羅芙奧季刊第25期 Ravenel Quarterly No. 25

精采時刻 雋永人生

靜·勁 CALM • IMPETUS

No. 25 Summer 2018

羅芙奧 2018 春季拍賣會 亞洲現代與當代藝術

拍賣 預展

6 月 3 日 | 台北萬豪酒店 三樓（博覽廳） 台中 | 5月12-13日 | 台中豐藝館 高雄 | 5月19-20日 | 高雄琢璞藝術中心

台北 | 5月31日-6月2日 | 台北萬豪酒店 三樓（博覽廳） 諮詢

+886 2 2708 9868 | info@ravenel.com

趙無極《09.07.73》1973 油彩 畫布 100 x 81 cm

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CONTENTS No.25 ｜ Summer 2018 ｜ https://ravenel.com/

8

SPECIAL REPORT

輕旅行 極上商旅 16

FASHION

懷舊印記

Made In Occupied Japan

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FASHION

雙城記

翻轉歐陸運動風潮：巴黎 CYD Club 與 倫敦 HPY

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CUISINE

最型甜點師

Cédric Grolet

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ART & INVESTMENT

戰後抽象藝術V.S.具體派的風起雲湧 Post-War Abstract Art and the Rise of Gutai 40

THE ARTIST

東尼．克雷格 26 2

Tony Cragg and His World of Materials

特別訂製ALLIGATOR鱷魚皮QUELLE IDOLE包 附金色金屬配件 羅芙奧 2018 春季鑑賞會 - 手袋及精品 A Custom Matt Alligator Quelle Idole Kelly Bag With Gold Hardware Hermès, 2017, 15 w x 12 h x 6 d cm Ravenel Spring 2018 Private Sale Timeless Handbags & Luxury Collectibles

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WINE

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

復刻舊時代的美好 The Good Old Days

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LUXURY 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

彩鑽市場的前世今生

Colored Diamonds:The Promised Child in a Prestigious Family

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LUXURY

德國經典車

German Classic Cars

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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

ISSUE

羅芙奧2018春季拍賣會

Ravenel Spring Auctions 2018

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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

THE ARTIST

心象風景－趙無極 Mental Imagery - Zao Wou-ki 64

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

ANTIQUE

徐悲鴻 Xu Beihong 66

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

ANTIQUE

漆器收藏正當時 Time for Collecting Lacquerwares

創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly 登記證 中華郵政臺北雜字第 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.

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[ CHIEF EDITOR'S NOTE ]

舉重若輕，釋放壓力！ 「再忙，也要陪你喝一杯咖啡！」多年前的一則廣告語，體貼如情 人的叮嚀。最近按摩器的電視廣告，標榜宛如情人的環抱，讓人放輕鬆， 撫慰繁忙工作的上班族。還有緩解痠痛、醫藥補給的廣告處處可見，不禁 令人感嘆，現代人真的壓力不小。

藝術拍賣市場療癒系當道，複數、可愛風的新世代卡漫藝術，形成 一股不可小覷的潮流。藝術一直是緩和忙碌、洗滌心靈的的良方，除了日 本當代風潮，戰後當代經典藝術如具體派，在拍賣市場表現亮麗。第 25

期《Ravenel》季刊探索主題是「愛上輕鬆」，介紹精緻生活裡各種舒緩 身心的運動、美食與住宿；而「藝術與投資」專欄，則介紹 1950-1970 年

代間具體派的緣起與影響。

現今全球政經局勢充滿諸多不確定的因素，壓抑著現代人的神經， 學會深呼吸，學會放輕鬆，讓更多的藝術與美麗的事物，淡化不愉悅的新 聞視聽。2018 年夏季號季刊，期許給予讀者更多輕盈的視覺饗宴，有品 味的生活調劑。 在藝術家單元有英國大師東尼．克雷格（Tonny Cragg）的報導，華 人大師徐悲鴻、趙無極。除此之外，粉鑽、漆器、威士忌、經典車以及羅 芙奧春拍訊息等專業知識的分享，都在這一期雜誌中，優雅地陪伴您度過 忙碌的春夏時光。

總編輯

強納森．保羅《棒棒糖系列－檸檬黃》2017年 樹脂膠 版次18/25 28（長）x 28（寬）x 66.1（高）cm 羅芙奧2018春拍「薈萃」專場，預估價：400,000 - 600,000 台幣 DESIRE OBTAIN CHERISH (D.O.C) "Lemon Mid Size Meltdown" 2017 UV cast resin, edition 18/25 28(L) x 28(W) x 66.1(H) cm Ravenel Spring Auction 2018 Select: Modern & Contemporary Art, Estimate: US$ 13,800 - 20,700

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Yasuo SUMI 鷲 見 康 夫 ( 日本 b. 1925 )《 友 和 友 》 1990年代 壓克力 噴漆 畫布 162 x 130 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

Relex 愛上輕鬆

放空，一點也不簡單。 你可以解釋為一種狀態或心境。 而且要達到此番境界，可能需要方法。 文／Joseph Wan ＆ Ethan 圖／ LEQUIO

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當外在世界變得愈來愈平行，需要突圍；當社會愈 來愈矛盾，更需要的是一種平衡。動和靜；內和外，上 當外在世界變得愈來愈平行，需要突圍；當社會愈 和下；身體和心靈。 來愈矛盾，更需要的是一種平衡。動和靜；內和外，上 提倡吃得有機健康，但速食卻賣得更好；音樂CD己 和下；身體和心靈。 被束之高閤，現場演唱會卻場場秒殺；上網電玩鎖住世 提倡吃得有機健康，但速食卻賣得更好；音樂CD己 代，但人卻似乎更依賴互相擁抱的溫度。在目不暇給的 被束之高閤，現場演唱會卻場場秒殺；上網電玩鎖住世 選項中，放空是學習的開啟，放輕鬆？透過心智和體能 代，但人卻似乎更依賴互相擁抱的溫度。在目不暇給的 上的紓解，正好彌補了，療癒著匆匆生命裡，生活中的 選項中，放空是學習的開啟，放輕鬆？透過心智和體能 那塊空白。 上的紓解，正好彌補了，療癒著匆匆生命裡，生活中的 藝術賞析和擁有收藏固然令人滿足，但直正值得安 那塊空白。 慰是，放下的勇氣和智慧。也許從來都沒有一定的標準 藝術賞析和擁有收藏固然令人滿足，但直正值得安 定義和模式，可是當各種能量聚集，超越原有的認知， 慰是，放下的勇氣和智慧。也許從來都沒有一定的標準 轉化為新的變化和意義，感受這份美好的存在，就是生 定義和模式，可是當各種能量聚集，超越原有的認知， 命的進化。 轉化為新的變化和意義，感受這份美好的存在，就是生 透過傳承的時尚手工藝，輕旅行，全新的運動風潮 命的進化。 和沒有人可以抗拒的甜點療癒，最後來一場和身心對話 透過傳承的時尚手工藝，輕旅行，全新的運動風潮 的頂級SPA。 和沒有人可以抗拒的甜點療癒，最後來一場和身心對話 的頂級SPA。

深呼吸，放輕鬆。 深呼吸，放輕鬆。

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[ SPECIAL REPORT ]

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Travel 輕旅行

極上商旅 四季 (Four Seasons)、麗池卡頓 (Ritz Carlton) 與洲際 (InterContinental) 曾是高端商旅的代名 詞，如今隨著亞洲勢力與商旅需求，不再是歐美 獨佔鰲頭。亞洲傳統的殷勤待客之道，伴隨著超 越想像的體驗，踮著腳尖，讓人來趟輕旅行 。

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[ SPECIAL REPORT ]

私人宅邸管家服務 Rosewood Hotel Group 瑰 麗 酒 店 集 團 由美國石油大亨千金卡洛琳．杭特 (Caroline Rose Hunt) 創辦的瑰麗

酒店集團，其傳奇宛如亞洲度假村品牌安縵 (Aman) 翻版，從私人宅邸概

念發想，最終打造出風格獨具的旅宿品牌。物換星移，瑰麗酒店自 2011 年起易主，由香港新世界地產開發入主，並一改北美典麗風格，從 2013

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年起在陸續東亞、歐陸與中美，以當代亞洲美學為經，飯店所在傳統為 緯，與瑰麗自豪的管家式服務交織，鑄創出規格前所未有的亞洲奢旅品 牌。在全球共十七間瑰麗酒店中，最受賓客商旅與酒店迷稱頌的要數倫敦 瑰麗酒店與北京瑰麗酒店。

倫敦瑰麗酒店前身為珍珠保險公司 (Pearl Assurance Company)

辦公大廈，建於 1919 年，其愛德華風格的建築外觀宏偉氣派，內部

奢華典雅。酒店馳名樓高七層的中央樓梯，全數使用義大利進口的 淡灰綠大理石打造，非常壯觀。名列古蹟的此樓於千禧年後改為旅 館，隸屬萬豪酒店系統，直到 2013 年瑰麗酒店集團接掌，並委由華 裔旅館設計大師季裕棠 (Tony Chi) 與團隊操刀，才真正賦與此一古 樓從內而外，真正的瑰麗不朽。 自酒店馳名的紅銅接待廳走入，建物裡處處閃耀著帝國餘暉， 在酒店陳列大量歐亞珍玩的大廳裡，與季裕棠擅長的當代亞洲豪華 風味，產生了富饒多彩的對話。這般瑰麗的美感，同樣也透過客房 擺設陳列展現：英式飾板、野牛皮革，與明式木件等，豐富但不扞 格。而瑰麗酒店自豪的奢侈，則體現在浴室裡大量使用的黑白雲 石、霧面鏡，以及寬敞空間裡。

若說倫敦瑰麗酒店的整修與開幕豔驚四座，同樣由季裕棠規劃 設計的北京瑰麗酒店，則是美夢成真。位於皇城朝陽區精華地段的 北京瑰麗酒店，由兩座高近五米的青銅巨獅雕塑迎賓，而更為高挑 的大廳則處處陳列亞洲藝術家雕刻與藏品。且不說客房面積為北京 之冠，季裕棠安排宛如套房的動線，與過人的當代亞洲品味，都在 在推升北京瑰麗酒店的入住體驗。而面積近二百五十坪，宛如私人 招待所，且提供全日正規餐點、酒水飲料以及私人管家服務的貴賓 廊，則是另一北京瑰麗酒店重新定義奢侈的設置。在瑰麗酒店貴賓 廊中，商旅客人可以舉辦隱私與品味堅固的小型會議，而浮生偷閒 的賓客則可以在此體驗宛如度假村般的閒適。

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[ SPECIAL REPORT ]

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紅頂商人古城風 Niccolo Hotel Group 尼 依 格 羅 酒 店 從上世紀八零年代始，便涉足旅宿與地產事業的九龍倉集團 (The

Wharf)，以三世紀威尼斯商人，奉教皇旨意遊歷大元的傳奇作者馬可．波 羅為靈感，將北絲路橫貫東西，輻輳商旅與修士僧侶的歷史背景，化作集 團旗下酒店待客之道，在九龍下榻的港澳商旅遊客頗負盛名。而時入千 禧，九龍倉集團於 2015 年以馬可．波羅父親，紅頂商人尼依格羅．波羅

(Niccolo Polo) 傳奇為名打造的奢旅品牌，尼依格羅酒店，短短三年陸續 在重慶、成都與香港港島開幕。以當代旅人需求出發，遙想尼依格羅．波 羅橫跨歐亞的那分探險精神，尼依格羅酒店融匯義華，打造出有別於其他 奢旅品牌的清雅風格，並透過個人化服務與豪華但低調的材質上重新定義 奢侈。 於 2015 年揭開尼依格羅品牌序章的成都尼依格羅酒店，是千年古城 裡最時髦的一抹顏色。由美國著名設計顧問公司，赫希貝德納聯合設計

(HBA)，定調尼依格羅酒店清越但時髦的調性。有別於以黑色與成都傳統

為設計主軸的博舍酒店 (The Temple House)，成都尼依格羅酒店以白色大

理石與鎳金亮銀為主色，並以溫潤木色點綴的成都尼依格羅酒店，甫開幕 便廣受金字塔頂端旅客的喜愛，大有分庭之勢。

而宛如成都尼依格羅酒店孿生姊妹，於 2017 年開幕的重慶尼依格羅 酒店，同樣由赫希貝德納聯合設計操刀，風格更形清雅簡約，不變的是尼 依格羅引以為傲，義華並陳的時髦風格。透過自然採光、俐落線條和摩登 優雅的傢俱選用，重慶尼依格羅酒店總數 252 間客房與套房，在重慶兩江

交匯的 300 公尺高空上，完美融合愜意生活與極致旅宿。不論是斜倚在房

內義大利風格強烈的榻椅上，或是靜靜從黑色雲石浴室裡往外望，長江和 嘉陵江美景，盡在重慶尼依格羅酒店之下。

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[ SPECIAL REPORT ]

甫於今年元月開張的 The Murray 酒店，為尼依格羅酒店旗艦，也是

港島繼亦居酒店後，最引人矚目的超奢華旅宿。The Murray 酒店前身為

港府地標美利大廈，以優雅拱廊與洗鍊外觀著稱，千禧後因香港新聞處搬 遷，於 2013 年十月起由九龍倉集團與英國建築事務所 Foster + Partners 攜 手進行長達四年的整建翻修。以雪白雲石、黑色亮崗，與曖曖暖金打造時 髦新姿的 The Murray 酒店，相較成都與重慶尼依格羅酒店可謂是更上層

樓，展現洗練永恆的義大利居家風格。The Murray 作為尼依格羅酒店品牌

旗艦，不論是套房裡大手筆使用的 Flexform 與 Casamilano 傢俱，Frette 千 支紗數寢具，或是客房裡白石打造的浴缸，所費不貲只為打造完美入住體 驗，更讓諸多酒店迷流連忘返。而酒店貼心提供的免費熨衣服務，以及無 所不能的禮賓服務，更是獨樹港島。從美利大廈馳名且極富當代性的拱廊 往外望，紅棉道與山景蒼翠幽靜，這份港島少有的奢侈，讓其他香港馳名 奢旅相形失色。

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巴黎新東方時尚 Mandarin Oriental Hotel Group 文 華 東 方 酒 店 集 團

若論亞洲奢旅，文華東方酒店集團不單是元老，還是翹楚。由湄 南河畔，見證百年風華的曼谷東方酒店，與素以華夏待客之道著稱的香 港文華酒店，共組的文華東方酒店集團，是諸多酒店迷、商旅賓客，與 全球名人的心頭最好。始於上世紀八零年代，文華東方酒店集團在亞洲 積極耕耘，更在千禧年後先於其他後起之秀，讓馳名世界的文華東方服 務，登陸歐洲。 由法國室內設計與工業設計大師 Sybille de Margerie 操刀的巴黎文 華東方，風格獨具的用明紅、藕灰、亮橘等色彩讓起居空間現代時髦又 帶有一絲東方氣息。Sybille de Margerie 極其高明且高雅的設計，讓巴黎 文華東方酒店，串連時尚重心的聖多諾黑街區 (Rue St. Honoré)，與既有

的時尚部落產生共鳴，打造出歐亞互融的全新巴黎風格。浴室主牆與備 品盒一貫的貝母鑲嵌主題十足吸睛，更別提由 Dyptique 為巴黎文華量身 打造的沐浴備品，是如何寵愛旅人的五感，讓日常沐浴體驗轉化為個人 芳療。在舊世界奢旅代表林立的巴黎，巴黎文華東方酒店儼然是新奢旅 的最佳代表！

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[ FASHION ]

Made In Occupied Japan 懷舊印記 二戰後，1947 年至 1952 年舊金山和平條約生效為止， 日本輸出到國外的商品都必須打上 MADE IN OCCUPIED JAPAN 記號。 一件衣衫上發現印著 MADE IN OCCUPIED JAPAN 字樣的衣物和包款， 不禁勾起對古著衣的慢時尚，更因為沖繩島的歷史痕跡，讓時光機慢了下來。

16

25歲，留著落腮鬍，來自沖繩島島的嘉數義成（Kakazu

Yoshinari ）腆靦地解釋著自創品牌 LEQUIO 說，一向予人南方島

國樂園嚮往的家鄉其實有著二戰時遭受砲火無情攻擊，無數損失和 傷害的過往，終戰後，美軍進駐帶來更多傷害。沖繩人在資源嚴重 匱乏下，努力求生，用戰鬥機的殘骸打造鍋皿、解剖煤氣槽製作船 隻，用公發的麵粉袋當帆出海捕魚。一切都是為了存活。 他指著一件絞染的長衫說，利用美軍配給的帳篷、裝備等機能 和耐久度極佳的素材製作日常衣著和用品，但為了記住這段沈重的 歷史傷痕，刻意把 MADE IN OCCUPIED JAPAN 字樣融入在商品設 計中，不著痕跡地提醒「隨著時代洪流逐漸被人們遺忘的事物，」 更希望符合繼承「二手衣」思維的日常服飾，傳遞出獨特的古著感 和一種「放鬆」的度假風格。

17

[ FASHION ]

“RYUKYU BLUE” 『琉球藍染』

「琉球藍染」用沖繩早期的染製工法，並以過染層疊的深 度，呈現深邃穩重的藍彩。沖繩早期栽種的植物琉球藍和日本 本島的藍草並不同種，屬於傳統染織中不可或缺的染料。尤其 在芭蕉布、宮古上布等沖繩傳統工藝中皆可發現藍染蹤影。而 且「琉球藍染」需全程親手仔細渲染、清洗每塊布料，也因此 每件代表沖繩文化的色階 "RYUKYU BLUE" 都是獨一無二。

18

利用沖繩當地傳統工法製作，呈現出自然自由的沖繩樣， 需經歷多道程序。從栽種照顧琉球藍草原料到收成，才開始製作 染料、進行染色。必須投入時間、心力，從土地開始，每一道程 序累積不同深度的藍色。嘉數義成從小耳濡目染，琉球文化、 傳統工藝深深影響著他的古著創作。嘉數義成用指間仍沾著藍色 染料的大手，指著不受拘束又兼具美感的傳統古著衣說，他不會 忘記家鄉的顏色，將彩霞或閃電留在織布洋裝及罩衫上，形成獨 具的一種傳承，藍染手藝的感情，深深為沖繩這片土地寫下不墜 的篇章。趁著向晚再看一眼 LEQUIO 的衣物，期待 "MADE IN

