羅芙奧季刊第14期 Ravenel Quarterly No. 14 2015/08

工作故我在

I Work, Therefore I Exist

No. 14 Autumn 2015

| CONTENTS | 05

就是這個光！ This is the Light!

06

熠熠 Glistening

08

環球展覽預告 Global Exhibition Preview

12

羅芙奧春拍 理性與感性 Ravenel Spring Auction Sense and Sensibility

16

優雅的灰色調─龐均的東方寫意 Pang Jiun: Master of Elegant Grey Tones and Sublime Oriental Freehand

32

工作故我在 I Work, Therefore I Exist

48

單車魂 The Art of Cycling Soul

52

佐酒 四部曲 Matching Food and Wine

56

海洋禮讚 天然珍珠 Ocean Treasure Natural Pearl Jewelry

60

天啟者 康斯坦丁•布朗庫西 Constantin Brâncuşi: The Oracle

64

吳天章 別說再見 “Never Say Goodbye” by Wu Tien-chang

68

生活藝廊 Living Gallery

塚本智也《游向黎明》（局部）2014 年 壓克力 畫布 130.5 x 162 cm 成交價：8,880,000 台幣 羅芙奧台北 2015 春拍 Tomoya TSUKAMOTO, “Swimming to a Dawn”, (detail), 2014, acrylic on canvas, 130.5 x 162 cm. Sold for US$287,844. Ravenel Spring Auction 2015 Taipei

羅芙奧尊釀雲集 2015 秋季拍賣 拍品徵集中

Ravenel Autumn Auction 2015 Taipei Finest and Rarest Wines Invitation to Consign

諮詢 | +886-2-2708-9868 | wine@ravenel.com | ravenel.com

ЌŷăŧǪ ȫƼĈ̝ච

No. 14 Autumn 2015

羅芙奧藝術集團台北辦公室

發 行 人 王鎮華

Publisher: Arthur Wang

總 編 輯 陳惠黛

Editor-in-Chief: Odile Chen

主 編 黃千洳

Managing Editor: Tiffany Huang

撰述編輯 廖培娟

Editor: Claire Liao

特約顧問 曾文泉

External Consultant: Rudy Tseng

發 行 所 羅芙奧股份有限公司

10683台北市敦化南路二段76號15樓之2

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First issue: May, 2012

季刊 Quarterly

ⷌὃ㔬ㇸ✏ I Work, Therefore I Exist

No. 14 Autumn 2015

登記證：中華郵政台北雜字第1883號執照登記為雜誌交寄 ©版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 ©All rights reserved. Use of editorial content without permission is strictly prohibited.

4

PIAGET Mediterranean Garden 系列，精細鍛金 工藝與寶石鑲嵌技藝栩栩如生地展現盛放玫瑰、 棕櫚樹和閃爍波光，詮釋獨一無二「伯爵」風格。

| Chief Editor’s Note |

就是這個光！ This is the Light! 色彩、線條、構圖、光，都是視覺藝術

Thomas Yang 的輪胎藝術結合單車與設計，

中不可或缺的要素，然而光不是一開始就出

呈現觀看世界的另一種角度；佐酒四部曲單

現在繪畫裡的。中古世紀時的藝術家，將光

元，提昇飲食的風味，豐富生活的層次，林

視為神的顯現，於是用了最鮮麗、最昂貴的

林總總精彩的內容盡在本期季刊裡。

elegance and refinement.

We report on artist Pang Jiun and his superb mastery of grey — the most

顏料─金箔，來詮釋光，來崇敬神。

difficult color to handle — in interpreting oriental landscapes, and the artist’s own

光影的科學概念在文藝復興時才逐漸盛

Color, line, composition and light all

spiritual refinement. “ No light, there is

行、發展，神學轉為人學，神性轉為人性，

have a vital role to play in the visual

no space. ” An in-depth examination of

人文主義的思想於焉而生。十九世紀末的印

arts, but a scientific approach to light

sculptor Constantin Brâncu ƪ i ’ s “ Bird in

象派畫家深入研究光與色的關係，古典藝術

and shadow did not begin to gradually

Space” sculptures. Another article focuses

轉向現代藝術。從蒙昧到啟蒙，從傳統到現

take shape until the Renaissance. By

on the Taiwan pavilion at the Venice

th

the late 19 century, the Impressionists

Biennale, where Wu Tien-chang’s lighting

were undertaking in-depth research into

effects create a magical vision of historical

UNESCO 將 2015 訂 為 國 際 光 之 年，

the relationship between light and color,

memory.

Ravenel 季刊第 14 期從光的故事說起，介

leading to the evolution of classical art

紹義大利重量級建築師 Michele De Lucchi

into modern art. Illuminating a path

Also featured in this issue are

提出全新辦公室概念；琳瑯滿目的燈具雙

from obscurantism to enlightenment,

Singaporean designer and artist Thomas

年展；奧斯陸 PALEET 購物中心體驗奢華

from the traditional to the modern —

Ya n g a n d h i s

的光影變幻。

this is the light!

bicycle tire art, which

代，就是這個光！

integrates the bicycle 耆老畫家龐均雲遊江南寫生，琢磨出最

UNESCO has designated 2015 as the

難的色彩─灰色，完美演繹東方山水的韻味

“ International Year of Light. The 14

th

飄渺及其內斂的精神內涵。No light, there is

issue of Ravenel takes light as its starting

for viewing the world, as well as an

no space.「少了光，就沒有空間存在。」深

point, exploring renowned Italian architect

article on the four key stages of wine

入閱讀雕塑家布朗庫西的《空間之鳥》，簡

Michele De Lucchi’s innovative concept of

appreciation, and how they can enrich

練、神秘的冥想風格；威尼斯雙年展台灣

office space. Taking a look at Euroluce (the

people’s lifestyles and dining experiences.

館黑色空間裡，吳天章的燈光影像是幽

spectacular biennial lighting exhibition),

Overall, this issue of Ravenel magazine

and showing how the PALEET shopping

is packed with a wealth of fascinating

center in Oslo utilizes the play of light and

content.

微魔幻的歷史記憶。

還有，新加坡設計師

into the field of design and in doing so creates a new perspective

shadow to create an enhanced feeling of

總編輯

Column 熠熠

Glistening

Text．Photo / 謝哲青 Ryan Hsieh

從上古神話傳說，到工業革命的後現代，光的「象徵」與「指涉」 不 斷 拓 延， 從 蒙 昧 照 向 黑 暗。 一 直 以 來，「 光 」 是 藝 術 表 現 的 核 心元素。 From ancient myths and legends, to the post-modern age after the industrial revolution, the latitude of the signs and references of light has extended continuously. Light has always been a core element of artistic expression.

在

羅馬市區的萬神殿（Pantheon），從天井正中央灑下的光，象徵天上 與人間永恆的聯結。十六世紀伊斯蘭世界最偉大的工程師米馬爾 • 希南（Mimar Sinan），在塞利米耶清真寺（Selimiye Camii）中，將

聖潔光輝以幾何數列及阿拉伯花體字的方式呈現，讓阿拉的真言與穆罕默德的 聖訓熠熠生輝。收藏於威尼斯聖方濟會榮耀聖母大殿（Basilica di Santa Maria Gloriosa dei Frari）祭壇上的《聖母昇天（Assunta）》，「光」在文藝復興大師 提香（Tiziano Vecelli）的筆下，幻化成眾生引領冀盼的救贖。而十九世紀英國 光影大師威廉 • 透納（Joseph Mallord William Turner），把「光」視為天地萬 物中最神秘的力量，在他的畫作《風、雨及速度》（Rain, Steam and Speed）與 《奴隸船》（The Slave Ship）裡，「光」是生命的苦難與愉悅。

1 1. 米馬爾 • 希南設計的塞利米耶清真寺。 Mimar Sinan designed Selimiye Camii.

「起初，神創造天地。 地是空虛混沌，淵面黑暗； 神的靈運行在水面上。 神說：要有光，就有了光。 神看光是好的，就把光暗分開了。 神稱光為晝，稱暗為夜。 有晚上，有早晨，這是第一日。」

《舊約 創世紀》

6

“In the beginning, God created the heaven and the earth.

And the earth was without form, and void; and darkness was over the face of the deep.

And the Spirit of God moved upon the face of the waters.

God said, let there be light, and there was light.

And God saw that the light was good, and divided the light from the darkness.

God called the light Day, and the darkness Night.

And the evening and the morning were the first day.”

“The Old Testament•Genesis”

近一百年，人工照明的發明與普及，創造了嶄新生活方式，卻也讓我們失去 了對「光」的敬意與想像。從空中鳥瞰夜景，土地上大大小小的城鎮、車輛， 千絲萬縷的光都交錯糾纏一起，然後肆無忌憚地在週遭流竄，抹去螢火與星光， 直至這些深具暴力性格的「光」，連同我們對黑暗的浪漫懷想，一起後繼無力 地隱沒在幽微之中。

小說家巴利（Wendell Berry）曾寫下：「想知道『光』是怎麼回事，那就往 黑暗睪去。」藝術大師們深知「光」與「影」的映照與對比。即使是白天，萬 神殿的室內空間是由玄奧的黑暗所構成，塞利米耶清真寺將戶外光源導入，呈 現光影調和的美感，要了解提香的偉大，就必須把他的畫置於祭壇中央，這裡 是被黑暗所圍繞的結界，畫作才從若有似無處開始發光。

要突顯「光」的存在，如何運用黑暗才是王道。學會享受黑暗，欣賞黑暗， 最終，才能體會「光」的美妙。 1 1. 威尼斯聖方濟會榮耀聖母大殿內，提香作品 《聖母昇天》。 Santa Maria Gloriosa dei Frari, Tiziano Vecelli’s art work “Assunta”.

2. 透納的畫作《風、雨及速度》。 Joseph Mallord William Turner’s “Rain, Steam and Speed”.

2

Glo b

iew

xhibition Pre E v al

環球展覽 預 告

鞋：痛並快樂著 Shoes: Pleasure and Pain Organizer: 倫敦 維多利亞與艾伯特博物館 Victoria and Albert Museum, London Web: www.vam.ac.uk 策展人Helen Persson表示「鞋履美麗又富雕塑感，最能揭露人們背後故

薩金特：藝術家及友人的肖像 Sargent: Portraits of Artists and Friends

事，包括性別、地位、身分、品味甚至性取向。」鞋不僅為了行走，而

Organizer: 紐約 大都會藝術博物館

Curator Helen Persson expressed, “Shoes are one of the most telling aspects of dress. Beautiful, sculptural objects, they are also powerful indicators of gender, status, identity, taste, and even sexual preference.”

Shoes are not only made for walking, they also determine how other people see us.

Exhibited are historic and contemporary footwear designs from all over the world as well new technology that can increase the height of shoes and Chopines, Punched kid leather over carved make them more dramatic. pine, Venice, Italy. c 1600s. © Victoria and Albert

The Metropolitan Museum of Art, New York Date: 2015 / 6 / 30 ~ 2015 / 10 / 4 Web: www.metmuseum.org 薩金特是二十世紀早期最受歡迎的美國傑出肖像畫家，描繪的主人 翁多是國際大企業家及其家屬，因此常年背負「嘩眾取寵」罵名。 逝世後藝術界「平冤昭雪」，高度讚譽其精湛技藝和成熟技法。

Sargent was the nineteenth century’s leading American portrait painter. The people depicted in his paintings were mostly international entrepreneurs and their families. For this reason, he had the bad name of being a person who “played to the galleries.”

After his death, this “wrong was righted”, since the art world now has high praise for his virtuosity and mature techniques.

是為了別人怎麼看待我們。展出世界各地歷史悠久及當代設計的鞋履及 讓鞋子更高、更戲劇性的製鞋新科技。

Museum, London

法蘭克 • 蓋瑞 Frank Gehry Organizer: 洛杉磯當代藝術博物館 Los Angeles County Museum of Art Date: 2015 / 9 / 13 ∼ 2016 / 3 / 20 Web: www.lacma.org 聚焦兩個主題：「都市生活」與「數位設計與組建」，超過 200 件手稿， 其中多件從未曝光，及 65 件模型，一窺大師自 1960 年代至今的使用工 具進程、風格演變與設計思維。

John Singer Sargent (American, Florence 1856-1925 London). “Group with Parasols (Siesta)”, 1904. Oil on canvas. 22 3/8 × 28 9/16 in. (56.8 × 72.5 cm). The Middleton Family Collection

The exhibition focuses on two main themes: urbanism and the development of new systems of digital design and fabrication. It presents a comprehensive examination of his extraordinary body of work from the early 1960s Frank Gehry, Frederick R. Weisman Art and Teaching Museum, view of the west elevation, 1990-93, 2009- — he established his firm 11, Minneapolis, Minnesota © 2015 Gehry Partners, LLP, in Los Angeles in 1962 — photo © 2015 Don F. Wong to the present, featuring over 200 drawings, many of which have never been seen publicly, and 65 models that illuminate the evolution of Gehry’s thinking.

Parakeet’ shoes. Caroline Groves, England 2014. Photography by Dan Lowe

Date: 2015 / 6 / 13 ∼ 2016 / 1 / 31

亞曼尼時尚四十年 For Forty Years of Armani Fashion Organizer: 米蘭 ARMANI / SILOS 博物館 ARMANI / SILOS, Milano Date: 2015 / 5 / 1 ∼ Web: www.armanisilos.com 適逢品牌 40 週年，以互動形式介紹歷年時裝、戲服、手繪草圖及其個 人創作等，表現經典與獨特設計意念，從而鼓勵創作及作時裝研究。保 留博物館前身「糧倉」之名，因服飾對亞曼尼先生來說就像食物之於生 活般重要。

As it happens to be GIORGIO ARMANI ’ s 40 th anniversary, an interactive way of introducing year-round fashion, costumes, handdrawn sketches, and other personal creations expresses classic and unique design ideas, thereby encouraging creative work and fashion research. The museum is situated in a former granary, and the name “Silos” has been preserved since clothing is as important in life to Mr. Armani as is food.

村上隆：五百羅漢 Takashi Murakami: The 500 Arhats

© Davide Lovatti

Organizer: 東京 森美術館 Mori Art Museum, Tokyo Date: 2015 / 10 / 31 ∼ 2016 / 3 / 6 Web: www.mori.art.museum 以巨幅創作《五百羅漢》為首，創作靈感源自日本 311 海嘯，探討藝 術和宗教在人類面臨天災人禍與生離死別時扮演的角色。透過其他大型 雕塑品及抽象繪畫，可進一步感受村上隆的藝術力量。

This exhibition will focus on Murakami’s recent works, mainly his epic “The 500 Arhats”, 2012, a 3-meterhigh, 100-meter-long painting of the

500 enlightened followers (arhats) of Buddha, created in response to the 2011 Great East Japan Earthquake. It will also allow us to approach Murakami’s profound exploration of the power of art to illuminate our understanding of the human condition and the realities of the world we live in.

Takashi Murakami, “The 500 Arhats”, 2012. Acrylic on canvas mounted on board. 302 x 10,000 cm. Private collection. “Murakami - Ego,”. Al Riwaq Exhibition Hall, Doha, 2012. GION, ©2012 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

台北藝術品諮詢 台灣 傅斐郡 林慧菁 國際 黃詩涵 蔡晉欣

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香港藝術品諮詢 台灣 廖培娟 香港 鄧秀麗 國際 陳惠黛

+886 2 2708 9868 分機 880 +852 2889 0859 分機 78 +886 2 2708 9868 分機 889

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羅芙奧香港、台北 2015 秋季拍賣會 拍品徵集 1. 潘玉良《瓶中野菊花》成交價：NT$ 9,600,000（台北拍賣） PAN Yu-liang "Wild Chrysanthemum in a Jar" PUiFH UHali]HG 86$ 311,183 TaiSHi AuFWiRn

2. 趙無極《16.9.91》成交價：NT$ 80,960,000（台北拍賣）

ZAO Wou-ki "16.9.91" PUiFH UHali]HG 86$ 2,624,311 TaiSHi AuFWion

3. 羅中立《過河系列》成交價：HK$ 6,600,000（香港拍賣）

/8O ZKongli "River Series" PUiFH UHali]HG 86$ 851,613 Hong Kong AuFWion

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4. 周春芽《雅安紅石》成交價：HK$ 4,320,000（香港拍賣）

ZHO8 &Kun\a "Red Stone of Ya'an" PUiFH UHali]HG 86$ 557,419 Hong Kong AuFWion

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5aYHnHl AuWuPn AuFWion 2015 Hong Kong TaiSHi An ,nYiWaWion Wo &onVign

羅芙奧春拍 理性與感性

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Ravenel Spring Auction Sense and Sensibility Text•Photo / Ravenel International Art Group

藝術品市場理性回歸，拍品品質更顯關鍵。羅芙奧堅持來源有緒、品相善美，因此在 2015 春拍獲得各界藏家支持，再次創造紀錄。丁雄泉曠世鉅作《世界小姐》刷新藝 術家個人世界紀錄；黃天才藏扇專拍百分之百成交，證實羅芙奧準確的眼光以及靈敏 的市場直覺。 Quality has become ever more critical in a conservative market like the current one.

