Moutai magazine - International Edition Issue 8 Summer 2015 by MOUTAI Magazine - International Edition

08 SUMMER 2015

Beauty of the Orient 東方神思 Interview with Tim Yip, Winner of the Oscars for Best Art Direction 專訪奧斯卡最佳藝術指導葉錦添 Moutai: Returning in Glory 茅台：當美酒載譽故里 Hot Spot of Art Market: Art Basel Hong Kong 香港巴塞爾藝術展：藝術市場的新熱帶 Chinese Calligraphy and Painting in Craig Clunas' Eyes 山水在說什麼：柯律格眼中的中國書畫 Traveling with Architecture 跟著建築去旅行

Nectar of the Orient

東方之甘露

www.moutaichina.com

A Classic Blended with Yin and Yang

陰陽相隨，釀造經典

www.moutaichina.com

A typical representative of the Chinese yeast liquor, Moutai cultivates yeast from wheat using ancient techniques and according to the change of seasons, producing a one-of-a-kind distilled liquor that emits a divine aroma.

貴州茅台酒是東方曲酒代表，以小麥爲曲，順應季節生産，用古老的發酵方法帶來豐滿醇厚的香氣，在世界蒸餾酒中獨一無二。

CONTRIBUTORS

CHINA KWEICHOW MOUTAI DISTILLERY (GROUP) CO., LTD. Maotai, Renhuai City, Guizhou Province, China 564501

KWEICHOW MOUTAI CO., LTD.

Maotai, Renhuai City, Guizhou Province, China 564501 Production & Advertising Sales Agent: ER HONGKONG HOLDING LIMITED Room 2103, 21/F, Sino Plaza, No.255-257 Gloucester Road, Causeway Bay, Hong Kong Tel: (852) 3580 2598 Fax: (852) 3580 2588 Consultant : Yuan Renguo, Chen Min, Liu Zili, Zhao Shuyue

Yu Yat Yiu A talented well-known music producer. Music creations included pop music, musicals, dance music, movie and TV soundtracks. In 1997, Yu, Anthony Wong, and a team of musicians and artists established an independent music production company "People Mountain People Sea".

Publisher | Francis Wong

Chief Executive Officer | Christine Yin Consultant | Samuel Chai

Executive Chief Editor | Jocelyn Liao Project Manager | Grace Liu Art Director | Johnny Woo

Senior Project Editor | Laura Su Photographer | Han Xingxi

Translator | Billy Yung, Grace Liu, Denise Chan, Penny Zhou Project PR | Meng Yuan

Derek Sandhaus An American writer, author of "Baijiu: The Essential Guide to Chinese Spirits", and an expert of Chinese history and culture. His writing on baijiu has appeared in numerous publications, and his work has been cited in "The New York Times" and "The Wall Street Journal".

Marketing Executive | Nikita Wan, Denise Chan Advertising Enquiry | Tel: (852) 3580 2598 Email | er-hk@everreliable.net

RIGHTS

Moutai Magazine (International Edition) is published quarterly by ER HONGKONG HOLDING LIMITED under a license by KWEICHOW MOUTAI CO., LTD. Reprints, copy or use of any content in this magazine whether in whole or in part, shall only be allowed with the explicit written permission of KWEICHOW MOUTAI CO., LTD.

No responsibility can be taken for unsolicited texts and photographs. The views and opinions expressed or implied in the articles do not necessarily reflect the opinions of the publisher,

Johannes Pong Jet-setting travel and food writer Johannes Pong covers the Hong Kong scene. He's also a regular TV personality, and took Travel Channel’s Andrew Zimmern out for snake wine on an episode of Bizarre Foods.

editors or the license holder.

All contents in this magazine have been complied with the best of our knowledge,

but no warranty or representation is given as to its accuracy, completeness, relevance, timeliness or otherwise. Moutai Magazine (international edition) appears quarterly with

editions published under cooperation or license in two languages. Sponsor: Top Gainer Industrial Limited

Dong Tiezhu Special Thanks :

Dong Tiezhu is a holder of Ph.D in Chinese culture at the University of California, Berkeley. Familiar with both Chinese and Western culture, Dong has been teaching Chinese culture at Wofford College (USA) and United International College (Zhuhai).

“I must find my own style and return back to Chinese culture. If we still do as the West, we cannot win. We must take advantages of our culture. ” —— Ang Lee In this issue of MOUTAI MAGAZINE, we turn our focus on new meanings of Oriental civilization. Historically review Moutai's gold prize at the Panama Exposition and its yin and yang fermentations. Explore the "integration of illusion and reality" in Tim Yip's New Orientalism, Art Basel Hong Kong's economic effect, and Chinese artists' brilliance. Travel with architecture to live in an intellectual style. See an important personage of catering industry and his life, the friendship between a foreigner and Chinese Baijiu, as well as the Chinese calligraphy and painting in Craig Clunas' eyes. Let's follow aesthetic masters to rethink the Oriental beauty, truly understand Oriental culture, unveil the hidden and authentic core of Chinese traditional culture, and carry forward the Asian brilliance.

「我必須找到我的方式，好回到中國文化。如果又和西方一樣，不但拼不過，也無新意，要能夠取勝就得發揮我們的長處。」 —— 李安本期《MOUTAI MAGAZINE》關注東方文明的美學新內涵。我們回顧茅台金獎百年、陰陽工藝的故事，探究葉錦添新東方主義的虛實並致；一覽香港巴塞爾藝術展的經濟效應，和鑲嵌其間的中國藝術家之風采；跟著建築去旅行，置身知性生活方式，看看世界飲食舞台上舉足輕重人物之風頭，美食與人生的行止；從外國人與中國白酒的情誼，漢學家眼中的中國山水中，重拾東方文化的意蘊。讓我們與美學大師一起，以中國人自己的豐潤視角，重新思考東方之美，真正認識東方文化，讓東方文明純粹的內核不被遮擋，散發協和的亞洲之光。

MOUTAI Magazine

舞出新百年

Stage image of Tim Yip’s work “Lady Zhaojun” provided by Tim Yip Studio, 葉錦添作品《昭君出塞》劇照葉錦添工作室授權刊登

Shining for Another Century

I S S U E

Philosophy Essences of Traditional Chinese Culture 中國傳統文化的哲學精髓

08 SUMMER 2015

In the cultural context of art, drama, music, etc., the "New Orientalism" has been frequently shining on the world stage in recent years and winning world-wide respect. Combining traditional and modern culture, we have more confidence on our own existing heritage and the new creation. 在藝術、戲劇、音樂等文化範疇，新東方主義之美近年來在世界舞台 Beauty of the Orient 東方神思

上頻頻展露風采，並廣為國際矚目，中國文化結合傳統與現代無障礙地煥發著光彩，讓我們對自己已有的底蘊和全新的創作都更有信心。

Interview with Tim Yip, Winner of the Oscars for Best Art Direction 專訪奧斯卡最佳藝術指導葉錦添 Moutai: Returning in Glory 茅台：當美酒載譽故里 Hot Spot of Art Market: Art Basel Hong Kong 香港巴塞爾藝術展：藝術市場的新熱帶 Chinese Calligraphy and Painting in Craig Clunas' Eyes 山水在說什麼：柯律格眼中的中國書畫 Traveling with Architecture 跟著建築去旅行

Stage image of Tim Yip's work "Lady Zhaojun", provided by Tim Yip Studio 圖：葉錦添作品《昭君出塞》劇照，由葉錦添工作室授權刊登

MOUTAI Magazine

"Beauty of the Orient" Interview with Tim Yip, Winner of the Oscars for Best Art Direction

Tim Yip's "New Orientalism" Aesthetics

東方神思專訪奧斯卡最佳藝術指導葉錦添

葉錦添的新東方主義美學

Traveling with Architecture

Hot Spot of Art Market: Art Basel Hong Kong

跟著建築去旅行

香港巴塞爾藝術展：藝術市場的新熱帶

CONTENT 目錄 Gold Prize Since 1915 金獎百年 10 Returning in Glory 當美酒載譽歸故里

12 Philosophy Essences of Traditional Chinese Culture 中國傳統文化的哲學精髓

42 The World of NOBU 松久信幸的世界 48 Inner India 52 Eight Must-See Art Exhibitions Around the World 不能錯過的 8 個文化藝術展

20 A Liquor Blended with Yin and Yang 一杯匯聚陰陽的美酒 56 Hot Spot of Art Market: Art Basel Hong Kong 香港巴塞爾藝術展：藝術市場的新熱帶

24 "Beauty of the Orient" - Interview with Tim Yip, Winner of the Oscars for Best Art Direction 東方神思——專訪奧斯卡最佳藝術指導葉錦添 32 Tim Yip's "New Orientalism" Aesthetics 葉錦添的新東方主義美學

66 Chinese Contemporary Artists Shine at Art Basel Hong Kong 中國當代藝術家閃耀香港巴塞爾藝術展 74 Chinese Calligraphy and Painting in Craig Clunas' Eyes 柯律格眼中的中國書畫

76 Spreading the Gospel: A Convert’s Quest to Take Baijiu Global 36 Traveling with Architecture 跟著建築去旅行

78 Moutai on the World Map 茅台在全球

MOUTAI Magazine

Gold Prize Since 1915 金獎百年

Returning in Glory 當美酒載譽歸故里 EDITING/ 編輯：Laura

Editor's note: 2015 is Moutai's 100th anniversary of winning the gold prize at the Panama Pacific International Exposition. Therefore, our magazine specially sets up the column of "Gold Prize Since 1915" to detail Moutai's century-old journey.This article is serial 2 of "Gold Prize Since 1915". 編者按： 2015 年是茅台榮獲巴拿馬萬國博覽會金獎 100 周年，本刊特設「百年金獎」欄目，將百年前的榮耀、百年間的磨礪、百年後的輝煌的箇中故事一一道來。本文是「百年金獎」欄目系列二。

MOUTAI Magazine

In May 1915, through a sensational "accident" at the Panama Pacific International Exposition, Moutai rapidly conquered the taste buds of people from all over the world. Furthermore, "using bouquet as media", Moutai became a shining star at the exposition and was awarded the gold medal of honor, enjoying the reputation of "World Famous Liquor". All these were just the beginning of the story about this gold medal feast. 1915 年 5 月，巴拿馬萬國博覽會上一場轟動全場的「事故」，不僅讓茅台美酒迅速征服了世界各國人們的味蕾，更通過「酒香為媒」，讓茅台酒成為博覽會上的明星，并獲得了高級評審委員會授予的榮譽勳章金獎，享有「世界名酒」的美譽。而這些，僅僅是這一場金獎盛宴故事的開端。

he reason why Moutai could cause a sensation in the world, shared the title of "World's Top Three Distilled Liquors" with French Cognac brandy and Scotch whisky, and became famous was not exaggerated by the later generations. In fact, the reason was that, between August 1915 and June 1916, Moutai won the gold medal at both the Panama Pacific International Exposition and the Panama California International Exposition. In less than a year, Moutai had won two consecutive gold medals at world expositions, which was an unparalleled achievement among Chinese

alcohol exhibits at world expositions. The news that Moutai won the gold medal was soon spread throughout China and became a hot topic among government officials as well as ordinary people. In Guizhou, a remote province of China, it was an epoch-making event. When the news reached the hometown of Moutai, people of Moutai Town were very happy. Today, an elder named Kou Yu from Moutai Town still remembers the celebrations often described by his mother: Chengyi Distillery and Ronghe Distillery competed with each other at celebrations and the firecracker lasted the entire noon. In the

Gold Prize Since 1915 金獎百年

afternoon of that day, both distilleries held celebrating banquets. Distillery workers and their families were all invited to the banquets. "The banquets lasted an entire afternoon." After winning the medal, the Moutai liquor was highly valuable immediately. Almost at the same time, Chengyi Distillery and Ronghe Distillery, the two distilleries that produced the Moutai liquor used the brand of "Moutai" and labeled their products with the words "Awarded the Gold Medal at Panama International Exposition". Then, who should own the gold medal? Both distilleries refused to give in. The Commerce Chamber of Renhuai County tried to mediate the dispute but both sides persisted in their own views. After the mediation failed, the two distilleries had to go to the county court. After receiving the lawsuit paper, the Renhuai County Chief Tan Guangluan was in a dilemma. Therefore, he reported the lawsuit to the provincial government and pushed this puzzle to his superior. As a result, the lawsuit for the medal ownership was submitted to the Guizhou provincial government. After receiving the submission, Governor Liu Xianshi sent someone to enquire the details of this matter from the Nanjing National Government. After knowing the whole story, based on facts, fairness, and the purpose of settling disputes, Governor Liu Xianshi of Guizhou Province arbitrated the dispute between the two distilleries through a compromise solution: "The Moutai liquor presented to the Panama Pacific International

Exposition was from the two distilleries: Ronghe and Chengyi but won only one prize. Therefore, it is hard to separate the prize …In order to avoid disputes, the provincial government will hold the original prize." He also announced that both distilleries could continue using the Moutai brand and labeling their products with the words "Awarded the Gold Medal at Panama International Exposition", whereas all other distilleries of Moutai Town were forbidden to use the brand or the above-mentioned words. After hearing the instructions of the governor, Chief Tan Guangluan and Commerce Chamber of Renhuai County as well as Chengyi and Ronghe Distilleries were all satisfied with the ruling. Therefore, the dispute was settled finally.

台鎮人興高采烈。如今，在茅台鎮老人寇雨的回憶中，母親在世時，經常向他講述當時慶祝茅台酒獲獎的情景：12 月的一天，「成義燒房」與「榮和燒房」兩家競相慶賀，鞭炮放了一個晌午。當天下午，兩家燒房大擺慶功酒宴，作坊工人和家屬都被請上酒席，「整整吃了一個下午」。由於茅台酒獲獎後一時身價百倍，茅台鎮「成義燒房」和「榮和燒房」兩家生產茅台酒的作坊，幾乎同時亮出茅台酒的品牌，將自己的產品冠以「巴拿馬萬國博覽會金獎」字樣。然而金牌究竟應該歸誰，兩家酒作坊互不相讓。仁懷縣商會出面調停，但兩家各執一詞，爭執不下。調停未果，兩家只好到縣府打官司。當時的仁懷縣知事覃光鑾收到狀紙後，感到十分為難，只好向省署呈文，將難題推給了

茅台酒之所以會在世界上引起轟動，並與

上司。獎牌歸屬官司打到貴州省公署，當時的

法國科涅克白蘭地、英國蘇格蘭威士忌被公認

省長劉顯世收到呈文，派專人前往南京國民政

為世界三大（蒸餾）名酒，從此名揚天下，並

府查詢此事原委，在弄清了事情的來龍去脈後，

非後人的隨意渲染，而是因為實際上，茅台酒

貴州省公署為平息事端，也出於事實公允，對

在 1915 年 8 月至 1916 年 6 月之間，先後獲

於兩家茅台酒作坊之爭，省長劉顯世在會上以

得了「巴拿馬 - 太平洋國際博覽會」金獎和「巴

折衷的方式下達了裁定：「巴拿馬賽會茅台酒

拿馬加利弗尼亞國際博覽會」金獎。在不到一

系榮和、成義兩戶選呈，獲獎一份，難予分給

年的短短時間裡，連續獲得兩屆世界博覽會金

……勿庸發給造酒之戶，以免爭執，省署留作

獎，這在中國歷屆赴國際博覽會的酒類展品中，

紀念」。同時宣佈，兩家均可繼續使用茅台品

恐怕是絕無僅有的了。

牌，標明「榮獲巴拿馬太平洋國際金獎」字樣，

茅台酒獲世界金獎的喜事很快在全國傳開

而茅台鎮一應其它造酒「燒房」則不可擅用。

了，並成為了朝野議論的熱點話題，在偏僻的

仁懷縣覃光鑾知事、商會和成義、榮和兩家茅

貴州，就更是一件破天荒的大事了。

台燒房聽到省長指令後，均表示皆大歡喜，不

茅台酒在舊金山獲獎的消息傳回故鄉，茅

再爭執。

MOUTAI Magazine

Philosophy Essences of Traditional

CHINESE With a philosophy tradition of thousands of years, Chinese traditional culture has shined throughout the world. Widely used in daily lives, the philosophies of golden mean, yin and yang, as well as the theories of fang and yuan, and five elements, have become the core essences of Chinese traditional culture, still exerting a great influence over the Chinese today. 中國傳統文化之所以在世界範圍內大放異彩，離不開其數千年來的哲學傳統，尤其是中庸的處事哲學，陰陽、方圓等理論在生活中的廣泛應用，關乎於人的命運的五行，都構成了中國傳統文化的核心精髓，至今對於中國人依然有極大的影響。

MOUTAI Magazine

中國傳統文化的哲學精髓

CULTURE TEXT/ 文 :Jocelyn Liao, Denise Chan

MOUTAI Magazine

GOLDEN MEAN Handle Everything Properly

致中和，合內外之道

nitiated by Confucius, "golden mean" was further developed by Confucianism, especially enhanced by the author of "Doctrine of the Mean", and finally became a set of life philosophies and norms for Confucianism. "Golden mean" represents moderation, rectitude, objectivity, sincerity, honesty as well as propriety, and aims to maintain balance and harmony from directing the mind to a state of constant equilibrium. When joy, anger, sorrow and pleasure have not yet arisen, it is called the Mean (centeredness, equilibrium). When they arise to their appropriate levels, it is called "Harmony". "Golden mean" is to seek the most appropriate expression and realization based on people's inherent requirements (human nature and conscience) and external environment (including natural and social environment). When the Mean and Harmony are actualized, Heaven and Earth are in their proper positions, and the myriad things are nourished. Such a philosophy helps the Chinese to form a national character of calmness and integrity, which has a profound impact on our civilization for thousands of years.

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「中庸」由孔子首創，再經過後來的儒家，特別是《中庸》一文的作者充實發展，終於成為一套儒家的處世規範。「中庸」在字面上的解釋即是「中道及常理」之意。而執中又當求「中和」，在一個人還沒有表現出喜怒哀樂時的平靜情緒為「中」，表現出情緒之後經過調整而符合常理為「和」。其主旨在於修養人性。「中庸」就是要以人的內在要求（人性、本心）為出發點和根本價值依據，在外部環境（包括自然的和社會的環境）中尋求「中道」，也就是使內在要求，在現有的外在環境與條件下，得到最適宜的、最恰當的、無過與不及的表達與實現。這也就是《中庸》所謂「致中和」、「合內外之道」。如果人們能在一切事情上恰到好處地這樣做，則「天地位焉，萬物育焉」。這樣一種思維方式使中華民族形成了一種穩健篤實的民族性格，對我們幾千年的文明產生了深遠的影響。

Philosophy Essences of Traditional

CHINESE CULTURE

YIN & YANG The Interaction Between one Yin and one Yang Is Called Tao 一陰一陽之謂道

in and yang is the philosophy founded by ancient Chinese sages. When yin and yang are balanced, everything is created and has its own form. All things have both the yin and yang characteristics. Yin and yang are opposite, interconnected, and interdependent with each other. For example, between heaven and earth, bright and dark, cold and hot as well as male and female, yin and yang are interdependent. Yin and yang prove the existence of each other. From the nature, the ancients found that all things in the world complemented, reinforced, and counteracted each other. The Chinese sages observed and pondered from yin and yang, and realized the importance of golden mean—balance between yin and yang. Only with this balance can all things coexist peacefully and endlessly. Since ancient times, this wisdom of balancing yin and yang has been well applied in various fields such as philosophy, architecture, military, agronomy, and medicine.

陰陽是中國古代先賢創立的哲學範疇。陰陽合德而剛柔有體，萬事萬物皆有陰陽兩面的特性，兩者相互對立、相互制約，但又是相互地依靠著。就如天地、光暗、寒暑、雌雄等，陰陽相互依存。陰是陽存在的肯定，陽是對陰存在的肯定。古人從自然界領悟到天地萬事萬物都是相輔相成，相生相剋。中華先聖們從陰陽中觀察、思考，領悟出陰陽相互制約而達到中庸平衡的智慧，任何一方都不能太盛或太衰，只有這樣的平衡，才能使萬物和平地生生不息、永不停歇地運作。而這陰陽平衡的智慧，從古到今都一直貫通於哲學、建築學、軍事學、農學、醫藥學等各個領域中。

MOUTAI Magazine

SUN & MOON Get Up to Work at Sunrise and Rest at Sunset

日出而作、日落而息

n ancient China, people lived mainly on agriculture. Different weather conditions affected the growth of plants and animals differently, and these effects also regulated and guided ancients' living habits. They created the 24-solar-term calendar according to the astronomy and the nature. Ancient Chinese believed that they could be more efficient as long as they followed the rules of the sun, moon, as well as stars, and did the right thing at the right time. Therefore, they set their timetable according to different solar terms, for example, irrigation at "Start of Spring", harvest at "Start of Autumn", and protection against coldness at "Start of Winter". 中國古代以農作為主，不同的天氣狀況會影響動植物的生長情況。這也規範和指導了古人衣食住行等活動。他們透過日月星辰，根據晝夜時間流逝的軌跡，把天文學和世界萬物融合並創作了二十四節氣的立法。華夏祖先相信只要配合星辰日月，在對的時間做對的事情，才會事半功倍。因此古人根據不同的節氣，區分了如立春灌溉、立秋收割、立冬防寒等時間表。

CHILL & FEVER Yang Deficiency Causes External Chill While Yin Deficiency Causes Internal Fever 陽虛則外寒，陰虛則內熱

hill and fever is a reflection of yin and yang inside people's bodies, just as the balance of yin and yang advocated by the ancients. Excessive yang exuberance causes fever while excessive yin exuberance causes chill; balance is the best state. According to traditional Chinese medicine, chill and fever reflect people's health status. Chill inside body will appear to be pale complexion and cold limbs; heat inside body will appear to be body fever and irritable mood. Therefore, to deal with different situations, there are different internal therapies such as Chinese medicine and Chinese diet as well as external therapies such as acupuncture and cupping. 人的寒和熱是人體內陰陽偏盛的表現，正如古人所提到的陰陽調和，既不能陽太盛則熱，又不能陰太虛則寒，只有陰陽平衡才是最佳的狀態。中醫認為寒和熱體現著人體健康狀況，體寒則會面色蒼白、四肢發涼；體熱則會身體發熱、心情煩躁。所以根據不同的狀況有不同的中藥和飲食的內部調理，和如針灸、拔罐等外部治療。

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Philosophy Essences of Traditional

CHINESE CULTURE

eaven and Earth" refers to the first element of the nature, universe, or society. People are so little compared with the universe and have to follow natural rules and social conventions so as to flourish. Therefore, the ancients advocated feng shui (literally translated as "wind-water"), which is a wisdom of selecting environment based on living surrounding, astronomy, and geography. They studied air flow and hydrology to select a suitable living environment that was harmonious with them. For example, the design of Chinese quadrangles not only well embodied the excellent planning and layout of ancient feng shui but also shown the Chinese wisdom that "the Mean is the Way of the world". 天地指自然界或宇宙、社會的第一要素。人之渺小，故需要配合自

HEAVEN & EARTH Heaven & Earth Are in Their Proper Positions, and the Myriad Things Are Nourished 天地位焉，萬物育焉

然法則、天理人情才能興旺發展。所以古人崇尚於風水，風水是古人根據周邊的生活環境、天文和地理等綜合的環境選擇學問。他們研究天空中空氣的流動和大地水文去選擇合適的生存環境，使人和周圍的環境協和。譬如中國的四合院設計，正體現了古代對風水的精良規劃與佈局，同時也表現出中國古代對「中者，天之正道」的思想學問。

oupling hardness with softness is a blend of the flexibility and adaptation wisdom of the Chinese Taoism and the moral cultivation concept of the Chinese Confucianism. From the nature, the ancients realized the coexistence and balance between hardness and softness. It would be too hard to be easily frustrated or too soft to be indecisive. The wisdom of hardness and softness also involves China's fang and yuan spirit. The ancients advocated appropriate flexibility when getting along with others. Both norms and adaptations are indispensable for a peaceful and harmonious society. This is exactly the brilliant interpersonal principles in the Chinese traditional culture. 剛柔並濟，融合了中國道家思想的變通學問，與中國儒家思想的品

德修養理念。古人從大自然裡領悟到事物以剛強和柔和互相兼有平衡，

HARDNESS & SOFTNESS Softness Within Hardness, Hardness Within Softness 剛中帶柔，柔中帶剛

過於剛強，就會很容易受挫；但若過柔弱，就會變得優柔寡斷。剛柔中也深存了中國方圓相濟的精神，古人崇尚待人接物時應剛柔相濟、屈伸有度。規矩與圓融各需兼備，使得社會和平融和，這也就是中國傳統文化中精闢的為人處世原則。

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FANG (SQUARE) AND YUAN (CIRCLE) Nothing Can Be Accomplished Without Norms or Standards 無規矩不成方圓

he Chinese fang and yuan idea is closely connected with the golden mean idea. Fang means rules and frame, which is the foundation of personhood; yuan means harmony and sophistication, which is the interpersonal manner. Without fang, there will be no rule or discipline; without yuan, the world will be overloaded and incompatible. Therefore, when facing others and the world, people should select the proper "fang" or "yuan" strategy. Only by coupling fang with yuan can the society and life be harmonious. Just as a Chinese saying goes, nothing can be accomplished without norms or standards.

中國人所說的方圓與中庸思想密不可分。方，是規矩、框架，是做人之本；圓，是圓融、老練，是處世之道。無方，世界沒有了規矩，便無約束；無圓，世界負荷太重，將不能自理。為人處世，當方則方，該圓就圓。方外有圓，圓中有方，方圓相濟，社會才會和諧，人生自在方圓。方圓在現代的用法也表示面積，方圓十里就是十里的圓週內的面積。中國人有一句俗語叫無規矩不成方圓，強調做任何事情要有一定規則，否則無法成功。

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Philosophy Essences of Traditional

CHINESE CULTURE

FIVE ELEMENTS Five Elements Reinforce and Counteract Each Other 木、火、土、金、水，相行相克

he five elements are the core of Chinese traditional culture. According to the five elements theory, all things in the universe are formed by the mutual operation (movement), conversion, reinforcement, and counteraction of the five basic elements—metal, wood, water, fire, and earth; they are regarded as the ancient naive materialism and the five basic states of the yin and yang evolution. They are widely used in various fields such as traditional Chinese medicine, geomancy, numerology, physiognomy, and divination. Wood features growth, expansive, and east; fire features hot, ascending, and south; earth features nourishment, stabilizing, and center; metal features quiet, contracting, and west; water features cold, descending, and north. As early as in the Spring and Autumn Period, Cai Mo had put forward the theory of reinforcement and counteraction among the properties of five elements. Besides, the five elements also represent five virtues: "benevolence, righteousness, propriety, wisdom, and integrity".

