MODERN AND CONTEMPORARY ART

現當代藝術 HONG KONG 7 OCTOBER 2023

香港 2023 年 10 月 7 日

LOT 168

LOT 131

Acorns and Me

Painted in 2021

oil on canvas

60 cm. (23 1/2 in.) in diameter

titled in Japanese; signed and dated 'Tomoko Nagai

2021' (on the reverse)

PROVENANCE

Tomio Koyama gallery, Tokyo, Japan

Acquired from the above gallery by the current owner

橡子和我

2021 年作

油彩 畫布

款識：どんぐりとぼくTomoko Nagai 2021

（畫背）

來源

小山登美夫畫廊 東京 日本

現藏者購自上述畫廊

HK$ 50,000 - 80,000

US$ 6,400 - 10,200

101TOMOKO NAGAI (B. 1982)長井朋子

2 POLY AUCTION HONG KONG

Untitled

Executed in 2016

bronze and wood sculpture

21 x 10 x 5 cm. (8 1/2 x 4 x 2 1/2 in.)

signed and dated '2016 KATO'; signed in Japanese

(back of head)

PROVENANCE

Galerie Perrotin, Hong Kong, China

Private Collection, Japan

無題

2016 年作

銅 木 雕塑

款識：2016 KATO 泉（頭部背面）

來源

中國 香港 貝浩登畫廊

日本 私人收藏

IZUMI KATO 加藤泉(B. 1969)

102

HK$ 120,000 - 220,000

US$ 15,300 - 28,000

MODERN AND CONTEMPORARY ART 3

Untitled

Executed in 2016

aluminium and wood sculpture

21 x 10 x 6 cm. (8 1/2 x 4 x 2 in.)

signed and dated '2016 KATO'; signed in Japanese

(back of head)

PROVENANCE

Galerie Perrotin, Hong Kong, China

Private Collection, Japan

無題

2016 年作

鋁 木 雕塑

款識：2016 KATO 泉（頭部背面）

來源

中國 香港 貝浩登畫廊

日本 私人收藏

IZUMI KATO (B. 1969)

加藤泉

103

HK$ 120,000 - 220,000

US$ 15,300 - 28,000

4 POLY AUCTION HONG KONG

Untitled

Executed in 2017

fabric, leather, pastel and embroidery on paper and

canvas

61 x 16.7 cm. (24 x 6 1/2 in.)

dated and signed '2017 KATO' (lower left)

PROVENANCE

Galerie Perrotin, Hong Kong, China

Private Collection, Japan

EXHIBITED

China, Hong Kong, Galerie Perrotin, Izumi Kato, 19 January-6 March,

2018.

無題

2017 年作

布 皮革 粉彩 刺繡 紙本及畫布

款識：2017 KATO（左下）

來源

中國 香港 貝浩登畫廊

日本 私人收藏

展覽

2018年1月19日-3月6日「加藤泉」貝浩登畫廊 香港 中國

IZUMI KATO 加藤泉(B. 1969)

104

HK$ 140,000 - 240,000

US$ 17,800 - 30,600

MODERN AND CONTEMPORARY ART 5

COLOUR EVOLUTION IN CHINESE CONTEMPORARY ART 中國當代藝術的色彩演進

Dazzling

Painted in 2020

oil on canvas

60 x 45 cm. (23 1/2 x 17 1/2 in.)

dated '2020'; signed in Chinese (lower right)

PROVENANCE

MOU PROJECTS, Hong Kong, China

Acquired from the above by the present owner

EXHIBITED

China, Hong Kong, MOU PROJECTS, Day and Night, 6 January-6

February, 2021.

刺眼

2020 年作

油彩 畫布

款識：2020 譚永勍（右下）

來源

中國 香港 MOU PROJECTS

現藏者購自上述來源

展覽

2021年1月6日-2月6日「日與夜」MOU PROJECTS 香港

中國

TAN YONGQING 譚永勍(B. 1990)

105

HK$ 80,000 - 120,000

US$ 10,200 - 15,300

MODERN AND CONTEMPORARY ART 9

CONCEPTUAL DIFFERENCES BETWEEN WESTERN

CHROMATICS AND CHINESE TRADITIONAL

COLOURS

Western chromatics originated from Ancient

Greece and Rome’s classical cultures. Ancient Greek

philosopher Aristotle believed that the only primary

colours are black and white. Black represented

the absence of light, while white represented the

presence of light. Colours were seen as a mixture

that arose from the interplay between sunlight

and darkness, which were derived from the four

elements: air, water, earth, and fire.

The development of colour theory primarily occurred

within the realms of science, psychology, and

perceptual theories. Starting from the Renaissance

period, colour theory became recognized as an

important field of study in the Western world.

Leonardo da Vinci proposed a theory of six primary

colours, which included yellow, red, blue, green,

black, and white. Through this theory, he attempted

to deconstruct the relationship between light and

colour using scientific methods to gain a deeper

understanding of their essence. From Isaac Newton's

seven-colour spectrum to the development of

modern colour theory, the study of colours has

focused on optics and visual perception. Scholars

have classified colours into three primary colours: red,

green, and blue; secondary colours such as orange,

purple, and cyan; and tertiary colours, which are

created by mixing primary colours with their adjacent

secondary colours. This classification is based on the

optical properties of colours and emphasizes that

colour is a phenomenon of light.

In contrast to the Western tradition, the concept of

colours in traditional Chinese culture is deeply rooted

in cultural, philosophical, and naturalistic influences.

The Northern Song dynasty philosopher Li Gou

mentioned in his work An Abridged Introduction to

Yi Charts Volume I, “yang from heaven combines

with yin from earth to form the five elements.” This

statement highlights the belief that Yin-Yang and the

five elements of wood, fire, earth, metal and water

governs the changes and patterns of the universe

and all things within. In Ancient China, colours were

categorized as pure and secondary colors. Citing the

出宇宙萬物變化的規律，由五行

─木、火、土、金、水這五

黑是也。﹂這五色與五行和五方 如︽禮記．月令︾中所說：﹁五色為正，青、赤、黃、白、 種基本物質所構成。在中國古代，色彩被分為正色和間色，

─東、南、中、西、北相對

其文化和宗教意義， 有關。無論在哪種文化語境中，從色彩的科學和藝術特性到 的白色可能與純潔和無辜相關，而在中國，它與死亡和哀悼 中國，紅色更多地與好運、繁榮和喜慶相關。同樣地，西方 和價值觀。在西方，紅色可能代表愛情、激情或危險，但在 異，而這些差異正反映了兩種文化背景下不同的歷史、哲學 西方色彩學和中國傳統色彩觀念在許多方面都存在顯著差 間色使用的這麼廣泛。 上正色只是用在一些禮儀性的場合和正式場合，用途遠不如 非常生活化的顏色，比如民間的年華等幾乎全用間色。事實 生活相關的事物都能與五色對應。至於間色在中國古代卻是 遠遠不僅止於此，從星象、季節、五臟六腑、食物等等諸多 火和夏天相關，象徵著生命、熱情和活力。正色的廣泛運用 為是﹁天子﹂，是宇宙的中心。而赤色，或紅色，與南方、 應。例如，黃色代表土，與中國古代的皇帝相關，因為被認 色彩都是一種強大的表達工具，能夠引 起人們的情感和思考。

2.

