徐心如　编 Edited by Xinru Xu

The D

eep:Ink Painting by Lanying Yu

思親——獻給我親愛的父母

虞君質 (1906–1975) 吳燕如 (1921–1966)

This book dedicated to my beloved parents

in memory of my father (1906—1975) my mother (1921—1966)

目 錄 CONTENTs

序言

墨海深沉

高美慶評論

第一部分 / PART I 海底斑瀾

第二部分 / PART II 沉 墨

附 錄 / APPENDIX 虞蘭因簡歷

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序言

與老師黃君璧在 1964 年個展上

1964 年 , 虞蘭因個展與父親虞君質（中）招呼賓客

與先生余保賢酷愛潛水

大海一直是我嚮往的地方。地球上百分十七十的面積是海洋，人類對它的認識

卻極其有限，這便使海洋永遠保持著神秘與魔力，吸引我們去探索。虞蘭因女士就

是我們觀察、欣賞海底世界的眼睛。海底是昏黑的嗎？不，在蘭因筆下，它是絢麗

的；海底是靜穆的嗎？不，在蘭因畫中，它是靈動的；海底是觸不可及的嗎？不，

蘭因用她飽含深情的筆，鋪敘在紙上，浸潤我們的眼，滋養我們的心。

多年來，蘭因忘情地深愛著潛水。在我僅有的幾次潛水經歷中，難以忘懷的是

視覺與聽覺的雙重享受。人在海中，才發現，色彩可以有那麼多層次，光線毫無保

留地與水波交纏，珊瑚如同綻放的煙花，魚兒、水草、砂石有韻律地共舞，讓原本

寂靜的海底譜出交響樂章。在與大氣隔絕的那一刻，塵世的喧囂和煩擾瞬間消散，

耳畔只剩海底交響曲，時而輕柔，時而激昂，時而婉轉，時而壯闊，但不變的是它

的純淨與自由。蘭因像一個魔法師，將這一切用潑墨潑彩幻化成她獨特的藝術表達，

帶我們進入一個奇幻而瑰麗的秘境。

蘭因祖籍浙江寧波，尊翁是著名藝術理論家虞君質先生。幼年隨父母移居台灣，

畢業於台灣大學。20 歲即在台北中山堂舉辦個展，引起關注。同年獲全額獎學金

赴美深造，獲藝術創作和藝術史雙學位。後在紐約隨 Will Barnet 大師工作多年，

同時不斷探索契合自己的藝術語言。終於，她在水墨中找到了。雖然她在西方生活

多年，但精神的根深深扎在東方的土壤，水墨交融的無限可能才是她東方靈性的出

口。

蘭因用色跳出傳統窠臼，用墨不蹈舊徑。為此，這次展覽分為兩個部分，《海

底斑瀾》和《沉墨》，前者五彩紛呈，明媚如加州日光；後者則以墨代彩，別有一

番深沉洪荒之氣韻，令人讚歎。我們地處硅谷，毗鄰大海，卻是第一次策劃海洋主

題的畫展。希望觀眾細細品味，也期待蘭因更精彩的作品。

硅谷亞洲藝術中心

徐心如

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當代水墨藝術有它自身獨特的審美觀念和表達方式。它豐富多彩的語境和不拘

