MAGNIFISSANCE by Forty One Madison

Your Magnificent Renaissance

A SHEN YUN DANCER’S JOURNEY TO DISCOVER INNER BEAUTY 神韻藝術團舞蹈演員連旭專訪

A LIFE OF BEAUTY— SIR ROGER SCRUTON 美之鬥士羅傑．斯克魯頓爵士

BRINGING BACK THE LOST ART OF PILGRIMAGES 重走朝聖路一場精神與文化的旅行

REFRESHING FLAVOURS FOR SPRING 春日食鮮

WHY BEAUTY MATTERS

THE ROLE OF BEAUTY IN SHAPING OUR LIVES

美的意義

ISSUE 105 CAN

B® CHANEL S. de R.L. ©CHANEL, Inc. CHANEL ®

Vancouver (604) 682-0522

Calgary (403) 232-6240

Toronto Bloor (416) 964-1085

Toronto Flagship (416) 925-2577

Toronto Yorkdale (416) 784-0990

Montreal (514) 842-7318

H O LT R E N FR E W 6 4 6 520 2830 FE N D I .CO M

AD Beatrice Rossetti - Photo Federico Cedrone

CONTENTS | ISSUE 105

Poetry of Objects 23 Bamboo Braiding A Kyoto artist resurrects the ancient Japanese art of bamboo braiding

24 In the Bag

Two of Louis Vuitton’s heritage handbag styles are infused with fresh colours and shapes for a new generation

25 Think Inside the Box Traditional craftsmanship meets modern technique in Tanemura Woodworks’ kumiko LED lighting boxes

26 The Eyes Have It Precious black truffle extract works miracles

Legacy in the Making 30 Dedication to Detail How Hand & Lock keeps the art of embroidery alive

27 Venetian Treasure One of Gabrielle Chanel’s favourite cities gives rise to the Escale à Venise high jewellery collection

28 Gateway to the Orient Power design duo Zelouf & Bell transform a custom cocktail cabinet into a museum-worthy flight of fusion fancy

38 Silk Perfection For over 400 years, one company in Japan has maintained the unparalleled traditions of yuzen dyeing techniques

46 Queens of Their Castle A chateau in Loire Valley plays host to CHANEL’s Metiers d’art 2020/21 collection

Arts and Renaissance 53 A Life of Beauty In his writings and the way he lived his life, Sir Roger Scruton defined beauty

64 Timeless Beauty Painter Waike Tian reveals the deeper beauty in classical Chinese ink paintings

Explore 73

Bringing Back the Pilgrimage Sacred routes in Europe and around the world are on the rebound thanks to a new breed of devotees

Being Beautiful

A top classical Chinese dancer’s journey to discover her inner beauty

Design for Beauty 雅物•流韻

97 A Town Built by Beauty The Italian hamlet of Solomeo is more than Brunello Cucinelli’s home, it’s his masterpiece

23 京都竹細工古老的日本竹編技藝在一位藝術家手中煥發新生

Conversations on the Meaning of Beauty

24 經典光彩

109 What Is Beauty?

25 燈內玄奇

路易威登兩款傳統風格手袋以艷麗色彩迎接春天到來

打開一盞燈盒，讓美麗的圖案和交錯的光影在屋內投下歷史的痕跡

Understanding the purpose and value of beauty: a discussion with three professionals

26 歲月無痕

Eating Well

蘊含珍貴黑松露提取物，雅詩蘭黛全新眼部精華

27 威尼斯寶藏

117 Seasonal Gourmet for Spring 120

Fresh Mushroom and Ham Soup

122

Fragrant Pomelo Scallop Cup

124

Five-Colour Stripes

126

Scalded Chinese Little Greens

128

Fried Steamed Chicken Floss

香奈兒推出全新Escale à Venise臻品珠寶系列，以七十件光彩奪目的珠寶向歷史文化名城——水城威尼斯致敬

28 鳥居酒櫃一款充滿東方美學意象的和風酒櫃於愛爾蘭優雅誕生

傳承•匠心 30 針線下的英倫風采

117

在英國，「刺繡」是一道最精緻華麗的妝點總是會出現在最盛大的場合

38 盡染芳華提起滿懷詩意的畫筆在霓裳華服之上描繪下古老的至美情意走進日本友禪染技藝

46 時尚界的手工藝復興香奈兒2020/21向高級手工坊致敬展示會這場秀代表著法國時尚界的驕傲是頂級品牌與傳統工匠之間的深情對話

MAXMARA.COM PACifiC CentRe 604 257 2370 14th & GRAnville 604 257 2350 hOlt RenfReW vAnCOuveR 604 681 3121 (liCenSeeS MAX MARA)

Features

MAXMARA.COM PACifiC CentRe 604 257 2370 14th & GRAnville 604 257 2350 hOlt RenfReW vAnCOuveR 604 681 3121 (liCenSeeS MAX MARA)

CONTENTS | ISSUE 105

Your Magnificent Renaissance

Your Magnificent Renaissance A SHEN YUN DANCER’S JOURNEY TO DISCOVER INNER BEAUTY 神韻藝術團舞蹈演員連旭專訪

EXECUTIVE EDITOR-IN-CHIEF

BRINGING BACK THE LOST ART OF PILGRIMAGES

SENIOR FASHION EDITOR

REFRESHING FLAVOURS FOR SPRING 春日食鮮

Alice Lovett

ART DIRECTOR ART

ISSUE 105 CAN

Tiana Wong

Rui Chen

CHINESE EDITOR COPY CHIEF

Chanjuan Li

Aiqin Zang

DIGITAL MARKETING DIRECTOR

THE ROLE OF BEAUTY IN SHAPING OUR LIVES

美的意義

Echo Li

Jared Pear man

EXECUTIVE EDITOR

重走朝聖路一場精神與文化的旅行

WHY BEAUTY MATTERS

Wendy Guo

PUBLISHER & EDITOR-IN-CHIEF

A LIFE OF BEAUTY— SIR ROGER SCRUTON 美之鬥士羅傑．斯克魯頓爵士

HEAD TECHNICIAN

SOCIAL MEDIA MANAGER DIGITAL ART MANAGER DISTRIBUTION ASSISTANTS

Jennifer Wong

Alan Zhang Peggy Liu Jing Liu

Angela Deng, James Huang

CONTRIBUTING WRITERS

Courtney John, James Dolan, J.H. White, Kate Missine

73 藝術•復興

設計•生活

53 美之鬥士

97 中世紀小鎮中的時尚家園

許多人都在追求美卻很少有人為了捍衛美而奮鬥了一生記英國著名學者羅傑．斯克魯頓爵士

64 丹青不渝一筆一墨，勾勒大千世界一心一意，描畫道中妙境畫家天外客眼中的中國畫之美

TRANSLATION

PEOPLE

MAGNIFISSANCE is published 6 times a year.

Lan Sha

ISSUE 105 Publication date: March 1, 2021

Cherry Chen

HOME DÉCOR

HOMES AND REAL ESTATE

Fei Ying

www.magnifissance.com

在Brunello Cucinelli的精心呵護和營造下，意大利小鎮Solomeo成為了一處最滋養身心的「時尚家園」

FASHION

Tiana Wang FOOD

COVER STORY

訪談•關於美

Xiao Tian

Being Beautiful

109 關於美傾聽三位不同領域的專業人士對美各自的見解

ADVERTISING (604) 754-8809

A top classical Chinese dancer’s journey

Email: info@magnifissance.com

to discover her inner beauty

悠遊•探索 73 重走朝聖路這是一場精神與文化的旅行沿著這條路，你會找到心靈的平靜也能得到意外的收穫

品位•人物 87 神韻之美神韻藝術團領舞演員連旭訪談，關於感受美

賞味•食養 117 春日食鮮竹外桃花三兩枝春江水暖鴨先知蔞蒿滿地蘆芽短正是河豚欲上時一首七言絕句，寥寥數筆勾勒出一幅生機勃勃的早春景象也勾起了人們對春季美食的期許本期《品位》廚房為您奉上鮮菌火腿湯，香柚瑤柱杯清拌五色縧，白灼雞毛菜煎蒸雞松釀五道鮮美菜餚

Wei Tao

Photo by Binggan Zhang

《品位》雜誌一年出版6期

Subscriber Services (416) 838-2580 magnifissance.com/subscription One year subscription (6 issues) $90 (Includes postage and handling. HST included)

第105期

MAGNIFISSANCE Tel: (604) 754-8809

封面故事

All rights reserved. No part of this magazine may be reproduced in any for m or by any means, whether electronic, mechanical or photographic, without written per mission of the publisher. Every effort has been made to ensure that the infor mation contained in this publication is accurate and complete on publication date. The publisher cannot be held liable for errors or omissions.

神韻之美關於感受美，神韻藝術團可以帶給您一場最深切、最難忘的體驗。

Printed in Canada

加拿大第一本中、英雙語高端雜誌

探索東、西方永恆之美關於傳承，設計，生活的藝術

1 Year, 6 Issues, $90

2 Years, 12 Issues, $165

名字 Name 地址 Address 城市 City

省份 Province

電話 Telephone

郵編 Postal Code

郵箱 Email

簽名 Signature All amounts are in Canadian funds and include HST. Cheque*

VISA

卡號 Credit Card No.

Subscribe to Magnifissance

MASTERCARD

過期日 Expiration Date

卡上顯示姓名 Name on Card 裝入密閉信封，信封上注明訂閱雜誌。Please mail to 2425 Matheson Blvd E, 8th Fl. Toronto, ON L4W 5K4 *支票請付給 Taste of Life Culture Group

Magnifissance connects you to a world that has been mostly forgotten in our busy modern life. It’s a world where timeless beauty and traditional wisdom are celebrated, where stories of legends are told, and where life’s small happinesses are cherished.

magnifissance.com/subscription

AMEX

主編寄語

柏

拉圖曾經說過：「用心靈之眼去注視美，你會得到真正的美德的滋養，成為神明的友人。」當我們在著名英國保守派學者Roger Scruton爵士

的紀錄片《為甚麼美如此重要》中聽到這句話時，深受啟發。我們的生活離不開美，可是美到底是什麼？是一百個人心中的一百個哈姆雷特？還是一道嚴謹的黃金分割數學公式？又或許是一種感受？當我們在探詢什麼是美的時候，紛繁雜亂的答案擺在我們面前，令人無所適從。所幸我們有前輩如Roger Scruton爵士，用其一生為我們闡釋和展現美的表現和內涵。2020 年一月，Roger Scruton爵士與世長辭，本期我們以他這部紀錄片的標題作為主題，以緬懷這位可敬的人畢生追尋美的努力，也探討我們如何在前人智慧上將真正的美好注入我們生活的每一天。中國儒家主張以審美涵養道德教育，即以美儲善。看來無論在東、西方先哲眼中，有一種品質與美同在，那就是德善。本期我們採訪了來自美國神韻藝術團的舞蹈演員連旭，身為世界頂級中國古典舞演員的她用自己的親身經歷，為藝術與美德之間的聯繫做出了完美的詮釋。連旭說，中國古典舞中最精妙的韻味部份正是演員內心世界的外在表達，演員不僅需要有高超的技能、刻苦的練習，也需要對自己內心品格不斷的磨練，才能將中國古典舞中不可言說的神傳之美傳遞給臺下的觀眾。本期我們也請到中國畫畫家天外客為我們講述傳統中國畫中所體現的意境之美，從妙筆勾勒出的線條之間體味著「外師造化，中得心源」的畫中詩境；尤其中國畫中所特有的「留白」藝術，也為我們忙碌的現代生活帶來諸多啟示：我們的生活也需要一些寧靜的「留白」時刻，才能感受到天地間的美好。我們走訪了有近三百年歷史的倫敦Hand&Lock刺繡工坊，和有四百多年歷史的日本友禪染和服名店「千總」，兩者皆服務王室，十幾代的工匠至今仍保留著傳統工藝，讓我們看到美在一針一線中傳承、並不斷創造著。對美的追求離不開對歷史的探詢，有什麼比踏上那些舉世聞名的千年朝聖之路更好的方式呢？在田園詩般的河谷山巒、村莊農田間尋找曾失落的信仰，讓沿途美景洗去塵世的煩憂，讓腳步越來越輕快歡暢。如果想看到遵循美德的指引能創造出怎樣的可能，那麼意大利著名羊絨品牌創始人Brunello Cucinelli為我們做了完美的展現。我們來到品牌在意大利村莊Solomeo 修建的古堡，穿行於微風拂過，沙沙作響的葡萄園間，攀上層層斑駁的石階，當古堡的大門敞開，能看到織工們在織機前辛勤紡織，皮匠們在敲打著桌案上的活計，物品在他們的手中不僅散發著時尚的優雅，更多了些莊子的「魚之樂」的從容恬淡。也許在看完這些後，您對美究竟是什麼依然無法得到準確的定義，正如蘇格拉底所說：「美是艱難的。」尤其是十八世紀工業革命的到來，十九世紀馬克思主義的唯物主義哲學誕生之後，這個世界越來越被橫流的物慾所吞噬，美也越來越與情緒宣洩和慾望滿足撕扯不清。而我們相信真正的美會經得起時間的考驗、世事的跌宕，無論是西斯廷教堂天頂上描繪的創世紀場景，還是巴赫虔誠讚美神的交響曲，亦或是敦煌莫高窟中的壁畫和造像，這些輝煌而永恆的藝術作品好像為我們打開了某段關於天國世界的塵封記憶，為找回真正的自己打開一扇門。

Editor’s Word

n Plato’s The Symposium, the great philosopher says that

of Shen Yun, a classical Chinese dance company whose name

when beholding beauty with the eye of the mind, you can

translates as the beauty of divine beings dancing. According

“bring forth and nourish true virtue to become a friend of

to Michelle, the beauty of her performances is a reflection

God and be immortal.”

of her yun, a dancer’s inner bearing and expression. Yun is

When we heard these words in Sir Roger Scruton’s docu-

the subtlest charm of classical Chinese dance. It requires

mentary Why Beauty Matters, we felt inspired to deepen our

dancers to not only practice hard on their techniques, but

understanding of beauty and our ability to conjure beauty in

also to cultivate their inner character and spirit.

our minds as well as in the world. Scruton, a beloved British

To understand beauty, we have to journey through history,

scholar of aesthetics, sadly passed away last year, but we

and what better way than to literally walk in the footsteps

remain grateful to him for his contributions to the world’s

of our ancestors? For thousands of years, Europeans have

understanding of how important beauty truly is. In his honour,

made pilgrimages to sacred places. Nowadays, a new age of

we themed this issue Why Beauty Matters.

travellers is reviving these ancient routes. Let the beautiful

To begin cultivating our appreciation of beauty, we have to

scenery and rich history of these walks wash away your

start with the question, “What is beauty?” It seems simple, but

worries, connect you with our shared heritage, and put a

the more we delve into it, the more elusive the answer becomes.

cheerful bounce in your step.

Wear it with honor TR EN DS MAY B E F L EET IN G , BUT VALUES ARE TIMELESS.

Is beauty a mathematical formula, something related to

In order to see what’s possible if we dedicate ourselves to

the golden ratio, perhaps? Does it exist only in the eye of the

creating beauty and preserving heritage, we visit the Italian vil-

beholder? Does it arise from free expression, or from disci-

lage of Solomeo, home to Brunello Cucinelli. We walk through

We now bring you a new clothing

plined practice? The answers seem full of contradictions, yet

the rustling vineyards on the outskirts of town, climb up the

something unites everything we call beautiful. Confucius says

mottled stone steps, and reach the medieval castle that this

brand, with classic design and

beauty and goodness are one and that they are indispens-

fashion icon turned into his headquarters. When the gates

able. Plato and other philosophers similarly link these ideals.

of the castle open, we discover teams of workers weaving,

It seems clear that beauty is something we strive for and

sewing, and designing beautiful clothes with a calmness and

sharing hope and inspiration from

move towards through righteousness.

satisfaction for life that’s hard to find anywhere else today.

the world of Shen Yun. A world of

From the beginning of both Eastern and Western civiliza-

Naturally, at the end of this issue, you may still struggle to

tions, poets and philosophers have seen the experience of

define beauty because, as Socrates said, “What’s beautiful

beauty as calling us to the divine. It’s as if our souls have

is difficult.” Since the industrial revolution of the 18th century

memories of heaven’s beauty, and our beautiful experiences

and the introduction of Marxism, much of our world has been

connect us to our own divine nature.

consumed by materialistic desires, and the pursuit of beauty

Whether it’s the portrayal of God’s creation on the ceiling

has become the pursuit of indulgence. Shallow creations

of the Sistine Chapel, the symphonies of Bach praising God,

will struggle to survive through the ages, while true beauty

the ancient Buddha statues in China’s Dunhuang Grottoes,

stands the test of time.

the ink paintings of the Song Dynasty, or the inspiring places

As Sir Scruton said, “Through the pursuit of beauty, we

of worship in every culture of the world, these brilliant and

shape the world as a home, and in doing so, we both amplify

everlasting works of art all have a divine connection. They

our joys and find consolation for our sorrows. Art and music

contain the beliefs and spiritual perceptions of their creators,

shine a light of meaning on ordinary life. Through them, we

and they’re infused with gratitude for our universal Creator.

are able to confront the things that trouble us, and to find

In this issue, we interviewed principal dancer Michelle Lian

luxurious comfort. It’s our way of

compassion, beauty, and harmony. We bring you—Shen Yun Dancer.

consolation and peace in that presence.”

Spring / Summer

COLLECTION 2021 20

ShenYunDancer.com

Poetry of Objects 23–28

Bamboo Braiding 23 京都竹細工 In the Bag 24 經典光彩 Think Inside the Box 25 燈內玄奇 The Eyes Have It 26 歲月無痕 Venetian Treasure 27 威尼斯寶藏 Gateway to the Orient 28 鳥居酒櫃

Poetry of Objects: Produced by Wendy Guo English text by Kate Missine Chinese text by Zhao Wen

雅物•流韻

京都竹細工

Bamboo Braiding

古老的日本竹編技藝在藝術家手上煥發新生

A Kyoto artist resurrects the ancient Japanese art of bamboo braiding

竹是東方文化中最富意境與內涵的植物之一，與竹相關的竹編技藝，也是傳統手工藝中最豐富廣博的門類之一。在日本，竹編最興盛時據說有上百種編織方式。雖然現在越來越少人願意學習這項辛苦的技藝，小倉智惠美卻是例外。畢業於京都市立藝術大學的小倉智惠美在學生時代便愛上了竹編，她走訪傳統老匠人學習竹編手法技藝，尤其擅長叫Mutsume Ami的編織方法，將粗細不等的竹絲編織成類似雪花的六邊形圖案，呈現出蕾絲花邊般的精緻細膩。2009年，小倉智惠美創辦了竹編品牌Kyoto，以傳統京都風格為底蘊，注入了現代設計元素。「即使是現代創作，我也結合取自自然題材的傳統圖案，有牡丹、松針、月桂葉及蝴蝶。這些傳統編織法非常漂亮，我常思考如何運用它們創作美麗且實用的新作品。」小倉智惠美每天在她位於京都的工作室工作，選三至四年的竹子，剖成或粗或細的均勻長條，再進行染色和編織，每個步驟都由她親手完成。通常製作一個籃子或花瓶要三到七天，而一個精緻的手環則需五天。構想新作品會更耗時，還要經過很多實驗和失敗。「如果只是仿製傳統工藝品，它們已有固定樣式，過程相對簡單。而我會加入自己的設計，尤其當這設計的形狀是不規則的，那將平面編織變成立體物件的過程是很困難的。」一根竹子，一把竹刀，在小倉智惠美的巧思巧手下，化身精巧優雅的竹器和首飾，見證著工藝為生活帶來的美。

The strength, flexibility, and native abundance of bamboo in Japan have made it a mainstay for producing everything from furniture to textiles since prehistoric times. It also has a long history as an important crafting medium. By using a fine bamboo thread to weave elaborate patterns, bamboo braiding creates an effect reminiscent of lace. Bamboo braiding is an antique art with hundreds of variants. Only a handful of dedicated young artisans carry on the tradition today, one of whom is Kyoto’s Chiemi Ogura. Ogura specializes in a method of braiding called mutsume ami, which uses hexagonal patterns similar to rustic basket weaving. The award-winning artist is known for her delicate floral and botanical motifs that come out in her tableware and jewellery pieces. Her designs often include peonies, bay leaves, and pine needles, with every step completed by hand—from cutting the live stalks into strips to the intricate braiding process, and then dyeing the completed pieces. A basket or vase typically takes three to five days to make, while some of the more complex jewellery can take upwards of seven days. Experimenting with innovative techniques and contemporary designs—a departure from standard time-honed methods—is particularly time consuming. For Ogura, the effort is worth it. She takes pride in keeping her heritage alive, and bamboo’s highly sustainable nature feeds her environmental consciousness.

Think Inside the Box In the Bag Two of Louis Vuitton’s heritage handbag styles are infused with fresh colours and shapes for a new generation Since producing its first trunk in 1858, Louis Vuitton has never wavered from its commitment to quality. To this day, each of its iconic luggage and leather goods is made by hand with the same distinguishing detail and signature hardware that have set the brand apart for over a century. In the spirit of continuing innovation, the house constantly evolves its heritage designs for a changing world. In a spin on the popular 1998 design, the newest version of the structured LV Bleecker Box keeps its trademark S-lock and versatile top-handle style in a bold colour-blocked version. Meanwhile, the ladylike Rose des Vents handbag gets dainty with a petite mini version, with a nod to Vuitton’s classic padlock and keybell details. Both bags are crafted from exotic crocodilian leather in vibrant hues and come with a removable strap for flexible hand or cross-body wear.

經典光彩路易威登兩款傳統風格手袋以艷麗色彩迎接春天的到來

Traditional craftsmanship meets modern technique in Tanemura Woodworks’ kumiko LED lighting boxes Two ancient arts come together in one uniquely beautiful artifact with the kumiko hikaribako, or light box. Part wooden ornament, part origami lantern, these glowing boxes by Japan’s Tanemura Woodworks are based on the antique Japanese woodworking style kumiko, which involves assembling small wooden pieces into geometric patterns without the use of glue or nails. The unique method first emerged during the Asuka period, over a thousand years ago. Its symmetrical geometric patterns inlaid with panels require extreme precision in every step, needing to be accurate to within 0.1mm to achieve sturdiness and exact symmetry. Carrying on the ancient craft for a new generation, hikaribako boxes combine the wooden kumiko design with colourful panels made with the Kyoto paper technique kyo-karakami. A battery-operated LED light shines inside the box, illuminating the panels’ brilliant colours and motifs while casting a vibrant play of light and shadow on the walls.