10 POLY AUCTION HONG KONG

Book of Rites–Proceedings of Government in the

Different Months, “the five pure colours are blue,

red, yellow, white and black.” These five colours and

five elements correspond to the five directions─ East,

South, Center, West, and North. For example, yellow

represented earth and was associated with the ancient

Chinese emperor, who was regarded as the \"Son of

Heaven\" and the center of the universe. Alternatively,

red is associated with South, Fire, and summer-related

elements that symbolize vitality, passion, and energy.

Pure colours have a wide range of applications, hence

the five colours each correspond to many life events

such as astrology, seasons, internal organs, and food.

On the other hand, secondary colours were more

casual and frequently used in Ancient China. In fact,

the pure colours were only used at ceremonial or

formal occasions with more limited applications than

secondary colours.

The significant differences between Western study

of colours and Chinese traditional colour concepts

are exactly what reflect the distinct histories,

philosophies, and values of these two cultures. While

red may represent love, passion, or danger in the

West, it is often associated with good luck, prosperity,

and festivals in China. Similarly, white is associated

with purity and innocence in Western culture,

yet in China it is a symbol of death and mourning.

Regardless of the cultural context, colours are a

powerful tool of expression that evokes emotions

and ideas in viewers through chromatics, artistic

characteristics, and cultural, religious implications.

陽五行孕育 哲學中的陰 指出中國傳統 而生五行﹂， 出陰，陰陽合 ﹁天降陽，地 論一︾提到 定易圖序論． 家李覯在︽刪 響。北宋思想 自然觀念的影 文化、哲學和 觀念更深植於 國傳統的色彩 與此相對，中 象。 是光的一種現 上，強調色彩 的光學特性 色和其相鄰的二次色混合而成。這樣的分類方法建立在色彩 紅、綠、藍；二次色如橙、紫、青；以及三次色，這是由原 研究現著重於光學和視覺感知。學者們將色彩分為三原色： 本質。從牛頓的七色光譜到近代色彩理論的發展，色彩學的 嘗試用科學的方法去解構光和色彩之間的關係，進而理解其 論，透過黃、紅、藍、綠再加上黑、白共六種﹁簡單色﹂， 在西方就被視為一門重要的學問，達文西提出了六原色理 學、心理學和感知的理論上，從文藝復興時期開始，色彩學 自風、水、土、火這四大元素。色彩學的發展脈絡主要在科 光、白則有光，顏色是來自於日光和黑暗之間的混合，衍生 哲學家亞里斯多德認為主要的顏色就只有黑與白，黑即無 西方的色彩學源自於古希臘、古羅馬等古典文化，古希臘 西方色彩學與中國傳統色彩觀念的差異性

1.色彩理論

Colour theory

2.五行與顏色對照

The Five Elements and its Colour

Correspondence

3.色彩線性系統發展理論

Development of Colour Linear

Systems

1.

3.

MODERN AND CONTEMPORARY ART 11

Karl

Painted in 2019

oil on canvas

80 x 70 cm. (31 1/2 x 27 1/2 in.)

titled, dated and signed 'Karl 2019 Du Jingze' (on the

reverse)

PROVENANCE

Acquired directly from the artist by the present owner

卡爾

2019 年作

油彩 畫布

款識：Karl 2019 Du Jingze（畫背）

來源

現藏者直接購自於藝術家

DU JINGZE (B. 1995)

杜京澤

106

HK$ 30,000 - 70,000

US$ 3,800 - 8,900

12 POLY AUCTION HONG KONG

A Revisit at 2 Bis Rue Perrel (1); & A

Revisit at 2 Bis Rue Perrel

Painted in 2021

two acrylic on canvas

133 x 69 cm. (52 1/4 x 27 1/4 in.); & 134 x 107 cm.

(52 3/4 x 42 1/4 in.)

1. A Revisit at 2 Bis Rue Perrel (1): signed and dated 'CAI

ZEBIN 2021' (side of the canvas); signed, titled and

inscribed in Chinese; inscribed and dated '133.5 x 69

x 4.5 cm 2021' (on the reverse)

2. A Revisit at 2 Bis Rue Perrel: signed and dated 'CAI

ZEBIN 2021' (side of the canvas); signed, titled and

inscribed in Chinese; inscribed and dated '133.5 x

107 x 4.5 cm 2021' (on the reverse)

PROVENANCE

L21 Gallery, Mallorca, Spain

Acquired from the above by the present owner

EXHIBITED

China, Shenzhen, University Arts Centre of The Chinese University of

Hong Kong, Shenzhen, From rue Perrel to Southern Gothic-Cai Zebin

Solo Exhibition, 26 August-8 October,2022.

舊地重遊佩雷爾街二號（1）；及舊地重遊佩雷

爾街二號

2021 年作

壓克力 畫布（共兩件）

款識：

1.《舊地重遊佩雷爾街二號（1）》：CAI ZEBIN

2021（畫布側邊）；蔡澤濱 舊地重遊佩雷爾街

二號（1）133.5 x 69 x 4.5 cm 布面丙烯 2021

（畫背）

2.《舊地重遊佩雷爾街二號》：CAI ZEBIN 2021

（畫布側邊）；蔡澤濱 舊地重遊佩雷爾街二號

133.5 x 107 x 4.5 cm 布面丙烯 2021（畫背）

來源

西班牙 馬洛卡 L21畫廊

現藏者購自上述來源

展覽

2022年8月26日-10月8日「從佩雷爾街到南方哥特—蔡澤濱

個展」 香港中文大學（深圳）大學藝術中心 深圳 中國

CAI ZEBIN 蔡澤濱(B. 1988)

107

HK$ 120,000 - 200,000

US$ 15,300 - 25,500

MODERN AND CONTEMPORARY ART 13

Firefly

Painted in 2009

oil on canvas

80 cm. (31 1/2 in.) in diameter

signed in Chinese; signed and dated 'li ji kai 09'' (lower

right); titled, inscribed and dated in Chinese; inscribed,

signed and dated '82.5 cm li ji kai 2009' (on the

reverse)

PROVENANCE

Beijing ChengXuan, 22 May 2011, Lot 826

Acquired from the above sale by the present owner

This work is to be sold with a certificate of authenticity signed by the

artist, issued by Dialogue Space Gallery, Beijing, China.

螢火蟲

2009 年作

油彩 畫布

款識：李繼開 li ji kai 09'（右下）；李繼開 直

徑：82.5 cm 李繼開 li ji kai 2009年（畫背）

來源

北京 誠軒 2011年5月22日 編號826

現藏者購自上述拍賣

附中國 北京 對畫空間畫廊開立之藝術家親簽原作保證書

LI JIKAI (B. 1975)

李繼開

108

HK$ 60,000 - 100,000

US$ 7,600 - 12,700

14 POLY AUCTION HONG KONG

Central Plaza and The Center; & HSBC,

Standard Chartered and Old Bank of

China

Painted in 2016

two Chinese ink colour and gouache on papers

each: 30 cm. (12 in.) in diameter

1. Central Plaza and The Center: signed and dated

'Wilson Shieh 2016'; signed in Chinese (lower left)

2. HSBC, Standard Chartered and Old Bank of China:

signed and dated 'Wilson Shieh 2016'; signed in

Chinese (lower right)

LITERATURE

Architecture Costume - Gongbi Figure Painting by Wilson Shieh, Wilson

Shieh Studio, Hong Kong, China, 2018 (illustrated, pp. 6-7).