一格的多元性媒介 , 使我在創作時既能吸取傳統水墨的精髓，又可超越其束縛和

局限性。慢慢地呈現出我多年潛水與冥想時所形成的獨特的內心世界。

在水墨創作的同時，更需要的是將我對人世的感悟，進一步昇華；內心儲存著

的在深海中所得到的大自然的啓迪 , 往往能觸發我更深刻的領悟。長久以來，當冥

想帶我進入持續的忘我狀態時，循著自我探索的深入，開始一點點地清理過濾殘餘

的雜質，使內心更加清澈明淨。在冥想與創作的過程中，不時感受到老莊的超悟境

界。藝術的表達可隨心境而生發，存在與虛無之間也了無痕跡。

為了能充分地釋放創作的自由神思，和个人對現實生存狀態的感悟，我往往利

用拓印、流淌、灑潑、水拓等超越筆墨功能的、半自動性的技法 , 經過解構和重組，

以期作品的圖像和圖像背後的寓意更接近我創作精神的本源，更好地演繹我的藝術

理念。對我來說，解構是對歷史、文化的消化性選擇，對物象和自身表述語言的分

解和省思；而重組則是將有價值的碎片式的元素再綜合為一個新的整體。期望通過

這個過程，讓觀眾更好地感受到我的內心世界，那是真實世界之外的一種冥想的經

驗。

我期盼觀眾在我的作品前，感受到的不只是深海的情景在經過我內心沉澱之後

的表述，更由此感受到在表相之下深層次潛存著的個性化的形和物，而開啓他們対

自身內心世界探索的大門。我相信，一個作品的完成，正是藝術家和觀眾真正融為

一體的時刻。

虞蘭因

墨海深沉

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Contemporary ink painting is characterized by distinctive aesthetic concepts and artistic expressions. It offers a rich and diverse artistic vocabulary, giving me a freedom to explore its myriad changing forms. It allows me to make use of essential elements of traditional painting, at the same time to transcend their constraints and limitations. Gradually I bring to the fore a personal inner vision evolved from many years of diving under water and from meditation.

In my ink works I attempt to transcend from purely visual experiences to a more spiritual realm. My own experience of the deep sea has served as a powerful path to deeper realization. In meditation, I attain a similar state of transcendence, which leads to a clear inner vision in the tradition of Laozi and Zhuangzi. My artistic expression flows from this state; between being and nothingness there is no trace. In my attempt to fully express this flow and experience of being through ink and movement, I often use semi-automatic techniques of transfer printing, free flowing, splashing, dripping and water surface marking that go beyond the functions of brush and ink. Through a process of deconstruction and reorganization I work to create specific images which will reflect the experience of a unique transcendent state. In this way I come closer to the source flow (the dao) of my creative spirit and am able to transmit my artistic concepts more fully. For me, deconstruction is a selective assimilation of history and culture, alongside the analysis and reflection of the objective world and my personal artistic narrative. I then build a greater whole by bringing together the fragmented elements in a process of reorganization. In this way, I hope to reach a clear expression of my inner world, a world beyond reality as I experience it in my meditation.

It is my sincere wish that my works may not only inspire my visitors to feel the personal narrative of the deep sea, but also to experience a transformational path of form and feeling that will open doors to a personal exploration of their own inner world. Through the direct experience of each work, the artist and the viewer become one, at last.

Yu Lanying

The Deep

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現代科技的突飛猛進，令現代人的視野遠遠超越古人，對大自然的觀照，也從

