49067 Bernard CHAROY貝爾 納．夏 洛瓦 1931-2024Elise with Cloche Hat戴帽子的少女1987Oil on canvas油彩、畫布54.5 × 45.5 cm款識 : Bernard CharoyTWD 110,000 - 130,000USD 3,400 - 4,100
50068 Yeonsu JU朱衍洙 b.1995Francis Bacon in my kitchen法蘭西斯．培根在我的廚房2022Oil on canvas油彩、畫布80.5 × 80.5 cm款識 : \"Francis Bacon in my kitchen\" 2022 Yeonsu JUTWD 50,000 - 80,000USD 1,600 - 2,500
51069 Katie HECTOR凱蒂．海 克特 b.1992Chelsea Nights切爾西之夜2022Bleach and dye on canvas漂白、染料、畫布102 × 76 cm款識 : Chelsea Nights KH '22TWD 90,000 - 120,000USD 2,800 - 3,800
52070 CHIU Ya-Tsai邱亞才 1949-2013Learner讀書人1987Oil on canvas油彩、畫布80 × 65 cm款識 : 邱亞才TWD 160,000 - 200,000USD 5,000 - 6,300
53071 LEE Chun-Yi李君毅 b.1965Landscape of Huangshan黃山詩意2015Ink on paper水墨、紙本25.5 × 30.5 cm附畫廊開立之藝術家親簽保證書TWD 50,000 - 80,000USD 1,600 - 2,500
54072 Moe NAKAMURA中村萌 b.1988Twins Stars雙星仙子2018Mixed media on paper綜合媒材、紙本25.7 × 18.2 cm款識 : Moe Moe. 2018TWD 70,000 - 100,000USD 2,200 - 3,100
55073 Gongkan貢 坎 b.1989Teleport Boy / Teleport Girl (set of 2)瞬移男孩 / 瞬移女孩（兩件一組）2020Color pencil on paper色鉛筆、紙本21 × 13.5 cm | ED. 50款識 : GongkanTWD 25,000 - 55,000USD 800 - 1,700
56074 Gongkan貢 坎 b.1989Teleport boy瞬移男孩20193D printed resin, cast resin3D 列印樹脂、鑄造樹脂12.7 × 19.3 × 19.3 cmED. 50附藝術家親簽之保證書TWD 25,000 - 55,000USD 800 - 1,700075Gongkan貢 坎 b.1989Teleport girls瞬移女孩20193D printed resin, cast resin3D 列印樹脂、鑄造樹脂12.7 × 19.3 × 19.3 cmED. 50附藝術家親簽之保證書TWD 25,000 - 55,000USD 800 - 1,700
57076 Moe NAKAMURA中村萌 b.1988Untitled 4無題 42022Mixed media on paper綜合媒材、紙本43 × 31 cm款識 : Moe. 2022TWD 100,000 - 160,000USD 3,100 - 5,000
58077Yoshitomo NARA 奈良美智 b.1959To Mr. Kurokawauchi致黑河內先生1999Marker on paper油性筆、紙本18.6 × 12.2 cm款識 : な '99TWD 280,000 - 400,000USD 8,800 - 13,000078Yoshitomo NARA 奈良美智 b.1959Spockie史波克2002Aquatint etching蝕刻版畫47.8 × 37.2 cm | ED. 35款識 : Nara 2002TWD 300,000 - 400,000USD 9,400 - 13,000
59079 Yoshitomo NARA 奈良美智 b.1959Sleepless Night Sitting夜坐不眠2007Mixed media綜合媒材16 × 15 × 30 cm | ED. 300附藝術家親簽之保證卡TWD 900,000 - 1,200,000USD 28,000 - 38,000
60080 Marc CHAGALL馬克．夏卡爾 1887-1985L'artiste et thèmes bibliques藝術家與聖經故事1974Lithograph in colors石版畫55 × 74.3 cmED. 10款識 : Epreuve d'Artiste Marc ChagallTWD 90,000 - 120,000USD 2,800 - 3,800
61081 Marc CHAGALL馬克．夏卡爾 1887-1985The Lovers戀人們1951 - 1957Lithograph石版畫45.8 × 63.3 cmED. 50款識 : x/50 Marc ChagallTWD 90,000 - 120,000USD 2,800 - 3,800
62082Yosuke UENO上野陽介 b.1977Untitled無題2022Color pencil on paper色鉛筆、紙本36 × 27 cm款識 : YOSUKE UENOTWD 90,000 - 120,000USD 2,800 - 3,800083Yosuke UENO上野陽介 b.1977HAPICO-STAND BY YOU \"BLUE SKY\"HAPICO - 守護著你 \"BLUE SKY\"2022FRP玻璃纖維28 × 28.9 × 60 cm款識 : Yosuke UENO 2022附畫廊開立之原作保證書TWD 240,000 - 300,000USD 7,500 - 9,400
63084Yosuke UENO上野陽介 b.1977A Boy At Time那時的男孩2022Acrylic on canvas壓克力、畫布73 × 60.5 cm款識 : YOSUKE UENOTWD 340,000 - 380,000USD 11,000 - 12,000085Yosuke UENO上野陽介 b.1977Happy go lucky #5樂天派 #52022Acrylic on canvas壓克力、畫布91 × 116.5 cm款識 : YOSUKE UENO附畫廊開立之原作保卡TWD 700,000 - 1,000,000USD 22,000 - 31,000
64086Moe NAKAMURA中村萌 b.1988Still仍然2025Vinyl搪膠8.2 × 8.5 × 22 cmED. 300款識 : Moe. 2025 © GALLERY TSUBAKI © MONSTER TAIPEI 2025 moe.n 2019 ©TWD 10,000 - 20,000USD 300 - 600087Hikari SHIMODA下田光 b.1984Flower Child花童2020Resin樹脂26 × 24 × 30 cmED. 300款識 : Hikari Shimoda © 2020 Hikari Shimoda 註冊商標 APPortfolio ®附畫廊開立之親簽保證卡TWD 10,000 - 30,000USD 300 - 900
