Magnifissance by Forty One Madison

Timeless Beauty from East and West

REFINING ONE’S THOUGHTS THROUGH THE WAY OF THE FLOWER 一花一世界

ROWLAND RICKETTS HARVESTS ORGANIC INDIGO USING ANCIENT JAPANESE METHODS 永不褪色的藍

FIVE RECIPES FOR GOURMET FLOWER CUISINE 以花入饌

CONNECT WITH THE POWER OF NATURE ART, FASHION, DÉCOR, AND CUISINE

自然的力量 1

ISSUE 102 CAN

CONTENTS | ISSUE 102

Art 34 An Ancient Muse Speaks to Photo-Philosopher Chen Fan

Chen’s photography book Solar Terms on Earth illuminates China’s traditional connection with nature

44 Refining One’s Thoughts Through the Way of the Flower Kyoto florist Hayato Nishiyama on his famed ikebana arrangements and his way of life

Poetry of Objects 20 Phoenix Rising A legend comes alight in a Canadian lighting designer’s creative vision

Legacy in the Making 50 Got the Blues Rowland Ricketts grows his own organic indigo using an ancient Japanese method that is long, laborious, and immensely fulfilling

22 California Dreaming Italian legacy meets a modern West Coast sensibility in Minotti’s new concept resort

24 A Nomad’s Spirit Louis Vuitton’s new Backpack Trunk packs a punch of adventure

26 Into the Wild Cartier’s latest High Jewellery collection brings nature into a surreal dimension

60 A Historic Monogram Reinterpreted for the 21st Century Louis Vuitton’s iconic monogram emerges, recharged, in an all-new dynamic jewellery collection

64 How You Look at It Sy&vie’s one-of-a-kind handbags blur the line between art and fashion LUCIEN SOFA design Stefano Gaggero

28 Divine Beads Yun Boutique’s exquisite necklace holds hidden medicinal powers at its golden heart

30 Scent Stories

Explore 70 The Art of Japanese Forest Bathing Practice traditional meditation to experience rejuvenation through nature

Two Japanese crafts meet in the strike of a match upon fragrant wood.

31 Face Forward Ancient beauty secrets meet visionary biotechnology in EDOBIO’s facial soaps

32 Growing Strong Japanese brand Kohchosai Kosuga takes the tradition of bamboo crafts into a modern dimension

RIVIERA SIDE TABLES DRAGONFLY ARMCHAIRS EATON OTTOMAN MARMADUKE COFFEE TABLE design Roberto Lazzeroni

Design for Living 78 The Poetry of Architecture A Connecticut writer’s studio becomes a metaphor for creativity itself

33 Off the Presses A French family estate preserves historic savoirfaire in the production of its precious plant oils

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STUDIO B HOME Toronto ON M5A 1K9 Tel. 416.363.2996 info@studiobhome.com

86 Music Heals

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Singer-songwriter Katy Mantyk shares her process of creating music and cultivating her heart

20 重生之光

94 Let Nature Take Its Course

鳳凰涅槃的傳說成為一盞燈具的設計靈感那重生後生命是否會更加光彩奪目呢

A young man leaves hard-earned privilege for the forest life, but fame still chases him

22 加州夢境

Art of Couture

明媚的加州陽光灑落在一處依山傍海的度假村在鏡頭轉換間傳遞著自然與高品質生活的悠然意韻

104 Hidden Haven

24 肩上晴空

Enveloped by the garden’s serene beauty, time slows to a still, the melodic sounds of nature soothing the mind and the sweet air nurturing the soul

路易威登T臺上，著名的行李箱首次以雙肩包形式亮相

26 讚美自然卡地亞最新高級珠寶系列呈現自然孕育的珍貴寶石之美

Recipes

28 祥雲庇佑中國傳統祥雲紋項鏈中放置中醫古方的避疫香丸像是一份來自上天的庇佑與祝福

118 Gourmet Flower Cuisine Where cuisine is concerned, people don’t often think of flowers beyond using them for garnish, but they can take a person’s gastronomics to the next level

30 劃過芬芳

亞洲的燃香與歐洲的火柴，在日本一座海島上碰撞出新的火花，為現代生活點燃了一縷和風芬芳

Dialogue

31 天然無瑕放置在精美木盒中的潔面皂，蘊藏著日本江戶時代的美容秘訣，還融入了當下的生物科技

132 The Healing Power of Nature Connect with the natural world in new and profound ways, not just through exploring the outdoors, but also through specialized teas, skincare products, and aromatherapy

32 竹韻交織一間位於京都，至今已走過百年歷史的竹製品工坊

33 古法滋養法國盧瓦爾河谷一座家族莊園，用傳統方法提取的冷榨植物油，實現了最初始的純粹滋養效果

118

藝海 34 人間最美是時節一幅幅如畫的風光中是老百姓順天應時的生活百味也是歷代文人雅士筆下的情懷清韻悠長

44 一花一世界花道是以美熏陶身心的藝術是探尋自然與生命真諦的精神修行

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CONTENTS | ISSUE 102

Timeless Beauty from East and West

Timeless Beauty from East and West REFINING ONE’S THOUGHTS THROUGH THE WAY OF THE FLOWER 一花一世界

ROWLAND RICKETTS HARVESTS ORGANIC INDIGO USING ANCIENT JAPANESE METHODS 永不褪色的藍

FIVE RECIPES FOR GOURMET FLOWER CUISINE 以花入饌

EXECUTIVE EDITOR-IN-CHIEF

Rui Chen

CHINESE EDITOR COPY CHIEF

ART

Alice Lovett Chanjuan Li

Aiqin Zang Jennifer Wong

DIGITAL MARKETING DIRECTOR ISSUE 102 CAN

ART, FASHION, DÉCOR, AND CUISINE

自然的力量

HEAD TECHNICIAN

50 永不褪色的藍一位美國藝術家將日本傳統的靛藍染工藝以有機田園的方式延續下去

60 閃耀的LV 路易威登標誌性的字母組合在新一季珠寶作品中展現十足創意

64 採擷自然馨香採用天然材質描畫出心中自然最美的畫面並將它們變身成手袋攜在身畔相依相伴

旅行 70 林中沐浴登山觀景，林中漫步沉浸在大自然寧靜與祥和的氛圍中

設計 78 靈感小屋山林中一座隱逸的小屋為這裏的主人提供著源源不斷的創作靈感

DIGITAL ART MANAGER BUSINESS DEVELOPMENT

一次海畔星空下的漫步讓一位新西蘭原創歌手找到了生命的意義也找到了創作的動力和源泉

Peggy Liu Jing Liu Helen Li

Angela Deng, James Huang

CONTRIBUTING WRITERS

94 隨遇而安

Courtney John, James Dolan, Kate Missine

復讀三年只為上心儀的美院放棄優厚的留校工作去追求心中生活的樣子遇水君如今獨居於一所郊外民宅愜意逍遙地過著他的草木生活

MAGNIFISSANCE is published 6 times a year. ISSUE 102 Publication date: September 7th, 2020

衣尚

www.magnifissance.com

104 俗務靜心亂世歸園柴扉紅花，小橋流水清茶睡蓮，蒲團棋臺小小的世外桃源，靜思來處與歸途

COVER STORY Hidden Haven

賞味

time slows to a still, the melodic sounds of nature soothing the mind and the sweet air nurturing the soul.

118 以花入饌

Laine McDonnell, Nina Martyris TRANSLATION

Wei Tao

PEOPLE

Lan Sha HOME DÉCOR

Cherry Chen HOMES AND REAL ESTATE

Enveloped by the garden’s serene beauty,

Fei Ying FASHION

Tiana Wang FOOD

Xiao Tian TRAVEL

Li En

以鮮花製作美食，正可謂秀色可餐烹者自風雅，食者享美味，還兼具美容養生功效

對話

Photo by Evan Ning Model: Miao Miao Hand painted linen long jacket by Akka Sleeveless linen dress by Subtle Simple

132 自然的力量在衣食住行中體驗順應自然的和諧雅緻受訪者通過飲茶、護膚、香薰等方式分享自己對自然的熱愛和健康的生活方式

人物 86 傳遞希望的歌聲

Corey Li

SOCIAL MEDIA MANAGER

DISTRIBUTION ASSISTANTS

匠心

Echo Li

Jared Pear man

EXECUTIVE EDITOR

ART DIRECTOR

CONNECT WITH THE POWER OF NATURE

Wendy Guo

PUBLISHER & EDITOR-IN-CHIEF

《品位》雜誌一年出版6期第102期封面故事俗務靜心亂世歸園

132

柴扉紅花、小橋流水、清茶睡蓮、棋臺蒲團，小小的世外桃源，靜思來處與歸途。

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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. Printed in Canada

主編寄語

長

久以來，作為一本高端生活雜誌，我們希

得像是與母親失散的孩子，即便擺在面前的衣食

望能為讀者傳遞高品質的生活方式。與當

富足，可心卻找不到那份溫暖和安全。

下潮流所側重的物質刺激享受和消費慾望不同，

當我們開始策劃「自然的力量」這個主題時，

我們對品質生活有著不一樣的定義。真正的品質

最初是忐忑的，我們不知道在如今這個浮躁的社

應該經得起時間的打磨，呈現出永恆的美感，

會，還能有多少人依然在堅守「順其自然」的生

令擁有者在日常與之相處的過程中獲得愈來愈舒

活。結果卻是驚喜的，我們在衣、食、住、行各方

心、愉悅的感受。

面都找到了自然生活方式的代表。

在這段居家的日子比以往都漫長的時刻，我

我們看到了將日本傳統靛藍染技藝帶到美國

們想到了「自然的力量」這一主題，希望大自然

的藝術家Rowland Ricketts，他在自己的農場中種

的廣博能彌補大家因生活空間被壓縮而帶來的缺

植槐藍，耗費近一年的時間發酵沈澱，來獲得那

憾，更希望自然那生生不息的旺盛生命力能幫助

始於古埃及時期，一直流傳至當代潮流牛仔布料

大家獲得身心上的平衡和健康。事實上，綠色風

上的靛藍染料。那一抹藍，在多姿的濃淡變幻之

潮早已在近些年席捲各個領域，從有機食品，到

間，展示著自然造物的神奇和美妙。

各種純天然的護膚品和家居用品，人們越來越意

我們跟隨著攝影師陳帆的鏡頭，在一幅幅如

識到天然飲食和物品對維護健康的作用，越來越

畫的風景中，走遍了中華大地的二十四節氣。體

感受到自然所擁有的神奇巨大的力量。

味到了順天應時的農耕生活的煙火氣息，更感受

即便在科技相對發達的今天，人類在自然面

到了人與自然相諧相和時的暢然與溫情。

前依然無比渺小。她孕育天地萬物，日月交替、

我們走進日本花道大師Hayato Nishiyama的插

四季更迭，彷如冥冥中一位具足大智慧的尊者，

花世界，那廣闊的自然彷彿收入了一手一器的方

信手一揮，便演化出山川河流、星空海洋、山巒

寸空間，從一花一葉中領悟出生命的奧妙，不著

叢林，讓繁複多樣的物種在其中繁衍生息。也許

痕跡地綻放在數日的光陰之中。

隨著工業和電子時代的到來，批量化的生產方式

我們以中國美食古籍為靈感，親手製作了五道

和鱗次櫛比的高樓大廈，以及層出不窮的高科技

以花入饌的菜餚，與屈原大夫同「朝飲木蘭之墜露

產品，讓我們有了前所未有的掌控感。可隨之而

兮，夕餐秋菊之落英」，其中也有孔老夫子的「食不

來的環境問題，各種災害的頻發，以及每個人都

厭精，膾不厭細」，驀然發現原來自然才是真正秀色

深陷其中的如機器一般快節奏、高頻率的生活方

可餐，它的味道蘊藏著千年文化，餘韻雋永悠長。

式，又帶走了多少曾經的健康和快樂。

最終，我們感到非常慶幸，儘管我們隔離在鋼

當我們再無力去感受清晨鳥兒的歡鳴，去體

筋水泥包裹的城市中，自然卻從未遠離我們。她的

會拂面微風的柔情和花朵泥土的芬芳，也就與自

智慧，她的能量始終都在為我們提供著源源不斷的

然漸行漸遠了。那曾經傳統的日升而作、日落而

身心給養，只要我們願意放慢匆忙的腳步，多給一

息的恬淡生活方式似乎無法再融入時下，只能成

點與她貼近的時間，就會感受到這份回歸自然的力

為人們心中永遠嚮往的田園詩和桃花源。我們變

量，讓我們的生活更健康、更有幸福感。

城市迴響城城市迴響市迴響城市迴響

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Editor’s Word

s a luxury lifestyle magazine, Magnifissance

embrace lifestyles that honour the course of na-

is dedicated to quality—but to a broader

ture. Thank goodness our doubts were unfounded.

quality that stretches beyond materialism

We managed to find representatives everywhere

and the clickbait that are so popular right now.

of natural living, including in the food, clothing,

Genuine quality withstands the slow polish of pass-

housing, and tourism sectors.

ing time and grows more beautiful with age. Especially with this year’s quarantine, people

One such find is U.S. artist Rowland Ricketts, who follows centuries-old Japanese indigo dyeing

are stuck inside more than they ought to be, so we

techniques. He plants Indigofera tinctoria on his

chose the power of nature as our theme for this

farm and spends nearly a year growing, ferment-

issue. My hope is for nature to help counterbalance

ing, and processing it, before dyeing delightful,

the compression of our current situation, and for

appealing fabrics that are the real deal.

its vitality to offer our readers mental and physical healing.

Following the lens of photographer Chen Fan, we got to experience each of a year’s 24 solar terms

I want to encourage the awakening that so many

via a poetic journey through Earth’s scenery. The

people are taking part in right now. Mainstream

beauty of his photography reveals the grandeur of

society is becoming more and more aware of the

the natural world, as well as the beauty resulting

benefits of a natural diet and using natural prod-

from human harmony with nature.

ucts, as well as the unique characteristics of na-

On the other end of the spectrum, Hayato

ture, which seem to me nothing less than magical.

Nishiyama, a Japanese ikebana master, shrinks

Even with technology, human beings still stand

nature into the small space of a container. When

in awe of nature. The magnificence of mountains,

people stroll through a display of his masterfully

rivers, oceans, jungles, and the heavenly bod-

crafted flower arrangements, they feel inspired to

ies in the night sky leave us in wonderment be-

ponder the meanings of life.

fore broader creation. While we as humans have

Speaking of flowers, this issue of Magnifissance

developed an unprecedented sense of being in

also offers five gourmet recipes that incorporate

control, having shrunk our planet with supersonic

flowers for taste and health. These dishes pull from

transportation, lightning-fast worldwide commu-

ancient Chinese recipe books, sharing a cultural

nication, and a vast array of machines that make

aftertaste that has lasted for thousands of years.

our lives easier, the consequent pollution, spiritual

I feel fortunate that although some of us are iso-

disconnect from our planet, and the rat race that

lated in the city and wrapped in reinforced con-

modern people find themselves trapped in have

crete, nature is never really that far away. Her wis-

taken a toll on our health and happiness.

dom and energy have always provided a steady

ALEXANDER SEATING SYSTEM

RODOLFO DORDONI DESIGN

DISCOVER MORE AT MINOTTI.COM/ALEXANDER

When the power of the natural world first made

stream of physical and mental nourishment. As

ALEXANDER SEATING SYSTEM

it onto the Magnifissance drawing board, our team

long as people are willing to slow down and be

DISCOVER MORE AT MINOTTI.COM/ALEXANDER

had doubts about how many designers, manufac-

close to her, she’ll still accept us, and the harmony

tures, and individuals in the luxury industry still

of that relationship is priceless.

RODOLFO DORDONI DESIGN

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尚品

Poetry of Objects

燈

Phoenix Rising

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

A legend comes alight in a Canadian lighting designer’s creative vision

High-end lighting fixtures and burned-down forests don’t appear to have much to do with each other, yet lighting firm Karice unites the two in one arresting image: A graceful phoenix takes flight over a charred, gnarled stump; the bird’s carved golden wings spread, its body aglow with soft light. Capturing a landscape ravaged by forest fires, the photoshoot on the eastern shores of British Columbia’s Harrison Lake speaks to the legend of the phoenix, and floating above, the bird symbolizes its rising from the ashes. “There was an unexplainable beauty,” notes Karice’s description of the birds. “The forest floor was starting to show signs of new life, blades of wild grass were emerging from the earth. This is the story of the phoenix; the birth of something new and beautiful after the fiery destruction.” Each Karice piece is embedded with a sense of purpose and a story—and the Phoenix is no exception. Its conception began with inspiration from nature: feathers of various birds examined, and the single feather of a peacock chosen for its sophisticated shape. Heading a team of highly skilled craftsmen, lead designer Maurice Dery selected materials for the pendant-style fixture that would complement the organic feel: Brass, a moldable metal that takes on rich colour when heated with a torch, was selected for the finely wrought wings, while machined acrylic formed the body, allowing light to shine through in a diffuse warm glow. Compromise is not in Dery’s vocabulary, and the road from sketch to tangible object underwent a series of prototypes and no less than five versions to get to the final design. “It doesn’t just fall together,” says the designer. “It takes hard work, perseverance, great skill, and experience.”

重生之光鳳凰涅槃的傳說成為一盞燈具的設計靈感，那重生後生命是否會更加光彩奪目呢？ BC省哈里森湖畔，過往的一場森林大火在這裏留下一截燒焦的樹樁。在某個清晨，一群閃爍著金光的鳥兒像是從其中重生，映照著周圍大地上的點點新綠，彷彿在讚頌生命的頑強不息。這是燈具品牌Karice以鳳凰涅槃為靈感設計的一款全新燈具，設計師很高興找到一處理想的拍攝地，讓這款燈具的照片「有一種不可名狀的美，野火焚燒之後，地面上又有綠草冒出來，正如鳳凰涅槃的傳說。」在Karice以往的作品中，我們總是可以看到獨特的創意和精湛的工藝，這款全新的「鳳凰燈」也不例外。設計師Maurice Dery帶領工匠們，查閱了各種鳥類的羽毛，最終選擇華麗的孔雀尾羽作為燈具造型的主體。薄薄的黃銅板在工匠的巧手下化作了飛鳥輕盈生動的翅膀和尾羽，表面在噴槍灼燒後，呈現出五彩變幻的效果。鳥身由樹脂製作而成，半透明的質感讓光線更加柔和溫暖。 Maurice說，這款「鳳凰燈」從最初的草圖到最終的作品，前後修改過不下五次。最終的結果絕不是簡單地將零件組裝起來，而是複雜手工、辛勤工作、嫻熟技巧和豐富經驗的合而為一。

居

California Dreaming Italian legacy meets a modern West Coast sensibility in Minotti’s new concept resort Italian brand Minotti has earned a global following for its minimalistic design, which blends tradition with industrial innovation. Founded by Alberto Minotti in 1948, the brand began as a small workshop and has held onto its artisanal roots and hallmark “Made in Italy” craftsmanship. As global events continue to keep most of us close to home, the company unveils a brand new project vision: a virtual resort that takes indoor/outdoor living to spectacular new heights. Entitled The Club, the architectural concept is positioned as a Seaview Resort and Lodges, where the resort experience meets a cozy residential aspect. At the backdrop is the dramatic geography of California’s Carmel-by-theSea: a region of the Pacific coastline that has traditionally inspired Minotti’s modernist style with its soaring cliffs, sandy shores, and lush vegetation. Simple linear forms in organic textures of stone, wood, and glass create airy, light-filled spaces that traverse the boundaries between the interior and exterior, flowing seamlessly into the surrounding landscape. The architecture creates the ideal setting to showcase Minotti’s 2020 home collection. Pieces by the brand’s creative director, Rodolfo Dordoni, profile throughout. Notable mentions include the Daiki chairs by Marcio Kogan, inspired by his travels to Japan; sartorial sofas by Dordoni; and the Fynn chairs by GamFratesi, which lend a Scandinavian flavour to Minotti’s signature Italian savoir-faire.

加州夢境明媚的加州陽光灑落在一處依山傍海的度假村，在鏡頭的轉換之間傳遞著自然與高品質生活的悠然意韻。作為當下意大利家居行業最具國際知名度的品牌之一，Minotti於近期推出了一個線上展示新品的特別項目「The Club」，以逼真的三維技術搭建起一處虛擬度假村，為自己2020年最新系列的家具提供了別具一格的在線實景展示平臺。打開Minot ti網站上的視頻，畫面中出現一片以加州度假勝地卡梅爾小鎮（Carmel-by-the-Sea）為背景的三維虛擬建築群，面向大海，掩映在一片綠樹叢林之中。其中有大氣敞亮的酒店會館，也有私密精緻的度假別墅和公寓式住宅。建築外觀簡練的線條和各種天然材質的運用，讓它們完美融入周圍的自然環境，佈局更打破了室內與戶外生活之間的界限，令整個度假村宛如隱藏在繁華都市之畔的方外之地。 Minotti最新2020系列家具是各個場景中的主角。品牌自1948年成立以來，一直傳遞著「意大利製造」的深厚底蘊，將傳統美學和工藝與創新設計融為一體。此番邀請了來自世界各地的傑出設計師，將不同的文化背景融入到全新設計中，其中包括意大利的Rodolfo Dordoni、日本的nendo、巴西的Marcio Kogan/studio mk27、丹麥的GamFratesi、法國的Christophe Delcourt等。設計兼顧舒適性和實用性，與建築整體的自然風格相得益彰。

箱

A Nomad’s Spirit Louis Vuitton’s new Backpack Trunk packs a punch of adventure In this unusual year, travel and leisure have taken on a new, different meaning. For many of us, it means forgoing faraway destinations in favour of closer-tohome, laid-back retreats. From camping to boating, low-key getaways that allow us to reconnect with nature and take respite from stressful news are just what these challenging times call for—and Louis Vuitton is on the trail. The brand has long been at the forefront of the finest travel accessories, known especially for its iconic trunks and custom-crafted hard cases. Now the maison reimagines its legacy tradition, infused with a measure of innovation for the current times: a new Backpack Trunk that embodies Louis Vuitton’s savoir-faire with all-new functionality, premiered at the Fall–Winter 2020 Menswear show. Crafted in Asnières, France, home to Louis Vuitton’s first historical workshop, the trunk, which comes in a whimsical gradient-blue Monogram Cloud canvas or a reflective Monogram Mirror finish, toggles between use as a trunk hand-held by a top leather handle, and a backpack with two detachable leather straps. Honouring Louis Vuitton’s nomadic spirit of travel and adventure, the Mirror trunk also comes complete with a Monogram-printed water-repellent tent for two. Adorned with a cloud-patterned interior, the tent makes for the perfect hideaway for adventures far and near.

肩上晴空在今年的路易威登T臺上，著名的行李箱首次以雙肩包形式亮相，演繹出灑脫輕盈的旅行藝術。路易威登自百年前以製作旅行箱起家，不斷將旅行藝術演繹得富有創意又優雅時尚。在今年秋冬男裝秀場上，路易威登首次推出了Monogram Cloud 與Monogram Mirror兩款硬箱雙肩包。兩款雙肩箱包都為登機隨身行李箱尺寸，有手提的手柄，還有兩根可以拆下的背帶，拎在T臺模特們的手中，顯得格外輕盈。其中Monogram

Mirror

款還搭配有一個可選的雙人防水帳篷，顯然這款雙肩箱包的設計考慮到了露營愛好者們的需求，這也是路易威登旅行精神的一份延續。在這個特殊時期，既然暫時無法去追尋遠方，那就自己駕車奔向大自然的懷抱吧。背上由路易威登首家法國工坊Asnières打造的箱包，一款是艷麗的藍色帆布，一款是閃耀的鏡面，經典的花格紋一如既往，優雅地浮現在箱面上，傳統硬質箱的精湛工藝和專利鎖扣，讓返璞歸真的露營生活也帶上了法國式的精緻和浪漫。在山間叢林中搭起帳篷，安靜地享受大自然賜予的晴空艷陽和繁星朗月，身畔箱包上漂浮著由白雲組成的LV字母圖案。人生本就是一場旅行，而這是旅途中一段最灑脫愜意的時刻。

珠

Into the Wild Cartier’s latest High Jewellery collection brings nature into a surreal dimension Flora, fauna, and fantasy intertwine in Cartier’s new [Sur]naturel High Jewellery Collection: a series of six pieces that draw on the healing powers of nature while elevating it to an all-new level of art and surrealism—the natural meeting the supernatural in forms of precious metal and stone. Taking cue from the organic elements of flowing water, vibrantly coloured plants, and exotic animals, Cartier unveils some of its rarest archaic jewels, capturing the spirit of the wilderness within a uniquely fantastical perspective. Opal, coral, aquamarine, and beryl shine alongside rare diamonds, emeralds, and sapphires, with intricate cuts by Cartier’s masterful jewellers showing off their clarity and depth. Deep violet-blue opals and diamonds surround a stunning pink kunzite in the Hemis necklace, evoking the pure white fur of a snow leopard, glistening like crystalline shards of ice. Other pieces hint at mythical jungle creatures or burst with the tropically hued plumage of exotic-feathered birds. Five oval Madagascar sapphires stud a curling diamond-and-white-gold wave in the piece called Sinopé, while in the Tillandsia, two oval-shaped green beryls totalling nearly 164 carats hug each other in a spray of yellow and brown diamonds.

