壓克力 畫布

款識:「お釜風呂」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

第12页

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

第13页

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);

ParrotMan(左面畫側);Chang Teng

Yuan 2022(畫背)

來源

英國 倫敦 Akrilyc

現藏者購自上述來源

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

第14页

惡魔峰

2018 年作

壓克力 畫布

款識:'DEVIL PEAK MR DOODLE! 2018'

(畫背標籖)

來源

現藏者直接得自於藝術家

附藝術家親簽原作保證書

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

第15页

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

台北 台灣

出版

《來自雲間的尼尼:打開畫家的靈感之

門》大田出版有限公司 台北 台灣 2021年

(圖版,第191頁)

《黃本蕊 2021》誠品股份有限公司 台北

台灣 2021年(圖版,第40及84頁)

附台灣 台北 誠品畫廊開立之藝術家親簽

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

第16页

裁剪─19

2018 年作

壓克力 拼貼 畫布

款識:YH. 18 (畫背)

來源

台灣 台北 伊日藝術計劃

現藏者購自上述來源

附台灣 台北 伊日藝術計劃開立之原作保

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

第17页

藝術家工廠 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

第18页

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,她是當前藝壇集結裝置、雕

塑、繪畫,最受關注的藝術家之一。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

迄今出現拍場的最大尺幅鹽田千春畫布作

品,完整呈現藝術家的創作脈絡。

鹽田千春近年在藝術市場崛起,歸功於從

2019年於森美術館舉行的「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博

物館與現代藝術博物館舉行,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

第19页

大批觀眾。森美術館館長,亦是《顫動的靈

魂》策展人片岡真實這樣觀察:「驅使鹽田

千春創作的原動力,是一種面對生和死、面

對將來種種未知狀態產生的『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,非常能產生共鳴。」

線之流動,宇宙從一根線開始

她,是將毛線運用到藝術創作最為人知的

當代藝術家。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繫的材

料,她透過線來構造幾何形狀,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

家同時也透過這些交錯相織的毛線,對人

內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

病襲來使得藝術家將對生死的詰問置入自

己的藝術創作中。或許因為身體面對治療

與癌症的反復,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,能深深引發觀者共

鳴的情愫。

日本 東京 森美術館「顫動的靈

魂」展覽現場

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

Abramović of Yugoslavia and participated in many

of Abramović'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

第20页

鹽田千春1972年出生於大阪,從小便立

志決定成為藝術家脫離原本的漁業工廠家

庭,她1992年就讀京都精華大學美術學部

的油畫系,而後前往澳洲作為交換生學習

進修。但她發現,自己很難在繪畫中脫突

創新,她逐漸從二維空間的繪畫轉向行為

藝術等更廣泛藝術形式的嘗試。1997年,

鹽田千春來到德國的布倫瑞克造型藝術學

院進修,之後就讀柏林藝術大學。當時的

鹽田千春是世界著名行為藝術家,南斯拉

夫的瑪莉娜.阿布拉莫維奇的學生,跟隨

其參與了阿布拉莫維奇的多項行為藝術活

動。而行為、多媒體等各種藝術形式也對

鹽田千春爾後創作中涉及到對空間,對物

件的運用起了至關重要的影響作用。鹽田

千春的作品融合連接了行為藝術、雕塑和

裝置藝術中的許多層面,成為藝術家獨一

無二的藝術表達語彙。

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

係。

《肌膚》創作於2016年,紅線交織而成的

畫面錯落有致,藝術家作品以粗細不同質

地的線編制畫面,左上方猶如濃雲密佈,

而延至中心則僅有稀疏的細線,精密的構

圖猶如濃雲密佈的天空,又好似一副濃淡

合宜的水墨抽象作品。實質上藝術家以無

意識方式進行作品的構圖,呈現的其實是

草間彌生《無限之網 (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

第21页

藝術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

家透過作品讓人們深深思索。這幅《肌

膚》一作的尺寸,就像藝術家把美術館展

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,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