65088Chihiro NAKAHARA中原千尋 b.1990Silent Girl-Marron沉默的女孩 - 瑪隆2018Stainless steel wire, acrylic paint, mixed media on resin樹脂、白鐵絲、複合媒材、壓克力手工上色33 × 40.5 × 33.5 cmED. 66款識 : x/66 Chihiro 7689附藝術家親簽之保證書TWD 20,000 - 60,000USD 600 - 1,900089Chihiro NAKAHARA中原千尋 b.1990Cool Eye-Nico酷眼尼蔻2018Stainless steel wire, acrylic paint, mixed media on resin樹脂、白鐵絲、複合媒材、壓克力手工上色31 × 24 × 42 cmED. 66款識 : x/66 Chihiro 5764附藝術家親簽之保證書TWD 20,000 - 60,000USD 600 - 1,900
66090Chishi MORIMURA森村智子 b.1988Sacred Rope - Rice Stalk注連繩 - 稻穗2021Acrylic, shell powder, cheesecloth on driftwood壓克力、貝殼粉、紗布、浮木23.5 × 29 cm款識 : 2021.1 CHISHI.M \" しめなわ いなほ \"TWD 20,000 - 60,000USD 600 - 1,900091Chishi MORIMURA森村智子 b.1988Sacred Rope - Sacred Bamboo注連繩 - 南天竺2021Acrylic, shell powder, cheesecloth on driftwood壓克力、貝殼粉、紗布、浮木24 × 30 cm款識 : 2021.1 CHISHI.M \" しめなわ なんてん \" Thank you!!! so much 2023.7 Chishi.TWD 20,000 - 60,000USD 600 - 1,900
67092Sean GANNON肖恩．加農 b.1993The Beer Can啤酒罐2002Acrylic on canvas壓克力、畫布25.5 × 25.5 cm款識 : The Beer CAN May 2002TWD 10,000 - 30,000USD 300 - 900093Ksusha LASTOCHKA休莎．拉 斯托 奇 卡Sleeping熟睡2021Acrylic, charcoal on wood, artist-framed壓克力、炭筆、木板、附藝術家裱框64 × 40 cmTWD 120,000 - 150,000USD 3,800 - 4,700
68094Alex FACE亞 歷 克 斯．費 斯 b.1981Baby Beyond (Black)超越寶寶（黑）2019Polystone寶麗石12.7 × 13 × 30.5 cmED. 300附原廠保證卡TWD 10,000 - 30,000USD 300 - 900095Alex FACE亞 歷 克 斯．費 斯 b.1981Baby Rabbit - Pink寶寶兔 - 粉2018Polystone寶麗石12 × 14 × 30 cmED. 90TWD 15,000 - 35,000USD 500 - 1,100
69096Alex FACE亞 歷 克 斯．費 斯 b.1981Baby Beyond (White)超越寶寶（白）2019Polystone寶麗石12.7 × 13 × 30.5 cmED. 300附原廠保證卡TWD 10,000 - 30,000USD 300 - 900097Alex FACE亞 歷 克 斯．費 斯 b.1981Baby Beyond (Pink)超越寶寶（粉）2019Polystone寶麗石12.7 × 13 × 30.5 cmED. 300附原廠保證卡TWD 10,000 - 30,000USD 300 - 900
70098KAWS Seeing / Watching PlushKAWS Seeing / Watching Plush2018Mixed media綜合媒材9 × 31 × 40 cmED. 5000款識 : KAWS〝TWD 10,000 - 30,000USD 300 - 900099KAWS Holiday Changbai Mountain (White)KAWS Holiday Changbai Mountain（白）2022Vinyl and resin搪膠、樹脂17 × 17.5 × 21.5 cmLimited Edition款識 : KAWS:HOLIDAY Made in ChinaTWD 20,000 - 50,000USD 600 - 1,600100KAWS Holiday Singapore (set of 3)KAWS Holiday Singapore（三件一組）2021Vinyl搪膠26.6 × 7.6 × 6.5 cmLimited Edition款識 : KAWS:HOLIDAY Made in ChinaTWD 30,000 - 60,000USD 900 - 1,900KAWS 布 萊 恩．唐 納 利 b.1974
71101KAWS-KUBRICK Bus Stop (set of 5)KAWS-KUBRICK 巴士站（五件一組）2002Painted cast vinyl塗漆鑄造搪膠5.6 × 16.1 × 8.6 cmLimited Edition款識 : © KAWS〝02TWD 20,000 - 50,000USD 600 - 1,600102KAWS What Party Figure (set of 5)KAWS What Party Figure （五件一組）2020Soft vinyl搪膠9.3 × 12.9 × 28.7 cmOpen Edition款識 : WHAT PARTY〝KAWS〝20MEDICOM TOY CHINATWD 30,000 - 60,000USD 900 - 1,900103KAWS Compaion (set of 8)KAWS Compaion（八件一組）2017Vinyl and resin搪膠、樹脂28 × 13 × 8 cmOpen Edition款識 : KAWS〝16 OPEN EDITION MEDICOM TOY CHINATWD 60,000 - 90,000USD 1,900 - 2,800KAWS 布 萊 恩．唐 納 利 b.1974
72KAWS（本名 Brian Donnelly，1974–）是當代最具全球影響力的藝術家之一。他的創作跨越街頭文化、當代藝術與商業品牌之間的界線，成功建立出一套獨特且高度辨識的視覺語言。從早期於紐約街頭的廣告介入創作，到進入國際藝壇與頂級品牌合作，KAWS 不僅重新定義了藝術與流行文化的關係，也讓 「角色」成為當代藝術中最具傳播力的符號之一。本次呈現的 《KAWS Bronze Editions（十二件一組）》，完整收錄其經典角色語彙的立體化轉譯。以青銅為材質，作品在保留角色原有的親和力與幽默感之餘，進一步提升為具歷史重量與雕塑質感的藝術形式。青銅材質所帶來的沉穩與時間性，使這些原本源自街頭與流行文化的角色，轉化為具有典藏價值的當代雕塑語彙。這組作品不僅是 KAWS 創作體系的縮影，也是一種將 「潮流符號」 昇華為 「藝術資產」 的具體呈現。