燈內玄奇打開一盞燈盒，讓美麗的圖案和交錯的光影在屋內投下歷史的痕跡由位於日本大阪Tanemura Woodworks木工坊製作的LED燈盒(Hikaribako)，靈感源自古時紙燈籠，其中融合了日本「組子細工」和「京唐紙」兩種古老工藝。組子細工，日語稱Kumiko，源自中國古代的窗欞，傳到日本已有上千年

自1858年製作出第一個旅行箱以來，路易威登始終堅守對品質的承

的歷史。窗欞裏橫豎交錯的木條，名叫窗格，也叫組子。組子以一種榫接工藝

諾。其箱包和手袋一直採用手工打造，並不斷創新和升級各種細節和專利

排列出千變萬化的複雜圖案，過程中不用一釘一鉚，便是組子細工。這種工藝

設計。今年，路易威登兩款經典手袋推出新品，除了醒目的色彩之外，時

要求精度極高，尺寸誤差要精確在0.1毫米以內，才可保證物件組裝完成後的

尚又堅實的鱷魚皮也成為重要元素。

對稱和堅固性。「京唐紙」仿自中國的唐紙，在日本同樣有上千年歷史。京唐

在1998年推出並大放異彩的Bleecker Box方盒形手袋，是路易威登標

紙的製作採用類似木版印刷的方式，以貝殼粉、印度紅、群青、黃土、墨和雲

誌性旅行箱的縮小版，同時保留了專利S-lock鎖扣和多功能手柄，此次以

母粉等顏料調和後，塗抹在雕刻有圖案的木板上，經人工壓按形成紋樣。有

紅、藍、綠三種拼色登場，時尚亮麗。淑女風格的Rose des Vents手袋則推

一種獨特的不均勻感和古樸之美，在日本多用於室內的壁紙和屏風。

出了迷妳款，更顯的精緻可愛，耀眼的黃充滿了青春氣息，同時配有路易威登經典的掛鎖裝飾和鑰匙釦帶。

Tanemura Woodworks製作的燈盒以組子細工為框架，覆上印製精美、色彩艷麗的京唐紙。富有吉祥寓意的圖案在LED燈光映照下，泛著獨特的歷史風韻。

EBLOUISSANTE transformable necklace and earrings in pink gold, platinum, and diamonds.

Venetian Treasure One of Gabrielle Chanel’s favourite cities gives rise to the Escale à Venise high jewellery collection

The Eyes Have It

With its romantic canals and beauty at every turn, Venice instantly captures the heart of anyone who experiences it, and Gabrielle Chanel certainly fell under the city’s spell more than once. Now CHANEL’s new Escale à Venise high jewellery collection presents a tribute to Mademoiselle’s beloved destination. Designed by jewellery creation studio director Patrice Leguéreau, the collection is composed of 70 pieces, each one designed as a contemporary interpretation of Venice’s artistic and architectural treasures. The sculptural nature of the Eblouissante set, which features a transformable necklace and earrings, conjures the ornate façades of the city’s palaces and the polychromatic marble floors of churches. A rose gold and platinum base lays out a geometric pattern set with staggered baguette diamonds in a quilting motif dear to Mademoiselle Chanel’s heart. The result is an aesthetic both powerful and delicate—a fitting ode to the city’s precious strength.

Precious black truffle extract works miracles A rare treasure holds the secret to a sparkling gaze in Estee Lauder’s latest beauty offering. The Re-Nutriv Ultimate Diamond Transformative Eye Serum harnesses the naturally regenerative properties of black diamond truffles from southwestern France to lift and energize the eye area. The truffles undergo an exclusive process of extraction over 10,000 hours in the making. In-vitro testing has shown the potent extract to enhance skin cell energy and increase cell survival when exposed to intense UV stress. Other premium ingredients include 24k gold, South Sea pearls, and soothing botanicals such as lady’s thistle extract and marine algae. The serum comes with a cooling Sculpted Ceramic Eye Wand, which is a patent-pending massage tool to be used with the suggested application techniques to help reduce swelling and invigorate the under-eye area.

威尼斯寶藏

歲月無痕

水城威尼斯——香奈兒最新高級珠寶系列的靈感源泉

蘊含珍貴黑松露提取物，雅詩蘭黛全新白金級蘊能黑鑽眼部精華

今年年初，香奈兒推出全新Escale à Venise臻品珠寶系列，以七十件光黑鑽松露是廣為人知的珍貴食材，風味獨特，採集困難。而今，雅

彩奪目的美麗珠寶，向歷史文化名城水城威尼斯致敬。威尼斯是香奈兒女士最喜愛的城市之一，Escale à Venise珠寶系列以香

份。唯有品質最高的、新鮮完整的成熟黑鑽松露，方能用於萃取珍貴的黑

奈兒的標誌元素、珍貴寶石和精湛珠寶工藝將這座古城以高貴華麗的風貌

鑽松露精粹，10到15公斤頂級黑鑽松露僅能產出1公斤純淨萃取精華，還

詮釋出來。此珠寶系列分為古典建築、河岸景觀、傳統工藝、城市人文四個

要進一步提純來發揮其最大的天然能量。全新的雅詩蘭黛白金級蘊能黑鑽奢華眼部精華，蘊含黑鑽松露精華和品牌獨有的 Sirt延緩肌膚老化科技，還添加了海藻萃取精華、生物酵素、南海珍珠母貝萃取精華和維他命C等混合成份，能有效減緩肌膚細胞的衰老，促進生成膠原蛋白和彈性蛋白，令肌膚更加緊實、光滑、飽滿。精華液附帶一根陶瓷眼部按摩棒，可促進精華吸收，減少眼部腫脹。

CHANEL High Jewelry

詩蘭黛將餐桌美味黑鑽松露變成了令肌膚恢復青春、再現光彩的珍貴成

主題。「La Sérénissime」從威尼斯建築中汲取靈感，重現哥特風格、文藝復興風格的裝飾細節；「Gran Canale」法語意為威尼斯大運河，擷取城市風光中最具代表性的地標元素；「Isole della Laguna」的靈感源自威尼斯瀉湖，分別呈現三座島嶼上保留的中世紀工藝；「Spirito di Venezia」以威尼斯城徽——翼獅為主題，造型高貴莊嚴。其中的Eblouissante玫瑰金項鏈，屬於「La Sérénissime」主題，白金與玫瑰金打造的幾何圖形演繹出宮殿的外牆與教堂的彩色大理石地面。其上鑲嵌著長階梯形切割的鑽石，交錯排列形成香奈兒女士鍾愛的菱格紋，在華麗中呈現出古城內在的沉厚力量。

Legacy in the Making 30–51 Photo by Roland Paschhoff

傳承•匠心

鳥居酒櫃

Gateway to the Orient

一款充滿東方美學意象的和風酒櫃於愛爾蘭優雅誕生了

Power design duo Zelouf & Bell transform a custom cocktail cabinet into a museum-worthy flight of fusion fancybraiding

二十年前，一間家具工坊在愛爾蘭一處靜謐的鄉村成立了。創辦者是一對夫妻，出生於愛爾蘭的Michael Bell和來自紐約的Susan Zelouf因共同的設計和文化藝術理念走到一起，開始攜手創作收藏級的定製精品家具。如今，他們的作品屢獲殊榮，在私人宅邸、公共建築、使館、教堂，甚至博物館中都可以看到它們的身影。這款外觀形似日本神社前鳥居牌坊的酒櫃，是一位倫敦客人定製的，他希望這款酒櫃能將日本傳統文化和工藝與現代設計相結合，並將他喜愛的鳥居建築融入其中。 Zelouf&Bell先用木材和黃銅底座搭建出鳥居的外形輪廓，將木材的表面漆成黑色，然後手工拋光成類似日本傳統漆器的光亮質感。櫃門上的仙鶴圖案源自日本明治時代的和服，白色的仙鶴線條勾勒得精美細膩，在黑紅色背景的映襯下格外優雅。片片金箔製成的花瓣灑落在仙鶴腳下，華麗高貴。酒櫃內部為黑白兩色，除了安放藏酒和酒具的格子，還設置有隱藏的托盤和可調節亮度的 L E D 燈。這款酒櫃為Zelouf&Bell近期完成的精彩之作，在工藝文化與設計感、實用性之間取得了一種完美的平衡。

Internationally lauded design firm Zelouf & Bell, a partnership between Irish designer and maker Michael Bell and New York designer Susan Zelouf, are renowned for their ambitious vision. So when a London client commissioned their services for a very specific cocktail cabinet, the two used their globally informed aesthetic to bring his vision to life. The request was for a piece that combined Japanese flair with Modernism and an Arts and Crafts vibe. In particular, the client was fascinated with the torii, a traditional Japanese gate that marks an entrance to a sacred space. As such, the Torii Bar was built to resemble the geometric torii silhouette set upon an aged brass base to mimic the traditional gates’ cast bronze bamboo stretchers. A labour-intensive hand-rubbed high gloss lacquer finishes the stunning exterior. The façade of the cabinet is crafted with a scene of sacred cranes inlaid with brilliantly coloured exotic woods, including background woods of black bolivar and red tanganyika. The underside of the bar is gilded, a reference to the rich lining of a kimono. Inside, the bar top, shelf, and concealed tray feature black shagreen, lit up with dimmable LED lights. Celadon lambskin, drawn from a colour in one of the client’s Ming vases, lines the interior drawers. The result is a true masterpiece of fusion, transcending cultures and style periods, where timeless art meets visionary design.

Dedication to Detail 30 針線下的英倫風采 Silk Perfection 38 盡染芳華 Queens of Their Castle 46 時尚界的手工藝復興

總是會出現在最盛大的場合

刺繡是一道最精緻華麗的妝點

在英國

針線下的英倫風采

Dedication to Detail

How Hand & Lock keeps the art of embroidery alive

English text by Jared Pearman Chinese text by Cherry Chen Photos courtesy of Hand & Lock

Hand & Lock has been making embroidered military accoutrements since 1767, such as these Army Air Corps half wings. Hand & Lock自1767年起為英國軍隊製作軍服裝飾，像是上圖的英國空軍徽標。

To a lay person, embroidery seems easy to automate—program a design into a computer and watch the threads fly, like with the baseball cap machines at the mall. But true embroidery, the art that brings fabric to life, must be done by hand, the way Londonbased atelier Hand & Lock has been doing it since 1767. “Embroidery is essentially embellishing the surface of a fabric,” says Jessica Pile, production director at Hand & Lock. “We’ve never sent anything away for being unable to do it. We are known for goldwork, which has to be done by hand and cannot be achieved by a machine.” The finished work from this quintessentially British workshop adorns the walls of cathedrals, struts the catwalks of Paris, decorates the uniforms of the queen’s guards and even the queen herself. Along with authentic period costumes for theatre, film, and television, Hand & Lock also takes commission pieces from the public, so the same people who make the queen glitter can make you glitter as well. The house’s biggest customer of all time, however, is the military. The pomp and tradition adorning the military’s most prized leaders can only be expressed by the hand of a gifted artisan. Hand & Lock was doing military embroidery for the British before the American Revolution. It got its start doing lace and accoutrements for the fighting men of the empire. During the 1800s, the sun never set on the British empire, and so 24 hours a day, somewhere in the world, there was Hand & Lock goldwork glistening in the sun.

Embroidered style

Hand & Lock’s goldwork style is opus anglicanum, which refers to a style of medieval English needlework. It uses gold wire and gold thread and could often be found on capes or fabrics given as

gifts from the royals to foreign dignitaries. These pieces would often take five years to make because they were so detailed. Priests were also fond of the opus anglicanum style, and the way that only true gold catches the light and draws the attention of a crowd. “Imagine a priest walking down the aisle, the light reflecting off his gold—it had an impact. At a ceremony, the embroidery showed the importance of an individual,” Pile says. Today, Hand & Lock is often tasked with the restoration of old pieces. “Right now we have a banner from Queen Alexandra. The banner has completely fallen apart. I have to ask what parts we’re keeping and what we are replacing. It will hang in Windsor Castle, half of it old, half of it new. The old bits are now in a box in a chapel. It’s part of the story, so I told them to please keep them,” Pile says. A fully embroidered outfit has always screamed wealth, and while the craft remains expensive, it’s not exclusively for royals and their friends—it’s couture as well. “If you go to Paris fashion week, 90 percent of the garments will be embroidered. Especially haute couture, it’s all embroidered. It’s just not something people think about.” Outside her work at Hand & Lock, Pile published a book three years ago titled Fashion Embroidery: Embroidery Techniques and Inspiration for Haute-Couture Clothing. “There are loads of embroidery books,” she says, “but they usually feature 80-year-old ladies with magnifying glasses. It’s frustrating when you’re young and looking for something edgy. Yes, these are ancient techniques, but it isn’t just something boring and old. It’s something that you can bring to the London catwalk. You can use the techniques in a really cool way.”

Top: Not much has changed with embroidery in the last 300 years. It still comes down to a needle and thread. Bottom: The company is known for its goldwork, such as these general beret badges, which are done in the classic opus anglicanum style. 頂圖：在過去三百多年中，刺繡的技藝並沒有太多變化，針、線依然是最主要的兩種工具。上圖：Hand & Lock最負盛名的金線刺繡，像是圖中的將軍肩章，完全採用傳統英國刺繡的風格和技藝。

每當英國王室舉辦盛大婚禮時，公主和王妃身著的婚紗都是眾人矚目的焦點。這

最令Jessica感到欣慰的是，儘管刺繡是一門古老的裝飾面料工藝，但它的美從未

些款式傳統，線條簡潔的婚紗，面料上多會佈滿手工刺繡的圖案，呈現出華美優雅又不

失去吸引力。「如果去參加巴黎時裝週，你會發現百分之九十的服裝上都有刺繡，尤

失高貴莊重的質感。這種刺繡工藝稱為「白繡（Whitework）」，是英國傳統刺繡的一種。

其是高級時裝，全部都有。」儘管隨著現代工業技術的發展，通過電腦設計和程序控

英國的刺繡工藝早在十三世紀便享譽歐洲。那時最具代表性的工藝是金線刺繡，即在

制的縫紉機可以很迅速在織物表面繡出複雜美麗的圖案，但那種刺繡就像印刷機印製

面料表面使用金銀絲線繡製成略帶凸起感的精美圖案。其高貴奢華的風格深受教會和歐洲

的畫作，缺少了經過雙手縫製和創作而帶來的靈性，更況且有許多最高超精美的刺繡

各王室的青睞，甚至在拉丁語中產生了一個詞彙「opus anglicanum」，意為「英國繡品」。

技法，至今依然是機器無法做到的。

直至今日，刺繡在英國依然是擁有王室高貴氣息的傳統工藝。堪稱刺繡界牛津、

一針一線傳承文化

劍橋的英國皇家刺繡學院已有一百多年的歷史，由現任英國女王親自擔任顧問，校址更是位於有「英國凡爾賽宮」之稱的漢普頓宮。學院內教授的刺繡技法主要有：金線刺

與中國傳統刺繡更注重針法不同，歐洲的刺繡更注重材料特質在作品中的呈現，

繡、羊毛刺繡、絨繡、白線刺繡以及立體刺繡等，每一種繡法背後都有著深厚的歷史淵

所以會以使用的繡線來區分刺繡種類，金線、羊毛、絲線各自都有專屬的繡製方法。

源和獨特的藝術風格。不僅經常出現在王室貴族和軍官的禮服上，在巴黎、倫敦各大時

中國傳統刺繡則多使用絲線，尤其是聞名遐邇的蘇繡，所用絲線細如毛髮，繡工極盡

尚秀場上也常看到它們的身影，充滿了不因時代變遷而褪色的精緻恆久之美。

細密精巧，成品幾可與書畫爭艷。相比之下，歐洲的刺繡在創作上更注重圖案的層次和立體感，這之間的差異正如油畫和國畫，一個講究結構透視，一個講究傳神寫意。

兩百年刺繡工坊

金線繡最大的特點是要先墊底，用不同的毛氈布墊出圖案中需要立體呈現的部份，

成立於1767年的 Hand & Lock是倫敦目前歷史最悠久、工藝最精湛的刺繡工坊之一，

然後把金、銀、銅等金屬絲平鋪在繡布上，用尼龍線或絲線固定，這就是盤金技法。巧合的

尤其擅長金線刺繡，其現任製作總監Jessica Pile正是畢業於倫敦皇家刺繡學院。「我們

是，類似技法在中國古代的龍袍和婚嫁衣裝上也有運用。除此之外，歐洲還會用小金屬或

著名的金線刺繡是手工完成的，機器無法替代。」Jessica介紹說，至今為止，Hand & Lock

玻璃顆粒，用線穿過中間的孔固定，作為圖案的點綴，這也類似中國起源於唐代的珠繡。

的最大客戶是軍旅。從十九世紀起，他們製作的英國傳統軍服上用來表示軍官軍階的領

無論東方還是西方，刺繡的工藝在近兩三百年內幾乎沒有太多的變化。儘管隨著

口和袖口處的金線刺繡，便隨日不落大英帝國一天二十四小時閃耀在世界各地。

交通和通訊的發達，東西方的工匠也互有交流，學習彼此的技法，但根本的技術和材

如今，除了為白金漢宮的女王侍衛們繼續製作精美的軍服裝飾， Hand & Lock 的

料很大程度上一直保持不變。而另一項不變的是，刺繡一直是一種可以培養人耐心，

一部份業務轉為修復古董文物。「眼下我們正在修復一件亞歷山大女王的條幅，它已

磨練人性情的工藝。Jessica已經在Hand & Lock 工作了九年，儘管不順利時也會感到厭

經支離破碎了。我必須得去詢問哪一部份是我們要留下的，哪一部份是要替換的。

倦和疲憊，但她始終認為這是一份很令人愉快的工作。「我繡一件作品時，中間遇到

（修復完成後）它會掛在溫莎城堡中，一半是過去舊的部份，一半是新做的部份。現

困難了，累了，就會離開一會兒，過一天，感到想繡下去時再回來。如果你能這樣有

在那些破舊的碎片正放在一個教堂裏，它們是歷史的一部份，所以我要好好保留它。」

條不紊地把一件作品繡下去，那感覺會很放鬆。」在古代，東西方女性都會自幼學習縫衣刺繡，稱為女紅，這其中固然有自家使用，售賣補貼家用等實際用途，但也不乏貴族女子在閨中繡製香袋、荷包、手帕等。也許是古人發現了刺繡樂生養生、陶冶性情的作用，用這種手工藝在潛移默化中幫助古代女子形成了端莊溫和、貞靜細膩的品格。

傳統技藝也時尚 Hand & Lock的金線繡至今依然延續著中世紀英國刺繡風格，曾為英國女王伊莉莎

白二世的鑽禧慶典製作過王座裝飾和條幅裝飾，他們的作品還曾成為王室禮品，被贈送給外國貴賓，這其中某些精緻複雜的作品甚至要耗費五年時間才能完成。這種複雜的工藝在歷史上曾大量運用在宗教物品上，能在一些織物和服飾的表面繡製出生動複雜的故事和場景。其中的人物形象經常會使用彩色絲線以非常精細的針法繡製，金絲則主要繡成背景的圖案和光線，還可以起到減輕面料磨損的作用。在人物的面部等關鍵部位，刺繡的針腳會變得細小至 1到 2毫米，方向會隨面部表面的紋理走向而變化，例如：臉頰上針腳的圓形排列和下巴上的拱形排列，以及隨頭髮飄動方向排布出的曲線。每一個顏色區域都會使用三種或更多的類似色調來展現圖形的明暗，以突出立體感。這種繡製方式基本是以針線代替畫筆和顏料在布料上繪製圖畫，能實現很高的觀賞性和藝術價值。「我欣賞這其中所花費的時間、精力和創造力。」Jessica說：「其價值並不在於人們能看到的，而在於我們知道自己曾竭盡全力去做到最好。人們喜愛刺繡的質感和美感，以及那份美好事物所帶來的滿足。」儘管當下刺繡的題材和運用領域變得越來越廣泛，但Jessica認為如何讓這項古老

「為甚麼保留這些技藝很重要？因為它們是我們歷史的一部份，文化的一部份，是超脫於我們當下 This military uniform with the most noble Order of the Bath is covered in detailed embroidery, all done by hand. 圖為代表英國軍隊最高榮譽的巴斯勛章，精緻的圖案和細節完全由手工完成。

的技藝吸引年輕人才是其能得以延續的關鍵。「市面上有很多刺繡類書籍，但基本都是八十歲的老太太拿著放大鏡在看，對尋求新潮的年輕人來說毫無吸引力。這的確是古老的技藝，但並不是無聊和陳舊的。它可以出現在倫敦的 T臺上，你完全可以把它變得很潮流。」 Jessica三年前出版了一本書，名為《時尚刺繡：高級時裝中的刺繡技法》。她希望藉此讓喜歡時尚的年親人更願意接近和嘗試這項古老技藝。「為甚麼保留這些技藝很重要？因為它們是我們歷史的一部份，文化的一部份，是超脫於我們當

生活的這個紛亂的世界的。」

下生活的這個紛亂的世界的。」

Her book features elegant women in modern designs where the embroidery gives a look of undeniable elegance. It also provides instructions on how to do the techniques Pile uses, as well as some designs to start with.

A calm revival

Pile says she’s always been interested in textiles. “I wasn’t hugely academic at school. I loved going to the theatre and seeing the shows, and I took a course on costume construction. Not just fashion, but period costumes.” She did a placement at Hand & Lock during university, after which she did a few different theatre productions. Nine years ago, Hand & Lock came looking for the one that got away, and she’s been working there ever since. It’s a specific type of person who can do embroidery. It’s not for everyone, because of the patience required. Pile says, “I will start a project, then get frustrated because I want it to be finished. I have to walk away and come back another day when I can appreciate the process. If you can approach a project like that and be methodical, it can be quite relaxing.” This is why embroidery is widely practiced in the unlikely settings of prisons and mental institutions. It’s used as a tool to foster calm thoughts and emotions. If a project is approached with frustration, the goal of a finished piece remains out of reach. “No one comes out of university knowing everything about embroidery. You have to understand where that fabric is going to go. When we do the uniforms for the queen’s bodyguards, we get to learn about the bodyguards themselves, because they are individually appointed.” Hand & Lock also gets a lot of requests from television and film to do historical military outfits. “I can work on military uniforms that are the same over and over,

then I might get something that needs a lot of historical research, which really grabs my attention. I also enjoy private commissions because it might be something totally random,” Pile says. As part of Queen Elizabeth II’s Diamond Jubilee celebration, Pile and her Hand & Lock team worked on the ornate barge that floated the Queen down the river Thames. “We did the throne and the two banners. I did the artwork for those.” Her handiwork is also part of the Royal College of Arms. She stitched a heraldic coat of arms and accompanying blazen, which is an explanatory essay. “We did the designs, and they read out the blazen and took them to the queen for approval.”