簡單的「鳶飛戾天」、「魚躍於淵」拓展到太空和海底，而現代藝術家更得以從遼

闊高遠的視覺經驗，激發心靈的自由和解放，締造充滿時代感的藝術創作及審美意

趣。神秘的海底深淵，因潛水運動的流行，引起藝術家的探索，開拓了現代繪畫的

新領域。虞蘭因女士正是此一新題材的先行者。她將多年的潛水經驗和感受，傾注

入《海底斑瀾》系列的創作，與我們分享這多姿多采的水下世界。

中國傳統繪畫中的水下世界是以游魚為主體，重點在如魚得水，悠然自得。正

如荘子在濠梁觀魚時所雲：「鯈魚出遊從容，是魚之樂也。」同時也因應「魚」的

音義特色，歷代衍生了多層面的吉祥寓意，寄託人民對美好生活的期望。此類《魚

樂圖》和「吉慶有餘」的題材，至今仍見諸現代畫家的筆下。虞蘭因的《海底墨語》

系列，顯然在傳統之外別出路徑，亦不著意於刻畫千奇百怪的深海魚類或其他生物

奇觀。她暢泳於水中深處，感受海底世界的幽深、神秘與靜穆，與大自然融為一體，

逍遙自在，這裡沒有世間的紛擾，俗務的羈絆，一切平和澄明，讓她能夠靜觀反思，

尋覓自我精神的歸宿，凝聚而為藝術的結晶。

虞蘭因的《海底墨語》系列，正是她逍遙海底的感悟的藝術昇華。細賞她的畫

作，感受她超越地心吸力的自由和水底無垠的空間。點划之間，幻化為萬千游魚，

組成渦卷式的陣形，奏出流轉不息的生命旋律，在珊瑚、礁石及海草中激蕩。毫無

疑問，《海底墨語》系列的最大亮點，在其瑰麗繽紛的色彩。只見明藍、翠綠、艷

紅、鮮橙、嫩黃、粉紫在墨韻中流動變化，時而錯疊，時而暈散，猶如天上的彩虹，

灑落在水中，閃爍生輝，令人贊嘆不已。珊瑚和礁石形態亦是變化萬千，隨意率性，

自然生成，在畫面上或左或右，或下或上，時前時後，時高時低，你隨著水中泳者

的視角而飄移。至於描寫這些珊瑚、礁石或其他海底景觀的技法，蘭因的取態是極

之明確的。她不再滿足於傳統山石的筆墨程式，進而探索現代水墨的實驗性，利用

各式拓印、流淌、灑潑、滴濺、水拓等半自動性技法，構成畫面豐富的肌理和造型，

在抽象的表現中釋放創作的神思。但是，蘭因並未放棄她的畫筆，層層的平塗和暈

染，加強了畫面的層次感與深度，而流動的游魚及飄浮的水草，更見證了她精湛的

筆墨造詣。縱觀《海底墨語》系列的藝術風格，既融匯了畫家對中國傳統與西方現

代藝術的理解和表現，亦溝通具象與抽象的界限，創造了鮮明而強烈的個人新畫風。

早在香港中文大學藝術系就讀時，同學們都聽聞系主任虞君質教授的愛女在美

國深造藝術，名叫蘭因。直到大學畢業後在紐約進修始有緣相識，並蒙多方照拂，

虞蘭因的《海底墨語》系列

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時在念中。虞君質教授原是台灣著名學者兼藝術評論家，蘭因在父親悉心栽培下，

自小便得黃君璧、高逸鴻等名師新授國畫。在她從台灣大學歷史系畢業之後及負笈

美國深造藝術之前，已在台北中山堂舉辦首次個人國畫展，甚得好評。在美國進修

當然是以西方現代藝術為主，這大大擴闊她的藝術視野。她獲頒藝術創作和藝術理

論雙碩士學位，其後定居紐約這世界當代藝術中心，繼續深造並全面投入當代藝術

的熔爐，探索融合中西藝術的自我表現。近十餘年回歸國土，找到她安身立命之所。

她的人生道路，從中國的家鄉到台北的成長，至美國的僑居，最後返國定居，像是

一個由東方到西方，再回到東方的圓環。而她的藝術創作道路，也是一個東尋西找

的過程，或是徘徊於傳統與現代之間思量。近作《海底墨語》系列雄辯地說明蘭因

長期處身在中外古今的交匯處的深刻領悟和她化解種種矛盾衝突的獨特蹊徑。她以

大膽的構思，強烈的色彩，自由奔放的情感，引領我們進入一個嶄新而奇妙的藝術

領域。

高美慶

香港中文大學藝術系教授

香港中文大學文物舘舘長

香港公開大學人文社會科學院院長

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Spectacular advances made in modern science and technology have provided the modern men with a much broadened horizon than the ancients. Our observations of nature have progressed from admiring the birds in the sky and the fish in the water to outer space and deep sea. The modern artists are thus inspired to seek greater breadth and height in their visual experience in their pursuit of a freedom of spirit and mind. The artworks so produced embody the spiritual essence and aesthetic sentiments of our age. Moreover, the mysterious deep sea is open for exploration with the increasing popularity of deep sea diving, leading to a new area in modern painting. Madam Yu Lanying is a forerunner in this new theme. Her series of paintings entitled Journey into the Deep and Within derives from her many years of experience in diving. Her works allow us to share with her the beautiful and colourful underwater world.

The underwater world by itself is not new. Chinese painting traditionally depicts a underwater world where the main inhabitants are swimming fish. These fish in water exude feelings of relaxation and contentment which are desirable in life, interpreted by Zhuangzi as “the joy of fish” as early as the fourth century B.C. In addition, because the pronunciation of the Chinese word for fish is “yu”, it has become a pun for “abundance”. Numerous auspicious meanings have derived from the motif to manifest the hope for the good things in life by the Chinese people over the centuries. “The joy of fish” and relevant auspicious themes continue to appear in Chinese paintings of the modern period. Lanying’s series of paintings clearly departs from this tradition. Neither is she interested in giving graphic representation to the myriad creatures and plantations that occupy the deep sea environment. Her artistic intent is to give expression to her feelings and moods in the depth of the sea, a world of silence, serenity, mystery and transcendence. As she swims around freely without disturbance from the mundane world and without shackles of human affairs, she becomes one with nature. All is peaceful and clear. In contemplation she reaches into the depth of her spirit and finds peace within herself. Therefore, these paintings are not just crystallizations of her journeys into the deep sea, but also a quest within for self realization and fulfillment.