五行是中國傳統文化的核心，認為宇宙萬物，都由木、火、土、金、水五種基本要素的運行（運動）和循環生克變化所構成，常視為古代樸素的唯物哲學，這也是陰陽演變過程的五種基本動態，廣泛地用於中醫學、堪輿、命理、相術和占卜等方面。木，具有生發，條達的特性，屬東方。火，具有炎熱，向上的特性，屬南方。土，具有長養、化育的特性，屬中央。金，具有清靜、收殺的特性，屬西方。水，具有寒冷、向下的特性，屬北方。蔡墨早在春秋時期便提出了屬性論五行相勝（克）相生的思想，五行亦有解作「仁、義、禮、智、信」五種品德。

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A Liquor Blended With

Yin & Yang 一杯匯聚陰陽的美酒 EDITING/ 採編：Moon

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ven if the world and times are greatly changed, there are always some things enduring, such as Moutai's making technique that is inherited for thousands of years. Just as in the past, it still plays the most important role in today's production process.

This whole set of Moutai's seasonal techniques fully reflect the core belief of harmony and unity among heaven, earth, and man as well as the traditional essence and scientific rationality. Besides, Moutai's production process also fully reflects the Chinese idea of yin and yang. Most of Chinese liquors use closed fermentation only, whereas Moutai adopts both open and closed fermentations. These two fermentations are regarded as a dialectical unity and are full of ancient Chinese philosophy: Yin and yang coexist and can be converted into each other, achieving an organic unity of small fermentation environment and overall ecological environment. Over thousands of years, just like a natural and mysterious force, this unique technique of yin and yang fermentations has continuously provided people with "nectar-like" liquor.

哪怕滄海桑田，世事更迭，也總有一些東西經久不變，如茅台傳承千年的釀酒工藝，就如同昨日那般，依然在今天的生產工序中扮演著最重要的角色。茅台這一整套天時工藝，充分體現天、地、人和諧統一的精髓，既散發傳統的光芒，又閃耀著科學理性。中國的陰陽思想在茅台的釀造過程中也得到充分體現。中國的大部分白酒釀造只有封閉式發酵一種，而茅台酒既開放又封閉，兩種方式合二為一，充滿了中國古代哲學思想「有陰就有陽」，兩者互為辯證，互為轉換，實現了發酵小環境與生態大環境的有機統一。這種獨特的陰陽發酵工藝，如同一股自然而神秘的力量，千百年來源源不斷地為人類奉獻著甘霖般的美酒。

Yang Fermentation: Openness and Absorption It is a good time when willows and azaleas flourish. Dark brown fermented grains are carefully spread out in liquor workshops that are completely open. For better ventilation, even the central doors of workshops are all opened. In the cool cloudy days, occasionally, some cuckoos may stray into the workshops. Such a fermentation in which fermented grains fully interact with active microbes and quietly absorb the "essence" of heaven is Moutai's open fermentation. That is, yang fermentation or aerobic fermentation. Yang fermentation is a unique technique adopted by Jiang fragrance liquor. In this fermentation, the fermented grains are spread out to cool down, stacked at high temperature, and fermented on the ground, fully absorbing, gathering, breeding, and selecting wholesome airborne microbes so as to make up for the insufficiency in the quantities and sorts of certain ferment microbes and generate plenty

of aromatics as well as precursors. In the open workshops with harmony between man and nature, these exposed fermented grains continuously gather airborne microbes day after day to generate up to 1,000 aromatics and precursors, ultimately forming Moutai's unduplicated and lingering bouquet. Yang fermentation reflects China's open philosophy. Mr. Yuan Renguo, Chairman of Moutai Group once made a poetic summary: "Such subtlety is full of philosophy and witnesses the process of marching from isolated tribes to an open and inclusive cultural integration. Without openness, there will be no wider absorption or more lasting progress." The developments of history and nature have all proved that only open attitude and open mind are fundamental to human survival. Throughout the ups and downs of the Chinese economy over the past century, breaking through isolation and opening to the outside world has become an important factor in promoting economic development. The reason why Moutai has the opportunity

to go abroad lies not only in Moutai's making technique that is learnt from nature and reflects the harmony between man and nature, but also in Moutai's consistent openness and acceptance for foreign cultures, ideas, and new technologies. Openness is fundamental to development. A country or enterprise must not only stick to the fundamental issues, but also be eclectic and tolerant to diversity. Only in this way can it gain extensive absorption and long-lasting progress.

Yin Fermentation: Accumulation and Persistence When open fermentation reaches a certain extent, cellar mud is used to seal the fermented grains in the cellar for further fermentation. Buried in darkness by cellar mud, fermented grains absorb the "essence" of the earth and fully interact with microbes to generate more than 1,400 aromatics and precursors for Moutai liquor. Sometimes

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you can see various microbe spots on thick sealing mud or the boiling heat from the cellar pass through the sealing mud, form sparkling beads on the mud surface, and take the elegant brewing bouquet out of the cellar. This is yin fermentation. It is also called closed fermentation or anaerobic fermentation. The period of yin fermentation is just like the progression from childhood towards youth, which is a process of selfcontemplation, self-meditation and selfcultivation. Adherence comes before a solid foundation. Any essence shall have an inner adherence and persistence. Therefore, with the increase of production capacity, Moutai Group never gives up its persistence in high quality. Regardless of great changes in the outside world and rapidly accelerated pace of industrialization, Moutai Group always sticks to high morality and exquisite making technique, and never sells liquor before it is fully aged and matured. It is such persistence that forms the world's noblest bouquet and Moutai's irreplaceable foundation. Each workshop of Moutai distillery is lined with some ten cellars. Moutai liquor needs to undergo eight times of stacking fermentation and cellar fermentation. Furthermore, "end liquor" must be splashed before fermented grains are put into cellars. The more ancient cellar, the more abundant microbes. After everything is ready, fermented grains are generating intoxicated liquor and quietly waiting for transformation in the dim light of cellars. During fermentation, the microbial quantity and variety vary with each level of fermented grains. As a result, even fermented grains within the same liquor cellar, can still produce three different types of liquors. That is, the top and upper middle fermented grains of the cellar produce the Jiang fragrance liquor; the bottom fermented grains produce the cellar-bottom fragrance liquor; the middle fermented grains produce the alcohol sweet liquor. This is a unique spectacle in the world's brewing history. Different fragrance types of liquors contain different ingredients, and Moutai, combined by three fragrance types of liquors, is endowed with a "complex aroma". Among all distilled spirits, Moutai's aromatic components are the most numerous, the richest, the most coordinated, and the most orderly. Besides, Moutai's "overflowing

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這些裸露的酒醅，日復一日不知疲倦地網羅空氣中的微生物，生成多達上千種香氣香味的前驅物質。

aroma", "smelling aroma", "mouth aroma", and "lingering aroma" are much better than other distilled spirits. Moutai's characteristics are gradually formed in the constantly changing open and closed environment, with the alternation of open stacking fermentation and closed cellar fermentation. The fermented grains absorb the essence of heaven and earth, and ultimately become the precious liquid with the essence and nutrition of sorghum and wheat. Born in natural fermentation and becoming precious due to its natural essence, Moutai is matured over seasons, with not only a deep sense of presence but also a lingering charm. Fermentations for Moutai last nine months, during which, more than 1,400 trace elements are generated. 867 kinds of these elements are available for qualitative and quantitative research. For other fragrance types of liquors, the fermentation duration of Moutai is just like an unreachable mountain. How could the ancients thousands of years ago grasp this harmony of yin and yang that perfectly complies with heaven and earth? We do not know the answer. What we know is that since the Han Dynasty, Moutai's making technique had been accumulated and developed for more than 2,000 years. It is like a historic masterpiece that contains the nature essence forgotten by the industrial era and records our past, our tradition, the wisdom of Moutai makers for generations, as well as the future.

陽發酵：開放吸納

房裡，這些裸露的酒醅，日復一日不知疲倦地

守工藝，不挖老窖，不賣新酒。正是這種執著

網羅空氣中的微生物，生成多達上千種香氣香

的歲月沉澱，才有了世界上最高貴的酒香，有

味的前驅物質，最終有了茅台不可複製的千回

了難以更替的根基。

百轉的纏綿酒香。

茅台酒廠的每個生產車間的每個班組均

陽發酵體現了中國開放的哲學思想。茅台

有十幾口窖池。茅台酒要經過八次加曲、堆積

集團董事長袁仁國曾用詩意的語言總結說：「這

和入池發酵，每一次入窖前都要噴灑尾酒，進

種哲學般的微妙，見證了人類文明從一個一個

行窖池養護。越古老的窖池，窖泥中的微生物

孤立的原始部落，走向大開大合的文化交融。

就越豐富。一切就緒，酒醅就在寂寥中醞釀著

沒有開放，就沒有更寬闊的吸納，也就無從獲

沉醉，在酒窖昏暗的光線下，靜靜地等來蛻變。

得更為持久的進步。」歷史和自然界的發展，

在發酵期間，酒醅各層次的微生物數量和

都無不證明了，只有開放的心態，開放的思想

品種各不相同，因此即使是同一個酒窖的酒醅，

意識，才是人類生存的根本。細數中國經濟在

也可以生產出三種不同香型的酒，其中：醬香

過去百年的跌宕起伏，打破封閉，對外開放是

型酒由窖的頂部、中部酒醅產生，窖底香型酒

推動經濟發展的重要因素。茅台之所以有機會

由窖底酒醅產生，醇甜香型酒由中部酒醅產生。

走出國門，走向世界，不僅源于其道法自然，

這是世界釀酒史上獨一無二的奇觀。不同香型

天人合一的釀造工藝，也源自對外來文化、思

的酒各含有不同的成分，三種香型酒融合而成

潮和新的技術一貫的開放與接納。

的茅台酒是一種「複合香」，其香味香氣成分

開放是發展的根本，一個國家，一個

種類是所有蒸餾酒中最多，最豐富，最協調，

企業，既要有固守的根本，又要海納百川，

最具層次感的；其「溢香」、「聞香」、「口

不拘一格，這樣才能寬闊吸納，進步持久。

香」、「留香」效果均勝於其他蒸餾酒。茅台酒的特質，就是在開放與封閉不斷變

陰發酵：沉澱堅守

化的環境中逐步形成，堆積開放發酵和入池封閉發酵相交替，化天地之精氣靈韻，攝高粱、

在開放式發酵到一定程度後，就把酒醅用

小麥之精華營養為玉液。因自然而生，因自然

窖泥密封于窖池中發酵。酒醅被窖泥掩埋在一

而貴，自然發酵，歷經時節而成熟，既有濃濃

片黑暗中，吸收地之「靈氣」，與微生物充

的存在感，又有細水長流的韻味。茅台酒的發酵時間長達九

分結合反應，孕育著茅台酒多達

個月，產生的微量成分

1400 多種香氣香味的前驅

達 1400 多種，可定

物質。厚厚的封泥上，

性定量研究的就

時見各色菌斑，抑或窖池中沸騰的

有 867 種。對

熱氣穿過封泥，

於其他香型的

在表皮上形成

白酒，茅台酒

晶瑩的水珠，

的發酵時長

帶出窖池內正

無異於一座

深褐色的酒醅被仔細攤平在制酒車間裡，廠房

孕育的優雅酒

高山，永遠無

是完全開放的，為了盡可能地通風，連車間中

香。

綠柳拂蔭，杜鵑吐豔，正是閒散的好時光。

門都被打開。這種充分接觸微生物活躍的環境，

法企及。這完

靜靜地吸納著天之「精華」的發酵方式，就是

酵，又稱封閉式發

茅台酒的開放式發酵，也即陽發酵，又稱有氧

酵，也稱厭氧發酵。陰

發酵。

發酵的這個階段，就像一個

陽發酵是中國其他香型的白酒所沒有的工

美地順應天地的

這就是陰發

陰陽調和，千百年前的古人又是如何參悟到的呢？我們無從知道答案，但茅台

人從幼年走向青年之前的積蓄，是

藝，通過把酒醅攤涼，高溫堆積，在地面上進

一個自我思考、自我沉澱、自我修煉的過程。

的釀酒工藝自漢代到現在，已沉澱、發展了兩

行發酵，充分攝取、網羅、繁殖、篩選空氣中

須有守成，才可鞏固根基，精髓的東西，必經

千多年，它像一本歷史巨著，書裡面是被在工

對人體有益的微生物，以達到彌補大麯微生物

內在的固守與堅持。所以茅台集團從不因產能

業時代遺忘的自然之本，記載著我們的過去與

中某些數量和品種不足，生成大量的香味物質

的增加而放棄品質的堅持，不管外界如何變遷，

傳統，記載著一代又一代茅台釀造者的智慧，

和前驅物質的目的。就在那天人合一的開放廠

工業化步伐如何迅猛加速，仍然崇本守道，堅

記載著未來。

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Beauty of the Orient Interview with Tim Yip, Winner of the Oscars for Best Art Direction

東/方/神/思 ——專訪奧斯卡最佳藝術指導葉錦添 TEXT/ 文：Penny Zhou IMAGE/ 圖：Tim Yip Studio 本文所有圖片由葉錦添工作室提供並授權刊登

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latter category.

ominated for 10 Academy Awards (the Oscars) nominations and eventually winning four, "Crouching Tiger, Hidden Dragon" made 2001 a remarkable year for Chinese cinema. While marking a career highlight for director Ang Lee, the film also made another name known for the international audience: Tim Yip. Born and raised in Hong Kong, Yip was nominated two Oscars for costume design and art direction, and become the first Chinese person to win the

Characterized by a seamless and balanced combination of authentic, classic Chinese aesthetics and simplistic, highly-structured Western fashion features, Yip's idiosyncratic artistic style is in a league of its own. Through his bold re-imagination and reinterpretation, the beauty of the Orient dazzles with a new glow and is welcomed and loved by the world. 2001 年，《臥虎藏龍》在美國奧斯卡頒獎典禮上斬獲四項大獎，不僅是導演李安事業的一個巔峰，也讓另一名字被國際觀眾所熟知——葉錦添。在香港土生土長的他當年獲得了藝術指導和服裝設計兩項提名，為華人第一，並最終捧回一座小金人。葉錦添的藝術和服裝設計風格既帶有純正的中國古典特色，又有著簡潔、結構感強烈的西式格調，這兩者完美而平衡的結合成了他的個人標簽，讓傳統東方之美煥發新的光彩，從而被當代的國際觀眾所接受和喜愛。

A Screen Rendezvous In Yip's early years, his father used to run casinos and mother was a housewife. When it comes to artistic influences, he says that his older brother, a photographer, held a strong impact on him as a child, but he "didn't really understand what art really was until later in life". With an interest and talent in painting from a young age, Yip's first step into the film industry was being introduced by a friend to paint the set for a movie. After a while, he began his photography studies at the Hong Kong Polytechnic University, and subsequently started taking pictures for film crews. To his surprise, it only took a couple of similar jobs before his was promoted art director. The rest, as they say, is history. As a film professional, Yip's most wellknown work is probably "Crouching Tiger, Hidden Dragon". Looking back to that experience, he says the most memorable part of it is working with Ang Lee: "Ang has such

a unique perspective on filmmaking, as well as incredibly high standards. He collapsed about five times during the shooting of the movie—that's how hard-working he is. During that first collaboration, I found him fascinating and admirable, and we became good friends afterwards." Speaking of their similarities, Yip thinks that one thing that he and Lee share is that they both stubbornly put artistic pursuit as the utmost paramount concern. "I remember one time when the camera was just about to roll, and I arrived at the set and realized that the freshly painted set was still wet, and its glossy look was ruining the whole retro feel. I was so pissed that I just ignored Ang and picked up a brush and started re-painting the set—I purposely stood in front of the camera so they couldn't shoot the scene. The crew thought I went nuts. The deputy director even mocked me, saying 'what, you want to win an Oscar for this?' Ang still jokes about that 'prophecy' till this day!" he laughs.

The changes the Oscar award brought to Yip's life were major ones. "The first few years following that was like a dream, because overnight I was recognized everywhere I went. I got special discounts in clothing shops. I randomly got an invitation by someone to dine at his restaurant when I was talking on the phone on the sidewalk in Venice. He didn't even let me pay when I finished my meal, only asked for a photograph with me," he recalls. The win also led to more professional opportunities. From wuxia flick "The Promise", period drama "The Banquet" and blockbusters "Red Cliff" and "Back to 1942", to renowned TV director Li Shaohong's popular series "Ripening Orange" and "A Dream in Red Mansions", Yip served as the artistic mastermind behind myriad productions of various topics and styles, while impressing the audiences time and time again with his profound understanding and innovation

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recreation of "New Oriental Aesthetics". When asked to what he attributes his success, Yip says that extensive research is an important part of doing a good job, and also where he is differentiated from many of his fellow designers. For every project, he pours a large amount of time and effort into the preparation to obtain a deep understanding of the story's historic background and aesthetic idiosyncrasy. "I'd actively reach out to revered historians, traditional art groups, etc., to learn from them, and read as much as I can on the topic. In turn, those people like spending time with me, and when I need their help, they are more than willing to support me," he explains. His latest screen effort, new American series "Marco Polo", is a fine example of his attention to detail and historical accuracy. Show runner John Fusco had his eyes set on recruiting Yip to be the artistic director and

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costume designer in as early as 2010, and flew to Shanghai to approach him, who was at the time curating an exhibition for the World Expo for the Italian government. "The teleplay didn't pass the mainland censorship, so the project was put on hold for a couple of years. But after that Fusco came to me again and told me that it'd been greenlit and would be produced by Netflix. I knew when I heard it that it'd be a great production, so I said yes," he recalls. In the following months, Yip did extensive research on the Yuan Dynasty in China and Mongolia, which led him to realize just how little historical data there was on this particular time period. "I get the sense that in China, Yuan is a dynasty that historians don't quite want to mention, therefore you don't see a lot of professors studying it. Luckily, I found a seasoned Yuan history scholar; through the course of learning from him, I came to discover that it's an empire of

extreme complexity. I also got to know this Mongolian scholar who's doing a huge historian project to restore the true face of Yuan with images and historic items, and to dispel the outside world's misunderstandings of the Yuan Dynasty. For instance, I bought a pair of 'Mongolian boots' for research but found it very uncomfortable, which didn't make sense because Mongolians needed good footwear for riding. After talking to historians and visiting museums, I realized that the Mongolian fashion I'd seen on TV and in stage showsâ&#x20AC;&#x201D;with bad looks and poor materialsâ&#x20AC;&#x201D;wasn't representative at all of the real history. It was a powerful empire, and its people wore nice things." With changed opinions on Mongolian history, Yip strived to present the audience with a real ancient Mongolia in the show. Despite such hard work, Yip says that the pre-production preparation is actually the best part of his job.

UPSIDE:

Boundless Realm of Art Apart from costume and set design, Yip has also set foot in a variety of fields including photography, advertising, stage design and writing, and has shifted his professional focus to contemporary art in recent years. For him, all art forms come from the same root, and the similarities and compatibilities between them make crossdisciplinary artistic pursuit a natural path to take. "I'm a person made from many things, therefore I want to become many things," he thus explains. "My art has many facets, each benefited from the teachings of many people. In my early years I had this teacher who specialized in Western paintings but taught me a lot about Chinese art theories. Inspired by him, I myself like to interpret Eastern culture via Western art mediums, which has resulted in a variety of my creations." His equal passions for Eastern and

Western aesthetics have given Yip double the inspirations and breakthroughs in his career. From Peking opera to impressionist painting, all different art forms are used as references and lead to an aesthetic blend of both worlds. That is why audiences can sense a spectrum of familiar concepts in his works, while being amazed by fresh details that they haven't seen before. "When I see things, I see the inside, not the outside—forms change, but the rules remain the same," he says. "For instance, the means of expression seen in Peking opera is completely different from any Western art, but what it expresses is universal. By understanding this, I gain a grasp of the mutual effects between costumes and theatricality." To convey his ideas in a more lucid and systematic fashion, Yip has published two books and is now writing the third. The books touch upon a layer of humanity that is wider and deeper than culture. Religions

Stage image of Tim Yip’s work “Peacock” 葉錦添作品《孔雀》劇照

and philosophy are two major themes in his writings, as well as the relation between reality and imagination. On the other hand, Yip also utilizes contemporary art as an important outlet to present these thoughts and discoveries: "I find Eastern philosophy ever-so-enlightening, and it keeps giving. I have always believed in making art that reflects this philosophy, but if I did it in a Chinese way—such as ink painting— it'd become less powerful and lack of imagination. I chose contemporary art because it's closer to people's life and allows me to inject the virtual reality elements, which are wildly popular these days, into my art." One of Yip's most well-known artworks is installation Lili, a real-size model made of fiber-reinforced plastic that serves as a bridge that connects the real and the virtual worlds, drawing together all his imaginations and taking them to another space-time. "I've

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Stage image of Tim Yip’s work “Lady Zhaojun” 葉錦添作品《昭君出塞》劇照

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been looking for a possibility of virtualizing space and time. And Lili, who is much like a human but not a human, does just that. She develops, like a person, as she is exposed to others, and acts like a medium between the audience and other spaces. When the viewers jump outside of themselves, that is when they see the truest truth." Speaking of the shift of professional fields, Yip says it's not a "transition" because he has been dealing with the most traditional and cutting-edge arts from the beginning. "At the moment, contemporary art is still rather simple and stays on the surface. I wish to push it to a deeper end, and therefore I'm searching for new possibilities. As for the art circle and the market, I don't really want to be a part of it. I just want to be myself, not to be influenced by other things," he says.

Life is Here In a way, "just want to be myself" sums up Yip's attitude towards life. In order to "not to be influenced by other things", he even left his Oscar award back in Taiwan, fearing that by bringing it with him to his Beijing studio would attract unwanted attention. He thinks that the culture industry of the day is a peculiar game: "There are a lot of people who are not working on culture, or doing business in the name of culture, which irritates me. Of course there are also those who I admire dearly, so in general I'm an optimist when it comes to art development." He adds that to create a good working environment for himself, he tries his best to collaborate with artists who are well-received by the audience and share the same values with him. "Like Yang Liping [revered Chinese dancer and choreographer], popular and hard-working. When familiar people like her support me using unfamiliar artistic expressions in their works, they lend strength to me and the art to be better accepted by the audience." With the myriads exhibition invitations and opportunities, Yip says he is in no hurry â&#x20AC;&#x201D;the important thing is to tackle them one by one and to do things differently than others. In addition, he has no intention to leave the film industry. "The commercial aspect of making a film is truly annoying, so nowadays I tend to stick to art-making. However, I've been trying to explore films and my abilities," he says. "I'm in a different place from a decade ago. I'm making things

"I'm in a different place from a decade ago. I'm making things that are smaller but better and more â&#x20AC;&#x192; precise, with a more international vision."

that are smaller but better and more precise, with a more international vision." In the past years, Yip chose to be based in Beijing because "she's the place that is closest to China", where he is provided with creative soil by the many scholars, writers and artists living there. But what about one quintessential thing for people living in China-social drinking? He laughs and admits that for health reasons, he rarely drinks: "Back in the days I'd be forced to drink at dinner tables, but not anymore. It's as if there has emerged a whole new species of Chinese people who drink in a civilized manner, haha!" Albeit not a drinker, Yip has his take on China's drinking culture. "When you see a drinking scene on Chinese TV or movies, it's hinting on heroism or sadness, which is a very superficial interpretation of drinking culture. Alcohol is a language and an integral part of etiquette that enables people from different walks of lives to communicate with one another. Just see how complicated ancient Chinese drinking vessels are, and you can realize how significant alcohol is to Chinese people." As he spends an increasing amount of time in Europe and the US for work, Yip says that it's a possibility for him to move to New York in the foreseeable future: "As long as there is something about a city that attracts me, I can be tempted to live there. But because I've been flying all around the world for work, I already get the 'home is where the work is' mentality. I have friends and collaborators everywhere I go, so I'm never lonely." Frequently traveling also helped him develop the habit of "taking rests with work". Wherever his job takes him, he would stay for a few extra days to stroll around the

streets and look for special fashion items to take home as inspirations. For him, resting doesn't equal to not working, but readjusting his time and mental state. "In the past I spent too much time taking care of my team, and there were a lot of them. If I was unhappy with their work, I'd take it into my own hands, and the result was that I was sleeping three hours a day, just exhausted. Now I only keep a few close assistants around me and a looser, more romantic approach to managing them. When life is a rush, you don't have time to contemplate or digest all the things that you are not happy about. We are all being consumed by time and space as we exist in this world. I do everything with great passion, therefore I'm consumed in a faster pace. So it is crucial for us to give ourselves a little time to find our complete selves and the origin point. Our mentality affects all of our physical functions, and we see things more clearly when we take care of our emotions. Learning to meditate, as I've learned, proves to be a useful method for that," he says. This year, Yip made time to return to his hometown Hong Kong and held lectures for local youths with a passion for arts and film. Speaking of passing on the art torch, he says that art is such a vast world, what he can do now is to open young people's eyes and minds about art, and it's too early to think about having them carrying forward the artistic traditions. But if he has a most valuable piece of advice to aspire young artists, that would definitely be: "Do not take the outside world too seriously to let yourself free. Give yourself an opportunity to find your youth and your initial motivation. Just be yourself."