The beauty of detail

On beauty, Pile says, “I wouldn’t say that all art is beautiful, or everything I create is beautiful, but I appreciate the time, effort, and creative process that goes into it.” For much of the handwork, it takes a trained eye to really appreciate what it took to bring the embroidery to life. “The value isn’t in people being able to see it. The value is in knowing that we created something as well as we could. We’re proud of the heritage. People enjoy the quality of it and the beauty of it. The satisfaction of making something incredibly beautiful,” she says. The art of embroidery hasn’t changed much since the 18th century. The techniques and materials remain largely the same, but new crops of artisans are drawn to the intricate art each year, working on projects ranging from ancient restorations to the newest fashions. But no matter the design, the art always comes back to the same techniques, the same needle and thread. “Why is it important to preserve these techniques?” Pile asks rhetorically. “I don’t know. It’s part of our history and part of our culture. It’s something separate from the crazy world that people live in.”

Hand & Lock has served England’s royalty, military, and other distinguished clientele since 1767. Hand & Lock的展示墻，該刺繡工坊至今已為英國王室、軍隊和其它歐洲貴賓們服務了近三百年。

“The value is in knowing that we created something as well as we could. We’re proud of the heritage.” —Jessica Pile, production director, Hand & Lock

走進日本友禪染技藝

描繪下古老的至美情意

在霓裳華服之上

提起滿懷詩意的畫筆

盡染芳華

Silk Perfection For over 400 years, one company in Japan has maintained the unparalleled traditions of yuzen dyeing techniques English text by Courtney John Chinese text by Cherry Chen Photos courtesy of Chiso

Left: Yuzen dyeing has multiple stages, each of which is an intricate art. This stage of outlining pictures in a glue-like paste is called itomenori. Opposite: Chiso has a beautiful silk scarf collection. 左圖：日本友禪染工藝複雜，圖為工匠在用膠質對草稿進行勾勒，為後面的填色做準備。右圖：「千總」出品的美麗的友禪染絲巾。

“The ancestors of Chiso have passed these items down through the generations with great care, and are a valuable source of the history of Japanese design.”

The Japanese kimono is perhaps the most ornate article of clothing in the world. These sumptuous silk robes bring together multiple artforms to create wearable masterpieces. Today we think of fashion only in terms of design, with the manufacturing taken for granted. But the process of dyeing fabrics to create patterns and pictures worthy of the most expensive silk required innovations that we can still learn from today. This process is called yuzen dyeing, and one company, Chiso, has excelled in this exquisite art for centuries. Throughout history, many cultures have developed their own ways of dyeing silk, but the art of yuzen dyeing remains unique, and the intricacies of this process are in many ways at the heart of what makes Japanese clothing distinctive. The dying technique is most recognized on kimonos, but has its origins in handheld fans and is also the inspiration for the iconic Hawaiian aloha shirt. Yuzen, a resist dyeing technique, paints patterns with a rice paste that acts like a wax. The fabric is then painted with dye, and the pasted areas resist the colour. Yuzen also uses a type of silkscreening done with paper stencils. The stencils are placed on the fabric and dye is smeared over the top, leaving intricate patterns behind. Finer details to the work are often brushed in by hand.

Masters of yuzen

Chiso began its business in Kyoto in 1555 by making clothes for monks and the aristocracy. Kyoto is Japan’s old capital and home to some of the world’s finest artisans. The company’s well-dressed customers eventually caught the attention of the imperial family, who then made Chiso their vestment purveyor. The company came to prominence during Japan’s Edo period (1603–1868), when the yuzen dyeing technique developed as a cheaper way to produce printed garments, without hiring painters to do each detail by brush. Ironically, much of yuzen’s beauty comes from the practical necessity of the manufacturer to reduce labour hours. The long history of Chiso has given the company not only the

knowledge of how to create beautiful fabrics and kimonos, it has also provided one of the most extensive collections of traditional Japanese fashion in the world. Chiso has over 20,000 pieces in its collection, many of which have been named national treasures. These range from elaborate kimonos to dyed fabrics, books, and paintings. “The ancestors of Chiso have passed these items down through the generations with great care, and are a valuable source of the history of Japanese design,” according to the company. “We work hard to conserve these treasures, and at the same time, to contribute to society through conducting further investigation and study in collaboration with nationwide museums.”

Yuzen history

The yuzen technique was named after Miyazaki Yuzen, a 17thcentury fan painter credited with perfecting it. He was born in Kyoto and had most likely visited a Chiso storefront—at that point, the company had already been operating in Kyoto for a hundred years. This “new” yuzen dyeing technique allowed for faster production and new styles. Chiso was part of the Japanese avant-garde that revolutionized kimono production. It worked with renowned printers and painters of the day to develop iconic designs that could be used over and over on multiple fabrics. Centuries later in the yuzen saga, Japanese immigrants landed in Hawaii with decadent kimonos. It was the late 1800s, and the immigrants found work in sugar cane fields. To adapt to the tropical climate, they decided to cut up old kimonos and make shirts out of them. The locals liked the yuzen shirts so much that some of the Japanese left the fields and manufactured them for the local economy. Thus, the Hawaiian aloha shirt, identified by its bold colours and patterns, was born.

The company’s headquarters in the early 1900s in Kyoto, where it has worked with silk since 1555. 二十世紀初期位於京都的「千總」工坊老照片，該染織工坊成立於1555年。

Modernized yuzen

The early 1900s is referred to as the Taisho era. At the time, Japan was modernized but culturally isolated. The style of this era is

來到日本京都的人，一定會前往那些鋪著石條路的小街巷裏走一走。撐開一把絢麗的油紙傘，在細雨中流連過一間間灰瓦木

入。在染色完成後，這些線條會成為圖案輪廓上纖細的白線，這是友禪染的主要特徵之一。

樑的老店鋪和民居，像是於行走間時光倒流回了古時。就在你心

描完輪廓，開始用刷筆蘸染料染色，稱作「色插」。傳統工藝

神陶醉之際，耳畔響起了一陣木屐踏在石條路上那清脆的咔嗒聲，

採用的是蓼藍、紅花、蘇木、茜草、紫草、藎草等製成的植物染料。

一位姑娘慢慢地越行越近。她的步伐不疾不徐，身姿婀娜，微頷螓

為防止色彩間暈染，通常都等一個顏色晾乾後再進行另一個的著

首，最引人矚目的莫過於身上所著的和服，在灰朦的建築和街道間

色，色彩越多耗費工時越長。上色完成後，布料要以80到100度的

彷如綻放了一朵嬌艷的鮮花，又像是展開了一副行走的畫卷。

高溫蒸半小時左右，熱量會使天然顏料發生變化，固定在布面上。

說日本傳統的和服是一幅畫，這並非僅是讚譽之詞，這種世

染色完成後的漂洗步驟有一個詩意的名字「友禪流水」。如果

界上最華麗的服裝之一，是採用絲綢經由近五百年歷史的友禪染

您前往金澤、京都等地遊歷，看到河流中有美麗的布匹在如游魚

工藝繪製、染製而成。友禪的名稱源於始創者江戶時代的扇繪師

般浮沉，不必驚訝，這正是友禪流水的過程。有時為了將布面上多

「宮崎友禪齋」，他在繪扇之餘發明了用澱粉糊遮蓋布料的分層

餘的米漿、染料等除去，工匠還會下到河水中進行刷洗。友禪流水

上色染布法，因於京都創出，後命名為「京友禪」。

的河流水質越清澈，染製效果越佳。在氣候寒冷的金澤地區，工匠常會選擇冰雪初融時進行流水工序，其中的辛苦可想而知。有時，

日本織物王者的誕生友禪染當年在日本是一種前所未有的染布法，它的獨特工藝

圖案複雜的友禪染還需反覆渲染上色，上面的步驟要重複多次。最後，再施以印金、刺繡等裝飾才算大功告成。

使布匹上出現多彩的色調和筆觸自由的紋樣，與之前的紮染、刺繡所表現的質感完全不同。發明者宮崎友禪齋嘗試將它繪於和服上，

古老技藝綻放時代光彩

獲得了大量讚譽，進而在王公貴族中成為風潮。於是，以創始人名

經過數百年發展，友禪染的藝術風格也逐漸獨具特色。在中

字命名的「友禪染」技法自京都傳向日本各地。當傳到加賀藩的金

式傳統服裝的圖案中，中心式和對稱式構圖比較常見，畫面整齊

澤地區時，發展成有別於京都的獨特樣式，稱為「加賀友禪」。自

有序、氣勢宏大。相比之下，日本友禪染採用了不對稱的自由式構

此，友禪染分成兩大流派，京友禪以華麗古典為特徵，加賀友禪以

圖，產生出柔和細膩、靜中微動的美感。按圖案的覆蓋程度又分

沉靜寫實為特色，分別代表日本京都貴族文化和加賀武士文化。

為滿花和留白兩種，其中滿花的圖案元素常被分成幾十甚至上百

如今的京都作為友禪染的發源地，依然匯聚著日本最古老、工藝最精湛的印染工坊和和服工坊。創立於室町時代，距今已有

個區域，有序地鋪滿整塊布料，其視覺效果繁而不亂、華美富麗；留白則更像傳統中國畫，意蘊悠長，清雅雋秀。

四百六十五年歷史的「千總」便是其中一家。它的前身是京都世

友禪染描繪的圖案主題深受中國文化影響，富有吉祥寓意

襲法衣裝束商「千切屋」設立的染工房，友禪染出現伊始，他們

的梅、蘭、竹、菊、牡丹；傳入日本後加以變化的唐草紋、龜甲

便開始了這項業務。至千切屋第十二代傳人西村總左衛門時期，

紋、扇面紋、海波紋；日本本土常見的櫻花、紅葉、三葉草、紙

他分別取「千切屋」的「千」和「總左衛門」的「總」將店名變更為

鶴、繡球、車輿等，都是友禪染畫面中常見的元素。到了近現代，

「千總」，開始專營高品質的友禪染織物。其精湛的「京友禪」染

友禪染設計中也加入了直線、曲線、幾何圖形等元素，與傳統花

色工藝很快名滿天下，曾多次受邀為日本皇室訂製和服，可說是

鳥圖案相互融合，為古老的織物和服飾賦予了些許新意。

日本高級訂製和服品牌中歷史最悠久、工藝最高超的一家。

對於北美的朋友來說，也許想不到如今夏日海濱度假必備的

也正是這位西村總左衛門，在明治時代西方文化藝術進入日

夏威夷印花襯衫，竟是源於日本的友禪染。十九世紀末，許多日本

本，傳統京都染織行業受到影響時，挺身而出將友禪染工藝推向

人移民至夏威夷討生活，甘蔗田和果園裏處處可見他們勤勞的身

了新高度，成功保護並升華了這項古老的技藝。他苦心說服畫家岸

影。可傳統的日本和服並不適合當地炎熱的氣候，勞動時也不方

竹堂放下身段來到染坊繪製友禪染，隨後今尾景年、幸野楳嶺、望

便，於是日本人將友禪染面料製成了短袖襯衫。那時，現代紡織印

月玉泉、竹內棲鳳等一批一流畫師陸續來到千總，開始為友禪染設

染技術已經比較發達，採用機器印染、化學染料染製的友禪圖案

計紋樣，並親手繪製。這使千總的友禪染在技術、藝術兩方面都臻

面料不再昂貴，平民也消費得起。很快夏威夷當地人也愛上了這種

至藝術品的境界，在當時掀起一股新的風潮，愈加受到上流社會的

色彩艷麗的襯衫，許多日本人開始專職做這種襯衫生意，並逐漸加

追捧和青睞，也讓友禪染和千總登上了日本織物領域的至高地位。

入熱帶花鳥元素，夏威夷花襯衫就這樣誕生並在全球流行開來。如今來到依然位於京都的千總店面，那裏已經更像是一座關

舉世無雙的染製工藝

Using a brush dyeing technique called hikizome (top) as well as a hand-painting technique called tegaki yuzen (bottom), Chiso creates richly coloured images on silk. 「千總」的工匠在為布料手工染色，依據色塊大小，採用不同尺寸的刷子。通常需要一種染色乾透後，才能染下一種，色彩越多，工時越長。

於友禪染和和服的博物館，其收藏的織物和服裝超過兩萬件，其中

傳統的友禪染技藝有十幾道工序，完全採用手工完成。在開

不乏日本國寶級的精品。位於千總工坊中的工匠依然每天一絲不

始描繪前，工匠會先從歷代積累下來的資料中選取圖案參考，進行

苟地重複著那些傳承數百年的工序，他們的辛勤付出可能會為某

草稿創作。正式開始繪製時，第一稿使用的顏料是從露草中提取的

一個日本家庭增添一件美麗的傳家寶，也有可能在多少年後成為

青花色素，稱作「初繪」。因青花色素溶於水，正式染色時會隨水流

某個博物館中的精美展品。對於友禪染技藝的未來，千總的當代

洗去，不留草稿痕跡。接下來進入正式描繪，在已畫好的紋樣上，

繼承者有著與先輩西村總左衛門一樣的開拓精神，「這不僅僅是

用米漿或阿拉伯樹膠等糊狀物作為防染劑，沿著草稿線進行細緻

繼承過去。在邁向未來的過程中，我們會依據過往一代又一代人所

地勾勒。這條線的作用類似防波堤，用來擋住其它區域顏色的混

留下的技藝和經驗，來不斷提升那些用於創造美的技藝。」

referred to as “Taisho chic,” and is defined by traditional Japanese patterns that utilized new factory production methods—again, beauty becomes a reflection of a new manufacturing process. They still used yuzen stencils and traditional artists but had assembly lines and help from machines. Another Kyoto company sprang up in the Taisho era and helped pioneer modernized yuzen production. The company, Pagong, originally known as Kamedatomi, is still in operation today. Its founder, Kazuaki Kameda, once said, “I sometimes wished that our company had centuries of history like some Kyoto shops and companies, but if we hadn’t started in the Taisho era, we wouldn’t have our catalog of uniquely traditional and modern designs.” In the early 1900s, Kamedatomi employed hundreds of artisans to create rolls of ornate yuzen fabric. They sold the fabric to tailors who used it for kimono production. However, 70 percent of kimono artisans disappeared after World War II. The company decided to apply yuzen to modern clothing, starting with Hawaiian aloha shirts. Still based in Kyoto, the company has found new life for its traditional techniques. Chiso took the opposite approach. Instead of bringing yuzen to the masses, it scaled up its clientele to those who could afford to pay for handmade pieces that would be out of place if worn to the grocery store. Chiso, like its founders centuries ago, still produces kimonos and scarves. It still offers formal kimonos, but also now has updated designs for fashion that are wearable in the modern world. The company says, “Tradition is not to conform, but to build around.”

The process

The key to Chiso’s success over the centuries has been its process. Its method is for specialists to work together on each piece of fabric. Chiso even has a special room dedicated to designers

who create the patterns and images on the company’s prized fabrics. In order for artisans of this calibre to work together on a single item, the company must have a high benchmark for talent and a culture of trust. Of course, all of these talented artisans require a beautiful canvas for their designs. Chiso takes great care in choosing its silks. The whitest silks are only possible by managing their production with care, and the whole process from raising the silkworms to harvest and weaving is all done in Japan. The quality of Chiso’s silk is essential to the calibre of its finished products.

Past, present, and future

As part of Chiso’s flagship store in downtown Kyoto, it has a gallery with rotating exhibits of the company’s extensive collection of fabrics and works of art. The current exhibit focuses on the theme of colour and takes visitors through the deep inner meanings found in the choice of colour within the fabrics. “These concepts originated from the idea of ‘the flow of time,’ we see in every day, with Shiro (White) derived from the view of the sky at sunrise when another day is becoming clear, Aka (Red) is brightness of the sun, Kuro (black) is from darkness, and Ao (Blue) is from anytime of the day we saw the dim of lights,” the company states. Chiso doesn’t live in the past, however. Its exaltation of history comes out in its ongoing work. Just imagine the changes in style and society that Chiso designers have gone through over the course of 400 years. Today the company continues to adapt and innovate, with one eye on the future and one on the past. “It is not simply a matter of inheritance; rather, as we move toward the future, we will enhance the techniques to create beauty based on what generation after generation has taught us,” Chiso states.

A kimono from Chiso’s 2021 Furisode Collection is an example of the rich imagery in the company’s products. 「千總」2021年新出品的振袖和服，振袖指和服袖口處較寬大，通常為日本女性出席正式場合時穿著的禮服。

的深情對話

是頂級品牌與傳統工匠之間

這場秀代表著法國時尚界的驕傲

時尚界的手工藝復興

自 2002 年起，香奈兒每年十二月都會以一場展示會向品牌旗下的高級手工坊致敬。 2020/21高級手工坊系列發佈會在位於法國盧瓦爾河谷的舍農索城堡舉行。這座有近五百年歷史的城堡又名「女士城堡」。主持設計打造發佈會的香奈兒精品部創意總監維吉妮．維婭說：「很多曾居住在這裏的女性都參與過城堡的設計，比如黛安．德．波迪耶以及凱薩琳．德．梅第奇。這是一座有著人文精神的城堡。凱薩琳．德．梅第奇的標誌圖案是交織的雙 C字母，與香奈兒的標誌如出一轍。」「不知道香奈兒的雙C標誌是否受到凱薩琳的啟發，但這很有可能，因為香奈兒女士十分欣賞文藝復興時期的女性。她對蕾絲拉夫領的喜愛，以及她部份珠寶的美學理念便來源於此。從精神層面上來說，這座城堡也是香奈兒歷史的一部份。」城堡中的一處長廊成為發佈會的T臺，黑白方格圖案的地面有如一方巨大的象棋

Photo by Juergen Teller

盤。這種黑白格的圖案出現在搭配黑白提花毛衣的半身裙上。此外，還有黑色天鵝絨長款外套，內搭淺色斜紋軟呢連身衣。「此款外套令人想起電影《黑衣新娘》，也因為在丈夫亨利二世逝世後，凱薩琳．德．梅第奇一直只穿著黑色。」斜紋軟呢斗篷的溫暖色調呼應城堡中著名的掛毯，外套寬翻領上

Above: Nestled in France’s Loire Valley, 16th-century Château de Chenonceau plays backdrop to the CHANEL 2020/21 Metiers d’art show. Opposite: The double-C logo adorns a black and silver wedge in an updated take on CHANEL’s trademark two-tone pump.

的花朵刺繡靈感源於城堡中花園的花卉。本季的高級手工坊系列，是香奈兒旗下諸多高級手工坊匠人又一次匠心獨具的呈獻：長款黑色蕾絲連衣裙的格紋上綴以鉚釘，由Lemarié山茶花及羽飾坊精心打造; 錦緞連衣裙上半身的華美刺繡皆由Lesage 刺繡坊完成；飾有香奈兒標誌的黑銀拼色

Queens of Their Castle

高跟鞋和折疊靴口的黑色長靴由Massaro鞋履坊打造。Maison Michel製帽坊創作了一款醒目的黑色帽子，讓造型具有貴族夫人的 Photo by Benoit Peverelli

A chateau in Loire Valley plays host to CHANEL’s Metiers d’art 2020/21 collection

風格。Montex刺繡坊則用水鑽以非常童趣的風格繡製了城堡圖案。今年，香奈兒旗下的十一間高級手工坊集體搬遷至香奈兒修建的位於巴黎19區的Le 19M大樓。這座由建築師Rudy Ricciotti 設計的建築，總面積達25,000平方米，可容納六百位工匠同時工作。自香奈兒1985年收購Desrues服飾珠寶坊以來，其對法國傳統手工藝的保護發揚工作一直在繼續著，許多瀕臨關閉的手工坊都在香奈兒的幫助下

English text by Kate Missine

得以發展延續，並不斷創新工藝和設計，贏

Chinese text by Zhao Wen

得了更廣泛的關注。而每年推出的高級手工坊系列，正是這些手工坊和傳統工藝的高光時刻，同時代表了香奈兒向法國時尚業引以為傲的精湛手工藝的致敬。

47 本頁：坡跟上裝飾有香奈兒雙C標誌的黑銀拼色高跟鞋。對頁：舍農索城堡內作為發佈會T臺的長廊。

Photos by Benoit Peverelli Photos by Benoit Peverelli

Photo by Juergen Teller

Top left: The two interlinked Cs at the Chateau de Chenonceau are said to have inspired Chanel’s legendary logo. Top right: A studded ribbon trellis by atelier Lesage weaves over a sheer black organza dress in a Chenonceau-era style. Opposite, top: Château de Chenonceau. Opposite, bottom left: Floral embroidered motifs along a cream jacket’s wide lapel evoke the exquisite gardens lining the castle grounds. Opposite, bottom right: Vibrant embroidery by Lemarié lends a burst of colour to the bodice of a black damask dress.

上圖：坐落於法國盧瓦爾河谷的舍農索城堡興建於十六世紀。很多曾居住在這裏的女性都參與過城堡的設計，比如黛安．德．波迪耶以及凱薩琳．德．梅第奇。左下：白色外套的寬翻領上飾有花卉刺繡圖案，靈感源自城堡花園裏盛開的鮮花。右下：Lemarié艷麗的刺繡為黑色錦緞連衣裙增添了一抹華麗生動。對頁左圖：舍農索城堡內交織的雙C字母圖案。對頁右圖：山茶花及羽飾坊的工匠在製作飾有鉚釘的網格，成品會裝飾在舍農索城堡時代風格的黑色歐根紗連衣裙上。

Since 2002, the CHANEL Metiers d’art shows have been one of the house’s annual highlights. Always themed around a destination that carries significance for the brand, this off-season collection celebrates the specialty ateliers that work to create the fine details that define the CHANEL legacy. Fostering these maisons d’art has been fundamental to the CHANEL mission since 1985, when the house first acquired the parurier Desrues to make its signature costume jewellery. Since then, nearly 40 ateliers, employing several hundred artisan embroiderers, feather workers, paruriers, pleaters and more, have come together under CHANEL’s guidance. The 2020/21 Metiers d’art show once again tributes these incredible works with a dramatic display in the storied Château de Chenonceau. Nestled in the Loire Valley, the early 16th-century castle is colloquially known as Le Château des Dames, or The Ladies’ Castle, thanks to its notable lineage of female owners. Amongst the most famous proprietors were Diane de Poitiers, Louise de Lorraine, and Catherine de Medici—the widow of Henry II, who left the property with a unique touch: her monogram composed of two intertwined Cs, not unlike Chanel’s classic double-C logo. “We don’t know if Coco was directly inspired by [Catherine de Medici], but it is highly likely because she so admired Renaissance women,” says Virginie Viard, artistic director of CHANEL. “Her taste for lace ruffs and the aesthetic of certain pieces of her jewellery come from there. Deep down, this place is a part of Chanel’s history.”

