二〇〇六年作

北京，麥勒畫廊
現藏者購自上述來源

荷蘭，阿姆斯特丹，佳士得展覽會；阿姆斯多芬，Canvas International Art；阿姆斯特丹，Artesia；斯海爾托亨博斯，Vanderven&Vanderven Oriental Art；烏得勒支，Mees Pierson私人銀行公司；海爾倫，DSM總公司〈East Asia Fine Arts 收藏展〉二〇〇七、二〇〇八、二〇一三年

These works are all in good condition with occasional minor scuff marks and surface accretion throughout. For the pink, red and mint yellow vases, there are minor chips to the mouth and bodies which are inherent to the medium.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

《上色陶瓶（九件作品）》是艾未未最具反叛性同時也最具代表性的作品之一。這位中國觀念藝術教父在石器時代造型的陶罐上加上玩世不恭的個人風格，對現成物重新改造，披上他所稱的「沃荷色彩」──光鮮飽和的紅色、粉紅色與淺藍色。陶罐的表面被新顏料所覆蓋，顏料之下「不再為世人所見，但依舊存在」，彷彿塵封的歷史。每當有人問及這些陶罐是否真為骨董，艾未未總是感到非常詫異，作品就真實性、挪用手法、藝術及歷史本質借題發揮，向中國及世界當代的重要議題發起大膽挑戰。艾未未在多種媒材之間游刃有餘，雕塑、裝置、建築、策展、攝影、電影及行動主義藝術均是他的遊樂場，其作品涉獵奇廣，意味深長且絕不墨守成規，因而蜚聲國際。他曾就古代陶罐及陶瓶的作品評論道：「我總是心懷敬意地把它們展示在古物旁邊，但它們絕不可能陳列在當代美術館中，當代美術館的展覽條件要比陳列骨董的好多了。」正因為他看似無禮的話語，這些陶罐現在正名正言順地安坐於各大當代藝術展覽場館，以致他後來的語出驚人：「無禮本身即有禮。」