OCCUPIED JAPAN" 終有一天能成為和平的代名詞，讓穿在身上 的「琉球藍染」，延續著屬於不同世代的古著故事。

19

[ FASHION ]

CYD Club & HPY 雙城記

翻轉歐陸運動風潮： 巴黎 CYD Club 與 倫敦 HPY

隨著運動健身風潮吹過大西洋在歐陸扎根，沿著泰晤士河畔晨起慢 跑，或巴黎街頭一站換一站的免費單車接力，成為運動選項的明日黃花。 然而，在浪漫花都汗灑跑步機？這真是極煞風景，至於倫敦，紳士們寧 可牛津街多走兩趟，省下讓人咋舌又陷阱重重的健身會員費用。長久以 來歐陸生活本位，與美式健身的扞格兩難，透過今日巴黎新創運動俱樂部

CYD club 以及倫敦 HPY 充氣概念熱瑜珈，終於有了解套的選項，點燃隨 時運動、隨處運動的揮汗熱潮，讓關注身心平衡的男士，在歐陸雙城能不 失格調地擁抱對美好體態與健康的熱愛。

巴黎 CYD 整個城市 都是我們的運動場。 CYD 是 Conquer Your Day 的縮寫，也象徵著兩位創辦人 Romain

Rainaut 與 Gregory Mollet-Vieville 對健康與身體機能的重視，攜手帶回出 生地巴黎的承諾與期許。從街區開始鼓勵巴黎人參與徒手運動、瑜珈或有 氧，CYD 儼然是巴黎新運動風潮的熱門關鍵字。「在倫敦金融界工作十

年後，我對金融業生態感到倦怠；而 2014 年末一次偶然的談話，讓我意 識到身邊有許多朋友開始健身，並興起在巴黎透過運動，重新連結人群與 城市的念頭。在這個傳統與現代交鋒的城市裡，巴黎人其實對健身房又愛 又恨，他們寧可夜間滑直排輪。」創辦人也同時是今日巴黎健身界領袖的

Romain 在受訪時憶及創辦歷程時燦笑說道。「接著 Gregory 就被我說服 加入了這場改造巴黎運動習慣的實驗。最初我們透過臉書發布每日在巴黎 不同區域的免費運動活動，並鼓勵參與者持續與 CYD 一起自發運動。」

不過短短三年，CYD 的街頭運動體驗共吸引一萬三千名自發會員，每日 持續的在巴黎不同角落舉辦有氧、短跑、瑜珈或是核心訓練等免費運動。

20

從街頭自發到跨界合作

有型有格的 CYD Playground

「基於對運動與健康的熱愛，透過 CYD 街頭的擴散，我們在極短的

「有別於一般健身房，CYD 健身房從飯店結盟，但也對所屬社群開

時間內打造了一個全新形態的運動網路，並讓各種有氧與徒手運動宛如烽

放，因而我們有著全巴黎數一數二的設施，與數一數二平實的收費。你可

火一般照亮巴黎。直到今日，這一切都是自發的，你只需要線上預先註冊

在此做上一套完整的哈達瑜珈，並接著使用飯店的桑拿或是溫水游泳池，

就能體驗 CYD 隨處運動的巨大魅力，而且不費分毫。現在你還可以下載

最後再到一樓酒吧點上一杯無酒精自然飲。這可酷炫吧！」Gregory 眉飛

我們的 APP，絕不會再錯過你喜歡的任何運動課程。」年紀較長，眉宇滿

是熟男自信魅力的 Gregory 較晚才出現，但默契良好的補充與 Romain 創

色舞說道。 關於 CYD 接下來的目標，「從街頭到飯店，從個體到社群，我們在

業的歷程。「從2017年起，我們也開始關注有專業訓練需求的 CYD 會員

極短的時間內讓巴黎的運動愛好者有了完全不同的選擇，今年我們將攜手

Nicolas Nonon 正思尋如何利用飯店偌大的地下室，CYD 就因此有了第一

接著大快朵頤。」成績斐然的 CYD 也在法國中部與南部點燃隨時運動，

與巴黎北邊社群發展的需求。恰巧此時巴黎人酒店 Parister Hotel 的業主

餐飲，讓 CYD 成癮者可以在知名有機餐廳 Le Garage 中群體運動一番，

個實體健身房，CYD Playground」。定調以男性風格出發，大量使用木質

隨處運動的火苗，「不只巴黎，CYD 也開始風靡南特與里爾，我們的目

飾板、黃銅與寬大傢俱的巴黎人酒店，不論從設置、設計，到基調都與

標是紅過大西洋，反轉健身規則，讓更多人能在街頭運頭，跨越各種界

CYD 相吻合。

線。回顧這一切，真是不可思議。」 21

[ FASHION ]

倫敦 HPY 充氣熱瑜珈貓下去

當健身成為明日黃花時，來自日不落帝國遠端的瑜伽，在過 去五年橫掃倫敦，毫無敵手，成為各路運動愛好者的新寵，其中 最受矚目的當數 2013 年末開始的 HPY，HotPod Yoga。「HPY 的 流行其實並非偶然，熱瑜珈讓我們身心平衡，而我們的獨家充氣 熱帳篷讓熱瑜珈不再受限硬體與空間，而能在倫敦、柏林、阿姆 斯特丹、里斯本，南非還有羅馬尼亞開花結果。」創辦人兼營運 長 Max Henderson 受訪時，笑談充氣熱瑜珈是如何在短短四年內， 在倫敦與歐陸其他五國共二十六個據點累積超過三萬五千名瑜珈 愛好者，與 HPY 共襄盛舉。這位倫敦商學院畢業的高才生，本來

從事產業趨勢顧問，但基於對瑜珈的熱愛與絕佳商業敏感， Max

與其他三位團隊核心，分別是瑜珈教師 Nick Higgins 與充氣熱帳篷

設計師 Nick Crosibe，攜手打造出風靡倫敦的 HPY 充氣熱瑜珈。 22

來一場身心平衡 「可以容納二十人的充氣帳篷其實相當小巧，讓辦公室的一隅快速成為體溫溫高的美 妙減壓艙。而 Nick 設計的二十分鐘流瑜珈課程，濃縮瑜珈精華，讓人減壓之餘還能快速充

電。我們的長期客戶包含佳士得、可口可樂，當然還有露露檸檬！」Max 談到 HPY 的核心 課程時，眉飛色舞的解釋其大受倫敦歡迎的原因。除了收納啟動方便的移動熱帳篷，HPY 也在倫敦設有四處固定瑜伽教室，讓固定會員可以有據點交流，並持續體驗熱瑜珈與其他 形式瑜伽的美好。 相較於傳統健身系統高昂的費用，HPY 提供的瑜伽課程相當可親，並且視會員的瑜伽

需求提供不同的會籍。談到 HPY 的中長期目標，Max 表示：「我們的目標是讓更多人能有 彈性的選擇適合身心的運動，而不單止是社交展示。HPY 的加盟系統是如此的蓬勃，我希

望我創立這一切的初心能在歐陸，甚至是世界其他角落，開出燦爛的花朵，讓更多人可以 不受空間與時間的限制，感受熱瑜珈的美好。」 23

[ CUISINE ]

最型甜點師

Cédric Grolet

擁有八十萬追蹤者，網路上竄紅的法國甜點師 Cédric Grolet， 可說是馬卡龍大師 Pierre Hermé 之後， 巴黎已許久不見人氣、才情都如此聚焦的明星甜點師。

長相俊俏的 Cédric Grolet 不單只是網紅，在甜點專業上，更膺獲得多項專業大獎

認可。 自 2015 年起，Cédric 獲頒廚師雜誌《Le Chef Magazine》認選「年度最佳甜點

師」，2016 年則榮獲 Relais Desserts Excellence Awards 頒發的「最佳甜點師」，至 2017 年則獲 Les Grandes Tables du Monde 評審團無異議票選為「全球最佳餐廳甜點師」。

在法國中部的羅亞爾河谷長大的他， 14 歲時受母親與祖父母影響，一頭栽入甜點

的世界，並立志成為出色的甜點師。跳脫傳統教育框架，在甜點室與廚房尋找到自己天 空的 Cedric 談及甜點的意義時曾說：「法式甜點講究視覺之美，並曾經深深吸引我。但 對現在的我來說，造型與相關技術固然重要，可甜點千變萬化的質地和味道，更讓我著 迷。」 一如其他技術超群的甜點師傅，巴黎成為成年後 Cédric Grolet 的根據地，並受閃電

泡芙 Christophe Adam 賞識，進入百年老舖 Fauchon ，從馬卡龍、麵包等基礎重新開始，

一路走入甜點研發。而刻苦耐勞、韌性十足，且技術超群的 Cedric，更接續人員培訓，

並因此派駐北京、杜拜、摩洛哥等地。但真正讓 Cédric 名聲大噪的貴人，是法國新派烹

飪帝王，Alain Ducasse。

以識人精準聞名的 Alain Ducasse 於 2013 年起接掌改造老牌宮殿級酒店 Le Meurice

主餐廳，並要求時任主餐廳甜點主廚的 Cédric Grolet 在甜點風味上更上層樓。回憶起這 段辛苦時光的 Cédric 笑道：「他說我的甜點技術已經很好，但這還不夠，因為技術好的

廚師大有人在，並無個人特色。他希望我多能在風味與個人風格兩個層面下功夫。」與 挑剔且嚴厲出名的 Alain Ducasse 合作，讓 Cédric Grolet 精益求精，繼而成就了今天超凡

脫俗的品味。「Alain Ducasse 在烹調上極少用糖，他建議我減糖、好讓素材展現天然風

味。」此外，Alain Ducassec 還要求 Cédric 的甜點不單只是風味出色，還需能在官能上扣 人心弦。

細觀 Cédric 今時的甜點創作：造型幾可亂真的黃檸檬蛋糕，內藏酸甜甘納許餡料， 一切開便如蜜沁出，入口酸雅但風味純醇，完整體現其強烈的個人甜點美學。而薄如花 瓣的水果切片，搭配巧妙計算的擺置，宛如牡丹花開的蘋果塔，在視覺與味覺上無可挑 剔。但 Cédric 最為人稱頌的，莫過於以不同口味蛋糕堆疊製成的魔術方塊塔。作為法國

甜點史上難得才貌雙全的青年明星，Cédric 笑說自己不過是個持續努力不懈，精益求精

的傻子，並希望有朝一日，把個人品牌帶出法國，感動全世界的甜點迷。 24

25

[ ART & INVESTMENT ]

Post-War Abstract Art and the Rise of Gutai

戰 後 抽 象 藝 術 V.S. 具體派的風起雲湧

文／ 陳惠黛 Odile Chen Photo／Ravenel International Art Group, Shimamoto LAB

「藝術是歷史的鏡子」，它反映出藝術家面對時代變遷的思考，成 為某種時代的縮影。二十世紀初的野獸派和立體派，啟發了藝術家們重視 形與色的構成，康丁斯基（Kandinsky）發現了其中奧妙，在1910年完成 第一幅抽象水彩畫。而後隨著工業、科技與現代建築等快速發展因素，脫 離對自然模仿的舊有觀念，改以概約的、簡化的、速度感的抽象藝術因運 而生。工業革命後的國家主義擴張引發戰爭，而連續的世界戰爭無情摧毀 了歐洲優美的文化傳統，因為政治與經濟的因素，在第二次大戰之後，藝 術發展的重心從歐洲移轉至美國。 藝術市場是一個五花八門的競技舞台，永遠不缺主角明星，除了藝

美國宣稱是民族的熔爐，二戰之後此地的藝術發展擺脫傳統束縛，

術家之外，他們所創作的藝術品亦是鎂光燈的焦點，眾人追捧的目標。

因而各種形式得以在此百花齊放。其中又以「抽象表現主義」（Abstract

因著年代更迭，品味或許有所變化，不同時期或流派的藝術家，時不時

Expressionism）、「普普藝術」（Pop Art）在美國美術史上最具規模與影

佔據新聞版面，其中有些是恆久不變的經典，或是隨著祖國經濟榮枯脫

響力，他們的影響力至今仍舊持續著。抽象表現主義一詞從1946年開始，

穎而出的新血名單，風水輪流、推陳出新屢見不鮮。各家各派，不論前

活躍紐約藝壇達二十年，它來自抽象藝術與表現主義的兩種影響，美國發

衛或古典，抽象或寫實，普普藝術或街頭藝術，天價寶座各個有機會。

展出的前衛藝術抽象表現主義，也受到歐洲的超現實主義、東方的文字、

有時藉由私人洽購、有的通過拍賣會，看看達文西（ Da Vinci ）、畢卡 索 （Picasso）、莫迪里亞尼（Modigliani）、高更（Gauguin）、巴斯奇

亞（Basquiat）、帕洛克（Pollock）、德庫寧（De Kooning）或是羅斯科

（Rothko），都是近一兩年藝術市場風風火火的熱搜名單。

戰後抽象藝術領軍當代市場 提及現今藝博會或拍賣行目前競相推薦的流派或團體，「戰後抽象 藝術家」絕對是領軍市場的天價標的之一。包括美國的紐約畫派大師塞． 湯伯利（Cy Twombly）、歐洲的抒情抽象藝術大師，競相刷新各自的拍 賣或私人洽購的紀錄。華裔大師趙無極的抽象畫作在2017年春、秋兩季 連續兩度創個人拍賣新高紀錄；威廉．德庫寧（William de Kooning）的

《無題》抽象畫在2018年香港巴塞爾以3500萬美元售出，創下香港藝博會

的成交新指標，而他在拍場的最高紀錄則是3億美元。 26

書法等啟發，益發蓬勃茁壯，同時期促發各地區前衛藝術運動，包括歐洲 的抒情抽象藝術，在亞洲台灣的東方、五月畫會，日本的具體美術協會、 韓國的單色畫等。 過去幾年，國際間關注抽象表現主義所領軍的戰後當代藝術板塊的 規模與影響力。特別值得一提的是1950年代中期在日本崛起的「具體美術 協會」的一群藝術家，重新獲得學術與市場兩方的肯定與讚揚。而這股 「具體派」效應不僅只於區域性的，更是跨國際的。這波熱潮從2013年巴 黎的春季拍賣會開始點燃，法國畫商斯塔德勒（Rodolphe Stadler）名下一

批包含歐洲名家與具體派畫家作品的收藏專拍，然後持續延燒至亞洲，至 今已有五年的時間，拍賣迭創紀錄。「具體派」成員之一的抽象畫家白髮 一雄當年就以1961年作品《激動的紅》（Gekidou Suru Aka）以超最高估

價近三倍的390萬歐元（約532萬美元或1.6億台幣）成交，刷新其個人拍 賣紀錄。

白髮一雄《激動的紅》1969 油彩 畫布 24.2 x 33.3 cm，成交價：390萬歐元，巴黎蘇富比 2014年春拍 Kazuo SHIRAGA "Gekidou Suru Aka" 1969 oil on canvas, 24.2 x 33.3 cm, sold for EUR 3,905,500, Sotheby's Paris Spring 2014

2015年秋天在香港夜拍一場以具體派發起人吉原治良（Jiro

Yoshihara）的藝術專拍，完成了百分百白手套成交成果，此次成績無疑 將具體派的市場熱度推上浪尖。近期以具體派成員的展覽或是專場，已是 主流拍賣會上不可少的名單。這波競逐名單也在畫廊業起了效應：日本

風潮往往不是偶然造成，擁有學術的鋪墊與推波助瀾，使得曾在 二十世紀後中期後的藝術團體，睽違數十年後，重新受到美術評論家與策 展人的青睞。一連串的重要展覽，如2008年威尼斯雙年展中，具體派作 品現身其中。而2012年日本東京日本國立新美術館（National Art Center,

起家的白石畫廊（White Stone Gallery）、さくら洞美術（Sakurado Fine

Tokyo）推出「具體—日本前衛18年的軌跡」（GUTAI: The Spirit of the

Lin Gallery）、也趣畫廊（Aki Gallery）；東京與紐約的麥卡佛雷（Fergus

燦爛的遊樂園」（Gutai: Splendid Playground），2014 日本長野輕井澤新

Arts）；香港的德薩畫廊（De Sarthe Gallery）；台北的林舍畫廊 （Lin & McCaffrey）；蘇黎世的豪瑟與沃斯（Hauser & Wirth）等大畫廊，紛紛推

出相關展覽。使得日本藝術家除了熱門名單草間彌生、奈良美智、村上隆 之外，「具體美術協會」或簡稱「具體派」成員的藝術家，成為全球收藏 家與市場人士關注的對象。

Era）專題展覽，還有2013年紐約古根漢美術館最關鍵性的策展「具體：

美術館（Karuizawa New Art Museum）「具體人在輕井澤」（Gutaijin）

系列展覽，以及菲律賓馬尼拉阿雅拉博物館 （Ayala Museum）的 「具體

派的品味：卡馬喬夫婦收藏展」（A Taste of Gutai: Lito and Kim Camacho

Collection）展出80件具體派的雕塑與繪畫作品。在策展人、雙年展與博 物館機構的背書下，曾經蒙塵的前衛藝術畫派重現光芒。

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[ ART & INVESTMENT ]

28

「具體派，就像是我們看到火星生物一樣。」

顏料透過算盤滾動和紙傘等旋轉創作；田中敦子將無數閃爍的燈泡穿戴身 上的「電氣服裝」；村上三郎以身體穿破層層直立的紙立門，形成作品；

日本經濟歷經失落二十多年後，又歷經了地震海嘯與核災等慘烈的

還有最知名的白髮一雄以手執繩、以足作畫。

打擊，國家自信心也遭受挫折，如今他們的當代藝術名家在海外受到肯

一系列破天荒的媒材形式，充滿創意與活力，他們的藝術囊括了行

定，這股新興的日本當代藝術市場交易，或許稍加療癒了大和民族，讓藝

為藝術、偶發藝術、裝置藝術、科技藝術、聲音藝術、互動藝術、大地藝

術市場更偉大起來。找回「具體派」的價值，我們見識到日本藝術圈再度

術、光線藝術、觀念藝術等等。儘管1958年，日本具體派登陸美國，於紐

與國際密切接軌，在各地的拍賣市場上發現有更多日本藝術家作品上拍，

約馬薩．傑克遜畫廊（Martha Jackson Gallery）舉行首次海外展覽，卻遭

還有愈來愈多的日籍畫商穿梭其間。

受紐約時報評論家無情重砲抨擊，並以「抽象表現主義的分支」簡單概括

日本人天性嚴謹有守，尊重職人精神，二次大戰戰敗，百廢待舉， 美術界有志之士不願與舊有體制結合，也不願盲目追隨歐美，希望建立具

稱之，未能看出其前衛創新的精神。 具體派從1954年創立，延續到1972年發起人吉原治良過世後隨之解

有自主性的藝術風格。回顧「具體派」運動的崛起，回溯到1950年代的日

散，一共有18年的發展歷程。團體的發展大致分為兩階段，第一個是1954

田嗣治的啟發，認識獨創的原則，1930年代吉原即是大有可為的藝術家，

「具體二代」。除發起人吉原治良之外，具體一代的核心藝術家有：嶋

本大阪蘆屋市，關鍵人物是吉原治良 (1905-1972)。他曾受到巴黎畫派藤

早期專研超現實主義繪畫以及抽象表現主義藝術有成。後來創立「具體美 術協會」，在其領導與挑選下，和16名年輕學生，一起創新辦展。吉原治 良要成員走別人沒有走過的路，「創造前所未有的創新」。 「具體」一詞是出自成員嶋本昭三的命名。「具體」一詞，「具」

