E L I TE 時 尚 精 英
美容美妝 多彩時尚 綠植庭院 經典繪畫 股票投資
Michelle Lian: Connecting Through Life-Affirming Dance 無染無著 心淨舞蹁躚 ——專訪神韻領舞演員連旭
MARCH-APRIL 2020
The Van Eyck Brothers’ Adoration of the Mystic Lamb 修復凡 · 艾克兄弟 《神祕羔羊崇拜》神聖細節重現
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Reviving a 300-Year-Old Historic Building 古樸典雅 婺源天淨沙
7 Ways to Bring In Spring 春色滿盈 迎接春天的7種布置
ow colors
ISSUE 43
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can affect your mood and aura
March-April 2020 $6.99
2020/3/2 下午10:42
BLACK ROSE EYE CONTOUR FLUID Refreshes - Illuminates Diminishes signs of fatigue
Discover more at sisley-paris.com
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FOR QUESTIONS CALL: Kollette Greene 214-891-2947
SCH E DUL E A S H O W R O O M APPOI NTM ENT 1400 Elliott Avenue West, Seattle, WA 98119 • 206-284-8400 • subzero-wolf.com /seattle 655 Anton Boulevard, Costa Mesa, CA 92626 • 657-269-5874 • subzero-wolf.com /southerncalifornia 1755 Rollins Road, Burlingame, CA 94010 • 650-240-3000 • subzero-wolf.com /norcal
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目錄 CONTENTS 6
Editor’ s Note 採編隨筆
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Editor’ s Pick: Mix and Match 玩味混搭
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Editor’ s Pick: Inspired by Ancient Greece 希臘靈感
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How Colors Can Affect Your Mood and Aura 時尚：擷取心情的顏色
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Beauty: New Launches 美容美妝新品
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Beauty: Editor’ s Favorites 編輯精選單品
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Michelle Lian: Connecting Through Life-Affirming Dance 無染無著 心淨舞蹁躚——專訪神韻領舞演員連旭
40
The Van Eyck Brothers’Adoration of the Mystic Lamb
48
Artist Heide Presse Paints American History: Journal by Journal
修復凡‧艾克兄弟《神祕羔羊崇拜》神聖細節重現
藝術家海德‧普雷斯畫活美國歷史
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7 Ways to Bring In Spring 春色滿盈 迎接春天的7種布置
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Can Bordoy Grand House & Garden: A 16th-Century Jewel Restored 16世紀老宅重生 今昔共存的迷人空間 Breaking Barriers: An 80 -Year-Old Art Deco Apartment Is Reborn 「創作加生活」 非凡的藝術雅居
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The Garden Sanctuary: Modernizing a Lush Urban Abode 景觀魔術師 打造綠意居家
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Reviving a 300 -Year-Old Historic Building 古樸典雅 婺源天淨沙
COVER
People: Michelle Lian Photographer: Daniel Ulrich Coat, Earrings and Bag by Oscar de la Renta Blouse by Escada Makeup and Hair Artist: Patricia Lee Stylist: Joy Ye Location courtesy of Sotheby's International Realty (MLS ID 4957096)
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Ch
as
w
e the glo
在日常護膚中加入賽貝格美白VC粉以提亮膚色，保護肌 憑藉屢獲殊榮的賽貝格高級凍齡護膚系列，在新的一年 膚免受侵害, 屢獲各項美妝大獎的VC粉，其獨特霜化專 使你的肌膚充滿活力恢復光彩，高濃度的超級精華不僅 利技術可使VC粉在接觸肌膚後如魔法般霜化，讓您的肌 可以單獨使用，也可以結合其他產品使用來定制專屬的 膚擁有穩定的高濃度抗氧化維C，單獨使用，或與精 護膚方案，亦可與美白VC粉混合以提亮膚色。 華，面霜混合皆可，幫助減少色素沉著。 賽貝格專櫃及官網drsebagh.com有售。 可在專櫃或官網購買drsebagh.com
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Phoenix Gallery
1
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我們提供 室內設計服務
從丹麥. 到世界. 丹 麥 設 計 源 於 1 9 5 2 | BOCONCEP T.COM 10400 NE 8TH ST, BELLEVUE, WA 98004
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序 EDITOR’S NOTE
慢時光 如同生物一般，藝術品的生命，同樣經不起時間的腐蝕和摧殘。「 根特祭 壇畫 」（ 又稱「 神祕羔羊崇拜 」）是文藝復興時期最重要的畫作之一。它 失卻原貌已幾百年有餘。 在比利時根特市美術館的一間畫室裡，公眾可以看到這幅巨著，親眼見證 其局部被修復的過程。一群藝術修復師們在畫室內埋頭工作，日復一日， 專注且平靜。 要駕馭高度精細的修復操作，需要技巧嫻熟的雙手與訓練有素的雙眼，能 將上光層、重繪層與原始油彩區分開來。修復師們一邊用立體顯微鏡觀 察，一邊用手術刀一片一片將變黃的上光層和幾世紀前的油彩剝下來，然 後在需要的地方用顏料描繪修補。 彷彿是一點一點將歷史的碎片撿起來，修復師們小心地擦亮歷史留給人們 的禮物，也擦亮著過往訪問公眾的心情。雖身在面對公眾開放的畫室，他 們沉靜如水，旁若無人。他們的專注和認真，讓畫室內的時間彷彿都慢了 下來。 遙在中國江西婺源，有個800年的古村落——婺源縣思溪延村。這裡，時 光也格外地慢。 為了這份「 慢 」，一對夫妻辭掉大都市的白領工作，毅然決然將自己的畢 生積蓄，都投放到村中一棟老宅中，並將其改建為民宿。通過保留和修復 老宅的歷史風貌，這對夫妻把為都市人打造出一隅享受寧靜樸實生活的空 間。不著急時間，不追趕社會的節奏，人們在這裡可以數一數天上的白 雲，聽聽微風的呢喃，感受時光慢下來的樣子。 時光中，西班牙帕爾馬地的繁華都市，一座建於16世紀的老宅也曾斑駁迷 離。經過小心地修繕和重建，它才重新煥發出生命的活力。經過老宅庭院 內光影錯落的小徑，綠植環繞的游泳池區域，迎著微醺的陽光小憩，時間 似乎可以凝固在這美麗幽謐的氛圍之中。這裡，是人們可以享受慢時光的 又一個祕密基地。 這些修復藝術品，以及修繕歷史建築的項目背後，是一群於社會公眾而 言，無名的人們。他們在這個紛繁忙碌的世界中，認真、定力十足地 「 慢 」著。 期許《時尚精英》3月刊的這些時光故事，可以帶您一起慢下來，讓心更 透明、更輕盈。
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Cove Neck, NY
佔地7英畝的海濱豪宅，擁有7間臥室的完美建築。 罕見的私人碼頭，2 個繫泊設備，溫水游泳池，電動升降的遮陽棚，合法的4臥室小屋，3個 車庫。 不可思議的價值。 SD #6. MLS# 3182531. $5,495,000.
Quogue, NY — Waterfront New Construction
座落於2英畝地產，面積為7,000平方英尺的光線充足的後現代新建築， 擁有6個臥室，8.5個浴室，豪華且實用。 廣闊的花園，恆溫花崗石游泳 池，陽光甲板，帶完整廚房的小屋，3輛車的車庫，電梯和通向石溪的 通道。 SD #3. MLS# 3194172. $5,800,000.
Barbara Candee, 516.759.4800 Carol A. Cotton, 516.759.4800, c.516.359.7946
Kimberly Cammarata, 631.288.1050, c.631.433.9992
Quogue, NY — Waterfront Dream House
Westhampton Beach, NY — Between the Bridges
SD #3. MLS# 3168439. $3,350,000.
SD #2. MLS# 3193843. $11,995,000.
鎖定上等海濱綠洲，一座位於Stone Creek海岸上的驚艷的住宅。空間， 範圍和位置的結合，營造了獨特的2.2英畝的土地的私密莊園與50英尺的 河岸。並設有私人碼頭可停泊大型遊艇。
Kimberly Cammarata, 631.288.1050, c.631.433.9992
danielgale.com
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享受120英尺的私人沙灘，然後乘船即可入海灣。 當代風格的房屋，擁 有現代風格的裝飾，室外廚房，帶水療設施的海洋恆溫游泳池和帶桑拿 浴室的健身房。
Christopher Foglia, 631.288.1050, c.631.831.2515
Each office is independently owned and operated. We are pledged to provide equal opportunity for housing to any prospective customer or client, without regard to race, color, religion, sex, handicap, familial status or national origin.
2020/3/2 下午10:50
PUBLISHER Ellen Wang EDITOR IN CHIEF Jennifer Zhang VICE PUBLISHER SEATTLE Echo Liu EDITORIAL ADVISORY BOARD CHAIR Dana Cheng, Ph.D.
華麗地毯 窗簾牆紙中心
SALES DIRECTOR Jo Yang EVENT AND MARKETING DIRECTOR Xiaofei Wang ART DIRECTOR Chen Fu PRODUCTION DIRECTOR Karen Tang
QUEENS CARPETONE CORP.
SENIOR DESIGNERS Hsinyu Lo, Ingrid Longauerová
全美最大的家庭裝飾連鎖公司 Carpet One Floor & Home 唯一華人成員
DESIGNERS Benson Xiao, Tan Zhao SPECIAL PHOTOGRAPHERS Adhiraj Chakrabarti, Daniel Ulrich, Larry Dye, Edward Dye CORRESPONDENTS Pia-Maria Norris, Angela Feng, June Fakkert, Astrid Wang, Minghui Wang, Ivy Tseng, Faithe Lo, Joel Chang, Ling Li
地毯 | 窗簾 | 牆紙 | 地板 華麗地毯窗簾牆紙中心 是您的最佳選擇
TRANSLATORS Ling Li, Ivy Tseng COPY EDITORS Connie Phillips, Huixuan Yang
QUEENS CARPETONE CORP. for your perfect FLOOR & HOME
FASHION EDITOR Joy Ye BEAUTY EDITOR Pia-Maria Norris PEOPLE EDITOR Angela Feng ART & CULTURE EDITOR Jennifer Zhang
大量現貨 歡迎設計師 洽談合作
BUSINESS EDITOR Hong Wang HOME EDITOR Faithe Lo FOOD & DINING EDITOR Channaly Philipp
Address 229 W 28th Street, 6FL, New York, NY 10001 Phone 646-862-9930 Email editor@elite-magazine.com advertising@elite-magazine.com subscription@elite-magazine.com www.elite-magazine.com
Adeline 電話：718-460-1161 Email: qcarpetone@gmail.com 地址： 18-13 128th Street College Point, NY 11356 （大口福附近）
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WeChat San Francisco Ke Bian 510-299-4392
San Francisco
Los Angeles Yan Lieser 818-836-2937
Boston Timothy Pi 617-388-1688
Boston
Seattle Echo Liu Ben Ruan 425-877-5121 425-449-3620
Seattle
2020/3/2 下午10:50
Michelangelo Designs The Italian Design Center Modern | Traditional | Transitional
The Designers’ Source Since 1985
By Appointment Only - To The Trade 2 Main Avenue, Passaic, NJ 07055 www.michelangelodesigns.com • info@michelangelodesigns.com • (973)779-3200
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EDITOR’S PICK
BLAZÉ MILANO, SAFFIER DOUBLE-BREASTED LINEN BLAZER, $1,755, MODAOPERANDI.COM
OSCAR DE LA RENTA, HAMMERED PEARL-DROP CLIP EARRINGS, $350, NEIMANMARCUS.COM
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PETER PILOTTO, BELTED FLORAL COTTON SHIRT DRESS, $1,330, MODAOPERANDI.COM
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Mix & Match Spring is a perfect time for some color and pattern adventures. Be bold and brave! Now take the opportunity to experiment with what you already have in the closet. Try pairing pieces that you have never worn together before. If anything, it’s going to be fun!
DOLCE & GABBANA, SICILY MEDIUM CALF LEATHER SATCHEL BAG, $1,695, NEIMANMARCUS. COM VINCE, CADYA LEATHER SLINGBACK BALLERINA FLATS, $275, NEIMANMARCUS.COM
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PHOTOS BY NEIMAN MARCUS, MODA OPERANDI, GETTY IMAGES
By Lina May
2020/3/2 下午4:16
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EDITOR’S PICK
ARON HIRSCH, CURVA 18K GOLD EARRINGS, $920, MODAOPERANDI. COM
GUCCI, OVERSIZED SQUARE-FRAME ACETATE AND GOLDTONE SUNGLASSES, $435, NETAPORTER.COM
MIGUELINA, CADA CROPPED LINEN LACE TOP, $250, MODAOPERANDI.COM
EMILIA WICKSTEAD, FRED PLEATED CREPE MIDI SKIRT, $1,305, NETAPORTER.COM
By Lina May
The aesthetic of ancient Greek style is about contrasts—the designs are strong, yet feminine; traditional but contemporary at the same time. The fustanella, which is a traditional pleated skirt-like garment, has clearly impacted contemporary fashion style. The sharp lines of such pleated skirts create a balance of soft and strong.
