羅芙奧季刊第24期 Ravenel Quarterly No. 24 by Ravenel International Art Group

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羅芙奧2018春季拍賣會亞洲現代與當代藝術拍賣

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草間彌生《南瓜》2004 壓克力畫布 22 x 27.3 cm

CONTENTS No.24 ▐ Spring 2018 ▐ https://ravenel.com/

30 8

ANTIQUE

汲古出新畫意精喻仲林．花鳥

Yu Chung Lin The Beauty of Chinese Traditional Flower & Bird Work

ART & INVESTMENT

情深孤獨 . 英雄淚王攀元的畫語人生

12 48 4

Solitary Hero Wang Pan-youn’s Life in Painting

SPECIAL REPORT

奢華加冕擁抱藝術正好眠

Ultimate Artsy Hotels

FASHION

鏡中花水中月

Chinoiserie

LUXURY

追逐義大利式浪漫跑車經典

Dream Car In Search of Italian-style Romantic Appeal

ANTIQUE

淺談田黃

Tianhuang Stone

莫依斯．奇斯林三朵罌粟花，1952，油彩畫布，41 x 33 cm 羅芙奧2018春拍 - 薈萃專場

Moïse KISLING (Polish-French, 1891–1953) Les trois pavots, 1952, Oil on canvas,41 x 33 cm Ravenel Spring Auction 2018- Select

CUISINE

台菜與米其林

Taiwanese Cuisine & Michelin Guide

WINE

酒標的藝術

The Art of Wine Label

THE ARTIST

叛逆先鋒羅伯特 ‧ 勞森伯格

Robert Rauschenberg

ISSUE

巴塞爾藝術展新表現主義領銜風潮

Baselitz in Basel Baselitz Shows at the Fondation Beyeler & Kunstmuseum in Basel

FASHION

迪奧預言塔羅牌時尚

La Roue de la Fortune

發行人 Publisher╱王鎮華 Arthur Wang 監製 Managing Director╱李雅欣 Wendy Lee 總編輯 Editor-in-Chief╱陳惠黛 Odile Chen 主編 Managing Editor╱葉子微 Gina Yeh 編輯 Editor╱游景涵 Carol Yu、翁境優 Tiffany Wong 發行所 Published ╱羅芙奧股份有限公司 Ravenel Ltd. 地址 Address ╱10683 台北市敦化南路二段 76 號 15 樓之 2 15F-2., No. 76, Sec. 2, Dunua S. Rd., Taipei 10683. Taiwan 電話 Tel ╱ +886 2 2708 9868 傳真 Fax ╱ +886 2 2701 3306 電子信箱 email ╱info@ravenel.com

羅芙奧藝術集團台北辦公室台北市敦化南路二段 76 號 15 樓之 2 電話 Tel ╱ +886 2 2708 9868 傳真 Fax ╱ +886 2 2701 3306 羅芙奧藝術集團香港辦公室香港中環皇后大道中 30 號娛樂行 31 樓 3101 室電話 Tel ╱ +852 2889 0859 傳真 Fax ╱ +852 2889 0850 羅芙奧藝術集團北京辦公室 100022 中國北京市朝陽區建國路 118 號招商局大廈 7 層 730 室電話 Tel ╱ +86 10 8587 8099 傳真 Fax ╱ +86 10 8587 8199 羅芙奧藝術集團上海辦公室 200050 中國上海市長寧區鎮寧路 465 弄 181 號 1 幢 2 樓 2E 電話 Tel ╱ +86 21 2411 9575 傳真 Fax ╱ +86 21 2411 9570

創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly

CHIEF EDITOR'S NOTE

前衛還是衝突？極簡也能極繁？

hinoiserie, 一詞出自法文，從中國Chine，中國人Chinois延伸而來，意指中國風格、中國趣味。盛行於十七與十八世紀，但一直到十九世紀才出現這個字彙。中國或遠東對於西方人帶有異國情調的神秘魅力，曾大量運用於繪畫、建築、工藝或服飾。因為不甚了解，西方人的中國風加入想像，往往有視覺的衝突或誇大感，如同西洋電影裡對中國人造型上的偏見。

異國文化的特殊美感，能激盪出特殊的火花，有時給人前衛感。近期時尚圈的極繁主義當

道，華麗中國風再次蔚為風潮。跨界或跨時代的美術經典，自然不會從潮流中退下。顛倒看世界的德國藝術家巴塞利茲（Georg Baselitz），近期在瑞士巴塞爾的展出贏得世人關注，叛逆先鋒

美國藝術家羅伯特•勞森伯格（Robert Rauschenberg）致力於生活藝術的結合，看重人際間的溝通，媒材創新超越時代。

與民國同年的老畫家王攀元，去年底離世，他的孤獨美學和簡約風格其實走得超前衛，疏離卻深情，今年國立歷史博物館要推出他的盛大遺作回顧展。畫家喻仲林擅長花鳥畫，汲古出新，明麗豐美。兩位渡台畫家保有各自風格，特出的風格在華人藝術市場後勢極為看好。

義大利品牌Maserati 和Lamborghini是跑車中的浪漫與奢華的經典代表，葡萄酒與藝術關係密切，從酒標看文化歷史。旅行時如何擁抱藝術入眠，藝術酒店的魅力何在？豐富有料的藝文生活時尚圖文，都在精心改版的Ravenel 季刊No. 24 2018年春季號裡。

總編輯

Bernard Buffet 貝爾納．畢費（法國 1928 - 1999）《鬥牛士》1966 油彩畫布 65 x 46 cm

羅芙奧 2018 春季拍賣會薈萃：國際現代與當代藝術 SELECT: MODERN & CONTEMPORARY ART

國際藝術專場 6 月 2 日 | 台北萬豪酒店三樓博覽廳 June 2 | Marriott Taipei Grand Space 3F Preview

Enquire

May 12-13 | Taichung Fong-yi Art Gallery May 19-20 | Kaohsiung J.P.Art Center May 31- June 2 | Marriott Taipei Grand Space 3F Odile Chen +886 2 2708 9868 ext.889 | odilechen@ravenel.com

ANTIQUE

喻仲林．花鳥

©取自喻仲林官網

汲古出新畫意精

YU CHUNG LIN The beauty of chinese traditional flower & bird work 設色豐富艷麗，強調意境與氣韻，精緻的工筆畫和墨彩，描繪出花葉鳥禽上的每一個細節，明麗精確，靈動如生。 Text 長榮大學書畫學系教授熊宜敬 Photo Ravenel International Art Group 羅芙奧香港2015春季拍賣會老爹扇緣─黃天才藏扇編號 049 喻仲林荔枝雙鳥，1979 設色紙本鏡框，49.5 x 63 cm 成交價：2,880,000台幣

1949

年底國共分治海峽兩岸，20世紀上半百花齊放的「民國藝壇」，因此進入了歷史的渾沌時期，大批上半生活躍在

民國藝壇的文人學者書畫家來到了台灣，承續起中國傳統藝術文化的薪火，從1950年至1980年代，為台灣社會的精神生活與人文素養提供了豐

厚的積澱。較之於同時期中國大陸摧殘傳統文化與道德倫理的種種激烈手段，台灣在人文藝術滋養上的多元與豐富，曾經是如此的幸運。這批渡海來台的第一代和第二代書畫家，皆重視傳統筆墨的基礎錘鍊與國學典籍的研讀探究，因此不論個人書風畫貌如何，都具備了濃郁的文人氣息。在中國大陸「大國崛起」之後藝術市場隨之蓬勃，然而由於兩岸30年的資訊隔閡，使得下半生身處海嶠的這些前輩們的藝術成就與人格風範因而被忽略淡忘，但是真正藝術的華彩終究難掩動人的光芒，近幾年來渡海來台前輩書畫家們的風采已在藝術市場上破繭，再加上他們對於書寫中國20世紀藝術史不可或缺的歷史文獻地位，不論在學術界和收藏界就更凸顯出渡台前輩書畫家的重要性。渡台前輩書畫家中，專攻「花鳥」者不在少數，亦皆各有風姿，其中，喻仲林（1925∼1985）是極受讚譽的一位。喻仲林出生於山東冠縣，自幼即展藝術天分， 9 歲時因母親去世，往依舅家，舅父許宗海為知名花鳥畫家，喻仲林得以啟蒙習畫。後因抗戰軍興，學業中斷，於是投筆從戎，1949年5月隨國民政府來台，重拾藝事，到師大藝術系旁聽，獲金勤伯青睞而列入門牆，正式進入中國傳統繪畫的嚴謹鍛鍊，勤奮鑽研，終成名家。喻仲林在其＜作畫應該適性＞一文中曾言：「……我對花鳥畫確曾下過一番苦功，我的辦法是先行格物，就是對我要畫的素材先加以瞭

羅芙奧2017秋季拍賣會緣來私藏III：古今人文藝術專場編號 684 喻仲林田家風趣，1972 設色紙本，130 x 67.5 cm 成交價：432,000台幣

解，譬如某花有幾瓣？什麼顏色？何時開放？全放怎麼樣？半放又是什麼樣？葉子什麼樣等，均一一描繪下來，久之便能得之於心，也就能應之於手了。再一個辦法，就是多蒐集有關花鳥的材料，如報章雜誌上的照相等等，均可收集，以備不時之需。這些都在構圖上有幫助，但在畫的品格上想力求高雅，那就非多看古畫不可。古人的畫，實在有其令後人難及的神韻，學畫的人，千萬不可忽視這一點。我對宋元的繪畫，便非常崇拜。不管山水、花鳥，均是千古絕唱。但我也不主張死摹古、泥古，我主張受古畫的感染、薰陶，久之便能變化氣質。」從喻仲林的創作思緒中，即可理解其繪畫風格之內涵與特色，可簡約歸納為幾點：一、注重寫生，故而題材鮮活，不論翎毛、花卉、禽畜、昆蟲……皆姿態靈動，造型準確。二、精研宋元，故而器度雍容，小品具有院體折枝形式之清雅，大作則具有全景花鳥格局之豐沛。三、汲古出新，故而精緻典麗，將雙鈎白描、青綠金碧、撞水撞粉……等多元技法融會運用而自出機杼，筆筆皆有古人，筆筆又都見新意。

羅芙奧2017秋季拍賣會緣來私藏III：古今人文藝術專場

喻仲林的畫作在書畫市場上已成為兩岸三地藏家重視的標的，也就理所

編號 685 喻仲林蜀葵，1984 設色紙本，52.5 x 28 cm

編號 683 喻仲林雙雀嬉春，1979 設色紙本鏡框，65 x 49 cm

當然了。

成交價：132,000台幣

成交價：204,000台幣

喻仲林的作品，或清雅，或古艷，或工緻，或寫意，皆潤澤飽滿，充滿了盎然生機，絕不見枯槁之筆，滯礙之墨，板俗之色。近幾年來，

ANTIQUE

淺談田黃

TIANHUANG STONE 田黃質地細而純，具溫、潤、結、凝、膩之性，之變化通貫古今之氣，體會大地造化之妙，一石在手，亦得人生至樂也。

Text 李壯源 Photo Ravenel International Art Group、Christie's、 Council

清康熙余甸刻銘田黃夔龍紋博古鈕閒章此印重達160克，色澤自然柔順，呈淡「橘皮黃」色，肌理蘊極細緻之蘿蔔紋，綿密欲化，其質地特別的凝膩、溫潤、細結、凝靈成油潤感，顯為中阪所產上佳田石，色質俱佳。成交價：16,200,000台幣

羅芙奧2017秋拍-緣來私藏III：古今人文藝術專場

北京匡時2017年秋拍推出「田帝玄黃—田黃石專場」，其中一方出自當代名家郭祥忍「九龍戲珠」鈕璽，1.09億人民幣（約4.87億元台幣）成交，打破世界最貴田黃紀錄。 9.3×9.3×11cm；重1709.5g

Nine Dragons Playing with Pearl Seal made of Shoushan Tianhuang Stone by Comperary artist Guo Xiangren was sold for $16.4 million, setting a new record for a seal made from Tianhuang stone at Council 2017. 9.3×9.3×11cm, 1709.5g

自

古以來，產自福州壽山之葉臘石因石性溫潤而色澤斑斕，頗

蘊氣而藏

具文案特色，早已為人喜愛而流傳甚久，或為雕鈕製印或為

田黃，顧名思義以得自於田而名，本亦為高山佳石之一種，

圓刻擺件材料，以其分產不同坑域而品項多類，各展風華，其中以

千萬年前，因地殼變化，埋入於壤，經長期泥沙、伏水、地熱等分

田黃更因量少質美而獨領風騷；文士藏家莫不以懷此石中之王而快

解，而具所謂蘊氣而藏之性，故新出之石狀如舊石，除壽山溪流域

慰一生。新世紀初期，拜網路發達之賜，資訊傳播流通中外，使田

上坂、中坂、下坂及碓下田外，並有發掘產自浙江昌化及老撾溪地

黃名氣推波助瀾，膾炙人口，而又由於壽石等產業結構日趨健全，

之田黃，但若細察，不難發現其質嫩膩不足，鬆軟多雜，不若壽山

不論取石、製石、行銷等均有專業經營之盛，田黃追價歷久不衰。

田黃，近又因生態維護關係，禁止翻採，而恆居龍頭地位。

田黃質地細而純，具溫、潤、結、凝、膩之性，而以色黃為主，石農辛勤翻掘於溪田方得一二。在福州壽山村，大凡青山綠水間，建有華廈豪宅者，極可能拜祖上有德，蒙天垂佑，得挖大塊優質田黃之福，夕間致富，引為美談。

裸皮質地田黃因其色澤多元，以黃色為主，又因色澤深淺不一而有雞油黃、桂花黃、枇杷黃、黃金黃、熟粟黃、桐油黃等，此外亦有另 11

ANTIQUE

董滄門刻恭親王龍鳳田黃對章，香港佳士得

2016年6月1日，港幣85,240,000成交 (約3.6億台幣)。龍章重量：208.1克尺寸：3.3 x 3.3 x 8.6 公分印文：「皇六子和碩恭親王」

"Dragons" seal : 3.3 cm square x 8.6 cm high, 208.1 g; "Phoenix" seal : 3.3 cm square x 8.8 cm high, 205.1 g 鳳章

重量：205.1克尺寸：3.3 x 3.3 x 8.8 公分

Prince Kung's "Dragon and Phoenix" Tianhuang Seals auctioned at $10.9 million at Christie's, 1st June 2016.