Cartier Tillandsia necklace

讚美自然卡地亞最新高級珠寶系列以自然元素為靈感，呈現出大自然孕育的珍貴寶石之美。儘管在大自然面前，人類始終是渺小的，但這並不妨礙我們用追求完美的精神，不斷打造出讚頌自然之美的傑作，卡地亞的最新高級珠寶系列[Sur] Naturel便是這樣致敬自然的作品。水、植物和動物是自然界最重要的組成部份，也是[Sur] Naturel系列的靈感源泉。流動感、層次感和絢麗的色彩，讓每一件珠寶都好似自然能量的結晶，是大自然對人類的慷慨饋贈。在卡地亞珠寶工匠的巧手雕琢下，寶石得以展示出它們最光彩奪目的一面，讓源於自然的美，在注入了人類的智慧和汗水之後，愈加升華，幻化成水波、綠葉、花瓣和動物皮毛，展示出珍貴寶石璀璨神秘的光彩。整個系列共有六件作品，分別選用不同類型的寶石為主體打造而成。錐形、方形、明亮式切割的鑽石簇擁著珍貴的祖母綠、藍寶石和綠柱石，還有蛋白石、昆石、珊瑚和石英等各種色彩和質地的寶石點綴其間。時而流淌著原始叢林般的濃郁綠意；時而如藍色的水波般款曼蕩漾；更有靈感源自熱帶植物的鮮活和清新。

Cartier Sinopé necklace

雲

Divine Beads Yun Boutique’s exquisite necklace holds hidden medicinal powers at its golden heart The healing properties of traditional Chinese medicine meet wearable objets d’art in the creations of Yun Boutique. The New York-based handmade jewellery boutique draws on ancient Chinese meditation and spiritual practices to produce pieces that are more than pretty accessories, but also instill health, wellness, and a sense of cosmic harmony within the wearer. The Protective Auspicious Clouds Container Pendant Necklace is said to represent the connection between humanity and the divine, symbolized by the ancient cloud motif carved in the gold-plated hollow pendant. The necklace features pure white Tridacna beads, the whitest natural gemstone on earth, said to calm the spirit and clear the mind, and is dotted with beads of brilliant blue lapis lazuli and soothing turquoise. And the golden pendant holds something magical: hidden inside it are herbal beads from an ancient Chinese recipe. Aromatherapy has a long history of use in traditional Chinese medicine to fight infections and diseases, with microscopic particles of scent entering the neurological and circulatory systems with each inhale. The necklace’s aromatic bead contains six kinds of herbs: Tetradium ruticarpum, Radix Bupleuri, Incised Notopterygium, Rhubarb, Atractylodes lancea, Asarum sieboldii, selected by a traditional Chinese physician and handmade in Taiwan. The herbs’ unique properties can help improve immunity and reduce the risk of infection, imbuing the wearer with a sense of peace and hope during these worrying times.

祥雲庇佑中國傳統祥雲紋項鏈中放置中醫古方的避疫香丸，像是一份來自上天的庇佑與祝福。一條潔白的硨磲串珠，點綴著藍色的青金石和蘭松石，祥雲紋樣的古法鍍金鏤空吊墜，可以容納傳統中醫配方的避疫香丸。根植中國傳統文化的珠寶品牌「雲坊」在今年肺炎疫情流行的特殊時期，創作了這樣一款有防疫功效和祈願平安的香丸項鏈。中醫採用香薰療法來抑制傳染病的歷史由來已久，許多簡便易行的方法至今還在使用，如燒艾草，煮醋都有抑菌、殺菌的作用。現代科學研究發現，人平均每天呼吸兩千三百次，香料揮發在空氣中的小顆粒，在隨呼吸進入人體後，會透過口腔和鼻腔粘膜進入腦部和循環系統，不知不覺中對人體起到了一定的調節作用。「雲坊」這款香丸項鏈，其鏤空珠球中可以放置特製的「避瘟香丸」，由資深中醫師胡乃文依古法選出六味藥材：吳茱萸、柴胡、羌活、大黃、蒼朮、細辛，台灣手工中藥丸行家選用上等藥材製作而成。香丸可以佩戴，也可以焚燒，還可以放置在口罩、枕頭內，裝在隨身的珠寶或是香囊中經常聞嗅一下，能提升身體免疫力，降低感染病毒的風險。在中國古代，人們相信瘟疫等天災是上天對人世的警醒，平和善良且懂得自省的人們會得到上天的庇佑。項鏈珠球上的祥雲圖案象徵著人對上天的敬仰，將香丸放置在其中，是「雲坊」製作者對佩戴者的一份祝福，希望在上天的庇佑之下，大家都能平安健康地走過這段特殊的日子。

劃過芬芳

Scent Stories

亞洲的燃香與歐洲的火柴，在日本一座海

Two Japanese crafts meet in the strike of a match upon fragrant wood

島上碰撞出新的火花，為現代生活點燃了

香

一縷和風芬芳。

十九世紀中葉，歐洲人發明了至今仍在使用的安全火柴，並流傳至世界各地。與此同時，在日本西部的一座海島上，當地漁民們為了應對冬天的淡季，將製香業引入進來。如今的淡路島，是日本最負盛名的香產地，擁有許多間超過百年歷史的製香工坊，在傳承日本古老香道文化的同時，也不斷嘗試著為流傳千年的香文化注入一些新意。 2011年，兩間百年老字號，淡路島的Daihatsu 香業與神戶火柴開始攜手合作，共同研發出一款傳統線香與近代火柴工藝相結合的創意產品，這個概念新穎的品牌就是今日的Hibi。Hibi 在日語中是「每日」的意思，每日在一縷幽香的陪伴下享受十分鐘的個人時光，彷如來到淡路島清新的樹林中，讓身心在芬芳淡雅的和風中得到放鬆。

Face Forward Ancient beauty secrets meet visionary biotechnology in EDOBIO’s facial soaps

Photo by Tiana Wang

的千年香氛文化所帶來的純淨自然、優雅沉靜。

An incense stick you can set alight with one quick, easy motion: Japanese brand Hibi’s novel concept was born from the merging of two traditional crafts based in Japan’s Hyogo Prefecture. The Kobe Match Corporation, one half of the Hibi equation, was founded in 1929 in Himeji and was among the companies that made this region of Japan famous for its highquality matches, after match manufacturing technology was introduced from Europe in the early Meiji era. Meanwhile, on Awaji Island, a location renowned for its westerly wind—ideal for drying incense—Daihatsu Corporation has spent over 80 years producing the aromatic incense sticks so popular across Asia. The two companies first encountered each other in 2011 and embarked upon a unique collaboration: the idea of incense that could be lit up with the strike of a match. Naming the brand Hibi, Japanese for ‘day to day,’ the creators envisioned a product easily woven into the fabric of daily life. Simple, sleek boxes adorned with the logo of two adjacent Chinese characters for ‘day,’ come in a choice of several soothing scents and size options, with each containing a set of specially designed matches and a disk of incense that releases a waft of fragrant smoke upon strike.

天然無瑕放置在精美木盒中的潔面皂，蘊藏著日本江戶時代的美容秘訣，還融入了當下的生物科技。在傳統日本浮世繪中，女性的肌膚潔白無瑕，微泛紅潤，宛如柔滑的絲緞光彩照人。那當年的美人又是如何保養自己的肌膚呢？十七世紀初期至十九世紀晚期的江戶時代，日本女性中流行一些簡單有效的護膚方式。所用的護膚品的主要成份多來自日本本土的天然植物，如：櫻花、綠茶，還有米糠。如今，EDOBIO從當年的歷史記載中尋找到古老的配方，再用現代技術提取天然原料中最有效的精華部份，製作出天然養護肌膚的潔面皂。 EDO B IO潔面皂的外觀看起來樸實無華，放置在原木小方盒中，盒蓋上印有浮世繪中的美人頭像，像是將人喚回了舊時歲月。無任何防腐劑、添加劑的潔面皂香味清新，附贈的起泡網，打出的泡沫如奶油般細膩柔滑。專利的BiProGE成份，是一種乳酸菌和酵母菌混合物，能 Photo by Tiana Wang

在每天忙碌的日常中抽出十分鐘，如擦著一根火柴般輕輕一劃，便可感受那源自日本京都

調節肌膚狀態。櫻花精油可以滋潤和保濕；茶樹

皂

油中富含的維生素E和氨基酸可以抗衰老；從日本綠茶葉中提取的兒茶素能改善膚色。如江戶時代的女子，從木盒中取出潔面皂，輕輕揉洗面部的同時，呼吸那源於自然的沁人芬芳，讓跨越時光的美在此刻停駐。

Cutting-edge Japanese biotechnology meets antique beauty in EDOBIO—a facial soap that takes cue from the peachy-skinned beauties depicted in ukiyo-e, Japan’s traditional block print art. The secret to their famously radiant, satin-soft complexions lay in the simple skincare rituals that originated in the Edo period of 1603–1868. EDOBIO’s team of researchers have built on this time-honed wisdom, creating a series of facial soaps that optimize the skin’s own renewal cycle. Packaged in dainty boxes printed with ukiyo-e inspired designs, the soaps start with a base of BiProGE®︎: a proprietary blend of lactic acid bacteria and yeast composed of thousands of microorganisms. The patented blend has been shown to activate immune properties, and it works to regulate the skin through the calculated action of select microorganisms. Plant-based essential oils and extracts, derived from native Japanese botanicals, are added to enrich the soaps with their unique properties: sakura flower essence refreshes and moisturizes; oil pressed from the green tea seed, grown from the Camellia oleifera plant, nourishes the skin through its concentrated Vitamin E and amino acid content; and extract from Japanese green tea leaves contains catechins that condition and tone. Preservatives, synthetic colours, and fragrances are kept out of the mild alkaline formula. Clouds of marshmallow-like lather are worked up easily with a foaming net to gently cleanse and remove buildup.

Growing Strong

Off the Presses

Japanese brand Kohchosai Kosuga takes the tradition of bamboo crafts into a modern dimension

竹韻交織一間位於京都的竹製品工坊，至今已走過百年歷史，是京竹藝的代表之一。寬窄厚薄不一的竹篾，精巧地編織起來，變身成一個拙樸的竹籃。曾幾何時，這樣類似的竹籃在記憶中就擺放在家中的桌子上，甚至是長輩們親手編成的。而這款由京都百年老字號公長齋小菅製作的Mutsume竹籃，在工藝上顯得格外精細雅緻，也正是這份用心，讓公長齋小菅的竹器在創立之初便走進了幕府將軍的宅邸。公長齋小菅成立於1898年的江戶時代。竹子是東方人喜

Photo courtesy of Nalata Nalata

Available at nalatanalata.com

Slim strips of smooth bamboo interweave in a lacelike pattern in Kohchosai Kosuga’s ‘Mutsume’ basket. But while the airy object is deceptively simple in its style, its handcrafted conception and the brand behind these unique bamboo artifacts tell a tale of artistic legacy and deep tradition. Established in 1898, the Japanese company was founded by Kocho Ueda, a painter in the Edo era, supplying bamboo crafts to the Japanese Imperial Family. A sustainable plant that grew plentifully around the nation, bamboo provided an easily accessible wood source, and its strength and stability imbued it with symbolic significance in Japanese culture. Items such as flower baskets, spoons, and tea whisks figure prominently in traditional ceremonies, whether incense, tea, or flower arrangement. Today, the company continues to focus on creating beauty in everyday objects, carrying on the tradition while striving to meet the demands of modern lifestyles. Kohchosai Kosuga harvests its bamboo during the cold winter months using a blade called kiku-wari; in spring, the oil is extracted from the stalks by steaming them in a special kiln. The bamboo is then hung to dry in the sun for a month and finished with two or three rounds of dyeing and lacquering before handweaving it into patterns that are both aesthetically attractive and durable—a delicate process that takes an elevated level of artisan skill.

A French family estate preserves historic savoirfaire in the production of its precious plant oils

油

Eric Desforges de Caulières, owner of the MAISON CAULIÈRES family estate, came upon the beautifying benefits of cold-pressed oils by accident. While carrying on the legacy of extracting the oils using an ancestral technique inspired by a 17th century grindstone mill, Desforges de Caulières noticed that as he handled the oils, his hands, calloused from working the land, softened up and became smoother. The coldpressed oil’s high concentrations of essential fatty acids, he discovered, are as beneficial for the skin as they are for overall well-being. The Desforges de Caulières family atelier, set amidst France’s majestic Loire Valley Châteaux, has been passing on the know-how of its oiling and cold-pressing techniques from generation to generation for over 250 years.

The valley’s temperate climate and fertile soils allow for abundant harvest of sunflower, rapeseed, and linseed, with their oils extracted using the familial cold-press method. The process helps preserve the healthful properties of the oils, which provide the base to MAISON CAULIÈRES’ lineup of artisanal products, from bath and body care to candles, teas, and local honey produced at the estate’s L’Epinay farm. With both the oils and honey evolving in taste, texture, and aroma according to season, nature’s cyclical rhythm inspires the company’s product fragrances, with lines divided into seasonal scent profiles. December 2020 will see the launch of the new Winter Collection Ode au Repos, showcasing a light citrus and musk fragrance that takes cue from fresh-fallen snow.

在有「法國後花園」之稱的盧瓦爾河谷，

傳統技藝融合起來，能為肌膚提供持續滋養和

矗立著一座已有近三百年歷史的雄偉城堡。

保護。天然古法製成的純淨成份吸引了許多法

自建立之初，生活在這裏的Caulières家族便用

國影視明星和時尚界人士，連英國女王都使用

最傳統的冷榨方式獲取葵花籽等植物中的油，

過MAISON CAULIÈRES的產品。

並在附近的L’Epinay農莊中種植向日葵，飼養

Caulières城堡現在已經成為一處讓人們享

蜜蜂採集花蜜。如今，Caulières城堡的現任繼

受美好田園生活的度假酒店。品牌的產品線從

德的象徵。在公長齋小菅匠心細作之下，竹器更添了一份簡

承人Eric Desforges de Caulières還在堅持用一

護膚油至沐浴用品，還有蠟燭和茶。來到這裏

素卻不簡陋，精緻卻不繁複，淡雅拙樸的禪意意境。

個十七世紀的石磨製作冷榨油，在榨油的過程

的客人們可以品嚐農莊出產的美食，還可以試

中，他發現自己因做農活而變粗糙的雙手竟慢

用各種產品。MAISON CAULIÈRES護膚油的質

慢細膩柔滑起來。

感和香氛會隨季節氣候變化和植物生長情況而

愛的材質，有著優於木材的強度和韌性，竹編工藝更有數千年的歷史，竹子的直、虛、韌等特性是儒家文化所倡導的美

除了竹籃，公長齋小菅的竹器還包括竹筷、竹勺、便當盒、花器等。2011年，還曾與日本著名設計師三宅一生合

古法滋養

作，製出用竹子編織的手袋。公長齋小菅所選用的竹材非常考究。選韌性最好的四至五年齡的竹子，在寒冷的冬季將其砍下，放入特殊的窯窖，

竹

埋在蒸乾的秸稈中，讓秸稈吸收掉竹子的水份。春季時，將竹材取出放在陽光下再晾曬一個月，然後經過兩到三次的上色和上漆，就可以用來編織和製作精美的竹器了。

原來傳統的冷榨方式所獲得的油，能更

發生微妙的變化，其產品線以季節來劃分。今

好地釋放出植物中的精華成份，其中所含的必

年十二月，MAISON CAULIÈRES將推出冬季系

需脂肪酸也更豐富，對皮膚和人體健康都非

列的Ode Au Repos護膚油，其中有源於初雪

法國盧瓦爾河谷一座家族莊園，

常有益處。Eric決定將他的這個發現分享給更

的，淡淡的柑橘和麝香香氣，令人彷如來到浪

傳統方法提取的冷榨植物油，

多人，MAISON CAULIÈRES潤膚油就這樣誕生

漫的法國古堡中，去度過一個滋養身心的年末

最初始的純粹滋養效果。

了，其將草本藥學、冷榨油、香氛調理等法國

假期。

藝海

Art

驚蟄湖南小東江他說，我一生漂泊，只因年輕時見到了你，人世間便再沒地方能是我的歸處。

清韻悠長

也是歷代文人雅士筆下的情懷

是老百姓順天應時的生活百味

一幅幅如畫的風光中

是最富詩意的曆法

中國的二十四節氣

在攝影師陳帆的鏡頭中

人間最美是時節

An Ancient Muse Speaks to Photo-Philosopher Chen Fan Chen’s photography book Solar Terms on Earth illuminates China’s traditional connection with nature English text by Courtney John Chinese text by Cherry Chen Photos by Fan Chen

Insects Awaken, Xiaodong River, Hunan Province, China

清明福建霞浦陽光從樹林從中的空隙中傾瀉下來， One of the most overlooked treasures of the ancient world is the Chinese solar calendar. Its division of the year into 24 solar terms has been a vital part of the culture that has helped China maintain a consistent civilization for millennia. The impact of the calendar on human development is up there with the Chinese written language, and yet most of the world remains unaware of its existence. Photographer Chen Fan hopes to change that.

The 24 solar terms

There are thousands of Chinese characters, and each one is a little pictograph arranged almost like the elements of a painting, often with poetic meaning built into the strokes. That arrangement gets new layers of meaning over the years in the spoken and written language of Chinese geniuses whose occupations have spanned from gardeners to generals. The language then takes on an even higher consciousness as it comes to harmonize people through the shared acts of speaking and listening, writing and reading, as well as the quiet internal contemplation so prevalent in Chinese philosophy. The Chinese solar calendar encourages a higher state of consciousness by connecting the simple act of knowing what day it is to the rhythms and poetry of nature. Its 24 terms are like mini-months, each with its own history of poems, songs, and festivals that have developed over the centuries. These 15-day periods have rich names imbued with meanings not fully captured in their translation. For instance, imagine how much more meaning “First Fresh Snow” has than “the second week of November,” or “Awakening of Insects” than “early March.” The names themselves prompt reflection on the season and give people the chance to note the details of the natural cycles of weather, plants, and animals, and to appreciate the significance of those patterns.

Chen Fan’s Solar Terms on Earth

The latest artist to gain recognition for his homage to the

solar terms is photographer Chen Fan. Chen has a degree in philosophy, and he says it was the solar terms that first inspired him to write down his deeper thoughts and pursue his studies. Chen continued his love of philosophy and history as his photography career took off. Now, after multiple best-selling books, his latest endeavor has been a return to the muse that initially inspired him so many years ago. Solar Terms on Earth, his beautiful new table book, brings the ancient wisdom of the Chinese calendar to life with images of contemporary life in the countryside. Chen calls himself a human-geography photographer, referring to the wide-ranging discipline that explores how human beings and the landscapes they inhabit impact one another. It’s a study of how societies develop. Human geography starts by dissecting a society and placing each element under the microscope. A human geographer will then be able to examine the economic geography, cultural geography, political geography, and so on. The solar terms that guide specific cultures in different regions create the perfect approach for Chen to capture the beautiful scenes in China’s vast land. Flipping Through the photos in Solar Terms on Earth is like a dialogue with the 5,000-year-old spirit of Chinese culture. Each photo is an homage to a solar term, each with a unique characteristic. In addition to the photos, Chen includes ancient poems, such as this one from Bai Juy:

瞬間被眼前的景色所擊中，幾乎忘記去按下快門。

The white sun slants down, Shadows stretch longer now, As the clouds drift low Hugging the ground Twenty-four seems to be a comfortable number for the human being. There are 24 hours in a day, and the human eye feels most natural watching 24 frames per second on film. Pure Bright, Xiapu, Fujian Province, China. “The sunlight poured in from the gaps in the trees. I was instantly struck and almost forgot to snap the picture.” —Chen Fan

他是一位哲學碩士，卻意外拿起相機，

懂得敬畏和順應自然的人往往活得更加

記錄下最美的中國二十四節氣。他是一位攝

灑脫和隨性，作為一名人文地理攝影師，陳

影師，又寫下了飽含深情與哲思的文字，令

帆很少為自己設定一個清晰的拍攝目標，如

人在享受視覺饗宴的同時，品味出中華文化

果去到一個地方本想拍攝炊煙裊裊，結果卻

穿越千年的詩情畫意。他是陳帆，知名人文

一連下了六天雨，那就索性拍攝雨景好了，

地理攝影家、暢銷書作家。而最初讓我們關

如若有緣，大可下次再去。沒有既定目標，

注他的，是一本名為《人間時節》的影集。

人就不會太焦慮，這在漫長的等待光線，等

翻看《人間時節》中的照片，是一種溫潤靜謐的享受，像是在與中華五千年的文

拍攝歸來，整理圖片和寫下心情的過程

節白居易的「白日斜漸長，碧雲低欲垂」，

又需要高度的專注，陳帆經常一做就是數天

也有桃花盛開時，李白與汪倫之間的真摯友

不下樓。學習哲學的他很享受這種獨處的狀

情；有《詩經》中的「蒹葭蒼蒼，白露為

態，可以靜下心來思考，潛下心來琢磨，從

霜」，也有宋詞中的「霜降水痕收，淺碧鱗

來也不會感到寂寞和無聊。

鱗露遠洲」。它是陳帆花費十五年的光陰行

「在中國文化中，人們是很嚮往那種彼

遍全球之後，發自內心的感歎，「最美還是

岸世界的，《道德經》中就有小國寡民的狀

中國的山河風景」。

態。儘管世界變化很大，但這種情結還在。

陳帆坦言，《人間時節》這本影集並

現在競爭激烈，有太多壓力，很難實現那

非他刻意為之，而是在整理多年積累的作

種狀態了。但如果人到自然中去，也許可以

品時，自然出現的主題。對於二十四節氣，

暫時擺脫這種現實的束縛，每個人都會喜歡

每個中國人的血脈中都保存著與它同步的節

這種完全適應自然，適應自我的生活，這就

奏，如同每一次的心跳，鐫刻在生命裏，隨

像是成年人的童話。我想很多人喜歡我的作

自然界的交替輪迴，與天地合一。二十四節

品，就是因為這個原因，能很好的在情感上

氣又是充滿煙火氣的，在漫長的農耕時代，

獲得療癒。」

美好願望，也承載著節慶時令的雅興歡愉。

人文建築。現代的都市，他很少拍攝，因為

節氣距離當下人們的生活已是漸行漸遠。有

他想拍些和人們日常生活中不一樣的東西。

了天氣預報，我們出門再也不需要關注是夏

「現在的手機和 App也可以實現很好的拍攝

至還是大寒；有了暖棚冷庫，我們也未必再

效果，但那只是隨手拍下的記錄。真正的攝

去春分時播種，芒種時收穫，一年四季都可

影師是要有意識的去尋找的，是要反映和表

以吃到各種水果和蔬菜，然而這樣看似富足

達內心對一個地方，一個場景的感受的。」跟隨著陳帆的鏡頭，我們像是與他一

在陳帆眼中，這種不順應天時的現代生

同踏上了一場探尋中華大地之美的旅程。這

活方式，「已經產生一種破壞力了，我們應

場旅程有唐代花鳥畫的濃麗賦彩，也有宋代

該重新回歸到自然的狀態中去，不要過份強

山水畫的樸實雋永。因一年四季的變遷而繽

調去改變自然，而是我們去適應自然。」

紛多姿，因東西南北的轉徙而氣象萬千，更

至今為止，陳帆最難忘的一次拍攝經

因人與自然在其中的琴瑟相和而充滿了光明

歷是在西藏。一路奔波來到世界屋脊，克服

與溫度。它們是杭州西湖畔的爛漫櫻花，是

了痛苦不堪的高原反應，他在凌晨獨自一人

廣西桂林的漁歌唱晚，是甘肅敦煌的大漠駝

來到一處湖邊拍日出。偏偏天公不作美，厚

隊，是雲南梅里的連綿雪山，是雲霧繚繞的

厚的雲層低低地壓在了廣袤的原野上，遮住

峰巒，是夕陽西下的炊煙，是掠過湖面的群

了太陽，卻帶來了別樣的視覺衝擊。「這

鳥，是山林間樸實的民居一間一間。

清晨六點來到湖邊，

時，只有一個遊客在湖邊漫步，在清晨的光

今年，陳帆又計劃再出一本《人間時

線中，視野是如此開闊，他像是走在一幅天

節》的姐妹篇，以中國古代計時為主題，名

天地之間,

地構成的畫面中。那一刻，我感覺人特別渺

為《中國十二時辰》，讓我們期待接下來的

小，在自然面前不足一提，心中的敬畏感特

這場旅程會更加精彩。

你會對自然充滿敬畏。

別強烈。」

Slight Heat, Nam Co, Tibet, China. “Go to the lake at 6 o’clock in the morning, and stand between heaven and earth. Nature inspires awe.” —Chen Fan

每次前往一個地方拍攝之前，陳帆一定先做一番功課，他會研究那裏的自然風貌、

可惜的是，隨著工業化的到來，二十四

舒適的生活真的是最好的選擇嗎？

西藏納木錯

就成了一種折磨，根本堅持不下去。」

化進行一場私密深切的對話。其中有立春時

它是老百姓生活的圭臬，寄託著五穀豐登的

小暑

待拍攝時機時顯得尤為重要，「要不然拍攝

Spring Begins, She County, Anhui Province, China. “The Land of Peach Blossoms, where it ’s said that people in neighbouring countries can see each other, and the sounds of chickens and dogs can be heard. I can think of nothing better.” —Chen Fan

Winter Solstice, Hong Village, Anhui Province, China. “As it turns out, there are some places that are dif ficult to return to.” —Chen Fan

立春

冬至

安徽歙縣

安徽宏村

「鄰國相望，雞犬之聲相聞」的桃源，

原來，有些事有些地方，

亦不過如此吧。

離開了想再回去卻沒那麼容易。

立夏內蒙古塞罕壩 The hours of a day can be broken down easily, and people can recall the characteristics of each hour. Five a.m. is the crack of dawn, midnight is a little spooky, and so forth. But what do you know off the top of your head about the 30th week of the year? Indeed, 52 is a lot of weeks, and 52 muses would be a little too much chatter in an artist’s ear. The 24 solar terms allow for an extra layer of richness that the Western calendar lacks in its measure of solar time. It’s that rich layer of meaning that Chen is so eager to share in Solar Terms on Earth. The photos are colourful and ever-changing, due to the cycle of the seasons. It’s the harmony between man and nature. Chen captures the cherry trees on the shores of West Lake in Hangzhou; the fishermen’s nighttime singing in Guilin, Guangxi; and a camel team in Dunhuang, Gansu Province. Chen travelled the world for 15 years before publishing this album of work. So much travel outside of his Chinese homeland made his heart ache, he says. “The most beautiful scenery is still the mountains and rivers in China.” But he says Solar Terms on Earth wasn’t created intentionally. He says the theme emerged organically while collating work over a period of years.