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GUCCI, ZUMI SMALL EMBELLISHED LEATHER SHOULDER BAG, $2,980, NETAPORTER.COM
CHIE MIHARA, TABATA SUEDE CUTOUT SANDALS, $395, NEIMANMARCUS. COM
PHOTOS BY NEIMAN MARCUS, MODA OPERANDI, NET-A-PORTER, GETTY IMAGES
Inspired by ANCIENT GREECE
2020/3/2 下午4:16
Bridging
East &West
兼容東西，發現美好
《時尚精英》是中英雙語的高端生活風格雜誌，致力於發掘根植於東西方文明的傳統價值、智慧與漫布其中的美。 在您追求美好人生的路上，盼《時尚精英》能成為您獲得啟發和激勵的好夥伴。
Elite Lifestyle Magazine is a leading luxury magazine, published in Chinese and English. At Elite, we celebrate the beauty, wisdom, and values of Eastern and Western traditions. We seek to uplift and inspire our readers in their pursuit of a life of fulfillment. 訂閱者資料 Subscriber Info
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ELITE FASHION
ow colors can affect your mood and aura
The best color in the whole world is the one that looks good on you. " — Coco Chanel
「最適合你的顏色，才是世界上最美的顏色 。」 ——可可·香奈兒
心理學研究表明，第一印象的建立，取決於雙方見面的前 7 秒。 而服裝的色彩，能有效創造不同的印象。如能在每一季的時尚潮流裡，巧妙運用 色彩打造完美初印象，或許會幫助您在生活或事業上更成功。
Photographer: Ronald Ji Stylist: Ana Tess Model: Layla Sharifi at Fenton Model Management Makeup: Wendy Lin Hair: Eloise Cheung Stylist Assistant: Chloe Lucan Location: Sotheby’s International Realty, Web #: 00114118
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COAT & DRESS BY SELF-PORTRAIT EARRINGS BY BONHEUR JEWELRY SHOES BY MARI GIUDICELLI
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藍色可謂萬能色，適合休閒或參加面試，以及重要商務 會議等場合。搭配得宜，不僅予人專業好感，也易襯托自 身良好的職業素養。如果您是從事創作性的工作，不妨 試試真絲材質的藍色套裝，其質感別出心裁，既能體現 專業，又能展現品味與自信感，給人留下良好的印象。 FULL LOOK BY VINCE NECKLACE BY J. HARDYMENT RING BY BONHEUR JEWELRY SHOES BY GIANVITO ROSSI
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粉色不僅在視覺上給人一種舒緩、柔和的 感覺，而且可以讓女性膚色更顯白皙。需 要注意的是，粉色可以創造令人放鬆的心 理作用，所以在重要的商談或談判場合並 不適合穿著此色。 FULL LOOK BY LACOSTE EARRINGS & RING BY BONHEUR JEWELRY
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珊瑚紅可以說是亞洲人最適合的顏色之 一，能表示出自信與個性。此色調 微 妙 的橙色 給人 鮮活、明亮的感 覺，卻又不 至太過招搖。 FULL LOOK BY BRUNELLO CUCINELLI EARRINGS BY BONHEUR JEWELRY NECKLACE BY MACHETE JEWELRY
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「Terra Cotta」色在意大利語中，意為 「烤過的 土」，猶如未上釉 的橙棕色陶器。這種茶色系 屬於自然色彩，給人一種溫暖的親近感。另外， 因 為 視 覺 上 的 補 色 效 果，也 會 使 膚 色 些 許 顯 白，所以 「Terra Cotta」茶色色系是膚色偏紅 或偏黃者的最佳選擇。與黑色小配件相搭，體 現低調高雅品味。 JACKET & PANTS BY SALLY LAPOINTE TOP BY 3.1 PHILLIP LIM EARRINGS BY BONHEUR JEWELRY SHOES BY REIKE NEN
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黃色一般被視為幸福的顏色。有研究表明， 黃色可以增 加大 腦中 的血 清 張 力素、加 快 新陳代謝，能使人產生快樂感，因而能夠影 響周遭人的情緒。專家研究表示，活躍並富 有創造力的人，有好穿黃色衣服的傾向。 TOP BY TIBI JACKET BY SIMON MILLER PANTS BY HELLESSY NECKLACE BY MACHETE JEWELRY EARRINGS BY BONHEUR JEWELRY
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米色也是亞洲女性的最佳夥伴。在上身搭配加上大地的暖色調，如米色，會予人一種友善和 平易近人的印象。此色系既能展現社交魅力，卻又不像鮮黃色給人帶來強勢的感覺。 JACKET BY 3.1 PHILLIP LIM PANTS BY MULBERRY EARRINGS BY BONHEUR JEWELRY SHOES BY TIBI
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ELITE BEAUTY
NEW LAUNCHES By Pia-Maria Norris
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La Prairie - White Caviar Eye Extraordinaire Through cutting-edge technology this rich, firming, and deeply moisturizing eye cream effectively illuminates the delicate eye and shields it from the appearance of greyness due to pollution. ($550, laprairie.com)
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Sisley Paris - Pure Bright Activating Serum Diminishes dark spots and provides an intense overall brightening effect. ($380, sisley-paris.com)
Natura Bissé - Inhibit Tensolift Neck Serum Lifts, tightens, and combats the signs of aging on the neck and décolleté area. ($340, naturabisse.com)
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EVE LOM - Rescue Peel Pads Instantly exfoliates and reveals a brighter, smoother complexion! ($75, evelom.com)
EVE LOM - Rescue Toner Counteracts blemishes, dullness, and uneven skin tone! ($70, evelom.com)
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Murad - Vita-C Eyes Dark Circle Corrector Fights the look of dark under-eye circles in as little as two weeks!
Improves the look of hyperpigmentation and uneven skin tone for dramatically brighter, healthier-looking skin. ($80, murad.com, Sephora, Ulta Beauty)
($62, murad.com, Sephora, Ulta Beauty)
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Murad - Vita-C Glycolic Brightening Serum
La Prairie - Skin Caviar Eye Lift A dual-formula eye serum that lifts and firms the entire eye area, including brows! ($480, laprairie.com)
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Kypris - Ad Astra Nighttime Eye Cream Emulsion Gently moisturizes dry, dehydrated, tired, and puffy eyes while you sleep. ($150, kyprisbeauty.com)
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Overtone - Daily Conditioner & Color Conditioner A semi-permanent healthy alternative to dye in four new head-turning hair colors for brown hair. (Daily Conditioner $18, Coloring Conditioner $29; overtone.com)
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Laneige - Cica Sleeping Mask Delivers intense moisture to help soothe redness and strengthen the skin barrier for healthier, less stressed skin. ($34, laneige.com)
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FOR DAMAGED HAIR Olaplex - No. 3 Olaplex Hair Perfector This concentrated treatment repairs and improves overall hair health, strength, and texture! ($28, olaplex.com, Sephora) Olaplex - No. 6 Bond Smoother Reparative Styling Crème Strengthens, hydrates, and moisturizes while also smoothing and eliminating frizz for up to 72 hours. ($28, olaplex.com, Sephora) Olaplex - No. 7 Bonding Oil This ultra-lightweight repairing styling oil protects hair, increases shine, and minimizes frizz! ($28, olaplex.com, Sephora)
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FOR AWAKENING THE SENSES diptyque - Eau des Sens Eau de Toilette A delight for the senses in notes of bitter orange combined with unexpected spicy and woody notes.
Tory Burch - Eau de Parfum A bright, floral-fruity scent in notes of pink peony and lush tuberose, with crisp citrus notes of grapefruit and neroli. ($76–$130, toryburch.com)
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ELITE PEOPLE
Michelle Lian:
CONNECTING THROUGH LIFE-AFFIRMING DANCE 無染無著 心淨舞蹁躚 ——專訪神韻領舞演員連旭 English text by June Fakkert Chinese text by Crescent Dai and Qingyin Zhang
I
f you’ve ever had the experience of feeling deeply connected to someone or something, you know this can be life-changing. For dancer Michelle Lian, there are times when she feels a deep, almost physical connection with her dance troupe. “When the connection is very strong, I feel like everybody's heartbeat is together,” she told Elite Lifestyle Magazine. Lian is a principal dancer with Shen Yun Performing Arts, the world’s premier classical Chinese dance company. Based in New York, Shen Yun’s performance groups travel the globe giving over 450 performances yearly.
連旭的身上有多個標籤，她是「 神韻藝術團 」的領舞演 員，是「 全世界中國古典舞大賽 」連續三屆金獎得主， 是一名世界頂尖水準的中國古典舞藝術家。 觀看這位舞蹈家的演出，每每不禁感歎，她簡直 是為舞而生——骨骼線條纖細延展，雙腿和手臂修長筆 直，體態輕盈挺拔。無論是跳、轉、翻、騰，隨便一個 動作，連旭身姿中皆有一種伸展自如的延伸感，整體氣 質清逸翩然。 雖然頭頂諸多光環，對面而坐的連旭卻只穿著一件 簡單的T恤衫和發白的牛仔褲，披肩長髮自然地落在背 肩部，樸素低調，仿佛是相識已久的鄰家女孩。她溫暖 地笑著打招呼，落落大方。
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The Shen Yun 2019 campaign image features principal dancer Michelle Lian wearing an ornate, billowing gown. (Courtesy of Shen Yun Performing Arts)
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Born and raised in Taiwan, Lian said it was the beauty of the performances she saw as a young girl that inspired her to pursue a career in classical Chinese dance. “I watched a performance and I was very touched, excited, and felt very connected,” she said. And although there are plenty of challenges, she has found her career richly rewarding.
談起自己舞蹈之路，連旭的敘述中沒有蜿蜒曲折， 沒有困難重重，她彷彿一直跟隨緣分，順勢而為。舞蹈 自然而然，就走進了自己的生命，不知不覺中就與她的 人生融於一體。 隨心而動 水到渠成 連旭和舞蹈的緣分，始於2007年。那年，8歲的連旭第 一次在臺灣觀賞了神韻藝術團的演出。看著台上的仙子
TRADITIONAL DANCE, UNUSUAL ROLE Shen Yun is unique in the dance world. At a time when most ballet and Asian dance companies are incorporating modern elements into their shows, Shen Yun purposefully goes the other way, tapping the richness of China’s 5,000-year cultural legacy to bring forth universal truths, beauty, and a sense of awe for the divine. “Shen Yun promotes the bright side,” Lian said. It’s a mission that really resonates with her. One traditional element in performances is that male and female dancers have distinctly different qualities. Males dance with strength and speed. Females are gentle and graceful, using their hands and eyes to convey softness, Lian explained. However, all rules have their exceptions. One year, Lian danced the part of the character Zhu Yingtai, the heroine of a great Chinese folktale. In this story, which is sometimes called the Chinese version of Romeo and Juliet, Zhu Yingtai begs her wealthy father to let her attend school. In some versions, he agrees and in some, he does not, but in any case, she finds a way to attend the academy disguised as a boy. In ancient China, wealthy women were educated at home. Lian explained that Zhu Yingtai, not intent on pursuing a career, was driven by a yearning for greater knowledge. At that time, during China’s Eastern Jin Dynasty, scholarly education placed a strong emphasis on moral teachings, and students would read and even memorize works of sages like Confucius and Lao Tzu. With this moral foundation, a scholar would then go on to serve society and shape its direction. Although there were notable and well-educated women in Chinese history (the mother of Confucius, for example), for the most part women’s contributions were quiet. However, it was held that women were greatly responsible for upholding the morality of the country, as they inf luenced their husbands
們宛如翾風迴雪，時而款款走來、時而回裾轉袖，幼小 的連旭被那個輕盈而優雅的舞蹈世界迷住了。 看得目不轉睛中，她突然有種奇妙的感覺，覺得心 底某一處被觸動，覺得自己也應該成為她們其中的一員。 這種「 悸動 」在她心中播下種子，並漸漸發芽。她 開始學習中國古典舞，很快就展現出舞蹈天賦。因為熱 愛，所以從不覺辛苦。在其他孩子們都還懵懂的時候， 她已然心定，一心努力前行。 10歲那年，連旭跟隨父母從臺灣搬到了美國新澤 西，距離自己夢想中的中國古典舞院校——紐約飛天藝 術學院又近了一步。「 有一天爸爸問，你們想不想搬去 美國？我說，好啊！之後我們很快就來到了美國。」對 連旭來說，本該是糾結難捨的離鄉卻處之泰然，循著命 運的牽引，她的每一步都走得堅定而扎實。 「 全新的語言、全新的環境、全新的學校，但令我 自己都意外的是，我很快就融入了，雖然剛開始上學， 我聽不懂別人在說什麼，卻從未覺得孤單。我也交了一 些朋友，只有一、兩個月的時間，我已經可以和他們交 流。」 彷彿一切都水到渠成，兩年後，連旭順利考入紐約 飛天藝術學院，開始了嶄新且系統學習中國古典舞的嚴 格訓練。嚮往成為了現實，她微笑著分享說，「 我從來 沒有想過跳舞會有多累，可能是由於舞蹈是我的熱情所 在，而且我懂得若無耕耘，便不會有收穫的道理，所有 的艱辛和挑戰只是鋪就了前行的路。在練舞的過程中， 即使我有的時候覺得有些累，卻從不覺得辛苦。」 伊人如水 凌波起舞 出生於臺灣的連旭，自小喜歡詩歌，喜歡詩歌中優美的 字詞，以及文字間無形的韻律和味道。她也喜歡中國古 典文學，比如《紅樓夢》，喜歡品讀著作中所展現的精緻 細節和哲思意蘊。她認為，《紅樓夢》裡，從服飾禮儀、 風俗文化、飲食器物，到人物刻畫，都有著精緻溫潤的 唯美細節，正是這些細節讓這部鴻篇巨著別有韻味。 Right page: In the 2018 NTD International Classical Chinese Dance Competition (adult female division), Michelle Lian won first place after having previously won consecutive first-place titles in the junior female division of the biennial competition in 2014 and 2016. (Courtesy of Edward Dye)
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and children. High morality was essential to incurring divine favor for a dynasty, and thus a woman’s role was seen as critical and deeply appreciated. In the classic story, Zhu Yingtai is on her way to attend the academy when she runs into a fellow student, Liang Shanbo. They quickly become close friends, inseparable in their studies, and eventually fall in love. In the original tale, the story ends in tragedy, with the star-crossed lovers forced apart by Zhu Yingtai’s betrothal to a wealthy merchant. But Shen Yun reinterpreted the classic tale, giving it a beautiful, happy ending. Lian said that dancing Zhu Yingtai as both a lady and man had some unexpected challenges. She found it easier to play the man. “My physical appearance is relatively tall and bulky,” she explained. (Although in this author’s opinion, tall and slender is a more apt description.) When it came to playing Zhu Yingtai as a lady, Lian said her teacher had to coach her to be more feminine. She did this by changing how she thought about herself. "It's not on a physical level; it's more on a mental, spiritual level … It’s a turn of my notions,” she explained. With this new image of herself, she was able to make her gestures “smaller and cuter,” she said. She said that in the end, she felt very connected to the character of Zhu Yingtai. “I felt like she was in me, like I was a part of history.”
對連旭而言，中國古典舞的韻味就蘊藏在細節裡。她 認為，作為一名舞蹈演員，就需要不斷雕琢自己的肢體、表 情和情感中的細節。唯有細節精緻，才能透過無聲的肢體語 言，不著痕跡地將觀眾帶入故事情境中。唯有匠心到處，才 能把演出想要傳達的文化意蘊，打進觀眾的心裡。 《紅樓夢》中將女子比作水。連旭的舞蹈，正如水一般， 舞步像行雲流水般流暢，呈現出輕盈飄逸的意境。她的舞姿 既舒展柔美，又有韌度，能輕鬆地引領人們進入舞蹈所展現 的世界當中。隨著她的舞姿，人們彷彿能見到清晨草葉上的 露珠，能嗅到草木的清香、花朵的芬芳，能聽到潺潺的溪流 和清幽的鳥鳴。美國神韻藝術團舞蹈藝術家李維娜（Vina Lee）曾評價連旭的表演，「 非常女性，既大方又柔美，舞姿 的感覺到了末梢。」李維娜讚許說，「 這一定是內心世界反應 到肢體上，是一種心、神、舞姿合一展現。」 談到自己的表演，連旭說，「 沒有特別想去表現什麼， 但是站上舞台，就想要把最好的一面展現出來。」她進一步 談到，在神韻，每一位演員都是整體的一部分。如溪流最終 匯入大海。她感慨，那種融為一體的感覺，十分美妙，是一 種可以感知到的、有向心力的凝聚感，「 起舞時，我感覺到我 們每個人的頭頂似乎都有一根傳達和接受信息的天線，將大 家緊密無間地連在一起。伴隨著音樂和舞步，我覺得我們每 個人的心跳都在一個頻率上。」她感慨，「 現在的人們都太過 於關注自己的感受，有時甚至忘記了周遭的廣闊世界。在神 韻的期間，我們需要更考慮他人，我們都是同住、同吃、同 行，一同努力。」 收放自如 成為角色 梁山伯與祝英台的故事歷來被譽為東方的「 羅密歐與茱麗 葉 」，是中國四大民間傳說之一。英台從小好學，仰慕班昭、 蔡文姬的才學，卻苦於家中沒有好的教書先生。她一心向 學，便女扮男裝去學堂求學，途中邂逅同去求學的梁山伯，
HISTORY AND HEART Like Zhu Yingtai, Lian also has a yen for knowledge. In her spare time, she reads Chinese classics, like Dream of the Red Chamber, Journey to the West, and Romance of the Three Kingdoms. Reading these works is not only helpful professionally but also personally. "It's very nourishing for my spirit," she said. Reading history gives her perspective, which she finds extremely valuable and especially so because she sees people of her generation succumb too readily to their own feelings. “They forget there is a bigger world out there,” she said. Lian also said that she does her best not to get caught up in personal issues. “It’s not about myself, my feelings, my desires,” she said. And to dance clas-
兩人一見如故，結為金蘭，之後同窗共讀，形影不離。過去 一直為人熟知的結局，是兩人無法長相廝守的悲劇。然而， 神韻舞臺上透過嶄新的詮釋，給了故事一個光明美好的結局。 2019年的神韻上演了梁山伯與祝英台的故事片段。連旭 演出了祝英台這一經典的女性角色。連旭說，自己下了很多 功夫去揣摩祝英台這個角色：「 排練時，導演先前覺得我在 演出中有點不夠女性。我想可能是因為我最初太注重表現男 子，忽略了身為女子的一些特質。即使是在舞臺上表現女扮 男裝，我還是需要有女子的感覺。」與此同時，因為祝英台 的角色不是典型的閨閣女子，她有點淘氣、有些靈黠，還帶 了一分男子的氣概與果敢。連旭分享說，「 當換上女裝時，又 不能太過於柔弱，需要有一點男孩子的淘氣，並不是兩個極 端。」舞臺上，在一群書生中，即使是表演和男生同樣的動 作，女扮男裝的祝英台，「 要通過內在情感和眼神來表現（ 女 性的 ）溫柔。」
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Michelle Lian performs in The Story of Liang Zhu, a story drawn from the Chinese classic tale known in English as Butterfly Lovers. (Courtesy of Shen Yun Performing Arts)
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sical Chinese dance professionally, it’s essential for dancers to have a handle on their emotions. This is because one of the key elements of classical Chinese dance is the concept of “yun,” which translates as “bearing.” “Bearing emphasizes internal spirit, breath, intent, personal aura, and deep emotional expression. In essence, the spirit leads form, so that form is imbued with spirit,” the Shen Yun website explains. Thus, what’s inside a dancer—his or her emotions— will reflect in the performance. “In order to express yourself, you need to open your heart,” Lian said, explaining that she was very reserved before she took up dancing as a career. And when asked how she deals with any exhaustion, she replied that everything worthwhile comes with dedication and hardship. "It's a part of something, a part of something you want to achieve.”