清康熙余甸刻銘田黃夔龍紋博古鈕閒章

H：6.8 cm Weight : 160g 印文：不積跬步，無以至千里。邊款：不積跬步，無以至千里；不積小流，無以成江海；康熙辛亥長至日餘甸泐石。成交價：16,200,000台幣

羅芙奧台北2017秋拍

田黃是壽山石中的頂級，被稱為「石中黃金」，向來深受藏家喜愛。

具不同顏色，如白、黑、橘等，稱名為白田、黑田、橘皮紅、橘

田黃之價值，需小心不肖業者，常引之來魚目混珠。

皮黃。這些田黃如成色純正，質地通靈，又稱田黃凍，其價炙手可熱。另有品相特殊如金包銀田、銀包金田、鴉皮黃、鴉皮紅分別是黃皮白底，或白皮黃底或黑皮黃底、黑皮紅底，均因其質其色優劣及重量大小而有不同等級，不同評價。

狀美色純如上所述，田黃既出於土，卵石必少有大件，偶有異鉅其形重達數斤者，其中狀美又色相純正，質地靈凝者，自古迄今無不為

當然亦有石農從水田中，於墾地燒草時，取土中掘性田石受

藏家所珍愛而價值連城，又如有方正之章，或大師名匠所作薄意、

於火草燻燒之熱，使石質變紅、黃等色，惟性乾燥，稱煨紅、煨黃

鈕雕或圓雕、高浮雕以及各種分朱佈白之篆刻印章，只要是田黃一

等，較難與田黃一比高下。

類，無不是趨之若鶩，以至價高不墜。

此外亦有因長期土壤中礦物質變，而形成少數之綠田、灰田、

在收藏領域中，宜細心明辨，多請教行家，多閱讀專論，多

雜田及類屬質硬多燥常裂之硬田，亦能稱田石，但非主流。一般區

累積實務鑑賞經驗，多參考拍賣市場，自能登田黃之堂奧而入室

分田黃好壞，以其裸皮（帶皮），內質肌裏具蘿蔔絲紋、格紋等來

成為快樂藏家，當其時也，一石在手，隨著個人所處環境、心境、

判別。但亦有特殊結構，需經久研才能更入其境予以判別，例如有

意境、情境之變化頗能通貫古今之氣，體會大地造化之妙，間有雅

些所謂九友田（九手田）或溪管田（鱟箕石）、蘆薈田、鹿目田

興，或獨處或邀摯友雅集，燃一線沉香，品一杯醇茶，不必攜琴而

等，因略具田坑特性，偶有精美之石，自有別於真正田黃，亦較無

來，亦能得人生至樂也。 13

ART & INVESTMENT

SOLITARY HERO

WANG PAN-YOUN’S LIFE IN PAINTING 「一個畫家要有自己的體系與風格，那就是孤獨。」

王攀元繪畫給予人永遠的靈性，以及無邊的孤寂感。台灣國寶大師封筆《英雄淚》（Tears of Hero）象徵苦澀一生。何嘗不是時代和命運的悲劇造就了這樣的孤獨 ? 而終究欠缺圓滿的一生，卻無愧「畫布上的詩人」。 Text／陳惠黛 Odile Chen Photo／陳惠黛 Odile Chen、Ravenel International Art Group、李奎忠先生

情深孤獨 . 英雄淚

王攀元的畫語人生

取自典藏藝術網

ART & INVESTMENT

他

是華人最高壽藝術家之一，自稱與民國同年，出生於1912年。王攀元（1912-2017），早年顛沛流離，後來低調潛居台灣東北宜蘭超過

一甲子。他的苦澀美學，簡約大膽的畫風，及靈性的追求，為後世留下雋永的感性圖畫經典。王攀元被譽為「台灣國寶藝術家」、「畫布上的詩人」，為二十世紀大時代美術歷史留下見證。

2001年王攀元以近九旬高齡榮獲第五屆國家文藝獎美術類得主，當時評審給獎的評語為：「王攀元先生為一位內省的藝術家，一生堅苦卓絕，始終執著於繪畫創作，自一九四九年來台，在艱苦的環境下，持續的創作五十餘年，在當今眾聲喧嘩的時代，始終自我觀照，以細膩深邃的情感簡潔的主題，在台灣特定的時空下，呈現出獨特精煉的風格。」他是一位親和卻又孤僻的藝術家，明明可以在首都嶄露頭角，大展長才，卻刻意迴避，與世無爭，主要原因應是坎坷的人生遭遇所致，內蘊複雜情感而形式卻簡單的繪畫，與人無限想像空間。

2015 年宜蘭美術館開館，首檔畫展即是主推這位地方美術耆老的盛大回顧展，展出王攀元的72幅新舊作，包括油畫38件、水彩17件及水墨17 件。雖為開館大展，然而該館僅是縣立機構、且展品完整性尚不如2001年國立歷史博物館（簡稱史博館）的「攀圓追日─九十自選展」。史博館與王攀元結緣得早，尤其熟悉攀老的一生創作，也與家屬保有默契，因此若要在藝術家在世時舉辦一次完整的人生畢業展，史博館應是最合適的首選。而原本規畫於2017年10月舉辦回顧展，因館方人事因素，籌辦時間在即卻輕率臨時抽換策展人，此舉使家屬無法接受而擱置，後經文化部協調，延遲至2018年5月舉辦。藝術家原撐住一口氣等待人生最後的展覽，卻終究無法如願，12月22日在家中遺憾辭世，享壽106歲。回顧展不料變

2018年宜蘭美術館典藏特展王攀元專區 Wang Pan-youn special exhibition in the Yilan Museum of Art, 2018.

《船》水彩紙本

55.5 x 79.5 cm 羅芙奧台北2018春拍

"Boat" Watercolor on paper 55.5 x 79.5 cm Ravenel Spring Auction 2018 Taipei

一個畫家要有自己的體系與風格，那就是孤獨。

ART & INVESTMENT

《詩意的凝視―宜蘭美術館典藏特展》

" Poetic Gaze - Exhibition of the Yilan Museum of Art Collection"

王攀元在晚年享有極高的美術地位，台灣總統陳水扁和馬英九先生先後拜訪，並獲贈畫作，讚譽老畫家為台灣國寶。

成遺作展，家屬與藝術文界人士莫不惋惜，「攀元攀圓」，顛沛

留學，無奈無法說服家中長輩，旅費落空。加上爆發淞滬戰爭，

流離，感嘆藝術家的一生終究欠缺圓滿。

只能逗留家鄉，從此與季竹君失去聯繫。

將畢生的藝術教育奉獻給蘭陽，人親土親，宜蘭美術館趕在

1940年代的中國戰亂頻仍，生活陷入困頓。後巧遇有著明亮

2018年農曆年前推出為期兩個月的「詩意的凝視－宜蘭美術館典

大眼的少女村姑倪月清，進而相戀交往。後來因時局不穩，身

藏特展」，期間設立「向大師致敬－王攀元」專區，並播放相關

為望族之後，擔心留在故鄉恐成為鬥爭的對象，於是決定放棄一

紀錄影片，展示他的生平大事年表和著作出版，得以使觀眾了解

切，攜著倪月清離開老家，回到上海。兩人於1948年結婚。1949

攀老不凡的藝術人生。

年隨國民黨政府來台，先落腳高雄鳳山，曾充當碼頭搬運工維

而國立歷史博物館 2018年5月即將推出的遺作大展，預計展

生。1952年應羅東中學校長聘請，來到宜蘭，一家數口覓得草屋

出150件畫家的油彩、水彩、水墨畫作，展品分別來自史博館、

暫時棲身。經濟拮据、身虛體弱，常需友人接濟應急，雖然窮困

台北市立美術館和宜蘭縣文化局典藏、畫家家族收藏及借自畫

但也時常鼓勵學生，用家中微薄生活費支持年輕畫家創作。王攀

廊、收藏家等。展覽結束後，史博館開館將閉館兩年半，進行庫

元的人格高尚，一生嚐盡人情冷暖，生活困窘，仍堅持最愛的繪

房與展場修繕提升。可以預見，王攀元大展將是2018年度華人藝

畫，他的修為具有中國文人的清高與倨傲氣質。

術圈最有份量的藝術展覽之一。

王攀元曾寫道：「一個畫家要有自己的體系與風格，那就是孤獨。」他的繪畫給予人的印象，是永遠的靈性追求，以及無邊

悲劇與傲氣都源於繪畫

的孤寂感。與生俱來的他喜愛安靜，不耐家族的人多吵雜，養成

王攀元曾說：「我的人生觀：讀書、寫作、愛情、繪畫。四

孤僻的個性。年紀大了後，孤獨的脾氣依舊。其實何嘗不是時代

者缺一不可，否則無生活情趣可言。」王攀元的一生都縮影在他

和命運的悲劇造就了這樣的孤獨？逼迫他自幼忍受失去親人的痛

一幅幅的圖畫裡，畫格即人格，他坎坷豐富的一生，人們可以從

苦，經濟受人控制，求學之路坎坷，無法與摯愛相守，被迫離鄉

那細膩、情思醇厚的繪畫中閱讀而出。

背井來到異鄉。他深受同行相忌之苦，幸得幾位好友支持。同鄉

民國元年的1912年歲末，王攀元出生於江蘇北部徐家洪望族「王牌坊」，家族長房二少爺。先祖時代家中即是富貴的大戶人

畫家李德（Reed Lee, 1921-2010）鼓勵他，幾次引薦他到台北參加畫展，才得以使更多人認識他的獨特藝術。

家，宅邸仿宮廷建築，占地有萬坪之廣，四周有古木參天，屋後有運河。逢年過節時，家中幫傭有三、四十名。父親愛好傳統藝

畫展受歡迎。性情孤僻不愛賣畫。

術，能彈奏琵琶，母親喜愛文學，命運造弄，他們不幸先後於

1959 年時於羅東水利會舉辦生平第一次畫展，展出水墨與

王攀元三歲與十三歲時病故。他少年時成為孤兒，由叔父主掌家

水彩各三十幅，作品全數售出，在宜蘭造成轟動。1961年和畫友

族經濟大權，為了求學看盡當權者的臉色。小學時他即展露繪畫

組成「蘭陽畫會」，進入創作的黃金時期。1964年認識「集象畫

的興趣，就讀淮安中學時遇到影響他一生的老師吳茀芝（1900-

會」來宜蘭展出的幾位畫家，如李德、劉其偉、龐曾瀛與劉煜等

1977 ），肯定其繪畫潛質且極力鼓舞，確立一生走向藝術的道

畫家，尤其與李德結為至交。李德非常欣賞王攀元的畫，直言宜

路。1933年考上復旦大學法律系，因志趣不合，轉考上海美專西

蘭臥虎藏龍。他認為王攀元的水彩有特殊的表現，代表某種文人

畫系，遇留法嚴師張弦（1893-1936）。校長是倡導人體寫生的劉

思想與中國韻味。

海粟（1896-1994），水彩老師陳人浩（1908-1976），研究所教師

後來，李德寫信邀請王攀元到台北開畫展，鼓勵他必能有

潘玉良（1895-1977）、王濟遠（1893-1975），國畫老師諸聞韻

出色的成績。於是 1966 年時位於台北中山北路的「亞洲國際畫

（1895-1939）、潘天壽（1897-1971）等。

廊」，展出水彩畫作 32 幅。當時美國好萊塢外景隊來台灣拍攝

常有人認為王攀元的繪畫風格與常玉（ 1895-1966 ）有些相

《聖保羅砲艇》，劇組人看中他的畫，執意需全數買下否則作

近，或許與兩人皆出身富貴，卻離鄉背井、貧困不得志有些關

罷。展品全數成交的盛況傳揚出去，藝壇人士莫不嘖嘖稱奇，使

係。張弦1920年代在巴黎期間與常玉交往密切，人體素描可以看

得王攀元的知名度大開。畫展受到好評，這批畫換得兩萬元的收

出常玉的影響，寫意的簡約或許後來間接也影響了當時在上海美

入，讓王攀元又驚又喜，對家庭經濟大有幫助。然而一張都不

專求學的王攀元。1936年他在畢業前夕染傷寒，病重住在醫院，

留，他不免感到悵然若失。畫畫的目的向來不是為了賣錢，他不

遇見國立音專的季竹君，照顧並承擔所有醫療費用，直至康復出

看重繪畫市場功利的一面。

院。這段相遇與情感在他孤苦無依的年輕時光留下美麗的印記，

儘管兩段婚姻（第一任妻子孫氏，上海美專時期結婚）共

記懷一輩子。原本和季竹君相約畢業後，跟隨潘玉良老師到法國

孕育八個孩子，負擔沉重，來台初期嚐盡苦頭，教書是清苦的工 19

ART & INVESTMENT

作，收入有限，但他沒放棄繪畫，不為盈利純粹是個人的意志與興趣。他是「沒有畫架的畫家」，門板當畫桌或床板，小畫在桌上畫，大畫在地上畫，油畫在椅背上豎著畫，或以靠窗邊的牆上，廢寢忘食，經常作畫到深夜，甘之如飴。

1973 年因健康不佳申請退休，兒女已獨立，他也能專心繪畫。 1979 年再次在台北的春之藝廊展出畫作。台灣省立美術館（現國立台灣美術館）典藏其作品。早期王攀元作品的知音多來自海外，除了國際畫廊的水彩個展為美國人購藏一空之外，1987 年雄獅畫廊的水墨個展，多幅畫作亦被香港收藏家買走。甚至有一位德國藏家赫爾曼（Hermann Fixl）著了魔似的迷戀王攀元的藝術。1995年赫爾曼出差來台北談生意，在中正紀念堂的資深藝術家聯展見到王攀元的畫讚嘆不已，原以為畫家是年輕人，畫中具有中國味卻又充滿前衛性，是他看過最特別的中國畫家，沒想到畫家已八旬高齡。他透過朋友介紹三度到宜蘭拜訪畫家，想要購買其中一幅四十號的抽象畫作。得知德國人懂得王攀元的畫，於是最後同意賣給他。宜蘭也有多位喜愛王攀元畫作的收藏家。

1987年歷史博物館首次展出王攀元個展，展出油畫與水彩共 60幅，可說是前所未有的最完整呈現。結緣深厚的國立歷史博物館則典藏6幅王攀元的《龜山》、《北大荒》、《黃河之水》等作品。除了早年的國際畫廊、春之畫廊、雄獅畫廊之外，名人畫廊、亞洲藝術中心、誠品畫廊、形而上畫廊都曾先後舉辦個展，只是要與畫家談展覽並不容易，個性孤僻與多慮的他總是拒絕購畫或展覽合作的邀約。他晚年婉謝宜蘭縣政府與文化局籌設「王攀元美術館」的提議，直接捐贈10餘幅畫作給宜蘭文化中心，不收取費用，條件是要文化中心用購畫的預算去鼓勵其他的年輕畫家。《老松與橋》，約1990年代水墨紙本

136 x 70 cm 私人收藏

"Pine and Bridge", c.1990s Ink on paper 136 x 70 cm Private collection

1992年國際蘇富比公司首度來台灣舉辦拍賣會，當年春拍油畫《帆船》和秋拍的《雪景》拍出台幣110萬與143萬的佳績，成為當年的百萬行情畫家。1993年台北市立美術館亦永久典藏他的作品。不過，到目前為止，1992年台北蘇富比的成交金額目前仍是王攀元在拍賣市場的最高紀錄。為何他的繪畫行情不如其他同齡或更年輕的藝術家呢？其實，最主要的原因是他非常惜售，甚至嚴厲禁止家人出售他的畫作。晚年當他仍意識清楚的時候，晚上突發奇想，要兒女找出某某幅畫作，如同不定期盤點，因此能夠流通於市場的畫作非常有限。據悉，長期合作的畫廊也不易說服他提供作品參展，來洽談展覽時，他還會先交代家人把畫藏起來。

2003年獲頒文馨獎，時報文化出版委託宜蘭作家李奎忠先生撰寫王攀元傳記《孤獨情深》，2005年當年的文建會與雄獅美術出版「家庭美術館」叢書王攀元專輯。畫家在晚年享有極高的美術地位，台灣總統陳水扁和馬英九先生先後拜訪，並獲贈畫作， 20

讚譽老畫家為台灣國寶。根據傳記作者李奎忠回憶，王攀元曾

色彩，虛空感表達回憶、若有似無的神秘隱喻，深具東方的人文

經親口告訴他，民國38年（1949）來台，擔心40歲以下的人會被

內涵。主題上不外乎人、裸女、自然、動物的寫意造境。畫人，

抓去服兵役，於是多報了三歲。因此李奎忠認為其家人擔心攀老

鳥、狗、牛、羊或鷹，都是自己的化身，自傳式的獨白。而畫中

落得「偽造文書」印象才如此操作。其實那是戰亂時代所迫，無

的裸女或舞者，則是年輕時的愛情回憶，也是一種思鄉的情感，

傷大雅，但真實性才是最重要的，王攀元先生的確是民國元年

他把愛情與鄉愁攪在一起，堆疊出夢境與情感的色彩。船、太陽

（1912）出生的大時代畫家。

或月亮，都是淒美的象徵符號，抒發情感，像詩一般的意境去淡化生活與思鄉之苦。他的風景圖畫不是屬於唯美的詠嘆調，有時

中國味與現代性外傳2006年100號油畫《英雄淚》是王攀元封筆之作，它是一幅大面積的黑色畫面，僅左上角一縷縷淡淡白雲，和右下角猶

候非常有前衛風格，近乎單色畫的寫景作品，抽象構圖具現代感。越晚期的畫作越單純，達到一種至高無上的絕對感，令人激賞與驚嘆。

如峭壁懸崖的留白，象徵他的苦澀一生。畫家的女兒說老父親還

前文提到雄獅畫廊曾經舉辦過王攀元的水墨畫展，作品有

是買了畫布顏料打算畫到最後，內心並無封筆之作。儘管如此，

山水、墨荷與人物，大寫意、潑彩的畫法，水墨創作亦有特色。

外人幾乎少見到此後的作品，或許有但是不曾對外發表。王攀元

學生時期或是來台初期，他在水彩或素描之餘，也勤練水墨與書

一直到臨終前一兩年時還是意識清楚地與家人談論畫作。2015年

法。然而水墨畫也不是一蹴可幾，往往就是在夜半讀書，回憶過

宜蘭美術館的開幕首展個展時，老畫家在家人陪同下出席畫展活

往，靈感來時一口氣揮毫十多張，擱置一陣子再琢磨或修正，滿

動。他一生多才多藝，擅長油畫、水彩、水墨與書法，也是浪漫

意時才停筆，因此會有一些看來構圖相似的水墨畫作。

的詩人，偶而寫作抒懷，九十歲時還為思念故人留下情淚。

「我始終認為，作品中一定要有的內涵的精神活力。譬如，

他的繪畫深沉、簡單的幾種構圖樣式，層層堆疊的色彩，

在大潑墨水墨畫的筆觸去揮灑，讓畫面具備靈動的要素，使畫面

緩緩凝聚一生的血淚交織的情感，因此過去真心喜歡他的畫作多

氣勢磅礡，趣味盎然，令人看了，好像百戰榮歸的英雄。」在繪

半是知音，流通的機會少，因此單純以投資目的買家難有操作空

畫裡，王攀元一直是熱情澎湃的。回顧畫家的一生，他的人格與

間，畫家畢生也極力抗拒這類的請託。

畫格令人欽佩，一代美術大師當之無愧。

王攀元曾說「我喜歡繪畫多留空白，我喜歡對人說話應有餘地，我喜歡靜思反省不與人爭。」他的思想超越時代，獨到的

《山》，約1980年代油彩畫布

60.5 x 45.5 cm 私人收藏

"Mountain", c. 1980s Oil on canvas 60.5 x 45.5 cm Private collection

ART & INVESTMENT

ang Pan-youn (1912-2017), one of the longest-living Chinese artists. Following an early life of wandering, he eventually settled down in Yilan in the northeast of Taiwan where he has lived for over 60 years.