The process

By far, Chen’s most memorable shooting experience was Tibet. Standing on the rooftop of the world, Chen was alone at a lake. It was early morning, and he wanted to shoot the sunrise, but thick, low clouds covered the field and blocked the sun, creating a new visual impact. “At that time,” said Chen, “there was only one tourist walking by the lake. In this particular morning’s sunlight, this man seemed to be walking in a picture composed of heaven and earth. At that moment, I felt that humans are trivial and not even worth mentioning in the presence of nature. A strong feeling of awe arose in my heart.” As a human geography photographer, Chen keeps a limber mind when it comes to expectations. He might set out with a mind to take photos of campfire smoke, but if it rains for six days in a row, he returns home with some exquisite rain shots. If the smoke was supposed to get photographed, it would show itself some other time.

Chen notes that this is especially important when waiting for the light and shooting for long stretches of time. “Otherwise, taking photos becomes torture, and I can’t continue.” After returning from a photo shoot, the process of organizing photos and writing down moods requires a high degree of concentration. Chen often hides behind his studio latchkey for days at a time. With the same studiousness that earned him his philosophy degree, he enjoys the solitude. He says it enables him to calm down and ponder. He never feels lonely or bored.

晨霧如絲帶般輕柔的籠罩在草原上，隨風即逝。

Ancient roots

The Tao Te Ching is an important text that has impacted the cultural and spiritual landscapes in China. In it, Lao Zi describes China as a small country with a few residents. Thousands of years later, people in China are piled on top of one another. The competition is fierce, the land polluted. The people suffer from so much stress that harmony seems like a fairy tale. But if a person is able to slip away into nature, the chains of modern reality can be cast off. Chen says, “Everyone can enjoy a life that is adapted to nature—as well as the needs of the ‘self.’ That journey can even make an adult feel like they’re living in a fairy tale. I believe that’s why so many people like my work. That feeling has potent healing powers.” Each time he sets out with a camera, Chen does some homework on the front end. He studies the natural features and cultural sites in the area. In modern cities, he rarely takes photographs, because he is seeking something different from people’s ordinary lives. “Modern phones and apps can achieve good results—but those are just records of convenience. A true photographer has a mind to seek something out consciously. The photos should reflect emotions.” This year, Chen plans to publish a companion album to Solar Terms on Earth. It’s woven with another thread of ancient Chinese timekeeping—this time breaking down the day rather than the year. The new book, Twelve Double-Hours of China, will be available soon. Summer Begins, Saihanba, Inner Mongolia, China. “The morning mist shrouds the grassland gently like a ribbon, then passes with the wind.” —Chen Fan

藝海

Art

的精神修行

是探尋自然與生命真諦

是以美熏陶身心的藝術

與並花稱道茶日與道本茶和三道香雅道

道

和香道

一花一世界

Refining One’s Thoughts Through the Way of the Flower Kyoto florist Hayato Nishiyama on his famed ikebana arrangements and his way of life

English text by Courtney John Chinese text by Cherry Chen Photos courtesy of Hayato Nishiyama

“Some artists in the ikebana world say, ‘When I arrange ikebana, my heart is empty.’”

Ikebana, the Japanese art of flower arranging, literally translates to “way of the flower.” Over the centuries, this simple practice has evolved into an art form, way of life, and spiritual platform. From his quiet flower shop in Kyoto, Hayato Nishiyama spends most of his days in quiet, empty practice, selecting flowers, trimming them, and placing them. Today, he enjoys designs with just a single flower, “to help people concentrate,” he says. “To help them focus on seeing the beauty of an individual.” Concentration bordering on a meditative state seems to underpin ikebana, but not a strained effort like the concentration needed to take a test or read or a contract. The rules of the art are loose, and the process of creating the arrangements is one of connecting with the nature of the flowers.

The magic of touch

Nishiyama believes the power of art is something other than visual. “I think it is not about looking at the flower, it’s about touching the flower.” Nishiyama encourages people everywhere to hug trees—literally—to put your arms around the trunk and squeeze. Perhaps you won’t feel what Nishiyama feels, but even a novice can conjure a sense of gratitude. Don’t stop with trees though, according to Nishiyama. “For me, an equally important thing to do is to touch nature through the flowers nearby—even though they may not seem like something special.” Wandering around in nature and touching plants with an empty and open mind seems to be the key to Nishiyama’s enlightenment along the ikebana path. This master’s plant sense is so acute he can share the occasional secret from their mysterious world. “I can see and feel that the life of plants is more vigorous

in this year. I feel, however, not many people actually realize it. The plants are pouring all their energy and working hard to survive.”

The practice of ikebana

Characterized by discipline and minimalism, ikebana is a contemplative art. The innate beauty of the natural world is the ikebana practitioner’s muse. Go too far in stripping the details of the natural piece, and the arrangement loses its vitality. But if the artist is inhibited, the arrangement’s energy is obscured. The practice of ikebana began soon after Buddhism found its way to Japan. Devotees combined ancient Shinto ritual with their reverence for the Buddha, and voilà—a peaceful path of life and flowers for the altar. Much like the Tibetan monks who draw with sand for weeks then stand up and sweep their mandalas away like so much dirt on the floor, an ikebana master might take hours for an arrangement that will wither and die after a few days. Ethereal beauty as a reflection of the human condition is an essential meditation for both. But the life of an ikebana master turns out to require more than just slowly snipping flower stems. Nishiyama is a professional florist with anxious customers awaiting his prized arrangements. Most days, he treks into the mountains near his home to harvest nature’s bounty before returning to his workshop in town. Decades of training and practice come forth as he designs each arrangement with the confidence of a man who has found his path in life. While it can take a lifetime to master, ikebana can be easy to start and even easier to appreciate. A craftsy person just needs to find a little inspiration and sit down with some flowers, a thoughtful vase, and a few tools. Simplicity is sacred in this art. Keep it simple.

初看簡單，花道中實則每一個元素的安排都有深意。 The arrangements seem simple at first glance, but there is deep meaning within each element.

A great entry into the artform is to do it like the ancients. Ikebana arrangements were originally composed of three main lines of differing height to create a three-dimensional form—the tallest representing heaven, the lowest, earth, and man in the middle. It also represents time as past, present, and future. When asked about his process, Nishiyama said, “Some artists in the ikebana world say, ‘When I arrange ikebana, my heart is empty.’ For me, sometimes when I see beautiful flowers I feel that emptiness. [However], thinking sometimes interferes with my heart, and I lose my balance.” When his mind is restless, Nishiyama’s arrangements reflect it. He calls these melancholy stains upon his craft, “minded ikebana.”

Connected to Heaven and Earth

In Nishiyama’s process, the way of the flower helps him refine his own mind. Whenever the flowers reflect the ripples in his meditation, the master may refine his thoughts and raise his consciousness. As his consciousness expands, the master can recall the lessons of being. “A plant’s life and death looks like it is connected with heaven and earth. For us, it may be very important to know and understand a plant’s incredible life,” Nishiyama says. Indeed, the cycle of life and beauty is represented so perfectly by the flowers— brought inside to connect us with the healing beauty of nature.

「當我插花時，我的心是空的，我會感到一種空靈。不過，有時雜念會干擾到我，讓我失去這種狀態。」

日本的花道（ikebana）源於中國隋朝的

樂曲，只有了解植物，才可能用它們創造出

佛堂供花，在佛教傳入日本不久之後，插花

令人讚歎的藝術品。「我能感覺到今年的植

也開始流傳，最初僅在寺廟中盛行。至十五

物生命力格外旺盛，它們正在傾盡所有力量

世紀，京都池坊花藝成立第一所花道學校，

存活下去，沒有多少人能意識到這些。」

插花藝術逐漸從宗教儀式走入了世俗生活，

插花的生命是短暫的，離開了大地，植物

成為貴族和士人們修身養性的一種方式。與

幾天時間便會枯萎。這濃縮的生命歷程，恰好

西方插花藝術的富麗多姿，突出鮮花本身不

是人生輪迴的寫照，如一部影片上演著不同時

同，日本的花道更強調素淨的線條美，不

期生命的不同狀態。身為插花師的Hayato每天

追求花的絢爛與嬌艷，但求自然的野趣與簡

都在感受和記錄著他手中植物的生命歷程，再

樸，用簡潔靜雅的造型和深邃悠遠的意境，

將它們轉述給觀賞者。他會花費許多時間前往

表達出插花者對自然與生命的思考。

附近的山林，在那裏尋找插花的素材。

越加是高深的花道大師，越講求作品中

當找到合適的材料之後，Hayato會回到

的道意。他們的日常生活宛若僧侶，深居簡

他的花店裏，坐在地上，只用一把剪刀修剪

出，每日沉浸在與花和自然的對話之中。生

那些植物，再把它們安放在某個容器中。過

活在京都的Hayato Nishiyama便是這些大師中

程看似簡單，卻也正因簡單而更需深厚的積

的一位，他開了一間安靜的花店，每天大部

澱和底蘊。日本花道的基點是天、地、人的

份時間都是在尋找插花的素材和潛心插花中

統一，以三種高度作為基本格式，最高的一

度過的。

枝為天，也是整體造型的核心，最低的一枝

「我喜歡一件作品中只用一朵花。」Hayato 說：「這會幫助人們集中精神，集中去發現一個

過去、現在和將來。

個體的美。」Hayato的專注是在日積月累的插

Hayato的插花風格相對比較自由。「當

花創作中自然養成的，而非為了追求好的結果，

我插花時，我的心是空的，我會感到一種空

刻意為之。他的許多令人難忘的作品都是在這

靈。不過，有時雜念會干擾到我，讓我失去

樣淡然平靜的過程中，於雙手間悄然誕生。

這種狀態。」心不靜，作品就會有體現，但

在Hayato看來，插花真正的動人之處，是

Hayato並不強求去消除這些心境波動造成的

在視覺之外的。「不是在看花，而是觸摸花。」

痕跡。身處凡俗世間，誰都難免會被俗事侵

他一直鼓勵學習插花的人，要去觸摸、去感受。

擾，這樣真實的體現有時也能和觀者引起共

「對於我來說，通過花來觸摸自然是重要的，

鳴，可以提醒彼此，也可以以此共勉。

即使它們看起來並不特別。」也許初學者無法

日本花道大師川瀨敏郎曾說：「整個

像Hayato那樣敏銳地感知到手中花朵枝葉的

宇宙都包含在一朵花中。」在 H aya to 的作

生命和情感，但可以去學習，比如嘗試擁抱一

品中，我們可以看到同樣的理念：「一棵植

棵大樹，你會感到它在活著，有它自己的經歷

物的生與死像是連接著天與地，值得我們去

和故事，它是獨一無二的。

領悟。」從學生時代便愛上了花道，後又鑽

Hayato的插花生涯是在這樣走近自然，

研多年，取得了不俗的成就，對於 H aya to

觸摸自然的過程中，一點點展開的，他與植

來說，成為一名花道大師是一場終極一生的

物的情感聯繫在這個過程中不斷加強，正如

修行，他的情感和思想不著痕跡地在花中生

一位畫家深諳色調才能繪製出栩栩如生的畫

長，美麗綻放，也許只有短暫幾日，卻帶給

作，演奏者熟知樂器特性才能演奏出美妙的

人生命的啟示和希望。

花盆的選擇同花本身同樣重要，是構成整體景觀不可忽略的部份。 As important as the floral forms themselves, vases are an essential part of ikebana.

為地，中間的為人，同時這三者也可以代表

匠心

Legacy in the Making

靛藍染藝術家Rowland Ricketts在日本靛藍染傳統產地德縣的大宮神社佈置的靛藍染布料展出。

“I am Ai, We are Ai – Returning Indigo,” Rowland Ricketts’ installation at the Omiya Shrine at Tokushima, Japan.

Got the Blues Rowland Ricketts grows his own organic indigo using an ancient Japanese method that is long, laborious, and immensely fulfilling English text by Nina Martyris Chinese text by Cherry Chen Photos courtesy of Gabriela Herman

藍永不褪色延續下去

以有機田園的方式

靛藍染工藝

Artist Rowland Ricketts believes in “shrinking the distance” between himself and the process of creative production. 靛藍染藝術家Rowland Ricketts相信在製作他的作品時需要全身心的投入。

將日本傳統的

一位美國藝術家

「他吃自己種的莊稼，還用天然的染料染布，這讓我大開眼界。」

靛藍染是傳統染色工藝中，歷史最久遠，

藍染在當地有七百多年的歷史。但因為工藝

最富傳奇色彩的一種。它是古埃及法老御用織

本身的複雜和現代工業生產的衝擊，至今還

物上的花邊，是荀子所說的「青出於藍，而勝

在堅持採用全套傳統工藝完成染色的工坊已

於藍」，是歐洲人眼中來自東方的珍寶。來到

是屈指可數。

現代，丹寧布（D e nim）的誕生讓靛藍成為永

在做學徒期間， Rowland遇到了他的妻

恆的流行色，一身舒適的牛仔衣色彩會隨著時

子Chimani。「她當時也是一位學徒，但她後

間慢慢改變，成為穿著者獨一無二的專屬品。

來發現自己不喜歡靛藍染，更喜歡紡織。」

也許現在北美大街上身著牛仔褲的人

在靛藍染學徒生涯結束後，夫婦二人又去了

們，不會想到這再熟悉不過的藍色，背後竟

中國、老撾和印度，一路尋訪各種傳統的印

有如此久遠曲折的故事。尤其在化學染料發

染和紡織工藝。回日本後，喜歡紡織的 Chi-

明後，牛仔褲經典的靛藍色大多已不是來源

mani專程去島根縣學習 i k a t織布技術。兩人

於天然的植物，染色過程完全是工業化的操

在那裏開辦了一間小小的農莊工坊，自己種

作。然而，這表面看來的「進步」，背後

植槐藍製作染料，自己染布。如今，Rowland

卻失去了傳統染色工藝帶來的手工感和獨特

和妻子Chimani，還有他們的三個兒子搬到了

性，還有化學物質造成的環境污染等問題。

美國印第安納州生活，一同搬來的還有他們

在美國佛蒙特州長大的Rowland Ricketts

Left: Separating the leaf from the stems after harvesting the indigo crop. Right: The indigo leaves are harvested when the plants are thigh-high. 槐藍長到大腿高的時候就可以收割了。收割的槐藍，要把葉子從莖稈上摘下來。

的日本靛藍染農莊，以及成片的槐藍。

是一位希望在創造美的同時，也能與環境和傳

靛藍染從種植槐藍到完成布料染色，

統友好相處的印染藝術家。Rowland目前在印

是一個如同釀酒般的長期過程，每一步都離

第安納大學的建築與設計學院任教，他最初遇

不開辛苦的手工勞作。早春時播種下槐藍的

見亞洲靛藍染工藝，是在他大學畢業後前往日

種子，五月將幼苗移至田間。在盛夏槐藍最

本的旅居生活中。那是一個暑假，Rowland來

茂盛的時候將其收割，把含有染料成份的葉

到日本Gojo的一座高中教英語。他住在當地一

子從莖稈上摘下來曬乾。之後堆在一起發酵

座有一百四十年歷史的農莊裏，閒暇時常拿起

一百天，期間要保持溫度，不斷澆水。發酵

相機去拍攝周圍的風土人情。有一天，Row-

完成後將堆肥靛藍轉移到染缸，放入木灰堿

land發現自己住的農舍，居然會把污水直接排

液、石灰石和麥麩在缸裏繼續攪拌發酵，在

放到附近的一條小溪中。想到自己平日處理照

經過一段時間的沉澱後，成為染料。

片時，會把用過的化學藥水直接倒進水槽，一

在對布料進行靛藍染過程中，需要對溫度

股負罪感向Rowland襲來。他當即決定，在那

和各種成份配比進行良好把控，染色的次數不

裏生活期間，不再拍照了。

同也會產生不同的濃淡效果，沒有哪兩塊布料

放下了鐘愛的攝影，Rowland的日子有些

的顏色是完全相同的。Rowland在自己網站上

百無聊賴，他開始在周圍的山區裏遊歷。有一

詳細介紹了整個靛藍染的工藝過程，他認為這

天，他遇上了一位住在山中的老人，「他吃自己

是靛藍染最迷人的部份。人們可以自己動手，

種的莊稼，還用天然的染料染布，這讓我大開

製作出獨一無二的服飾用品，過程中不僅不會

眼界。」儘管老人用的染料和工藝不是靛藍，

破壞環境，還可以親近自然，感受造物的神奇

但他把靛藍染介紹給了Rowland，告訴他那是

和美妙。

怎樣一種複雜漫長，過程辛苦的工藝。他還告

Rowland的靛藍染作品曾在華盛頓紡織

訴Rowland一位著名的靛藍染藝術家Katano

博物館、波士頓美術館和西雅圖亞洲藝術博

M oto h i ko正在大阪舉辦展覽，建議他去參觀

物館展出過。在他的網站上，我們還可以找

一下。「我去參觀了那次展覽，一進展廳我就

到靛藍染的窗簾、桌布、圍巾、裝飾畫等居

意識到，這就是我這輩子想做的事情。」

家用品。簡單的圖形和線條在變幻多姿的靛

隨後， Rowland在日本待了三年，先後

藍演繹下，散發著靜謐與深邃的美，彷彿訴

在兩間靛藍染工坊做過學徒。在日本，四國

說著這種古老染料過往的歷史和故事，令當

地區的德島一直是傳統靛藍染的生產地，靛

下的人依然沉醉其中，流連忘返。

At a time when the term “social distancing” has become a global mantra, it might seem odd to talk about shrinking distances. But that’s what artist Rowland Ricketts has long been obsessed with. Not between himself and those he meets in public—six feet apart suits him just fine, thank you—but between himself and the product he uses to make his art: organic indigo. This ecological philosophy—of shrinking the distance between the final product and the production of it—has been the guiding principle behind Ricketts’ work. Which is why he plants, harvests, composts, and ferments his own indigo using a centuries-old Japanese method, while his wife, Chimani, handweaves narrow-width yardage for kimonos and obi using historical kasuri (ikat) techniques.

Each exquisite artefact this Indiana couple manufactures and sells on their website— whether it’s a giant room partition (noren), a table runner, a scarf, or a tiny keychain—has months of painstaking labor behind it. Each carries the Japanese name for the beautiful design it bears—sazanami (small wave) for a rippled runner, and hoshi (star) for a starscattered one. At the heart of their work is a deep love and respect for the historical process of growing and making indigo. Trained in indigo farming and dyeing in Japan, Ricketts teaches at the School of Art, Architecture & Design at Indiana University. His work has been exhibited at the Textile Museum in Washington, D.C., the Museum of Fine Arts in Boston, and the Seattle Asian Art Museum.

Left: A bag of indigo dye. Right: Indigo-dyed yarn will be used to create textiles and artefacts. Opposite: Ricketts works with natural dyes and ancient Japanese historical processes to create contemporary textiles. 左圖：曬乾的槐藍葉子。右圖：靛藍染過的線。對頁：Rowland將日本傳統的天然靛藍染工藝帶回了美國，製作出有現代感的服飾和物品。

But how did a Midwesterner like Ricketts, raised in Vermont, end up growing his own indigo using ancient Japanese techniques? One could say it started in high school when he spent a summer in Japan as an exchange student. But as Ricketts tells it, his moment of epiphany came many years later when he found himself back in Japan after having graduated in East Asian studies. He was teaching English at a public school in Gojo, and doing a lot of photography on the side, but still unsure what he wanted to do for a career. Then, one day, he moved into a 140-year-old farmhouse whose sink had a hole that led to a trough that emptied into a stream. He realized with horror that all the water from the house—including his photography water, which was full of chemicals— was polluting the stream. “That experience opened my eyes to the

impact of how, while we make beautiful things, we are also directly destroying the environment. And the reason we can do that is because, in the so-called First World, we have put a great distance between ourselves and the way we make things. And that allows us to make all kinds of horribly catastrophic things. Distance creates a blindness.” “The malls are full of beautiful things behind which you will find stories of labor abuses and environmental destruction. Moving into this old farmhouse and discovering our impact on the environment was really eye-opening. I stopped doing photography immediately and started looking for something else to do.” As luck would have it, Ricketts met some elderly mountain folks who worked with natural dyes and grew their own food. “That opened my eyes to the world of plants,” he said.

“Those folks didn’t work with indigo but told me about it and said it was an incredibly long process. They also told me about an exhibition by a famous indigo artist, Motohiko Katano, in Osaka. So I went to Osaka, walked into the exhibition, and knew right then that this is what I wanted to do with my life.” Ricketts stayed on in Japan for three years studying and apprenticing with two families who taught him how to grow and process indigo. It was during his apprenticeship in Tokushima (the center of indigo cultivation in Japan) that he met his wife. “Chimani was also an apprentice there, but she realized that she didn’t like the dyeing but liked weaving. After our apprenticeship, we travelled to China, Laos, and India to see as many dyeing and weaving traditions as we could. Then she really wanted to study weaving, so we both went to Shimane, where she learnt the ikat weaving technique. While there, we set up a small farming studio. I was growing indigo and processing it and dyeing things.” The couple moved to the United States and now live in Indiana with their three sons. They have a small indigo farm where Ricketts “shrinks the distance” between himself and indigo by growing a new crop every year.

From seed to cloth: A long journey

Making indigo from seed to cloth is a long, painstaking process that involves many steps and takes a whole year. In early spring, seeds are planted in a seedling bed. In May, the seedlings are transplanted and nurtured in the field. The ideal time to harvest is when the plants are about thigh high and have set large, healthy leaves, and the stems are still standing upright. After harvesting, the dye-bearing leaves are dried and separated from the stems. These dry indigo leaves are mixed with water and composted for a hundred days to make the traditional Japanese indigo dye-stuff known as sukumo. The sukumo is then fermented in wood-ash lye to create a natural indigo vat. Sound long and troublesome? It is. And Chinami Ricketts weaves traditional narrow-width yardage for kimonos and obi using historical kasuri (ikat) techniques. Rowland和妻子Chinami採用在島根縣學習的ikat織布技術，在織布機上紡出用於和服的傳統布料。

that’s what’s so attractive and meaningful to Ricketts. “It’s really not indigo, but the process of indigo that interests me,” he says. “That process is the framework I work within. In this culture, bigger, faster, cheaper is considered good. I could go out and purchase supposedly ‘natural’ indigo dye made in a completely industrial, petroleum-derived way for a couple hundred dollars. Yet I spend a year growing those plants, harvesting the leaves, composting them and making dye. No way I can do it for a few hundred dollars. Etsy has bazillions of indigo things. I have no desire to compete with industry. My whole interest is in the process. And shrinking the distance between the product and me.” This is borne out by the fact that the Ricketts’ website has detailed, step-by-step guidelines on how to make the dye so that others can learn from him and try growing their own organic indigo. Although many products sold online claim to be dyed with “natural indigo,” Ricketts is wary of these claims. “What does natural mean? Natural is an unregulated word. There’s been testing done on this natural indigo, and none of it is plant-based. Plus it’s the result of economic exploitation by poor workers in parts of India and Bangladesh. But you have people buying these products and saying, Oh look, it’s natural.” “I use my work as a platform to talk about these issues. My Japanese teacher taught me that there is a real living vitality to the way a plant is grown that you can bring forth, and it’s not exploitative.” Hearteningly, there is a discerning audience out there that supports the Ricketts’ philosophy and are willing to pay premium prices for their exquisite table runners, handkerchiefs, scarves, curtains, and keychains. The Ricketts don’t know who their buyers are—they get orders from all over the U.S. And the orders keep coming. Indigo blue may be the predominant colour on their website, but two tiny words in red stand out under most items: Sold Out.

匠心

Legacy in the Making

A Historic Monogram Reinterpreted for the 21st Century Louis Vuitton’s iconic monogram emerges, recharged, in an all-new dynamic jewellery collection

English text by Theresa Kowall-Shipp Chinese text by Cherry Chen Photos courtesy of Louis Vuitton

Take the LEGEND of an artisan trunk-maker, the VIBRATION of a historic Paris atelier, the LIGHT of gold and diamonds, and the VISION of jewellery designer Francesca Amfitheatrof, and you have LV VOLT: the latest from the Louis Vuitton jewellery collections, reimagining one of the most recognizable monograms in fashion history. Fall 2020 marks the two-year anniversary of Amfitheatrof ’s tenure at Louis Vuitton as artistic director for watches and jewellery. Her Volt collection, with its emphasis on the initials L and V, is decidedly modern, but built on legacy, featuring gold and diamonds architecturally designed as a “metaphor for movement.” Bracelets, necklaces, and rings see the recognizable monogram intertwined in a graphic style that puts a sleek twist on traditionally feminine silhouettes. Precise, clean lines, soft smooth contours, and intersecting angles take the spotlight, while the chain link

pieces, collars, and cuffs feature initials intricately woven with a rhythm that creates shape and structure. Each piece builds on the storied Louis Vuitton workshops while marching to a 21stcentury drum, brought to life by masterful craftsmen. One can envision the beginnings of the brand back in 1854, when Louis Vuitton opened a small box-making shop crafting travel bags and luggage. Many of the elements we’ve come to associate with Louis Vuitton can be traced back to Vuitton and to his son, Georges. The Damier canvas pattern (checkered pattern of brown and tan) was all the elder Vuitton, but the development of the logo or monogram was the work of his son. Georges patented the monogram, and the brand’s signature was born. Bold, graphic, and sparked with contemporary spirit, the LV Volt collection may be visionary, but it remains firmly rooted in fashion history: the legend, vibration, light, and vision behind the legacy letters.

