羅芙奧季刊第30期 Ravenel Quarterly No. 30 by Ravenel International Art Group

精采時刻雋永人生

動漫美學 ANIMAMIX

No. 30 Spring 2020

羅芙奧

2020 春季拍賣會

- 即將與您見面預展日期

高雄｜琢璞藝術中心｜ 5/16-5/17 台中｜豐藝館｜ 5/23-5/24 香港｜君悅酒店｜ 5/30-5/31 台北｜萬豪酒店｜ 6/4-6/7

拍賣日期台北｜萬豪酒店｜ 6/5-6/7

敬獻亞洲現當代藝術、「薈萃」國際西洋、「翰墨丹青」中國書畫、中國古文物、「尊釀雲集」藏酒、手袋及精品鑑賞會

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CONTENTS No.30 ｜ Spring 2020 ｜ https://ravenel.com

ART & INVESTMENT

動漫神級人物手塚治虫 Osamu Tezuka

A Godlike Figure in the World of Manga and Anime: Osamu Tezuka

THE ARTIST

法式超艷俗? 市霸奇奇的當代藝術 What We Named this Style, SupaKitch !? 22

WINE

聞「假」色變 Battling with Counterfeit Wine 28

LUXURY

最耀眼的寶石搭擋－彩鑽與祖母綠

Partners in Brilliance: Colored Diamonds and Emeralds

6 32

FINE CHINESE PAINTINGS

還攜筆墨向高丘八十再攀新巔峰－歐豪年 An Ongoing Pursuit of Excellence In Ink And Brush －Au Ho-Nien

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 / 陳昱良 Iris Chen

文化遺產

那些，隱身的繁華巴黎府邸 42

發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd. 地址 Address / 106103 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 106103. Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com

CUISINE

米其林三顆星的海味 46

LIVE

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

不丹簡單的幸福 50

SPECIAL REPORT

印之身烙印的權利 56

羅芙奧藝術集團香港辦公室香港中環金融街 8 號國際金融中心二期 19 樓電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850

PEOPLE

多麼痛的領悟刺青職人－林立杰

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

FASION

所有的色彩都要繼續 64

AGENDA

你所不知道的安迪泰德現代美術館安迪．沃荷英倫大展 The Andy You Didn't Know Warhol in Tate Modern London

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

手塚治虫《原子小金剛―手塚治虫自畫像》約1980年水粉賽璐璐；水彩紙本（背景），27 x 27 cm（局部）羅芙奧2020春拍「薈萃：國際現代與當代藝術」 Osamu TEZUKA "Astro Boy – Self Portrait of Osamu Tezuka", c. 1980 Gouache on trimmed celluloid; watercolor on paper (background), 27 x 27 cm (Detail) Ravenel Spring Auction 2020 Select: Modern & Contemporary Art

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

喝酒不開車

安全有保障

[ CHIEF EDITOR'S NOTE ]

HEALING!

烈酒可殺菌・藝術百憂解 2020 年春天，迎接新的 20 年代，原本滿心期待，卻在 COVID-19 新冠肺炎的陰影下，全球面臨嚴峻防疫考驗親友春酒、出國旅行、藝術博覽會、音樂會、廟會與競賽，被迫取消或延期。誰也沒想到電影或動畫般的故事情節，竟然真實上演。非常超現實，也超級寫實。停課、延遲開工、隔離，計畫趕不上變化，人生其實很無常。股票市場指數也是忽上忽下，難以捉摸。如此鉅變的時刻，保持健康、關懷親友、珍惜所有，活著真好。能夠擁有一個口罩，多麼富足。《Ravenel》羅芙奧新季刊正式進入 30 期，本期匯聚各領域專家的精彩好文。藝術與投資專欄介紹人漫畫之神手塚治虫 Osamu Tezuka，如何翻轉動漫的負面與次文化印象，令全世界粉絲著迷追隨。西洋藝術家單元分享法國潮流藝術家市霸奇奇 SupaKitch，還有安迪沃荷 Andy Warhol 英倫大展的訊息。嶺南畫派歐豪年不出世之才，攜筆墨於八十再邁高峰。時尚品味單元主題，分享刺青烙印的歷史背景與藝術表現；窺看隱身於繁華之後巴黎府邸建築之美；2020 年 Pantone 色彩故事，旅行不丹思考簡單哲學；米奇林三星主廚巴瑟達的海味料理；Maureen Downey 專業葡萄酒鑑識知識；彩鑽與祖母綠的購藏建議，內容豐富且具知識性。酒精之亂，也是 2020 年春一大奇觀。有人說喝威士忌可對抗新冠肺炎，或許自我解嘲成分多一些。我們的確需要一些心靈療癒的妙方，願《Ravenel》的藝術氛圍陪伴讀者，平安渡過這段難忘時光。

總編輯

黛 Text / Odile Chen 陳惠 tional Art Group rna Inte l ene Rav Photo /

的喜愛。「動漫」文化，甚受年輕世代行流的高極氣人日」兩「動漫」是今為「動畫」和「漫畫人地區特有的名詞，華是詞一」漫卡「或者技」緊密結合，後來崛起的「電玩競與，」漫動「的謂個成者的簡稱。所相關領域逐漸合為一戲、鬥智多重元素，遊、幻科、樂娛光集聲跨界影響了出版、止於動畫與漫畫，又僅」不漫動。「鏈形成，熟的經濟產業顧動漫文化的歷史與具、藝術等領域。回、玩型、模視、影網路二次大戰的破敗國，尤其日本在經歷出輸化文大最個兩裡特美國和日本是感。傳統浮世繪文化本人重建自信與療癒日為畫動與畫漫，蕭條漫文化，輸出至術文化藉由漫畫與動美的有固其，化面有的細緻與平了全球的各個世代。國際，潛移默化影響有重在你我的童年時光裡佔不同世代的我們，相信既然動畫與漫畫影響著秋，美國偏向教育導格與美學不同，各有千漫風的動兩國、日要的位置。美、漫威：但傾向單一，如迪士尼要訴求對象，個性強烈為主少年童或以兒向，黑、妖怪、成人等風可愛、運動、科幻、暗舉凡漫，的動風格元）然而具有日本破二兆日圓（約 18 2 億美業從 20 18 年起日本有突漫產。動而足不一由日 % 格，日全球動漫產業中有 65 數為海外市場營收。今業，以上的產值，其中近半大產前三、數位材料為日本之重要性。動漫、汽車動漫日本可見出，本產濟支柱。共同撐起太陽國度的經

[ ART & INVESTMENT ] 對外國人而言他是日本漫畫的起點漫畫在日本的歷史悠久，浮世繪大師葛飾北齋於 1814 年出版的《北齋漫畫》單行本，描繪江戶庶民文化，被視為日本漫畫的濫觴。19 世紀中葉明治時期，開放橫濱港為通商口岸，西方文化如攝影寫真、洋畫衝擊日本傳統藝術，西方的漫畫也隨歐美報紙傳入，代表江戶時代風華的浮世繪逐漸走向式微，不少畫師們也與報社合作改畫漫畫，報刊的漫畫以時事嘲諷為主。日本的動漫產業之所以如此強大，回顧過往歷史，手塚治虫是漫畫與動畫傳入西方的關鍵人物。對多數的外國人而言，手塚治虫（Osamu Tezuka, 1928-1989）堪稱是日本漫畫的起點。之於動漫迷，天才型的手塚治虫擁有神級般的地位，在世時已被尊稱為「漫畫之神」。手塚治虫投身漫畫 50 年，燃燒生命努力不懈，平生創作出大量的作品，漫畫作品約 450 部（一說 700 部）。手塚治虫曾說：「我們這個時代，漫畫有如空氣無所不在。」他視動漫畫為正統文化，努力翻轉世人對漫畫次文化或負面形象。無論在漫畫、或是後來的動畫，他與其領導的團隊創意為該產業帶來深厚的影響力。「漫畫為何能席捲日本？原因之一，是日本有手塚治虫，而其他國家沒有。若沒有手塚治虫，戰後日本漫畫不可能發展得如此蓬勃。」1989 年 2 月 9 日手塚治虫病逝，翌日《朝日新聞》以此輓辭向一代巨人致敬。天皇昭和於 1989 年初過世，結束日本歷朝年號最長的時代，「漫畫之神」手塚治虫、「國民天后」美空雲雀，人生也在同年謝幕，他們二人被評價為戰後昭和時代大眾文化的代表人物。尤其手塚治虫一生幾乎與昭和時代重疊，世界動盪、發展迅速，那是最好的年代，也是最壞的年代。

