Digital Gallery

藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Tianyimen Gold-Coating Chi-Lin Lobby unknown 1901-2000AD Cooper ★ ★ ★ ★ ★
作品介紹
The Chi-Lin (a fabulous animal appearing only in times of peace and prosperity) statues are treasures of the area of Grand Hi-Lai Hotel as well as a spiritual symbol for the hotel. The statues are made by copying the statues of a mythical animal in front of Tianyimen in the Forbidden City. The statues are also coated with gold. The mythical animal called Shiehzhih is a loyal divine beast which is, in legend, supposed to be good at telling right from the wrong and also making remarkable judgments. The royal garden located in the north of the Forbidden City is the Imperial Garden which offers an area for emperors, empresses and concubines to stroll around every day. Gold-coating technique: a mixture of gold and mercury is coated on the surface of bronze utensils. Then, the objects are heated in order to let mercury sublimat. Gold can adhere to the utensils’ surface and cannot fall off. This technique is like the modern gold-plating method. The technique had actually appeared during the Epoch of Spring and Autumn (770-403 B.C.) and the Epoch of Warring States (403-221 B.C.)  In the Chi-Lin statues, their bodies and four limbs are covere with helmets and armour. Having wide-open noses and mouths, they had ferocious eye contact. They are decorated with the patterns of numerous Chinese characters (wan) each of which has a flowery rhomboid shape. The rest of the patterns are reliefs of numerous cloud shapes. These paterns are repeatedly and continously presented by the use of varieties of concave and convex. Thus, these above elements make the statues look dignified and magnificent.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
西方 金雙耳西洋瓷瓶 Lobby 未知 西元1601-1700 瓷器 ★ ★ ★ ★ ★
作品介紹
西元1700年的作品,特色是在裝飾與彩繪上,充滿法國新古典主義的特徵,作品上的人物是月神戴安娜與愛神邱比特,形體均勻線條勾勒柔和。
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Bronze Cartel Clock Lobby unknown 1701-1800AD Furniture ★ ★ ★
作品介紹
In the middle of the eighteenth century, French clockmakers started giving up wood and using bronze. In design, the clock’s material of carving sculpture and main body is gold-plated bronze. Roman numerals made of pottery and porcelain are made by high-temperature glazing.  Above the clock, there is a carriage with the god of the sun, Apollo, controlling four horses. Below it is the goddess of the moon, Diana, riding a dolphin. In the middle section are curly flower decorations winding round the whole face of the clock. Carved flowers, unbalanced design, whirl-like veins etc. – all these are in the Rococo style.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Large Classic Table Lobby unknown 1701-1800AD Furniture ★ ★ ★
作品介紹
A soft curved appearance is characteristic of Rococo. Made of heart of walnut wood, the table has curved and spiral-whirled pillar bases. The table is decorated with gold plate and gold leaf. With large curved circles, the whole part from the top of the table to the table feet has frame structure casted with rococo-style bronzes. Two kinds of wood are used to make the top of the table. The table feet are regarded as a focal point to present connection of symmetrical sloping strips. Then, copper is used to coat the four table feet. There is a gold-plated sculptured bust of a noblewoman.  Rococo style was developed to highlight aristocrats’ secular enjoyment. The high point can be found in the carved sculptures and decorations with maganificent gold-plating and gold-leaf treatment.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern 8-Leaves Canton Lacquer Screen of a Palace Scenery Lobby unknown 1801-1900AD Furniture ★ ★ ★ ★ ★
作品介紹
On the eight-fold sreen are golden flowers. The folding screen is composed of four parts – pinxin, huanban, qunban and liangjiou. The top is huanban which has drawings of historical legends. The middle part, which is the largest part, is pinxin which has drawings of an emperor’s travels around his palaces, literati, gentlemen, ladies and other figures of some towers. On the other side of the screen are carved luscious flowers such as flowers from all seasons, peonies, chrysanthemums, plum blossoms etc.  In this piece of work, the levels of thickness of spreading gold lacquer are used to highlight the drawing’s layers; a blank space is used to achieve compositional perspective. Thus the individual theme contents can cross the limits of space and time beyond vision. It seems as if one is traveling in a dreamworld. What catches people’s eyes the most is the red-spotted decoration. This is a representative work of the style combining narrative nature and decorative nature.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Ancient Bridge Lobby Wu Bu-yun 1901-2000AD Painting ★ ★ ★ ★ ★