KAWS (Brian Donnelly, b.1974), one of the most globally recognised artists of the time, has established a highly distinctive visual language through a synthesis of street culture, contemporary art, and commercial practice. From his early interventions in advertising in New York City to his collaborations with luxury brands, KAWS has transformed his characters into powerful symbols within contemporary art, thereby redefining the relationship between art and pop culture.KAWS Bronze Editions (set of 12), presented in this season, translates the artist’s iconic characters from visual into sculptural form. Cast in bronze, the works retain the accessibility and humour central to KAWS’ artistic language, while elevating them into objects imbued with historical gravitas and a pronounced sculptural presence. The materiality of bronze, often associated with permanence and temporality, further reinforces this transformation. These figures, originally rooted in street and popular culture, are now artworks with institutional and collectible value. Taken together, the series encapsulates KAWS’ creative system, marking a shift from “symbols of fad” to enduring “art assets.”KAWS 布萊 恩．唐納利b.1974
73104 KAWS布 萊 恩．唐 納 利 b.1974KAWS Bronze Editions (set of 12)KAWS Bronze Editions（十二件一組）2022Bronze | 銅雕多種尺寸 : 9.5 × 7.8 × 7.5 cm - 15.6 × 7 × 10.7 cmED. 250款識 : x/250 KAWS〝22附藝術家親簽之原廠保證卡TWD 500,000 - 700,000USD 16,000 - 22,00073
74而 《KAWS 4 Foot COMPANION（Gray）》，則是其最具代表性的標誌性角色之一。COMPANION 以帶有卡通語彙的形象，呈現出一種介於可愛與孤獨之間的複雜情緒，成為當代視覺文化中極具共鳴的符號，象徵個體在資訊過載與情緒壓力之下的內在狀態。125 公分的版本，使角色從可收藏物件轉化為空間中的存在，具有強烈的視覺重心與展示張力。KAWS 的重要性不僅在於形式創新，更在於他成功建立了一種跨越藝術市場與大眾文化的 「共同語言」。從與各大國際品牌合作，到作品進入博物館與大型公共空間，KAWS 已成為當代少數能同時影響藝術圈與主流文化的藝術家之一。其市場表現亦持續受到國際藏家的關注，特別是具有代表性的角色雕塑與限量版本，長期維持穩定且活躍的交易紀錄。此次兩件作品的並置，從青銅系列到大型 COMPANION，不僅呈現 KAWS 創作的不同面向，也體現其從「圖像創作者」 轉化為 「雕塑藝術家」 的完整軌跡。對藏家而言，這不僅是收藏一件作品，更是收藏一段屬於當代文化的重要語言。KAWS 4 Foot COMPANION (Gray), on the other hand, is one of the artist’s most iconic characters. Presented in a cartoon-like form that oscillates between cuteness and lonely, COMPANION appears with its face covered by both hands, a gesture that has become a highly resonant motif within KAWS’ practice. The figure evokes an inner state shaped by information overload and emotional pressure, lending psychological depth to its simplified form. Rendered at 125 centimeters, this iteration transforms the character into a spatial presence, commanding visual focus while generating a distinct sense of exhibitionary tension.KAWS’ success lies not in formal innovation but in his establishment of a shared visual language that extends across the art market and popular culture. From collaborations with international brands to presentations in museums and public spaces, KAWS is indisputably one of the few contemporary artists to exert influence across both the art world and mainstream culture. His market performance continues to attract sustained international attention, particularly for his classic sculptures in limited editions, which have demonstrated stable demand and consistent transaction activity.The juxtaposition of the bronze series with the largescale COMPANION highlights the multifaceted nature of KAWS’ practice. It also traces his full trajectory, from an image-maker working within visual culture to a sculptural artist operating in three-dimensional space. These works represent not only discrete objects of acquisition, but also a critical visual language of contemporary culture.