Journey into the Deep and Within successfully captures Lanying’s spiritual journey beneath the sea. We can feel her freedom in defying the earth’s gravity as she floats in the limitless space of the sea. Schools of fish appear from nowhere through dots and

Yu Lanying’s Journey to the Deep and Within

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strokes of her brush. They form into swirling patterns that reverberate among coral reefs, rocks and water plants in rhythmic movements. No doubt the most attractive element in these paintings is Lanying’s bold use of colour. Vivid and intense tones of blue, green, red, orange, yellow, purple and many other colours flow freely among rich tonalities of ink. At times they overlap, other times they disperse, as radiant and colourful as rainbows in the sky falling into the sea. The coral reefs and rocks also appear in many different shapes and forms as natural and whimsical as the fancy of the artist. They float and move in the composition in all directions as if following the angles of movement of the diver. Lanying’s depiction of the coral reefs, rocks and other motifs of the undersea environment is also noteworthy. Apparently she is no longer content with using the brush formulas for traditional mountains and rocks. Instead she ventures into the experimental techniques of modern ink painting. In other words, she creates rich textures and changing forms by applying various semi-automatic techniques of transfer printing, free flowing, splashing, dripping and water surface marking, etc.. These abstract expressions help to give her greater freedom in releasing her creative thoughts. However, Lanying has not abandoned entirely her paint brush. She uses it to apply layers of colour wash to give a richer surface and greater depth to her paintings. At times she demonstrates her superb skill in manipulating the brush in some of the paintings through swimming fish and swaying water weeds. Yu Lanying’s artistic style, as exemplified by Journey into the Deep and Within, synthesizes her understanding and expression of the Chinese tradition and modern art in the West, at the same time breaking the boundary between representational and abstract art. She has successfully created a refreshing and powerful style of her own.

When I was a still student at the Fine Arts Department, The Chinese University of Hong Kong, I and my classmates knew that our Department Chairman, Professor Yu Chun-chih, had a daughter named Lanying who was studying fine arts in the United States. I finally made her acquaintance when I went to New York for further study after graduation from the Chinese University and her many kindnesses to me were treasured memories in my heart. Professor Yu Chun-chih was an eminent scholar and art critic from Taiwan. Enjoying expert guidance from her father on her artistic path at an early age, Lanying received personal tutelage from Huang Chunbi, Gao Yihong and other famous artists in Chinese painting in Taiwan. She won critical acclaim for her first solo exhibition of Chinese painting at Sun Yat-sen Memorial Hall in Taipei

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soon after her graduation from the History Department, Taiwan University and prior to her departure for further study in the United States. Her advanced study in the US no doubt focused on modern trends in Western art which substantially broadened her artistic horizon. After attaining double M.F.A. degrees in studio art and art theory, Lanying moved to New York to continue her studies. Without hesitation she plunged herself into this crucible of contemporary art in order to seek a personal expression through the forging of Chinese and Western arts. Some fifteen years ago she embarked upon a homeward journey, like completing a full cycle from leaving China as a child, growing up in Taiwan, living as an overseas Chinese in the US to finding a home for her body and soul in China. Her passage in life goes from the East to the West, and then returns to the East. Her creative path similarly looks to the East and West, straddling tradition and modernity. Her series of painting of Journey into the Deep and Within demonstrates clearly a deep sense of understanding derived from living on the crossroads of East and West, and ancient traditions and modern trends. She comes to her own in resolving the contradictions and conflicts in formulating a highly personal style characterized by bold conceptions, intense colours and a freedom of spirit, leading us into to a new and wonderful world of art.

Mayching KaoProfessor of Fine Art,The Chinese University of Hong KongDirector,Art Museum The Chinese University of Hong Knog

