SPRING AUCTION 2023 TAIPEI

REFINED BRUSHWORK: INK PAINTINGS AND WORKS OF ART

REFINED BRUSHWORK:

INK PAINTINGS AND WORKS OF ART

翰墨丹青—書畫及古文物專場

拍賣目錄每本售價：NT$1,200

This auction catalogue: US$40 per copy

RAVENEL SPRING AUCTION 2023 TAIPEI

Refined Brushwork: Ink Paintings and Works of Art

羅芙奧台北 2023 春季拍賣會

翰墨丹青—書畫及古文物專場

AUCTION

Saturday, June 3, 2023, 1:00pm

Marriott Taipei

Grand Space, 3F, No. 199, Lequn 2nd Rd., ZhongShan Dist., Taipei, Taiwan

PREVIEWS

Kaohsiung

Saturday, May 13, 2023, 11:00am - 6:00pm

Sunday, May 14, 2023, 11:00am - 6:00pm

J. P. Art Center

8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Taichung

Saturday, May 20, 2023, 1:00pm - 6:00pm

Sunday, May 21, 2023, 11:00am - 6:00pm

Fong-Yi Art Gallery

B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Taipei

Thursday, June 1 - Friday, June 2, 2023, 11:00am - 7:00pm

Saturday, June 3, 2023, 11:00am - 1:00pm

Marriott Taipei

Grand Space, 3F, No. 199, Lequn 2nd Rd., ZhongShan Dist., Taipei, Taiwan

拍賣日期／地點

2023年6月3日（六）下午1:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

預展日期／地點

高雄

2023年5月13日（六）上午11:00至下午6:00

2023年5月14日（日）上午11:00至下午6:00

琢璞藝術中心

高雄市前金區五福三路63號8樓

台中

2023年5月20日（六）下午1:00至下午6:00

2023年5月21日（日）上午11:00至下午6:00

豐藝館

台中市西區五權西路一段110號B1

台北

2023年6月1日（四）~ 2日（五）上午11:00至下午7:00

2023年6月3日（六）上午11:00至下午1:00

萬豪酒店

台北市中山區樂群二路199號3樓（博覽廳）

陳砥翰 Masa Chen

古文物及書畫部 經理

Manager, Fine Chinese Works of Art and

Paintings Department

王鎮華 Arthur Wang

董事長 Chairman

郭倩如 Clara Kuo

副董事長 Vice Chairman 徐珮婷 Vivian Hsu

專員 台北

Coordinator Taipei

羅芙奧台北 2023 春季拍賣會服務部門及聯絡人

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陳砥翰

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林琬娸

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李政希

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有關付款詳細事宜 , 說明於本目錄後 , 如您

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註一：所有拍品在貨款結清後，即可取貨；買家

請儘早通知安排取貨事宜，以利倉庫存貨流通和

集中安排辦理，本公司接受個人及公司支票付款，

惟需在兌現後始能提貨。恕不接受旅行支票付款。

其他各項貨品可在羅芙奧辦公室提領，上班時間

為週一至週五上午 9:30 至下午 6:30。

註二：我們的專業行政部門可為您建議或安排最

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認定」之狀況賣出，相關細項請參照目錄後之業

務規則第二條第 2 項規定。

RAVENEL STAFF AND SERVICES FOR THIS SALE

SPECIALISTS

Masa Chen

Tel: +886 2 2708 9868 ext. 588

Email: masachen@ravenel.com

PHONE BIDS AND WRITTEN BIDS

Taiwan

Vivian Hsu

Tel: +886 2 2708 9868 ext. 585

Email: vivianhsu@ravenel.com

Hong Kong, International

Kitty Lam

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Email: kittylam@ravenel.com

Shanghai．Beijing

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

ONLINE BIDS

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Remarks:

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for more information.

In view of the limited phone line services at the

auction, please inform us 24 hours prior to the

auction for arrangements. Particularly for those of

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CATALOGUE SUBSCRIPTION

Taiwan

Vivian Hsu

Tel: +886 2 2708 9868 ext. 585

Email: vivianhsu@ravenel.com

Hong Kong, International

Kitty Lam

Tel: +852 2889 0859

Email: kittylam@ravenel.com

Shanghai．Beijing

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

The catalogues are available for subscription.

For details of subscription, please refer to the

explanations of the catalogue or contact the above

persons.

PAYMENT

Emily Wang

Tel: +886 2 2708 9868 ext. 697

Email: emilywang@ravenel.com

Payment details are described at the back of the

catalogue. Please contact the above person if you

need any further information.

COLLECTION AND SHIPPING

Taiwan

Tommy Wu

Tel: +886 2 2708 9868 ext. 885

Email: tommywu@ravenel.com

Hong Kong, International

Kitty Lam

Tel: +852 2889 0859

Email: kittylam@ravenel.com

China

Xiu Lee

Tel: +86 21 6228 2883

Email: xiulee@ravenel.com

Remarks:

All the items auctioned may be collected upon receipt

of payments. The Buyers are requested to arrange for

collection as soon as possible to facilitate warehouse

inventory circulation and centralize management.

We accept personal and corporate checks, however

collection may be made only when such checks are

honored. We apologize for no acceptance of traveler's

checks. Other items may be collected at the Ravenel

Ltd. The business hours are 9:30 am to 6:30 pm,

Monday to Friday.

Our professional administration department may

make recommendations of arrangement or the most

appropriate transportation for you.

Ravenel is glad to provide you with the condition

report of any of the items at the auction, however,

the buyers must note that all the items at the auction

are sold \"as is\". Please refer to the Transaction

Agreement Article 2, Section 2 at the back of the

catalogue.

目次 CONTENTS

3 羅芙奧春季拍賣會

Sale Information

6 羅芙奧之服務

Ravenel Services

10 翰墨丹青—書畫及古文物專場

Refined Brushwork: Ink Paintings and Works of Art

145 給予買家的重要通知

Important Notice to Buyers

147 委託競投表格

Absentee Bid Form

149 業務規則

Transaction Agreement

12

601

AU Ho-nien

(Taiwanese, b. 1935)

Calligraphy in Running Script

Ink on paper, framed

34 x 73 cm

Signed Ho-nien in Chinese

With two seals of the artist

PROVENANCE

Acquired directly from the artist

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 700 - 1,300

RMB 5,000 - 9,000

歐豪年

平常心

水墨 紙本 鏡框

34 x 73 cm

釋文：平常心。

款識：八十五叟，豪年。

鈐印：歐豪年印（白文）、白首名山自頡頏（白文）

來源

現藏家直接得自藝術家本人

602

ZHOU Cheng

(Taiwanese, 1941-2022)

The Heart Sutra

1997

Ink on gold-flecked paper, framed

49 x 89.4 cm

Signed ZHOU Cheng in Chinese

With two seals of the artist

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 700 - 1,300

RMB 5,000 - 9,000

周澄

般若波羅蜜多心經

1997

水墨 灑金箋 鏡框

49 x 89.4 cm

釋文：般若波羅蜜多心經。觀自在菩薩，行深般若波羅蜜多時，照見五

蘊皆空，度一切苦厄。舍利子，色不異空，空不異色，色即是空，空即

是色；受想行識，亦復如是。舍利子，是諸法空相：不生不滅，不垢不淨，

不增不減。是故空中無色，無受想行識，無眼耳鼻舌身意，無色聲香味

觸法，無眼界乃至無意識界，無無明，亦無無明盡；乃至無老死，亦無

老死盡。無苦集滅道，無智亦無得。以無所得故，菩提薩埵，依般若波

羅蜜多故，心無罣礙，無罣礙故，無有恐怖；遠離顛倒夢想，究竟涅槃。

三世諸佛，依般若波羅蜜多故，得阿耨多羅三藐三菩提。故知般若波羅

蜜多，是大神咒，是大明咒，是無上咒。是無等等咒，能除一切苦，真

實不虛。故說般若波羅蜜多咒，即說咒曰：揭諦揭諦，波羅揭諦，波羅

僧揭諦，菩提薩婆訶。

款識：丁丑除夕於居山堂，蓴波周澄敬書。

鈐印：周澄私印（白文）、蓴波浪墨（朱文）

14

603

PU Tzu

(Taiwanese, 1959-2013)