漫畫少年與醫學博士的養成手塚治虫，本名手塚治，1928 年 11 月 3 日出生於日本大阪。因為出生時正逢明治天皇誕辰「明治日」，父母取名「治」作為紀念。父母家世背景良好、家境優渥，父親喜愛漫畫、攝影與電影，母親則是寶塚戲劇迷，擅長說書，手塚治天賦異稟，且自幼受父母潛移默化，尤其喜愛畫漫畫。他對天文與昆蟲亦興趣濃厚，步行蟲的日文讀音為 Osamushi，和「治」Osamu 相近，他自覺長相與步行蟲很像，於是在本名「治」後加一漢字「虫」，成為「手塚治虫」，用於漫畫家工作時的筆名。那年是 1939 年，手塚治虫不過 11 歲的年紀。手塚家裡有許多漫畫書籍，孩子能恣意看漫畫，美國漫畫或是本地漫畫。手塚治虫也喜歡看電影，尤其是洋片，好萊塢的的冒險片、英國的驚悚片，還有迪士尼卡通電影，如大力水手、貝蒂娃娃等；加上寶塚劇場的華麗戲劇，都萌生他的表演慾與長篇漫畫的創作念頭，更慢慢養成「落語」說書的興趣與能力。 1945 年二次大戰結束，手塚治虫就讀於大阪大學附屬醫學專科部。課餘之際，他持續創作漫畫。1946 年首部處女作《小馬日記》四格漫畫專欄於「少國民新聞」（現「每日小學生新聞」），成為專業的漫畫家。1947 年以酒井七馬的原作，發行出版原創赤本《新寶島》長篇漫畫，銷售突破四十萬冊，知名度大開。他將變焦、廣角、俯視等電影拍攝與分鏡手法運用於漫畫，突破四格漫畫的框架，將漫畫帶入一個全新的時代。成為知名漫畫家的手塚治虫，創作力大噴發，1950 年開始在「漫畫少年」雜誌上連載《森林大帝》，小白獅王金巴 Kimba 的冒險故事，這部作品於 1966 年改編為動畫片，成為第一部日本首部彩色卡通電視影片。1994 年美國迪士尼公司宣稱以莎士比亞劇靈感，推出《獅子王》電影，引起動漫界一陣譁然，認為故事抄襲手塚治虫原創的《森林大帝》。手塚生前是迪士尼的忠實影迷，曾到美國見偶像，死後作品也為該公司所模仿，多麼玄妙的因緣。

1951 年手塚在「少年雜誌」上連載的《小金剛大使》漫畫，編輯建議手塚將配角小金剛獨立出來，於是以《鉄腕アトム》（或翻譯為《原子小金剛》、《鐵臂阿童木》、《小飛俠阿童木》；阿童木 Atom 的日文音譯，「原子」之意）開始在雜誌上連載，果然大受歡迎，充滿冒險與勵志的故事，使得永遠的少年─原子小金剛，幾乎成為手塚治虫的招牌大作，收服全球漫畫迷與影迷。1963 年日本自製第一部電視黑白動畫《原子小金剛》於富士電視台放映，到 1966 年間共 193 集創下超高的收視率。影片也翻譯成英文，外銷往世界各地，1963 年底美國 NBC 播放英文版《Astro Boy》。1980 年重新發行 60 集，而 1980 年代在台灣和香港播映的電視動畫即為此版本。同年中國大陸也先引進黑白版本，成為最早打進中國市場的動畫片之一；2003 年後才播映第三版的彩色版本。做任何事情都抱持著熱情的手塚治虫，拼命趕漫畫稿的同時仍持續進修，1951 年自大學醫學專科畢業，隔年通過醫師國家考試。隨著工作移往東京，寄宿於新宿區。1953 年搬進知名的東京都的常盤莊，1954 年他已經名列高額繳稅大戶，漫畫顯然為他帶來巨大財富。 1961 年以「在異型精子細胞中膜構造的電子顯微鏡研究」論文獲得醫學博士學位。他的醫學與科學專業完美地運用於寫作《原子小金剛》和《怪醫黑傑克》（或翻譯為《怪醫秦博士》），兩部作品有著自傳性的情感投射與理想訴求。

觀前衛的世界嚴探討生命尊日本大正浪漫時期風行的寶塚歌劇團，仿效紐約百老匯歌舞劇、巴黎紅磨坊表演風格，由清一色女演員反串的華麗戲劇，是手塚童年時光最光燦燦的記憶。1953 年手塚治虫發表《緞帶騎士》（或譯作《寶馬王子》）漫畫，即是受寶塚戲劇的影響。圓臉和水汪汪的大眼睛的人物造型，被視為少女漫畫的先鋒。天才漫畫家在可愛幽默、科幻冒險之外，展現令人刮目相看的精彩風格。不料，1955 年日本教育體系在保守家長壓力下，推動「惡書追放」運動，特別針對漫畫讀物審查，暢銷漫畫家手塚治虫當然成為頭號對象。連乖寶寶的小獅王、可愛原子小金剛都曾受過批判。經歷過二次大戰的殘酷，戰爭對手塚治虫的作品有深遠的影響，他對生存有所感慨，探討生命的尊嚴是其一貫的創作主題。如原子小金剛、森林大帝金巴等主人的經歷，都有超越兒童理解的深層生命課題。而探討生命奧秘的作品《火之鳥》，最早發表於 1953 年的《漫畫少年》雜誌連載，1966 年後又在手塚創刊的《COM》雜誌刊載，被視為是創作生涯的巔峰之作。

漫畫是妻子動畫是情人

手塚治虫也是日本第一位導入助手制度與企業化經營的漫畫家，對於日後日本漫畫的啟蒙有著極大的推動作用。1961 年他成立自己的動畫

手塚治虫曾笑稱漫畫是妻子而動畫是情人。動畫是國際語言，可以實現他的夢想，一個與世界溝通的途徑。然而動畫費工耗時，造價昂貴，尤其 1960 年代距離戰後復甦不遠，透過漫畫、動畫人生攀上高峰，不料繳稅大戶也會遇到經濟困境。迪士尼的動畫每秒至少使用 24 張圖，一分鐘需要 1440 張圖；而手塚將動畫《原子小金剛》的一秒鐘畫面，節約至 12 張，後來更精減至一秒 8 張圖，所謂「有限動畫」的特殊風格，也成為日本動畫的另類風格。無論如何，每一張圖都需仰賴動漫師精湛的畫功，團隊的合力完成。在數位三 D 動畫出現之前，動畫是以傳統賽璐璐片 Celluloid 手工塗色繪製而成，襯以水彩背景拍攝連環圖片成為影片。賽璐璐片手稿宛如一件美麗的圖畫，而隨時代進步，純手工的圖畫被電腦科技取代，2007 年之後改用數位化技術，然而手塚經典的手稿圖畫，因當時不懂保存，大多散佚或毀損，少數留存者為大師的不凡創意留下永恆。