His harsh aesthetic, simple yet bold painting style and pursuit of the spiritual, entrusted a treasure of enduring talent of his impassioned paintings to future generations. Wang Pan-youn is known as a “National Treasured Artist” and “Poet of the Canvas”, an emissary of 20th century fine arts. In 2001, close to his 90’s, upon being recognized with the 5th National Arts Award of Taiwan, the awarding judge remarked: “Wang Pan-youn, an introspective artist, remained committed to his painting throughout a challenging lifetime. Arrived in Taiwan in 1949, he painted steadily for fifty years under trying circumstances. Through all the noise in the public sphere of the time, he always engaged in the process of introspection. He manifested a unique and refined style using profound emotion and concise themes throughout the period of his career on in Taiwan.” He was once a familiar yet lonely artist, making appearances in the capital city for big shows, while mindfully avoiding the commotion 王攀元

of the world, likely the result of circumstances encountered on his

Wang Pan-youn

rough journey through life. His paintings, implying complex emotions but using imagery simple in form, availing viewers plenty of room for the imagination.

“A painter needs to possess one’s personal characteristic and theme, that is solitude” said Wang. Wang Pan-youn’s paintings bring about the everlasting sanctity and boundless sense of solitary to people. The work of “Tears of Hero” is believed to be the last painting executed by the praised Taiwanese treasured master, of which the work represents a bitter life of his. Is it not the time of era and of faith that has contributed to such loneliness? Despite a lack of perfected life, there was no doubt that he was well-deserved the title of “the Poet of the Canvas”. 22

《悠思》，1988年水彩紙本

79 x 54.5 cm 私人收藏

"Meditation", 1988 Watercolor on paper 79 x 54.5 cm Private collection

The Yilan Museum of Art was opened in 2015, the first opening

show was suppose to be arranged for October 2017, but the curator

retrospective exhibition was attributed to that of the sounding local

responsible for the show was changed at the last minute, and the

artist, showcasing the total of 72 recent and earlier works of Wang

family members of Wang were unacceptable of this sudden change

Pan-youn, including 38 oil painting, 17 watercolor and 17 ink wash

of plan and direction, hence the show was put off at the end. Later,

paintings. Despite the exhibition was organized for the grand opening

through the coordination of the Ministry of Culture, the exhibition

and the museum is under the governance of the local county, the scope

was rescheduled for May of 2018. The artist tried to wait for this final

of the exhibition could not be comparable to the 2001 exhibition of

exhibition in the very last stages of his life, but in the end he did not

the National Museum of History: "In Pursuit of Solar Perfection:

make it. Wang passed away on December 22nd at the age of 106.

a Self-selected Exhibition of Wang Pan-youn at Ninety." Since the

The retrospective exhibition thus unexpectedly became a posthumous

museum and Wang Pan-youn had a dated history, the museum was

exhibition. And although Wang’s family and the art community had no

familiar with his life’s work and maintained a close connection with

regrets, they lamented that the artist’s life was never complete as the

his family While planning the final exhibition of the living artist’s

ascending arc of the wanderer’s life came to a close.

work, the National Museum of History was supposedly the most appropriate venue. However, the original planned schedule of the 23

ART & INVESTMENT

To dedicate Wang's life to the people and land of Lanyang,

Tragedy and Hubris Originated in the Painting

two months prior the 2018 Chinese New Year, has decides to hold

Wang Pan-youn once remarked that: “My view on life:

two exhibitions just they have organized “The Poet’s Gaze – a

Reading, writing, love and painting - Each of these four elements are

special exhibition of the collection of the Yilan Museum of Art” and

indispensable, otherwise there would be no fun in life.” Wang Pan-

established a “Tribute to a Master – Wang Pan-youn” area, showing a

youn’s life is present in microscope in each of his paintings. The

documentary film and displaying a chronology of his life events and

character of the painting reflects the character of the person. His at

publications to allow visitors to gain a better understanding of the

once rough and fortunate life, people can read through his tender

remarkable ascent of this artist’s life.

brushworks as depicted in the paintings.

In May of 2018, the National History Museum of Taiwan will

Wang Pan-youn was born in the first year the Republic an Era in

hold a posthumous exhibition showing a total number of 150 paintings

1912, to a distinguished family in the village of Xujiahong in northern

including oil, water and ink paintings. The paintings will be sourced

Jiangsu Province. He was from a large and wealthy family. The clan

from the National History Museum of Taiwan, the Taipei Fine Arts

residence was modeled after those of the royal family, covering an area

Museum, the collection of the Cultural Affairs Bureau of Yilan

of 10,000 ping, surrounded by ancient trees and with the canal passing

County, besides the collections of the Wang family, pieces borrowed

behind the homestead. During the holidays there were thirty to forty

from galleries and private collectors. After the end of this exhibition,

servants. His father loved the traditional arts and could play the pipa.

the National History Museum of Taiwan will be closed for two and

His mother loved literature. Yet, as fate would have it, this fortune did

a half years for maintenance and upgrades of the warehouse and

not endure as he lost both of his parents due to illness, first his father

exhibition halls.

when he was three, then his mother when he was thirteen. Orphaned in his youth, his uncle assumed control over family finances. Thus, Wang was dependent on him to continue his schooling. In primary school, he had expressed interest in painting. In Huaian middle school he met Wu Huizhi (1900-1977) who had a lasting influence on him, confirming and encouraging his ability to paint and establishing his lifelong artistic path. In 1933 he tested into the Fudan University department of law, but found it unsuited to his aspirations, so he transferred to the Western Arts department of Shanghai University, where he met Zhang Xian (1893-1936) who had studied in France at École des Beaux-arts. The principal was Liu Haisu (1896–1994) who introduced figurative drawing in China, his watercolor teacher was Chen Renhao (19081976), his graduate school instructors were Pan Yu-liang (1895-1977) and Wang Jiyuan (1893-1975) and his Chinese painting teachers were Zhu Wenyun (1895-1939) and Pan Tianshou (1897-1971). People often feel that the painting style of Wang Pan-youn some has a resemblance to that of Sanyu (1895-1966), perhaps it is due to the fact that both artists were born into wealthy families, then forced to leave home, falling into poverty without finding recognition. Zhang

《沉思（倦鳥）》，1978年油彩畫布

72.5 x 60.5 cm 成交價：613,000台幣羅芙奧台北2005秋拍

"Meditation", 1978 Oil on canvas 72.5 x 60.5 cm Sold for US$ 18,327 Ravenel Autumn Auction 2005 Taipei

Xian and Sanyu were close during their time in Paris in the 1920s. Sanyu's influence is evident in his sketches of the human body and the simplicity of his freehand technique may well have influenced the student Wang Pan-youn at the Shanghai Academy of Fine Arts. Just

《女人》，1980年油彩畫布

53 x 45.5 cm 成交價：377,600台幣羅芙奧台北2005春拍

"Woman", 1980 Oil on canvas 53 x 45.5 cm Sold for US$ 12,200 Ravenel Spring Auction 2005 Taipei

ART & INVESTMENT as he was about to graduate in 1936, he contracted typhoid fever and

province, encouraged him on several occasions to participate in art

was hospitalized. During that time, he met Ji Zhujun of the National

expositions in Taipei so that more may discover his unique art.

Academy of Music who cared for him and covered all of his medical emotions provoked during this lonely and helpless stage of his youth,

Exhibitions were successful, but the seclusive artist was in no interest of selling the works.

left him with beautiful memories, which he carried with him for the

In 1959, Wang Pan-youn held his debut exhibition at the Luodong

rest of his life. After graduation, he and Ji Zhujun were to follow their

Water Management Council, showing 30 ink wash paintings and 30

teacher Pan Yu-liang to Paris to study abroad, but he was unable to

water color paintings, all of which were sold at the event, creating

persuade his family to finance his study. In addition to the outbreak of

quite a stir in Yilan at the time. In 1961, Wang, together with fellow

the Battle of Shanghai, his only option was to remain in China, and

artists, co-founded the Lanyang Painting Society, marking a golden era

lost contact with Ji Zhujun thereafter.

of his creativity. In 1964, he met artists such as Reed Lee, Max Liu,

expenses until he was discharged. This chance encounter and the

Pang Tseng-ying and Liu Yu from the Jixiang Painting Society, when In 1940s China, war was frequent and life was wearisome. By

they came to Yilan for exhibiting their works. He bonded with Reed

chance he met the bright-eyed Ni Yueqing from his home village

Lee, with whom he became close friends. Reed Lee admired Wang

and they fell in love. Because of the chaotic situation and fear that

Pan-youn’s paintings greatly, calling him Yilan’s hidden treasure. He

they may become the subject of struggles in their home province,

felt that Wang’s water colors had a unique expression, representing a

they decided to abandon everything and left for Shanghai with Ni

kind of literati thought and Chinese essence.

Yueqing. The two were married in 1948 and in 1949 they followed the Kuomintang government to Taiwan, settling at first in the Fengshan

Later, Reed Lee wrote to Wang Pan-youn to invitd him to include

district of Kaoshiung, where he worked as a dockworker to make

his paintings in the exhibition he's having in Taipei, convinced him

ends meet. In 1952, he was hired as the principal of Luodong Middle

that the show would be a success. Thus, Wang showed 32 of his water

School, which brought him to Yilan. They took up a thatched hut

color paintings at the Asia International Art Gallery on Zhongshan

temporary shelter in. Under financial pressure and physical weakness,

North Road in Taipei in 1966. At the time, the Hollywood filming

the couple often depended on the support of friends. Even so, he still

team was shooting “The Sand Pebbles” in Taiwan. The production

encouraged his students by asupplying his meager daily allowance to

team came across Wang's paintings, and was highly interested in

support the creativity of young painters. Wang Pan-youn 's character

purchasing all of the paintings, or none at all. Throughout the art

was noble, having known the warmth of life and also its cold

world, amazed people in the art community and was extremely

destitution, yet persevered in his love of painting, cultivating the lofty

significant for Wang Pan-youn’s profile as an artist. The show was met

and proud temperament of the Chinese literati.

with positive reviews, garnering NT$20,000 from the sales Wang was both shocked and elated, as the money would certainly be a big help

Wang Pan-youn once remarked that: “A painter needs to possess

to his family. The fact that not a single painting was left, however, he

one’s personal characteristic and theme, that is solitude” his paintings

couldn’t help but feel remorse about them being gone. He was never

impart to the viewer a sentiment of eternal spiritual search, and a sense

motivated by money in his painting and he never paid much attention

of infinite loneliness. From birth he preferred the quiet and held short

to the utility of the market.

patience for the ruckus of family life, developing an inward nature. Although he maintained his solitary nature into his later years, his

Regardless of the fact that he had been married twice (he married

introvert nature was not simply the result of the tragedy of his times

his first wife, surnamed Sun, when he was a student at Shanghai Fine

and circumstances - having to endure the loss of his loving family

Arts College) and had eight children, giving him a heavy burden, he

at an early age, losing economic independence, facing challenges

never gave up painting, even through the tough times when he first

on his path to his studies, being unable hold on to his beloved, and

came to Taiwan and then when he was teaching on a limited salary.

finally being forced to leave his home and go to a foreign land. He

He pursued painting purely for personal reasons and interests and not

experienced great adversity but was fortunate to have the support

for profit. He was “a painter without an easel”, who used doors or bed

of a few good friends. Reed Lee, (1921-2010) also from his home

boards for most paintings, tables for smaller ones, and the floor for his

larger works. For oil paintings, he used the back of chairs, or the walls

Yilan County Government and Cultural Affairs, to establish a Fine

near windows. He would be immersed within his work and forget to

Arts Museum dedicated to Wang Pan-youn. Instead, he donated ten or

eat, often painted into the night, and still felt content even in hardship.

more paintings to the Yilan Culture Center without any compensation , given the condition that whatever the amount they would gain from

In 1973, Wang Pan-youn applied for retirement due to poor health. His children were already independent, and thus he could

the sale of the paintings, would go toward helping out other younger artists.

concentrate on his painting. In 1979, Wang showed his paintings again in Taipei at the Spring Fine Arts Gallery. His works have also been

In 1992, two of Wang Pan-youn’s oil paintings, “Sailing” and

included in the collection of the Taiwan Fine Arts Museum (now the

“Snow Scene”, were sold for NT$1.1 million and NT$1.43 million

National Taiwan Museum of Fine Arts). In earlier times, those who

respectively at the spring and fall offerings of Sotheby’s premier

understand Wang Pan-youn's works came from abroad. Besides from

auction event in Taiwan, placing Wang into the company of artists

the previously mentioned case where the Americans bought all of the

whose works have sold in the millions. In 1993, the Taipei Museum

his early works, many of his ink wash paintings on show at the Hsiung

of Fine Arts added Wang’s works to its permanent collection. To date,

Shih Gallery in 1987 were also snatched up by Hong Kong collectors.