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Stage image of Tim “Lady Zhaojun” 葉錦添作品《昭君出塞》劇照 UPSIDE: Chi’s newYip’s bookwork “Bourgogne–Grands Crus” 齊仲蟬新書《勃艮第的酒窩》

銀幕之約兒時的葉錦添有個開賭場的父親，母親則是家庭主婦，說起最早的藝術熏陶，他說攝

家、傳統藝術團體等接觸，向他們學習，同時

樣他們就拍不了戲了。劇組都覺得我瘋了，副

看很多資料，鉆研其中的細節。所以反過來他

導演還挖苦了我一句 , 你這麽拼，是想拿奧斯

們也喜歡我，當我需要幫助時，他們都很支持

卡嗎？後來李安一直拿這件事笑話！」他笑道。

我。」他解釋道。

影師哥哥對自己很有影響，而自己則是「很後

奧斯卡給他的生活帶來的變化十分明顯：

期才知道什麽是藝術」。從小就對繪畫感興趣

「剛拿了獎那幾年像發夢一樣，因為一夜之間

就是很好的例子。早在 2010 年，該劇的創作

的他最初進入電影圈是被朋友介紹進劇組畫布

到哪裏都有人認識我。去買衣服，店主認出我，

人 John Fusco 就在世博會期間慕名來到上海，

景，畫了一段時間後開始在香港理工大學學習

給我打折。在威尼斯路邊打電話，有人走過來

找到了當時正在為意大利政府制作世博會展覽

攝影，於是在劇組裏兼職拍劇照，誰知道拍了

邀請我去他的餐廳吃飯，吃完還不讓我付錢，

的葉錦添，邀請他擔任電視劇的美術和服裝指

兩三部就成了美術指導，從此和銀幕結下了不

說我能合個影就行了。」同時，得獎後的葉錦

導。「籌片的中途，劇本在內地過不了，因此

解之緣。

添也得到了更多更大的影視作品的邀約。從武

計劃擱淺了兩三年。後來他又找上門來，說他

俠片《無極》、宮廷劇《夜宴》和歷史劇《赤壁》

在 Netflix 在線影視服務公司擔當制作，我一

品也許就是《臥虎藏龍》了，回憶起那段經歷，

和《一九四二》，到李少紅導演的電視劇《橘

聽就覺得這會是一個很精良的制作，就立馬答

最讓他難忘的還是與李安的合作：「李安對電

子紅了》及《新版紅樓夢》，他在不同題材、

應了。」他回憶道。接下來，葉錦添馬不停

影有他自己特別的看法，而且要求很高，拍《臥

不同風格的制作間遊刃有余，但始終忠於他對

蹄地在內地和蒙古做了大量的史料收集，一做

虎藏龍》他大概垮了五次，真的很拼命。所以

「新東方主義美學」的深刻理解和創意再現。

才知道元朝一直以來的歷史資料都很少。

我跟他合作了一次就覺得這個人很有意思，後

當被問到將自己的成功歸功於什麽時，葉

「在國內，元朝似乎是史學家們不太想提

來就成為了好朋友。」談到自己和李安的緣分，

錦添說靜心做功課是很重要的一部分，也是自

及的一個朝代，所以大多數教授都不會涉及。

葉錦添說他們有一個共同點，就是一根筋，永

己和很多其他同行的不同之處。除了深厚的歷

幸運的是我找到一個元史的資深專家，跟他學

遠把藝術的高度放在第一位。「有一次要開拍

史和文化素養，在開始所有的作品創作前，他

習，越挖掘越發現元朝是個很復雜的帝國。我

了，我一到現場，發現剛剛刷上的油漆沒有乾，

都會花大量的時間和精力去研究其歷史背景和

還結識了一個蒙古學者，他正在做一個很大的

把整個古代的感覺都破壞了。我一急，也不顧

美學特殊性。「我會主動和很有分量的歷史學

史學工程，力求用圖片和實物還原元朝歷史。

作為一名電影人，葉錦添最為人所知的作

李安了，拿起刷子站在鏡頭前重新刷起來，這

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他最近的熒幕作品，新晉美劇《馬可波羅》

外界對元朝一直存在不了解和諸多誤解的情

當代藝術是因為它更貼近生活，讓我能把現在

索電影，繼續發掘自己的能力和機遇，」他說，

況。比如我去買了一對蒙古靴，可它們穿起來

流行的虛擬現實放進來。」

「現在跟十幾年前比很不一樣，現在做的東西

很不舒服，怎麽可能是牧馬民族穿的鞋子呢？

以他著名的裝置藝術 Lili 為例，這個真人

後來看到了真正的蒙古服飾是怎麽樣的，還去

比例的玻璃鋼模特作為現實和虛擬世界的一個

很多博物館去認證了靴子的款型，才意識到

橋梁，將他所有的想象串聯起來，通往另一個

葉錦添近年來將工作和生活的基地安在了

其實現在看到的蒙古歌舞表演中的服飾，樣子

空間。「我一直在找一種虛化時空的可能性，

北京，因為「她是最接近中國的地方」，很多

很醜，材料也不好，全部破壞了真正的歷史。

當我把似人非人的 Lili 擺在這裏，她立即起到

紮根在首都的資深文學家、學者和藝術家都為

蒙古那麽強大，當時他們穿的也是很精良的物

一種虛化現實的作用，而當她和不同的人接觸

他的創作帶來了養份。談到在中國逃不了的喝

料。」這個過程改變了葉錦添對蒙古的看法，

時，就會變成一種導體，而她本身也像人一樣

酒應酬，他笑著承認自己的身體不適合喝酒：

力求在戲裏真實再現蒙古。調研和準備工作雖

在發展。當觀眾跳出自我，才能看到最真實的

「以前在飯桌上會被人逼著喝酒，但是現在中

然艱難費力，但是他說這是他創作過程中最喜

東西。」

國喝酒的風氣文明了很多，好像突然之間換了

歡的一個部分。

藝術無止境

規模更小，但是更精準、更好，眼光也更加國際化。」

談到近年來工作重心的轉變，葉錦添說這

一批中國人，哈哈！」雖然不喝酒，但葉錦添

並不是什麽「轉型」，自己一直都在研究最傳

對酒文化有著自己的見解：「很多中國影視作

統和最先進的藝術。他說：「當代藝術現在還

品中的喝酒場景都是要展現豪情、悲哀什麽的，

是比較簡單和表象的，我希望能把它推向更深

其實對酒文化沒有很深入的詮釋，只是一個很

處，因此在找一種新的可能性。至於藝術圈與

表象的反映。酒是一種語言，是中華禮儀的一

影、廣告、舞臺設計和寫作等等領域，並在近

市場，我只想做自己就好了，不想參與進圈子，

部分，可以讓不同的人相互溝通。酒的重要性

年將工作的中心放在了當代藝術創作上。對他

被其他東西影響。」

從中國古代酒杯的復雜程度就可見一斑。」

除了服裝和美術設計，葉錦添還涉足攝

來說，所有的藝術形式都一脈相承，它們之間

由於在歐美的工作時間和機遇增多，葉錦

的共通性和互補性使得跨領域的藝術追求成為

添表示將來也有可能移居紐約：「一個地方只

了一件自然而然的事。「我自己本身就是很多東西組成的，所以也想變成很多東西。」他這樣說道，「我涉獵的面很多，每個方面都有很多人影響我。早期我曾經有一位老師，他自己是做西畫的，但是教了我很多中國的藝術理念。所以受他的啟發，我自己也喜歡用西方的藝術形式來詮釋東方文化，這樣源源不斷的有東西

酒是一種語言，是中華禮儀的一部分，可以讓不同的人相互溝通。酒的重要性從中國古代酒杯的復雜程度就可見一斑。

得他在創作上有更多的靈感、更多的突破。不

為工作滿天飛，已經有種四海為家的感覺了。到處都有我的朋友和合作人，其實去哪裏都不會寂寞。」頻繁的輾轉工作也讓他練就了「跟著工作去休息」的習慣，去哪裏工作都會多呆幾天，逛逛街，尋找一些很特別的服飾，拿回家激發創作靈感。對他來說，休息不是不工作，而是

做出來。」葉錦添對東西方美學持一樣的熱情，這使

要有吸引我的東西，我就會動心。不過現在因

生活在此處

調整自己的時間和心理狀態。「以前太照顧我的員工了，一大堆人，他們有做得我不滿意的

「只想做自己」很好地概括了葉錦添的處

地方我就會親歷而為，每天只睡三四個小時就

被拿來作為參照物，幻化出東西方結合的美感，

世態度。為了少受外界影響，他甚至將自己的

很累。現在身邊就幾個很親密的助理，學會撒

這也是為什麽觀眾可以在他的作品裏看到很多

奧斯卡小金人都留在了臺灣，怕帶到北京工作

手，比較浪漫一點。生活趕來趕去，不滿意的

熟悉的設計理念的同時發現很多陌生、新鮮的

室被太多人看到，引人註目。他覺得目前的文

東西就沒有時間去消化沉澱，人活在世界上是

細節。對此，他這樣解釋：「我看東西是看裏

化行業是個奇怪的遊戲圈：「裏面有很多不在

被時空磨損的。我做什麽事情都很有激情，因

面的，不是看外面的——形式是會變的，但是

做文化的，和以文化的名義做生意的人，讓我

此消耗也很大，所以經常給自己一點時間去找

裏頭的規矩萬變不離其宗。譬如京劇的動作手

不舒服。當然也有些一直在做、堅持藝術高度

回完整的自己和原來的點，非常重要。心情會

勢衍生出來的表達方式和西方藝術大不相同，

的我很欣賞的人，所以我對藝術的發展還是持

影響你所有的生理機能，把自己的情緒處理好，

但所表達的東西確是全人類的。理解了這些，

樂觀態度的。」自己的處理方法就是盡量和那

看事情就能清楚，學習冥想是個有用的方法。」

我就懂得了服裝和戲劇性間的相互作用。」

些價值觀相似，又有好人緣的人們合作。「比

他說。

管是京劇還是印象派繪畫，不同的媒介都可以

為了更系統地闡述自己的理念，葉錦添出

如楊麗萍，她有大眾緣，自己也很努力。當這

今年，葉錦添抽時間回到香港，為本地熱

版了兩本書，目前正在寫第三本。書中觸及的

些大眾熟悉的藝術家支持我用不被大眾熟悉的

愛藝術和電影的年輕人開講座，傳授自己的經

層面比文化更加廣闊，涉獵了很多古典宗教哲

方法進行藝術演繹，我就從他們那裏借力，更

驗。說到藝術傳承，他說藝術的涵蓋面太廣，

學的問題，並著重探討了虛實的關係。另一方

好地被觀眾接受。」

現在能做的只是開發青年們對藝術的看法，開

面，他還利用當代藝術來呈現這些思索與發現：

面對現在的無數藝術展覽機會，葉錦添說

闊他們的眼界，還到不了繼承傳統的階段。但

「我覺得東方有一些東西是很強大的，我一直

自己不急，一個一個地把它們做好，堅持做和

是對年輕的藝術從業者們，他最想說的還是那

都沒有停止發現。我一直很想做關於中國文化

別人不同的東西，也沒有打算離開電影圈。「電

句老話：「不要太看重環境而讓自己施展不開。

和哲學的藝術，但是如果用中國的方式，譬如

影業的商業成分是很要命的一個部分，所以我

給自己一個機會去尋找青春，找回最初的動機，

國畫來做就沒有力量了，缺乏想象力。我選擇

現在盡量多搞藝術。但同時我自己嘗試深入探

走自己的路，只要做自己。」

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Tim Yip's

"New Orientalism" Aesthetics

葉錦添的新東方主義美學

TEXT/ 文 : Jocelyn Liao IMAGE/ 圖：Tim Yip Studio 本文所有圖片由葉錦添工作室提供並授權刊登

Integration of Illusion and Reality In the Asian theatre tradition, there is a very mysterious thing. That is, playing. Through some props, people change their identities, images, demeanors, and even voices, entering another state. They completely accept this spiritual state that guides them back into this world. Through various forms, however, they become a symbol independent of individuals, own the ability to communicate with the collective masses, and transcend the relationship of the

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real world. New Orientalism is originated from the silence of life and nourished by the agitation of internal sensory awareness. Since there is a Western real world in front of us, why not imagine an Oriental virtual world? China emphasizes the properties of illusion and reality that generate bipolar symbiotic space. Within a unity, illusion and reality are closely interlinked with each other. They supplement each other and are inseparable. China's religions and philosophies are all associated with this. That is, to learn the virtual world in

the real world, and to find the real truth from the illusion. China's aesthetics emphasizes the presentation of conception and the spiritual dimension. Illusion and reality are upside down for each other and renew the world view of each other.

Leaving Blank Tim Yip's "New Orientalism", however, is not just talking about Chinese aesthetics, but overall talking about ancient wisdom. "In short, it is the wisdom of integrating illusion

requently, anything we Chinese do will be considered imitation of others. My purpose of putting forward New Orientalism is to hope that foreigners can really understand Chinese culture and we Chinese can be more familiar with our own traditions. More importantly, the hidden and authentic core of Chinese traditional

culture can be revealed again without obstacle." Tim Yip is known to the world as an art director in many blockbuster movies. His artistic exploration, however, is not just in movie. In recent years, many of the world's top companies ask for his creations and he has devoted himself to creating more authentic art works. All these are inseparable from the aesthetic concept he initiated——"New Orientalism". Tim Yip proposes and practices the "New Orientalism" aesthetics on the international stage.

「很多時候中國人做什麼都會被認為是在模仿別人。我提出新東方主義，是希望讓外國人真正認識中國的文化，也讓中國人更加熟悉自己的傳統，中國傳統文化被遮擋了的、更純粹的內核，可以重新無障礙散發。」葉錦添首倡了美學觀念「新東方主義」，在創作中與東方元素相遇，這幫助他對抗他者文化的佔據。

Hand sketch by Tim Yip 葉錦添手稿 UPSIDE:

Tim Yip and Lili（Lili is a model property）葉錦添和他的真人比例的模特道具 Lili

with reality or leaving blank. People cannot even define their own existences. All things come from memories of the universe and people. The prototype is produced in another place and radiated to humans. Illusion and reality are integrated and coexist with each other, which is difficult for the West to understand." Leaving blank is an important art treasure created by the ancient. In Chinese culture, it is very unique and is a symbol of the "emptiness" strength. The "emptiness" in

paintings is a symbol of hiding or even infinite possibilities. Similarly, on a blank painting, a stroke is its line and "blank" is its hidden part. Tim Yip not only uses this contrast between black and white in the space but also presents this spiritual level in all his arts.

Four Realms of Art: "Form, Spirit, Style, and Conception" Tim Yip believes that art has four realms: "form, spirit, style, and conception". "Form" means that things are made to be

flawless, with perfect proportion and lines. "Spirit" means that after you see one thing and then you are blindfolded, you can still find more beautiful thing and soul associated with it. Sometimes you may forget the external images of these things, but you are still touched by them. In performances, artists' skills may be found obviously or may not be noticed at all. This depends on whether the charm and spirit of their performances are fully demonstrated. "Style" means a distinctive style. For example, when the character is perfect and

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charming, you can make an exception and paint the face with patterns of bold colors, because suspicion can bring greater imagination. Another meaning is that some indescribable nobleness and elegance are too ecstatic and beautiful to find out any reason. A person with perfect personality will look beautiful and will not be underestimated even if he is sweeping the floor humbly. You can feel some people's personality charms through details of their behaviors. "Conception" is a realm now Tim Yip often uses and tries to figure out. That is, to turn conception into reality.

"Interval" is the spiritual carrier in the space where we exist. When time and space exist, they will show a multilayered structure. "Interval" has many meanings in Chinese culture. Both Chinese architecture and interior layout use "interval" as boundary. "Interval" has no fixed style and all points are connected together. Only through "interval" can we understand the metaphysical world of China instead of the West. "Ancient path and a poor horse in the west wind" is a good example of "interval". The picture can immediately arouse your emotion and you can see that we Chinese are very good at expressing our feelings through sceneries. "Travel" is China's most ancient myth. "Exploring the Unbeing" is a "travel" that is along a route. The scenery of Japanese garden features lonely hill and stream where people need to calm down to feel the flow of the universe and see the world with their hearts. By contrast, China's scenery requires people to move. When walking, you can see the wall and tree shadows on the wall. What is most distinctive is that you can enjoy another world through the window of the wall. China emphasizes not just a kind of Japanese meditation, but an overlapping world and a meditative travel.

Four Cores of New Orientalism Aesthetics: "Subconsciousness, Blank, Interval, and Travel" Used by Tim Yip to describe his aesthetics concept, "subconsciousness, blank, interval, and travel" are also the four words that run through the "New Orientalism". "Subconsciousness" means the memories of all things. What is the most interesting is that people are accumulating and removing memories all the time, forming the field of subconsciousness. This kind of field is inherent at every place and is shaped by historical events. This process is called subconsciousness. It is hard for you to determine the change of last time interval. It seems as if there is no change, but in fact the change is very great. Traditional dance has much to do with space, but latent image varies with the feature of a place. Each place will have a different rhythm. There is always a flowing conception in Chinese culture forms such as calligraphy and dance. Similarly, when blossoming, the Japanese sakura has bright color but is transient. This feeling also runs through other cultures. "Blank" is also called leaving blank. Possibilities of all things are hidden in highdensity void. Things exist in the blank but nothing can be seen. "Blank" allows you to return to a moment without it when you are looking at anything. Why can intuition decide everything? Because at any moment people can empty out all things or see all things. On two opposite sides, no single dust in the universe is lost.

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Hand sketch by Tim Yip 葉錦添手稿

This article also refers to and cites Tim Yip's book "Connections".

" My purpose of putting forward New Orientalism is to hope that foreigners can really understand Chinese culture and we Chinese can be more familiar with our own traditions. More importantly, the hidden and authentic core of Chinese traditional culture can be revealed again without obstacle." 「我提出新東方主義，是希望讓外國人真正認識中國的文化，也讓中國人更加熟悉自己的傳統，中國傳統文化被遮擋了的、更純粹的內核，可以重新無障礙散發。」

虛實並致在亞洲戲劇傳統裏，有一種十分神秘的

筆劃，這是它的線路，而「白」就是它的潛藏。

的場，這種場是每地故有，再以已發生的歷史

這種黑白的對應，葉錦添不只運用在空間上，

事件定形，這一過程為潛，你很難決定上一個

還把這種精神層次呈現在他的各類藝術中。

時間點變化，看上去沒變化，但是其實變化得很激烈。傳統舞蹈和空間有多關係，但「潛」

東西，就是扮演本身。人通過某種道具，改變了自己的身份、形象和言行舉止，乃至聲音的狀態，他全然接受另一個精神的狀態，去引導

藝術四境界 :「形、神、格、意」

他重新進入這個世界。但是通過種種形式，他們成為獨立於個體以外的象征，擁有群眾集體溝通的能力，超越了現實世界的關係。新東方主義是在生活的沉默中被引發，在

葉錦添認為藝術的四個境界有「形、神、

的具象因應不同地方的特點而變化，每個地方都會產生不同的節奏，中國的文化中一直都有流水意象，包括書法、舞蹈，而日本的櫻花開放之時顏色強烈，卻一縱即逝。這種感覺也貫

格、意」。「形」，就是東西做得毫無瑕疵，比例線條

穿在其它文化中。「空」即留白，密度很高的虛空，卻潛藏

都好。

內在的感官覺察即當下交織著養分，既然有一

「神」，當你看過後，蒙住眼睛，發現還

著所有東西的可能性。事物存在其中卻又沒有

個西方的實體世界在前，為何不能想象一個東

有更美的東西和靈魂關聯，你有時候會不記得

東西在裏面。空的作用是讓你在看任何東西時

方的虛體世界？中國注重虛實的屬性，產生兩

事物的外在形象，但很受觸動。表演裡面就存

回到一個霎那，同時沒有它的瞬間。為什麼直

極共生的空間，同在一個意義裡，互為表裡，

在藝術家演得很有技巧，或者讓人覺察不出技

覺能決定所有東西？因為人每霎那都可以空掉

虛者實之，實者虛之，不分彼此。中國的宗教

巧，就在乎神韻飽滿與否。

所有事情，也能全觀一切，在正反兩面間，宇宙裏面一粒塵都沒有少。

哲學無不都與此關聯，就是在實的世界裏學習

「格」即當完美和有神韻的時候，要把臉

虛的世界，從虛空中尋找現實的道理。中國的

畫花，即破格。因懷疑而產生更大的想象力。

「間」就是我們存在的空間中靈性的臷體，

審美側重意境的呈現，重視靈性層面。虛與

另一個意思是，難以形容的高貴，挌動神迷，

當時間和空間存在，時空就會顯現多層脈絡。

實，一面倒懸，也一面翻新了觀世界的視野。

就是如此美，是講不出原因的。有著人格致美

「間」在中國文化中有很多意思，中國建築 , 室

的人，即使在卑微地掃地，卻也很美，不會被

內佈局 , 都以「間」作分野 , 間無定式 , 點點相

小看，有的人做事的細節使你感受到對方的人

連。只有通過「間」，才能感悟到中國的形而

留白的美學，總體談的是古智慧，「簡而言之，就

上世界，不是西方的。「古道西風瘦馬」就是

格魅力。「意」是葉錦添目前經常揣摩和運用的境

葉錦添的「新東方主義」不只談論了中國

「間」的例子，你通過畫面即可激發感性的一面，中國人最厲害就是借景言情。

界，將意象變成現實。

是虛實並致，也可以用留白形容。人甚至也無

「遊」即中國最古老的神話，「神行陌路」

法定義自己的存在性，所有的東西來自回憶，

就是「遊」，「遊」也是線條。日本庭園都是孤

宇宙的回憶、人的回憶、原型在另外的地方產生了，輻射至人類。虛實並致，有無並存，西

新東方主義美學四核心：「潛、空、間、遊」

藏，在中國的文化裏，它是十分獨特的，象征

需要用心觀。中國的景色是需要人走動的，走

葉錦添曾用「潛、空、間、遊」四個字描

的時候你看到牆壁，牆壁上有樹影，但最過

述自己的美學觀，也貫穿在「新東方主義」之

人之處是通過壁裏面的窗框觀賞到另外一個世

中。

界。中國講究重疊世界，非日本那樣的冥想，

方很難理解。」留白是一個從遠古醞釀出來的重要藝術寶

山水的景觀，人們心靜下來，感受宇宙流動，

著「空」的力量，畫裏面的「空」象征了隱藏，

「潛」即所有東西的回憶。在時空中，人

甚至是無限發生的可能，或者在空白畫面上的

每分每秒都在累積和刪除記憶，形成了潛意識

UPSIDE:

而是冥遊。本文亦有參考和引用葉錦添著作《神行陌路》

Computer Graphic of “Marco Polo” by Tim Yip Studio 葉錦添工作室作品《馬可波羅》電腦繪圖

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Traveling with

Architecture 跟著建築去旅行 INTERVIEW, EDITING/ 採編：Moon IMAGE/ 圖：Position

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rchitecture travel has a romantic name—"chasing houses". Nowadays, for many people, a journey with only wonderful scenery or delicious food is far from satisfactory. Traveling with buildings is not only a fashion, but also an accumulation. Whether to deeply understand the history and the present or to quickly survey a society, architecture travel is undoubtedly a perfect combination of intellectuality and sensibility as well as a visual and spiritual pleasure. That is why it is more and more popular in China.

建築旅行，有一個浪漫的稱呼——「追房

This trend not only complies with the transformation of Chinese tourism market for new lifestyle, but also emphasizes customized and quality tourism, and will replace traditional leisure travel. Committed to promoting architecture culture, "Shenzhen Position" has launched 20 architecture travel projects since 2013, involving more than 200 buildings and urban landscapes in more than 40 cities. Each trip involves only 20 members. Led by the director, architects and scholars work together to plan the theme, research the project, and elaborately customize the entire trip. Over the past two years, quality architecture travel has become their most popular flagship project.

這一趨勢符合中國新生活方式下旅遊市場的

Past and Present Previously, architecture travel was the exclusive realm of architecture learners. In architectural history, many prominent architects such as Schinkel, Aalto, Le Corbusier, and Tadao Ando all perfected themselves through long architecture travels. According to the introduction of "Position" in our interview, in late 17th century, "Grand Tour" was first proposed by the British priest Richard Lassels in his book "The Voyage of Italy" and gradually got popular among British and European aristocratic youths, becoming part of educational tradition. This undoubtedly affected the architectural and cultural circles as well. During the modernism period, after his "Voyage to the East", Le Corbusier integrated classical and folk traditions as well as contemporary new technologies into his buildings, greatly promoting the modern architecture movement of the 1920s. In 1968, American architect Venturi and his partner Scott Brown led students to Las Vegas. Among those commercial buildings sniffed by academism, they discovered the power of popular culture and symbolism, injecting a new energy into architecture. Speaking of the research on Chinese architectural history, we must mention the 1930s when Liang Sicheng and his colleagues (from the Society for Research in Chinese Architecture) frequently launched outdoor inspections in North China, starting Chinese scholars' modern

子」。對許多人來說，看大山大水或遍嚐美食的旅行，已經不夠過癮。跟着建築去旅行，不止是一種新潮，還是一種沉澱。無論對歷史還是當下的深度認知，對一個社會的人情風貌的迅速把握，以建築為主題的旅行，無疑是知性與感性的完美結合，視覺和心靈的雙重愉悅，其在中國越來越受到追捧。

轉型，強調個性化和精品化的旅遊，取代了觀光休閒。推廣建築文化的深圳有方空間， 2013 年以來已舉辦二十期建築旅行項目， 40 多個城市、200 餘個建築與城市景觀項目。每一條線路，只有 20 名成員參加，由總監帶隊，建築師、學者配合，完成主題策劃與專案研究，從線路的設定到整個行程都精心訂製。兩年下來，精品建築旅行體驗，已成為他們最受歡迎的主打項目。

research on Chinese architectural history. It is also worth mentioning that when the War of Resistance against Japanese Aggression broke out in 1937, they were forced to flee to Southwest China. Their tragic journey became another unusual "Grand Tour" as well. Today, architecture travel has broader space. It is not only architects' painstaking and enjoyable destiny but also the most direct and most romantic course for ordinary people to feel the culture of a city. In 2014, China's outbound tourists had exceeded 100 million. The traditional tour model of "sleeping when getting aboard and taking photos upon arrival" has lagged behind people's demand of traveling abroad. Currently, some Chinese travel agencies have started trying architectural tours; some enterprises and scholars are committed to revitalizing architecture travel culture. "Position" Architecture for example, has launched a series of architectural travel programs titled "An Architectural Odyssey" to offer exclusively developed tourism packages involving top architecture, landscape, and culture for customers who emphasize cultural depth and quality experience. According to "Position", for now, cities of Japan and Europe are a popular choice for architecture travel. These cities are popular tourist cities. More importantly, European and Japanese buildings have formed unique style and philosophy. Their development course and ideas are very useful for today's China to study.

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The architecture tour group discussed at "Fieldoffice Architects" 建築旅行團在田中央事務所交流

Journey of Discovery To approach a city, the fastest way is to understand its buildings. These man-made buildings are just like immortalized poems and demonstrate transcendental charms. Different from ordinary sightseeing, architecture travel emphasizes "cognition" and "review". "Cognition" is mainly to understand the settlement pattern, form, order, material, logic, location, and spirit of a tourist destination as well as its connections with the local culture and history; "review" is to view exotic style, introspect our own experience and the current status of our country, understand

Jin-Mei Pedestrian Bridge 津梅棧道

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the architecture and lifestyle differences caused by cultural differences, and have more in-depth feeling and understanding of ourselves. Many architects travel among various paths, streets, and cities to experience the space, feel each dimension of the building, and introspect their experience and thoughts. By constantly introspecting the appropriateness of their ongoing works, they finally become masters. It was the "Voyage to the East" that changed Le Corbusier's life. His collection of letters showed that until 1911 he still doubted whether to be an architect. This voyage, however, confirmed his determination of becoming an architect. Ordinary people can also enjoy a visual and spiritual feast in architecture travel. Eternal pyramid, classical ancient Greek pillars, dignified Baroque architecture, rational classicalism architecture, and practical modernism architecture…Among these artistic and palatial buildings, tourists can hear the ensemble of Heaven and marvel at the boundless universe. Travel with buildings. They can lead us into an infinite ancientness, distance, profoundness, and compassion, take our minds from the present to an infinitely distant and macro world, and help us to understand ourselves through the introspection among buildings. This is the charm of architecture travel.

Japan: Space Magic Among the streets of cities, from a brick or tile, experience the masterpiece of time and history. Architecture travel is not only a feeling but also another way of understanding history and life. Among all destinations, Taiwan and Japan are two important references familiar but also strange to Chinese tourists. Since the 20th century, a large number of eye-catching Japanese architects such as Tadao Ando and Kazuyo Sejima, had been good at

creating traditional space and atmosphere through modern architectural materials and technologies. Such space and atmosphere rooted in local culture are difficult to express through photographs or drawings; they can be fully felt and experienced only by people who measure the mountains and rivers of Japan through their feet. Just as Huang Juzheng, Editor-in-chief of "The Architect" magazine said, "Japanese culture shows in all aspects a kind of compatible and coexisting multiplicity for new and old as well as internal and external elements. It is in such special cultural background and through repeated overlapping and transition that the contemporary Japanese culture is gradually established." With the help of light, shadow, indoor and outdoor space, materials, and landscape, the plain and pure geometric object can endow architecture space with rich spiritual content and artistic meaning. For example, when designing the Lee Ufan Museum, Tadao Ando cleverly used blanks and borrowed scenery from nature to achieve the effect of "integrating building with nature, terrain, and landscape". Through flickering light and shadow as well as changing weather, the Benesse House Museum can tell people the existence and changes of time and nature, and create dialogs between the space and human life. When designing the Tama Art University Library, Toyo Ito used many curved arches to enrich the space and create a sense of lightness.