製作部「虫製片」，1962 年正式成立「虫製片」株式會社。手塚知名動畫如《原子小金剛》、《緞帶騎士》、《森林大帝》、《多羅羅》、《小拳王》等電視動畫；亦有《天方夜譚》、《埃及豔后》、《悲傷的貝拉朵娜》等成人風格作品，都是出品自虫製片。

[ ART & INVESTMENT ] 昂貴的動畫製作費用，果然在 1973 年令手塚治虫無法負荷，「虫製作」宣告破產。畢竟整天在工作室畫畫，他根本分身乏術，又不諳經營公司。一位家具公司老闆過去曾受惠於他，聽聞手塚的困境，對其伸出援手，償還債權，慢慢協助他脫離困境。雖然面臨經濟上的艱難，他還是不忘漫畫與動畫，SF 科幻風格的《三眼神童》、《怪醫黑傑克》都是

▼《原子小金剛》漫畫草圖於2018年5月巴黎拍賣會拍出269,400歐元 Hand-painted draft "Astro Boy", sold for EUR 269,400, in Artcurial Paris, May 2018

這段時間醞釀出來的神作，幫助他走出低潮。尤其《怪醫黑傑克》的創作背後，破產的孤獨感，充滿超現實感，這是世界的第一部醫學漫畫，由真正的手塚醫學博士創作。 1977 年，「虫製作」株式會社的工會在東京創立「虫製作株式會社」Mushi Production Co., Ltd.，是舊公司的延續，主要承包該公司旗下的動畫作品，營業至今。不過，虫製作破產時手塚治虫已離開該公司。1968 年時他另外成立「手塚製作公司」Tezuka Production，為便於漫畫製作及版權管理而成立，營運至今。起初，手塚治虫會將其作品發包至「虫製作」，交由他們進行動畫化；但後來能動畫化的漫畫作品不多。今日原子小金剛限量公仔和授權商品，即出自於「手塚製作公司」Tezuka Productions。積勞成疾的手塚治虫於 1989 年 2 月 9 日因胃癌病逝於東京，享年 60 歲。充滿傳奇的一生，終日沉浸在動漫的想像世界，漫畫生涯上的得意與失意，都交織成一部部的作品，它們如同一篇篇精彩的日本動漫歷史。多數的日本漫畫家都曾受到手塚治虫的影響，包括《哆啦 A 夢》的作者藤子 • 不二雄 ( 日本漫畫家藤本弘與安孫子素雄共用的筆名 ) 、《一休和尚》的坂口尚、《七龍珠》的鳥山明、《無敵鐵金剛》的永井豪、《凡爾賽玫瑰》的池田理代子等，和藝術家後進如 KAWS。手塚治虫的長子手塚真，遺傳了父親的繪畫長才，他也是一位動畫電影導演，將父親的漫畫改編成電影。2020 年，日本講談社為推動結合 AI 與人類技術，提出「手塚 2020」（TEZUKA 2020）專案計畫，打算以人工智慧打造有著手塚治虫精神的新漫畫《裴多》（ぱいどん Paidon），使動漫之神的智慧繼續活在二十一世紀。手塚治虫去世後五年，他的故鄉寶塚市就為他建立了手塚治虫紀念館，得以讓全世界粉絲在朝聖，在觀賞他所創作的動漫人物時，喚起每人兒時的記憶。手塚治虫改變了動漫的次文化地位，

動畫手稿藝術市場的新亮點

還贏得無數的國際獎項。

手塚的手稿圖畫包括賽璐璐動畫手稿，從 2011 年偶見於巴黎、東京、中國大陸和香港的拍賣市場。近期全球潮玩公仔與街頭藝術當道，許多知名當代藝術家因日本可愛動漫風影響，原本非屬市場主流的動畫手稿，也進入 2019 Art Tokyo 年東京藝術博覽會會場，2019 年香港兩大拍賣行拍出不錯的成績。作為日本動漫之神的手塚治虫，他的成就於 2019 年幾檔慶賀 90 歲誕辰的專題式展覽可見一斑，如倫敦大英博物館「漫畫」（The Citi Exhibition: Manga）特展、台北北師美術館的「美少女的美術史─從浮世繪到當代藝術及動漫文化」特展、芬蘭坦佩雷藝術博物館（Tampere Art Museum）和西班牙加泰羅尼亞國家藝術博物館（Museu Nacional d'Art de Catalunya）的「漫畫之神手塚治虫」（Osamu Tezuka, the God of Manga）等。 2018 年 5 月巴黎知名拍賣會 Artcurial，一張 35 乘以 25 公分大小的 1950 年代後期《原子小金剛》的手繪草圖，拍出 269,400 歐元（約台幣 958 萬元）的成績，創下手塚的拍賣新高紀錄。緊接著 2019 年 11 月香港佳士得有一幅尺幅更小的 15 乘以 19.2 公分水彩作品，畫中有六位手塚知名漫畫角色的《眾星雲集》，拍出 50 萬港元（約台幣 200 萬元）的佳績。 ◀ 向手塚治虫致敬的知名當代藝術家納諾．瓦索諾 Nano Warsono 納諾．瓦索諾《憤怒男孩》2013 壓克力畫布 81 x 60.5 cm "Angry Boy", 2013, Acrylic on canvas, 81x60.5cm Nano Warsono paid tribute to Osamu Tezuka

手塚治虫一生手稿數量不少，市場高低不一，若能排除真偽的疑慮，相信仍有可以期待的空間。而「手塚製作公司」Tezuka Productions 授權發行的玩具公仔，因近期的潮玩流行風潮，「原子小金剛」限量版或是老的物件，也成為實體拍賣或網拍平台喜愛的標的。150 公分高的等身大店頭公仔，在台北也曾拍出台幣 36 萬元的身價。連古董級漫畫書、賽璐璐動畫手稿等拍品，也是收藏家的心頭好。羅芙奧 2020 春拍「薈萃：國際現代與當代藝術」專場，推出「動漫之神手塚治虫」單元小拍，將介紹二十多組膾炙人口的動漫手稿，這些手稿包括原子小金剛、森林大帝、怪醫黑傑克、緞帶騎士、三眼神童、西遊記等代表作，當初因應動畫需要所作的圖畫，精心佈局、用色典雅，一次能夠收藏神級大師的經典創意，饒富意義，機會難得，期待帶動一波經典動漫藝術的風潮。

▲ 向手塚治虫致敬的知名當代藝術家KAWS KAWS paid tribute to Osamu Tezuka

Dongman (literally animation and manga) culture is extremely popular, especially with younger generations. The terms "dongman" and "kaman," which are specific to Chinese regions, are portmanteau words derived from the Chinese terms for animation and manga. Dongman and the later phenomenon of e-sports are tightly connected. They include multiple elements, comprising audio and visual entertainment, science fiction, gaming, and strategic thinking. These related areas have gradually come together to form a mature industry. Dongman is not only limited to animation and manga, however. It exhibits cross-domain influences on areas, such as publishing, the Internet, videos, models, toys, and arts. In the history and development of dongman culture, the United States and Japan were the two countries with the largest cultural output. Specifically, in Japan, during the rundown and depression in the aftermath of the Second World War, manga and animation helped the Japanese reestablish self-confidence and provided some degree of comfort. The unique intricacy and two-dimensionality of the traditional ukiyo-e culture and its existing aesthetic culture were outputted to the world through manga and animation, subtly influencing each generation worldwide. Animation and manga have had an influence across several of our generations. I believe that they played critical roles in our childhood. The dongman style and aesthetics of the US and Japan are different, with each having its unique strengths. Dongman in the US is more education-oriented with a target audience composed mainly of children and teenagers. Their characters tend to have distinct but singular personalities, such as those of Disney or the Marvel Universe. By contrast, Japanese-style dongman sports various styles, ranging from cute, sporty, and science fiction to noir, monster, and adult-oriented. In 2018, the dongman industry in Japan exceeded revenue of JPY2 trillion (approximately US$18.2 billion), nearly half of it from overseas markets. Today, 65% of the global dongman industry is produced by Japan. The importance of Japanese dongman cannot be overstated. Dongman, automobiles, and digital content are the top three industries in Japan. Together, they make up the economic backbone for the Land of the Rising Sun.