透過演出祝英台，連旭的表演技藝愈發多元。她演 繹的祝英台，有年輕女子的風情和靈動，也有扮作男裝 的英姿和俏皮，也有恢復女兒身後的溫婉柔美。豐富細 膩的表演，將祝英台這一中國傳統文化中的經典女性形 象，展現給全球的觀眾。 其實除了祝英台，在神韻一年又一年的巡迴演出旅 程中，連旭時而是孔雀仙子，時而是大唐仕女，時而是 翩翩少女，時而是溫良母親，變化萬千。每一個角色， 她都收放自如，精準細膩演繹。面對舞臺，面對觀眾， 連旭說，「 作為舞蹈演員，我的責任是表現人性中的光 芒，展現光明的一面⋯⋯舞蹈演出的目的是娛樂大眾， 向世界展示真相，復興逐漸遺失的傳統文化，令人們看 到更無垠的世界⋯⋯一切都是為了他人。」 時光流轉，舞臺在變化，曲目在變更，唯一不變 的，是連旭一往如前的純淨向舞之心。
Top: Michelle Lian performs in Enjoying the Spring in the 2018 NTD International Classical Chinese Dance Competition. (Courtesy of Edward Dye) Right page: Principal dancer Michelle Lian is in her seventh season at Shen Yun Performing Arts. (Courtesy of Daniel Ulrich)
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DRESS BY ESCADA LOCATION COURTESY OF SOTHEBY'S INTERNATIONAL REALTY (MLS ID 4957096)
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The Van Eyck Brothers’ Adoration of the Mystic Lamb
A RESTORATION OF DIVINE DETAILS 修復凡‧艾克兄弟 《神祕羔羊崇拜》 神聖細節重現 English text by Lorraine Ferrier | Chinese text by Yuan Shu Pictures courtesy of KIK-IRPA/Lukasweb.be-Art in Flanders vzw
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THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.
O
ne of the most important paintings of the Northern Renaissance hasn’t been quite itself for hundreds of years. Over the course of six centuries, large expanses of the Ghent Altarpiece polyptych, also known as the Adoration of the Mystic Lamb, have been overpainted, mainly in the mid-16th century, to reflect the tastes of the time or to patch up damaged areas of canvas. Now, the lower register of the Ghent Altarpiece can be seen as the van Eyck brothers, Hubrecht and Jan, intended it in 1432, when the commission was completed for St. Bavo’s Cathedral in Ghent, Belgium. The cathedral also commissioned the current restoration of the entire altarpiece, which has occurred over a number of phases, this being the end of phase two.
作為北方文藝復興時期最重要的畫作之一，「 根特祭壇 畫 」（Ghent Altarpiece）失卻原貌已有幾百年了。六 個世紀以來，也被稱作「 神祕羔羊崇拜 」（Adoration of the Mystic Lamb，或「 神祕羔羊之愛 」）的這組多 聯畫，有很大部分被後人重繪過——主要是在 16 世紀中 葉，為的是體現當時的品味或修補破損的區域。 這組祭壇畫是胡布列奇和揚· 凡· 艾克兄弟 （Hubrecht and Jan）受比利時根特的聖巴夫大教堂 （St. Bavo Cathedral）委託而創作的，當前的修復工 作也是受大教堂委託進行，整組祭壇畫的修復分幾個階 段，下層屬於第二階段。
The lower register of the open Ghent Altarpiece polyptych in their restored frames, during the final retouching. From left to right: The Just Judges,The Knights of Christ, The Adoration of the Mystic Lamb, The Hermits, and The Pilgrims.
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The lower register, now revealing the joyful details of the original, is on view in the Villa chapel in St. Bavo’s Cathedral. AN INNOVATIVE TIME FOR ART Jan van Eyck’s brother Hubrecht (circa 1385–1426) was originally commissioned in 1425 to create the altarpiece, but Jan (1390–1441) took over the task completely when Hubrecht passed away in 1426. It’s not understood who painted what, but many assume the majority was painted by Jan. The van Eycks lived at a time when the early Italian Renaissance artists were paving the way for traditional Western art as we now know it. In Florence, Italy, Masaccio was beginning to introduce in his paintings solid figures full of emotive gestures and life, a move away from the rather two-dimensional Gothic style. Masaccio, inspired by his friend the architect Filippo Brunelleschi, used mathematics to pioneer single-point perspective in his paintings. Brunelleschi looked to ancient Roman architecture to revolutionize architecture. At the same time, Donatello was advancing sculpture. Far from Italy, Jan van Eyck didn’t have Rome in his backyard, so he looked to life for his models, placing figures intuitively into compositions, while his Italian peers were placing them with mathematical precision. And while Italian painters continued to paint mainly with tempera, which uses egg to bind pigments, van Eyck preferred oil paints. Using oils gave artists more time to paint than tempera did, as oils dried slowly between each application of paint. And painting with oils also allowed more fluidity of the brushwork. Van Eyck perfected the medium of oils. He painted layer upon layer of translucent glazes that allowed for exceptional blending and detailing. Such innovations allowed him to create glossiness and glimmers of reflected light, for example. His luminous figures were full of life, and the details of everyday life are so fine as to be minuscule. He also pioneered the
如今，經過專家們 3 年的修復，根特祭壇畫下層的 多聯畫已經恢復西元 1432 年完成時的悅目細節，在該 教堂內的別墅禮拜堂（the Villa chapel）內重放異彩。 藝術的創新時代 揚 · 凡 · 艾克的哥哥胡布列奇（ 約西元1385~1426年 ）於 1425年受命創作這組祭壇畫，次年他去世之後，由弟弟 揚（1390~1441年 ）全面接手。兄弟倆各自畫了哪些部 分並不清楚，但許多人都猜測大部分是由揚完成的。 凡 · 艾克兄弟生活在早期文藝復興時期，同時代的 意大利藝術家們，正在為後世所知的「 傳統西方藝術 」 開拓道路。在意大利佛羅倫薩，馬薩喬（Masaccio） 告別了平面化的哥特式風格，開始在畫中描繪堅實的形 體，人物姿態充滿情感，生機洋溢。 馬薩喬受友人——建築師布魯內萊斯基（Filippo Brunelleschi）的啟發，運用數學方法將單點透視引入 了繪畫；在建築領域，布魯內萊斯基追摹古羅馬建築引 領著革新；與此同時，多納泰羅（Donatello）則在雕 塑領域一馬當先。 揚 · 凡 · 艾克沒有羅馬藝術可資參考，他於是致力 呈現模特的生命力，並憑藉直覺將人物納入構圖，而意 大利同道們則是以數學的精準來安排布局。 另一方面，意大利畫家繼續以運用蛋彩為主，即用 蛋清來調合顏料，而凡 · 艾克更喜歡用油畫顏料。比起 蛋彩畫，用油彩讓畫家有更充裕的時間來描繪，因為每 畫一次顏料都乾得很慢，運起筆來也可以更流暢。 凡 · 艾克完善了調合油這種介質。他以半透明的油 彩層層罩染，形象的融合，畫面之精細，效果極為出色。 這樣的創新也使他得以畫出光澤度和反射的微光。熠熠 發光的人物充滿著生命力，日常生活的細節則堪稱精緻 入微。他還開創了肖像畫描繪四分之三側臉的先例，當 時意大利的同道們大都描繪側面像。 他的這些創新——他的輝煌遺產，集中體現在「 根 特祭壇畫 」11×15 英尺（3.4×4.6 公尺 ）大小的多聯畫 面上。 而「 根特祭壇畫 」被視為佛蘭德斯早期藝術中最 傑出的畫作，原因還不止這些。
Right page: Detail of the virgins during the final retouching.
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three-quarter-view in portraits while most of his Italian peers used the profile-view in portraits. The Ghent Altarpiece shows these innovations— his brilliant legacy—across the 11-foot-by-15-foot polyptych. These are just some of the reasons that the Ghent Altarpiece is deemed the masterpiece of all the works by early Flemish artists. RESTORATION Over the seven years that conservators worked together on the Ghent Altarpiece project, they’ve gained “an intimate understanding of the altarpiece” and “unique expertise,” the international team of experts overseeing the project said in a press release. For the last three of those years, the conservation team from the Royal Institute for Cultural Heritage has worked tirelessly on the lower register of the opened altarpiece to restore the four original panels painted by the van Eycks. The Just Judges, one of the panels, is a copy of the van Eycks’ painting. Jef van der Veken created it in 1945 to replace the panel that had been stolen in 1934. The conservators worked at the Museum of Fine Arts in Ghent in a temporary studio, which was open to the public, allowing visitors a peek into much of the conservation process as it happened. Visitors could watch the painstaking peeling away of the old paint. We can see the extent of the overpainting on a conservators’ diagram of the lower register’s central panel, which clearly shows in red just how much of the composition was overpainted. Only skilled hands and exceptionally keen eyes trained to differentiate between the varnish, overpaint, and the original paint could be trusted with such a delicate operation. The conservators looked through stereo microscopes while using surgical scalpels to chip the yellowed varnish and centuries-old paint away f lake by f lake, retouching paint where needed. Luckily for us, the van Eyck brothers’ original painting was well-preserved, with only five percent of the nearly 600-year-old original paint lost. Now, we can see how the brothers intended the Ghent Altarpiece to be.
A conservator patiently removes some of the centuries-old overpaint that obscured the original painting.
修復 負責該項目的國際專家小組在新聞發布會上說，在專家 們合力修復「 根特祭壇畫 」的7年間，他們已經「 對祭壇 畫獲得了深刻的了解 」和「 獨特的專業知識 」。 最 近 3 年 中， 皇 家 文 化 遺 產 研 究 所（Royal Institute for Cultural Heritage）的修復團隊致力修復 祭壇畫的下層，以期復原凡 · 艾克兄弟繪製的 4 塊畫板。 另外一塊「 正義法官團 」則是凡．艾克繪畫的摹本，由 傑夫 · 范德維肯（Jef van der Veken）完成於 1945 年， 用以替代 1934 年被盜的一塊畫板。 修復專家們在根特市美術館一個臨時畫室裡工作， 畫室向公眾開放，讓參觀者一窺名畫修復的過程。 觀眾們可以看到剝掉古老油彩的艱辛。從修復團隊 的圖示中，可以清楚地看到原畫很大部分被後世重繪的 油彩蓋住了。
Left page: Conservators retouch the Ghent Altarpiece paintings for St. Bavo’s Cathedral, restoring them to their former glory.
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Detail of The Knights of Christ, during the final retouching.
THE REVEAL The lower register depicts the Adoration of the Mystic Lamb. On the altarpiece wings, we see different groups of people coming to adore the Lamb of God. On the left, the Knights of Christ (on the inner panel) arrive on horseback with the Just Knights not far behind (on the outer panel). On the right, pilgrims (on the outer panel) and hermits (on the inner panel) come on foot. The paintings are rich with symbolism. On the central panel, in the foreground is the Fountain of Life. At the center of the painting is the altar and the sacrificial lamb; the lamb’s open wound pours blood into a chalice, symbolizing the Eucharist. Before the restoration, the face of the lamb was unremarkable, but after peeling back the layers of paint, the lamb’s face appears more human than animal. The eyes face forward, connecting calmly with the viewer’s. Medieval artists commonly depicted the Lamb of God with human eyes. Van Eyck painted right down to the microcosm of what the human eye can see. Every little thing is rendered as if it were significant; even the stones on the ground have been granted great detailing. It’s almost as if the painting is a hymn, a Hallelujah if you like, to each and every divinely created thing. Maybe this is how heaven will appear to us all. With our earthly concerns left behind, we may elevate to such a sense of awareness of each and every little thing.
要駕馭如此精細的操作，需要技巧嫻熟的雙手與訓 練有素的雙眼，能將上光層、重繪層與原始油彩區分開 來。修復者們一邊用立體顯微鏡觀察，一邊用手術刀一 片一片將變黃的上光層和幾世紀前的油彩剝下來，然後 在需要的地方用顏料描繪修補。 幸運的是，凡 · 艾克兄弟的原畫保存完好，在將近 600 年的歷史中，油彩僅損失了 5%。如今，我們終於 可以看到兩兄弟設計的原初效果。
Detail of the lamb during the final retouching.
發現 祭壇畫下層描繪的是「 神祕羔羊崇拜 」。在兩側的面板 上，可看到不同的人群來禮拜上帝的羔羊（ 基督 ）：左 側，基督的騎士們（ 左二 ）馭馬抵達，正義騎士們（Just
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Detail of the martyrs during the final retouching.
