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11 December 11:00AM-8:00PM
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\n預先競投獎勵現已推出，成功提交後可享較低買家酬金費率。了解更多 >
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\n","auctionDetailsSmall","香港拍賣 2025年12月12日","extraInfo","

黃瑩
\n 拍賣主管暨副專家
\n+852 2318 2095
\nkimberleywong@phillips.com
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327],"viewing",{"_238":239,"_240":241,"_47":242,"_243":244},"articles",[179,180,181,182],"departments",[172],"auctionCurrency",{"_169":71,"_170":171},{"_158":48,"_159":160,"_161":162,"_163":164,"_165":166,"_167":168},"totalLotCount",74,"auctionMobilityAuctionRowId","1-AVARU5","auctionUrl","https://www.phillips.com/auction/HK010725","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_HK010725.pdf","countryName","countryCode","HK","line1","G/F, WKCDA Tower","line2","West Kowloon Cultural District","line3","No. 8 Austin Road West","city","Kowloon","currencyCode","currencySign","HK$",{"_173":174,"_175":176,"_177":178},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_183":229,"_185":178,"_186":230,"_15":231,"_189":232,"_191":233,"_193":214,"_195":196,"_197":198,"_199":234,"_201":198,"_203":235,"_205":236,"_207":237},{"_183":220,"_185":178,"_186":221,"_15":222,"_189":223,"_191":224,"_193":194,"_195":196,"_197":198,"_199":225,"_201":174,"_203":226,"_205":227,"_207":228},{"_183":209,"_185":178,"_186":210,"_15":211,"_189":212,"_191":213,"_193":214,"_195":196,"_197":198,"_199":215,"_201":216,"_203":217,"_205":218,"_207":219},{"_183":184,"_185":178,"_186":187,"_15":188,"_189":190,"_191":192,"_193":194,"_195":196,"_197":198,"_199":200,"_201":202,"_203":204,"_205":206,"_207":208},"coverUrl","https://flockler.com/thumbs/sites/889/hk-mca-thumbnail-da0c727c-2e88-4bab-a637-3cc5503b8930_s600x0.png","section","summary","聖誕是最令人期待的節日之一，與此時刻發揮創意，與摯愛好友分享充滿藝術感的心思。","以藝術點亮這個聖誕","body","

現代及當代藝術部門團隊成員 — 蘇琬婷、黃瑩、歐陽凱琪。

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聖誕是普天同慶的節日，也是我們一年中最喜愛的時刻。快來感受節日氛圍，與現代及當代藝術部門團隊成員一同揭曉他們為彼此精心挑選的藝術作品。他們更分享了背後原因，包括作品帶來的象徵意義、故事以及難忘時刻，同時為即將舉行的香港拍賣作出準備。

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伊娃·尤斯凱維奇

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伊娃·尤斯凱維奇《無題》(《藍裙子女孩》的習作）2013年作。現代及當代藝術和設計拍賣，香港。

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這件首現拍賣市場的稀有作品是藝術家2013年創作的《藍裙子女孩》繪畫的習作。《藍裙子女孩》是尤斯凱維奇首件在富藝斯紐約現代及當代藝術拍賣中上拍的作品，於2021年以730,800美元成交。

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《無題》(《藍裙子女孩》的習作）是尤斯凱維奇成熟風格的早期範例，創作於藝術家自波蘭克拉科夫美術學院畢業的同年，展現她重新詮釋過去的獨特手法。藝術家取靈感於歐洲繪畫的數百年傳統，以極高的精準度細緻描繪肖像，將人物的頭部替換為陌生甚至怪誕的物件，從而顛覆藝術史的既有規範。「透過修飾與轉化歷史肖像畫，我希望打破特定時期的和諧與美學規範。我渴望突破過往繪畫中常見的，既單一又保守的那些美的概念，並建立屬於我自己的替代敘事。作品中的面具旨在釋放隱藏於傳統層面之下的個性、表達、動態與生命力。」—— 伊娃·尤斯凱維奇
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名和晃平

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名和晃平《PixCell - 鯉魚第5號》2013年作。現代及當代藝術和設計拍賣，香港。

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在東亞文化中，鯉魚象徵著好運、成功、富足與繁榮。是去舊迎新的最合適主題，名和晃平的這件藝術作品是最佳例子。