年至1962年，第二個是1962至1972年，此二階段被稱為「具體一代」與

本昭三（Shozo Shimamoto, 1928-2013）、白髮一雄（Kazuo Shiraga, 1924-

2008）、白髮富士子（ Fujiko Shiraga, 1928-2015 ）、鷲見康夫（ Yasuo

Sumi, 1925-2015）、元永定正（Sadamasa Motonaga, 1922-2011 ）、金

山明（Akira Kanayama, 1924-2006）、田中敦子（Atsuko Tanaka, 1932-

解作工具；「體」解作身體，意指「用工具和身體呈現」。成員拋棄了傳

2005）、上前智佑（Chiyu Uemae, 1920-）等。1962年隨著年輕藝術新

統藝術家的工具，尤其是「畫筆」的使用，用各種大膽無畏的自我表達，

血的加入，「具體二代」活化創新的動力，與時俱進，使用更新式的材

特別是肉身參與。藝評人針生一郎曾為1955年的具體派展覽，解讀「如同

料進行實驗，發展達至巔峰。具體二代新加入的年輕藝術家有前川強

看到火星生物一樣」表達其驚異之情與前所未見。每個成員有獨特具實驗 性格的藝術表現形式：嶋本昭三的以玻璃瓶裝滿顏料擲向畫布，創作「擲 瓶繪畫」；元永定正以塑膠管填裝顏料，以滴落、塗抹及潑油漆技術進行 創作；吉原通雄將自行車的輪胎印留在畫布上；鷲見康夫使用振動設備，

（Tsuyoshi Maekawa, 1936-）、堀尾貞治（Sadaharu Horio, 1939-）、松谷

武判（Takesada Matsutani, 1937-）、名坂有子（Yuko Nasaka, 1938- ）、山

崎鶴子（Tsuruko Yamazaki, 1929-）、向井修二（Shuji Mukai, 1940-）和 松田豐（Yutaka Matsuda, 1942-1998）等，兩代藝術家合計近六十位。

(左) 嶋本昭三，於但丁廣場公開表演創作 拿波里，2006 ©圖片由 ShimamotoLAB 提供 Shozo Shimamoto, performance at Piazza Dante, Napoli, 2006 ©Shozo Shimamoto, ShimamotoLAB

(右) 嶋本昭三 《起重表現：拿波里F》2006年 油彩 畫布 82 x 109 cm 羅芙奧2018春拍「薈萃」專場 預估價：2,400,000 - 3,600,000 台幣 Shozo SHIMAMOTO, "Crane Performance Napoli F", 2006 Oil on canvas, 82 x 109 cm Ravenel Spring Auction 2018 Select: Modern & Contemporary Art Estimate: US$ 82,700 - 124,000

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[ ART & INVESTMENT ]

前衛藝術大師的東西交流 二次大戰之後，不僅美洲、亞洲蓬勃發展前衛藝術，歐洲藝壇也是 正在翻天覆地的改變著。大力宣揚法國不定形藝術（Informel）的法國藝

評家米歇爾．塔皮耶（Michel Tapié），頻繁往來紐約與紐約，把歐洲藝 術家如德庫寧、喬治．馬修（Georges Mathieu）、尚．佛特里埃（Jean

Fautrier）介紹到美國，又把傑克森．帕洛克（Jackson Pollock）介紹給歐

此行拜訪在日本掀起風潮，促成歐洲不定形藝術與日本具體派一次

洲的藝術圈，促成文化的交流。而日本的當代書法藝術頻頻受邀參與國

深具意義的交流，也使得具體派大步邁向國際。具體派其實也影響後來

際活動。吉原治良與日本前衛書畫團體的往來密切，透過該團體的刊物

的藝術風潮，包括韓國「物派」創作，以及「激浪派」（Fluxus）實驗性

得以一窺歐美同儕的最新創作。而吉原治良熱切盼望與國際接軌，1955

質濃厚的藝術家，如約翰．凱奇（John Cage）、約瑟夫．波依斯（Joseph

年開始出版《具體》英日雙語雜誌，後來甚至發行法文版，可見用心之

Beuys）、小野洋子（Yoko Ono）等。當時，白髮一雄以足作畫的創作比

至。

知名的伊夫．克萊因早幾年出現，由於克萊因當時也在日本創作，推測 米歇爾．塔皮耶1957年造訪日本，因不滿於抽象藝術中的幾何式構

圖，與反抽象繪畫的日本具體派訴求不謀而合，雙方一拍即合。塔皮耶 將具體派介紹到西方，也成為歐洲藝術界認識具體派的重要管道。雖然 具體派反對抽象藝術，然而前衛藝術的導師吉田治良卻對歐美同儕藝術

有可能受到白髮一雄的影響，足見具體藝術在亞洲當代美術史上佔有不 可取代的地位。

過去漲幅高？未來增值空間如何

家給予高度的敬意，他對抽象表現主義大師中喬治．馬修和傑克森．帕

法國的米歇爾．塔皮耶將具體藝術介紹到歐洲，促成了少數的作品

洛克的藝術推崇備至，讚嘆他們的作品「擺脫了傳統的規範」，並且啟

受到法國藏家的青睞，但是並未全面的引起西方藏家的興趣，千禧年以

發了具體派成員的創作。馬修和帕洛克各自代表著歐洲和美洲的抽象表

前拍賣行情甚少超過五萬美元。2013年紐約古根漢美術館展覽之後，具

現主義運動，都是具有高成就的核心人物。具體派致力於探索新媒材、

體派成員的拍賣受到全球收藏家的興趣，尤其是那些原本收藏有紐約抽

全新的繪畫表現形式，和抽象表現主義藝術家的探索同具有時代意義。

象藝術的大藏家們。具體派成員中以白髮一雄的畫作行情最高，也是最

而1957年塔皮耶的日本之行，乃是因為受到不定形藝術的日裔畫家

今井俊滿（Imaï Toshimitsu）的邀請，同行的還有喬治．馬修和山姆．法

蘭西斯（Sam Francis）。身穿日本和服的喬治．馬修在大阪的梅田百貨公

司屋頂現場揮毫創作。而馬修的藝術，也曾經啟發了1957年艾倫．卡普

羅（Allan Kaprow）的「偶發藝術」（Art Happenings）和伊夫．克萊因 的「人體測量學」（Anthropometry）系列。

早在市場竄升的一位，尤其是2008藝術家過世後，他的具體派時期以及

後期創作，屢創新高，他在拍賣市場最高紀錄為530萬8629美元（390萬

5500歐元，約1.5億台幣)，其他身價超過百萬美元的藝術家有嶋本昭三的

263萬8145美元（2050萬港元，約8200萬台幣）；田中敦子的 163萬4363

美元（1270萬港元，約4900萬台幣）；上前智祐的116萬2070美元 （912

萬港元，約3148萬台幣）等人。具體派畫家中交易熱絡以白髮一雄和元 永定正兩人成交筆數最多。而逐漸嶄露頭角的其他成員如前川強、鷲見 康夫、松谷武判、吉原治良等，價格空間仍被低估，他們的藝術正持續 被各地藏家關注著。 日本藝術市場的復甦，加上日幣持續的貶值，大大提高了國際收藏 家對日本具體派藝術家的興趣。根據Artnet的報導，比利時畫商鮑爾斯．

維伍德（Boris Vervoordt）是具體美術協會作品的重要畫商之一。他是阿 塞爾．維伍德畫廊（Axel Vervoordt）的負責人，他大約從2005年開始收

藏具體美術派的作品，大力推廣白髮一雄的作品有成。然而白髮一雄的 價格愈來愈難入手，門檻愈來愈高。畫商與收藏家轉而尋找戰後的日本 抽象藝術家，尤其是以具體派成員中的其他重要成員作品。尤其是經典 現當代大師的作品徵集困難，尋覓市場的遺珠之憾，重新評估戰後當代 藝術市場，尤其是與抽象表現主義同時期的藝術團體，如具體派的藝術 價值空間仍大。 多家經營現當代藝術的國際知名畫廊，持續投入具體派的推廣，相 1957年喬治．馬修身穿日本和服在大阪的梅田百貨屋頂創作

關的藝術家已是國際拍賣會的常客，五年過去，市場趨於理性，但核心

Georges Mathieu painting on the roof of Daimaru in Osaka, Japan in 1957 © Georges MathieuCommittee / ADAGP, Paris

成員中仍有被低估的藝術家，補漲行情可期。

30

喬治．馬修《婚約－勃艮第公爵與盧森堡女公爵》1958年 油彩 畫布 162.5 x 97.5 cm，羅芙奧2018春拍「薈萃」專場，預估價：4,200,000 - 6,500,000 台幣 Georges MATHIEU "Traité du Duc de Bourgogne et de la Duchesse de Luxembourg" 1958 Oil on canvas 162.5 x 97.5 cm Ravenel Spring Auction 2018 Select: Modern & Contemporary Art, Estimate: US$ 144,700 - 223,900

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前川強《作品》2013年 綜合媒材 畫布 115 x 90 cm，羅芙奧2018春拍「薈萃」專場，預估價：3,200,000 - 4,800,000 台幣 Tsuyoshi MAEKAWA "Work" 2013 Mixed media on canvas 115 x 90 cm, Ravenel Spring Auction 2018 Select: Modern & Contemporary Art, Estimate: US$ 110,200 - 165,300

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Post-War Abstract Art and the Rise of Gutai The art market is a stage for an array of competitive strategies. There is

of imitating nature was abandoned, becoming generalized and simplified with a

never a shortage of lead actors or stars, and aside from the artists themselves,

sense of speed to become abstract art. The growth of nationalism on the heels of

of course, the spotlight is focused on their works as the object of everyone’s

the industrial revolution led to war, and the consecutive world wars ruthlessly

attention. Because of generational differences and changes in tastes, artists

destroyed the beautiful cultural traditions of Europe. For both political and

of different periods or schools from time to time may get some ink in the

economic reasons, the focus of development of the arts moved from Europe to

newspaper. Some of these artists will produce works that become enduring

the United States following the Second World War.

classics, while newcomers will flourish or perish along with the economic fates

The United States was called the melting pot of peoples, where after

of their homelands, the wheels of fortune ever turning, “out with the old, in

the Second World War, the arts cast off the shackles of tradition, resulting

with the new” being a common plight. The artists and their schools, whether

in the flourishing of a rich variety of forms. These forms included Abstract

avant-garde or classical, abstract or realism, pop art or street art, each have

Expressionism and Pop Art which enjoyed the greatest reach and influence

every opportunity to sit upon the sky-high throne. Some deals have taken place

in American history, and whose influence persists today. The term “abstract

through private arrangements, some through auctions. We can see that Da Vinci,

expressionism” appeared in 1946 and was used in the New York art scene for 20

Picasso, Modigliani, Gauguin, Basquiat, Pollock, De Kooning or Rothko are on

years. The movement traces its influences to abstract art and the Expressionists.

hot search lists in the art market this past year or two.

Avant-garde abstract expressionism emerged in the United States and was

POST-WAR ABSTRACT ART LEADS THE MARKET

influenced by Surrealism in Europe, oriental texts and calligraphy. Rapid development ensued with the avant-garde art movement being promoted in

In mentioning schools and genres competing for recommendation at

different places, such as Europe’s Lyrical Abstraction movement, The Fifth

current art exhibitions and auctions, Post-War Abstract Art is without a doubt

Moon Group on Taiwan in East Asia, Japan’s Gutai group, and Korea’s

one of the leaders of the sky-high prices in the market. This includes Cy

Monochrome painting (Dansaekhwa).

Twombly, master of the New York school, as well as masters of Europe’s

Over the past few years, international attention has focused on the scope

Lyrical Abstraction movement who raced to refresh their private purchase and

and influence of abstract expressionism on post-war abstract art. Deserving

auction records. In the spring and fall of 2017, the abstract paintings of Chinese

of particular mention is a group of artists emerging from the Japanese Gutai

master Zao Wou-Ki consecutively beat personal auction records. Willem de

Art Association in the mid 1950’s whose artist members gained recognition

Kooning’s abstract painting “Untitled” sold for USD 35 million at Hong Kong’s

and praise from both academia and the markets. The reach of the Gutai artists

Art Basel in the spring of 2017, setting a new high mark for Art HK events. He

was not only regional but also international. The phenomenon ignited at the

also holds the record for the highest auction price at USD 300 million.

2013 Paris spring auction with the auctioning of a collection by Parisian dealer

Art is the mirror of history, reflecting the thinking of artists as they

Rodolphe Stadler and included works by well-know European painters and

faced the changes of their times, thus it is a microcosm of each era. Fauvism

Gutai artists. The phenomenon spread to Asia where auction records continue

and Cubism at the opening of the 20th century inspired artists to focus on

to be broken five years later. The Gutai abstract painter Kazuo Shiraga’s 1961

the composition of form and color. Kandinsky discovered the essence of this

work "Gekidou Suru Aka" surpassed its valuation nearly three-fold at 3.9m

as he completed his first abstract watercolor in 1910. Following on the rapid

EUR (5.32m USD) setting a new personal record.

development of industry, technology and modern architecture, the old concept 33

[ ART & INVESTMENT ]

卡．阿貝爾 《無題》約1960年 油彩 畫布 92 x 62 cm 羅芙奧2018春拍「薈萃」專場，預估價：3,000,000 - 4,600,000 台幣 Karel APPEL "Untitled" c. 1960 Oil on canvas 92 x 62 cm Ravenel Spring Auction 2018 Select: Modern & Contemporary Art Estimate: US$ 103,300 - 158,500

In autumn 2015 during an evening auction event in Hong Kong focusing

The chain of events is not accidental. With the support and promotion

on the works of the Gutai founder Jiro Yoshihara, all pieces were sold in 100%

of academia, an art group from the last half of 20th century which had been

white glove deals. This achievement will undoubtedly push the market fever

neglected for decades was rediscovered by art critics and curators. A series of

for Gutai art to its peak. Recently, Gutai artists’ exhibitions or special showings

important exhibits, including the 2008 Venice Biennale displayed Gutai works.

are already being regularly included in mainstream auction events. This wave

In 2012, the National Art Center, Tokyo exhibited “Gutai: The Spirit of an

of competing lists of artists has had an effect on the galleries. Starting with the

Era” - 18 years of Japanese avant-garde. The most critical exhibit was “Gutai:

White Stone Gallery and Sakurado Fine Arts in Japan, De Sarthe Gallery in

Splendid Playground” in 2013 at the Guggenheim Museum in New York. In

Hong Kong, Lin & Lin Gallery and Aki Gallery in Taipei, Fergus McCaffrey in

2014, Japan’s Karuizawa New Art Museum hosted a series of exhibitions:

Tokyo and New York, and Hauser & Wirth in Zurich, these major galleries have

“Gutai-jin in Karuizawa”. The Ayala Museum in Manila exhibited 80 Gutai

rolled out their exhibitions of related artists and their works one after another.

sculptures and paintings in their exhibit: “A Taste of Gutai: Lito and Kim

All this activity has led to “Gutai Art Association” artists or just “Gutai” artists,

Camacho Collection”. With the endorsement of the Biennale and museum

in addition to highly popular Japanese artists Yayoi Kusama, Yoshitomo Nara

organizations, curators succeeded in reviving an avant-garde art school which

and Takashi Murakami, being sought out by collectors and individuals in the

had been overlooked.

worldwide art market.

34

"Gutai, it was as if we met with a life form from Mars."

The Japanese people are rigorous in their nature and respect professionalism. After their defeat in the Second World War, people with aspirations in the art community wanted nothing to do with the old system.

Neither did they want to blindly follow in the footsteps of Europe and America,

Twenty years of economic collapse, followed by the great earthquake tsunami and nuclear disaster, have taken their toll on the nation’s self confidence. If Japan’s contemporary artists are recognized overseas, rekindling trade in the modern art market, perhaps this will help to heal the Japanese people and, in turn, strengthen the art market. Reviving Gutai, we see that Japanese artists are mingling again with the international community. The works of Japanese artists can increasingly be found in art auction markets around the world and Japanese art dealers are gradually being found among them.

but aspired rather to establish their own style of art. Looking back to the origins of the Gutai, in 1950s Osaka, Japan, the key figure was Jiro Yoshihara (1905-1972). He was inspired by Tsuguharu Foujita of the Parisian school.

Appreciating the principle of originality, Jiro seemed a promising artist in 1930’s Japan. In his early career he focused his studies on surrealism and abstract expressionism. Later he established the Gutai group and under his leadership created an exhibition along with 16 young students. Jiro Yoshihara’s directive was that members take the path not taken by anyone else, to create unprecedented artistic innovation.

鷲見康夫 《友和友》1990年代 壓克力 噴漆 畫布 162 x 130 cm 羅芙奧2018春拍「薈萃」專場 預估價：4,200,000 - 6,000,000 台幣 Yasuo SUMI "Friend and Friend" 1990s Acrylic, lacquer spray on canvas 162 x 130 cm Ravenel Spring Auction 2018 Select: Modern & Contemporary Art Estimate: US$ 144,700 - 206,700

35

[ ART & INVESTMENT ]

1962 and the second from 1962 to 1972. The second phase includes the First Gutai period and the Second Gutai period. In addition to the founder, Jiro Yoshihara, the core artists of the First Period were: Shozo Shimamoto (19282013), Kazuo Shiraga (1924-2008), Fujiko Shiraga (1928–2015), Yasuo Sumi (1925-2015), Sadamasa Motonaga (1922-2011), Akira Kanayama (1924-2006), Atsuko Tanaka (1932-2005) and Chiyu Uemae (1920- ). In 1962 the addition of new young artists sparked the innovative energy of the Second Gutai period.