連結起來則構成了龐大的血脈網絡,映射

出人與人之間千變萬化的種種關連,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,是藝術家使用油彩與

水彩顏料,繪出自身的狀態。《紅氣球》

(Lot 112) 一作,像是懷孕的藝術家或任何

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。《光》

(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。

鹽田千春曾經苦惱於無法畫出原創的作品,

而幾乎放棄了繪畫創作;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,迄今持續提

筆繪畫。

而鹽田千春知名的裝置「生存的狀態」系

列,主要有紅色、黑色與白色三種毛線媒

材,此次呈現的《生存的狀態(剪刀)》

(Lot 109) 一作,以白線的毛線纏繞白色的

鐵框,內置2把剪刀。剪刀可以是藝術家創

作時裁斷線的工具;同時類似的剪刀模型

也讓人想起醫院中手術必備的專業工具,

而此二種剪刀,均對藝術家的創作與人生

有著重要的陪伴之意涵。簡單的現成物構

件,背後組合成意味深遠的藝術作品。白

色代表純潔,亦象徵著從無到有的起始狀

態。開始到終結,純潔,剪刀,排列組合

而成讓人們對映自身存在狀態的作品,這

就是鹽田千春作品的獨到之處。「生存的

狀態」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,一位已然占據當代藝術史篇章的重要

藝術家,正用她織就的線條,一頁又一頁

翻新我們的當代藝術世界。

24 POLY AUCTION HONG KONG

第22页

生存的狀態(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

第23页

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

第24页

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

第25页

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

第26页

細胞

2020 年作

石版 版畫

版數:18/40

款識:18/40(左下);藝術家簽名(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

第27页

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

第28页

時代與個人的對話

A DIALOGUE OF THE TIMES AND INDIVIDUALS

中國當代70後藝術家,這二年在二級市

場,有幾位傑出藝術家重新被發掘再梳

理,包括陳可、宋琨、歐陽春、韋嘉等,

他們近二十年間的作品,循著社會環境的

變遷與個人的變化,作品反射了藝術家的

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》創刊,這本見證

中國當代蓬勃起飛的藝術雜誌,創刊號封

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

第29页

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,藝術家留下了線索,像是手術室上

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

係,自身與自身的內心對話,不僅是2012

年中國西南社會風貌的時代縮影,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》雜誌,2006年9月的

雜誌創刊號

Hi Art magazine, in September

2006

MODERN AND CONTEMPORARY ART 41

第30页

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 台北 台灣

出版

《PORTRAIT》谷公館 台北 台灣 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

第31页

五木田智央作為當今最具國際影響力的日

本當代藝術家之一,以黑、白、灰色調的

人像畫創作風格廣為人知。原本作為插畫

家和平面設計師的五木田智央,以即興手

繪的素描作品引發各界關注,而後在2005

年投身於全職的藝術創作中,其鮮明的繪

畫風格則源自於當時拮据的生活狀況,為

了節省費用的他選擇只使用黑、白、灰

三個顏色來創作,然而這樣的插曲造就了

今日代表他的獨特風格。五木田智央受到

60、70年代美國文化及波普藝術的影響,

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,運用現成的圖像作為參照,並以超現實

和新表現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

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、書法以及廣告創作

等領域,完美的畫面控制、光滑如絨的質感

以及色調運用,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

第32页

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,使得這件作品散發出素描炭筆的

風味,霧面的質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

家獨特的灰色調,人物細節細膩的灰色漸

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,整體畫面構圖與

色調展現出復古黑白電影的氛圍,即便是

靜態的畫面卻展現出故事般的情緒。

除了著名的黑白色調以外,五木田智央將

許多不同主義的繪畫風格融入到他的作品

當中,像是波普藝術、超現實主義、新表

現主義、立體主義等等,使得他在當代眾

多藝術家中脫穎而出。他特殊的美學語言

結合懷舊和流行的趨勢,創造出一系列大

膽且耐人尋味的畫作,使他成為日本當代

藝術界最具潛力的藝術家。

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

第33页

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

第34页

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家,

菲吉斯由最初被美國視覺藝術家理查得·普

林斯收藏其作品,並將其介紹到紐約藝術

圈,直至現今被世界頂尖畫廊代理,被世界

公共機構及私人收藏,僅用了數年時間,可

見藝術圈對其作品的獨有偏愛。

菲吉斯癡迷於顏料媒材創作時的不確定

性,喜好以水與壓克力調和創造出獨有的

質地畫面質地,「我喜歡使用壓克力創作

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生

的無限可能性。」此次上拍作品《女士與

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。藝術家致敬的是曾為英國王室服務的著

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

第35页

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

第36页

博伊曼斯1963年出生於比利時,工作室

設立在以「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興藝術的精

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觀所

吸引,藝術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、聚眾出現並進行著某些神秘的

行為的創作,畫面都隱含著一種秘而不發

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

分辨這裡是室內還是室外,看不清面貌的

孩童彷彿是文藝復興壁畫中的小天使,但

他們姿態各異,彼此聚集卻又毫無關聯,

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境之

中。藝術家以富有層次的、優雅俐落的筆

觸為我們構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

如芝加哥藝術學院、克利夫蘭藝術博物館、

米凱爾·博伊曼斯

MICHAËL BORREMANS

萊昂納多·達·芬奇《岩間聖

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, Michaël 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

第37页

巴黎現代藝術博物館、波士頓美術館、紐約

現代藝術博物館。博伊曼斯創作的是具象的

「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。」因此博伊曼斯繪畫中經常展現出一種

非常微妙迷人的氣質,即以優美的顏色、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.