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名和晃平的超現實、半抽象 Pix-Cell 系列作品將現成圖像和物體轉換為現實中的雕塑。名和首先找到一件物品的在電腦屏幕上的圖像——一組像素，再用一層半透明的玻璃珠將物體完全覆蓋。雕塑上的這些球體大小不一，對物體產生了不同程度上的放大效果，將物體原本的形象打破、扭曲，為觀者提供了不同的視角。

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「人類透過視覺與觸覺感知事物的外在表層，這是他們建立對周遭世界認知的重要方式。在一個科技發展至能將萬物高度數據化的社會中，我創作的作品超越表層感知，直接探問並觸及人們的感知與敏銳度 [...] 我的作品核心，是圍繞生命及周遭的環境。PixCell、Biomatrix 與 Prism 系列，皆在探索人類與文明的未來及空間的本質。」—— 名和晃平
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上官小寶(鄺東原)

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上官小寶（鄺東原）《神腿闘乾坤》（漫畫原稿第三頁） 1978年作。現代及當代藝術和設計拍賣，香港。

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要追溯漫畫這種圖文並茂、敍事性的藝術形式的源頭實在難以說明，古代壁畫、中日傳統水墨書畫、屏風、卷軸之中皆可尋找到類近漫畫的元素及演化的足跡。

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上官小寶的《李小龍》漫畫首發行於1971年，期數長達1560期，為香港漫畫最長壽的重要作品，於三十多年間廣受漫畫愛好者的愛戴。上官小寶，本名鄺東原，於11歲起便跟隨長兄上官小龍投身香港漫畫業，由學徒開始，於17歲成為主筆。自學成才又勤奮工作的上官小寶所創作的漫畫作品多達千多部，他的長篇漫畫《李小龍》成為香港漫畫的一代經典之作。

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鹽田千春

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鹽田千春《聯結宇宙》，2023年作。現代及當代藝術：香港網上拍賣。

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旅居柏林的日本藝術家鹽田千春，以大型、特定場域的裝置藝術聞名，其作品由錯綜複雜交織的紅色與黑色線條構成，探討記憶與失落、生與死等主題。

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紙本作品《聯結宇宙》充滿實驗性，展現鹽田千春標誌性的紅線運用，將她感人至深的宏大視野轉化為一片溫暖而親密的領域。在這件作品中，她探索個體與宇宙的微妙聯繫，在脆弱與浩瀚之間取得平衡。
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哈維爾·卡列哈

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哈維爾·卡列哈《那……你呢？》2021年作。現代及當代藝術：香港網上拍賣。

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\n來自西班牙馬拉加的哈維爾・卡列哈，以可愛、圓睜雙眼的男孩角色吸引全球觀眾的目光。曾師從奈良美智的卡列哈，其作品延續了這位日本藝術家所開創的懷舊可愛美學，同時也反映出日本漫畫中“大眼”現象的廣泛影響。卡列哈的風格獨特，揭示出角色炫目凝視背後的超現實意涵。

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與他的大型作品不同，那些作品常以角色的宏大存在感壓倒觀者，《那……你呢？》則是一張小巧的紙上作品，邀請觀者細細端詳，營造出一種源於親密而非對峙的觀賞方式。

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平子雄一

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平子雄一《森林之主II》2012年作。現代及當代藝術：香港網上拍賣。

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日本藝術家平子雄一經常以環境議題與深層生態學為主題，作品讓觀者重新思考自身與自然及周遭生物的關係。《森林之主 II》展現了平子對森林的奇幻視野。他在畫布上以風格化、強烈的筆觸構築出一段魔幻敘事，一種溫暖而奇異的想像，描繪出在冰雪世界中的遊牧式存在，完美配合這個季節的心境。

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拍賣詳情

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現代及當代藝術和設計拍賣，香港
\n現代及當代藝術：香港網上拍賣 >

\n","publishDate","2025-12-10T04:17:50.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/164480970/tis-the-season-for-art-hong-kong-auctions-december-2025-cn","displayOrder",3,"auctionEditorialID",8159,"editorialID",5165,"flocklerID",164480970,"https://flockler.com/thumbs/sites/889/hk-mca-thumbnail-9c0b0082-0759-4047-9842-44f05f2be770_s600x0.jpg","It's the most wonderful time of year to dream, collect, and most importantly, to give. ","'Tis the Season for Art","

Danielle So, Kimberly Wong, and Alki Auyeung.

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It’s no secret that a collegial spirit of generosity is alive and well throughout Phillips’ global offices, and in fact, right now it’s our favorite time of year — Secret Santa season.