Knights）跟隨在後（ 左一 ） ；右側，徒步跋涉的隱士（ 右 二 ）和朝聖者們（ 右一 ）接踵而至。
術家們在描繪上帝的羔羊時，通常會賦予牠以人的眼睛。 凡 · 艾克畫到了肉眼可見的精微之極，每一個小
這組多聯畫寓有豐富的象徵意義。中央面板上，前
小物象的呈現都顯得非常重要，連地上的石頭都分毫畢
景描繪生命之泉，中心是祭壇和獻祭的羔羊。鮮血從羔
現。在這個意義上，這幅畫彷彿是對神的每一件造物的
羊的傷口中汩汩流入聖杯，象徵著基督的犧牲和聖餐禮。
讚美詩。
在修復之前，羔羊的面部並沒什麼特別，但剝去後
或許天國世界就是這樣向我們每個人顯現：當放
世重繪的油彩後，牠的面相看起來更像人而不是動物。
棄俗念，我們就會提升到對每件小小的事物都有高度
牠的雙眼平靜地前視，與觀眾的視線交接。中世紀的藝
的醒覺。
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ELITE CULTURE
Artist Heide Presse Paints American History:
JOURNAL BY JOURNAL 迷上老日記 藝術家海德‧普雷斯畫活美國歷史
English text by Lorraine Ferrier | Chinese text by Yuan Shu Pictures courtesy of Heide Presse
藝術家海德．普雷斯（Heide Presse）儘可能真實地描 繪19世紀中葉的美國生活，農人、房舍、拓荒者，只是 她參照一手歷史資料呈現的民俗主題的一部分。在她的 畫中，女子們讀聖經、縫被子、帶孩子；男子們耕地、 牧牛，駕車西行。 普雷斯的油畫色彩富麗、光影游弋，充滿鄉土氣息， 昔日的美國在她的畫布上重獲生命。 在電話採訪中普雷斯說，她在動筆之前每每花很長 時間作研究，以求逼真地描繪現實生活中的事件或場景。 通過多年研究，她不僅積累了豐富的歷史知識，還積攢 了很多親手縫製的老針線活兒，用作畫中的道具。 普雷斯二十多歲時在大學學習美術和平面設 計， 有 機 會 參 觀 了 弗 吉 尼 亞 州 的 老 殖 民 地 威 廉 斯 堡 （Williamsburg）， 當 地 的「 歷 史 重 演 」（Historical Reenactment）活動讓她眼界大開。那時她還不知道， 20 年後她自己的藝術創作會和「 歷史重演 」有那樣緊密 的關聯。 如今普雷斯作為藝術家享譽全美，展事安排緊湊， 近期包括在印第安納波利斯的艾特爾喬格（Eiteljorg） 博物館舉辦的「 探索西部 」展（Quest for the West）， 以及在懷俄明州科迪市水牛比爾歷史中心舉辦的藝術展 和特賣會（Buffalo Bill Art Show and Sale）等。在 展事中間，她一直專注於一項系列創作：描繪西進運動
Right page: Keturah Belknap in the doorway of her family home in Oregon, in Home is at the End of the Trail, 2017, by Heide Presse. Oil on linen panel; 36 inches by 27 inches.
THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.
A
rtist Heide Presse paints mid-19th-century American life as authentically as she can. Farmers, homesteaders, and pioneers are a few of the folk who are captured on canvas, taken from firsthand historical accounts. In her paintings, women read Bibles, sew quilts, or tend children; and men work the land, herd cattle, and drive wagons. Presse’s paintings are full of color, playful light, and sometimes dust, as America’s past comes to life through her canvas. She starts painting only after an often lengthy process of research that enables her to depict a real-life event or scene as true to the past as possible, Presse explained by phone. Through years of research, she has built up not only a fine knowledge of the time but also a collection of period needlework that she makes and uses as props in her paintings. In her 20s, while studying fine art and graphic design at college, Presse visited colonial Williamsburg, Virginia, where her eyes were opened to the world of historical reenactments. Little did she know then that 20 years later, she herself would reference historical reenactments so strongly in her art. Today, Presse is an acclaimed artist nationally, with a busy schedule of gallery and museum exhibitions including Quest for the West at the Eiteljorg Museum in Indianapolis and Buffalo Bill Art Show and Sale at 48│
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the Buffalo Bill Center of the West in Cody, Wyoming, among others. Between these commitments, she’s been working on a personal project—to paint the lives of the people who opened up the West in the early years of the westward trail movement, the late 1840s and early 1850s. She believes these trailblazers were the ones who took the most risk. Here, she shares that project and how she paints “living history” while staying true to America’s past. Q: How did you begin to paint history paintings? Heide Presse: I always had an interest in history. If you look back at my older work, you can see a thread of it. But I didn’t get really serious about it until the early 2000s, when I was asked to contribute paintings for a corporate commission, which had to feature historic situations in Virginia. I had to create paintings dating from George Washington’s time all the way through to the Civil War. I would go to historical reenactments and living history museums, and I would just paint subjects that interested me. At the time, I didn’t have a thorough understanding of the details of period clothing. I started to really dive into this historical world and learned how to conduct research for the corporate commission; I realized that I had to learn this all myself. I couldn’t trust other people to be accurate with their period clothing. I learned that if I wanted my paintings to be right, then I needed to understand what was right. So I started what was to be about a 10-year journey, finding my own historical reenactor sources. I had some wonderful people who took me under their wing because they liked what I was trying to do with my art: people who have degrees in historic costuming, museum curators, and really good historical reenactors, for example. They helped me learn a great deal. I learned how to do period sewing and how to study original clothing like bonnets from them, for example. I like sewing, so it was not a hardship for me; it was actually quite enjoyable. I have made my own bonnet patterns after studying original bonnets, but I mostly use patterns drafted by historic costumers. I’ve sewn a variety of garments, and I also purchase accurate reproductions, so that I have enough clothing to dress people at my home studio when I need to.
早期（ 即 1840 年代末至 1850 年代初 ）西部拓荒者們的 生活，在她眼裡，這些開拓者是頂著天大的風險西行。 採訪中，她也分享了手頭的創作，以及她如何在「 畫 活歷史 」的同時做到忠實於原貌。 問：您是如何開始畫歷史畫的？ 普雷斯：我一直對歷史感興趣，回頭看我的舊作，你會看 到些端倪。不過直到2000年代初我才開始認真起來，當 時我參與一個合作項目，要拿出一些描繪弗吉尼亞州的歷 史畫。我必須從喬治．華盛頓時期畫到美國內戰。 之前我參加「 歷史重演 」活動，也參觀「 活生生的歷 史 」（Living History）博物館，但只畫自己感興趣的題 材，所以對古代服裝缺乏細緻透徹的了解。 從那時起，我開始真正進入歷史的世界，學會了如何 為這個合作項目作研究；我意識到我必須靠自學。在歷史 服裝方面我不能相信其他人的準確性。我明白了一點，如 果我希望自己畫得正確，就需要了解什麼才是正確的。就 這樣，我開始了前後 10 年的探尋，為自己的創作尋找「 歷 史重演 」的參考來源。
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I am not an expert in any of this by any means, but I learned enough. When I was first starting to learn the history, I actually had clothing made for myself and went to a very good living history event on a historic farm in the Shenandoah Valley. Because I wanted to understand how to dress women, I needed to do it myself. And that was a good thing because I understand what it feels like to wear the clothes, and it just gave me a good understanding and grounding. But my best-case scenario and what I seek out first when I’m planning a painting is to photograph historic interpreters who know what they’re doing. And they have the period clothing, and it’s lived in, and they look like history. Question: Part of researching your paintings involves reading 19th-century journals. How do these influence your paintings?
有一些非常好的人慷慨提供了輔導，因為他們欣賞 我的藝術創作目標，其中包括服飾史學者、博物館策展 人和非常出色的「 歷史重演 」人士。他們教會了我太多， 比如我學會了做老針線活兒，也搞懂了繫帶女帽之類的 傳統服飾。 我喜歡縫紉，所以這對我來說並不難，實際上讓我 樂在其中。在研究了傳統的繫帶女帽之後，我也自己設 計樣式，但我主要還是使用古裝設計者的圖樣。我縫製 過各種各樣的服裝，也購買符合歷史的複製品，這樣在 家中的畫室我就有足夠的衣服給模特穿。 在這些方面我都完全稱不上專家，但我的知識夠 用了。 剛剛開始研究歷史時，我給自己做衣服，然後去雪 倫多亞河谷（Shenandoah Valley）一個古老的農場參 Left: Artist Heide Presse paints mid-19th-century Americans as true to life as she can, from her studio in Tampa, Fla. Right: Pioneers travel in the wagon train on the westward trail in the 1840s. Westward Ho! 2016, by Heide Presse. Oil on linen panel; 24 inches by 42 inches.
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Mrs. Presse: When I was working on the corporate commission pieces, I was always going to historic sites or doing research and visiting museums to get references for those paintings. Every time I would go to those places, I would always explore the bookstore, and I started picking up books that contained journals. I love reading journals because if I am trying to get into the heads of people I want to depict in my painting, I feel the best way to do it is to read their own words. It’s the best way for me to put myself into their shoes, so to speak. And also, when I went through this process of learning how to research, of course, one of the first things I learned is to find primary documentation first, so I was always looking for that sort of thing. One time, I picked up this book that contained journals written mostly by women as they traveled the trails west, and I was just hooked. I started reading all these journals. And for the first time, it gave me an understanding of getting into the wagon and spending several months relocating. Before, I had this kind of romanticized image in my mind, and I didn’t really think that much about it. But the situation was far more complex, as you can imagine. So that led me to where I am today. Question: Please tell us about your current project We Set Our Faces Westward…One Woman’s Journey 1839–1848. Mrs. Presse: Since that first book that I picked up that contained several journals, I’ve read a lot of journals and, of course, I get ideas for paintings. But there was this one particular journal (it’s not a very long journal, really), but the woman who wrote it, Keturah Belknap, was just incredibly descriptive. Most journals from the Oregon Trail or California Trail talk about how many miles they traveled, if they had good water, good grass, and they talked about landmarks along the way. They all traveled the same routes, so if you read many of these trail journals, they can be a bit redundant. But Belknap’s journal just stood out because she talked about how she did things, everyday things, and that’s what fascinates me. In 1840, she wrote: “Now it is spring and we have got a few sheep on the shares and they are sheared. All this winter I have been spinning f lax and tow to make some
加了一場非常棒的「 活生生的歷史 」活動。因為我想要了 解怎樣給女性著裝，就需要自己學會穿衣打扮。藉此我熟 悉了穿古服的感覺，增進了理解，打下了很好的基礎。 規劃作品時我做的第一件事，還是給身著古裝的歷史 講解員們拍照。這些古裝穿在他們身上，就像歷史復活了 一樣，他們也是我作品中最好的圖景。 問：為繪畫做研究要閱讀19世紀的日誌，這對您的創作有 何影響？ 普雷斯：在我為合作項目畫畫時，我總去參訪歷史古蹟和 博物館；每次去，我總會到書店逛逛，於是就開始挑選老 日誌了。 我很喜歡閱讀日誌，因為如果我想了解畫中描繪的人， 做到這一點的最佳方法就是閱讀他們自己寫的東西。這對 我來說是感同身受的最好辦法。當然，在逐漸掌握研究方 法之後，我學到的第一件事就是先找原始文獻，所以我總 在尋找那類東西。 一次，我拿起一本收有很多日誌的書，其中大部分是 婦女們沿山徑西進時寫的，我一下就迷上了。我開始閱讀 所有這些日誌。我第一次理解了搭乘貨車、花幾個月時間 遷徙的感覺。以前，我有種浪漫的想像，並沒有多想。但 你可以想見，情況要複雜得多⋯⋯這些資料引領我一路走 到今天。 問： 請 跟 我 們 介 紹 一 下 您 手 上 創 作 的 系 列「 我 們 面 向 西： 一 個 女 子 的 旅 程 1839 – 1848 」（ We Set Our
Faces Westward … One Woman ’s Journey 1839 – 1848 ）。 普雷斯：自從第一次捧起西進日誌，我讀了許多日誌，當 然也獲得了繪畫的構思。 其中有一本日誌很特別（ 實際上並不太長 ），作者凱 特拉 · 貝爾納普（Keturah Belknap）寫的東西令人難以 置信。多數記述俄勒岡小徑或加利福尼亞小徑的日誌，都 是講他們走了多少英里，沿途有沒有好水源、好草地，寫 沿途的地標等。他們走的都是相同路線，讀多了會覺得有 點膩。 但貝爾納普的日記與眾不同，談的是自己日常做的事 情，這正是讓我著迷的地方。1840 年她寫道： 「 春天來了， 我們有幾隻共有的綿羊被剃了毛。整個冬天我一直在紡亞 麻和短麻屑來做夏天的衣服。我一分鐘都沒閒著。現在必 須得把羊毛從羊皮袋中取出來，清洗、揀選，然後送上梳 理機製成捲。然後必須得紡線、著色和編織，為下個冬天 做好準備。」 看到這些，我就想畫成一個系列，描繪一個經歷了整 個西進過程的人的生活。 貝爾納普和丈夫當年是二十多歲的新婚夫婦，他們 1839 年從俄亥俄州出發，來到愛荷華州安家。我的系列 有一半是畫他們 1839 到 1847 年間在愛荷華州的生活，
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Keturah Belknap in Not an Idle Minute, 2019, by Heide Presse. Oil on linen panel; 30 inches by 22 inches.
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Left: Tender family moments in Heide Presse’s We Set Our Faces Westward…One Woman’s Journey 1839–1848 project sketchbook. Right: Heide Presse’s 2019 exhibition, We Set Our Faces Westward…One Woman’s Journey 1839–1848, at the Steamboat Art Museum in Steamboat Springs, Colo. The exhibition introduced her creative process on the project, which will be completed around 2022.
summer clothes. I have not spent an idle minute. “Now the wool must be taken from the sheep’s bag, washed, picked, and sent to the carding machine and made into rolls. Then it must be spun, colored, and wove to have it ready for next winter.” So I started to get this vision of doing a series of paintings depicting the life of one person who went through this process. Belknap and her husband were newly weds in their early 20s, who went from Ohio to Iowa to homestead in 1839. Half of my project covers the time that they homesteaded in Iowa from 1839 to 1847, so I am basically painting a picture of everyday life during that period. Then the other half of the project is their journey from Iowa to Oregon in the covered wagon. Belknap and her immediate family went to Oregon from Iowa in 1848. In 1847, when the gold rush began in California, the gold rush stories started to hit the publications in the Northeast and everywhere, and people started migrating to the West. And that started a big change for this country. I think so many people kept journals during the
基本上是畫那個時期的日常生活。另外一半是畫他們搭 乘有蓋貨車繼續西進的旅程，貝爾納普和她的至親是 1848 年來到俄勒岡州的。 1847 年當加利福尼亞出現淘金熱時，東北部和各 地的出版物鋪天蓋地都是淘金故事，人們開始西遷，給 這個國家帶來了巨大的變化。 我認為有這麼多人在旅途中記日記，是因為他們明 白自己在創造歷史。 貝爾納普讓我產生深深共鳴，她的頑強，她經歷的 一切，還有她能如此詳細地描述她做的每件小事，這一 切讓我著迷。她也篤信基督教，經常談論信仰。在我讀 過的許多日誌中，信仰也佔有很大的比重，因為這些人 通常都懷有深切的信念。 貝爾納普唯一沒有談論的是她碰巧在路上懷孕並生 了孩子。有趣的是，她們從不談論真正的私事，比如懷 孕，在孩子降生之前，你永遠不會發現她們在一路上都 懷有身孕，但當時的人就是那樣的。 在決定了根據貝爾納普的日誌創作一大批藝術品之 後，我要做的第一件事就是找到一位年輕女子做模特。 我參加了賓州的一個會議，以了解 19 世紀中葉的文化與 服飾，並且和我早先在雪倫多亞河谷活動中結識的一位 女士談了一下。她是位出色的「 活生生的歷史 」解說員， 也是很有才華的裁縫師。
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trip because they knew they were making history. Belknap just resonated with me. I was just fascinated by her feistiness and everything she went through, and the way she described in such detail how she did every little thing. She also had a very deep Christian faith and spoke of it frequently. It’s also a huge presence in many of the journals that I read, because those people generally had a really deep faith. The only thing Belknap didn’t really talk about is that she happened to be pregnant and gave birth on the trail. It’s interesting that they never talked about really personal things like being pregnant. You never find out that they were pregnant on the whole trip until the baby is born. But that’s the way it was. Having decided to create a large collection of art based on Belknap’s journal, the first thing I had to do was to find a young woman who was going to be my model. I attended a conference in Pennsylvania to learn about mid-1800s culture and clothing and spoke to a young woman who I’d first met at the Shenandoah Valley event. She’s an outstanding living history interpreter and a very talented dressmaker. So I talked to her and I thought, “How in the world am I realistically going to do this living in Florida?” Once I sat down and had the conversation with her, it was like God just poured all these opportunities into my lap to get this done. It was amazing. Because at that time she happened to work for Genesee Country Village and Museum, which is a wonderful living history museum in New York state with a village of 68 historic structures. She opened the doors to almost everything I needed as reference for my work, including introducing me to other talented historical interpreters who also pose for me. One of the most lucky finds was someone to pose as her husband, the man in the story. At the time, I really did not know much about men’s impressions or have much knowledge of agriculture in that period. She introduced me to a young fellow who worked in the agriculture program at this living history museum where they have heritage breed animals, including the shorthorn Milking Devon oxen. There, they plow the land, grow and harvest crops, and all in the period manner.