[ ART & INVESTMENT ]

Manga has a long history in Japan. The single-volume Hokusai Manga, published by the ukiyo-e master Hokusai Katsushika describing the culture of commoners during the Edo period, is considered the beginning of Japanese manga. During the Meiji period in the mid-19th century, Japan opened Yokohama Harbor as a treaty port. Traditional Japanese arts were exposed to Western cultural influences, such as photography and western painting, and western comics entered Japan through European and American newspapers. The ukiyo-e painting represented the gradual waning of culture from the Edo period, and many painters started working with newspapers to paint comics, which at the time were mainly satire on current affairs. Looking back on the history of the Japanese dongman industry, Osamu Tezuka (1928–1989) was the key figure in Japanese manga and animation entering the West. For most foreigners, Tezuka is the origin of Japanese manga. For dongman fans, the talented Tezuka holds god-like status. When he was alive, he was bestowed the reverent title "God of Manga." From a young age, Tezuka devoted himself to manga. Throughout his life, he diligently composed and created a large body of work, including approximately 450 manga (some say 700). Tezuka once said, "In our era, manga, like air, is everywhere." He considered dongman an orthodox culture and strived to overturn the public view that manga belonged to a subculture or was negative. Be it manga or later animations, he and the creative team he led profoundly influenced this industry. Osamu Tezuka ( 手塚治虫 ) was born Osamu Tezuka ( 手

塚

治 ) on

November 3, 1928. Because he shared a birthday with the Emperor Meiji ( 明

"How could manga swipe Japan of its feet? One of the reasons is that Japan has Osamu Tezuka, but not other countries. Without Tezuka, manga could not have thrived so in post-war Japan." These are the words with which Asahi Shimbun paid tribute to this giant of his generation on the day after Tezuka passed away due to illness on February 9, 1989.

治 ), his parents named him Osamu ( 治 ).

Emperor Shōwa passed away in early 1989, ending the longest reign in Japanese history. The

Tezuka's parents were from well-to-do

lives of Tezuka, the god of manga, and Misora Hibari, the queen of cultural icons, ended the same

families with favorable backgrounds.

year. These two people were representatives of the pop culture of the post-war Shōwa period.

His father enjoyed manga, photography,

Specifically, Tezuka's life almost perfectly overlapped with the Shōwa period, a time when the

and movies. His mother was a fan of

world underwent turmoil and rapid development, the best of the times and the worst of times.

the Takarazuka Revue musical theater troupe and an adept story-teller. Tezuka was gifted at birth and was influenced by his parents from a young age. He especially loved drawing manga. He was also interested in astronomy and insects. Ground beetles in Japanese are called osamushi, which sounds similar to his name, Osamu. Feeling that he looked like a ground beetle, he added another kanji 虫 (meaning bugs) to the end of his name to make 手塚治虫 , his penname as a manga artist. This was in 1939, when Tezuka was merely 11 years old.

Tezuka's home had plenty of manga, both American and local, for him to enjoy at will. He also liked to watch movies, especially Western movies like Hollywood adventures, English thrillers, and Disney cartoons such as Popeye and Betty Boop. Those and the glamorous dramas from the Takarazuka Revue spurred his desire to act and to create long manga. Gradually, he developed an interest in, and the ability to tell, stories. When the Second World War ended in 1945, Tezuka was studying medicine at Osaka University, where he continued to create manga in his free time. In 1946, his work Diary of Ma-chan, a four-cell manga column, debuted in the ShĹ? Kokumin shinbun (the current Mainichi Shougakusei Shimbun), and he became a professional manga artist. In 1947, Tezuka published a long manga, Shin Takarajima (New Treasure Island), loosely based on Shichima Sakai's work. It sold over 40,000 copies and made him famous. Tezuka integrated cinematographic and storyboard techniques such as zooming, wide-angle shots, and high-angle shots into comics, exceeding the four-cell framework and beginning a brand-new era in manga. Tezuka became a famous manga artist, and his creativity skyrocketed. In 1950, he started serializing Kimba the White Lion in the Manga ShĹ?nen magazine. This work was animated in 1966 as the first color television film in Japan. In 1994, the US Disney company, claiming to be inspired by Shakespeare, launched the movie The Lion King. People in the dongman world were shocked, believing that that story had been plagiarized from Tezuka's original story, Kimba the White Lion. As a faithful Disney fan, Tezuka had visited his idols in the US. After his death, that company plagiarized his work. What an interesting destiny.

In 1951, in the Manga ShĹ?nen magazine, Tezuka serialized Ambassador Atom. The editor of the magazine suggested that he isolate the supporting character, Astro Boy. Later, Astro Boy was serialized in the same magazine and was wildly popular. The stories were adventurous and inspiring, and the forever-young boy, Tezuka's signature work, conquered manga and anime fans worldwide. In 1963, the first Japan-produced black-and-white TV anime show, Astro Boy, premiered on Fuji TV. From then to 1966, the 193 episodes had substantial viewer rates. The anime was also translated into English and sold to other countries. In late 1963, the US television channel NBC broadcast the English version of Astro Boy. In 1980, 60 episodes were reissued; these are the versions broadcast in Taiwan and Hong Kong in the 1980s. In the same year, China imported the black-and-white version, which became one of the earliest anime to enter the Chinese market. It was only in 2003 that the third version, the color version, was shown in China. Tezuka was passionate about everything he did. While he was busy drawing manga, he continued his studies. In 1951, he graduated from medical school. The following year, he passed the national physician's exam. For work, he moved to Tokyo, where he lived in Shinjuku City. In 1953, he moved to the famous Tokiwa-so Apartment in Tokyo. In 1954, he was listed among those who paid high amounts of taxes. Clearly, manga had earned him a substantial fortune. In 1961, he received his doctoral degree in medicine with the dissertation "Electron microscope study on membrane structure of atypical spermatids." His medical and science backgrounds were perfectly utilized in his writing of Astro Boy and Black Jack. Both works have autobiographical emotional projections and ideal pursuits. 12

[ ART & INVESTMENT ]

The Takarazuka Revue musical theater, popular in the romantic Taishō era in Japan, imitated the performance styles of Broadway musicals and the Moulin Rouge in Paris. All the characters in their glamorous dramas were portrayed by cross-dressing female actresses. These were the most dazzling memories in Tezuka's childhood. In 1953, Tezuka published Princess Knight, which was influenced by the Takarazuka Revue. The characters, sporting round faces and shiny big eyes, are considered the origin of shōjo manga, or manga targeting the teenage female readership. In addition to his cute, humorous, and science fiction adventures, this gifted manga artist demonstrated yet another impressive style. However, in 1955, the education system in Japan fell under the pressure of conservative parents and started the Akusho Tsuih Und, a movement for the expulsion of bad books. Manga was a particular focus of this censorship. As the best-selling manga artist, Tezuka was their first target. Even the well-behaved Kimba and the cute Astro Boy were objects of criticism.