Sutra Calligraphy

Ink on silver-flecked paper, framed

12 x 13.5 cm

Signed PU Tzu in Chinese

With two seals of the artist

PROVENANCE

Gloria Art Center, Taipei

Acquired from the above by the present owner

NT$ 30,000 - 60,000

HK$ 8,000 - 16,000

US$ 1,000 - 2,000

RMB 7,000 - 14,000

卜茲

華嚴賢首品偈

水墨 灑銀箋 鏡框

12 x 13.5 cm

釋文：菩薩發意求菩提，非是無因無有緣。於佛法僧

生淨信，以是而生廣大心。不求五欲及王位，富饒自

樂大名稱。但為永滅眾生苦，利益世間而發心。

款識：華嚴賢首品偈，卜茲陳宗琛敬書。

鈐印：卜茲（朱文）、陳氏（朱文）

來源

鴻展藝術中心，台北

現藏家得自上述來源

604

TAI Jing-nong

(Taiwanese, 1902-1990)

Calligraphy in Running Script

1980

Ink on paper, framed

36 x 33 cm

Signed Jing-zhe in Chinese

With two seals of the artist

PROVENANCE

Gloria Art Center, Taipei

Acquired from the above by the present owner

NT$ 60,000 - 120,000

HK$ 16,000 - 31,000

US$ 2,000 - 4,000

RMB 14,000 - 27,000

臺靜農

行書書法

1980

水墨 紙本 鏡框

36 x 33 cm

釋文：娟逸雄豪各自奇，縱心孤往世難知，秋林黃葉

無多子，須見經營慘淡時。

款識：庚申七月，靜者。

鈐印：靜農無恙（白文）、淮南（朱文）

來源

鴻展藝術中心，台北

現藏家得自上述來源

16

605

LEE Yih-hong

(Taiwanese, b. 1941)

Blessings

1983

Ink and colour on paper, scroll

30 x 40 cm

Signed Yih-hong in Chinese

With two seals of the artist

ILLUSTRATED

Taiwan Fine Arts Series 32: Lee Yi-Hong, Artist Co. Ltd.,

Taipei, 2016, p. 217

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

李義弘

吉祥如意

1983

水墨 設色 紙本 立軸

30 x 40 cm

款識：癸亥仲秋夜，義弘畫。

鈐印：李（朱文）、筆下有鬼（朱文）

圖錄

《台灣美術全集第 32 卷－李義弘》，藝術家出版社，

台北，2016，頁 217

606

HUANG Chun-pi

(Taiwanese, 1898-1991)

Kiosk by the Waterfall

1987

Ink and colour on paper, framed

34.5 x 34.5 cm

Signed HUANG Chun-pi in Chinese

With three seals of the artist

PROVENANCE

Gloria Art Center, Taipei

Acquired from the above by the present owner

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

黃君璧

溪亭清夏

1987

水墨 設色 紙本 鏡框

34.5 x 34.5 cm

釋文：溪亭清夏。

款識：丁卯初冬，九十老人黃君璧。

鈐印：黃君璧（白文）、君翁（朱文）、白雲堂（朱文）

來源

鴻展藝術中心，台北

現藏家得自上述來源

18

惜才好藝，相濡以沫

麗水精舍因距離臺靜農溫州街故居不遠，因此臺靜農常親

臨精舍探訪，莊靈曾回憶其父親莊嚴常與臺靜農造訪這群

忘年之交與其聚會，親暱稱呼他們為「小友」，喻仲林與

孫家勤會安排吃食好酒款待二人，會席間談詩論藝無所

不語。喻仲林因為耿直內斂、不與人爭的個性讓臺靜農

大為讚賞，是時臺靜農特別喜愛喻仲林的花鳥畫， 特別

是寫意的梅景與野雁，常於畫室端坐在喻仲林對面看其作

畫，並指點喻仲林在畫境上的追求應「書畫合一」，藉此

點撥其多勤練字，於是喻仲林便下苦心勤練被譽為明朝第

一的文徵明小楷字，每日練字五百不綴、用墨甚勤；喻仲

林更向臺靜農學作詩，曾抄錄詩稿無數、終有大成，喻仲

林此後以細膩精到的小字為工筆花鳥畫題款，書畫合一更

凸顯其獨到的喻氏花鳥畫風格。然而畫壇三傑因孫家勤遠

赴巴西、胡念祖留美講課授學，在臺灣只剩喻仲林獨撐大

局；麗水精舍後遷至雲河大廈，臺靜農更不時造訪，先往

六樓拜訪張大千後便轉往二樓找喻仲林賞畫論意，兩人因

藝術相知相惜而成為忘年之交；喻仲林家屬更與臺靜農多

有牽繫：二女曾為臺靜農臺大中文系的學生、小兒的名字

Lot 607-616

THE OVERSEAS COLLECTION OF

THE YU CHUNG-LIN FAMILY

忘年之契：

喻仲林與臺靜農｜喻仲林家族海外存珍

A Symbol of Friendship: Yu Chung-lin and Tai Jing-nong

1949年渡海抵臺的喻仲林（1925-1985）時任軍職，公暇

之餘至臺灣師範大學美術系旁聽學習素描並接觸西方繪

畫，隨後認識了同為軍職的胡念祖；胡念祖發現了喻仲林

的才情遂建議他向工筆花鳥大師金勤伯學習花鳥畫，勤伯

師見其天份極高而列入門牆，並常讓喻仲林到自宅臨摹學

畫。當時隨國民政府遷臺的藝壇名人甚多，知名的文學家

臺靜農（1902-1990）便經由金勤伯的介紹進而認識了喻

仲林、胡念祖等後學，臺靜農對於這些勤勉於藝的學子們

青睞有加，隨後喻仲林、胡念祖與孫家勤等因畫名鵲起、

被譽為「畫壇三傑」，三人意氣相投便商議同組畫室，以

便相互切磋、共研畫藝，幾經輾轉終於在麗水街覓得一小

房舍賃居，臺靜農見之基於愛才之心，便特賜墨寶題名

「麗水精舍」並刻印留念，自此三人全心投入繪畫，大開

臺灣近現代水墨的新境界，麗水精舍一門三傑的雅號與影

響力就此遠播。

張大千與喻仲林合照於1978年臺灣省立博物館喻仲林國畫展。

Zhang Da-qian and Yu Chung-lin at \"Paintings of Yu Chung-lin\" at

National Taiwan Museum, Taipei, in 1978.

喻仲林攝於雲河大廈家中。

Yu Chung-lin at his home in the Yunhe Building.

喻仲林（左三）、臺靜農（右三）、金勤伯（右二）合照於1978年臺

灣省立博物館喻仲林國畫展。

Yu Chung-lin (Third from the Left), Tai Jing-nong (Third from the

Right) and Jin Qin-bo (Second from the Right), at \"Paintings of Yu

Chung-lin\" at National Taiwan Museum, Taipei, in 1978.