This work is to be sold with a certificate of authenticity signed by the

artist, issued by Wilson Shieh Studio, Hong Kong, China.

中環廣場，中環中心；及匯豐銀行，渣打銀行，

舊中國銀行

2016 年作

水墨 設色 水粉 紙本（共兩件）

款識：

《中環廣場，中環中心》：Wilson Shieh 石家豪

2016（左下）

《匯豐銀行，渣打銀行，舊中國銀行》：Wilson

Shieh 石家豪 2016（右下）

出版

《稱身大廈－石家豪的工筆人物畫》石家豪工作室 香港 中國

2018年（圖版，第6-7頁）

附中國 香港 石家豪工作室開立之藝術家親簽原作保證書

WILSON SHIEH 石家豪(B. 1970)

109

HK$ 40,000 - 80,000

US$ 5,100 - 10,200

MODERN AND CONTEMPORARY ART 15

Parallel World

Painted in 2019

oil on canvas

100 x 100 cm. (39 1/2 x 39 1/2 in.)

signed 'ZK' (upper centre)

PROVENANCE

Hwas Gallery, Shanghai, China

Acquired from the above by the present owner

EXHIBITED

China, Shanghai, Hwas Gallery, Zhang Kai: The Tender Ruins, 25

September-25 October, 2021.

平行世界

2019 年作

油彩 畫布

款識：ZK（中上）

來源

中國 上海 華氏畫廊

現藏者購自上述來源

展覽

2021年9月25日-10月25日「張凱：溫暖的遺跡」華氏畫廊

上海 中國

ZHANG KAI (B. 1985)

張凱

110

HK$ 350,000 - 500,000

US$ 44,600 - 63,700

16 POLY AUCTION HONG KONG

Between Rising And Falling

Painted in 2008

oil on canvas

150.5 x 200 cm. (59 1/2 x 78 1/2 in.)

titled and inscribed in Chinese; inscribed and dated

'200 x 150 cm 2008' (on the reverse)

PROVENANCE

Beijing Yongle, 3 December 2021, Lot 2162

Acquired from the above by the present owner

EXHIBITED

China, Beijing, Summit Art Space Beijing, This is Not an Oasis, 5-29

September, 2009.

沉浮的落差

2008 年作

油彩 畫布

款識：《沉浮的落差》200 x 150 cm 布面油畫

2008年（畫背）

來源

永樂 北京 2021年12月3日 編號 2162

現藏者購自上述拍賣

展覽

2009年9月5-29日「那不是綠洲」視．巔峰藝術空間 北京 中國

ZHANG YINGNAN 張英楠(B. 1981)

111

HK$ 300,000 - 500,000

US$ 38,200 - 63,700

MODERN AND CONTEMPORARY ART 17

Bucket II

Painted in 2010

oil on canvas

150 x 150 cm. (59 x 59 in.)

signed in Chinese; signed and dated '2010 Songyige'

(lower right)

PROVENANCE

Art Mia Gallery, Beijing, China

Sotheby’s Hong Kong, 10 October 2021, Lot 546

Acquired from the above sale by the present owner

EXHIBITED

China, Beijing, Art Mia Foundation, SONG YIGE PAINTINGS, 16

October-16 December, 2010.

桶子二

2010 年作

油彩 畫布

款識：宋易格 2010 Songyige（右下）

來源

中國 北京 藝美基金會畫廊空間

蘇富比 2021年10月10日 編號546

現藏者購自上述拍賣

展覽

2010年10月16日-12月16日「'易格’─宋易格作品展」藝美

基金會畫廊空間 北京 中國

SONG YIGE (B. 1980)

宋易格

112

HK$ 100,000 - 200,000

US$ 12,700 - 25,500

18 POLY AUCTION HONG KONG

Building of Blue Glass

Painted in 2014

oil on canvas

150 x 200 cm. (59 x 78 3/4 in.)

signed in Chinese; signed and dated 'cuijie 2014,' (on

the reverse)

PROVENANCE

Private Collection, Asia

Cuppar Auction Shanghai, 13 November 2021, Lot 53

Acquired from the above sale by the present owner

藍玻璃大廈

2014 年作

油彩 畫布

款識：崔洁 cuijie 2014,（畫背）

來源

亞洲 私人收藏

開拍國際 上海 2021年11月13日 編號 53

現藏者購自上述拍賣

CUI JIE 崔洁(B. 1983)

113

HK$ 600,000 - 1,000,000

US$ 76,400 - 127,400

MODERN AND CONTEMPORARY ART 19

COLOUR APPLICATION AND EXPLORATION IN

WESTERN ART

Colour serves as an essential for expressing emotions

and moods in contemporary art, it was much less

important than painting styles before the 19th

century. Back then, painting styles must incorporate

perspective and anatomical techniques, while colours

were either chosen to express the ideology of an

artwork or for symbolic purposes and economic

considerations only. Since the choice of colours were

not a top priority, they had always been considered

as a “secondary characteristic.” In reference to the

Theory of Colours by scientist Johann Wolfgang von

Goethe in the 19th century, “The combination of light,

shadows, and colours enables us to identify objects.

We use these three elements—light, shadows, and

colours to construct the visible world and create

paintings.” For this reason, artists began to focus on

the principles of colour combinations, in order to

create stronger visual effects through the science of

complementary, split complementary, and analogous

colour schemes. By offering a systematic approach for

artists to choose and combine colours based on visual

and emotional effects, these colour schemes have

become an important turning point in the history of

paintings.

Around 1830, the Barbizon school emerged,

utilizing color to depict the fleeting impressions

of light and shadow in nature. They considered

precise analysis and the pursuit of expressiveness

as their goals in order to achieve a more realistic

representation. Since 1841, painters could

purchase metal paint tubes based on their

needs. These paint tubes were easier to carry

than compared to previous packages. \"Without

paint tubes, there would be no Impressionism,\"

proclaimed Pierre-Auguste Renoir. At that time,

painters advocated for plein air painting, directly

capturing outdoor observations, and transforming

them into colour. This was previously impossible

and had a profound impact on the late 19th

century Impressionist movement.