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So get in the spirit and join Kimberley Wong, Danielle So, and Alki Auyeung in Hong Kong as they reveal the artworks they selected for one another. The trio shares personal reflections on symbolism, storytelling, and memorable moments that shaped their choices.  Plus, learn more about their selections (and make a few of your own) in our upcoming Hong Kong auctions.

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Ewa Juszkiewicz

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Ewa Juszkiewicz, Untitled (Study for 'Girl in Blue'), 2013. Modern & Contemporary Art & Design Sale, Hong Kong.

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Fresh and rare to the market, this work is a study for the 2013 painting Girl in Blue, which was the first work by Ewa Juszkiewicz to be offered in a New York Modern & Contemporary Art sale at Phillips, achieving US$730,800 in 2021.

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An early example of Juszkiewicz’s mature work, this study was executed the year the artist graduated from the Academy of Fine Arts in Krakow, Poland, and showcases her characteristic approach to reimagining the past. Drawing on centuries of European painting for inspiration, the artist meticulously renders her portraits with exacting precision yet replaces her sitters’ heads with foreign, and often grotesque, objects, thus destabilizing art historical conventions. As the artist has explained, “My work is a protest against conventional images of femininity, against idealizations, and traditional canons of female beauty.”

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Kohei Nawa

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Kohei Nawa, PixCell-Carp #5, 2013. Modern & Contemporary Art & Design Sale, Hong Kong.

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In East Asia, the carp symbolizes good fortune, success, abundance, and prosperity. We can think of no better themes with which to bid farewell to 2025 as we look toward the future, and no better artist for our current moment than Kohei Nawa.

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Nawa’s surreal, semi-abstract Pix-Cell series transposes found images and objects into reality. The artist first encounters the object as a group of pixels — an image on the computer screen. The source object is then covered with a layer of translucent glass beads. These spheres on the sculpture create a magnifying effect in varying degrees, offering a fragmented perspective of the object’s surface, distorting the original image.

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These themes are extraordinarily relevant today. As the Nawa has described, “Humans use sight and touch to sense the external skins of things, and that is the large part of how they are aware of the world surrounding them. In a society where technology has progressed to the extent that things can be converted into data in an advanced form, I create works that go beyond surface-layer perception to directly interrogate or address people’s perceptions or sensibilities [...] At the foundation of my works is life and the environment that envelops it. The PixCell, Biomatrix, and Prism series are questioning the future of humanity, civilisation, and nature in space.”

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Sheung-Koon Siu Bo (Kwong Tung Yuen)

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Sheung-Koon Siu Bo (Kwong Tung Yuen), Divine Leg's Battle (comic manuscript page 3), 1978. Modern & Contemporary Art & Design Sale, Hong Kong.

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As a narrative art form, comics can be seen to have evolved from ancient murals and traditional East Asian ink paintings to offer immersive visual experiences that instinctively capture our attention, strengthening their enduring appeal.

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Bruce Lee by Sheung Koon Siu Bo (Kwong Tung Yuen) is one of the longest-running comic series in Hong Kong’s history. It ushered in the golden age of Hong Kong comics in the 1970s and, with its distinctive narrative style and martial arts spirit, profoundly influenced Asian pop culture during its more than 30-year serialization.

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Born in 1945, Kwong began his journey in the comic industry at the age of 11. Rising from an apprenticeship, he became a leading artist at the age of 17 and has produced over a thousand comic works throughout the decades, firmly establishing himself as one of the grandmasters of Hong Kong comics.

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Chiharu Shiota

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Chiharu Shiota, Connected to the Universe, 2023. Modern & Contemporary Art : Online Auction, Hong Kong.

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The Berlin-based Japanese artist Chiharu Shiota is renowned for her large-scale, site-specific installations made up of intricately entangled red and black threads that explore themes of memory and loss, life and death.

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An experimental work on paper, Connected to the Universe showcases Shiota’s iconic use of red threads, translating her touchingly monumental vision into an intimately rendered field embraced by varying hues of warmth. In this piece, she navigates the delicate interconnectivity between individual human beings and the broader universe, balancing a sense of fragility with vastness.

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Javier Calleja

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Javier Calleja, And…do you?, 2021. Modern & Contemporary Art : Online Auction, Hong Kong.