The runway for the show was set in one of Catherine de Medici’s galleries, where the black and white diamond tiles matched everything from monochromatic jacquard and geometric patchwork tweed to sequined miniskirts. The castle’s narrow, elongated proportions echoed in the collection’s slim silhouettes, such as the long black velvet coat nodding to Catherine de Medici’s perpetual black dress following the loss of her husband. Paraded along the chateau’s grand halls, signature pieces included a period-inspired black dress overlaid with stud-punctuated lattices of black ribbons by Lesage; a damask dress featuring at the bodice a colourful embroidery panel by Lemarié; and fanciful two-tone silver wedge sandals lending a modern touch to a bygone era. An understated tweed cape nodded to the castle’s famed tapestries, while the floral embroidery on a jacket lapel seemed to take its cue from the grounds’ exquisite gardens. The worlds of the two powerful women—Catherine de Medici and Gabrielle Chanel—are separated by time yet intersect in their lifestyles; a theme that author and French literature professor Fanny Arama explores in her text titled From One Renaissance to Another. Inviting readers into the two markedly different eras, Arama offers a glimpse into the women’s respective passions—the castle’s elaborate architecture and the design of fine couture. We share an excerpt from this captivating work with our own readers:

From one Renaissance to another Text by Fanny Arama

“It is well cut, my son; now, it must be sewn up.” It was on this final utterance to her son Henri III, that the “Queen Mother,” Catherine de’ Medici, passed away in her castle at Blois. About ten leagues—as the crow flies— from the Château de Chenonceau, it was there that she chose to die. While Chenonceau hosted diplomatic festivities, Blois was home to intrigue and political dispute. The meaning of Catherine de’ Medici’s last words referred to how having ordered the murder of the Duke and the Cardinal of Guise who threatened the country’s unity, Henri III must now get closer to their relatives, so as not to risk undermining the entire royal edifice. Cutting, sewing up, the endless operation of women in action that are tormented by the “seamless dress of power.” A pair of open scissors, designating her destiny to be at task, could have been engraved on Gabrielle Chanel’s coat of arms... if she had one. Thus united through this metaphor of couture, Catherine de’ Medici and the House of CHANEL come together at the “Château des Dames” (the Ladies’ Castle), which still today retains the warmth of an enchantingly feminine cortege. Chenonceau, three singing syllables to designate a castle-mirage floating across the surface of the River Cher, over which its silhouette reaches and is reflected. This silhouette does not stand out on the bank: instead it continues, most naturally, in the same way as a perfectly cut dress would follow the undulating line of a female body thus exalted and carried forth by expert hands. A symbol of permanence and domination in the folds of the valley it interrupts with its verticality, the castle is a mark of distinction, of taking possession. It signals the presence of strong souls and of tormented destinies, which its facade both glorifies and conceals at the same time. Embellished in turn by women of great character—Katherine Briçonnet, Diane de Poitiers, Catherine de’ Medici, Louise de Lorraine and Madame Dupin—the current architecture of Chenonceau is predominantly the work of Catherine de’ Medici, who enhanced it tirelessly for thirty years. Imagine her striding down garden paths or through the corridors of the château, meticulous and vigilant, like a designer among her seamstresses, reviewing the construction of gallery balconies or the piercing of lateral walls, modifying friezes for dormer windows, arranging ceiling coffers. She also employed numerous artists whose duty it was to make even the briefest promenade with her ladies in the gardens and the park nothing short of delectable. The robustness of juniper and the spiked branches of hawthorn, as soon as they are planted, remove the need for any protective convoy. The queen and her ladies could thus spend hours alone, trotting around or walking along fragrant paths protected by the thorny shrubs. Living in such a space requires amending it to one’s vision of the world, transforming its sumptuousness into a lifestyle. Only powerful women can live in a castle. Others must be content with haunting it, tested by its monumental dimensions, by the moving shadows linking the unfathomable space of its vaulted rooms. Can a castle ever really be a place of one’s own? From the Latin word hábitus, “way of being,” came the French terms habiter “dwelling” and habit “outfit.” Close to habere, “to have” and habilis, “easy to wear, that goes well.” Long ago bridges and houses would be dressed, decorated, equipped and looked after. Hence their “habit,” their allure. A

woman living in a castle should be unquestionably well-dressed. It is said that Catherine de’ Medici, with outrageous daring, was the first to put her leg on the saddletree rather than on the planchette intended for women when they rode a horse... to show off her well-shod leg. After that, all her ladies imitated her. Horses also provided a sense of freedom for Gabrielle Chanel. Her first step as a liberated woman was in fact a ride across Étienne Balsan’s estate in Royallieu. On horseback, a woman is not accountable to anyone. From this intimacy with the equestrian world, she retained an elegant and pure vision of fashion, indeed that it should serve the woman as much as dress her. Every accessory imagined by Gabrielle Chanel—from the jewelled chain to emphasise the waist without being stifling to the quilted bag worn over the shoulder inspired by military saddlebags—advocates a freedom of movement. Should we not occupy fabrics as we occupy a castle? From architect to designer, from workman to seamstress, what is the difference? “I am a worker, there are women who don’t like that word, but not me,” Mademoiselle would say, scissors in hand. Castle—scissors. A shared origin: “castra,” “castro”: to take up, to prune, to cut, to subtract, to trim. The castle, just like the garment, requires the adjusting of elements to suit the movements of the body to provide it with shelter. A castle is always imposing. One can imagine it cushioned with the solemn silence of majesty, heavy with the weight of those escorted royal personalities occupying it, heavy with their alienating duties and officialdom. It is easy to forget the eight to nine hundred workers, artisans and artists present daily in the grounds of Chenonceau, executing the endless alterations prescribed by the visions of the Queen Mother, constantly improving her showcase just as bees do their hive: with the same vigour, the same exactitude, the same ideal. One also forgets the agitation of the royal entourage descending, exhausted, from stagecoaches abounding in luggage; ladies, girls, women, each with her own role. The rustling of dresses in the corridors, the

slamming of doors, the discreet slaloms of supple bodies belonging to the queen’s troop of ladies-in-waiting, more divine than human, sharply contrasting with the footsteps of purveyors supplying the kitchens one after another, or the metallic steps of Henri III’s quarrelsome and noisy mignons. Wandering through Chenonceau is to hear the clatter of irons on the paving stones of the Terrasse des Marques signalling the start of the hunt; the creaking of the hinges of the oft folded back attic doors of the double gallery, welcoming the queen’s ladies; the crystalline sound of the fountain jets, whose pressure had yet to equal the majesty of Le Nôtre’s great waters at Versailles, but were nevertheless genuine hydraulic feats for the time. Catherine de’ Medici would not neglect the installations of animals whose sole purpose was the glorification of beauty. From the aviary escaped the impatient beating of wings belonging to exotically feathered birds released during festivities; from the menagerie visitors could hear the plaintive wail of a civet reared for its musky scent. Perfuming the ladies’ gloves, this fragrance was frank, sensual and said to be an aphrodisiac. Catherine de’ Medici and Gabrielle Chanel were both tireless builders. Nothing could hinder the accomplishment of their visions. Remarkable similarities punctuate the existence of the two women. Both orphaned at a young age, they wore the same monogram, a double C that suggests infinite meditations on the meaning of these two curved, inverted, almost closed, fatally intertwined letters. This double C reflects the attraction held by Renaissance women and Gabrielle Chanel for the chain—a troubled accessory if ever there was one. The precise place of the chain’s birth is fascinating: that of a tangled succession of rings, which fit into each other, and whose symmetry is perfect. The chain becomes the very symbol of consistency, and the pattern signalled by just one of its links is infinitely open. Paradoxically, this interdependence of the rings—never welded nor entirely closed— suggests eternal renewal.

Arts and Renaissance

而奮鬥了一生的人

53–71 藝術•復興

這樣為了捍衛美

卻鮮有像羅傑．斯克魯頓爵士

許多人都在追求美

美之鬥士

Timeless Beauty 64 丹青不渝

Alenavlad / Shutterstock.com

A Life of Beauty 53 美之鬥士

Classical music has a universal beauty that can be appreciated across all cultures and generations. 古典音樂的美不分國界與族裔，能打動每一個人，甚至數代人的心弦。

A Life of Beauty

In his writings and the way he lived his life, Sir Roger Scruton defined beauty

English text by Jared Pearman

Photo by Pete Helme

Chinese text by Zhao Wen

Sir Roger Scruton (1944–2020) is an English philosopher and writer who ardently defended classical arts and aesthetics his entire life. 羅傑．斯克魯頓爵士是一位英國哲學家和作家，終生為捍衛古典藝術與美學而努力。

What is beauty? It’s a simple question, but as we delve for an answer, we embark on a journey that takes us to strange corners of the world, thousands of years into history, and deep into our own hearts. It’s a confounding journey full of twists and contradictions. Fortunately, a guide has been provided for the exploration of beauty—in the life and works of Sir Roger Scruton (1944–2020). The theme of this issue of Magnifissance even comes from this idea, as well as Scruton’s documentary Why Beauty Matters, which together helped define my entire framework for appreciating beauty. What makes something beautiful? What impact do experiences of beauty have on us? Scruton explored these questions and more throughout the course of his nearly five decades as a writer, philosopher, and public thinker. His works include over 50 books on subjects ranging from the aesthetics of music to hunting, wine, and political philosophy. Within that body of work are also four novels, scores of essays, and literal guides for life such as How to Be a Conservative and a short volume simply titled Beauty. What sets Scruton apart from a mere commentator on culture is that he sought to embody his ideals of culture in how he lived his own life. The prose within Scruton’s work on aesthetics is often as elegant as the subjects he describes. He knew that to capture the ideas of beauty requires a beautiful expression. In addition to writing, he was also a talented pianist and composer of music, and he appreciated good food, wine, and conversation. He was a renaissance man with an expansive palette. “Beauty is an ultimate value—something that we pursue for its own sake, and for the pursuit of which no further reason need be given. Beauty should therefore be compared to truth and goodness, one member of a trio of ultimate values which justify our rational inclinations,” Scruton wrote in Beauty: A Very Short Introduction.

Scruton studied at Jesus College, Cambridge University for both his undergraduate and graduate education. While pursuing his Ph.D. in aesthetics, he spent a great deal of time in France, and he cites the 1968 student protests in Paris as a turning point in his life. “I suddenly realized I was on the other side,” Scruton says of the experience. “What I saw was an unruly mob of self-indulgent middle-class hooligans. When I asked my friends what they wanted, what were they trying to achieve, all I got back was this ludicrous Marxist gobbledegook. I was disgusted by it, and thought there must be a way back to the defence of western civilization against these things. That’s when I became a conservative. I knew I wanted to conserve things rather than pull them down.”

“Beauty is an ultimate value—something that we pursue for its own sake, and for the pursuit of which no further reason need be given.” —Roger Scruton

Richard Melichar / Shutterstock.com

The importance of being Roger

Gothic architecture, like the iconic Canterbury Cathedral, creates a genuine sense of grandeur and aims to connect people to a sense of the divine. 哥特式建築的傑作之一——英國坎特伯雷大教堂，其恢弘壯麗的結構與裝飾，讓人身在其中真正感受到神聖。

Massimo Santi / Shutterstock.com

甚麼是美？對於許多人來說這是一個自己以為知道答案，卻從未深入思考過的問題。如果需要認真給予一個答案，我們會發現在當下這個紛擾的時代裏，關於美的定義變得前所未有的模糊和令人困惑。幸運的是，曾有許多偉大的走在這條路上的先輩們為後人留下了珍貴的路標，英國的羅傑．斯克魯頓爵士（ Roger Scruton）就是其中的一位。本期《品位》的主題「為甚麼美如此重要？」正是源於他拍攝的一部紀錄片《 Why Beauty Matters》。提及英國傳統文化思想的特色，一般人們所熟知的是其保守和謹慎，即尊重歷史，對所謂的變革保持著審視的態度。然而，這種保守主義思想在左派思想成為當下西方社會主流的狀況下一直處在被邊緣化中，以羅傑為代表的保守派人士也難逃被批評和排斥的窘境。但他從未對此感到自怨自艾，反倒引以為傲。他幾十年如一日為傳播保守主義的哲學和美學思想而奔走於世界各地，以至於有人視他為自十八世紀英國保守主義思想奠基人Edmund Burke之後，繼承這一思想的世界第一人。他亦作為歐洲十大保守主義知識份子之一，在 2017 年十月參與發起「巴黎聲明」——《一個我們能夠信靠的歐洲》而引起全球的廣泛關注。翻開羅傑所留下的五十多本著作，其內容涵蓋了從音樂到建築，從政治到哲學等各個領域，其中還不乏小說、散文集等更富有他個人情感溫度的作品。他曾著有《音樂美學》和《建築美學》，因為他在美學方面的造詣，得以當選英國「構建美好建築委員會」主席。他將自己的美學理念置入建築領域的美學實踐當中，呼籲建築師們為了拯救城市而抵制現代主義。我們可以看到，這位經常以公共知識份子而自居的老先生，並非是一位不食人間煙火的傳道士，而更是大家通常印象中風度翩翩的英倫貴族紳士，在充滿社會責任感和家族榮譽感之外，有著對生活真摯的熱愛，對世間美好事物的欣賞和珍惜，並樂於將這些美好引入自身生活的各個方面。「美是終極的價值，我們追尋它就是在追尋自身，無需進一

Michelangelo’s La Pietà features Mary holding the body of her son Jesus Christ after his death. The detailed beauty and complex emotion of the sculpture have inspired worshippers for 500 years. 米開朗基羅雕塑作品《哀悼基督》，細節精緻，呈現出聖母懷抱死去的基督耶穌的場景，體現了作者內心的虔誠，也帶給後世無數藝術家無盡靈感。

步的理由。美應與真實和善良並列，共同組成三項終極的價值觀，以此來判斷我們的理性思維傾向的合理性。」當羅傑彈奏著鋼琴，並與他志同道合的學者們共同品嚐美食、美酒，暢談古典藝術哲學時，那番景象不禁讓我們聯想起文藝復興時期的歐洲。也許在未來，歷史會給予他們不同於今日的地位，那也許會是另一次文藝復興到來的時刻。 1968 年，在巴黎攻讀美學博士學位的羅傑經歷了一場學生抗議

活動，這成為了他一生的轉折點。「我突然意識到我和他們不是一個立場。」羅傑回憶說：「當我問我的朋友們這群人的訴求時，得到的答案是一些馬克思主義者的荒謬可笑的言論。我對此感到厭

「美是終極的價值，我們追尋它就是在追尋自

惡，開始想一定會有個辦法來抵禦這些東西對西方文明的傷害。那

身，無需進一步的理由。美應與真實和善良並

是我成為一名保守主義者的時刻。」

列，共同組成三項終極的價值觀，以此來判斷

古董」等詞彙聯繫起來。事實上，保守主義在西方是現代思想體系

我們的理性思維傾向的合理性。」

似於一個複雜的有機體，讓其自行演化與生長是最好的、最自然的

也許今日提起保守主義，許多人都會將其與「墨守成規」、「老的一種，有自成體系的主張和理念。例如：保守主義認為，社會類

James A .D. Wright-Zhang / Shutterstock.com

He finished his Ph.D. at Cambridge with a thesis that became his first book, titled Art and Imagination. He became a professor of philosophy at Birkbeck College and set his mind to establishing an intellectual tradition for conservative scholarship. His colleagues were deeply liberal, and far-left ideologies dictated much of the academic culture, so Scruton accustomed himself to sailing in headwinds. During the cold war between Western and Eastern Europe in the Soviet era, Scruton developed deep ties to the dissident academics in what is now the Czech Republic as well as Poland and Hungary. He participated in the underground education network started by Czech dissident Julius Tomin, but in 1985, Czech police detained Scruton and placed his name on the communist Index of Undesirable Persons. While many of his contemporary political philosophers in England defended communist ideology, Scruton’s direct experiences behind the Iron Curtain led him to a defense of culture and truth. This led to his third book, The Meaning of Conservatism, which was published in 1980. The left hated him for the book, but instead of shying away from the criticism, he founded the conservative magazine The Salisbury Review, and embarked on a prolific period of writing and editing. No matter how beautifully he wrote, however, he always faced criticism for his conservative views, but he never stopped writing or lost his sense of humour. When receiving the Jeane Kirkpatrick Award for Academic Freedom in 2018, he said, “It’s been a great adventure for me to be so hated by people I hold in contempt.”

In his 2007 book Culture Counts, Scruton writes, “The culture of a civilization is the art and literature through which it rises to consciousness of itself and defines its vision of the world.” Scruton saw culture as something inherited from previous generations, given to the present in order to preserve it for the future. We are caretakers of the consciousness of our ancestors, expressed through art, writing, and the cities created by that consciousness. We are also the creators of our own expressions that add to the consciousness of future generations. We thus should take care to ensure that the line of beauty connecting the cultures of all ages and all places remains unbroken. “Styles may change, details may come and go, but the broad demands of aesthetic judgement are permanent,” Scruton says. Beauty is the glue that holds cultures together. It transcends individual places and ages. Light shining through stained glass in the Notre-Dame Cathedral, the face of Mary in Michelangelo’s

“Styles may change, details may come and go, but the broad demands of aesthetic judgement are permanent.” —Roger Scruton

Katoosha / Shutterstock.com

In defense of culture

All cultures throughout history have utilized beauty to show their reverence for heaven. The ancient Buddha Statues (top) in China’s Dunhuang Cave Grottoes were created by devoted artists over the course of a thousand years. On a smaller scale, this traditional rooftop in China (bottom) shows the attention to detail that ancients had. 在所有文化中，最初藝術都曾用來表現人對神的敬仰。上圖為敦煌石窟佛像，下圖為中國傳統建築上的屋脊獸，每一隻都有獨特的吉祥寓意。

La Pietà, a Bach orchestral suite—my experiences of these things connect me to the experiences of so many others over the centuries since their creation. The beauty links us with a sense of profoundness and awe. “The sense of beauty puts a brake upon destruction, by representing its object as irreplaceable,” Scruton wrote in Face of God: The Gifford Lectures. When we build beauty into an object, building, or work of art, we are signalling to the future what we think is worth preserving.

狀態。這個過程不排除理性的作用，但由於人性天生並不完美，

A beautiful legacy

現代也受到了共產主義思想毀滅性的破壞。

人來說，聽起來可能非常耳熟，類似於道家的「道法自然」、「無為而治」。此外，保守主義還信奉社會的穩定性在很大程度上是由家庭倫理、風俗習慣和宗教信仰來維繫的，它們使人們獲得穩定幸福的生活，形成公共道德意識。因此培育和守護這些因素，是維持社會健康的必要條件。這種理念與中國的儒家思想又有著異曲同工之處，而儒家文化思想在中國乃至整個東亞影響甚為廣泛深遠，在兩千年的歷史中保證了那裏人們生活的安寧和諧，可惜在無論在何種文化中，審美標準都是與道德標準一致的。羅傑在他 2007 年的著作《文化有價》中寫到：「一種文明所產生的文化，是其藝術和文學所代表的世界觀，是對人意識的提升。」美好的文藝作品是創作者內心高尚情操的表現，能影響周圍人，甚至子孫後代們。「風格會變化，細節會增減，但審美的標準是永恆的。這種美不可替代，不可磨滅。」無論是巴黎聖母院那彩繪玻璃閃耀的神聖光芒，還是米開朗基羅令人無比仰望的西斯廷教堂天頂壁畫，或是巴赫的交響樂；

Eric Isselee / Shutterstock.com

In the final years of his life, one last misguided mob. A wave of online criticisms labeled Scruton racist because of his defense of Western culture. The mob demanded his removal from a formal council on building beautiful public spaces, and it seemed for a moment as if the mob might win. But it didn’t. The obituaries that came all too soon after that final controversy showed definitively that Roger Scruton is loved, and his legacy beautiful. Douglas Murray’s obituary for Scruton in The Spectator states, “If he sometimes fitted uncomfortably with the age in which he found himself, it was principally because he did not believe in its guiding tone of encouraged animosity and professionalised grudge. He believed instead—and lived in—the spirit of a different age. One in which he encouraged his readers to share. That is a spirit of gratitude for what you have received, and forgiveness for what you have not.” Even his opponents held him high esteem. Michael Shindler wrote the following in an essay critical of Scruton: “Like the Roman guard who would not abandon his post during the cataclysm of Pompeii, the late Roger Scruton stands in lonesome majesty as the artistic tradition’s greatest defender athwart modernity’s aesthetic upheaval.” After months of fighting cancer and facing the imminent end of his life, Scruton published a final essay in The Spectator, titled Roger Scruton: My 2019. It included the following passage, and I can’t think of a better way to end a tribute to the man’s beautiful life than to include some of his final words. “During this year much was taken from me—my reputation, my standing as a public intellectual, my position in the Conservative movement, my peace of mind, my health. But much more was given back: by Douglas Murray’s generous defence, by the friends who rallied behind him, by the rheumatologist who saved my life and by the doctor to whose care I am now entrusted. Falling to the bottom in my own country, I have been raised to the top elsewhere, and looking back over the sequence of events I can only be glad that I have lived long enough to see this happen. Coming close to death you begin to know what life means, and what it means is gratitude.”

所以理性在引領變革中最重要的作用是審慎。這種思想對於中國

亦或是東方文化中，敦煌大漠石窟中的壁畫造像，文人墨客筆下的詩詞歌賦，水墨丹青。這些輝煌燦爛、流芳千古的文藝作品中無不包含著創作者們虔誠的信仰、靈性的感悟，以及對人間美好品格、情感與事物的感恩和讚頌。讓後人們在感受到美的同時，身心在其中沉靜和安寧下來，獲得享受和休憩，而這些往往是宣揚激情、強調表達自我的現代藝術所給予不了的。因為深知這些古老遺產的珍貴，更出於一位公共知識份子的社會責任感和使命感，當羅傑在巴黎看到那些共產主義者恣意破壞傳統經典時，才會那麼的義憤難平，這讓他將自己畢生精力義無反顧地投入到了宣傳保守主義，抵禦共產主義對歐洲古典文化侵害的行動中，儘管這條道路是如此的孤獨和艱辛。 1985 年，前蘇聯和東歐的社會主義陣營尚未解體之時，他曾因參與一位捷克學者在本國秘密組織的地下教育活動，而被當時的捷克政府拘留，後列為不受歡迎的人，驅逐出境。在學術界和社交媒體上，左派們也從未停止對他的圍攻。 2020 年 1 月 12 日，羅傑在與癌症抗爭了數年後，與世長辭。

當時罕有媒體公佈他的訃告，許多人甚至不知道這位成就斐然的學者的名字。也許正如網絡上所流傳的一句話中所說：最了解一個人的，不是他的朋友，而是他的敵人。一直批評羅傑的攝影師 Michael Shindler 在他去世後，卻這樣評價他：「就像古羅馬衛兵

們在龐貝古城毀滅時依然堅守崗位一樣，逝去的羅傑．斯克魯頓依然傲然矗立，成為古典藝術最偉大的捍衛者，與現代審美所帶 The ceiling of the Sistine Chapel in the Vatican depicts scenes from the Bible’s Book of Genesis. The massive fresco painting changed the course of Western art and has attracted millions of viewers from around the world who come from all faiths and walks of life.