So Ravenel’s take on credible source and handsome presentation of sales items is able to gain support from collectors and make records again and again. Walasse Ting“Miss World”set a new record high for the artist’s work. Hwang Tien-tsai’s fan collection concluded with a white glove sale. Sharp vision and keen market instinct will continue to drive Ravenel forward.

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1.「老爹扇緣─黃天才藏扇」專拍 47 把成扇 與 2 幅畫全數成交，黃天才先生畢生珍藏 圓滿覓得有緣人。 The special auction of Hwang Tien-tsai’s fan collection achieved white glove sale. Mr. Hwang’s beloved treasures finally found new homes where they will be appreciated by their new owners.

季 拍 賣 會 於 6 月 7 日 亮 眼 收 槌，

皆表現卓越。重量級拍品羅中立《鄉情》、

眾 所 期 盼 的 丁 雄 泉 曠 世 鉅 作《 世

《過河系列》，周春芽《雅安紅石》、《綠

界小姐》以 5,632 萬台幣拍出標竿佳績，

狗》，蔡國強《尼斯─教堂》順利拍出，

作品尺幅創下二十年來國內外拍場紀錄，

李德、韓永旭、羅展鵬則創下藝術家拍賣

並刷新藝術家個人世界紀錄，也為羅芙奧

成交最高紀錄。

本

藝術集團再次寫下精彩紀錄，立足亞洲現 當代藝術界。極為熱門的日本當代藝術作

首度嘗試的書畫類別特別徵集到知名藏

品中，藍色調的塚本智也《游向黎明》，

扇家黃天才最心愛的一批畫扇，獲得令人

以 888 萬台幣，預估價 16 倍的驚人價格

興奮的「白手套」佳績。詢問度最為熱烈

拍出好成績，刷新香港拍場藝術家成交單

的林玉山、鄭善禧、歐豪年、李奇茂、涂

價，更以較小尺幅作品創下藝術家個人拍

璨琳、郭大維、李義弘諸位大師的鍾馗集

賣紀錄。

錦扇以 45.6 萬港元成交，而全場最高價拍 品則為喻仲林《荔枝雙鳥》，以 72 萬港元

香港的現代與當代藝術精品策略達成效 果，西洋藝術、新水墨及當代藝術等品項

成交，創下藝術家拍場紀錄。

2. 黃君璧所繪唯一的一柄鍾馗扇，是為贈送黃 天才六十大壽賀禮所特別繪製。 A birthday gift for Hwang Tien-tsai’s sixtieth birthday from Huang Junbi. The one and only Zhong Kui fan painted by Huang Junbi.

3. 袁遠《禁入（三聯幅）》2013 年 油彩 亞麻布 195 x 234 cm 成交價：1,080,000 港元 YUAN Yuan, “Keep Out (triptych)”, 2013, oil on linen, 195 x 234 cm Price realized US$139,355

4. 尊釀雲集藏酒拍賣會吸引葡萄酒與烈酒愛好 者踴躍競標。 Finest & Rarest Wine Auction gathered both wine and spirit liquor connoisseurs to participate in intense biddings.

5. Macallan 珍稀系列中的 1948 年以 127.6 萬 台幣收槌，成為這次威士忌拍賣中成交價格 最高的品項。 A Macallan Fine and Rare 1948 vintage whisky sold for US$41,348, the highest value reached by any whisky in this sale.

1

「金玉天珍─古代宣爐彝器藝術」專場 中三件阿拉伯文筒式爐全數成交，充分表

徵集，期待在藏家的支持下持續創造明日

distinctive selection of artworks defined

經典。

by a clear curatorial vision. Sold highlight

現阿拉伯文銅爐受買家青睞的市場現象。

lots included Luo Zhongli’s “River Series”

以宋瓷和水墨為主題的「心道澄懷—古今

and “Peasant Life”, Zhou Chunya’s “Red

人文藝術專場」林光大醫師舊藏宋《湖田

The Spring Auction has come th

Stone of Ya’an” and “Green Dog”, and Cai

窯娃娃瓷塑》以 312 萬港元成交，另外一

to a cheerful end on June 7

with

Guo-qiang’s “Nice-Church”. While works

件北宋《定窯萱花紋大缽》以 192 萬港元

Walasse Ting ’ s “ Miss World ” sold for

by Reed Lee, Han Young Wook, and Lo

成交，反映出高古瓷市場持續走熱。

US$1,825,608. It is the largest piece by

Chan-peng broke artists’ auction records.

the artist to be seen in auction in twenty 羅芙奧藏酒拍賣則創下最多品項與最高

years. The amount realized not only set a

Ravenel’s first attempt on Chinese ink

總成交額的紀錄，顯示波爾多葡萄酒款如

new record for the artist’s work in auction,

painting category featuring renowned

Pétrus、Cheval Blanc 與五大酒莊依舊受到

but also strengthened Ravenel ’ s stance

collector Hwang Tien-tsai ’ s favorite fans

歡迎，而法國勃根地的紅酒與白酒也益發

in modern and contemporary Asian art.

demonstrated a particularly successful

受到重視，拍賣亮點之一的 DRC 1985 年

Among the highly sought-after works by

and exciting white glove sale. The

Assortment 以 162.4 萬台幣售出。威士忌

Japanese artists, Tomoya Tsukamoto ’ s

highly sought-after piece “ Painting and

區塊件數成交率近九成，其中 Macallan 珍

“Swimming to a Dawn” fetched

C a l l i g r a p h y ” b y L i n Yu s h a n , Z h e n g

稀系列中的 1948 年以 127.6 萬台幣成交，

US$ 287 , 844 , a price sixteen times of

Shanxi, Ou Haonian, Li Qimao, Tu Canlin,

成為是次威士忌拍賣中成交價格最高的品

the presale estimate and breaking artist’s

Guo Dawei, and Lee Yi-Hong realized

項。

auction record established not long ago in

an impressive HK$456,000. The highest

Hong Kong.

valued lot of the sale, “Lychee and Birds”

羅芙奧 2015 春拍總成交金額將近 9 億

14

by Yu Zhonglin, was sold for an eye-

台幣，除長期深耕台灣藏家以外，同時也

Hong Kong’ s Modern & Contemporary

能與世界級藝術藏品接軌。秋拍已經開始

Art successfully encompassed a

catching HK$ 720 , 000 , setting a new auction record for the artist.

| Issue |

All three Arabic inscription bronze

Burgundy reds and whites were also

censers found buyers in “ A Special

a major focus of interest. One of the

Selection of Chinese Bronze Censers ” ,

highlights was the DRC 1985 Assortment

showing the popularity of bronze censers

went for US$52,625. The whisky section

with Arabic inscription among collectors.

saw considerable excitement and

With an emphasis on Song ceramics and

competitive bidding, with 90 % sale by

Chinese ink, “ Literati Sublimation —

lots. A Macallan Fine and

Oriental Arts for the Chinese Scholars ”

Rare 1948 vintage whisky

presented DR. K.T. Lin ’ s collection

sold for US$ 41 , 348 , the

“ An Extremely Rare Hutian Porcelain

highest value reached by

Sculpture”, which sold for HK$3,120,000.

any whisky in 2015 Spring

Another dingyao bowl carved with flowers

Auction.

from Northern Song Dynasty sold for HK$ 1 , 920 , 000 . These results reflected song ceramics’ persisting market demand.

Ravenel Spring Auction 2015 achieved over US$ 26 million in total sales. Ravenel not only

Finest and Rarest Wines auction set

has built a long-term and solid

a Ravenel record both for the number

relationship with clients, but

of lots and for the highest closing rates.

also has been presenting

The results bore witness to the continued

world-class arts. Ravenel is

popularity of Bordeaux wines such as

now taking consignment for Autumn

Pétrus and Cheval Blanc, as well as

Auction and looking forward to create new

the five top-ranking Premier Cru wines.

records with the support of collectors.

2

1. 丁雄泉曠世鉅作《世界小姐》為當前拍賣場 上出現尺幅（222 x 396 cm）最大的布上 壓 克 力 作 品， 以 5,632 萬 台 幣 拍 出， 刷 新 藝術家個人世界紀錄。 Walasse TING’s “Miss World” is the largest acrylic on canvas (222 x 396 cm) ever seen in auction. It sold for US$1,825,608, setting a new high record for the artist’s work.

2. 朱銘《太極系列》運用現代雕塑厚重的體量 和簡約的塊面形式，表達了藝術家對於中西 兩種文化融合與變通的意象理解。 成交價：1,700,000 港元 JU Ming “Taichi Series”. Applying the massive touch sense and concise patch sense of modern sculpture, Ju Ming, as an artist, has expressed his understanding on image of mutual integration and accommodation of Chinese and western cultures.

Price realized US$219,355

3. 紅色版本的奈良美智《小朝聖者（夢遊娃 娃）》首次出現於拍場，以 768 萬台幣成交。 Debut of Yoshitomo NARA “The Little Pilgrim (Night Walking)” in color of red in auction. It realized US$248,947.

3

優雅的灰色調 ─龐均的東方寫意─ Pang Jiun: Master of Elegant Grey Tones and Sublime Oriental Freehand Text / Odile Chen 陳惠黛 Photo / Ravenel International Art Group

1.《江南無限好》2014 年 油彩 畫布 115 x 180 cm 成交價：5,520,000 台幣 羅芙奧台北 2015 春拍 “Sencery in Jiangnan”, 2014 oil on canvas, 115 x 180 cm Sold for US$178,930 Ravenel Spring Auction 2015 Taipei

大家都知道有一個畫灰調子的龐均。灰調子，應驗了中國詩詞裡的韻味和飄渺，和東方所隱藏的情感 收斂深沉。有人說他是「油畫家裡的齊白石」。 十八歲畢業自中央美院，創下「最年輕的大學畢業生」紀錄，也是徐悲鴻的末代關門弟子。龐均獨創 的油畫風格，鮮明、俐落而熱情，融合油畫和中國水墨的寫意，最為人津津樂道的「灰色調」著重詩 意，是畫家對大陸大山大水的觀察，既現代又古典。 The name of Pang Jiun and his grey tone are known to everyone. Grey, consonant with the sentiment and ethereality of Chinese poetry and the reserved and low-key style of Chinese people, reveals the spirituality of Chinese culture. He has been called“the Qi Baishi of oil painting.”

At the age of 18, he was the youngest graduate that the Central Academy of Fine Arts had ever seen.

He was the last student that Xu Beihong took under his wings. Pang’s distinct artistic style, sublime and passionate, classical and modern, integrates oil painting and Chinese ink. The poetic grey tone is Pang’s observation of the grand mountains and deep water in China.

1

莫 是 2005 年 的 秋 天， 透 過 友 人 的

灣的弟弟。多麼有趣的迂迴轉折，北京五

引薦，我飛往北京探訪女畫家龐壔

環其實不算近，台北新店不算遠，我卻繞

及其夫婿林崗，為請教老畫家龐薰琹的繪

了好大一圈，才找到一個充分理由，好去

畫創作，還趁機欣賞畫家伉儷的作品。龐

拜訪那位久仰其名，既熟悉又陌生的老畫

壔女士氣質不俗，和氣地款待來客，臨走

家─龐均先生。

約

時託我帶回兩本畫冊，轉交給他們住在台

來自北京 • 暫旅香港 • 定居台北 初次相見，約在畫室附近的小咖啡館，

月，靠努力拼搏換來的。

自幼在家庭中耳濡目染，早早顯露繪畫的

因為時間已近黃昏，龐均的夫人籍虹女士 殷勤招呼我們，後來一起在咖啡館渡過愉

不知不覺，十年過去，龐均今日早已是

天賦，才兩歲八個月時就畫了第一幅自畫

快的晚餐時光。餐後有幸參觀了井然有序

藝術市場詢問度極高的畫家，一幅風景大

像。 十 一 歲 的 龐 均 與 相 差 兩 歲 的 姊 姊 龐

的 龐 均 畫 室 與 庫 房， 鋼 製 層 架 上 豎 著 琳

作至少一、兩百萬港元起跳，收藏家不止

壔，就曾在上海義利畫廊舉辦油畫聯展。

瑯滿目的油畫大作，宛如一座博物館典藏

於台灣、香港而已，更擴及亞洲大華人圈

十三歲時龐均考入杭州美院，後來轉入北

室，畫室裡滿是畫家多年的心血結晶，令

以及歐美國家。2015 年以「80 龐均：世

京中央美院，師承林風眠、潘天壽、黃賓

我嘆為觀止。言談間畫家思緒清晰，又漾

界巡迴展」為名，由日升月鴻畫廊的游仁

虹、徐悲鴻、董希文、李可染等藝術前輩。

著熱情，他大方地專業展示著珍藏在抽屜

翰先生擔任策展人，推出一系列的展覽與

他還是徐悲鴻的末代關門弟子，十八歲畢

裡的紙本作品，還有細心維護創作的除濕

講座。五月與第 56 屆義大利威尼斯雙年

業自中央美院，創下當時「最年輕的大學

防潮設備。龐均先生和夫人籍虹女士，和

展同步，在聖瑪莉亞聖殤學院舉辦的「東

畢業生」的紀錄。

我們聊起當年他們如何從大陸、輾轉遷徙

方文明─龐均個展」，六月份在日本東京

香港，最後來台依親定居的過程與甘苦，

上 野 之 森 美 術 館 的「 東 方 表 現 的 龐 均 個

藝 術 世 家 的 出 身， 讓 龐 均 的 一 輩 子 幾

當然還有讓龐氏家族熱愛無法割捨的繪畫

展」，隨後將於新加坡、上海、台北等亞

乎與藝術結下不解之緣，父母接受西洋油

創作，以及每年一月一號「元旦試筆青」

洲城市也將推出個展計畫。此外，台北赤

畫的洗禮，為新派藝術的推動者。在父母

與八月八號「賀壽作畫」，龐均都要完成

粒藝術與藝術家雜誌社共同合作，將於下

的歐洲文化經驗與東方文化經驗雙重影響

一幅大畫以茲紀念的生活點滴。

半年出版大部頭的龐均作品油畫集，收錄

下，龐均自由地發展出個人的繪畫風格。

畫家歷年重要作品，八十歲的龐均活力十

文化大革命期間，父親龐薰琹被批鬥為右

足，著實令人驚豔。

派，龐均則被定為修正主義，下令專門畫

那一年，龐均是近七旬的長者，外表絲

風景與明勝古蹟的寫生畫，在樣版風景畫

毫感受不到任何老態，言談間見他精神奕

18

譽卓著。龐均出生於上海，成長於北京，

奕，開朗自信。千禧年之後，偶而可在香

龐 均， 江 蘇 常 熟 人，1936 年 出 生 於 上

盛行的時代，龐均具有個性的畫風，反而

港的拍賣場上見到龐老師的小品畫作，坦

海一個顯赫的藝術世家，家族三代誕生多

意外受到外國使館人員的喜愛。每日他交

白說，當時港台兩地藝術市場上收藏龐均

位知名畫家，父親龐薰琹是中國第一代留

付的寫生畫在北京畫院展示時很快就能賣

的藏家仍不算廣泛。他是大陸移民畫家，

學法國的畫家，母親丘堤則是赴日本學畫

出，而有了知名度。在藝術為政治服務的

輝煌的學歷派不上用場，當年台灣畫壇主

的女畫家，兩人皆是 1930 年代上海「決

特殊年代裡，龐均的風景寫生畫難得地脫

流其實並未完全接納，後來得以於台灣藝

瀾社運動」重要推手，與常玉、林風眠等

離社會的規範，就只是單純的藝術追求，

術大學教美工，獲邀在博物館與商業畫廊

為同一世代藝術家，致力推動中國繪畫的

「為繪畫而繪畫」。1959 年二十三歲的龐

展覽，靠開立「龐均畫室」教授繪畫維生。

改革與美術教育。龐薰琹研究中國歷代裝

均創作表現北京十三陵水庫建設的巨幅油

龐均自 1987 年遷居來台灣，最後融入本

飾繪畫，又引進西方現代設計觀念，為中

畫《工地洗衣組》，後來還為中國美術館

地 收 藏 圈， 期 間 仍 是 渡 過 一 段 漫 長 的 歲

央工藝美術學院創辦人，在中國美術界聲

所收藏。

1 1.《陽光照在蘇州河上》2006 年 油彩 畫布 175 x 175 cm 成交價：2,950,000 台幣 羅芙奧台北 2007 秋季拍賣會 “Sunlight Illuminating Suzhou River”, 2006 oil on canvas, 175 x 175 cm Sold for US$91,430 Ravenel Autumn Auction 2007 Taipei

2. 日本上野之森美術館「東方表現的龐均個 展」現場。圖片版權為日升月鴻畫廊。 Solo exhibition “Pang Jiun: Expression of the Oreint” at the Ueno Royal Museum. Photo copyright Ever Harvest Art Gallery.