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Hailing from Málaga, Spain, Javier Calleja captivates audiences worldwide with his adorable, wide-eyed boy characters. A former apprentice of Yoshitomo Nara, Calleja’s work embraces the nostalgic kawaii aesthetic pioneered by the Japanese artist, while also reflecting influences from the wider genealogy of the “BIG EYE” phenomenon in Japanese manga. However, Calleja’s style remains distinct, illuminating the surreal implications of his characters’ dazzling gazes.

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Unlike his larger works, which often overwhelm viewers with the monumental presence of the characters, And…do you? is a diminutive sheet that invites close inspection, fostering a mode of spectatorship rooted in intimacy rather than confrontation.

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Yuichi Hirako

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Yuichi Hirako, Forest Master II, 2012. Modern & Contemporary Art : Online Auction, Hong Kong.

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Japanese artist Yuichi Hirako focuses on environmental issues and deep ecology, continually inviting viewers to reconsider their relationship with nature and the organisms that inhabit our surroundings. Forest Master II exemplifies Hirako’s fantastical vision of the forest. His stylised bold brushstrokes on canvas build up a magical narrative — a fantastic, warm imagination of a nomadic existence in a wintry world, perfectly suited to our mindset this time of year.

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Discover more from Modern & Contemporary Art >

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\n","2025-12-09T17:54:16.000000Z","Jesse Limbacher","https://www.phillips.com/article/164451593/tis-the-season-for-art-hong-kong-auctions-december-2025",2,8158,5164,164451593,"https://flockler.com/thumbs/sites/889/-_-_-283-_1982-d3b5d570-055a-4c5b-aff1-0fcb75e8e734_s600x0.jpg","著名漫畫家上官小寶的作品即將亮相富藝斯香港拍賣，我們找緊機會與大師對談。","上官小寶專訪: 暢談漫畫創作、藝術和香港情懷","

上官小寶老師，登於李小龍漫畫週刊283期，1982年。

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今年為李小龍誕辰八十五周年，富藝斯亦欣然在十二月十二日舉行的現代及當代藝術和設計拍賣中呈獻《鄺氏漫畫珍藏：上官小寶經典之作《李小龍》漫畫手稿》。

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這些手稿不僅是香港漫畫史上的重要篇章，更見證了本地文化的演變。它們伴隨著城市的成長，啟發了無數漫畫創作者，並成為現代文化的象徵。

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由上官小寶創作的《李小龍》是香港歷史上連載時間最長的漫畫系列之一。它在1970年代開啟了香港漫畫的黃金時代，憑藉獨特的敘事風格與武術精神，在三十多年連載期間深刻影響亞洲流行文化。珍貴手稿系列將於富藝斯拍賣亮相，上官小寶老師在拍賣舉行前與我們分享其創作故事。

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富藝斯: 可否簡單介紹你的背景?

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上官小寶 : 我是上官小寶，原名鄺東原，喜歡別人稱我為然哥。我的哥哥是位漫畫家，小時候父母從香港返回澳門，我留下來跟著哥哥，並成為他的漫畫學徒。當年的學徒工作和現在的相似，唯一不同是當時需要兼顧許多瑣碎雜務。後來自己成為主筆，創作了許多不同類型的漫畫。起初是單篇作品，後來李小龍角色越來越受歡迎，成為了連載系列。

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上官小寶（鄺東原）《貓命九殺》組合：（(i) 漫畫原稿；(ii)上色封面原稿；及(iii)出版漫畫書，1987年作。現代及當代藝術和設計拍賣，香港。

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富藝斯 : 你是在哪裡取得創作靈感?
\n
\n上官小寶 : 主要是書本和電影。我很喜歡偵探小說；電影方面，當年的公餘場戲票只需要兩亳子，而且每天播放的類型都不同，我差不多每隔一天便去看電影，涉及各種類型。
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富藝斯 : 能否講解一下你的創作過程?
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\n上官小寶 : 過程很即興，不會太計算效果，創作一旦開始了靈感便陸續出現。先是繪畫，完成後把原稿放在地上，用相機拍攝下來然後拿到黑房沖曬，親自完成所有工序。

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上官小寶（鄺東原）《神腿闘乾坤》（漫畫原稿第八頁），1978年作。現代及當代藝術和設計拍賣，香港。

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富藝斯 : 當年有哪些不可或缺的創作工具？它們是否現在已不常見？

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上官小寶 : 鋼筆和毛筆吧 ! 現在也很難買到鋼筆尖。現代漫畫家都主要是用電腦 ? 聽說有些更用IPAD創作。其實我對工具不太講究，即使我只得一支普通毛筆，也能創作。

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上官小寶老師。

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富藝斯 :暢銷作品《李小龍》是如何誕生?
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\n上官小寶 : 李小龍的創作靈感源自黃飛鴻電影，特別在徒弟們性格的方面。後來李小龍的電影《唐山大兄》上映，我在想如何能夠把李小龍強烈的速度感、節奏感，以及舞蹈般的動態在平面漫畫中呈現出來。為了表現他這些特質，我苦練了一段時間。
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富藝斯 : 《李小龍》漫畫中，你最喜歡哪一個角色?