These artists experimented with new materials and the Gutai art reached its peak of development. New artists appearing in the Second Gutai period included Tsuyoshi Maekawa (1936- ), Sadaharu Horio (1939- ), Takesada Matsutani 丁雄泉《溫暖的太陽》1961年 油彩 畫布 100 x 150 cm 羅芙奧2018春拍「亞洲現代與當代藝術」，預估價：2,600,000 - 3,600,000 台幣 Walasse TING "Warm Sun" 1961 Oil on canvas 100 x 150 cm Ravenel Spring Auction 2018 Modern and Contemporary Asian Art Estimate: US$ 89,600 - 124,000

The name “Gutai” was coined by Shozo Shimamoto, one of the group's members. “Gutai” is composed of “Gu” meaning “tool” and “tai” meaning “body” - together meaning “using tools and the body.” Members abandoned the use of the traditional tools of artists, especially brushes, rather boldly expressing themselves in different ways, especially using their bodies. The art critic Ichiro Haiu attending an exhibit of Gutai art in 1955 exclaimed: “It was as if we met with a life form from Mars” expressing his amazement for something never seen before. Each member of the group expressed themselves artistically in uniquely individual ways. Shozo Shimamoto threw glass bottles filled with colored ink at canvases to create “bottle crash paintings.” Sadamasa Motonaga used plastic tubes filled with pigment, allowing them to drip and splash out paint to achieve his creative technique. Michio Yoshiwara left the imprint of bicycle tires on his canvas. Yasuo Sumi used vibrating devices, passing paint through rotating abacus rollers and paper umbrellas to achieve a rotating effect.

Atsuko Tanaka wore “electric clothing” - a dress of innumerable flashing lights.

Saburo Murakami used his body to break through upright paper doors.

With unprecedented application of various media, creativity and vitality the artists’ directions included performance art, happening art, installation art, technology art, sound art, interactive art, land art, light art, conceptual art, etc.

Gutai arrived in the United States in 1958 for their first overseas exhibit at the Martha Jackson Gallery in New York, however they were ruthlessly attacked by critics in an editorial in the New York Times, describing them simply as an offshoot of Abstract Expressionists, and failing to see their spirit of avant-garde creativity.

The Gutai art movement developed over a period of 18 years, from the group's founding in 1954 until the death of its founder Jiro Yoshihara in 1972.

The development primarily took place in two phases: the first from 1954 to 36

(1937- ), Yuko Nasaka (1938- ), Tsuruko Yamazaki (1929- ), Shuji Mukai (1940- ) and Yutaka Matsuda (1942-1998). Altogether, nearly 60 artists were members in the group of the entire Gutai period.

EAST-WEST EXCHANGES BETWEEN AVANT-GARDE MASTER PAINTERS After World War II, not only was avant-garde art in the Americas and in Asia flourishing, the European art scene was also undergoing major upheaval.

French art critic Michel Tapié, who heavily promoted the French Art Informel, regularly traveled to and from New York and encouraged cultural exchanges, introducing European artists such as Georges Mathieu and Jean Fautrier to the United States and Jackson Pollock to European circles. Interaction between Jiro Yoshihara and Japanese avant-garde painting and calligraphy groups was frequent and it was through the publications of these groups that allowed him to see the latest works by his counterparts in Europe and the United States. Jiro Yoshihara, passionate about connecting with the international scene, began publishing the bilingual magazine “Gutai” in 1955. Later a French version was also published, a testament to Yoshihara’s dedication.

Michel Tapié visited Japan in 1957. Not satisfied with the geometric compositions in abstract art, he found a perfect match in the Japanese Gutai’s rejection of abstract painting. Tapié thus introduced Gutai art to the West, becoming an important channel for learning about Gutai in the European art world. And even though Gutai artists rejected abstract art, Yoshihara, as a teacher of avant-garde art, held in high esteem European and American artists and had great respect for abstract expressionist masters Georges Mathieu and Jackson Pollock, praising their work for breaking free of traditional rules and providing inspiration for Gutai artists’ works. Mathieu and Pollock were representative of the European and American abstract expressionism movement and both of the artists were core figures that enjoyed a high level of success.

The Gutai school was dedicated to exploring new media and totally new forms of expression in painting, which, like the exploration of the artists of abstract expressionism, was significant for the times.

Because Tapié was visiting Japan at the invitation of Imai Toshimitsu,

The rebounding of the Japanese art market coupled with the depreciation

an Informel artist of Japanese descent, accompanying him were Georges

of the Japanese yen has greatly raised the interest of international collectors

Mathieu, Jackson Pollock and Sam Francis. Georges Mathieu, wearing a

in Japanese Gutai artists. According to a Artnet report, the Belgian art dealer

Japanese kimono, painted one of his works on the roof of a department store in

Boris Vervoordt is an important player in the Gutai Art Association works. He

Osaka. Georges Mathieu’s art was also the inspiration for Allan Kaprow’s “Art

leads Axel Vervoordt’s Art & Antiques, Gallery, Interior Design and Home

Happenings” and Yves Klein’s “Anthropometry” series in 1957.

Collection activities and has been a big promoter of Kazuo Shiraga’s works.

This trip set off new trends in Japan and is a profoundly significant event

But now the barrier to entry for procuring Kazuo Shiraga’s works is becoming

in setting into motion exchanges between the European Art Informel and

more challenging with prices increasing beyond the reach of most would-be

Japanese Gutai artists. It was also important factor in allowing Gutai artists

collectors. Conversely, art dealers and collectors are seeking out the works

access to the international stage. Actually, Gutai artists also influenced art trends

of post-war Japanase abstract artists, especially the works of other prominent

thereafter, including Korean materialism works and highly experimental artists

Gutai artists. As amassing collections of the classic contemporary masters

of the Fluxus school, such as John Cage, Joseph Beuys and Yoko Ono. At the

proves increasingly difficult, art dealers are once again reassessing the post-war

time, Kazuo Shiraga’s work done with his feet appeared a few years before that

contemporary art market, focusing on groups of artists from the same period as

of the well known Yves Klein. Because Klein had been working on painting

the abstract expressionists, such as the Gutai artists and their works, the value

in Japan at the time, it is assumed that he was influenced by Kazuo Shiraga’s

of which is poised for growth.

work. Nevertheless, it is clear that Gutai art has earned a clear place in the history of contemporary Asian art.

Many internationally acclaimed art galleries dealing in contemporary art have continuously invested in promoting Gutai artworks and related artists

Michel Tapié introduced Gutai art to Europe and succeeded in a small

have already become regulars at international auction events. Five years later,

number of works finding favor with French collectors. However, it never

although the market has become more rational, the prices for the works from

completely drew the attention of Western collectors. Before 2000, auction price

undervalued artists are likely to increase.

sentiment rarely surpassed the USD 50,000 level. Following the 2013 exhibition at the Guggenheim Museum in New York, though, auctions for works by Gutai artists have sparked the interest of collectors worldwide, particularly that of major collectors who have already collected New York abstract expressionist art. The market price for Kazuo Shiraga’s work has been the highest for works

by Gutai artists. His work was also the first to see the rise in market price, particularly since his passing in 2008. Shiraga’s Gutai period works as well as works from his later period hit new highs, reaching the highest recorded price of USD 5,317,338 (€ 3,905,500 or approximately TWD 150 million). Other works surpassing the USD 1.0 million mark include that of Shozo Shimamoto at USD 2,635,298 (HKD 20.5 million or approximately TWD 49.0 million), that of Chiyu Uemae at USD 1,162,178 (HKD 9.12 million or approximately TWD 31.48 million), and so forth. The greatest number of transactions has been for works of Kazuo Shiraga and Sadamasa Motonaga. Gradually, we have also seen the works of other Gutai artists such as Tsuyoshi Maekawa, Yasuo Sumi, Takesada Matsutani and Jiro Yoshihara gain traction in the market with valuations continuing to be undervalued and are still being closely watched by collectors everywhere. 田中敦子《90B》1990年 壓克力 畫布 117 x 91 cm 成交價：12,000,000台幣，羅芙奧台北2017秋拍 Atsuko TANAKA "90B" 1990 Acrylic on canvas 117 x 91 cm Sold for US$ 399,734, Ravenel Autumn Auction 2017 Taipei

37

[ ART & INVESTMENT ]

二十位具體派藝術家 個人最高拍賣成交價一覽

38

( 依高低序 )

1

2

3

4

5

Kazuo SHIRAGA 白髮一雄 Gekidou Suru Aka 激動的紅

Shozo SHIMAMOTO 嶋本昭三 Explosion 64-1 爆發 64-1

Atsuko TANAKA 田中敦子 Work 作品

Sadamasa MOTONAGA 元永定正 Work 作品

Chiyu UEMAE 上前智祐 Work (diptych) 作品（雙聯作）

1969 Oil on canvas 183 x 229 cm

1964 Oil on canvas 239 x 179 cm

1963 Synthetic polymer paint on canvas 145.5 x 113 cm

1963 Oil, synthetic resin, and gravel on canvas 116.7 x 90.9 cm

1964 Oil on board 216 x 182 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

EUR 1,000,000 - 1,500,000

HK$ 10,000,000 - 15,000,000

HK$ 7,000,000 - 9,000,000

HK$ 4,000,000 - 6,000,000

HK$ 3,000,000 - 5,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$ 5,308,629 EUR 3,905,500

US$ 2,638,145 HK$ 20,500,000

US$ 1,634,363 HK$ 12,700,000

US$ 1,325,507 HK$ 10,300,000

US$ 1,162,070 HK$ 9,120,000

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

巴黎蘇富比 Sotheby's Paris June 3, 2014

香港蘇富比 Sotheby's Hong Kong April 2, 2017

香港蘇富比 Sotheby's Hong Kong April 2, 2017

香港蘇富比 Sotheby's Hong Kong April 2, 2017

香港蘇富比 Sotheby's Hong Kong March 31, 2018

6

7

8

9

10

Tsuyoshi MAEKAWA 前川強 Yoko no Mitisu no Sen 橫的道路線

Toshio YOSHIDA 吉田稔郎 Untitled 無題

Takesada MATSUTANI 松谷武判 La Propagation Rouge – 1 紅色的延展-1

Tsuruko YAMAZAKI 山崎鶴子 Untitled 無題

Yuko NASAKA 名坂有子 8 (Infinity) 1964-9 8（無限）1964-9

1963 Mixed media on canvas 181 x 224.8 cm

1960 Oil on canvas 130 x 195 cm

1965 Mixed media on canvas 162.1 x 130.3 cm

1959 Acrylic on tin 182 x 180.5 cm

1964-1969 Synthetic resin paint on canvas 116 x 80 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$ 2,000,000 - 3,000,000

HK$ 3,000,000 - 5,000,000

JPY 25,000,000 - 40,000,000

GBP 12,000 - 18,000

GBP 25,000 - 35,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$ 577,470 HK$ 4,480,000

US$ 469,560 HK$ 3,640,000

US$ 259,272 JPY 28,304,800

US$ 243,180 GBP 200,000

US$ 196,411 GBP 128,500

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

香港佳士得 Christie's Hong Kong November 22, 2014

香港佳士得 Christie's Hong Kong November 28, 2015

東京SHINWA拍賣 Shinwa Auction Tokyo April 16, 2016

倫敦蘇富比 Sotheby's London March 9, 2017

倫敦佳士得 Christie's London October 14, 2015

TOP 20 GUTAI ARTISTS WORKS SOLD AT AUCTION

TOP

20

製表／Tiffany Wong（Update: 2018.5.7 Source: Artprice.com, Christie's, Sotheby's）

11

12

13

14

15

Yasuo SUMI 鷲見康夫 Work 作品

Shuji MUKAI 向井修二 Work No.52 作品 第52號

Sadaharu HORIO 堀尾貞治 Work 68.B 作品 68.B

Saburo MURAKAMI 村上三郎 Work 作品

Minoru YOSHIDA 吉田實 Work 作品

1963 Oil on canvas 164.5 x 131.8 cm

1995 Enamel on board 182 x 130 x 7 cm

1968 Cloth, board, acrylic on canvas 130.2 x 129.6 x 23 cm

1959 Oil on canvas 65 x 50 cm

1963 Oil, mixed media on canvas 57.5 x 57.5 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

N/A

HK$ 600,000 - 800,000

HK$ 300,000 - 600,000

JPY 1,000,000 - 1,500,000

JPY 300,000 - 400,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$ 120,005 EUR 97,170

US$ 93,525 HK$ 725,000

US$ 77,280 HK$ 600,000

US$ 75,357 JPY 8,918,000

US$ 28,979 JPY 3,450,000

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

巴黎蘇富比 Sotheby's Paris December 6, 2014

香港佳士得 Christie's Hong Kong May 30, 2015

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

東京每日拍賣 Mainichi Auction Tokyo November 29, 2014

東京SBI拍賣 SBI Art Auction Tokyo April 18, 2015

16

17

18

19

20

Senkichiro NASAKA 上前智祐 Work 192 作品192

Minoru ONODA 小野田實 Work 70 - BL61 作品70 – 藍61

Norio IMAI 今井祝雄 White piece D 白色作品D

Kumiko IMANAKA 今中久美子 Blue and Red Swirl No. 14 藍紅漩渦14號

Fujiko SHIRAGA 白髮富士子 Untitled 無題

1962 Mixed media on paper 38 x 70 cm

1970 Oil, glue and resin on plywood 180 x 120 cm

1966 Embossing and punched holes on paper 24 x 38 cm

1966 Colored stainless steel and styrofoam mounted on board 60.2 x 60 cm

Mixed media, oil on canvas 35.5 x 87 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$ 50,000 - 70,000

JPY 300,000 - 500,000

JPY 200,000 - 300,000

HK$ 60,000 - 90,000

EUR 7,000 - 7,800

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$ 19,352 HK$ 150,000

US$ 17,691 JPY 1,452,500

US$ 11,817 JPY 1,437,500

US$ 11,259 HK$ 87,500

US$ 8,610 EUR 10,929

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong June 10, 2014

東京馬萊拍賣 Mallet Auction Tokyo November 30, 2012

東京SBI拍賣 SBI Art Auction Tokyo July 11, 2015

香港蘇富比 Sotheby's Hong Kong April 3, 2017

義大利博埃托 Boetto Italy October 28, 2014

39

[ THE ARTIST ]

Tony Cragg and

His World of

Materials

東尼．克雷格

Text／游景涵 Carol Yu Photo／Ravenel International Art Group、 Nathan Keay, MCA Chicago ; Museum Lehmbruck Michael Richter

40

在 60、70 年代末， 我根本對於雕塑藝術沒有興趣， 並不想要雕刻、或是複製， 讓我真正感興趣的是我可以如何運用這些材料， 這些材料如何影響我， 對我而言這才是雕塑的核心。

備受國際重要機構和藏家肯定的重量級英國雕塑家東尼．克雷格

用的工具融入其中。而這些看似抽象、不規則的立體雕塑，部份都是經過

1949年生於利物浦，1977年移居德國。1982年參加第七屆德國卡塞爾文件

電腦運算才能達到如此精準的呈現，儘管克雷格有多位助手在工作室協助

展、1988年榮獲英國倫敦泰特美術館頒發的透納獎，同年代表英國參加第

43屆威尼斯雙年展。2011年於巴黎羅浮宮舉辦個展，被喻為是繼現代雕塑

作品的完成，但藝術家還是堅持手作且有始有終的逐一完成成品。《麥可 馬克》此作品也是藝術家向團隊中的其中ㄧ位重要技術人員麥可致意之

大師亨利．摩爾〈Henry Moore〉後的接班人。克雷格就學於英國皇家藝

作，麥可在藝術家身邊已工作超過二十餘年，也因為有了麥可的技術，幫

術學院時，早已開始探討材質所賦予物質本身與自然界的關係，觀察它們

助藝術家突破技術上的困難，才能造就許多作品的誕生。儘管有了科技和

如何激盪起人們新的意識和關聯性。透過時代的變遷和日新月異的技術，

電腦製圖等協助，藝術家依舊堅持手繪構圖、手工製作銅雕中的原有的鑄

克雷格取得更多媒材進行實驗性的創作機會。自1970年至今，每相隔五年

造模型。

都能見到克雷格作品有階段性的突破與成長，從最早使用現有物件的組合

對於藝術家而言，人們時常著重在表象或是傾向理解具有功能性的

到90年代慢慢變形，透過物品彼此的聯結、併置、堆疊、扭轉所形成的種

物品，好比一張大理石的桌子在大多數人眼中僅僅是一張「桌子」，但克

種不規則形體、克雷格創造出挑戰空間思維的可能性。

雷格看見的卻是大自然塑形的力量、經過上萬年地層壓力和礦物層層堆

享譽國際的雕塑大師也曾於2013年於台灣國立美術館展出為期三個

疊出的肌理，所造就的一件產物，其表面之下才是他有意探索的雕塑層

月的個展，其中也包含了本次拍品《麥可馬克》。在克雷格的作品中，不

面。「雕塑是十分不同凡響的東西，與它的實用價值無關，它們並不應該

難察覺其雕塑作品多帶有機械器材的形體、且在不規則的多方角度中亦

被坐著......它拓展了我們的想像力，媒材本身就是語彙，它即是語言的根

能看見人臉，若有似無的細節就藏在作品當中，好似孩童望向天際中的白

基。」自然界中所見到的那些壯麗鐘乳石，不也是歷經些百年才生長一公

雲，尋找可辨識的圖樣那般興奮，作品中的蛛絲馬跡也透露出克雷格過往

分、千萬年才形成的奇景嗎？同樣的，如果能再多花一點時間觀察克雷格

的經歷，例如早期1970年代的作品就曾使用許多拾得的塑膠製品創作，排

的作品，你會發現即使是人造的物件，作品卻有如有機體一般，時時刻刻

列出繽紛的人像，建立自己的藝術語彙，同時，不免引人省思看似歡樂的

與自然相呼應，雖是靜止卻同時保有流動性，隨著光影改變而延續生命的

圖像對於環境帶來何種衝擊。藝術家曾自述：「在1960、1970年代末，我

週期，由其可見於戶外大型不鏽鋼之作，映出周邊景色。

根本對於雕塑藝術沒有興趣，並不想要雕刻、或是複製，讓我真正感興趣

如今，在世界各地的美術館皆可見到克雷格標誌性的作品，除了英

的是我可以如何運用這些材料，這些材料如何影響我，對我而言這才是雕

國的泰特美術館的三個分館皆有館藏之外，其作品也藏於比利時現代藝術

塑的核心。」

博物館、芝加哥當代藝術博物館、日本金澤21世紀美術館、挪威奧斯陸的

在工業化大量製造的時代，克雷格試圖摸索利用各種物質，來實驗

國立藝術、建築和設計博物館、蘇菲雅王后國家藝術中心博物館、加拿大

不同的可能性，也許是因克雷格曾於橡膠研究協會擔任過研究中心助理，

國家美術館、韓國大邱美術館等。觀賞克雷格作品之時總能激盪起觀者的

也曾短暫於沖壓鑄造廠打工，造就了他的實驗精神，取材靈感也常見工業

多重聯想，這才是其作品耐人尋味之處。

41

[ THE ARTIST ]

“In the late 60s and 70s, I wasn’t really interested in sculpting something, copying something, I was interested in what I could do with material, and how material affected me, and I think that is really what sculpture is.”