Vincent van Gogh once expressed, “Colour has to

do the job here…looking at the painting should rest

the mind, or rather, the imagination.” In the wake of 梵谷說過：﹁顏色必須在這裡發揮作用 能發生的事情，對十九世紀後期的印象派產生了深遠影響。 到戶外寫生，將戶外觀察到的景色轉化為色彩，這是以前不可 ……看著這幅畫應該

豐富了藝術的層次和深度。 的雕塑作品，色彩與材質、空間和觀眾的互動結合，進一步 結合，成為藝術表達的多重元素之一。像是安尼施．卡普爾 代藝術的領域後，色彩開始與其他元素如材料、形狀和空間 體現了利用色彩達到心靈的深處的嶄新對話模式。在進入當 間的相對性，使顏色成為表達情感和內在經驗的主要工具， 主義等流派充分展現了色彩的創新運用，深入探討了色彩之 術在色彩運用上取得了革命性的突破，抽象表現主義、極簡 塊表達了藝術家的內在情感和對世界的看法。戰後的西方藝 要組成部分，如馬克．羅斯科的色域繪畫，大面積的色彩區 限於寫實的表述。特別在抽象藝術中，色彩成為了畫面的主 家如畢加索和馬蒂斯開始用色彩來表達自己的情感，不再受 到來，色彩在西方藝術中的地位進一步提升。現代主義藝術 會讓人感受到心靈、或是想像力的沉澱。﹂隨著二十世紀的

2.

20 POLY AUCTION HONG KONG

the 20th century, colours became more important

in Western art as modernists like Pablo Picasso

and Henri Matisse began to express emotions

through colours rather than realistic illustrations. In

particular, colours became the main composition

of abstract art—such as Mark Rothko’s use of large

colour blocks in his colour field paintings to express

inner emotions and world views. Western art made

revolutionary breakthroughs in colour applications

after the war, when the schools of Abstract

Impressionism and Minimalism fully demonstrated

innovative colour applications and explored the

relative hierarchy of colours. By doing so, colours

became a primary tool for expressing emotions

and inner experiences in a way that strikes and

interacts with viewers directly. In contemporary

art, colours have started to combine with other

elements such as materials, shapes, and spaces to

enhance the diversity of artistic expressions. Taking

Anish Kapoor’s sculptures as an example, the artist

combines colour, material, space, and interaction

with the viewer to further enrich the layers and

depths of art.

讓我們得以辨認每個物體。我們以這三個元素 在︽論色彩學︾中提出：﹁正是光線、陰影和色彩的結合， ﹁次要的特性﹂。十九世紀初，科學家約翰．沃夫岡．歌德 由於不是首要的先決條件，所以色彩一向都被視作為一種 表意再進而去作選擇，有時為了符號象徵，又或經濟考量。 式必須首先遵循透視學和解剖學的定理，顏色則是為了作品 具。但在十九世紀以前，繪畫的形式往往遠重要過色彩，形 在近代藝術中，色彩是表達情感和氛圍的一個極為重要的工 西方藝術中的色彩運用和探索─光線、陰影

約莫 成為繪畫歷史進程的一個重要的轉折點。 式，使藝術家能夠根據視覺和情感效果來選擇和組合色彩， 法、類比配色法等。這些配色方法提供了一種系統性的方 視覺張力的效果，例如使用互補色配色法、分裂互補配色 此，藝術家開始考量配色的原理，用科學的方式去呈現更具 和色彩，來建構可見的世界，並且創作了繪畫。﹂正因如 1830年，巴比松 的表達。從 目標，以達到更真實 力的追求視為他們的 將精確的分析跟表現 息萬變的光影印象， 色彩去描繪自然中瞬 畫派興起，他們運用 1841年開 時的畫家們主張直接 諾瓦便如此宣稱。彼 就沒有印象派﹂，雷 帶。﹁沒有顏料管， 式的容器都更易於攜 些顏料比以前任何形 屬軟管中的顏料，這 己的需求購買裝在金 始，畫家可以根據自

1.

1.5大顏色配色技巧

Five Colour Matching Techniques

2 .馬克．羅斯科《N o . 5 /N o .

22》1950年作 美國 紐約 現代

藝術博物館藏

Mark Rothko, No. 5/No. 22,

1950, Collection of Museum of

Modern Art, New York, USA

3.亨利．馬蒂斯《綠色條紋的

馬諦斯夫人》1905年作 丹麥

哥本哈根 丹麥國立美術館藏

Henri Matisse, Portrait of

Madame Matisse. The Green

Line, 1905, Collection of Statens

Museum for Kunst, Copenhagen,

Denmark

3.

MODERN AND CONTEMPORARY ART 21

P4

Painted in 2018

acrylic on canvas

200.2 x 300.5 cm. (79 x 118 1/2 in.)

titled, inscribed, signed and dated 'P4 200 x 300 cm

Gao Ludi 2018'; inscribed in Chinese (on the reverse)

PROVENANCE

WHITE SPACE, Beijing, China

Acquired from the above by the present owner

EXHIBITED

China, Beijing, WHITE SPACE, Juicy, 28 August-18 October, 2018.

2018 年作

壓克力 畫布

款識：P4 布面丙烯 200 x 300 cm Gao Ludi

2018（畫背）

來源

中國 北京 空白空間

現藏者購自上述來源

展覽

2018年8月28日-10月18日「果實」空白空間 北京 中國

GAO LUDI (B. 1990)

高露迪

114

HK$ 400,000 - 600,000

US$ 51,000 - 76,400

22 POLY AUCTION HONG KONG

A Clean Swim

Painted in 2021

acrylic on canvas

60 x 45 cm. (23 1/2 x 17 1/2 in.)

signed and dated 'YuanFang 2020' (on the reverse)

PROVENANCE

Hive Center for Contemporary Art, Beijing, China

Acquired from the above by the present owner

一次清白的泳

2021 年作

壓克力 畫布

款識：YuanFang 2020（畫背）

來源

中國 北京 蜂巢當代藝術中心

現藏者購自上述來源

115

HK$ 50,000 - 80,000

US$ 6,400 - 10,200 YUAN FANG 方媛(B. 1996)

MODERN AND CONTEMPORARY ART 23

Manhattan Bridge Plaza

Painted in 2020

acrylic on canvas

60 x 60 cm. (23 1/2 x 23 1/2 in.)

signed and dated 'YuanFang 2020' (on the reverse)

PROVENANCE

Hive Center for Contemporary art, Beijing, China

Acquired from the above by the present owner

曼哈頓大橋廣場

2020 年作

壓克力 畫布

款識：YuanFang 2020（畫背）

來源

中國 北京 蜂巢當代藝術中心

現藏者購自上述來源

116

HK$ 60,000 - 80,000

US$ 7,600 - 10,200 YUAN FANG (B. 1996)方媛

24 POLY AUCTION HONG KONG

The Little Girl Who's Wearing a Plaid Shirt

Painted in 2015

ink and colour on paper

70 x 70 cm. (27 1/2 x 27 1/2 in.)

signed in Chinese (upper left)

one seal of the artist

PROVENANCE

Line Gallery, Beijing, China

Acquired from the above by the present owner

LITERATURE

Inking for Excellence: Liu Tianlian, Line Gallery, Beijing, China, 2017

(illustrated, p. 99).

This work is to be sold with a certificate of authenticity signed by the

artist, issued by Line Gallery, Beijing, China.