For about three years, I would visit the museum a couple of times a year and spend several days there. So that just parlayed into the most perfect situation for me. That’s where I got a lot of my reference material. I’m just always astounded at how lucky I am. I’m so grateful that these talented individuals who devote so much of their lives to living history have agreed to work with me. Because the painting is only going to be as good as the subject, I have to have a good reference. And I need to understand what I’m painting. This article has been edited for clarity and brevity. The transcription of the Keturah Belknap diary comes from the Manuscripts, Archives, and Special Collections at the Washington State University Libraries in Pullman, Wash. 我和她說了我的想法，心想，「 我住佛羅里達州， 到底要怎樣才能完成呢？」而當我坐下來與她詳談時， 就好像上天把所有機會都擺到了我面前，真是太讓人驚 歎了。因為那時她恰好在杰納西鄉村博物館工作，這是 紐約州一家很棒的「 活生生的歷史 」博物館，是個擁有 68 座歷史建築的村落。她為我打開了我需要參考的所有 門徑，包括向我介紹有才華的解說員來當我的模特。 最幸運的發現之一是可以有人扮她的丈夫——故事 中的男人。那個時候，我對於男人們的知識、對農業真 的了解不多。她向我介紹了在這家「 活生生歷史 」博物 館從事農業項目的一位小伙子。他們那裡育有傳統品種 的牲畜，包括短角牛、德文奶牛；他們耕作土地，種植、 收割莊稼，而且全都是遵循古老的方法。 大約三年時間，我每年都會去幾次博物館，每次住 上幾天。這對我來說再完美不過了，我在那裡獲得了大 量參考資料。 我總是驚歎自己有多麼幸運，這些熱忱投入「 活生 生歷史 」的才子才女們願意跟我合作，我非常感恩。因 為一幅畫要能配得上它表現的對象，我必須有很好的參 考資料；我要了解自己在畫什麼。
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7 ELITE HOME
WAYS TO BRING IN SPRING By Faithe Lo From warm breezes, to chirping birds, to first blooming buds—spring is just around the corner! Feel the excitement as the world reawakens. At Elite Magazine, we’ve compiled seven ways for you to instantly spruce up your home and welcome the arrival of spring. 春風，新芽，鳥叫，大地復甦，生機勃勃，春日已經近在眉梢。《時尚精英》挑選出7種居家布置方案，讓人褪 去冬季的氣息，一踏進家門就進入春天。
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PICTURES COURTESY OF BENJAMIN MOORE, DE GOURNAY, SANDBERG WALLPAPER, SHUTTERSTOCK
(PHOTOGRAPHED BY CHRISTOPHER STARK)
CHANGE THE WALL COLOR OR WALLPAPER
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Transform any room by simply changing the paint or wallpaper. Select a pale neutral color or a soft, neutral floral print to keep the space fresh and elegant. 貼上春意盎然的壁紙，只有小面積也能留下深刻好印 象。或者清新雋永的條紋壁紙，經典紋樣無論搭配什麼 顏色的家飾都合適。甚至僅僅是塗上新綠牆色，小小改 變都能令人耳目一新。 2
1 DE GOURNAY, MAGNOLIA CANOPY HAND PAINTED WALLPAPER, PRICE UPON REQUEST, DEGOURNAY.COM 2 SANDBERG WALLPAPER, KRISTINA WHITE, $122/ROLL, SANDBERGWALLPAPER.COM 3 BENJAMIN MOORE, AURA INTERIOR PAINT, SPRING BUD 520, $79.99/GALLON, STORE.BENJAMINMOORE.COM
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2 UPDATE HOME TEXTILES
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Swap out the heavy fabrics and dark colors of winter, and liven up your home with light and airy textiles. Add a splash of pink and green to your bedding, as well as some floral patterns, to give the bedroom a vibrant touch. 運用粉嫩或新綠的寢具、室內戶外兩用的地毯、清透的窗簾布和花紋樣的靠枕，褪去秋冬 的厚重，換上春天的爽翠。
3 1 BLUEBELLGRAY, VALENCIA PILLOW (19” X 19”), $123, AMARA.COM 2 SURYA, AZALEA INDOOR / OUTDOOR RUG (8’ X 10’), $785, BURKEDECOR.COM 3 SKY, GARDENIA BEDDING COLLECTION (QUEEN), DUVET COVER SET $230; GARDENIA SHEET SET (QUEEN), $170; GARDEN LEAF DECORATIVE PILLOW (18" X 18"), $115; GARDEN GREEN DECORATIVE PILLOW (14" X 24"), $115; GARDENIA STANDARD PILLOWCASE, PAIR, $70; GARDENIA EURO SHAM, $155; BLOOMINGDALES.COM
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PICTURES COURTESY OF AMARA, BACCARAT, BLOOMINGDALES, BLOOMINGVILLE, SURYA
ADD HOUSEPLANTS AND FRESH FLOWERS
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Bring any room to life by adding some fresh flowers. Not to mention, houseplants are said to reduce stress and purify the air. 在客廳插束鮮花、擺幾個盆栽，讓盛開的花和恣意生 長的綠葉青草，展現春之生機。 1 BACCARAT, EYE VASE, LARGE, $1,650, US.BACCARAT.COM 2 BLOOMINGVILLE, GOLD IRON FLOWER POT (LARGE), $62, AMARA.COM; A82043486 PLANT HANGER, $27.99, AMAZON.COM; AH0710 FLOWER POT, $16.99, AMAZON.COM
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4 CHANGE YOUR TABLEWARE Even subtle changes can make a difference! Bring the spirit of springtime to your dining room through your tableware, and add a few floral-patterned pieces to your collection. 換上新綠、野花紋樣的餐具，或者看著鳥兒在花叢嬉戲的景象在盤子中出現，餐桌 也生機盎然。
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1 ROYAL COPENHAGEN, PRINCESS DISH LEAF SHAPED, $80, ROYALCOPENHAGEN.COM 2 PROUNA, GOLDEN LEAVES DINNER PLATE, $180, BLOOMINGDALES.COM 3 WEDGWOOD, VERA JARDIN DINNER PLATE, $35, WEDGWOOD.COM 4 ROYAL COPENHAGEN, FLORA DANICA PLATE OPENWORK BORDER, PRICE UPON REQUEST, ROYALCOPENHAGEN.COM 5 ROYAL COPENHAGEN, FLORA DANICA CAKE DISH TRIANGULAR, PRICE UPON REQUEST, ROYALCOPENHAGEN.COM 6 WEDGWOOD, WILD STRAWBERRY ACCENT SALAD PLATE, $50, SASHANICHOLAS.COM 7 HEREND, ROTHSCHILD BIRD CHOP PLATE WITH HANDLES, $770, NEIMANMARCUS.COM 8 BERNARDAUD, JARDIN INDIEN SALAD PLATE, $72, BLOOMINGDALES.COM
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PICTURES COURTESY OF 1STDIBS, BLOOMINGDALES, NEIMAN MARCUS, ROYAL COPENHAGEN, WEDGWOOD
PUT UP FLORAL WALL ART
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Brighten up your walls with artwork infused with the essence of spring. From lush greenery to elegant plum blossoms, bring the liveliness of the season indoors. 掛上充滿春天氣息的畫作、藝術品， 無論是翠綠的葉子，還是滿開的梅 花都好，讓畫裡的花鳥蟲魚充分宣 告春天的到來。 2
1 JAPANESE FOUR PANEL SCREEN ANCIENT SAKURA CHERRY BLOSSOM, $1,000, 1STDIBS.COM 2 LULUDI LIVING ART, LAVENDER PALM LIVE WALL ART, $1,350, NEIMANMARCUS.COM │61
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6 USE FRESH, FLORAL, AND FRUITY HOME FRAGRANCES
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Let the fresh spring breezes waft through your home. Floral diffusers, fruity candles, and refreshing room sprays can fill your living space with the smell of springtime. 點燃味道清新的蠟燭，或在靠墊、窗簾等各處噴灑芳香噴霧，也可以換上自然花果味的洗手 乳，讓家裡充滿春之芬芳。
1 BAOBAB, WOMEN SCENTED CANDLE (16CM), $175, AMARA.COM/US 2 JO MALONE LONDON, BASIL & NEROLI SCENTED CANDLE, $67, BLOOMINGDALES.COM 3 AGRARIA, MONIQUE LHUILLIER CITRUS LILY AIRESSENCE SPRAY, $55, AGRARIAHOME.COM 4 SENTI, ORCHID FLOWER DIFFUSER, JASMINE & GERANIUM, $204, AMARA.COM/US
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7 CELEBRATE SPRING OUTDOORS Take advantage of the warm weather and spend more time outside! Revitalize your outdoor living space with these stylish furniture pieces. Add a fire pit to your backyard for the ultimate cozy touch—it makes the perfect place for gathering with loved ones on a brisk spring night. 雖然雪才剛融，是否有人已經迫不及待流連戶外？那麼便在 後花園升起一盆暖暖的火， 就著爐火讀本小書，一邊喝熱 茶、一邊等待花開吧！
PICTURES COURTESY OF AGRARIA, AMARA, BLOOMINGDALES, MAD-USA, SKAGERAK
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2 1 SKAGERAK, MIRA TABLE, HUNTER GREEN, $491; MIRA ARMCHAIR, $33; FINNISHDESIGNSHOP.COM 2 ECOSMART FIRE, ARK 40 OUTDOOR FIRE TABLE, FROM $2,328, MAD-USA.COM │63
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ELITE HOME
Can Bordoy Grand House & Garden
A 16TH-CENTURY JEWEL RESTORED 16世紀老宅重生 今昔共存的迷人空間 English text by Minghui Wang Chinese text translated by Astrid Wang Photography by José Hevia 64│
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Top, left: Wei pours his heart and soul into every production, even if it means bringing himself to
S
ituated in Palma de Mallorca’s Old Quarter, in Spain, Can Bordoy Grand House & Garden is a hotel resort with 24 distinctive suites. This mansion-styled hotel brings life and romance to the district through its unique designs and outstanding hospitality. Before its opening in 2019, it had undergone a revolutionizing renovation that transformed an abandoned building, which dates back some 500 years, to the present-day Can Bordoy. As one of its most attractive features, the hotel boasts an impeccably beautiful private garden in the interior. Within the garden, there is a rich variety of plant species; some are commonly found, while many other Top: Built around a private garden and sparkling pool, this property is peaceful and serene—the perfect place to unplug and unwind. Right The indoor space has botanical touches, bringing the outside in and creating a truly enchanting mood. Left page: Situated in the Old Quarter, the contemporary space of Can Bordoy Grand House & Garden melds with Old World charm, bringing art, architecture, and modern design to the forefront. │65
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seeds have origins that date back to centuries ago. Each species uniquely complements the elegance of the house, making it truly a herbal and floral paradise. Most importantly, this wonderland not only welcomes hotel guests but also keeps an open door to the local community. Whether you come from a city thousands of miles away or the neighborhood a few blocks down, the garden takes you on a journey that is aesthetically and spiritually pleasing to each of your senses. Once they step foot into the Grand House, guests feel almost as if they have entered into a 20th-century film: classy yet intimate. Indeed, Can Bordoy was furnished to create the impression of a deluxe, old house, embracing intimacy and family-like hospitality, as opposed to the distant vibe given off by a traditional hotel resort. Moreover, its signature restaurant Botanic serves authentic dishes that prioritize health and nourishment accompanied by the happiness the cuisine brings to its consumers, simulating the style of a warm and sweet family dinner. Each element inside the house, from the interior design, to the open garden, and to the intricate cuisine choices, delivers both nostalgia and comfort.
Can Bordoy 是一間僅設有24間客房的小型花園酒店， 座落在西班牙帕爾馬地區，饒富歷史氣息的中心街區。 占地26,910平方英尺，是由一棟擁有500年歷史的廢棄 建築進行澈底翻修，搖身成為鎮上最美的祕密景點。它 有一座優美的戶外花園，設有泳池、水療等休閒設施，還 有收攬城中美景的露天酒吧。 Can Bordoy 以其美麗的花園遠近馳名，庭園裡布 滿了既古老又多樣的美麗植被，翠綠的藤蔓融進牆面，光 影撒落院中小徑， 如一幅典雅的庭園寫生畫，供人靜靜 收藏。為了讓這棟老建築的改造融進人群日常，酒店讓這 座美麗花園敞開大門，從前門庭院到後街小巷，皆可讓城 市裡每一位行人一親芳澤。 酒店敞開花園大門的計畫，是為了營造更加貼近人 心的造訪體驗。Can Bordoy 認為，與其作為一棟酒店， 更希望其能以一棟豪邸的優雅姿態，迎接每一位到訪的 旅客。因此，他們直接在入口大廳為顧客接風洗塵，取代 一般酒店特意設置的接待區；這裡的餐飲空間不似一般 酒店，反而有種無意間闖入老宅裡的家庭餐廳之感；而入
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Luxurious yet homelike, elegant but down-to-earth, Can Bordoy began to attract much public attention as soon as it opened in 2019. This popularity can be largely attributed to its revolutionary innovation and award-winning design, which carefully preserves the romance brought forth by the aged architecture and incorporates contemporary accents. As elements of different epochs are allowed to meld and complement each other, this grand mansion embraces the different styles from different time periods and opens a window for them to shine gloriously together. Intending to showcase the architecture’s past decadence, this renovation technique takes inspiration from the traditional Japanese technique of Kintsugi—the art of repairing broken antique porcelain with a precious material, such as gold dust, and obtaining a repaired piece that proudly accents the cracks. Instead of hiding the “brokenness,” the after-piece celebrates it and, consequently, many resulting porcelain pieces possess an even greater value than they started with. Can Bordoy’s design team similarly pays homage to the age of the original architecture and does not shy away from combining modern elements with the antique building, layering the different aspects of history and thereby adding to the uniqueness of Can Bordoy. This feature has made the hotel rise quickly in prestige among world travelers, and has become one of Conde Nast’s award-winning hotels. The strategies reflected through the architectural design act as an ongoing dialogue with the mother building: Vivid colors and flamboyant elements were incorporated as modern touches. Unconventional contemporary practices, such as using large velvet curtains as divisions between the bathing area and the rest of the suite, coherently embellish the rooms as a whole. On the first floor, the plant-corridor acts as a natural yet novel way to greet the guests. As guests walk through the corridor, sunlight reflects off the water and shines through the plants, creating a path so captivating and dreamy that one can get lost in it. The furniture is also a very important part of the restoration. The eclecticism of the architecture is reflected in the selection of furniture, with pieces from very different eras and origins. Antiquarian pieces are carefully selected to coexist with contemporary furniture, some of which is custom-made for Can Bordoy, with each detail aspiring to achieve perfect harmony between styles from both the past and present.