- Tony Cragg

東尼．克雷格《去軛 》 2008 銅 190 x 200 x 124 cm Tony Cragg "Outspan" 2008 Bronze 190 x 200 x 124 cm Courtesy the artist and Museum Lehmbruck.

Photo: © Michael Richter

The internationally renowned sculpting master also once held a threemonth solo exhibition in 2013 at the National Taiwan Museum of Fine Arts in which was featured this auction item, “McCormack.” In Cragg's works, it is not difficult to identify the forms and structures of their mechanical components; one can also deduce human faces from various irregular angles. Seeking out the subtle details hidden in his works offers viewers a sense of the delight and excitement that children feel as they gaze at the clouds in the sky in search of recognizable shapes. Faint traces of Cragg’s past experiences are also present in Critically acclaimed by prominent international art institutions and

his creations. For example, in his early works of the 1970s, he assembled many

collectors alike, renowned British sculptor Tony Cragg was born in Liverpool

discarded plastic products he had collected into colorful human figures. This

in 1949 and immigrated to Germany in 1977. He attended the 1982 Documenta

evolved into an artistic vocabulary unique to Cragg that invites introspection

7 held in Kassel, Germany, was awarded the Turner Prize by Tate in 1988, and

on the environmental impact of what appear to be images of joy. The artist

in that same year attended the 43rd Venice Biennale on behalf of Britain. Seen

once stated himself that, “In the late 60s and 70s, I wasn’t really interested in

as the successor of modernist sculptor Henry Moore, he went on to hold a solo

sculpting something, copying something, I was interested in what I could do

exhibition at the Louvre in 2011. Ever since Cragg began studying at the Royal

with material, and how material affected me, and I think that is really what

College of Art, he has been exploring the connection between the inherent

sculpture is.”

qualities of different materials and the natural world imbued by the materials

In an era of industrial mass production, Cragg sought to explore and

themselves while observing how they trigger new insights and perceptions of

experiment with the use of various materials and their different possibilities.

relevance in people. The changing of eras and new techniques that have sprung

Perhaps it was Cragg’s time as a research assistant at a rubber research

forth resultantly have given Cragg opportunities of engaging in experimental

organization as well as his brief stint as a metal casting factory worker that gave

creations through the use of an even more diverse range of media. Since 1970

birth to his experimental spirit and prompted him to frequently draw inspiration

until today, we have been able to witness progressive breakthroughs and growth

from tools for industrial use. Meanwhile, these seemingly abstract and irregular

in Cragg’s works every five years. From his early days of assembling whatever

sculptures were in part conceived through computer calculations in order

he had at hand to the ‘90s when he slowly began to extend and contort his

achieve such precision in their presentation. Although Cragg has the help of

materials, Cragg has challenged the possibilities of dimension and space using

several assistants who work with him on his sculptures, the artist still insists

the concepts of interconnectivity, juxtaposition, stacking and twisting to arrange

on seeing through his creations from start to finish and carving them by hand.

his objects into all sorts of irregular shapes.

“McCormack” is also a tribute to one of the important technicians of his team,

42

東尼．克雷格《聖喬治與龍》1985 金屬 塑膠 木 182.9 x 259.1 x 101.6 cm 傑拉德舊藏，芝加哥當代藝術博物館典藏 Tony Cragg "St. George and the Dragon" 1985 Metal, plastic and wood 182.9 x 259.1 x 101.6 cm Collection Museum of Contemporary Art Chicago Gerald S. Elliott Collection, 1995.34 Photo: Nathan Keay, © MCA Chicago 東尼．克雷格《塑膠物件》1982 83.8 x 7.6 x 274.3 cm 傑拉德舊藏，芝加哥當代藝術博物館典藏 Tony Cragg "Red Bottle" 1982 Plastic objects 83.8 x 7.6 x 274.3 cm Collection Museum of Contemporary Art Chicago Gerald S. Elliott Collection, 1995.33 Photo: Nathan Keay, © MCA Chicago

Mike, who has worked alongside the artist for well over twenty years. It is because of Mike’s techniques that the artist has been able to conquer technical difficulties and engender many creations that may have otherwise never come to fruition. Despite the assistance afforded by technology and computer graphics, the artist still insists upon sketching his compositions on paper and handcrafting the original casts of his bronze sculptures.

The way artist sees it, people tend to focus on the superficial or understand only objects that have functional value. For example, a marble table is just a “table” to most, whereas Cragg sees it as a force molded by nature itself after tens of thousands of years of pressure beneath the earth’s surface, and its texture the result of layers of minerals stacked on one another. It is that which lies beneath the surface that he finds worth exploring in his sculptures. “Sculptures are something very exceptional, it’s not practical, they are not meant to be sat on … it expands our imagination, material is what gives us language, it is the foundation of language.” Are the magnificent stalactites we see in the natural world not also exceptional wonders formed over thousands upon thousands of years, with each passing century contributing to just one centimeter of growth at a time? Likewise, if one spends just a touch longer observing Cragg's works, one may find that even man-made objects are organisms that respond to nature at all times. Although they appear to be static, they yet retain a sense of mobility as they fluctuate with the shifting of time and the continuous cycle of life. Cragg’s large-scale outdoor stainless steel works are especially reflective of the sights that surround them.

43

[ WINE ]

The Good Old Days 復刻舊時代的美好 Text／唐維怡 Eva Tang Photo／Ravenel International Art Group

近幾年來，七零、八零年代甚至更早期裝瓶的威士忌開始受到藏家

著傳統的加熱方式，如麥卡倫 (Macallan) 與史翠艾拉 (Strathisla) 等；蒸餾

的矚目，一些低年份的酒款如1970末裝瓶的 Laphroaig 10年，其市場價格

後酒液的冷凝手法也從需耗費大量用水與時間的蟲管冷凝 (Worm Tube) 改

與七八零年代裝瓶舊版的明顯差異，究竟是什麼因素造成了這些不同?

體……，因為種種技術上的突破與更新，帶來了酒款風味上的轉變，是為

甚至超越一些30年常態酒款。實際品飲比較，確實也感受到同樣年份新版 在經歷了美國禁酒令與1940年代因戰爭而產生的穀物徵用等政策帶

以殼管式 (Shell and Tube) 冷凝，在更短的時間內生產出更輕盈爽口的酒

其中一種可能。

來的產業大蕭條，1960到1970年代中期的景氣回暖加上內需和外銷需求

而消費者需求的轉變，也是影響風味的關鍵。在過去的年代，消費

的同時暴增，為追求更高的產量，開啟了威士忌蒸餾技術急速發展的年

者對於高年份沒有特別的追求；蒸餾廠也希望藉由不斷的裝瓶來提高橡木

代。在這段時間，各酒廠的自家發麥漸漸開始專業分工，發麥廠開始興

桶與酒窖的周轉率，變現的同時進一步提高產量，因此舊版低年份常有較

建，目前只餘坎培爾鎮的雲頂酒廠 (Springbank) 依然堅持著最傳統的自家

高年份老酒混調在內時有耳聞。在老酒稀缺的今日，常規低年份出品尚須

的過濾式 (Lauter)；而為減少蒸餾器的耗損同時提升穩定性，大多數酒廠

的行為。

地板發麥；糖化的部分也從傳統的耙犁式 (Rake and Plough) 改為效率更好

以無年份 (NAS) 酒款替代，更遑論於低年份中加入高年份酒液這等奢華

也從瓦斯與煤炭的直火加熱改為蒸氣間接加熱，僅有為數不多的酒廠保持

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1970年代的格蘭花格Glenfarclas作品 Glenfarclas Bottled in 1970s

再者，即便代表品牌精神的核心產品如格蘭利威 12 年、格蘭花格

105......等，必須維持經年不變的風味，「人」的藝術依然是威士忌風味中 至關重要的一環，無論是酒廠首席調酒師的更替或主事者的更換都會造成 酒廠政策與風味追求的改變。舉例來說，百富 Balvenie 酒廠前任首席調酒

師 David Stewart 於1974年出任酒廠 Malt Master，在2009年退休之前，他

為追求舊時代的風情，許多酒廠取經老工匠，查找過去的配方，甚 至拷貝六零年代所使用的原料、設備與製程，試圖打造舊時代的復刻版 本，作品如格蘭菲迪 (Glenfiddich) 於2014推出的1963 The Original Single

Malt 和麥卡倫 (Macallan) 的 The Replica 1941 和 Travel Series 等。然而，

這些作品卻仍與真正的六七零年代酒款存在著落差，因此，僅管三十年的

開創了震驚當時的雙桶使用和過桶概念，並研發屬於威士忌的 Solera 熟成

威士忌在瓶中放了三十年依然是三十年的酒，在過去僅被視為迷思的威士

方式，這些都大大改變了酒廠的走向與酒款風格。又例如，以野獸般狂野

忌瓶中陳年，在此時也不得不被提出討論。

泥煤著稱的艾雷島阿貝 (Ardbeg) 蒸餾廠，於1977年被 Hiram Walker 集團

收購，停止了泥煤威士忌的生產，直到1997年併入 Glenmorangie PLC 旗

如今的酒與六零年代的酒孰優孰劣並無分野，若有機會飲上一口舊 時代裝瓶的作品，這種美好是否只是想像，且聽聽你的味蕾怎麼說。

下，泥煤怪獸這才重生，如今我們還能找到1970年代末期輕泥煤甚至無泥

煤的Ardbeg酒款，便是這個時期留下來的歷史痕跡。

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45

[ WINE ]

1980年代裝瓶的艾雷島 Laphroaig 10年與15年作品 Laphroaig 10 Years Old and 15 Years Old Bottled in 1980s

In recent years, whiskeys bottled inthe 70s, the 80s, and even earlier,

many distilleries had shifted from Worm Tube, which is both time-consuming

have started to attract the attention of collectors. Some whiskeys such as the

and water-consuming, to the Shell and Tube condenser. The whisky produced

Laphroaig 10 Years Old Unblended bottled in late 1970s has prices surpassing

became lighter and more refreshing. Various technical breakthroughs such

some 30-year-old whisky. If given the chance to actually compare between two

as the above listed are one potential reason for why the flavor profiles have

whiskeys aged for the same time, with one new and one bottled in the 70s or

changed over time.

80s, the difference in the flavour profiles will actually be quite apparent. But what are the factors contribute to this difference?

The changes of consumer demand also played an important role here. In the past decade, consumer did not particularly seeking for high vintage whisky.

After the Prohibition and policies such as grain acquisition during the

Therefore, increasing production become the only goal for distilleries. In order

war time in the 1940s, the industry took a great hit before it picked up its

to increase the production, they needed to bottle continuously, raising the

stride again in the 1960s, when there was a simultaneous surge in domestic

turnover rate of barrels and cellars, and eventually cashing in for even higher

and foreign demand. This launched an era of rapid development in whiskey

production. Demand and supply combined had led to the result of blending

distillation technology. During the time, distillation process became more

higher vintage whisky into low vintage whisky in the 1960s and 1970s. As for

specialized. Professional malt houses were established, leaving only Springbank

today, under the circumstances that demand is so high for whisky that aged

in Campbeltown the only distillery adhering to the traditional floor malting till

longer which has resulted in the scarcity of older whisky during the years, many

present. Some have shifted from the traditional use of rake-and-plough mash

distilleries even brought out NAS (Non-Age Statement) whisky to replace the

tuns to the more efficient lauter tuns. Moreover, in order to reduce the loss of

usual 10 and 12 Years Old product line. It is thus more than unlikely to have

stills while increasing the stability of the heating process, most distilleries have

older vintage blended into young whisky.

also switched from direct heating by gas or coal to the indirect steam heating

Additionally, even for core products that represent the spirit of a brand,

methods, leaving only a handful of distilleries maintaining the traditional direct

such as the Glenlivet 12 Years Old and Glenfarclas 105, that is necessary

heating methods such as Macallan and Strathisla. As to the condensing process,

to maintain the same flavour over the days, as the art of 'human' occupies a

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crucial ring in the realm of taste. Whether replacement of master blender nor the alternation of executive team, changes are bound to result in both distillery policies and the flavour profiles they pursue. Take the former master blender of Balvenie, David Stewart, for example, who was the former chief distiller at Balvenie before taking over at Malt Master in 1974. Before his retirement in 2009, he established the concepts and technics of double cask maturation, cask finish, and Solera system, which were completely pioneering ideas for the time.

All of these innovations have brought on major changes in the direction of the distillery and the style of their whisky. Another example is Ardberg distillery, which is identified by its beastly peaty flavor. In 1977, it was acquired by the Hiram Walker Group, and gradually stopped the production of its peated

recipes of the past, even going so far as to copy the the production methods,

whisky. It wasn't until 1997, when the distillery was incorporated under the

equipment, and ingredients that had been used in the 1960s. Glenfiddich

Glenmorangie PLC, that the peated

The Original Single Malt 1963 launched in 2014 and Macallan Replica and

beast had made its return. The fact that

Travel Series are examples of the attempts to make replicas of the bygone era.

we are still able to find lightly peated

However, gaps still exist between these recreations and the authentic spirits

and non-peated varieties of Ardberg

from the 60s and 70s. Which lead us to the result that, although 30-year-old

from the late 1970s is thus a historical

spirits that have sat in their bottles for three decades are still a 30-year-old

mark from that time.

spirits, aged in bottle maybe more than just a myth.

In pursuit of those vintage

It’s not possible and not necessary to determine whether the whisky from

aromas, numerous distilleries have

the 1960s is superior than the whisky today. However, should you got a chance

gone to great lengths seeking out the

to enjoy the whisky from the good old days, let your heart tell you whether the

old artisans and searching for the

creations do indeed live up to the legends.

1980年代裝瓶的坎培爾鎮雲頂酒廠 Springbank 12年 Springbank 12 Years Old Bottled in 1980s

麥卡倫復刻系列 The Macallan Replica Series

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47

[ LUXURY ]

Colored

Diamonds The Promised Child in a Prestigious Family 彩鑽市場的前世今生 Text／劉允華 Photo／Ravenel International Art Group

48

為什麼彩鑽會成為市場寵兒？在不遠的過去，1960年代時，寶石

conservative choices, the colored diamonds which represent around 2-3%

商的隨身展示手提箱中，儘管偶爾會有幾顆彩鑽作為點綴，但卻多半

of the total diamond production came in the spotlight of the investment

還是最低價的品項。業界甚至有當時可以用一包香菸換得彩鑽的傳奇

market, with their price growing much faster than their white siblings.

故事。然而在石油危機投資轉趨保值的1970年代，在鑽石總產量裡所

Forged with external elements (infiltrated by metal or natural radiation),

佔比率僅約2-3%的彩鑽，卻與原色鑽石一起水漲船高，迅速獲取投資

the colored diamonds’ rarety is further assured by the strict grading rules of

市場的青睞，價格漲幅遠遠超越白鑽。由於鑽石受到外在因素（如其

GIA like《Fancy》or《Vivid Fancy》, thus made them a superior target of

他元素、自然輻射等）影響而成為彩鑽的機會難得，能夠受到 GIA 鑑

investment.

定為 Fancy 或 Vivid Fancy 的純色鑽石更為罕見，自然在投資家的眼 中，成為極好的標的。

Nevertheless, some gems are quite famous before all the hype. the Farnese Blue diamond which is going on Sotheby’s auction table in may this

當然，有些鑽石成名更早。例如今年五月將在蘇富比拍賣的法

year is a dazzling example, gifted between european royal families from as

內斯藍鑽 (Farnese Blue)，即自1714年起就在歐洲皇室家族之間流轉。

early as 1714. In other regards, the most famous《Fancy Red》diamond,

而世上現存不到50 顆的「純紅」彩鑽之中最著名者， 0.95 克拉的 The

Hancock Red，收藏者 Hancock 在1956年購入時價格已是13500美元， 而這顆從購入至拍賣間唯一一顆被 GIA 評為 Fancy Red 純紅的名鑽，

the Hancock Red, among less than 50 equally graded gems in existence, was purchased by Mr. Hancock with $13,500 in 1956. Until the diamond was sold by Christie's with $880,000 in 1987, it was the only diamond graded

在1987年由佳士得賣出時，價格已經達到88萬美元之譜，為彩鑽的身

《Fancy Red》by GIA. Such was a typical case in the colored diamond

價居奇做出時代的見證。

market.

固然，純淨度與瑕度等規範，依舊是彩鑽拍賣價格的決定性因

Indeed, the regulations such as clarity would be the decisive factor

素。然而，同屬於高稀有度的彩鑽，在不同的色彩之間，還是有收藏

of colored diamonds’ auction result. Yet still, between different colors, the

價值的差異。就普遍價格資料來看，純紅 最為珍貴，藍鑽緊接在後；

diamonds would have different values in the eyes of collectors. We can see

粉紅鑽特別受亞洲市場注目：2017年由蘇富比賣出，香港周大福集團

by the general pricing trend that red is the name of the king, followed closely

購入的粉紅之星 (Pink Star) 鑽石，即以7120萬美金成交，成為世上最

by blue. The asian market is highly focused on pink diamonds. The Pink

高貴的寶石。在亞洲市場的熱況之下，全球彩鑽界對於粉紅鑽石的投

Star, sold by Sotheby’s in 2017, bought by Chow Tai Fook of Hong Kong

資意願，與粉紅鑽石在拍賣場上面世的機會，顯然都會持續提升，也

with $71,200,000, was to become the most expensive gem in the world.