也是臺靜農命名。據家屬回憶，喻仲林曾自言臺靜農到麗

水精舍與其相處的日子，是他一生中最快樂的時光；其後

喻仲林因病驟然離世，臺靜農白髮送別傷心不已，更是為

喻仲林遺作集題字並序追緬，讚賞其畫藝能「曲盡化工之

妙」，由此更可知兩人深厚的情誼。

工筆寫意合璧，直追前人

喻仲林自幼受其家族書畫的薰陶，展現了對繪畫深厚的興

趣，抵臺後正式拜師專攻工筆花鳥，天資異稟加上戮力勤

勉、習畫三年便能出師鬻畫維生；喻仲林的花鳥畫別具一

格，細究其發展途徑是由惲壽平寫意花卉入手，後拜師習

金勤伯京派一脈花鳥，得臺靜農、張大千等人指點苦學宋

院體勾勒，喻仲林注重寫生，講究格物致知又能融合明清

文人寫意畫意於其中，於是造就喻氏兼工帶寫的筆墨技

法，由寫意入工筆、再由寫意出，能變院體而成個人風

格，其成就被香港畫家呂壽琨譽為近代中國院體花鳥畫第

一人，1978年於台灣省立博物館（現為臺灣博物館）、

1982年於歷史博物館所舉辦的個人展覽均轟動藝壇，各

界政要名人雲集，臺靜農、張大千、黃君璧等大師更親臨

觀展，奠定其一代花鳥畫大師的地位。此回重點拍品精選

了喻仲林最經典的工筆花鳥作品：扇面多以臺灣特有的風

景與花鳥作為取材如《馬醉木》、《夏塘水禽》、《秋

色》（拍品編號611）等作，根基於宋本院畫勾勒，但又

能盡顯個人筆墨風韻；《水草鶺鴒》、《野菊圖》（拍品

編號610）以寫意花草融工筆鳥禽於一景，設色敷染極為

特殊，水草之形貌彷彿沾染朝露般水氣淋漓，描繪鶺鴒之

生動彷彿即將出圖漫步；據悉喻仲林的小女兒曾親睹父親

喻仲林（後排右）與臺靜農（前排中）合照。

Yu Chung-lin (Right at the Back) and Tai Jing-nong (Middle in the

Front)

作《野菊圖》，喻仲林親自演示畫法施色及用筆，其對於

顏料的講究異於常人，喻仲林下苦工親製顏料，其調色乃

不傳之祕，夏日的野菊在沒骨的用筆下亦能罩染出葉片層

次豐厚的色度，可知用色之高妙。作於1978年的《松潤仙

禽》（拍品編號608）為喻仲林少見的用色創作，全圖工

筆尚古，畫石青綠設色一新耳目，此種青綠漬染的用色法

為當時喻仲林與張大千比鄰而居，喻氏常拜訪大千並向其

請教畫藝技巧的成果。《老鷹圖》（拍品編號609）以蒼

秀的寫意筆法作成，用筆簡逸有古韻，鷹羽茸毛的質感意

態如生，若非喻仲林畫路之廣、揣摩自然入深，豈能有此

雄偉俊逸的勝景可觀。

書印雙絕，古韻流芳

渡海來臺後的臺靜農寄情於翰墨及書藝的研究當中，臺靜

農的書法、刻印對其而言是藉以抒發煩憂並為精神寄託；

他的書法啟蒙於家學，初學筆道厚實的隸書《華山碑》、

及筆法靈動的鄧石如，但真正奮起攻書是在臺靜農37歲

於四川時期，藉由沈尹默、胡小石的提點，多臨倪元璐行

草體勢，抵臺後在書藝的取法上見廣，楷、隸多臨碑學書

法，唐宋名家筆式亦多有用功，其成就之高更被張大千推

舉為「三百年來寫倪字的第一人」；臺靜農自「中年攻

書」專研書藝精進之道，更不吝與雅好書藝的友人如喻仲

林、莊嚴、王壯爲、孔德成等切磋探究、以資增益。《靜

農書跡遊古》文房書法六屏（拍品編號607）以金箋畫仙

板為底，小字寫隸書、楷字、行草及行楷書，綜觀六屏書

法其用筆秀潤典雅，融合碑帖書風，其中鋒行筆澀緩、頓

挫，一轉唐楷圭角的生硬；行書體筆筆周到、牽絲應帶之

20

607 臺靜農《靜農書跡遊古》文房書法六屏 1964 水墨 金箋畫仙板 屏風 30 x 9.5 cm（每件）

Tai Jing-nong, Calligraphy on Six-Panel Gold Screen, 1964, Ink on gold coated screen, 30 x 9.5 cm (each)

處又能精準地承上啟下，六屏書法盡顯臺靜農沉鬱、勁

拔、頓挫、妍麗的特點。以作原為臺靜農畫案上的清供，

喻仲林某回拜訪臺靜農見此屏驚為天人、無比喜愛，臺靜

農見其愛不釋手便贈此屏予喻仲林，自此喻氏將此書法六

屏置於畫案，權作對自我精進書藝的提醒，由此更可明白

臺靜農與喻仲林倆人忘年相知的情誼，臺靜農的書藝作品

向來一作難求，特殊形式的書法六屏更是難能可貴。

臺靜農篆印與書法一樣用以自娛，其雖從未以篆刻家自

居、但卻也對治印下過苦工，在臺灣更為張大千、莊嚴等

人刻印，溥心畬甚至主動向他求印，臺靜農的印章成為這

些名家大師常用的款式；臺靜農賞識喻仲林的花鳥造詣，

認為他的畫作應配上好印增添畫意，喻仲林不曾向臺靜農

求印，反倒是臺靜農主動為其治印，除經典的「志潔物

芳」、「麗水精舍」印之外，此次十分難得徵集到喻仲林

常用：肖形「鳳」、「喻」（拍品編號612）字印及畫作

私印。臺靜農治印多以漢印為法也最為成熟，「喻」字以

漢磚文字布白法篆刻，下方帶有虎形，既能表現出漢磚紋

飾的造型，又有活潑自然的趣味性，臺靜農結合書法與篆

刻的意趣，藉由隸書、篆書的造型表現出濃厚且韻法兼具

的金石刻印，此印更是喻仲林常用的私章。肖形「鳳」瓦

當印，鳳紋高冠翹尾，呈疾飛勢態，章印雖精巧卻難掩其

雄渾大氣的治印功力，鳳印其由來源自臺靜農十分讚賞喻

仲林專攻花鳥畫，鳳為百鳥之王，臺靜農贈此印與喻仲林

是對其畫藝充滿深刻的期許與讚賞，更彰顯其在花鳥畫的

造詣猶如人中龍鳳的地位。

珍寶重現，臻藏永存

近年書畫收藏界燃起對於工筆花鳥畫的熱情，喻仲林作為

近代中國院體花鳥畫第一人，以超群卓越的筆墨讓其畫名

再起，難得一見的工筆花鳥巨作與私印閒章更是屢創佳

績：2018年羅芙奧春季拍賣以仙鶴為題的《竹鶴圖》成交

價新台幣90萬元；2019年羅芙奧秋季拍賣《孔雀》成交

價新台幣168萬元；2022年羅芙奧秋季拍賣，以寫意墨鷹

為題的《雄視八荒》成交價為新台幣50萬4仟元、《紫薇

孔雀》成交價新台幣的240萬元，同場拍品臺靜農刻私印

《志潔物芳》更創下新台幣384萬元的高價。由此上述拍

賣成交紀錄可知喻仲林在當前書畫市場備受重視的地位，

此次拍賣徵得喻氏家族舊藏罕品《松潤仙禽》、《老鷹

圖》及喻仲林家族收藏的臺靜農篆刻印章更是難得一見的

珍寶，觀喻仲林花鳥之作可感天地與己共存，萬物合一的

境界，其以天賦才情、精妙絕倫的筆墨變院體為己用並超

越古人，以革新的筆墨章法自成一家，在近現代工筆花鳥

畫美術史上，喻仲林的地位實已不可撼動。

After the relocation to Taiwan, Yu Ching-lin worked in the

military. After work, he attended Western art classes at

the National Taiwan Normal University. His talents were

noticed by Hu Nian-zu who connected Yu and Jin Qin-bo.