2

寫意性的中國油畫創新 台灣評論家曾長生認為，龐均聰慧地吸

作，唯一對他在繪畫上的指導是在他要離

一。而專心在形式色彩時，我體驗到一樣

取古今中外的繪畫優點，創建其油畫藝術

開大陸的前夕，父親說：「你的繪畫顏色

東西，就是印象派為什麼是出現在法國而

的特質。曾長生寫道：「龐均在研究中，

很好，尤其是灰調子，世界很少人能做的

不是別的地方，那是因為法國不論是農村

既避免了他的長輩中的一些人堅守古典寫

到 如 此。」 那 是 1980 年， 龐 均 在 中 國 畫

或城市的色彩都很好的關係，所以才能產

實藝術，摒棄現代藝術的偏頗態度，也沒

壇已有自我風格，他很欣慰連最至親都不

生。而大陸是屬於大山大水的情景，有一

有像另一些人一昧盲目崇拜西方現代主

吝給予讚美。

種灰調子，我在黃山寫生時就體驗到為什 麼國畫有皴法的產生，但還有一個難題，

義，而全盤否定古典遺產那樣激進。他在 古典與現代之間尋找共同點，吸收他們各

回 憶 當 年 喜 歡 畫 灰 調 子 的 原 因， 龐 均

就是在這個灰調子的表現上。我在文革時

自的長處，為自己的創造所用。同時，在

寫道：「我母親有一次從香港帶回畢卡索

的風景畫就是因為這個灰色調的表現而被

油畫和中國民族藝術，特別是水墨寫意畫

和馬蒂斯的畫冊，那時候我就非常喜歡野

人喜歡。大家都知道有一個畫灰調子的龐

之間，他也逐漸地認識到，兩者雖是不同

獸派。但因為政治氣候是文化大革命，所

均。 那 時 對 於 大 陸 的 大 山 大 水 的 觀 察，

的體系，但也有融合的可能。他在西方近

以我還得把小時候的油畫毀掉，然後我就

我就覺得必須是灰調子，因為這也應驗了

現代藝術大師的創作中，看到他們追求的

安分好好學習學院派的繪畫。這可能是我

在中國詩詞裡的韻味和飄渺，和中國人所

寫意性、象徵性和表現性，正是中國水墨

後來較專心在繪畫上的美學關注，而在表

隱藏的情感收斂深沉，這都是同一個精神

文人畫的特長。龐均在研究了西方現代油

現社會的主題性上就顯得較微弱的原因之

性。」

畫的發展過程和中國水墨文人畫的理論及 實踐之後，明確地指出，加強寫意性中國 油畫創新的重要途徑。」（節錄曾長生〈寫 實主義、印象派、東方表現─從現象學探 龐均繪畫語言的跨文化思維〉一文）

龐均獨創的油畫風格具有東方的特色， 對於筆墨線條的偏好、添加油畫豐富的語 言，鮮明、俐落、熱情的表現，結合出獨 樹一格的龐均畫風。而最為人津津樂道的 是龐均繪畫中既現代又古典的「灰色調」。 有人說他的畫「有點像吳冠中」，應是兩 人偏愛灰色，都重詩意，但其實風格不盡 相同；也有人說龐均像是「油畫家裡的齊 白石」，說明著龐均著重寫意，表現對象 的精神，也是所謂的「妙在似與不似之間， 不似為欺世，太似為媚俗」（齊白石語）。

灰 色 調 受 到 歡 迎， 令 龐 均 印 象 深 刻 的 是， 他 的 父 親 龐 薰 琹 從 不 會 介 入 他 的 創

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1.《古居》1990 年 油彩 畫布 80.5 x 65.5 cm 成交價：2,400,000 台幣 羅芙奧台北 2014 秋季拍賣會 “Old Houses”, 1990 oil on canvas, 80.5 x 65.5 cm Sold for US$77,096 Ravenel Autumn Auction 2014 Taipei

2.《甲天下》2007 年 油彩 畫布 182 x 259 cm 成交價：3,480,000 台幣 羅芙奧台北 2009 秋季拍賣會 “The Best Scenery in the World”, 2007 oil on canvas, 182 x 259 cm Sold for US$108,209 Ravenel Autumn Auction 2009 Taipei

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含蓄詩意的風景畫 V.S. 奔放華麗的靜物與人體 多年來，收藏家偏愛龐均的風景畫，反

景 』、『 一 角 』 打 動 了 歷 代 千 萬 中 國 人 的

追隨母親藝術的足跡，他曾經臨摹父母的

映在藝術市場的行情也是如此，歷年拍賣

心。那是詩歌，亦是音樂，更是情操極高

舊作，捐贈給曾於文革期間服務過的北京

會上高價成交排名中，幾乎清一色也是風

的境界。畫什麼『景點』、『名勝』乃是市

畫院收藏。他也曾追隨父親早年歐遊的足

景畫。儘管收藏界有其偏好，但隨著年歲

井之輩之所求。」（龐均〈詩意 • 自然〉

跡，而創作了一幅美麗的《莫內花園》，

增加，藝術家本人似乎更愛畫人體與靜物

自序）

以及描繪母親喜愛的廈門鼓浪嶼《媽媽最 後的回憶》。2015 年在威尼斯「東方文明

畫，尤其是他筆下的花卉生動鮮活，構圖、 配色與線條勾勒老辣瀟灑。近期，龐均的

下筆暢快、自信豪氣，龐均的創作力十

個展」所發表的新作，巨幅油畫《決瀾社

畫越加奔放，筆觸激烈、色彩強烈、大膽

分豐沛，在香港與台北都有多家畫廊代理

宣言》、《春秋戰國民生圖》等，黑白的線

而巧妙的運用黑色，十分華麗奔放。

或展出其作品。透過畫廊的推廣，美術館

條、紋飾、文字，不僅是向他的雙親，更

博覽會的展出，拍賣市場的介紹，今日龐

是對中國人文傳統的致敬之作。他以承先

中國藝術評論家水天中如此講評龐均的

均已是大師級藝術家，私人收藏走向國際

啟後的視角，對反思與探索日益僵化的油

繪畫：「如果說龐均的靜物畫色彩特徵是

化，作品廣為中台的美術機構收藏，目前

畫作，向西方世界展示東方文明如何在油

絢爛與飽滿，他的風景畫色彩特徵就可以

收藏其作品的機構有：中國美術館、國家

畫發展進行當代的表現。

說是優雅與含蓄。我們比照流覽他的風景

博物館、常熟美術館、龐薰琹美術館、中

與靜物，會為迥然不同的色彩情調出自同

央美術學院、清華大學美術學院、北京畫

八 十 歲 的 龐 均， 巨 幅 繪 畫 在 世 界 的 美

一畫家之手而感到驚訝。」不同的主題各

院美術館、中國美術學院、雲南藝術學院、

術殿堂發光發熱，現在的他仍處在創作狀

有情調，龐均的花卉靜物則能充分地表現

首都博物館、北京美術家協會、山西劉胡

態，要一直畫到不能畫為止，決瀾精神不

題材。他說道：「我畫花的作品更加自由、

蘭紀念館；還有國立台灣藝術大學、台灣

死，繼續傳承。

出色。畫花並非畫花，而是用色、用筆、

國父紀念館、台灣國立美術館、高雄市立

個性，情緒化為一體，呈現精神性的視覺

美術館，甚至墨西哥博物館以及各國私人

語言，既有西方又有東方。對此，著名評

所收藏。

論家水天中的慧眼是理解到我作畫的本質 內涵。誠然，我的風景作品，五十多年來

相較於第一代留學西洋或東洋學習藝

堅持了我固有的特色，即灰調子與意境的

術的雙親龐薰琹、丘堤，龐均的生命歷程

結合，此乃中國文人化的情懷，所謂油畫

沒有他們坎坷，走的路卻比他們更遠、更

文 人 畫， 正 如 宋 代 的 馬 遠、 夏 圭 那『 小

寬廣。在龐均創作豐沛的作品中，不免也

1.《水蝠》2002 年 油彩 畫布 53.3 x 46.6 cm 成交價：415,385 台幣 羅芙奧香港 2013 秋季拍賣會 “Fruit”, 2002, oil on canvas, 53.3 x 46.6 cm Sold for US$13,935 Ravenel Autumn Auction 2013 Hong Kong

2. 2015 年在威尼斯「東方文明個展」所發表 的新作，巨幅油畫《決瀾社宣言》 （右一）。 圖片版權為日升月鴻畫廊。

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The monumental new work “Proclamation of the Storm Society” was shown at the solo exhibition “Orient Civilization” in Venice this year. Photo copyright Ever Harvest Art Gallery.

It must have been around the fall of

and also take the opportunity for a closer

in Taiwan. So finally, in a rather circuitous

2005 when I flew to Beijing at a friend’s

appreciation of my two hosts ’ paintings.

fashion (taking me from Beijing’s Fifth Ring

introduction to visit painter Pang Dao and

As I was leaving, Mrs. Pang Dao, as

to Xindian in New Taipei City), after having

her husband Lin Gang. The purpose of

sophisticated and hospitable as ever, gave

admired his work for so long, I got to meet

the trip was to learn more about the work

me two collections of paintings, asking me

this senior painter who was both familiar

of senior Chinese painter Pang Xunqin,

to take them back with me to her brother

and strange to me: Pang Jiun.

Beijing, Hong Kong, Taipei: A Painter’ s Journey We arranged to have our first meeting at a little coffeehouse near Pang Jiun ’ s

painting to celebrate the progression of

art market, with his landscape paintings

life.

commanding prices of at least 1-2 million

studio. It was already dusk, and the

HK dollars, and his collectors no longer

three of us — the artist ’ s wife, Mrs. Ji

That year, Pang Jiun was approaching

found only in Taiwan and the former crown

Hong, also joined us after giving me a

his seventies, yet he hardly looked his

colony, but across all Chinese communities

very warm welcome — had a great time

age at all, brimming with confidence as

in Asia, as well as Europe and North

eating dinner together. Afterwards I had

he fluently articulated his opinions and

America. The year 2015 saw a series of

the good fortune to be given a tour of the

shared his insights. After the year 2000,

exhibitions and lectures titled “Pang Jiun

painter ’ s studio and storeroom, where

one would occasionally see some of his

at 80 : A Global Retrospective, ” which

many assorted paintings where mounted

minor paintings at auctions in Hong

was organized by You Renhan, curator

on steel shelves. It looked rather like an

Kong, but the truth is that back then the

of the Ever Harvest Art Gallery. In May

exhibition unit for a museum collection,

number of collectors in Hong Kong and

this year, timed to coincide with the 56th

everything was so neat and well organized.

Taiwan that were buying Pang ’ s work

Venice Biennale, the Istituto Santa Maria

I was deeply impressed by the wide range

was fairly small. Coming from China, his

della Pietà showcased the artist’s work in

of outstanding works form the artist’s long

brilliant academic achievements were

an event titled “Orient Civilization – Pang-

career. Mr. Pang was both eloquent and

little appreciated in Taiwan, and the

Jiun Solo Exhibition, ” and in June the

passionate about his art, generously and

mainstream was not ready to embrace

Ueno Royal Museum in Tokyo hosted an

with a professional air showing us some of

him at first. Later, he found work teaching

exhibition named “Pang Jiun: Expression

his most treasured works on paper, kept in

art and design at the National Taiwan

of the Orient.” Further solo exhibitions are

the drawer of his desk. He also explained

University of Arts, and received various

planned in other Asian cities, including

in some detail the dehumidification system

invitations to participate in exhibitions,

Singapore, Shanghai, and Taipei. In

used to protect his valuable artwork.

both from museums and commercial

addition, Taipei ’ s Red Gold Fine Art, in

We also talked about their past, how he

galleries. He also set up the Pang Jiun

collaboration with Artist Magazine, will

and his wife came from Mainland China

Studio, where he took in students to make

publish a monumental collection of Pang

to Hong Kong via various stations, and

a living. All in all, from 1987 onwards, it

Jiun’s oil paintings. Scheduled to appear

lived there for a while before eventually

was a long and bumpy road, paved with

in the second half of 2015, this album will

settling down in Taiwan. Mention was also

hard work, towards his current recognition

catalog the artist’s major works throughout

made of the little rituals observed every

as an eminently collectible artist in the

his career. At 80, Pang Jiun is still full of

year in their family, such as the “ New

domestic and regional market.

energy and creative drive, and continues to amaze his admirers.

Year’s Inaugural Brush” and the “Birthday

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Painting on August 8” — on these days

Ten years later, Pang Jiun is already one

Pang Jiun will invariably complete a major

of the most sough-after painters in today’s

Hailing from Changshu in Jiangsu

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province, Pang Jiun was born in 1936 into a prominent artistic family that had already produced three generations of renowned painters, including his father, Pang Xunqin, who belonged to the first wave of Chinese artists studying in France, and his mother, Qiu Ti, who studied painting in Japan. Pang Jiun’s parents also were a driving force behind the Juelanshe (sometimes translated as “Storm Society”) movement in the 1930 s in Shanghai, where they pushed for innovation and reform of Chinese painting and art education, together with contemporaries such as Sanyu and Lin Fengmian. Pang Xunqin’s field of expertise was decorative painting, which he researched extensively, introducing many concepts of modern Western art and design to China. He was also the founder of the Central Academy

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of Art and Design in Beijing, and enjoyed

Born and bred as an artist, Pang

Arts Academy on a daily basis were sold

a very high reputation in Chinese fine

remained active and immersed in art

almost as soon as they went on exhibition.

arts circles. Although born in Shanghai,

throughout his entire life. His parents

This way, his reputation slowly grew,

Pang Jiun was raised in Beijing in a

had undergone the baptism of Western

and somehow Pang was able to at least

household steeped in artistic endeavor.

oil painting, and been great promoters of

partly shake off the social and political

He showed great promise from very early

modern art in China. Absorbing both the

restraints typical for a time when all art

childhood, creating his first self-portrait

experience and knowledge of his parents,

and literature had to serve the Communist

at the tender age of two years and eight

while at the same time being imbued in

Party. As much as he could, then, the

months. Together with his sister Pang Dao,

Oriental art and culture, Pang Jiun soon

artist “painted for the sake of painting.” In

two years older than him, he held his first

began to develop his own individual

1959, the then 23-year-old artist painted

exhibition of oil paintings at Shanghai ’ s

style of painting. But during the Cultural

a scene at the construction site of the

Yili Gallery when he was 11 years old. At

Revolution, his father was denounced as

Shisanling ( “ Ming Tombs ” ) Reservoir in

13, Pang entered the Hangzhou Academy

a rightist, while Pang Jiun himself came

Beijing, and this monumental oil painting

of Fine Arts. He was soon transferred

under fire as a revisionist. He was forced

later became a part of the collection at the

to the Central Academy of Fine Arts

to specialize in mainstream decorative

National Art Museum of China.

in Beijing, where he studied under Lin

paintings of landscapes and historic

Fengmian, Pan Tianshou, Huang Binhong,

sites, but even there his unique style and

Xu Beihong, Dong Xiwen, and Li Keran.

talent made his work stand out so much

In fact, he was the last student that Xu

that the members of the diplomatic staff

Beihong took under his wings, and when

at various foreign embassies took notice

he graduated at 18, he was the youngest

of his paintings. His output became so

graduate that the Central Academy of Fine

popular that the paintings and sketches

Arts had ever seen.

from life he delivered at the Beijing Fine

1.《湘江泊舟》1990 年 油彩 畫布 65 x 80.5 cm 成交價：1,680,000 台幣 羅芙奧台北 2014 秋季拍賣會 “Boats Beside Xiang River”, 1990 oil on canvas, 65 x 80.5 cm Sold for US$53,967 Ravenel Autumn Auction 2014 Taipei

Freehand Transformation of Chinese Oil Painting Taiwan art critic Pedro Tseng feels that

blind worship of the Western modernism

masterpieces, he perceives the qualities

Pang Jiun ’ s ingenuity lies in the way he

which radically denies the classical

of Xieyi, symbolism, and expressivity

blends tradition and modernity, as well

heritage. He relates the classical to the

indicative of those of the literati painting.

as Chinese and Western elements, in his

modern, and imbibes their peculiarities

His examination of the theory and practice

work, creating a style that displays the

to his advantage; in the process, he also

of both the modern Western oil painting

best points of all its eclectic elements.

discovers the thread running through

and the Chinese ink painting leads to

Writes Tseng: “Pang Jiun as a researcher

oil painting and Chinese painting,

his conclusion that a highlight of Xieyi

shuns both the older-generation preference

particularly the Xieyi ink painting, despite

is one of the most important ways to

of realist depiction to modern art, and a

their different systems. In the modernist

regenerate Chinese oil painting. � (Pedro

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Tseng, ‘ Realism, Impressionism, and Eastern Expression: A Phenomenological Approach to the Cross-cultural Thinking in the Language of Pang Jiun’s Painting.)