可證明其吸引投資的潛力不可小覷。超過一克拉的無瑕黃鑽，則仍是

With the hype of asian market, whether the willingness to invest, or the

較易入手也有明確升值潛力的品項。

appearance of pink diamonds, will prove to increase their potential to attract

在珠寶拍賣市場上，除了價格節節高升，彩鑽也有隱然成為各季

investment. Meanwhile, the yellow diamonds over 1 carat with high clarity,

最熱焦點的潛力。無論是上面提及的名鑽，還有彩鑽界廣為周知的逸

remain to be easy to purchase, and represent as well the potential of higher

品，如希望藍鑽 (Hope)、藍月 (Blue Moon)、德楊紅鑽 (De Young)、

pricing in the future.

粉紅證言 (Pink Promise)，以及在2017年以5742萬美元售予匿名亞洲買

Apart from rapidly raising prices, the colored diamonds are potentially

主，由 IIb 級藍鑽阿波羅 (Apollo) 與 IIa 級粉紅鑽阿特米斯 (Artemis) 組

entering the spotlight of the auction market. Other than the diamonds

成的耳環等，在每次推出與成交時，都立刻成為鑽石市場中無數討論

mentioned above, there are more well-known curiosities like Hope

與報導的對象。這或許也就是為什麼，在綜觀數十年來的趨勢後，市

Diamond, Blue Moon, De Young Red, Pink Promise…etc., or the pair

場普遍認為，彩鑽在拍賣市場上的地位將有更強勢的表現，也能持續

of earings composed of an IIb blue diamond《Apollo》and an IIa pink

作為投資與收藏的極佳標的。

diamond《Artemis》was sold to an anonymous asian collector in 2017

How did the fancy colored diamonds become the latest darling of

with $57,420,000. These gems would always be the objects of countless

the market? Not so long ago, in the 1960s, many merchants of jewellery

discussions and reports. All these phenomenons could be the reason why

would carry some colored diamonds in their suitcase, but see them as the

the market mostly agrees that colored diamonds will continue its strong

most affordable diamonds. Back then, there was even a legend that one

performance, and thus being an exellent target of both investment and

of those precious stones was fairly exchanged with a pack of cigarettes.

collection.

Yet in the 1970s, when the oil crisis soared, and the investors turned to

49

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Germans have car-loving genes in their DNA

德 國 經 典 車

德國人的血液裡流淌著愛車的基因，德國人的精神裡 充斥著對汽車工藝的極致追求，只有這個最熱愛汽車 的民族，才能塑造出最完美的車型。 Text／陳俊翰 Eric Chen Photo／Ravenel International Art Group、達志影像

Benz 190SL

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提到德國品牌，大多數人第一印象都會想到汽車工業，舉凡雙B、保時捷還有大眾都是德

國引以為傲的品牌。自從西元1886年，德國工程師卡爾．賓士發明汽車以來一百多年，汽車工 業一直是德國最重要的產業之一。曾經有人這麼形容過：「德國人的血液裡流淌著愛車的基 因，德國人的精神裡充斥著對汽車工藝的極致追求，只有這個最熱愛汽車的民族，才能塑造出 最完美的車型。」德國給人一般的印象就是人民做事都非常一板一眼並且講究細節，也就是這 樣的民族性造就了德國汽車工藝長久以來不朽的名聲。 提到「三芒星」，全世界大部分的人都會瞬間說出「賓士」這個知名度極高的品牌。創立 於1926年的梅賽德斯．賓士，是由戈特利布．戴姆勒以及卡爾．賓士兩位德國工程師各自創立 的車廠合併而成的。而梅賽德斯這個名字則是源於一名奧地利商人埃米爾．耶里內克女兒的名 字，這位在賽車場上被暱稱為「梅賽德斯先生」的成功商人後來與戴姆勒車廠合作並達成協議 將品牌名改成梅賽德斯，在1924年併購了賓士，並在1926年正式將 兩品牌合併，合併後的梅賽德斯．賓士現在已經是高級轎車的代名 詞之一了。在1955年至1963年間生產的 190SL 是 300SL 的兄弟車

款，兩款車型基本上差異並不大，最大的不同就是 300SL 使用管狀

車架而 190SL 則採用了 R121 單體底盤結構。190SL 搭載1.9升直列

四缸引擎，可以產出 105hp 的最大馬力，優雅緊湊具流線型的車身

一推出就受到大眾喜愛，而比起300SL更親民的價格更是讓 190SL

極受市場歡迎。近年來在經典車收藏市場上，190SL 更是廣受藏家 歡迎，價格年年攀升，極具收藏價值。 與賓士並稱「雙B」的 BMW 成立於1916年，由卡爾．斐德利

希．拉普在慕尼黑創立。全名 Bavarian Motor Works 的 BMW 除了

汽車以外同時也生產機車以及自行車，BMW 非常重視技術研究，

BMW 所生產的引擎馬力輸出在同級車中往往是最高的那一個，同 BMW E9

時又能兼具低噪音以及優良的精緻度，底盤操控性也相當傑出。

1968年至1975年中出產的 E9是 BMW 雙門轎跑的開路先鋒，是現今 BMW6 系列的前身。引擎

為直列6缸，從2.5升至3.5升總共有5種車型可供選擇。E9 打造了相當寬闊的引擎室來容納直列

6缸引擎，也同時提升了軸距，而在1971年更將原本2.8升的引擎升級至3.0升，搭配雙化油器以

及 6000rpm 的轉速將馬力提升至180hp，兼具油耗、性能與輸出表現的 E9 3.0CS 在當時可以說

是傲視群雄。除了動力之外，E9的外型也是讓它能在經典車歷史上能被記載的原因之一，在

現今 BMW 所有車種都能見到，被視為 BMW 代名詞的雙腎水箱護罩，第一個搭載的車型就是

E9。而四頭燈的經典造型也讓 E9在經典車收藏市場上佔有一席之地，是 BMW 歷史上具有相當

地位的車型之一。 保時捷 911 無庸置疑的是保時捷最重要也是最具代表性的車型，在第七代 911 即將發表的

現今，經典 911 仍然君臨經典車收藏市場。在1993年發表的 911 車型 993 是 911 最後搭載氣冷 引擎的型號，也是 911 車型搭載標準6前速手排變速箱的濫觴，同時也是第一輛使用多連桿懸

吊系統及電子控制系統的 911。因為具備了如此多種獨特身分，993 近年在經典車收藏市場上

表現搶眼，許多氣冷引擎愛好者紛紛購入這款末代氣冷引擎的 911，讓 993 在經典車收藏市場 上傲視群雄。

自從發明汽車以來，德國人一直精進且不放棄追求汽車工藝極致的精神，造就了多款德國 經典車不朽的傳說，牢固可靠的造車工藝也讓現代的我們能夠一賭當代經典，讓收藏家能夠體 會德國人對於完美的追求。

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[ LUXURY ]

"GERMANS HAVE CAR-LOVING

GENES IN THEIR DNA. THE GERMAN SPIRIT IS FULL OF ULTIMATE PURSUIT OF AUTOMOBILE

TECHNOLOGY. ONLY THE PEOPLE

When it comes to German brands, most people’s first impression is automobile industry. Mercedes-Benz, BMW, Porsche and Volkswagen are the brands that Germans are proud of. Since 1886 when the German

WITH THE MOST PASSION FOR

engineer, Karl Benz, invented an automobile, the automobile industry has

PERFECT CAR MODELS."

years. It was once said, “Germans have car-loving genes in their DNA. The

CARS CAN DEVELOP THE MOST

always been one of the most important industries in Germany for over 100 German spirit is full of ultimate pursuit of automobile technology. Only the people with the most passion for cars can develop the most perfect car models.” The general impression of Germans is that they are very meticulous in their work and are particular about details. This national trait has created a long-standing reputation for German automobile technology.

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output produced by BMW is often the highest in its class, with low noise, marvelous fineness and excellent handling of chassis. The E9, produced between 1968 and 1975, is the pioneer of BMW coupé, and is the predecessor of BMW 6 series. Equipped with a straight-6 engine, the E9 had five models available from 2.5 to 3.5liters. The E9 has a fairly spacious engine room to accommodate the straight-6 engine, and has an increased wheelbase. In 1971, the original 2.8-liter engine was upgraded to 3.0-liter, and, with dual carburetors and a rotation rate of 6000 rpm, the horsepower was boosted to 180 hp. The E9 3.0 CS, with excellent fuel efficiency, performance and output, was arguably the best coupé at that Speaking of the “three-pronged star,” most people in the world

time. In addition to power, the appearance of E9 is also one of the reasons

will immediately spit the famous brand “Benz” out. Established in 1926,

that E9 has been on the record in the history of classic cars. The E9 was

Mercedes-Benz is a merger of two car factories individually founded by two

the first model equipped with BMW’s iconic kidney grille, which are seen

German engineers, Gottlieb Daimler and Karl Benz. The name Mercedes

in all types of BMW cars nowadays. The classic shape of the E9’s four

is derived from the name of the daughter of an Austrian businessman, Emil

headlights also made the E9 a place in the classic car collection market

Jellinek. This successful businessman, nicknamed “Mr. Mercedes” on race

and one of the significant models in BMW’s history.

tracks, later cooperated with Daimler, and reached an agreement to change

Porsche 911 is undoubtedly the most important and most

the brand name to Mercedes. Mercedes acquired Benz in 1924, and the two

representative model of Porsche. Even though the launch of the seventh-

brands were formally merged in 1926. The merged Mercedes-Benz is now

generation 911 is around the corner, the classic 911 models are still among

one of the synonyms of limousines. The 190SL produced between 1955 and

the most popular classic cars in the classic car collection market. The 993,

1963 is the alternative of 300SL. The two models shares many features. The

released in 1993, is the last 911 model with an air-cooled engine, and is

biggest difference is that 300SL uses a tubular frame, while 190SL uses R121

the beginning of 911 models equipped with the standard 6-speed manual

monocoque. The 190SL is equipped with a 1.9-liter 4-cylinder-inline engine,

transmission. It is also the first 911 model using a multi-link suspension

and can produce a maximum horsepower of 105 hp. The elegant,

system and an electronic control system. With such a variety of unique

compact and streamlined roadster was soon loved by the public

identities, the 933 has catched many eyes in the classic car collection

when it was launched. As a more affordable alternative to 300SL,

market. Many air-cooled engine lovers have purchased the last generation

190SL was very popular in the market, and has been widely

911 model with air-cooled engine, making the 993 second to none in the

appreciated by collectors on the classic car collection market in recent years, with price rising year by year.

classic car collection market.

Since the inception of the automobiles, Germans have continued

BMW, enjoying equal fame with Mercedes-Benz,

to improve automobile technology. The constant pursuit of perfect

was established in 1916 by Karl Friedrich Rapp in Munich.

automobile technology has led to the legend of several classic models of

BMW, or Bavarian Motor Works, also produces motorcycles

German cars. The solid and reliable automobile craftsmanship also allows

and bicycles in addition to automobiles. BMW has placed

people nowadays to see the style of the classics and enable the collectors

great importance on technical research. The engine horsepower

to realize Germans’ pursuit of perfection.

Porsche 993 Turbo S RUF

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[ ISSUE ]

Ravenel Spring Auctions 2018 羅芙奧 2018 春季拍賣會

Selected Pieces, Classic Collection 精萃獻呈 經典雅藏 Text、Photo／Ravenel International Art Group

亞洲現代與當代藝術 今春拍呈獻趙無極簡淡高雅、強中帶柔的《09.07.73》，作品畫面透 出氣韻流動之感、悠遠含蓄的氛圍營造，為趙無極嘗試以西方情境結合東 方深遠的空間感，線條依舊，留白漸闊，為風格轉變之際的精彩之作，同 時帶來50年代創作《紅太陽》，是趙氏抽象藝術濫觴時期精品；朱德群油 彩創作；1983年《無題》以熱情的紅色為主調，畫面中揖讓、形神兼備的

大小色點，呈現詩意般的流光波動；1987年《春天的香氛》象徵了大自然

中海天共用的藍色，既親切又富詩意，充滿了天地間磅礡的氣魄；1995年

《無題》則在畫面無盡的微光和燦爛的色彩中堆疊出溫潤雄厚的氣魄、細 膩精美的細節，皆屬絕品。林風眠紙上彩墨《蓮花圖》；常玉《立姿裸 女》、《看書的女士》、《凳上的素描女士》同樣為值得關注的大師風範 紙上拍品，不容錯過。 亞洲藝術家不僅受到區域性藏家追捧，多位日韓當代藝術家作品早 已一件難求，是拍推出草間彌生油彩創作如：《南瓜》；奈良美智《無 題》、《世界和平》等紙上佳作、韓國單色畫代表藝術家，李禹煥早期 作品《始於線》，等皆是目前國際藏家熱切追尋的標的。華人表現主義大 家丁雄泉滴淌潑灑的《粉紅鑽石女孩》、《給我一個擁抱》兩件經典女體 構圖卻大膽熱情的艷麗創作，亦有罕見大型紙上彩墨四聯幅《仕女》、早 期抽象創作《溫暖的太陽》、《粉紅雷電》及多件紙上作品台灣當代藝術 推出技法細膩獨到的葉子奇《烏來瀑布》，最傳奇的肖像藝術家邱亞才作

貝納爾．畢費《鬥牛士》1966 油彩 畫布 65 x 46 cm Bernard Buffet "La Corrida-Tête de Toréro" 1966 Oil on canvas 65 x 46 cm

薈萃：國際現代與當代藝術 「薈萃：國際現代與當代藝術」專場定於6月2日週六下午兩點於台

品《鬥牛士》和少見的女士肖像皆為一時之選；現代水墨之父劉國松創作

北萬豪酒店舉槌。專場延續西洋美術史、精緻選粹的精神，敬獻20與21世

《綿綿無盡峰連白》、《太空系列─紅日升自五花海》、《霧罩雲寶鼎》

紀大師作品。匯聚「巴黎畫派」畢費《鬥牛士》、奇斯林《三朵罌粟花》

三件為劉國松創作顛峰之上乘佳作。中國當代則有周春芽早前作品《太湖

與莫迪里亞尼《女人畫像-芮妮》，「戰後抽象」日本具體派大師嶋本昭

石》、《花神》二件代表性繪畫。雕塑創作亦含括朱銘多件太極系列木雕

三、前川強、鷲見康夫；喬治．馬修與卡．阿貝爾等油畫創作；「雕塑美

如《單鞭下勢》、李真《若水》等。羅芙奧將以亞洲藝術各板塊代表藝術

學」印象派大師雷諾瓦《維那斯胸像》、阿曼《傷口》與東尼．克雷格

家，爬梳藝術板塊脈動，推出線性佳作標的，介紹區域、國際性藏家收藏

《麥可馬克》銅雕；再推薦「美國普普與街頭藝術」等代表之作，開啟經

精品。

典品味與國際藝術拍賣的交流平台，為藝術收藏再添色彩。

54

朱德群《無題》1995 水粉 紙本 50 x 32.5 cm CHU Teh-chun "Sans titre" 1995 Watercolor on paper 50 x 32.5 cm

55

[ ISSUE ] 「翰墨丹青—中國書畫專場」 本季首次獨立推出「翰墨丹青—中國書畫專場」，其中一幅黃君璧 《溪山夕照》著錄於1984年中華民國國立歷史博物館出版的《黃君璧作品 選集》。此幅作品作於1975年夏天，畫面中，君翁在此題詩曰：「霧重烟

晞望不窮，馬鞍山色鬱蔥蔥，斷崖蒼翠秋無限，多在丹楓夕照中。」與畫 作彼此烘托，十足相得益彰，也將中國文人臥遊山水以離俗之心境表露無 遺。

手袋及精品鑑賞會 羅芙奧為藏家悉心甄選經典高雅的珠寶以及稀有的愛馬仕包。除了 一直以來就廣受藏家青睞的翡翠之外，更呈現珍藏級別的各色彩鑽、璀璨 的彩色寶石、以及絕美的祖母綠…等。其中特別推薦由59顆圓潤的緬甸天 然翡翠玉珠串連而成的翡翠珠鍊，直徑約 8.17-10.78 mm，翡翠珠顆顆圓

潤光澤，呈現出雍容華貴姿態；而一直以來備受藏家關注的愛馬仕包則是 以目前市場上奇貨可居的凱莉包為主，以春季繽紛色彩為發想，準備了多 樣顏色以及各式尺寸以供藏家挑選。特別值得一提的是此次的包款網羅 了 Mini Kelly II, Kelly Pochette, 25cm Kelly 等輕巧包款，皆是目前市場上 炙手可熱的夢幻逸品。此次展出的每一件精品都有著非凡的氣質與傳承價 值，誠擊地邀請藏家細細品味及珍藏。

經典車展售會 天然翡翠珠配鑽石及紅寶石項鏈 A Fine Jadeite Bead, Diamond and Ruby Necklace

在汽車工業越來越先進，各家廠商紛紛投入自動駕駛技術研發的現 今，許多藏家反而開始懷念可以自由全面掌控、任意馳騁的經典車。如今 台灣經典車市場日益蓬勃發展，對於經典車有興趣的藏家也如雨後春筍般

尊釀雲集 「尊釀雲集」2018年春季拍賣將於6月1日假台北萬豪酒店三樓博覽

增加，經典車的交易愈趨熱絡，商品多樣性增加。經典車除了可以用來做 為交通工具之外，其實也是具有相當收藏價值的藝術品，也可以展現自己 非凡的品味，可以說是「動靜皆宜」的收藏品。

廳舉行，本次拍賣徵集逾600個品項，葡萄酒珍釀除經典的波爾多五大酒

莊與勃根地名莊的頂級葡萄園作品，在嚴格的窖藏把關下，同時蒐羅舊世 界的珍稀佳釀與新世界的膜拜酒款，為藏家帶來最難得的收藏品項與多樣 性的選擇；威士忌部分則以二十世紀蒸餾裝瓶的作品為主，尋覓著僅屬於 舊時代的風華，致力滿足每一位藏家的收藏需求。