however, the Sotheby’s transactions still mark the highest recorded

There was even a German collector, Hermann Fixl, who was obsessed

price at auction for Wang Pan-youn’s works, which begs the question

with Wang Pan-youn’s art. It was during Fixl's business trip to Taipei

as to why the market sentiment for his paintings differs from that

in 1995, Fixl happened to see a joint exhibition of senior artists at the

for other artists of his age or even for younger artists? Actually,

CKS Memorial Hall. Seeing Wang’s paintings, he was in awe. He

the primary reason is that he was reluctant and unwilling to sell his

originally thought that the artist must be a younger person because,

paintings, and even forbade his family from selling them. Even in his

although Wang’s style was Chinese in essence, it was also quite avant

late years when he was still quite conscious, he would think about a

-garde. In fact, according to Fixl, Wang was the most unique Chinese

particular painting and have his children check for his procession as

painter he's ever known, and couldn’t believe that Wang was already

if he as conducting an inventory check regularly. Thus, the circulation

in his eighties. With the help of a local friend, he visited the painter

of Wang’s paintings on the market are extremely limited. According

in Yilan three times, wishing to procure one of his abstract painting which, had been on display. Knowing someone like Hermann Fixl who deeply appreciate and understood his painting, Wang Pan-youn finally decided to sell it to him. Similarly, many collectors who love Wang Pan-youn’s works are to be found in Yilan. Wang Pan-youn had his first solo exhibition at the National Museum of History in 1987, where 60 of his oil and water color paintings were shown, one of the most complete showings of his work ever. The museum has maintained a deep connection with Wang and his works, having six paintings by Wang in the museum collection, including Guishan, Great Northern Wilderness, The Waters of the Yellow River and so forth. In addition to international art galleries, Spring Fine Arts Gallery and Hsiung Shih Gallery having held exhibitions of Wang’s works, Mingjen Gallery, Asia Art Center, Eslite Gallery and Metaphysical Art Gallery have also held solo exhibitions of his work. But having to discuss and organize and exhibition for Wang’s was never easy given his reclusive and anxious personality. He

《龜山島日出》，2000年油彩畫布

60 x 72.5 cm 成交價：377,600台幣羅芙奧台北2006春拍

"Sunrise, GuiShan Island", 2000 Oil on canvas 60 x 72.5 cm Sold for US$ 11,787 Ravenel Spring Auction 2006 Taipei

would always refuse to sell his paintings or turn down any exhibition invitations. In his later years, he even rejected the proposal of the 27

ART & INVESTMENT to knowledgeable sources, galleries who had worked with Wang for

touches of white as if it is the edge of a cliff. The artist’s daughter,

years had difficulty in persuading him to provide them with paintings

speaking of her 97-year-old father, said that he didn’t buy the canvas

for exhibitions, even during the meeting being held at his home, Wang

and paints at the time with the intention of painting his final great

would instruct his family members to hide the paintings, avoiding the

work. Nevertheless, outsiders rarely saw any of his work after this

exposure of his works to the event holders.

one. Other works may exist, but they were never shown in public. Wang was still quite lucid in his communications with his family

In 2003, Wang Pan-young was the recipient of Taiwan’s Arts and

about his work before he passed away. In 2015, with his family at his

Business Award. China Times Publishing Company commissioned

side, Wang attended the premier event of the Yilan of Art Museum. He

Li Kuizhong, a well known Yilan writer, to write about Wang Pan-

was a multi-talented oil, water color, ink wash and calligraphic artist.

youn’s biography, “Loneliness and Sentiment”. In 2005, the Council

He was also a romantic poet and occasionally expressed his feelings

of Cultural Affairs and Link Lion Fine Arts Publishers jointly

about the past and people he missed, which could bring the artist to

produced “The Fine Arts Museum at Home” publication, featuring

tears even in his nineties.

Wang Pan-youn’s work. In his later years, Wang enjoyed a high level of recognition for his accomplishments in the art world, received

His paintings are with dept and simple compositions in a few

visits from Chen Shui-bian and Ma Ying-jeou, the former presidents

different styles with layer upon layer of color, slowly condense into an

of Taiwan, to whom he also gifted his paintings to. Thus, this elderly

expression of the emotions of his life intertwined with blood and tears,

artist became known as one of Taiwan’s national treasures.

which is why only people who truly liked his work were aware of his paintings. It is also the reason as to why there were limited circulation

According to biographer Li Kui-Chung's recollection, Wang Pan-

of his works in the market. As opportunists or people with the

youn directly told him that when Wang came to Taiwan in 1949, he

intention of selling his works as an investment would find it difficult

was afraid that anyone 40 years or younger would be snatched up for

to engage with him, it was also something that the artist would not

military service, so Wang added three years to his reported age. As a

want to see.

result, it is Li Kui-Chung's opinion that Wang's family were worried he only did this because the elder Pan had been labeled a "forger".

Wang Pan-youn once said: “I prefer paintings with open space.

Actually, his actions were due to the chaos of war, and were of no

I like to leave space when talking to people. I like to meditate

great harm. But the truth is most important; Mr. Wang Pan-youn was

and reflect, and not having to contend with people.” His thinking

indeed a great painter of his age, born in the first year of the Republic

transcends times, while his unique use of color and space to convey

of China — 1912.

memories as a faintly discernible mysterious metaphor, the cultural connotation is deeply embedded in Eastern cultures. The themes of

A painter needs to possess one’s personal characteristic and

his paintings included the creative artistic concepts of people, nudes,

theme, that is solitude” said Wang. Wang Pan-Young’s paintings

nature and animals. Whichever the subject it is, from people, birds,

bring about the everlasting sanctity and boundless sense of solitary to

dogs, cows, goats or eagles, they are all incarnations of himself,

people. The work of “Tears of Hero” is believed to be the last painting

constituting an autobiographical monologue. Female nudes or dancers

executed by the praised Taiwanese treasured master, of which the

in his work signal memories of the loves of his youth, somewhat

work represents a bitter life of his. Is it not the time of era and of faith

nostalgic of the place where he grew up. Thus, the artist mingled

that has contributed to such loneliness? Despite a lack of perfected

love and nostalgia together through the layered colors of dreams and

life, there was no doubt that he was well-deserved the title of “the Poet

feelings. A boat, the sun or the moon, on the other hand, were poignant

of the Canvas”.

symbols expressing his feelings, an artistic concept similar to poetry used to dilute the pain of his life and homesickness. His landscape

Modernity and Orientalism

paintings are not expressive melodies of beauty. At times, they have

The work of "Tears of Hero" was executed in 2006, it was

a distinct avant garde style, comprised only of a single color in an

considered as the final piece of work by Wang Pan-youn. It was a

abstract composition conveying a modern feeling. In the later period

large painting mostly covered in black with just the suggestion of

of Wang’s oevre, the simpler they became, achieving a supreme sense

clouds on the upper left corner, and the lower right corner is left with

of the absolute, an exciting and amazing experience.

宜蘭美術館開幕首展展出王攀元的72幅新舊作

The Yilan Museum of Art exhibited the collection featured 72 new and old works of Wang Pan-youn.

As mentioned earlier, Hsiung Shih Gallery organized an 《英雄淚》，2006年油彩畫布

162 x 130 cm

藝術家家族收藏

"Tears of Hero", 2006 Oil on canvas 162 x 130 cm Collection of the Artist Family

exhibition of Wang Pan-youn's ink wash paintings. Works included landscape, ink wash lotus, figure, impressionistic, and splashed color paintings. These ink wash paintings are distinctive in their own right. In his student years and when he first came to Taiwan, Wang used to practice ink wash paintings and calligraphy when he wasn’t painting water colors or doing sketches. And he didn’t just produce a few ink wash paintings at a time. When ever he got the inspiration, which usually happened when he was studying in the middle of the night, he would produce ten or more in a single session. He would put them aside for a while and return to develop them further or to change them later on. It was only after he was satisfied with his work would he put down his brush, which is why some of his ink wash paintings appear to be similar in composition. “I have always felt that there must be an essence or vitality to the substance of a painting. For example, the splash of the brush stroke of a splashed color painting allows the picture to have a dynamic element that renders the picture grand and magnificent and truly interesting, and when people look at it, it’s like seeing a hero with all the glory.” Wang Pan-youn was always passionate about his paintings. Look back

取自網路

at the artist’s life, both of his personal character and the character of his paintings are admirable and deserved being known as the master of the generation. 29

ART & INVESTMENT

TOP

王攀元作品二十大拍賣成交排行

Snow scene 雪景

Sailing 帆船

The Female Artist 女畫家

Nostalgia 長相思

Moonlight 望月

1992 Oil on canvas 60.6 x 72.5 cm

1991 Oil on canvas 72.4 x 60.4 cm

1976 Oil on canvas 100 × 80 cm

Oil on canvas 60.2 x 50 cm

1992 Oil on canvas 45.5 x 38 cm

預估價 Estimate／

NT$ 500,000 - 700,000

NT$ 1,000,000 – 1,200,000

HK$ 120,000 - 200,000

NT$ 850,000 - 1,000,000

成交價 Sold at／

NT$ 1,430,000

NT$ 1,100,000

NT$ 1,092,500

NT$ 975,000 HK$ 250,000

NT$ 900,000

拍賣日期Auction Date／

台北蘇富比 Sotheby's Taipei October 18, 1992

台北蘇富比 Sotheby's Taipei March 22, 1992

台北景薰樓 JSL Taipei November 7, 2004

香港佳士得 Christie's Hong Kong May 28, 2017

台北中誠 Zhong Cheng Taipei June 21, 2016

Gallop 奔

Hometown Moon 故鄉的月

Going home 回家

Dancing Melody with Moonlights l

Homesick 歸思

1910-1912 Watercolor on paper 53.5 x 78.5 cm

1976 Oil on canvas 45.5 x 37.5 cm

1990 Watercolor on paper 55 x 80 cm

月光舞曲

Oil on canvas 44.3 x 52 cm

預估價 Estimate／

HK$ 60,000 - 80,000

HK$ 100,000 - 150,000

HK$ 80,000 - 160,000

NT$ 650,000 - 750,000

NT$ 550,000 - 700,000

成交價 Sold at／

NT$ 824,500 HK$ 212,500

NT$ 793,217 HK$ 187,500

NT$ 783,605 HK$ 162,500

NT$ 747,500

NT$ 731,600

拍賣日期Auction Date／

香港佳士得 Christie's Hong Kong November 26, 2017

香港蘇富比 Sotheby's Hong Kong October 5, 2015

香港佳士得 Christie's Hong Kong November 24, 2013

台北景薰樓 JSL Taipei November 4, 2001

台北金仕發 Kingsley Taipei December 13, 2014

Oil on canvas 73 × 61 cm

製表／Tiffany Wong（Update: 2018.2.26 Source: Artprice.com, 典藏拍賣大典）

TOP 20 MOST EXPENSIVE WORKS OF WANG PAN - YOUN EVER SOLD AT AUCTION 11

Dancers; Cottage 舞者；茅屋

Female Painter 女畫家

Meditation 沈思(倦鳥)

Admire the Moon 望月

Streetscape 街景

1972 Watercolor on paper ; watercolor on paper, laid on cardboard 29 x 25.8 cm ; 39 x 53.8 cm

Oil on paper 79 × 54.5 cm

1978 Oil on canvas 72.5 x 60.5 cm

Oil on canvas 45 × 38 cm

Watercolor on paper 55 x 79 cm

預估價 Estimate／

HK$ 50,000 - 100,000

NT$ 650,000 – 750,000

NT$ 260,000 - 320,000

NT$ 320,000 - 400,000

NT$ 300,000 - 400,000

成交價 Sold at／

NT$ 652,150 HK$ 175,000

NT$ 649,000

NT$ 613,600

NT$ 600,000

NT$ 590,000

拍賣日期Auction Date／

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

台北景薰樓 JSL Taipei December 16, 2007

台北羅芙奧 Ravenel Taipei December 4, 2005

台北景薰樓 JSL Taipei June 21, 2015

台北景薰樓 JSL Taipei June 17, 2012

An Autumn Afternoon 小城秋色

After Rain 雨後

Figure 人物

Landscape; Rainstorm 有樹的風景；暴風雨

Dawning 曙光

Oil on canvas 62 x 74 cm

Watercolor on paper 46 x 46.5 cm

Oil on canvas 45.5 x 38 cm

1975 Watercolor on paper 34.3 x 24.8 cm ; 31 x 37 cm

1997 Oil on canvas 38 x 45.5 cm

預估價 Estimate／

NT$ 600,000 - 800,000

NT$ 340,000 - 500,000

HK$ 80,000 - 150,000

HK$ 50,000 - 100,000

NT$ 400,000 - 500,000

成交價 Sold at／

NT$ 575,000

NT$ 566,400

NT$ 561,253 HK$ 150,000

NT$ 558,985 HK$ 150,000

NT$ 531,000

拍賣日期Auction Date／

台北羅芙奧 Ravenel Taipei October 5, 2003

台北金仕發 Kingsley Taipei June 7, 2014

香港佳士得 Christie's Hong Kong May 29, 2016

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

台北景薰樓 JSL Taipei June 19, 2011

SPECIAL REPORT

ULTIMATE ARTSY HOTELS 奢華加冕擁抱藝術正好眠

對於熱愛藝術的，若能在博物館或珍稀等級的藝術品環繞中入睡，可謂美夢成真。但這己不再是夢想，

、 Le Royal Monceau Raffles Paris

The Dolder Grand

全球極致五星級酒店運用藝術真跡作為布局，重新定義了奢侈，

、 Hotel Eclat Beijing

Joseph Wan

讓日常也能親炙藝術的美好。 Text Photo

也

許你並不在意酒店套房動線設計，是否親自由派翠克•朱昂

畫，聯合裝修設計，成為極致飯店的賣點；酒店也與藝廊或博物館

（Patrick Jouin）與尚吉•曼庫（Sanjit Manku）操刀，也

攜手，縮短藝術品與人群的距離，打造品味獨運的體驗。

不特別留心大廳裡擺放著璜•阿瓦瑞茲（Juan Alvarez）或芭芭

拉•貝瑞（Barbara Barry）品味獨具的家具，但任誰都無法抗拒

與沃荷的《女王（The Queen）》真跡共餐！

對於熱愛藝術的你，若能在博物館，或珍稀藝術品環繞中入睡，可謂美夢成真。而今，隨著精品旅館加入藝術珍品蒐藏的行

不論是沃荷、達利的畫作，還是高孝午（Gao Xiao Wu）、皮

耶•瑪特（Pierre Matter），與亨利•摩爾（Henry Moore）的雕塑，透過出眾獨特的極致品味，不再僅限於博物館與私人典藏，而巧妙錯落於下塌的精品酒店內外，重新定義了奢侈，讓普羅大眾也能從日常親炙藝術的美好和其存在的價值。

列，這一切都不再只是空想。從中國北京到法國巴黎，雕塑與繪 33

SPECIAL REPORT

1. 沃荷絹版畫《熊貓（The Giant Panda）》。 2. 怡亨最受歡迎的泳池套房，一派西洋鏡裡見東方的大方。 3. 與沃荷的《瑪麗蓮•夢露共餐》。 4. 沈敬東作品《人人都是英雄》。 5. 有什麼過場更勝達利的 MADONNA OF PORT LLIGAT？

4 5

Hotel Eclat Beijing http://www.eclathotels.com/beijing/ ADD : No. 9, DongDaQiao Road, Chaoyang Dist., Beijing 100020 TEL : +86 10 8561 2888

北京怡亨酒店

Hotel Eclat Beijing 自 2013 年春季開幕以來，北京怡亨酒店便以其收藏、

怡亨，裝修精巧，風格多元別緻。最受賓客喜愛的泳池套

陳展超過千件藝術品，成為千年皇城裡最受歡迎的精品酒

房，使用義大利Ceccoti混合英國Timothy Oulton家具，搭配

店。不論是接待處閃爍鎏光的達利雕塑、梯間裡引人目光

戶外擺置的高孝午雕塑與巨大鳥籠，營造出摩登的雅痞風

的沃荷絹版畫《熊貓》，或是廊道裡綻放異彩的皮耶•瑪

味。

特雕塑，在在展示已故業主，喬福集團主席黃建華，過人的品味與鑒賞力。

出生於香港，長於台灣的黃建華，深受父親影響，相當早便開始蒐藏藝術品。除了擁有西班牙境外最豐富達利

除了藝術收藏亮眼，北京怡亨也以 ETFE 薄膜打造，

雕塑品外，也於 90 年代起開始典藏中國當代藝術家作品，

力抗北京霾害與寒冬的透明屋頂聞名。「北京怡亨最受歡

包含張曉剛、方力鈞、王廣義、岳敏君等當時新銳。「怡

迎的露台設計，受惠於ETFE薄膜製造遮蔽，讓賓客不分冬

亨與芳草地是無法被複製的，因為沒有人會這般用心」，

夏都能有半戶外的體驗，而且完全不用擔心霾害」為此引

一手打造怡亨的黃建華，望著酒店與接連的僑福芳草地辦

以為豪。有別於傳統酒店設計的制式，陳展大量藝術品的

公室與賣場，吐露他對酒店與藝術的熱愛。 35

SPECIAL REPORT

巴黎萊佛士酒店

Le Royal Monceau, Raffles Paris

花都巴黎，從十九世紀開始便成為藝術家在歐陸最重要的據點駐地，酒店與藝術更是緊密結合。莫里斯酒店（ Le Meurice ）接待達利與沃荷長達三十年、克里昂酒店（Hotel de Crillon）的套房永遠保留給指揮家伯恩斯坦（Bernstein），香奈兒夫人在麗池一住也是三十年，以其為名的套房仍懸掛著十七世紀法國學院畫派大師查理•盧布郎（Charles Le Brun）的真跡。藝術、名人與歷史，在巴黎儼然是今日宮殿級酒店的基礎入門。「僅是藝術品陳列，對於造訪巴黎的旅客是不足為奇的，我們必須更加積極的讓藝術與賓客互動。」前身為皇家蒙梭酒店（Royal Monceau）的宮殿級巴黎萊佛士酒店總經