Taiwan: Implicit Modern Style In Taiwan's contemporary buildings, modernism combined with the local climate and culture is not the mainstream; however, through the tireless practice of a group of local architects, it gradually has a solid foundation. Well preserved and close to each other, representative modernism buildings are very useful for mainland tourists to inspect and study. Contemporary buildings of Taiwan in the recent decade are implicit. That is, the buildings adopt the modern design concepts while

preserving many local traditions. In recent years, masterpieces from local architects emerge one after another and their design language is increasingly different from the international popular style. Huang Shengyuan's works in Yilan and Liu Guocang's works in Tainan for example, are fully integrated with local elements and impossible for traditional media to reproduce or describe. The Jin-Mei Pedestrian Bridge designed by Huang Shengyuan reused the original vehicle bridge and adopted a clever and simple structure to create a pedestrian bridge space. With arbitrarily protruding floors, randomly spliced steel plates, and uneven handrails, this place may not produce beautiful photos, but will bring a feeling better than any visual excitement or desire outbreak. Two-dimensional scene is the significance of painters while three-dimensional feeling is the true nature of architects. The Luodong Cultural Working House features a huge extending scaffold. Its architecture structure and space form adopt a combination of modernism and localization, providing unlimited imagination. The entrance bridge of the Cherry Orchard Cemetery used an arc shape to transform organic landscape into a larger building, bringing full and penetrated vision. The library of College of Social Sciences at National Taiwan University used 88 indoor and irregularly arranged columns to connect the cloud-shape or lotus-shape oval roof, creating an image of reading in the forest shade. These diversified buildings not only are full of local customs and natural flavors but also demonstrate the unconstrained and avant-garde thoughts of architects. This is an integration of various architectural cultures. In the travel, we discover that the highest level of buildings are usually not isolated but fully integrated with nature. They are not showing themselves but the harmonious unity between architecture and nature. In this way, buildings are integrated into nature and become the most attractive part of nature; people's spirits are demonstrated in buildings and inherited from generation to generation.

MOUTAI Magazine

前世與今生

始嘗試建築主題旅行線路，也有致力於振興建築旅行文化的企業和學者，如有方空間，推出

以前，建築主題旅行只是學建築的人的專

「行走中的建築學」系列主題性建築旅行項目，

利。回顧建築史，很多傑出建築師，無論是辛

為強調文化深度、追求體驗品質的客戶提供獨

克爾、阿爾托，還是柯布西耶、安藤忠雄，都

家研發的精品建築、景觀與文化旅行線路。

是通過長時間的建築旅行，實現自身的蛻變。

有方介紹，就目前來說，日本和歐洲的城

有方空間在接受本刊採訪時介紹，17 世

市都是建築旅行的熱門選擇。這些城市本身就

紀後期，「壯遊」的概念由英國牧師裡查德·拉

是熱門的旅遊城市，更重要的是，歐洲和日本

塞爾斯在其所著的《義大利之旅》首先提出，

建築已形成獨特的風格與哲學，他們的發展歷

並逐漸在英國和歐洲貴族青年中流行開來，成

程和思想，對於今天的中國來說，都具有深刻

為教育傳統的一部分。這無疑也影響了建築與

的借鑒意義。

文化界。到了現代主義時期，勒·柯布西耶經過「東方之旅」後，將古典和民間傳統，以及當代新技術在他的建築中匯聚到一起，有力推動了 1920 年代的現代建築運動。1968 年，美

要接近一座城市，最快速的方式莫過於

國建築師文丘裡和合夥人斯哥特·布朗帶領學

了解它的建築，這些人造之物，就像凝固的詩

生們去拉斯維加斯，在那些學院派嗤之以鼻的

句，散發出超越物質以外的魅力。與普通的

商業建築中，發現了大眾文化和象徵主義的力

遊玩觀光不同的是，建築旅行強調「認知」與

量，為建築學注入了新能量。

的聚落形態、形式秩序、材料邏輯和場所精

代，梁思成及其營造學社的同仁們在華北地區

神，及其與當地文化歷史的關聯；「回望」則

頻繁展開田野考察，開創了現代意義上的中國

是指以異國風貌觀省自身經驗和本國現狀，理

學者研究中國建築史的先河。同樣值得一提

解文化差異帶來的建築與生活方式差異，並更

的是，1937 年抗戰爆發，他們被迫逃亡西南。

深入體會和理解自我。

遊」。

Benesse House Museum 貝內斯美術館

UPSIDE:

Lee Ufan Museum 李禹煥美術館

Photographer/ 攝影 : Xia Zhi

MOUTAI Magazine

「回望」。「認知」部分主要強調了解旅行目的地

關於中國建築史研究，不得不提 1930 年

他們的悲慘旅程同時也成為一種另類的「壯

UPSIDE:

行走的意義

有不少建築師就是穿梭於世界各大小通路、街道、城市中透過身體實地體驗空間，感

到了今天，建築旅行有了更為寬廣的空

受建築的每一向度，並於體驗中與思緒中自

間，它不僅是建築人甘冒身心勞頓之苦卻又樂

省，藉自省檢視過程作品的適切性，最後成為

此不疲的宿命，更是普通人感受一個城市的

大師的。柯布西耶的「東方之旅」就改變了他

文化最直接也最浪漫的過程。2014 年中國出

的人生。通過他的書信集可以看到在 1911 年

境遊人數已經突破一億人次，「上車睡覺，下

之前他還在懷疑自己是不是要當建築師，但這

車拍照」的傳統旅行團模式已經落後于人們出

次旅行後他就堅定了成為建築師的信念。

境遊的需求。國內目前已有一小部分旅行社開

普通人也能從建築旅行中享受一場視覺

樸素純淨的幾何體，通過對光影、室內外空間、材質、景觀等運用，就能使建築空間具有豐富的精神內涵和藝術意味。如安藤忠雄設計的李禹煥美術館，在設計上巧妙地通過留白，向大自然借景，達到「和自然地形一體化、將建築融入風景中」的效果。貝內斯美術館通過光影搖曳、風雨變幻就可以判定時間與自然的存在和變幻，促成空間本身與人類生活之間的對話。伊東豐雄設計的 Tama 藝術大學圖書館則大量運用了曲線斗拱，拱形交匯的牆壁豐富了空間，並且具有一種輕盈感。

臺灣：沉潛的現代在臺灣現當代建築中，結合當地氣候與文化語境的現代主義雖不是主流，但在一批本土建築師的不懈實踐下，逐漸具備了堅實基礎。 UPSIDE:

MIDDLE: BELOW:

Inside of the library at the College of Social Sciences, NTU 臺大社科院圖書館室內 Photographer/ 攝影 : AC

Roof of the library at the College of Social Sciences, NTU 臺大社科院圖書館屋頂 Photographer/ 攝影 : Zhang Chao Yixian Building at the College of Social Sciences, NTU 臺大社科院頤賢館 Photographer/ 攝影 : Zhang Chao

代表性的現代主義建築作品因保存尚好、坐落地點相對集中，對內地旅行者來說具有重要的實地考察和借鑒價值。臺灣近十年來當代建築

與心靈的盛宴。金字塔的永恆、古希臘廊柱的

的特點是「沉潛」，即在持有現代設計理念的

經典、巴羅克建築的雍容、古典主義建築的理

同時保持對在地傳統的強烈關注。近年來，本

性、現代主義建築的實用……徜徉建築藝術殿

地建築師佳作迭出，設計語言日益不同於國際

堂間，行者便可聆聽天籟之合奏，驚歎宇宙浩

流行風格，尤其像黃聲遠在宜蘭、劉國滄在臺

茫。

南的作品，具有傳統傳播媒介難以再現和訴說跟着建築去旅行，建築能帶領我們進入

的與在地的咬合特徵。

無限古老，無限久遠，無限深邃，無限悲天憫

黃聲遠設計的津梅棧道利用原有的機動

人，讓我們將心思由眼前跳脫至無限遙遠和宏

車行橋樑，以巧妙而簡單的構造，營造出步行

觀，從建築中反省了解人類自己。這便是建築

棧道的空間。任意凸出的樓板，隨意拼接的鋼

旅行的魅力。

板，高低不一的扶手，或許這裡拍不出精美的照片，但是這裡的感受勝過視覺的刺激和欲望

日本：空間的魔術

的爆發。二維的畫面是畫家的意義，三維的感受才是建築師的本質。羅東文化工廠向外延

穿梭於城市的大街小巷之中，在一磚一瓦

伸的大棚架，建築結構和空間形式遊走於現代

中親自體驗到時光與歷史的傑作，建築之旅既

主義和地方性之間，給人無限的想象空間。而

是一種情懷，也是認識歷史與人生的另一種方

櫻花陵園入口橋則利用弧面造型，將有機的地

式。臺灣與日本正是中國旅行者熟悉而又陌生

景處理成較大尺度的建築，帶來張力十足的視

的兩個重要參照。

覺穿透感。臺灣大學社會科學院的圖書館，室

自 20 世紀以來，一大批廣受關注的日本

內由八十八根不規則排列的立柱，連接狀似雲

建築師，像安藤忠雄、妹島和世等，擅長以當

朵、又似蓮葉的橢圓形屋頂，營造出在森林蔭

代建築材料和技術，營造具有傳統意向的空間

下閱讀的「書林」意象。

氛圍。這種根植于本土文化的空間氛圍，難以

這些形形色色的建築，不僅充滿鄉土風情

通過照片和圖紙表達；只有置身于東瀛山河之

和自然氣息，你也能看到建築師那天馬行空的

中，通過腳步的丈量，身體的接觸，才能被

前衛思想。這就是建築文化的雜揉。在旅行中

完整的感受。正如《建築師》主編黃居正所言，

我們發現，所謂最高境界的建築，往往是不突

「日本文化在各個方面都表現出一種對新舊、

兀的，和自然融為一體的建築。它們更多展示

內外等要素的相容、並存的多重性，也正是在

的不是建築本身，而是建築與自然合而為一的

這種特殊文化背景下，通過反復的重迭轉變，

和諧。如此，建築化于自然中，成為自然的龍

漸漸地構成了當代的日本文化。」

睛。人的精神化於建築中，代代傳承。

MOUTAI Magazine

The World 松久信幸的世界

NOBU INTERVIEW, TEXT/ 採寫：Yu Yat Yiu IMAGE/ 圖：Han Xingxi

MOUTAI Magazine

t's always a great challenge to share and explain a culinary experience. For one thing, taste is an absolute personal sensation, how things actually "taste good" is so much a subjective judgement, no matter how objectively it's being presented in words and phrases. Moreover, we simply couldn't trust our taste buds, they could be so easily fooled by slightest influence from surrounding condition and environment which we couldn't control. In fact, most of the time we don't even notice that we are being affected. We fool ourselves and make believe that what we felt is how things actually are. That wouldn't not a problem at all if we have no intention to openly express our feeling and opinion; yet once sharing is present, our subjective view could then become something potentially misleading and confusing, especially when our saying could reach to a large number of audience whom we don't know personally and have no contact with. Nowadays, we are living in a full-blown internet age, social media almost took over and dominate everyday flow of informations. The line between what's public and what's private is indeed vanishing. A simple comment we made on Facebook or Instagram could ends up going so far that we never imagine it could possibly be. I am lucky to have experienced times prior to global phenomena of online restaurant discussion platforms and food blogs, to have seen the golden era of professional journals and magazines authenticating worldwide food and beverage information and movement, and to have trusted word of mouth with a real personal touch, instead of reading comments on the web from people whom I've never met and never talked to before. That's the time when I first came across the name "NOBU". Certainly, the initial eye catcher was the vanity overshadowing NOBU in the '90s. Back then, everybody read about the emergence of an up and coming Japanese restaurant in New York City, where well known personage like Madonna were frequently being spotted coming out from its front door. Then, when people started tracing its history, discovered that it was Robert de Nero who helped bringing this Japanese chef to international culinary stage in New York City, the name NOBU began to occupy important space on printed sheets from every single F&B publication worldwide. This fame, if view in a relatively negative aspect, might have contributed to the impression of NOBU as somewhat obnoxious to fellow nitpickers, distracting them from what initially made NOBU famous among celebrities in Beverly Hills and Hollywood - it's unique style of food. I was again lucky in another way, that I do have knowledgeable and sophisticated friends from work, who are trustworthy and sensibly

MOUTAI Magazine

Chef Sean Mell The Executive Chef of NOBU InterContinental Hong Kong NOBU InterContinental Hong Kong 的現任行政總廚

Chef Sean Mell working on a dish ready to be photographed. 總廚 Sean Mell 正為我們的拍攝做準備

MOUTAI Magazine

objective when they make comments. One of them who was in London around 1997 to 1998, had a meal at the then newly opened NOBU London, and shared her experience with me. Her thorough and vivid description, together with necessary supporting hard facts which I should know about regarding the background of Chef Matsuhisa Nobuyuki and his food, prepared me very well for my first ever meal at NOBU almost a decade later, at NOBU InterContinental Hong Kong. My first NOBU meal was a success. It might look as if I'm showing off to readers how smart an eater I am, but I really am just trying to point out that, whether a restaurant experience is successful or not relies not only on the quality of the restaurant, but also the quality of the customers. Especially when we are talking about eateries with a mission and a vision, places trying to realize their believes in food as a cultural phenomenon and an art form. NOBU is no doubt a restaurant falling into this category, a leading one in fact. It is essential for goers to have a basic understanding of what you're going to get, what to expect, what the restaurant is offering, before setting foot on their doorsteps. Otherwise, it would easily be like putting yourself on a wrong stage with wrong costume playing a wrong drama, you just cannot enjoy it at all. Let's talk a little bit about Mr. Nobu. Chef Matsuhisa Nobuyuki,

NOBU InterContinental Hong Kong

commonly known as Nobu, is probably the most internationally well known Japanese Chef of our times. Born in Saitama, Japan, Nobu started working and living at a sushi restaurant in Tokyo after he finished his secondary education. Nevertheless, his main stage seems destined to be not in his home country. When he was 24, he went to Lima, Peru to open his first restaurant with a partner from Japan. Back then, Peruvian Cuisine was oblivion to main stream food culture, yet Nobu saw so much and learnt so much from it. In fact, those inspirations from food of Peru did paved the way to his later success in creating an array of new Japanese dishes. Unfortunately, before his success comes, Nobu went through a difficult period when he moved to Alaska and opened another restaurant, which was burnt down to ashes and left him with considerable debts. Nobu went to L.A. with aid from a friend, started all over again working at Sushi Bars, paid off his debts in 7 years time, and then opened the first restaurant of his future enormous culinary kingdom, a restaurant bears his own name "Matsuhisa", which won the hearts of the American people. Nobu's triumph proves to the world that his vision of creating new taste in traditional Japanese dishes is his highway to success. Like what he once said, "The moment when I left Japan for Peru over 30 years

ago, was the first step in what has now become the globally evolving 'Nobu'. All over the world there are remarkable ingredients and cooking methods that can surprise us. These ingredients are now my flesh and blood; their possibilities having slowly developed during my years as a chef in Buenos Aires, Anchorage, Los Angeles, New York, London and Milan. Yet I am proud that Nobu cuisine remains, beyond any doubt, quintessentially Japanese. In other words, Nobu style is what has evolved naturally as I have explored ingredients available in those other countries, and as I have learned from their cuisine, changing the combinations of ingredients and applying various creative approaches." With this doctrine in practice, Nobu creates some of the "most successful" Japanese dishes in the States, conquered the American palate by providing a new Japanese cuisine which is easier for non-Japanese to comprehend and appreciate, at the same time fun to eat for adventurous and experienced gourmets. "NOBU InterContinental Hong Kong" is Nobu's first restaurant in Asia outside Japan. Since it opened its door on Christmas Eve 2006, it has been the main stage of Nobu's cuisine in this Pearl of the Orient. Earlier this year, Chef Sean Mell has been handpicked by Chef Nobu himself, to become the new Executive Chef of his beloved child nested at the

MOUTAI Magazine

Sushi at NOBU is a specific business quite different from ordinary Japanese eatery. This is NOBU InterContinental Hong Kong Executive Sushi Chef Hideki Endo's Creation "Truffle Uni Rice, Seaweed Taco". When we see the word "taco" here, and when thinking about the background of Chef Nobu and his success story, one will instantly understand the thoughts being put together for this creative dish. 壽司在 NOBU 也是不一般的創作。NOBU InterContinental Hong Kong 的壽司總廚遠藤秀樹的創作料理「松露海膽飯伴海苔脆片」，就非常有南美及墨西哥菜中「塔可 taco」的風姿。

“Lobster and Crispy Shitake Salad with Goma Truffle Dressing“ is a creation by Chef Mell. I personally like this

"Baked Norwegian King Crab Leg with Uni Butter" 「烤帝王蟹腳配海膽牛油」

One of the many signature dishes of NOBU, "Toro Tartar". NOBU 的招牌菜之一「金槍魚腩刺身韃靼伴魚子醬」

dish a lot, it's simple and very pleasant to eat. 「龍蝦配香脆椎茸沙律，胡麻松露醬汁」。作者本人很喜歡這個菜，簡單而美味。

InterContinental Hotel Hong Kong. Chef Mell is a devoted follower of Chef Nobu's cuisine even before he joined another NOBU establishment in Hawaii before moving to Hong Kong. His thorough understanding of the essence of NOBU, allows him to create some very exciting new dishes for NOBU InterContinental Hong Kong. Those dishes are innovative and refreshing, and unreservedly showcasing the principle of Nobu's style down to every single detail. Recently, Nobu has started a new adventure in the world of hospitality, with the opening of world's first NOBU Hotel in Las Vegas two years ago. Another one has just softopened at "City of Dreams" in Manila, Philippines. I'm sure it would be an eye opening experience to stay at one of NOBU's Hotels, and I'm indeed very much looking forward to it.

MOUTAI Magazine

每當談到美食旅程，不同的人會有不同的經歷和體驗，這聽起來也是非常理所當然的事。但不同的經驗中他們之間的不同之處，卻可以由許多可能性所引起。就是即使客觀的事件只有一樁，只發生了一次，當中一起經驗這件事的人，也可以有十分不一樣的體驗。不一樣可能是因為每個人的文化背景不同，因此對同一件事物、同一道菜餚、同一桌筵席都會有不同的理解和感受。這種不同是客觀的、不帶批判性的，也是人類文明多彩繽紛的色光圖譜中，一種難能可貴的碰撞和展示，令我們看清在世界大不同之內，每種元素各自的獨特性和貴重性。另一種情況，卻多是因為資訊發達，我們開始全憑個人喜好去分享對一些事情的體驗和見解。這些分享，其實只屬個人感受的抒發，對收取資訊的人來說，

其實是沒有實際意義的。因為你根本很難客觀地判斷，得來的資訊有多少是純粹基於某人的個人喜惡而來。而當中這位「某人」，更是素未謀面的為多，談不上對他有甚麼個人的認識和瞭解。他的口味他的觀點，可能和你完全相反；他的不幸他的大幸，也不等於會同樣降臨你身。但偏偏，我們就愛相信這種表面上「真實」的資訊，相信現在就是「人人皆知、人人皆有權表達」的虛擬社交網絡年代，半推半就地迷走於參差不齊的資訊黑洞邊緣，反而沒有習慣和耐性去先明白一些背景性的硬資料，好令自己有一個基礎去作出理性的個人判斷。歸納來說，這是純消費主導的生活的副作用，令大家都開始迷信重量不重質的「免費」訊息。我比較幸運，經歷過互聯網出現前的時代。在美食資訊上，亦見識過未曾有網上各式各樣的公開點評餐廳平台以前，完全靠口碑和專業雜誌評論來求知求解的光景。我認識「NOBU」，就是由那個年代開始的。無可否認，最先引起我和友人們對 NOBU 的興趣的，還不過是一些跟名利場有關的膚淺誘因。當大家聽說麥當娜近來常常去一家位於紐約，名字叫 NOBU 的新潮日本餐廳吃飯的時候，那條天皇巨星的三寸不爛之舌，很容易便成為了大眾趕急追隨的品位標準。加上羅伯特·德尼羅他本尊，原來就是那位速成 NOBU 把西岸羅省本店 Matsuhisa 的成功，展延至東岸紐約市乃至世界各地的大恩人。那種群星拱照的印象，於是便完全地根深蒂固了。後來，我有些工作上的友人，他們可以說是我的啟蒙者們。他們有見識也有學識，更難得的是他們有探究精神，對真相真象有所執著，令我也漸漸從他們中，學會去盡力確立一套不偏不倚，且適合自己的價值取向。我這羣亦師亦友的其中一位，她約在 97、98 年間到倫敦工作之時，去了一趟當時剛開業不久的「NOBU London」，把一頓飯的見聞，

“NOBU New Style Salmon Sashimi“，one can easily associate this dish with Peruvian

Ceviche and Tiradito. 「三文魚新派刺身」，也能看到南美秘魯菜的影子。

向我娓娓道來。這個好友的詳細分享，為我多年後的第一次 NOBU 體驗，加深了事前的瞭解，和略略認識這方興未艾的新派日本料理王國的理念重點所在，使我更懂得如何去見識及後開業的「NOBU InterContinental

洛杉磯、紐約、倫敦和米蘭任職大廚的歲月裏，慢慢發展出無限的可能性。

Hong Kong」。於是當服務員一解說，我和食友們便立刻明白應如何點

但 NOBU 菜的精髓，毫無疑問仍然是日本菜。換言之，NOBU 的風格，

菜怎樣吃法，且渡過了一個非常愉快的晚上。

只是隨著我在這些國家發掘到新的材料，學習到各國的菜式，然後嘗試

所以，我其實想強調的是，一頓飯的經驗孰好孰壞，除了餐廳本身

配搭不同的材料，採用具創意的烹調方法，才自然而然地慢慢演變過來

的水準外，去吃的人本身的水準同樣有着決定性的影響。我不是想拐一

的⋯⋯」。從南美洲國家的菜系中，松久摘取了他們調味和醬汁上的神

個大彎來令自我感覺良好或者去攻擊任何人，只是我和食友們的確盡了

粹，把那相對大膽野性色彩斑斕的風味，鋪墊於他熟悉的日本料理之下，

身為一個食客的本份，做了應做功課，知道自己願意付出甚麼，自己的

烘托出一種不尋常的全新日本菜體驗，令許多對外國文化沒有基礎認知，

期望應該是甚麼，人家的專長是甚麼，去那裏要體驗的是甚麼。尤其是

因而不太能夠明白傳統日本食味原理和美學的普羅歐美食客，也能在比

光顧這類性格鮮明工藝高強的著名主題餐飲場地，便更加要知己知彼，

較輕鬆自然的情況下，享受 Matsuhisa 及 NOBU 時尚菜單上的嶄新美食。

才能尋找得到箇中亮點所在。

這就是松久的最重要成就，也是他為何征服了一眾荷里活名人的味蕾，

在此應該簡單談談 NOBU 他本人。松久信幸先生（Matsuhisa,

因而聲名大噪，晉身新紀元世界級「名廚」之列的原因。

Nobuyuki）在世界的飲食舞台上，是舉足輕重的人物，也可以說是世界

香港洲際酒店內的「NOBU InterContinental Hong Kong」，在

上最廣為人所認識和愛戴的日本籍廚師。生於日本崎玉的松久，中學畢

2006 年聖誕節前夕開幕之時，是松久先生在日本本土以外的亞洲地區內

業後就已經開始在東京一家壽司店留宿工作；然而，他的個人舞台，似

第一家 NOBU。今年初，松久先生親自挑選了原本在美國夏威夷 NOBU

乎早就注定不是在日本本國。24 歲時，松久有機會到南美秘魯的首都利

工作的 Sean Mell 先生，出任香港 NOBU 的新任總廚。Mell 是松久餐飲

瑪開設餐廳。那個年代，秘魯菜並不為世界主流所認識，但卻深深影響

美學的追隨者，身為美國人的他不但完全洞悉 NOBU 的風格，由他一手

了松久，開啟了他在確立自我風格的路途上最重要的第一扇門。由秘魯

製作的 NOBU 菜色，亦非常準繩地表現出 NOBU 應有的獨特性和獨創性。

到阿根廷，回歸祖國後又再到亞拉斯加，松久經歷過自己餐廳一夜之間

行文之時，NOBU 的王國已經涉足酒店服務業。在美國拉斯維加斯的

燒成灰燼，背負一身債項的不幸。在友人的協助下，松久在洛杉磯的壽

「NOBU Hotel Las Vegas」已經開業兩年多，另一位很可能是下一個新

司吧從頭做起，七年內把債務還清，並開設了他的第一家 Matsuhisa 餐廳，

晉亞洲美食目的地，菲律賓首都馬尼拉的「NOBU Hotel City of Dreams

正式建立松久式現代日本料理的國度。

Manila」亦於去年底開始試業。期待在讀過松久先生的傳奇故事，吃過

Matsuhisa 的成功，證明松久先生當時對創新日本菜的視野是一條廣闊的康莊大道。正如他自己所說：「⋯⋯在我於布宜諾斯艾利斯、安克雷奇、

他自成一格的 NOBU 菜餚後，可以有機會去觀摩一下，充滿智慧和創意的他，如何去營運一家屬於他、用他的名字命名的主題酒店。

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The carved majesty of the Ellora cave complex

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Inner India TEXT, IMAGE/ 圖、文：Johannes Pong

Travel writer Johannes Pong embarked on a two and a half week pilgrimage with his guru all over India. Here he recounts the madness of Mumbai, meditating in Jain caves at the UNESCO site of Ellora, and moshing in a Hindu temple near Udaipur during Holi.

t took me a month to digest my trip with Shubhraji, one of my regular teachers of Advaita Vedanta (Indian philosophy). It took a lot longer to dissect the deep complexities of my inward journey. As it was a hassle to explain during casual conversations, I told most people that I was going on a "yoga" trip, acquaintances probably envisioned me on some terribly hip and self-indulgent "Eat, Pray, Love" sort of holiday. A pilgrimage is the oldest form of tourism. There's really nothing "New Age" about it. Before the commercial age, the only reason people took time off to travel was to meet God. And before shopping malls and Michelin-starred restaurants, the only architectural marvels worth visiting either belonged to the rulers of the day (private property), or were dedicated to a manifestation of the Divine (accessible to the public). Shubhraji's orientation email read: "As the journey is a spiritual one, participation in daily sadhana (practice) and attendance of teachings is vital and needs your total commitment." Plus, "no meat/eggs/alcohol." Before joining my guru and ten fellow pilgrims, my first day in Mumbai was spent cloistered in five-star comfort at the Four Seasons Mumbai. India's poverty was not hidden from that lofty tower of luxury. From my "Sea View" room, I gazed at the Arabian UPSIDE:

By the banks of the pristine Ganges in Rishikesh, by the foothills of the Himalayas

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A Jain cave at Ellora, one of the 34 temples carved into the cliff

Johannes Pong's guru Shubhraji with Swami Prakashananda, a yogi who is around 150 years old (recently passed away)