The latest LV Volt collection is handcraf ted by artisans from the Louis Vuitton workshop using traditional skills. 路易威登最新「LV Volt」珠寶系列，由路易威登工作室採用傳統珠寶工藝打造。

閃耀的

展現十足創意

在新一季珠寶作品中

標誌性的字母組合

路易威登

路易威登的字母縮寫「LV」，一直是品牌設計中的經典元

著，時而以品牌標誌的傳統樣貌出現，時而又自由旋轉，銜接

素，從手袋到時裝，再到經典的花格紋、旅行箱，這兩個重疊

構成閃電般起伏的鏈條，展現出幹練有力的一面。也可以變得

在一起的字母，伴隨著路易威登走過百年歷史，成為當下全球

更加含蓄隱秘，在經過細膩拋光的金質表面如浮雕般呈現，輪

最受矚目的時尚標籤之一。

廓如一顆心形。還可以看到LV融入三角形的鏈節，連綴構成項

就在今年，路易威登又為「LV」賦予了全新的生命力，比

鏈、手鏈和耳墜，自然貼合於身體，充滿流動感。

以往更具時代感和富有創意。由品牌珠寶藝術總監Francesca

成立於十九世紀中葉的路易威登，以製作工藝精湛的旅

Amfitheatrof親自設計的「LV Volt」珠寶系列，完全以「LV」

行箱而受到歐洲王公貴族的青睞，逐漸成長為享譽全球的奢侈

為核心元素，充份發揮字母的幾何感，將L、V巧妙融入三角形

品牌。產品線延伸至服裝、手袋、珠寶、香水、家居等各個領

和網格圖案，以新穎的設計致敬傳統經典。

域，但其對品質和工藝的卓越追求卻始終如一。此番全新推出

「LV Volt」珠寶系列的設計靈感源於雕塑、音樂、韻律、

的「LV Volt」珠寶系列延續了品牌一貫的嚴謹精密的做工，更在

舞蹈和建築等豐富的藝術形式，共由五個子系列組成，分別

設計上大膽突破，以字母構建出醒目獨特的造型，彰顯出佩戴

是：LV Volt One、LV Volt Upside Down、LV Volt Multi、LV

者的自信和獨立，像是為路易威登引以為傲的旅行文化底蘊，

Volt Curb Chain、LV Volt Mesh。字母L和V在其中不斷變幻

增添上了一段節奏明快的時代韻律。

A collection of stackable LV Volt bracelets and a statement Volt Cuf f.

「LV Volt」共包含五個子系列，每個系列都LV字母組合巧妙融入，圖為各款手鐲。

匠心

Legacy in the Making

相依相伴

攜在身畔

並將它們變身成手袋

描畫出心中自然最美的畫面

採用天然材質

採擷自然馨香

How You Look at It Sy&vie’s one-of-a-kind handbags blur the line between art and fashion

English text by James Dolan Chinese text by Cherry Chen Photos courtesy of Sy&vie

Sylvie Quartara’s “wearable art ” brings together modern style and traditional craf tsmanship to create a beautiful homage to the natural world. Sylvie Quartara的「可穿戴藝術」將現代風格和傳統手工藝融為一體，向大自然表達了美好的敬意。

「頭頂美麗的藍天，面前有棵樹，正盛開著艷麗的橙色花朵。我從中看到了我要製作的手袋的樣子，它們會有這樣的藍色和橙色。」

對大多數人來說，無論是漂浮著朵朵白

歡的設計元素組合，材質組合和紋理組合，

雲的藍色天空，還是春天路邊盛開的鮮花，

某一天，所有這些在你的腦海中『咔嗒』就

秋天金黃的落葉，都是身邊再自然不過的景

組成了一個包包。」

象，略過眼眸，卻不會印在心上。而對Sylvie

Sylvie的作品很難界定是時尚品還是工藝

Quartara來說，感受則完全不同，這些美，

品，每一件都是現代設計與傳統工藝的結合

是藝術，是她創作的靈感源泉。

體。她說這種創新源於她的生長背景，她的

「我的靈感百分百源於自然。」 Sylvie

父親是法國人，母親是巴西人，她童年時的

說：「自然令人著迷，所有形狀都是自然形

假期都是在法國西北部的城市布列塔尼度過

成，但還有幾何規律。有時我僅僅是週日坐

的，在祖父母的家中，她看到了許多收藏的

在花園喝咖啡，也能感受到和自然的聯繫。

古董和傳家寶。「這是我品牌的宗旨，將法

頭頂美麗的藍天，面前有棵樹，正盛開著艷

式的正統與巴西的隨性融合在一起。」

麗的橙色花朵。我從中看到了我要製作的手袋的樣子，它們會有這樣的藍色和橙色。」

通常來說，Sylvie製作每個手袋都要花費超過140個小時。在繪製出設計草圖之後，她

在過去的三十年裏， Sylvie一直在製作

會咨詢信賴的工匠團隊，其中有木工、雕刻

家居和時尚物品。她先後在米蘭和巴黎發

師、金屬工匠，他們會把木材和金屬等材質

展過，現在回到了她的家鄉巴西。在創立

變成她想要的形狀和顏色。「光有好想法是

Sy&vie這個自己的品牌前，她曾設計過十年

不夠的，還必須和工匠坐下來好好談一下，

的鞋履，如今她開始製作手袋，並將其當成

看甚麼是能做出來的，甚麼是不可能的。」

了描繪她心中大自然樣貌的畫布。

木雕和鑲嵌是Sy&vie的核心元素，手袋

「我曾做過家居用品，盤子和小桌子，

那精緻流暢的形狀和線條是採用巴西各種原

也做過珠寶，但手袋給了我更大的創作空

產的木材雕琢而成的。有時還會添加樹葉、

間。」Sylvie拿起她身前放在桌子上的一個小

金屬、玻璃等其它材質，當把所有準備好的

手袋，手袋是木材製成的，她指著手袋的表

材料精密地安裝在一起，許多令人驚歎的視

面，為我們解釋說道：「我可以在這上面放

覺效果便誕生了。圖案和畫面多取材於 Syl-

更多東西，更好地進行創作，真的能做出很

vie熱愛的自然，有花朵、樹木，色彩非常豐

獨一無二的東西。」

富，如果不觸摸手袋的表面，或是貼近仔細

Sylvie所說的「獨一無二」與一般的專屬訂製有所不同，這是她對待事業、藝術和生

Above: Working with native Brazilian woods—inlay, and hand-carving—is a signature element of most Sy&vie handbags. 上圖：大部分Sy&vie手袋是由巴西原生木材，採用傳統的鑲嵌和雕刻工藝製作而成。

觀察，許多人會以為是描繪在表面的畫，根本看不出是雕刻或者鑲嵌出來的圖案。

活的一種態度。她希望將自己對自然細緻入

「我曾在路旁撿過樹葉、樹枝和其它我

微的觀察和感受反映到設計中，從而喚醒人

認為美的東西，把它們帶回我的工作室，嘗試

們對周圍所存在的美好事物的關注，正如她

著放在手袋上。」Sylvie回憶說：「我總是在使

的品牌名字Sy&vie和她自己的名字很相似，

用源於自然的素材，木頭、皮革、樹葉、金屬

只是將字母「 l」替換成了「 &」，兩者既有

和石頭，各種材料的集合。」而最終產生的結

微妙的聯繫，又有形態上的曲與直的對比，

果，就是我們眼下看到的獨一無二的時尚。在

令人印象深刻。

巧妙的設計和精湛的工藝打造下，平凡的材

「&」在英文中是「和」的意思，Sylvie

質煥發出了奢侈品的質感，成為了可以穿戴在

說她製作的手袋就是一種元素和另一種元

身上的「時尚藝術」。更重要的是，通過這樣

素，也許和更多元素的組合。「某一天你也

一個手袋，不僅可以擁有美麗和自信，還可以

許發現了一種喜歡的色彩搭配，然後，另一

從中看到一片不一樣的風景，一種如何欣賞自

天、另一週或者另一個月你發現了更多的喜

然，感受自然的全新方式。

Most of us, we simply look at the sky. Sure, we might notice how it’s blue in summer, or grey in winter, or orange during a sunset. But most of the time, the sky is just there: a pleasant background, and that’s all. Sylvie Quartara is different. When the Brazilian accessories designer sees the sky—or a flower, or a leaf, or a far-off Tuscan landscape—she also sees something else. Art. Beauty. An entire universe of creative possibilities, in a single glance. “Nature is 100 percent my inspiration,” Quartara says. “It’s fascinating and inspiring. It is organic—all the shapes—but it’s geometric as well. Sometimes I’m in contact with nature, just sitting and having a coffee in the garden on Sunday. You have

a beautiful blue sky and [there is] a tree here with beautiful big orange flowers—I can see perfectly the size of a handbag, with this blue and these orange flowers.” For the past 30 years or so, Quartara has been crafting finely designed home and fashion accessories that blur the line between art and fashion—first in Milan, then Paris, and now back in her native Brazil. After more than a decade designing shoes, she dedicated herself to her Sy&vie brand, designing and assembling women’s handbags that function as miniature canvases for her unique vision of the natural world. “I’ve done home accessories—trays and small tables—and I’ve done jewellery as well. But [with] bags, I have more physical

“I used to walk and [pick up] every single little leaf and twig, and beautiful things in nature, and bring them to my office to use on the handbags.”

space,” she says, pointing to the squared surface of one of the small handbags behind her desk. “I can put more things [on it]; I can work better with the space. I really can do something very exclusive, one-of-a-kind.” For Quartara, “one-of-a-kind” is more than a marketing strategy—it’s the way she approaches her art, her business, and her life. In much the same way that the name of her Sy&vie brand highlights subtle details and unexpected connections (is the character a flourishing, handwritten “L”? Is it an ampersand in swash italic? Is it both at the same time?), Quartara’s designs depend on oft-overlooked observations and associations between shapes and forms. “You see one day a combination of colours that you like,” she says. “Then another day, another week, another month, you see a composition of elements, of materials, of textures, that you like. You have all this baggage in your head—and one day the ‘click’ comes.” Each handbag in the Sy&vie collection is a compelling combination of modern style and traditional craftsmanship. Quartara attributes this fusion of old and new to her upbringing: the child of a French father and a Brazilian mother, she spent childhood holidays in Brittany, learning about the heritage of the various family antiques and heirlooms on display throughout her grandparents’ house. “This is the purpose of the brand, exactly: to [bring together] my very formal French side with my very informal Brazilian side.” Quartara estimates that each of her handbags takes over 140 hours from start to finish. After she sketches an initial design (either by drawing, or more often these days, on her computer), she

consults with a team of trusted artisans, carvers, and metalworkers who create her explorations of shape and colours using exquisitely detailed pieces of wood, metal, and other materials. “It’s not [enough] to have a great idea,” she says. “You have also to sit down with the artisan and see what is possible to do and what’s not possible to do.” Wood-carving and inlay are at the heart of most Sy&vie creations, with delicate shapes and flowing curves carved out of various native Brazilian woods. But there are other materials too: wrought metal, fallen leaves, polished glass—all of it put together artfully using the technique of assemblage, by combining, arranging, and rearranging disparate elements, contrasting materials, and found objects to create a whole that’s more than the sum of its parts. “I used to walk and [pick up] every single little leaf and twig, and beautiful things in nature, and bring them to my office to use on the handbags,” Quartara says. “I noticed I was not using only natural [objects], I was using wood, I was using leather, I was using leaves, metal, stones. This is assemblage.” The result is what we might call a different way of looking at a fashion accessory. Instead of being an add-on to a look, Sy&vie’s intricate designs are intended to be the centrepiece of it—a kind of wearable artwork or “fashion sculpture” that combines the best of high art and haute couture. And that’s when you understand: It’s not just a handbag— it’s something worthy of special attention. It’s a celebration of the natural world. It’s a supreme opportunity for personal expression. It’s all of the above, all at the same time. It all depends on how you look at it.

Quartara’s designs celebrate the inherent beauty of natural materials, including the prized purpleheart wood ( pau roxo in Portugese). Sylvie的設計總能彰顯出天然材料的內在之美，像是珍貴紫心木的獨特色彩和紋理。

旅行

將身心滌蕩潔淨

寧靜與祥和的氛圍中

沉浸在大自然

林中漫步

登山觀景

ichywong / Shutterstock.com

Explore

林中沐浴

Fog spreads through the forest of Nagawado Dam, in Nagano, Japan.

位於日本長野縣的梓湖水壩，繚繞的霧氣環繞在山林之間。

The Art of Japanese Forest Bathing Practice traditional meditation to experience rejuvenation through nature

English text by Laine McDonnell

Basico / Shutterstock.com

Chinese text by Cherry Chen

My first trip into the forest wasn’t what I expected. I didn’t set a path or time limit, I left my phone and my camera behind, and made the deliberate decision to follow nature. What struck me first was how the light danced through the leaves of the forest canopy above, casting intricate shadows. I was in awe of the maturity of the trees—they had sprouted hundreds of years before I was born and would outlast my fleeting time on this planet, which gave them a sort of wisdom. I heard the rustle of leaves with the cool breeze and heard the snap of a twig beneath my foot. In the distance, I heard the rushing water of a creek. I reached out to touch the rough bark of a tree with my fingertips; I ran my hands over the soft moss on a nearby log and felt the youth in a tender shoot of undergrowth. I breathed deeply to fill my lungs and smelled the earth all around me.

While the world is still unpredictable, now is the perfect time to nurture and replenish ourselves. We can learn from centuries of Japanese contemplation and wisdom to find balance within our bodies and with the nature that surrounds us, through the art of shinrin-yoku. Shinrin translates to “forest” in Japanese, and yoku means “bath.” To practice this form of meditation, one must immerse one’s senses fully into the essence of the forest. The aim is to open one’s consciousness to nature so that healing and enlightenment can begin. The best part of forest bathing is that you don’t need to be a mediation or Zen Buddhist expert to achieve the full benefits of the practice. All you need to do is give yourself over to your surroundings and let them teach you, bathing not in water, but rather immersing yourself into the forest with all five senses.

在日本熊野古道遠足的遊客，這裏是日本最著名的森林浴地點之一。 Visitors hike a path through the Kumano Kodo forest.

其中，就可以獲得這樣充盈的活力和能量。

之癢。前幾天，我不經意間看到一張照片的

當我回到住處時，居然已經過去了三

名字寫著一個日本詞語「shinrin-yoku」，

個小時，如果是往常外出購物，步行這麼久

這是兩個詞「森林」和「沐浴」的組合，字

腳早該酸了，但此時的我卻沒有感到任何

面的意思便是「森林浴」。

疲憊。我來到窗前繼續欣賞著窗外的綠樹叢

我想起了之前去日本旅行的經歷，郁

林，覺得它們從未如此親切。輕輕在心裏向

郁蔥蔥的群山，煙雨朦朧的河流小溪，古老

它們道一聲「謝謝」！感謝它們在此行中賦

神秘的山間神社，那時我便體驗過一次森林

予我新的能量，還讓我學會了放慢腳步去欣

浴，美好的感受記憶猶新。我的身心徹底在

賞和體驗周圍的環境。

森林中得到釋放，像是大自然將蒙在身心上

長野縣的森林很廣闊，如果想將森林浴

的塵垢沖洗乾淨，不由得想去那些原始茂密

多進行幾日，那可以沿步道一直走下去，中

的森林中再沐浴一次。

途可以在Tsumago和Magome這樣安靜的

日本森林浴起源於長野縣，並不是指在

村莊中過夜。也可以選擇森林附近豪華舒適

森林中洗浴，而是形象地表現出人沉浸在森

的酒店住宿，如屋久島的Sankara Hotel &

林中時，充份吸收樹木花草散發出來的氣息

Spa酒店。在那裏可以欣賞到著名的屋久杉

和空氣中濃度較高的負離子，實現放鬆減壓

森林，許多杉樹的樹齡已經超過一千年，其

的效果。最簡單的做法就是在森林中靜坐或

中一棵甚至有七千多歲了。

漫步，讓身心儘可能地融入自然環境中。

Chaiyianyian / Shutterstock.com

足，不覺常翻閱過往旅行的照片以稍解心頭

大自然啊！它為甚麼這麼神奇，只是行走在

在日本，另一處最著名的森林浴地點是有

我進行森林浴的地點是長野縣有三百年歷

千年歷史的熊野古道，位於紀伊半島南部的沿

史的赤澤森林，其中的樹木多是清香的柏樹，

海地區，全長一千多公里。沿途崇山峻嶺、古林

從江戶時代便開始養護，保持著原始的風貌。

密佈，有多處古老的神社和寺廟，更有數不清的

記得我開始第一次森林浴時，就像是在進行一

大大小小的神龕，全部走完要一兩個月的時間。

次普通的遠足，只是沒有提前預定好路線和時

如果想要在森林浴中獲得更多的靈氣，

間。我把手機放進包裏，克制住自己想要拍照

可以前往日本中部山形縣的出羽三山，那裏

發朋友圈的衝動，視線投向周圍濃郁的綠意，

是日本山岳信仰中歷史最悠久的聖山，由月

腳步踏上樹木高大枝幹投射在地面上的斑駁光

山、羽黑山和湯殿山組成。據說在三山中行

影。當我的眼睛逐漸適應了這片古老的森林，

走能讓修行者體驗從生到死，再到重生的過

我的其它感官也開始敏銳起來。

程，最終實現生命的圓滿。這也許是因為想

樹木、花草和泥土的氣味交織在一起，

要朝拜山頂的神社，首先要在古老的杉樹林

融進了略帶濕潤的空氣中，這種獨特的源自

中爬上2446級階梯。向上不斷攀登的過程，

森林的氣息不僅在呼吸時進入了我的肺部，

是對體力和毅力的考驗，也讓人在專注中靜

更像是在通過每一個毛孔沁入我的身體。我

下心來，以更虔誠的心態祭拜神靈。

聽到微風吹拂樹葉發出的沙沙聲，我感到腳

因為時間關係，我沒機會前往上述全部的

下踩斷了一根細枝，更遠處像是傳來了嘩嘩

森林浴聖地親身體驗，但在北美同樣有許多原

的流水聲。我伸出手去觸摸大樹那粗糙的樹

始廣袤的森林。我準備去尋找一些駕車便可前

皮，去摩挲一段木頭上滑膩的苔蘚，一隻受

往的森林公園，把它們變成我的「秘密浴場」，

驚的鳥兒從草叢裏飛了出來，我望著它飛向

讓身心在其中沐浴成長，休養生息，這個計劃

遠處的身影，臉上露出了一抹微笑。這就是

目前放在了我列表中的第一項。

hossy8864 / Shutterstock.com

居家的日子裏，時間變得悠長，不能遠

Top: A suspended bridge into Okutama forest in western Tokyo. Bottom: The Karuizawa Shiraito Falls in Nagano Prefecture. 上圖：在東京西面奧多摩森林中的吊橋。下圖：位於長野縣的輕井澤白絲瀑布。

Vincent JIANG / Shutterstock.com

I meant to stay half an hour, but by the time I arrived back at my lodging, more than three hours had passed. The forest, without a word, had taught me to slow down and really experience my surroundings with a new eye, a new patience, a new appreciation. Shinrin-yoku began in the Akasawa Forest in Nagano, where kiso cypress trees were planted over 300 years ago during the Edo period. It is said that a forest has beneficial effects on health due to the natural phytoncide compounds that plants release. The best times to visit are in the summer when young hinoki cypress leaves release their fragrance, or in the fall when the entire forest stuns with autumn foliage of red, orange, and yellow leaves. Another power spot for forest bathing is the pilgrimage of Kumano Kodo, a network of trails that stretches across the Kii peninsula on the island of Honshu. Declared a UNESCO World Heritage site in 2004, travellers walk trails such as the Ohechi coastal route, which offers breathtaking views of the Pacific as you make your way to the Fudarakusan-ji Temple. Yamagata Prefecture is home to the three mountains of Dewa: Mount Haguro, Mount Gassan, and Mount Yudono, representing birth, death, and rebirth. Located in the area where the Shugendo mountain religion is practiced, these are considered the first sites of mountain worship in Japan. In Yakushima Island, located 50 kilometres south of the mainland of Kagoshima Prefecture, people venture to forest bathe in an old growth forest that houses waterfalls and a 7,200-year-old Jomon cedar. Forest bathing can be a way to pass a tranquil afternoon, or it can be made into a multi-day experience. Taking trails through Nagano forests allows for overnight stays in the quiet villages of Tsumago and Magome, which offer traditional ryokan inns. Or you can splurge at luxury destination hotels near the forest, such as Sankara Hotel & Spa in Yakushima, where the subtropical forests and the subalpine climates converge. Every forest has something to teach us, so it doesn’t matter if you practice the art of forest bathing in the ancient cedar forests of Japan or in the woods close to your home, as long as you lose yourself to nature. Now that we can begin to explore the world again, remember to take some time for yourself to grow and heal in the forest.

A teahouse near the forest in Magome-juku on an ancient post road in Magome, Japan. 馬籠宿森林畔的一間茶室，此處是一條日本古代的官道。

設計

Design for Living

The Poetry of Architecture A Connecticut writer’s studio becomes a metaphor for creativity itself

English text by James Dolan Chinese text by Cherry Chen Photos by Durston Saylor

靈感小屋創作靈感

提供著源源不斷的

為這裏的主人

The studio sits perched on a picturesque rock bluf f, with a cantilevered room projecting out above the ravine below. 於山崖之上，挑出式的結構和三面玻璃幕牆讓屋中的人仿佛漂浮在一片山林之中。

一座隱逸的小屋

山林中

“You’re in a 180-degree glass box. You feel that you’re not tethered to the ground at that point.”

A pen. Some paper. A bit of inspiration. A quiet place to think. Of all the things a writer needs, it’s the last one that’s the hardest to come by. That was the challenge posed to New Yorkbased architect Eric J. Smith by one of his long-time clients: build a writer’s studio that would function as a tranquil sanctuary where he might fully embrace a lifelong love of the written word. In so doing, Smith created not only the perfect place to write, but a fourwalled metaphor for the act of writing itself. “The building represents the creative process,” Smith says. “You approach it from what’s a very solid, almost impenetrable structure—there’s only one portal going through.” As Smith points out, that effort to open the door (whether literal or figurative) will be immediately familiar to anyone who has stared at a blank page. “When you’re looking at a blank piece of paper, you have to find your way in: What’s the inspiration; what’s the thought?” For Smith, that parsing started with a proper consideration of what had come before. Smith’s firm had already worked on two previous projects on the 25-acre estate, about an hour northeast of Manhattan, renovating the main house in a grand, 1920s New England style, which honoured the design traditions of the region. This time, however, the owner shared a distinctly different vision: a small, strippeddown, essentialist space whose sole purpose would be to enhance and amplify the work going on inside. Smith faced two diverging roads: he could design a bold, bauhaus-inspired monument that would dominate the landscape and stand outside the property’s existing design language. Instead, he opted for a road less travelled: bring

traditional and contemporary design together in a way that respected not only the client’s vision, but the rich history of the region, as well as the ebb and flow of the land itself. “That was an interesting dichotomy,” Smith says. “It was as if maybe we had discovered the remnants of an old springhouse, or root cellar, or some other building that was there, and it was kind of in ruin, and we kind of restored it, and then we repurposed it. [The idea] was to strip it all down to just stone, wood, steel, and glass. Each of those are honoured into themselves, as if [the building] had been there for a long time and the forest grew up around it.” From the outside, the studio is a study in architectural counterpoint, with modern elements interacting with traditional materials to create a beautiful harmony with the surrounding site. On one hand, a solid, levelled-off cube clad in traditional stacked stone gives the studio a feeling of mass and substance—a thickwalled, castle-like feel intended to shelter the poet from the distractions of the everyday. On the other hand, exposed steel beams create a cantilevered room surrounded on three sides by floor-to-ceiling sliding glass panels—an airy, floating feeling intended to open the mind and help the imagination soar. The glass offers a view of a picturesque wood, where a gently flowing brook chatters and babbles in the hollow below the studio. “The cantilever allows you to project yourself out into the future, out into the space,” Smith says. “You’re in a 180-degree glass box. You feel that you’re not tethered to the ground at that point. You’re in the middle of the woods—you [feel] breezes there, you can hear what’s going on. It’s very exciting that way.”

Smith deliberately compressed the dimensions of the entrance hallway to better emphasize the expansive space of the writer’s room beyond—a metaphor for the opening of the imagination. 穿過略微有擠壓感的書架走廊，進入到視野開闊的工作室時，會感覺面前豁然開朗，正如尋找創作靈感的過程。

The end result is a kind of creative refuge from the hustle and bustle of modern life, a place where the action of entering in and moving through serves as an echo for what happens in the mind. “The idea is that you decide to enter into this kind of creative space by leaving everything behind you,” says Smith. Walking past the built-in bookshelves in the narrow hall to stand in the spacious central room gazing into the woods beyond, you feel outside the realm of human endeavour: The walls sink into the ground, the glass melts away, and you become one with both the physical and the metaphysical. And as Smith says, that was the point.