1. 向杜象與瑪格利特致敬的高端風格，在此能一嚐松久信幸 (Nobu Matsuhida) 時髦的新派壽司。

2. 菲利浦•史塔克風格：玩弄鏡影與水晶燈最為得心應手。

3. 由茱莉•尤金打造的藝術禮賓司與藝廊。

2 3

©Roméo Balancourt

Le Royal Monceau, Rafﬂes Paris https://www.leroyalmonceau.com

僅是藝術品陳列，對於造訪巴黎的旅客是不足為奇的，我們必須更加積極的讓藝術與賓客互動。

ADD : 37 avenue Hoche, 75008 Paris TEL : +33 1 42 99 88 00

理艾朗•克普（Aaron Kaupp）笑道。距離凱旋門一

District Gallery ）、藝術書局與藝術禮賓司（ Art

步之遙的巴黎萊佛士酒店，於1928 年開幕，前身是

Concierge），將巴黎萊佛士推升至其他宮殿酒店不

英國邱吉爾與美國艾森豪將軍指定下榻的皇家蒙梭

曾企及的全新高度。

酒店。酒店於其八十歲金誕時歇業翻修，由知名工

不只籌辦各種藝術特區內的展覽，也照管下榻

業設計與室內設計師菲利浦•史塔克操刀，於 2010

賓客在藝術上的一切需求。不論是獨家藝術展覽訊

年重新命名為萊佛士皇家蒙梭酒店開張迎賓。

息、夜訪美術館、與特定藝術家對談，甚至是藝術

穿過紅色棚頂遮蔽的大門，大廳內隨處可見

品典藏，茱莉•尤金（Julie Eugene）與巴黎萊佛士

的巴卡拉（ Bacarrat ）水晶燈、威尼斯明鏡，以及

酒店使命必達。「在巴黎萊佛士，本著對藝術的著

透明座椅都標誌著史塔克的個人印記。然而，史

迷，賓客與我們共同分享許多美妙的時刻。」負責

塔克除了賦予巴黎萊佛士酒店時髦輕巧的氛圍，

全球首創藝術禮賓司的茱莉•尤金，溫柔但滿是自

他力薦，首開全球先例設置藝術特區藝廊（ Ar t

信地表達了酒店毫不吝嗇地分享與對藝術的熱愛。 37

SPECIAL REPORT

1 2

蘇黎世多德大酒店

The Dolder Grand Hotel

位在瑞士蘇黎世市郊，擁有百於年歷史

接待處清雅的列柱後，懸掛著沃荷於

的多德大酒店，於 2008 年由倫敦福斯特建築

1979 年完成的《回顧展（ Big Retrospective

事務所（Foster + Partners）全面翻新，明珠出

Painting ）》，這座十一公尺長的畫作可謂是

匣。以翻修大英博物館聞名的福斯特建築事務

鎮館之寶，迎接各國風塵僕僕的住客。隨著體

所，除了翻修東歐風格玫瑰色外觀的舊翼，增

面但溫雅的管家穿過遊廊，亨利•摩爾、村上

建更為節能新穎的新翼，還在英國裔業主 Urs

隆、米羅的雕塑穿插出現，讓人莞爾之餘，不

Schwarzenbach 著意下擺置其以當代西歐藝術家

禁暗暗讚嘆酒店業主精準的眼光。待管家舒開

為主的個人收藏。從米羅、達利，到戴米恩•

行李，安靜退去後，從品味低調精細的套房望

赫斯特（Damien Hirst）以及札哈•哈蒂（Zaha

去，蘇黎世美景盡收眼底，但眼尖的賓客絕不

Hadid），多德大酒店一共陳展超過百件博物館

會錯過兩座凱斯•哈林（ Keith Haring ）顯眼

水準藝術品，可說是瑞士之最。

的雕塑。然而，更加讓藝術迷與藏家嘖嘖稱

1. 佇立在蘇黎世外山丘之上的百年旅店，多德大酒店。 2. 翻新後雅緻無缺的舊翼套房，典麗依舊。 3. 接待處馳名的沃荷畫作，毫無視覺死角的當代巨作。 4. 佇立在內院的尚•度布菲雕塑：古今交錯卻毫無一絲的不協調。 5.6. 凱斯•哈林在多德大酒店的兩種樣貌，為百年旅店帶來青春的氣息。

SPECIAL REPORT 奇的是酒店內榮膺米其林兩星殊榮的主餐廳

藝術是我們與賓客在服務之外最能引起共鳴之處，

（The Restaurant）。由名廚Heiko Nieder 與其

也讓我們引以自豪。

團隊領軍的主餐廳，為人津津樂道的不只是精妙廚藝，其接待處懸掛的達利真跡《變形女子 ──七種藝術（Femmes métamorphosées-Les sept

arts）》，是任何喜愛美藝饕客的心頭最好！「藝術是我們與賓客在服務之外最能引起共鳴之處，也讓我們引以自豪。」，談及酒店內驚人的藝術收藏，多德大酒店營運長馬克• 約伯（Mark Jacob）眼神一亮。對於許多賓客而言，入住多德大酒店，無異於下榻一間服務超群，並聯展當代藝術的美術館。由於酒店藝術珍品琳瑯滿目，為了讓賓客不錯過任何精彩的藝術品，多德大酒店還提供行動裝置 App，即時提供藝術品導覽與簡介。

The Dolder Grand https://www.thedoldergrand.com ADD : Kurhausstrasse 65, 8032 Zurich, Switzerland TEL : +41 44 456 60 00

7 7. 達利真跡《變形女子——七種藝術（Femmes métamorphosées-Les sept arts）》。 8. 律動感十足的米羅雕塑，陳設在新舊兩翼間，用繽紛色彩演奏音樂。

與「沙皇寶藏」一起重返荷蘭

A TREASURE OF THE TSARS Text Franie Hsu Photo Heavens Portfolio

1 1. Conservatorium Hotel音樂學院酒店。 2. 林布蘭1634年的畫作《扮作花神的莎絲姬亞（Saskia as Flora）》。 2

荷蘭阿姆斯特丹隱士廬博物館

宿套餐Dutch Masters Package，每位入住客

（Her mitage Museum）首次帶來名為

人將會從建基於這歷史建築物內的當代簡

《 Dutch Masters from the Hermitage, a

約設計上，享受到既獨一無二又充滿文化

treasure of the Tsars》的藝術展覽，顧名思

氣息的住宿體驗。服務內容包括：二人兩

義是展出歷代俄羅斯沙皇們的荷蘭藝術收

晚豪華酒店住宿、歐陸式早餐以及兩張荷

藏品，共展出 50 位藝術家、 63 件作品，其

蘭阿姆斯特丹隱士廬博物館《Dutch Masters

中包含荷蘭歷史上最偉大畫家──林布蘭

from the Hermitage, a treasure of the Tsars》

（Rembrandt Harmenszoon van Rijn）所完

展覽入場票。預訂皇牌套房的客人更可享

成的6幅畫作。這些一直漂流在外的荷蘭作品，歷經350年歷史，終於「回歸祖國」。

< Dutch Masters > 免費私人導覽服務。預訂客房或套房每晚價錢由歐元550起，預訂

為了共襄盛舉這場「世紀返鄉

皇牌套房每晚價錢由歐元 2134 起，適用日

潮」，自詡為阿姆斯特丹高端品味代表的

期至5月27日止，邀請世界各地的藝術同好

Conservatorium音樂學院酒店，推出全新住

們，與「沙皇寶藏」一起重返荷蘭。 41

FASHION

1997 John Galliano for Dior by Nick Knight

鏡中花鏡中花水中月水中月

Chinoiserie

時尚也是一種藝術賞析。回顧時裝百年漫漫，

中國風格從西方想像出發，最終透過東方還魂，成為全人類文化的遺產。 Text 約瑟夫

Photo 各家品牌、vogue.com

久以來，中國風格（Chinoiserie）是西洋想像裡的

長

水中月，鏡中花。卡泰、青瓷、鴉片、綢緞、園

林…… 在西方的想像中，中國是異鄉、是遠東的終點，也是神秘和富饒的意境。而中國衣飾與東方感的風格從啟蒙世代開始，便是歐洲代代文人與藝術家取之不盡，用之不竭的靈感來源。二十世紀從聖羅蘭（ Yves Saint Laurent ）以降，盛清宮廷服儀是設計師無從錯過的主題。 1977 年秋冬聖羅蘭高級訂製服中以盛清朝服與棉襖為原型，以迷離的黑、紅、金、粉，將中國想像從文革鐵幕中解放，重返康熙、雍正、乾隆三朝。其後 John Galliano 與 Dries Van

Noten 以黃袍加身，將 1997 春夏迪奧（Dior）高級訂製服與 2012 春夏 Dries Van Noten 同名時裝推上刺繡與金綢矯飾的龍座。然而，真正讓旗袍與蟠龍圖騰在紅毯上神格化的，唯獨 Tom Ford 在 2004 年首度執掌聖羅蘭時， 1977 Yves Saint Laurent

向大師致敬的春夏時裝。

絲綢、刺繡，與皮草，透過中國風格的稜鏡，不見迷離，只有夏姿獨有的優雅。

FASHION 1. 2004年Tom Ford接下YSL設計大任後，

利用中國印象的龍圖騰，讓中國風設計從 1977 年的鴉片風格朝服進階至龍袍加身。

2. 郭培為中華民族縫製的嫁衣，透過蕾哈娜與紐約大都會博物館讓世界看見。

3. 2012 Dries Van Noten 華夏新姿，龍袍

在大師手上被翻玩解構，順利走入二十一世紀女性的衣櫃之中。

©Rihanna FB

龍鳳圖騰印花、立領、盤釦與精緻刺繡絲料，中國風格是一股無法抵擋的潮流， 3

永遠不退流行

關於更為抽象的中國風格，Karl Lagerfeld 操刀的 1996 秋冬香奈兒（ Chanel ）高級訂製服，讓想像中的中式園林花鳥在伸展台上開展。2011 秋冬麥昆（Alexander McQueen）則更進一步，讓破碎的骨瓷在工坊巧手中，重新塑形為衣，從概念到材質定調二十一世紀的中國風格。隨著華裔設計師雀起，陳彩霞、殷亦晴，與郭培等分別在巴黎與紐約豎立了華人觀點的中國風格。陳彩霞說服Karlie Kloss 與 Jessica

Alba ，讓唐綢再度成為西方新寵。「我的願望，是為整個民族做嫁衣」，郭培謙卑但肯定地表述自己對中國風格的期許。為之感動，而身著鳳凰金縷衣的蕾哈娜（Rihanna），藉由喝采連連的社群媒體更把中國風推向年輕世代，散發出前所未有的影響力。

5 4. 美哉Valentino，宮門石影壁上的蟠龍，時髦降生在高端女裝上！ 5. 只有Alexander Mcqueen能化腐朽為神奇，讓碎裂青花瓷成為伸展台上最受矚目的藝術品。

LUXURY

Dream Car In search of Italian-style romantic appeal 追逐義大利式浪漫

跑車經典全球正吹起一股經典跑車風潮，收藏家前仆後繼的到處找尋自己心目中的Dream Car，其中最受注目的就是由全世界最的義式經典跑車。 Text 陳俊翰 Eric Chen Photo maserati.com、classicdriver.com

如

同國家帶給外人的印象，義大利經典跑車非常的羅曼蒂克。許多暢銷跑車品牌在義大利人眼裡，外型以及動力都遠遠比

不上，這也是多數藏家喜愛義大利跑車的原因。同樣等級的跑車，義大利品牌的外型比其他國家更加引人注目，動力也比較強，讓藏家不由自主的愛上駕馭義大利跑車的感覺。義大利跑車中最具「浪漫」血統的品牌莫過於 Maserati 了。由

Maserati兄弟在1914年創立的同名品牌一直是藏家最愛，車系中歷史最悠久的車型就是Quattroporte。Quattroporte義大利文的意思是「四個車門」，顧名思義這款車型是Maserati 首款四門房車。從 1963 年至今已經發展出六代車款，是Maserati最重要的車款。Quattroporte I 從1963年生產至1969年，最初的設計理念是製造出一台性能卓越、 1963年第一代Maserati Quattroporte

能充分彰顯 Maserati 品牌奢華優雅特質的四人座豪華房車。為此

Maserati的工程設計團隊打造了全新的鋼板底盤，包含結合前軸底

Lamborghini，最為台灣藏家所知的無外乎「大牛」以及「小牛」，

盤的完整承載結構、後軸則採用獨立De Dion式懸載，即便在高速

第一款被稱為「小牛」的車型－Urraco在1970年義大利都靈車展首

行駛的狀況下也能保持方向穩定。在動力方面， Quattroporte I 採

次亮相， 1973 年開始販售。當時 Lamborghini 想要打造一台小型跑

用了自然進氣V8引擎，4709c.c的排氣量以及290匹的最大馬力讓極

車，假想敵之一就是Porsche 911，比起911狹小的後座，Urraco扎扎

速推進到255km/h，成為當時世界最快的四門房車。Quarttrporte讓

實實的做了2+2的座位配置，在後座舒適度上大勝911。Urraco總共

Maserati成功切入了頂級四門豪華房車的市場，也因此為Maserati的

有三種車型－P200、P250以及P300，都採用V8引擎，排氣量各為2.0

長青車系。

升、2.5升以及3.0升。當時Lamborghini恰逢財務危機，全球景氣又

說到注重性能的義大利跑車， Lamborghini 會是大多數藏家心中第一個浮現的品牌。 1963 年由 Ferruccio Lamborghini 成立的

因石油危機而持續低迷，所以Urraco總共只生產了791輛，數量稀少以及易於維修的優點也讓Urraco近年的收藏價值後勢看漲。

Lamborghini在1966年開始生產的Miura是世界上第一台被冠以「超

跑車本身就是集性能和工藝於一身的藝術品。更因為義大利人

級跑車」的車輛， Miura 以量產車做的新嘗試－中置引擎配置也被

天性使然，啟動了對跑車的追捧，或許在義大利式超跑風駛電掣的

後來大多數跑車所採用，成為大眾心中超級跑車的標準配置。提到

駕馭感之外，更能令藏家感受到一種生命中不可或缺的浪漫存在。 47

LUXURY

lassic sports cars are enjoying a wave of popularity

appearance is generally more visually-striking than that of other cars

all over the world, with large numbers of collectors

in the same class, and the Italian cars also tend to have more powerful

searching for their own "dream car." The globally-

engines. Classic car collectors inevitably fall under the spell of the

renowned classic Italian sports cars have been

unique experience that driving an Italian sports car provides.