Due to his exceptional talents, Yu learnt privately from

Jin and got acquainted with Tai Jing-nong. Tai supported

Yu Ching-lin and Hu Nian-zu who later established a

studio with Sun Jia-qin. A small artist space named Lishui

Jingshe was established, where they would discuss art

techniques. With great admiration to the young artists,

Tai Jing-nong carved a Lishui Jingshe seal as a gift to the

artists, hoping that they will continue their endeavour to

create a new era of modern Taiwanese ink art.

THE DEVOTED FRIENDS

Due to the proximity to Tai’s residence, Tai Jing-ning

paid frequent visits to the Lishui Jingshe. These visits

were recalled by Chuang Ling as his father Chuang Yan

and Tai Jing-ning called them “little friends”. Yu Chunglin and Sun Jia-qin would prepare delicacies for the

respectable masters. Tai liked Yu’s amiable character and

his paintings, especially the genre of plum and geese. Tai

would sit and watch Yu paint with occasional instructions

on the use of brush. Hence, Yu constantly practised

and excelled in calligraphy specialising in Wen Zhengming’s regular script. The inscriptions of Yu’s paintings

show his excellent skills in calligraphy. As time passed,

Sun relocated to Brazil and Hu moved to the US, Yu

became the sole pillar of the studio and it was relocated

to Yunhe Building. Tai remained a frequent visitor as

he visited Zhang Da-qian on the 6th floor, followed by

Yu on the 2nd floor. Art connected Tai and Yu and their

friendship lasted. Yu’s second daughter was admitted

to the Chinese faculty of the National Taiwan University,

while his son was named by Tai Jing-nong. As Yu’s family

recalled, the artist had his happiest days with Tai Jingnong and the sudden death of Yu broke the heart of Tai.

In his foreword of Yu’s memorial catalogue, he described

the paintings as being completed with prodigious skills.

This shows the strong bond between the two amiable

friends.

臺靜農（左二）、喻仲林（右二）、吳平（左一）與金勤伯（左四）合照。

Tai Jing-nong (Second on the Left), Yu Chung-lin (Second from the Right), Wu Ping (First on the Left), Jin Qin-bo (Fourth from the Left)

22

STROKES OF MASTERY

Under the influence of his family, Yu developed interest

in paintings with a focus on gongbi of flower and

bird genre. It took the prodigy three years of practice

before his works were sold in the market. Yu’s paintings

were unique in style with reference to Hui Shou-ping’s

expressive strokes. Strokes of the Jing school and Song

schools could be traced, thanks to Jin Qin-bo, Tai Jingnong and Zhang Da-qian. Yu paid meticulous attention

to life drawings with the nostalgic character of the Ming

and Qing scholars. The incorporation of expressive

and gongbi strokes allows Yu to create his unique style.

His achievements in recreating academic flower and

bird paintings were recognised by Hong Kong Artist

Lu Shou-kun. His solo exhibition at the National Taiwan

Museum in 1978 and the Museum of History in 1982

astounded the art scene. Masters of ink such as Tai Jingnong, Zhang Da-qian and Huang Chun-pi gathered for

the exhibition, making Yu one of the greatest artists of

the time. In this sale, a series of classical paintings were

selected, including the fan paintings showcasing the

Taiwanese scenery, namely Wagtail Flying over a Pond

in Summer, Scarlet Tanagers Perching on Moth Orchids

and Autumn Pond (A Set of Three) (Lot 611). Grey Plover

in Water Plants and Tit Chirping above Daisies (A Set

of Two) (Lot 610) depict the plants in expressive strokes

and flowers and birds in gongbi. A special technique was

used to depict the humidity of the scene. The plover

sprang to life under Yu’s brush. As his family recalls, Yu’s

youngest daughter used to watch Yu paint the daisies,

while the father patiently showed the depiction of petals

through various strokes and colour applications. Yu

created his own palette with special tones of colours.

Boneless techniques were used on the summer daisies

with highlights on the layers of green leaves. Completed

in 1978, Storks and Pine over a Mountain Stream (Lot 608)

was completed in antique gongbi with splashes of green,

a reference to Zhang Da-qian and his demonstration to

Yu. Perched Eagle (Lot 609) was painted in expressive

strokes in a classical depiction. The meticulous details of

the feathers show the depth of knowledge of Nature.

2012年台北國立歷史博物館工緻典麗：喻仲林88花鳥畫紀念展現場照。

\"Elegance and Grace: A Memorial Exhibition of Flower and Bird Paintings by Yu Chung-lin\" at National Museum of History, Taipei, in 2012.

610 喻仲林《水草鶺鴒及野菊圖（兩件一組）》1982 水墨 設色 紙本 鏡框 ; 水墨 設色 絹本 鏡框 49 x 65 cm；50.5 x 64 cm（左一 ; 左三）

Yu Chung-lin, Grey Plover in Water Plants and Tit Chirping above Daisies (A Set of Two), 1982, Ink and colour on paper, framed; Ink and

colour on silk, framed, 49 x 65 cm; 50.5 x 64 cm (First from the Left; Third from the Left)

THE CLASSICAL STYLE OF CALLIGRAPHY AND PAINTINGS

After his relocation to Taiwan, Tai Jing-nong spent

his time on calligraphy and seal carving as a way of

expressing his emotions. His calligraphy was learnt

through homeschooling starting from clerical script

of Huashan rubbings and scripts of Deng Shi-ru. Until

the age of 37, Tai focused on calligraphy under the

encouragement of Shen Yun-mo, Hu Xiao-shi and

practised the scripts of Ni Yuan-lu. Since his arrival in

Taiwan, he began practising regular and clerical scripts,

especially those from Tang and Song dynasties. He

was praised by Zhang Da-qian for his achievement in

Ni script. Tai focused on calligraphy later in his career

and discussed it in depth with fellow scholars such as

Yu Ching-lin, Chuang Yan, Wang Chuang-wei and Kong

Te-cheng. Calligraphy in Calligraphy on Six-Panel Gold

Screen (Lot 607) was completed in various scripts on gold

panels. The elegance of the running script accompanies

the sturdiness of clerical rubbing script. The slowness

of strokes and dots echo with the sturdiness of regular

script of Tang, while the lyrical strokes of running script

balances the whole theme, showcasing the various

characters of Tai’s calligraphy works. This work was

originally treasured by Tai on his desk. Yu visited Tai one

day and expressed his admiration towards the work,

hence Tai gave it to Yu as a gift of friendship. Such panels

became a special token of acquaintance.

Seal carving and calligraphy are regarded as entertainment

to Tai Jing-nong, yet he was lesser known for his seal

carvings. He carved for friends such as Zhang Da-qian,

Chuang Yan and Pu Hsin-yu who requested one. His

seals were sought after objects among scholars. With

an idea of adding interpretation to Yu’s paintings, he

created seals for Yu, without Yu requesting any from him.

The seals featured in this sale are frequently used private

seals with carved phoenix and Yu character. One of his

common private seal is carved with Yu and a tiger in the

style of Han, showcasing Tai’s interest in calligraphy and

seal carving. The phoenix seal is depicted with pride as it

showcased the artist’s various techniques of carving. The

choice of Phoenix among the king of birds shows Tai’s

admiration to Yu’s flower and bird paintings, proving Yu’s

success in the area.

THE ROBUST PERFORMANCE

Recent trends show the robust attention paid to the

artist. Being one of the best in the genre, Yu excelled

as one of the famous artists. His gongbi paintings and

private seals achieved great success in 2018 with Redcrowned Cranes beside Bamboo Forest sold for NTD

900,000, Peacocks for NTD 1,680,000 in 2019 and Eagle

Surveying the Terrain for NTD 504,000 in 2022. Peacocks

on Crape Myrtle was sold for NTD 2,400,000, while a

seal by Tai Jing-nong was sold for NTD 3,840,000. Such

astounding results show the heated market of the artist’s

works. In this sale, Storks and Pine over a Mountain

Stream, Perched Eagle and Seals Carved by Tai Jingnong (Lot 612) were offered fresh to the market from the

artist’s family collection. Yu’s flower and birds paintings

are a reflection of the Nature under the exceptional

brush of a prodigious artist, making him one of the best

artists in the modern ink art history.