Pang Jiun’s oil painting style has all the characteristics of Eastern art, including a penchant for lines drawn in black ink, which add whole new shades of aesthetic allure to his artistic vocabulary, firmly underlining the compact yet passionate quality of his work. Pang has earned particular praise for his sublime grey tones, both classical and modern in their appeal. Some people say that Pang ’ s

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paintings “ are a bit reminiscent of Wu Guanzhong’s,” and this is probably largely

That was in 1980 , at a time when Pang

— my sketching experience in Huang

due to the fact that both artists are fond

Jiun had already made a name for himself

Shan (Huang Mountain) — China in grey

of using the color grey and enjoy a lyrical

in Chinese painting circles. Even so, it

in tone, which difficulties in painting. The

mode. However, their styles are really

was particularly gratifying to the artist to

reason my landscapes were popular during

quite distinct. Others have called Pang

receive such a generous compliment from

the Cultural Revolution was precisely that

Jiun “ the Qi Baishi of oil painting, ” a

his own father.

they have a fine grasp of the grey tone, for

statement indicative of their shared love

which the name Pang Jiun was known. To

of the freehand (xieyi) style and ability

When recalling why he fell in love

my observation, the grands mountains and

to capture the essence of their subjects.

with the grey palette, Pang Jiun writes:

deep waters of China are definitely to be

As Qi Baishi himself put it, “ The art of

“ One time, my mother brought home

portrayed in grey and the grey, consonant

painting lies in treading the fine line

the catalogues of Picasso and Matisse. I

with the sentiment and ethereality of

between likeness and unlikeness: if your

adored Fauvism then. But because the

Chinese poetry and the reserved and low-

work does not resemble your subject at all,

Cultural Revolution was in its heyday, I

key style of Chinese people, reveals the

you are just a cheat; if it resembles it too

had to destroy my oil paintings created

spirituality of Chinese culture.”

much, you are just producing kitsch.”

in the earlier days, and resign myself to study the academic paintings. This is

Pang Jiun’s grey tones remain an

perhaps why my attention is directed more

important reason for his popularity, but

to aesthetic concerns than to social ones.

nothing impressed him more than his

In my delving into the form and color

father ’ s comment, made just before the

of oil painting, I gradually realized why

artist left Mainland China. Pang Xunqin

Impressionism emerged in nowhere other

was not in the habit of criticizing his

than to social ones. In Impressionism

son’s artistic output, but on that occasion

emerged in nowhere other than France. I

he declared, “ Your palette is wonderful,

think it is because France is full of colors

especially your grey tones. Very few

in both countries and cities. By contrast,

artists can paint grey hues like that. ”

with its grand mountains and deep waters

1.「元旦試筆青」創作 《山水之間》2005 年 油彩 畫布 170 x 170 cm 成交價：4,484,000 台幣 羅芙奧台北 2007 春季拍賣會 New Year Inaugural Brush “Landscape”, 2005 oil on canvas, 170 x 170 cm Sold for US$135,776 Ravenel Spring Auction 2007 Taipei

2.《薄暮夜初昇》1987 年 油彩 畫布 61.5 x 70 cm 成交價：528,000 台幣 羅芙奧台北 2014 秋季拍賣會 “Dusk”, 1987, oil on canvas, 61.5 x 70 cm Sold for US$16,961 Ravenel Autumn Auction 2014 Taipei

Subtly Poetic Landscapes v.s. Radiantly Bold Stills and Nudes For many years, collectors have been

writes about Pang Jiun’s painting, “If the

critic, Mr. Shui Tianzhong ’ s wisdom lies

favoring Pang Jiun ’ s landscapes, a fact

color of Pang Jiun’s still life paintings is

in his comprehension of searching for the

that is reflected in art market quotations.

characterized by floweriness and fullness,

innate essence of art creation. Indeed,

Over the years, virtually all of the artist’s

the color in his landscape paintings is

my works on landscape, after 50 years

highest-selling works at auction have

characterized by elegance and implication.

of persistence on the pursuit of existing

been landscape paintings. But while most

When we compare his landscapes with

characteristics, which is the integration of gray tones and state of mind, the Chinese literati’s sentiments, the so-called literati’s oil painting. As Yuan Ma and Kwei Hsia, the ‘small view scenery’, ‘the corner view’.

Has touched the hearts of thousands of Chinese people. That is poetry but also music, and the realm of grand nobility.

The ‘scenery spots’ and ‘historic sites’ are the demands of the common people”. (The preface, Pang Jiun, ‘Poetics — Landscape’)

Wi t h h i s f l u i d s t r o k e s a n d b o l d confidence, Pang Jiun is an artist full of creative energy, and today numerous galleries in Hong Kong and Taipei carry his work. Thanks to the increasing number of exhibitions, both at galleries and museums, that are showing his paintings, as well as his work ’ s growing presence

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at international auctions, Pang is now collectors may have set their sights on this

his still lifes, we feel surprised that such

considered to be in the “ grand master ”

type of works, the truth is that as he grows

distinctly different color tunes come from

category of artists. In the same way, his

older, the artist prefers painting nudes and

the same artist, which is expressed by high

appeal to private collectors is increasingly

stills, and his flower stills in particular

intense in depicting his painting.” All his

a global one. Currently, the following

are worth a look, with their vivid charm,

works have their own style and mood, and

museums and institutions feature his

mature composition, sophisticated palette,

Pang Jiun’s flower stills are masterpieces

work in their collections: the National Art

and expert lines. Most recently, Pang

of the genre. In his preface to Poetics-

Museum of China, the National Museum

Jiun’s style is becoming even bolder, with

Landscapes , Pang Jiun writes: “ … the

of China, the Changshu Art Museum, the

intense strokes and vibrant colors, as well

flower works that I paint are more free,

Pang Xunqin Art Museum, the China

as a use of black that is both daring and

and distinguished The flowers are beyond

Central Academy of Fine Arts, Tsinghua

ingenious. All this makes for radiantly

flowers, they are the fuse of colors, strokes,

University ’ s Academy of Art & Design,

delightful pictures.

personality and sentiments, illustrating the

the Art Museum of the Beijing Fine Arts

visual language of spirituality; it is both

Academy, the Yunnan Arts University, the

western and eastern. Hence, the renowned

Capital Museum in Beijing, the Beijing

Chinese art critic Shui Tianzhong

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Artists Association, and the Liu Hulan

who yet manages to pioneer the future. His

Memorial Hall in Shanxi. In Taiwan, there

inventiveness and innovative drive help

are the National Taiwan University of Arts,

him to avoid becoming set in his ways, and

the National Dr. Sun Yat-sen Memorial

instead of following a rigid formula, he

Hall, the National Taiwan Museum of Fine

shows the Western world how Eastern oil

Arts, and the Kaohsiung Museum of Fine

painting can be both modern and relevant.

Arts. Some of his work made it all the way At 80, the light of Pang Jiun’s

to Mexican museums, and much more is in the hands of private collectors.

monumental paintings shines brighter than ever in the global art world. The artist

While Pang Jiun may not have had to

continues to paint, and is planning to do so

struggle quite as much throughout his

as long as he can. The spirit of the Storm

artistic career as did his father and his

Society is alive and well, and continues to

mother, who belonged to the very first

be passed on to future generations.

generation of modern Chinese painters trained abroad (be it in the West or in Japan), he probably walked farther on the road of artistic exploration than either of them. Unsurprisingly, in Pang Jiun’s large oeuvre, there are some works recalling his parents’. Early in his career, he copied some of their old works, and these paintings he later donated to the Beijing Fine Arts Academy, where he had worked during the Cultural Revolution.

The handsome painting “Monet’s Garden,” commemorates his father ’ s early travels in Europe, while “Mother’s Last Memory” depicts Gulang Island off the coast of Xiamen (Amoy), a place his mother was very fond of. With their unique lines, characters, and decorative patterns, the monumental oil paintings “ Proclamation of the Storm Society ” and “ Life in the Warring States Period, ” new works first shown at the solo exhibition “ Orient Civilization ” in Venice this year, pay homage not only to his parents ’ works, but to the entire Chinese literati tradition.

Firmly rooted in the past, Pang is an artist

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1.《花的對話》2012 年 油彩 畫布 72.5 x 91 cm 成交價：1,015,385 台幣 羅芙奧香港 2013 春季拍賣會 “Flower’s Conversation”, 2012 oil on canvas, 72.5 x 91 cm Sold for US$34,021 Ravenel Spring Auction 2013 Hong Kong

2.《白色蝴蝶蘭》2007 年 油彩 畫布 72.5 x 60.5 cm 成交價：1,140,000 台幣 羅芙奧台北 2013 秋季拍賣會 “White Phalaenopsis”, 2007 oil on canvas, 72.5 x 60.5 cm Sold for US$38,527 Ravenel Autumn Auction 2013 Taipei

龐均作品二十大拍賣成交排行 Top 20 Most Expensive Paintings of PANG Jiun Ever Sold at Auction 排名 Rank

圖檔 Image

作品 Work

預估價 Estimate

成交價 Sold at

HK$ 1,200,000-1,600,000

NT$ 9,680,000 HK$ 2,420,000

HK$ 1,400,000-2,400,000

NT$ 8,720,000 HK$ 2,180,000

HK$ 800,000-1200,000

NT$ 8,320,000 HK$ 2,080,000

HK$ 900,000-1,600,000

NT$ 8,240,000 HK$ 2,060,000

HK$ 1,300,000-2,500,000

NT$ 7,590,000 HK$ 1,897,500

HK$ 1,000,000-1,600,000

NT$ 7,360,000 HK$ 1,840,000

HK$ 750,000-1,2000,000

NT$ 7,360,000 HK$ 1,840,000

HK$ 980,000-1,280,000

NT$ 7,360,000 HK$1,840,000

HK$ 900,000-1,500,000

NT$ 6,800,000 HK$1,700,000

HK$ 750,000-1,2000,000

NT$ 6,500,000 HK$ 1,625,000

拍賣地點／時間 Auction/Date

牆外行人•牆裡佳人笑

1

A Passerby Hears a Fair Maiden’s Laughter in the Garden Ring 2010 Oil on canvas 200 x 200 cm

青山綠水去無聲

2

Tranquil Landscape 2012 Oil on canvas 219 x 219 cm

Dream Home 2014 Oil on canvas 98.8 x 199.5 cm

（河畔）

4

By the River 2011 Oil on canvas 180 x 180 cm

花間一壺酒

5

The Flowery Landscape 2012 Oil on canvas 200 x 262 cm

Distant Mountains and Water 2014 Oil on canvas 180 x 180 cm

青山水田無古今

6

Timeless Landscape 2013 Oil on canvas 129.5 x 162 cm

The Palace Willow in Spring 2014 Oil on canvas 175 x 173 cm

飛流萬里

9

Waterfalls 1993 Oil on canvas 194 x 247 cm

花間一漁舟

10

30

Fishing Boat Among Flowers 2014 Oil on canvas 100 x 200 cm

香港佳士得 Christie’s Hong Kong May 31, 2015

香港佳士得 Christie’s Hong Kong May 27, 2012

Poly Auction Hong Kong November 24, 2012

香港佳士得 Christie’s Hong Kong May 25, 2014

香港佳士得

滿城春色宮牆柳

6

Christie’s Hong Kong November 25, 2012

香港保利

山長水遠知何處

6

Christie’s Hong Kong May 29, 2011

香港佳士得

夢中家園•和龐薰䐠所作紅屋頂

3

香港佳士得

Christie’s Hong Kong November 24, 2013

香港蘇富比 Sotheby’s Hong Kong April 6, 2014

香港蘇富比 Sotheby’s Hong Kong October 7, 2012

香港蘇富比 Sotheby’s Hong Kong April 5, 2015

| Art & Investment | 排名 Rank

圖檔 Image

作品 Work

預估價 Estimate

成交價 Sold at

HK$ 1,000,000-1,500,000

NT$ 5,920,000 HK$ 1,480,000

Christie’s Hong Kong November 23, 2014

NT$ 5,520,000 HK$ 1,380,000

台北羅芙奧

NT$3,800,000-4,800,000

HK$ 880,000-1,280,000

NT$ 5,440,000 HK$ 1,360,000

HK$ 900,000-1,200,000

NT$ 4,880,000 HK$ 1,220,000

HK$ 900,000-1,200,000

NT$ 4,880,000 HK$ 1,220,000

HK$ 450,000-600,000

NT$ 4,830,000 HK$ 1,207,500

NT$ 2,500,000-3,500,000

NT$ 4,484,000 HK$ 1,121,000

HK$ 800,000-1,200,000

NT$ 4,480,000 HK$1,120,000

HK$ 500,000-700,000

NT$ 4,400,000 HK$ 1,100,000

HK$ 900,000-1,500,000

NT$ 4,400,000 HK$ 1,100,000

山水之間

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Between Mountains and Waters 2005 Oil on canvas 170 x 170 cm

Auction/Date

香港佳士得

江南無限好

12

Scenery in Jiangnan 2014 Oil on canvas 115x 180 cm

春滿狀元樓

13

Zhuang Yuan Villa in Spring 2013 Oil on canvas 130.4 x 162.3 cm

春風吹滿狀元樓

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Zhang Yuan Villa in Spring 2010 Oil on canvas 180 x 180 cm

灕江

14

Lee River 2010-11 Oil on canvas 195 x 195 cm

疑似銀河在人間

16

Galaxy in the World 2007 Oil on canvas 128 x 161 cm

Ravenel Taipei June 7, 2015

香港蘇富比 Sotheby’s Hong Kong October 6, 2013

香港蘇富比 Sotheby’s Hong Kong October 4, 2010

香港蘇富比 Sotheby’s Hong Kong April 4, 2011

香港佳士得 Christie’s Hong Kong May 25, 2008

山水之間

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Landscape 2005 Oil on canvas 170 x 170 cm

富貴家族

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Family of Prosperity 2014 Oil on canvas 130 x 162.19 cm

銀河輕舟（輕舟已過萬重山）

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Skiff has Passed Ranges of Mountains 2008 Oil on canvas 130 x 162 cm

A View of Clouds 2011 Oil on canvas 173 x 175 cm

Ravenel Taipei June 3, 2007

香港蘇富比 Sotheby’s Hong Kong October 6, 2014

香港佳士得

坐看雲起時

19

台北羅芙奧

Christie’s Hong Kong November 30, 2009

香港佳士得 Christie’s Hong Kong November 27, 2011

（製表 ／ 陳惠黛 Odile Chen。資料更新 update 2015.06.23）

I Work, Therefore I Exist

工作故我在 Text / Ethan Photo / Salone del Mobile. Milano

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「工 作 環 境」成 為 新 的 生 活 議 題。 義 大 利「雙 年 展」致 力 空 間「時 尚 x 科 技」原 創 概 念 下， 建 築 師 Michele De Lucchi 提 出 一 座 讓 人 可 以「漫 步」其 中 的 大 型 裝 置， 為 工 作 環 境 增 添 活 力；工 作 環 境 中，一條無盡的環形通路，讓工作者宛如行走在蜿蜒曲折小徑的辦公室裡，透過行走獲得滿滿的創 造力。 「少了光，就沒有空間存在」；義大利建築師 Attilio Stocchi 以敏銳的關注力，從環境和節能著手； 藉由光與聲、影，讓人身歷其境，一同探索聲和光的藝術旅程。 現實世界，北歐挪威首府奧斯陸市中心 PALEET 購物中心和工業設計大師 Tom Dixon 位於倫敦的 餐廳，不約而同選擇了「銅」的金屬折射效果，重新賦予商業空間全新的視覺和觸感，更說明了光 的現代故事。 The“work environment”has become a new life issue. Italy’s bi-annual exhibition devotes its space to the original concept of“Fashion x Technology”. Architect Michele De Lucchi has put forward the idea of a large-scale installation in which people can go for“The Walk”. Adding vitality to the work environment, an endless circular path allows workers to stroll along a winding and zigzagging path inside their office,

providing the necessary creativity needed

for work. “ N o l i g h t , t h e re i s n o s p a c e ”.

