立青文教基金會 Li Ching Foundation

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立青文教基金會 Li Ching Foundation 立青文教基金會近現代中國藝術線上文獻庫
We create online archives and Catalogue Raisonné for modern Chinese artists

22/09/2026

CANS藝術新聞｜常玉專輯｜辦公室

《CANS藝術新聞》2026年9月號（No. 342）推出「常玉——三十年一輪的世代收藏更替」專輯，專訪立青文教基金會董事長衣淑凡。

本次專訪由 Cans Contemporary Art News 當代藝術新聞 製作，影片精彩片段與大家分享。

The September 2026 issue (No. 342) of CANS Art News features a special topic, “Sanyu — A Generational Shift in Collecting Every Thirty Years,” including an interview with Rita Wong, Chairperson of the Li Ching Cultural and Educational Foundation.

Produced by CANS Art News, this video features highlights from the interview.

🎥 Watch the full interview｜CANS Art News https://youtu.be/A-V5rwFUUDA?is=8Mehnz-zs95gv16p

21/09/2026

CANS藝術新聞｜常玉專輯｜「LCF」

《CANS藝術新聞》2026年9月號（No. 342）推出「常玉——三十年一輪的世代收藏更替」專輯，專訪立青文教基金會董事長衣淑凡。

本次專訪由 Cans Contemporary Art News 當代藝術新聞 製作，影片精彩片段與大家分享。

The September 2026 issue (No. 342) of CANS Art News features a special topic, “Sanyu — A Generational Shift in Collecting Every Thirty Years,” including an interview with Rita Wong, Chairperson of the Li Ching Cultural and Educational Foundation.

Produced by CANS Art News, this video features highlights from the interview.

🎥 Watch the full interview｜CANS Art News https://youtu.be/A-V5rwFUUDA?is=8Mehnz-zs95gv16p

20/09/2026

CANS藝術新聞｜常玉專輯｜檔案

《CANS藝術新聞》2026年9月號（No. 342）推出「常玉——三十年一輪的世代收藏更替」專輯，專訪立青文教基金會董事長衣淑凡。

本次專訪由 Cans Contemporary Art News 當代藝術新聞 製作，影片精彩片段與大家分享。

The September 2026 issue (No. 342) of CANS Art News features a special topic, “Sanyu — A Generational Shift in Collecting Every Thirty Years,” including an interview with Rita Wong, Chairperson of the Li Ching Cultural and Educational Foundation.

Produced by CANS Art News, this video features highlights from the interview.

🎥 Watch the full interview｜CANS Art News https://youtu.be/A-V5rwFUUDA?is=8Mehnz-zs95gv16p

好吧，🐴年來了。在所有畫過的動物裡，常玉對馬情有獨鍾；數量、背景、顏色和姿勢各不相同。馬也一直是中國畫中重要的主題。自唐代以來，鞍馬畫發展為獨立畫科。唐代詩人李白，就特別偏愛關於白的東西，包括白馬🎠。他在《少年行》其二中就這樣寫道：五陵年少...
16/02/2026

好吧，🐴年來了。

在所有畫過的動物裡，常玉對馬情有獨鍾；數量、背景、顏色和姿勢各不相同。

馬也一直是中國畫中重要的主題。自唐代以來，鞍馬畫發展為獨立畫科。

唐代詩人李白，就特別偏愛關於白的東西，包括白馬🎠。

他在《少年行》其二中就這樣寫道：

五陵年少金市東，
銀鞍白馬度春風。
落花踏盡游何處？
笑入胡姬酒肆中。

願大家都能瀟灑踏著春風
與家人朋友開懷暢飲
只是，別策馬奔騰過頭🐎

Oh well, here comes, Year of the 🐴.

Of all the animals he painted, Sanyu had a soft spot for horses — in different numbers, backdrops, colors, and poses.

Horses have also long been an important subject in Chinese painting. Since the Tang dynasty, horse painting developed into an independent genre.

And there was Li Bai, who seemed particularly fond of all things white, including white horses.

He puts 🎠 this way in Song of the Young Part II

Young men of Wuling, by the eastern market,
Silver saddles, white horses in the spring wind.
Having ridden over fallen blossoms — where next?
Laughing, they disappear into a tavern for a drink.

Wishing you all a carefree ride into the spring breeze,
sharing drinks with family and friends.

Just… don’t gallop a little too far 🐎.

——
常玉，《白馬》，1920-30年代，水墨水彩紙本，21 × 28 公分

今天，是常玉墓地租約到期的日子。1997 年秋天，羅勃．法蘭克開始尋找常玉那座沒有名字的墓。他發現，為期三十年的租約早已在 1996 年 8 月 20 日到期，依規定，常玉的遺體將於 1998 年 8 月 20 日移往公墓。法蘭克請衣淑凡出...
06/02/2026

今天，是常玉墓地租約到期的日子。

1997 年秋天，羅勃．法蘭克開始尋找常玉那座沒有名字的墓。他發現，為期三十年的租約早已在 1996 年 8 月 20 日到期，依規定，常玉的遺體將於 1998 年 8 月 20 日移往公墓。

法蘭克請衣淑凡出面續約，並自費修繕墓地，立起一塊刻有中、法文姓名的墓碑。事實上，買斷墓地只比續租貴一點點，但他仍選擇續租。他說，我們是在關鍵的時刻，拯救了一份早已過期的租約；在他看來，三十年後如果沒有人站出來，常玉的命運，就是被世界遺忘。

今天，常玉的墓地正式被巴黎市接手。或許，這正是對他最好的安排——被他所選擇的國度收留。而他的藝術，也在三十年後的今天，於世界各地，找到了真正的知音。

Today marks the end of the lease on Sanyu’s grave.

In the autumn of 1997, Robert Frank began searching for Sanyu’s unmarked grave. He discovered that the thirty-year lease had already expired on August 20, 1996, and that according to regulations, Sanyu’s remains were to be transferred to a public grave on August 20, 1998.

Frank asked Rita I-Wong to renew the lease. He provided the funds to repair the grave and installed a headstone engraved with Sanyu’s name in both Chinese and French. Although purchasing the plot outright would have cost only slightly more than renewing it, Frank chose renewal instead. He later said that they had intervened at a crucial moment, rescuing an already expired lease. In his view, had no one stepped forward after 30 years, perhaps it would be his fate to be forgotten.

Thirty years later, today, Sanyu’s grave has been taken over by the City of Paris. Perhaps this is the most fitting outcome: to be received by his adopted country, to rest here permanently. And his art, thirty years on, has found its kindred spirits around the world.

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