Top: Custom-made lighting and furniture, and works of art bring an air of the ethereal into a space where classical decadence and contemporary spirit align. Right page: With views over the old town, the rooftop plunge pool and sun deck serve as the perfect place to enjoy a peaceful time.
住的客房與起居室，都擁有相似的設計。這些與眾不同的 安排，都是為了創造居家般的親切感。 Can Bordoy 特地保留了建築原有浪漫風貌與老舊 情懷，刻意結合不同世紀的風格，讓新舊元素微妙交疊。 改造企劃不僅保留了歲月的痕跡，為了不破壞建築昔日原 有的輝光，避開了過當的修復。擁抱那份不完美，如今看 來卻顯得更加耀眼。 這份對老建築的尊重，是受到日本傳統工藝技術「 金 繕修復 」（ 金 継ぎ）的啟發——一項專門修復破損陶瓷 的藝術。它是採用珍稀物料對破損處進行填補，例如使 用「 金粉」作為填補原料。使用這項技術並非以修復、隱 藏瑕疵為目的，而是透過這些珍貴原料填補破損處，突 出破損痕跡。這項技藝的發展致使有些瓷器在經此修復 後，比原品更具價值。因此，Can Bordoy 的改造企劃， 並未刻意隱藏其折衷主義建築風格（ 取眾家之所長的風 格），而是透過調和各種元素，展現多層次的歷史風貌， 同時彰顯那些具有新用途的新穎設置。 貫穿整棟建築的改造企劃，是在與老建築展開「 對 話」的基礎上，匯聚了各色誇張、鮮明的當代設計。例如， 客房內採用大型的垂地絲絨窗簾作為隔間，而窗簾的另 一側則是浴室，諸如此般有別傳統格局的配置，令人耳目 一新；一樓布滿植栽的綠色長廊延伸至餐廳，連結起庭 園花園與街道。而在酒店內主梯上方的大片天窗與樓頂水 池相接，水影與光線折射映照在樓梯間，充滿了迷人的 動態光影。 酒店的家具選用也是改造企劃中十分重要的環節。 各種家具精心挑選自各個不同時期的風格物件，包含各色 古董與當代設計家具，還有專為 Can Bordoy 設計的獨 家訂製款，例如床具與酒吧。Can Bordoy 精細打點每 一處細節，讓顧客在懷舊空間裡仍有絕對的舒適體驗。
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Breaking Barriers An 80-Year-Old Art Deco Apartment Is Reborn 「創作加生活」 非凡的藝術雅居 English text by Angela Feng | Chinese text by Ling Li Photography by Fabien Charuau
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n Mumbai, India, a 984-square-foot 1930 art deco apartment was renovated to accommodate the requirements of modern convenience, while maintaining the charm of its old settings. The integrative endeavor aiming to rejuvenate this 80-year-old apartment led to a distinguished design and a jaw-dropping home. Like most older apartments, this was a typical art deco setup involving multiple rooms structured to facilitate the conventional domesticity of an Indian household. As the client is an artist, this project attempted to bring ease in functionality and break the barriers of unitary space set up for particular functions by previous owners. To create versatile living
位在印度孟買，一棟擁有80年歷史的藝術風格公寓，與 多數印度老公寓一樣，屬於典型的裝飾藝術風格空間。室 內空間被劃分為數個房間，以方便傳統印度家庭居住。 通過改造，這個公寓有了一系列動態的多功能空間。 這些空間雖然保留了其標誌性的屬性，但功能卻並不固 定，可以根據特定的需求進行調整，例如：起居室既可以 是家庭的生活空間，也可以作為多用戶的共享工作場所； 餐廳也可被用作畫廊等展覽空間。最終，這套 300 平方
Top: After the renovation, this 80-year-old apartment is now an open and airy space with ideal transparency across multifunctional spaces. Right page: With greenery brought in, this apartment becomes a relaxing glen of natural beauty.
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spaces and accommodate diverse functions for the current owner, the living room was designed as a multidisciplinary workplace for multiple users, and the dining hall could convert into a gallery or exhibition space. To make the limited square footage feel more spacious, balanced, and functional for the artist client, the apartment was renovated to be as open as possible, keeping an unobstructed flow. Meanwhile, the furniture was chosen consciously to perform multiple duties. With an iconic architectural style such as art deco being articulated through this Mumbai-based apartment, the concern was limited not only to what was within the confines of this space but also to reflect the essence of a larger entity—the city, in this case, Mumbai. Being a residential workspace and an artist’s studio for multiple users, this apartment conveys an upbeat and contemporary expression with nuances of the distant past.
公尺的公寓不僅重獲生機，還解決了現代居住空間與工作 空間的平衡問題。 與此同時，這個老公寓具有孟買式建築空間的固有 特色。改建項目將這種特色與改造後的空間完美結合，讓 這個公寓在保證現代生活舒適度的同時，也保留了歷史的 味道和風骨。 原公寓隔間劃分明顯。經過改造，公寓內的空間得 到了融合和重組，將整體環境貫穿起來，同時引入了大量 的自然採光和通風。 在這個公寓的改造過程中，設計團隊盡力保留了原 有空間的特徵，從而當人們關注這套公寓時，看到的不僅 僅是一個引人注目的獨特建築空間，也能從中品味孟買的 建築風格和城市特性。
Top left: The glass wall helps maximize the daylight throughout the home. Top right: The kitchen can also act as a sharing workspace. Right page: This galley kitchen is efficient in its narrow footprint, with ample built-in storage and counter space.
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ELITE HOME
THE GARDEN SANCTUARY Modernizing a Lush Urban Abode 景觀魔術師 打造綠意居家 English text by Angela Feng Chinese text by Ivy Tseng Photography by Doublespace
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Top: A planted berm—sandwiched between two low stone retainers—manages the elevation change from the dining terrace to the pool. Left: The pavilion is illuminated like a lantern, with warm light filtering through its screen, giving the backyard a cozy ambience.
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mantea Architects modernized a lush urban residential landscape with a Mondrianesque composition of deftly programmed spaces. The award-winning Toronto-based firm transformed the landscape of a single-family residence in the city’s Forest Hill neighborhood, updating the home while maintaining its lush, layered character. The project involved fully redesigning the backyard to include a dining terrace, patio, sports lawn, swimming pool, and pavilion—all efficiently programmed within a 6028-square-foot space—as well as adding a new front garden and entryway. The exterior project began with Amantea’s collaboration on an extensive renovation of the primary residence, led by Toronto firm Reigo & Bauer. The client wanted to preserve elements of the existing landscape—notably, │75
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the trees along the rear garden, which add to the backyard’s leafy seclusion—while expanding the material palette and modernizing the home’s interior. The landscape’s new focal point is a sleek 506-squarefoot pavilion spanning nearly the entire width of the backyard. Clad in black to contrast with the surrounding foliage while visually receding into the background, the pavilion functions as a screen, creating the illusion of limitless space beyond. The side facing the house is made up of vertical cedar battens that gradually transition from wide and shallow at the pavilion’s ends, to narrower, deeper, and more widely spaced at its center. The resulting moiré-like effect is especially striking at night, when the pavilion is illuminated like a lantern, with warm light filtering through its screen and full-height translucent glass walls. These glass panels admit ample daylight, limiting the need for artificial lighting; after dark, daylight is supplemented with tunable LEDs integrated into the ceiling. The pavilion’s core, finished with a warm and natural palette of marine-grade ply with cedar veneer and oiled cedar boards, serves as an outdoor wash and change room.
位於多倫多的 Amantea 景觀設計，將充滿水泥叢 林的空間，改建成生意盎然、適宜人居的環境。此公司精 巧的景觀計畫使人們重新與自然當鄰居，他們曾改建過 多戶住宅， 得獎無數。本文改建計畫重新打造了一處 6,028 平方英尺的庭院，在這個住宅的後院增加了野餐露台、 運動草坪、游泳池和涼亭等方案。 業主想要保留靠近庭院的大樹，使房屋有與綠葉隱 居之感。庭院內，506 平方英尺的後方涼亭，延長至庭 院的後半部。這個遮蔽式空間，以黑色為主軸，這低調保 護色使他隱藏在萬綠間，視覺上產生延伸效果。這個隱 密空間在面向房屋一側由雪松木條所包圍，規律的直線， 搭配精準的粗細交錯線條，使此空間被光線照亮時可產 生大型燈籠的視覺想像，而另一個亮點則是光線通過屏 幕和整面半透明玻璃牆，體會光影灑下的溫暖與驚喜。 立面玻璃所帶來的天然光線，可降低對人造光的依 賴，而天黑後涼亭上所搭建的 LED 燈光則可補充光源， 於這空間鋪上舒適地板，使人踏在溫暖自然的空間裡， Top left: The outdoor shower room is open to the surrounding landscape, yet strategically positioned out of sight from the rest of the yard. Top right, right page: The stunningly minimal swimming pool is a perfect place to relax and unwind, whether it’s by oneself or with friends.
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From the interior of the pavilion, ipe flooring connects to the oiled ipe decks that frame the swimming pool. Mirroring the pavilion’s geometry, the rectangular pool is lined with Algonquin limestone that extends horizontally on one side to form a deck wide enough for lounge chairs; nearest the house, the same limestone acts as a bridge to the dining terrace. An extended sequence of wide platforms elaborates the transition from the ipe dining terrace to the limestone patio below, enhancing the feeling of openness. Raised to meet the level of the main floor’s interior, the newly enlarged terrace also includes a generous custom barbecue station set against horizontal black-stained cedar lath with a powder-coated aluminum heat guard. Throughout the exterior, plantings—selected in collaboration with Tina McMullen—are structured for a modern look that nonetheless retains the relaxed, organic feel of the original garden. In the front yard, Amantea updated an existing horseshoe driveway and intersecting front walk with heated surfaces of concrete and limestone. The entrance, too, is modernized, with a new square stoop, lime-
stone bench, and corresponding planting box framed in blackened metal. Here, as in the areas f lanking the front walk, a carefully proportioned composition of shrubs and low plantings replaces turf.
於雪松木地板上，可把這裡當作戶外的淋浴與更衣間。 於涼亭外部，鋪上 ipe 材質的地磚於游泳池周圍。於游 泳池周圍則鋪上 Algonquin 石灰石，廣闊的矩形空間， 圍繞在游泳池四周，可做為游泳池旁的休息空間，使人 躺在上面放鬆，而同一色系的石灰石平台，延伸靠近至 住屋處，則成戶外野餐的小露臺。在戶外空間，因石灰石 打造的延伸露臺充滿開放感，加裝一臺寬敞的訂製燒烤 機，燒烤機由鋁製隔熱罩以及黑松木條所組成。 綜觀整個庭院，植物擺飾雖具現代感，但仍給人自 然花園的放鬆舒適感覺。前院部分的馬蹄形車道中，交 錯使用水泥和石灰石兩種素材，除增添現代性外，新增 的方形區域，則有石灰石長椅，以及用黑金屬框起來的 植物箱，和步道兩側區域一樣，種植精心搭配的灌木來 代替草皮，使空間充滿綠意。 The front walkway is flanked by a carefully proportioned composition of shrubs and low plantings.
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LUXURY HANDBAGS FOR THE MULTIFACETED WOMAN WWW.SENREVE.COM M A D E I N I TA LY
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ELITE HOME
THE WUYUAN SKYWELLS HOTEL Reviving a 300-year-old historic building 古樸典雅 婺源天淨沙 English text by Angela Feng Chinese text translated by Sunny Lo and Joel Chang Photography by Xia Zhi and Marc Goodwin
The Wuyuan Skywells Hotel is a once-shattered jewel, which has been restored with Zen-like charm and simplicity.
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Top left: To preserve the building’s historical appearance, the renovation project kept many original features, like the clay brick walls, the decorative wooden interiors, and the timber frame. Top right: The Wuyuan Skywells Hotel is a restoration of a 300-year-old Huizhou-style mansion. Bottom left: The natural hues bring a calming vibe to guests’ retreats. Bottom right: In order to keep the original Huizhou style of homebuilding, the guest rooms were designed to face inward toward the central courtyard.
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n authentic luxury retreat in rural China, Wuyuan Skywells captures the essence of a bygone era in the millennium-old Yan village. The Skywells project focused on the preservation rather than the modernization of a 300-year-old Huizhou-style property deep in East China’s Jiangxi Province, something that has not gone unnoticed as the project continues its winning streak in the design awards circuit. The hotel is named after the English translation of “Tian Jing”—a regional architectural feature comprising narrow courtyards that let daylight into surrounding rooms. Honors won so far include an ICONIC award, a RED DOT award, and an ABB LEAF award. The project also was shortlisted by the INSIDE Awards held in November 2018 in Amsterdam.
歷 經300年歲月洗禮，江西婺源 延村 清明古建 築 蘊涵 的古典韻味，在屋主和建築設計團隊的巧手下，更顯恢 宏。比起翻新，建築設計團隊專注於修復及保存這座擁 有300年歷史的徽派老式建築，而婺源天淨沙的修復整 建，正精準地捕捉了清明古建築群的精髓。 婺 源 天 淨 沙 改 建 案 一上檯 面 即 橫 掃 國 際 設 計 獎 項，無論是德國 ICONIC 設計獎、德國紅點大獎，還是 ABB LEAF 等獎項都沒放 過，也入圍了 INSIDE 設計 獎，可謂誰與爭鋒。 屋主是一對原本住在上海的夫妻，用盡畢生積蓄和 心力打造這個現代旅店。他們把自己定位為熱情招呼客 人住店的大掌櫃，而不是冷靜自持的旅館經營者。 旅店主人對建築設計師最主要的要求，除了保留修 復原有的文物外，更重要的是重建古宅恢弘優雅的氣勢。 這座古宅 300 年的歷史當中，曾經是過往商人的住店， 也收留過抵抗日本侵略的中國軍人。可喜的是，由於古宅 地處偏遠，有幸於 20 世紀時的戰爭與動亂中保留下來。
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The Wuyuan Skywells Hotel was renovated with a sense of balancing its rich Chinese roots and the modern comforts that travelers would expect to have.