I t a l i a n a r c h i t e c t A t t i l i o S t o c c h i ’s

keen perception focuses on the

environment and energy saving. By

using light and sound, as well as

shadow, he lets people experience

space while simultaneously taking

them on an artistic journey of light and

sound.

In the real world, PALEET shopping

m a l l , i n N o r w a y ’s c a p i t a l

city, Oslo and master industrial

designer Tom Dixon, in his

London restaurants, happened

to choose copper for their

refracting effects. This provided

c o m m e rc i a l s p a c e s w i t h

new visual and tactile elements

and further continued the

contemporary story of light.

給我一個， 進辦公室的理由 Give Me a Reason to Go XS XLI 3JÁGI Text / Andrea Photo / Salone del Mobile. Milano

行 動 辦 公 室 的 時 代 來 了！ 只 要 有 WiFi 的 地 方 就 可 以 工 作， 究 竟 辦 公 室 存 在 的 意 義 為 何 ?「The Walk」 是 義 大 利重量級建築師 Michele De Lucchi 提出的全新可能； 意味著，理性的辦公室從現在起也必須臣服於感性！ The era of mobile offices is here! As long as you have WiFi, you can work anywhere. What exactly is the meaning of an office today? Heavyweight Italian architect Michele De Lucchi has created a totally new possibility with“The Walk”. Meaning that from now on, sense must succumb to sensibility!

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科技之賜，在哪工作都成，只要有 WiFi，就算是公園也能變成行動辦公

室。況且，咖啡館裡香醇、誘發創意的精 品咖啡；從獨立書店黑膠唱盤流洩出的樂 音啟動主宰感性的副交感神經；又或在深 夜食堂，一碗馬鈴薯燉肉襯著一段人情冷 暖就成靈感；至於陽光下一場粉紅香檳野 餐，則讓人瞬間移動到神往的巴黎……那 麼，還有什麼理由讓人想進辦公室，工作？

對於堅信「自由」即生命價值的義大利 重量級建築師、同時也是設計運動「孟菲 斯 派（Memphis）」 代 表 人 物 的 Michele De Lucchi 認 為， 當 工 作 內 容 持 續 演 化 的 同 時， 我 們 也 不 斷 重 新 定 義 辦 公 室 該 像 是 什 麼 樣 子？ 所 有 新 的 工 作 空 間、 新 的 設 計 手 法， 都 為 了 讓 辦 公 室 成 為 活 生 生 （Liveable）的場域。Michele De Lucchi 更 提出，未來，辦公室將為了交流而存在， OA（Office Automation System， 辦 公 自 動 化系統）已死，真正能回應人心需求的， 才能把人帶回辦公室。

1. 圓弧狀的開放式多功能會議空間，讓開會也 能成為腦力激盪的時刻。 An arc-shaped open multi-function meeting space allows each meeting to become a brainstorming session. (Photo by Saverio Lombardi Vallauri)

2. 誰說辦公室裡不能有健身設備 ? 偶爾流流汗 反而能增加腦內啡，讓人更正面思考。 Who says an office can’t have fitness equipment?

Sweating once in a while and letting the endorphins flow allows for more positive thinking.

(Photo by Saverio Lombardi Vallauri)

3. 事實上現代工作脫離不了材質、模型去發展 創意，一個獨立的實驗室往往是必須的。 In a modern day setting, materials and models are necessary to spark creativity, making an independent experimental workspace a must.

(Photo by Carola Merello)

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了生產力時代，當今工作對於人們而言，

首先，「俱樂部」是一個以社交為優先

早已經不是製造某個東西，而是精進、改

的 互 動 平 台。 整 個 空 間 充 斥 著 休 憩 的 氣

善生活價值，而掘取靈感最棒的方式就是

息，鬆軟的沙發、曖昧的燈光，當你為工

漫步，所以在辦公室裡設一條蜿蜒曲折的

作所苦時，不會想要逃離辦公室，取而代

因 而， 一 座 宛 如 由 兩 個 無 限 大 符 號 交

小徑來表現無盡的環形通路，展現鼓勵在

之 的 則 是 在「 俱 樂 部 」 裡 將 一 切 拋 諸 腦

會 而 成 的 概 念 辦 公 室「 漫 步 」 誕 生 了！

辦公室中通過行走獲取最基本創造力的重

後。「阿格拉」則是多功能會議室，座椅

Michele De Lucchi 表 示，「 我 們 應 該 將 辦

要性。

如羅馬元老院般面向中心弧形陳列著，開

「漫步」才是通往靈感之途 “The Walk” Is Leading the Way to Inspiration

會、展示、演出、投影……不管是何種會

公空間想像為一處心靈的主場館，用來孕

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育新的創意與可能性的空間。」「漫步」一

場內四大區域預示了辦公室生活的四個

詞，指的是無目的的、悠閒的走著，看似

時刻，包括：「俱樂部（Club）」、「自由

毫無意義的閒晃，然而背後卻隱含著尋找

人（Uomini Liberi）」、「阿格拉（Agorà）」

目標、等待靈光乍現的瞬間。事實上脫離

和「實驗室（Laboratorio）」。

面形式，都能在這裡讓創意自由延展，更 進一步獲得共識。

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1.「漫步」能夠獲取新思維。 “The Walk” fosters the production of new thoughts. (Photo by Saverio Lombardi Vallauri)

2. 在 宛 如 蝴 蝶 結 的 動 線 規 劃 中， 完 成 了 Michele De Lucchi 心中既隱私又開放的新 工作型態。 The bow tie-shaped layout and pathing, completes the private yet welcoming new forward looking work environment of the Michele De Lucchi Center. (Photo by aMDLStudio)

3. 確實在科技的時代，手作的重要性更被突顯 出來，實驗室存在的意義即是如此。 In the era of technology, the importance of things being hand-made becomes highlighted, and the experimental work space exists exactly for the purpose of making by hand. (Photo by Saverio Lombardi Vallauri)

4. 健身器材、不規則的空間布局，辦公室從此 不再是令人窒息的空間。 Fitness equipment and the irregular layout makes the office no longer a suffocating place to be.

(Photo by Saverio Lombardi Vallauri)

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色彩魔力

Fritz Hansen Text / Elki Photo / Fritz Hansen

由丹麥設計大師 Arne Jacobsen 所設計的單椅 Series 7，已逾 60 年歷史，被譽為永恆經典。如今已銷售突破 7 百萬張，是 全球設計史上最暢銷的可堆疊式單椅。今年，為了向此張經典 單椅致敬，丹麥頂級家居品牌 Fritz Hansen 特別邀請丹麥藝術 家 Tal R 為 Series 7 挑選了 9 個新色，包含：Opium Red、Ai Blue、Chocolate Milk Brown、Trieste Blue、Hüzün Green、 Egyptian Yellow、Altstadt Rose、Evren Purple、Chevalier Orange，每個顏色均特調而成，並會隨著光線、空間以及其 他因素而在視覺上有些許不同，賦予 Series 7 全新面貌，更是 經典設計能與時俱進、歷久彌新的關鍵。

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「實驗室」則聚焦在創意流 程的展現，三間小型工作坊裡頭， 有 3D 模型、工匠示範、還有 材 質 研 究， 各 色 的 文 件、 幻燈片、軟體…… 等等，在這裡創 意和想法變成了各 種流程，各司其職最後 匯聚成團隊成果，創造出 合作的極大值。當然，少不了 的辦公座位，則在「自由人」得到最大的 解放。

辦公室裡最重要的是「我」與「我們」 之間的平衡。的確許多工作者想望，一個 既私密又能與夥伴保有交流的空間。這裡 由許多小區塊所構成，當你想要躲進自己 的世界專心時，不會有人不識相的打擾； 當你腸枯思竭時，踏上一旁的跑步機，讓

1. 一座小型的圖書館就能成為工作者的靈感 之地。

腦袋重新開機。

Michele De Lucchi 把工作環境視為「鍛

A small library can be a place for inspiration.

(Photo by Saverio Lombardi Vallauri)

2. 宛如俱樂部般的空間，讓工作者的放鬆時間 都能保有隱私感。

鍊思維的健身房」，如此一來，意味著辦公 室變成一個製造新鮮創意和可能的空間。

A space reminiscent of a country club allows employees a sense of privacy during breaks and times of relaxation. (Photo by Carola Merello)

未來的辦公室像多變的風景，沒有不變的 紀律，有的只是各種新事物的創造者。

全新定義舒適工作空間

Poltrona Frau

Text / Elki Photo / Poltrona Frau Taiwan

素有頂級設計及卓越工藝美譽的 Poltrona Frau，自 1912 年創立，即堅持純粹手工技法上乘材質運用，以百年傳承的 工藝精神及專業的皮革知識，賦予每件傢俱典雅的氣質和獨特 的 個 性。 繼 Kennedee、Archibald 及 GranTorino 之 後，2014 年 與簡約主義大師 Rodolfo Dordoni 攜手合作推出的「Jobs 辦公系列」， 第四度榮獲 Wallpaper*Design Award。透過仔細反思人類行為的進化關 係及對材質的精挑細選，展演辦公空間大器簡約完美典範。「Jobs 系列」以 其優雅俐落的線條，頂級奢華的皮料，搭配實用的功能配件，為頂級辦公空間 打造出理性與奢華感兼具的舒適氛圍。

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探索光的故事 2015 燈具雙年展 2015 Euroluce: FAVILLA To Every Light A Voice Text / Stephie Chiu Photo / Salone del Mobile. Milano

「少了光，就沒有空間存在」，光不只決定了空間，更能 形成敘事結構與節奏，撩撥人的感官與情感。2015 米蘭 燈具雙年展期間，聖斐德里廣場上神秘的黑色盒狀空間， 以 聲 光 藝 術 帶 領 參 觀 者 體 驗 一 場 萬 花 筒 般 的 旅 程， 探 索 光的故事。 “No light, there is no space”. Light not only determines space, it also shapes composition and rhythm.

It therefore deeply touches people’s senses and emotions. During the biannual Milan Euroluce, there was a mysterious big, black box on the Piazza San Fedele. Visitors were led by sound and light art on a kaleidoscopic journey to experience the story of light.

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1. 西班牙藝術陶瓷品牌 LLADRÓ 以女性雕像 為靈感創作的陶瓷燈飾系列。 Artistic Spanish ceramic brand, LLADRÓ, uses female statues as inspiration for the creation of these ceramic lighting series. (Photo by Carola Merello)

2. 義大利建築師 Attilio Stocchi 運用各種光的 折射、映射效果，配合聲音及色彩變化，打 造一場動人的光之旅程。 Italian architect, Attilio Stocchi utilizes various types of light refraction and projecting effects in combination with changes in sound and color to create a thrilling experience. (Photo by Alessandro Russotti)

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1. 衍射的綠色光芒，為空間創造出華美如孔雀 開屏般的視覺效果。 The radiating green light creates a beautiful peacock-like visual effect.

2. 燈具雙年展中，越來越多以 LED 科技為特 色所設計的燈具，帶來許多新造型。 There are more and more lightings that are specially designed with emphasis on LED technology, bringing new styles to the Lighting Biennial.

3. 來自威尼斯的燈具品牌 Venetia Studiem 新 推出的燈具充滿古典、戲劇效果。 From Venice, lighting brand Venetia Studiem has produced a series of new classically styled lighting fixtures which create an opulent effect.

(Photo by Carola Merello)

4. 拜科技所賜，燈具除了照明之外，也可以透 過聲、影與使用者互動。 Thanks to technology, lighting equipments not only give us light, but also interact with users through sounds and shadows.

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距

今一千年前的 1015 年，科學家伊本

索「光」的故事。

場 上 大 型 的 黑 色 盒 子， 幾 乎 沒 有 任 何 裝

海瑟姆（Ibn al-Haytham）在其光學

研 究 著 作《 光 學 之 書 》（Kitab al-Optics， 英文書名：Book of Optics），揭露了人類眼 睛的構造，敘述視覺理論與光的物理特性。

線，如何透過光而發現形體。這個位於廣

光與聲、影的感官世界 Light, Sound, and Shadow World of the Senses

飾，充滿神秘感。參觀者走進後，是伸手 不見五指的黑暗空間，而後依循著聲音以 及光的線索，開啟一段聲光藝術的旅程。

人類對於光的探索，自此啟程。 知名的劇場設計師羅伯威爾森（Robert

這趟光的旅程變化多端，從大自然到人

為了紀念千年來人類於光領域的研究

Wilson） 曾 說：「 少 了 光， 就 沒 有 空 間 存

工都市，光是所有的共同點，也是一切的

足跡，以及各種光的技術發展，聯合國教

在。」光可以決定許多事，以此形成敘事

起源。他透過四種不同的手法，撩撥人的

科 文 組 織（UNESCO） 將 2015 年 定 為 國

結構與節奏；光可以跟音樂合作，或是與

感官與情緒。包含光的折射，構成一片白

際 光 之 年（International Year of Light）。

之對抗，藉此讓事物變得明顯或晦暗。義

色世界，讓人彷彿置身鑽石之中；光的反

伴隨著米蘭每兩年舉辦一次的燈具雙年展

大利建築師 Attilio Stocchi 的藝術裝置更進

射，由藍色和紅色主導視覺效果，創造出

（Euroluce），除了各品牌展現燈具設計與

一步，他讓光具有聲音的特質，擁有個性，

大自然的月亮、人工的光纖世界；綠色和

運用的最新趨勢，由福特（Ford）贊助、

彷彿一個人一樣，栩栩如生。FAVILLA 在

藍色光的衍射，構成彷彿孔雀般燦爛的效

義 大 利 建 築 師 Attilio Stocchi 構 思 的 裝 置

義大利文裡有閃光的意思，黑色盒子裡的

果，令人著迷；以及具有方向性的光束，

《FAVILLA. To every light a voice》， 藉 由

虛擬實境，從科學的角度檢視光的本身，

而黃色和綠色則分別帶來猶如陽光和森林

光與聲、影，讓參觀者身歷其境，一同探

展演光是如何移動，人的眼睛如何感測光

的自然感觸。

4

奧斯陸 新榮光 Oslo New Glory PALEET Shopping Center Text / Aline Photo / Jarmund/Vigsnæs As Arkitekter MNAL

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| Special Report |

北 歐 著 名 古 城 奧 斯 陸 市 中 心， 已 有 25 年 歷 史 的 PALEET 購 物 中 心 去 年 秋 天 整 修 後 重 新 開 幕。 不 走 復 古 老 調， 獨 特 材 質 構 築 出 優 雅 且 摩 登 的 精 緻氛圍，光影成為此處最迷人的風景，煥發出切合時代的榮光。 Situated in the center of the famous ancient Nordic city of Oslo, the PALEET shopping mall, with a history of already 25 years, re-opened its doors after renovation last autumn. Instead of restoring it to their ancient style, unique materials were used to create a modern, stylish construction with an elegant, refined atmosphere. Light and shadow generate a fascinating decor which is in line with modern day glory.

身

1. 運用黃銅材質與光的作用所產生的效果，為 天花板打造華麗絕美的視覺。

為挪威的首都和文化心臟，奧斯陸 在城市發展上始終在傳統與創新

Ingenious use of the effect created by light hitting brass material makes for a gorgeous ceiling display.

之間維持平穩，直到近年逐漸於國際嶄露

2. 大量運用銅做為空間設計的主要素材，局部 搭配木料以及皮革，展現復古且時髦的氛 圍。

頭角；成為北歐國家中唯一上榜《紐約時 報》2013 年評選全球 46 個最受歡迎的旅

The extensive amount of copper used in the design and furnishings of the space combined with a careful use of wood and leather serve to create a stylish, retro atmosphere.

遊城市。去年，市中心 PALEET 購物中心 （PALEET Shopping Center）自 1990 年經 營至今首次重整。

3. 閃耀光芒的黃銅隨著自然光的互動與映射， 呈現不同情緒。 The interaction and reflection of natural light on brass create different moods.