75105 KAWS布 萊 恩．唐 納 利 b.1974KAWS 4 Foot COMPANION (Gray)KAWS 4 Foot 同伴（灰）2007Vinyl | 搪膠34 × 57 × 125 cmED. 100款識 : MEDICOM TOY 2007 MADE IN CHINA © KAWS〝07TWD 900,000 - 1,500,000USD 28,000 - 47,00075
76山本麻友香（Mayuka Yamamoto，1964–）以孩童形象為主體，透過低彩度的色層、柔軟的筆觸與近乎靜止的構圖，描繪出一種介於純真與孤獨之間的微妙情緒。她筆下的角色常戴著動物外衣，彷彿在保護自己，也彷彿在隱藏某種尚未被說出口的情感。《企鵝男孩》 呈現一名身著企鵝裝的孩子，安靜地凝視前方。畫面沒有多餘的動作，也沒有明確的敘事，但正是這種克制，使觀者的注意力集中於角色的存在本身。企鵝的形象帶有寒冷與距離感，與孩童柔軟的面容形成對比，讓畫面在溫柔之中滲出一絲疏離。那種不說話的狀態，彷彿是每個人在成長過程中都曾經歷的——明明想被理解，卻選擇沉默的瞬間。Mayuka Yamamoto (b.1964) uses children as her primary subjects, employing low tones, soft brushwork, and an almost statuary composition to convey subtle emotions that oscillate between innocence and loneliness. Her characters are often enveloped in animal-like garments, as if both protected and concealed, suggesting the presence of unspoken or interiorised emotional states.Penguin Boy presents a child dressed in penguin clothing, quietly facing forward. There is little sense of movement and no explicit narrative; this restraint instead directs the viewer’s attention toward the figure itself. The penguin, often associated with coldness and distance, contrasts with the softness of the child, creating an image that quietly emanates emotional detachment.This state of non-verbal expression can be understood as integral to the process of coming of age—a moment marked by the desire to be understood, yet accompanied by a simultaneous choice to remain silent.Mayuka YAMAMOTO 山本麻友香b.1964
77106 Mayuka YAMAMOTO山本麻友香 b.1964Penguin Boy企鵝男孩2016Oil on canvas油彩、畫布33 × 24 cmTWD 800,000 - 1,300,000USD 25,000 - 41,00077
78107 Mayuka YAMAMOTO山本麻友香 b.1964Ape Arms猩猩手臂2014Oil on canvas油彩、畫布130.3 × 89.5 cm款識 : ape arms Mayuka 2014TWD 1,000,000 - 1,500,000USD 31,000 - 47,00078
79《猩猩手臂》 則更進一步將情緒推向身體層面。畫面中不成比例的手臂，使角色顯得既脆弱又笨拙。猩猩象徵力量與原始本能，但當這種力量被錯置於孩童身上時，反而轉化為一種難以駕馭的負擔。這種不協調感，使作品不再只是可愛，而是帶出一種關於成長、失衡與自我認知的隱喻。山本麻有香的作品並不試圖給出答案，她更像是在描繪一種狀態 —— 一種介於童年與成人之間、尚未完全被世界定義的狀態。她的畫面安靜、節制，但正因如此，觀者更容易將自身情緒投射其中。這也是她作品持續受到亞洲藏家關注的重要原因：它不喧嘩，卻長時間停留在記憶之中。《企鵝男孩》 與 《猩猩手臂》 在形式上各自獨立，但在情緒上彼此呼應。一件是內斂的沉默，一件是外顯的失衡；一件是包覆，一件是外露。兩者共同構成山本麻有香創作中最核心的主題——人在成長過程中，如何面對自身的孤單與不確定。Ape Arms foregrounds the embodied experience of emotion. The disproportionate size of the arms lends the figure a sense of fragility and awkwardness, destabilising the body itself. The chimpanzee, typically associated with power and primal instinct, becomes an uneasy overlay when imposed onto a child; rather than empowerment, it reads as a burden that is difficult to bear. This sense of disjunction brings out the image not merely endearing, but psychologically charged, revealing an underlying analogy of growth marked by imbalance and the formation of self-perception.Yamamoto's work does not attempt to provide answers, her work depicts a state between childhood and adulthood, an indeterminate condition not yet fully defined. Her paintings are quiet and restrained, yet it is precisely this control that allows viewers to project their own memories and emotional experiences onto the work. This capacity for resonance may also explain why her practice has garnered sustained attention among Asian collectors: the works do not demand immediate impact, but linger, unfolding gradually and remain in the viewer’s memory over time.Penguin Boy and Ape Arms stand apart in form, but are closely aligned in affect. One turns inward in silence while the other externalises imbalance, where one encloses and the other exposes. Taken together, they map two recurring conditions in Yamamoto’s work: the tension between inner withdrawal and the difficulty of negotiating selfhood in the world.108Red Bear Boy紅熊男孩2021Screenprint絲網印刷66 × 46 cmED. 75款識 : x/75 red bear boy Mayuka附畫廊開立之藝術家親簽保證書TWD 50,000 - 80,000USD 1,600 - 2,500
80109 CHU Teh-Chun朱德群 1920-20142000C2000C2000Lithograph石版畫60 × 75 cmED. 150款識 : x/150 朱德群 CHU TEH-CHUN.TWD 50,000 - 80,000USD 1,600 - 2,500