梵蒂岡西斯廷教堂舉世聞名的天頂，由米開朗基羅繪製，表現了《聖經》中創世紀的場景。至今為每年數百萬來自世界各地到訪者帶來無盡的震撼。

來的衝擊頑強抗衡著。」正如龐貝古城在兩千年後重見天日一樣，當下在現代藝術滾滾洪流中掙扎沉浮的古典藝術，也終會有重現其輝煌榮耀的時刻，相信那時身在天堂的羅傑會投來欣慰的微笑。

丹青不渝與中國茶畫道之和美香道

畫家天外客眼中的

描畫道中妙境

一心一意

與勾勒茶大道千和世香界道

一筆一墨

Top: A Thousand Miles of Rivers and Mountains by Ximeng Wang of the Song Dynasty.

Timeless Beauty Painter Waike Tian reveals the deeper beauty in classical Chinese ink paintings

English text by Jared Pearman Chinese text by Cherry Chen

上圖：北宋畫家王希孟的《千里江山圖》

中國的水墨畫興於唐代，以毛筆墨汁為表達媒介，追求著一種「妙在似與不似之間」的意境之美。不拘泥於外形的肖似，不強調雙目所見的透視，所堅持的唯有作畫者「外師造化，中得心源」的審美和思想理念，以及源自儒、道、釋三家傳承的「天人合一、物我兩忘」的精神境界。無論主題是山水花鳥，還是人物建築，皆體現著對自然、對世間萬物的理解思考和人文情懷。本期《品位》特別邀請了職業中國畫畫家天外客，請他結合自己多年的學畫和創作經歷，引領我們共同欣賞中國水墨丹青的詩意之美。

線條之美

Above: Water Map (one of a series of 12 paintings) by Yuan Ma of the Southern Song Dynasty. Opposite: Travellers Among Mountains and Streams by painter Kuan Fan of the Northern Song Dynasty.

不同於西方繪畫注重塊面和光影的藝術特色，線條是中國畫的主要特徵之一，流露著畫家內心的情感和精神內涵。運筆的強弱虛實，起伏轉折承載著沉著有力、生動鮮活的物態形制；墨色的濃、淡、幹、濕、焦表現出栩栩如生、韻味深長的山水景觀；行線

The classical style of Chinese ink painting flourished in the Tang Dynasty. With the simple tools of brush, ink, and paper, China’s scholars and artists brought out “the beauty between resemblance and non-resemblance,” according to Waike Tian, a painter carrying on the tradition today. Chinese ink painting doesn’t emphasize visual perspective like Western painting does. Instead, the artists focus on the aesthetics of the brush strokes and composition to bring out the essence of the subject and connect to the viewer’s heart. Artists throughout Chinese history have drawn inspiration from Confucianism, Taoism, and Buddhism for thousands of years. Whether the paintings are landscapes, flowers, birds, people, or architecture, they reflect an understanding of nature and the human condition based on the wisdom of their spiritual traditions.

的長短曲直則是直中有曲、曲中見方，動可有威，靜可有勢。這幾種元素相結合，如在紙面上奏響一曲交響樂，於水乳交融的旋律和節奏之間感受到畫面之外作者想要表達的情感和講述的故事。關於中國畫的線條，天外客為我們講述了一段他早期學畫時的有趣經歷。「那是我大學時，一位老師第一次為我們班上課時發生的事。在遇上這位老師之前，我已經練習國畫挺長時間，在班裏還是挺突出的，經常受到老師和同學的稱讚，作品還被掛在了教室的墻上。誰知這位新老師第一天上課就講到一些當下中國畫畫家普遍存在的問題，並以掛在墻上的我的畫為負面教材，一一指出了其中的不足，當時我心裏很是不服。」就在天外客氣悶不已的時候，老師徑直來到了他的課桌前，拿起畫筆為

The beauty of lines

他示範了一根線條的畫法。

A defining trait of Chinese painting is the use of lines, as opposed to the Western tradition’s use of light and shadow. The strength and softness of the brush strokes can have a sense of movement, of calmness or vigour; the thickness, lightness, dryness, wetness, and burnt colours of the ink can create a vivid landscape or depict a lively conversation among literati. The straightness and curves of the lines are interdependent and combine like a symphony on paper. The intentions of the painter interweave with the story of the painting like the melodies and rhythms of music. Regarding the use of lines, Tian uses an anecdote from his days studying painting to illustrate the concept. “I had been learning Chinese painting for a long time. I was kind of outstanding in my class and often praised by my teachers and classmates. My works were even hung on the wall of our classroom. However, one day a new teacher came to our class for the first time and talked about some common problems of Chinese painting—using my work as examples of the shortcomings one by one.”

「我一下子豁然開朗了，對線條的認識有了質的飛躍。可以說，是這條線讓我真正開始進入國畫的世界。」如今，在學習國畫多年後，天外客對中國畫的線條有了更深刻的認識。「中國畫的線條很靈動，這是中國畫最大的特點，可以不用任何顏色而只用線條就能成就一幅完整的畫面，且能形、神、意兼具。中國畫的線條美不是單一的，還能呈現出不同的質感和精神性格。」天外客例舉了北宋畫家范寬的《溪山行旅圖》，其中山體輪廓的線條體現出剛勁之美，將北方山脈的雄壯勾勒出來，傳遞出大山那偉岸雄渾的精神品格。中國畫的線條又有陰柔之美，如：南宋馬遠的《水圖》，將各種狀態的水波畫得意境連綿，引人遐思，生動展現了水的浩渺與變化萬端。對頁：南宋畫家馬遠《十二水圖》之一上圖：北宋畫家范寬的《溪山行旅圖》

Divine Beings of Wonderland by Waike Tian is a prominent blue and green landscape painting depicting a Taoist wonderland where divine beings meet and descend to the earth together.

天外客說他個人傾向於宋代繪畫的審美，喜愛其中的寧和平淡、清新天真，同時又不乏淵深靜穆、典雅中正。「這跟中國傳統文化的內涵有相通之處，比如：剛柔並濟、陰陽相合；天人合一、道法自然。畢竟傳統中國畫是植根於傳統文化的大背景中的。」宋代的文人雅趣與審美文化對後世影響深遠，直至今日依然在世界各地風行，例如：有宋代四雅事之稱的掛畫、插花、焚香、點茶，不僅在中國，在日本、韓國等地都大行其道。如今在國際上流行的和風和禪意家居器物中也多有宋代審美的體現，仔細鑒賞一下宋徽宗的畫作《文會圖》，你會發現其中的家具擺設即便放在今日也絲毫不顯突兀。

意境之美經常有人將中國畫與西方繪畫拿來比較，認為中國畫在技法上不如西方更成體系，寫實和塑造能力也不夠強。對此，同時學習過西畫和中國畫的天外客有自己的看法。「除去線條，中國畫構圖上有散點透視和留白的經典藝術特色，具有多視角、多維度、簡約生動、主題鮮明的優點。」如果沒有中國畫的散點透視，就沒有宋代王希孟的《千里江山圖》的壯麗大觀，也沒有了張擇端《清明上河圖》的歷史繁華，這些作品用焦點透視法是畫不出來的。天外客認為，中國畫歷來不講「寫實」，而講「寫真」。「中國畫講『寫真』，是因為中國文化的特點就是至少一半要放在表現『意』上，就像人有靈魂和肉體，中國文化的重點是靈魂那一面，認為靈魂的表現才是生命的真實，是不朽的。」正因為著重於表達意境，中國畫家在創作時會把肉眼所見的東西進行主觀刪減或改動，以期達到生動傳神、韻味悠長的效果，這也是天外客眼中中國畫的最美之處。「中國畫有詩一般的意境美，有句話『畫是有形詩』，一般一幅很好的中國畫都具備這種詩境美。這種美對我們的生活太有意義了，缺少它，我們可能只剩下柴米油鹽和程式化的勞動。沒有了對人生的細膩體味和思考，世界像是沒有了色彩，黯淡下來，是可怕和無味的。」在天外客看來，中國畫的意境之美因源於作者對儒、道、釋等傳統文化思想的理解，往往包含著深層的內涵和人生智慧。像是中國畫另一突出的特色——留白，其中的智慧便超出了美學的範疇，能給人以現實的啟悟。「今天的人們在躁動中生活著，內心充斥著各種繁雜的事物，不得一刻安寧，時間久了會對身心健康不利。如果你不懂得刪繁就簡，適當『留白』，很容易會在忙亂中迷失自己，從而錯過生活中許多的美好。」從傳統的中國畫中，我們可以欣賞到一種古老的智慧，那是古人們生活狀態和自身心態的展現，帶給人安寧靜謐的陶冶，這是很值得今天人們借鑒的，能從中獲得源源不斷的良性信息。

「中國畫講『寫真』，是因為中國文化的特點就是至少一半要放在表現『意』

自 2018 年起，天外客著手寫下一篇洋洋灑灑數萬字的論文—— 《中國畫原論》。在此文中他將自己多年來對中國畫的鑽研和理解，系統地總結整理出來，並提出了許多新觀點。天外客說，這

上，就像人有靈魂和肉體，中國文化的

篇論文是他在朋友的鼓勵下寫出來的，一些以傳統畫風格為宗的畫

重點是靈魂那一面，認為靈魂的表現才

心，同時要有對傳統、正統文化敬畏的態度。當我了解到古代的

家都表達了對該文的讚許。「成為一名畫家需要有一顆清淨心和耐君臣士人都是崇信神佛的，我開始理解他們畫中的『敬』，那應

是生命的真實，是不朽的。」

天外客所畫《奇境仙蹤》是一幅青綠重彩的山水畫作品，描繪了一處道家仙境，仙人們相約下走紅塵的情景。

該是古人所說的『技可進乎道，藝可通乎神』的深刻含義。」

Just when Tian felt the most frustrated, the teacher went straight to his desk and picked up the brush to demonstrate his method for line drawing. “I suddenly became enlightened, and my understanding of lines made a qualitative leap. It was that line which really brought me into the realm of Chinese painting.” Now, many years after that transformative line at school, Tian continues to refine his technique. “The lines of Chinese painting are very flexible, which is the biggest feature of Chinese painting. You can create a complete painting without any colour. Using just lines, it can still have form, spirit, and meaning. The beauty of lines in Chinese painting is not unitary. It has different textures and spiritual characteristics.” Tian gives as an example the painting Travellers Among Mountains and Streams by painter Kuan Fan of the Northern Song Dynasty. He says the lines of the mountains reflect the beauty in strength, showing the majesty of the northern mountains. To show a more feminine beauty, Tian references Water Map by Yuan Ma of the Southern Song Dynasty, which is a series of paintings showing water in various stages of motion. Tian says he prefers the aesthetics of Song Dynasty paintings. He likes the tranquility, calmness, and innocence, along with the elegance and integrity of the age. The literati of the Song Dynasty had a profound impact on future generations, and their works are still popular all over the world. It was during the Song Dynasty that the Chinese concept of the four elegances came to prominence: painting, flower arranging, incense, and tea. Much of today’s Japanese style and minimalist zen furniture reflects the aesthetics of the Song Dynasty. If you carefully appreciate the painting Literary Gathering by Emperor Huizong, you’ll find furniture that would fit even in modern homes.

Artistic conception

When comparing Chinese and Western paintings, some might say that the Chinese style is less systematic and realistic. Tian, who has studied both Western and Chinese painting techniques, has his own opinion. “In addition to the lines, the composition of Chinese painting utilizes a multi-vanishing-point perspective and blank space. It has the advantages of multiple perspectives, multiple dimensions, simplicity as well as vividness, and clear themes.” Without the multi-vanishing-point perspective of Chinese painting, we would lose the impact of paintings such as A Thousand Miles of Rivers and Mountains by Ximeng Wang and Along the

River During the Qingming Festival by Zeduan Zhang. Tian believes that in place of realism, Chinese painting focuses on a broader concept of “portrayal.” He says that “at least half of its focus is on the expression of the soul. Just like people have both soul and body, the focus of Chinese culture is on the soul, and the expression of the soul is the true and immortal.” Because of the emphasis on expressing deeper concepts, Chinese artists manipulate their subjects and use negative space in ways that Western painting cannot. “Traditional Chinese painting has its poetic beauty in artistic conception,” Tian says. “There’s an old saying that ‘paintings are like tangible poetry.’ Generally, a good Chinese painting has this poetic beauty, which is so meaningful for our lives. Without it, there may be only cooking and routine work left for us every day, and we will lack an appreciation for life. The world seems to have no colour, dimmed, being terrifying and boring.” In Tian’s view, the beauty in Chinese paintings comes from the artistic conception, which should stem from the artist’s understanding of Confucianism, Taoism, Buddhism, and other traditional cultural thoughts. Another feature of Chinese painting tied to those ancient concepts is the use of blank space, which goes beyond the scope of aesthetics to create a genuine sense of tranquility. “People today live in restlessness, and their minds are full of various complicated things,” he says. “They cannot be peaceful for even a moment. Over time, it will be detrimental to their physical and mental health. If you don’t know how to delete the complicated things, just keep it simple and properly reserve some blank space. If you don’t, you will easily get lost in such a rush and let beautiful things slip away in life.” Since 2018, Tian has been working on an extensive essay titled The Original Theory of Chinese Painting. In the essay, he systematically summarizes his years of research and understanding of Chinese paintings, and he also puts forward his own new viewpoints. Tian says he wrote the essay with the encouragement of his friends and some painters who persevere in their traditional painting styles. “Becoming a painter requires a pure heart and patience, as well as an attitude of reverence for the traditional orthodox culture,” he says. “When I learned that the ancient monarchs, ministers, and scholars all believed in gods and Buddha, I began to understand the respect in their paintings. It shows the profound meaning of an ancient saying, ‘Skills can bring you closer to the Tao, and art can connect you to the gods.’”

Left: In Plum Blossoms, Waike Tian uses a tall and powerful posture to express the perseverance of the plum blossoms, and the texture of the flowers shows their freshness, as well as the inner strength it takes to take pleasure in hardship. Right: Return of the Soul, by Waike Tian. In ancient China, the wild goose symbolizes the homesickness people feel when they’re far away from home. The creative technique of using objects to express one’s emotions is common in traditional Chinese art and literature. 左圖：《梅》是一幅水墨花鳥畫作，天外客用挺拔有力的姿態來表現梅的堅忍，又用玲瓏剔透的質感來展現梅花的清新出塵和以苦為樂的內心狀態。右圖：《歸心》是一幅花鳥畫作，畫中鴻雁在中國古代寓意離家遊子的思鄉之情，這種托物寄情的創作手法在中國傳統藝術和文學創作中非常常見。

也能得到意料外的收穫

Explore 73–85

Bringing Back the Pilgrimage 73 重走朝聖路

沿著這條路

這是一場文化與精神的旅行

重走朝聖路

The British Pilgrimage Trust

悠遊•探索

你會找到心靈的平靜

Like many Catholic shrines in England, the Holy House at Walsingham Abbey was destroyed during the reign of Henry VIII, but it remains a pilgrimage site to this day. 像英格蘭的許多天主教聖壇一樣，沃爾辛厄姆修道院的聖殿在亨利八世統治期間被摧毀，現在成為一處朝聖地。

Bringing Back

Sacred routes in Europe and around the world are on the rebound thanks to a new breed of devotees

English text by Courtney John and Jared Pearman Chinese text by Cherry Chen

The British Pilgrimage Trust

the Pilgrimage

Idyllic scenes like this one on Eggardon Hill in Dorset are almost commonplace along the traditional pilgrimage routes through the English countryside. Golden statues of Buddhist deities stand before the grand backdrop of the Himalayas in Thimphu, Bhutan. 英格蘭多塞特郡Eggardon山附近田園詩般的美景，是傳統朝聖者們的途經之地。不丹首都廷布的黃金佛教雕像，遠處是宏偉的喜馬拉雅山脈。 75

The-Walker / Shutterstock.com

Pilgrimages have become a lost art. The advent of the car has not only changed our motivation to walk the distance, it has also changed our maps and the landscape itself. But there are routes around the world where people continue to walk the same paths that have been walked for hundreds—and in some cases even thousands—of years. While the motivation for many to walk these pilgrimage routes may have changed with the times, the impact of sacred journeys remains as profound as ever. Dr. Guy Hayward, director and co-founder of The British Pilgrimage Trust, says, “There’s an appetite for walking with a purpose. We are redefining what a holy place is. Maybe it’s a church, but it could also be an ancient tree. The pilgrimage doesn’t have to be pagan or Christian. Holy means holistic. The pilgrimage gives meaning, rather than just a nice walk, and we need that.” Routes such as the famed “Pilgrim’s Way” from London to Canterbury have been frequented by foot-travellers for centuries. The Camino de Santiago in Spain is similarly renowned. They, and many other pilgrimage routes across Europe, conclude at cathedrals of incredible beauty. Along the way, small churches, shrines, and towns add to the experience, with layers of meaning and history that can only be appreciated by walking the old ways. But there are other roads with histories longer than even Christianity itself, such as the one from Folkestone to Dover to Stonehenge, which is more than 3,000 years old. But no matter which religion established the route, they are open to everyone, and travellers will find themselves walking through majestic forests and stopping at sacred spots where generations of humans have pondered the same big questions in life. It was during the Middle Ages that the idea of pilgrimages got real traction in Europe. They became a rite of passage for many Catholics at a time when cathedrals stood as some of the world’s greatest marvels of engineering, beauty, and faith. Many of the routes that have been rediscovered in recent years bear the marks of that era.

The reality of the walk is what makes it special, Hayward says. “It’s something to actually look at a tree and touch it. When you visit a holy well and commune with it, when you actually put your hand in it—it’s visceral.” The many pre-Christian sites on British pilgrimage routes are something special that can’t be found anywhere else, Hayward says. Of the remaining pilgrimage routes in Europe, most are exclusively Catholic in their heritage, and almost all of the pre-Christian sites—places akin to Stonehenge—were destroyed centuries ago along with many of the sacred trees and tree groves that were central to ancient ceremonies. But don’t throw stones at the Church for the loss. In the West, the idea of the pilgrimage is largely a Catholic gift to the culture. In fact, that’s precisely why the tradition was banned in Britain in 1538.

“When you visit a holy well and commune with it, when you actually put your hand in it—it’s visceral.” —Dr. Guy Hayward, director, The British Pilgrimage Trust

Valery Egorov / Shutterstock.com

An enriching experience

British pilgrimage destinations vary, from ancient sites such as Stonehenge (top) to sacred Christian sites such as Canterbury Cathedral (bottom), whose pilgrimage tradition was captured in the literary classic The Canterbury Tales, from the 14th century. 英國朝聖路線的終點經常是充滿歷史感的古老地標和宗教建築，如巨石陣（上）和坎特伯雷大教堂（下）。十四世紀所著的經典著作《坎特伯雷故事集》便是講述一隊前往坎特伯雷大教堂的朝聖者的故事。

The British Pilgrimage Trust

曾經以為「朝聖」這個名詞距離我們的生活是如此遙遠，從未去關注，更未想過要去嘗試。第一次被「朝聖」打動，還是因為一部名為《岡仁波齊》藏語電影，它講述的故事是如此簡單，一句話便可以概括：在西藏一個偏僻的小村莊裏，一隊人不遠千里、歷盡艱險去拉薩朝聖。沒有《魔戒》那樣波瀾壯闊的戰爭場面，沒有特效，沒有明星，這不是一部所謂的「大片」，卻給予了觀眾最大的感動與震撼。朝聖路上，高山、風雪、災禍陸續降臨，一群衣衫襤褸的凡人就這樣嚴格按照儀式，走不了數步，便要伏地下拜一次。甚至在隨行裝載物資的拖拉機出了事故，不得不靠人推行的情況下，都要先把車推進一段距離，人再折回原處用伏地而拜的方式重走一遍。也許他們的行為對於許多人來說已經無法理解，這場用生命行走的朝聖之路究竟為了甚麼？又是否值得？翻開人類的歷史，朝聖的歷史幾乎與宗教的歷史一樣長。在佛教、天主教和基督教的傳承中，朝聖幾乎是每一位虔誠信徒的必經之路，是通往天國彼岸的人間聖路。世界上著名的朝聖之路有很多，歐亞美大陸皆有分部，每條幾乎都有上千年的歷史。對於今天的人們來說這些道路已經不再艱險危難，許多沿途都有著秀麗的自然風光和滄桑古老的人文風景，道路的終點更往往是一座恢弘的宗教建築或其它有著特別意義的歷史遺跡，值得去觀賞和體驗。英國的朝聖基金會（BPT）便在越來越多人渴望重走朝聖之路的大背景下應運而生了，董事兼聯合創始人Guy Hayward 博士對越來越多的非宗教信徒「朝聖者」給出了自己的建議：「全身心投入到一段旅途之中，認真思考生活中究竟哪些是自己想要的，哪些是該放手的。如果你的旅程伴隨著這樣的念想，那面前的路將會不同尋常。」尤其當你在旅途中偶遇一些靈性的經歷與體驗時，這一行可能真的會在人生中留下難以磨滅的印記。「那也許是路旁的一棵樹，也許是一口聖井，你觸摸到它們，感受到它們，像是在與之對話，這會觸動你的心靈。」在Hayward博士眼中，朝聖者所嚮往的「神聖」存在於全世界不同的地區和文化中，它不應因時代變遷而褪色消散，即便曾經的聖地和建築早已在時光的侵蝕下煙消雲散，人們心中的「神聖」精神和意志卻會長存於世。位於英國的最負盛名的朝聖之路，始於1170年坎特伯雷大主教貝凱特被英國國王亨利二世殺害後。最初的主要路線從溫徹斯特開始，經英格蘭北部的丘陵山脈，終點在肯特郡的坎特伯雷大教堂。英國作家喬叟於十四世紀所著的《坎特伯雷故事集》便是說的一隊前往坎特伯雷大教堂的朝聖者，結伴上路後，每個人輪流講述的一系列妙趣橫生的小故事。這本著作後來在全球流傳甚廣，也讓更多人藉此了解了坎特伯雷朝聖。位於終點的坎特伯雷大教堂是英國最古老的大教堂，始建於西元六世紀。三座主要的塔樓則分別建於不同時期，高大而狹長的中廳和高聳的中塔樓及南北樓表現出哥特建築向上飛拔升騰的氣勢，而東塔則是雄渾淳厚的諾曼風格。

Dryburgh Abbey on the banks of the River Tweed in Scotland was destroyed and rebuilt multiple times, with each era leaving its mark on the land and the nation’s history. 柴伯爾修道院位於蘇格蘭的特威德河畔，歷史上曾被毀掉和重建過多次，留下了不同時代的痕跡。

Henry VIII broke away from the papacy and declared himself the supreme head of the Church of England. Pilgrimages were seen as a Catholic threat, so they paused for a few centuries, adding to the uniqueness of the British revival.