Tezuka experienced the cruelty of the Second World War, and war had a profound influence on his works. Reflections on survival and explorations of the dignity of life are consistent themes in his creations. For example, the experiences of the protagonists Astro Boy and Kimba touch on profound themes in life that exceed the scope of children's understanding. Likewise, the work Phoenix, first serialized in 1953 in the Manga Shōnen magazine and later published in 1966 in the COM magazine issues by Tezuka, discusses the secrets of life and is considered the greatest work of his creative life. Tezuka was also the first manga artist in Japan to introduce the assistant system and corporate management, which had a substantial influence on the later Japan manga industry. In 1961, he established his own animation production company, Mushi Productions. In 1962, he officially established the Mushi Production Corporation. Famous TV animations he released under Mushi Productions include Astro Boy, Princess Knight, Kimba the White Lion, Dororo and Ashita no Joe. Mushi Productions also had adult-oriented works such as A Thousand and One Nights, Cleopatra, and Belladonna of Sadness.

Tezuka once joked that manga was his wife, and animation was his lover. Animation is an international language, a pathway to communicate with the world and realize his dreams. However, animation production was both time- and labor-consuming. Worse, it was expensive. The 1960s was a period not long after the post-war recovery. Even though Tezuka's manga and animation career peaked and earned him a substantial income, he still encountered financial difficulties. Disney animations used at least 24 pictures per second, and 1 minute required 1,440 pictures. By contrast, Tezuka economized in Astro Boy, using only 12 pictures per second. Later, he further reduced it to only 8 pictures per second. This so-called "limited animation" with its unique style became an alternative style for Japanese animation. In any case, each picture required the superb skills and teamwork of animation artists. Before the emergence of 3D animation, all animation was painted on celluloid films, colored by hand, and shot on watercolor backgrounds to form a video. Celluloid film manuscripts were like beautiful pictures. As time progressed, pure hand-made pictures were replaced by products of computer technology. In 2007, digital techniques were adopted. However, due to a lack of awareness of preservation, the classic manuscript papers by Tezuka were mostly lost or damaged. The few surviving ones bear witness to the master's extraordinary creativity.

The expensive animation production fees were too much for Tezuka to cover. In 1973, Mushi Production declared bankruptcy. After all, he was painting in his studio all day and had no time for other matters. He also lacked good corporate management skills. The owner of a furniture company who had received favors from Tezuka heard about his hardship and offered to pay off his debts, gradually assisting him in overcoming the difficulties. Despite the financial hardship, Tezuka did not neglect manga or animation. The outstanding science fiction works The Three-Eyed One and Black Jack were both generated in this period and brought him out of the pit of despair. Specifically, the sense of loneliness from bankruptcy gave Black Jack a surreal feeling. It was the first medical manga in the world to be created by a medical doctor.

In 1977, the union of Mushi Production Company established the Mushi Production Co., Ltd. in Tokyo as a continuation of the old company. It mainly contracted animation works from that company and is still running today. However, when Mushi Production declared bankruptcy, Tezuka left the company. In 1968, Tezuka established Tezuka Productions Co., Ltd., to facilitate manga production and copyright management. It is still running today. At first, Tezuka would contract his works to the Mushi Production Company and have them turn the manga into animations. However, in the later period, not many manga could be adapted into animations. The limited-edition Astro Boy figurines and licensed products were issued by Tezuka Productions. Overworked, Tezuka passed away in Tokyo from gastric cancer on February 9, 1989, at the age of 60. In his legendary life, he immersed himself in the imaginary world of manga and anime. His success and failures in his manga career were woven into one work after another. His works are like a splendid history of Japanese dongman. Most Japanese manga artists have been influenced by Tezuka, including Fujio Fujiko (the penname shared by Japanese manga artists Hiroshi Fujimoto and Motoo Abiko), who created Doraemon; Hisashi Sakaguchi, author of IkkyĹŤ-san; Akira Toriyama, author of Dragon Ball; Go Nagai, author of Mazinger Z; Riyoko Ikeda, author of The Rose of Versailles; and later artists such as KAWS. Tezuka's oldest son, Macoto Tezuka, inherited his father's talent for painting. He is also an animation director, adapting his father's manga into movies. In 2020, to promote the integration of artificial intelligence and human technology, the Japanese publishing company Kodansha Ltd. proposed a special project, TEZUKA 2020. They attempted to use artificial intelligence to produce the new manga Paidon, which carries the spirit of Tezuka, enabling the genius of the god of dongman to continue to exist in the 21st century.

[ ART & INVESTMENT ]

Five years after Tezuka passed away, his hometown Takarazuka City established the Osamu Tezuka Manga Museum. Fans from around the world visit it on pilgrimages. When they view the dongman characters he created, their childhood memories are awakened. Tezuka altered the status of dongman as a subculture and won numerous international awards. His manuscript paintings, including his celluloid animation manuscripts, have occasionally been sighted on the auction markets in Paris, Tokyo, China, and Hong Kong since 2011. Recently, due to the global trend in figurines and street arts, many famous contemporary artists have been influenced by the cute manga and animation styles of Japan. Animation manuscripts that had previously not been on the major market entered the exhibition venue of 2019 Art Tokyo. In 2019, the two major auction houses in Hong Kong both auctioned off the works at satisfactory prices. Tezuka is the god of Japanese manga and animation. His achievements could be observed in the 90year anniversary special exhibitions in 2019. For example, his works were included in "The Citi Exhibition: Manga" at the British Museum in London, in the "BISHOJO: Young Pretty Girls in Art History" special exhibition at the Museum of the National Taipei University of Education, at the Tampere Art Museum in Finland, and at the "Osamu Tezuka, the God of Manga" exhibition at Museu Nacional d'Art de Catalunya in Spain.

In May 2018, at the famous auction Artcurial in Paris, a 35×25 cm hand-painted draft of Astro Boy created in the late 1950s sold for €269,400 (approximately NT$9.58 million), setting a new record for Tezuka's works. Subsequently, in November 2019, Christie's Hong Kong offered All Stars, an even smaller watercolor work of 15×19.2 cm featuring six famous manga characters by Tezuka. This painting sold for HK$0.5 million (approximately NT$2 million). Tezuka created quite a few manuscripts during his life, and their market prices vary. If doubt about counterfeits can be removed, the prices still have room to grow. Due to the recent popularity of trendy toys, the figurines licensed and issued by Tezuka Productions as well as limited editions or old Astro Boy objects have become favorite targets at physical auctions or on online platforms. One 150-cm tall figurine, a life-sized version of a character, sold at auction for NT$360,000 in Taipei. Even auction objects such as antique comic books and celluloid animation manuscripts are favored by collectors. At the Ravenel Spring Auction, "Select: Modern & Contemporary Art," a subunit "The God of Manga and Anime: Osamu Tezuka" will be launched. Over twenty sets of manga and anime manuscripts will be introduced, including representative works of Astro Boy, Kimba the White Lion, Black Jack, Princess Knight, The Three-Eyed One, and GoKu's Great Adventures. These pictures, generated for animations, were carefully plotted and painted in elegant colors. This will be the chance to collect the classic creativity of this god-like master all at once. The opportunity to obtain these meaningful artworks is rare. It is hoped that it will lead a trend in classic manga and animation arts. 15