A beautiful puja for Shri Lakshmi (ritual for abundance)

Sea, and an even more stunning sea of shantytowns. The assault on your senses is maximal for a newcomer. I smelled the full force of Mumbai for the first time once outside, boiling and heavy. Curry flavors; car fumes; cow feces; incessant horn-honking. I switched to shallow breathing to minimize the sensory intake. I immediately understood why this culture "invented" yoga and a myriad of techniques of meditation. There had to be some way for the mind to withdraw inward from all the madness outside! I stopped at the surreal Dhobi Ghat. Over 8,000 laundrymen handwashing clothes simultaneously at stalls that date back to the British Raj. Then I walked around the "nicer" parts of town, near the Gateway of India. It's still daunting and dramatic. You see every layer of humanity, all of India's history right in front of your eyes, from primitive ox cart to

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Johannes Pong and fellow pilgrims after "playing" with the Lord in Shrinathji

Rolls Royce. There's gorgeous medieval Hindu and Muslim architecture, Edwardian and Victorian. Then there's the dilapidated shack with the corrugated tin roof. I had never even seen that many humans until Mumbai. Not even in mainland China. And then you have the traffic and the cows to avoid. The rich are swathed in multi-colored gold-embroidered saris, adorned with more jewelry than most women would ever wear their entire lives. Then there's the dirt poor accosting you on the streets, covered in nothing but ashes and matted hair. It's alien and exhausting. My congested home of Hong Kong has over seven million people. Mumbai has nineteen million, more than half living in these parallel universes of filthy shantytowns. I am so overwhelmed by it all that I just sat on my plush Four Seasons bed upon returning to my room. No dinner, no TV,

nothing please. The pilgrimage officially started as we leave Mumbai two days later at the crack of dawn for a 6:35am flight to Aurangabad in Maharashtra, where the World Heritage Sites — the Ellora and Ajanta Caves—are. We check into the Taj Residency Aurangabad, another bubble of sublime abundance amidst the arid destitution of the area. The carved majesty and calm of the Ellora cave complex took our collective breath away. 34 monasteries and temples, extending over two kilometers were dug into the walls of a high basalt cliff in the 5th to 9th centuries. Within the coolness of an intricately carved Jain cave (the second story of cave 32), Shubhraji asked us to sit. In my deep seat of meditation on the cold stone floor of a dark, empty hall, I saw my own face on a Tirthankara's chest (one of the Jain saints, similar to a Buddha). Tears of recognition rolled down my face as I felt like I saw all of ME, not just the physical reflection of a face as one would see in a mirror. That Jain cave was truly a sanctuary of serenity. In the more spectacular and crowded Hindu caves, our guide (who promptly got fired the next day) inaccurately simplified things for foreigners: "Buddhists and Jains meditate, while we Hindus worship the gods." Our guru corrected him, stressing that Vedanta seeks a balance of both ways—meditation gives you ego as well; worship destroys it as you acknowledge a higher source. After a few days in Ahmedabad in Gujarat, where Gandhi is from (and where his ashram still stands by the banks of the Sabarmati), and where my guru's two gracious elder sisters reside, we drove up to Rajasthan, one of the most beautiful places on earth. Rural India is a lot more attractive than urban India. Shubhraji wanted us to see the whole range of Indian spirituality,

Devi Garh by Lebua heritage hotel

from logical Vedanta to meditative Jainism to bhakti gone wild. Bhakti is the yoga of devotion, of worship, usually manifesting outwardly in the form of song and dance. Most contemporary church-going Christians are well seasoned practitioners of bhakti. So she took us to an impressive castle of a temple named Shrinathji on a Sunday morning before a full moon. The religious fervor was palpable. A thousand Indians (grannies and young girls alike) shoving and pushing to enter the castle grounds, just for a glimpse of a statue of Krishna for about eight seconds. The devotees of this sect interact with God physically by washing, dressing and feeding the idol — a black marble statue of Krishna — three times a day. It's almost as dangerous as the running of the bulls in Pamplona, Spain. People often die from the human stampede. The Indian army is

there, armed with towels to whip you if you don't move. To the average Indian, this was akin to attending a rock concert and seeing a rock star for a few minutes. It's not like they can afford modern concert ticket prices, just to dance, sing, and fall on their knees in front of Lady Gaga or Sting. It's Lady Durga or Shiva that they will gladly donate time and money to travel to see and prostrate to. As it was the start of Holi in spring (Jan-Mar) there was intense moshing with colored powder in an inner courtyard. That is lila, "playing" with God, and dealing with life as if it were a game. Our group had very different reactions at Shrinathji. Most were tense. Some chanted for peace and protection. A girl cried. The actress from Berlin threw herself into the bacchanalia. Shubhraji's second in command, a banker turned Reiki healer from Mauritius — herself a Krishna devotee—was in a blissful trance. I was uncannily calm throughout the maelstrom, mindful of the ecstatic crowds could have crushed us easily. Lunch afterwards was a delicious vegetarian meal at Devi Garh in Udaipur, a breathtakingly glorious heritage hotel set in an 18th century fort palace on a hill, with sweeping views of the Aravalli mountains. "This is prasad (grace; a gift from God) for playing with Krishna." Our guru told us. Devi Garh was like a Hindu heaven on earth. Suddenly we were ensconced in an architectural gem coolly carved from white marble. There are tier upon tier of overhanging balconies, parapets and crenellations. Inside there are courtyards after courtyards on the 14 different levels, with fountains, swings, staircases and cozy, cushioned niches. The modern interiors were sleek and minimalist with air con and an uncluttered Zen-like ambience that's a rarity in Rajasthan. I pondered the karma of being able to visit such a place of sheer beauty. In another time, you could only have been royalty or its slave to enjoy this fort. The splendid surroundings would only have been a prison. The freedom to come and go from chaos to immense beauty, what grace (Prasad) indeed.

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Visit Shubhraji’s website namahom.org to learn more about Vedanta, as well as johannespong.com for more prose and photos.

School girls at the Ajanta Caves

UPSIDE: With Johannes Pong's guru Shubhraji at the Taj Mahal

EIGHT ONE

Art Exhibitions

不能錯過的 Around the World 8 個文化藝術展 Text/ 文：Grace

BEIJING 北京 Beijing International Art Exposition 北京國際藝術博覽會

Beijing Exhibition Center 北京展覽館

Must-See

2015.9.10 - 9.13

he 18th Beijing International Art Exposition has attracted various Chinese and foreign art institutes, art associations and exhibitors since its exhibition invitation. More than 20 significant European and Asian galleries including Baolai International Galleries and Han Shiang Gallery from Taiwan, Dara Art Center from Ukraine, as well as Beiming Art Studio and Leona Craig Art (LC Gallery) from U.S.A. will attend the exhibition. More than 80 influential art institutes such as Chen Shaomei Art Seminar, Xie Zhiliu and Chen Peiqiu Art Seminar, Beijing Painting Academy, Beijing Fine Brushwork Art Academy, Beijing Artists Association, Modern National Painting Academy, YuanHengTang Art Museum, Beijing East Industrial Gallery and Beijing JinXiuDongFang HighTech Culture Company will participate in this art exposition.

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SHANGHAI 上海 Shanghai Art Fair 2015 (19th) 上海藝術博覽會

ShanghaiMART 上海世貿商城 2015.11.12 - 11.15

s Asia's largest, oldest, and most internationalized art trade event, the 19th Shanghai Art Fair will once again present a gorgeous art fair for domestic and overseas collectors. Art galleries, organizations, and agencies from more than 20 countries and areas will participate in this lively art exchange; many original artworks from the world-class masters,

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such as Picasso, Rembrandt, Chagall, Dali, Renoir, Monet, Zhu Dequn, Qi Baishi, Xu Beihong, and Zhang Daqian will debut in China or even Asia through the great stage established by Shanghai Art Fair; the number of spectators will approximate 60,000.

During 2015, the world's most active and creative art cities, such as Beijing, Shanghai, Hong Kong, Taipei, Milan, Venice, New York, and Paris continue to promote innovative and diverse artistic activities, in the form of visual arts, architecture, fashion, drama, dance, music, and literature. We now share with you eight mustsee upcoming art exhibitions in the above cities.

THREE

2015 年，全球藝術活動最活躍、最富創意的幾大城市如北京、上海、香港、臺北、米蘭、威尼斯、紐約、巴黎等持續推廣創新性和多樣化的藝術交流活動，形式涵蓋視覺藝術、建築設計、時尚、戲劇、舞蹈、音樂、文學等，本期文章我們與大家分享 8 個高質量的藝術活動。

HONG KONG 香港 The Asia Contemporary Art Show (The Fall Edition) 香港當代藝術展覽（秋季展）

Conrad Hong Kong 香港港麗酒店 2015.10.8 - 10.11

he Fall Edition of the Asia Contemporary Art Show will be one of the most important art fairs in Hong Kong and the global art world. It will display over 3,000 works of art carefully selected from five continents––Hong Kong, China and most parts of Asia, Australia, North and South America, as well as Europe. These works include original paintings, limited editions, sculpture and photography from some of the world's most interesting and promising artists––from emerging artists, to those who have already achieved recognition in private and public collections. Most

FOUR

of the works on show have never been seen in Hong Kong before, with a particularly strong line-up expected from the Greater China region.

TAIPEI 臺北 Art Taipei 臺北國際藝術博覽會

Taipei World Trade Center 世界貿易中心 2015.10.30 - 11.02

rt Taipei, organized by Taiwan Art Gallery Association since 1992, is one of the most important art fairs in the global art world, as well as the essential platform for significant galleries, collectors, professionals, and media. Based on the rich experiences and established relationships with leading figures in the industry, Art Taipei will present the most rewarding fair experience with unique insights and attract the renowned art collectors and professionals from around the region in the 2015 edition.

MOUTAI Magazine

EIGHT Must-See Art Exhibitions Around the World

FIVE

MILAN 米蘭 Expo Milano 2015 2015 米蘭世界博覽會

Milan Italy 意大利米蘭 2015.5.1 - 10.31

ilan Expo 2015 is held on May 1 to October 31, 2015. It focuses on food security, sustainable practices, nutrition - and dishes out the best of global culinary cultures. The theme is "Feeding the Planet, Energy for Life". Organizers hope to attract 20 million visitors, so the 100-hectare site is being endowed with infrastructure to accommodate large flows of people.

SIX

VENICE 威尼斯 56th International Art Exhibition – la Biennale di Venezia 第 56 屆威尼斯雙年展

Venice 威尼斯展館 2015.5.9 - 11.22

irst took place in 1895, the world’s most prestigious contemporary art exhibition - the Venice Biennale has an attendance today of over 300,000 visitors at the Art Exhibition. The 56th Venice Biennale titled "All the World's Futures", is informed by a layer of intersecting Filters. These Filters are a constellation of parameters that circumscribe multiple ideas, which will be touched upon to both imagine and realize a diversity of practices.

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不能錯過的 8 個文化藝術展

SEVEN

NEW YORK 紐約 China: Through the Looking Glass 中國：鏡花水月

The Metropolitan Museum of Art 大都會藝術博物館 2015.05.07 - 08.16

his exhibition will explore the impact of Chinese aesthetics on Western fashion, and how China has fueled the fashionable imagination for centuries. High fashion will be juxtaposed with Chinese costumes, paintings, porcelains, and other arts, including films, to reveal enchanting reflections of Chinese imagery. The exhibition will feature more than 100 examples of haute

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couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China will be incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.

PARIS 巴黎 Poussin and God

Louvre 羅浮宮 2015.04.02 - 06.29

o mark the 350th anniversary of the death of Nicolas Poussin, the Louvre exhibition "Poussin and God" will focus on some religious paintings of Poussin, reconsider his religious masterpieces from a Christian perspective, and highlight his originality of combining the antique with the sacred, a source of "personal reflection on God".

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Hot Spot of Art Market 香港巴塞爾藝術展：

Art Basel Hong Kong 藝術市場的新熱帶 TEXT/ 文：CL IMAGE/ 圖：He Yanting, Art Basel Hong Kong

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entioning art, the key words in our minds are beautiful, elegant, and profound; however, it is not far-away from us. There are mainly two types of art exhibitions. One belongs to academic art exhibition, like the worldclass Venice Biennale, Germany Documenta and Sao Paulo Biennale. The other type is commercial exhibition – it is usually called art fair which is also highprofile and endows artwork with attributes of goods and freely traded. Art Basel is the world's most authoritative commercial art exhibition. Collectors can understand the contemporary art market through Art Basel's fairs in different regions. It is like purchasing fund or stock here. You can meet not only some famous international art stars but also emerging artists. 一提起藝術，人們總覺得它是美、高雅、高深的代名詞，但它並非不食人間煙火。每逢世界三大藝術展威尼斯雙年展、德國卡塞爾文獻展、巴西聖保羅雙年展舉辦時，全世界藝術圈都為之沸騰，這一類展覽屬于學術性展覽，而另一種商業性展覽——博覽會，也備受矚目，它讓藝術品擁有了商品的屬性，能被自由交易和買賣，而巴塞爾藝術展則是世界上最具權威的商業展。藏家可以通過不同地區的巴塞爾藝術展，了解當代藝術品市場的走向，這就好比購買基金或股票，在其中，你能找到已大名鼎鼎的國際藝術明星，也有潛力十足的藝術新星。

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Wang Jianwei, Artist, Beijing, in conversation with Thomas J. Berghuis, The Robert H. N. Ho Family Foundation Curator of Chinese Art, Solomon R. Guggenheim Museum, New York 北京藝術家汪建偉與紐約所羅門 R. 古根海姆美術館何鴻毅家族基金中國藝術策展人 Thomas Berghuis 對談。

General impression of Art Basel Hong Kong 2015 2015 香港巴塞爾藝術展會場一覽

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Art Basel's Hong Kong Map Art Basel was founded in a beautiful town – Basel in Switzerland. The world's most famous watch and jewelry show—Baselworld is also founded here. Art Basel has been set up for 45 years since 1970. Simply to classify the art world, there are three kinds of relationships: producers - artists, chroniclers - art historians, conductors - curators, consumers - collectors and visitors. However, while commercial art fair offers a platform for artwork trade, Art Basel directly steps into the art world through the market. Since being founded, it has always captured hot spots of art world in different regions. It founded Art Basel in Miami Beach in 2002 as its branch in America. In the past, the core art markets usually belong to Europe and America. In recent years, as the emerging economies rise up and artistic context changes, the world's largest art fair aims at the Eurasian continent. Art Basel announces that MCH Swiss Exhibition (Basel) Ltd. has signed a purchase agreement with Asian Art Fairs Ltd., the owner of ART HK, and as of July 1, 2011, took a majority ownership stake in Asian Art Fairs Ltd. with shares reaching 60%. It brings strong shock and vision to the Chinese and Asian art markets. In 2013, it formally adopted Hong Kong as its Asian base and held the first Art Basel Hong Kong. Three consecutive satisfied trading achievements made Art Basel Hong Kong a world-class event. Art Basel completed a sweep of Europe, the America and Asia. Such extraordinary results cannot be separated from Hong Kong's own advantages. Hong Kong boasts a unique geographical advantage, that is, the transportation of Hong Kong to the Chinese mainland is very convenient. Moreover, it is a free trade hub, a well-functioning storage terminal, and a first-class service provider in finance, tourism, commerce, trade, laws and regulations. Mandarin, Cantonese and English are its basic language. Most importantly, it has a very attractive tax policy. All these advantages make it stand out from Singapore, Seoul, Tokyo, Beijing, Shanghai, Taipei as well as many other Asian cities and gain Art Basel's favor. Besides, as the predecessor of Art Basel Hong Kong, Hong Kong International Art Fair (Art HK) has been held for many years, boasting more mature exhibition operations and trading results. All these quickly and successfully make Hong Kong a branch of Art Basel and greatly enhance its incomparable global position in art fair. The third Art Basel Hong Kong was opened in March 2015. It became a magnet for domestic and international art industry and attracted them

to gather in Hong Kong. Its 45 years' fame attracts artists, collectors, galleries, visitors and even city builders to chase it. From 2015 on, Art Basel Hong Kong will be held in March, two months ahead of its original time because May is the time when the Venice Biennale and the Frieze Art Fair in London are held and is too close to June, the holding time for Art Basel in Switzerland. This will avoid the peak period of art exhibitions and attract its main audience. This year's Art Basel Hong Kong exhibition is divided into six sectors: Galleries, Insights, Discoveries, Encounters, Film and Magazines. The Film sector, which debuted in Hong Kong in 2014, presented 38 works by 36 artists over four days, exploring seven diverse themes curated by Li Zhenhua. Screenings took place in the agnès b. cinema at the Hong Kong Arts Centre. Australia Alexie Glass-Kantor became the curator of the Encounters sector. In 2015, Art Basel and the International Commerce Centre (ICC) worked with renowned Chinese artist Cao Fei to present her major new work "Same Old, Brand New", which referred to video games primarily from the 1980s and was shown across the entire façade of Hong Kong's ICC on the Kowloon harbor front. The 2015 show was the first to take place in March, presenting 233 galleries with exhibition spaces in 37 countries and territories and attracting collectors from across the world. Half of these exhibition galleries have exhibition space in Asia or the Asia-Pacific region. 18 Mainland China's galleries tend to be more international.

Trading Gratifying, Emerging Collectors Increasing Galleries should has operation experiences for a number of years as well as certain customer base if they want to be in the gallery list at Art Basel. The influence of artists is also a key element. Many galleries are proud of being selected by Art Basel because of its strict selection system. Every year, Art Basel will receive more than 1,500 applications, but ultimately only 233 will be selected. Art Basel will also plan the exhibition based on art environment. For example, Art Basel Hong Kong

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General impression of Art Basel Hong Kong 2015 2015 香港巴塞爾藝術展會場一覽

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will bring art works that can satisfy Asian collectors, especially Chinese collectors. Even the European or American galleries prefer to bring more Asian artists' works. "Traditionally, collectors prefer to buy the works from their own countries and regions first, but recently they make more and more unconventional choice," Adeline Ooi, Director Asia of Art Basel said at the media conference of the opening day, "Moreover, in the past, most Chinese collectors are from Beijing, Shanghai, and now there are groups of collectors from second-tier cities such as Chengdu and Hangzhou. Asian artwork no longer appears to be a niche choice." Geng Gallery (Taipei) founder Geng Guiying said that this year they exhibited Zao Wou Ki's 1980s work "24.11.80", and the work had received a recordbreaking bid of 30 million USD from an international collector. Sales of Art Basel Hong Kong are gratifying. Some galleries sold 30 to 50 percent of their works just on the first day. Some even have to renew their works in quite a short time. The result is worthy of spending millions of dollars in rental. On March 13 when the VIP preview had just started, a large number of people joined in. Good news came to the gallery very soon. The New York-based David Zwirner Gallery had achieved a transaction of two million USD within the starting hour; the work "Dead monkey, sex, money and drugs" by Chris Ofili was sold to an emerging collector. Its public trade last time was in Christie's 2010 spring auction in New York, with a value of about 960,000 USD. On the same day, this gallery had another deal of one million USD. They sold German figurative painter Neo Rauch's work "Die Fremde" to a mainland new collector, while another large-scale work of the artist, "Marina", was collected by a Shanghai collector at one million USD on the second VIP preview day. European Hauser & Wirth Gallery sold four works of Chinese artist Zhang Enli in just two hours, with prices between 250,000 and 350,000 USD; three works of Polish young artist Jakub Julian Ziolkowski were sold at 30,000 to 165,000 USD; three works of Hungarian-American artist Rita Ackermann were sold at 75,000 USD each. The London-based Victoria Miro Gallery had sales of over one million USD. Their customers were from the United States, China, Britain and other European countries. The Berlin-based Neugerriem Schneider Gallery always presented installation works with very cool styles. They did not have any labels introducing the works and their official website only had a few lines addressing the contact. Even so, most of their works had been sold on the public open exhibition day and most of their customers were from Asia. White Cube Hong Kong brought Britain's most famous living artist Damien Hirst's new work "Shanghai", which was bought by a Shanghai collector at 800,000 Euros at the preview night. This year, galleries also brought many works of Western classical artists such as Picasso and Andy Warhol. Japanese renowned artist Kusama's work was sold at 300,000 USD. Chinese artist Zhan Wang's sculpture was sold at 2.5 million RMB. The most expensive museum-level work reached about 10 million RMB. Besides the selling result, celebrities in Art Basel also occasionally arouse attention. Art Basel Committee invite global guests, including more than 70 well-known private collectors. Artists, collectors, curators, art institution leaders, and business executives in the VIP list are mainly from mainland China, Hong Kong, Europe and the United States. Most

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General Impression of Art Basel Hong Kong 2015 2015 年香港巴塞爾藝術展展會概況

collectors are 30 to 50 years old, some of whom had been living and working abroad for several years. Some like to wander around the world exhibitions while running high-end art institutions in Shanghai or other cities in Mainland China. During this year's VIP preview, many Mainland business celebrities also appeared at Art Basel Hong Kong, including Jack Ma, Chairman of Alibaba, and Wang Zhongjun, Chairman of Huayi Brothers Media Group. Jack Ma did not make an appointment but suddenly appeared at Taipei Lin & Lin Gallery booth and stayed for a long time. He was interested in Sichuan artist Zhang Chunya's new work "Yangzhou Woman" (2015, priced at 5.5 million RMB) and Beijing artist Liu Wei's work "Solidago Flowers" (2007, priced at 4 million RMB). Japanese well-known football player Hidetoshi Nakata, Hong Kong star Shawn Yue, famous artist Zhang Xiaogang, Yang Erche Namu, Lv Yan and other celebrities also attended the VIP preview.

Butterfly Effect Sponsors of Art Basel Hong Kong also play an important role. Its long-term partner is UBS (the previous is Deutsche Bank). As a global key partner of Art Basel, UBS also sets up its art booth in the exhibition and usually launches some activities for audience, such as providing art related toys to children. Art Basel and BMW have launched the BMW Art Journey, a first-of-its-kind award that enables selected artists to design a journey of creative discovery to a destination of their choice. Inspired by travel and the boundless diversity of places, encounters and experiences, artists will have the chance to conduct research, discover new ideas

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and themes, and create new work. Well-known sponsors also include Davidoff, Audemars Piguet, Swire Properties, the Mandarin Oriental Hotel, and AXA insurance. During the exhibition in 2014, the famous spirits brand Absolute invited Hong Kong artist Nadim Abbas to design a bar in Causeway Bay; German artist Nicolai who did a large light installation at ICC for Art Basel Hong Kong 2014 became a DJ in the bar to initiate the carnival. Art Basel continues to develop new projects with other tremendous organizations. Art Basel and Kickstarter have partnered to catalyze much-needed support for outstanding non-commercial art projects. This new initiative presents jury-selected art projects to a global community of potential benefactors, including Art Basel's audience and Kickstarter's community, who have pledged over 1.5 billion USD to creative projects. The goal is to support non-profit visual arts organizations, at a time when public funding for the arts has been dwindling, by sharing their stories, generating contributions, and reaching out to new audiences. "Next" connects current and future collectors and introduces them directly to gallery owners and directors to help expand their collecting practice at different levels with a personal and targeted outreach. HKU SPACE CDP (HKU School of Professional and Continuing Education Centre for Degree Programmes), CSM (Central Saint Martins College of Arts and Design), and Art Basel, jointly launch the course of "Collecting Contemporary Art". An executive program, the first-of-its-kind in Hong Kong, is tailor-made for novice art collectors and business professionals in related fields from Hong Kong, Mainland China and overseas. According to the TEFAF 2015 global art market report published by European Art Foundation, in 2014, the global art market reached a high

Chinese contemporary artist Zeng Fanzhi’s work in Acquavella Galleries 藝術家曾梵志在本次展會 Acquavella Galleries 的作品

record, more than 51 billion Euros, an increase of 7% comparing with last year. The postwar and contemporary art dominated the art market, accounting for 48% of total sales of art market, with the record-breaking auction sales of 5.9 billion Euros, an increase of 19%. Every Art Basel Hong Kong's time, the Hong Kong auction houses also build on the progress. On March 12, Christie's Hong Kong held a ceremony for the handover of the huge Red Yama Enemy Embroidery Thangka Made for Emperor Yongle of Ming Dynasty. In November 2014, Liu Yiqian, a Chinese collector, founder of Shanghai Long Museum, bought this 600-year-old imperial embroidered Tibetan tapestry at a Christie's auction for 348 million HKD (280 million RMB), setting a record for any Chinese works of art sold by an international auction house. Currently, this Thangka painting is still in Hong Kong. Next year, it will be displayed in the Long Gallery. Poly Auction co-curated the exhibition "Inspired by Fashion" with Vogue China, and 11 Chinese artists were invited to present their total 30 representative works, alongside crossover works with the fashion industry, demonstrating various possibilities of integrating fashion with art as well as the diversity of contemporary Chinese society and culture through such artistic forms as painting, sculpture, and installations. Artists spanned in age from 1960s to late 1980s, covering the Chinese contemporary academic art leaders and cutting-edge young artists. It also aimed to present their views on "art and fashion cross-border cooperation", which was helpful to study the contemporary Chinese culture trend. During Art Basel Hong Kong, about 150 arts-related events were held to attract media and collectors, including free screenings of 40 video works in Hong Kong Arts Centre. The entire March became an art month.

Most famous galleries and art institutions of Hong Kong are located next to the Wan Chai Convention and Exhibition Centre and Central area, especially in the Pedder Building that brings together Hanart, Gagosian, Leman Mulpin, Pearl Lam, and Ben Brown Fine Arts. The Agricultural Bank Building is also nearby and has two international galleries, White Cube and Galerie Perrotin. Besides, the Hong Kong Police Quarter was transformed into a creative space named PMQ that offers a brand new art exhibition space. Academic art institutions in Hong Kong such as the Asia Art Archive and Parasite Art Space are also located in Central, the most expensive section in Hong Kong. Its advantages include convenient transportation and commercial center. Art HK founders Tim Etchells and Sandy Angus start all over again. In this year, they launched a new art fair called Art Central. It takes only five minutes by car from the Basel show to Art Central. The inaugural Art Central welcomed almost 30,000 art collectors, buyers and the public from Hong Kong and around the world, adding a fresh new style to Hong Kong Art Week and immediately establishing itself as the must-see event within the annual calendar. During the same period, Asia Society Hong Kong Center presented Yoshitomo Nara's "Life is Only One: Yoshitomo Nara"—the first major solo exhibition of the renowned Japanese artist in Hong Kong. The exhibition title came from one of Nara's paintings, "Life Is Only One". Nara invited Hong Kong visitors to give in to their imaginations and engage in a dialogue with the artist's work and his world. Through a rich selection of paintings, sketches, photographs, sculptures and mixedmedia installations covering a broad range of his oeuvre in the past two decades, the exhibition would present a journey into Nara's open-ended interpretation of "life".