作品介紹
Coming from Guangdong Provience, Wu Bu-yun is specialized in Western oil paintings. The only one objective of painting for him is: when looking at his paintings, audiences can immediately recognize that these paintings are made by a Chinese. What he has shown us is oil paintings with Chinese charactersitics and ethnic meaning.  Having travelled everywhere, Wu Bu-yun has made efforts towards multiculturalism. At an early age when he lived in Hong Kong, he adopted realism to depict life in Hong Kong society. Soon, he also travelled all over the famous mountains and great rivers of China. Portraying magnificent landscapes, his paintings were filled with strong and lively atmospheres. Later, he settled down in Canada. Lakes, mountains and other sceneries, varying with the four seasons in Canada, are all beautifully presented in his works. His brushwork is short and quick. Thus, his works look rather like Chinese river-and-mountain landscapes.  His oil paintings have great variety. In the use of oil paint, he was much concerned to understand the nature of colours. In matching colours, after various colours are blended, a bright-coloured appearance still remains
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Shanxi Clay Sculpted Head of Buddha 9F unknown before 1600AD Carving ★ ★ ★ ★ ★
作品介紹
Most parts of Shanxi Province have a temperate monsoon continental climate. This special climate is suitable to develop clay sculpture. In the process of making clay sculpture, it takes at least one year to dry it thoroughly in the wind. After being dried, the clay sculpture can be covered with paper or coloured drawings. Clay sculptures present realism. Although they have religious meaning, human figures’ postures, expressions and clothes are secularized. In the middle of the Buddha’s forehead is one spot called baihao. Its eye look downwards, implying delivering and saving all beings. Statues of Buddha had been created before Tang dynasty whereas theme of religious stories had been focused on only after the Song dynasty. For the Chinese, stone carving was a foreign technique. Stone material in Dunhuang was a conglomerate. When statues could not be made by this material, local clay sculpture technique was used to make up any deficit. China’s earliest clay sculptured Buddha statues were produced in this way.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Imperial 9F Imperial 西元1801-1900 Textiles ★ ★ ★ ★
作品介紹
The imperial robe’s material is of silks and satins. Despite being unfinished, the robe has shows its embryonic form.  [The origin of imperial dragon robes] In reign of East Han’s Emperor Ming (59 A.D.), long robes became the official costume. Since then, long robes were a general style for official clothes for many years. The term “imperial dragon robe” (lungpao) started being used in the Qing Dynasty. The dragon was regrded as a symbol of the son of heaven. On the robe are many patterns of dragons.  [Making imperial dragon robes] These imperial robes were elaborately and attentively designed by the Qing Dynasty’s top designers in Ruyi House which is today’s Huafangzhai (literal meaning: ‘picturesque boat house’) of Beihai Park. Next, the imperial robe needed to be examined and permitted by the emperors. Then, special messengers delivered the design drafts to manufacturers in Nanking, Soochow or Hangchow to consider the involved materials and techniques and supervise and measure every step of making the imperial robes.  [Characteristics of the imperial dragon robe] The bright yellow-coloured robe has collars and sleeves. After the Qing Dynasty, the robe sleeves became smaller. Emperors are regarded as the highest nobility. Thus their robes are decorated with the patterns of nine gold dragons: dragons were on the chest, back, right sleeve, left sleeve, four junctions of two fronts and two backs and inside the robe. Viewed from the imperial robe’s front and back sides, the nine dragons can be seen. The emperors’ highest nobility was thus clearly visible.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern <五華聳聚> 9F Yuan Zhan 1901-2000AD Painting ★ ★ ★ ★ ★
作品介紹
Combining traditional and modern ideas, Yuan Zhan’s paintings give audiences room for imagination. A panoramic-view structure and numerous mountains’ overlapping layers lead to an epic-like imposing manner in these paintings.  The essence of traditional ink and water paintings is the spritual connotation with which Yuan Zhan is the most familiar as well having his important basic foundation as a painter. Yuan also brings in European “|modernist” art thinking of the early 20th century. The combination of the occidental and oriental elements makes his paintings present unique spatial structure and subjective imagery.  Yuan Zhan’s landscape paintings help audiences to enter nature and also to travel in abstract and colourful dream-like mountains and forests by following his painterly logic. Audiences will also be charmed by his novel colourful world of boundless imagination.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Portrait of Two Xiang Ladies 9F Fu Yi-yao after 2000AD Painting ★ ★ ★ ★