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上官小寶 : 我最喜歡李小龍徒弟 —— 沙膽仔，他的性格比較漫畫化和搞笑。我不喜歡過於嚴肅的角色。

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上官小寶（鄺東原）《血龍之穴》，1993年作。現代及當代藝術和設計拍賣，香港。

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富藝斯 : 當年如何在日本漫畫佔據市場的情況下成功突圍？
\n
\n上官小寶 : 當時有一段很長時間日本漫畫主導了香港市場，那些翻譯版都比本地創作暢銷。我們當年也有 “偷師”，學習他們的長處，同時善用我們的優勢——就是把握能與本地讀者互動的機會。我們聆聽讀者的心聲和願望，掌握其喜好，讓他們在故事中產生代入感。在互動中逐漸形成穩定的讀者群，簡單來說以地道取勝。
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富藝斯 : 時至今日，漫畫在某些市場如美國及日本仍然擔當重要角色，你認為有哪些關鍵元素可以給本地市場參考?

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上官小寶 : 在美國和日本市場，漫畫家和投資者基本上是兩個完全不同的崗位，香港卻會角色重疊。在香港，很多漫畫公司的老闆本身都是漫畫家。當生意不好時，創意也會受到影響。我認為兩者分開會比較好，所以漫畫創作在香港的成功例子不多。

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上官小寶老師與工作團隊合照，登於李小龍漫畫週刊283期專欄，1982年。

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富藝斯 : 你認為漫畫與藝術有何關係?
\n
\n上官小寶 : 對我來說，漫畫是一種藝術。只要無法被完全模仿的東西就是藝術，即使我自己也無法重覆創作出一模一樣的漫畫作品。
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富藝斯 : 對於有興趣入行的新一代，你會有哪些建議?

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上官小寶 : 可由短篇故事開始，不需要深厚畫工，只需要思維。構思概念在漫畫創作中是最重要的。
\n

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富藝斯 : 香港情懷於近年經常被提及，香港漫畫作為本地文化的重要一部分，你怎樣看香港情懷?

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上官小寶 : 我認為香港情懷，就是在生活和工作都比較隨意。做自己喜歡的事，用心努力去完成，不受任何規限，這就是香港精神。
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拍賣詳情 > 現代及當代藝術和設計拍賣，香港

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\n","2025-12-05T08:10:31.000000Z","https://www.phillips.com/article/164354288/sheung-koon-siu-bo-on-comics-art-and-the-spirit-of-hong-kong-cn",8157,5161,164354288,"https://flockler.com/thumbs/sites/889/comic-lead-b412ec55-268b-4200-aaaa-7d662af09839_s600x0.jpg","The legendary comic artist speaks with Phillips as some of his most iconic works come to auction in Hong Kong. ","Sheung-Koon Siu Bo on Comics, Art, and the Spirit of Hong Kong","

Sheung-Koon Siu Bo, published in Bruce Lee #283, 1982.

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In commemoration of the 85th anniversary of Bruce Lee’s birth, Phillips is pleased to present Collection of Kwong’s Comics - Masterpiece of Sheung-Koon Siu Bo, Bruce Lee, Comic Manuscripts at its upcoming Modern & Contemporary Art & Design Sale in Hong Kong on 12 December.

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These manuscripts are not only an important chapter in the history of Hong Kong comics but also a testament to the evolution of local culture. They accompanied the city’s growth, inspired countless comic creators, and became a symbol of modern culture.

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Bruce Lee by Sheung Koon Siu Bo is one of the longest-running comic series in Hong Kong’s history. It ushered in the golden age of Hong Kong comics in the 1970s and, with its distinctive narrative style and martial arts spirit, profoundly influenced Asian pop culture during its more than 30-year serialization. These original manuscripts are exceptionally rare and making their auction debut at this December’s auction.

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Here, the artist behind these legendary works speaks with Phillips about his artistic journey in Hong Kong.

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PHILLIPS: Could you please briefly introduce yourself?