「光」的氛圍，映染靈感想像 The “Light” Atmosphere PALEET 購 物 中 心 在 保 有 建 於 1860 年 的 歷 史 門 面 及 文 化 氛 圍 下， 重 新 大 規 模 整 修， 由 Jarmund/Vigsnæs As Arkitekter MNAL 旗 下 的 建 築 師 們 組 成 團 隊， 並 由 RISS AS 及 LYSSTOFF AS 的 Linda Knoph

2

Vigsnæs 擔 任 顧 問， 目 標 是 賦 予 PALEET 購物中心鮮明而強烈的個性。

延 續 商 場 原 有 特 色， 保 有 獨 特 的 材 料 運用及好客氛圍，但在設計上將這些元素 轉化為一種新的、當代的，非復古或複製 舊有氛圍的場所。為此，大量使用銅、啞 光的棕色雪松木以及輕盈色調的水磨石地 板，藉由材質之間對比的觸感，以及搭組 後產生的摩登感，為空間襯出微微金色光 采，營造鮮活的溫暖氣息，又不至過於奢 華。獨特、帶有粗獷感並讓人感到貼心。

3

「銅」成就視覺、觸覺的層次 “Copper” Animates the Visual and Tactile Senses 水磨石地板鑲嵌金色片段，呼應以銅及 雪松木覆蓋的牆面；圓柱使用棕色真皮皮 革，配以旋轉向上的法式縫線，營造輕柔 觸感，平衡週遭硬材料。內部各店及公共 空間以牆面作出明顯界定，唯獨餐廳刻意 跨出邊界，運用金屬隔柵篩落光源的天花 板，讓自在的流動感在公共空間裡形成一 股自然情緒。

閃耀光芒的黃銅材質打造 PALEET 購物 中心中庭廣場，形成焦點，眾所矚目；幾 何造型吊燈與天花板合為一體般，呈現挑 高氣勢，藉由材質與自然光的互動、映射， 感染不同情緒。隨著不同時間，室外自然 光明暗變化，烘托出魔幻般呈現復古的光 感，既當代又傳統，即使歷經歲月，也能 隨時間沉澱優雅韻味。 1

玩銅餐廳

The Dock Kitchen Text•Photo / Ethan

西倫敦二區大聯盟運河邊（Grand Union Canal）的 Portobello 碼頭，一棟維多利亞樣式的貨物倉庫改建、由英國工業設計 大 師 Tom Dixon 開 設， 名 符 其 實 就 叫 碼 頭 餐 廳（The Dock Kitchen），也展售燈飾及家具家飾。更是倫敦年輕一輩主廚中 佼佼者 Stevie Parie「玩」料理的園地，依季節或心情創造出 每日都有變化的現代版鄉村菜單，頗有「實驗廚房」意味。 從大馬路轉彎上橋，穿過碎石小徑，頓時把車水馬龍的喧囂拋 在腦後。裸露的磚牆跟木頭建材，保留舊工業區建築原貌。首 先映入眼前的是主人經典設計─ Etch Cell 吊燈。戶外陽台擺 設英國雕塑藝術家 Julian Opie 作品，處處散發藉由工業設計 將文化與傳統結合的用心；隨處可見 Tom Dixon 招牌銅罩燈 飾和工業家具，視覺享受更刺激味蕾！而餐廳內使用的燈飾、 桌椅及餐具都可在樓下專賣店購得。

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| Special Report |

光的靈魂

The Soul of Light Text / Ethan Photo / Louis Poulsen

黑暗中，光是引領我們的救贖；丹麥設計大師 Poul Henningsen 點出燈光不只為了照明，今天，因為依 附歲月痕跡的黃銅，一盞能記憶的燈，讓光有了靈 魂、有了故事。 為了營造均衡、溫暖光源，Poul Henningsen 巧妙設 計出三層玻璃燈罩，精密計算光線反射與折射的角 度，終誕生了燈具革命性思維的 PH 系列，充滿哲 學思維並成為業界指標。丹麥大廠 Louis Poulsen 為 向 PH 系列經典燈具致敬，設計出將最頂層燈罩改以 2 1. 餐飲區採開放式設計，搭配鏤空天花板，營 造自由無拘的用餐氛圍。 The dining area incorporates an open area design, using a large skylight celing to create an unrestrained dining atmosphere.

2. 購物中心的入口設計非常低調，與室內空間 對比出強烈的反差效果。 The design for the entrance to the shopping center is extremely low-key, making for a sharp contrast with the interior space design.

拋光處理的黃銅打造的 PH 3½-3 限量紀念版吊燈。 2015 年跟進一盞銅頂層燈罩的桌燈 PH 3½-2½，即 日起全球開放訂購，依實際訂購數量進行產製。換句 話說，今年 8 月 20 日停止訂購後將成為絕版，深具 收藏及投資價值。 限量版 PH 黃銅燈在成品製造完成、運送過程中，與 空氣結合而產生的氧化現象便開始，隨四季流轉、濕 溫度改變，一點一滴覆上歲月足跡，散發出含蓄沉穩 的光影氣質，昇華成為歷經淘洗的紀念。

單車魂

The Art of Cycling Soul Text / Stephie Chiu Photo / 100COPIES 1

將對單車的熱愛與設計結合，新加坡設計師 Thomas Yang 運用輪胎壓痕作畫及攝 影單車零件創造出獨特的輪胎藝術。 Uniting his passion for cycling and design, Singapore-based designer Thomas Yang creates unique tire art from tire tread paintings and photographs of bicycle parts.

48

| Worldly Goods |

加 坡 設 計 師 Thomas Yang 將 其

絕版的經典輪胎壓痕系列海報「Tyre Track

對 單 車 的 熱 愛 與 設 計 結 合， 創

Series」，Thomas 以 各 種 不 同 的 輪 胎 痕 畫

造 出 獨 特 的 輪 胎 藝 術， 並 為 此 成 立 品 牌

出四大城市的建築標的，紐約帝國大廈、

100COPIES。Thomas 表 示， 因 為 熱 愛 單

倫敦大橋、北京紫禁城及巴黎鐵塔，定睛

車生活，經常在網路上尋找很酷的單車海

一看，複雜的建築結構全是巧妙利用單車

報。但他發現選擇不多，所以才有自行創

輪胎痕有技巧地印壓而成。運用巧思將這

作的念頭。

些城市獨特的單車文化，延伸而出的畫風

新

重構了城市印象。 取 名 100COPIES， 品 牌 名 稱 裡 的 兩 個 「0」代表單車兩個車輪。最初用單車輪

線索就在這些各不相同的輪胎痕裡面。

胎壓痕創作，其巧思以及技術令人驚豔，

由於是單車愛好者，所以對各類型單車暸

並設定每件都是「限量」的單車魂。像已

若指掌；像是 Fixie 指的是單速車（Fixed

2

1. Thomas 運用各種單車的元素進行創作，例 如以車鏈結合梯田風景，創作別出心裁的視 覺印象。 Thomas incorporates the various elements of a bicycle in the creation of his works. For example, the use of bicycle chains to create terraced landscapes which provide for an ingenious visual impression.

2. 已絕版的經典輪胎壓痕系列海報，用單車車 胎印壓出四大城市的建築標的，隱喻這些城 市獨特的單車文化。 The works in this series of out of print classic tire tread posters, recreate landmark locations of four major cities using tire tread imprintations to illustrate the unique cycling culture of these cities.

1

2

50

3

| Worldly Goods |

4

Gear），一種沒有煞車、沒有變速器、齒

未 來 Thomas 計 畫 陸 續 使 用

輪固定的車款，騎乘技術快，但需要技巧

單 車 零 件、 單 車 相 關 語

熟練才能駕馭，所以不容易被偷，廣受美

錄，甚至單車手的

國的信差、速遞員喜愛，七、八年前被日

姿 態、 服 裝 造

本人包裝為一種獨特的潮流；BMX（Bicycle

型及路線圖

Motocross）則是七十年代中後期的一種自

等都是創作

行車越野運動，就跟滑板一樣，從車款發

靈 感， 最 新

展出一套潮流。還有公路車（Road）、登

的「Artist’ s

山 車（Mountain）， 代 表 的 不 只 是 車 款，

Proofs」 限 量

更是各不相同的生活風格，過去唯有單車

系 列， 運 用 舊 照

愛好者才能真正熟諳這些各有涵義的輪胎

片、塗鴉線條等藝術

痕， 現 在， 人 人 都 可 從 Thomas 的 作 品 裡

手法，繪出不同的單車印象。透過單車所

好好領會。

體悟的哲學，發現觀看世界的不同角度。

5

1. 因 為 熱 愛 單 車，Thomas 以 單 車 生 活 為 靈 感，結合設計創作各式單車海報。 Because of a passion for cycling, Thomas draws from his encounters while cycling as inspiration, combining his passion for cycling with design to create various cycling related posters.

2. 作品《Pedal On, Tacloban》是為了遭受海 燕颱風侵襲的菲律賓所創作。 The work “Pedal On, Tacloban,” was created in support for the Philippines after being devastated

by Typhoon Haiyan.

3. 匯聚各種與單車相關的名言，《CYCLISM》 繪出單車騎士的身影。 Assembling together several different kinds of cycling terms, “CYCLISM” depicts the silouhette of a cyclist.

4. 拆 解 所 有 單 車 元 素， 重 新 排 列 構 成 《Cityscape》獨特的城市風景。 “Cityscape” was created by dismantling the parts of a bicycle then rearranging them to create a unique city landscape.

5. 作品《Cyclegraphy》嘗試以毛筆筆觸繪出 單車印象。 The piece “Cyclegraphy” attempts to use ink brush strokes to paint the figure of a bicycle.

6. 用 單 車 零 件 繪 出 專 屬 路 網 圖 的《Road Map》。

6

“Road Map,” an exclusive cycling road map created using bicycle components.

佐酒 四部曲 Matching Food and Wine

Text / Eva Tang Photo / Victor Tang、Eva Tang、Ravenel International Art Group

禁

止

酒

駕

酒

後

| Wine |

法 國 人 將 食 物 與 酒 的 搭 配 稱 為「 婚 姻 」， 如 果「 速 配 」 就 可 相 輔 相 成、 激 發 另 一層次的美味。事實上，對於葡萄酒發源地的歐洲人來說，餐酒搭配不僅是飲 食文化，更是生活態度。如何挑選與料理搭配的酒，需要經驗的不斷積累、勇 於嘗試的勇氣、和一點冒險的運氣。 In France, the pairing of wine and food is often called“marriage”. A suitable pairing not only ensures that the food and wine complement each other, but also leads to a higher level of delicacy. Throughout Europe — the birthplace of wine — table wine is not just a form of culinary culture, but also represents a particular attitude toward life. However, to choose a fitting table wine that best matches a dish takes some experience and a dash of luck.

1

I. 基本餐搭原則 餐酒搭配的成功在於食物與葡萄酒能否 相得益彰。最根本的法則是「當地葡萄酒 配當地料理」。食材因應不同區域料理風 格與口味喜好呈現當地特色；而同區葡萄 酒除了受「風土」及釀酒師技術及理念影 響外，通常也能反映飲食喜好。如挑選義 大 利 Barbera 或 Barbaresco 搭 配 蕃 茄 肉 醬 義大利麵或披薩就是個好選擇。

基本不易出錯的餐搭技巧為：「白酒配 海 鮮 」 清 爽 法 國 Chablis 夏 多 內 白 酒 搭 生

2

蠔、「紅酒配紅肉」澳洲希哈紅酒搭紐約

法國勃根地黑皮諾）搭配開胃菜與海鮮或

客牛排、「甜點配甜酒」葡萄牙波特酒搭

白肉類主食；再選濃郁型紅酒（如法國波

巧克力蛋糕等。亞洲料理與西式料理大不

爾多卡本內蘇維翁）搭配紅肉主食；最後

相同，餐搭必須因地制宜而修正，舉例三

以甜白酒（如德國微甜麗絲玲）搭配甜點。

杯小卷雖為海鮮，但口味厚重容易蓋過質

若用餐人數少可選較輕淡的紅酒配全套西

地清爽的白葡萄酒，可改搭帶辛香料與黑

餐；中餐則可全程以微甜白酒與氣泡酒、

胡椒風味的法國南隆河希哈混釀。

或濃郁型紅酒作搭配。

II. 葡萄酒搭餐順序

III. 閱讀酒單

為了不讓味蕾疲乏，建議採輕淡到濃郁

大部份餐廳酒單會依類型、產地或葡萄

順序。以完整餐酒搭配來說，通常以不甜

品種分類，少數用年份區隔。假設一間餐

香檳或氣泡酒開場，搭配清爽小點或濃郁

廳的美國酒特別多，表示為其強項，較易

魚子醬都很合襯；接下來以不甜白酒（如

在此區尋得高 cp 值酒款。以下介紹數款最

法國羅亞爾河白蘇維儂）或清新紅酒（如

為常見的餐酒搭配。

不

開

車

安

1. 北部粽以炒過的糯米包上豬肉、香菇、蝦 米、蛋黃等配料，在此炎熱的季節搭配清 爽 的 白 葡 萄 酒， 如 +VTHPUL 3LÅHP]L Macon-Verze， 不 僅 可 以 化 去 肉 粽 的 油 膩 感，漂亮的酸度更可以讓粽子的米香更加飽 滿凸出。 Zongzi from northern part of Taiwan is made of pork, mushroom, dried shrimp and salted duck egg wrapped in fried sticky rice. In hot summer days, having zongzi with refreshing white wine such as 2011 Domaine Leflaive Macon-Verze can reduce the greasiness. In addition, the acidity can bring out the aroma of the rice.

2. 葡萄酒的重要防線—軟木塞。 Cork, an important part in sealing through variable contraction and expansion.

全

有

保

障

such as spaghetti Bolognese and pizza.

Some principles that always remain true are: “white wine with seafood,” such as refreshing French Chablis Chardonnay with oyster; “ red wine with red meat, ” such as Australian Shiraz with New York 1

strip steak; and “sweet wine with dessert,” such as Portuguese Port with chocolate

夏 多 內 白 葡 萄 酒 界 的 百 變 女 郎， 雅 緻 如 法 國

變。此外，軟木塞若有凸起或瓶口處錫封

cake. However, since Asian cuisine often

Chablis，清新礦石與檸檬氣息適合日式與泰式

有蓬起現象，則表示該酒曾承受較大溫差

differs immensely from Western cuisine,

料理；也可肥美圓潤如法國勃根地 Meursault，

變化，儲藏環境有待商確。

wine pairing should be adapted to local

充滿奶油與香草氣息，適搭奶油醬海鮮與肉類

conditions. For example, squid with

料理。 白蘇維儂 獨特的芭樂香氣、口感清脆爽朗，以 法國羅亞爾河與紐西蘭最富盛名，適合搭配清

掌握常見葡萄品種的風格與個性，及基 本葡萄酒知識和餐搭原則，再契合當日場 合與對象，新手也能找出自己的餐搭樂趣。

爽開胃菜、泰式涼拌與水果沙拉。

sesame oil, rice wine, and soy sauce may be a seafood dish, but its heavy flavor can easily overpower the refreshingly light body of white wine. Spicy peppery

麗絲玲 原生德國的麗絲玲分為干型（不甜）與

Southern Rhone Syrah, in this case, can be

帶甜型，兩者皆具標誌性的汽油氣息與細緻的酸 度；高品質麗絲玲更有著迷人淡雅的白色花香。

品酒，訓練的是五感；品酒，

微甜麗絲玲餐搭範圍廣，可做為開胃酒、搭配重

即是品生活。

口味中式料理與辛香印度料理或餐後甜點。

Wine tasting trains your

卡本內蘇維翁 酒體結構龐大、單寧高，常與梅

five senses. Wine tasting

洛混釀柔和口感，以法國波爾多聞名世界。適

is life tasting.

搭油脂豐富的牛排、紅燒肉等。

a more suitable alternative.

II. The Order of Pairing To avoid dulling the palate, the order food as well as wine should go from light to strong. A complete set of pairing usually

梅洛 濃郁莓果氣息甜美柔順，適搭烤豬肉。

begins with non-sweet champagne or

黑皮諾 法國勃根地黑皮諾風靡全球，細膩多變 令人著迷；新世界如美國加州黑皮諾則飽滿奔

I. Basic Pairing Principles

caviar. Non-sweet white wine (e.g., Loire

放，甜美誘人。柔順單寧與漂亮酸度適合烤鴨、 燉牛肉等料理。 希哈 獨特辛香料氣息與濃郁莓果香，著名產區 包含法國南隆河與澳洲。非常適合中式重口味

The key to a successful “marriage” is to ensure that the food and wine complement each other. One of the most fundamental principles is “ local wine with local

肉類料理、羊肉與燒烤。

sparkling wine pairing a refreshing dish or

Sauvignon Blanc) or refreshing red wine (e.g., Pinot Noir from Burgundy) may go with appetizer and seafood or white meat.

Then, strong red wine (e.g., Cabernet

dishes. ” Ingredients may take on local

Sauvignon from Bordeaux) goes with red

characteristics due to a cooking style or

meat. Lastly, sweet white wine (e.g., sweet

taste in a particular region, so does wine.

German Riesling) goes with dessert. If

首先應先閱讀酒標確認與挑選酒款相

In addition to the influence of terroir and

there are only a small number of diners,

符。再者，酒液會在裝瓶後繼續緩慢地陳

winemakers ’ skills and principles, local

light red wine may be paired with a whole

年蛻變，故年紀較大的葡萄酒液面下降是

wines often reflect the taste of local dishes.