81110 PANG Jiun龎 均 b.1936House in Pingxi平溪之家1997Oil on canvas油彩、畫布60.5 × 50 cm款識 : 龎均 1997 均TWD 380,000 - 420,000USD 12,000 - 13,000
82
83朱銘（Ju Ming，1938–2023）為華人當代雕塑的重要代表人物之一，其創作橫跨傳統雕刻與現代雕塑語彙，成功將東方精神轉化為具當代性的立體形式。他早年師承傳統木雕技法，奠定深厚工藝基礎，後於 「太極系列」 與 「人間系列」 中建立出極具辨識度的刀法與造型語言，成為少數能將東方文化轉化為國際雕塑語彙的藝術家。Ju Ming (1938–2023) is one of the most important figures in modern Chinese sculpture. His practice spans both traditional and contemporary visual languages, transforming elements of Eastern spirituality into sculptural form. Trained initially in wood carving, he established a strong foundation in craftsmanship that continues to underpin his work. He further consolidated his highly recognisable visual language and distinctive sculptural technique through seminal bodies of work such as the Taichi Series and the Living World Series. In doing so, he was able to translate Eastern cultural and philosophical sensibilities into a sculptural form that resonates seamlessly on an international level.JU Ming 朱銘FEATURE STORIES 1938-2023
84《關公》 承襲其對傳統題材的再詮釋。關公作為華人文化中 「忠義」 與 「威儀」 的象徵，長久以來被廣泛供奉與崇敬，而朱銘並未以細膩寫實的方式呈現，而是透過大刀闊斧的雕刻語言，將人物形體簡化、塊面化，使關公的精神性超越具象形貌，轉化為一種沉穩而凝聚的力量。本作以冰片樹為材質，木質紋理溫潤，氣味清雅，為傳統雕刻中極具價值的用材之一。朱銘善於順應木材本身的質地與重量，在雕刻過程中保留刀痕與肌理，使作品同時具有結構的厚重感與手作的直接性。這種不刻意修飾的處理方式，使雕塑在粗獷之中展現出強烈的節奏與生命力，也成為其創作的重要特徵。《關公》 不僅是一件人物雕塑，更是一種文化象徵的轉化。朱銘將傳統信仰中的神祇形象，轉譯為具有現代雕塑語言的立體存在，使觀者不再只是觀看一個角色，而是感受到其所承載的精神重量。作品在視覺上沉穩、在形式上簡潔，卻蘊含深層的文化記憶與歷史感。在收藏脈絡中，朱銘的木雕作品具有不可替代的地位。相較於其大型戶外雕塑，木雕更能直接體現其刀法、結構與材料掌握，是理解其創作核心的重要類型。《關公》 結合題材的文化象徵與藝術家成熟的雕刻語彙，具備藝術價值與文化意涵的雙重深度，為其創作體系中極具代表性的作品之一。Kuan Kung continues its reinterpretation of traditional subject matter. The deity Kuan Kung has long been revered and worshiped, embodying loyalty and solemnity, virtues held dearly in Chinese culture. Rather than present the figure in a finely detailed, realist manner, Ju Ming employs a bold, incisive carving technique, abstracting and cubifying the human form into block-like volumes. Through this process, the spiritual essence of Kuan Kungtranscends literal representation, transforming into a unifying and resolute force.This work is carved from camphor wood, a material prized in traditional sculpture for its warm grain and subtle fragrance. Ju Ming works in accordance with the material, responding to the wood’s natural texture and weight. Throughout the carving process, he preserves the marks of the blade and the surface grain, allowing the work to retain both a sense of structural mass and the immediacy of the artist’s hand. This unembellished approach imbues the sculpture with a strong sense of rhythm and vitality, and stands as a defining characteristic of his practice.Kuan Kung is not conceived as a purely figurative sculpture, but as a transposition of a cultural symbol. Ju Ming translates a traditional religious presence into a three-dimensional form, shifting it from representation to embodied presence. In this way, the viewer becomes more than a spectator, engaging instead with the spiritual weight carried by the sculpture. Visually stable and formally restrained, the work nonetheless holds a depth of historicity and cultural memory that extends beyond its apparent simplicity. Within the field of collecting, Ju Ming’s sculptures hold a firmly established position. In contrast to his public and outdoor works, his wooden sculptures more directly reveal the artist’s carving technique, structural sensibility, and engagement with material, offering key insight into his creative process. Kuan Kung brings together cultural symbolism and Ju Ming’s mature sculptural language, embodying both artistic and cultural significance, showcasing as a defining work within his practice.Kuan Kung 《關公》Ju Ming with his artwork at Place Vendome in Paris, France, 1997
85111 JU Ming朱銘 1938-2023Kuan Kung關公1990Dryobalanops spp.(kapur)冰片樹24.8 × 24.3 × 75.2 cm款識 : '90 朱銘附財團法人朱銘文教基金會開立之作品鑑定報告書TWD 3,800,000 - 4,500,000USD 119,000 - 141,00085