“[You] walk up through the woods, [then] you’re forced into a very small pocket of space before it then expands back out. So your mind recalibrates. Everything kind of quiets and settles. And then it expands to bigger ideas.” Which, as any poet or architect will tell you, is a pretty good way to describe the act of creation. Your eyes wander into the woods (literal or figurative), and you notice something: a lonely cloud; a bird coming down the walk; a wet, black, bough; a red wheelbarrow. Your spirit wakes from its slumber. Your pen has motion now, and force. And you begin to write about the rocks, and stones, and trees— and all the bigger ideas that come with them.

Above: The studio was built to resemble an old springhouse, a root cellar, or a farm outbuilding that had been repurposed and carefully restored. Opposite: The studio marries a clean, almost minimalist aesthetic with traditional New England materials such as stained wood and stacked field stone.

對頁：工作室的外觀設計著重在融入周圍的環境，像是舊建築被翻新了的感覺，完全不顯突兀。上圖：建築的整體結構採用了現代的極簡主義設計，但材料選用了傳統的新英格蘭風格常用的木材和石材等，並刻意營造出古舊感。

「這樣懸空的設計，讓你像是將自己投射進了未來，像是打破了空間的桎梏。」

對於一位作家來說，最難尋的是靈感，

干擾。進入小屋那唯一的入口，巨大的鋼樑

而一個安靜舒適的空間無疑會有利於他們潛

挑起一座懸空的露臺，上面用玻璃牆圍出了

心思考，創作出精彩的作品。紐約建築設計

一間書房。這種彷如漂浮在空中的感受，確

師Eric J. Smith便遇上了這樣一個富有挑戰的

實令人有種想要放飛思想的衝動。

項目，他的一位老顧客是位作家，需要打造「這幢房屋代表著創意。」Eric說：「整

下方有一條在山谷中流淌的小溪，安靜下來，

體是封閉起來的，只有一個入口可以進入其

可以聽到流水的潺潺聲。Eric說：「這樣懸空

中。」也許因為身為建築設計師的Eric也經常

的設計，讓你像是將自己投射進了未來，像是

需要尋找靈感，他非常理解作家顧客的需求

打破了空間的桎梏。你在一個全景的玻璃盒子

和感受。當工作室最終完成時，所呈現的效

中，周圍是綠樹叢林，微風輕拂。」

果像是將作家的心聲用石材、木頭和玻璃構

在這樣一個空靈的空間裏，儘管你獨自一人，卻仿佛不是一個人在思考。你的身體和思

建到了現實中。「當一張白紙擺在你面前時，你不得不

想都像是融入進了周圍的自然環境中，可以自

搜刮些東西出來，靈感在哪裏？有甚麼好點

由呼吸它的能量，汲取它的智慧。「當你來到

子？」幸運的是，Eric之前總是能想出不錯

這個空間，所有其它東西都拋在身後了。」

的方案。他的公司最近經手了一個項目，在

站在大門前，小巧的屋子內部一覽無

曼哈頓東北方大約一小時車程的一塊二十五

餘。在通往露臺書房的走廊兩側，是兩排高

英畝的土地上，一幢新英格蘭風格的二十年

大的、原木的書架，天花板上鑲嵌著玻璃，

代老宅在Eric的精心打造下煥然一新，同時

讓光線自然投射下來，像是行走過一片散發

還保留了舊有的時代特色。

著書香的森林。「穿過走廊時，你會感覺像

不過，這個作家工作室的新項目與傳統大

是在擠過狹窄的通道。」Eric解釋說，「這也

宅顯然是完全不同的類型，一個宏偉，一個小

正像在苦苦思索，尋找靈感的時刻。然後，

巧；一個醒目，一個私密。但相同之處在於，兩

當來到露臺上的玻璃書房時，視線又陡然開

者都有對舊建築的尊重和敬意，而不是單純打

闊。」像是在這個小小的空間裏演繹了一回

造一座滿足功能性和便於建造維護的新房子。

「山窮水盡疑無路，柳暗花明又一村」。沿

Eric認為好的建築需要尊重所在的環

著進門處左側的樓梯還可以走上屋頂，沒有

境，正如那幢二十年代的老宅，只有修舊

了玻璃牆和天花板，視線更加開闊，完全身

如舊才能融入當地社區一直保存和延續的風

處在周圍的自然環境中。

貌。這座作家工作室所在的地點，相比之下

當心融入自然，平靜下來，你會開始注

歷史更加悠久，是一片茂密的山林。「我們

意到一些平日裏容易忽略的東西。把目光投

的設計思路非常有趣，假設樹林中的那處山

向山林，也許草叢中會突然蹦出一隻野兔，

崖上曾經有過一座廢棄的建築，已經破敗不

大概《愛麗絲夢遊仙境》就是以此為靈感

堪，我們對它進行了翻新。最終，它又恢復

的吧！也許天空中正漂浮著一朵形狀酷似航

了當初的樣子，像是矗立在那裏很久了，周

船的白雲，它又會駛向何方呢？小溪中的水

圍的樹木都長成了一片森林。」

流似乎比往常更湍急一些，是因為昨夜的那

透過一排排挺拔的樹幹，這座外牆主要

場雨嗎？玄妙的靈感也許並沒有那麼難以尋

由石頭砌成的小屋，像是一座隱藏在山林中

覓，它一直隱身在周圍的環境中和日常的生

的堡壘，方方正正，踏實堅固，為房主提供

活中，只是需要一雙善於發現的眼睛和一間

了最可靠的保護，讓他寫作時免受各種俗務

牆壁由玻璃圍成的書房。

“To me, the start of any project is the site. Success is that the building looks like it’s always been there, and it was meant to be there.” —Eric J. Smith 設計師Eric說：「對於我來說，任何一個項目都始於它所在的地點。成功意味著讓建築最終看上去就像一直都在那裏，就應該在那裏。」

更驚喜的是，這裏不僅有便於張開想象翅膀的地形，還有實際存在的靈感源泉。小屋的

一間特別的工作室。

人物

Features 也找到了創作的動力和源泉

找到了生命的意義

讓一位新西蘭原創歌手

一次海畔星空下的漫步

傳遞希望的歌聲

Music Heals Singer-songwriter Katy Mantyk shares her process of creating music and cultivating her heart English text by Jared Pearman Chinese text by Cherry Chen Photos by Binggan Zhang

“In that moment, I decided to ask the divine, or God, the creator, or whoever it was—I didn’t even understand, but I just wanted to ask them to show me the meaning of life.”

二十一歲時Katy從一位同學那得知了法輪大法並開始修煉，她的人生自此發生了巨大的變化。 Mantyk was 21 years old when she started practicing Falun Dafa.

Standing at a cliff’s edge on a moonless New Zealand night, a young woman made a wish aimed beyond the stars above. “It was a really humble request,” says singer-songwriter Katy Mantyk, who now lives in Mount Hope, New York. “In that moment, I decided to ask the divine, or God, the creator, or whoever it was—I didn’t even understand, but I just wanted to ask them to show me the meaning of life.” Soon after that starry night, her search for meaning led her to meditation and the traditional qigong practice of Falun Dafa. “That was the beginning of what people would call an enlightening process, and that is what my life has become. I’m just always hungry for that process of improving and understanding,” Mantyk says. Falun Dafa, also called Falun Gong, is rooted in traditional Buddhist and Taoist philosophy. According to Mantyk, “The principles of Falun Gong are really simple. Anyone can follow them to raise their level of understanding and improve their hearts.”

As her heart opened, so did her voice, and the music began to pour out of her. But the river of destiny often takes a winding course, and it wasn’t until ten years later that she wrote the lyrics of her first single, which came out earlier this year. And I found the Way, A path through the stars Search no more This is what you’ve been waiting for

A decade of learning

“When I was creating music in the beginning,” Mantyk says, “I felt clueless. And I was highly aware of my cluelessness. Creating music was just a primal feeling, and I wasn’t confident that I had the wisdom or the experience to create music that was meaningful. It felt a bit empty when I tried.” Mantyk was 21 years old when she started practicing Falun Dafa, and her songs finally felt like they had meaning. However,

「當我開始寫歌時，一股無力感向我襲來。我知道我的音樂有感覺、有情感，但卻沒有更深層的意義。我沒有信心和足夠的智慧與經驗去創作出真正有意義的音樂，每次一想深入下去，就有一種空虛感，這種感覺迫使我去生活中尋找答案。」

有一天，我無意間點開了一段朋友分享在

跟著哼唱、拍手。上小學時，Katy學會了許

社交媒體上的視頻。上面是一位女歌手正在紐

多毛利人的傳統民歌，至今還清晰記著那些

約附近一間咖啡廳裏演唱她原創的新歌，歌名

優美的旋律。

叫做《別無所求》（Search No More）。看著

到了高中，Katy開始從網絡上尋找一些

歌手陌生的面孔，我對這段演唱沒有報太多期

歌手的演唱視頻，跟著學唱，並逐漸找到了自

待。沒想到當她的歌聲響起時，我立即被吸引

己喜愛的音樂風格。「有一點鄉村，有一點民

了。曲調很溫柔，有一股民謠的親切，還有

謠，還有一點靈魂。」在大學就讀音頻工程學

新世紀音樂的空靈，她的嗓音清澈溫潤，像

位期間，Katy認識了一群志同道合的朋友。

是在對老朋友們講述一段自己的故事，歌詞

「我遇到了許多特別棒的人，他們像我的靈魂

更是直擊我的心靈：

伴侶，鼓勵我不要害羞，不要退縮。」在同學和朋友的鼓勵下Katy開始嘗試自己寫歌並演唱。

「當夕陽西下，你仰望夜空，

「當我開始寫歌時，一股無力感向我襲

盡賞燦爛群星，但心中毫無悸動。

來。我知道我的音樂有感覺、有情感，但卻沒

你輾轉反側，夜夜難眠，

有更深層的意義。我沒有信心有足夠的智慧和

腦海中思緒萬千，何處去尋安寧。

經驗去創作出真正有意義的音樂，每次一想深

······

入下去，就有一種空虛感，這種感覺迫使我去

直到我找到了回家的路，通向星海的路，

生活中尋找答案。」Katy說，那時她只有二

從此別無所求，別無所求。」

十一歲，儘管生命中一直有真心熱愛的音樂相伴，但她並不覺得快樂，還患過抑鬱症。「我

我記下了她的名字Katy Mantyk，看朋友能否幫忙聯繫上她，我希望和她好好聊一

對生命的意義和目的感到迷茫，我需要一個目標，這對我來說很重要。」

聊她的音樂，她的人生，沒想到這個願望很快就達成了。

尋找生命的意義在創作歌曲遇上瓶頸之後， Katy陷入

與音樂相伴

到更深的迷茫和無助之中，她四處尋找著

Katy在新西蘭的最北端長大，周圍是

創作靈感和能解決她心中困惑的答案。有

碧藍的大海，當地特有的土著文化和音樂。

一次， Katy參加了一個除夕夜慶祝派對，

「新西蘭人腳踏實地、思想包容，而且富有

其他人都在跳舞唱歌，開心地慶祝新年的到

靈性。新西蘭人熱愛音樂，當地的土著毛利

來，Katy卻突然感到一陣失落，便獨自離開

人，都是很棒的音樂家和歌手。」據Katy的

派對往海邊走去。「我走到了一處懸崖邊，

媽媽講，她還不會說話就喜歡聽音樂，還會

天空是如此廣闊，星星很明亮。夜空好美、法輪大法「真善忍」的理念為Katy指明了一條道路，她的人生不再迷茫。 “Once I got out of the city and into the countryside again, the music was just calling to me.”

好開闊。我腳下的大海也向遠處延伸著，天

「現在我也很難提起這件事，那種痛苦

很黑，只有反射的星光在海面上閃爍。那一

還在。」Katy的眼中湧出了淚水。「這讓我

刻，我突然覺得自己更接近神，更接近造物

們心碎，大家都很愛她。我們無法幫助她走

主，因為那種美讓你感到這世間萬物的造化

出黑暗，而她覺得唯一的解決方法就是結束

是多麼不可思議。」

生命，事實上並非如此。」更讓Katy震驚的

心有所悟的 K a t y 開始祈禱，更像是詢

是，在嫂子去世六個月後，她的哥哥拿出妻

問，她希望造物主能告訴她生命的意義是甚

子生前一直在聽的CD播放起來，結果發現其

麼，儘管她都不太確定造物主到底是誰。「我

中有一首歌居然名叫《自殺是解脫》。「這

曾經以為我自己知道，但那一刻我對造物主

真是太令人震驚了，從音樂中傳達出如此邪

可能是誰，意味著甚麼有了更謙卑的理解。我

惡的信息。要知道這個世界上有許多精神和

謙卑地問宇宙、問眾神、問造物主，無論您在

心理疾病患者，這種音樂會刺激他們。」

哪裏，請幫我找到我生命的意義，這樣我就可以去做我命中註定的事情，不再迷失。」

在遭遇了這段不幸之後，Katy有了一份前所未有的使命感，她要創作出好的音

在那一晚虔誠地祈禱之後，Katy並沒有太

樂，將積極的、充滿希望的旋律傳遞給聽

期待造物主會給她一個明確的答覆，她逐漸有

眾們。Katy又想起了自己十年前在海畔祈

些淡忘了這件事。但幾個月後，她的一位同學

禱的情景，那時的她也是消沉的，不知道

向她介紹了一門源自中國的佛家修煉功法——

活著是為了甚麼。但幸運的是，創世主回

法輪大法，包含四套動功和一套打坐靜功，還

應了她，她從那時起就像是走在了回家的

有《轉法輪》一書。

路上，心安頓下來，再也不怕會迷失。她

「我讀了《轉法輪》，從中得知了『真、

決定把這段神奇的經歷寫成一首歌，歌的

善、忍』這一宇宙中的準則，我很接受這三個

名字《別無所求》正是她在修煉法輪大法

字所代表的理念，我願意去照著做。」從那時

之後的真實心聲。

起，Katy感覺自己以往的迷茫和抑鬱都消失

「我覺得在修煉法輪大法之前，我被包

了，她知道法輪大法就是創世主對她那晚在

裹在黑暗中，一種物質阻礙了我的思想和智

海邊祈禱的回應。《轉法輪》中所講述的法

慧。這種物質來自於消極的思想，不斷去傷

理，像是為她指明了一條道路，還教會了她

害自己、傷害他人。在修煉法輪大法之後，

如何始終走在這條路上不會偏離。

我的思維真的擴展開了，就像是久旱逢甘霖的土地，（生長出源源不斷的創作靈感）。

傳遞希望的歌聲在修煉法輪大法之後， Katy的腰背痛和神經痛都好了起來，連哮喘也消失了，還

“Once I got out of the city and into the countryside again, the music was just calling to me.”

法輪大法的核心理念『真、善、忍』簡單明了，每個人都可以去照做，然後提升自己的智慧和內心，去衝破面前的黑暗。」

戒了煙。雖然她的音樂夢想因一些現實原因

從十年前的迷茫和無助，到如今找到了

不得不暫時擱置，但她的生活卻變得前所未

自己人生的意義和方向，Katy在經歷了修行

有的健康和快樂。Katy大學畢業後來到了紐

之路上的曲折和磨礪之後，變得前所未有的

約，在一間電視臺工作，她在那裏遇到了自

自信堅強。她相信她的音樂可以傳遞出希望

己的另一半，兩人結了婚，隨後兩個小生命

和正面的能量，能感染和治癒許多人，正如

又降生了。忙碌的生活讓她無暇靜心創作歌

她寫的另一首歌《自由如鳥》。

曲，只能從事與之相關的音頻製作工作。但就在大約一年多前，她的嫂子，也是她的摯

「無論我身在何處，都將全力以赴。

友，突然自殺離世，這讓Katy和她的家人都

當一段旅程開始，

陷入了深深的悲痛和自責之中。

是多麼令人興奮的事。」

societies. I was surrounded by this old forest and these trees that have seen so much. I wondered what their wisdom was. And I instantly got an answer, and I turned it into the lyrics of a song.” That song turned into her upcoming single Let It Flow, which begins with these lyrics:

instead of following the music, she answered a different call. After finishing her degree in sound engineering, she moved to New York for a job in television. The music that once came to her on the ocean breezes of her youth got drowned out by the din of city streets and the demands of her new life. “I dropped music for ten years. I really had to close it off,” she says. “I had this harsh lifestyle, just grinding, taking subways, pushing kids in strollers, carrying shopping on foot, and working full time,” Mantyk says, describing New York as “a kind of sandpaper on my soul.” “I wouldn’t say it was a bad experience, though,” she says. She sees personal growth as the foundation of her practice, and she now sees that time in New York as building the meaning that she had been searching for in her music.

The trees in the forest, they have stories to tell Of ages come and kingdoms that fell Ask them how they weathered all the storms And they will sing in unison Let the wind blow, let it blow Trust your roots are deep in the earth below

Healing through music

“I write my music for myself,” Mantyk says. “Of course, if the music is good, it can be a gift for other people too—but it really heals me. My lyrics incorporate the kind of things that I need to reinforce in myself.” “That song, Let It Flow,” she says, “it’s not like I’m perfectly living that philosophy. Every time I sing it, it helps me to accept life’s challenges and remember that I have an inner strength in my roots. Every time I sing that song, it nourishes me.” What draws audiences to Mantyk is the sincerity of her music. Her lilting voice has a sort of calming touch to it. She sings with the wisdom that her words matter, and she backs up those words with a heart of compassion. You can find her online at katymantyk.com and enjoy her YouTube channel full of acoustic songs to help the day f low by.

Let It Flow

After that decade in the city, Mantyk and her family moved to a small town in the Catskill Mountains. “Once I got out of the city and into the countryside again, the music was just calling to me. I knew I needed to pick my guitar back up, and as soon as I did, I started writing songs again.” Living in a mountaintop cabin, she gained a new perspective on her life once again. The frantic energy of urban life subsided, and she found herself connecting with nature in a way she had forgotten. “I was outside playing a beautiful little riff on my guitar one day,” she says. “I started thinking about how the forest and trees are so old, they witness the entire rise and fall of human

人物

Features

Let Nature Take Its Course A young man leaves hard-earned privilege for the forest life, but fame still chases him English text by Courtney John Chinese text by Zhao Wen Photos courtesy of Yu Shui Jun

隨遇而安怎知名號卻越傳越廣

他的草木生活

愜意逍遙地過著

獨居於一所郊外民宅

遇水君如今

去追求心中生活的樣子

放棄優厚的留校工作

只為上心儀的美院

復讀三年

An engraved window at Yu Shui Jun’s residence is decorated with bamboo, giving it a rustic Oriental feel. 遇水君居所中的一扇鏤空花窗，搭配幾株枯竹，便有了古香古色的味道。

No alarm clocks. Yu Shui Jun wakes up most days in his mountain forest home. If not sunshine, then rain beckons him from bed. After getting up, he goes to feed the chickens and water the flowers. Then he’ll stroll over to the coop and pick up some freshly laid eggs. On the way back to his kitchen, he picks a few handfuls of greens and a couple of peppers. Soon, breakfast is served. It sounds like the life of a retiree, but Yu Shui was born in the 1990s and is a recent graduate of the China Academy of Fine Arts. And before you think of him as some mountain hermit, consider that Yu Shui is a successful painter, designer, and gourmet expert who popularizes his lifestyle online, calling it the “Plant and Tree Life.” Born Li Yu, this rising star chose to alter his public name. Yu means “jade” in Chinese, and it also means “a meeting.” Shui means “to preserve with non-violence,” and it also means “water.” He says, “I think Yu Shui, ‘to meet water,’ is very gentle, and it fits well with what I want to do.” Yu Shui rents a four-story building with a courtyard. He did the renovations himself and is the only resident. It’s his seventh home in eight years and doubles as his studio. The rent for a year is less than one month downtown. Yu Shui says, “When I first moved into the current studio, it was still rough. The walls and floor were exposed cement, and there were no doors or windows.” When he took on the project, Yu Shui only had 8,000 yuan in his bank account. That didn’t leave much after rent was paid. But Yu Shui always follows his heart. He believes that renting this location is the genesis Living alone in a private house in a rural area shapes Yu Shui Jun’s life. He’s young but enjoys planting flowers, raising chickens, and reading books as part of his daily routine. The artist takes inspiration from water: be simple, clean, and let nature take its course. 獨居在郊外一座民宅裏，每天種種花、養養雞，或者讀讀書，遇水君的生活正如水一樣，簡單素淨，隨遇而安。

of his life’s most important masterpiece. Yu Shui wants to turn the house into a work of art embodying “Plants and Trees.” His parents would probably suggest that he buy the property before settling in to complete his life’s greatest task, but it’s better to be lucky than sensible. Yu Shui’s furniture was either moved in from his hometown or bought secondhand. His taste for fusion emerges again with the new and the old, the rustic and the fashionable. A dead tree on the roadside was cut down and dragged home, becoming a part of a dry landscape installation near a window. A few tatami mats and a low table transform the space into a quiet tea room. It’s a lot of trouble to install doors and repair the partition, so Yu Shui divides the space with drapes and bamboo curtains. The added partition is transparent, but also unified with the overall tone and style. Yu Shui describes the style of the house as “natural.” Of course, the house is abundant with plants, but the discerning eye can see a pattern. Each floor includes three kinds of plants among its varieties: bamboo, jujube and reed. The branches of a jujube tree are loose, the bamboo is hollow inside, and the reed is strong. In only one month’s time, Yu Shui transformed an unfinished house into his best art school grad project. The first floor is an exhibition hall, the second floor a living room and open kitchen, the third is his studio, and the fourth floor has the master and guest bedrooms. This house has become ground zero for the “Plants and Trees” lifestyle that Yu Shui has become famous for living.

住在一幢杭州鄉下的四層民房，背靠

處毛坯房，牆壁和地面都是裸露的水泥，門

一大片山林。每天一覺睡到八點自然醒，趕

窗連邊框都沒有。遇水君的銀行卡裏只有八

上下雨天，就賴床再聽會兒雨聲。起床後，

千元，交完房租更是所剩無幾，但他決心要

先是去院子裏餵餵雞，澆澆花，順便把新下

完成這件他有史以來最「宏大」的作品，把

的雞蛋撿回去，再擇上幾把青菜，兩顆青辣

這幢民房變成一幅三維立體的「草木畫」。

椒，不一會兒便有精緻小菜擺上桌。聽到這

家具從老家扛來，要麼去二手市場淘，

裏，您能猜出這位房主是何方人士嗎？退休

新的舊的、土的潮的，混搭在一起居然有了

搬到鄉下住的老人家？還是不愁花銷的富

一種生活味的禪意；路邊的一棵枯樹，砍下

二代？答案都錯了，這是位九零後小夥子，

來拖回家，變成枯山水景觀的一部份；靠近

名叫李玉，中國美院的研究生。不過，他更

窗邊的地方，擺上幾塊榻榻米，放上一張矮

為人熟知的名字是遇水君，一位靠「草木生

桌，就成了一間靜謐的茶室；裝門和修隔斷

活」圈粉無數的畫家、設計師和美食達人。

有些麻煩，就用帷幔和竹簾分割空間吧！既

「我的名字玉和遇相通，和人相遇，和事

遇水君形容這幢房子的風格是「自然

世間所有東西都離不開水，我覺得遇水這個

派」，裏面最不缺的元素是植物。仔細觀察

名字比較溫潤，又和我想做的東西很契合。」

會發現，每一層樓都有竹子、棗樹和蘆葦三

遇水君現在住的房子是租來的，四層樓

種植物。如棗樹的枝幹一樣有松有馳，如竹

加上院子都由他親手改造完成。這是他八年

子一樣虛心正直，如蘆葦一樣柔韌待物，正

來搬的第七個家，也是他的工作室，一年的

是遇水君的人生信條。

租金不及市中心一個月的價格。這筆現在看

忙碌了一個月的時間，遇水君把一幢毛坯

來很划算的買賣，曾經遭到遇水君父母的激

房改造成了自己最好的研究生畢業作品。一樓

烈反對。眼看兒子復讀三年才考上心儀的美

是展廳，二樓是客廳和開放式的廚房，三樓是

院，又讀完了研究生，到頭來居然放棄了留

工作室，四樓是他自己的臥室和留給來訪朋友

校的機會，還不肯去找份正經工作，就那麼

的客房。有了這個家，遇水君的「草木生活」

信步來到鄉下，準備搞甚麼自己喜歡的草木

算是正式拉開了序幕。一般人的生活都是做

畫創作，老兩口心中簡直「義憤難平」。

五休二，遇水君恰好相反，五天留給生活，週一到週五，遇水君除了創作草木畫，

遇水君拿出了《道德經》中「天下莫柔弱於

花費時間最多的事情就是做飯。廚房的料理

水，而攻堅強者莫之能勝」的勁頭，跟父母

檯安置在一扇大窗前，窗外是綠意盎然的

來了個五年約定，這段時間他要盡情做自己

院子，牆壁上爬滿了薔薇，讓洗碗變成了養

想做的事情，至於五年之後，到時候再說吧！

眼的事。至於食材，自然更少不了遇水君最

從此，遇水君過上了他嚮往已久的「草

愛的植物，他經常去集市上採買一些時令鮮

木」生活。在山野稻田裏滾大的他，對大自

蔬。因為新鮮，根本不需要過多調味，只要

然既熟悉又癡迷。小時候他就喜歡把看到的

加上基本的油鹽，就很可口。最點睛的，是

每一顆樹、每一片葉記在心裏，再嘗試著在

遇水君每次信手放入的那些小料，一小撮薄

紙上重現。長大些後，他開始收集各種各樣

荷，一把迷迭香，或是一束豌豆苗，就種在

的草木花朵，把它們製作成標本收藏。有一

院子裏，啥時下鍋啥時去擇。

次大學同學過生日，他實在想不好送甚麼，

獨食樂不如眾食樂，自工作室初具雛

索性拿收集的植物標本做成了一幅畫，沒想

形，遇水君那間足夠容下一二十人的大客廳

到同學很喜歡，好多人還要買他的作品。

便經常高朋滿座，每位吃過他菜的朋友都讚

看到自己的作品居然這麼受歡迎，遇水君開

不絕口。一來二去，有人建議他乾脆做個私

始嘗試把國畫、版畫、水彩、白描和草木相

廚吧！思量一番，遇水君私廚開門迎客，甚

結合，並逐漸加入蝴蝶、蜻蜓、小昆蟲等元

麼時間做，吃甚麼菜，做給誰吃，全看緣份

素，成了他現在從事的草木畫事業。如今，

和心情。沒有菜單，也沒有定價，客人吃飯

別人眼中的「枯枝爛葉」在遇水君眼中都是

後隨意打賞，給多給少都不計較。

剛剛搬入現在的工作室時，那裏還是一

都離不開水，我覺得遇水這個名字比較溫潤，又和我想做的東西很契合。」

兩天用來賺錢。

磕三年考美院？」眼看父母和導師都急了，

珍寶，是大自然信手拈來的藝術品。

世間所有東西

通透，還統一了空間的色調和風格。

相遇，和世間萬物相遇。水利萬物而不爭，

「如果只想要一份安穩，我又何必死

「水利萬物而不爭，

玫瑰醬山藥、櫻花蜜汁拌豬舌、紫蘇檸檬草熗螺螄、風鈴花豆豉蔥香鯿魚、迷迭香遇水君會時常前往郊野山林，去尋找自己製作草木畫的素材。

Yu Shui Jun frequents the surrounding forests to find materials for his art.