穿格子衫的小女孩

2015 年作

水墨 設色 紙本

款識：劉天怜（左上）

鈐印：劉印

來源

中國 北京 玉蘭堂

現藏者購自上述來源

出版

《絺章繪事：劉天怜》玉蘭堂 北京 中國 2017年（圖版，第

99頁）

附中國 北京 玉蘭堂開立之藝術家親簽原作保證書

LIU TIANLIAN 劉天怜(B. 1987)

117

HK$ 30,000 - 50,000

US$ 3,800 - 6,400

MODERN AND CONTEMPORARY ART 25

By the River

Executed in 2010

ink and collage on paper

118 x 88 cm. (46 1/2 x34 1/2 in.)

signed in Chinese; dated '2010' (lower right)

PROVENANCE

Private Collection, Asia

Council Beijing, 4 December 2017, Lot 3899

Acquired from the above sale by the present owner

常在水邊

2010 年作

水墨 拼貼 紙本

款識：梁銓 2010（右下）

來源

亞洲 私人收藏

匡時 北京 2017年12月4日 編號 3899

現藏者購自上述拍賣

LIANG QUAN (B. 1948)

梁銓

118

HK$ 120,000 - 220,000

US$ 15,300 - 28,000

26 POLY AUCTION HONG KONG

You (Illuminator No.2)

Painted in 2013

watercolour and mixed media on paper

77 x 111.5 cm. (30 1/2 x 44 in.)

signed and dated 'MQS 2013' (lower right)

PROVENANCE

Beijing Commue, Beijing, China

Private Collection, Asia

Acquired from the above by the present owner

EXHIBITED

China, Beijing, Beijing Commune, Ma Qiusha: Works on Paper, 3 April24 May, 2014.

你（自發光體 No. 2）

2013 年作

水彩 綜合媒材 紙本

款識：MQS 2013（右下）

來源

中國 北京 北京公社

亞洲 私人收藏

現藏者購自上述來源

展覽

2014年4月3日-5月24日「馬秋莎：紙上作品」北京公社 北京

中國

119

HK$ 80,000 - 150,000

US$ 10,200 - 19,100 MA QIUSHA 馬秋莎(B. 1982)

MODERN AND CONTEMPORARY ART 27

LEGACY AND TRANSFORMATION: COLOUR

BREAKTHROUGHS IN CHINESE CONTEMPORARY

ART

Unlike the colour revolution in Western art,

traditional Chinese art places greater emphasis on

brushwork, lines, and forms. Especially in ancient

literati painting, colours are more subdued and

harmonious. Painters often use ink to depict

objects rather than employing a wide range of

colours. In this art form, black and white not only

represent colours but also symbolize philosophical

concepts such as yin and yang, stillness and

movement. Furthermore, the concept of colour in

China is related to the Five Elements, and its use

differs fundamentally from the Western primary

colour system, reflecting different notions of the

universe, nature, and humanity in Ancient China.

These differences not only reflect the cultural

characteristics of the East and West but also

provide an opportunity for us to engage in deeper

contemplation of art and culture.

Given that there has been an increase of cultural

exchanges with the West, Chinese artists also

started finding new colour expressions. However,

even so, they are still influenced by traditional

concepts of colour and seek integration and

dialogue with Western colour theory in their

works. Since the late 1970s, dramatic changes have

occurred in Chinese society, culture, and politics.

Under the policy of opening up and reform, China

has embraced globalization, and rapid economic

development has been accompanied by cultural

diversification. Against this backdrop, Chinese

artists began to search for their own artistic

language, attempting to inherit tradition while

incorporating an international perspective and

style.

Since Chinese artists have the tendency to

express implicit content through colours, the

colours in their works often contain more

metaphors and symbols for the underlying

entities. However, young artists born after the

1970s have made significant breakthroughs in

chromatics. The trends of globalization not only

brought new perspectives and opportunities 始嘗試使用數字技術，如數字繪畫、 式、技巧和材料上進行各種實驗。例如，許多年輕藝術家開 議題的反思和評論。他們不僅在色彩上有所創新，還在形 搭配，往往隱含著藝術家對當代社會現象、個人情感和全球 的紅、黃、粉、紫等現代感強烈的色調。這些色彩的選擇和 畫作中不再僅僅是傳統的綠、藍、赭、白等色彩，更有濃烈 許多中國年輕當代藝術家開始大膽探索色彩的極限。他們的 色彩運用上更加大膽和多元，不再受限於單一的文化背景。 化，並從中受到各種文化和藝術風格的啟發，這使得他們在 展現色彩的多樣性和變化。他們在藝術創作中融合了多重文 於傳統的色彩框架，他們大膽嘗試、深入研究，並在作品中 也將西方的色彩觀念和技術帶回中國。這些藝術家不再受限 際視野和包容性。部份經歷了國外的藝術教育和藝術環境， 年輕藝術家帶來了新的視角和機會，也使他們的作品更具國 們在色彩學上有著明顯的突破性成就，全球化的趨勢為這些 3D列印等，來創作出前代藝術的代表和先鋒。 所未有的藝術作品，他們勇於嘗試、自由表達，成為中國當

2.

28 POLY AUCTION HONG KONG

to these young artists, but also broadened their vision

to think more inclusively. Some artists brought Western

colour concepts and techniques back to China from their

art education and experiences abroad. Having broken free

from traditional colour frameworks, these artists boldly

experiment with colours and demonstrate such diversity and

variations in their works. The integration of artistic creations

and cultural diversity have inspired artists to apply colours

boldly, regardless of their cultural backgrounds.

Many young Chinese contemporary artists began to explore

the limits of colours. Their paintings no longer feature

traditional colours like green, blue, ochre, white, but contain

strong and modern colour tones like red, yellow, pink, and

violet. These colour choices and combinations often implied

the artists’ reflections and opinions on contemporary social

phenomena, personal emotions, as well as global issues.

In addition to colour innovations, many young artists also

experiment with art styles, techniques, and materials

through digital technology such as digital painting and 3D

printing. Through their courage to try and freely express

themselves, these artists create artworks in completely

new ways as they go on to become the representatives and

pioneers of Chinese contemporary art.

1970 念的影響，並在作品中尋求與西方色彩學的結合與對話。自 新的色彩表達方式。但即使如此，他們仍然受到傳統色彩觀 在近代，隨著與西方的文化交流，中國的藝術家也開始尋求 對藝術和文化進行更深入的思考的契機。 念。這些差異不僅反映了東西方的文化特性，也提供了我們 本質的不同，反映了中國古代對於宇宙、自然和人的不同觀 與五行相關，這種色彩的使用方式與西方的三原色系統有著 徵著陰與陽、靜與動等哲學觀念。此外，中國的色彩觀念 彩。在這種藝術形式中，黑與白不僅僅代表顏色，它們還象 重和諧，畫家通常用墨色來描繪景物，而不是使用豐富的色 線條和形式。尤其在古代的文人畫中，色彩上較為內斂、注 與西方藝術的色彩變革不同，中國傳統藝術更加重視筆觸、 傳承與變革：中國當代藝術的色彩突破 年代末，中國社會、文化和政治環境發生了劇烈變革。 的精神特質。但對於 說，這說明色彩背後有更多的隱喻性、象徵性，指向其背後 中國的色彩從來都是把不便說、不能說的事情用色代為言 的視野和風格。 始尋找自己的藝術語言，試圖在繼承傳統的同時，融入國際 展伴隨著文化的多元化。在這樣的背景下，中國藝術家們開 開放和改革政策下，中國融入全球化的浪潮，經濟的高速發 70年代以降出生的年輕藝術家來說，他

1.