86112A-Sun WU吳炫三 b.1942The earthly plain人間1997Oil on canvas油彩、畫布180 × 218 cm款識 : A.suN '97TWD 900,000 - 1,300,000USD 28,000 - 41,000
87
88
89莊喆（Chuang Che，1934–）為戰後華人現代藝術發展中極具關鍵性的藝術家之一，亦是 「五月畫會」 的重要成員。作為該團體的核心人物，他與同時代藝術家共同推動水墨現代化的進程，試圖在傳統筆墨與西方現代主義之間，尋找一種新的視覺語言。莊喆的創作，正是在這樣的歷史背景下逐步建立起來——既承接東方書寫的精神，又融入抽象繪畫的結構與空間意識。在其長期的藝術實踐中，莊喆始終關注 「畫面如何成為一種語言」。他不以具象敘事為目的，而是透過筆觸、色塊與留白之間的關係，構築出一種可被感知卻難以言說的結構。這種結構並非單純形式，而是一種節奏，一種呼吸，亦是一種內在精神的流動。Chuang Che (b.1934) is one of the most important Chinese contemporary artists of the postwar generation and a key member of the Fifth Moon Art Group. As a central figure within the group, he and his contemporaries sought to advance the modernisation of ink painting, developing a new visual language that bridged Western modernism and traditional ink paintings. Against this historical backdrop, Chuang Che established his own artistic practice, integrating the structural principles and spatial consciousness of abstract painting into his work.In his long-term artistic practice, Chuang Che focuses on how the 'pictorial surface' becomes a 'language'. Rather than relying on the concrete narrative, he constructs a visual structure that is perceptible to the viewer through the relationships between brushwork, colour fields and spatial margins. This structure is not merely formal; it operates as a rhythm, a mode of breathing and an internal flow of spirit.CHUANG Che 莊喆FEATURE STORIES b.1934
90《對語》 正是此一創作思考的具體體現。畫面中的線條與色塊，並非孤立存在，而是彼此之間形成一種回應關係，如同兩種聲音在空間中相互傾聽與交錯。筆觸帶有明顯的書寫性，流動而不失控制；色塊則在視覺上形成支撐，使整體畫面在自由與秩序之間取得平衡。這種 「對話式」 的構成，使觀看不再只是視覺經驗，而更像是一場內在的思考過程。在東方美學的脈絡中，「留白」 往往具有與實體同等的重要性。《對語》 中的空間並非空缺，而是一種延伸，使畫面中的元素得以呼吸與停留。觀者在這樣的空間中，會逐漸從觀看形式，轉向感受節奏與情緒，進而進入一種較為內省的狀態。這種轉換，正是莊喆作品最深層的魅力所在。莊喆的創作亦可被視為一種跨文化的視覺實驗。他將西方抽象繪畫的結構性與東方書寫的精神性結合，使作品既具有現代繪畫的形式語言，又保留傳統文化中的含蓄與內斂。《對語》 在這樣的脈絡中，不僅是一件成熟時期的作品，也是一種對 「繪畫如何說話」的持續探索。在當代收藏體系中，莊喆的地位逐漸受到重新關注。隨著戰後華人現代藝術脈絡的再評價，其作品不再僅被視為歷史片段，而是具有持續影響力的創作體系。尤其如 《對語》 這類成熟階段的抽象作品，更能完整呈現其對筆觸、結構與精神性的掌握，具有長期收藏與研究價值。《對語》 所呈現的，並非單一圖像，而是一種狀態 —— 一種在形式與精神之間流動的關係，一種不依賴語言卻能被感知的對話。Conversation exemplifies this mode of thinking. The lines and colour blocks do not exist in isolation, they form a continuous call-and-response between one another like two voices that listen, interact and respond. The brushwork is calligraphic and fluid in form, yet never arbitrary, while the colour blocks function as structural anchors within the composition. Together, they establish a balance between freedom and order. This dialogic formation transforms ways of looking from visuality into internality.Within the context of Eastern aesthetics, liubai ( 留白 ) carries an importance equal to that of form itself. In Conversation, the margins are not absences but extensions of the composition. This allows the various elements within the work to breathe. The viewer’s mode of seeing shifts toward rhythm and emotion, engaging a state of internal reflexivity. It is precisely through this transition that Chuang Che’s work reveals its deepest resonance.Chuang Che’s work can also be understood through the lens of visual experimentation. He brings together the structural logic of Western abstract painting with the spiritual sensibility of Eastern philosophy. While the painting adopts the formal language of modernism, it simultaneously retains the restraint and quietude associated with traditional Eastern aesthetics. Conversation emerges as a mature work within this context, continuing his sustained inquiry into how paintings can, indeed, converse.Within collector networks, Chuang Che has been increasingly re-evaluated alongside the broader reassessment of postwar Chinese modern art. His works are no longer viewed as isolated historical fragments, but as part of a coherent body of works with sustained influence. This is particularly evident in mature abstract works such as Conversation, where a more assured command of structure, brushwork, and spiritual dimension comes to the fore. Such works offer not only aesthetic depth but also long-term research and collecting value.What Conversation presents is not a single image, but a state of being. Form and spirit flow in dialogue, like something that can be felt beyond language.Conversation 《對語》