手塚治虫作品二十大拍賣成交排行 1

原子小金剛 Astro Boy

眾星雲集 All Stars

原子小金剛與火之鳥 Astro Boy and the Phoenix

Ink and watercolor on paper 35 x 25 cm

1976 Watercolor on paper 15 x 19.2 cm

1981 Watercolor on paper 12 x 17 cm

1.森林大帝；2.原子小金剛；3.怪醫黑傑克；4.火之鳥；5.緞帶騎士 1. Kimba the White Lion; 2. Astro Boy; 3. Black Jack; 4. Phoenix; and 5. Princess Knight

手塚治虫原稿；原子小金剛手稿；原子小金剛玩具 Original Drawings by Osamu Tezuka (5 Works) Astro Boy Animation Cel and Sketch & Tin Toy

Watercolor and marker pen on paper (1); marker pen on paperboard (2); screenprint, ed. 27/100; cel print, ed. 22/200 34 x 24 cm (1); 27.3 x 24.2 cm (2); 19.5 x 19.5 cm (1); 28.5 x 38.5 cm (1)

c. 1980s Original drawing: three works signed by Osamu Tezuka; acrylic on cel; pen on paper; tin Original drawing: 24 x 17 cm (each) Cel image: 25.5 x 36 cm Sketch: 23 x 27 cm Tin Toy: 16 x 11 x 31 cm

預估價 Estimate

US$47,784~71,676 EUR 40,000~60,000

US$76,683~102,244 HK$600,000~800,000

US$28,117~51,122 HK$220,000~400,000

US$28,116~51,121 HK$220,000~400,000

US$12,746~25,492 HK$100,000~200,000

成交價 Sold at

US$47,926 HK$375,000

US$38,238 HK$300,000

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris May 5, 2018

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong November 23, 2019

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong November 24, 2019

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong November 23, 2019

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 7, 2019

原子小金剛 Astro Boy

金毗羅宮參拜–現在與過去 Visiting Konpira Past And Present

原子小金剛 Astro Boy

《原子小金剛》人物設計稿 Draft of the Cartoon Astro Boy

Felt pen on paper 26.5 x 23.5 cm

1959-1964 Pencil on paper 27 x 24.5 cm

手塚治虫簽名之「飛行原子小金剛與火之鳥」及兩本古董漫畫書 Flying Astro Boy with Phoenix Signed by Osamu Tezuka with Two Antique Comic Books

US$321,825 EUR269,400

1982 Ink, felt pen, gouache and watercolor on paper 26 x 23 cm

1985 Watercolor and pen on paper mounted on panel 59.5 x 42 cm

US$63,902 HK$500,000

成交價 Sold at

Watercolor on paper (1); first edition comic books published in 1949 & 1957 (2) 23 x 14 cm

預估價 Estimate

US$10,908~16,362 EUR8,000~12,000

US$13,855~23,091 JPY1,500,000~2,500,000

US$4,933~5,481 EUR4,500~5,000

US$12,048~18,072 RMB79,997~119,996

US$19,125~31,875 HK$150,000~250,000

成交價 Sold at

US$24,247 RMB160,995

US$23,906 HK$187,500

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris, May 25, 2014

拍賣日期 Auction Date 東京SBI拍賣 SBI Art Auction, Tokyo November 1, 2019

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's, Paris March 7, 2015

拍賣日期 Auction Date 杭州西冷印社 Xiling Yinshe Auction, Hangzhou, July 8, 2018

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 7, 2019

US$31,877 EUR23,378

US$87,866 HK$687,500

US$29,742 JPY3,220,000

US$26,038 EUR23,750

成交價 Sold at

[ ART & INVESTMENT ]

TOP 20 MOST EXPENSIVE ARTWORKS OF OSAMU TEZUKA EVER SOLD AT AUCTION

TOP

製表 ∕ Josephine Chen （Update 2020.02.20; Source: Artprice, Artron, Artcurial, Christie's, Sotheby's, Poly Auction, Xiling Yinshe, Sungari International Auction, Mainichi Auction, SBI Art Auction）

原子小金剛 Astro Boy

手塚治虫畫原子小金剛；萬籟鳴題中日友好郵票實寄封 Drawing of Astro Boy by Osamu Tezuka; Used envelop of Sino-Japanese Friendship inscribed by Wan Laiming

等身大原子小金剛店頭公仔 Astro Boy Welcome Big LifeSize Figure

等身大原子小金剛店頭公仔 Astro Boy Welcome Big Life Size Figure

等身大原子小金剛店頭公仔 Astro Boy Welcome Big LifeSize Figure

FRP 80 x 41 x 153 cm

FRP 82 x 40.5 x 153 cm

FRP 80 x 41 x 153 cm

預估價 Estimate

US$13,401~16,751 EUR12,000~15,000

No Reserve

US$9,949~13,265 NT$300,000~400,000

US$9,700~14,550 NT$300,000~450,000

US$9,650~12,870 NT$300,000~400,000

成交價 Sold at

US$18,630 RMB124,200

成交價 Sold at

拍賣日期 Auction Date 台北景薰樓拍賣 JSL Art International Co., Taipei, June 17, 2018

拍賣日期 Auction Date 台北景薰樓拍賣 JSL Art International Co., Taipei, November 9, 2018

拍賣日期 Auction Date 台北景薰樓拍賣 JSL Art International Co., Taipei, June 16, 2019

2012 Ink on canvas 45.5 x 38 cm

US$23,731 EUR21,250

拍賣日期 Auction Date 巴黎佳士得 Christie's, Paris June 17, 2017

成交價 Sold at

拍賣日期 Auction Date 北京保利拍賣 Poly Auction, Beijing June 18, 2018

US$11,938 NT$360,000

US$11,640 NT$360,000

US$11,426 NT$360,000

森林大帝 Kimba the White Lion

緞帶騎士 Princess Knight

原作插圖 Original Illustration

無題 Untitled

三眼神童 The Three-Eyed One

2008 Ink and blue pencil on paper 23.5 x 21.5 cm

Ink, pencil, blue pencil and gouache on paper

Ink and pen on paper 102 x 73 cm

c. 1950 Ink on paper 14 x 12.5 cm

1970-1980 Watercolor on paper 34.5 x 23 cm

預估價 Estimate

US$9,984~12,480 EUR8,000~10,000

US$8,882~11,102 EUR8,000~10,000

US$3,820~5,730 JPY400,000~600,000

US$9,074~11,342 EUR8,000~10,000

No Reserve

成交價 Sold at

US$9,810 RMB69,000

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris November 22, 2014

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris May 23, 2015

拍賣日期 Auction Date 東京每日拍賣 Mainichi Auction Inc., Tokyo January 11, 2014

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's, Paris May 14, 2016

US$11,042 EUR8,848

32 x 21.5 cm

US$10,525 EUR9,480

US$10,013 JPY1,048,500

US$9,925 EUR8,750

成交價 Sold at

拍賣日期 Auction Date 北京中貿聖佳 Sungari International Auction, Beijing November 30, 2019

法式超艷俗 ? 市霸奇奇的當代藝術

WHAT WE NAMED THIS STYLE,

SUPAKITCH !? Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group、SupaKitch

[ THE ARTIST ]