宜古宜今 羅芙奧「清賞—古今人文藝術專場」 本次，一對 民國 田黃瑞獸鈕對章 和 民國 田黃薄意古獸鰲龍章三 方，延續市場對田黃的關注。清乾隆 和闐玉龍尾觥《乾隆乙己御題》

(1785年)款，頗為難得，得自法國將領保羅路易．韋耶舊藏，及2011年香

港佳士得秋拍。北京故宮玉器專家認為此件拍品為乾隆本朝作品。17世紀

/18世紀 白玉松柏圖紋蓋瓶 與 17世紀 白玉太平有象山子 均來自於早年紐

約蘇富比拍賣，二十多年後再現市場。一件出版於《中華文物協會2002年 展覽》鴻禧美術館舊藏的 明 崇禎三年 黑漆人物蓋盒，頗為難得。本次特 別徵集到來自台灣重要藏家收藏的十多件藏品，其中多件有出版和展覽紀 錄，包含一件 17世紀 黃花梨拱形棖條桌。此外，鼻煙壺、宣德爐、掐絲 琺瑯品項，配合具有當代文人氣息的當代水墨，如彭薇和泰祥洲的作品， 在同一空間之中融合，體現文人生活的風雅之趣。 56

17世紀 黃花梨拱形棖條桌 150 x 47 x 81 cm A Hunghuai Table, 17th Centtury 150 x 47 x 81 cm

MODERN AND CONTEMPORARY ASIAN ART In this spring, we present Zao Wou-Ki's “09.07.73”, a work that is soft

and “World Peace”, or the early work of Korean monochromatic painting

and strong, elegant and simple. With a distinct flowing sensation that builds up

master Lee Ufan, “From Line”. There are many works today that are in high-

a distant and subtle ambience, it is Zao Wou-Ki’s attempt to imbue a Western

demand for international collectors. By Walasse Ting, a key figure in Chinese

context into an Eastern sense of far-reaching space. And with lines that remain

Expressionism, there are the dripping works of “Pink Diamond Girl” and

the same while the blank space is ever broader, it is a brilliant work that also

“Give Me A Hug”, two classic compositions of the feminine form that are

marks a change in the artist's style. At the same time, for an fine example of

stand as brazen and passionate works of beauty. There is also the rarely seen

how Zao’s abstract period began, there is the 1950s work “Red Sun”. The

work “Lady”, a large-scale coloured ink painting on paper, plus his early

1983 “Untitled” work by oil painter Chu Teh-Chun centres on a passionate red

abstract works “Warm Sun” and “Rose Thunder”, not to mention numerous

colour, with variously sized dots of both body and spirit that are lent to a certain

pieces on paper that showcase the original and refined techniques in Taiwanese

poetry of undulating light. His 1987 “Emanations of Spring” symbolises the

contemporary art, as in Tzu-Chi Yeh’s “Wulai Waterfall”. Also in this group

blue shared by the seas and skies of Nature. It is intimate and poetic, and it is

is “Bullfighter”, a work by the legendary portrait artist Chiu Ya-tsai, and one

filled with the world's boundless spirit. As for his “Untitled” work of 1995, we

of his rare portraits of a lady. Father of modern ink painting Liu Kuo-Sung’s

are presented with a masterpiece of gentle, exquisite, and fine details that are

works “Mountain Rangs”, “Outer Space Series - Sun Arising from Five Flower

stacked in endless shimmering and splendid colours. Other pieces one should

Pond”, and “Foggy Yunbaoding” are three masterpieces from pinnacle of Liu

not miss include “Lotus”, Lin Fengmian’s coloured ink painting on paper, and

Kuo-Sung’s career. As for contemporary Chinese art, there are the paintings by

by Sanyu, “Standing Nude”, “Lady Reading”, and “Woman Seated on Stool”,

Zhou Chunya, “Taihu Stone” and “Flora”, both representative of his early work.

which are all the works of masters just as worthy of attention.

For sculptural works, there are numerous pieces such as “Single Whip” from

Asian artists have not only been sought after by regional collectors, in

Ju Ming’s Taichi Series of woodcarvings and Li Chen’s “Blessing Water”. In

fact, today the works of many contemporary artists from Japan and Korea

representing these Asian artists from across the board, Ravenel seeks to break

have become increasingly hard to find, such as the “Pumpkin” oil paintings

through to the art world these masterpieces of Asian art, introducing them to

by Yayoi Kusama and masterpieces by Yoshitomo Nara such as “Untitled

collectors on both a regional and international level.

草間彌生《南瓜》1995 壓克力 畫布 24.2 x 33.3 cm Yayoi KUSAMA "Pumpkin" 1995 Acrylic on canvas 24.2 x 33.3 cm

57

[ ISSUE ] Vayer is a Rare Imperial Inscribed Archaistic Russet Jade Photon with a dragon tail engraving from Qianlong Period of Qing dynasty. A 17th / 18th century white jade vase and cover with a cypress tree engraving accompanies a 17th century Carried White Jade Grotto Group that were sold in a Sotheby’s auction in New York. They now make their return to the market after more than 20 years .Another lot was published in the Chinese Cultural Relics Association 2002 Exhibition at the Hungyi Art Gallery: a Ming dynasty (1630) Painted Black Case Lacquer Box and Cover. There are also more than a dozen items from the collections of members of an impartment Taiwanese collector .Many of these items have been documented in publications and exhibitions, including an Huanghuali Rectangular Table from the 17th century.

REFINED BRUSHWORK: FINE CHINESE PAINTINGS For the first time in this season, a upcoming auction of Chinese paintings and calligraphy will feature a piece by Huang Junbi, “Mountain and River at Sunset”, which was documented in a 1984 book of Huang Junbi’s selected works, published by National Museum of History in Taiwan. Made in the summer of 1975, the work depicts a poem that describes endless haze as thick as smoke on the horizon, with the lush green color of the mountain, and an 酒後不開車 安全有保障 Domaine de la Romanée-Conti Montrachet 1990

SELECT: MODERN & CONTEMPORARY ART This special showing also extends into the history of Western art, with an exquisite selection of works by 20th- and 21st-century masters. From the School of Paris there is Buffet's “La Corrida - Tête de Toréro”, Kisling’s “Les trois pavots”, and Modigliani’s “Portrait d’une Dame (Renée)”. Representing Post-war abstraction, there are oil paintings from Japan’s Gutai group, Georges Mathieu, Karel Appel, and others. In sculpture, there is “Torse de Vénus” by legendary impressionist Renoir, plus the bronze sculptures “Wounded” by Arman, and “McCormack” by Tony Cragg. There are also major works by such Pop Artists and Street Artists as Richard Prince, KAWS, Lichtenstein, and Banksy. Taken together, it opens up an opportunity for exchange at an international art auction that has a classic taste and can add a touch of colour to

autumn of infinite verdant cliffs, so many in the red maple light of the setting sun. The caption provides a backdrop and perfect complement to the painting, and they reveal the landscapes faced by a Chinese Literati in their travels.

TIMELESS HANDBAGS AND LUXURY COLLECTIBLES PRIVATE SALE There are rare Hermès bags and elegant jewels carefully selected for collectors. Apart from jade, a perennial favourite of collectors, there are also featured collections of diamonds, precious stones, and beautiful emeralds of all tastes and types. Of particular note is a jadeite necklace made of 59 jade beads from Myanmar, each between 8.17 to 10.78 mm in diameter. The jade beads are round and lustrous, giving off an attitude of luxury and grace. The selection of Hermès bags, which always attract the attention of collectors, focusses on market’s coveted Kelly bag. With a colourful springtime in mind, bags in a variety of sizes and multiple colours have been made available for collectors to choose from. Of special note for this occasion are the light styles that have been

any art collection.

included, such as the Mini Kelly II, Kelly Pochette, and the 25cm Kelly, all of

FINEST AND RAREST WINES

boutique items in the showcase are of an outstanding quality that collectors can

A total of over 600 items have been gathered for this auction. In addition to the works of the five classic wineries in Bordeaux and the top vineyards in Burgundy, after rigorous cellar inspections, rare wines of the old world and worshipped wines of the new world alike have been gathered to bring collectors the rarest of items and a diverse selection. As for the whiskeys, most of the selection was distilled and bottled in the 20th century, with an eye set on the magnificent whiskeys of past generations and a commitment to satisfying the

which are currently the hottest and dreamiest products on the market. All of the appreciate and treasure for generations to come.

CLASSIC CARS PRIVATE SALE As the automobile industry advances ever ahead, and manufacturers invest more in the research and development of automated driving technology, many collectors have come to long for classic cars, which can be freely controlled and driven anywhere. Nowadays, the classic car market in Taiwan is booming, and

needs of every collector.

collectors who are interested in classic car cars have sprouted like mushrooms

CONNOISSEURSHIP: THE LITERATI SALE

the diversity of goods on the market. Not only can classic cars be a means of

after a rainstorm. While the trade in classic cars has gained steam, so too has

Bringing attention to the Tianhuang market are two lots of Tianhuang

transportation, they are actually quite valuable as artworks in collections. With

seals from the Republic Period in this upcoming Fine Chinese Works of Art

the ability to find expression for a great range of tastes, and they make a great

Sale. A very rare lot obtained from the estate of French general Paul Louise

fit in an active collection.

58

Ravenel Spring Auctions 2018 羅芙奧 2018 春季拍賣會

尊釀雲集 Finest and Rarest Wines

台北萬豪酒店 Marriott Taipei

2018年6月1日（五）上午11:00至下午7:00｜Friday, June 1, 2018, 11am - 7pm

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薈萃：國際現代與當代藝術 Select: Modern & Contemporary Art

Grand Space 3F, No. 199 Lequn 2nd Road, ZhongShan Dist. Taipei, Taiwan

2018年6月2日（六）下午2:00｜Saturday, June 2, 2018, 2pm

清賞—古今人文藝術專場 Connoisseurship: The Literati Sale 2018年6月2日（六）下午3:30｜Saturday, June 2, 2018, 3:30pm

翰墨丹青—中國書畫專場 Refined Brushwork: Fine Chinese Paintings 2018年6月2日（六）下午3:30｜Saturday, June 2, 2018, 3:30pm

亞洲現代與當代藝術 Modern and Contemporary Asian Art 2018年6月3日（日）下午2:00｜Sunday, June 3, 2018, 2pm

預展 PREVIEWS 台中 TAICHUNG | 豐藝館 Fong-yi Art Gallery 台中市西區五權西路一段110號B1

B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

5/12 (六) 1:00pm ~ 6:00pm May 12, 2018, 1:00pm - 6:00pm

尊釀雲集 亞洲現代與當代藝術 薈萃：國際現代與當代藝術 清賞—古今人文藝術專場 翰墨丹青—中國書畫專場 手袋及精品鑑賞會

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Finest and Rarest Wines Modern and Contemporary Asian Art Select: Modern & Contemporary Art Connoisseurship: The Literati Sale Refined Brushwork: Fine Chinese Paintings Timeless Handbags and Luxury Collectibles Private Sale

尊釀雲集 亞洲現代與當代藝術 薈萃：國際現代與當代藝術 清賞—古今人文藝術專場 翰墨丹青—中國書畫專場

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5/13 (日) 11:00am ~ 6:00pm May 13, 2018, 11:00am - 6:00pm 高雄 KAOHSIUNG | 琢璞藝術中心 J. P. Art Center 高雄市前金區五福三路63號8樓

8F, No.63, Wu Fu 3rd., Qianjin Dist. Kaohsiung, Taiwan

5/19 (六) ~ 5/20 (日) 11:00am ~ 6:00pm May 19 - May 20, 2018, 11:00am - 6:00pm 台北 TAIPEI | 萬豪酒店 Marriott Taipei 台北市中山區樂群二路199號3樓 博覽廳

Grand Space 3F, No.199, Lequn 2nd.Rd., Zhongshan Dist., Taipei, Taiwan

5/31 (四) ~ 6/2 (六) 10:00am ~ 6:00pm May 31 - June 2, 2018, 10:00am - 6:00pm 5/31 (四) ~ 6/3 (日) 10:00am ~ 6:00pm May 31 - June 3, 2018, 10:00am - 6:00pm

ravenel.com | +886 2 2708 9868

59

[ THE ARTIST ]

Mental Imagery

Text, Photo／Ravenel International Art Group

ZAO Wou-ki

我可以毫不臉紅的說，我畫的是一種很浪漫的畫 它帶給我極大的快樂 一種最強的快樂，就是畫繪畫本身

60

心 象 風 景 趙無極

在我成為一名畫家的過程中，巴黎肯定對我產生 了影響，但我也必須這麼說，隨著我的藝術特性 逐漸成形，我也慢慢地憶起了中國

「他的油畫和石版畫十分迷人，使我同時想起克利繪畫的神祕和倪

色，光芒從畫面的中心迸發湧現，黑色的線條穿梭其間，像是奔馳後拖

瓚山水的簡練，我可以毫不誇張地說，趙無極是當今畫壇最偉大的藝術家

曳的影子，虛實之間形成拉扯、推擠的動力。我們可以發現，趙無極在

之一。」 — 貝聿銘

《5.11.62》作品中空間與光源的完美運用，以及內在的情緒昂揚。

一九四八年後，由上海到巴黎開始他旅居法國的藝術生涯，受到

藝術家把對生命追求與情感傾瀉在其中，此繪畫中所表達的情緒，

當時西歐主流畫派影響，此時期的趙無極，正處於自我探索的階段，

鏗鏘有力、充滿力度。繪畫裡的律動，如同大自然裡的風動或海波，帶給

一九四九至一九五O年間，趙無極的多幅畫作已受保羅·克利作品影響。作

人一種音樂性的感受。在一次詩人葉威廉的對話裡，趙無極曾指出繪畫應

品「紅太陽」，忽略傳統透視法，選用色塊並置。從畫作表層來看，淺藍

該像音樂一樣，必須有休止、寂靜才成音樂，不能密密實實都是音。學過

色為基底色調，搭配一個鮮豔的火紅色太陽，表現出神秘又空靈的意境，

六年音樂的趙無極，對於光源、空間的關切留意，以及音樂的抽象性特

大片色塊，更加展現出類似西方表現主義風格特徵，卻富有童趣。趙無極

質，亦起了巧妙的鏈結。台灣藝術評論家杜若洲曾如此讚譽：「中國的空

除了於一九五一年簽下右下角慣用的簽名之外，畫面中央處則有一九四九

間」和「西方的光」是趙無極在藝術上的可觀成就之一。他不斷融合兩大

年簽下的上下顛倒以刻畫方式署名，透露出他於創作脈絡過程中的思考與

文化的潛質，以其現代性的表達語彙，不僅是達到精神上的遨遊，更是締

摸索，此件作品在紅太陽旁邊亦有一個垂直式刻畫簽名，三個簽名之作品

造了一個全新的視覺世界。

極具稀少，極其珍貴。畫中多處有黑色簡筆線條表現椏枝，這是趙無極保 有中國水墨畫中獨特的筆觸線條。日為實，月為虛，虛實相生，趙無極有

思憶東方情

著濃厚的東方文化背景，他深受中國傳統美學和東方宇宙生命思想的影

一九七二年期間趙無極開始將思念轉回中國，這是在自一九四八年

響。此幅作品既概括了中國藝術的美學特點，以大量的留白底色強調了

離開後，趙無極第一次返回家鄉。他開始重新運用中國媒材詮釋西方繪畫

「虛」的存在，畫面中的大面色塊從而創新了中國繪畫藝術的表現手法，

的透視技法，以及摹仿墨水於絹布或紙上所產生的流動、暈染、滴流；墨

似宇宙萬物的輪轉，完整體現了老子所認為宇宙萬物，草木和諧的關係。

色多重變化的焦、濃、重、淡、清，以無形蘊有形的效果，充滿深湛東方 文化之思對他有了新的啟發及觸動，也讓此時期的趙無極走向藝術創作生

藝術評論家雷馬利在趙無極第一本法文版編年目錄中，指出1960年

涯中另一個轉折階段。

代趙無極的藝術不斷發展，採用對比或和諧的方式，經常表現畫面裡的韻

此件作品《09.07.73》為趙無極於1973年所創作，用色簡淡高雅、強

律、肌理和色調等細微變化的特點：此時比較偏好單色，時而深暗而盈

中帶柔，大膽卻細膩的渲染技法表現出繪畫動作一氣呵成。此作品的畫面

滿，暈染的棕色上有黑色刮痕；時而乳白而輕盈，例如銀灰色的雲霧。其

呈現一種氣韻流動之感、悠遠含蓄的空間營造，看得出趙無極嘗試以西方

他有的是雪與藍寶石、慕思和紅寶石的華麗和諧。（參閱雷馬利，《趙

的情境結合東方悠遠的空間感。此時期，趙無極漸漸地不再追求力重如

無極》，藝術圈出版社，巴黎，1978, 1986，頁40）雷馬利所指涉的是趙

山、氣吞山河的筆觸，逐漸地擺脫線條，以色彩流淌、揮灑、交錯堆疊等

無極的豐富色階變化，及多樣化的質感。而趙無極的繪畫是因為他個人細

展現畫面的和諧與空間流動。好似一種對於生命輪迴的感悟，藉畫筆將生

膩的感知和豐沛的情感，因為它們的確是來自生活中的感觸，內心波動自

命的體悟發揮淋漓盡致。在1971年重溫中國水墨後，相較於過去他避免流

然流露，繪畫也常是他低潮時的避風港，他曾說過他的畫等於是他的日

於中國傳統文化下的束縛，如今此繪畫形式逐漸帶給他沉穩自若、安之若

記，他的生活。作品《5.11.62》採取藝術家1960年代最典型的海景型橫式

素的詮釋方式。趙無極1970年代之佳作，顫動的線條依舊，但已不若以往

構圖， 氣勢壯闊而生動。畫面分割成平行的三部份，上下天地是近乎赭

斑駁粗獷、厚重沉甸；與中國水墨交融之作，留白漸闊、蒼茫雲煙微微顯

色、古銅色的空間，互為協調，一靜一動；中間部份，是明亮的黃、綠

露出的含蓄肌理，此時已預告著下一階段的風格來臨。

《09.07.73》1973 油彩 畫布 100 x 81 cm，羅芙奧台北2018春拍 "09.07.73" 1973 Oil on Canvas 100 x 81 cm, Ravenel Spring Auction 2018 Taipei

61

[ THE ARTIST ]

“His paintings and lithographs are extremely fascinating. They remind me of the sense of mysteriousness found in Paul Klee’s paintings and simplicity in

fully embody Lao Tzu’s cosmological concept about the harmony found within nature.