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KWONG: I am Sheung-Koon Siu Bo, born Kwong Tung Yuen (鄺東源), though most people know me simply as Yin Gor (Brother Yin / 然哥). My elder brother was a professional comic artist, and when our parents returned to Macau during my childhood, I remained in Hong Kong under his care. It was during those formative years that I entered the studio as his apprentice. The structure of apprenticeship then was much as it is now, though it also encompassed a full spectrum of supporting tasks that defined daily studio life. In time, I grew into a principal artist in my own right, building a substantial catalogue across various genres. My early works were predominantly standalone stories, but as my interpretation of the Bruce Lee character gained popularity, it naturally evolved into a sustained and long-running series.

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Sheung-Koon Siu Bo (Kwong Tung Yuen), A set of Nine-Pronged Feline Kill Formation: (i) comic manuscripts; (ii) coloured cover draft; & (iii) published comic book #543, 1987. Modern & Contemporary Art & Design Sale, Hong Kong.

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P: Where do you usually find inspiration?
\nK: Books and film were my greatest wells of inspiration. I was especially captivated by detective fiction. Cinema, too, was wonderfully accessible — evening screenings cost just twenty cents, and each day brought a new genre to explore. I found myself at the theatre almost every other evening, absorbing a remarkably broad palette of styles, rhythms, and storytelling approaches.

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P: Please share your creative process with us.
\nK: My process has always been highly intuitive, driven by spontaneity rather than calculation. Once I begin, ideas arrive in a continuous stream. I start with the drawing itself. After completing the artwork, I lay the original on the ground, photograph it, and take the film into the darkroom. From exposure to development to finishing, I carry out every step with my own hands.

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Sheung-Koon Siu Bo (Kwong Tung Yuen), Divine Leg's Battle (comic manuscript page 8), 1978. Modern & Contemporary Art & Design Sale, Hong Kong.

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P: What were some indispensable creative tools back then, and are they no longer commonly seen today?

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K: Fountain pens and Chinese brushes, certainly. It has become increasingly difficult to find high-quality fountain pen nibs now. Most contemporary comic artists work digitally. I’ve even heard of some who create entirely on an iPad. For me, though, tools have never been a strict concern. Even with the simplest, most ordinary Chinese brush, I can create the work I envision.

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Sheung-Koon Siu Bo.

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P: How was the bestselling Bruce Lee (李小龍) series created?

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K: The inspiration for my Bruce Lee comics first emerged from the Wong Fei Hung films, particularly in the way the personalities of the disciples were portrayed. Later, when Bruce Lee’s The Big Boss (唐山大兄)was released, I began to consider how his unmistakable speed, rhythm, and almost dance-like physicality could be translated onto the static plane of comics. To capture those qualities with integrity, I dedicated a significant period to intensive practice and study.

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P: In the Bruce Lee comics, which character is your favourite?

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K: My favourite has always been Sha Dan Zaai (Mr. Fearless / 沙膽仔). His personality is wonderfully exaggerated and humorous, inherently suited to the expressive nature of comics. I have never been particularly drawn to characters who are overly serious.

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Sheung-Koon Siu Bo (Kwong Tung Yuen), The Blood Dragon's Vital Point, 1993. Modern & Contemporary Art & Design Sale, Hong Kong.

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P: How did you manage to break through when Japanese manga dominated the market at the time?

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K: Japanese manga held the Hong Kong market for an extended period, and translated editions consistently outsold local creations. We also “learned by observing” — studying their strengths while leveraging our own distinct advantage: the ability to engage directly with local readers. We listened to what they hoped for, understood their preferences, and shaped our stories around experiences they could truly relate to. Through this ongoing dialogue, a dedicated readership gradually formed. In essence, we succeeded by staying authentically, unmistakably local.

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P: Today, comics continue to play a major role in markets such as the United States and Japan. What elements of their success can also be applied locally?

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K: In the U.S. and Japanese industries, the roles of cartoonist and investor are clearly delineated. In Hong Kong, however, these roles often overlap. Many company owners are themselves comic artists. When the business falters, creativity inevitably suffers. I believe the separation of these roles is essential, and the lack of such distinctions is one reason long-term success stories are relatively rare in Hong Kong’s comic landscape.

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Sheung-Koon Siu Bo and his team, published in Bruce Lee #283, 1982.

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P: What, in your view, is the relationship between comics and art?

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K: For me, comics are undeniably a form of art. Anything that cannot be perfectly duplicated is art; even I myself cannot reproduce an identical comic work twice.