法國當代藝術家 SupaKitch（中譯：市霸奇奇），以法文 Super（超級）＆德文 Kitsch（艷俗）二字結合自創藝名。 SupaKitch 的創作語彙，顛覆傳統塗鴉的印象。從噴漆隨性到花體字型流暢，他交錯運用不同媒材，精湛風格從眾脫穎而出，關注從街頭延伸到主流美術界，深受私人藏家的喜愛。 1978 年生於臨近地中海的法國蒙佩利爾（Montpellier）的 SupaKitch，本名紀堯姆・岡鐸（Guillaume Grando）。除了歐洲古典美術，生於嘻哈世代的 SupaKitch 也喜好當代風靡的日本卡漫、好萊塢影視，他的創作養成浸淫在多元開放的世界文化。他與童年玩伴的最大樂趣，是改造夾克與街上塗鴉。日夜徜徉創作藍海，繪畫的快樂喚醒他成為專職創作者的念頭。十六歲與好友組成創作團體，成員間互相交流擅長領域：繪畫、攝影、音樂、印刷設計。1999 年成為廣告公司藝術總監。而無窮的創作慾望和傑出天分，很快讓他成為專職藝術創作者，建立出獨一無二的個人風格。

▲ SupaKitch, 星盤樂手 Vincil from Ummo-Hamptown.mp3, 2009, mixed media on PCB, 50 x 50 cm ◀ SupaKitch & Koralie, 壁畫 Halles Du Lez, 2019, Montepellier, France

2002 年舉行首次展覽，五年後他搬至紐約布魯克林，街頭文化的獨有氣息與流行音樂，刺激他筆下新一虛擬世界誕生。各種擬人化奇獸 SupAnimal，披上華麗外羽，牠們或是唱歌的獅子、旋轉唱片的浣熊，也可能是酷炫抽菸的幫派角色 SupAl Capone。逗趣的圖像，主題千變萬化，任由色彩如音符生動跳躍，活脫脫表達作者內心的活躍面向。2010 年受訪時 SupaKitch 表示：「I was born to be different.（我生來與眾不同。）」。SupaKitch 鍾情「東方文化」的神秘悠遠，畫作中他將各種隱喻佈局：牡丹、鳳羽、龍麟、小籠包等等元素，橫幅長構圖，線條纏成詩句。畫中運筆流暢，隨韻律彼此相和，穿梭在自由之境。近年，靈感來自石紋與海波張成的無垠。藝術家由畫布平面，發展到半立體新式媒材創作。觀者也隨著縈繞水波的湛藍，想像一趟徐風吹拂、自由放鬆的心靈之旅。 SupaKitch 認為創作中試圖冒險，有助於「不可預期的過程」帶來驚喜與累積。各項鑽研的動機，始終是啟發於興趣。藝術家用不斷研究和實驗，換來超越自我的成就。隨次文化意識普及，2009 年他開始接觸「刺青」文化，這項早期被視為反社會主流，歷史淵遠的技藝。SupaKitch 與攝影師達米恩・維涅爾（Damien Vignaux）、模特兒安吉・詹金斯（Angie ◀ SupaKitch, 泳池與太陽 I Pool & Sun 1, 2018, mixed media, 97.8 x 80 cm

Jenkins）合作，在眺望天際的紐約高樓，以錄像攝影完成紀

◀ 藝術家 SupaKitch © Photographer Damien Vignaux, 2018

錄，將悉心大膽的刺青刻印，綻放在柔韌的女體肌膚。 19

新雅痞生活與潮藝術當道，SupaKitch 與同為藝術家的妻子 Koralie，兩人用創作傳達新穎生活概念。2005 年共同創立品牌 Metroplastique，並吸引如 Carhartt, Zespà, Converse, Volvo, IKEA 等知名品牌合作。彼此風格不同，卻因有絕佳默契與成熟經驗，共同創作大型戶外壁畫，成為時下最 in 的潮流藝術夫妻檔。法國雷茲市場（Marché du Lez）壁畫，兩人激盪出絕美成果，令人過目難忘。畫面流動如煙的金波，留在雲母色圖形上聚合離散。昇華的異域傳統，包覆於繁複花色，筆下蜿蜒曲線，兩位藝術加巧妙聯結法式美學與東亞文化焦點，完美展演人文風景和當代神話的想像。

▲ SupaKitch & Koralie, 巴黎餐廳 Daroco 16, 2019, Paris, France ◀ SupaKitch, 時鐘潮客 Pop the Clock, 2007, mixed media on canvas, 195 x 115 cm

French contemporary artist SupaKitch made up his own artist's pseudonym by combining two words, the word for super in French (Super) and the word for gaudy in German (Kitsch). SupaKitch's creative language subverts the impression of traditional street graffiti. He uses spray paint and copperplate writing skill juxtaposing different material on the canvas. His exceptional style stands out and draws attention of audience from street art to the mainstream fine art, becoming one of the icon choices by private collectors. SupaKitch named Guillaume Grando was born in 1978 in Montpellier, a French town near the Mediterranean Sea. In addition to classical European art, SupaKitch grew up in a Hip-Hop Generation, he also likes Japanese manga and Hollywood films, it's shown his creative inspirations are rooted in open multi-culture. In childhood, what he enjoyed the most was transforming jackets and spray-painting graffiti on the streets with his friends. Day and night, he roamed in the vast ocean of creativity and the joy of painting called out to him to become a professional creator. At the age of 16, he and friends formed a creative group where members shared their expertise including painting, photography, music and print design. In 1999, SupaKitch became the artistic director of an advertising agency. However, his endless creative desire and outstanding talent soon made him a full-time artist, establishing his own distinctive personal style. 20

[ THE ARTIST ] In 2002, SupaKitch held his first art exhibition. Five years later he moved to Brooklyn, New York, where the unique atmosphere of street culture and pop music spurred him on to create a new virtual world with his paintbrush. He created a variety of anthropomorphic monsters cloaked in the splendor of feathers. Also known as SupAnimal, they could be a singing lion, a record-spinning racoon D.J., or a cool smoking gang character SupAl Capone. The amusing images present the painter's dynamic inner world with ever-changing subjects and colors jumping vividly as musical notes. In 2010, SupaKitch said during an interview: "I was born to be different." SupaKitch loves "Eastern Culture" especially for its mysteriousness and a sense of remoteness. The composition of his paintings are metaphorical and often contain elements such as the peony, phoenix feather, dragon scale and even Xiaolongbao. A painting with the dimension of a long banner may have the composition of lines poetically intertwined. His paintings are also noted for smoothness of the shapes and strokes, harmonized into rhythm in a free and dynamic realm. In recent years, his inspiration comes from the immortality of rock patterns and sea waves. The artist begins with a flat canvas and develops into a semi-3D new style of media. The viewer also follows the azure blue lingering on the waves, and imagines a journey of free and relaxed mind caressed by the wind. SupaKitch believes that during the course of creation, risk-taking is conducive to an "unexpected process" which brings surprise and accumulation. The motivation for various studies begins with personal interest. Artists persistent with research and experiment will bring about an achievement exceeding the self. As subculture awareness

▲ SupaKitch & Koralie, 壁畫 Asbury Pool, 2019, New Jersey, U.S.A. ◀ SupaKitch, 日落時光 Sunset light, 2019, mixed media, 102 x 65 cm

became wide-spread, in 2009 he began approaching the tattoo culture, an artistry with a long history which was considered anti-mainstream in the early years. Working with photographer Damien Vignaux and model Angie Jenkins, SupaKitch completed a video photography documentary at a skyscraper in New York with an open view of the sky, allowing the delicate yet bold tattoo to bloom on the soft and flexible skin of a woman. In a world predominated with new yuppy lifestyle and urban art, SupaKitch and his artist wife Koralie convey novel life concepts with creativity. In 2005, they cofounded the brand Metroplastique and attracted some famous brands including Carhartt, Zespà, Converse, Volvo, and IKEA, etc. to collaborate with them. They have different styles, but excellent tacit understanding and in-depth experience help them to create large size outdoor murals, becoming one of the influential urban art couples at the moment. For the mural at the Marché du Lez French market, the two of them smashed together to produce something beautiful and memorable. The gold wave images flow as air but stayed on the mica color shapes in clusters and scattered forms. The sublime exotic tradition is wrapped in complex designs of two artists meandering curves under the brush, cleverly linking French aesthetics with the focus of East Asian culture, and perfectly demonstrates human landscape and imagination of contemporary myths. 21