--MICHAËL BORREMANS

56 POLY AUCTION HONG KONG

第38页

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

來源

中國 香港 卓納畫廊

現藏者購自上述來源

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

MICHAËL BORREMANS

米凱爾

·博伊曼斯 118 BELGIAN, B. 1963

58 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 59

第39页

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典

元素,在此幅作品占據達三分之一面積;

畫面女孩有著金黃色的頭髮,綴以藝術家

其它的想像色調,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

第40页

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

第41页

能在公眾面前創作的極具魅力風格。每當

六角彩子在美術館或是藝博會的公開創

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

是害羞的藝術家,當面對畫或是紙板創作

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

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,到了紐約現代藝術博物館,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。」六角彩子這樣

說。她非常喜歡湯布雷的一件作品,「彷

彿充滿了光和風,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。」她的手指、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

的女性藝術家之一,她以素人畫家之姿在藝

術世界拚搏,其實也已經二十年。六角彩

子在正式以職業藝術家為職志之前,是在餐

館打工一邊工作一邊畫畫,她的創作成功故

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歲的六角彩子參加東

京一場為期二天的「Design Festa」活動,任

何藝術業餘愛好者,都可以租展位展示自己

的作品。這場展會,觸發了六角彩子日後以

手繪畫的獨特風格。愛畫畫的她,沒有帶任

何一幅作品到展位,她現場作畫,但她想引

起現場觀眾的注意,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

多人面前創作。六角彩子說,她曾經用手指

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作

Ayako Rokkaku always creates

with the palm of the hand and

fingers

64 POLY AUCTION HONG KONG MODERN AND CONTEMPORARY ART 65

第42页

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。可以預見,

近三年以銳不可擋之姿在拍賣市場強勢表

現的六角彩子,將會被愈來愈多人看見;

而2015年《無題》之作,正是藝術家從日

本來到歐洲,一路成長的關鍵精采之作。

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

作,亦是藝術家最厲害之處,透過色彩的

堆疊,呈現明亮歡快的空間;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;就連藝術家本人也自承,她是到

了歐洲定居,才發現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

第43页

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

第44页

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 台北

台灣

出版

《抽象.具象─朱德群、丁雄泉、趙無

極》VG 維嘉畫廊 台北 台灣 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

第45页

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 台北 台灣 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

第46页

退戌戊橋

2007 年作

油彩 畫布

款識:

龎均 2007(左下)

藝術家手繪鈐印:均

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─

鄉情與視角」常熟美術館 常熟 中國

出版《龎均》 上海人民美術出版社 上海 中國

2007年(圖版,第58頁)

附台灣 台中 由鉅藝術中心開立之原作保

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

第47页

花下一漁舟

2012 年作

油彩 畫布

款識:龎均 2012 (右下)

藝術家手繪鈐印:均

來源

日升月鴻畫廊 台北 台灣

保利 香港 2013年10月5日 編號132

現藏者購自上述拍賣

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

第48页

吳冠中對風景畫類的創新和發展,一方面

在於從風景提煉、強調形式元素,展現對

線條、結構及色彩的純美感受。另一方

面,他的突破在於把中國傳統藝術「意

境」、「情調」的概念引入現代風景畫,

超越單純的客觀再現,自然地把個人感情

與客觀風景聯繫一起,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

再著魔啊!

─吳冠中

Lot 124

李唐《萬壑松風圖》北宋 台灣

台北 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

第49页

著魔啊!」《侗家山寨》(Lot 124) 即是他

深入原始山林、結合大自然與人文風光的

力作,展現了精煉的形式元素與作者的主

觀情感,具體呈現他風景創作的美學突破

與成就。

烏江為貴州省第一大河,吳冠中在《風光

風情說烏江》一文中對於當地的描述更是

《侗家山寨》之美的直觀呈現:「木結構

的吊腳樓美,從形式美的結構角度看,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。……上了高坡,

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。」

《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,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

第50页

綠色調、黃橙至橘紅色,從色調的對比和

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光源,繁複的色彩變

化呈現出景物的多樣;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為明亮的冷色

調,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。《侗家山寨》不僅於《吳

冠中全集第三卷》當中收錄,右側江岸細

節更極為罕見地以全頁的篇幅呈現,此件

作品之珍貴與特殊,在吳冠中創作生涯之

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

變的風姿,忠實呈現了他所說的「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山水畫的散點透視,

藝術家曾寫道:「在油畫風景寫生中,構

圖時最難處理的也是前景……。這是油

畫風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。」《侗家山寨》因而在視點的變換

下,將山中村寨的種種風光景致融於一

爐,不再是視覺觀感的單一呈現,而是吳

冠中將旅途與經歷去蕪存菁,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,真正在中西美學形式的融合中,實現

了郭熙所言的可行、可望、可居與可遊,

深刻地呈現他對於中國山川風景的熱愛,

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, Château 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 台灣

台北 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

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