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P: What advice would you give to newcomers interested in this field?

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K: Begin with short stories. Exceptional technical skill is not a prerequisite, but a strong conceptual framework is. Ideas — clear, compelling concepts — are the heart and soul of comic creation.

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P: The “Hong Kong Nostalgia” has become a much-discussed notion in recent years, and Hong Kong comics are seen as an important expression of local culture. What does this spirit mean to you?

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K: I believe the spirit of Hong Kong lies in our unstructured, intuitive approach to life and work. It is about pursuing what you love with genuine dedication, free from imposed constraints. That, in its purest form, is the Hong Kong spirit.

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Discover more from Modern & Contemporary Art & Design, Hong Kong >

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六角彩子為當代日本藝術中最具辨識度的藝術家之一，以其充滿活力、富有觸感的構圖及瞬間可辨的少女形象而廣受讚譽。1982年出生於日本千葉的六角彩子，基本上是自學成才，未受制於正規學院派的框架，並在獨立探索中發展出獨特的創作方式。她在全球當代藝術舞台上的迅速崛起，既反映了技法的原創性，也彰顯了圖像的吸引力，巧妙地將漫畫美學、童趣純真與抽象繪畫的表現自由融合，並隱約呼應印象派的精神。
\n
\n六角彩子的藝術旅程始於2000年代初期，當時她首次嘗試以徒手代替畫筆進行繪畫——這選擇自此成為她的標誌性手法。此技法使她能與畫布建立直接且具身體性的連結，為作品注入即時性與自發性，無拘無束。她主要使用壓克力顏料，以揮灑的手勢塗抹色彩，層疊鮮明色調，營造出動態、近乎萬花筒般的表面。其構圖常以一個核心人物為焦點——通常是一位擁有大眼睛、漫畫風格的少女——漂浮於色彩與質感的狂潮之中。這種具象與抽象的並置，構成六角彩子視覺語言的核心，使其創作完美融合日本流行文化與全球當代藝術。

\n\n

\n選擇以雙手作畫並非單純的技法取向，而是六角彩子作品表現力的關鍵所在。她摒棄傳統工具，將繪畫轉化為一種帶有潛意識的表演行為，使藝術家的手勢充分展現能量與情感。作品表面的觸感令人聯想到指畫的直接性，然而其構圖的複雜度卻展現出對色彩和諧與空間動態的精妙理解。這種表現方式使她與抽象表現主義的傳承相呼應，令人聯想到傑克遜·波洛克（Jackson Pollock）、塞‧湯伯利（Cy Twombly）及威廉·德庫寧（Willem de Kooning）等藝術巨匠。

\n\n

「我認為人們在我的作品中所看到的，取決於觀看者本人以及觀看的時刻，因為作品既可愛、纖細、強烈、充滿能量、憤怒又愉悅——或焦慮與積極。我喜歡在我創作的圖像中嵌入情感的衝突。」
\n——六角彩子

\n\n

\n是次拍品《無題 (ARP19-050)》中，一個單一人物從繁茂的色彩環境中浮現：一位擁有杏仁狀大眼睛、明亮黃色髮型並戴上藍色髮飾點綴細節的少女，被雲狀形體包圍。她的表情既好奇又神秘，成為構圖的亮點，為周遭的抽象氛圍提供敘事焦點。背景是一場色彩的交響樂，以溫暖的紅色與橙色為主調，間或綠意盎然、電光藍色及明亮粉紅色相互交織。這些色彩凝聚成姿態各異的筆觸群，令人聯想到花瓣、植被與光影，於圓形畫布上營造出有機的律動感。洋溢著歡愉與生命力，將色彩昇華為情感與想像的媒介。
\n

\n\n

\"\" — 六角彩子於2019年在阿姆斯特爾芬 Jan van der Togt 博物館創作此次拍品*《無題 (ARP19-050)》*
\n© Gallery Delaive，阿姆斯特丹

\n\n

\n六角彩子獨特的視覺語言深深打動了藏家與藝術愛好者。2021年，Phillips香港以《無題 (ARP07-013)》創下當時藝術家拍賣最高紀錄，宣告她在國際當代藝術界的重要地位。這股勢頭延續至2022年，另一幅創作於2019年的作品《無題》——與是次拍品同年創作——更躋身藝術家全球拍賣紀錄前三名。
\n