煎糯土豆，還有遇水君的最愛，從外婆那裏學來的雪花丸子，酒是用春天的桑葚和夏天的楊梅自釀的果子酒。菜可能每次都不同，酒可能也是變幻莫測的味道，但正如沒有哪兩片樹葉是完全相同的，料理美食又為何要千篇一律呢？遇水君說自己是在做一個關於植物美學的踐行和探索：「我要把對植物的認知和植物這個元素融入到我的生活中，而生活無非就是衣食住行，就像是我把我的衣食住行都當成了一件藝術創作。任何一位藝術家或設計師，都要找到自己的符號，草木就是我的符號。」每週五和週六是遇水君的工作日，他會帶上自己的草木作品去市集，去做家教和培訓，錢賺得不多，但足夠養活自己。「我媽到現在最關心的還是我銀行卡上的數字，可我覺得錢生帶不來，死帶不去，那不是生活的本真，生活就應該是簡單、真實、快樂的。」因為心中清楚自己想要的生活，所以從未對腳下的路感到迷茫；因為懂得享受過程和體驗，而能對結果順其自然。每日沉浸在「草木生活」中的遇水君，正如他所熱愛的植物一樣，在安靜的外表下蘊藏著生命本真的力量，所以他才一直選擇堅持去做自己想做的，像是一株苗永遠努力向著陽光生長。 Authentic wood is a cherished component of the dwelling. It plays well with the antique furniture and unpainted cement. 原汁原味的木材是遇水君住所中最主要的元素，與他四處淘來的舊家具和未粉刷的水泥灰牆很搭配。

“My mom cares more than anyone about my bank account, but money doesn’t come and go with you at birth and death. It’s not the true meaning of life. Life should be simple, real, and happy.”

Most people work five days and rest for two, but Yu Shui is living the dream by flipping those numbers. Five days for doing whatever, and two days for making money. On his days off, Sunday to Thursday, Yu Shui paints plants—and then cooks them. His kitchen has a rose theme. The counter sits in front of a large window with a view to a green yard. As for ingredients, Yu Shui’s favorite plants are a must. He often goes to the local market for seasonal vegetables. Because they’re fresh, the veggies don’t need much seasoning, just oil and salt. The most eyecatching characteristic of Yu Shi’s cooking is his use of herbs and spices. Perhaps a pinch of mint or a handful of rosemary or pea sprouts, all of which can be harvested from his yard moments before cooking. Solitude builds character, but so can company. Not one to shirk character-building, Yu Shui’s living room is large enough to accommodate 20 people, and is often full of friends. His large meals are legendary. His private kitchen welcomes guests, but as for when to cook, what to prepare, and who to invite, it all depends on destiny and mood. There’s no menu or prices, but appreciative guests will leave money for their host after dinner. Some of the dishes one might taste at a Yu Shui party are: rose-sauce yam, pork-tongue A private kitchen and restaurant are key to the “Plant and Tree Life.” A garden can be seen through the second story window while doing the dishes. Most of Yu Shui Jun’s legendary meals use simple ingredients from that garden. 二樓是遇水君的私廚和餐廳，案檯前的那扇窗外是一座精心打理的園子。很多菜餚都用了他自己種的食材，加上用心烹製，便讓食客們讚不絕口。

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in cherry-blossom honey-sauce, perilla and lemongrass on boiled snails, campanula-tempeh-scallion bream (fish), rosemary-fried waxy potatoes, and Yu Shui’s favourite, his grandmother’s snowflake balls. Guests often sip homemade fruit wine made with mulberries in spring and bayberry in the summer. The dishes taste different every time, and the wine is even more unpredictable. But as his guests will attest, just as no two leaves are exactly the same, why should cuisine be any different? “I want to integrate my knowledge of plants into my life. Food, clothing, housing and transportation are all part of my artistic ambition. An artist or designer must find his or her own symbol, and plants and trees are my symbol.” Every Friday and Saturday are working days for Yu Shui. He brings his plants and artwork to market, where he also offers private tutoring and training. Although the “Plant and Tree Life” doesn’t pay a lot of cash, it’s enough to support his life. “My mom cares more than anyone about my bank account, but money doesn’t come and go with you at birth and death. It’s not the true meaning of life. Life should be simple, real, and happy.” Yu Shui knows the life his heart desires and understands how to enjoy the process. “Let nature take its course.”

衣尚

Art of Couture

Hidden Haven Enveloped by the garden’s serene beauty, time slows to a still, the melodic sounds of nature soothing the mind and the sweet air nurturing the soul

靜思來處與歸途

小小的世外桃源

蒲團棋臺

English text by Kate Missine | Chinese text by Sha Lan Photos by Evan Ning | Photography Assistants: Dong Liang, Xiao Fan Model: Miao Miao | Styled by Tiana Wang | Hair & Makeup by Yang Liu Shoot location courtesy of Ben Li Art Studio

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清茶睡蓮

小橋流水

柴扉紅花

亂世歸園

俗務靜心

聞聲回眸轉

沉靜無回音

輕叩花中環

款步茅廬前

Walking up to the wood door Knocking the bronze ring handle A welcoming voice beckons from within

Sleeveless linen dress by Subtle Simple 無袖長款麻質長裙 Emerald Armonia Clutch by Benedetta Bruzziches 手工打磨3D印製手包

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小荷披清露

池水泛漣漪

串串落玉珠

裊裊茶香處

福藏藍染百衲立領外套 Stand-up collar coat by FuZang

A cup of fragrant tea to savour in the garden Rain begins to fall like rolling beads of jade Shimmering on the lotus flower

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長尾戲相望

In the sun-dappled shade and emerald vines She stands in a moment of solitude The squirrel’s playful antics brightening her smile

福藏藍染百衲連帽長袍 Hooded robe by FuZang

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娑婆映羅裙

疊翠掩紅妝

藤蔓小軒窗

晨光揮灑柔

清風繞髮梢

紅鯉嬉水游

小池靜深流

Across the pond’s softly glimmering surface A ripple, the crisp breeze smelling of fall A splash, the sun’s rays igniting golden red scales

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福藏藍染無袖長袍 Sleeveless blue dress by FuZang

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脆音和鳥鳴

叮噹擺風鈴

斜陽照樹影

柴扉半掩映

A creak of the old wooden gate The ring of wind chimes floats through the quiet A bird’s sweet song joins from the treetops

福藏藍染V領百衲長袍 V-neck blue robe by FuZang

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一荷伴身趣

落日餘暉轉

時光盤上聚

定心思棋局

As the sun rolls towards its glowing finale Game pieces slide across the board A peaceful ritual to welcome evening’s coming

福藏白色圓領連袖長袍，帶白色絲巾 White dress with silk scarf by FuZang

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賞味

Recipes

Gourmet Flower Cuisine Where cuisine is concerned, people don’t often think of flowers beyond using them for garnish, but they can take a person’s gastronomics to the next level. The chef can show some class while diners experience flavour, health, and a little admiration

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

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還兼具美容養生功效

食者享美味

烹者自風雅

正可謂秀色可餐

以鮮花製作美食

以花入饌

“Drink the dew on the magnolia in the morning, and eat the fallen petals of the autumn chrysanthemum in the evening.” —Qu Yuan, Warring States period

Look across time

孔老夫子的一句「食不厭精，膾不厭細（《論

來到唐宋，以蘇東坡為代表的文壇老饕把鮮

語．鄉黨》）」為中國古代的飲食文化定下了

花變成了真正接地氣的食材，他們充份發揮天賦

基調。尤其當文人墨客遇上美食，那份吟詩作

的想象力和浪漫情懷，研發整理出令人眼花繚亂

詞時的怡情雅興、琢磨推敲，一樣用在了食材

的鮮花美食。僅林洪編撰的《山家清供》食譜中，

上，讓高高在上的士人有了煙火氣，也讓柴米

便記錄了十五道與鮮花相關的菜餚。花，作為中

油鹽的市井沾了風雅味。

華飲食文化中不可或缺的重要角色，讓菜餚更

翻開中國浩如煙海的古代書籍，無論是

具色、香、味，更把那份由花而生的浪漫與幽香

嚴肅的史書，還是優美的詩詞，亦或是引人

滋養進了身心，從味蕾到思緒都隨之綻放開來。

入勝的小說，美食總是穩穩佔據著一席之

時至今日，無論是採摘自家栽種的花卉，還

地。不僅名稱起得別緻，比如：名為「撥霞

是選用製好的乾花，將花入食，依然是雅緻又

供」的兔肉火鍋，將鮮筍油炸而成的「煿

養生的做法。試試用菊花花瓣和白米製作一款

金煮玉」。取材更是從植物到肉類，再到魚

《山家清供》中的「金飯」，常吃會有益壽延年

類、菌類無所不包，而其中最美又最雅的一

的功效；採下香甜的桂花製成桂花蜜，淋在煮熟

種，當屬鮮花了。

的山藥上，就是一道可口的甜品；清香的茉莉花

早在先秦時期，士大夫們便以食花代表自己高潔的精神追求。大詩人屈原寫下了「朝

不僅可以製茶，也可以煮豆腐；將花朵拌入蔬菜沙拉中，是宋高宗皇后吳氏的最愛。

飲木蘭之墜露兮，夕餐秋菊之落英」，化用鳳

蘇東坡曾在他的《後杞菊賦》中說：「春食

凰非露水不飲，非竹實不食的典故，表明自己

苗，夏食葉，秋食花實而冬食根」。中醫認為，

不淪於世俗的志向與氣節。到了漢代和魏晉時

秋季開放的鮮花，如菊花和桂花，多有清熱潤

期，鮮花的養生功效開始倍受青睞。從貴族到

燥的功效，尤其適合乾爽秋季的養生滋補。下

平民都服用鮮花來「口氣常香，益脈理病」，

面就是本期《品位》為您精心籌劃的五道鮮花

還有修行之人拿鮮花來煉製丹藥。

菜品，與您在這個秋天以花入饌，共品芬芳。

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Confucius advised people not to overeat finelymilled rice or finely-cut meat. This is the man who handed humanity its first set of chopsticks, so his teachings are the core of Chinese food culture. Perusing the sea of ancient Chinese texts, poems, and novels, gourmet food has found its way onto the pages of many. Golden ages of culture gave birth to dishes that reflect a high-minded and colourful people. There’s a rabbit hot pot named “Boiling Rosy Sunset Light,” and another called “Baking Gold and Boiling Jade” made from deep-fried bamboo shoots. Ancient ingredient selection included everything from plants and meat to fish and fungi, but the most elegant of all was the flowers. As early as the pre-Qin period, scholar-officials consummated their nobility by eating flowers. The great poet Qu Yuan said, “Drink the dew on the magnolia in the morning, and eat the fallen petals of the autumn chrysanthemum in the evening. Like the phoenix, don’t drink anything but dew, and don’t eat anything but bamboo shoots.” During the Han, Wei, and Jin dynasties, the health benefits of fresh flowers were well known. Nobility and commoners alike ate them to “leave permanent fragrance in the mouth, benefit the meridian system, and treat diseases.” By the time the Tang and Song dynasties

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came about, flowers had become a normalcy in mainstream cuisine. Culture heroes of the day let their imaginations and passions run wild while developing exquisite flower recipes. In the recipe book Mountain Home Light Diet compiled by Lin Hong of the Song Dynasty, 15 dishes related to flowers were recorded. Some use fresh flowers, others dried.

Flowers for eating

Chrysanthemum petals and white rice combine to make the “Golden Rice” recipe in Mountain Home Light Diet. Regular consumption of this dish is said to improve longevity. Mix osmanthus flowers, honey, and cooked yams for a powerful dessert. The fragrant jasmine is versatile and can be brewed in tea or as seasoning in tofu. Empress Wu’s favourite Song Dynasty dish was vegetable salad with peony petals. Su Dongpo once said in his Later Ode of Chrysanthemum, “Eat its seedlings in spring, leaves in summer, flowers in autumn, and roots in winter.” Traditional Chinese medicine uses flowers to help with human ailments common during the season in which they bloom. Chrysanthemum and osmanthus are autumn bloomers and have moisturizing effects that are particularly helpful during the dry season. Here are five flower dishes meticulously prepared for you in this issue of Magnifissance. Enjoy.

「桂子月中落，天香雲外飄」。每到桂花飄香時，總是會想起月亮上那株古老的桂花樹，樹下的玉兔搗著藥，與嫦娥在廣寒宮中相依相伴。中醫認為，桂花性溫味辛，能活血益氣，提高免疫力。桂花的香氣帶著一股甜蜜馥郁的獨特味道，令人聞之倍感舒暢愜意，很自然會將它與甜品糕點聯繫起來。採摘新鮮的桂花，在沸水中稍燙後撈起晾乾，裝入瓶中用蜂蜜醃漬起來，做成糖桂花，可以拿來做醬汁，淋在山藥、芋頭等各種食材上，也可以做餡料製成桂花糖餅。桂花山藥（二人份）：材料：半根山藥 3茶匙白糖 ½杯乾桂花

When osmanthus flowers exude their fragrance in August, it beckons one to remember the legend of the osmanthus tree on the moon that shades the moon goddess’s palace. It is believed in traditional Chinese medicine that osmanthus flowers have a warm essence and are pungent. They invigorate the blood, replenish qi, and improve immune functions. Osmanthus flowers have a sweet, strong fragrance that can promote feelings of comfort and pleasantness—making it a natural match for desserts and pastries. Pick fresh osmanthus flowers, blanch in boiling water, dry them, then place in a bottle and pickle with honey to create a sweet sauce that can be poured on yams, taros, or used in the filling for osmanthus flower pie.

桂花山藥

Osmanthus Flower Yams (serves two):

⅔杯蜂蜜作法：桂花蜜：乾桂花中加入1茶匙鹽，用清水浸泡二十分鐘後濾乾。水燒開，隔水蒸十分鐘。把蒸好的桂花晾涼，放入開水燙過、晾乾的容器中，倒入蜂蜜沒過桂花，

Ingredients: ½ yam 3 teaspoon sugar ½ cup dried osmanthus flowers ⅔ cup honey

密封容器。四、五天即可用，但是醃漬越久香味越濃。桂花山藥：山藥去皮切塊，灑上白糖放入蒸鍋蒸十五分鐘，取出碾碎壓平，用模具切成花型，在冰箱靜置半小時取出擺盤，將做好的桂花蜜均勻地淋在山藥上。

Instructions: Make the osmanthus flower syrup: add ½ teaspoon salt to dried osmanthus flowers, soak in water for 20 minutes, and drain. Heat water to a boil and steam the flowers for 10 minutes. Let cool, then put them in a dry container disinfected with boiling water. Coat the flowers with honey and seal the container. Let sit for 4 to 5 days. The longer the sitting time, the stronger the aroma. Prepare the yams: peel the yam and dice. Toss with the sugar, steam 15 minutes, then remove and let cool. Crush the yam, then put it into a cookie mold to form several little yam cakes. Refrigerate for 30 minutes, then pour the osmanthus flower syrup evenly over each cake and serve.

Osmanthus flowers fall on the moon, and the heavenly fragrance spreads beyond the clouds. —Song Zhiwen, Tang Dynasty

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「涼月在天天似水，深紅獨照滿堂秋」。洛神花別名玫瑰茄，色澤如玫瑰般紅艷。中醫認為其性涼味酸，有斂肺止咳、降壓排毒等功效。洛神花曬乾後，可以沖泡飲用，茶湯色如紅酒，飲用起來酸味較重。這是源於其中富含檸檬酸和酒石酸，可調入適量蜂蜜改善口味。經常飲用洛神花茶，

洛神花蔬果沙拉

能養顏祛斑，促進消化和血液循環。需要注意的是，沖泡時水溫過高會破壞花中的維生素，以溫水為宜。胃酸過多、脾胃虛寒，以及孕婦也不宜服用。將清新的蔬果點綴上洛神花汁，便可以讓沙拉煥發出不同以往的獨特味道。洛神花蔬果沙拉（二人份）: 材料：洛神花香檳醋 ⅓ 杯洛神花乾花瓣 150ml香檳醋洛神花香檳油醋汁

Hibiscus is also called Roselle, and its colour is as red as the rose. It’s cool in essence and sour in taste, and can constrain the lungs to relieve a cough. This flower can also reduce blood pressure and assist with detoxification. Hibiscus can be brewed in its dry form. The tea colour is like red wine and tastes sour. It’s rich in citric acid and tartaric acid, so people often add honey to enhance the taste. Drinking hibiscus tea regularly can nourish the skin and lighten freckles. It also helps digestion and blood circulation. Note that if the water temperature is too high while brewing, the vitamins in the flowers can be destroyed. Brew at around 60°C for 5 minutes. People with excessive stomach acid, cold spleens or stomachs, as well as pregnant women should avoid this flower. Hibiscus can also add flare to entrees and appetizers. Garnish fresh fruits and vegetables with hibiscus flowers for a pleasant aroma, as well as a unique taste for those brave souls willing to try it. Hibiscus Flower and Fruit Salad (serves two):

⅓杯洛神花香檳醋 ½杯特級初榨橄欖油

Hibiscus Champagne Vinegar: ⅓ cup dried hibiscus flowers 150ml champagne vinegar Mix and let sit 4 to 7 days.

½茶匙第戎芥末醬 1茶匙蜂蜜 ⅓茶匙海鹽 ¼茶匙黑胡椒

Hibiscus Champagne Vinaigrette: ⅓ cup hibiscus champagne vinegar ½ cup extra virgin olive oil ½ teaspoon Dijon mustard 1 teaspoon honey ⅓ teaspoon sea salt ¼ teaspoon black pepper Pour everything into a bowl. Stir well.

沙拉 ¼杯烤榛果仁 ½棵生菜 2顆無花果切成小塊 ½杯新鮮羅勒葉切碎 ¼杯新鮮薄荷葉切碎 8顆黃色櫻桃番茄切兩半 40克羊奶酪切小塊作法：洛神花香檳醋：香檳醋和洛神花乾花混合靜置一週。洛神花香檳油醋汁：將洛神花香檳醋，芥末醬，蜂蜜，海鹽和黑胡椒倒入一個碗中，加入橄欖油攪拌均勻。沙拉：將生菜，羅勒碎，薄荷碎加入大碗中，撒上無花果，櫻桃番茄，榛果仁和羊奶酪。最後將洛神花香檳油醋汁倒入拌勻。

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Salad: ¼ cup toasted hazelnuts ½ red leaf lettuce 2 figs, cut into 8 pieces ½ cup fresh basil, chiffonade ¼ cup fresh mint, chiffonade 8 yellow cherry tomatoes, cut in half 40g feta cheese, cut into small pieces Put the lettuce, basil, and mint in a large bowl, sprinkle with figs, cherry tomatoes, hazelnuts, and feta cheese. Finally, pour on the hibiscus champagne vinaigrette and toss well.

「環佩青衣，盈盈素靨，臨風無限清幽。」提起茉莉，最著名的莫過於柳永的這首《滿庭芳·茉莉花》全篇沒有一個「茉莉」，卻道盡了茉莉的淡雅脫俗、清香雋永。在柳永的這首詞裏，最早涉及了古人窨製茉莉花茶的工藝 — —「浸沉水，多情化作，杯底暗香流。」《遵生八箋》中介紹了一種茉莉花湯的做法，在陶土盆裏養茉莉一株，靜候花蕾。待到開花時摘取，放於碗中，再把白蜜均勻塗抹於另一只碗中，將蜜碗扣到花碗上，放置半天光景，往蜜碗中注水為茶，其香無比。茉莉花不僅淡雅清香，還具有理氣開鬱的功效，可以緩解感冒引起的頭痛及腸胃不適，也能鬆弛緊張的身心。這裏為大家介紹一道清香撲鼻的茉莉豆腐。茉莉豆腐（二人份）：材料: 2把乾茉莉花 450克老豆腐块 1½茶匙蜂蜜 2茶匙蒸魚豉油 1茶匙生抽

Clothes decorated with jade rings and beautiful dimples, it’s infinitely elegant and quiet in the wind. That’s a line from the poem Jasmine, by Liu Yong. The word jasmine never shows up in the body of the poem, but it expresses the poet’s insight into the flower’s essence. Liu Yong’s poem mentions the earliest scenting technique for making jasmine tea in ancient times: “Soak in water, all passion turns into a secret fragrance flowing at the bottom of the cup.” Eight Treatises on Following the Principles of Life shares a wonderful way to make jasmine tea. Cultivate a jasmine plant in a clay pot and wait for it to bud. When it blossoms, pluck the flowers and put them in a bowl. Apply white honey to the centre of another bowl, then put the honey bowl upside down onto the flower bowl. Leave it for about half a day, then pour water into the honey bowl to make tea, and it will be incredibly fragrant. Jasmine is not only elegant and fragrant, but also has the effect of regulating qi and alleviating depression. It can relieve headaches and gastrointestinal discomforts caused by colds, soothe the nervous system, and promote weight loss.

辣椒油适量

Jasmine Tofu (serves two):

作法：

Ingredients: ½ cup dried jasmine 450g firm tofu 1½ teaspoons honey 3 teaspoons soy sauce seasoned for seafood 1 teaspoon chili oil

豆腐：乾茉莉一把，加 500ml水煮沸，豆腐切成長方塊，浸入茉莉花水煮十分鐘，蓋上蓋子燜一個小時。味汁：乾茉莉一把加水200ml，燒至沸騰，待水減少了三分之一關火，將花水濾出。加入蜂蜜、蒸魚豉油、生抽和幾滴辣椒油。將調味汁倒入一個容器，豆腐塊撈出放入容器密封，在冰箱浸一夜。第二天取出即可品嚐冰鮮冷香茉莉豆腐。

茉莉豆腐

Instructions: Put ¼ cup dried jasmine and 2 cups of water into a pot and bring to a boil. Cut the tofu into 1-inch cubes and add to the pot. Return to a boil and continue boiling for 10 minutes. Remove from heat and let sit covered for an hour. Boil ¼ cup dried jasmine and 1 cup water for 5 minutes and strain. Add the honey, soy sauce, and chili oil. Put the tofu cubes into the sauce. Refrigerate overnight. Serve cold.

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「采菊東籬下，悠然見南山」，當別的植物都在感嘆「天涼好個秋」，忙著落葉結果時，菊花傲然盛開，成為秋季中絢麗的風景。歷代文人都因菊的與眾不同而樂於用其表達自己超然俗世、高潔自愛的精神追求。《本草綱目》中對菊花的藥效有詳細的記載：性寒、味甘，具有散風熱、平肝、明目之功效。可以沏茶，也可以烹煮或入藥，對現代人的高血脂、高血壓等慢性疾病，都有調理作用。宋代林洪所著《山家清供》中記錄有一味「金飯」。採菊花瓣與米同煮，簡單清香，常吃有「明目延年」的功效。菊花金飯（二人份）：材料： 2杯圓米 ½杯鮮菊花瓣 ½茶匙鹽

When other plants drop their leaves, like autumn’s jewels, chrysanthemums bloom proudly. Ancients used Chrysanthemum to express their spiritual pursuits of transcendence, elegance, and integrity. Compendium of Materia Medica has detailed records on the medicinal effects of the chrysanthemum. Sweet in nature and cold in property, it can be used for tea, cooking, or medicine. It dispels wind and heat, calming the liver and improving eyesight. It also has a conditioning effect on chronic diseases such as hyperlipidemia and hypertension. Below is a recipe for Golden Rice as it was recorded in Mountain Home Light Diet during the Song Dynasty. Pick chrysanthemum petals and boil them with rice. It’s simple and makes the rice fragrant and delicious. Regular consumption is said to improve eyesight and longevity.