Western course meal. Light sweet white

正常的，但若「水位」過低，軟木塞可能

For instance, Italian Barbera or Barbaresco

wine, sparkling wine, or strong red wine

乾澀收縮致空氣入侵，引起漏液或酒質衰

are good choices for classic Italian dishes

may go with Chinese meals.

IV. 驗酒與試酒

禁

止

酒

駕

酒

後

| Wine |

III. Reading the Wine List

Riesling, originally from Germany, is divided into dry (non-sweet) Riesling and sweet Riesling. Both carry a

IV. Wine Selection and Sampling

Most restaurants classify their wines

delicate touch of acidity. High quality Riesling even

according to types, regions, and varieties.

delivers a light and enchanting fragrance of white

First, read the wine label carefully

Few classify wine by their year. For instance,

flowers. With a wide range of pairing, sweet Riesling

and make sure it is the wine you ordered.

if a restaurant features more American wines,

may go with appetizer, heavy Chinese cuisine, spicy

Second, pay attention to the “level” of wine

it means American wine is their strength.

Indian food and even dessert.

in the bottle. A small amount of space is

Cabernet Sauvignon holds a solid tannin structure.

saved to let the wine breathe and slowly but

Known for the region in Bordeaux, it is often mixed

continuoysly matured with age. Therefore, it

This in turn suggests that it would be easier to find a deal on a good bottle among the

with Merlot to soften the taste, and is suitable for

American wines. The following are some of the most common wine and food pairing:

fatty cuts of red meat and braised pork.

is normal to see the surface of vintage wine drop. If the “level” goes too low, however,

Merlot is delicate and feminine with luscious berry flavor. It pairs well with roasted pork loin an lamb.

it could indicate that the cork has shrunk due to dryness, allowing too much air to

Chardonnay, the ever-changing lady in white wine,

Pinot Noir of Burgundy is globally acclaimed for

can be as elegant as French Chablis, carrying the

its delicacy, rich texture, and the complexities

refreshing mineral and lemon taste that is suitable

developed with age. Pinot Noir from the new world,

or decay. In addition, if the cork protrudes

for Japanese and Thai food. It can also be as

such as California, carries a wonderful vibrancy

or the tin seal puffs up, it may indicate

plump as Meursault from Burgundy that is filled

and tension. Its moderate tannin level and beautiful

that the wine has been subjected to abrupt

with creamy and vanilla flavor and goes well with

acidity make it the best table wine for dishes such

temperature changes, suggesting its storage

seafood and meat with cream sauce.

as grilled duck and beef stew.

condition may be inadequate.

Sauvignon Blanc features with the unique refreshing

Syrah carries a unique peppery spicy note and

scent of guava and crisp texture. It is known for regions

vibrant blackberry aroma. Notable regions include

in Vallée de la Loire and New Zealand, suitable for

southern Rhone and Australia. It goes very well

appetizer, Thai cold dishes and fruit salads.

with heavy meat dishes, lamb and BBQ.

enter the bottle and resulting in evaporation

After understanding the styles and characteristics of these common grape varieties, learning more about basic pairing principles, and matching the right wine to the right moments, even beginners can discover

Bordeaux 波爾多

Burgundy 勃根地

the pleasure of wine and food pairing.

1. 來自法國南隆河教皇新寶區的紅酒，2011 +VTHPUL K\ 7LNH\ *\]tL 9LZLY]tL，香氣 豐滿華麗，酒體紮實而強韌，擁有肥美成熟 的黑醋栗與黑胡椒等辛香料風味，與偏向重 口味的中式料理十分合襯。 2011 Domaine du Pegau Cuvée Reservée from Châteauneuf du Pape of Southern Rhone is full of fragrance, the body solid and enduring, permeating flavors like black currant and black pepper. It is a great match for heavy flavor Chinese cuisines.

1. high fill 高滿 2. within neck 頸 3. bottom neck 頸底 4. top-shoulder 頂肩 5. upper-shoulder 上肩 3 cm

6. mid-shoulder 中肩 7. mid-low shoulder 中至下肩

2. 葡萄酒水位圖示，一般來說年紀較輕的葡萄 酒水位約位於頸部，稍有年紀的葡萄酒水位 則落在頸底或距離瓶塞 3.5 公分處，若落於 肩底或距離瓶塞 7 公分以上，則儲存狀況 有待商確。 Generally speaking, younger wine liquid level goes up to within neck while older wine lies between bottom neck and 3.5 cm below the cork. When the liquid level falls at lower shoulder or over 7 cm from the cork, it may suggest that the method of storage is inadequate.

5 cm

8. lower shoulder 下肩 7 cm

2

不

開

車

安

全

有

保

障

海洋禮讚 天然珍珠

Ocean Treasure

Natural Pearl Jewelry Text / Mr. Kazumi Arikawa, President of Albion Art Collection Photo / Tokyo, Albion Art Collection

天然珍珠被稱作「獨一無二的珠寶」絕非浪得虛名，基於每個母貝的 獨立不同，天然珍珠的出現更像一種微妙奇蹟，來自海洋的禮讚。 The natural pearl is a real jewel of“the one and only”. They are brought up by sea oysters i n d i v i d u a l l y, w h i c h m a k e s t h e m natural and rare miracles.

1

56

| High Jewelry |

然珍珠的美麗，自遠古時代被人類

早在羅馬時代，天然珍珠就被視為極具

時 至 今 日， 渾 然 天 成 的 珍 珠 ─ 漾 著 溫

發 掘 以 來， 就 已 不 假 任 何 額 外 的

價值的戰利品，高過任何其他寶石，甚至

暖、奶油色澤的東洋瑰寶，仍極為罕見；

人工增色，如切割或打磨成型。且不像其

包括鑽石。歷史上許多赫赫有名的人物都

且養殖珍珠在二十世紀技術普及前並不易

他礦物寶石可透過大規模開採來生產，即

是天然珍珠的崇拜者，如埃及豔后克利歐

取得。天然珍珠憑藉其精緻細膩、耐人尋

使在技術日新月異的今日，唯一可獲取天

佩特拉、拜占庭的狄奧多拉女皇、俄羅斯

味的東方虹彩，在世界各地的珠寶舞台發

然珍珠的途徑也須由潛水員以單鉤釣取母

的凱薩琳二世，及十九世紀法國皇后約瑟

光發熱。稀有的天然珍珠，若能匹配成對

貝。身為彌足珍稀的天然恩賜，同時是財

芬與尤金妮。也因為統治階級的厚愛，天

已屬不易，若想串成質量均勻的珠鍊，簡

富、權力合法性的象徵，天然珍珠在歷史

然珍珠在她們盛極一時的疆域引領勢不可

直難如登天；僅須一個珠寶扣即圓滿整個

中深受許多統治階級的喜愛與追捧。

擋的潮流。

設計，任何其他裝飾都顯多此一舉。珍珠

天

2

項鍊是絕不過時的經典，象徵配戴者的高

齊全的，為非賣品。然而，愛妻心切的莫

量產，人們得以十分普遍地配戴珍珠首飾。

雅和與眾不同，即使人山人海中也能一眼

頓 • 普蘭特，毫不猶豫地答應皮耶 • 卡

但天然珍珠卻反因濫捕及海洋污染問題比

認出的名媛閨秀。

地亞的提議，以第五大道上的豪宅換購這

以往更加稀罕。現世鑑賞家、藏家們只得

件無與倫比的珠寶。

在古董市場裡尋覓芳蹤，且物以稀為貴使 其價值逐年攀升。

即使二十世紀日本有名的養殖珍珠問世 後，天然珍珠的地位仍舊屹立不搖，在歐

長水滴狀的天然珍珠耳環在過去兩千年

美 市 場 中 別 具 崇 高 地 位。1910-1920 年

裡無疑是備受人們喜愛的寵兒。人們讚嘆

代間，天然珍珠項鍊的要價甚至和最昂貴

天然珍珠的珍稀、美麗，它細膩飽滿的質

的林布蘭大師作品不分軒輊。一則古今軼

色與膚色相得益彰；一對好的天然珍珠耳

聞便圍繞著紐約第五大道的卡地亞大廈─

環襯托了配戴者的外貌容顏、加深佩戴者

現已成為紐約最負盛名的文化資產建設之

的穿搭層次，如此脫穎而出的效果是不分

一。其前身是壯麗輝煌、有六層樓高的萬

老幼的。綺麗珍珠們既是休閒日裝的知己，

麗 飯 店， 原 屬 企 業 鉅 子 莫 頓 • 普 蘭 特 所

又是正式晚裝的摯友，能帶來輕鬆、自信

有。其妻子在珠寶展覽上，對卡地亞一條

的魔力，是沒有任何其他寶石可以匹敵的。

兩股珠鍊情有獨鍾；分別有 55 顆和 73 顆 天然珍珠，是卡地亞花費數年時間才收集

如今，隨著世界上多處海域的養殖珍珠

1. 源自 1900 年，分別由 106、103、100 顆， 大小介於 3.55 到 7.90 釐米之天然珍珠串成 的三股珠鍊，搭配祖母綠及鑽石鍊扣。 Since 1900, a three row graduated natural pearl necklace, with the emerald and diamond-set cluster clasp, comprising 106, 103 and 100 pearls graduated in size from 3.55 mm to 7.90 mm.

2. 源自十九世紀，由一串連續相接的圓形切割 鑽石，與 21 顆橢圓形和水滴狀的天然鹹水 珍珠所組成的金銀皇冠。 Since 19th, the Gold and silver tiara, which base composed of a continuous line of circular cut diamonds and 21 oval, drop shaped, natural saltwater origin pearls.

The natural pearl is a real jewel of

a jeweled clasp. So pearls, particularly

Natural pearls in long drops also have

“the one and only”. They are brought up

necklaces, have never been out of fashion,

been the undisputed favorites for earrings

by sea oysters individually, which makes

and always showed whether the wearer is

over the past two thousand years. Praised

them natural and rare miracles. Unlike

a lady of status, that is, their quality has

for their rarity and beauty, blending

other mineral gems, it cannot be produced

signified the highest level of refinement,

happily with the complexion, a pair of

through big scale mining. The only way to

elegance and distinction.

wonderful natural pearl earrings enhances

obtain natural pearl is, even today, through

the looks of the wearer, whether young

single-hook fishing of mother oysters by

Even after the launch of Japanese

or old. A woman with a natural pearl

human divers. From ancient times when it

cultured pearl on the world market in

necklace always looks well dressed, for

was discovered for the first time by human,

around 1900, natural pearls still enjoyed a

these beautiful gems adapt to both casual

it has been a perfect jewel without having

privileged position and began to gain special

daytime and formal evening occasions.

to add any additional work, i.e. cutting,

recognition in the European and American

Indeed, the possession of a natural pearl

polishing or shaping. So, as the miracle

markets. During 1910 s and 20 s natural

necklace gives its owner a feeling of easy

gift from the nature and the symbol of

confidence, equaled by no other jewel.

wealth, power and legitimacy it has been historically sought after by many rulers.

Today, much more pearls are being cultured at various sea area in the world

Since Roman times, natural pearls have

and the pearl jewelry became very

been esteemed as the ultimate prize, higher

common among the people. But the natural

than any other precious stones including

pearl itself become much rarer than before

diamonds, in a lady ’ s jewelry collection.

because of the indiscriminate fishing and

They are associated with some of the most

sea pollution. So the acquisition of natural

famous names in history such as Cleopatra,

pearl is becoming much more difficult and

Queen of Egypt, and many other empresses

connoisseurs in the world have to seek it

including Theodora of Byzantium, Catherine

in the antique market. Accordingly the

th

II of Russia, and in the 19 century with Josephine and Eugénie of France. Where

scarcity value of the natural pearl rises 1

year by year.

they led, others have followed their pursuit of natural pearls.

pearl necklaces commanded the same prices as the most expensive Rembrandts

58

Needless to say nowadays pearls

and similar works by Old Masters. The

of totally natural, warm creamy orient

most symbolic episode at that time was the

produced by the sea oyster have been

now legendary event surrounding Cartier’s

so much rarer, as cultured pearls were

purchase of the premises on Fifth Avenue

not being readily accessible until the

in New York. In 1917 the splendid six-story

1900s. Thus, from very early times and in

Renaissance palace, now the city’s cultural

almost all parts of the world, pearls have

asset building, was owned by banker Morton

been used in jewelry on account of their

F. Plant, whose wife was particularly fond of

exquisite ‘orient’ or iridescent sheen. The

Cartier’s two-strand of fifty five and seventy-

value of natural pearls increase when a

three pearl necklace, which had been

number of well-matched examples are

assembling over the years and not for sale.

strung together, not only into one but three

Mr. Plant then exchanged the palace for the

strands and need no adornment except for

priceless pearl necklace.

1. 源於 1890 年，天然珍珠與鑽石耳環。以兩 顆垂墜並可活動的蛋形天然珠為主角，尺寸 分別是 6.39 與 6.76 克拉，並搭配古典明亮 式琢型鑽石。 Since 1890, a pair of natural pearl and diamond ear pendants, each centering on a free-moving ovoid natural pearl weighting 6.39 and 6.76 cts respectively, held by a single old brilliant-cut diamond.

2. 來自十八世紀的俄羅斯皇室珠寶，珍珠與鑽 石、銀共同鑲嵌而成樹枝狀的成對胸針。 A pair of diamond and pearl brooches, which is of mid 18th century Russian crown jewels--Pearl, diamond and silver mounted sprays.

3. 可溯源二十世紀初的 Caldwell 花環式項鍊， 由古典明亮式琢型鑽石由大至小漸層向後 排列，烘托項鍊主角─水滴狀的天然鹹水珍 珠。 An early 20th century garland style pearl diamond necklace by Caldwell, with old brilliant-cut diamonds graduated round towards the back, and a natural saltwater pearl drop.

| High Jewelry |

2

3

天啟者

康斯坦丁•布朗庫西 'SRWXERXMR &VlRGYħM The Oracle

Text / Claire Liao 廖培娟 Photo / Top Photo Group 達志影像

呈現世間物象最真實的存在，有「現代雕塑之父」之稱的藝術大師布朗 庫西，以作品《無盡之柱》被視為現代雕塑顛峰。在神奇的幾何重複之 中，擁抱無傲的力量，重拾熟悉的宇宙真義。 Presenting the truest existence of all things,“Father of moder n sculpture”Brâncuûi reached the pinnacle of modern sculpture with his monumental piece“Endless Column”. The almost magical geometric repetition possesses a power without arrogance and reclaims the oncefamiliar truth of the universe.

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60

| The Artist |

通

過天真詰慧的眼睛，透過他樸實粗 大的手掌，造物者蘊藏的秘密就這

麼翩翩然展開。

巴黎，二十世紀初，這裡是文藝薈萃、 創意迸發的泉源；西班牙的畢卡索、義大 利 人 莫 迪 里 亞 尼、 俄 國 人 夏 卡 爾 …… 其 中，來自羅馬尼亞鄉間，徒步穿越歐洲來 到巴黎的布朗庫西，成為藝術史上無與倫 比的「現代雕塑之父」。 1876 年生於羅馬尼亞西南山間的鄉村， 布朗庫西小時離家到鄰近城鎮以雜工養活 自己。18 歲時他用手邊能取得的素材自製 一把小提琴，令僱主大感驚豔，決定出資 讓他進入克雷歐瓦工藝美術學校，在此充 分發揮自幼對木雕的愛好，優異成績畢業 後進入布加勒斯特國家美術學校繼續學院 雕塑的訓練。 2

1903 年，27 歲的布朗庫西一路跋涉經 奧地利和德國，在 1904 年的夏天抵達巴 黎。頭兩年，他半工半讀在美術學院上課，

在波希米亞氛圍的蒙帕納斯，機智又好

委託的一次大戰紀念碑，以三個主體構成，

才華很快就被看見，雕塑大師羅丹延攬他

客的布朗庫西，與許多詩人、藝術家結為

其中《無盡之柱》被視為其創作生涯以及

進入工作室，即便仰慕著大師的盛名與創

好友：莫迪里亞尼向他討教雕刻、亨利 •

現代雕塑的顛峰。近 30 公尺高的長柱，迥

作，布朗庫西還是堅定走自己的路。「大

盧梭最早評論他的作品具「現代感」、杜

異於所有已存的雕塑，以接連的梯形立方

樹之下難長成」，兩個月後離開羅丹工作

象協助他籌備多次在美國的展覽、曼 • 雷

體上下疊合，矗立在天與地之間，頂端開

室，布朗庫西發展出革命性的新風格，從

為他的工作室蓋一間暗房……。這位帶著

放的元件指向無垠；它擁有無傲的力量、

而樹立現代雕塑先驅的地位。

樸實氣質與過人天賦的雕塑家，聲名逐漸

不狂的強度、無重的量體，在神奇的幾何

升高，尤其在著名的 1913 年美國紐約軍

重複之中，拾回一度熟悉的宇宙真義。

儘管對往後的抽象藝術有著關鍵性的影 響，布朗庫西認為自己的創作絕對寫實；

火庫大展後，受到多位美國重要現代藝術 收藏家的愛戴。

因為他意欲呈現的不在外觀、形式，而是 精髓、本質，世間物象最真實的存在。

1920 年代初，布朗庫西開始另一件代 表作《空間之鳥》，並在接下來的 20 年間

布朗庫西一生創作的題材不多，且經常

創作逾 20 個不同版本。在這件作品中，

對同一主題進行數十年的重複鑽研。1907

生物體的所有特徵皆幻化為一股向上飛騰

年，《吻》誕生；結實的立方石塊上，男

的動態，留下的是一道優雅纖長、微傾的

女吻合為一體，熱情的交融益發為堅定的

弧形，他雕的是飛翔的本質。去蕪存菁從

愛意；可視為二十世紀以「愛」為題最典

來不是布朗庫西的目標，那只是在愈加接

型 之 作。1909 年《 沉 睡 的 繆 斯 》 等 以 完

近他所發掘的萬物奧義時不經意的結果。

滿的橢圓蛋型以及愈趨簡化的五官來表現 肖像的作品。

1938 年，布朗庫西完成了羅馬尼亞政府

1. 從《沉默之桌》經《吻之門》漫步到兀立的 《無盡之柱》，1938 年揭幕的大作－羅馬 尼亞提爾古日一戰紀念公園。 From “Table of Silence” and “The Gate of the Kiss” to the towering “Endless Column:” the masterpiece unveiled in 1938 at the World War I Memorial Park in Târgu Jiu.