attracting a particularly high degree of attention. Just

as Italy has a romantic image for people in other countries, so do classic

No Italian sports car brand has a more romantic lineage than

Italian sports cars. Viewed from an Italian perspective, many non-Italian

Maserati. Founded by the Maserati brothers in 1914, this brand has

sports cars brands are lacking in both looks and power. This is precisely

always been a firm favorite among collectors. Of the various Maserati car

why so many collectors love Italian sports cars. Italian brands' external

series, the Quattroporte series has the longest heritage. "Quattroporte"

1974 Lamborghini Urraco P300 Car

羅芙奧2017秋拍展售會，

Lamborghini Urraco P200 。

羅芙奧2017春拍展售會，1980 Porsche 930 Turbo S 。

is Italian for "four doors," and as the name suggests, this was Maserati's

adopted by many other sports car brands, and which sports car

first four-door model. Since 1963, there have been six generations of

enthusiasts came to see as the standard engine configuration. The best-

Quattroporte cars, and the Quattroporte is Maserati's most important

known Lamborghini models for Taiwanese collectors are colloquially

series. The Quattroporte I was in production from 1963 until 1969. The

known in Taiwan as the "Big Bull" and "Little Bull." The first sports

initial design concept was to create a luxury four-person saloon car that

car model to be referred to as "Little Bull" was the Urraco, which was

would have superb performance while also showcasing the luxurious

first shown at the Turin Auto Show in 1970, and which went on sale in

elegance that characterizes the Maserati brand. To this end, the Maserati

1973. Lamborghini's vision was to create a small sports car that could

design team developed a brand new type of steel-plate chassis, with

compete effectively against rival cars such as the Porsche 911. Unlike

integrated suspension that incorporates the front axle chassis; for the

the Porsche 911's cramped back seats, the Urraco had a proper 2+2

rear axle, the Quattroporte I used De Dion suspension, which helped to

seating configuration, with rear seats that were much more comfortable

ensure firm steering even when driving at high speed. As regards power

than those of the Porsche 911. Three versions of the Urraco were

output, the Quattroporte I was fitted with a naturally-aspirated 4,709 cc

built: the P200, P250 and P300. All of them used a V8 engine, with

V8 engine delivering up to 290 hp, giving the car a top speed of 255 km/

engine capacity of 2,000 cc, 2,500 cc and 3,000 cc respectively. At the

h. This made the Quattroporte I the fastest four-door saloon car in the

time, Lamborghini was experiencing financial difficulties, which were

world. The Quattroporte enabled Maserati to successfully break into the

exacerbated by the 1973 Oil Crisis and the continuing global economic

luxury four-door sedan market, and it has remained one of the company's

downturn. As a result, only 791 Urracos were built. The car's rarity, and

most popular series ever since.

the fact that it is very easy to maintain, have given it a belated popularity among collectors over the last few years.

When thinking about Italian sports cars that emphasize performance, Lamborghini would probably be the first brand that comes

A sports car is a work of art that embodies both performance and

to mind for most sports car collectors. Lamborghini was founded by

craftsmanship. Italians' enthusiasm for sports cars is rooted in the Italian

Ferrucio Lamborghini in 1963; the Miura, which Lamborghini launched

character. Besides the electrifying thrill that driving an Italian sports car

in 1966, was the first car in the world to be described as a "super sports

provide, sports car collectors are also likely to find that owning an Italian

car." The Miura represented a revolution in mass production sports car

sports car gives their lives an extra touch of romantic elegance that no-

manufacturing, featuring a mid-engined layout that was subsequently

one should be without. 49

WINE

The Art of

Wine Label 酒標的藝術

葡萄酒是嗅覺與味覺的饗宴，而酒標則乘載著酒莊的精神、釀酒師的念想、將嗅覺與味覺轉換為視覺與情感的展現，它是一連串的信號與提示，在拉開瓶塞前，觸動著酒客的無限遐想。 Text Eva Tang 唐維怡 Photo Ravenel International Art Group

葡

萄酒酒標設計的歷史不過百年，在玻璃瓶得以量產後的早

Corneille、趙無極等多位重量級藝術家。結合藝術品獨一無二的特

期，僅以粉筆在瓶身上標上產地與年份，爾後負責銷售的代

性與葡萄酒本身因著天地人種種因素交織而成每個年份每一瓶獨特

理商才開始自行裝瓶貼標，酒標僅是身分標籤與資訊傳遞的媒介。

的個性與風味，提升了葡萄酒的收藏價值，葡萄酒本身成了可以賞

隨著葡萄酒百家爭鳴的局面日益開展，酒標亦開始加入戰局，為葡

玩的藝術品，特殊酒標的價值如同絕版郵票般受到藏家們的關注。

萄酒市場開闢出全新的戰略模式，酒標設計、瓶身造型、乃至外在

讓我們一起來認識兩家以完美酒質與藝術酒標聞名於世的酒莊：

包裝就是一款酒予人的第一印象，如何在短短的第一印象形成時間

Château Mouton

內，在消費者心中留下深刻的印象，讓人感受到這瓶酒的故事性與其獨一無二的價值，酒標所承載的使命開始加深，酒標設計也以因而在在有著令人驚喜的呈現與結合。其中，葡萄酒酒標的設計一直與藝術有著密不可分的關係：以「我的床My Bed」裝置藝術聞名的英國藝術家Tracey Emin，

就曾為葡萄牙斗羅河谷的Quinta de la Rosa酒廠打造了Tonnix系列酒標；法國波爾多聖愛美濃的 Château Fonroque 則委請擅長以奇

特色彩與光影繪出魔幻場景的英國藝術家 Peter Doig 為酒莊 2011

年以生物動力自然農法釀造的酒款Cælestis創造酒標，這幅原作在

2015 年倫敦的一場慈善拍賣會上以四萬英鎊落槌；除此之外，創立於1734年的Taittinger香檳酒廠自1973年開始推出了大師典藏系列 Collections de Maitres，每年都會邀請一位藝術家設計瓶身與外盒圖樣，此系列的第一個年份 1978 年即請到歐普藝術的代表匈牙利裔法籍的瓦薩雷里 Vasarely 、 1981 年為法國新寫實主義的先驅阿曼 Arman 、 1985 年則邀請美國普普藝術的代表人物李奇登斯坦Roy Lichtenstein、及其後的Hans Hartung、Toshimitsu Imai、

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位列法國波爾多五大酒莊之一的Château Mouton位於波爾多

Médoc 的 Pauillac 村，於 1973 年破格從二級酒莊升格成為一級酒莊。被美國酒評家羅勃帕克 Robert Parker 喻為「超過一百分，突破味覺極限的酒款」，Château Mouton的旗艦酒款除了有著熱情奔放的風格、高大的骨架、與圓潤豐腴的質感，更是藝術酒標的先驅。一切始於1922年接掌酒莊的菲利浦男爵Baron Philippe de

Rothschild ，這位男爵熱愛文學、藝術、與戲劇，為慶祝其上任後第一個年份的問世-- Château Mouton 1924，他邀請了當時知名的海報設計師Jean Carlu為其設計酒標，鮮明的色塊繪製著代表了 Rothschild家族的五支箭頭家徽與代表著Château Mouton的綿羊。而在第二次世界大戰結束的1945年，受到同盟國（WWII Allies）勝利的觸動，菲利浦男爵決定用該年度的酒標來紀念重獲和平的喜悅，他委託給後來逐漸在戲劇界展露頭角的 Philippe Jullian ，以英國首相邱吉爾在二戰期間鼓舞自由力量的V字手勢 -- “ V for

Victory ”為創作核心，打造了具有重要歷史意義的藝術酒標；

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酒莊並自這一年開始的每個年份都與一位存世重要藝術家合作酒標的設計，獨特的藝術酒標述說只屬於當年份的故事。而細細翻看 Château Mouton 的酒標更彷彿閱讀著小型現當代藝術史，從立體派的布拉克Georges Braque（1955）、畢卡索Pablo Picasso

（1973）、羅蘭珊Marie Laurencin（1948）；超現實主義的米羅

Joan Miró（1969)、達利 Salvador Dali（1958）、培根 Francis Bacon（1990）、弗洛伊德 Lucian Freud（2006）；抽象主義的康定斯基 Wassily Kandinsky（1971）、馬德維爾Robert Motherwell （1974）；普普藝術的安迪沃荷 Andy Warhol（1975）；游離於印象立體與抽象表現主義等派別間的夏卡爾 Marc Chagall（1970）等等，每一位都是如今在藝術史上占有一席之地的重要藝術家。

Château Mouton在全球的拍賣市場中都是炙手可熱的，與同樣身為五大酒莊的Château Laﬁte、Château Latour等相比，超過半個世紀持續與藝術家的合作使得珍藏Château Mouton佳釀的同時亦是視覺的無上饗宴，收藏價值更加提升，藏家們自然也更加執著。

Sine Qua Non 膜拜酒（Cult Wine）是葡萄酒界的一大傳奇，它並不特指某幾個酒款或酒莊，而是一個從 1980 年代開始自成一格的概念與風潮，膜拜酒向世人展現了北美、澳洲、義大利、西班牙等地除了大規模生產的葡萄酒外，亦能生產精緻酒款。所有膜拜酒共通的特色是產量極低，相較於如拉菲（Château Lafite）一年三萬箱以上的

Taittinger大師典藏系列Collections de Maitres

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產量，膜拜酒的年產量僅數百箱，在物以稀為貴的市場運作策略與

Robert Parker等酒評家一致的高分好評下，膜拜酒在美國加州的納帕山谷（Napa Valley）誕生，嘯鷹酒莊（Screaming Eagle）、哈蘭酒莊（Harlan Estate）、鑽石谷（Diamond Creek）等莊園相繼

year of production. Later on, when distributors responsible for the sale of the wine began to place labels on the bottles, wine labels were deemed as a means to convey identity and information. As the competition between wine producers grew, wine labels also entered the fray and

崛起。九零年代中後期，膜拜酒的價格不斷刷新世界紀錄，幾經轉

opened up new strategic models for the wine market. The design of the

手與公開拍賣後，價格可達上萬美元一瓶，遠遠超越波爾多級數酒

wine labels, the shape of the bottles, and even the external packagings

莊，更超越了五大酒莊葡萄酒的價格。而Sine Qua Non不僅是這波膜拜酒浪潮中的翹楚，更是全球公認最難入手的膜拜酒。由奧地利移民的莊主Manfred Krankl一手打造的Sine Qua Non

於1994年生產了第一個酒款-- 黑桃Q（Queen of Spades），在以

Cabernet Sauvignon為主流的美國加州，Sine Qua Non卻是以隆河（Rhône Valley）系的Syrah和Grenache作為其主力葡萄品種。更

are what create the first impression of the wine. In the creation of a long-lasting impression on the consumers during the short duration of the first impression in order to enable the consumers to experience the story behind the bottle of wine and its one-of-a-kind value, the design of wine labels has time and again offered surprising presentations and combinations.

加有趣的是，莊主認為每一年的每一款酒都是獨一無二的存在，應該各有其獨立的身分象徵，因此即便是相同的葡萄品種，每一年的

Among these, the design of wine labels has always been closely

每一款酒都由莊主本人操刀設計不同的酒標，賦予寓意的名稱，甚

linked to the arts. British artist Tracey Emin, known for her installation

至是打破傳統作法型式大不相同的玻璃瓶。出眾的酒質、極其稀少

artwork "My Bed", created the wine labels for the Tonnix product range

的產量再加上舉世無雙的外在，藏家們開始以收藏藝術品的角度看

for Quinta de la Rosa wine estate of Portugal. Château Fonroque of

待Sine Qua Non，難以蒐集齊全更讓Sine Qua Non的市場價值節節

Saint-Émilion in the Bordeaux region of France commissioned British artist Peter Doig, famed for his fantastical landscapes created through

攀升。

abstract colors and light and shadow play, to create the wine label for their biodynamic, naturally-farmed wine Cælestis in 2011. The original artwork sold for £40,000 at a charity auction in London in 2015. In addition, Taittinger, the champagne producer founded in 1734 launched its master's collection "Collections de Maitres" in 1973, every year, an artist is invited to design the bottle and the image on the packaging box. For the 1978 vintage of this collection, the Hungarian-born French

"leader" of the optical art movement Victor Vasarely was invited; for 1981, it was the French pioneer of New Realism Arman; for 1985, it was

ine is a feast of the smell and taste, while

the US pop art icon Roy Lichtenstein; later artists included renowned

the wine label epitomizes the spirit of the

figures such as Hans Hartung, Toshimitsu Imai, Corneille, and Zao Wou-

wine estate, the ideals of the winemakers,

ki. The combination of unique artworks and the distinct provenance of

and transforms smell and taste into visual

the wine (due to both natural and human factors) has created the one-of-

and emotive expressions. It presents a series

a-kind characteristics and flavors of each bottle of wine from each year.

of signals and hints that tease the endless imagination of the wine

It has enhanced the collectible value of the wine and transformed the

connoisseur before the cork has left the bottle.

wine into an art piece to be enjoyed, while the special wine labels receive as much attention from collectors as that paid to out-of-print stamps.

The history behind the design of wine labels is only a century old. Now, let us visit two world-renowned wine estates famous for their

In the early days after the mass production of glass bottles begun, the wine bottles were merely marked in chalk with the place of origin and

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Château Mouton

of the collection is enhanced, the collectors are of cause even more

Château Mouton is ranked one of the top five wine estates in the

dedicated.

Bordeaux region of France, it is located in the village Pauillac in the Medoc region. In 1973, it was upgraded from a second-class wine estate

Sine Qua Non

to a first-class Bordeaux wine estate. Château Mouton's flagship wine,

Cult Wine is a legend in the world of wine. It does not refer to

rated by Robert M. Parker Jr. as "a wine that surpasses 100 points and

specific vintages or wine estates, it is actually a concept and trend that

has broken past the ultimate boundaries of taste" was not only a wine that

started in the 1980s. Cult wines proved to the world that in addition to

was bursting with passion and abandon, full-bodied with well-rounded

large-scale production of wines by North America, Australia, Italy, and

and luxurious texture, it was also the pioneer of the artistic wine labels.

Spain, these places are also able to produce high-quality boutique wines.

This all started when Baron Philippe de Rothschild took over control of

The common feature that all cult wines share is their low production

the wine estate in 1922. The baron enjoyed literature, art, and theater,

volume, when compared to the over 30000 cases produced annually by

and in order to celebrate the birth of the first bottle of wine - Château

Château Lafite, cult wines have a production volume of merely a few

Mouton 1924 - after he took over the business, he invited a renowned

hundred cases per year. Under the market strategy of rarer the commodity

poster designer of that time, Jean Carlu, to design the wine label. The

the higher the price and the high points awarded by wine critics such as

bright color-block design represented the five arrows on the Rothschild

Robert Parker, cult wine was born in the Napa Valley in California, US,

family's coat-of-arms and the sheep that represent Château Mouton.

followed on by the founding of wineries including Screaming Eagle,

When WWII ended in 1945, Baron Rothschild was inspired by the

Harlan Estate, and Diamond Creek. In the mid-1990s, the prices of cult

victory of the WWII Allies and he decided to use the wine label of that

wines continued to create new world records, after a few change of hands

year to commemorate the joy of regained freedom. He commissioned

and public auctions, a bottle of wine could go for as much as USD10000,

Philippe Jullian, who later became an important figure in theater, to

which far surpassed that of ranked Bordeaux wine estates and even the

use the "V for Victory" hand gesture created by British Prime Minister

price of wines from the top five wine estates. Sine Qua Non is not only

Winston Churchill to serve as encouragement to freedom during WWII,

the cream of the crop out of the cult wine trend, it is also recognized as

as the key design feature to create a historically significant art wine label.

the most difficult wine to be procured.