5片甘草

Chrysanthemum Golden Rice (serves two):

作法：

Ingredients: 2 cups round rice ½ cup fresh chrysanthemum petals ½ teaspoon salt 5 slices dried licorice root

菊花水：將兩杯半水中放入菊花，甘草和鹽，煮沸三分鐘，至水泛黃之後關火。過濾出兩杯菊花水來備用。菊花飯：圓米淘好浸泡半小時，裝入陶鍋，倒入菊花水。加熱到氣孔冒煙後轉小火煮十分鐘，轉大火10秒後迅速關火，繼續燜15分鐘。米飯盛出配上新鮮菊花瓣。小貼士：煮飯時，正常米和水的配比是1比1，喜歡質感軟糯的口感可以調配到米水比例為1比1.2。

Instructions: Infuse chrysanthemum water: add 2½ cups water to the chrysanthemum, licorice, and salt. Boil for 3 minutes until the water turns yellow, then remove from heat. Filter out 2 cups of chrysanthemum water. Make chrysanthemum rice: rinse round rice and soak for 30 minutes. Put it into a clay or earthen pot, and then add the 2 cups of chrysanthemum water. Heat until steam comes out of the air hole. Turn to low heat and simmer for 10 minutes, then increase to high very briefly, about 10 seconds. Quickly turn off and let stand 15 minutes. Serve the cooked rice with fresh chrysanthemum petals.

Collecting chrysanthemums at the eastern fence,

Tip: When cooking rice, the normal ratio of rice to water is 1:1. If you like a softer texture, you can mix it with a rice-to-water ratio of 1:1.2

leisurely watching the Southern Mountain. —Tao Yuanming, Jin Dynasty

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Affectionate but seemingly ruthless; beautiful and colourful, it does not let you close.

玫瑰果茶

Roses are a symbol of romantic love. The flower is full of vitality, allowing it to regulate qi and invigorate the blood. It’s literally heart-warming when consumed, so the rose relationship with the heart is more than symbolic. Roses are sweet and slightly bitter in taste. Warm in essence, they can nourish the heart, liver, and blood vessels. Since the Ming Dynasty, rose tea has been made in cellars. Nowadays, brewed roses can be found not only in tea, but in a variety of fruit and flower infusions. Keep in mind that roses are potent medicine. They can have a strong effect on blood circulation and dissipating blood stasis. People with constipation and pregnant women shouldn’t drink rose tea. 「有情卻似又無情，奼紫嫣紅不讓親。非是此花

Rose Nectar (serves two):

生性傲，怕逢輕薄摘花人。」玫瑰在中國的歷史最早可以追溯到五代，用玫瑰萃取的玫瑰露，是當時最受珍視的高檔美容品。清代的李漁在《閒情偶寄》中提倡在洗浴之後，用蒸製的玫瑰水拍在皮膚上。並形容「此香此味，妙在似花非花，是露非露，有其芬芳而無其氣息，是以為佳」。中醫認為，玫瑰花味甘微苦、性溫，有理氣化瘀，溫心養顏的功效。需要注意的是，玫瑰花活血散淤作用較強，便秘者和孕婦不宜飲用玫瑰花茶。

Ingredients: 10 grams roses 10 grams dried hawthorn 2 slices lemon 1 grapefruit, peeled, membranes removed 8 pear cubes, 1cm 8 apple cubes, 1cm 4 teaspoons honey

玫瑰果茶（二人份）：

Instructions: Put the roses and dried hawthorn in a teapot and boil in 400ml of water for 5 minutes. Add lemon slices, pear and apple cubes, and grapefruit. Let sit for 10 minutes, then add honey and stir. Pour into a glass and serve.

材料： 10克玫瑰花 10克山楂乾 2片檸檬 1瓣西柚剝皮取肉 8塊一釐米小方塊梨 8塊一釐米小方塊蘋果 4茶匙蜂蜜作法：將玫瑰花，山楂乾放入茶壺，用400ml沸水泡五分鐘。然後，加入檸檬片，梨塊，蘋果塊和西柚肉，靜置十分鐘。最後調入蜂蜜攪拌均勻，倒入玻璃杯中飲用。

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The Healing Power of Nature Connect with the natural world in new and profound ways, not just through exploring the outdoors, but also through specialized teas, skincare products, and aromatherapy. Produced by Wendy Guo Translated by Rui Chen Edited for brevity and clarity

自然的力量自然中孕育著神奇的力量日月星辰有序運轉，萬物河流生生不息要獲得自然的力量，除了走出去擁抱自然還可以將自然的生活方式融入日常在衣食住行中體驗順應自然的和諧雅緻本期的受訪者通過飲茶、護膚、香薰等方式來看看他們的建議吧

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Song _about_summer / Shutterstock.com

將自己對自然的熱愛和健康的生活方式分享給更多人

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“When we’re stressed or upset, we tend to be locked up in our own thoughts. ... Sometimes just using them [essential oils] in the

Nicole Perez

background in a diffuser can help us let go of the emotional

The founder of the School of Holistic Aromatherapy in London awakens the senses to a new world of experiences

Born in the French Alps, where aromatic medicinal plants abound and traditional medicine has been kept alive by local communities, Nicole Perez grew up in one of the most exquisitely scented landscapes on the planet. She moved to London in the 1970s and began studying a diverse array of healing modalities and complementary medicine techniques. She’s been a member of the International Federation of Aromatherapists since 1986 and over the years has served on its council. How does smell affect mood?

Smells impact us whether we like it or not because we cannot stop breathing, therefore we cannot stop smelling. Most people will easily notice that a smell has made them feel hungry or sleepy, but not everyone is aware of the uneasiness some smells can trigger. This is because the olfactory system has a direct line of communication to the brain—and the limbic system, the part of the brain also referred to as ‘the emotional brain.’ This means that not only can smelling induce pleasurable sensations, but it’s also part of how the brain records emotional events and memories. Many of our moods originate from some obscure place within and may make it difficult for us to adjust to new situations. Essential oils are known to unlock the door to our past experiences and release emotions, so they can be used as tools to heal the past, in the form of a ‘smell therapy.’ How can we become more sensitive to the impact that smells are having on us?

Becoming more sensitive to how smells affect us requires a bit

of ‘smelling education.’ Describing scents and scent perception is important in learning to appreciate different scents. This requires practice at smelling and describing the experience of a particular smell. It’s just the same as learning a new language. My teaching experience with Chinese students was interesting, as this group of students seemed to be more able to describe sensations and imagery summoned up by a scent than European students were. This could have been cultural and caused by language differences, as Chinese contains much more direct imagery than English, which is very helpful when describing a smell experience. In addition to smells that are healing, there must also be some that are harmful. What scents should we avoid?

A word of caution, essential oils are safe to use as long as the correct usage, dilutions, and safety guidelines are followed. However, some essential oils may contain potentially hazardous or toxic constituents and can cause skin and mucous membrane irritation, photosensitivity, and phototoxicity. Some groups of essential oils shouldn’t be used without training, and some essential oils should never be used in aromatherapy. The advice here is to research on the internet—there’s a lot of information concerning safety of essential oils, the adverse reactions, hazards, and toxicity of the essential oils you are planning to use. The International Federation of Aromatherapists in the UK also has information on its site concerning safety of essential oils and the do’s and don’ts of their usage. As a rule, avoid strong scents with children, pregnant women, and those who are physically or mentally vulnerable, as strong smell often means strong impact.

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knots we may hold.”

Don’t blend more than three to five essential oils together, and dilute these in an appropriate carrier before applying them to your skin or smelling them. If you have no information on an essential oil, then you shouldn’t be using it. Essential oils can also be classified by the strength and tenacity of their odour. This is important because different individuals have different sensitivity to certain smells, and the olfactory perception of a smell and impact is very much an individual thing. For that reason, essential oils should first be smelled from a smelling strip, not directly from the bottle, and only one drop or two should be used. Aromatherapy seems like a very subtle art. How much do people need to be in tune with the aromas in order for the therapy to work?

When we’re stressed or upset, we tend to be locked up in our own thoughts. Sometimes our thoughts are going round and round like a carousel, and we can’t snap out of this mindset. Essential oils work without special preparations; sometimes just using them in the background in a diffuser can really help us let go of the emotional knots we may hold. The great thing about essential oils is that they can have an immediate action on the brain and bypass the verbal dialogue that is keeping us tied to our negative thoughts. One of the most important things for people to do right now is make their home a pleasant environment. From the kitchen to the bathroom, bedroom, and living room, what guidance

can you give our readers on turning their homes into a place of relaxation, connection, and less stress?

There are many essential oil diffusers on the marketplace. My favourites are the ones that send a fine mist into the air and refresh the air; also, some have colours and are very pleasing to look at, which all help to relax. As for the choice of essential oils, scents that are associated with food (fennel, basil, mint, rosemary, citruses) are good during the day and before a meal and can open appetite, while others may help reduce appetite (peppermint, grapefruit, ginger, marjoram), depending on what’s needed. Usually, lighter scents that promote breathing are good during the day (myrtle, coriander, cypress, bergamot, may chang) to keep a clear head, while more sensuous oils are better for the evening (ylang-ylang, rose, jasmine, champaca, gardenia). More meditative oils (frankincense, lotus, clary sage, spikenard) or more sedative scents (lavender, sweet orange, cinnamon, mandarin) are better suited for the evening, and finally, any favourite scent may help someone feel more secure or confident. Eating local and seasonal foods is an important part of Ayurvedic diets and traditional wisdom. Is there any kind of similar principal for aromatherapy, that is, should you use tropical scents during the Canadian winter, would that be a mismatch?

Matching the season to oils is good. Cinnamon, orange, clove, eucalyptus are all good for winter or Christmas while refreshing and cooling scents are better for hot summer, such as peppermint, lemon, lemongrass and yuzu.

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Nicole Perez 用源於自然植物的芬芳帶來美好的嗅覺感官體驗，以此喚醒人體自我療癒的力量。

身為倫敦芳香療法學院創始人的Nicole Perez，從上世紀七

油，然後靜坐冥想，完成一次我們稱之為「芳香之旅」的體

十年代移居到英國開始，便致力於推廣深藏於她血脈中的傳統

驗。過程中請在一個安靜的房間裏，不要講話。自己（用學會

香薰文化。Nicole生長在風景如畫的法國阿爾卑斯山，那裏是

的氣味詞彙）記錄下每一次的嗅覺感受，以後可以拿來與其他

全球最知名的香水和香薰產地之一，傳承著法國人對調香文化

人進行交流，這會很有幫助。

的熱愛和深厚底蘊。在Nicole的故鄉，人們不僅精研各種香料

說到混合不同的香氣，大家可以使用同一氣味類型或互

芬芳的味道，還經常採用藥草治療疾病，調養身心。移居英國

補氣味類型的多種精油來搭配，加強練習自己描述氣味的能

的Nicole對伴隨她童年生活的芳香念念不忘，後來將研究芳香

力。例如：柑橘類香氣是被大多數人認可和喜歡的精油，它們

療法當做了自己畢生的事業，在1986年便成為國際芳香療法協

清爽、新鮮，其中還有濃郁的花香和甜香。像是佛手柑、葡萄

會的會員，並在理事會中任職多年。

柚、檸檬、青檸、橘子、橙子和柚子氣味的精油，都常用在基

「當我們感到有壓力或者沮喪時，往往思想會像旋轉木馬一樣一圈又一圈地原地打轉，無法自己擺脫這種思維模式。精油無需特殊的準備和設備就可以使用，

礎精油療法中，能經皮膚進入人體產生效用，總體來說可振奮氣味是如何影響情緒的？

精神、提神醒腦，令人愉悅放鬆，改善心律和消化，但具體效

無論喜歡與否，氣味都在影響著我們，因為我們無法停止

果還是略有不同。據研究發現，檸檬精油可以通過提高注意力

呼吸，也無法停止嗅覺功能。嗅覺與大腦的邊緣系統，也稱為

來增強思維能力，甜橙可以顯著減輕壓力並幫助睡眠。但對於

「情感大腦」有直接的通訊線路，所以氣味不僅可以引發愉悅

未經訓練的鼻子來說，檸檬、柚子、橙子和青檸，都可能被當

感，還能成為記憶的一部份。這意味著香薰精油的氣味可以成

成「檸檬」，僅僅是喚起食慾而已。

有時在香薰器中滴幾滴就可以幫助我們擺脫遇到的困擾。」

為打開我們過去經歷與體驗的一把鑰匙，並釋放出情緒，從而達到調節當下狀態的作用。

在使用精油或者芳香療法時，有甚麼需要注意的問題嗎？

只有遵循正確的使用方法，對精油進行適當稀釋，才可以安全使用。某些精油可能包含潛在的危險或有毒成份，會刺激

芳香療法像是一種非常微妙的藝術，通常需要進行多久才能看到

迭香；而可以幫助降低食慾的有薄荷、葡萄柚、生薑、馬鬱

想要對氣味更加敏感，需要進行一些「氣味教育」。描述

皮膚和粘膜組織，還可能在經光線照射後發生一些化學反應，

療效？

蘭。通常較淡的氣味可以促進呼吸，白天可以使用香桃木、芫

氣味的類型和提升氣味感知對學習欣賞氣味來說很重要，這就

產生有毒物質。某些類型的精油未經培訓不宜使用，還有些精

當我們感到有壓力或者沮喪時，往往思想會像旋轉木馬一

荽、柏木、佛手柑、山蒼子，能提神醒腦。較強烈的精油可以

像學習一種新語言一樣。有趣的是我發現我的中國學生與歐洲

油絕不可用於芳香療法。建議大家在使用精油前，先在互聯網

樣一圈又一圈地原地打轉，無法自己擺脫這種思維模式。精油

在傍晚使用，如：依蘭、玫瑰、茉莉、黃蘭、梔子花。能靜心

學生相比，似乎更擅長描述出氣味所喚起的感覺和意象。這可

上查閱一下相關的知識和信息，英國芳香療法協會就在它的網

無需特殊的準備和設備就可以使用，有時在香薰器中滴幾滴就

的精油有乳香、蓮花、香紫蘇、甘松，或更有安神效果的薰衣

能是文化上或語言上的差異造成的，因為中文比英文包含的圖

站上提供了許多有關精油安全性以及使用注意事項的信息。

可以幫助我們擺脫遇到的困擾。精油的妙處在於它們可以直接

草、甜橙、肉桂、橘子，這些更適合晚上使用。最後，任何自

影響大腦，繞過那些可能反倒有負面影響的對話。

己喜歡的精油都可以帶來安心舒適的感覺。

我們如何提升自己對氣味的認知度和敏感度？

如果沒查到相關精油的信息，一定不要使用它。在將精

像信息要多得多，這對描述氣味體驗時非常有幫助。

油塗抹到皮膚上或嗅聞之前，請勿將超過三到五種精油混合在一起。通常兒童、孕婦以及健康狀況欠佳的人群，不宜使用氣

從廚房、浴室到臥室、客廳，如何將自己的家變成一個持續散發怡

芳香療法是否有時令性和季節性呢？在加拿大的冬季使用熱帶香

了解氣味的第一步是增加「描述氣味」的詞匯量，大多

味強烈的精油。此外，還要注意精油氣味強度的分類，這也很

人香氣的環境呢？

氛，是否會不太合適？

數人不一定是「氣味盲」，他們只是從未深入具體地表述過氣

重要，因為不同的人對某些氣味的敏感度不同。如果有精油試

市面上有許多類型的香薰器，我最喜歡的一種是將加了精

如果精油能與季節和氣候相配，那是很好的，比如：肉

味對他們的影響。大家可以去網上搜索調香師在調製和描述他

紙，那是最好的，儘量不要直接貼近瓶口去聞，取出一兩滴聞

油的水霧化到空氣中，有些外觀還很漂亮。至於精油的選擇，

桂、橙子、丁香、桉樹都適合冬季或聖誕節，而清涼的香氣則

們的香水時所使用的詞彙。第二件需要做的事是每天聞一聞精

一下就可以了。

與食物相關的氣味，可以增進食慾的有檸檬、酸橙、茴香、迷

適合炎熱的夏天，如：薄荷、檸檬、檸檬草、柚子。

「氣味教育」有哪些具體的教學和實踐方式呢？

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Lev Glazman and Alina Roytberg The founders of the leading skincare brand Fresh share their thoughts on their favourite daily rituals, business practices, and more

Husband and wife Lev Glazman and Alina Roytberg launched their beauty brand Fresh together in 1991. They had both moved to the United States from the Soviet Union and met in Boston. The Fresh legacy began with individually wrapped soaps to sell as gifts, a unique concept back in the day. A few years later, their Boston storefront operation was acquired by LVMH. Now they’re an international sensation with a cult following in America, Europe, and Asia.

considerations. People with combination skin naturally retain moisture and hydration, which is key. Because of this, people with combination skin typically don’t show signs of aging as quickly as those with dry skin.

“Growing up in communist Russia,

would find a way to get their hands on

Where do most people go wrong in their skincare routine? Lev Glazman: The number one mistake women make is choosing

What is the relationship between diet and skin health? Are there certain issues that are better solved in the kitchen rather than the bathroom? LG: Warm water with lemon to start the day is something I

picked up after traveling to Asia years ago. It starts up your metabolism in the morning, making energy and digestion more productive. I like to eat healthy and include a lot of juices in my diet because they’re rich in vitamins and antioxidants. I like to mix beet juice with cucumbers, red and green apples, kale, and banana. I also try to dedicate time to work out five days a week for at least 90 minutes. I typically do a combination of weights and cardio.

What happens to our skin as we age, and what can we do to keep our skin looking young? Alina Roytberg: As people age, cell renewal slows down, so

hydration is key. Use nurturing and hydrating masks in your skincare ritual as well as hydrating mists throughout the day— and a lovely, rich moisturizer (your best friend) at night. Don’t forget the area around the lips—it needs a lot of care as well. Sugar Lip Treatment Advanced Therapy was created with that purpose in mind. LG: Nutrition and exercise are important factors in the aging process. Another critical factor is sleep. Sleeping allows the body to rejuvenate and regenerate itself, so get at least six or seven hours. I also believe it’s important to engage your mind. If your brain is exercised, your body will stay young. Your skin type and texture are at the top of the list of important

Moscow. Only the bravest women forbidden French fragrances— my mother being one of them.”

You both grew up in the former Soviet Union. How did that restrictive environment impact you? Do you value some aspects of your life now in different ways? Does any part of your upbringing give you a special perspective on today? AR: Growing up in Ukraine, I dreamed about being a fashion

What advice do you have for entrepreneurs with their own small businesses right now? What has helped you be so steadily successful in your careers? AR: In the first six years of our business, we had a really difficult

time surviving. Finances were tight, and everything we had went into the business. Not a single bank was interested in backing our concepts. But the dream was bigger than bank rejections, so we juggled things in order to take our shot. My husband and I managed to begin selling our products to other stores only three years after opening our first store in Boston. At that point, we were off to the races. Starting a business is scary. My best advice is to believe that what you have is unique, and to get passionate about it. It can’t be someone else’s idea; it has to be yours. Put every ounce of your energy into it. It’s also great to have a business partner— not only to share the dream, but also to share the tough times, of which there are many.

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Photo courtesy of fresh

the wrong cleanser. If a cleanser is stripping, it throws the skin off balance. It’s critical to find a cleanser that’s right for you. It shouldn’t dry out your skin or strip away necessary nutrients. In addition to finding the right cleanser, women in their 20s have a hard time finding the right combination of products that work for them. Beauty products in your skincare routine can be eclectic. If you pay attention to your skin and its reactions, you can’t be afraid to mix and layer different products and even different brands to get the result you’re looking for.

the only fragrance available was Red

designer. When my family immigrated to the U.S., I was able to make that dream come true. I went to Parsons School of Design and got a job in the fashion industry. In 1990, I moved to Boston where I met Lev, who shared his dream with me of opening a beauty store. LG: Growing up in communist Russia, the only fragrance available was Red Moscow. Only the bravest women would find a way to get their hands on forbidden French fragrances—my mother being one of them. When I was just 6 years old, I remember going with my mother to the black market so she could get her hands on some perfume. It amazed me how much she was willing to risk for a scent. It was a defining moment in my life. I realized the importance fragrance plays in people’s lives and how it can instantly make them happy and feel special. That’s when I developed a love for fragrances and became infatuated with the world of scent.

AR: I think when you don’t have a lot of commercial distractions

and you have to make a lot of effort to simply obtain daily necessities, your priorities become the important things in life: good friendships, family, great philosophical debates late into the night, lots of laughter, theater, film, etc. Unfulfilled curiosity makes the mind work harder. The imagination expands to help ideas become more colourful and stimulating. It makes dreaming more possible. For both of us, it meant living without fear. When on the cliff of better opportunities—jump.

You’re a married couple who has successfully run a business together for almost 30 years. What’s the secret to working with the person you love while keeping the relationship going? AR: I can’t even pretend that I know the secret. We’ve been

through ups and downs, and are proud parents of two grown daughters. I believe in never taking the other person for granted, and trying to appreciate and encourage the things you like about them rather than focusing on the things you don’t. Finding the right place and time to have the right discussion and communication are the essentials of any relationship.

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Lev Glazman and Alina Roytberg 「我在前蘇聯長大，

著名美容護膚品牌 f re s h 的創始人 L ev G l a z m a n 和 A l i n a R oy t b e rg 夫婦，在來到自由社會之後，用二十年光陰實現了自己創辦美容護膚品牌的夢想。

那裏唯一的香水是紅色莫斯科。只有最勇敢的女性才敢去嘗試禁用的法國香水，而我母親就是其中之一。」

說起當下社交圈裏最火的美容護膚品牌，就不能不提

創業確實很可怕。我最好的建議是相信自己所擁有的是獨

fresh。這個主打天然和傳統護膚理念的品牌，僅用了不到二

一無二的，要對它充滿熱情。它必須是你的創意，不是其他人

十年時間，便在全球擁有了數百家店面，還被法國LVMH集團

的，你要傾盡全力在其中。擁有好的合作夥伴也是很棒的，不

收入旗下。品牌的創始人是兩位從前蘇聯來到美國的移民Lev

僅可以與他們分享夢想，還可以共同分擔艱難的時刻。

Glazman和Alina Roytberg夫婦。Lev童年時曾看到母親冒著巨大風險去黑市購買法國香水，這讓年幼的他對美容用品在人們生

飲食與皮膚健康有甚麼關係？有些肌膚問題可以通過飲食來緩解嗎？

活中的地位有著不同尋常的認識。在命運的安排下，他與Alina

LG：檸檬水可以幫助你開始清爽的一天，這是我幾年前去

在波士頓相遇，並結為夫妻，fresh應運而生。在兩人攜手經營

亞洲旅行時學到的。它能幫助早晨的新陳代謝，激發能量，促

下，一步步成長為享譽國際的護膚品牌。

進消化系統。我喜歡健康的飲食，會在飲食中加入很多果汁，因為它們富含維生素和抗氧化劑。我喜歡將甜菜汁與黃瓜、

有沒有大多數人在日常護膚中都會犯的錯誤？ LG：女性的一大錯誤往往是選擇錯誤的潔膚產品。找到適

紅色和綠色的蘋果、羽衣甘藍和香蕉混合。我每週至少健身五天，每次至少90分鐘，力量訓練和有氧運動都會做。

合自己的潔膚產品至關重要，好的潔膚產品不會讓皮膚乾燥或流失必要的營養成份。對於二十多歲的年輕女性來說，可以嘗

您二位都在前蘇聯長大，那種壓抑的環境對您有何影響？

試去找一套合適的護膚品組合，儘量選擇中性產品。如果發現

LG：我在前蘇聯長大，那裏唯一的香水是紅色莫斯科。只

自己的皮膚使用那些產品後，沒甚麼不良反應，就可以混合使

有最勇敢的女性才敢去嘗試禁用的法國香水，而我母親就是其

用不同的產品甚至是不同的品牌，以達到你最終想要的結果。

中之一。我記得我只有六歲時和媽媽一起去黑市買香水，我很驚訝她為了香水會這麼去冒險。那是我一生中很重要的時刻，

如何保持皮膚年輕的狀態？ AR：隨著年齡增長，細胞更新會減慢，補水是關鍵。多

使用滋潤和保濕面膜，全天候使用保濕噴霧，晚上塗滋潤的保

我意識到香水在人們生活中的重要性，以及香水如何讓他們感到快樂和特別。從那時起，我對香水和香水產業都產生了濃厚的興趣。 AR：我認為當你的消費受到很多限制，你必須付出很多努

濕霜。不要忘記嘴唇周圍的皮膚，這裏推薦我們出品的Sugar Lip Treatment Advanced Therapy潤唇膏給大家。

力來獲取簡單的生活必需品時，那些生活中最重要的東西會顯

LG：營養和運動是防衰老的重要因素，另一個關鍵因素是睡

現出來，像友誼、家庭、哲學等。那些無法滿足的好奇心會讓

眠。睡眠可使身體恢復活力並再生，因此至少要睡夠六、七個小時。

大腦動起來，想像力不斷擴展，讓創意變得更加豐富多彩和令

我認為動腦也很重要，如果你的大腦一直在動，身體也會保持年

人振奮。對於我們倆來說，當擁有了沒有恐懼的生活，夢想就

輕。不同皮膚的類型狀態會不同，比如：混合型皮膚的人會自然保

變成了可能。出現好的機會時，就趕緊去抓住。

水，這樣的人通常不會像乾性皮膚的人那樣更容易出現衰老跡象。作為夫妻，成功經營了近三十年的生意和家庭，保持這樣親密關係 Photo courtesy of fresh

您對現在的小企業主有何建議？是甚麼因素幫助您在事業上取得如

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的秘訣是甚麼？ AR：我不能假裝我知道這秘密。我們經歷了風風雨雨，有

此穩步長久的成功？ AR：在業務開展的頭六年中，我們度過了一段非常艱難的

兩個已經成年的女兒，我們為她們感到驕傲。永遠不要把另一

時期。財務上特別緊張，沒有一家銀行對我們的概念感興趣，

個人的付出視為理所當然，要努力去欣賞和鼓勵你喜歡他們的

願意貸款。但我們的意志比銀行堅定，我們做好了一切準備。

方面，不要只關注自己不喜歡的。不斷在合適的地點和時間進

在波士頓開設第一家店面三年後，我和我丈夫想辦法把我們的

行有效的討論和溝通是所有關係的基礎。

產品給其它商店轉賣。那時，我們才開始步入正軌了。

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“Through being able to listen to our bodies and to interpret what they’re saying,

Deborah Hanekamp Go deep into becoming your own healer with New York’s Mama Medicine

Photo courtesy of Deborah Hanekamp

we can begin to heal our minds.”

actually, healing is not something that is ever complete. I believe I was granted a more challenging upbringing because I needed to see what was out there in human nature, and maybe the more shadowy side of human nature at that early age. That way, I could know and understand, to a certain extent, what was needed in terms of healing. Could you please give us a specific example of what’s needed for healing?