臺靜農、莊嚴、王壯爲、孔德成及王靜芝書法冊頁，喻仲林家屬舊藏。

Tai Jing-nong, Chuang Yan, Wang Chuang-wei, Kong Te-cheng and Wang Ching-chi, Calligraphy on Album, Former collection of Mr. Yu Chunglin's family.

24

607

TAI Jing-nong

(Taiwanese, 1902-1990)

Calligraphy on Six-Panel Gold Screen

1964

Ink on gold coated screen

30 x 9.5 cm (each)

Signed Jing-nong in Chinese

With six seals of the artist

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

NT$ 140,000 - 280,000

HK$ 36,000 - 73,000

US$ 4,600 - 9,300

RMB 32,000 - 64,000

臺靜農

《靜農書跡遊古》文房書法六屏

1964

水墨 金箋畫仙板 屏風

30 x 9.5 cm （每件）

釋文：

（一）昨疏還示，知憂虞復深，遂積疾苦，何乃爾耶？

蓋張樂於洞庭之野，鳥值而高翔，魚聞而深潛，豈絲

磬之響、雲英之奏非耶？此所愛有殊，所樂乃異。君

能審已而恕物，則當無所結滯矣。

（二）吾為逸民之懷久矣，足下何以等復及此，似夢

中語耶！無緣言面，為嘆，書何能悉？

（三）奉辭言展。遂隔數旬。時候徂秋。能無馳仰。

青山帶地。敘念無期。況阻關河。彌增翹軫。

（四）麻姑至。蔡經亦舉家見之。是好女子。年季十

八九許。頂中作髻。餘髮垂之。麻姑自言接待以來，

見東海三為桑田。向間蓬萊，水乃淺於往者會時略半

也，豈將復還為陸陵乎，方平笑曰，聖人皆言，海中

行復揚塵也。

（五）近於洛下。偶逢顏尚書真情卿。自云頗傳長史

筆法。聞斯法若有所得也。

（六）忽蒙簡翰，猥賜盤飧。當一葉報秋之初，乃韭

花逞味之始。助其肥羜，實謂珍羞。充腹之餘，銘肌

載切。

款識：

（一）靜農。

（二）靜農。

（三）唐人月儀帖，靜農。

（四）甲辰正月，靜農。

（五）靜者摹藏真師。

（六）靜農。

鈐印：

（一）靜農（朱文）

（二）肖型印（白文）

（三）靜農（朱文）

（四）臺靜農（白文）

（五）臺靜農（白文）

（六）臺靜農（朱文）

來源

喻仲林家屬舊藏

26

28

608

YU Chung-lin

(Taiwanese, 1925-1985)

Storks and Pine over a Mountain

Stream

1978

Ink and colour on silk, framed

81.5 x 130 cm

Signed YU Chung-lin in Chinese

With three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

\"Paintings of Yu Chung-Lin\", National Taiwan Museum,

Taipei, 12 December, 1978 - 17 December, 1978

\"Elegance and Grace: A Memorial Exhibition of Flower

and Bird Paintings by Yu Chung-Lin\", National Museum

of History, Taipei, 14 January, 2012 - 28 February, 2012

ILLUSTRATED

The Flowers and Birds Paintings by Yu Chung-Lin, Art

Book Co., Ltd., Taipei, 1978, pp. 120-121

Elegance and Grace: A Commemorative Collection of

Flower and Bird Paintings by Yu Chung-Lin, National

Museum of History, Taipei, 2012, pp. 240-241

This painting is to be sold with a photo of the work with

the artist.