2. 布朗庫西興趣廣泛、知識淵博，除了招待藝 術家友人，來自各地尤其美國的收藏家亦常 到訪。 Brâncuşi was a knowledgeable and learned artist with a wide range of interests. In addition to his artist friends, collectors especially from the U.S. also often visited his studio.

Born in a mountain village in southwestern Romania in 1876, Brâncuƪi left home at a young age, heading for the adjacent towns to earn a living working various laborious jobs. He made a violin by hand with the materials around his workplace when he was 18 . Impressed by this young man’s talent, his employer decided to enter him in the Craiova School of Arts and Crafts, where he pursued his love for woodcarving. After graduating with honors, he entered the Bucharest School of Fine Arts for academic training in sculpture.

In 1903 , when he was 27 , Brâncu ƪ i traveled from Austria to Germany and later arrived in Paris in the summer of 1904 . During summ first two years, he did his fi some part-time jobs while studying at the École des stud 1

Beaux-Arts. His artistic Bea 2

talent was quickly recognized.

Celebrated re

晚年的布朗庫西專注於內在的探尋。自

gracefully

French sculptor

1916 年入住的工作室，桌椅壁爐等皆親

disclosed

Auguste Rodin

手打造，他是自己空間與作品的策展人，

the Creator ’ s

recruited him to his r

為每件雕塑的角度和觀者的互動找到最完

secrets.

workshop.

Although w

美 的 位 置， 如 交 響 曲 般 和 諧。 到 了 1940 年代中期，工作室擺設便幾乎不再更動，

In the early

art ar master ’ s fame and

獲邀拜訪者形容彷如進入超凡的精神性世

twentieth

creations, Brâncuƪi

界，如哥德教堂高聳窗戶灑落的天光中，

century, when n

was determined to find wa

在作品與物件構成的神聖森林間微步穿

Paris was a city ty

h i s o w n w a y, l e a v i n g

梭。1957 年 布 朗 庫 西 逝 世， 將 工 作 室 完

abundant in

the Rodin Studio after

整 捐 贈 給 法 國，1997 年 重 建 於 龐 畢 度 藝

creative and artistic

術中心前廣場。儘管時空不再，仍能藉此

talents, such as Picasso from Spain, Pi f S i

遙想「同奴隸般勞動，像國王似發令，如

Modigliani from Italy, and Chagall from

he said. Thereafter, he set out to develop

上帝般創造」的一代大師布朗庫西。

Russia, Constantin Brâncuƪi — man who

a revolutionary new style — and in

hailed from the Romanian countryside —

doing so, he became a pioneer of modern

travelled across Europe to Paris on foot,

sculpture.

Through his innocent sharp eyes and large rough palms, he gently and

62

admiring this eminent ad

only two tw months. “ Nothing can grow under big trees, ”

and eventually became the unparalleled “father of modern sculpture”.

Although having a crucial influence

| The Artist |

on abstraction art, Brâncu ƪ i viewed his

next 20 years. All the features

creations as the representation of absolute

of this creature transform into

reality. What he intended to show was

a swift, upward dynamism

not appearance or forms but essence and

with one elegant, slender and

substance: the truest existence of all

slightly tapering figure. What

things.

t h e a r t i s t c a r v e d , h o w e v e r, was the essence of flight. He

Brâncuƪi did not choose many topics for

never aimed for simplicity; he

his artistic creation. He often studied one

achieved it unintentionally

subject for decades. In 1907, “The Kiss”

as he got closer to the real

was born. On a solid rock, a man and a

meaning of things.

4

1940 s, he had arranged his sculptures

woman kissed and held each other tightly.

Their passionate embrace epitomizes

In 1938, Brâncuƪi completed the

in their final position. Visitors who were

unconditional love. This piece has come to

World War I monument commissioned

invited into his space seemed to enter

be regarded as perhaps the quintessential

by the Romanian government with three

an extraordinary spiritual world, as if

representation of love in the art of the

main structures. Among them, “ Endless

they had just strolled into the sacred

twentieth century. Works of portraits,

Column ” was considered the apex of his

forest between artwork and objects

such as “ Sleeping Muse ” created in

artistic career and the pinnacle of modern

under daylight cast down from towering

1909, were carved into a perfect oval al

sculpture. The column, towering nearly sculp

windows of a Gothic chapel. Brâncu ƪ i

shape and presented with simplified ed

30 meters high and unlike any existing

died in 1957, bequeathing his studio and

sculptures, is a collection of stacked sc

its content to France. In 1997 , it was

trapezoid cubes from bottom to top, tr

rebuilt at the square of Centre Pompidou.

In Bohemian Montparnasse,

erecting itself between heaven and e

Although it was no longer the same

witty and hospitable Brâncu ƪ i made de

earth with its open component at

place, we may still reminisce how this art

friends with many poets and artists. ts.

the top pointing toward the infinite.

giant “ worked like a slave, commanded

Modigliani learned sculpture from om

It possesses a power without

like a king and created like a god ”.

him. Henri Rousseau was the first rst

arrogance, strength without

artist who made comments about the

violence, and body without

existence of “modernity” in his works. ks.

weight. Exuding almost magical

Duchamp assisted him to hold many any

geometric repetition, it reclaims

exhibitions in the U.S.A. Man Ray even ven

the once-familiar truth of the

built a darkroom for his studio. This his

universe.

facial features.

approachable and extremely talented nted sculptor gradually gained his fame, me,

In his later years, Brâncu ƪ i

especially after the well-known Armory mory

ffocused on inner exploration. After

Show in New York in 1913 . Brâncu cu ƪ i

moving into his studio in 1916 , m

became popular among various important rtant

he built all of his own furniture, h

U.S. modern art collectors.

including tables, chairs, and even in a fireplace. He was the curator of

In early 1920, Brâncuƪi began working on another famous series,,

his own works and space, finding hi them the best angles of exhibition th

“ Bird in Space, ” creating more

aand the harmonious interactions

than 20 different versions over the

with the viewers. By the mid-

3

1. 布朗庫西在工作室。布朗庫西將台座視為作 品完整的一部分，甚至可單獨成為一件藝術 品，親自製作每件台座。 Brâncuşi at his atelier. Brâncuşi regarded a pedestal part of a whole work. To him, a single pedestal could even be a piece of art itself, which is why he created all his pedestals by himself.

2. 不使用當時主流以泥塑或石膏翻模，布朗庫 西喜愛直接在石頭、木材鑿刻創作，重視主 題與材質的關係。 Instead of opting for popular clay sculpturing and plaster modeling, Brâncuşi preferred carving on rocks and wood. He valued the relationship between his topics and the material.

3.《空間之鳥》完美的姿態，近百年後的今天 尚未有任何作品能與之匹敵。 Even a century later, no single piece today can compare to the perfect gesture of “Bird in Space.”

4. 2006 年法國與羅馬尼亞共同發行的布朗庫 西藝術郵票《沉睡的繆斯》。 The Brâncuşi art stamp featuring “Sleeping Muse” co-issued by France and Romania in 2006.

吳天章 別說再見 “Never Say Goodbye” by Wu Tien-chang Text / Rudy Tseng 曾文泉 Photo / Tina Keng Gallery 耿畫廊

威尼斯雙年展「台灣館」集合魔術、變裝、表演、科技等元素，十足台灣電光布袋戲 佈景概念的魔幻視覺表現，看見了世界的未來 ?

Taiwan Pavilion at the 56th Venice Biennale combined magic, cross-dressing, performance, and technology. A surreal visual impact representing Taiwan’s Electrolight glove puppetry. A proposal to“All the World’s Future”?

64

1

| Issue |

時 120 年，第 56 屆威尼斯雙年展

三件錄像裝置作品，利用彷若面具的人工

在 5 月 6 日 正 式 對 媒 體 開 放， 由

表層皮膜、誇張妖異的意象及魔幻的視覺

歷年的六月提前到今年五月初，為的是與

表現，演繹臺灣底層文化生活，橫跨日據

米蘭的世界博覽會互相拉抬，今年的藝術

時期的「演歌」，中南部婚喪裡常用的塑

總監奧克維恩威佐提出主題「全世界的未

膠花，金光閃閃的服飾等媚俗元素，透過

來」希望透過三個濾光鏡探討我們所處的

「一鏡到底」不剪接的錄像攝影，集合魔

世界，首先「史詩裡的生命力」，其次「失

術、變裝、表演、科技等元素，日據時代

序的花園」，第三「資本論的現場朗讀」。

攝 影 棚 當 作 舞 台， 不 斷 變 動 的 佈 景 與 服

歷

裝，十足台灣電光布袋戲佈景概念，水手 台灣館推出吳天章「別說再見」個展，

服、軍服，豐厚的歷史元素，由照片變身

吳大師在 1997 年參加威尼斯台灣館，19

錄像，再由錄像變身成 3D 投影，讓台灣

年後以 60 歲之姿重回威尼斯，早在中國

館成為今年威尼斯雙年展裡眾多的討論，

85 狂潮後，毛澤東成為繪畫政治符號前，

吳天章來自基隆，小時候的水手服、寫真

吳天章就曾以《毛澤東的六個時期》、《蔣

館等兒時記憶，成為創作元素，由於台灣

中正的五個時期》，頭像作為繪畫上的政

館不屬於國家館，只是「平行展」的一部

治語言，他在繪畫達到高峰後，決然投入

分，卻能獲得許多媒體報導與部落格的討

新的攝影與錄像多媒體，一件《戀戀紅塵

論，部落格 Art Attack 甚至把台灣館稱為

2 ─向李石樵致敬》的作品裡，結合繪畫、

是威尼斯雙年展最好的國家館。

影 像、 聲 音 及 裝 置 等 成 為 複 雜 的 裝 置 作 品，那是 1998 年時的創作。這次第二次

吳天章對藝術的態度，真誠認真，在新

來威尼斯雙年展台灣館，以撼人的影像裝

加坡合作複雜裝置作品時，看他穿著內衣

置，結合《同心協力》與《瞎子摸象》兩

耐心組裝作品。在威尼斯看到他時，連續

張巨型長照片，傳達道教裡，人死後尚未

兩晚沒睡，為著雙年展展出到 11 月長時

投胎前的「中陰身」，《難忘的愛人》、《心

間的放映更改設計，精神讓人佩服。

所愛的人》以及最新完成的《再見春秋閣》

3

1. 攝影燈箱作品《瞎子摸象》。 Lightbox art work “The Blind Fumble Around in an Alley”.

2. 左方是新作《再見春秋閣》搭建的舞台。 Showing on the left of the picture, a stage built for new work “On the Damage to Spring and Autumn”.

3.《再見春秋閣》錄像畫面主角，以 3D 方式 呈現。

2

The main character in “On the Damage to Spring and Autumn” presented in 3D.

1

With a history stretching back 120

Pavilion in Venice in 1997, Wu returned

Pavilion with the astonishing video

Venice Biennale ( “ La

to the same city at the age of 60. As early

installation, Wu combined two giant long

Biennale di Venezia ” ) was officially

as the big wave which spread across

photos, “ Work Side By Side ” and “ The

opened to the media on May 6. This year’s

China in 1985, and before the face of Mao

Blind Fumble Around in an Alley ” , to

Biennale was held one month earlier than

Zedong became a political icon, Wu had

convey the “bardo” in Taoism, a state in

usual — from June to early May — to

already devised his installation art “ The

between human and ghost. Three video

coincide with Expo Milano 2015. Okwui

Six Stages of Mao Zedong” and “The Five

installations, “ Unforgettable Lover ” ,

Enwezor, the art director, proposed “ All

Stages of Chiang Kai-shek ” using these

“ Beloved ” , and the newly completed

the World’s Futures” as the theme, hoping

two political figures’ head portraits as the

“On the Damage to Spring and Autumn”,

to initiate discussions about the world

political signs in his artistic language.

seek to express the cultural lives of lower

in which we live through three different

After reaching the productive peak of his

class people in Taiwan with a mask-like

filters: “ Liveness: On Epic Duration, ”

artistic career, Wu began to embrace the

artificial film, exaggerated expressions,

“ Garden of Disorder, ” and “ Capital: A

world of new photography and multimedia

and magical visual presentation. With the

Live Reading.”

video recording. In his combination

kitsch decorations, the “Enka” (a Japanese

of painting, video, sound effects, and

music genre) that spanned the period of

The Taiwan Pavilion featured “ Never

installation, “Attachment to the Mundane

Japanese rule, plastic flowers which are

Say Good-bye, ” a solo exhibition of Wu

World 2 — Tribute to Li Shiqiao” became

often used as decorations at funerals in

Tien-chang. Nineteen years after having

a complicated installation art in 1998 .

central and southern Taiwan, and the

participated in the making of the Taiwan

R e t u r n i n g t o Ve n i c e f o r t h e Ta i w a n

glistening outfits, the artist combined

years, the 56

66 66

th

| Issue |

2

and abundant historical

Wu is sincere and serious about art.

elements. From photos

I once had the opportunity to work with

to videos, from videos

him in Singapore, where I watched him

to 3D projections,

patiently assemble his complicated

Never Say Goodbye has

installation in plain underwear. Later,

already made the Taiwan

when I ran into him in Venice, I watched

Pavilion the talk of the

as he stayed awake for two nights in a

town at this years’ Venice

row to adjust the design to prolong the

B i e n n a l e . Wu c o m e s

exhibition to November. Truly, this is a

from Keelung, and the

man with enduring spirit for life!

magic, cross-dressing, performance, and

memories about sailor suits and studios in

technology through a single long take

his childhood became the elements in his

without any editing. With a photo studio

artistic creation. Although Taiwan Pavilion

used during the era of Japanese rule

cannot be counted as a National Pavilion

in Taiwan as the stage, the exhibition ’ s

but part of the peripheral events, it still

changing setting and costumes turned out

earns discussions and reports by media

to be a perfect representation of Taiwan’s

and art blogs. The well-known blog Art

Electro-light glove puppetry. Sailor suit

Attack even branded the Taiwan Pavilion

and military uniforms carry profound

as the best National Pavilion of the year.

3

1. 裝置攝影作品《心所愛的人》。 Photography installation work “Beloved”.

2. 藝術家吳天章在威尼斯雙年展台灣館前、嘆 息橋旁邊。 Artist Wu Tien-Chang posing next to Ponte dei Sospiri (Bridge of Sighs) in front of Taiwan Pavilion at the Venice Biennale.

3. 攝影錄像裝置作品《難忘的愛人》。 Photography and video installation work “Beloved”.

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與 畫 家 的 彼 得 • 馬 里 諾（Peter Marino）

Simons）打造的摩登俐落風采。

打造，以巴黎蒙田大道 30 號高級訂製工

（+886 800 862 668）

坊裁縫工序與高級訂製服線條為靈感，建 立褶皺般柔和圓潤的立體建築結構、結合 光線與透明感的全新旗艦店落腳首爾青潭 洞，甚至設有畫廊與 Dior cafe 露天咖啡座。

慶祝開幕曝光限量珍藏版 Lady Dior 藍