Classic pilgrimage routes

An oldie but goodie, Canterbury is still one of the most popular pilgrimage destinations. Geoffrey Chaucer’s classic, Canterbury Tales, is a pilgrimage story that’s still required reading in many high schools and universities. A coastal city, Canterbury was the gateway to Rome in ancient times, and it’s where St. Thomas Becket was martyred in 1170. It was also the home of St. Augustine of Canterbury, who is credited with bringing Christianity to England in the sixth century. Shrines to St. Augustine and Becket have been a pilgrimage draw for centuries, and since St. Augustine is the patron saint of brewers, pilgrims can feel good about wetting their whistles after a long day’s trek. During the 16th-century Reformation, the Church of England broke away from the pope. Many formalities became seen as archaic, and pilgrimages made that list. The Enlightenment of the 18th century and the rise of Britain as a global superpower shifted the tone of pilgrimage to tourism. During the 20th century, historian Julia Cartwright and writer Hilaire Belloc wrote The Pilgrims’ Way and reignited the spark for sacred treks. Now there are four main routes to Canterbury from Winchester, Guildford, London, Southwark, and Rochester. These days, the pilgrims are not all Christian; all pilgrims are welcome. Should you decide to undertake a British pilgrimage, expect to meet soul-searchers of all types. A good place to start is with the British Pilgrimage Trust (BPT). The trust is stoking the pilgrimage revival flames by connecting people and places with everything from books to phone apps that use GPS. Hayward says, “Some of the things involved with pilgrimage are human, not just religious, but there’s something very beautiful about religious buildings that have lasted hundreds of years. People really put a lot of thought into them.”

Walking with purpose

Perhaps it’s the intention of the creators that makes those religious places worth visiting. Hayward also encourages people to set intentions before embarking on a pilgrimage of their own. “Dedicating the journey to someone or thinking of something you want to bring into your life or let go of—if you start off with these principles, you will have a different sort of walk.”

Pilgrimages are, of course, not limited to Europe or Christianity. For many Buddhists, the sacred mountains of Tibet hold deep significance, and the region is full of temples, shrines, and prayer sites that attract pilgrims as well as hikers from all around the world. 對於許多佛教徒來說，西藏的眾多聖山具有深遠的意義。西藏寺廟林立，吸引著朝聖者以及來自世界各地的徒步旅行者。

在位於歐洲的朝聖之路中，還有幾處格外受到信徒們的青睞。例如：與羅馬、耶路撒冷齊名的三大聖城之一 — —西班牙的聖地牙哥。相傳第一位被刺殺殉道的耶穌十二門徒之一聖雅各，就安葬在聖地亞哥大教堂，這裏也成為全球基督教信徒們最為推崇的朝聖地。與聖雅各朝聖之路齊名的是愛爾蘭克羅派翠克山朝聖之路。這座山峰海拔765米，相傳天主教聖人，也是愛爾蘭守護神聖派翠克曾在此山祈禱，禁食整整四十天，從此每年全球有上百萬信徒來此朝聖。如今登到峰頂教堂後，可以享受到醇美的吉尼斯黑啤。在上千年的積澱下，每一條朝聖之路的沿途都陸續修建起 canadastock / Shutterstock.com

了眾多教堂神社，以供朝聖者休整勞頓，還有旅店、圖書館、博物館等可供現在的過路人參觀遊覽。崎嶇的道路早已被修整得平坦安全，還設有清晰的路標，一路上會經過田園詩般的河谷山巒、村莊農田，體驗到遠離塵囂的寧靜安詳。如以風景優美而著稱的法國聖讓皮耶德波爾至西班牙聖地亞哥的朝聖之路，就曾有英格蘭作家為它寫下這樣的詞句：「我看到那些咖啡色的莊稼，看到秋葉滿地，樹成金色，看到田地如畫，小路雪白蜿蜒。看到他們走過葡萄園，風把葉子吹得嘩嘩響。看到他們影子斜斜的，印在廣場的條石上。」無論是英格蘭古老恢弘的坎特伯雷大教堂，還是古林密佈，溫泉汩汩的日本熊野古道，亦或是神秘的秘魯印加馬丘比

The glorious Mont-Saint-Michel on France’s northern coast is only accessible at low tide and has attracted pilgrims for centuries.

丘和西藏凱拉什山，這些古老的朝聖之路，千百年來讓行走在道路上的信徒們可以單純自己的思想，掙脫凡思俗念的阻擋，

法國北部海岸邊的聖米歇爾山，只有在海水落潮時方可進入，也是歐洲朝聖者們的目的地之一。

腳步越來越專注堅定地走完這一段旅程，也完成了一場修行。即便在今天，相信朝聖之路這種釋放煩擾的功效依然還會或多或少的存在著，哪怕走在路上的人是為了某項公益活動，甚至僅僅是減輕幾磅體重，所有人在旅途結束時，都將得到屬於他們的改變和收穫。

The British Pilgrimage Trust

Arjen de Ruiter / Shutterstock.com

Hayward also draws inspiration from an unlikely place when he embarks on a trek. “The fool is the most important card in the Tarot. It is the first card, the number zero. He sets out toward the cliff with a smile on his face. Wandering into the unknown with an open mind.” This openness is what Hayward encourages people to embrace. It changes the nature of the walk, and the way fellow pilgrims connect. “The quality of the conversation changes,” says Hayward. “Instead of being stuck face-to-face in a coffee shop, the conversation slows down. You are walking, so you can start and stop talking, and you don’t always have to be making eye contact. You get to know someone really well, really quickly.” One of the BPT’s most popular routes in England is called the “Old Way.” Not for the faint of heart, it’s a 250-mile trek from Southampton to Canterbury. Almost forgotten, the BPT resurrected the Old Way from Britain’s oldest road map, the Gough Map, circa 1360. There was a strange red line on this map, and once explored, it took people through breathtaking nature and was dotted with holy shrines. Another BPT route is The North Wales Pilgrims Way. At 140 miles, it’s recommended to allow a period of about two weeks for completion. It goes from Holywell to Bardsey Island. For ages, thousands of pilgrims found their way to Bardsey Island, which was known at the time as the edge of the world. Today, The North Wales Pilgrims Way has been waymarked in Flintshire, which has a large holy water swimming pool. Pilgrims can kneel underwater on St. Beuno’s Stone for a personal baptism of sorts. Pilgrims will also have the chance to visit prehistoric stone circles, ancient churches, thousand-yearold stone crosses, sacred springs, and waterfalls. There are tiny stone churches along the hillside, providing the same shelter and rest for modern pilgrims as they did for ancient ones. For the fortunate and the bold, pilgrims might have the chance to cross the water in a simple boat and arrive at Bardsey Island. It’s no wonder poets such as Gerard Manley Hopkins and R.S. Thomas found inspiration along this same route. A shared trait commonly found amongst pilgrims is purpose. Some want to ponder a crossroads in their lives. Some wish to immerse themselves in nature and sacred thought. Some do it for charity, and some even just want to shed a few pounds from their waistlines. But no matter the purpose and intention they have at the outset, people travelling these routes consistently find inspiration and connection to a higher power. Whatever a pilgrim’s reason, the one thing they all have in common is that they’ve all walked every step of the journey, and in that process, they’ve changed.

Top: Off the coast of Wales, Bardsey Island has been a religious site since the 6th century, when the first monastery was founded there. Bottom: Steps lead to the top of Glastonbury Tor, which is mentioned in celtic mythology, the legend of King Arthur, as well as Christian traditions. 頂圖：巴德西島位於威爾士麗茵半島背部沿海兩英里處，是一處宗教聖地。巴德西島也是一個祥和、寧靜、美麗的自然勝地，即使那些非宗教信仰者來到此地，都會有種朝聖者的神聖感。上圖：通往格拉斯頓堡的階梯，該地曾出現在亞瑟王和基督教的傳說中。

談她心中的美

Features Shen Yun Performing Arts

87–95 人物專訪

神韻藝術團領舞演員連旭

讓我們來聽聽

最深切、最難忘的體驗

神韻藝術團可以帶給您一場

關於感受美

神韻之美

Being Beautiful 87 神韻之美

Michelle Lian (centre) expresses beauty from within when she performs classical Chinese dance. 連旭（圖中正中）是神韻藝術團的一位領舞演員，她如今在舞臺上以滿滿的自信為觀眾展示中國古典舞的美，這裏面包含著自己的艱辛努力和來自隊友的無私支持。

Jennifer Zeng was imprisoned in a Chinese labour camp as a prisoner of conscience before fleeing her homeland. She now lives in New York.

Being Beautiful

A top classical Chinese dancer’s journey to discover her inner beauty

Photo by Binggan Zhang

English text by J.H. White Chinese text by Cherry Chen

Michelle Lian says one of the keys of inner beauty is confidence. 連旭覺得美構建在許多細小事物之上。在中國古典舞中，每個細微的動作都在反映著表演者心中的美。

Photo by Binggan Zhang

“Many small things come together to create my concept of beauty,” says Michelle Lian, one of the world’s top classical Chinese dancers, who performs for the world-renowned dance company Shen Yun. In classical Chinese dance, for example, Lian says the dancers put their hands in a mudra or hand position called “lotus fingers.” The position is very simple, yet the details of each dancer’s hands reflect who she is. “If you move your finger just slightly lower or higher, that small detail is going to change the posture,” she says. “The reason one finger is slightly higher or looks better is a reflection of her yun,” a dancer’s inner bearing and expression, she says. The dancer’s yun determines the exact position of each hand and even each finger. “The yun has to be tender and compassionate. It has to be comfortable for other people to look at,” Lian says. But reaching that standard of beauty requires tremendous fortitude. “When I see a dancer who does something for one second that was just perfect, that really inspires me because I know she has put in so much effort to achieve it,” Lian says. “That means you’ve practiced it more than 10,000 times.” But beauty has many dimensions and layers. Lian says what you see on the outside is not the essence of beauty. “Beauty is something that creates a positive feeling in other people.”

Learning to be beautiful

“I don’t think I’ve ever felt beautiful, because there’s always room for improvement,” Lian says. “Beauty takes time and practice.” She says confidence is a major component of beauty. “When you’re watching somebody dance, even if her posture and movement are really great but she doesn’t seem to have confidence, it really lacks substance,” she says. When Lian earned her first lead dancing role, she wasn’t sure she deserved it. During rehearsal, she received criticism for lacking confidence. “It takes courage to face insecurity and fear, and to improve yourself and get that confidence when you’re dancing,” she says. In Yellow Flowers, one of her first lead roles, the movements were simple and nontechnical. The most important part was the inner feeling of the dance. “I used to just smile with my face, like my skin is smiling. But really I was nervous thinking about the tempos and coordination with other dancers to make the dance look flawless,” she says. “But with classical Chinese dance, you also have to express what’s inside of you at a deeper level.” Her teammates could see her lack of confidence. In one rehearsal before the tour, Lian realized all the veteran dancers were doing something unique to help her. “All the moves they did, they tried to make themselves stand out less in order to make me come out more from the group,” she says. “They just

“Beauty is something that creates a positive feeling in other people.”

Michelle Lian believes that her expression as a dancer reflects who she is as a person. 連旭覺得有了自信，才能展現出自內而外的美。

相信人的一生中，總會有某些被美觸動的時刻。也許是孩提時代去觀賞的一場芭蕾，望著舞臺上身著潔白紗裙的演員那如天鵝般優雅又輕盈的舞姿，年幼的我們甚至還不曉得用「美」去形容眼前所見，只是感覺心中多了一個小夢想，要是自己長大後也能這樣，那該多好。長大了，這樣的時刻依然會出現，那不同於參加了一場喧囂派對後短暫的興奮，也不同於有時發洩情緒後的一時釋然。被美所包圍的感受是寧靜的、舒暢的，是心底某處被觸動後所產生的幸福感和嚮往之意。如果這種對美的描述有些抽象和縹緲，那相信觀賞神韻藝術團的演出會讓美在您的面前真切起來。「神韻」的演出以中國古典舞為主，也許大多數人對這種世界上歷史最悠久、體系最完整的古老舞種所知甚少。從演出中主持人的解說裏，我們可以了解到關於中國古典舞的歷史和相關知識，以及「韻」字的特殊含義。那是舞蹈演員內心世界通過舞姿展現的外在表達，是中國古典舞傳承中的精華。韻正如中國傳統文化藝術中那不可言說的玄妙，是國畫詩詞中「超然象外」、「此時無聲勝有聲」；是老子所云的「道，可道，非常道」，是觀者感受到的中國古典舞的最美之處。本期《品位》有幸採訪了來自神韻藝術團的領舞演員連旭，當我們問起她為甚麼中國古典舞的韻會令人感到如此之美，連旭沉吟了一下，慢慢道出了心中的答案。「我理解的美是構建在許多細小事物之上的。在中國古典舞中，每一個細微的動作都在反映著表演者心中的美，例如：『蓮花指』這個動作。如果你把手指稍微抬高或者放低一點，那這一點小細節的改變就會影響整個姿態。」連旭說，演員動作的差異並不是無意間造成的。「一位演員的手指動作做得稍有不同，或是更好看，那就是她獨特的韻味。這份韻味一定是源於她內心的溫柔和善良，才讓人感覺看了很舒服。」在神韻的表演中，我們可以看到天國世界的純淨美好、殊勝壯麗。採用三維動畫製作的巨大投影天幕，展現出寶焰金光，瑞靄層層的聖殿和寶相莊嚴、慈悲祥和的神佛飛天。舞蹈演員在這樣的背景下如雲端仙子般在舞臺上翩翩起舞，身著色彩絢麗的中國傳統服飾，為觀眾帶去光明和希望。「我認為真正的美帶給人的感覺一定是積極正面、充滿希望的。」連旭回憶說，她曾在一隻名為《黃花仙秀》的舞蹈中擔任領舞。從技術上來說，這支舞的動作和編排並不複雜，也沒有類似手絹舞、頂碗舞那些特殊的、需要專門練習的技巧，其重點在於演員要表達出春天到來時的喜悅和歡樂。「編導老師要求我們綻放出發自內心的笑容，但在舞臺上跳舞，很需要去克服那種不安全感和畏懼情緒，這時還要做出笑容是很難的。」連旭說她最初感到自己只是臉在笑，就像整個身體只有面部的皮膚在笑一樣。她的更多心思和精力花在了去思考如何將動作做得更完美，如何與其他演員的配合上。這些顧慮讓擔任領舞的連旭壓力越來越 Shen Yun Performing Arts

大，臉上更難掛上笑容了。這時，團隊中的其他舞蹈演員意識到了連旭的處境，並開始用她們的方式支持她。觀賞過神韻演出的觀眾，經常會驚歎舞蹈演員整齊劃一、配合默

「一位演員的手指動作做得稍有不同，

契的舞姿，這往往需要大量的練習和排演才能達到，有時更需要「心有靈犀」。「許多人是比我資歷更久的演員，但排練時她們並沒有因我這

或是更好看，那就是她獨特的韻味。

個領舞表現不佳而抱怨。她們在跳這隻舞時，處處在為突出我而努力。

這份韻味一定是源於她內心的溫柔和善

地感受到了來自夥伴們的支持和鼓勵。也許那正如她之前所說，是一個

」不需要語言上的交流，僅僅通過舞蹈動作中的細微變化，連旭便清晰手指上的細小動作，一個鼓勵的眼神，或是將手臂略微放低。而做出

Michelle Lian is featured on the 2019 Shen Yun Performing Arts poster. 連旭出現在2019年神韻全球巡演宣傳海報上。神韻藝術團的演出展示給觀眾的是一種積極向上、令人身心愉悅又充滿希望的美。

良，才讓人感覺看了很舒服。」

這個動作的背後，是為了幫助低潮的隊友，為了將最美的演出奉獻給觀

thought about me during the entire dance. I didn’t realize how much more effort they actually had to put in to make me look like a lead.” When Lian saw their support, it transformed her. “I didn’t find confidence myself. My teammates simply gave it to me,” she says. “After that rehearsal, I knew I had this strong backbone behind me.” Lian would soon be tested and need to find inner strength on her own.

A couple years ago, Lian was on tour playing the lead of a vignette called Lotus Fairies, and her role was the beautiful lotus fairy. It involved many acrobatic techniques that required a healthy, pliable back, such as back bends and leaps. But she had hurt her back and couldn’t bend it easily. “Even when I walked, it hurt,” she says. Her back pain persisted for two weeks during a very busy part of the season, where she often performed two shows a day. “I was anxious before every show. None of the audience members know what has happened or how uncomfortable you are. You still have to be responsible to them. That’s when you know you have to do it. You just have to do it.” In between performances, Lian would sometimes hobble around. When the pain was greatest, she would think about her audience and everyone but herself. “It is about letting go of how I personally feel. I’m just one person.” She would think of the orchestra, the other dancers, all the team members working backstage, the promoters and the thousands of audience members who bought a ticket to see Shen Yun. “If I carry my personal emotions onto the stage, then the audience could tell, and perhaps it would make them uncomfortable,” she says. “That disappointment would be much greater than my physical pain at that moment.” When Lian had this mindset, oftentimes when the music would start and she’d step foot onto the stage, her pain would disappear. Once she was finished dancing, it would return again. “It was a miracle that I was able to perform during that time,” she says. After she performed those two weeks with her back pain, Lian’s entire outlook towards dance changed. “It doesn’t matter if your body feels perfect or doesn’t feel right. It’s your mindset that really matters,” she says. “Confidence is one of the layers of being truthful. It comes from the inside. If you want to be confident enough to show your inside, your inner self has to be beautiful enough, true enough and compassionate enough to give you the confidence to show it. You need to elevate yourself in order to radiate a positive energy.”

Shen Yun Performing Arts

Confidence through selflessness

Michelle Lian in The Story of Liang Zhu from the 2019 Shen Yun World Tour. 神韻2019世界巡演中的舞劇《梁山伯與祝英台片段》，連旭出演女扮男裝的祝英台。

眾。這善意的用心讓舞蹈的韻發生了奇妙的變化，當連旭和夥伴們奔赴世界各地巡演時，臺下的觀眾也感受到那份源自美麗內心的純善的美。「對於中國古典舞來說，每一個細微的動作都是演員內心世界的外在表現。每當我看到一位舞蹈演員在某一時刻做得如此完美時，總是無比感動，我知道她為了實現這一刻付出了太多的各方面的努力。」即便是在巡演途中遇到意想不到的困難，例如：找不到合適的練習場地，酒店的房間很小，走廊很窄，連手臂和腿都伸展不開，連旭和她的夥伴們也會堅持每天的基本功練習。「有時，找個藉口不去做是很容易的，但我們的使命是要把中國傳統文化的輝煌宏大傳遞到世界各地，任何問題都不會讓我們懈怠。」在當下這個訊息化的紛亂時代，對於甚麼是美，每個人都有自己心中的答案，同時也會有困惑和迷茫。不過，也許所有人都會讚同的

“I didn’t find confidence myself. My teammates simply gave it to me. After that rehearsal, I knew I had this strong backbone behind me.”

是，真正的美應該是經得起時間考驗的，應該蘊含著創作者多年辛苦磨練的高超技藝和虔誠善意的內心世界，如：布羅格古典油畫中純潔唯美的天使；莫扎特協奏曲中燦爛明朗的旋律；唐詩宋詞中穿越千古的真情感懷。美絕非毫無章法的個人情緒宣洩和肆意展示。尤其在當下這個動蕩不安的時刻，我們對於這種飽含正能量的美的需求比以往更加迫切，而這恰好是神韻演出可以給予我們的一份驚喜。

Design for Beauty 97–107 設計•生活

一

意

精

在

處最

大利

心呵

布內

滋

小

護

羅

養

鎮

和

．

身

索

營

古

心的時尚家園

羅梅奧成為了

造下

奇拉利的

時尚家園

中世紀小鎮中的

A Town Built by Beauty 97 中世紀小鎮中的時尚家園

The medieval Italian village of Solomeo retained most of its original buildings during its revitalization in recent decades, making the picturesque hamlet a model in sustainability and cultural preservation. 意大利中世紀小鎮索羅梅奧保存了大多數古建築，並在近數十年內成為人文保護與商業發展並舉的典範。

A Town Built by Beauty The Italian hamlet of Solomeo is more than Brunello Cucinelli’s home, it’s his masterpiece

English text by Jared Pearman Chinese text by Cherry Chen Photos courtesy of Brunello Cucinelli Top: The view from Solomeo stretches out into the Umbrian countryside, dotted with farms and pastures. Above: Fashion designer and business icon Brunello Cucinelli. 頂圖：小鎮索羅梅奧宛如世外桃源般的田園風光。上圖：著名意大利時尚品牌創始人Brunello Cucinelli。

Minimalist décor and low-profile Flexform furniture work together to create a sense of visual calm throughout the home. 來自意大利的Flexform家具非常適合極簡主義的室內裝飾風格，讓整個空間充滿寧靜安穩的感覺。

“If we focus on the language of Creation, we will naturally return to our usual life equipped with some extra values, fascinated by everything that is worthy of being called human.” —Brunello Cucinelli

Top: Cucinelli recently moved the company headquarters from the castle to this newly built industrial park on the town’s periphery, which includes ample green space and beautiful views. Bottom: All of the company’s production takes place at headquarters, ensuring quality products and improving the local economy. 上圖：近期品牌將總部從古堡遷入新落成的工業園，這座建築位於小鎮外圍，被綠地花園環繞。下圖：品牌所有產品皆在總部製作，保證了產品品質，也帶動了當地經濟。

100

In the hills of Umbria, the medieval hamlet of Solomeo stands, just as it always has, above the same vineyards and farmlands that have surrounded it for centuries. It’s postcard perfect for sure, but what makes Solomeo truly special isn’t just the beautiful stone buildings in classical Italian style. It’s what’s happening inside the buildings that sets this town apart. From a distance, Solomeo looks like any old-style town in Europe, probably barely hanging on for survival through tourism. But, while other ancient towns drift into ruin or get absorbed into modernity, Solomeo has reinvented itself. It began when fashion designer Brunello Cucinelli made the old castle his headquarters in 1985. He was known for brightly coloured cashmere at the time, and his company was growing. Anyone else would have set up shop in Milan or another city, but Brunello saw a different way of running his business, a way of working that could add more to the world than just the products coming out of his factory. He wanted to stay in the countryside, draw power from the roots of Umbria, and he found the perfect spot in his wife’s hometown of Solomeo. “In Italy, back then, people preferred to be free from their ties to the land of origin and felt no regret for the loss of those values and traditions that are being rediscovered and sought after today,” Cucinelli says in his online biography. With the castle reborn as the company’s new headquarters, Brunello Cucinelli’s clothes went straight from that little hamlet to the world’s most fashionable people.