NT$ 280,000 - 420,000

HK$ 73,000 - 109,000

US$ 9,300 - 13,900

RMB 64,000 - 95,000

喻仲林

松潤仙禽

1978

水墨 設色 絹本 鏡框

81.5 x 130 cm

釋文：棲息綠蔭舒浩氣，乘時奮翼任凌霄。

款識：戊午年夏日，山左喻仲林寫於麗水精舍。

鈐印：清泉郡（朱文）、喻仲林印（白文）、不古不

今自出新意（白文）

來源

直接得自藝術家家屬

展覽

「喻仲林國畫展」，臺灣省立博物館，台北，展期

1978 年 12 月 12 日至 1978 年 12 月 17 日

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史

博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2

月 28 日

圖錄

《喻仲林畫集》，藝術圖書公司，台北，1978，頁

120-121

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史

博物館，台北，2012，頁 240-241

附藝術家與作品合照

32

被譽為近現代工筆花鳥畫第一人的喻仲林，其藝術成就曾

被知名藝評家楚戈提及並譽為「復興了五代北宋的花鳥畫

傳統，並進一步予以發揚光大。」喻仲林畢生致力於花鳥

畫的研究及創作，放棄當時藝壇所重的寫意花鳥風格，轉

向追尋宋代院畫工筆寫真的精神，直追前人筆意而無不

及；喻仲林的創作得益於京派一脈工謹明麗的花鳥筆法，

後始專研明清文人畫意、再進至五代南宋的花鳥寫生，其

最注重的是對於自然生機的追求，工筆技法是為了表現自

然世界的造化神奇，且又能展現創作者主觀對於自然的讚

賞與熱情，喻仲林對於花鳥畫下過一番苦工，除了對自然

的熱愛之外，更是致力於「格物」，外出踏查搜羅素材以

豐富創作，而畫品上則力求高雅，專研古畫名跡、深究畫

中神韻，喻氏主張受古畫的薰陶而內化成氣質，頗有「不

負花鳥」、在畫中重現造化的功力。

此幅《松潤仙禽》的構圖佈局嚴謹尚古，主題為奇松仙

鶴，繪以兩岸夾水之景，設色敷染更是喻仲林少見的大小

青綠法兼用：前景以皴筆甚少、用色濃麗的重彩破墨、

分層罩染巖石，以點苔豐富層次，後用淡墨析出石塊的

肌理；後景坡壁用簡筆劃出分界，墨色澹彩薄施青綠，渲

暈之間得見喻仲林兼善各家之長的功力，能融大小青綠、

工筆寫意於一體，前重後輕的用色將畫中景色分出遠近，

其善用畫題中的墨松，襯出青綠山景與潔白的鶴群，畫幅

之中的色彩搭配正是反映出喻氏卓越的創作能力。喻仲林

描繪前後景的松樹以虛實相映的構圖畫成，前景畫石上之

松根株疊露，出根拔石而狂進，雙鉤畫成松幹斜倚、成曲

折俯仰式，後景掩映直立的幼松更體現出生機昂然的意

趣；松鱗皆以枝幹中空、圈鱗法畫成，後以赭色敷染作出

松幹厚實的體量，松針以團簇的車輪針寫就，藉由濃淡不

一的墨色罩染出氤氳之氣，喻仲林特以狹仄之勢做出湍急

河景，水氣、雲氣蒸融之間松潤的景致油然浮現。仙鶴自

古即是祥瑞的徵兆，寓有一飛沖天、飛黃騰達的寓意，喻

仲林以細筆勾勒描出三只型態各異、活靈活現的仙鶴，或

振翅欲飛、或曲頸理毛、或凝視觀者，其立姿優雅，寫真

神態逸趣橫生，喻仲林的敷粉用粉、絲毛鉤勒法均堪稱一

絕，鶴頂罩染一抹硃砂紅深具點睛之妙，讓全幅古雅的構

圖增添丰神雅韻，畫題款「棲息綠蔭舒浩氣，乘時奮翼任

凌霄」用以自喻，君子獨善己身，待時運來臨時必能直衝

青天、任運遨遊。

喻仲林的花鳥畫多汲取前人筆墨的精華，更多專研宋畫以

降的花鳥名作，畫鶴為題用以自勉待時而發、並作為高潔

品行的代表，《松潤仙禽》一作之畫意更直追宋代馬遠

《竹鶴》、錢選《桐岡鶴唳》等名跡典範；其寫生傳神更

堪比清代郎世寧《花陰雙鶴》畫中倣造自然的妙意，即所

謂「不古不今，自出新意」。1976年張大千歸臺暫居台北

雲河大廈，與喻仲林比鄰而居，兩人因畫結成忘年之交、

時常來往，張大千十分讚賞其畫功底蘊、時常授其觀臨古

畫，切磋畫技，《松潤仙禽》中青綠山石的罩染敷色可見

源自五代宋人以降畫風淡雅、略施青碧漬染的筆意，乃喻

仲林工筆花鳥畫中少見的設色用墨；1978年喻仲林於臺

灣省立博物館（現為臺灣博物館）舉行個展，張大千親臨

觀展並於此幅《松潤仙禽》前駐足評賞，更可知曉大千對

其愛才惜才、嘉勉後進之心。喻仲林作工筆花鳥圖多有新

趣，能在寫生之中妙造自然、合而為一，即所謂「與天地

並生、與萬物合一」，達到書畫藝術中至高之境，《松潤

仙禽》為喻仲林家屬海外重要舊藏，亦是其工筆花鳥畫藝

術成熟階段不容錯過的傳世精品。

宋 錢選《桐岡鶴唳》國立故宮博物院藏，台北

Chian Syuan, Paired Cranes and Chinese Parasol Trees, Song

Dynasty, Collection of the National Palace Museum, Taipei

喻仲林《竹鶴圖》水墨 絹本 鏡框 49 x 74 cm，羅芙奧2018春季拍賣會，拍

品編號612，成交價NT$900,000

Yu Chung-lin, Red-crowned Cranes beside Bamboo Forest, Ink and colour

on silk, framed, 49 x 74 cm, Ravenel Spring Auction 2018 Taipei, Lot 612,

sold for NT$900,000

Renowned as one of the greatest modern flower-andbird artists, Yu Chung-lin was commented by Chu Ko as

the artist to revive the classical genre of Northern Song.

With a life-time dedication towards the genre, Yu Chunglin landed in an opposite direction of expressive flowerand-bird contemporary trend and chose to create realistic

gongbi paintings of the Song dynasty. Yu Chung-lin

followed the colour application of the Jing school while

incorporating the palette into the Song gongbi realistic

works. Following his studies of Ming and Qing scholar

paintings and flower-and-bird genre of the Five Dynasties

and Southern Song, he chose to follow meticulously with

a naturalistic depiction of subjects. Gongbi was used to

enhance the realistic effect, forming elegant paintings

with a literary touch.

This work was meticulously structured with compositions

of pine, cranes and shores along a river. Colours of

turquoise and green are rare to Yu's works. Few cun was

used in the foreground, with vivid colours of splashed ink.

Layered colours were applied on the rocks with dots of

moss and light ink to reveal the texture of rocks. Simple

strokes were used to sketch the background followed

by light green ink. This shows Yu's application of skills

of various schools to bring in harmony gongbi and

expressive strokes and to highlight the subject matter in

the foreground. Dark pine and white cranes show stark

colour contrast. As the crooked pine emerged from the

rocks, the branches extended and encroached across

the frame, while a young pine sprouted from the back,

showing signs of prosperity. The texture of the bark was

carefully depicted with a combination of strokes and

ochre. Clusters of pine needles echo with the humidity

of the scene and the running river below. The moist

air of utopia was depicted. Cranes were traditionally

deemed as an auspicious symbol with a blessing of

prosperity and wealth. This work of the genre completed

in meticulously fine strokes and careful application of

colours is an astounding piece. The crown of the crane

was painted red, enhancing the prosperous message of

a utopian scene. The inscription poem speaks of being a

nobleman who would excel with upcoming chances and

opportunities.

Yu Chung-lin studies ancient paintings with special

attention to Song paintings. Cranes representing noble

characters were used as a reminder for scholars. This work

shows references to masterpieces by Ma Yuan of Song,

Qian Xuan and Castiglione of Qing dynasty. In 1976,

Zhang Da-qian resided in Taipei in the same building as

Yu Chung-lin. Since then, their friendship developed with

frequent visits. Zhang was astounded by Yu's ability and

often invited him to view his classical collection. In Yu's

exhibition in 1978, Zhang visited the venue and viewed the

painting closely. This shows Zhang's appreciation towards

a great talent. Through his talents, Yu created gongbi

flower-and-bird paintings with realistic representations

of Nature. This work has been kept in the artist's family

collection until now and is an important work of art from

the artist's mature stage of career.

張大千和喻仲林與作品《松潤仙禽》（拍品編號608）合照於1978年臺灣省立博物館喻仲林國畫展。

Zhang Da-qian and Yu Chung-lin with his work, Storks and Pine over a Mountain Stream (Lot 608) at

\"Paintings of Yu Chung-lin\" at National Taiwan Museum, Taipei, in 1978.

34

609

YU Chung-lin

(Taiwanese, 1925-1985)

Perched Eagle

1973

Ink on paper, framed

64 x 105.5 cm

Signed YU Chung-lin in Chinese

With three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

\"Elegance and Grace: A Memorial Exhibition of Flower

and Bird Paintings by Yu Chung-Lin\", National Museum

of History, Taipei, 14 January, 2012 - 28 February, 2012

ILLUSTRATED

Elegance and Grace: A Commemorative Collection of

Flower and Bird Paintings by Yu Chung-Lin, National

Museum of History, Taipei, 2012, pp. 36-37

NT$ 170,000 - 260,000

HK$ 44,000 - 68,000

US$ 5,600 - 8,600

RMB 39,000 - 59,000

喻仲林

老鷹圖

1973

水墨 紙本 鏡框

64 x 105.5 cm

款識：癸丑長夏，山左喻仲林寫於臺灣。

鈐印：喻鈢（白文）、仲林（朱文）、有意外趣（白文）

來源

直接得自藝術家家屬

展覽

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史博物

館，台北，展期 2012 年 1 月 14 日至 2012 年 2 月 28 日

圖錄

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史博物

館，台北，2012，頁 36-37

喻仲林的花鳥畫由工筆入寫意，在構圖與畫面佈局上更是

精心巧妙、虛實相映，喻氏畫花鳥注重主題的突出與顏色

的統一，《老鷹圖》一作以的雄鷹踞峙於奇松之上為主

題，單用墨色與濃淡的處理將圖面的畫意自然地突出。

畫面構圖左側中央出圖的松幹、延伸至右下盤迴的寫意松

枝佈局，展現了松樹巍然挺立的狀貌風神，喻氏畫松施墨

先以墨筆勾勒枝幹與窟櫛，枯筆皴擦之間可見其用筆勁

速、老辣猛烈之勢，松鱗則用濃墨填染、擦染，速疾走筆

的力道呈現出松樹倨傲天地之間的意趣；松針則並用馬

鬣、亂撒針法寫出，攢三聚五之間用筆虛實兼具，取出柔

中帶剛之質，運筆流暢盡顯松針茂密的體積感。喻氏以中

鋒用筆、層次堆染刷撇出鷹羽的豐厚感，細筆描勾頸羽、

冠羽，鷹喙鱗爪則用乾筆皴出，畫鷹眼頗帶八大山人畫中

「白眼朝天」的趣味，老鷹的體態雖斂羽蹲踞，但卻見傲

視八荒的雄心。喻仲林粗筆寫意的花鳥作品甚稀，此幅

《老鷹圖》單以墨施色畫成，用筆簡練精道更凸顯其一代

花鳥名家的風範。

Yu Chung-lin’s paintings were renowned for his exceptional

skills of incorporating both gongbi and expressive strokes.