Ni Zan’s landscapes. It is no exaggeration for me to say that Zao Wou-ki is one of the greatest artists in the world today.”

— Ieoh Ming Pei

“I dare say my painting is a romantic one. It brings me the greatest happiness. The most powerful happiness is painting itself.” ─Zao Wou-ki

1948, he moved from Shanghai to Paris and began his artistic career in France. Influenced by Western European mainstream schools in painting,

According to art critic Jean Leymarie in Catalogue Raisonné, the first

he began experimenting with lithographs at the printmaking workshop of

edition in French, Zao continuously developed his art in the 1960s, employing

Desjobert. This laid the foundation for Zao Wou-Ki’s future production of

methods of contractor harmony and of ten presenting the rhythm of the picture,

works. At this time, Zao Wou-Ki entered a phase of self-discovery. From

its texture and color modulation. There is a preference for monochromatic

1949 to 1950, the influence of Paul Klee could already be seen in many of his

colors which are occasionally dark and rich; the uneven brown shade shows

paintings. In the work, “Le Soleil Rouge” (The Red Sun), the artist neglected

black scrape marks which are opalescent and light at times. An example is

traditional perspectives, choosing instead to juxtapose blocks of color. Looking

the silver gray brume. Other examples include snow and sapphire, mousse

at the painting’s surface, we can see how he used shades of light blue as a base

and rubious sumptuous accords (Jean Leymarie, Zao Wou-ki, edition Cercled'

tone, matching it with a bright red sun that reveal an artistic conception both

art, Paris, 1978, 1986, p. 40). What Leymarie refers to is the rich variation in

mysterious and ethereal. Those large blocks of color serve as even clearer

shade and the varied texture. As Zao was meticulously perceptive and full of

evidence of a style close to Western Expressionism that simultaneously exudes

emotions, and because his paintings originate from his feelings about life, his

a childlike playfulness. With the exception of two works from 1951, which

emotional fluctuation is naturally revealed in his paintings, which are also his

feature a customary signature on their lower-right corners, his paintings from

harbor of refuge in times of distress. Zao once said that his painting was his

1949 have been signed with an upside down engraving at the center of the

diary and his life. Art historians consider his works as sentimental abstract

canvas. Providing insight into Zao Wou-Ki’s thoughts and feelings during the

paintings. Like poetry, they have a perceptual existence yet they are not

creative process, his signature is vertically engraved next to the red sun. These

abstruse or pedantic. The imposing and vivid “5.11.62” shows the seascape in

three-signed work is extremely precious and rare.

a horizontal frame, which is the most typical form employed by the artist in

Like the sun and moon, reality and illusion supplement each other. With

the 1960s. The painting is divided into three parallel sections. The near ocher

a strong Eastern cultural background, Zao Wou-Ki was deeply influenced by

top and bottom portions are in harmony with the bronze-colored space, one

traditional Chinese aesthetics and Eastern cosmological concepts regarding life.

being static and the other dynamic. The middle section is bright yellow and

This work not only summarize the aesthetic features of Chinese art, but they

green, with light emerging from the center of the picture. Black lines shuttle in

also emphasize the existence of “void” through massive white backgrounds.

between like shadows left behind by the rapid movement, forming a pulling and

The large masses of color in the painting thereby innovated the expressive

pushing force in the actual situation. Zao’s perfect use of space and light source,

techniques of Chinese painting, just as the rotation of all things in the universe

as well as his high spirits, can be observed in “5.11.62”.

In “5.11.62”, the artist pours out his feelings and aspirations in life. The sentiments expressed in the painting reverberate with energy and are full of vigor. Rhythmic movements such as the wind and waves in nature give one a musical experience. In the dialogue of one- time poet Wai - lim Yip, Zao once pointed out the similarity between painting and music, which must cease and be still in order to become music, and not consist of incessant sounds. Having learned music for six years, Zao is especially careful with light source, space and the abstract nature of music, linking them together in an ingenious manner.

Taiwanese art critic Tu Jo-chou once commended, “Chinese space and Western space are one of the noteworthy artistic achievements of Zao Wou-ki.” He constantly integrates the potentials of the two great cultures, using their modern expressions and vocabulary not only to attain the spiritual journey but to create

《紅太陽》1949-1951 油彩紙板 14.2 x 20.5 cm，羅芙奧台北2018春拍 "Red Sun" 1949-1951 Oil on paper board 14.2 x 20.5 cm, Ravenel Spring Auction 2018 Taipei

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a whole new visual world as well.

《5.11.62》1962 油彩畫布 80.5 x 116 cm，羅芙奧台北2018春拍 "5.11.62" 1962 Oil on Canvas 80.5 x 116 cm, Ravenel Spring Auction 2018 Taipei

REMINISCING EASTERN SENTIMENTS

blooming techniques reveal that the painting was composed in a flow. The

“Although the influence of Paris is undeniable in all my training as an

picture presents a sense of movement, and the special construction is distant

artist, I also wish to say that I have gradually rediscovered China as my deeper

and implicit, reflecting that Zao attempted to integrate a western setting with

personality has affirmed itself. In my recent paintings, this is expressed in an

the eastern, distant, spatial sense. It can be observed from this piece that Zao

innate manner. Paradoxically, perhaps, it is to Paris I owe this return to my

gradually ceased to seek strong and magnificent brush strokes, as if being able

deepest origins.” 一 Zao Wou-ki

to consume the mountains and the rivers. He gradually outgrew lines; instead,

In 1972, Zao’s thoughts were directed to China. It was his first return

he utilized the flow, sway, staggering, and stacking of colors to demonstrate

to his home country since his departure in 1948. There, he began employing

a harmonious picture and spatial movement. As if he understood the circle of

Chinese media to interpret perspective techniques in western painting. He

life, he used his brushes to express his realization about living life to the fullest.

imitated the flow, blooming, and dripping that ink creates on cloth or paper,

Unlike in the past, when Zao avoided being restricted by Chinese traditional

and the ink colors he used were varied—burnt, thick, heavy, light, or clear. He

culture, Zao instead refamiliarized himself with Chinese ink in 1971, and this

created the effect of form contained in the formless. The profound thoughts of

painting style gradually granted him a means of interpretation that was stable,

Eastern culture touched him and inspired him, and this era became a turning

easy, and undisturbed. This masterpiece created by Zao in the 1970s retains the

point in Zao’s artistic, creative life. The change in this period also enriched

usual flickering lines, but they are no longer mottled, rugged, or heavy, as in the

Zao’s creations.

past. This work integrated Chinese ink painting. The blank he left is wider, and

The gorgeous color tone spoke volumes about Zao’s mindset. That same year, Zao created the work 09.07.73. The colors are simple, light, and

the sky and the clouds reveal an implicit texture, foretelling the coming of his style of his next era.

elegant, exhibiting tenderness beneath the strength. The bold yet intricate

63

[ ANTIQUE ]

XU

徐

悲

鴻

Beihong Text／張禮豪 Photo／Ravenel International Art Group、國立故宮博物院

畫藝精絕成祭酒 悲鳴鴻雁終高飛

回顧過去百年中國書畫藝術的發展，徐悲鴻（1895-1953）無疑是最 重要的一位藝術家與教育者，其創作題材多元，從歷史典故到人物、花 鳥、走獸無所不涉；無論採用油畫、水墨，均見勃勃生氣，並巧妙融合中 西繪畫技法而自成一家面貌。在美學思想上的影響極其深刻廣泛，也因此 譽為中國現代美術的奠基者。 徐悲鴻，原名壽康，江蘇宜興人。父親徐達章為私塾先生，故他自 幼便隨其父立下詩文與繪畫基礎。及長，徐悲鴻先留學日本，後赴法國 入巴黎國立高等藝術學院（École Nationale Supérieure des Beaux-arts de

Paris），親眼見證了世界的藝術中心如何引領世界風潮。1927年返國後，

他先後歷任北京大學藝術學院院長、中央大學藝術系教授兼系主任、北平 藝術專科學校校長等，帶回西方首重寫生的藝術觀念；針對中國書畫的改 革，則提出「古法之佳者守之，垂絕者繼之，不佳者改之，未足者增之， 西方繪畫可采入者融之。」的主張，更在他的創作中得到了具體的貫徹與 實踐。 64

駿馬栩栩．古柏高致 之所以強調素描寫生訓練，主要是徐悲鴻認為在加入線條與塊面的 構成與光影變化的捕捉後，方能彌補中國繪畫造型薄弱的問題。單以其所 為人所稱道的畫馬而論，所累積的速寫草稿不下千幅，故無論或立或馳， 其筆下駿馬總是栩栩如生、活靈活現。然而，若就此將其名與畫馬一事劃 下等號，以此來品評或論斷徐悲鴻的藝術成就，明顯有所不足。

徐悲鴻 《馬》1940 水墨 設色 立軸 現藏於台北國立故宮博物院

事實上，徐悲鴻最讓人們玩味再三的作品，或正是一如此 處所見的《古柏老叟》(Lot 622)。該作繪於1944年，畫面中可見 久經風霜、高聳連天的兩株古柏樹幹極為粗壯，其上紋路糾結纏 繞，枝葉生發茂盛，雙雙展現出頑強的生命力，恰與正中一抹淡 染的亙古遠山形成呼應，彷彿一同看盡了人世滄桑。一名滿拾柴 薪的白髮老叟於左邊古柏旁稍事歇息，或也有幾分自況意味，尤 具點睛之效。全作多以濕墨塗染只在枝幹略加勾勒，以突出古柏 之雄奇高致，故水氣氤氳、形色自異。可以說，在講究寫實的精 絕畫藝表現下，傳統中國文人所追求的筆墨韻味依舊絲毫不減、 極其自然地從此作流瀉而出，深值識者細賞再三。

(上)

(右)

徐悲鴻

徐悲鴻

《古柏老叟》1944

《沉吟》 1936

設色 紙本 鏡框 73.6 x 61 cm

水墨 設色 錄自於《徐悲鴻繪畫全集III》

羅芙奧台北2018春拍 編號 622

藝術家出版社，台北，2013年版，頁214

65

[ ANTIQUE ]

漆器 收 藏 正 當 時 Text／何瑩 Vivi He Photo／Ravenel International Art Group

明 剔紅攜琴訪友圓香盒 D：8 cm 預估價：360,000-550,000 台幣

市場價值被低估

漆器的歷史和種類

2000年以後的漆器拍賣，幾乎每年都有千萬港幣級別的拍賣紀錄誕

中國古代漆器，早在新石器時代就已經出現，夏代的木胎漆器不僅

生，但是相比早就進入億元時代的瓷器板塊，漆器板塊的價格還沒有在

用於日常生活，也用於祭祀，並常用朱、黑二色來髹塗。殷商時代已有

同一個級別，屬十分穩定，且一直還未有受到市場的追捧。2001年，在

「石器雕琢，觴酌刻鏤」的漆藝。西晉以後到南北朝，由於佛教的盛行，

香港佳士得春季拍賣會上，一件明永樂 剔紅牡丹花卉大圓盒 以1214.5萬

港幣的價格成交。 2006 年，香港蘇富比以 606.3 萬港幣拍出一件清 乾隆 剔紅禦制詩筆筒。 2008 年，一件明 明永樂 乾隆禦題剔紅雕雙鳳蓮花盞

托 在香港佳士得以3314萬港幣成交，迄今為止近十年，依舊是漆器拍賣

的最高紀錄。2017年5月年倫敦蘇富比一件元末/明初 剔紅花卉紋大盤 以

156.87萬英鎊成交，是2017年漆器拍賣的最高價。

出現利用夾紵工藝所造的大型佛像，此時的漆工藝被用來為宗教信仰服 務，夾紵胎漆器也因而發展。唐朝漆器呈現出華麗的風格，漆器製作技 術，如金銀平脫、螺鈿、雕漆等製作費時、價格昂貴的技法在當時極為盛 行。宋代漆器的制胎和髹飾技藝已經十分成熟，以素色靜謐為主，器型典 雅，亦有和宋瓷類似的器型。明清時期，漆器工藝更趨於繁盛，尤其在描 金、螺鈿、款彩、鑲嵌等方面。官方設廠專製御用的各種漆器，並由著名

不同於玉器和瓷器等文物大類，漆器在收藏界屬於比較冷門的品

的漆藝家管理。除了官設的漆器廠外，民間漆器生產也遍及大江南北。明

類。要收藏漆器，就會瞭解到古代漆器，比如戰國和漢朝漆器，但在市

代江南漆器名家輩出，明初有張德剛、包亮，明代中期有方信川，明末

場幾乎沒有，可以找到的高古漆器，也就是宋元的，存世量少，由於年

有江千裏等，並出現集漆器工藝之大成的著作：黃成著，楊明註《髹飾

代久遠，有時品相欠佳，但具有很高的歷史價值。拍賣場通常見得明代

錄》。在乾隆年間，漆器製作達到了歷史高峰。

和清代的漆器，如果是官造的，價格會比較高一些，但和明清官窯近年 來節節高昇的價格相比，漆器價格還是十分合理的。

漆器的種類繁多，一般認為有罩漆，素髹，描漆，描金，填漆，雕 填，雕漆（雕漆是剔紅、剔黑、剔黃、剔綠、剔彩等的總稱），犀皮，剔 紅，剔犀，螺鈿，款彩，戧金，百寶嵌等十多個門類。此外，金髹也屬一 色漆器範圍，它又名渾金漆，其金色外露，上面不再罩漆。以下結合幾件 漆器來介紹幾個種類。

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清 騎馬人物螺鈿蓋盒 D：11 cm 預估價：600,000-900,000 台幣

明 人物螺鈿蓋盒 D：14 cm 預估價：360,000-550,000 台幣

螺鈿漆器，取材於各種貝殼的天然色彩與美麗光澤的最佳部位， 分層剝離和磨制後，根據設計圖案需要，鑲嵌於漆器表面作為裝飾。鑲 嵌的螺片有厚有薄，故有厚螺鈿與薄螺鈿之稱。《髹飾錄》中稱：「螺 鈿……，點、抹、鉤、條，總以精細密致如畫為妙。」即指薄螺鈿鑲嵌 出來的效果而言。 雕漆中的剔紅是明清漆器中數量最多的一種，其做法是在胎骨上用 多層朱漆積累到需要的厚度，再施雕刻。明初承元代肥碩圓潤的風格， 宣德以後，堆漆漸薄，花紋漸蔬，至嘉靖時磨工少而稜角見，至萬曆時 刻工細謹而拘斂。入清以後，日趨纖巧繁瑣。 填漆，是用填陷的色漆，幹後磨平的方法來裝飾漆器。填漆就是在 漆器上做出凹下去的花紋，把不同色漆填進去，待其幹後磨平，使它像 一幅設色畫。

漆器的鑒定 關於漆器的鑒定，我曾經讀過「雙清館」主人、清翫雅集成員，收 藏家洪三雄先生的一篇文章，覺得總結的十分有道理。他建議從以下五 個方面來著眼： 第一是「皮殼」，也就是漆器表面的包漿。首先得觀察包漿是不

17世紀 剔紅雕花四方倭角盤

是歷經年代洗禮和前人的把玩自然形成，而不是經過人為的作色。第二

預估價：550,000-800,000 台幣

L：23 cm

是「造型」。漆器的形體，除了要講求端莊古雅，又要顯得厚重沈穩。 第三是「髹漆」，指的是完成漆器之前的制胎、上漆程序。從器表漆面 平整均勻及光鮮亮澤的程度，可以看出一件漆器的髹漆技術是否完美純

重見榮光 具升值潛力

熟。第四是「構圖」，漆器整體的圖案佈局必須要大方、圓滿、高雅，

文物拍賣市場上 一直是「物以稀為貴，稀以精為真」。 17 到 19 世

而且能夠與作品製作時代的繪畫藝術相互輝映。第五是「刻工」。尤其

紀，歐洲貴族迷戀中國風情，中國的瓷器、絲綢、漆器、傢具等藝術品

剔漆最講究刻工，只有掌握好刀工，才能讓想要表達的圖案和隱藏在漆

被西方人稱為「奢侈品」。和瓷器玉器等門類相比，漆器製作難度大、

層裡面的線條巧妙呈現出來。

週期長、成本高，且數量少。明清時期，造辦處一年可能燒制百萬件瓷 器，而漆器只能做幾十件，可見漆器更加珍貴。 漆器的市場行情從朝代來講，以元明的價格高，永樂時期達到高 峰。元代的能工巧匠開始製作漆器，並出口日本，到了明代漆器製作逐 漸進入宮廷。而傳世品相、製作工藝、是否宮廷或名家製作都是判定漆 器價值的主要標準，一般來講宮廷器會更具升值潛力。從題材上說，人 物故事紋、龍鳳紋者，價格貴些，動物、花鳥紋者次之。很多業內藏家

明 剔紅花鳥紋盤

也認為，由於其稀缺性和工藝的複雜性，隨著時間的推移，漆器將會受

L：38 cm

到更多藏家的重視，其市場前景也十分看好。

預估價：360,000-550,000 台幣

67

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2004

2006

2010

2011

朱德群《雪景（寒）》

廖繼春《運河》

朱銘《單鞭下勢》

常玉《五裸女》

創下朱德群全球拍賣新高 台幣 1,645 萬元成交

刷新廖繼春全球成交紀錄 台幣 8,085 萬元成交

創下藝術家個人拍賣最高紀錄 台幣 8,224 萬元成交

打破當時華人油畫最高拍賣紀錄 開啟華人油畫人民幣億元時代 台幣 4 億 7525 萬成交

2013

2014

2015

2017

席德進《自畫像》

趙無極《爭榮競秀》

丁雄泉《世界小姐》

常玉《紅底白菊》

打破席德進世界拍賣紀錄 台幣 2280 萬元成交

創下台灣拍賣史上最高價油畫紀錄 台幣 2 億 4,336 萬元成交

以台幣 5,632 萬元成交 作品尺幅創下二十年來 國、內外拍場紀錄 並刷新藝術家個人世界紀錄

以 2.8256 億元台幣站上常玉前十大紀錄 締造台灣拍賣史上最高油畫成交記錄

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