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第一部分 / PART I

海底斑澜

她將醇厚的東方與西方、古典與當代的藝術傳統展現在她的作品中。

她獨特地把傳統中國水墨畫與西方抽象表現主義融合在一起，表明對兩

種文化傳統的傳承，兩個世界在她心中已輕松地融會貫通。

──美國駐華前大使 駱家輝

藝術個性很鮮明 ,她作畫的題材，以海底對象作為藝術表現的題材。

非常專注、非常深入的表達，在國內外的畫家藝術家中很少見。表達一

種人文關懷，帶來一股清新的氣息。獨到之處 , 既有抽象化的成分，西

方化的成分也有中國人對於水墨的感悟，還有女性藝術家對物象的細緻

把握。她的展覽是中西方文化交流的一個成功範例。

──中国美术錧副舘长 梁江

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0808

137 × 70 cm2008

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0910

137 × 70 cm2009

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1001

70 × 137 cm2010

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1007

137 × 70 cm2010

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1013

137 × 70 cm2009

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70 × 137 cm2011

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1212

137 × 70 cm2012

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1401

180 × 96 cm2014

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137 × 70 cm2014

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70 × 137 cm2014

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70 × 70 cm2012

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70 × 70 cm2014

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70 × 70 cm2014

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1501

70 × 70 cm2015

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第二部分 / PART II

沉 墨

虞蘭因女士的繪畫不僅繼承了中國傳統繪畫的藝術手法，而且非常

嫻熟地掌握了 20 世紀後期發展起來的中國現代水墨藝術的表現手法，

她把潑灑、水拓、拓印這些現代的手法 , 也很好地和傳統繪畫的的筆鋒

意蘊結合在一起，所以我們現在看到的這些繪畫有著中國古典繪畫的性

格，同時又充滿了現代繪畫的意蘊。最主要，虞蘭因女士的繪畫表現了

人和自然和諧的中國傳統哲學的思想，對今天非常物質化 的世界非常

有啓發意義，她為中國的傳統繪畫史延續了新的篇章。

──藝術評論家 皮道堅

虞蘭因的海，不止是她旅居異域的經驗 , 而且是感情曾經的滄海。

或有人認為她的用色類西洋多於承中國，虞蘭因的墨海是新嘗試：以前

是墨分七色，現在是千藍一墨，藍中別有墨意，海底另有天機。或許將

來往海洋更深噚處寫，在陽光照射不到之處 , 觀察細微而洗筆幽冥之時，

又是魚龍忘機的境界了。

──香港著名專欄作家 陶杰

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137 × 69 cm2015

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69 × 96 cm2016

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68 × 137 cm2015

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69 × 138 cm2015

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204 × 68 cm2015

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97 × 60 cm2016

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59

21

1602

60 × 97 cm2016

60

61

22

1604

69 × 206 cm2016

62

63

23

1613

98 × 59 cm2016

64

65

24

1619

40 × 152 cm2016

66

67

25

1503

46 × 70 cm2015

68

69

26

1505

46 × 70 cm2015

70

71

27

1507

46 × 70 cm2015

72

73

28

1510

46 × 70 cm2015

74

75

29

1511

46 × 70 cm2015

76

77

30

1515

46 × 70 cm2015

78

79

31

沉墨四屏

69 × 45 cm × 42015

80

81

32

1605

69 × 45 cm2016

82

83

33

1606

69 × 45 cm2016

84

85

34

1607

69 × 45 cm2016

86

87

35

1608

69 × 45 cm2016

88

89

附 錄 / APPENDIX

虞蘭因，祖籍浙江寧波，幼時隨父母赴台灣，畢業於台灣大學，獲學士學位 (BA)，20 歲時

在台北市中山堂舉辦首次個展，同年 9 月獲全額獎學金赴美深造。在美國 University of

Louisville 獲藝術創作，藝術史雙碩士學位 (MFA)。後在紐約 Art Student League 隨 Will

Barnet 大師工作深造多年。

1976—92 在美國各地舉辦個展及參加各類型聯展系列

1993 在中國從事當代水墨畫，創作「海底斑瀾」系列

2009 1.9—18 廣東美術館個展

2010 4.22—5.6 嶺南美術館「線與面的張力」(廣東人文藝術研究會會繪畫藝術邀請展)