113 CHUANG Che莊喆 b.1934Conversation對語1990Oil and acrylic on canvas油彩、壓克力、畫布153 × 305 cm款識 : 莊喆 90附臺北市立美術館借展憑單TWD 3,800,000 - 4,500,000USD 119,000 - 141,00091
92114PANG Jiun 龎均 b.1936Tulip鬱金香2002Oil on canvas油彩、畫布73 × 61 cm款識 : 龎均 2002 均 龎均 PANG JIUN 200273 × 61 cm <20F> < 鬱金香 >附畫廊開立之原作保證書TWD 550,000 - 700,000USD 17,000 - 22,000
93
94
95丁雄泉（Walasse Ting，1929–2010）在華人現代藝術史中極具獨特性。他旅居巴黎與紐約，活躍於戰後國際藝術圈，並在東西方藝術語言的交會中，發展出一種極具個人風格的創作體系。丁雄泉的作品以鮮豔奔放的色彩、自由流動的線條與充滿生命力的題材聞名，尤其以女性形象最具代表性。Walasse Ting (1929–2010) occupies a distinctive position within the history of Chinese contemporary art. Having lived and travelled in Paris and New York, he was actively engaged in postwar international art circles, where he developed a highly individual artistic language. Ting’s works are characterised by vibrant colour, fluid line, and a pronounced sense of vitality, qualities most evident in his depictions of female figures.Walasse TING 丁雄泉FEATURE STORIES 1929-2010Galerie Espace in Keizersgracht, Amsterdam, 1960
96《沐浴後》 呈現的是丁雄泉創作中極具標誌性的主題——女性、花與色彩所構成的感性世界。畫面中的人物並非寫實再現，而是一種經過轉化的存在：身體被簡化為流動的線條與色塊，輪廓柔軟，姿態自然，彷彿剛從水氣與光線之中浮現。這種處理方式，使人體藝術從具象的描繪轉向一種情緒與狀態的呈現。在丁雄泉的創作中，「沐浴」 並非單純的日常場景，而更接近一種關於 「回到自身」 的隱喻。人物在畫面中的姿態往往放鬆、開展，沒有壓抑，也沒有刻意的戲劇性，而是一種純粹存在的狀態。這樣的表現，使作品散發出一種輕盈、自由而不受拘束的生命感。色彩在本作中扮演關鍵角色。丁雄泉以高飽和的色彩直接鋪陳畫面，使視覺經驗充滿節奏與活力。這些色彩並非自然再現，而是一種情緒的延伸——粉紅、橘紅、藍與綠彼此交錯，使畫面既溫暖又帶有流動感。色彩與線條之間形成一種直覺性的平衡，使觀看不再是理性分析，而更接近感受與共鳴。丁雄泉筆下的女性，並非被觀看的對象，而是畫面中的主體。她們自由、自信，甚至帶有某種超越現實的輕盈感。這種表現，使作品遠離傳統人體藝術的視覺框架，而轉向一種更開放、更具生命力的視覺語言。在這樣的語境中，人體藝術不再是關於身體，而是關於存在、感受與生命本身。在藝術史的脈絡中，丁雄泉是一位成功跨越文化邊界的藝術家。他將東方的線性書寫感與西方現代繪畫的色彩結構結合，使作品既具有東方的柔性精神，又具備國際當代藝術的視覺張力。《沐浴後》 正是這種融合的體現——自由而不散亂，感性卻不流於表面。在收藏市場上，丁雄泉的作品長期受到國際藏家的關注，尤其是其以女性為主題的成熟作品，因風格鮮明、辨識度高且充滿生命力，具有穩定的市場接受度。《沐浴後》 在題材與表現上皆屬其代表性創作類型，不僅體現藝術家的核心語彙，也展現出其作品中最具感染力的一面。這件作品所傳達的，並非單一場景，而是一種狀態 —— 一種從束縛中釋放、回到自身的自由與感性。在觀看的過程中，畫面不斷流動，而情緒，也隨之展開。After Bath demonstrates one of the most iconic themes in Walasse Ting’s practice: a sensuous world composed of women, flowers, and colour. The figure is not shown in a realist manner, but rather transformed—her body abstracted into lines and fields of colour. Her contours remain soft and her gestures natural, as if emerging from water and light. Through this process, the body is no longer a site of concrete depiction, but is transfigured into an expression of emotion and a state of being.In Walasse Ting’s work, bathing is more than a quotidian scene; it functions as a metaphor for a return to the self. The figures are often relaxed and open, free from imposed inhibition or theatricality, embodying a state of unguarded being. This mode of presentation lends the work a sense of lightness and freedom, imbuing it with an unrestrained vitality.Colour plays a pivotal role in Walasse Ting’s work. He fills the canvas with highly saturated hues, creating a visual experience charged with rhythm and dynamism. These colours do not function as naturalistic representation, but as extensions of emotion: pinks, oranges, blues, and greens are interwoven, producing a scene that feels both warm and fluid. Colour and line together establish an intuitive balance, transforming the act of seeing from a process of rational analysis into one of immediacy and resonance. In Walasse Ting’s works, women are not passive objects to be looked at, but the subject of the painting. They appear free and self-assured, carrying a sense of lightness. This mode of expression moves away from established visual structures of the body and towards a more liberated and vital pictorial language. In this sense, the body is no longer treated as an object, but as a media for being, feeling, and life itself.In