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The clients, a couple earlier based in Shanghai, used their life savings to purchase the property and turn it around while acting as custodians rather than gentrifying hoteliers. One of the key requirements was to not only preserve the recoverable artifacts but also recreate the grandeur and elegance that was associated with the mansion, which, due to its remote location, was fortunate enough to survive a tumultuous 20th-century China. Having once served as an inn for merchants traversing the region, the building suffered much neglect for most of the 20th century and was also a haven for Chinese soldiers fighting the Japanese invasion of the mainland. The anySCALE Architecture Design team executed the project in a manner that respected and honored the local architectural history and features, and restored the building in a manner such that current and future generations could understand and appreciate traditional design. This necessitated the sacrifice of methods that would marry modern and traditional features in ways that may seem appealing to the reigning aesthetic but would, however, destroy the intrinsic value of the property. Original and traditional elements in public areas were retained while the more private spaces for guests were contemporized with playful fittings and modern-day amenities, with the interior design of the 14 suites dominated by a mélange of warm and cool neutrals interspersed with occasional bright accent colors. A unique aspect of the property was the internal timber frame, ornately carved in public areas. Since large parts of the frame had been destroyed due to severe neglect, the team searched for and engaged the services of Yuzong, a talented local artisan with the requisite skill and experience. In addition to basic restoration, he also rendered replacements for irrecoverable decorative carvings as per traditional and his own adapted designs. His replacement carvings for the main beam in the entrance area are particularly significant as they employ motifs inspired by the clients’ background and story. In this way, the cultural aspects of the property were not only given a facelift but were also upgraded to ref lect a new chapter in the building’s legacy. Though the building features skywells, the rooms and suites themselves do not feature generous windows. To avoid polluting the external appearance and original architecture,
歷史與歲月留下的痕跡，是這座古宅光榮的勳章。 建築團隊帶著崇敬的心，為殘舊的古宅修復整建，希望 現在和未來的世世代代，都可以欣賞及愛惜傳統式的設 計。為了達成這個目標，在設計上，些許的犧牲是必要 的。建築團隊發現，有些吸引人的設計會損及建築物的 傳統美學價值，因而在公共空間最大限度地維持了建物 原本的樣貌，而私人空間中，則貼心地安排了現代人習 慣的便利和充滿玩心的配件，並且運用了一系列中性色 調佈置 14 個客房，加上一些跳色增添變化。 嵌在牆中承重的木造結構及精緻的木窗雕花是此 處獨特的建築特色，卻因年久失修而毀損嚴重，使得設 計團隊在修復過程中傷透腦筋。所幸幾經尋覓，最後找 到了一位經驗老到的木工匠人，除了修復損傷之外，還 針對已經無法重建的部分，結合了匠人的木工手藝，根 據傳統紋樣重新進行創作。民宿入口處棟樑上的雕刻， 就是最好的例子。在這根樑柱上，匠人運用傳統的技法 跟紋樣，刻畫了民宿主人的故事與生命經驗。如此一來， 這棟建築不僅僅保留了原始韻味，更添增了新主人的足 跡，承接著上一代的歷史，接續寫下新的篇章。
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the team introduced latticed panels on walls facing the skywells, and high-quality artificial lighting. Brick and clay walls were restored and rebuilt according to local tradition and keep the structure cool during hot summers. Commenting on the project, the LEAF Award Jury noted “This project was an almost unanimous winner with the judges who were impressed by the ‘lightness of touch’ of the modern interventions introduced into the 300-year-old historic building to provide a modicum of 21st-century comfort necessary in the transformation of the building for hospitality use. With interiors sensitively renovated with Zen-like charm and simplicity, and maintaining the grandeur, elegance and beauty of the original wood and stone features, the historic narrative of the building lives on with its new custodians preserving the past for generations to come.”
大 宅 雖然有天井引光 入內，但傳統 建 築窗子少而 小，因此室內多半光源不足。建築師們為了保留外牆的 原始構造，捨棄在牆上挖洞安窗的想法，而採用人造光 源加上格子窗花，營造有窗子的視覺效果。外牆則以傳 統工藝及灰泥材料修復還其本來面貌，既維持了建築結 構，還將夏季惱人的熱氣隔絕在外。 LEAF 大獎的評審幾乎一致決議將獎項頒給此改 造計畫，並評論：在修整時僅動用極少的現代整建手法， 但又具備著 21 世紀的方便舒適，讓這棟具有 300 年歷 史的破舊老宅，成功轉變為精緻的現代旅店。室內不過 度而充滿意 境 的古 樸裝修，保留了恢 宏而優 雅的古典 美。願這座建築的傳統語彙長存，隨著新的主人一代一 代傳承下去。 Left: In The Wuyuan Skywells Hotel, the restaurant features expansive glass panes to create a modern and open atmosphere. Right: A double happiness symbol (囍) is used as a decoration hanging above the entrance. It’s a Chinese traditional ornament design associated with marriage. │85
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用誠意妝點安居之所 ——華麗地毯窗簾牆紙中心 Photography by Hunter Douglas and Queens Carpet One Floor and Home
家，不僅是結束一日奔波後的休憩場所。隨著現代工作
來 自 華 麗 地 毯 窗 簾 牆 紙 中 心 的 經 理Adeline
模式調整，有些人選擇在家工作，大幅提升了人們待在
Teoh，接受本刊採訪時分享了許多貼近生活的實用建
家中的時間，居家環境成為最重要的生活空間，營造放
議與看法。
鬆身心的住所是許多人共有的願望。 然而，安居過 程往往 未如預 期 般 順 遂，例 如美 麗
供貨齊全 服務至上
大氣的落地窗，找不到一塊相應的窗簾搭配；主廳的地
華麗 地毯窗簾 牆 紙中心（ 下文 簡 稱「 華麗 」），成 立 於
毯，該怎麼選才合乎實用與美觀效果？新居落成，家具
1988年。數年後，華麗決定加盟美國最大家庭裝飾連鎖
齊全，卻還是感覺欠缺某種氛圍？若您曾有相似煩惱，
公司Carpet One Floor & Home。Carpet One在 全
或許正需一雙專業眼光，替您打造最理想的效果。
世界共有超過千間的加盟店鋪，它與1,500多間商家合
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作，供應各式各樣的家飾與裝修產品。從大眾基本款到 匠心獨具的設計師款，各類面料材質、具防護認證的功 能性商品應有盡有。華麗選擇加盟後，為本地客戶帶來更 加豐富全面的購物資源。 華 麗 位 於 紐 約 市 皇 后 區 的 大 學 點（College Point），數十年來的經營，累積許多忠實主 顧，尤其深 受華人顧客信任。現任銷售經理Adeline已在此任職超過 25年，她向我們表示，他們最引以為傲的就是「 服務」。 「 我們會一直站在客人的角度，」她強調， 「 我們很想了解： 你需要什麼東西？」她說在顧客做任何決定前，華麗願意 傾囊相授，他們特別重視與客人交流的過程。 用心誠意 始終如一 華麗除了提供Hunter Douglas 高品質的功能性窗簾，該 店的訂製窗簾是歷史最悠久的服務。各色各樣的布料與 花色，提供從量製尺寸到安裝的整套服務。許多華麗的老 顧客願意一再上門，不僅為了在此買下理想商品，更是買 一份安心，誠如Adeline所說： 「 不是你買了就不管了，我 們是一直會去照護。」 Adeline表示，曾有顧客在購入窗簾的10年後，仍上 門尋求協助。華麗仍幫顧客送回廠商維修，顧客僅需負
（Luxury Vinyl Tile，簡稱LVT），主打防水、防滑、防
擔部分運送費用，諸如往返拆卸、安裝等服務，均未向顧
刮（ 耐磨）多重防護功能。這種地板不僅耐用，也便於
客另行收費。或許就是這份無微不至的貼心與誠意，讓
清理。傳統木地板害怕受潮，若無定期且悉心維護、上
顧客願意將居家重要裝修，一再託付予華麗。
蠟，時間一長，容易產生磨損甚至褪色。若擔心日後維 護耗時費力，高級合成地板會是個值得考慮的選擇，近
實用眼光 融進生活
年來在歐美家庭中十分常見。
Adeline建議所有顧客一定要親自到店感受。她以其最擅
華麗 還有一項特色商品為牆 紙。對 預 算有限的屋
長的地毯領域為例，由於她格外注重地毯的腳感，尤其
主，牆 紙確 非 必需品，倘 若 想營造 風 格 鮮 明 的居家風
是打算置放於臥室內的地毯。試想在早晨下床的那一刻，
格，牆紙仍是一項重要元素。選對牆紙可以帶來截然不
若能踩在柔軟舒服的地毯上，何嘗不是一種享受？因此挑
同的氛圍，體現屋主的居家品味。Adeline貼心建議，
選自己鍾意的觸感就顯得重要。華麗的展示廳裡有豐富
其實牆紙並非要四周貼齊才能達到效果，一間廳室可選
的地毯樣品，顧客可以直接觸摸、感受。
一面主題牆貼上牆紙，其他牆面則可搭配油漆粉刷相應
除了個人喜好，考量當地居住環境也很重要。她舉例
色系，同樣可以達到出色的視覺效果。
說道，紐約冬季時間較長，在室內鋪上地毯不失為一明
來到華麗 最 特別 的就 是「 尊榮 般 的購 物 體 驗 」，
智的選擇。地毯會使室內較為溫暖，一季下來，甚至能減
Adeline解釋，一般大型的家居賣場很難找到服務員專
少些許電費。此外，地毯也能減少室內回音與踩踏聲響，
門替您一一講解，但是華麗可以，華麗可以傾聽您的需
維護生活品質，選對花色還能為室內帶來亮眼效果。
求。無論您是毫無頭緒，抑或想法已初具雛型，都能為
Adeline特別點出，許多人未選擇鋪地毯是顧慮日後 的清潔工作。對此她表示，打理地毯其實就跟地板一樣，
您提供進一步的資源，幫助您選擇最合適的商品，與您 共造舒適家園。
ADVERTORIAL
只需定期吸塵打理，一至兩年請專人來清理一次即可。若 是因為家中有幼齡孩童或寵物需格外考量，則可以考慮
提供中文、粵語、英語服務
具有特殊防護效果認證的地毯。
電話：718-460 -1161
Adeline談 到 華人 家 庭 仍 偏 好 鋪 設 地 板， 她 想 特 別推 薦兼具實用與美 觀 的新選 擇，即「 高級合成 地 板 」
Email: qcarpetone@gmail.com 地址：18-13 128th Street, College Point, NY 11356（大口福附近）
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missKOREA
Celebrate Springtime by Nourishing Your Body and Mind 春色伴美饌 快意品山海 by Benny Zhang, Larry Dai and Shutterstuck
L
ocated in vibrant Koreatown, Manhattan, missKOREA presents the beauty and elegance of Korean cuisine through a phenomenal dining experience. With authentic Korean dishes made from fresh, natural ingredients sourced from local markets, it is the perfect place to make memories with family and friends.
位 在曼 哈 頓 韓 國 城 裡 的人 氣 韓 食 餐 廳missKOREA， 這 十 年 來 為 無 數 食 客 帶 來 溫 暖 與 美 好 的 回 憶。 missKOREA別有寓意的菜單設計，讓每一位登門的貴 客不僅是美嘗一道料理，更是品味一道祝福。 missKOREA特別聘請被譽為「 韓國膳食專家 」的 李善圭女士擔任主廚。missKOREA的燒烤料理尤為出 色，不僅品項豐富、囊括海陸，醬料配方也是由李善圭
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missKOREA takes pride in a menu that includes a wide variety of barbecued meats, each with its own distinctive appeal. Guests can choose from dry-aged rib-eye steak, beef ribs, beef bulgogi, beef tongue, thin-sliced beef brisket, pork ribs, pork belly, and more. missKOREA’s signature dish is the Clay Pot Galbi—short ribs that are marinated in an original sauce and kept in a special clay pot for over 48 hours. The meticulous two-day process gives this dish the finest texture and most delectable flavor. To allow guests to enjoy a diverse sampling of meats, missKOREA has curated three barbecue meal sets: the Longevity Set, the Happiness Set, and the Love Set. The Longev ity Set w ishes guests a long and healthy life, and comes with unmarinated barbecued meats that burst with authentic f lavor. The Happiness Set offers four different meats marinated in missKOREA’s delightful special sauces. The Love Set combines both marinated and unmarinated meat in an eclectic mix that “symbolizes friendship and love.” In addition to the meal sets, guests can also enjoy seafood BBQ dishes such as Haemul-gui, a delectable assortment that includes lobster tail, tuna, and scallops. The grill seals in the juices and locks in the flavor, giving the food its perfect crispiness. missKorea also recently introduced a multitude of new dishes, including Jukumi Bulgoki Bokkeum, a f lavorful combination of beef and octopus. The springy chewiness of the octopus blends seamlessly with the tender beef slices, topped with king oyster mushrooms and sweet peppers. At missKOREA, you get more than just a good meal—guests receive an unforgettable culinary experience as well as an introduction to a new cultural perspective. Simply put, missKOREA provides satisfaction not only for your mouth but also for your mind.
除了必嘗的瓦罐 醃牛排，missKOREA為了讓顧客 能 遍嘗多樣風味，貼心推出了三種烤肉套餐，分別為： 長壽（Longevity）、幸福（Happiness）、愛（Love）。 套餐的寓意不僅是一種祝福，更富含巧思。 「 長 壽」 套 餐 皆 選 用 原 汁 原 味 的 非 醃 製 肉 品， 因 此 取 名「 長 壽 餐 」。「 幸 福 」 全 部 肉 品 都 是 採 用 missKOREA 祕製醬料醃製。特別的是，主題為「 愛 」 的烤肉套餐組合，由醃製無骨牛排、醃製牛小排，原味 無骨牛排和牛肉片共組而成。除了套餐，其「 各式烤海 鮮」組合，含上等金槍魚、龍蝦尾、帶殼大蝦以及大干 貝。燒烤之精妙，在於能將鮮味鎖在肉裡，微帶金黃焦 香，保有食材的原始風味。 去年底missKOREA推出多道新料理，其中海陸雙 拼的組合尤為出色。「 醬燒牛肉八爪魚 」不失為一嘗鮮 上選！這道鐵板料理含有鮮美彈牙的八爪魚、香嫩厚實 的牛肉片，微辣風味加上切片的杏包菇，八爪魚微焦的 觸角搭配軟Q的身肉，口感微妙；牛肉片也同帶焦香， 搭配甜椒同食頗為爽口，微辣風味更刺激食慾。 十年來，missKOREA為四方食客獻上一道道誠意 料理，在今年春色盛綻之際，邀您共享親品。
7天24小時營業 地址：10 W 32ND ST, NEW YORK, NY 10001 電話：212-594-4963 網址：www.misskoreabbq.com
親研調配。美味肉品有熟成牛肉、牛排、牛肉片、牛舌、
ADVERTORIAL
牛腩肉、豬排、五花肉等。其中招牌「 瓦罐醃牛排」採用 上等牛排，以梨汁、醬油、糖等調料醃製，放在特製的 瓦罐裡 醃製48小時，牛 排完美吸收醬汁，風 味十足且 鬆軟鮮嫩。
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Nakagawa Japanese Restaurant A Portal from Modern America to Traditional Japan 中川日本餐廳 清淡典雅的和風 English text by Theodore Lawsworth｜Chinese text by Mo Fei and Yun Liu Pictures courtesy of Nakagawa
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The Tempura Matsutake is crisp and crackly, with the subtle flavors and distinctive aromas of marvelous local ingredients.
2020/3/2 下午9:54
ADVERTORIAL
O
pening the glass doors to the Nakagawa Japanese Restaurant is like opening a portal from modern America to traditional Japan. When guests walk through the doors, they are immediately put at ease when greeted by a warm smile from the hostess, Masumi. Guests are then presented with the dilemma of sitting either at the wooden dining tables surrounded by paintings of blooming cherry blossoms, or at the sushi bar being served by attentive and conversational sushi chefs. Nakagawa Japanese Restaurant is a family-owned restaurant that specializes in authentic Japanese food and strives to paint a smile on the face of every customer. Owned by Chef Shinichi Nakagawa and hostess Masumi Nakagawa, the restaurant gives off the aura of a moderately upscale establishment filled with the charms of tradition, while also being small and cozy enough for an intimate gathering of friends and family. On the wooden counters behind the sushi bar are various sake drinks, the national beverage of Japan. Known as rice wine in Japan, but perhaps more similar to beer, this treasured beverage is made from fermented rice and is commonly served during formal ceremonies such as weddings or national holidays. In Japan, people often enjoy sake while eating light food, before finishing their meal with a hearty bowl of ramen. Hostess Masumi can be a great source of information on the culture of sake, or just a knowledgeable guide to picking the perfect beverage. As the oldest child in his family, Nakagawa began helping out in the family kitchen when he was five years old. Wanting to ease his mom’s burdens while working to feed his younger siblings, Nakagawa quickly improved his knife skills through the small tasks given to him, achieving proficiency to the level of an amateur cook. He was further inspired to pursue cooking at the end of his elementary years, when he saw the beautiful silk toque worn by the chefs on a French cooking show. Enchanted by the white headwear, Nakagawa decided that he wanted to wear one and become a chef himself. After graduating from a prestigious high school, Nakagawa enrolled in the Tsuji Culinary Institute,
Omakase Sashimi is artfully prepared with premium sashimi.