Since that year, the wine estate has collaborated with a renowned artist every year to design the wine label, each unique wine label tells the tale

Sine Qua Non was founded by the Austrian immigrant Manfred

behind the vintage of that particular year. If one goes carefully through

Krankl and its first wine "Queen of Spades" was created in 1994. In

the wine labels of Château Mouton, it is like reading a scaled-down

California, US where Cabernet Sauvignon is the mainstream, the main

version of contemporary art history. There is Georges Braque (1955),

products of Sine Qua Non are instead Syrah and Grenache from the

Pablo Picasso (1973), and Marie Laurencin (1948) of Cubism; Joan Miró

Rhone region. Even more interestingly, the winery owner is of the

(1969), Salvador Dali (1958), Francis Bacon (1990), and Lucian Freud

opinion that the wine from each year is unique so each should have their

(2006) of Surrealism; Wassily Kandinsky (1971) and Robert Motherwell

own independent status symbol. So even if the cultivar is the same, for

(1974) of Abstract art; Andy Warhol (1975) of pop art; and Marc Chagall

each variety of wine from every year, the winery owner himself would

(1970) who explored impressionist cubism and abstract expressionism.

design different labels and give them uncommon and unusual names, and

Each of these artists is key players on the stage of art history.

even break through tradition by using different types of glass bottles. The outstanding wine quality, the extremely low production volume, and the

Château Mouton is much sought after in the auction markets around

one-of-a-kind wine labels have turned the attention of the collectors on

the world, when compared to Lafite or Latour, also in the top five wine

to Sine Qua Non and to viewing it as a collectible art. The difficulty in

estates ranking, over half a century of continuous collaboration with

collecting the entire range meant that the market price of Sine Qua Non

artists means that collecting the fine nectars of Château Mouton also

climbed exponentially.

means the collection of an incomparable visual feast. Since the value

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Sine Qua Non Atlantis Fe2O3 2a.2c Grenache 2005 Sine Qua Non Atlantis Fe2O3 1a.1c Syrah 2005

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CUISINE

TAIWANESE CUISINE &

MICHELIN GUIDE

台菜與米其林

味蕾一如拼貼的歷史；看似尋常，但比之輪廓更為鮮明的中華八大菜系、日本京料理，以及定調清晰的法國菜、北歐菜式，台菜更像一縷幽魂，說著這塊土地的故事。 Text 萬智杏

Photo 明福台菜海鮮、美福大飯店

1. 明福台菜皮脆肉彈的鮪魚香腸，滋味甘香，也能登大雅。 2. 蒜泥香蚵乍看家常，但滾粉汆燙至恰好的蚵仔肥滿，盡顯台菜軟、滑、鮮、香的特質。

台

菜，就如同台灣曲折拼貼的歷史：以閩南漳、

之輪廓更為鮮明的中華八大菜系、日本京料理，以及

泉、夏、福四都的風味為骨幹，揉合東亞近代

定調清晰的法國菜、北歐菜式，卻是一縷幽魂。

史裡消長的日本與中華他省口音，以及二十世紀末台灣富顯之後，各種西洋、南洋的異國情調，最後再點綴著寶島十族暗香，遂成為你我狀似熟悉，但脈絡難以簡言的一部家譜。

紅米其林登台登台問世的『2018 台北米其林紅指南』，未演先轟動。歷經一世紀的發展，曾是免費派發的米其林紅

若再細分台菜品項，從漳泉夏福小吃、家家不同

指南，因其起用餐飲專業密探訪查與評核餐廳，與簡

的家常菜、清領中後成型面世的名門菜、官家飲宴以

明易懂但可靠的三星制度，遂成為法國與歐陸餐飲圭

福州菜與潮州菜為主幹的官府菜，再到日治中盛行的

臬，並奉為全球美食家與餐飲評論推崇的高端餐飲聖

酒家菜，台菜很難定義，也更不好被歸類。如同卡爾

經。千禧年後，米其林更將觸腳伸往美洲與亞洲，不

維諾的小說《看不見的城市》裡，馬可波羅雖花費了

單評核一地歐陸菜式水平，也以該地飲膳偏好尋訪歐

長長時間，向大汗忽必烈述說了無數城市故事，卻始

陸標準之外的優異餐肆，以期能跨越文化地域限制，

終遲遲說不出故鄉威尼斯之名一樣。台菜為何，但比

保存各地飲膳傳統。

八寶布袋雞將雞完全去骨，在雞腹內填塞了豬肚、干貝、鮑魚、香菇、海參、竹筍與金華火腿和白果等8 種食材作餡料，炖煮後雞肉柔嫩、湯汁鮮美，餡料豐富，是昔日的「阿舍菜」。

CUISINE

1. 蛋席鰻魚卷，蛋皮綿密鬆軟搭配蒲燒醬的鹹香和鰻魚的鮮味，展現出軟、嫩、實多層次的美味。

2. 三杯牛尾，非黃牛不用，董清欽師傅的招牌菜式，皮彈肉化的牛尾滾著三杯醬汁，入口滿是醬油豆香與麻油芬芳。

3. 玫瑰大明蝦，酒家菜精細盡在此菜中，明蝦內包豬油片、火腿、海苔、青菜與鹹蛋黃，油炸至蝦肉熟透，切開如鮮花般綻放於盤中。

4. 炒山蘇，只取山蘇嫩葉與甘樹仔拌炒，清脆滑嫩，風味賽主菜。

挾著如此光環的米其林紅指南，對於歐陸

邁入 2018 ，是否能藉由亞洲經驗豐富的米其林指

以外的任何城市國家與其餐飲傳統，都有著莫大

南，清剪出一條新的道路？台北為數不多，外場

的引力：不論是紐約、東京、香港，還是近來才

陳設受限台菜餐肆，又是否能為密探所睞？而從

新添入米其林指南系統的上海、首爾、曼谷，米

2015 年尾，失傳辦桌台菜活動點起的一把台菜復

其林指南加冕各地優秀食肆主廚，也發掘不曾出

興火苗，是否能乘著米其林的翅膀，再度燃進餐

柙，少為人知的閃亮餐飲明珠，讓餐飲成為旅遊

館裡的爐灶中？

或一地生活的新樂趣。

明福佛跳牆台菜復興浪潮

外觀看來並不起眼討喜的明福，是歷任總

餐飲是台北盆地裡永遠不退燒的話題，吃

統與副總統的私房秘密。一盅要價九千元、純以

什麼，怎麼吃，討論從不歇止。而米其林發行在

上好筍子鋪底、魚翅鮑魚等高貴食材一樣不缺的

即，其掀起諸多討論中，最受評論與餐飲從業人

佛跳牆，盡顯福州官府菜式的精心細潤。其餘撚

員矚目者，莫過於特定馳名餐肆是否能順利叩關

手小菜，如炒米粉、麻油雙腰等家常菜，也同樣

摘星。但亦不少有心食家與文化工作者，在台菜

精妙。而滾番薯粉，汆燙後取起鮮嫩的燙鮮蚵，

上著墨。樣貌盤根錯節，又層層疊拓的台菜，

展露漳州入台菜式精簡但重食材風味的特色。有

5. 三杯中卷，明福台菜選用澎湖中卷，肉厚不韌，浸在三杯醬汁，中卷甜脆特別可口。

著四十二年歷史明福，傳至第二代掌勺，爐火不

共八樣餡料入填去骨文昌雞，再以老母雞金腿吊

止，乾淨簡樸只六張桌的風情，不覺讓人想起曼

湯蒸煮而成的八寶布袋雞，最能反應董師傅過人

谷新登一星的海鮮熱炒店，JayFai。

的台菜之藝。也許台菜的新脈就續命在講究傳統，但節理分米的米香中。

美福米飄香談到執掌米香，廚齡逾四十年的董清欽師傅，其傳奇與香港二星名肆名人坊主廚富哥相當。入行躬逢酒家菜風行末尾的董師傅，於蓬萊閣習藝，在黑美人主勺並因此精通台北三大台菜

明福台菜米其林一星《台北米其林指南2018》

與酒家菜菜式。富豪如長榮海運已故董座張榮

ADD : 台北市中山區中山北路二段137巷18-1號 TEL : （02）2562 9287

發，官家如前總統李登輝，都鍾情於董清欽師傅遊走於官府、名門阿舍，與酒家菜式中獨見春色的高端台菜。其中特別講究繁複拆骨填餡的翠玉通心鰻，與富氣逼人以南非鮑魚、日本干貝領軍

美福大飯店米香 MIPON

ADD : 台北市中山區樂群二路 55 號 3 樓 TEL : （02）7722 3391

THE ARTIST

1925 - 2008

Robert 羅伯特・勞森伯格 Rauschenberg 叛逆先鋒

羅伯特・勞森伯格追求的是創新，致力創作映照日常、讓世人感同身受生活的藝術。藝術家試圖以非傳統媒材、非常識的、非常具未來感的跨時代之作，挑起雀躍的雞皮疙瘩，非他莫屬。

Text 翁境優 Tiffany Wong Photo 翁境優 Tiffany Wong、Robert Rauschenberg Foundation、SFMOMA

勞森伯格與舞蹈家露辛達．柴爾茲、工程師比利．克盧佛等人，紐澤西，1966

Herb Schneider, Rauschenberg, Lucinda Childs, L.J. Robinson, Per Biorn and Billy Klüver, New Jersey, 1966

「我對我已經可以做到的事，沒有任何興趣」。

《無題（散開）》1983年溶劑轉印壓克力拼貼木板

188.6 x 245.7 x 88.9 cm 舊金山現代藝術博物館

"Untitled (Spread)" 1983 solvent transfer, acrylic and collage on wooden panel 188.6 x 245.7 x 88.9 cm SFMOMA.

提

到近兩年來在藝術界，知名度急劇上升的大師級西洋藝術

品，並為這幅被擦掉的作品配框，命名為《被擦掉的德•庫寧素

家，非紐約業界的叛逆先鋒——羅伯特•勞森伯格莫屬。勞

描》。這是前所未見的藝術製作方式，藝術家並非增加自己的筆

森伯格的作品在藝術界具領導性地位及價值，備受藏家推崇。各個

觸，而是讓原畫作消失，以減法創作，讓人們開始討論這張紙是否

系列傑作，都是藝術家為了製作出新奇有趣、吸引人的作品，所進

還存在藝術意義。此幅作品有一種「空」的美，或許是惋惜、或許

行不斷的創作。勞森伯格在1964年維也納雙年展，以結合絲網印刷

是已消逝的美好，被如此展示而更顯得彌足珍貴。正因為擦掉的是

的畫作成為第一位獲得首獎的當代美國藝術家，更被評價為「繼波

大師地位，被擦掉的素描才有其份量及話題性，也是勞森伯格對於

洛克後，美國最重要的藝術家」。

德•庫寧所表示的敬意。除了為同一張素描賦予了另一層的意義，

不只在藝術朋友圈裡是位迷人的角色，在獲得了國際藝術舞台

也再次質疑絕對原創性之於藝術品的必要性。

高度的肯定之後，更奠定了勞森伯格在藝術界的地位及影響力。然

勞森伯格許多的作品是與圈內友人合作完成，他從不吝嗇於分

而對應得獎一事，勞森伯格立刻拜託在美國的朋友幫他銷毀他所有

享新構想。「想法不是不動產」他說，「我的藝術一直是與人們的

的絲網印刷板，「我對我已經可以做到的事沒有任何興趣」，藝術

合作」。《無題（兩個勞森伯格）》，是羅伯特•勞森伯格和同為

家追求的是持續的創新及突破，試圖以非傳統的媒材、非常識地挑

藝術家的前妻蘇珊•維爾合力完成。他們互為模特兒和創作者，拿

起你雀躍的雞皮疙瘩。

大燈作為繪圖工具、利用光線作為上色顏料，一人躺在紙上、一人

在抽象表現主義盛行於紐約的1950年代，勞森伯格選擇了反向

控制光線，使藍圖紙在曝光之下，顯出具攝影性質、具 x光特色的

操作，用橡皮擦擦乾淨了一幅抽象表現大師威廉•德•庫寧的作

人形剪影。勞森伯格自早年起，便試圖以傳統繪畫之外的方式製作 61

THE ARTIST

《被擦掉的德•庫寧素描》，1953年素描媒材痕跡紙本鍍金框

64.1 x 55.2 x 1.3 cm Erased de Kooning Drawing 1953, traces of drawing media on paper with label and gilded frame 64.1 x 55.2 x 1.3 cm

《無題（兩個勞森伯格）》約1950年，曝光藍圖紙，209.6 x 92.1 cm "Untitled (double Rauschenberg)" c. 1950 exposed blueprint paper 209.6 x 92.1 cm 《蘇》約1950年，曝光藍圖紙，177.2 x 105.7 cm 舊金山現代藝術博物館

"Sue" c. 1950 exposed blueprint paper 177.2 x 105.7 cm SFMOMA.

藝術品，探索材料、媒材之於創作的可能性，呈現出在60年後的現

後，將音律傳送給空氣壓縮系統，使泥漿隨著聲響而冒泡舞動，呈

今，依舊看起來非常當代、具未來感的跨時代新穎創作。

現一種如月球表面的動態。跨領域不只是由單一藝術家即可完成的

《汽車輪胎印刷》的創作，是把20張白紙攤在紐約的福爾頓街

偉業，而是不同領域的專家相互配合，達到「一加一大於二」的加

上，邀請音樂家好友約翰•凱奇駕駛他的福特愛車，在黏貼好的20

乘作用，如近年來以新科技構築出炫目的互動藝術創作團隊，亦是

張白紙上留下輪胎印；當左前車輪壓上白紙，留下的是淡灰痕跡，

不吝於交流、以共同合作成就數位媒體的美。

而後沾滿黑墨的左後輪壓上紙，留下的胎紋是清楚如版畫印刷。此

羅森伯格是位特立獨行、絕對能被稱得上奇怪且叛逆的藝術

方式簡單的呈現了胎紋，但白紙上如樂譜一樣的構圖是音樂家約

家，但他投入大量精力在與人的交流及溝通。認為藝術和生活是分

翰•凱奇所表現的的音樂性，胎紋如樂譜上的音符旋律，白紙交接

不開的，作品取材貼近生活圈，泥、車輪印、雨傘、路標……，藝

處拉出了如樂譜小節的時間軸。

術家把生活物件直接地拉進藝術品中，致力於創作出可映射日常、

早在磁帶錄音機蔚為新潮的年代，勞森伯格就在創作可感應聲

讓世人能感同身受的藝術。自前年起先後於倫敦、紐約的巡迴，集

音的互動性裝置藝術，與工程師、科學家、專家朋友們合力完成的

眾重量級作品的《羅伯特•勞森伯格：擦除規則》於舊金山現代藝

聲控裝置《泥繆思》，是一缸隨著現場音響聲律而沸騰冒泡的的泥

術博物館展出至三月底。

漿。這一套耗費工程科技專業技能的聲效感應系統，在接收到聲音 62

peaking of the Contemporary master of Western Art

friends in New York, the affirmation of the international scene had

whose global recognition had grown dramatically

further established his substantial position in the art world. However,

recently, it must be Robert Rauschenberg. With his

Rauschenberg’s response to winning the Venice Biennale was to ask

pioneering artwork, the rebellious New York artist

a friend in America to destroy all his silkscreens for him. “I am not

remains a leading status among global connoisseur.

interested in doing what I can do.” What Robert Rauschenberg pursued

Rauschenberg continued to create innovative works throughout his career

was the art based on constant revolution of its concept and material that

to achieve art that attracts viewers. Since 1964, he was appraised as “The

will give you chills of excitement.

most important artist America has produced since Jackson Pollock.” It is the year Rauschenberg won the Grand Prize of Venice Biennale with his paintings that embodied silk screen printing techniques.

During the 1950s, of which Abstract Expressionism was in vogue, Rauschenberg chose the opposite way. He chose to erase a drawing of the famous Abstract Expressionist Williem de Kooning, framed it, and

Rauschenberg was not only the popular figure among artist

named it “Erased de Kooning Drawing.” This is the manufacturing

《畫（城市波旁）》，1992年壓克力鋁合板

124.5 x 140.3 cm 保羅魯斯科尼家族信託

"Drawn (Urban Bourbon) " 1992, acrylic on enameled aluminum 124.5 x 140.3 cm The Paul Rusconi Family Trust.

THE ARTIST

“I am not interested in doing what I can do.” Robert Rauschenberg had dedicated his entire life in pursuing the art based on constant revolution of its concept and material that will give you chills of excitement. The artist had been fabricating art with non traditional materials since the early stage, resulting creations that remain very modern and fascinating for now.