1.郭熙《早春圖》北宋 台灣 台

北 國立故宮博物院藏

Guo Xi, Early Spring, Northern

Song, Collection of National

Palace Museum, Taipei, Taiwan

2 . 名和晃平《晶體—白鹿

（MB）》2020年作

Kohei Nawa, Particle-White Deer

(MB), 2020

3.張大千《桃源圖》1982年作

中國 上海 龍美術館藏

Zhang Daqian, Peach Blossom

Spring, 1982, Collection of Long

Museum, Shanghai, China

3.

MODERN AND CONTEMPORARY ART 29

Constellation

Painted in 2017

oil on canvas

250 x 200 cm. (98 1/2 x 78 1/2 in.)

signed in Chinese; dated '2017.' (on the reverse)

PROVENANCE

Beijing Commue, Beijing, China

Private Collection, Asia

Acquired from the above by the present owner

星空

2017 年作

油彩 畫布

款識：趙趙 2017.（畫背）

來源

中國 北京 北京公社

亞洲 私人收藏

現藏者購自上述來源

ZHAO ZHAO (B. 1982)

趙趙

120

HK$ 360,000 - 460,000

US$ 45,900 - 58,600

30 POLY AUCTION HONG KONG

Sky No.2

Painted in 2015

acrylic on canvas

150 x 150 cm. (59 x 59 in.)

signed in Chinese; dated '2015.' (on the reverse)

PROVENANCE

Tang Contemporary Art, China

Acquired from the above by the present owner

天空 第2號

2015 年作

壓克力 畫布

款識：趙趙 2015.（畫背）

來源

中國 當代唐人藝術中心

現藏者購自上述來源

ZHAO ZHAO 趙趙(B. 1982)

121

HK$ 250,000 - 450,000

US$ 31,800 - 57,300

MODERN AND CONTEMPORARY ART 31

王光樂 | 120403

WANG GUANGLE | 120403

120403

Painted in 2012

acrylic on canvas

280 x 180 cm. (110 x 71 in.)

PROVENANCE

Pace Gallery, New York, USA

Private Collection, USA

Private Collection, Asia

EXHIBITED

USA, New York, Pace Gallery, Wang Guangle, 22 June-17 August,

2012.

USA, Costa Mesa, Orange County Museum of Art, California-Pacific

Triennial, 30 June-22 September, 2013.

2012 年作

壓克力 畫布

來源

美國 紐約 佩斯畫廊

美國 私人收藏

亞洲 私人收藏

展覽

2012年6月22日-8月17日「王光樂」佩斯畫廊 紐約 美國

2013年6月30日-9月22日「加州太平洋三年展」橙縣藝術博

物館 科斯塔梅薩 美國

WANG GUANGLE 王光樂(B. 1976)

122

HK$ 2,200,000 - 3,200,000

US$ 280,300 - 407,600

MODERN AND CONTEMPORARY ART 33

黃宇興 | 河流

HUANG YUXING | River

River

Painted in 2012-2013

acrylic on canvas

152 x 300 cm. (59 3/4 x 118 in.)

signed and dated 'HUANG YUXING 2012-2013' (on

the reverse)

PROVENANCE

Private Collection, Asia

河流

2012-2013 年作

壓克力 畫布

款識：HUANG YUXING 2012-2013（畫背）

來源

亞洲 私人收藏

HUANG YUXING 黃宇興(B. 1975)

123

HK$ 2,200,000 - 3,200,000

US$ 280,300 - 407,600

MODERN AND CONTEMPORARY ART 35

Sunsets on the Outskirts of Cairo

Painted in 2012

acrylic on canvas

85 x 85.4 cm. (33 1/2 x 33 1/2 in.)

signed and dated 'HUANG.YUXING 12' (on the reverse)

PROVENANCE

Private Collection, Asia

開羅郊區的夕陽

2012 年作

壓克力 畫布

款識：HUANG.YUXING 12（畫背）

來源

亞洲 私人收藏

HUANG YUXING (B. 1975)

黃宇興

124

HK$ 400,000 - 800,000

US$ 51,000 - 101,900

36 POLY AUCTION HONG KONG

FACE III

Painted in 2012

acrylic on canvas

90 x 60 cm. (35 1/2 x 23 1/2 in.)

titled, inscribed and dated '《Face III》90 x 60 cm

2012''; inscribed and signed in Chinese (on the

reverse)

PROVENANCE

Michael Ku Gallery, Taipei, Taiwan

Acquired from the above by the present owner

EXHIBITED

Taiwan, Taipei, Michael Ku Gallery, PORTRAIT, 16 September-28

October, 2012.

LITERATURE

PORTRAIT, Michael Ku Gallery, Taipei, Taiwan, 2012 (illustrated, p.

65).

PORTRAIT, Michael Ku Gallery, Taipei, Taiwan, 2013 (illustrated,

unpaginated).

This work is to be sold with a certificate of authenticity signed by the

artist, issued by Michael Ku Gallery, Taipei, Taiwan.

2012 年作

壓克力 畫布

款識：《Face III》90 x 60 cm. 布面丙烯 韋嘉

2012'（畫背）

來源

台灣 台北 谷公館

現藏者購自上述來源

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，第65頁）

《PORTRAIT》谷公館 台北 台灣 2013年（圖版，無頁碼）

附台灣 台北 谷公館開立之藝術家親簽原作保證書

WEI JIA 韋嘉(B. 1975)

125

HK$ 280,000 - 480,000

US$ 35,700 - 61,100

MODERN AND CONTEMPORARY ART 37

COLOR EVOLUTION IN CHINESE CONTEMPORARY ART

(1961-1970): TURBULENT PRIMARY COLORS

The development of Chinese contemporary art has taken a

leap from traditional styles to modern times. Born between

1961-1970, artists like Zhao Gang, Liu Wei, Zhang Enli, Wang

Xingwei, and Xie Nanxing experienced social unrest in their

youth during their development of personal beliefs. However,

they still tried to explore and reconstruct the values and

identities of Chinese culture. Influenced by German Neoexpressionism, this period of artists mostly focused on primary

colour expressions. They tended to use vividly strong colours

to express radical emotions, which reflect the aesthetics of

powerful tensions in the image.

In Imperial Collection No. 14 (Lot 139), Zhao Gang imitated

classical Chinese paintings and calligraphy to express the

conflicts between memories from youth and realities of

adulthood. He used two sets of complementary tetradic

colours–red and green, yellow and violet—to balance the

high colour saturations. On the other hand, You Like Me,

Why Not Series No. 4 (Lot 128) created by Liu Wei reminds

viewers of cynical realists’ ideology: criticizing the corrupt

social environment in reality and depicting such criticism

through the protagonist’s blood and flesh; using the eyecatching qualities of red to evoke strong emotions in viewers.

In Old Butcher 5 (Lot 131), Zhang Enli objectively portrayed

violence by matching a peaceful image with wild passion.