作品介紹
[Story of the two Xiang ladies] Two ladies called Erhuang and Nuying, who were the daughters of the legendary Yao were married to Shun. The former, who was the elder sister, was the first wife and was called Jun after marriage; the latter one was the second wife and became called Furen. At one time, Shun made an imperial inspection tour in the south of the country. Unfortunately, he died in Cangwu Mountain. Hearing the news, the two ladies wept bitterly. Owing to their deep pain and thinking about the late husband, soon they died in Xian River. Their bodies were buried in Dongting Mountain. It is said that they both became goddesses of Xian River.  As a Chinese-painting artist who had stayed in Japan, Fu Yi-yao has won a great reputation in Japan. She is also a daughter of the celebrated Chinese painter Fu Bao-shi.  Her main painting achievement is demonstrated in Japanese folk worshipping composition paintings and in a series of large-sized mural paintings of stories about Buddhism. She often uses a Japanese woodcut technique in her works and also retains the style of Chinese ink-and-water paintings.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Four Tigers in a Tranquil Mountain Streem 10F Zhang Shan-zi 1901-2000AD Painting ★ ★ ★ ★ ★
作品介紹
This painter’s name is Ze, his formal name is Shan-zi and his self-chosen name is Lu-chi. He comes from Sichuan, China. He is Zhang Da-qian’s elder brother.  Zhang Shan-zi and his younger brother Da-qian have different personalities: Shan-zi was concerned about his country and people and thus won a reputation as a patriotic painter whereas Da-qian was optimistic and straightward and was never concerned about politics. In painting, Da-qian was good at painting flowers. Shan-zi mastered painting animals, especially tigers. Feeding tigers in order to paint them, he is regarded as the most famous Chinese painter of tigers since the Ming Dynasty. In this picture, four tigers have their various expressions and have eyes with a piercing gleam and strong spirit. The tigers’ hairs are fine and delicately drawn. The mountain scenery is brilliantly arranged. The tigers’ stripes are strongly and magnificently painted. His special ways involve delicate lines, a strong spirit and smooth movements – which make the tigers seem so real, their stripes brilliant, and their postures so energetic and agile. There are also clouds and mists winding up into the mounatains all over the painting, resulting in a charming appearance. All the above fully present the painter’s inner style.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Andromeda and the Sea Monster 11F P.Romaneli 1801-1900AD Carving ★ ★ ★ ★ ★
作品介紹
作品年代為1887,以古典希臘神話為主題的安德羅美妲與海怪白大理石雕刻,作品的特色為典型新古典主義的表現手法,姿態比例穩定、優雅;另外此件作品的石材來自靠近佛羅倫斯的小城卡拉拉,據說米開朗基羅曾經住在那裡,這整座無接縫式雕刻的白大理石雕,是一件稀世的曠世鉅作。
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Etchings of Old Summer Place 40F Giuseppe Castiglione 1701-1800AD Etching ★ ★ ★ ★ ★
作品介紹
Twenty copperplate etchings of Western-style Building in Changchun Palace were made by Italian painter, Giuseppe Castiglione (1609 - 1664), who was also one of designers of the Western-style Building. The Building’s construction was completed by Chinese craftsmen. The etchings are an authentic record of the completed building. The building’s external appearance, details, measurements etc. are regarded as being correct. So, the record has great value in Chinese architectural history.  From the above, the building has a T-shape. Its style is Baroque (the style coming after the late European Renanssance). In the etchings, trees are trimmed into certain shapes; in the front part are water fountains; the garden is Western-style. The style of the building’s pillars, eaves, doors, windows, handrails, railings etc. are classical-European. Yet, in the fine decorative details, Chinese special styles remain. So the building is indeed a representative work of Chinese and Western combination.  Although the etching is mono-coloured, it seems that a variety of colours can be seen when examining the looseness and density of the lines. The “Old Summer Palace” is the general name for Yuanming, Changchun, Qichun (later changed to “Wanchun”) palaces. It was once upon a time praised as an “Oriental Versailles.”