《生日的人（字謎 [雙關]）》1997年噴墨染材複合板

《泥繆思》1968年-1971年膨潤土鋁框玻璃缸音控空氣壓縮系統控制台

314 x 459.1 cm

121.9 x 274.3 x 365.8 cm

舊金山現代藝術博物館

斯德哥爾摩現代藝術博物館

"Mirthday Man (Anagram [a pun])" 1997 inkjet dye and pigment transfer on polylaminate 314 x 459.1 cm SFMOMA.

"Mud Muse" 1968∼1971 bentonite mixed with water in aluminum-andglass vat, with sound-activated compressed-air system and control console 121.9 x 274.3 x 365.8 cm Moderna Museet, Stockholm.

procedure which have never been seen before. Instead of addition, the artist created this art with subtraction. Critics of whether the piece of paper still remain artistic value were triggered by this disappeared image. Perhaps it is the displaying of emptiness that makes this absent exquisite exceptionally precious to the viewers. On the other hand, it is also the name of Williem de Kooning that makes this art so notable at the first place. This is Rauschenberg’s manner in paying his respect to the notable master. Not only had he add on another layer of meaning for the drawing, the necessity of absolut originality to artwork had been brought forward as well. 64

《Grand Black Tie Sperm Glut 》，1987年，鉚接路牌金屬零件 152.4 x 307.3 x 35.6 cm，紐約現代藝術博物館 "Grand Black Tie Sperm Glut" 1987 riveted street signs and other matal parts 152.4 x 307.3 x 35.6 cm MoMA, New York.

Rauschenberg never hesitate to share his new ideas, many of his

Since the era of which tape recorders were considered fashionable

works were fabricated with his close friends. “My whole area of art has

technology, Rauschenberg had been creating sound-activated installation

always been addressed to working with other people. Ideas are not real

art. Mud Muse, a vat of mud that bubbles on scene along the soundtrack,

estate.” He said. The blueprint series featuring human silhouettes were

is another work that Rauschenberg manufactured with engineers and

produced along his artist ex-wife Susan Weil. With one laid on the blue

scientists. The complicated sound detective system will send the signals

paper, one controlled the light, they take turns to be the artist and the

to air compression system, which further bubbles the mud, presenting a

model. “Untitled (Double Rauschenberg)” for example, they take lamp

dynamic texture resembling the lunar surface. Interdisciplinary requires

as their brush, light as their paint, human silhouettes appeared on the

not only the effort of an artist, but the collaboration of experts of multiple

blue paper after the intended exposure. This series lands in the middle of

disciplines. With the interflow of ideas and profession, combined effort

photography, x-ray, and painting. Rauschenberg had been fabricating art

can achieved art that are greater than the simple sum of individual efforts.

with non traditional materials since the early stage, resulting creations that is still very modern and fascinating for now.

Rauschenberg is indeed a bizarre, rebellious artist, but he had never

“Automobile Tire Print” was executed on the Fulton Street in New

stop to communicate with people. Since he considered art and life are

York, where John Cage, the musician, drove his Model A Ford over 20

inseparable, it is essential for him to create art that could reflect people's

blank papers that Rauschenberg laid on the ground. When the left fore

daily life. The materials he had used including mud, tire, umbrellas,

tire pressed on the paper, a grey trace of course was made; when the left

street signs … etc. Rauschenberg put elements of street directly into his

rear tire which had been covered with black ink, pressed on the paper, a

art to create an obvious link. After the exhibition toured from London

clear black track was made. The print showcase the tread of tire simply

to New York, the retrospective of masterpieces Robert Rauschenberg:

and nicely, just like a alternative sheet music John Cage composed.

Erasing the Rules, now exhibiting at San Francisco Museum of Modern Art.

《羅伯特勞森伯格：擦除規則》於舊金山現代藝術博物館展出。

Robert Rauschenberg: Erasing the Rules, exhibiting in SFMOMA.

ISSUE

GEORG BASELITZ, BEDROOM, 1975 Oil and charcoal on canvas, 250 x 200 cm, Private collection, © Georg Baselitz, 2018, Photo : Jochen LittkemANN, BERLIN 從私人收藏借展的巴塞利茲作品《房間》

GEORG BASELITZ AT THE FONDATION BEYELER, 2018 Photo : Matthias Willi

2018年巴塞利茲於貝耶樂基金會

巴塞爾藝術展

新表現主義領銜風潮

Baselitz in Basel Baselitz Shows

at the Fondation Beyeler & Kunstmuseum in Basel Text 嚴仲唐 Jason, Chung Tang Yen Photo Fondation Beyeler & Kunstmuseum Basel

瑞

士巴塞爾是全世界美術館密度最高的古都，除了業界人士都造訪的年度盛會巴塞爾藝術展（Art Basel）、貝耶樂基金會（Fondation Beyeler）與

巴塞爾美術館（Kunstmuseum Basel）都是必造訪的朝聖之地。此次響應德國新表現主義大師巴塞利茲八十歲生日，繪畫、雕塑原作與紙本作品同時於巴塞爾兩大美術館大放異彩。作為藝術市場的非官方指標，國際級重量美術館展覽代表著藝術家於近期以及未來的學術肯定，與藝術市場相輔相乘但不一定兩者兼顧。但值得推測與觀察的是巴塞利茲將來在市場上的成長與波動，巴塞利茲的第一市場基本盤算穩固，第二市場也自然、有機的維持健康指數。 67

ISSUE

GEORG BASELITZ, DYSTOPIAN COUPLE, 2015 Oil on canvas, 400 x 600 cm, Courtesy of the artist and white cube © Georg Baselitz, 2018, Photo : Jochen LittkemANN, BERLIN 此次展出最巨幅畫作《反烏托邦社會的情侶》（4X6公尺）

紙本的增值魅力

觀眾會發現他們的展覽品質絕對是頂尖的，經過

紙本作品在過去幾年為藍籌股藝術家的市場

精挑細選，所有在貝耶樂展覽過的藝術家在藝壇

投資趨勢，於各大拍賣頻繁創佳績，不管是前幾

與藝術市場都舉足輕重。也因為如此，貝耶樂已

年倫敦創新紀錄的畢卡索水彩或是英國普普藝術

經成為高品質的代名詞。所謂貝耶樂效應是一連

教母雷麗（Bridget Riley）紙本作品，大師級藝術

串細微卻極為重要的基素，締造藝術家名利雙收

家的創作近年來原作在眾目睽睽的夜拍創新高之

的穩定基礎。

後紙本作品也紛紛上漲，供不應求。常玉小品也是如此，原作創新高之際三月台北的展覽將會更

回歸藝術創作經典

加支持紙本作品與小品的市場穩定程度。以此為

巴塞爾美術館展出的巴塞利茲紙本作品整理

基準推測，未來市場上對巴塞利茲的紙本作品接

運用了極為專業的美術館學術整理，將他的創作

受度因學術研究價值提高，相對的，需求也會有

脈絡清晰的展現出來，尤其是紙本作品的轉變特

所成長。

別明顯，將各個時期微妙的變化於有力的扎實過程公開展覽。紙本作品作為畫家繪畫的基礎，兩

美術館的「貝耶樂效應」

者之間有許多微妙的互動，觀賞者於一天遊走兩

貝耶樂於歐洲藝壇具有重量級的影響力，就

大美術館，可以充分的瞭解巴塞利茲的藝術創作

算他去逝後也是如此，雖然貝耶樂基金會與藝術

過程與轉化，同時欣賞兩大藝術大佬（巴塞利茲

市場沒有直接明顯的關連，但經過仔細研究後，

與貝耶樂）的傳奇歷史，是個獨一無二的體驗。

asel, Switzerland is a prestigious

relationship with the art market but not mutually

city that has the world’s highest

exclusive. It is worth predicting changes in Baselitz’s

concentration of museums

future fluctuation and growth in the market, with a

worldwide, beside the annual

solid primary market and an organic and healthy,

spectacle art fair Art Basel that

stable secondary market.

art world professionals visit, Fondation Beyeler and Kunstmusem Basel are on top of the list of attractions.

The Charms of Works on Paper

This year, on the occasion of the 80th birthday of the

In terms of market trends, works on paper has

German Neo-Expressionist that is Baselitz, paintings,

been a pivotal element in investing in blue chip

sculptures, and works on paper are on view with great

artists, frequently breaking new world records at

popular demand simultaneously at the two major

auctions, no matter it is the Picasso watercolor or

institutions in the city of Basel. As the art market’s

Bridget Riley works on paper that made new highs in

unofficial guidepost, exhibitions at important

London, established masters’ works on paper found

international museums means recent and future

higher demand after the much focused evening sales,

academic achievements, which forms a symbiotic

while supply cannot catch up to the demands. The

Georg Baselitz Ohne Titel (Fuss), 1995 Gouache und Tusche auf Büttenpapier, verso Aquarell, 58.4 x 40.1 cm © Kunstmuseum Basel

巴塞利茲1995年紙本水粉、墨水、水彩於手工紙上作品《無題》

ISSUE ERNST BEYELER AND GEORG BASELITZ, SCHLOSS DERNEBURG, 1985 Photo : © DANIEL BLAU, MUNICH, 貝耶樂先生與巴塞利茲，1985年於美術館合影。 GEORG BASELITZ, THE BRÜCKE CHORUS, 1983 Oil on canvas, 280 x 450 CM Private collection, © Georg Baselitz, 2018, Photo : © 2014 Christie's Images Limited 從私人收藏借展的巴塞利茲大幅作品《BRÜCKE合唱團》（2.8X4.5公尺）

same principle applies to Sanyu’s small works, as the paintings fetch new heights, the exhibition in Taipei in March will further support the stability of works on paper and smaller works in the market. As this is the foundation, it is safe to reason that Baselitz’s works on paper will relatively grow in the commercial sector as the academic research value has been reaffirmed.

Power of Museum Branding The name Beyeler holds a certain weight and power in the European art world, even after his death, even though there is not obvious direct connection between Fondation Beyeler and the art market, after careful studies, audiences will see that the exhibitions they put on is definitely top notch. After meticulous selection, all of the artists that have shown at the Fondation Beyeler has a certain level of success both in terms of artistic value and commercial acclaim. Perhaps it is so, Beyeler has become the synonym for high quality. The so called Beyeler Effect is a series of minutiae but extremely pertinent factors that contribute to the firm foundation of fame and success of the artists.

Return to Basics and Classics The works on paper on view at the Kunstmuseum Basel has shown highly trained professionalism of academic museum studies and organization in curation, showing Baselitz’s context and process of art making, this is particularly clear on works on paper, showing the subtle changes in different periods of the artist’s oeuvre. As the groundwork of paintings, works on paper shows a high level of interaction with the painted tableau, visitors and go between the two major museums, to explore and understand Baselitz’s artistic process and changes, at the same time, the legend of two influential figures (Baselitz and Beyeler) coming together, surely is a unique experience. 70

巴塞利茲與貝耶樂先生，共譜藝術史上最傳奇的經典最終章。

FASHION

La Roue de la Fortune 身為Dior迪奧首位女性創意總監， Maria Chiuri Grazia，掌握手中命運之輪的非凡才情藉由塔羅牌預言，不但重新定義女裝、女性自覺與女性主義，更透過她的女性視角牽動一輪全新的「迪奧」風潮。 Text Joseph Wan

Photo Dior

創意總監

Maria Chiuri Grazia

迪奧預言塔羅牌時尚

運的因然與巧合對時尚大師迪奧先生（ Monsieur

種異文化得以並列，交互參照。生命裡的起承轉合，還有

）來說，彷彿是一份深信不疑的宿命。

種種連結與再生，透過塔羅都得以呈現。DIOR設計中，大

不論是 1947 年夏日，無意間飛進蒙田大道工作室裡的小蜜

量使用了大地之母塔羅牌（Mother Peace Tarot）的牌面與元

蜂，還是每一場訂製服秀前的塔羅預言，對於迪奧都徵兆

素，希望喚起年輕世代對新生與再生的重視。」

命Christian Dior

著不可言喻的幸運，也為迪奧工坊平添傳奇色彩。這些為

啟迪並根源於女性自覺的大地之母塔羅牌，乃是由美

後人津津樂道的軼事，隨著新任創意總監 Maria Chiuri Grazia

國靈性藝術家 Karen Dogel 與 Vicki Noble 於八○年代初期，

入主迪奧，卻化為創作靈感，盡情展現在系列的設計中。

搜羅研究各種原住民女性崇拜圖騰後所繪製。 Vicki Noble 在其晚近著作中，提出女性必須透過自我覺察，掌握命

2018早春神祕主義瀰漫在DIOR

運。當模特兒魚貫從加州荒野中現身走上伸展台，衣飾與

「塔羅牌豐富的意象與符號讓迪奧先生深深著迷，塔

配件的塔羅圖騰吸睛，魔幻而奇異地跨越文化、語言、時

羅牌也是精神世界的凝華。」Maria Chiuri Grazia 溫柔但深刻

空，連結了過去和未來；伸展台前後和藝術界。當然也讓

地講述塔羅對於迪奧先生的意義。

設計師Maria Chiuri Grazia和迪奧先生連上了線。Maria Chiuri

塔羅的神秘主義，與其中連結近東與西歐的歷史性，

Grazia眼神閃過慧黠：「我並非特別迷信，我相信命運與未

深深吸引Maria Chiuri Grazia。「塔羅牌面上的繪畫，讓各

來在我們的掌握中，端賴我們怎麼生活與決定。」塔羅仍

1. 白色真絲斜紋方巾，70 x 70 公分，塔羅牌「女教皇」印花 NTD11,500。 2.3. Lady Dior 黑色和平之母塔羅命運之輪牌卡中型提包 NTD160,000。 4. 經典的My Lady Dior 雲藍色、黑色小羊皮幸運

徽章背帶手提包，融入了十二星座的裝飾點綴

NTD110,000。 5. My Lady Dior 十二星座幸運徽章，每顆單價 NTD1,300。

DIO(R)EVOLUTION和平之母塔羅命運之輪牌卡彩色串珠刺繡小牛皮手拿肩揹包 NTD180,000。

FASHION 許多人深深著迷，因為每張牌都引領我們持續察覺、探索沒有意識到的自我。在迪奧 2018 早春皮件上精美的手繪塔羅花色，讓人目不轉睛。其中最吸引人注目的便數珠繡死神牌的Dioraddict 側背包，繪有命運之輪圖騰的 Lady Dior 提包。塔羅主牌（ Major arcana ）十三號的死神，乍看是悲劇與疾厄的終

點，但卻在迪奧時尚舞台上，成就了吸睛開場。紅黃兩色交替的靈蛇象徵蛻變與重生，守護著腐朽但滋養櫸木的枯骨。對於神祕主義而言，死神牌象徵著淨化、新生，也是對生命變化的殷切期盼。而繪有黃道十二宮與九大行星的塔羅主牌十號，是命運女神掌中恆轉的寶輪，也是太陽系現世的縮影。「命運之輪寓言著現世，但也體現了日日出現的偶然，以及我們對未知的好奇。」

史無前例的，迪奧的塔羅系列與配件，全球時尚迷

回應熱切。從巴黎、柏林到香港，禮讚塔羅與神聖女性，跨越層層疆界，讓迪奧重新引領當代女性超越命運並走向未知。作為迪奧首位女性創意總監，掌握手中命運之輪的

Maria Chiuri Grazia，不只藉由其才華重新定義女裝、女性自覺與女性主義，也透過她女性敏銳，再一次帶動了全新的 4

迪奧風潮。

1.2.3. 2017春夏系列塔羅牌手拿包，搭配寬揹帶，而且每一只小包子上都是不同的塔羅牌，有著不同的寓意。

4. 2017年春夏系列，Maria Grazia Chiuri 的Dior首秀，仙女裙上也是星座、塔羅元素。

5. J ' A D I O R 翻蓋式包款，上頭點綴「MORT」十三號的死神塔羅牌圖案的絲線和圓珠刺繡 NTD45,500。

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