Humanistic capitalism

Business grew, and the town grew with it. Not so much in size, since there are still fewer than 500 residents today. Instead, the growth has been internal and qualitative. Cucinelli has a deep understanding of balance and harmony, concepts that he makes central in his business and his lifelong project of redeveloping Solomeo. He calls this approach to business humanistic capitalism, and it has guided him to the rarified ranking of a beloved billionaire. “Well, what I mean by humanistic capitalism is precisely this idea, this concept of fairness. A fair and sustainable profit, a profit harmonised with giving back, and here comes the first main theme: striking a balance between profit and giving back; donating to the world as guardians of creation, leaving to those coming after us not the very same world we found, but a more amiable one,” Cucinelli says. Cucinelli hired the tradespeople he needed for his company from the local area, which conveniently happens to be the region where the finest clothes in Europe had been made for centuries. He supported the local businesses and invested in the town’s beauty. “In Solomeo, beauty can be found in every place where we live and work. It can be found in the medieval castle, where the School for Arts and Crafts is currently headquartered, in the houses and in the gardens, as well as in the valley, where modernity is smoothly intertwined with the agricultural heritage of the countryside, and where people can work surrounded by a widespread garden,” Cucinelli says.

101

說起當下時尚大牌的所在地，大家自然會想到巴黎、米蘭、倫敦和紐約等國際大都市。可如果你來到意大利時尚品牌Brunello Cucinelli的總部，一定會以為自己誤闖了「現代桃花源」。這是一座坐落在意大利中世紀小鎮Solomeo中的美麗古堡，它矗立在翁布里亞地區的半山坡上，被鬱鬱蔥蔥的向日葵花田和芬芳的橄欖樹環繞著。眺望遠方，一塊塊整齊的農田和連綿起伏至遠方地平線的綠色丘陵，之間點綴著紅瓦屋舍，寧靜祥和如一首十四世紀的田園詩。如今來到小鎮的人不會想到，當年如果不是Brunello Cucinelli選擇將自己的羊絨時尚事業在此地安家落戶，那村莊古老的鵝卵石街道，繪製著壁畫的教堂也許會一直沉睡在這裏，似乎已被塵世和時間遺忘。而現在這裏不僅如一處旅遊度假勝地般引人入勝，還每日出產著享譽全球的精美時尚物品，成為一道穿梭於過去與現在的動人風景。

回歸小鎮的時尚大牌時光倒流回1 9 8 5 年，在時尚界打拼了近十年之後，Brunello Cucinelli 將以自己名字命名的羊絨品牌經營得風生水起。隨著公司和業務的不斷壯大，B r u n e ll o 需要尋找一處新地址來安置自己的工作室。一般的品牌自然會選擇米蘭、羅馬這樣的大城市，但B r un e llo 看到了另一種可能。「我生長在一個小村莊，那裏夜晚的星星會閃爍著更明亮的光芒，我們能感到宇宙在內心迴響，憑直覺便可以感知到實現和諧的規則。」Brunello回憶起童年，決定嘗試用古老村落式的經營模式來打造自己的企業。他選擇妻子的故鄉——意大利中世紀小鎮Solomeo作為落腳點，開始對這裏進行建造與守護。「在當時的意大利，人們更想切斷這種與故鄉根脈的聯繫，對失去那些傳統價值觀並不感到遺憾，而今天這些正又在被發掘和尋找回來。」 Solomeo的居民至今不到五百人，可能還不及某些時尚品牌遍佈全球代工工廠工人的百分之一。但Brunello並不認為規模和利潤是一間企業成功的唯一標誌，在他的心目中，即便是商業也應該有人文思想的承載。「我一直在說人文資本主義這個詞，這是一種平衡和公平的概念，即在公平交易、持續性的利潤和回饋社會之間的平衡，為子孫後代留一下一個更友愛的世界。」目前Solomeo的居民幾乎全部受僱於Brunello Cucinelli，包括他的妻子 Federica和兩個成年女兒Carolina和Camilla。此外，周邊城鎮還有大約一千位僱員。這些土生土長的當地僱員，像是一個大家庭中的成員。大家每日分工勞作，不僅用辛勤的工作換來豐厚的收入，還可以在不經意間得到心靈上的愉悅和滿足。「小村莊就像一個不會拋棄你的大家庭。我曾經這樣生活過，在這種文化中長大，並從中建立了自己的價值觀。這是一種非常特殊的生活。」

創造保留一個美的世界 Brunello是一個熱愛生活的人，他注重衣著飲食，也願意投入精力去提升自己所處的環境。從決定搬家到Solomeo那時起，他便知道這片土地可以實現他想要的一切，讓他的事業和人生都更加充實和滿足。「我覺得自己有責任去保護世間美好的事物。」Brunello引用了一句他最喜歡的哲學家古羅馬皇帝哈德良的名言。事實上，他在近三十年時光裏所做的一切，已經超過了保護的範疇，如今的Solomeo已經完全脫胎換骨了。 2018年，Brunello初步完成了他的「美麗計劃」，將約一百公頃土地改造完成。其中包括坐落在一個大花園中的Brunello Cucinelli新總部；為Don Alberto Seri牧師修建的Laic Oratory公園，其中有一個小體育場；還有Agrarian公園

「我生長在一個小村莊，那裏夜晚的星星會閃爍著更明亮的光芒，我們能感到宇宙在內心迴響，憑直覺便可以

和人格尊嚴紀念碑等。該紀念碑矗立在一個公園中，由五個石砌的拱門組成，對稱的結構莊嚴肅穆。拱門上用青銅鐫刻著：「致敬人類的尊嚴」。

102

Brunello Cucinelli’s style is characterized by high-cuffed pants, long belts, and patterned cashmere jackets.

感知到實現和諧的規則。」

正在散步的Brunello Cucinelli先生，挽腳褲、長腰帶和格子羊絨西裝是他頗具個人特色的裝扮。

103

上圖：小鎮上的戶外劇院，這裏可以舉辦各種藝術表演活動。對頁：鎮上由五個石砌的拱門組成的人格尊嚴紀念碑，建成於2018年。

Opposite: The outdoor theatre at Solomeo’s Forum of the Arts hosts performances of all kinds. Above: The Tribute to Human Dignity was completed in 2018 and utilizes classical design and construction techniques to pay homage to the history of Italian architecture.

在所有這些項目中，Brunello最滿意的莫過於有24 0 個座位的Teatro Cucinelli劇院。這座劇院的設計靈感來自文藝復興晚期的薩比奧內塔劇院和位於帕爾馬的法爾內塞劇院。劇院的一側是一座巨大的圓形劇場，Solomeo 年度古典音樂節就在這兒舉辦。另一側則是一座「哲學家花園」，一處可供人們打坐冥想的寧靜所在。「在Solomeo，我們生活和工作的每個地方都可以發現美。你可以在中世紀的城堡中找到美，那裏是手工藝學校的總部，房屋、花園和山谷也都是那麼美。」Brunello說：「在這裏，現代社會與過去鄉村式的農業社會完美交織在一起，人們可以在花園的環繞中工作。」 Brunello深知家庭和美食對意大利人的重要性，所以特意在公司打造了一間餐廳，讓僱員可以按照意大利的傳統習俗在午後與家人小聚休憩。Brunello也喜歡與家人在一起共享天倫之樂，「當我跟我的孫女Vittoria 聊天時，我從她身上看到了這個世界的未來。我會想像她將來的孩子，她的孫子，我會為她祈禱，希望成為她世界的守護者，而不是破壞它。」即便是小鎮上最具現代風格的建築——Brunello Cucinelli的生產車間，也設計修建的儘可能融入周圍環境，並保持與古老建築一致的色調。工人每天來這裏工作，用手工製作最精美的羊絨衫和意大利歷史悠久的皮具，中午他們享用餐廳裏按照傳統菜譜製作的意大利美食；下班後，公園、劇院、足球場是最好的消遣之處。而他們的孩子如果有興趣跟隨父輩的腳步，工藝學校的老工匠隨時願意將石工、紡織、裁剪、縫紉等傳統技藝傾囊相授，這讓Solomeo小鎮目前的生活模式完全有可能世代傳承延續下去。「這個時代改變了生活方式和環境，但在Solomeo我們依然成功地專注於紡織技藝，因為我們聚焦在手工藝的人文價值，充份意識到其無窮的創造力。」Brunello說：「我想生活的美好始終存在於我的品牌和我興建的這些項目中，它們有可能在未來的幾個世紀裏長久留存。」

104

Why Solomeo

“I was born into a modest family in the countryside, and there, where the stars shine brighter at night, the feeling of Creation is stronger; we felt the universe echoing within us, we intuitively perceived the great rules of its harmony,” Cucinelli says of the small region of the world that has defined so much of his life. Cucinelli’s plans required space to think, and he needed families intertwined with the fabric of his business so his creations would arise from the family lifestyle he values. It worked so well that his two daughters and their husbands all work for the family company, stewarding it into the future. “The hamlet is like a large family that does not forsake you. I have lived and I was brought up in such a culture, from which I have learnt the meaning of human value. It is a very special kind of life,” Cucinelli says. Cucinelli cares as much about the beauty in how he lives as he does about the beauty of the clothes he wears. In Solomeo, not only can he live the life he wants, so can the people who work for him. The isolation of Solomeo gave him room to spread his

wings, and its history of creating fine wool and other products made it ideal for his growing business. “For centuries, craftsmanship has been one of the cornerstones of humanistic technology all over the world. Today we are all convinced that this asset—halfway between art and technique— needs to be preserved. How can we do it? This new age has changed lifestyles and circumstances. However, in Solomeo we have set up schools of craftsmanship to train the masters of several disciplines, first and foremost in the art of textile. This challenge has been very successful, the reason being that we focus on the humanistic essence of craftsmanship, fully aware of its endless creative value,” Cucinelli says.

History and future

For Cucinelli, history isn’t something you just read about, you live in it. Being connected to the past through the buildings that house his company as well as the heritage of craftsmanship at its heart somehow allows Cucinelli to think more clearly about the future.

105

“When I chat with my granddaughter Vittoria, I see the future of the world in her, and I imagine the children she will have, her grandchildren, I see mankind progressing. That’s why I sometimes pray for her, wishing her that Creation is amiable to her, and for her to be a loyal guardian of Creation, someone who doesn’t damage it,” Cucinelli says. As you walk through Solomeo, quotes from the world’s great philosophers adorn the walls. Whether it is Socrates telling you, “Only the just man is happy,” or Confucius proclaiming, “I transmit but I don’t create,” you get the feeling the city is preserving more than its own heritage. It’s a place that celebrates all of humanity’s heritage. “Guardianship is the tool of care. Each of us is the guardian of the part of Creation assigned to us, and we all know that tending to the flowerbed in front of our house means tending to the entire city,” Cucinelli says.

A tribute to human dignity

Top: The school of arts and crafts in Solomeo draws inspiration from the great visionaries John Ruskin and William Morris, with their Arts and Crafts movement. Bottom: The epitome of a family man, Brunello Cucinelli sits with his wife, two daughters, their husbands, and his two grandchildren. 頂圖：小鎮上的手工藝學校，創辦這所學校的想法源自英國工藝美術運動的發起者之一William Morris和英國藝術評論家John Ruskin。上圖：Cucinelli家族全家福。

106

“Each of us is the guardian of the part of Creation assigned to us.” —Brunello Cucinelli

After over 30 years of stewardship, Cucinelli realized one his grandest dreams for the town in 2018, when he completed his Project for Beauty. To help preserve the town’s character, the company took over approximately 100 hectares on the peripheries and divided it into three sections: the Industrial Park, which includes the company’s new headquarters, harmoniously nestled in a large, lush garden; the Laic Oratory Park, dedicated to beloved priest Don Alberto Seri, surrounded by six hectares of land, and including a small stadium; and the Agrarian Park with its monument “Tribute to Human Dignity.” The monument comprises a beautifully green park crowned by five arches; above them, in bronze letters, are the words: “Tribute to Human Dignity.” To convey the universal meaning of the construction, the name of each of the world’s five continents are written in bronze letters, one below each arch. The monument is full of intricate details as well as grand statements, all with a nod to classical architecture, which its designers tried to embody. And to ensure both its beauty and its longevity, the monument was built using ancient techniques based on the texts by Vitruvius, Palladio, and Sebastiano Serlio. Not only is the monument in Solomeo a tribute to human dignity, but Brunello Cucinelli’s whole life is a tribute to what’s possible when a talented artisan embraces the idea of goodness and is willing to see just how far he can take it. In his writings, Cucinelli often extols Creation itself, outside any specific tradition of who or what our original creator may be. He writes as a man whose life has been dedicated to creating beauty, not just beautiful things, but making the world itself beautiful. With regard to our current era of hardship and uncertainty, the wisdom of Brunello Cucinelli says, “If we focus on the language of Creation, we will naturally return to our usual life equipped with some extra values, fascinated by everything that is worthy of being called human.” There’s wisdom that comes from a life lived in pursuit of genuine beauty. It’s something we can all embrace. And as for Solomeo, it’s more beautiful than ever, and will likely stay that way for generations to come.

107

各抒己見

Conversations on the Meaning of Beauty

專業人士對美

傾聽三位不同領域的

關於美

109–119 關於美的見解

What Is Beauty? 109 關於美

Floris van der Ven, art historian and director of Vanderven Oriental Art Gallery in the Netherlands. He specialises in art and antiques from China and Japan. 歷史學家Floris van der Ven是荷蘭Vanderven東方藝術博物館的館長，專注於研究中國和日本的文物。

108

109

“I think beauty is the moment when you get triggered by an object or a painting. This feeling gets triggered by what you see, and this [creates] a very comfortable, pleasant, warm [sensation].” —Floris van der Ven

What Is Beauty?

Understanding the purpose and value of beauty: a discussion with three professionals

Interview by James Dolan Translation by Cherry Chen

challenge this original conception of beauty that they have.

We all know beauty when we see it. Whether it’s in a museum, a store window, a movie, or in the face of someone walking by, something stands out and we react instinctively. But who can actually define beauty? How many of us spend our time thinking about it? What it is, what it isn’t, and who gets to decide. Beauty defies definition in many ways, so we thought the best way to get an understanding about this ethereal concept was to have a conversation with professionals who make it their lives to bring beauty into the world. We conducted separate interviews with three experts from very different backgrounds and compiled their responses below to deepen our understanding about what beauty is, why it matters, and how it’s created. It’s with great pleasure that we introduce Floris van der Ven, art historian and director of Vanderven Oriental Art Gallery in the Netherlands; Gabriel Tan, an industrial designer, sculptor, and owner of Gabriel Tan Studio in Portugal; and Elizabeth Wilson, a fashion designer and founder of Asiatica boutique in Kansas City, U.S.

That’s an interesting idea—“universal” beauty. Is there such a thing? EW: I’ve been thinking about what things are universally beau-

tiful. If you think of a sunset or a peony or a rose or something delicious to eat, you’d find it beautiful. So there are culturally beautiful things and there are universally beautiful things. I think most people would find the Taj Mahal life enhancing, or a fabulous sunset, or a beautiful garden. I don’t think anybody would be totally immune to the beauty of such things.

But surely this idea of what makes an object beautiful—it changes over time, doesn’t it? FVDV: I think so. It has to do with how you develop yourself. You

have to be eager and “absorptive”—if you stop absorbing, you’ve stopped evolving. And of course, as you get older, it’s like wine, you mature, and your taste gets better. It is exactly like that. Here’s another difficult question: what purpose does beauty have? Why is beauty relevant to our lives? EW: Because it reaffirms the fact that there are some structures in

Let’s start by asking a difficult question: What is beauty? What exactly are we talking about when we talk about “beautiful” things? FVDV: This is quite a difficult question. I think beauty is the

life and some things that people have made that give you pleasure. If you only read about wars and poverty, and immerse yourself in miseries, of yourself or of other people, and never lift your eyes a little higher, that’s a poverty-stricken life. That’s why we have museums, we have concerts, we have nature, we have walks, we have travel, we have all kinds of ways to immerse ourselves in something that is also part of everyone’s life.

moment when you get triggered by an object or a painting. This feeling gets triggered by what you see, and this [creates] a very comfortable, pleasant, warm [sensation]. If an object can create this emotion, then I think you have absolute beauty. But that’s a very subjective experience, isn’t it? What triggers one person’s emotions might not trigger another in the same way. GT: I think there are certain elements of beauty that are perhaps

Elizabeth, you’ve been very successful at recrafting and repurposing traditional Japanese fabrics into more Western forms. How do you work with these very different “Eastern” and “Western” ideas of beauty in your studio? EW: It begins with an eye, which is well trained, having seen works

universal—an aspect of beauty that is emotional, so that aspect is quite universal. Of course, with different education and different experiences, people’s sense of this universal beauty also evolves. So I think there is a starting point where people maybe feel that something is beautiful, but as they start to acquire different experiences and different influences, then they may start to

of art of all kinds, all over the world. And then the opportunity to travel, to go to Asia, to look at works of art there. Most people

Interviews were edited for clarity and brevity.

110

111

“That’s why we have museums, we have concerts, we have nature, we have walks, we have travel, we have all kinds of ways to immerse ourselves in something that is also part of everyone’s life.” 無論是前往博物館或者畫廊，還是路過商店的櫥窗，亦或是

他人的痛苦之中，從來不把自己的視線抬高一點，那就是生活在

觀賞一部電影或者戲劇，這些每日的所見所聞都在潛移默化地影

困頓不堪中。這就是為甚麼我們要有博物館，有音樂會、大自然、

響著我們對於美的定義和理解。而對於一些從事與美息息相關

散步、旅行，有各種各樣的方式讓自己沉浸在生活中的原因。

—Elizabeth Wilson

職業的專業人士來說，他們不僅是美的被動欣賞者和接受者，還更需要將自身對美的理解和表達傳遞給他人，並希望能帶去善意

Elizabeth，您成功地將傳統的日本布料運用到西方設計中。您是如

的信息和正面的能量。本期《品位》我們採訪了三位不同背景的

何平衡和融合截然不同的東、西方的美的？

專業人士，他們分別是：來自荷蘭的Vanderven東方藝術館館長、

Elizabeth: 這始於訓練有素的眼睛，我曾在全球各地觀賞過各

歷史學家Floris van der Ven，葡萄牙工業設計師、雕塑家、Gabriel

種藝術品。我有機會旅行到亞洲，看那兒的藝術品，而大多數

Tan設計工作室創辦者Gabriel Tan，美國堪薩斯城Asiatica精品店

人都陷在自己狹窄的文化領域中。無論你是歷史學家、地理學

創辦者，時尚設計師Elizabeth Wilson。請他們講述自己對美的理

家、藝術家，還是音樂家，知識會帶給你更廣闊的視野，使你從

解和定義，以及他們是如何在工作和生活中創造美的。

狹窄的視野中脫穎而出。

我們首先問個比較難回答的問題：甚麼是美？當我們說甚麼東西很美

您是否正在為工作而積極尋找美的「更廣闊視野」？

時，究竟指的是甚麼？

Elizabeth: 這就像在餐廳點餐。首先你要選餐廳，然後看菜單，看

Floris van der Ven: 這確實是一個很難回答的問題。我認為美是

看是否有吸引你的東西。當我去博物館時，我不會僅去中國展區，

當你被一件物品或畫作觸動的時刻，這種觸動是在你看到它時引

我想甚麼都看看。我想看看伊斯蘭陶瓷，想看古典雕塑，想看美洲

發的，帶給你舒適、愉悅、溫暖的感覺。如果一件事物能創造這種

印第安人[藝術品]。我想把它們吸收進去，放入我的腦海中。

情緒，我想那絕對就是美的。 Gabriel，您在從事工業設計，如：家具、陶瓷和日用品，這樣實用性的但這是一種很主觀的體驗，不是嗎？觸發一個人情緒的因素可能不會

物品如何才能變美呢？

以相同的方式觸發另一個人。

Gabriel: 功能與美不應彼此分離，那是一種舊的思維方式。當一

Gabriel Tan: 我認為美的某些特定元素是普世的，情感是美的一

件事物很漂亮時，它會具有一定的情感品質和體驗品質，這是在

方面。當然不同的教育和經歷讓人們對這種普世美的感受也會有

設計一件產品、一個空間時也要考慮的。如果因為處於某個空間

變化。我認為這是一個人們感受到美的起點，隨著開始獲得不同

或使用某個物品而產生一種更好的情緒狀態，那麼你工作生活

的經歷和受到各種影響，可能這種最初的美的感念會開始改變。

中的狀態也將更佳，這顯然是功能性的一種表現。

這是一個有趣的理念——普世美，這樣的美確實存在嗎？

在當下這個時代，美是否還依然重要？與疫苗、經濟等其它問題一樣

Elizabeth Wilson: 我一直在思考甚麼事物具有普世的美。如果想

重要嗎？

到日落、牡丹花、玫瑰或者美味佳餚，你會覺得它們很美。所以，有

Elizabeth: 我認為人性不會改變，但對事物的認知會改變。美是許

文化上美的事物，也有普遍意義上美的事物。我認為大多數人會感

多人生活的組成部分，知識也存在其中。如果沒有專家來教您如何

受到日落的美妙和花園的絢爛，應該沒有人完全感受不到這種美。

看待美，或幫助您自己發現美，那這些知識很快就會消失。 Gabriel: 我認為對於更多人來說，美將變得越來越重要。看一下

可以肯定的是，關於怎樣的事物是美的，其想法是隨時間改變的，對嗎？

基本需求的層次結構，過去人們只關心功能，任何美的東西都被

Floris: 我是這樣認為的。這與你的成長和發展有關。你不得不努力

認為是輕浮的，或者是負擔不起的奢侈品，但現在人們對於物品

去吸取（關於美的訊息），如果你停下來，就不會再有成長。當然，

需求的標準已經提高了。而且人的生活空間越小，他們實際可以

隨著年齡的增長，就像葡萄酒一樣，你會便成熟，口味變得更好。

擁有的物品數量就更少得多，就真的需要好好策劃，那所有東西都必須既實用又美觀。

這是另一個不好回答的問題：美的目的是甚麼？為甚麼美與我們的

Floris: 美不會終結，它將永遠持續下去。我們生活在一個黑暗的

生活息息相關？

時期，我認為在相對黑暗的時候，許多美反倒會創造出來，並被

Elizabeth: 因為美重申了這樣的事實，即生活中人們創造的某些

加強。它們可以在一邊生長，隨時地生長。也許人們認為美不會

東西可以帶來愉悅。如果只看到戰爭和貧困，並沉浸於在自己或

誕生在黑暗中，但我認為可以，它會在每個不同的時刻出現。

112

Elizabeth Wilson, fashion designer and founder of Asiatica boutique in Kansas City, Missouri. 時尚設計師Elizabeth Wilson是美國堪薩斯城Asiatica精品店的創辦者。

113

are stuck in their own narrow culture. And what brings you a broader perspective is knowledge—whether you’re a historian, or a geographer, or an artist, or a musician—it makes you rise out of your narrow perspective and gives you perhaps a wider view. And do you actively seek out that “wider view” of beauty for your work? EW: It’s like deciding what to order off a menu at a restaurant. First you

choose the restaurant, then you look at the menu and see if there’s anything that appeals to you. When I go to a museum, I don’t just beeline to the Chinese department, although it’s on my agenda. I want to go and look at everything. I want to look at Islamic ceramics. And I want to look at classical sculpture. And I want to look at American Indian [artworks]. I just want to look at everything, and I want to drink it in, and put it in the mash that’s in my head. Gabriel, your work often has a functional element to it—furniture and ceramics and household objects that are meant to be used, not simply displayed. How do you make practical things beautiful? GT: Function and beauty should not be divorced from each other. That’s

an old way of thinking. When something is beautiful, it also has a certain emotional quality, an experiential quality—and this is also a functional consideration to a product or a space or a piece of furniture. Because if you’re in a better emotional state as a result of being in that space or using that object, then you perform to a more optimal level in your professional or your personal life. And that is obviously something functional.