\n\n

\"\" — 六角彩子，《無題》，2019年作
\n由富藝斯香港於2022年6月22日以 HK$8,115,000 成交價售出

\n\n

《無題 (ARP19-050) 》完美體現了六角彩子備受讚譽的特質：無畏擁抱色彩，以獨特語言呈現觸感，兼具個人性與普遍性。她將充滿奇趣的主角置於姿態抽象的色彩場域中，邀請觀者進入一個純真與複雜並存的世界，讓形象與背景的界線消融於色彩的律動之中。

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伊娃·尤斯凱維奇

伊娃·尤斯凱維奇《無題》(《藍裙子女孩》的習作）2013年作。現代及當代藝術和設計拍賣，香港。

名和晃平

名和晃平 《PixCell - 鯉魚 第5號》2013年作。現代及當代藝術和設計拍賣，香港。

上官小寶(鄺東原)

上官小寶（鄺東原）《神腿闘乾坤》（漫畫原稿 第三頁） 1978年作。現代及當代藝術和設計拍賣，香港。

鹽田千春

鹽田千春《聯結宇宙》，2023年作。現代及當代藝術：香港網上拍賣。

哈維爾·卡列哈

哈維爾·卡列哈《那……你呢？》2021年作。現代及當代藝術：香港網上拍賣。

平子雄一

平子雄一《森林之主II》2012年作。現代及當代藝術：香港網上拍賣。

Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (Study for 'Girl in Blue'), 2013. Modern & Contemporary Art & Design Sale, Hong Kong.

Kohei Nawa

Kohei Nawa, PixCell-Carp #5, 2013. Modern & Contemporary Art & Design Sale, Hong Kong.

Sheung-Koon Siu Bo (Kwong Tung Yuen)

Sheung-Koon Siu Bo (Kwong Tung Yuen), Divine Leg's Battle (comic manuscript page 3), 1978. Modern & Contemporary Art & Design Sale, Hong Kong.

Chiharu Shiota

Chiharu Shiota, Connected to the Universe, 2023. Modern & Contemporary Art : Online Auction, Hong Kong.

Javier Calleja

Javier Calleja, And…do you?, 2021. Modern & Contemporary Art : Online Auction, Hong Kong.

Yuichi Hirako

Yuichi Hirako, Forest Master II, 2012. Modern & Contemporary Art : Online Auction, Hong Kong.

上官小寶（鄺東原） 《貓命九殺》組合：（(i) 漫畫原稿；(ii)上色封面原稿；及(iii)出版漫畫書 ，1987年作。現代及當代藝術和設計拍賣，香港。

上官小寶（鄺東原） 《神腿闘乾坤》（漫畫原稿 第八頁），1978年作。現代及當代藝術和設計拍賣，香港。

上官小寶老師。

上官小寶（鄺東原）《血龍之穴》，1993年作。現代及當代藝術和設計拍賣，香港。

上官小寶老師與工作團隊合照，登於李小龍漫畫週刊283期專欄，1982年。

Sheung-Koon Siu Bo (Kwong Tung Yuen), A set of Nine-Pronged Feline Kill Formation: (i) comic manuscripts; (ii) coloured cover draft; & (iii) published comic book #543, 1987. Modern & Contemporary Art & Design Sale, Hong Kong.

Sheung-Koon Siu Bo (Kwong Tung Yuen), Divine Leg's Battle (comic manuscript page 8), 1978. Modern & Contemporary Art & Design Sale, Hong Kong.

Sheung-Koon Siu Bo.

Sheung-Koon Siu Bo (Kwong Tung Yuen), The Blood Dragon's Vital Point, 1993. Modern & Contemporary Art & Design Sale, Hong Kong.

Sheung-Koon Siu Bo and his team, published in Bruce Lee #283, 1982.

名和晃平《PixCell - 鯉魚第5號》2013年作。現代及當代藝術和設計拍賣，香港。

上官小寶（鄺東原）《神腿闘乾坤》（漫畫原稿第三頁） 1978年作。現代及當代藝術和設計拍賣，香港。

上官小寶（鄺東原）《貓命九殺》組合：（(i) 漫畫原稿；(ii)上色封面原稿；及(iii)出版漫畫書，1987年作。現代及當代藝術和設計拍賣，香港。

上官小寶（鄺東原）《神腿闘乾坤》（漫畫原稿第八頁），1978年作。現代及當代藝術和設計拍賣，香港。

18

Ayako Rokkaku

《無題（ARP19-050）》

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Ayako Rokkaku