Western medicine has a habit of funnelling people into clinics to stand ignorant before an expert who objectifies their physical body, much like a mechanic to a car. But plenty of people can heal themselves with a bit of education and mentorship. That’s where Mama Medicine comes in. Deborah Hanekamp is a healing practitioner based in Manhattan. At the core of her practice is the medicine reading—a process where Hanekamp builds a complete profile of what’s going on in the patient’s life—sleeping, eating, relationships, and so on—to give holistic guidance on how patients can bring their own bodies and minds back into balance and health.

teaching to my interests. So I decided to go back and forth to Thailand for five years. I got to study sound healing, energy healing, and crystals. I also went back and forth to the Amazon jungle for eight years to study plant medicine. During all this time, I was also studying yoga and meditation. Little by little, I built my practice and developed the medicine readings to encourage people to be their own healers. I opened up my own healing centre when I was 24. It had a yoga studio upstairs, and different healing modalities on the lower level. I kept that going until I was pregnant with my daughter. That was 20 years ago, and I’ve had this practice ever since.

How did you start your journey as a healer?

How did you find the power to heal yourself? Are you still in the process of healing yourself today?

I was always a mystical person. I knew what I wanted to do right when I graduated high school, but there were no universities

Oh, yeah. I don’t think I’ll ever be done healing. I think that,

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I think it’s good to remember that we’re nature. I feel like the more disconnected from the earth we become, the less happy we are. Feelings of gratitude, generosity, and joy are important markers in the healing process, and the more disconnected from nature we are, the harder it is to be grateful, joyous, and generous. So I think one of the best things for healing is to simply get outside and go for a walk. I live in New York City. We don’t have a lot of nature here—but the people are nature, and they’re still beautiful. Today I was walking my dog and I was passing by these beautiful linden trees that have this sweetish smell. Take time to observe the sky, observe the trees and people, and you’ll feel more connected. Contemporary science seems more focused on the physical side of health, but it seems like you focus more on attitude and mind activity. What’s your take on the mind-body connection?

Your body tells you what needs healing. For example, gray hair is showing you that you’re spending too much time in your head. Maybe a pain in the foot is telling you to slow down. I love somatics, the understanding of the way the body will tell you what’s going on in the mind, even more than the mind can tell you what’s going on in the body. Through being able to listen to our bodies and to interpret what they’re saying, we can begin to heal our minds. Do you think a positive mind can help people stay out of the doctor’s office?

It’s not that if you’re sick you can’t go to a doctor. If you’re sick, go to the doctor, but take what’s recommended to you as opinion, and see if it feels real for you, instead of giving your power away to some healer or doctor, some book, or some diet that says it’s going to fix you. Being your own healer is understanding that you are not broken, simply human. You’re evolving. Speaking of evolution, do you have any plans or next steps?

I’ve just launched Space by Mama Medicine, which is an online membership program focused on live events. We do medicine reading ceremonies, and have an “Ask Mama” forum, where the community can meet me and ask questions in person. There are offerings like silent meditation retreats, or a liver cleanse. There’s a lot of fun things within the Space by Mama Medicine community that I’m pouring a lot of love into at this time.

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Deborah Hanekamp 「通過身體的問題找到心病，

在紐約一所療養機構內， Deborah Hanecamp正在將類似中醫「三分治，七分養」的理念傳授給許多希望獲得健康身心的人們。

中醫常說「三分治，七分養」，治療疾

我覺得我們離大地越遠，我們就越不幸

病是醫生的職責，日常的身心養護卻需要人們

福，我們要記得我們是屬於自然的。感激、

自己來給予足夠的關注。Deborah Hanecamp

喜悅和寬宏的狀態是療養過程中的關鍵，而

便一直在指導人們學習如何進行自我養護，她

我們與自然的聯繫越多，這些就會越多。因

在曼哈頓開設了一間名為Medicine Mama的療

此，我認為療養的最佳方法之一就是簡單地

養機構，從來訪者的睡眠、飲食、人際關係等

出去散散步。我住在紐約市，這裏的自然環

入手，全方位指導他們自我調節身體和精神狀

境不多，但仍然很美……今天我出去遛狗，

態，找到最適合自己的自然獲得健康的方式。

就路過了一片散發著香甜氣息的美麗椴樹

就像找到了問題的根源。」

林。多花些時間仰望天空，看看周圍的花草您提出的療養方式很獨特，能詳細介紹一下嗎？

樹木，你會感到與自然更加親近。

這種理念是通過一對一或者小組成員之間的相互交流，來鼓勵人們找到適合自己的恢復

當代科學多關注肌體的健康，而您似乎更關注整

健康狀態的方式。我們希望每個人都能敞開心

體的身心狀態，您認為人的心理和身體是有直接

扉講述自己生活中遇到的困擾，然後，大家彼

聯繫的嗎？

此鼓勵去消除這些問題，讓每個人都找到適合自己的方式，並堅持這樣做下去。

你的身體反映出來的狀況，會告訴我們你心理的狀態。例如，一頭灰白的頭髮表明你太操心，也許腳痛是告訴你要把生活節奏慢

您是如何開始這份「醫療」事業的？

下來。我真的很喜歡研究心理與身體之間的關

高中畢業後，我發現大學裏學不到我想要

係，身體告訴你的狀況，比你頭腦中自認為的

的東西，便決定回泰國，之後待了整整五年。

要重要得多。通過身體的問題找到心病，就像

那期間我學習了聲音療法、能量療法和晶體療

找到了問題的根源。

法，我還在南美的亞馬遜河流域研究了八年草藥，並一直學習瑜伽和冥想。我一點一點去實

您認為積極的心理狀態可以幫助人們解決健康問

踐，出版了許多書籍來鼓勵人們自主去解決健

題嗎？

康問題。我二十四歲時開設了自己的康復療養

不是說生病了不需要去看醫生，如果你

中心，樓上有一間瑜伽室，樓下可以體驗不同

真的病了，請去看醫生。但也要參考我們給你

的療養方式，我一直堅持在這個領域耕耘著。

的建議，嘗試一下看是否真的有效。你要相信

哦！是的。我認為我永遠不可能實現完全

的、壞掉的機器，你是一個有思想，一直在成長的人。

的健康，實際上，百分百的健康是不存在的，所以我要一直去努力達到健康的狀態。我相信

您有甚麼下一步的計劃嗎？

我曲折的成長經歷，是因為我需要去了解關於

M a m a M e d i c i n e 剛剛開始推出一項名為

人的各個方面，這樣我可以在一定程度上理解

「S p a c e」的計劃，這是一套在線會員方案，

人們在身心健康方面的各種需求。

主要側重一些直播活動。我們準備開設一個「A sk Mama」論壇，供大家與我交流並提問。

能否為我們介紹一種簡單實用的讓自己變得健康

相信過程會很有趣，我真的在其中投入了很多

方法？

熱情。

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Photo courtesy of Deborah Hanekamp

自己有自我治癒的能力，因為你不是一個單一您是否曾在自己身上實踐過您的療養理論？

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“I love the scent of fresh soil and watching a seed transform into a bloom.”

You’re both American and Italian. Your company is in New York and your factory is in Italy. Tell us a little about balancing those two worlds.

Interestingly enough, although there’s a physical separation between the two worlds, they’re both intertwined into my day. It’s something very natural to me. I’ve been working for Italian companies like Armani, Valentino, and A. Testoni for over a decade. I’ve practiced that balancing act long enough that it’s become something I really enjoy. I will say though, when I travel to Italy, my lifestyle changes almost immediately. Overall, I move slower, have an espresso for breakfast, and eat longer lunches and later dinners. And this I really love!

Jennifer Stucko The founder of Prota Fiori discusses the future of luxury and the history of craftsmanship

Photo courtesy of Prota Fiori

What are some things we can look for in shoes to determine whether they’re worth the price tag or will hold up over time?

To start, I never look at price to determine the quality of a shoe. What’s important is the quality of the material and the workmanship of the shoe. If you have a high-quality raw material mixed with hand-craftsmanship that’s been practiced for decades, then you know that the shoe will last a very long time. That said, all shoes need to be taken care of. I suggest visiting your shoe repair at least once every 6 months for a regular cleanup, never wearing the same pair of shoes two days in a row, and investing in shoe trees to keep the shape. It’s a huge leap to start your own company. What advice do you have for anyone thinking about taking that leap?

When her employer sold the 100-year-old Italian shoe company she loved, Jennifer Stucko decided to take an entrepreneurial leap and start her own company, Prota Fiori, a women’s luxury footwear brand built upon an ethos of sustainability, designed in New York, and made in Italy. Stucko attributes her appreciation for tradition to her Italian roots. Her ancestors moved from Piana di Monte Verna, Italy, in 1901, to Brooklyn, New York, where they took up jobs as shoemakers and doll-factory workers. Prota Fiori shoes are crafted in Le Marche, a town nestled between the Apennine Mountains and Adriatic Sea, which proudly proclaims itself as the birthplace of shoemaking.

Stucko’s innovative approach has breathed new life into the heartland of Italian craftsmanship by bringing in upcycled materials and 21st-century leadership. Prota Fiori literally translates as protect the flowers. How did you come to choose Prota Fiori as your company name?

I chose the Italian translation of protect the flowers because I love the scent of fresh soil and watching a seed transform into a bloom. I’m inspired by the joy created through giving and receiving flowers. I chose Prota Fiori because flowers are signs of hope, beauty, and femininity.

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Ask yourself if you trust yourself, trust the process, and trust the universe. To some, this may seem like hocus-pocus, but in my opinion, there’s nothing more powerful than having faith. If you have passion, that’s a great start too—but make sure there is a real market opportunity, whether it’s big or small. Your new company can be a side gig, or it can be the next big idea. Do your thing, and understand that life and your path are not onesize-fits-all. Don’t pay attention to anyone’s doubt or fear. Take the leap, and always listen to your gut. I suggest to anyone who wants true success to spend time in nature and meditate regularly. It’s when I’m in nature that I experience a euphoric opening of the heart and the mind that

clears and reenergizes my spirit like no other. Throughout the years, I’ve deepened my meditation practice, and now I feel one with the universe. That’s why I value the natural world. It’s where I feel alive and the most connected to my inner self and sense of being, something successful people need. You’re certainly the first luxury shoemaker to take your approach. Are there other luxury brands in different industries doing something similar? What other brands do you like right now that are doing good work for the world without sacrificing style or quality?

I’m really glad you’ve brought this up. In fact, as I built the supply chain for Prota Fiori, I looked into the auto, aircraft, and design industries for innovation. I felt they were more forward thinking, had more financial investments, and possessed advanced sustainability technology. For example, Bentley’s EXP 100 GT utilizes the same upcycled grape skins for the interior of their car as we do for the lining and insoles of our shoes. Another great example is Philippe Starck, the French designer who created collection furniture for Cassina out of the same upcycled apple skins that we use for the upper of our shoes. Both of these brands are representative of the Prota Fiori values, and are iconic in their own right. What do you do in your daily life to stay healthy, focused, and happy?

I practice daily yoga and meditation to maintain my overall mental and physical well-being. To stay focused, especially with Prota Fiori, I like a good routine. Twyla Tharp’s book Creative Habit: Learn It and Use It for Life taught me how important habits are. To stay happy, I love to learn and incorporate non-workrelated activities into my day. I take care of my garden, which is full of roses, perennials, herbs, and vegetables. Watching everything grow is really fulfilling. I’m reading Deepak Chopra’s Metahuman, and I’m taking Will Kemp’s online acrylic painting classes. Above all, connection with family and friends is what keeps me happy. During quarantine, I’ve been mailing love notes and sunflower seeds to the special people in my life, and that brings me a lot of joy.

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Jennifer Stucko Jennifer Stucko將新型環保材料用在了自己創辦的奢侈鞋履品牌中，為意大利傳統製鞋工藝賦予了時代特色。

當年，眼看自己喜愛的有百年歷史的意大利製鞋工坊被出售，Jennifer Stucko難掩心中

的人有甚麼建議？

的失落，她決定創立自己的品牌Prota Fiori，意

問問自己，你是否相信自己，相信你的計

大利語的字面意思是「保護花朵」。這是一個

劃，甚至相信整個宇宙。在某些人看來，這像

提倡環保理念的女性奢侈鞋履品牌，首次將升

是虛無縹緲的。但在我看來，沒有甚麼比信仰

級再造的植物材料運用在了鞋履製作中。Prota

更強大了。如果你有熱情，那會是一個很好的

Fiori選擇在紐約設計，在有意大利製鞋業發祥

開始，但請確保無論是大是小，都要有真正的

地美譽的小鎮勒馬什手工製作。Jennifer自己生

市場機會。然後，不要去在意任何人的懷疑和

長在紐約，她的先祖於1901年從意大利移居到紐

恐慌，往前走，始終傾聽自己的直覺。

約布魯克林，從事製鞋和製作玩偶的工作。體

我建議想要真正成功的人，花點時間去親近

內流淌的意大利血脈，讓Jennifer一直對傳統的

自然，堅持打坐冥想。當我在大自然中時，會感

美學理念和製造工藝有著濃厚的興趣，她希望

受到心靈的欣欣向榮和身心的開放，這使我的

Prota Fiori能在保護環境的同時，也將意大利傳

精神清澈並重新煥發活力，讓我與內在的自己

統製鞋工藝這朵美麗的花兒保護承傳下去。

建立緊密的聯繫，這是成功人士需要的東西。

您是如何選擇Prota Fiori作為公司名稱的？

您創辦了第一個採用環保材料的奢侈鞋履品牌，

我從送花和收花的喜悅中得到靈感，選擇

「我愛泥土的芳香，愛看著種子成長，

創辦自己的公司是巨大的挑戰，您對有類似想法

變成盛開的花朵。」

其它奢侈品牌是否也在做類似的事情？

了意大利語的「保護花朵」。因為我喜歡新鮮

很高興你問到這點。在為Prota Fiori建立供

土壤的氣味，喜歡看著種子變成花朵。還有鮮

應鏈時，我研究了汽車、飛機和設計行業的許多

花象徵著希望、美麗和女性氣質。

創新技術。我覺得他們更具前瞻性，擁有更多金融投資，還掌握先進的、有可持續性的技術。例

您如何平衡好在紐約和意大利兩個地點的工作？

如，賓利E XP 100 GT汽車內飾中採用了經過升

儘管兩個國家之間存在著地理上和文化上

級再造的葡萄皮，和我們鞋襯和鞋墊使用的材料

的距離，但它們都交織在我的生活中。對我來

一樣。另一個很好的例子是法國設計師Philippe

說這很自然，我已經為阿瑪尼、華倫天奴和鐵

Starck，他用與我們鞋面相同的升級再造的蘋果

獅東尼等意大利公司工作了十多年，早就習慣

皮為Cassina設計了收藏級的家具。這兩個品牌

兩地奔波的生活，甚至樂在其中。當我抵達意

都與我們價值觀有一致性，還很有代表性。

大利時，我的生活方式似乎立即就切換了。總的來說，我會走得慢一些，早餐時喝咖啡，午餐和晚餐的用餐時間會更長，我很喜歡這樣！

您在日常生活中如何保持健康、專注和快樂？

我每天練習瑜伽和打坐，以保持我整體身心的健康。為了保持專注，尤其是在工作時，

首先，我從不以價格來決定鞋子的質量，重要的是鞋子的材料和工藝。如果你已經接觸了數十年的高品質原材料和手工技藝，那你就會知道這雙鞋是不是耐穿。

我喜歡建立一套好的程序。Twyla Tharp的《創造性的習慣：終身學習和使用它》一書教會了我習慣的重要。說到快樂，打理我種滿了玫瑰、草藥和蔬菜的花園，看著它們生長真的很滿足。我正在

另一方面，所有鞋子都必須要好好保養。

閱讀Deepak Chopra的《超人類》，還參加了

我建議至少每六個月進行一次維護和清理，不

Will Kemp線上丙烯繪畫課程。在隔離期間，

要連續在兩天穿同一雙鞋，買一些能保持鞋的

我一直在郵寄愛心筆記和葵花籽給我生命中特

形狀的收納工具。

別的人們，這讓我很快樂。

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Photo courtesy of Prota Fiori

如何確定一雙鞋子是否物有所值和不會過時？

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Kevin Gascoyne A Tea Taster at Montreal’s teahouse Camellia Sinensis brews up some tips on how to have a better tea experience.

Kevin Gascoyne is a tea taster at the Camellia Sinensis Teahouse in Montreal. A local favourite, the teahouse has been around in one incarnation or another since 1997. Originally, Camellia Sinensis opened with a bohemian atmosphere that featured live music and hookahs. As the staff and clientele matured, they shelved the tobacco and toured the world to acquire one of the finest collections of tea in North America. Since then, the teahouse has won a slew of awards, published books on the craft, and now offers classes to promote a stronger tea culture and a more sophisticated breed of professional. Kevin Gascoyne is the house specialist on black tea, and he has made the tea gardens of India, Nepal, and Sri Lanka his second home since 1989.

Photo courtesy of Kevin Gascoyne

What is your favourite tea to drink, and how do you take it?

“Tea is a 5,000-year-old health tonic that can improve your day and lengthen your lifespan.”

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I entered the tea world through a healthy obsession with the teas of Darjeeling and the Himalaya. Black teas offer the complexity and vitality I’m looking for in a good cup. My job allows me to drink exceptional teas from around the world all day long. I typically drink my teas neat—without milk or sweetener. What makes different teas taste different, and how does that factor into your tea selections?

All tea comes from the plant whose botanical name is Camellia sinensis. It’s been so widely consumed that the simple action of putting leaves into water is now called tea. That’s why people often say “tea” when they drink rooibos, yerba mate, or other herbs, but it’s actually something else. Technically, we should call these other drinks infusions, though it doesn’t sound very inviting to say, “Would you like to join me for an afternoon infusion?” There are too many factors in a tea’s taste to list them all, but the two big ones are the natural factors of the garden and the tea-maker’s process. When we select teas at the Camellia Sinensis Teahouse, we seek out special batches. When the tea is grown in good weather and soil, and leaves are masterfully handled, unique style emerges. The parallels with the wine world are obvious.

In North America, we rarely take the time for a proper pot of tea. We’re natural-born gulpers. What advice do you have for someone who loves tea but who feels too rushed to do it right?

Drink with a friend. Company can help to ground a person in the tea moment. If you can muster the enthusiasm, there are all sorts of infusion techniques such as Gaiwan, Gong Fu, or Sencha. Exploring new preparation techniques can help facilitate a stronger connection with the beverage. Tea culture always has an air of tranquility to it. Why is that?

Tea is a 5,000-year-old health tonic that can improve your day and lengthen your lifespan. Two principal elements in this beverage work together to simultaneously calm our bodies while stimulating our minds. The first is the amino acid L-theanine. It calms the nervous system and reduces anxiety to offer a feeling of well-being. The second is, of course, our old friend caffeine, which stimulates the brain and sharpens consciousness. The caffeine in tea has a very different character to that of coffee. Tea releases it slower, so its effect lacks that super-stimulation that more easily causes jitters. With the hustle and bustle of modern living, tea’s calmer stimulation is ideal to help people stay alert with a cool head. The time it takes to make and drink a pot of tea is also a natural call to take a break. When you travel to the tea-growing regions of the world, do you feel different than when you’re in a city? Is there something special about tea plantations?

The tea-growing regions are composed of beautiful rolling hills and fields. Some are mountainsides of neatly pruned, deep-green canopies quilting the landscape. My first visit to a tea garden was over 30 years ago. As my life as a taster-buyer developed, tea gardens became places where I feel at home. Garden details pop out to me as much as beverage nuances. Garden visitations also allow me to visit friends I’ve known for decades. There’s a great camaraderie in the tea world that springs from our shared passion. But at the root of it all is a deep connection to a plant that continues to change my life on a daily basis. Tea is part of who I am. So when I return to the tea gardens each year, I have a feeling of going back to the source.

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Kevin Gascoyne 作為蒙特利爾乃至全加拿大最權威的紅茶專家之一，

「與茶的深厚聯繫每天都在改變著我，

Kevin一直希望將茶帶給他的寧靜和愉悅分享給更多人。

茶是我的一部份。每年我回到茶園時，

生長在英格蘭的Kevin Gascoyne是蒙特利

影響茶口味的因素太多，無法一一列舉。

Sinensis茶館的品茶師，尤其熟知

其中兩大因素是出產的茶園和茶的沖泡過程。

紅茶，曾數次與人一起聯合主持西方最權威的

當我們在茶園挑選茶時，會尋找那些特別的批

茶葉獎項之一World Tea Awards。自從大約三

次。當茶在良好的天氣和土壤中生長，並以嫻

十年前第一次在亞洲購買了紅茶，之後Kevin

熟的工藝採摘加工後，就會出現獨特的風格，

的每個春天幾乎都是在亞洲的茶園裏度過

和葡萄酒非常類似。

爾Camellia

都會有回到初始的感覺。」

的。2004年，他與幾位志同道合的朋友出於對傳統茶葉和茶文化的熱愛，成立了Camellia

在北美，人們很少會靜心去選一款好茶，再回家

Sinensis茶館。如今，Kevin的工作就是前往世

去認真沖泡，您對此有甚麼建議？

界各地尋覓最優質的茶葉，為到來的顧客推薦

可以找朋友一起喝。如果在公司裏，可

最適合的茶，並教授他們一些關於飲茶的知識

以休息時與同事們一起喝一壺茶。如果你願意

和技巧。為了讓更多北美人了解和享受茶所帶

熱情地招呼其他人，再用嫻熟的技巧泡好茶，

來的健康和樂趣，Camellia Sinensis還開辦了

如：蓋碗茶、功夫茶和煎茶等，在這個過程中

茶道學校，出版了一系列與茶相關的書籍。

你會和周圍的人建立起更親密深厚的關係。

您最喜歡喝甚麼茶，如何喝呢？

為甚麼茶文化總是充滿寧靜的氛圍？

我最初走進茶的世界，是因為對大吉嶺和

茶是具有五千年歷史的健康飲品，可以

喜馬拉雅山紅茶的痴迷，它們有我想要的複雜

益壽延年，改善你的生活質量。茶中的兩種主

性和生命力。我的工作讓我每天都能喝到來自

要成分茶氨酸和咖啡因共同作用，可以使我們

世界各地的好茶，我通常都是純粹的喝茶，不

的身心平靜下來，同時激發我們的思想。茶氨

加牛奶和糖。

酸可以安撫神經系統，減輕焦慮情緒，帶來幸福感；我們的老朋友咖啡因可以提神醒腦。茶

如果想喝加奶的英式茶，該如何選擇茶呢？例

中的咖啡因與咖啡中的非常不同，釋放速度較

如：清淡的白茶？

慢，因此效果不會太過刺激。在現代生活的喧

市面上有很多茶，尤其在超市裏賣的，都需要和牛奶搭配。這些茶如果沒有牛奶，會有

囂中，茶是幫助人們保持頭腦清醒冷靜的理想選擇，在休息時喝一壺茶是很放鬆的事。

你想了解更多種類的茶，可以嘗試來茶店，咨

當您前往世界各地著名的茶葉產區時，與在城市

詢店內的專業人士。然後，在他們的建議下用

裏的感覺是否很不同？茶園有甚麼特別之處嗎？

適宜的溫度，優質的水沖泡茶葉。

茶葉種植區一般由美麗的、連綿起伏的丘陵和田野組成，有些茶園在山坡上修建的非常

茶的口味為何不同？您是如何依據口味來選茶的？

整齊。我第一次去茶園是在三十多年前，隨著

關於茶這個詞，已經有點被濫用，所有放

我選擇品茶師作為職業，茶園成為像我家一樣

入水中沖泡的葉片都被稱作茶。人們在喝的南

的地方。拜訪茶園我可以見到那些認識幾十年

非茶、巴拉圭茶或其它草藥，實際上都不是茶。

的老朋友，我們都有著同樣的對茶的熱愛。

茶應該是來自茶樹的，不是來自茶樹的葉片，我

總的來說，與茶的深厚聯繫每天都在改變

們應該稱其為植物飲料。當然「喝下午植物飲

著我，茶是我的一部份。每年我回到茶園時，

料」的說法，聽起來可能不那麼吸引人。

都會有回到初始的感覺。

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Mazur Travel / Shutterstock.com

些酸味和苦澀，加糖則更容易讓人上癮。如果

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