Some people think beauty is an idea that belongs to the past. In this current time, is beauty as important as finding a vaccine, for example, or dealing with political and social challenges, or tackling climate change, or other issues? EW: I don’t think human nature changes, [but] I think the awareness of

“When something is beautiful, it also has a certain emotional quality, an experiential quality—and this is also a functional consideration to a product or a space or a piece of Gabriel Tan, industrial designer, sculptor, and owner of Gabriel Tan Studio in Portugal.

furniture.” —Gabriel Tan

葡萄牙工業設計師、雕塑家Gabriel Tan創辦了自己的同名設計工作室。

114

things changes. I think beauty will be a component of many people’s lives, if education and exposure to visual man-made beauty [continues]. Knowledgeable immersion in beautiful things—if you don’t have an expert teach you how to look at things, or help you to look at things yourself, pretty soon that knowledge is gone. GT: I think beauty will become more important to more people. You look at the hierarchy of basic needs—it’s the same thing with products. In the past, people were just concerned about functionality, and anything beautiful would be deemed as frivolous, or they would just assume they would not be able to afford it. But now, people’s standards for what they want to own or possess—the bar has been raised. And people have less space, so the number of products they can actually have in their homes is much less. So they will really need to curate them. Everything that they own will need to be both functional and beautiful. FVDV: Beauty will never “end”—it will always continue. We live in quite a dark period. I think in times of relative darkness, a lot of beauty is created, and a lot of beauty is strengthened. It may be put to the side to grow, and it can grow at any moment. While you would expect that no beauty would flourish in relative darkness, I think it does. It will come out at a different moment. 115

Eating Well

Seasonal Gourmet

117–131

for Spring

賞味•食養

English text by Courtney John Chinese text by Zhao Wen Recipes and Photos by Tiana Wang

Beyond the bamboo grove, a few peach trees bloom. The river is warming, and the ducks are first to know. The sandhill sage teems with life, and the asparagus is sprouting. Ah, the season of globefish swimming upstream!

Seasonal Gourmet for Spring 117 春日食鮮 Fresh Mushroom and Ham Soup

120

鮮箘火腿湯

Five-Colour Stripes

122

香柚瑤柱杯

Scalded Chinese Little Greens

124

清拌五色縧

Fragrant Pomelo Scallop Cup

128

白灼雞毛菜

Fried Steamed Chicken Floss

130

煎蒸雞松釀

116

This poem was composed by Su Shi, for Painting of a Spring River by the monk Huichong. The poem captures the essence of spring in just a few lines as well as our wintery longing for the gourmet offerings of nature’s season of birth. In the season when everything comes back to life and breaks through the soil, the dormant energy accumulated through the winter transforms into the freshest and most tender ingredients. And with just a light stir-fry and a little seasoning, these products of nature become delicacies. Spring seasonal dishes are defined by freshness and xian (what Western chefs refer to as umami, that earthy, savoury

taste in foods such as seafood, meats, and fragrant cheeses). Spring meals abound with lively flavours, but it isn’t the sweetness that leaves you yearning for more, it’s the xian. This hard-to-pin-down taste is a source of deliciousness that chefs always search for. You can find it in the refreshing flavour of wild vegetables and mushrooms brought straight from the field to the kitchen. In the spring, when your metabolism is vigorous, the diet should be light and warm. Choose some fresh vegetables to cook with seafood, chicken, or other high-protein, low-fat meat ingredients, and bring your family a table bedecked with a healthy spring feast!

117

正是河

蔞蒿滿

春江水

竹外桃

豚欲上時

地蘆芽短

暖鴨先知

花三兩枝

蘇軾

對春

也勾

一幅

寥寥

一首

季美食的期

起了人們

生機勃勃的

數筆勾勒出

蘇軾的七言

許

早春景象

絕句

春日食鮮

在這個萬物復甦、破土而出的時節裏，一個冬季積蓄的能量化為最鮮嫩的食材，稍加拌炒調味，便會成為餐桌上的美味。春季時令菜餚的首要特色當屬一個「鮮」字，「鮮」是一道菜餚帶給人的意猶未盡的美好享受，是廚師不斷追尋的美味源泉，它可以是水中魚蝦的甜美回味，也可以是田間野菜菌菇的清爽氣息，尤其存在於最應季的新鮮食材中。在新陳代謝旺盛，飲食宜清淡溫養的春天，選取一些鮮嫩的蔬菜，搭配海鮮、雞肉等高蛋白、低脂肪的葷類食材，為家人送上一桌「鮮掉眉毛」的「春日鮮宴」吧！

118

119

鮮菌火腿湯 (四人份)

Fresh Mushroom and Ham Soup

在中國古代，那個沒有味精和其它人工添加劑的

In ancient China, when there was no monosodium glutamate (MSG) or other artificial additives, bamboo shoots, ham, and mushrooms were the main ingredients that played a role in improving xian. Many ancient recipes use these three ingredients. In this recipe, add them to the simmering soup base along with some blanched vegetables to create a delicious and nourishing appetizer soup.

時期，筍、火腿和菌菇是起到提鮮作用的主要食材，在許多古食譜中多有記載。用這三者燉煮湯底，上桌前還可以依據個人口味放入一些汆燙好的青菜，便是一道賞心又養胃的前菜湯品了。用料： 5顆

枸杞

3顆

大棗

1個

杏鮑菇

1個

牛肝菌

10個

白玉菇

30克

筍

30克

火腿

4克

薑

1辦

蒜

1湯匙

生抽

½茶匙

白胡椒粉

1茶匙

食鹽

1茶匙

白糖

1½升

水

做法： 1. 杏鮑菇、牛肝菌、筍、火腿切片。 2. 將水燒開倒入鍋內，將筍、大棗、生抽加入鍋

內，燉煮15分鐘。 3. 蒜、薑切片後，一起放入熱油鍋煎香。之後放入

牛肝菌、杏鮑菇、蟹味菇煎至金黃。將上述食材加入湯鍋熬煮3分鐘，最後加入白胡椒粉、鹽、糖、枸杞調味。

鮮箘火腿湯

( 4 servings )

Ingredients: 5 goji berries 3 jujubes 1 Pleurotus eryngii (king trumpet or king oyster) mushroom 1 Boletus edulis (porcini) mushroom 10 Buna shimeji (beech) mushrooms 30g bamboo shoots 30g ham 4g ginger 1 clove garlic 1 tablespoon light soy sauce ½ teaspoon white pepper 1 teaspoon salt 1 teaspoon sugar 1.5 litres water Instructions: 1. Slice the king trumpet and porcini mushrooms as well as the bamboo shoots. 2. Bring the water to a boil. Add bamboo shoots, jujubes, and light soy sauce to the pot; simmer for 15 minutes. 3. Slice the garlic and ginger and fry them together in a pan with hot oil. Add the porcini, king trumpet, and beech mushrooms; fry until golden. Add the sautéed ingredients along with the ham to the soup; cook for another 3 minutes. Finish the soup by adding white pepper, salt, sugar, and goji berries.

120

121

香柚瑤柱杯（八杯份）

Fragrant Pomelo Scallop Cup ( 8 small cups )

《隨息居飲食譜》中評扇貝曰：「鮮脆勝之，為海

The Suixiju Gastronomic Manual says, “Scallops are the most delicious,” and that they are; “fresh and crispy, the best of seafood.” So over the centuries, scallops have gained a revered status in Chinese culture and an elegant name that translates to “precious jade post.” Whether fresh or sun-dried, scallops often appear in Chinese sauces and dishes as a top ingredient to generate the xian taste. This uniquely flavoured scallop dish uses the fruity aroma of passion fruit and fragrant pomelo to remove the fishy smell of scallops, neutralize the thickness of the cream, and keep the seafood tasting fresh and sweet.

味冠」、「美惟在柱也」，也由此扇貝柱肉得了一個

香柚瑤柱杯

瑤柱的雅稱。無論是新鮮的瑤柱，還是曬乾的瑤柱，都常常作為提鮮上品出現在各種醬料與菜餚中。這道風味獨特的瑤柱菜餚，用百香果和香柚的果香味道，去除瑤柱的腥氣，中和奶油的厚重，獨留一份海鮮的鮮嫩甘美。用料： 8顆

1湯匙 50克

150克 1顆

190克 70克 1個

2辦 1棵

扇貝柱肉花雕酒開心果腰果小洋蔥厚鮮奶油原味酸奶百香果蜜柚小青蔥

3克

蒜

⅛顆

檸檬汁

2茶匙

白糖

1茶匙 10克 1克

食鹽黃油黑胡椒粉

做法： 1. 扇貝洗淨後用廚房紙吸乾，加花雕酒醃製15分

鐘。起鍋熱油，中火將扇貝兩面煎至金黃。 2. 小洋蔥切碎，蒜壓泥，在黃油中煎香。小青蔥切

蔥花。 3. 將奶油、酸奶、蒜泥、洋蔥、白糖、檸檬汁、

食鹽、黑胡椒粉混合均勻。 4. 開心果、腰果在鍋中煸香，壓碎製成堅果碎。 5. 柚子剝皮，果肉掰成1釐米見方小塊。 6. 小杯子中放入 ¾ 吋厚的調味奶油，撒一層 ¼ 吋厚

的堅果碎；再放入半吋厚的調味奶油，撒入柚子肉、 ⅛ 的百香果肉。 7. 最後放入1顆煎好的瑤柱，撒上蔥花即可上桌。

122

Ingredients: 8 scallops 1 tablespoon Huadiao wine 50g pistachios 10g cashews 1 small onion 190g heavy whipping cream 70g plain yogurt 1 passion fruit 2 segments honey pomelo 1 small green onion, chopped 3g garlic Juice of ⅛ lemon 2 teaspoons sugar 1 teaspoon salt 10g butter 1g black pepper Instructions: 1. Wash the scallops well, pat dry with a paper towel, then marinate in Huadiao wine for 15 minutes. Heat oil in a pan and fry scallops on both sides over medium heat until golden. 2. Finely chop the small onion, mash the garlic, and fry together in butter. Finely chop the green onion and set aside. 3. Mix the cream, yogurt, garlic, onion, sugar, lemon juice, black pepper, and salt. 4. Crush the pistachios and cashews. Toast them in a pan with no oil on medium heat, stirring frequently, until golden and aromatic. 5. Peel the membrane off the pomelo segments and break the pulp into 1cm pieces. 6. Cut the passion fruit in half, scoop out the pulp with a spoon and place in a bowl. 7. Put the dish together in small cups starting with ¾-inch-thick cream mixture at the bottom. 8. Then sprinkle a quarter-inch layer of chopped nuts, followed by another half inch of cream mixture sprinkled with pomelo and pulp of ⅛ of the passion fruit per bowl. 9. Finish the cups with 1 fried scallop each; sprinkle with green onion and serve.

123

清拌五色縧 (四人份)

Five-Colour Stripes ( 4 servings )

春季是食用菠菜的好季節，被稱為「春菠」，根

Spinach tastes wonderful in spring. Its roots are red, and its leaves are green, extraordinarily fresh, tender, and delicious. Rich in vitamins and minerals, spinach turns any meal healthy, and it’s good for preventing spring dryness. In this dish, we take tender spinach leaves, blanch them and mix with a stir-fried medley of shredded carrot, egg, potato, and black fungus for a vibrantly coloured course. Spinach and carrots are both rich in carotene, which is beneficial to the eyes, so this dish doesn’t just brighten your plate, it brightens your eyes too.

紅葉綠，鮮嫩異常，尤為可口。菠菜礦物質和維生素的含量豐富，對防春燥頗有益處。這一道五色縧，取菠菜嫩葉，汆燙後拌上清炒的胡蘿蔔絲、雞蛋絲、土豆絲和木耳絲，色澤亮麗，菠菜和胡蘿蔔中都有豐富的胡蘿蔔素，對眼部十分有益，所以是道名副其實的「亮眼」菜。用料： 120克

菠菜

半根

胡蘿蔔

5克

蒜

1個 1朵

50克

1湯匙 1湯匙 2湯匙 2湯匙 1茶匙

1½茶匙 1湯匙 1茶匙 1湯匙

雞蛋木耳土豆麻醬白芝麻蒸魚豉油白醋白糖香油蛋黃醬食鹽熱水

做法： 1. 木耳用熱水浸泡2小時，去根切絲。 2. 土豆切絲後用水沖淨澱粉，泡在水中。胡蘿蔔擦

絲，蒜壓泥。麻醬用10克熱水化開拌勻。 3. 鍋中熱油後下蒜泥炒香，加入胡蘿蔔絲和瀝乾後

的馬鈴薯絲炒熟，加2克食鹽。 4. 燒一鍋熱水，沸騰後將菠菜放入汆燙30秒，撈出

擠乾水份。 5. 雞蛋加入一小撮鹽打散，鍋中油熱至將要冒煙

時，倒入鍋中攤成蛋餅，晾涼後切絲。 6. 將所有食材放入大碗中拌勻，即可裝盤上桌。

Ingredients: 120g spinach Half a carrot 5g garlic 1 egg 1 black fungus 50g potatoes 1 tablespoon sesame sauce 1 tablespoon white sesame seeds 2 tablespoons seasoned soy sauce for seafood 2 tablespoons white vinegar 1 teaspoon sugar 1.5 teaspoons sesame oil 1 tablespoon mayonnaise 1 teaspoon salt 1 tablespoon hot water

清拌五色條

Instructions: 1. Soak the black fungus in hot water for 2 hours, remove the roots, and shred it. 2. Shred the potatoes, rinse the starch off with water, and soak in water. Shred the carrots and mash the garlic. Dissolve the sesame sauce in 1 tablespoon hot water. 3. Heat oil in a pan, add garlic and stir-fry until fragrant. Add the carrot shreds and drained potato shreds, stir-fry, adding 2g salt. 4. Boil a pot of water and blanch the spinach for 30 seconds. Remove and squeeze out the water. 5. Add a pinch of salt to the egg and beat. Heat oil in a clean pan, and when it’s about to smoke, pour in the egg and spread it into an omelet. Cook and let cool, then shred. 6. Place all ingredients in a large bowl and mix well.

124

125

白灼雞毛菜

白灼雞毛菜 (四人份)

Scalded Chinese Little Greens ( 4 servings )

滿是春天清新綠意的雞毛菜，因葉片形狀如羽

Chinese little greens are actually baby bok choy, and naturally they taste best in spring. Rich in vitamins and minerals, these greens can facilitate calcium absorption, help to moisturize the lungs, eliminate dryness, and they’re beneficial to the stomach and intestines. Bok choy is cold in nature, so people with spleen and stomach issues shouldn’t eat too much or eat it raw. When making dishes with Chinese little greens, the cooking time shouldn’t be too long to avoid loss of nutrition.

毛而得了這麼一個形象的俗稱。雞毛菜的口感柔嫩，味道清香，維生素和礦物質含量豐富，能促進鈣質吸收，還有潤肺祛燥、通腸利胃的功效。雞毛菜性涼，故脾胃虛寒者不宜多食，也不易生食。製作菜餚時，炒煮時間不宜過長，以免損失營養。用料： 300克 1棵 1辦

1茶匙 1湯匙 2湯匙 3顆

2.1升

2湯匙 1湯匙 1湯匙

雞毛菜青蔥蒜食鹽白糖油枸杞水蒸魚豉油生抽鎮江香醋

做法： 1. 選長度約在15釐米的鮮嫩雞毛菜，沖洗乾淨，

從中間縱向剖成兩半，蒜壓泥。 2. 2升水燒開後加入1茶匙食鹽、1茶匙油，放入

雞毛菜汆燙10分鐘，撈出擺在盤中。 3. 另起一小鍋，放入100毫升水、糖、蒸魚豉油、

生抽、香醋，煮沸後熬1分鐘，趁熱澆在菜上。 4. 將蒜泥鋪在盤內菜中央，喜食辣者還可以放入些

許切圈的小米辣。 5. 最後起鍋燒油至開始冒煙，澆在蒜泥和菜上爆香

即可上桌。

126

Ingredients: 300g baby bok choy 1 scallion 1 clove garlic 1 teaspoon salt 1 tablespoon sugar 2 tablespoons oil 3 goji berries 2 litres plus 100ml water 2 tablespoons seasoned soy sauce for seafood 1 tablespoon light soy sauce 1 tablespoon Chinkiang vinegar Instructions: 1. Choose fresh and tender baby bok choy about 15cm in length. Rinse and cut into halves lengthwise. Mash the garlic and set aside. 2. Heat 2 litres of water to a boil, add 5g salt and 1 teaspoon oil. Add the bok choy and blanch for 10 minutes. Remove them from the water and set on a plate. 3. In a saucepan, put the 100ml of water, sugar, seasoned soy sauce for seafood, light soy sauce, and Chinkiang vinegar. Bring to a boil then continue boiling for 1 minute. Pour over the bok choy while hot. 4. Sprinkle the garlic on the vegetables last, and for a spicy kick, consider some sliced tabasco pepper rings. 5. Finally, heat the oil until it starts to smoke, pour it over the garlic and vegetables to bring forth a savory aroma. Serve.

127

煎蒸雞松釀

128

129

煎蒸雞松釀 (四人份)：

Fried Steamed Chicken Floss ( 4 servings )

在清代的《隨園食單》中記載著諸多雞的做法，還寫下了「雞功最

The Menu of Sui Garden from the Qing Dynasty mentions many cooking methods for chicken, saying, “The contribution of chicken is the greatest; all dishes depend on it.” Even in ancient times, chicken held a central role in the kitchen and on the dining table. Nowadays, chicken broth and chicken essence are still vital ingredients to create xian. We’ve borrowed this recipe for chicken floss from the Menu of Sui Garden, and added winter bamboo shoots, mushrooms, and pine nuts to the chicken for a little extra flavour. Fry them first until aromatic, and then wrap them in chicken skin and steam. The finished product has a rich taste, with a flavourful sauce.

巨，諸菜賴之」的評斷，可見雞自古以來在餐桌上的重要地位。如今，雞湯、雞精依然是菜餚中最主要的提鮮食材。在這裏，我們借鑒《隨園食單》中「雞松」一菜的做法，將肥美的雞腿肉加入冬筍、香菇、松子等增添風味和口感，先煎香，再裹以雞皮蒸製，成品口感豐富、湯汁濃鬱。用料： 2整隻 50克 30克 1枚 3枚

30克 3克

1茶匙 3湯匙 3湯匙 20克

1湯匙 1湯匙

50毫升

雞腿筍松子蛋清香菇蔥薑食鹽生抽花雕酒禽類脂肪生粉香油油

做法： 1. 松子用擀麵杖稍稍壓碎，在鍋中小火煸香。 2. 如果買不到禽類脂肪可以用雞皮和雞肥油在鍋中小火慢慢煸出雞油

來用。

Ingredients: 2 chicken thighs 50g bamboo shoots 30g pine nuts 1 egg white 3 shiitake mushrooms 30g green onions 3g ginger 1 teaspoon salt 3 tablespoons light soy sauce 3 tablespoons Huadiao wine 20g chicken fat 1 tablespoon cornstarch 1 tablespoon sesame oil 50ml oil

3. 2只雞腿，完整將皮剝下來，去骨後將肉剁碎成泥，加蛋清、生粉、

Instructions:

松子碎和食鹽拌勻。

1. Add chicken fat to a hot pan, stir-fry over low heat until oil comes

4. 冬筍、香菇、姜、蔥切小丁，用香油煎香，放涼後加入雞肉泥拌勻。 5. 用勺子將混合好的雞肉泥舀成一塊塊、放入熱油中煎香。 6. 出鍋稍放涼後釀入雞皮中，以牙籤固定封口，多出來的餡料就鋪在

上面，放入一個大碗中，淋上花雕、生抽、禽類脂肪。覆蓋錫紙，上蒸鍋蒸20分鐘。出鍋裝盤上桌。

130

out, then set aside. Slightly crush pine nuts with a rolling pin and toast in a pan without oil, stirring frequently, over low heat until fragrant. 2. Peel off the complete skin of the two chicken thighs, and reserve for later use. Remove the bones, and chop the chicken into puree. Add egg white, cornstarch, and pine nuts. Mix well. 3. Cut the winter bamboo shoots and shiitake mushrooms into quarter-inch cubes. Mince the ginger and green onions. Fry them in sesame oil until fragrant, let cool, then add into the chicken paste and mix well. 4. Use a spoon to scoop the mixed chicken paste out and put into hot oil, scoop by scoop, and fry until aromatic. 5. Fish out the chicken and let cool, stuff into chicken skins, and seal with toothpicks. Put the stuffed skins in a bowl, with the rest of the fried paste on top of the filled pieces. Drizzle everything with Huadiao wine, light soy sauce, and oil from the chicken fat. Cover with aluminum foil and steam in a steamer for 20 minutes.

131