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月份的瑞士巴塞爾藝術展，這樣能地避開藝術

3 月 13 日，今年的 VIP 預展開幕，開

展覽的高峰期，而抓住有效人群。本屆展覽分

始不久便人頭湧湧。 VIP 預展剛啟動，便有

為「畫廊薈萃」、「亞洲視野」、「藝術探新」、

畫廊傳來捷報，來自紐約的卓納畫廊 (David

巴塞爾，這裏還有世界最著名的巴塞爾鐘錶展，

「藝聚空間」，「光映現場」及「藝文出版」

Zwirner) 當天僅僅開展 1 小時，就有一次達

藝術展 1970 年創辦至今已有 45 年的歷史。

6 個展區。「光映現場」和去年一樣，由常駐

200 萬美元的交易，他們把 Chris Ofili 的作

簡單地給藝術世界歸類，則有生產者——藝術

瑞士和北京的中國藝術家李振華擔綱策展，

品《死猴子，性，錢和藥》（Dead Monkey

家，記錄者——藝術史家，指揮家——策展人，

而藝聚空間委任了來自澳洲的新策展人 Alexie

-Sex， Money and Drugs）賣給了一位新晉

消費者——藏家、觀眾等，而博覽會則是具有

Glass-Kantor。蜚聲國際的中國藝術家曹斐也

的藏家，這幅作品上一次公開交易，還是在

交易買賣性質的展示平台，巴塞爾藝術博覽會

呈獻了她的全新大型重要作品。 2015 年 3 月

2010 年 5 月的佳士得紐約春拍，估價僅約 96

直接通過市場，介入到藝術世界中。從創辦起，

13 日至 17 日期間，每天晚上，觀眾都能在樓

萬美元。同日，該畫廊還有一筆 100 萬美元的

它已不斷地捕捉著世界範圍內不同地區的藝術

高 490 米的香港環球貿易廣場 ( ICC )——處

交易，他們將德國具象派畫家 Neo Rauch 的

熱點，2002 年在美國邁阿密海灘設立展會。

巴塞爾的香港佈局巴塞爾藝術博覽會創立於瑞士美麗的小鎮

九龍維港海濱的香港地標的外牆欣賞到視頻裝

作品《Die Fremde》售給了一位內地的新藏

過去，藝術市場通常以歐洲和美洲為市場

置作品「樂舊·圖新」，吃豆豆和俄羅斯方

家，而這位藝術家的另一件大型作品《Marina》

的核心，但近年來，隨著亞洲地區新興經濟體

塊的影像循環播放。全球 37 個不同國家、地

則在預展第二天以 100 萬美元被上海的藏家

的崛起和藝術語境的變化，這一世界最大的藝

區，共計 233 家畫廊參與了本次展覽，作品內

納入囊中。歐洲的 Hauser & Wirth 畫廊在開

術博覽會也敏銳地瞄准了亞歐大陸。2011 年

容橫跨 20 世紀初的現代，至近期的當代作品。

展僅僅兩小時內售出了中國藝術家張恩利的

7 月，已經成功主辦過四屆香港國際藝術展（Art

本屆參展的半數畫廊在亞洲或亞太地區擁有展

作品達 4 件，價格在 25 萬 - 35 萬美元之間；

HK）的亞洲藝術展覽有限公司被 MCH 瑞士展

覽空間 , 參展的 18 家中國內地畫廊在藝術家

3 件波蘭年輕藝術家 Jakub Julian Ziolkowski

覽（巴塞爾）有限公司收購股份達六成，這一

的選擇上也更趨向國際化。

的作品，價格在 3 萬 -16.5 萬美元之間；3 件

消息，曾經給大陸甚至亞洲藝術市場帶來強烈的震撼和憧憬。2013 年，它把香港正式作為了亞洲的基地，舉辦了首屆香港巴塞爾藝術展，

美籍匈牙利藝術家 Rita Ackermann 的作品，

交易喜人，新興藏家增多想成為巴塞爾藝術展的參展畫廊，至少

連續三屆交易成績傲人，也給香港增添了一個

均為 7.5 萬美元。倫敦 Victoria Miro 畫廊今年的銷售額達七位數字，客戶來自美國、中國內地、英國以及其他歐洲各地。來自柏林的畫廊

世界級的盛會。巴塞爾藝術展完成了包攬歐洲、

有數年以上的經營歷史，並需有一定的客戶群，

Neugerriem Schneider 展位向來呈現的是風

美洲和亞洲一級市場的佈局。這樣非凡的成

所代理的藝術家影響力也是考核的要素，面對

格冷靜的裝置作品，並且沒有任何解釋說明的

果，離不開它自身的地位、獨到的眼光和香港

很嚴格的甄選制度，1500 多家畫廊申請，最

標牌，官網也只不過是一行簡單的小字：請有

的優勢。香港坐擁出入中國大陸極為方便的地

終只有 233 家入選，許多畫廊都以能入選巴塞

意者直接電郵聯系。盡管如此低調，展覽公眾

理優勢，是自由貿易的集散地，有儲藏功能良

爾為榮。展會因地制宜，特別帶來合適亞洲藏

開放日當天，畫廊的大部分作品已銷售出去，

好的碼頭，有一流的金融業、服務業、旅遊業，

家，尤其是中國藏家的口味的作品，即便是歐

買家多半為亞洲客戶。在香港設有分支的白立

規範的商業貿易環境、法律法規，成熟的兩文

美畫廊，他們帶來香港巴塞爾的作品也主要是

方畫廊帶來英國最著名的在世藝術家達明·赫

三語運用，非常誘人的免稅政策等王牌，使它

以亞洲藝術家為主。

斯特 (Damin Hurst) 的新作《上海》，在預展

在新加坡、首爾、東京、北京、上海、臺北等

「傳統上，藏家會首先從自己國家和地區

當晚即被上海收藏家以 80 萬歐元的價格攬入

多個亞洲城市中脫穎而出，受到瑞士巴塞爾藝

的作品買起，但最近他們作出越來越多超出常

囊中。本次展覽中，大部分西方畫廊也帶來了

術博覽會的青睞。而它的前身——香港國際藝

規的選擇。」香港巴塞爾新任展會總監黃雅君

如畢加索、安迪·沃霍爾這樣的經典藝術家作

術展（Art HK）已舉辦多年，無論是展覽的運營，

在展會開幕當天的媒體會上說，「而且，以往

品。草間彌生的某件作品售出了 30 萬美元，

還是宣傳效果和交易成效，都較為成熟，也使

中國藏家大多來自北京、上海，現在卻有來自

中國藝術家展望的一件雕塑售出了 250 萬元

得巴塞爾藝術展能迅速地在香港成功落地，並

二線城市如成都、杭州的藏家團體。藝術品在

人民幣，售價最高的博物館級作品達到了將近

極大增強了它在藝術博覽會中無可比擬的全球

亞洲似乎不再是一個小眾的選擇。」耿畫廊（臺

1000 萬元人民幣。

性地位。

北）創辦人耿桂英表述，他們今年展出了趙無

除了作品的銷售，每年光臨巴塞爾的名流

2015 年 3 月，第三屆香港巴塞爾藝術展

極在 1980 年創作的三聯畫《24.11.80》，該

也時不時引起矚目。巴塞爾藝術展全球顧客委

開幕。它就像一塊磁石，將國內及世界各地的

作品收到了一位國際藏家高達 3000 萬美金的

員會邀請了世界各地逾 70 位著名私人收藏家，

藝術圈中人吸引齊聚香江。 45 年的美譽，讓

破紀錄出價。

VIP 名單中的藝術家、藏家、策展人、藝術機

巴塞爾藝術展成為藝術家、藏家、畫廊、觀

今年香港巴塞爾藝術展銷售情況喜人，開

構領導者、商業機構高層等的分布數量依次為

眾乃至城市建設者不可不追逐的盛會。2015

展時間不長，部分畫廊就已經售出了三成甚至

中國內地、香港、歐洲、美國等地。藏家年齡

年起，香港巴塞爾藝術展從以往的 5 月提前至

五成的作品，第二、第三天畫廊需要在展位掛

段以 30 至 50 多歲者居多，他們中有些人曾在

3 月進行。因為威尼斯雙年展和倫敦 Frieze 藝

上新的作品，對得起參展畫廊超過百萬元的場

海外生活和工作，有的甚至喜歡在全世界各大

術博覽會也通常在 5 月份開幕，也過于靠近 6

租。

展場遊蕩，在上海或者其它內地城市開設著高

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端的藝術機構。在今年 VIP 預展期間，不少內地商界名人、明星也出現在展覽現場，包括阿里巴巴董事長馬雲和華誼兄弟傳媒集團董事長的王中軍。據聞，馬雲並未預約，突然出現在現場，在台灣大未來林舍畫廊的展位停留許久，對四川藝術家周春芽 2015 年的新作《揚州女子》和北京藝術家劉煒 2007 年的作品《一枝

「以往中國藏家大多來自北京、上海，現在卻有來自二線城市如成都、杭州的藏家團體。藝術品在亞洲似乎不再是一個

花兒》興趣濃厚，前者報價 550 萬元人民幣，

小眾的選擇。」香港巴塞爾展會總監黃雅君說。

後者報價 400 萬元人民幣。日本知名足球運動

員中田英壽、香港明星余文樂、著名藝術家張曉剛、楊二車娜姆、呂燕等名流也出現在 VIP 預展。

會場外的蝴蝶效應香港巴塞爾藝術展不可忽視的還有其贊助

他們發展藝術品收藏事業。2015 年，巴塞爾

與新銳年輕藝術家。而研究他們對「藝術與時

藝術展將與香港大學專業進修學院學位課程中

尚跨界合作」的態度，對研究當下中國的文化

心 (CDP) 及倫敦中央聖馬丁藝術與設計學院

趨勢頗具意義。

商。展會長期重要合作夥伴是瑞銀集團 , 此前

(CSM) 合作，開辦首個當代藝術收藏行政課程，

是德意志銀行。瑞銀集團為巴塞爾藝術展的環

創同類型課程先河。課程的亮點乃於巴塞爾藝

關活動進行，其中包括在香港藝術中心免費放

球主要合作夥伴，你會在會場內看到瑞銀的藝

術展香港展會上進行最後一節課，內容切合學

映的 40 部影像作品，以吸引媒體、藏家等一

術攤位，通常設置一些活動讓觀眾參與，譬如

員需要。

並觀賞。借著藝術展，香港整個三月中旬都成

除了拍賣會，市區有大約 150 個藝術相

提供給小朋友的玩具。展會寶馬集團於 2015

根據歐洲藝術基金會公佈的《TEFAF 全

年攜手設立全新獎項「寶馬藝術之旅」（BMW

球藝術品市場報告 2015》顯示，2014 年全球

術機構都位比鄰灣仔會展中心，位于中環一帶，

Art Journey），讓獲選藝術家展開創意探索之

藝術品市場規模達歷史最高，超過 510 億歐

尤其是處于中環核心地段的畢打行，就彙聚

旅，自行設計行程到自選目的地。藝術家藉著

元，同比增長 7%。其中，戰後和當代藝術品

了漢雅軒、高古軒、樂曼慕品、藝術門、Ben

旅途上的各種體驗、交流切磋獲得啟發，跨越

是藝術品市場的重頭，按價值算占藝術品總銷

Brown Fine Arts 等大牌畫廊，而從畢打行步

地域界限，進行研究探索，尋找新靈感，發掘

售額 48%，其拍賣額達到 59 億歐元，同比增

行 10 分鍾即可到達的分別有農業銀行大廈，

新主題，構思新作品。知名贊助企業還包括

長 19%，也創下了歷史新高。

這裏有白立方、貝浩登兩家國際性畫廊，另外，

了藝術活動周。香港大部分知名的畫廊和藝

大衛杜夫（David Off），愛彼表，寶馬汽車，

每逢香港巴塞爾藝術展的到來，香港的拍

香港警察宿舍改造成的創意空間 PMQ 元創方

太古地產，文華東方酒店，安盛藝術品保險

賣行也趁熱打鐵。香港佳士得 3 月 12 日舉行

也是近年來香港藝術展覽新興的活動空間，還

等。在 2014 年的展會期間，著名烈酒品牌絕

了巨幅明代永樂禦制紅閻摩敵刺繡唐卡的交接

有長期關注研究的亞洲藝術文獻庫、Parasite

對 (Absolute) 邀請了香港藝術家唐納天在銅鑼

儀式，2014 年 11 月，中國藏家、上海龍美術

藝術空間等。在寸土寸金的香港，這裏展覽空

灣設計了一個酒吧，在展會期間開放，當時，

館創辦人劉益謙將預估值為 8000 萬港元的巨

間相對較大，交通路程也十分方便。香港巴塞

在香港貿易中心做了大型燈光裝置的德國藝術

幅明代永樂禦制紅閻摩敵刺繡唐卡以 3.48 億

爾藝術展前身 Art HK 曾經的主要創辦者 Tim

家 Carsten Nicolai 還在派對上當起了 DJ，引

港元 ( 約合人民幣 2.8 億元 ) 的拍賣價格成交，

Etchells 和 Sandy Angus，另起爐灶，今年

起全場狂歡。

創下中國藝術品世界拍賣的最高紀錄。目前這

也在巴塞爾藝術展同期舉辦中心藝術展（Art

巴塞爾藝術展持續開發新項目，致力貢獻

幅唐卡仍將放在香港，明年將會在龍美術館展

Central），距離巴塞爾展會所在地香港會議與

藝壇。與創意項目籌款平台 Kickstarter 攜手

出。保利拍賣行的保藝術空間聯同《Vogue 服

展覽中心相隔僅五分鍾車程。它主要關注新

合作，於藝術經費短缺的時期，支持全球非營

飾與美容》雜誌舉行時尚與藝術對話之當代藝

興藝術家的作品，70 家資歷較淺的畫廊參展。

利視覺藝術組織。歷年來，籌募對象包括巴塞

術展「越·界時尚藝術展」。本次共展出 11

同在中環亞洲協會香港中心則呈獻了著名日本

爾藝術展來賓以及 Kickstarter 社群，籌募資

位中國當代藝術家的超過 30 件作品，呈現繪

藝術家奈良美智在香港舉行的首個大型個人展

金共逾十億，支持多項創意企劃。計劃針對目

畫、雕塑、裝置等多種藝術形態，以不同藝術

覽《無常人生：奈良美智》。展題來自藝術家

前公眾捐款正逐漸縮減的困境，旨在支援非營

風格呈現時尚與藝術交融的多種可能性，展現

其中一件畫作《無常人生 !》。作品中，小女

利視覺藝術機構，分享他們的故事，為其籌募

當代中國社會文化的多樣性。展覽現場可見

孩站在一堆骷髏頭上，她稚氣的臉與代表死亡

資金及提高知名度。另一項目，Next 主動接

11 位中國當代藝術家帶來一部分標誌性的代

的象征，形成諷刺和強烈的對比，教每個人不

觸現時活躍於市場的藝術品收藏家以及有志投

表作品，另一部分則為與不同時尚品牌跨界合

斷思考生命中的重要問題，重新認識縱然艱苦

身該行列的新晉鑑賞家，安排他們直接認識藝

作的作品。藝術家的年齡從 60 後跨越到 80 年

但短促的生命，奈良美智邀請香港觀眾發揮想

廊負責人及總監，從個人及針對性層面，協助

代末，涵蓋了中國當代藝術的學院派領袖人物

象力，與畫對話，進入其藝術世界。

MOUTAI Magazine

Chinese Contemporary Artists Shine at

Art Basel Hong Kong

中國當代藝術家閃耀香港巴塞爾藝術展 Text / 文：CL IMAGE/ 圖：Art Basel Hong Kong

Morgan Wong, Untitled - Expressway, 2015, Courtesy Rolls-Royce Motor Cars 勞斯萊斯委託香港藝術家黃榮法創作《無題—高速公路》展覽現場

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rt Fairs play an important role in the art market, and is considered the best sales platform second to auction house. The Basel Art Fair has been hosted for three consecutive years since it came to Hong Kong in 2013, and has become a grand event in Asia's art market, with the participation of the world’s top-notch galleries and artists each year. This year’s Art Basel presented 233 galleries from around the globe, but with the need to meet the aesthetic standard of Asian collectors in the Asian context, most galleries from Europe and the United States put a strong focus on the works from Asian artists. The Chinese art works, carefully arranged and widely displayed both inside and outside of the exhibition venue, were most valued among them. Some of the Chinese galleries have been regular guests of Art Basel. The more well-known ones were Long March Space (Beijing), Magician Space (Beijing), Beijing Fine Arts (Beijing), Star Gallery (Beijing), White Space (Beijing), ShanghART Gallery (Shanghai, Beijing, Singapore), Shanghai Gallery of Art (Shanghai), Platform China (Beijing, Hong Kong), Galerie Urs Meile (Beijing, Lucerne), A Thousand Plateaus Art Space (Chengdu), Vitamin Creative Space (Guangzhou), Pearl Lam (Singapore, Shanghai, Hong Kong), and Chinese TZ (Hong Kong). Others that made their grand debut were am Space (Hong Kong), Valley mansion (Taipei), Leo Gallery (Shanghai, Hong Kong), and Respect for Color Art Center (Taipei). The Insights sector again proved to be a highlight of the show, dedicated to curatorial projects by 34 galleries with spaces in Asia and the Asia-Pacific region, and featured solo shows, exceptional historical material, and strong thematic group exhibitions. The local art gallery from Hong Kong, Galerie Ora-Ora's showing of works by contemporary Ink protégé Zhang Yanzi created an unprecedented four-dimensional experience. The Discoveries sector presented a particularly strong showcase of emerging artists from around the world with solo and two-person exhibitions by 20 galleries, six of which were new to the show. For the full list of galleries and artist, please visit artbasel.com/hongkong/ discoveries. Some key projects, including the installation art photography of the Hong Kong artist Yang Peiqiang, from Blindspot Gallery (Hong Kong), Hong Kong artist Samson Young’s theatre narrative projects from am space (Hong Kong), Chinese artists, Wen Ling and Yancong’s works with daily updates, from Star Gallery (Beijing), works of Katja Novitskova and young Chinese artist, Guan Xiao, from Kraupa-Tuskany Zeidler (Berlin), were presented during Discoveries. The Film sector, which debuted in Hong Kong last year, presented

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“Nujiang River Project” by Cao Fei

曹婓的《怒江計劃》

38 works by 36 artists, exploring seven diverse themes curated by Beijing and Zurich-based multi-media artist and producer Li Zhenhua, and was attended by over 300 guests over four days. Highlights of the program included seminal works from the 1960s and 1970s by Marina Abramović and Michael Craig-Martin, alongside important video work by Yu Cheng-ta, Cheng Ran and Yan Xing, and many others. New works by Chen Tianzhuo, Lu Yang and Song Kun were also premiered within the sector. Many of the reputed Chinese artists are also frequent guests at international exhibitions, darlings of commercial brands and awardwinners. Let’s take a look at some of their achievements.

Cao Fei: China's Youngest Artist at the Venice Biennale This year, Art Basel and the International Commerce Centre (ICC) worked with renowned international Chinese artist Cao Fei to present a major new work during the show. “Same Old, Brand New”, which refers to video games from the 1980s, was shown across the entire façade of Hong Kong’s iconic 490-meter high ICC on the Kowloon harbor front every night throughout the show. By integrating the symbols and icons

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of popular computer games, including Pacman and Tetris, into flowing images, and projecting them on the entire exterior wall of skyscrapers, the richness in Cao’s film revealed a deeper meaning of an artist’s creation. Through this film installation, Cao’s intention was to evoke the collective memories and emotions in those Hong Kong people who used to love video games, and to bring their attention to the current reality. It was a continuation of some previous multimedia projects to explore the dreams and hopes of China’s young generation, and how they thrive and struggle in the reality. Influenced by a mix of social commentary, popular aesthetics, surrealism and the documentary conventions, Cao’s films and installations were a reflection of the rapid and chaotic changes in the contemporary Chinese society. Cao Fei’s work from 2007 “Nujiang River Project” was presented at this year's Hong Kong Art Basel’s Encounters sector. She also joined a talk with Hans Ulrich Obrist, Deputy Director of Serpentine Gallery (London), the world's leading art institution. Born in Guangzhou in 1978, Cao Fei earned a BFA from Guangzhou Academy of Fine Arts in Guangzhou, China, and is now based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging

“20”, new paintings by Xu Zhen 徐震新作《20 歲》

from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. In 2003, Cao teamed up with Ou Ning to film the experimental documentary “San Yuan Li”, and participated in the 50th Venice Biennale. In 2005, her first documentary feature "father" was shown at the first Moscow Biennale. In 2006, at the age of 28, Cao Fei won the Youngest Artist Award at Chinese Contemporary Art Award (CCAA). “Cao Fei's works, abstracting their image from the pop culture with a peculiar and witty style, visually reflect on the emotional and social challenges that are occurring among China’s young generation”, remarked the Organizing Committee. She gradually drew a wide attention in the circle of contemporary art, both domestically and internationally. Cao Fei was the youngest artist from China to attend this year's Venice Biennale, yet it was already her third year at this event. Her work "La Town" shown at the Venice Biennale this year demonstrated a completely destructed and cruel post-apocalyptic world through artificial landscapes, and was considered a great alignment with this year’s theme “All the World’s Future” by Okwui Enwezor, Chief Planner of the Venice Biennale 2015.

Huang Ran: Nominated for the Palme d'Or, Cannes for His Short Film In April this year, short film “The Administration of Glory” directed by Huang Ran, Sichuan-born and Beijing-based post-80s artist, was nominated for The Short Film Palme d’Or award at the 67th Annual Cannes Film Festival, making it the only film from China in the main competition this year. This also marked the first time in China’s history since 1965 that a short film is nominated for this award. “Mute”, his installation art piece from 2014, was sold to a valuable Asian collector at this year’s Hong Kong Art Basel at the price of $ 30,000 by Simon Lee, a British gallery. HUANG Ran, born in 1982, lives and works in Beijing now. In 2004, he graduated from Birmingham Institute of Art and Design with a First Class BA (Hons) Fine Art degree. In 2007, he gained his MFA Fine Art degree at Goldsmiths College, University of London. Huang was one of the 16 artists presented by European Media Artists in Residency Exchange (EMARE) 2009 programme, supported by European Culture Programme and Art Council England. Huang Ran is the author of

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visionary videos in which sense of wonder and drama, frailty and a desire for absoluteness, ambiguity and inevitability coexist. The exasperated yet alluring iconography of his works draws the viewer right into the swirl of conflicting emotions in which one has the constant sensation that some marvellous tragedy is about to take place. Huang has participated in numerous group exhibitions including "7th Mercosul Biennial, Brazil (2009)", "MOVE, Werkleitz, Germany (2009)", and "Où va la vidéo 00.00.02, Fondazione March, Italy (2009)". Solo exhibitions include "Ran Huang, Nika Oblak & Primoz Novak, VIVID, UK (2009)" and "Fake Action Truth, GEORGE POLKE, London, UK (2010)".

Xu Zhen: New Painting “20” Co-curated by Adrian Cheng and David Chau from Xu Zhen’s MadeIn Company, and organized by Zhao Lingyong, Xu Zhen’s “20” painting exhibition took place in Hong Kong at PMQ. Formerly housing married police on Hollywood Road and listed as a Grade III historical building on November 10, 2010, PMQ is a new creative center in Hong Kong located in Hollywood Road, Central. With its exaggerating arrangement and luxuriant decoration, this world debut of the “20” series had advanced viewers’ visual and conceptual interpretation of “Art as Commodity” to a brand new level. Curious of what “love” is for young people at the age of 20, Xu Zhen named his series “20”, collected the colors that 20-year-old young people consider most suitable to express “love”, and painted them on the cloth. Bright pink, light yellow, brilliant purple, bright red…… All mixed together in flowing shapes and curves, bringing stimulus to our nerves and vessels, as if they were about to jump out and shout out loud, “Oh yes, 20!” “Under Heaven” is one of the most renowned artworks by Xu Zhen. Greatly admired as a major exhibit at the Armory Show in New York, the visual impact this shell-shaped, cream-like and layered “Under Heaven” thrills its views’ senses by stirring a complex feeling of joy and insanity, and mixes imagination with reality. Born in 1977, Xu Zhen now lives and works in Shanghai. He won the prize for "Best Artist" at the China Contemporary Art Award in 2004. He participated in the 49th Venice Biennale in 2001, and has since exhibited his works widely. Aside from being an artist, Xu Zhen is also a curator and actively organizes various art activities. He cocurated together with other artists major exhibitions in Shanghai and was one of the initiators of the contemporary art forum online Art-BaBa (www.art-ba-ba.com) in 2006. In 2009, Xu Zhen established “MadeIn Company”, a contemporary art creation corporate, focused on the production of creativity, and devoted to the research of contemporary culture’s infinite possibilities.