This presents viewers with an unsettling social image that

highlights human complexity. Other than black and white,

Zhang used a colour extraction method to adjust the warm

red to orange through analogous colour schemes, creating a

more harmonious visual aesthetic. In Untitled (Small Begging)

(Lot 126), Wang Xingwei used monochromatic yellow to

illustrate a city’s coldness and cruelty. The contrast between

the catchy “advertising” light box and giver/beggar in the front

displays a sense of black humor. By varying the shades, tones,

and gradients of a monochromatic colour, the artist used eyecatching colours to add a hint of fun to the image composition.

In Triangle Relations Gradually Changing No. 4 (Lot 134), Xie

Nanxing used random brush strokes from oil paints soaking to

the bottom canvas layer to produce a hazy imagery between

figurative and abstract illustrations. The milky white bottom

layer has stains of blue spots and ocher red and pink outlines.

With yellow marks scattering at the bottom, the painting

demonstrates a triadic colour scheme whereby a primary

colour tone is matched with two complementary colours to

create a sense of layers.

逐漸移動 目，也為作品的構圖增添了許多趣味；謝南星的︽三角關係 相的深淺、色調和色度作搭配變化，多元的色值十分引人注 捨者的相對性產生了一種黑色幽默的創作手法，利用單一色 冷漠和殘酷的場景，搶眼的﹁廣告﹂燈箱跟前方施捨與被施 No. 4︾(Lot 134) 裡，油彩軌跡浸透至底層畫布進

來增加層次感的理念。 點綴體現了三等分配色法擇一顏色為主色調，另兩種為輔色 點，褚紅色和粉紅色建立了物體的輪廓，零散的黃色在下方 乳白色的底層上如同污漬般染上了以藍色為主色調的零星斑 而產生隨機性的筆觸，朦朧的意象遊走於具象和抽象之間，

Lot 126

38 POLY AUCTION HONG KONG

中國當代藝術的色彩演進（1961-1970）：充滿 中國當代藝術的發展經歷了從傳統到現代的跨越， 激盪的原色 1961-

1970這十年之間出生的藝術家如趙剛、劉煒、張恩利、王 趙剛在︽ 的感情色彩，同時也在畫面中反映出強大張力的美感。 色為主的色彩表述，往往使用鮮明強烈的顏色，表現出偏激 同。受到德國新表現主義的影響，這時期的藝術家著重於原 盪，他們企圖挖掘並重建屬於中國文化所特有的價值與認 興偉、謝南星等人，在正值思想建立的青年時期歷經社會動 Imperial Collection No. 14︾(Lot 139) 以中國經典書 衡高飽和度的色彩選擇；劉煒的︽你喜歡我嗎？系列 撞，運用了兩組互補色：紅與綠、黃與紫的矩形配色法去平 畫為摹本，表達他的青春記憶與成年後的現實社會之間的衝

4號︾

(Lot 128) 則提示著我們玩世現實主義畫家的中心思想：批

︵五︶︾ 眼的紅色特質引起觀者強烈的情緒反應；張恩利在︽屠夫 判失去理想主義的腐敗社會環境，並刻畫於其血肉中，用搶 (Lot 131) 中客觀敘述暴力的同時，寧靜的畫面具

乞討︶︾ 此襯托進而達到較為和諧的視覺美感；王興偉的︽無題︵小 的方式，以相似色配色法從暖色調的鮮紅色過渡到橙色，彼 突顯了人性的複雜性。除了黑白兩色之外，他運用類似抽色 有粗放狂野的激情，為觀眾呈現了一個不安的社會畫面，並 (Lot 126) 使用了黃色的單色配色法去呈現一個城市

Lot 131

Lot 128

MODERN AND CONTEMPORARY ART 39

王興偉 | 無題（小乞討）

WANG XINGWEI |

Untitled (Small Begging)

Untitled (Small Begging)

Painted in 2007-2008

oil on canvas

135.3 x 163.1 cm. (53 1/2 x 64 in.)

signed and dated 'WXW 2007' (on the reverse)

PROVENANCE

Galerie Urs Meile, Lucerne, Switzerland

Sotheby's Hong Kong, 1 April 2019, Lot 561

Acquired from the above sale by the present owner

EXHIBITED

China, Beijing, Li Gallery, Labyrinth III - Dangerous Liaisons,

September, 2009-February, 2010.

LITERATURE

Wang Xingwei, Ullens Center for Contemporary Art, Beijing, China,

2013 (illustrated, p. 130).

This work is to be sold with a certificate of authenticity signed by the

artist, issued by Galerie Urs Meile, Lucerne, Switzerland.

無題（小乞討）

2007-2008 年作

油彩 畫布

款識：WXW 2007（畫背）

來源

瑞士 盧塞恩 麥勒畫廊

蘇富比 香港 2019年4月1日 編號 561

現藏者購自上述拍賣

展覽

2009年9月-2010年2月「危險關係」李畫廊 北京 中國

出版

《王興偉》尤倫斯當代藝術中心 北京 中國 2013年（圖版，

第130頁）

附瑞士 盧塞恩 麥勒畫廊開立之藝術家親簽原作保證書

WANG XINGWEI 王興偉(B. 1969)

126

HK$ 1,200,000 - 2,200,000

US$ 152,900 - 280,300

MODERN AND CONTEMPORARY ART 41

劉曉輝 | 無題─黃衣勞作者

LIU XIAOHUI |

Untitled – Labour in Yellow

Untitled – Labour in Yellow

Painted in 2015-2016

oil on canvas (triptych)

each: 160 x 150 cm. (63 x 59 in.)

overall: 160 x 450 cm. (63 x 177 in.)

LITERATURE

The Shape of the Real: Liu Xiaohui, Culture and Art Publishing House,

Beijing, China, 2021 (illustrated, pp. 43, 56-57 & 446).

無題─黃衣勞作者

2015-2016 年作

油彩 畫布（三聯作）

出版

《真實的形狀》文化藝術出版社 北京 中國 2021年（圖版，

第43，56-57及446頁）

LIU XIAOHUI 劉曉輝(B. 1975)

127

HK$ 1,000,000 - 1,500,000

US$ 127,400 - 191,100

亞洲重要私人收藏

PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION

MODERN AND CONTEMPORARY ART 43

You Like Me, Why Not Series No. 4

Painted in 1996

oil on canvas

31.1 x 40.4 cm. (11 3/4 x 16 in.)

signed in Chinese; signed and dated 'Liu Wei 1996'

(lower right)

EXHIBITED

China, Hong Kong, Schoeni Art Gallery, 8+8-1 Selected Paintings by

15 Contemporary Artists, 20 June-12 July, 1997.

LITERATURE

8+8-1 Selected Paintings by 15 Contemporary Artists, Schoeni Art

Gallery, Hong Kong, China, 1997 (illustrated).

This work is to be sold with a certificate of authenticity issued by Aye

Gallery, Beijing, China.

你喜歡我嗎 ？系列4號

1996 年作

油彩 畫布

款識：劉煒 Liu Wei 1996（右下）

展覽

1997年6月20日-7月12日「8+8-1：15位當代藝術家油畫精選

集」少勵畫廊 香港 中國

出版

《8+8-1：15位當代藝術家油畫精選集》少勵畫廊 香港 中國

1997年（圖版）

附中國 北京 AYE畫廊開立之原作保證書

LIU WEI (B. 1965)

劉煒

128

HK$ 520,000 - 620,000

US$ 66,200 - 79,000

44 POLY AUCTION HONG KONG

Untitled 2-15

Executed in 2013

mixed media on paper

75.2 x 132.6 cm. (29 1/2 x 52 in.)

signed in Chinese (middle left)

EXHIBITED

China, Shanghai, Xu Gallery, Blossoming Flower in Silence - Liu Wei

Works, 31 January-9 March, 2018.