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Cloisonné enamel and gilted bronze lamp 42F unknown 1801-1900AD Porcelain ★ ★ ★ ★
作品介紹
Starting being imported into China from Byzantium of Muslim world in Ming Dynasty, cloisonné had become popular during the Ming and Qing dynasties. Cloisonné is an alternative name for copper-stripe inlayed enamel ware. Enamel wares made in Jingtai period of Ming dynasty were those with historical significance and also at an international-level standard. Later, people called the special technique of making the enamel wares “cloisonné” (jingtailan). Its special achievement lies in the use of “cobalt blue glaze.” Japanese call these enamel wares Qibaoshao. The “beast-faced cloisonné jar with two handles” is possibly a jar-like light holder. Having exotic patterns, the whole jar has a match between copper carvings and the full brilliant colours of cloisonné. There are eight colours of enamel glaze, such as black, pink, white, royal blue, green etc. The glaze quality is fine and pure. If some irregular sizes of sand-like materials or something not delicate can be found in the surface of a work, it means that the refining process was not pure enough – such observation provides one of the standards for estimating the work of different periods.  Wire-inlaid enamel refers to the following process: metals are made into various types of tubes; then, metal wires are woven into various patterns; then, the wires are stuck to surface of the tube using welding or vegetable glue. The result is called “wire-inlaid.” Next, various colours or enamel mixtures are poured into the patterned frame. Outside the patterns, other colour glaze (which is generally blue) is added. Then, after the procedure of burning, polishing and gold-plating, a complete enamel ware is finished.  Wire-inlaid enamel patterns are made as follows: thin copper sheets are welded on to the wares. Patterns made of welded copper sheets are filled in with colour enamel glazes. Decorative design patterns are made by polished and smooth copper threads. Enamel glazing is given at a low temporature. Patterns made of copper wires can prevent melten colour enamel materials from crossing the boundaries. Later, a technique of controlling temperature arrived, so drawing on enamels and enamel porcelains appeared. Generally speaking, just three or four glaze colours were used in patterns and decorative deisgns. Cobalt blue is the most refreshing, vigorous and transparent colour.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western French Famille-Rose Vase 42F unknown 1801-1900AD Porcelain ★ ★ ★ ★
作品介紹
This is a Sèvres porcelain vase with excellent tradition. Obtaining a monopoly right of gold-coating and colour-painting from Louis XV, the vase has lively and gorgeous decorative arts which cannot be made in other kilns. Coloured patterns depict themes about aristocrats’ easy, carefree and luxurious life.  A series of pink patterns are decorated on the pure white vase. So the colour tone looks cheerful. Cupid appears here and looks at groups of bees picking up honey from flowers. The whole vase has spiralled and twisted designs in its many areas. Its golden lines have their moderate rhythms. Those above reflect the fashion of royal aristocrats’ enjoyable self-indulgence.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Armchair with a Curved Back 42F unknown 1701-1800AD Furniture ★ ★ ★ ★
作品介紹
Among all the Qing Dynasty’s artistic furniture, an armchair with a curved back is the most representative.  [Characteristics of an Armchair with a Curved Back] Such a kind of armchair is wide and large, and looks assertive and dignified. The whole design of the armchair is magnificent, like a throne. In patterns, the goals of having as many decorations as possible and of looking as prosperous and gorgeous as possible are pursued. Diverse materials and many kinds of handicrafts are also used. Backs and handrails are also crucial elements in the armchair so that a three-folded, five-folded or multiple-folded screen is seemingly built up. The times of making this kind of armchair is the high Qing period. At that time, politics were stable and the economy was prosperous. The unique-style furnitures at that stage are in the tune with social development, people’s needs and technological progress – demonstrating prosperous circumstances.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Famille-Rose Blue-and-White Porcelain 42F unknown 1701-1800AD Porcelain ★ ★ ★
作品介紹
清雍正至晚期的作品。清朝時期為適應民間婚嫁的需要,瓷都景德鎮燒造了成雙成對對的瓷瓶、瓷罐。圖案多為人物、花卉、山石等,賦予美好祝願,有富貴白頭、錦上添花、歲歲平安等。「青花瓷」素以其胎、釉精細,青花鮮豔,造型古樸多樣,紋飾優美而負盛名。