Morgan Wong Method: Rolls-Royce Is Eligible for Appointment Creation Rolls-Royce Motor Cars invited Hong Kong-based artist Morgan Wong to present a work within the marque’s Hong Kong showroom. He investigated the value of urban development in relation to the irrepressibility of time by transforming Rolls-Royce Motor Cars’ Spirit of Ecstasy, from a symbol of beauty to an emblem for capturing timelessness. Morgan Wong’s ambitious new commission Untitled – Expressway will be an installation with a component on the floor of the showroom together with multi-channel video work including footage taken while cruising on a route connecting the present heart of Hong Kong and a satellite “new town” embedded in the city’s prehistoric

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UPSIDE & BELOW:

Morgan Wong, ”Untitled - Expressway”, 2015, Courtesy Rolls-Royce Motor Cars 勞斯萊斯委託香港藝術家黃榮法創作《無題—高速公路》展覽現場

history. The Spirit of Ecstasy, which adorns every Rolls-Royce motor car, will seemingly bear witness to the changes of Hong Kong in an attempt to remind the audience that the process of transformation, and the speed at which it occurs, deviates from humanity. Untitled – Expressway will be comprised of abstract video, archive materials and a narration by a fictional character. It will be exhibited by monitor video projections, and also on the video screen in the rear compartment of a Rolls-Royce car. Inside the vehicle the audience will experience a virtual voyage in an intimate and timeless manner. Morgan Wong was born in Hong Kong in 1984. He focuses on durational performance and temporality with pieces ranging from performance, video, and installation to works on paper. Previously based in Beijing and London, Wong currently works in Hong Kong. Sensitively investing Chinese culture in the twenty-first century, he exploits the language of technology and interactive media to encourage active engagement with the artist’s thoughts. Having studied Creative Media at City University, Hong Kong under Leung Chi Wo, he has actively worked in a number of jobs from web editor to project assistant. One of Wong’s first interactive installations, Alliance (2007), was exhibited at Videotage, a non-profit Hong Kong space that specialises in media and video art. It went on to win an award at the 13th Hong Kong Independent Short Film and Video Awards in 2008. 藝術博覽會是一級藝術市場中重要的組成部分，也被看作是拍賣市場外，最好的銷售平臺。2013 年起，瑞士巴塞爾藝術博覽會在香港佈局，舉辦香港巴塞爾藝術展，一連三屆，已成為亞洲藝術市場的盛事，每年吸引著全世界最優質的畫廊和藝術家參展，今年則有 233 家畫廊入選。不過，在亞洲語境之下舉辦展覽，需要迎合亞洲藏家的審美標準，歐美畫廊大多數將亞洲藝術家的作品作為推出的重點，其中中國藝術家的作品也是其重中之重。不僅是會場內活動和作品豐富，在會場外也有精心的安排。本次參展的中國畫廊有的已經是巴塞爾的常客了，知名的有長征空間（北京）、魔金石空間（北京）、北京藝門（北京）、星空間（北京）、空白空間（北京）、香格納畫廊（上海、北京、新加坡）、滬申畫廊（上海）、站臺中國（北京、香港）、麥勒畫廊（北京、琉森）、千高原藝術空間（成都）、維他命藝術空間（廣州）、藝術門（新加坡、上海、香港）、漢雅軒（香港）等。首度參展的中國畫廊包括 am space( 香港 )、谷公館 ( 臺北 )、獅語畫廊 ( 上海、香港 )、尊彩藝術中心 ( 臺北 )。展會其中的一個板塊「亞洲視野」為 34 間在亞洲及亞太地區擁有展覽空間的藝廊提供了獨一無二的平臺，展出不同類型的策展項目，包括個展、獨有的歷史材料及主題式群展。大會特別安排亞洲視野展區坐落在展場兩層的心臟地帶，讓公眾能深入縱觀區內藝術的不同面貌，方由美術（香港）展出當代水墨藝術家章燕紫的四維空間作品，為公眾帶來耳目一新的體驗。另一板塊「藝術探新」通過個展或雙人展，展示世界各地藝壇新星的作品。展區內共有 20 間畫廊參展，其中 6 間是首度參與香港巴塞爾藝術展。重點項目包括刺點畫廊 ( 香港 )，展出香港藝術家楊沛鏗的攝影裝置藝術作品 ;am space( 香港 ) 展出香港藝術家楊嘉輝的劇場敘述項目 ; 星空間 ( 北京 ) 以每日更新的展臺展示中國藝術家溫淩和煙囪的作品 ; Kraupa-Tuskany Zeidler( 柏林 ) 展出中國年輕藝術家關小與 Katja Novitskova 的作品。

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Morgan Wong, ”Untitled - Expressway”, 2015, Courtesy Rolls-Royce Motor Cars 勞斯萊斯委託香港藝術家黃榮法創作《無題—高速公路》展覽現場

巴塞爾藝術展的「光映現場」展區今年載譽重臨，展出分別出自 36 位藝術家的 38 件作品，深入探討七個截然不同的主題。光映現場展區由駐北京及蘇黎世的多媒體藝術家兼制作人李振華負責策展，內容包括：

頻創作為人所熟知。她的影像和裝置融合了社會評論、流行美學、超現實主義的影響和紀實的慣例，反映出當代中國社會急速不安的變化。曹斐 2007 年的作品《怒江計劃》在今年巴塞爾藝術展藝聚空間

受到廣泛關註的行為藝術家 Marina Abramović 與 Michael Craig-Martin

（Encounters）板塊展出，她還與世界頂級的藝術機構倫敦蛇形湖畫廊

在 1960 至 70 年代的破格實驗性作品；中國藝術家余政達、程然及鄢醒

（Serpentine Gallery）的副總監 Hans Ulrich Obrist 對談。她 1978 年出生，

等人的重要錄像作品。此外，近年來活躍的藝術家陳天灼、陸揚及宋琨

畢業於廣州美術學院，1999 年拍攝第一部 DV 獨立短片《失調 257》，

的新作更在展區內首度公映。

獲邀參加多個國際藝術展和影展。隨後拍攝的《鏈》、《起舞》、《手語》、《滑

許多參展的中國藝術家已經擁有較高的知名度，更是國際性大展、獎項和商業品牌的寵兒，我們在此看看其中部分藝術家所取得的成就。

動》均獲得很大關注。2003 年，她與歐寧合作拍攝實驗紀錄片《三元裏》，參加第 50 屆威尼斯藝術雙年展。2005 年，她拍攝的第一部紀錄長片《父親》參加第一屆莫斯科雙年展。2006 年，時年 28 歲的曹斐獲得了中國

曹斐：最年輕的威尼斯雙年展中國藝術家

當代藝術獎 (CCAA) 最年輕藝術家獎。組委會的評語是：「曹斐的作品，從流行文化中吸取意象並使其達到奇特而睿智的風格，從而以視覺的形式呈現出當代中國城市中年輕人的情緒和社會境遇。」她逐漸受到國內

如往年一樣，香港巴塞爾藝術展與香港地標環球貿易廣場 (ICC) 再

外當代藝術圈的廣泛關注。今年的威尼斯雙年展中，曹斐成為最年輕的

續合作，聯手呈獻藝術家曹斐全新大型視頻裝置作品《樂舊·圖新》。

中國藝術家入圍主題館，但這已是她第三次參加威尼斯雙年展了。曹斐

她的創作靈感主要來自電子遊戲，自八十年代起，電子遊戲是香港流行

今年參與威尼斯雙年展的作品是《La Town》，作品中的人造景觀表現的

文化與青少年文化的重要元素之一，特別是在香港影響亦遍及全世界，

是完全毀滅之後的殘酷世界和末日後的感覺，總策展人 Okwui Enwezor

曹斐也在這種單機遊戲的年代長大。通過結合來自流行電腦遊戲的符號

認為這和威尼斯雙年展主題「全世界的未來」(All the World’s Future)

與標誌的流動影像，包括食鬼及俄羅斯方塊，展示於摩天大樓的整個外墻，

很相符。

將極具視覺效果，進一步揭示了藝術家創作的深層意義。透過此視頻裝置，曹斐希望能喚起「喜歡打遊戲」的香港人的集體回憶，並轉化為當下的現實。作品本身延續藝術家之前的多媒體項目，探索中國年輕一代的夢想與抱負，與他們如何戰勝或逃避現實的策略。曹斐以多媒體裝置和視

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黃然：短片入圍戛納金棕櫚獎今年 4 月，出生於四川、現常駐北京的 80 後藝術家黃然導演的電影

瑞士巴塞爾藝術展等國際性博覽會和美術館的常邀藝術家。此次，由沒頂公司聯合策劃人鄭誌剛、周大為共同推出，由趙令勇組織的《20 歲》徐震繪畫新作展在香港 PMQ 元創方開幕。香港中環荷李活道的元創方 ( 英文：PMQ) 是香港新興的一個創意中心，前身是荷李活道已婚警察宿舍，於 2010 年 11 月 10 日被列為香港三級歷史建築。此次「20 歲」系列作品亦是首度亮相全球，誇張華麗的佈置陳設將藝術家「藝術品就是商品」的理念推進一個新的視覺與解讀層次。藝術家徐震所創作的系列標題「20 歲」源於對 20 歲愛情的好奇，他收集了人們心目中 20 歲愛情的顏色，將它們在布面鋪開。鮮粉、嫩黃、亮紫或明紅，堆棧的顏料形成流動的光影，吹彈可破的表面綻放著生機和愛意，讓人垂涎欲滴。神經被挑動，血管在膨脹，忍不住想振臂大喊：「Oh yes，20 歲 !」《天下》是藝術家徐震最著名的繪畫系列之一，曾作為紐約軍械庫藝術博覽會的重點作品受廣泛推崇。猶似剛出爐的新鮮蛋糕上一層濃厚的裱花奶油，令人口舌生津的食物色澤與奶油花形攪拌融合在巴洛克風格的雕花叢林裏，呈現出一種極端密集與狂歡。愉悅、瘋狂的感官主義作品在具有相同性質的現實中，共同構成了一種異常奇妙的刺激感受。

黃榮法：獲勞斯萊斯委任創作香港巴塞爾的友好夥伴勞斯萊斯，攜手香港藝術家黃榮法 (Morgan "Fantastic Plan" by artist Zhou Jie 周潔《美妙的計劃》

Wong) 於勞斯萊斯汽車 ( 香港 ) 陳列室帶來其全新裝置作品《無題——高速公路》，是藝術家首次透過委任作品，結合勞斯萊斯汽車的品牌歷史、性能特征進行藝術創作。一直關注研究時延美學及時間性概念的黃榮法，從流逝的時間維度考察城市發展的核心價值，將勞斯萊斯汽車的「歡慶

短片《對榮耀的管理》(THE ADMINISTRATION OF GLORY) 入圍第 67

女神」標誌進行藝術加工。黃榮法在勞斯萊斯汽車陳列室中設置了一個

屆戛納電影節短片，參與角逐金棕櫚電影短片大獎，這部作品是中國今

裝置元件、一本書及四個多路視頻，其中視頻包括一段拍攝當今香港的

年唯一一部入圍競賽單元的電影，同時也是自 1965 年以來中國電影短片

中心地區與建於香港老城區的衛星新城之間的道路上的錄像，勞斯萊斯

首次入圍該獎項。他的裝置作品《Mute》(2014 年 ) 在本次香港巴塞爾藝

汽車車頭的歡慶女神雕像則扮演了見證者的角色，目睹了香港滄海桑田

術展中被英國 Simon Lee 畫廊以 3 萬美元的價格銷售給了一位重要的亞

的歷史變遷。藝術家希望通過作品展現城市的變革及這些變革發生的迅

洲藏家。

猛之勢對於人性的偏離。

黃然 1982 年生於四川西昌，高中畢業後，他遠赴英國留學，2004 年，

黃榮法，1984 年出生於香港，現居於香港。2007 年畢業於香港城

他以年級第一的成績畢業於英國伯明翰藝術與設計學院，並獲得純藝術

市大學創意媒體學院，獲得創意媒體榮譽文學士。作品曾在亞洲、美洲、

一等榮譽學士學位。2007 年，畢業於英國倫敦大學金史密斯學院純藝術

澳洲及歐洲的美術館及藝術空間展出，其中包括泰特現代美術館（《No

碩士專業。2009 年，黃然成為由歐洲媒體藝術家進駐計劃 (EMARE)、歐

Soul For Sale》，2010）；香港藝術館（《數碼演繹》，2008）；法興

盟文化部以及英國藝術委員會共同支持的 16 位藝術家之一，在英國和德

中國當代藝術獎（2010）；參加香港當代藝術雙年展（2009）；於 2008

國完成了藝術家進駐項目。2011 年，黃然獲得瑞士瑞信銀行今日藝術大

年奪得第十三屆香港獨立短片及錄像比賽（單熒幕互動媒體組）銀獎。

家提名，同年獲得勞力士全球 Mentor and Protégé 藝術大獎提名。黃

他專注於時間性概念的研究，作品包括行為藝術、影像藝術、裝置和紙

然的作品在眾多國際美術館以及雙年展中展出，包括紐約猶太美術館，

上作品。他運用科技語言與交互式媒體手段將 21 世紀的中國文化融入自

美國 Tempa 美術館，中央美術學院美術館，尤倫斯當代藝術中心，休斯

己的創作理念中。

頓當代美術館，格拉斯哥現代藝術美術館，波恩美術館等。他的作品涉及電影、影像、雕塑、裝置、攝影以及繪畫等諸多當代藝術媒介。

中國藝術家的作品在本次香港巴塞爾藝術展上備受藏家歡迎。如上海香格納畫廊推出的丁乙 2014 作品《交叉的模樣》賣價 200 萬元人民幣。臺灣畫廊索卡藝術推出的洪淩作品《紅色》(Red)，賣價 60 萬美元。香

徐震：繪畫新作《20 歲》徐震是中國近年來備受矚目的當代藝術家，他是藝術家、策展人，

港藝術門售出售出朱金石、蘇笑柏作品，價格均在 40,000-210,000 美元間。北京長征空間售出藝術家展望的雕塑《形影 1》，售價為 2,500,000 元 ; 徐震鋁塑板上油畫《天下 -1807NU0138》，售價為 1,100,000 元。不過，

還是自己的公司——沒頂 (MadeIn) 公司——的首席執行官，從藝術家到

博覽會上的藝術品始終逃不開它的商品屬性，哪裏有市場，資本就會流

董事長，他進行了具有膽識的藝術實驗，是著名的紐約軍械庫藝術展、

向哪裏。

MOUTAI Magazine

Drinking Intellectually 文字飲

Chinese Calligraphy and Painting in

Craig Clunas' Eyes

山水在說什麼：柯律格眼中的中國書畫

alking about Ming Dynasty scholars, people would think of the Four Scholars in Jiangnan, and then think of their calligraphies and paintings. Calligraphies and paintings from scholars like Tang Bohu and Wen Zhengming had been always considered a peak of the Ming Dynasty art. Traditionally speaking, Chinese calligraphy and painting were characterized by the emphasis on charms and the integration with nature. In this sense, all calligraphy and painting masters would be nature lovers; the Four Scholars on the screen were all romantic, chic, and unrestrained. Sinologist Craig Clunas, however, told us that the reality was not as what we expected. In 1954, Craig Clunas was born in Scotland. As one of a new post-war generation of sinologists, Craig Clunas' interest in Chinese culture was different from his predecessors since the very beginning. Since the 19th century, due to frequent social unrest, Europeans raised keen interest in Eastern thought, and were expecting to learn from Confucius, Mencius, Laozi as well as Zhuangzi for pursuing a stable life. In this context, a relatively stable post-war life allowed Craig Clunas to grow up in peace and leisurely observe the core of Chinese culture. Craig Clunas came to Beijing to study Chinese in 1974, served as a curator at London's Victoria and Albert Museum (Far Eastern Department) in 1979, and then taught at the University of London (specifically the School of Oriental and African Studies). His road to sinology was as smooth and successful as post-war Britain. Therefore, Craig Clunas did not expect to find the true meaning of life from Chinese culture for Westerners to learn. What he wanted was to simply feel Chinese culture itself and discover the beauty of Chinese culture. In Craig Clunas' view, the beauty of

MOUTAI Magazine

TEXT/ 文：Dong Tiezhu

Chinese calligraphy and painting was not a combined product of artists and nature at all. The most important reason for artists to paint was simply one word: obligation. "Most of existing works, whether painting or calligraphy, were created in a special occasion for a specific task." Asking for help needed painting; teacher's birthday also needed

painting; a relative's death needed inscription; a friend's marriage also needed inscription. Craig Clunas vividly called these reciprocities of calligraphy and painting "elegant debts" because they were created for obligation. You gave me a painting, I gave you a calligraphy scroll, and immortal masterpieces might emerge among these reciprocities.

Speaking of "debt", people might have a sense of helplessness. In other words, artists' calligraphy and painting seemed like preset thesis and their inspirations were severely restricted. Actually, it was not the case. Ancient painters and calligraphers such as Wang Xizhi, Gu Kaizhi, Su Dongpo, and Huang Gongwang indeed had been officials. They usually had to head the troops, settle lawsuits, or provide disaster relief. Just like poetry and other literatures, calligraphy and painting were just a link for scholars to communicate with each other. Su Shi went to Bianliang (today's Kaifeng City) from Sichuan to pursue fame and poems were just his accessories; similarly, most calligraphers and painters did not deliberately want people to remember their calligraphy works or paintings. What they wanted was to govern a country and the world. As their sidelines, the ancient Chinese artists did not live on calligraphy or painting at all. Therefore, when creating calligraphy and painting, they had more freedom, liberty, and space to demonstrate charms. On the contrary, in modern times, most Western painters were career painters. Many were insane due to painting because their lives and reputations all relied on painting. Among these Chinese calligraphers and painters, Craig Clunas was most interested in Wen Zhengming of the Ming Dynasty. Craig Clunas said that when he taught at the University of London and his students asked whether China had such an artist like Michelangelo, he immediately thought of Wen Zhengming; however, he was not willing to simply tell students this answer. For most people, Wen Zhengming was just a calligraphy and painting master in history. As an artist, Wen Zhengming undoubtedly was quite comparable with his contemporary Western counterpart Michelangelo. Artist, however, was not the only identity of Wen Zhengming. Craig Clunas noted that Wen Zhengming was born in a large family and was eager for scholarly honor or official rank. Experiencing the ups and downs of official life, Wen Zhengming obviously was different from Michelangelo. In order to be recommended to obtain an official post, Wen Zhengming often used his calligraphy and painting as bribe. His famous paintings such as "Spring in Jiangnan" and "Reminiscing With Xizhai" were created for this purpose. Every tree or cloud in the painting was the words to be conveyed from the painter to the gift receiver. Even so, the "social" nature of

paintings did not undermine their charms. On the contrary, after being bound with various social relations, Wen Zhengming's landscape and trees were more intriguing. Through Craig Clunas' eyes, people saw that the beauty of Chinese calligraphy and painting was not purely a natural charm but was closely integrated with scholars' life and social relations. Superficial appreciation of Chinese calligraphy and painting would not lead to an in-depth understanding of the words behind the scenes. To really appreciate Chinese calligraphy and painting, one must meticulously understand Chinese history. Therefore, Craig Clunas always said that he was not researching Chinese art. Instead, what he tried to find was the link between Chinese art and society, as well as the words to be conveyed by landscapes and trees.

作畫；親戚過世，要題字；友人成親，還要題字。柯律格形象地把這種為了人情而做書畫的禮尚往來之舉稱為「雅債」。你給我一幅畫，我給你一幅字，就在你來我往之中，流芳百世的名作就出現了。說到「債」，難免讓人有無奈之感，似乎藝術家們寫字作畫好比是命題作文，靈感會受到很多束縛。實則不然。古代的畫家書法家，從王羲之到顧愷之，從蘇東坡到黃公望，的確都做過大大小小的官，平時不是還得忙著帶兵打仗，就要斷案救災。書法繪畫就像詩詞歌賦一樣，不過是文人用以互相交流的紐帶。蘇軾自蜀入汴梁要追求的是功名，詩名只是附屬品；同樣，書畫家們大多也沒有刻意要讓後人記住他們的字畫，他們想得更多的是治國平天下。中國古代的藝術家們把字畫當做副業，生計並不依靠書畫，潑墨揮毫之時便多了更多的隨性和灑脫，才有了神韻的展現空間。相反近代以

說起明朝的文人，大家都會想起江南四大

來，西方的畫家大多是職業的，常有因繪畫而

才子；說起江南四大才子，都會想起他們的書

癲狂者，這是因為他們的生活和聲名都系在繪

畫。唐伯虎和文徵明們的書畫，一直被認為是

畫之上。

明代藝術的一個巔峰。按照傳統的說法，中國

在這些中國書畫家中，柯律格最感興趣的

書畫的特點在於強調神韻，與自然相合，如此

是明代的文徵明。柯律格說自己在倫敦大學教

說來只要是書畫大家都應該是熱愛自然之人，

書的時候，學生問中國有沒有像米開朗基羅這

影視中的四大才子形象也是風流倜儻，瀟灑脫

樣的藝術家，他會馬上想到文徵明，但是他又

俗。漢學家柯律格告訴我們，現實並不是大家

不願意簡單地告訴學生這一答案。對大多數人

想象這樣的。

來說，文徵明只作為一個書畫大家而存在於歷

1954 年，柯律格（Craig Clunas）出生

史之中，作為藝術家的文征明無疑和米開朗基

於蘇格蘭。作為戰後成長起來的新一代漢學家，

羅這一同時代的西方藝術家有相當的可比性。

柯律格（Craig Clunas）對中國文化的興趣從

但是，藝術家並非是文征明的唯一身份。柯律

發生伊始就和前輩們有所不同。19 世紀以來

格指出，文徵明出生於大家族，一生都渴望獲

頻繁的社會動蕩讓歐洲人對東方思想產生了濃

得功名，在宦海浮沉的文征明就不是米開朗基

厚興趣，孔孟老莊成為了他們渴望追求安定生

羅這樣的西方藝術家可以簡單比擬得了。為了

活的他山之石。而戰後相對穩定的生活，讓在

獲得他人推薦獲得一官半職，文徵明經常地用

和平中長大的柯律格可以用更從容的心態來細

自己的字畫來打通關節。他的名畫，像藏於故

緻觀察中國文化的內部。從 1974 年到北京學

宮博物院的《江南春》和《西齋話舊圖》，都

習中文開始，到 1979 年在倫敦維多利亞與阿

是這樣的產物。畫中的一棵樹、一片雲都是畫

爾伯特博物館遠東部當館員和策展人，再到倫

家要向饋贈對象所講的話。即使這樣，畫作的

敦大學亞非學院執教，柯律格的漢學之路就像

「應酬」性質並不影響它們的美。文徵明的山

戰後的英國一樣，平穩而順利。因此，柯律格

水和樹木在被賦予了重重社會關係之後，反而

並不期望能從中國文化找到西方人可以借鑒的

更加地值得大家玩味。

生活真諦，他想做的只是簡單地感受中國文化的本身，發現中國文化中的美。

透過柯律格的雙眼，中國書畫之美就不再是純粹的自然神韻，而和文人生活、社會關係

在柯律格看來，中國書畫的美決不是藝

緊密結合在了一起。單純地觀賞中國書畫無法

術家們和自然合二為一的產物。藝術家們之所

深入領會景物筆墨背後的話語，要真正欣賞中

以揮毫作畫，最重要的原因無非是兩個字：人

國的書畫，也就一定要細緻地瞭解中國歷史。

情。「大部分的現存作品，無論是繪畫還是書

因此，柯律格總是說自己研究的並不是中國藝

法，都是在某個特殊場合、為某個特定任務所

術，他試圖尋找的是中國藝術和社會之間的紐

作的」。請人幫忙，要作畫；老師生日，也要

帶，是山水樹木想要傳達的話語。

MOUTAI Magazine

Drinking Intellectually 文字飲

Spreading the Gospel: A Convert’s Quest to

Take Baijiu Global

TEXT, IMAGE/ 文、圖：Derek Sandhaus

he time was March 2012 and I was at Tangjiuhui, Chengdu's annual Candy and Alcohol Fair. I was there for the alcohol. For those of you who have never attended a Tangjiuhui, it is madness masquerading as a consumer fair: millions of people pour into Century City Exhibition Center, crammed together tighter than a Chinese train station the day before Spring Festival fighting for free samples. There are vendors selling bottles of baijiu in the shape of artillery shells and hand grenades and there are promoters dressed up as giant inflatable bottles of baijiu. To an outsider, though, what is truly remarkable about all this is that Tangjiuhui is not even the real fair. “You won’t meet anyone worth knowing at Tangjiuhui,” my associates in the baijiu industry told me. “They’ll all be on planes headed back home before the doors even open.” The real fair, they explained, took place in a handful of hotels scattered around the city in the days leading up to the fair. The real business went down in meeting rooms and banquet halls, where China’s alcohol giants put on elaborate floorshows. It was in the guest rooms where bottlers and distributors propped the beds against the walls to make room for their wares. It had the ambience of a Silk Road trading bazaar, and all the excited haggling to go with it. But none of this—Tangjiuhui or the industry frenzy that preceded it—seemed odd to any of the people I met there. What stuck out to them was me, more specifically my presence at such an event. “Why do you want to write about baijiu for foreigners?” they asked me. “Foreigners don’t like baijiu.” Of course I protested. After all, was I not a foreigner who liked baijiu? But my impeccable logic failed to persuade them. The idea of an American who enjoyed Chinese spirits just

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seemed too far-fetched, like cold fusion or a walrus playing the saxophone. Three years later, the idea of a foreigner who enjoys baijiu seems less outrageous. Last year Penguin Random House, one of the world’s leading publishers, released my book Baijiu: The Essential Guide to Chinese Spirits. Not long thereafter Capital Spirits — the world’s first baijiu-themed bar aimed at foreigners—opened its doors in Beijing. One can now drink baijiu cocktails in New York, London and Los Angeles. As I write these words, I know of at least seven foreignowned baijiu brands marketed toward the international drinker, and several more will hit the market soon. So how did we get to this point? How have we set aside the conventional wisdom that foreigners hate baijiu to make room for the belief that baijiu can succeed overseas? The story of how I came to like Chinese spirits may provide a useful illustration. Like most foreigners who have lived and worked in China, I also had a negative first impression of baijiu. Most of my early

experiences took place in the banquet setting: a seemingly endless series of toasts without any sense of moderation or mercy on the part of my hosts. It was brutal, made all the more so by the peculiar liquor that we were drinking. I had never willingly put anything so pungent and explosive in my body before and, as is so often the case when trying something new for the first time, I disliked it. After five years in Shanghai, I move to Chengdu in 2011. I suddenly found myself in the heart of baijiu country. In Sichuan, baijiu was more than just a way to embarrass your colleagues at a business meeting. It was an exceedingly profitable business. It was a way of life. I reasoned that if hundreds of millions of Chinese have found a way to enjoy drinking baijiu, surely one foreigner could learn to appreciate it as well. I set out to methodically investigate Chinese liquor, reading up on its history and drinking customs. I tried as many different bottles as I could find. The first major surprise came when I learned that baijiu is not one specific drink, but an entire category of drinks. The four principle varieties are grouped by their fragrance—sauce aroma, strong aroma, light aroma and rice aroma. One baijiu can be as distinct from another as a vodka is to a brandy, and knowing this allowed me to move on from that negative first impression. All I had to do was figure out which baijiu was right for me. A further surprise: Some of the baijius I tried tasted pretty good. Slowly but surely my antipathy gave way to indifference. It was not really all that bad, I thought, no worse than tequila or ouzo or any number of more pungent Western spirits. A few months later I developed something closer to a fondness verging on full-blown appreciation, and by the time I was ready to start putting words on paper and telling the world about baijiu, I was a believer. Having approached baijiu with an

outsider's perspective, I was able to see that a lot of what other foreigners find difficult about drinking it has to do with context. What those of us not raised in a ganbei culture fail to understand is that the drinking ritual—the furious toasting and the race to undercut your friend’s glass and the inevitable fight over who gets to pay the bill —is intended primarily as a bonding activity. The baijiu banquet is more about savoring the experience than the alcohol; appreciating one’s friends, family and colleagues as much as what they happen to be drinking. If the baijiu consumed is a good baijiu, it is sure to heighten the experience, but of central importance is celebrating the people with whom you share it. This was the first key takeaway. Nights spent sweating around the hotpot, where the steam and the sweat and the spice are all running down your face and you drank so much you start talking to the fish heads— those nights can be wonderful, magical even, but they can also quickly descend into sloppy catastrophe. That is what it means to ganbei, and the ritual is not perfectly suited to every drinker. Then there is the baijiu itself, which is another matter altogether. Though most of my Chinese friends would probably think me sacrilegious for saying so, I believe that one does not need to ganbei to enjoy baijiu. A good baijiu can be sipped and savored like a fine wine. You can take it neat or shake it up in a cocktail with a slice of pineapple and an umbrella. You can drink an entire bottle with your friends over lamb kebabs or you can pour a single glass for yourself at home and save the rest for later. If a baijiu is truly great, you should be able to enjoy it however you please. And do not let anyone tell you otherwise. Lucky for us there is a lot of truly great baijiu out there and, lucky for me, I have been able to drink more than my fair share of it. Not long after my first Tangjiuhui I set off on a journey around the country to visit the nation’s best baijiu distilleries. My first stop was the Kweichow Moutai production facility in Guizhou, which was, at the risk of pandering, a bit like starting one’s climb from the summit. The town of Maotai is remote, carved out of the side of the mountains that run along the murky bends of the Chishui River. The smell is overwhelming. So thick is the scent of baijiu in the air that one can almost taste it. It is a

musty village, shrouded in mist, and looking out at it one is struck by a pleasing natural symmetry: The slow rolling river water that will be used to steam the sweet sorghum rises into the air. The air hangs heavy with the yeasts that will be used to ferment the mash. It is a perfect self-contained ecosystem. The distillery consists of several nondescript buildings squatting along the hillside that abuts the riverbank. They might not look like much on the outside, but within their whitewashed walls there was a mesmerizing blur of activity. Men in blue jumpsuits poke at great mounds of seething sorghum with shovels and rakes. At one end sit giant Chinese-style pot stills—contraptions that resemble enormous dim sum steamers in form and function—spitting more white vapor into the air. Long rows of deep brick-lined pits run the length of the halls, where the grains ferment according to the traditional methods that have been used in China for thousands of years. Dancing around it all are more men in blue jumpsuits and heavy machinery, a veritable baijiu army operating on a scale rarely seen in Western winemaking. Watching Kweichow Moutai get made is a treat, but the real pleasure lies in the tasting. Each sip is an exquisite cascade of flavors. Before my visit to Maotai I had tried other, less-refined baijius in the sauce-aroma category that Kweichow has made famous. I had found them lacking and unbalanced. But what I tasted in Guizhou was a revelation. Dark, earthy tastes leapt out of the glass. As the liquor sits in the mouth I noticed an array of tastes like mushrooms marinated in soy, bitter herbs with rich caramel accents and a hundred other delights on top of that. It was heavenly, well worth the effort of traveling to one of the Middle Kingdom’s remotest corners. My visit to Maotai was notable for the high quality of the company and the even better quality of the spirits, but it was only the first step on a much longer journey. In the months and years that followed I would travel throughout the country, visiting alcohol plants in every corner of the country. I drank the snake liquors of Guangdong and barley beers of Tibet. There were Shaoxing rice wines and Guangxi osmanthus wines. But the real challenge was not simply buying a few train tickets and talking my way into a few backcountry distilleries, it was finding a way to share that experience with others. Baijiu is one of China’s best-kept secrets.