無題 2-15

2013 年作

綜合媒材 紙本

款識：劉煒（左中）

展覽

2018年1月31日-3月9日「繁花素箋—劉煒紙上作品展」言午

畫廊 上海 中國

LIU WEI 劉煒(B. 1965)

129

HK$ 180,000 - 280,000

US$ 22,900 - 35,700

MODERN AND CONTEMPORARY ART 45

COLOUR EVOLUTION IN CHINESE

CONTEMPORARY ART (1974-1977): DIVERSE

COLOUR SENSES

Compared to the previous generation, artists born

in the mid-1970s were more daring and diverse

in colour explorations. Viewers can see how the

role and position of colours underwent dramatic

transformations in Chinese contemporary art.

Born between 1974 and 1977, artists including

Ouyang Chun, Huang Yuxing, Liu Xiaohui, Wei Jia,

Wang Guangle, and Qiu Xiaofei received their art

education in the 1990s. As students, they had

already been exposed to the opened-up culture

and forward-looking ideas. These artists gradually

developed into two schools of colour explorations:

one that used vivid, abundant colours along with

modern, fluorescent color systems to create

visual impacts through multiple complementary,

balanced, and split complementary colour

schemes; the other that used more implicit

colours to express emotions in delicate, illusory

ways through monochromatic, achromatic, and

analogous colour schemes.

︽露天電影 No. 2︾(Lot 133) 是歐陽春市場所現的最早期作

︽金冠與銀冠︾ 色彩範疇，而是大膽地採用鮮艷的色調，形成鮮明的對比。 皇冠都在色彩上有著明顯的西方化傾向，不再侷限於傳統的 運用，也預示了後來更為奔放的表達。歐陽春﹁王﹂系列的 但在色彩明度不是特別突出的情況下，以原色和二次色交替 統調，以豐富的物件和多元的色彩詮釋了一個熱鬧的場景， 品，也是藝術家最早的一個系列創作，這時期常以灰色作為 (Lot 132) 帶來強烈的視覺沖擊，浮雕式的 色相，讓畫面主體更加地突出；黃宇興在︽河流︾ 單色不同色階的表現，與此同時上方的寶石則囊括了各種 張的底色各採取了不同的相似色去作搭配，但本質上更趨於 肌理表述用多色層次的排列和堆疊，既鮮明又帶有活力，兩 (Lot 123) 成的音符奏出了響亮悅耳的樂曲。黃宇興在︽開羅郊區的夕 物，更多的是為了表達藝術家的內在情感，線條與色彩的構 予它既現實又夢幻的質感。色彩的運用不僅僅是為了呈現景 中運用紅、黃、藍的三原色調來描繪河流，三等分配色法賦

Lot 124

Lot 132 局部 (detail)

46 POLY AUCTION HONG KONG

Among Ouyang Chun’s first works in the market,

Open Air Cinema No. 2 (Lot 133) comes from one

of the artist’s first creative series. During that time,

Ouyang often combined a gray base tone with

abundant objects and diverse colours to illustrate

bustling occasions. When colour values were not

particularly high, the artist alternated between

primary and secondary colours to foreshadow

the more daring expressions later on. Rather than

being constrained by the scope of traditional

colors, the crowns in Ouyang’s King Series look

more westernized because the vibrant colours

form a sharp visual contrast. The artist created

a strong visual impact as the relief textures are

arranged in multiple colour layers to convey a

brilliant sense of vitality in Gold Crown and Silver

Crown (Lot 132). The base colours of each crown

are composed of analogous colours that look like

different gradients of the same colour. Meanwhile,

the gems at the top are painted in different hues

in order to accentuate the main subjects. Huang

Yuxing painted River (Lot 142) by using the three

primary colours—red, yellow, blue–to create a

realistic yet illusory atmosphere through triadic

中國當代藝術的色彩演進（1974-1977）：多元化

1970 的色感 年中段出生的藝術家相較前一世代在色彩上的探索更加 光樂以及仇曉飛皆出生於 地位有著極大的變化。歐陽春、黃宇興、劉曉輝、韋嘉、王 大膽和多元，我們可以看到色彩在中國當代藝術中的角色和 1974-1977年之間，基本上是同一

時期在90年代受美術教育的，他們在求學的過程就得以接觸 質感更細膩、夢幻的派系。 向以單色、無彩、相似色配色法為主，以情感表達為目的， 來強調視覺衝擊；以及追求形式感，在色彩上較為隱晦，偏 市化的螢光色系選擇，運用多重互補、等分或補色分割配色 彩的求索上分為兩種派系：色感鮮明豐富，往往伴隨代表都 開放後的文化，有著更加前衛的思考。這些藝術家逐漸在色

Lot 133

Lot 132 局部 (detail)

MODERN AND CONTEMPORARY ART 47

colour schemes. The colour applications not

only illustrate landscapes and objects, but also

express artists’ inner emotions. Just like musical

notes, colours can combine with outlines to form

brilliant music. In Sunsets on the Outskirts of Cairo

(Lot 124), Huang Yuxing boldly applied bright

colours like neon pink, orange, and yellow to form

strong contrasts and visual impacts. In addition to

attracting viewers’ attention, these colours also

make the paintings look more vivid and threedimensional. Huang Yuxing’s choice of colours

mirrored his experiences and interpretation of

urban living, which also resonated with modern

urbanites’ loneliness, perplexity, and desires.

In the triptych Untitled-Labour in Yellow (Lot 127),

Liu Xiaohui features three continuous postures.

Wearing simple outfits, the protagonist’s yellow

shirt is what attracts all viewers’ attention. Like

the artist said, “people always feel a rewarding

sense of happiness from labour.” Although the

painting does not display any facial expressions,

the yellow colour tone sets a joyful, happy

atmosphere as a ray of golden sunshine falls

on hard-working laborers. In FACE III (Lot 125),

Wei Jia highlighted the protagonist’s eyes, facial

expressions, and postures through dreamy gray

and violet colours. The painting appears to be

telling a mysterious story or secret. The typical

application of monochromatic colours can

accentuate the protagonist’s styles in conveying

a surrealistic and disorderly atmosphere. Wang

Guangle wished to express the accumulation of

time in 120403 (Lot 122). Through increasingly

darker paints, the artist added more layers

to the center of the painting. Apart from the

colours’ original implications, the natural colour

variations serve to express emotions and explore

the overall significance of painting as an art.

Finally, Two Broadcasters (Lot 130) by Qiu Xiaofei

is a reflection of the artist’s interpretation of

memory. The artist used “grisaille,” an ancient

monochromatic painting technique to create a

gray colour tone from different levels of pureness

and brightness. The heavy skin textures also

demonstrate the wide applications of “grisaille”

on murals or reliefs during the Renaissance.

Lot 130 Lot 108

48 POLY AUCTION HONG KONG