2010 8.20—2011.8.20 台北國立歷史博物館「第三屆 2010 當代水墨雙年展」

2011 9.8—18 深圳美術館個展

2012 EMG 藝術中心與美國駐中國大使館共同主辦「虞蘭因：海底斑瀾」

廣州、北京、上海三地巡迥展個展

廣州 : 2012.9.22—10.22 at EMG Guangzhou

北京 : 2012.11.1—11.27 at EMG Beiijng

上海 : 2012.12.15—2013.1.14 at EMG Shanghai

2012 11.30—12.5 北京中國婦女兒童博物館「虞蘭因彩墨個展：海底斑瀾」

2013 8.9—18 上海朱屺瞻藝術館「海底墨語」個展

2014 4.22—6.22 上海中國航海博物館個展

2015 3.15—3.25 虞蘭因香港巴塞爾周邊展覽

6.12—7.2 香港海港城美術館「深深的海洋」虞蘭因新水墨個展

11.11—11.17 香港中央圖書館「港澳滬當代水墨交流展 2015」

12.17—12.20 香港會展中心「水墨藝博」全球首個當代水墨藝術博

虞蘭因簡歷

94

覽會

2016 3.27—4.25 深圳畫院美術舘「第九屆深圳國際水墨雙年展」

6.26 泓盛「水墨演義」──當代水墨專場拍賣

9.10—9.21 美國硅谷亞洲藝術中心個展「墨海深沉」

95

Yu Lanying is a leading female figure in Chinese contemporary ink painting. She employs the use of Chinese ink and mixed media on rice paper to create entirely original work. Her paintings reflect the accomplishments of a seasoned master indebted to the riches of traditional Chinese painting and experimentation with western abstract expressionism. She inherited the former as a child, when she began working at the age of seven under the tutelage of Huang Junbi and Gao Yihong among other masters of Chinese painting in Taiwan. After thirty years of study and work in the United States, Yu internalized the latter. The result has been a body of work whose abstraction evolves with the continuum of her experiences of Chinese and American culture. Yu has exhibited extensively in the United States, China and Taiwan. She is best known for her works that explore her love for the ocean. The underwater landscapes inspire Yu to extend her soul onto paper with a combination of ink, color and texture, allowing the viewer into the private space of her spiritual journey. Born 1943 in Lanzhou, Gansu Province, ChinaLives and works in Guangzhou and Shanghai, ChinaLived and worked in New York (1967-1993)

Education

1968-71 Art Students League, studied under Master Will Barnet, New York City

1967 University of Louisville, MFA Studio Art and Art History

1950-64 Studied calligraphy and traditional painting under artists Huang Junbi, Gao Yihong and Sun Duoci, Taiwan

1964 National Taiwan University, BA History Selected Solo Exhibitions

1964 Inaugural exhibition, The National Sun Yat-sen Memorial Hall, Taipei, Taiwan

1976-1992 Yu Lanying, solo exhibitions throughout the United States

2011 Contemporary Ink Painting by Yu Lanying, Shenzhen Art Museum

Biography

96

Yu Lanying, Guangdong Museum of Art

2012 Journey to the Deep and Within: Creative Contemporary Chinese Ink, sponsor by U.S. Embassy Beijing and EMG.ART, EMG Galleries in Guangzhou, Beijing and Shanghai

2012 Yu lanying, solo exhibition, Chinese Museum of Women and Children, Beijing

2013 Yu Lanying, solo exhibition, Zhu Qi Zhang Art Museum, Shanghai

2014 Yu Lanying, solo exhibition, China Maritime Museum, Shanghai

2015 “Ocean Odyssey”: Contemporary Ink Painting by Yu Lanying, Gallery by the Harbour, Ocean Centre, Hong Kong “The Deep” Art Basel Satellite Show, Yan Gallery, Hong Kong

2016 “The Deep” by Yu Lanying, Silicon Valley Asian Art Center, USA

selected Group Exhibitions

1976-1992 Group exhibitions throughout the United States

2010 Group show, Lingnan Art Museum, Guangdong, China

2011 Group show, National History Museum, Taipei,

2015 Ink Asia 2015, Hong Kong Convention and Exhibition Center Hong Kong-Macau-Shanghai Joint Exhibition of Modern Ink Painting, Hong Kong Central Library, Hong Kong

2016 Ninth International Ink Art Biennale of Shenzhen, Shenzhen Fine Art Institute and Guan Shanyue Art Museum

2016 “Ink Romance” Shanghai Hong Shang Art Space , spring auction

97

編 輯 /EDITOR: 徐心如 /Xinru Xu

設 計 /DESIGNER: 朱戈戈 /Gege Zhu 張含笑 /Hanxiao Zhang

攝 影 /PHOTOGRAPHY: 張國華 /Wesley Zhang

書 名 墨海深沉：虞蘭因畫展

The Deep: Ink Painting by Lanying Yu

編 者 徐心如

出 版 硅谷亞洲藝術中心

Silicon Valley Asian Art Center

地 址 3777 Stevens Creek Blvd.,4th FL,Santa Clara, CA 95051(408)248-2698

網 址 www.artshu.com

版 次 2016 年 7 月第 1 版 第 1 次印刷

定 價 $20

國際書號 ISBN: 978-0-9960093-6-2

版權所有 硅谷亞洲藝術中心 2016 請勿翻印

Copyright© Art Shu Inc.,2016