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Top of the Marble Table with Sideboard 42F unknown 1801-1900AD Furniture ★ ★ ★
作品介紹
In interior-furnished and decorated style in the neo-classical period, designs and patterns of Roman artistic style were adopted in a big way. Furniture choices were intended to be composed of fine and elegant geometrical elements.  Having symbolic patterns such as violins and flowers, the front decorative sheet made of wulnut wood has two movable drawers, locks and four copper rings. What makes the table so special is the top of the marble table. The table is accompanied with a sideboard reflecting the fashion for its contemporary multi-material use. In order to increase the decorative amusement, bronze carvings are often used to decorate the table feet. Although neo-classicism was intended to return back to more intellectual ideas, it still used decorations in small parts about which people did not care so much. Curved table feet give a stable and classic impression. This French classic and elegant presentation is not like sense of metallic heaviness in Baroque period at all.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Eastern Jade Cong 42F unknown Before 1600AD Jade ★ ★ ★
作品介紹
Made in the late Ming dynasty, the jade cong is copied from a style of the Central Plains during the Shang and Zhou Dynasties. It is not tall, and does not have sections. It has four sides, neither swollen part nor sophisticated decorative pattern for each side. Simplicity on each side is the typical style of the Central Plains. Simplified “beast face” pattern symbolizes gods, ancestors and divine and spiritual animals.  A grinding method is adopted to carve the jade. External screw in relief, drilling, polishing etc. are used as techniques of jade carving. In the late Neo-lithic Period, jade cong was a very significant instrument for sacrificial ceremonies. The basic design is a square pillar and a circular hole in the center, reflecting ancient Chinese conceptions of the universe: square shape for earth; circular shape for heaven. Jade also symbolizes the communication between human beings and gods.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Rococo Rattan Chair 42F unknown 1801-1900AD Furniture ★ ★ ★ ★
作品介紹
The back of the rattan chair has a three-section screen, an external part of which has bracken-leave-shaped sculptures coated with gold leaf. From the decorated patterns of its arms and cushion to its modest circularly curved feet, it makes a smooth whole. Pairs of chairs are seemingly suitable for people relaxedly sitting down to drink afternoon tea. The backs of the two chairs have inlaid wooden flower patterns and are supplied with cushions with pink-stripe patterns. This presentation gives people a boundless imagination towards royal aristocrats’ domestic life.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western Chair Decorated with Gold Leaf 42F unknown 1801-1900AD Furniture ★ ★ ★ ★
作品介紹
Made of heart-of-walnut wood, the chair’s arms are decorated with gold foil strips and carvings. The furniture gives a stable and graceful impression. The back of the chair has inlaid wooden flower patterns and cushions of cloth in blue-spot patterns – which make the chair have an even more classic French air. Geomtrical rational lines and circular curved modesty are also brought in to make the furniture have a more neo-classical approach.
藝術品出處 藝術品名稱 飯店內展示 作者 年代 作品類別 價值
Western La parte Eyyptienne 42F unknown 1901-2000AD Carving ★ ★ ★ ★
作品介紹
Having been influenced by modernism, the art of the twentieth century had been rebellious against classicism and decorative art. Strong, energetic and efficient lines, bright colours, mixed-medium such as metal, glass, and other new synthetic resins have become crucial characteristics. Acrylic crystal has high-degree diaphaneity. So it looks refined. Being plastic-like and glass-like, the material has certain characteristics, that is, it is easy to proceed with processing, to cut it into any shape and to carve any characters and drawings on it. Following the style of decorative arts of the period, the artist uses a triangle shape as his basic innotive prototype and smoothly and concisely cuts acrylic crystal in a big way. Using a highly complex method, he also carves whirl shapes. In the work, he focuses chiefly on the facial expressions where he deliberately creates conflicts. He also lets the human body desire to shake off its physical limits. The work highlights the artists of the twentieth century facing challenge of industrialized times and asking how to continue retaining a self-reflection of the humanistic spirit.