推開中川日本餐廳（Nakagawa Japanese Restaurant） 的玻璃門，彷彿開啟了一扇時空轉換之門，讓您從嘈雜 喧鬧的現代美國移步至安靜、溫馨的傳統日本。此時， 女主人中川正美（Masumi Nakagawa）笑容可掬地現 身，她熱情洋溢地問候，餐館友好、溫情的氛圍，都讓 人賓至如歸，倍感親切，有種置身日本的錯覺。 中 川 日 餐 廳 位 於 西 雅 圖 巴 薩 市（Bothell） 峽 谷 公 園 購 物 中 心（Canyon Park Shopping Center)。 餐 廳 為 家 庭 經 營 模 式， 由 大 廚 中 川 信 一（Shinichi Nakagawa）和太太中川正美共同擁有，供應正宗日本 料理。在當地，如此道地的日本餐館並不多見。中川夫 婦特別將店內裝修打造成日式經典的雅緻氛圍，小巧舒 適，適宜親朋好友小聚。 餐廳一邊是精緻的木製餐桌，牆面繪滿了盛開的淡 粉色櫻花，如臨東京的櫻花祭；一邊是居酒屋風格的壽 司吧和酒吧，可以直接體驗壽司師傅細心風趣的服務， 零距離觀賞料理現作的全過程，饒富意趣。您可能還有 機會品嘗各種免費試吃樣品。 吧台後方的木製櫃檯上，擺放著素有「 日本國酒 」 之譽的各式清酒，由發酵米製作而成，多用於婚禮或國 定假日等正式禮慶場合。在日本，人們經常先飲酒，再 進主食，也會搭配一些清淡的佐酒小菜，啜飲之後，豐 盛的主食讓您大盡朵頤之歡。女主人中川正美是日本清 酒專家，她知識淵博，是您挑選飲品的最佳指導。此 外，酒櫃上還有更多被稱為「 日威 」的日本威士忌酒。 日威不僅與蘇格蘭威士忌一樣享譽世界，現在更是街知 巷聞，成為旅日必購品。
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one of the top programs for Japanese culinary education. Renowned for its obsession with precision and details, there are accounts of Tsuji students spending years learning how to cut vegetables to the exact thickness of a millimeter. From food temperature to the smallest decoration, every dish served must be the embodiment of attention to details. At Tsuji, Nakagawa took on a demanding twoyear program that focused on French, Chinese, and Japanese cuisines. He was taught to move away from rote memorization of recipes and, instead, to truly understand the fundamental values behind a creation. Under the education of this prestigious program, Nakagawa developed his own sense of philosophy in culinary excellence, which he carried with him to America. He started out working at the popular Ginza Japanese Restaurant in Bellevue, and soon became known for his expertise and craftsmanship. However, despite his success, Nakagawa was disheartened by the state of Japanese cuisine in Washington. It was filled with restaurants that focused on teriyaki and tempura, ignoring the essence and variety of a traditional Japanese meal. Nakagawa argued that
走上專業烹飪之路 中川先生對烹飪的熱愛源自母親。他很小的時候就非常喜 歡看母親為家人做飯，遂成了他烹飪啟蒙教育。在5歲的 時候，他開始嘗試用刀、煮飯，15歲時，他決定成為一名 廚師。高中畢業後，中川先生便進入了日本最著名的烹飪
專業學校——辻調理師專門學校。中川先生在此接受了日 本烹飪的頂級教育。 這所學校以專注精準和細節而著稱。據說該學院有 學生花3年的時間，只為學習刀工，將蔬菜切成精確的毫 米厚。在這裡，從食物的溫度到最小的點綴食材，每道菜 都必須體現對細節的雕琢和注重，要精益求精。同時，學 校還讓學生了解每一道菜餚背後的創意、文化及價值。中 川先生在這樣久負盛譽的餐飲教育下，選擇了專攻法餐、 中餐和日餐料理，他在法餐和日餐料理方面頗有造詣，逐 漸形成了自己的烹飪哲學，並將其帶至美國。 中川先生最初來到西雅圖東區貝爾維尤市 （Bellevue）內頗受歡迎的銀座日餐廳（Ginza）工作， 很快便憑藉專業水準和精湛的廚藝在當地嶄露頭角。雖 然他在工作上取得了初步的成功，但華盛頓州日本料理 的現狀還是讓中川先生大感失望。那時，大部分日餐館
Top: The Nakagawa Japanese Restaurant offers authentic Japanese whisky to bring the tasty pleasures of the Pacific Rim to American drinkers.
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these restaurants are too similar to fast food establishments and lack the sophistication and authenticity that should go into a heartwarming meal. That’s when the expert chef decided to put his expertise into practice, creating Cafe-Soleil in Mukilteo. It became an instant success, and was welcomed by the community for its inclusion of both European and Japanese cuisines on the menu. Nakagawa realized that most Americans tend to misinterpret sushi as the whole of Japanese dining. To him, Japanese cuisine is a unique part of life that extends beyond the pleasures of presenting quality food—it’s also about expression. From presentation to aroma, every ingredient plays its part in the flavors of the meal. In Japanese culture, the Rule of Five plays a big role in measuring a chef’s adequacy. These include the five senses, five colors, five tastes, and five ways of cooking. A proper Japanese meal should appeal to all five senses; the taste should satisfy the tongue, the sight should delight the eyes, and the smell should bring joy to one’s heart. The texture of the tableware must feel smooth to the touch, while the music should be quiet and relaxing so that one can better appreciate the food. A properly prepared meal should also include all of the five tastes—sweet, salty, bitter, sour, and umami (savory). The Japanese also believe in presenting cuisines in the five colors, which are black, white, red, green, and yellow. This ensures that the meal looks pleasing to the eyes, while also increasing the nutritional value. To Nakagawa, Japanese food needs to present and enhance the natural flavor of every ingredient. Freshness is important, and he ensures it by ordering new fish every night and using it the same day. He also makes sure to personally oversee every dish sent out to customers, and checks in with them regularly. This emphasis on food quality and customer service is what has earned the restaurant its high reviews and secured a loyal customer base that continues to enjoy the experience.
踐行於未來事業，他先在西雅圖北邊的海濱城市馬克蒂 歐（Mukilteo）開了一家「 陽光小館 」（Cafe -Soleil）， 其菜品融入歐洲和日本料理，獲得當地熱烈反響，一炮而 紅，這也讓中川先生在當地名聲鵲起。雖然小館也是以道 地的日本料理見長，但還算不上是個餐館。中川先生還注 意到，很多美國人第一次進門只問有沒有壽司，誤以為 「 吃壽司 」就是日本料理的完全體驗，「 壽司 」成了日餐的 代名詞。這也促成了中川先生經營正宗日餐館的決心，於 是他和太太在8年前搬到東邊的巴薩市，自此「 中川日本 餐館 」正式誕生，將正宗的日本飲食文化帶入當地人的生 活日常。 中川先生認為，清淡健康的日本美食是生活中不可或 缺的部分，它不僅為顧客提供高品質的美食，更透過料理 表達對餐飲、文化和生活的熱愛。中川先生介紹道，日本 料理主要分為「 日本和食 」和「 日本洋食 」兩大類。 和食要求色自然、味鮮美、形多樣、器精良，而且 材料和調理法重視季節感。他認為從外觀到香氣，每種 食材均應在餐食中發揮其作用。在日本餐飲文化中，「 五 的原則 」是衡量廚師水平的重要標準：包括5種感官、5 種顏色、5種口味和5種烹飪方式。最好的日式料理要取 悅人的所有感官，味道滿足口舌，外觀愉悅雙目，香氣 歡怡內心。 餐具的質地觸感須光滑潤澤，餐廳的音樂則應輕鬆諧 和，有助食客更佳欣賞並享用眼前美食。而正宗的日本料 理，無論是採用生、煮、烤、炸、蒸任何一種烹調方式， 都應具足五味和五色。除了五官的享受外，多元食材增加 了營養價值，還對應了自然的五行和人體的五臟。所以在 每日在飲食中吃全五色與五味，有助人體維持健康狀態。 中川先生的理念是提供最高品質的日餐料理，以及最 優質的服務，讓客人享有輕鬆愉悅的就餐體驗，因此他的 料理素來備受食客垂青。多年前的老顧客為了重溫中川夫 婦的盛情款待和獨具匠心的廚藝，不惜從華盛頓州各地驅 車數小時前來。 中川先生自製醬料已堅持十餘年之久，即使從日本來 的顧客都對中川的料理讚不絕口。他表示，清淡健康的料 理關鍵在於食材的新鮮、天然和高品質，要保持其原汁原 味。所以他每天僅訂購少量魚貨，限於24小時內使用完 畢。魚貨多來自歐洲、日本等地。此外，他一定會親自查 驗每道菜品，還會定期向每一位用餐顧客問詢。此般重視 食品質量和服務，使餐廳在谷歌評價上獲得了4分半的高 分，並且幫助中川先生成功將正宗的日本餐飲文化帶給了 忠實老饕和當地居民。
為了迎合當地人的口味，主要提供照燒（Teriyaki）和 天婦羅(Tempura)，完全忽略了傳統日本料理的精髓和 其廣泛的種類。中川先生認為，這些料理店與快餐店太 過相似，缺乏正宗日本料理的精緻和道地風味，稱不上 真正的日本料理。自那時起，中川先生決定將專業技能
Nakagawa Japanese Restaurant Located in Canyon Park Shopping Center 1427 228th St SE d6, Bothell, WA 98021 nakagawa-japanese-restaurant.com
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犒賞自己與家人
一探華食之奧妙
堂食每日 11:30-21:45 外賣每日 11:00-21:30 212-380-8883 / 212-380-8887 24 W 56th St., New York, NY 10019 (between 5th and 6th Ave) www.redpeonyrestaurant.com
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Red Peony An exquisite taste of China 牡丹花開 一品中華 Chinese text by Astrid Wang | Photography by Ronald Ji
赭紅的牡丹花，雍容華貴，歷來都象徵著出色的品味。 曼哈頓中城繁華的街區，一間新張的中餐館名為「 紅牡 丹」（Red Peony），一別人們對中餐館既定印象，其莊 重大氣的裝潢，典雅的水晶吊燈，紅絲絨餐桌椅，步入 店內便可以感受散布其間的精細巧思。 紅牡丹不僅提供淮陽、上海料理，還囊括了川、粵 風味，品項豐富，一桌遍嘗中國大江南北的美味。值得 一提的是，紅牡丹還供應各式游水海鮮，如阿拉斯加帝 王蟹、溫哥華大螃蟹、加拿大龍蝦、黑斑魚等。在此帶 各位一瞥不容錯過的精選美味！ 鮮美多汁蟹粉小籠包 傳統上海湯包，炒過的蟹肉餡，透過薄透Q彈的麵皮包 覆食材香氣，蒸過後內餡出汁，鮮甜一分一毫未減。熱 騰騰的蒸籠上桌，一口吃進嘴裡，肉餡紮實，齊聚海陸 的鮮美滋味，令人難忘。 嫩香可口北京鴨 該料理附有：大蔥、小黃瓜，甜麵醬以及手工麵皮。鴨肉 鮮甜，肥嫩相間，皮脆並帶有焦香。搭配帶有甘味的甜 麵醬，並不會蓋住鴨肉原本的鮮甜，與黃瓜、大蔥同食， 更加爽口提味。 色味一絕青花椒水煮魚 乾辣椒、花椒、八角、豆芽等，以及吸附了飽滿香辣油 汁的紅薯寬粉條，魚片、粉條皆十分下飯。這道川味經 典一上桌，定能讓所有人食慾大開！
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點用餐環境，還打造了一間能納20-30人的私
紅牡丹的楊枝金露口感滑順、芒果香氣四溢，葡萄柚果
人包廂，裝修豪華，風格中西合璧。可供生日
肉酸甜，芒果純粹的香甜、加上西米露、椰汁等，皆使
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風味層次更加豐富。
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奔馳汽車如何逐漸失掉品牌含金量？ 文 宋仁
二戰以後，歐洲在馬歇爾計劃（The Marshall Plan）的
很明顯了。奔馳當時只有兩個選擇：再創造一個運動車
幫助下開始復甦。從 1945 年到 1975 年，歷經 30 年的光
品牌，或者大量入股 BMW，但奔馳什麼都沒做。
景，德國在歐洲率先成為世界級經濟強國。尤其在汽車產
三、在中國大陸大量建廠，這是致命的錯誤，因為
業——奔馳（Mercedes-Benz，又稱賓士 ）一馬當先（ 寶
中國民眾長期處於威權統治之下，所以只好把人性中嚮
馬稍晚 ），在豪華轎車、重型卡車、公共汽車、航空方面
往自由的美好慾望，化作對先進國家產品的嚮往，所以
大放異彩。其根源主要有二：一是德國產業工人素質大大
「 德國製造 」變得極具吸引力。本地化生產的長期結果，
強於美國的汽車工會成員；二是日本工業復興和德國相比
就是這個品牌在中國變得越來越不值錢了。
起步較晚，日本雖然因為朝鮮戰爭撿了個便宜，但在追趕
四、新技術開發嚴重落後：汽電混合車和純電動車
德國的路上距離尚遠，一時半會兒構不成威脅。此後 20
技術的開發太晚了，豐田在汽電混合方面拔了頭籌。這
逾年是奔馳車的黃金時期！
就在消費者的心目中，形成了豐田是行業技術領頭羊的
奔馳在九十年代初期，自覺堪稱為世界上該產業老 大了，像唐玄宗一樣，開始目中無人，什麼忠言也聽不
概念，而汽車是個技術密集型產品，奔馳從此就很難再 用其廣告中的潛臺詞說服潛在客戶：我是最好的！
進去，一心看好中國這個潛在的巨大市場——怎麼看都
五、推出平價車 A 系列，砸了招牌！奔馳今年來，
像楊玉環那麼迷人。自此無暇顧盼其他市場，信心滿滿，
在高級汽車銷售受到威脅時，不從根本上找自己的過往
一頭栽進中國的懷抱：合資、建廠、促銷，不亦樂乎。此
得失，而是用奔馳的牌子出了個便宜的系列轎車：A 系
後 20 多年，奔馳在世界市場上開始連續戰略失誤：
車。此一戰略失誤相當於唐玄宗重用安祿山：預示奔馳
一、無視豐田豪華車新品牌凌志（Lexus）的威脅。
衰落的加速⋯⋯
奔馳車歷來以維修費用高昂著稱，原來因為沒有競爭對
六、最後一個對奔馳不利的宏觀因素，就是大眾
手，大家只好認了，但凌志出現以後，其極低的事故率和
汽車（Volkswagen）的排放造假醜聞，使得人們對德
近乎平價的修車花費，從長遠來看會威脅奔馳的根本！
國汽車產業的信心從以往的異常尊敬變成了：也就是那
二、沒有及早入股寶馬汽車（BMW）。運動型車對
麼回事。當然日本的 Subaru、Nissan 也有做得非常
年輕一代有巨大的吸引力，奔馳車以舒適見長，但寶馬的
不得體之處，但不像大眾汽車那麼過分，因此媒體影響
轎車系列是將來的重要市場，這個趨勢在八十年代就已經
也不大。
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