The structure and composition of his paintings were carefully

constructed to reflect a realistic depiction in a harmonious

colour palette. This work features an eagle overlooking

the terrain on a pine tree, depicted through in black and

variations of tones.

A pine branch extended from the left to the right, completed

with expressive strokes, highlighting the majestic tree. The

outline was sketched while dry brush was swiftly applied,

forming a crooked aged branch. Dense ink was applied

through various strokes to create the texture of the old bark.

Pine needles were depicted in a scattered way in various

strokes to create volume of the dense vegetation. Central

brush was used to create layers of feathers of the bird. Fine

brush was used on the feathers of the neck and the head,

while dry brush strokes were applied on the beak and the

scaled claws. The eyes were painted with a touch of Bada

Shanren’s animals with rolling eyes, highlighting the perched

eagle observing the terrain with pride. This is a rare painting

of an eagle completed with expressive strokes in a single

colour theme, showing Yu as one of the greatest artists in the

flower-and-bird genre.

36

610

YU Chung-lin

(Taiwanese, 1925-1985)

Grey Plover in Water Plants and Tit

Chirping above Daisies

(A Set of Two)

(Below) 1982

Ink and colour on paper, framed; Ink and colour on silk,

framed

49 x 65 cm; 50.5 x 64 cm

Signed Chung-lin in Chinese

With five seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

\"Elegance and Grace: A Memorial Exhibition of Flower

and Bird Paintings by Yu Chung-Lin\", National Museum

of History, Taipei, 14 January, 2012 - 28 February, 2012

ILLUSTRATED

(Below) A Collection of Masterpieces by Yu Chung-Lin,

Crown Publishing Company, Taipei, 1985, p. 140

Elegance and Grace: A Commemorative Collection of

Flower and Bird Paintings by Yu Chung-Lin, National

Museum of History, Taipei, 2012, pp. 40-41, 152-153

NT$ 170,000 - 260,000

HK$ 44,000 - 68,000

US$ 5,600 - 8,600

RMB 39,000 - 59,000

喻仲林

水草鶺鴒及野菊圖（兩件一組）

（下）1982

水墨 設色 紙本 鏡框 ; 水墨 設色 絹本 鏡框

49 x 65 cm；50.5 x 64 cm

釋文：

（下）野菊荒苔各鑄錢，金黃銅綠兩爭妍。

天公支與窮詩客，只買清愁不買田。

款識：

（上）仲林。

（下）壬戊夏日，仲林畫。

鈐印：

（上）喻仲林（朱文）、清泉郡（白文）

（下）喻（白文）、仲林（朱文）、愚齋（朱文）

來源

直接得自藝術家家屬

展覽

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史

博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2

月 28 日

圖錄

（下）《喻仲林花鳥畫冊》，皇冠出版社，台北，

1985，頁 140

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史

博物館，台北，2012，頁 40-41、152-153

38

611

YU Chung-lin

(Taiwanese, 1925-1985)

Wagtail Flying over a Pond in Summer,

Scarlet Tanagers Perching on Moth

Orchids and Autumn Pond

(A Set of Three)

(Upper, Middle) 1982

Ink and colour on paper, framed; Ink and colour on silk,

framed

36 x 38 cm; 36.5 x 39 cm; 36.5 x 38.5 cm

Signed Chung-lin in Chinese

with three seals of the artist

PROVENANCE

Acquired directly from the artist's family

EXHIBITED

\"Elegance and Grace: A Memorial Exhibition of Flower

and Bird Paintings by Yu Chung-Lin\", National Museum of

History, Taipei, 14 January, 2012 - 28 February, 2012

ILLUSTRATED

(Upper, Below) A Collection of Masterpieces by Yu ChungLin, Crown Publishing Company, Taipei, 1985, pp. 44, 45

Elegance and Grace: A Commemorative Collection of

Flower and Bird Paintings by Yu Chung-Lin, National

Museum of History, Taipei, 2012, pp. 228, 229, 235

NT$ 60,000 - 120,000

HK$ 16,000 - 31,000

US$ 2,000 - 4,000

RMB 14,000 - 27,000

喻仲林

夏塘水禽、馬醉木及秋色（三件一組）

（上、中）1982

水墨 設色 紙本 鏡框 ; 水墨 設色 絹本 鏡框

36 x 38 cm；36.5 x 39 cm；36.5 x 38.5 cm

款識：

（上、下）仲林。

（中）仲林畫。

鈐印：

（上、下）喻仲林（朱文）

（中）喻（白文）

來源

直接得自藝術家家屬

展覽

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史

博物館，台北，展期 2012 年 1 月 14 日至 2012 年 2

月 28 日

圖錄

（上、下）《喻仲林花鳥畫冊》，皇冠出版社，台北，

1985，頁 44、45

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史

博物館，台北，2012，頁 228、229、235

40

612

TAI Jing-nong

(Taiwanese, 1902-1990)

Seals Carved by Tai Jing-nong

(A Set of Two)

6.5 x 1.5 x 1.5 cm; 5.7 x 1.2 x 1.2 cm

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

臺靜農

臺靜農刻《肖形印（鳳）》及《喻》

（兩件一組）

6.5 x 1.5 x 1.5 cm ; 5.7 x 1.2x 1.2 cm

邊款：

（左）靜農仿漢。

（右）靜農仿漢印。

印文與鈐印：

（左）肖形印（鳳）

（右）喻

來源

喻仲林家屬舊藏

613

TSENG Shao-chieh

(Taiwanese, 1910-1988)

Seals Carved by Tseng Shao-chieh

(A Set of Two)

(Left) 1975

6.8 x 1.7 x 1.7 cm; 7 x 1.7 x 1.7 cm

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

曾紹杰

曾紹杰刻《喻仲林》及《清泉郡》

（兩件一組）

（左）1975

6.8 x 1.7 x 1.7 cm ; 7 x 1.7 x 1.7 cm

邊款：

（左）乙卯中秋，曾紹杰。

（右）紹杰。

印文與鈐印：

（左）喻仲林

（右）清泉郡

來源

喻仲林家屬舊藏

42

614

TAI Jing-nong

(Taiwanese, 1902-1990)

Seals Carved by Tai Jing-nong

(A Set of Three)

5.7 x 1.3 x 1.3 cm; 5.6 x 1.3 x 1.3 cm; 5.7 x 1.2 x 1.2 cm

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

NT$ 30,000 - 60,000

HK$ 8,000 - 16,000

US$ 1,000 - 2,000

RMB 7,000 - 14,000

臺靜農

臺靜農刻《仲林所作》、《喻氏》及《仲林》

（三件一組）

5.7 x 1.3 x 1.3 cm ; 5.6 x 1.3 x 1.3 cm ; 5.7 x 1.2 x 1.2 cm

邊款：

（左）仲林兄屬製，靜農。

（中）靜農製。

（右）仲林兄教，靜農。

印文與鈐印：

（左）仲林所作

（中）喻氏

（右）仲林

來源

喻仲林家屬舊藏

615

WANG Bei-yue; TAO Shou-po

(Taiwanese, 1926 - 2006); (Taiwanese, 1902-1997)

Seals Carved by Wang Bei-yue and

Tao Shou-po (A Set of Three)