By volume, it is the best-selling spirits category in the world. In Europe and the United States, however, it remains little known and misunderstood. Its potential is enormous, but that potential remains largely untapped. It is long past time to let the rest of the world in on the fun. This is why I decided to write Baijiu: The Essential Guide to Chinese Spirits. My intention was to write a book that explains away all of the mysteries surrounding Chinese liquor. The book is divided into three main sections: a detailed summary of the history and culture of Chinese winemaking and the baijiu industry; notes on the various categories of Chinese spirits and how they are made; and profiles of more than eighty of the best Chinese baijius. There are other bits thrown in for good measure, like cocktail recipes and a discussion of Chinese drinking culture. It contains everything newcomers to the category would need to begin a baijiu journey their own. It is not the final word on Chinese spirits, but it is a beginning. It is my hope that it will shine a light on a drink that is woefully underappreciated outside of its homeland. Having become a de facto spokesman for baijiu in the English-speaking world, I now spend a lot of time discussing baijiu with other foreigners. Sometimes I hear a version of the same question I heard at Tangjiuhui: “Baijiu? You don’t actually like the stuff, do you?” But as often as I hear from the skeptics, I hear from foreigners who love baijiu twice as often. Never before have the drinkers of the world been readier for baijiu. Baijiu is at a critical moment in its development. As China begins to play an ever more prominent role on the international stage, it has a real opportunity to share the best of Chinese culture with a global audience. To accomplish this, it will need high-quality products that can be exported to foreign shores, and baijiu should be foremost among them. If only the Chinese drink baijiu—even if there are enough of them to make it the bestselling global spirit—it will never be a truly international spirit. But baijiu is ready to go overseas and those of us who love it all have an important role to play in getting it there a little faster. It is up to us to educate the baijiu drinkers of tomorrow, whether they live in Shanghai or San Francisco. Spread the word high and low: Baijiu is coming.

MOUTAI Magazine

M UTAI on the World Map 茅台在全球

During the meeting, Yuan Renguo also visited Zhou Wenzhong, SecretaryGeneral of BFA as well as Long Yongtu, member of BFA's Council of Advisors, and introduced the recent operations of Moutai Group to them. Zhou Wenzhong pointed out that Moutai was a brand of the Chinese nation and BFA's development needed the support from enterprises like Moutai Group. (Reported and photographed by Chen Zhao)

習近平親切接見袁仁國等中外企業家代表博鰲亞洲論壇 2015 年年會於 3 月 28 日上午在中國海南省博鰲開幕，中國國家主席習近平出席開幕式並發表題為《邁向命運共同體開創亞洲新未來》的主旨演講。作為論壇的鑽石級合作夥伴，茅台集團公司及貴州茅台酒股份有限公司董事長袁仁國應邀出席盛會。3 月 29 日，習近平主席接見了袁仁國等 40 名中外企

Xi Jinping Cordially Met with Entrepreneur Representatives

UPSIDE:

Xi Jinping discussed with Yuan

Renguo and other entrepreneurs 習近平與袁仁國等 40 名中外企業家座談

On March 28, the Boao Forum for Asia (BFA) Annual Conference 2015 was held in Boao, Hainan. President Xi Jinping attended the opening ceremony and delivered a keynote speech titled "Towards a Community of Common Destiny and a New Future for Asia". As a diamond partner of the Forum, Mr. Yuan Renguo, Chairman of Moutai Group and Kweichow Moutai Co., Ltd. was invited to attend the event. On March 29, President Xi Jinping met and held discussions with Yuan Renguo and other 39 Chinese and foreign entrepreneurs. Commenting on the cooperation between Moutai and BFA, Yuan Renguo said: "Selecting Moutai as a diamond sponsor for eight consecutive years, BFA not only builds a broad stage for Moutai to go abroad, but also brings many enlightening thought storms that prompt Moutai to think deeper. The key to persuading overseas consumers to taste Moutai lies in the mutual integration between Chinese culture and Western culture. Moutai needs to take advantage of the BFA high-level platform to share with other enterprises its experience in decades' sustained growth and learn the way of common development from the first-class enterprises of the world."

MOUTAI Magazine

業家並舉行座談。「茅台連續八年成為博鰲亞洲論壇鑽石級贊助商，給茅台搭建了一個走向世界的廣闊舞台，更帶來了一次次富有啟迪的思想風暴，使茅台進行更深入的思考。說服海外消費者拿起杯子品嚐茅台，關鍵在於中國文化同西方文化相融合和包容的問題，茅台需要借助博鰲亞洲論壇這樣的高層次平台，與其他企業分享國酒茅台數十年持續發展的經驗，並學習世界一流企業的共同發展之道。」袁仁國如此評價茅台與博鰲論壇間的合作。會議期間，袁仁國還分別拜訪了博鰲亞洲論壇秘書長周文重，博鰲亞洲論壇諮詢委員會委員龍永圖，並向他們介紹了茅台集團公司近期的生產經營情況。周文重表示，茅台是中華民族的品牌，博鰲亞洲論壇的發展離不開像茅台集團這樣的企業的支持。（陳朝攝影報導）

M UTAI on the world map

版報導（英文版），共刊發外籍記者撰寫的茅台文章 20 餘篇。同時「外國記者眼中的茅台」系列文章中文版也陸續在《經濟觀察報》《中國青年報》《京華時報》《南方週末》等 100 多家省級及全國性主流報紙雜誌，以及搜狐網、新浪網、騰訊網、鳳凰網等 267 家網絡媒體刊發，各類新聞報導共計 2600 多篇次，其閱讀率、轉發率、關注度不斷上升。（尚鈺淞攝影報導）

Hong Kong Celebrities Celebrated Moutai's 100th Anniversary of Winning Gold Prize UPSIDE: Yuan Renguo was interviewed by domestic and foreign media. 中外媒體對袁仁國進行專訪

Yuan Renguo Interviewed by Media On March 25, with the full support of "China Daily" and All-China Journalists Association, a group of reporters including John Lydon, winner of "Pulitzer Prize" (journalism's top honor) visited Moutai Town and interviewed Yuan Renguo, Chairman of Moutai Group and Kweichow Moutai Co., Ltd.. This was the last stop of Moutai Group's interview trilogy activities titled "Moutai in Foreign Reporters' Eyes". In the interview, Yuan Renguo briefly introduced to Chinese and foreign reporters Moutai's traditional technique, history, culture, marketing concept, as well as social responsibility, and answered the questions raised by reporters. Recently, reporters from such countries as the United States, Britain, Singapore, India, and Australia had carried out a series of visits and interviews in Moutai Town, published eight full-page reports (English version) about Moutai on "China Daily", with more than 20 Moutai articles written by foreign reporters. At the same time, a series of articles (Chinese version) from "Moutai in Foreign Reporters' Eyes" were also published one after another on more than 100 provincial and national mainstream newspapers and magazines such as "Economic Observer", "China Youth Daily", "Beijing Times", and "Southern Weekly", as well as on 267 online media such as Sohu, Sina, Tencent, and ifeng.com. A total of more than 2600 news and reports were published and their reading rate, forwarding rate, and attraction kept rising. (Reported and photographed by Shang Yusong)

Recently, Hong Kong Moutai Club Limited held the "Hong Kong Night" activity at hotel InterContinental Hong Kong to celebrate Moutai's 100th anniversary of winning the gold prize. Yuan Renguo (Chairman of Moutai Group and Kweichow Moutai Co., Ltd.), Ji Youming (Chairman of Hong Kong Moutai Club Limited), He Jing (Director of the LOCPG HK Kowloon Sub-Office), as well as other political, business, and cultural elites attended the celebration. In the speech, Yuan Renguo extended his sincere gratitude to all guests for continuously caring and supporting Moutai. Yuan Renguo said, "With the care and support from all sectors of society, Hong Kong Moutai Club Limited has greatly promoted the spread of Moutai liquor culture in Hong Kong. Moutai Group will review carefully its glorious journey of growth and further enhance the domestic and international influence of national brand, driving Moutai to continuously advance with China's development, national revitalization, and times, constantly bursting with new vitality, and becoming the most influential liquor enterprise of the world." (Reported and photographed by Chen Chen)

袁仁國接受中外媒體採訪 3 月 25 日，在《中國日報》和中國記協的鼎力支持下，全球新聞最高獎項「普利策新聞獎」獲得者 John Lydon 等一行記者到茅台對茅

UPSIDE: The "Hong Kong Night" activity 茅台金獎百年「香江之夜」活動現場

台集團公司及貴州茅台酒股份有限公司董事長袁仁國進行專訪。這也是茅台集團公司組織的「外國記者眼中的茅台」三部曲採訪系列活動的最後一站。袁仁國在受訪時就茅台酒的傳統工藝、歷史文化、營銷理念、社會責任等，向中外媒體記者作了簡要介紹，並現場回答了記者們提出的問題。此前，來自美國、英國、新加坡、印度、澳大利亞等國的記者到茅台進行了一系列參觀採訪，目前已在《中國日報》刊發 8 個茅台整

香港名流齊聚共祝茅台金獎百年近日，香港國酒茅台之友協會在香港洲際酒店舉辦茅台金獎百年「香江之夜」活動，茅台集團公司及貴州茅台酒股份有限公司董事長袁仁國，香港茅台之友協會會長計佑銘、香港中聯辦九龍工作部部長何靖等政界、商界、文化界精英人士參加慶典活動。

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袁仁國在致辭中對各位嘉賓長期給予茅台的大力關心和支持表示衷心的感謝。袁仁國說，香港國酒茅台之友協會在社會各界的關心和

袁仁國榮登中國酒業風雲榜年度人物

支持下，極大地推動了香港地區茅台酒文化的傳播。茅台集團將認真

3 月 26 日，由《新食品》雜誌社、糖酒快訊網、鳳凰網聯合主辦的

回顧成長的光輝歷程，進一步提升民族品牌國際國內影響力，讓茅台

「守正·至聖——第 15 屆中國酒業風雲榜頒獎盛典」在中國四川省成都

隨著中華歷史的發展、民族的振興不斷與時俱進，不斷煥發勃勃生機，

市舉行。茅台集團公司及貴州茅台酒股份有限公司董事長袁仁國榮登

成為最具國際影響力的白酒企業。（陳晨攝影報導）

年度人物榜首。此次提名袁仁國為「中國酒業風雲榜年度人物」的理由為：「茅台

Moutai Won the People's Corporate Social Responsibility Award Recently, sponsored by People.cn and themed "Reform • Responsibility", the Ninth People's Corporate Social Responsibility Award ceremony was held in Beijing, China. Moutai Group's "Moutai • National Pillar" Hope Project Dream Realizing Action was awarded the most intriguing case of the year. It is reported that "People's Corporate Social Responsibility Award" is not only the earliest and most influential Internet evaluation for corporate social responsibility award, but also considered an important benchmark for measuring the social responsibilities fulfilled by Chinese enterprises. Since 2006, People.cn has held the "People's Corporate Social Responsibility Award" evaluations for nine consecutive years. Enterprises receiving this award are all models of actively fulfilling corporate social responsibilities in new business environment. (Ye Yuanming)

茅台榮膺人民企業社會責任獎近日，由中國人民網主辦的、以「改革·擔當·守責」為主題的第九屆人民企業社會責任獎頒獎典禮在中國北京舉辦。茅台集團公司「國酒茅台·國之棟樑」希望工程圓夢行動案例榮獲年度最受關注案例獎。據悉，「人民企業社會責任獎」不僅是互聯網最早、最具影響力的關於社會企業責任獎的評選，同時也被視為衡量中國企業履行社會責任的重要標尺。自 2006 年以來，人民網已經連續九年舉辦「人民企業社會責任獎」評選活動，獲此殊榮的企業都是新商業環境下積極履行企

在調整時期之下的穩健，2014 年針對飛天茅台三次任務與價格的調整等一系列動作，使得茅台在袁仁國的帶領下，逆勢勇進，真正扛起了『國酒』的旗號，為下滑中的白酒行業撐起一片天」。（葉遠鳴）

Moutai Listed in "Top 100 Most Valuable Chinese Brands 2015" Recently, in the "Top 100 Most Valuable Chinese Brands 2015" (BrandZ Top 100) released by a market research institution Millward Brown, with a brand value of 7.608 billion USD, Moutai ranked first in the alcohol category.

茅台入選 2015 年最具價值品牌 100 強近日，市場調研機構華通明略 (Millward Brown) 發佈了 2015 年度「最具價值中國品牌 100 強」(BrandZ Top 100)，國酒茅台以 76.08 億

業社會責任的楷模。（葉遠鳴）

美元的品牌價值，位列白酒類第一。

Yuan Renguo Selected as "Person of the Year" in Chinese Alcohol Industry

Moutai Listed in "2015 Top 100 Listed Companies Most Respected by Investors"

On March 26, jointly organized by the "New Food" magazine, TJKX. com, and ifeng.com, the "15th Chinese Alcohol Industry Awards Ceremony" was held in Chengdu, Sichuan Province, China. Yuan Renguo, Chairman of Moutai Group and Kweichow Moutai Co., Ltd. topped the list of "Person of the Year". The reason of nominating Yuan Renguo was as follows: "Moutai remained steady during the liquor industry adjustment. Led by Yuan Renguo, Moutai took such actions as adjusting the tasks and prices of Feitian Moutai for three times in 2014, bravely advanced in adversity, held high the banner of "national liquor", and found a way out for the declining liquor industry." (Ye Yuanming)

Recently, after more than three months and various evaluation stages such as self-recommendation, recommendation, selection, and real name vote, the "2015 Top 100 Listed Companies Most Respected by Investors" were released and Kweichow Moutai Co., Ltd. won the title of "Listed Company Most Respected by Investors". Attracting much attention from investors and listed companies, this event was approved by CSRC (China Securities Regulatory Commission) and jointly held by CAPCO (China Association for Public Companies), SIPF (China Securities Investor Protection Funds), SAC (Securities Association of China), and AMAC (Asset Management Association of China). (Ye Yuanming)

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M UTAI on the world map

茅台榮膺 2015 年最受投資者尊重的上市公司近日，在歷經 3 個多月，經自薦、推薦、篩選、實名投票等各個環節的評選後，「最受投資者尊重的上市公司」百強榜單揭曉，貴州茅台酒股份有限公司榮膺 2015 年「最受投資者尊重的上市公司」稱號。這一廣受投資者和上市公司關注的活動，是經中國證監會批准，由中國上市公司協會與投保基金公司聯合中國證券業協會、中國基金業協會共同舉辦。（葉遠鳴）

the continuously implemented strategy of "strengthening enterprise through talent", Moutai Group "attracted and retained talents through emotion, reward, career advancement, and environment" as well as personnel development, excellent performance management, and enterprise culture construction, continuously supported public welfare undertakings, and won the title of "China Best Employer 2014".

茅台榮獲「2014 中國年度最佳僱主」稱號近日，智聯招聘聯合中國北京大學社會責任與僱主品牌研究中心，

Moutai Won the Title of "China Best Employer 2014" Recently, Zhaopin.com and Peking University's Corporate Social Responsibility and Employer Brand Communication Research Center jointly released the "2014 China Top 100 Best Employers". With

正式對外發佈了被譽為人力資源行業「奧斯卡」獎的「2014 中國年度最佳僱主」百強榜。茅台集團公司憑藉「人才強企」戰略的持續實施和「感情留人、待遇留人、事業留人、環境留人」的用人理念，符合公司戰略發展需求的人才梯隊建設以及卓越績效管理和學習型企業的文化建設，為內部員工提供的關愛、成長的工作環境以及對社會公益事業的持續支持，一舉奪得「2014 中國年度最佳僱主」稱號。

Moutai is the Maserati (Hong Kong) event's only designated liquor sponsor 茅台作為活動唯一指定白酒贊助商參與了香港瑪莎拉蒂慶祝活

Moutai Tasting at Hong Kong Maserati Event Garnered Positive Feedback On December 14, 2014, over 100 Hong Kong Maserati owners gathered at the Italian luxury car brand's Repulse Bay showroom for its 100th Anniversary and the launch of the Hong Kong Maserati Owners Club. As the event's only designated liquor sponsor, Moutai offered tasting for guests, and was met with positive feedback. Calvin Ma, president of the club, said: "Good cars and good wine go hand-in-hand, that's why we specifically set up wine and liquor tasting tables. There surely have been other Chinese liquor brands that have expressed their hope to collaborate with us, but Moutai is our first choice." He added that Hong Kong has approximately 1,600 Maserati owners and around 100 of them had already signed up to be members of the club at the event. He hoped that the remaining number of Maserati owners would become a part of the family soon. The club plans on organizing a series of Maserati-themed driving and charity events. Meanwhile,

club members are entitled to a number of privileges and benefits, including 20% off when they purchase Moutai.

茅台贊助香港瑪莎拉蒂活動試飲反響積極 2014 年 12 月 14 日，100 多位香港瑪莎拉蒂車主齊聚其在淺水灣的展示廳，慶祝意大利名車品牌瑪莎拉蒂 100 周年以及香港瑪莎拉蒂車主俱樂部的成立。茅台作為活動唯一指定白酒贊助商參與了慶祝活動，並受到車主們的歡迎。俱樂部會長馬仁威說道：「香車和美酒是很相配的，所以我們特意安排了幾張葡萄酒和白酒的試飲台，大家的反應都很好。當然有其他的白酒品牌想與我們合作，但是茅台作為國酒肯定是我們的第一選擇。」他表示當日的活動非常成功，已吸引了 100 多名會員，希望香港的 1,600 多名瑪莎拉蒂車主能在今後陸續加入這個大家庭。俱樂部將舉辦一系列以瑪莎拉蒂為主題的駕車和慈善活動，而俱樂部成員們也能享受一系列特權，包括購買茅台的八折優惠。

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The opening ceremony of Lei Yue Mun China Moutai Seafood Festival 2015 2015 香港鯉魚門國酒茅台海鮮節開幕典禮

Moutai Became the Sole Sponsor of Lei Yue Mun Seafood Festival 2015 Lei Yue Mun on Hong Kong Kowloon side is the most famous place among Hong Kong seafood districts. This village has a-150-year history. From the 1960s, it began to gain a reputation as a good spot for alfresco seafood dining. The first Lei Yue Mun Seafood Festival was launched in 1992, which was very successful in promoting business so the event is held annually ever after. China Kweichow Moutai honorably presents Lei Yue Mun Seafood Festival 2015 offering a platform for residents and tourists tasting fabulous food and Baijiu. HK SAR Financial Secretary Mr. Tsang Chun-wah, Legislative Council Hon Paul Tse, YIU Si-wing, WONG Kwok-kin attended the opening. This is Mr. Tsang Chun-wah’s second time to the festival. An Huailun, General Manager of Guizhou Moutai Chiew I/E Co., Ltd., and Xu Jianfang, Manager of China Kweichow Moutai Trade (Hong Kong) Co. Ltd. also attended the opening. The official sponsor, Kweichow Moutai, has specially prepared a variety of stunning programmes this year including lion dance and kylin dance. In addition, Moutai designs many liquor cabinets to display some valuable Moutai. 2015 is Moutai's 100th anniversary of winning the gold prize at the Panama Pacific International Exposition which transcends the realm of a gourmet visiting place to glittering pearl along the seaside of Kowloon East.

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Xu Jianfang, Manager of China Kweichow Moutai Trade (Hong Kong) Co. Ltd gave a speech 中國貴州茅台酒廠貿易（香港）有限公司經理徐建方致辭

國酒茅台獨家贊助 2015 香港鯉魚門海鮮節鯉魚門位於香港九龍半島的東南面，已有逾 150 年歷史，逐漸發展成為馳名海內外的海鮮美食區。1992 年起，鯉魚門開始舉辦海鮮節，成功推動了當地經濟的發展。2015 年，國酒茅台獨家贊助鯉魚門海鮮節，讓大家在這個歡樂的節日裡，既能品嚐佳餚，也能以酒會友。鯉魚門海鮮節歷來是香港的美食盛事，今年出席開幕的有香港財政司司長曾俊華，香港立法會議員謝偉俊、姚思榮、黃國建。曾俊華已是第二次出席鯉魚門海鮮節。貴州茅台酒進出口有限責任公司總經理安懷倫、中國貴州茅台酒廠貿易（香港）有限公司經理徐建方均出席了開幕。今年的鯉魚門海鮮節期間，主辦單位為遊客準備了豐富多采的節目，在開幕當天，除了欣賞具中國傳統的舞獅表演外，民眾可以在餐廳裡各個顯要位置欣賞到年份珍貴的茅台酒被陳列在精緻的酒櫃中，展出的酒瓶在市面上並不多見，適逢今年是茅台金獎百年之時，與這裡的古樸風情相得益彰，也成為香港九龍東區一顆璀璨的寶石。 (TEXT, IMAGE/ 圖、文：Jocelyn Liao)

Intoxicated Paris 醉巴黎

Moutai France's Oriental Liquor Tasting Activity 茅台法國春夏東方品酒會 TEXT, IMAGE / 圖、文：Wang Jiangyue

n 2014, Moutai France held a Moutai media tasting activity at Peninsula Paris. In early summer this year, we start again for the Museum of the Asian Arts of Paris, see the chief mixologists from 20 various trendy bars of Paris. They will also be future trendsetters of this liquor craze and liquor cocktail craze in Paris or even France. Founded in 1898, the Cernuschi Museum is one of the oldest museums of Paris, the 2nd most important Asian art museum in France, and the 5th most important Chinese art museum in Europe. Most particularly, many of the museum's collections are the liquor utensils from various dynasties of China. We briefly introduce the development of the Chinese liquor and Moutai’s history by comparing with European or French liquor culture. We demonstrate more vividly the long history and profound accumulation of Moutai liquor, a model of national liquor. The

activity also launches the punch bowl Moutai cocktail. Using green ceramic cups and a huge ceramic bowl with classical Oriental charm, the Moutai cocktail is demonstrated in a unique, restrained yet passionate way.

澱。獨具東方特色的 punch bowl 茅台雞尾酒也在本次呈現，選用的是有東方古典韻味的陶瓷海碗。

2014 年巴黎秋季，茅台法國於巴黎半島酒店曾舉辦過茅台酒媒體品鑒會。今年春夏，茅台法國再出發，於巴黎亞洲藝術博物館舉辦品酒會，特邀巴黎 20 多家最具代表性的酒吧首席調酒師及幾家星級酒店的首席侍酒師參與，他們將是未來巴黎甚至法國最先趕上白酒以及白酒雞尾酒潮流的人。 1898 年落成的賽努奇亞洲藝術博物館是巴黎最古老的博物館之一，也是法國第二大亞洲藝術博物館，歐洲第五大中國藝術博物館。特別之處在於在其諸多館藏中有不少中國各朝代酒器具。通過對中國酒文化和茅台酒將近兩千年歷史發展的介紹，對比同時期歐洲或法國的酒文化，展示出茅台作為國酒典範的歷史積

Kweichow Moutai Cooperated with Groupe Partouche On April 20, Domaine de Lyon Vert owned by Groupe Partouche held a very unusual Moutai musical evening. About 100 Chinese and French distinguished guests presented on this artistically decorated banquet hall were listening to Mr. Marco's songs while tasting Moutai. During the banquet, Wu Bin, Chinese Market Consultant of Groupe Partouche and Herve Tan, Moutai's French general representative announced that both sides were starting a comprehensive strategic cooperation. Gambling has boasted a long history and tradition since the Na-

強強聯手貴州茅台與法國百多士集團簽定戰略合作

poleonic era and has been a preferred entertainment and social item for high-end consumers. Groupe Partouche is a leading European gambling enterprise while Kweichow Moutai, as China's national liquor, has become the world's liquor giant and a luxury brand. Groupe Partouche's sales network not only can quickly promote the Chinese liquor culture among the French high-end consumers through cocktails that are easily accepted, but also enables more and more local Chinese consumers and Chinese visitors in France to enjoy pure Moutai cocktails and classical Moutai liquor. Through this cooperation, both groups hoped to actively promote Sino-French cultural exchanges, use Moutai liquor to promote better understanding of each other's culture, and enhance the significance of strategic cooperation.

高端消費人士的首選娛樂項目和社交場所。百多士集團是歐洲博彩業的龍頭企業，而貴州茅台作為中國國酒，現已成為全球酒業巨頭和奢

2015 年 4 月 20 日，法國百多士集團（Groupe Partouche）旗下的

侈品品牌。通過百多士的銷售網路，不僅能把中國的酒文化通過雞尾

里昂綠色莊園（Domaine de Lyon Vert）舉辦了一場不同尋常的茅台音

酒等法國客戶容易接受的方式迅速推廣到法國的高端消費人群，也可

樂晚會 : 近百名中法嘉賓相聚在這個裝飾風藝術的莊園晚宴大廳，一邊

讓越來越多的法國本地中國客戶和來自世界各地的中國遊客都可以品

品嚐茅台佳釀，一邊欣賞法國情歌王子 Marco 先生的演唱。同時，百

嚐到純正的茅台雞尾酒和經典款白酒。

多士集團中國市場顧問吳斌和貴州茅台法國總代表 Herve Tan 宣佈， 2015 年雙方開始全面戰略合作。博彩娛樂自法國拿破崙時代以來有著悠久歷史和傳統，也一直是

兩家集團都希望能通過這種合作，積極促進中法文化交流，從而讓中法民眾通過茅台酒增進對雙方文化的認識和瞭解，昇華戰略合作的意義。

酒中新貴，點滴皆珍 A New Star Precious to the Last Drop 豪华金 / 豪华绛

Luxury Gold / Luxury Brown