art-historical context, Walasse Ting can be understood as a successful transcultural artist, combining Eastern calligraphic sensibility with the colour sensibility of Western modernism. This work synthesises a soft, lyrical Eastern spirit with the visual tension characteristic of international contemporary art. After Bath exemplifies this balance: free in its execution yet composed, expressive without descending into excess. It conveys sensitivity and depth, extending beyond representation of the surface.Within the collecting market, Walasse Ting’s works have persistently captured international interests, particularly his mature depictions of female figures. Characterised by vibrant colour, a highly recognisable style, and a strong sense of vitality, his works have maintained consistent appeal in the market. After Bath reflects key themes and modes of expression central to Ting’s practice, demonstrating the immediacy and infectious energy that define his work.The work conveys not a specific scene, but a condition, suggesting a release from constraint and a return to freedom.The process of looking transforms the image into a continuous flow, allowing emotions to unfold.After bath 《沐浴後》
115 Walasse TING丁雄泉 1929-2010After bath沐浴後1983Acrylic on canvas壓克力、畫布70 x 100 cm款識 : After Bath Ting 83TWD 2,000,000 - 2,500,000USD 63,000 - 78,00097
楊識宏（Yang Chihung，1947–）為活躍於國際藝壇的華人抽象藝術家，長年旅居紐約，並在東西方藝術語境交會中發展出獨特的繪畫語言。他融合東方書寫的精神與西方抽象表現主義的能量，透過筆觸與色層的堆疊，使畫面呈現強烈的節奏與空間感。《百老匯表演》 以紐約劇場文化為靈感，將舞台的光影與城市的動態轉化為抽象結構。快速而有力的筆觸，搭配層層交疊的色彩，使畫面如同一段持續展開的表演，觀者的視線在其中游移，感受節奏的起伏與能量的流動。作品中可見筆觸快速而有力，色彩層層交疊，形成一種近似音樂節奏的律動。這種處理方式，使畫面不再是靜止的平面，而更像是一段持續展開的表演。觀者的視線在畫面中移動，如同觀看舞台演出般，在不同區域之間轉換焦點，感受節奏的起伏與情緒的流動。楊識宏的筆觸具有明顯的書寫性，既是形，也是動作的記錄，使作品同時承載時間與情緒。在本作中，這種書寫性與百老匯的節奏相互呼應，形成一種既東方又國際的視覺語言。作為戰後華人抽象藝術的重要實踐者，楊識宏的作品兼具文化深度與視覺張力。《百老匯表演》 不僅呈現城市的節奏，也體現藝術家在創作中對於 「動」與 「氣」 的掌握，是其成熟風格的代表之一。Yang Chihung (b.1947) , a Chinese abstract artist active on the international stage. Based in New York, he has developed a distinctive painterly language that emerges from both Eastern and Western contexts. He combines the spirit of Eastern calligraphy with the energy of Western Abstract Expressionism through dynamic brushwork and layered colour. This synthesis produces compositions that are both rhythmic and spatial. Broadway Show draws inspiration from New York’s theatre culture, translating the city’s lights and urban buzz into an abstract visual structure. Through fast, forceful brushwork and layered colour, the composition unfolds with a sense of continuous movement, akin to an ongoing performance. The viewer’s perspective shifts across the surface, registering rhythms of rise and fall, and the dynamic flow of energy that animates the work.Within the work, the speed of the brushwork is both perceptible and forceful, while the layering of colour generates a rhythmic movement across the surface. This process moves the image beyond a static presentation, unfolding instead like a continuous performance. The viewer’s perspective shifts across the painting, like watching a stage play, registering the pulse and emotional flow as it moves between different areas of the composition.Yang Chihung’s brushwork carries a distinctly calligraphic quality, functioning simultaneously as a trace of gesture and a record of movement, embedding both time and emotion inside the mark. In this work, the calligraphic energy of the brushstrokes echoes with the rhythms of Broadway, forming a visual language that is at once Eastern in spirit and international in scope.As a key practitioner of postwar Chinese abstraction, Yang Chihung’s work embodies both cultural depth and visual tension. Broadway Show not only captures the rhythm of the city, but also presents the artist’s command of “movement” and “qi” (vital energy) within the act of painting, marking it as a representative work of his mature style.YANG Chihung 楊識宏b. 1947 98