(Left) 1978; (Right) 1961

3.8 x 1 x 1 cm; 7 x 1.7 x 1.7 cm; 7 x 1.7 x 1.7 cm

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

EXHIBITED

(Middle, Right) \"Elegance and Grace: A Memorial

Exhibition of Flower and Bird Paintings by Yu Chung-Lin\",

National Museum of History, Taipei, 14 January, 2012 - 28

February, 2012

ILLUSTRATED

(Middle, Right) Elegance and Grace: A Commemorative

Collection of Flower and Bird Paintings by Yu Chung-Lin,

National Museum of History, Taipei, 2012, pp. 246, 247

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 700 - 1,300

RMB 5,000 - 9,000

王北岳；陶壽伯

王北岳刻《幽香》; 陶壽伯刻《仲林書畫》及

《麗水精舍》（三件一組）

（左）1978 ; （右）1961

3.8 x 1 x 1 cm ; 7 x 1.7 x 1.7 cm ; 7 x 1.7 x 1.7 cm

邊款：

（左）戊午十一月，北岳作小印。

（中）仲林吾兄之屬，壽伯。

（右）辛丑十二月，陶壽伯刻於臺北雲和草堂並記。

印文與鈐印：

（左）幽香

（中）仲林書畫

（右）麗水精舍

來源

喻仲林家屬舊藏

展覽

（中、右）「工緻典麗：喻仲林 88 花鳥畫紀念展」，

國立歷史博物館，台北，展期 2012

年

1

月 14 日至

2012

年

2

月 28

日

圖錄

（中、右）《工緻典麗：喻仲林 88 花鳥畫紀念集》，

國立歷史博物館，台北，2012，頁 246

、247

44

616

ZHANG Zhi-an

(Taiwanese, 1902-1991)

Seals Carved by Zhang Zhi-an

(A Set of Three)

2.2 x 2.8 x 1.5 cm; 3.8 x 2.5 x 2.5 cm; 4.7 x 3 x 1.7 cm

PROVENANCE

Former collection of Mr. Yu Chung-lin's family

EXHIBITED

\"Elegance and Grace: A Memorial Exhibition of Flower

and Bird Paintings by Yu Chung-Lin\", National Museum

of History, Taipei, 14 January, 2012 - 28 February, 2012

ILLUSTRATED

Elegance and Grace: A Commemorative Collection of

Flower and Bird Paintings by Yu Chung-Lin, National

Museum of History, Taipei, 2012, pp. 249, 253

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 700 - 1,300

RMB 5,000 - 9,000

張直厂

張直厂刻《香在無尋處》、《便一花一草報平安》

及《無限天機》（三件一組）

（中、右）壽山石 ; （左）巴林石

2.2 x 2.8 x 1.5 cm ; 3.8 x 2.5 x 2.5 cm ; 4.7 x 3 x 1.7 cm

邊款：

（左）香在無尋處，辛稼軒句。仲林兄屬，張直厂刻。

（中）直厂。

（右）直厂。

印文與鈐印：

（左）香在無尋處

（中）便一花一草報平安

（右）無限天機

來源

喻仲林家屬舊藏

展覽

「工緻典麗：喻仲林 88 花鳥畫紀念展」，國立歷史博物館，

台北，展期 2012

年

1

月 14 日至 2012

年

2

月 28

日

圖錄

《工緻典麗：喻仲林 88 花鳥畫紀念集》，國立歷史博物館，

台北，2012，頁 249

、253

617

FU Chuan-fu

(Taiwanese, 1910-2007)

Calligraphy in Running Script

Ink on gold-flecked paper, framed

36 x 43 cm

Signed Chuan-fu in Chinese

With three seals of the artist

NT$ 20,000 - 40,000

HK$ 5,000 - 10,000

US$ 700 - 1,300

RMB 5,000 - 9,000

傅狷夫

日新又新

水墨 灑金箋 鏡框

36 x 43 cm

釋文：日新又新。

款識：狷夫書於心香室。

鈐印：傅狷夫印（白文）、雪華邨人（朱文）、

復旦（朱文）

46

618

WU Shi-wei

(Taiwanese, b. 1957)

Chrysanthemums

2014

Ink and colour on paper, framed

35 x 38 cm

Signed WU Shi-wei in Chinese

With three seals of the artist

NT$ 30,000 - 60,000

HK$ 8,000 - 16,000

US$ 1,000 - 2,000

RMB 7,000 - 14,000

吳士偉

清景芳菊

2014

水墨 設色 紙本 鏡框

35 x 38 cm

釋文：清景芳菊。

款識：二Ｏ一四年二月，吳士偉畫。

鈐印：吳士偉（朱文）、千花百草（白文）、春常駐（朱文）

619

CHIANG Ming-shyan

(Taiwanese, b. 1942)

Plum Blossom

1986

Ink and colour on paper, framed

41 x 31 cm

Signed CHIANG Ming-shyan in Chinese

With three seals of the artist

PROVENANCE

Private collection, Asia

NT$ 30,000 - 60,000

HK$ 8,000 - 16,000

US$ 1,000 - 2,000

RMB 7,000 - 14,000

江明賢

梅花

1986

水墨 設色 紙本 鏡框

41 x 31 cm

釋文：盡日尋春不見春，芒鞋踏遍隴頭雲。歸來細拈梅花嗅，

春在枝頭已十分。

款識：丙寅二月並提玉霞禪師名句，江明賢。

鈐印：江氏（朱文）、明賢（白文）、益壽延年（白文）

來源

私人收藏，亞洲

48

620

PU Tzu

(Taiwanese, 1959-2013)

Calligraphy in Running Script

2004

Ink on paper, framed

44 x 32.5 cm

Signed PU Tzu in Chinese

With one seal of the artist

PROVENANCE

Private collection, Taipei

EXHIBITED

\"Art of Pu Tzu\", The Mayor's Residence Art Salon,

Taipei, 2004

NT$ 40,000 - 80,000

HK$ 10,000 - 21,000

US$ 1,300 - 2,700

RMB 9,000 - 18,000

卜茲

節臨憨山老人夢遊集

2004

水墨 紙本 鏡框

44 x 32.5 cm

釋文略

款識：甲申之春錄憨山五古夢玉人間說夢遊。卜茲於

老芒樹屋。

鈐印：卜茲主人（朱文）

來源

私人收藏，台北

展覽

「老芒．知了．長北九號」，台北市長官邸藝文沙龍，

台北，展期 2004 年

621

WU Ping

(Taiwanese, 1920-2019)

Lotus, Fish Swimming and

Peony (A Set of Three)

(Upper, Below) 2014

Ink on gold-coated paper, framed

24 x 33 cm (each)

Signed WU Ping in Chinese

With six seals of the artist

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

吳平

墨荷、優游及芭蕉牡丹（三件一組）

（上、下）2014

水墨 金宣紙 鏡框

24 x 33 cm（每件）

釋文：（中）優游。

款識：

（上）甲午，堪白吳平。

（中）堪白吳平。

（下）堪白吳平，甲午夏。

鈐印：吳平（白文）、堪白（朱文）

50

622

ZHOU Cheng

(Taiwanese, 1941-2022)

Hiking in Songni Mountain

Ink and colour on paper, framed

44 x 69 cm

Signed Chuan Bo in Chinese

With three seals of the artist

NT$ 50,000 - 100,000

HK$ 13,000 - 26,000

US$ 1,700 - 3,300

RMB 11,000 - 23,000

周澄

俗離山

水墨 設色 紙本 鏡框

44 x 69 cm

釋文：民國六十七年戊午暮春，訪韓侍孔博士伉儷，往清州大學，

由鐘復先生陪同，作俗離山之行，此地滿山蒼翠，沿清溪而上，有

幽徑通往法寺，寺分三進，崔峨莊嚴，院旁有大菩薩聳立，法相慈

祥。再往左行有巨石四五相砌而成，有一老樹從石隙中生出。不見

有根而枝葉茂盛甚奇，樹下石壁浮雕佛相，以誌佛心之印証也。歸

而記其大略。

款識：蓴波寫於俗離山旅次。

鈐印：周澄印信（白文）、蓴波（朱文）、不負山靈（朱文）註

「孔博士」即為孔秋泉，字祥銘。曾為國防部軍事新聞社社長、國

立政治大學教授、中國文化大學及淡江大學兼任副教授。