聞「假」色變 BATTLING WITH COUNTERFEIT WINE Text / 唐維怡 Eva Tang

Photo / Ravenel International Art Group

2002 年，一位靦腆的印尼籍華裔男子 Rudy Kurniawan 在拍賣市

Rudy 事件引起葡萄酒圈對假酒的高度警惕，但他並非史上第一位

場異軍突起，頻繁競拍珍稀酒款且出手大方的他，憑藉著敏銳的味蕾

製假販假的人，早在 1980 年代，本名 Meinhard Görke 的德國人 Hardy

與淵博的葡萄酒知識，很快便成了圈子裡的紅人。收藏著大量稀有年

Rodenstock，便因舉辦過像是 Château d'Yquem 自 1783 年開始的 125

份 DRC 的 Rudy 更被大家尊稱為「Dr. Conti」。2006 年，Rudy 開始

個年份垂直品飲這樣令人歎為觀止的珍稀佳釀品酒會，在收藏圈名聲大

與 Acker Merrall & Condit 拍賣合作，幾次拍賣都取得驚人的好成績。

噪。1985 年，Rodenstock 意外發現了一批 1784 年至 1787 年、瓶底刻

然而好景不長，2007 年 4 月佳士得 Christies's 在洛杉磯的酒拍封面

著「Th. J」傑弗遜總統（Thomas Jefferson）簽名收藏的珍稀美酒，其

作品—大瓶裝 1982 Le Pin 被 Le Pin 莊主指認並非真品；2008 年委託

中一瓶 1787 年的 Château Lafite 在當年的一場拍賣會中拍出了 105 萬

Acker 上拍的 1945 年至 1971 年 Domaine Ponsot Clos St. Denis 被莊主

英鎊的傲人成績，成為當時全世界最昂貴的一瓶葡萄酒。儘管不斷有專

Laurent Ponsot 本人在拍賣現場指認為假酒；2009 年，Rudy 更遭到美

家提出質疑，Rodenstock 仍不時出售著他於「隱密在巴黎或歐洲不起眼

國富豪 Bill Koch 控訴蓄意販賣假酒；2012 年 3 月，Rudy 被捕。在羈

城鎮酒窖中」挖掘出的難得珍品，每一瓶都為他帶來難以估量的財富。

押 30 個月後的 2014 年 8 月 8 日，有史以來最大宗的葡萄酒詐欺案終告

直到 1988 年，美國的億萬富豪 Bill Koch 意外發現酒窖中耗費 50 多萬

宣判，Rudy Kurniawan 因涉及三千萬美金的假酒詐騙，被判處十年監

美金收藏的四瓶傑佛遜總統藏酒，上頭的簽名是用現代牙醫使用的電鑽

禁，震驚全球。然而，若長期追蹤 Rudy 的蹤影，您就會知道三千萬美

所刻，總統的簽名也應是「Th: J」而非「Th. J」，種種發現證明這批

金這個數字僅是冰山一角，從 2002 年 Rudy 在葡萄酒圈崛起到被捕的

酒根本不存在。然而令人唏噓的是，儘管鐵證如山，這位 Rodenstock

十多年間，他涉及的假酒金額應高達數億美金。

先生卻因遠在美國不具管轄權的德國，一生都逍遙法外。

喝

酒

不

開

車

[ WINE ]

再往前推一些的 1973 年，法國稅務稽核人員發現一家波爾多小

一個細節都必須相互呼應。這樣的程序跑下來，一瓶酒的檢驗至少需要

酒商 Pierre Bert 售出的酒款似乎比買進的要少許多，深入調查後發

20 分鐘，Maureen 和她的團隊在過去二十年便是這樣，在世界各地的酒

現 Pierre 竄改葡萄酒的產地資訊，將從南法或波爾多採購的廉價酒款

窖中不斷重複著 95 個檢驗點的流程，累積出數十萬筆的資料庫與輝煌的

塗改成 Saint-Émilion、Pomerol 等地的知名酒莊再轉手出售，所涉及

戰績。

的酒多達 300 萬瓶，占當時波爾多年銷售量的 5%，仿冒的對象都是波爾多最受歡迎的葡萄酒莊。這件事情的揭發不僅使傳承 160 年的 CRUSE Frères & Fils Company 酒業轉手，更引發了全球波爾多市場的震動，藏家不再相信任何非「mis en bouteille au château （酒莊裝瓶）」的酒款。

在所有的線索中，最最基本的是酒標圖案的紋理必須要清晰，套句 Maureen 的話：「沒有人會把自家酒廠的標誌印得模糊不清」，所以在放大鏡下，我們應該期待 Lafite 酒標上女人的臉龐和男人衣服線條分明、 Haut Brion 建築物上每個窗戶線條分明、Henri Jayer 的家徽盾牌線條整齊且雄獅爪子清晰可見、Armand Rousseau 的紅色和金色色塊色澤飽滿……。

我們於是知道了，仿冒並非現代產物。事實上，假酒的歷史和葡萄酒本身的歷史一樣久遠。他們一直存在，只是跟隨著時代，他更新了手法，精益求精。

真實的歲月痕跡

紙張會隨著陳年而沾染上歲月的痕跡。若遇上一瓶酒標嶄新的老年份酒款，除了探詢酒莊近年新釋出（late release/ new release）與重新整理（recork）的可能性，也得思考我們是否不幸碰上了位整形成 18 歲少

儘管部分的酒已被喝掉，許多被製造出來的假酒仍在藏家的酒窖間流轉，當眾揭發 Rudy 造假的 Domaine Ponsot 前莊主 Laurent Ponsot 甚至認為拍賣場上 1980 年前的勃根地酒款有 80% 是假的。事態似乎正隨著酒類收藏與投資風氣的益發興盛而漸趨嚴重，許多重量級的藏家也逐漸因假酒的打擊失去信心而離場。現在的我們，能做些什麼 ?

女的 80 歲老嫗。根據 FBI 從 Rudy 家中搜出的製假道具，發現他會利用烘烤將紙張烤得泛黃、利用咖啡漬、酒漬或菸草將乾淨的新酒標弄髒、甚或故意將酒標弄破，讓人們相信酒的老舊。然而大量製造的泛黃酒標由於彼此重疊，往往可以從異常規則的線條中找到線索；咖啡、酒等液體帶來的髒汙竟奇異地沒有任何液體自然流動的痕跡、或從破裂的酒標下方出現溢出的

葡萄酒界的福爾摩斯

膠水痕跡……等，儘管存在障眼法，對於經驗老道的人來說仍然有著許

被業界稱為「葡萄酒福爾摩斯」的 Maureen Downey 自 2005 年

多破綻。

起便致力於辯證葡萄酒的真偽，如同電影《酸葡萄 Sour Grapes》所述，Maureen 作為協助破案的一員，她協助全世界各地的藏家釐清自己收藏的正確性，親自站在法庭第一線打擊假酒，如今更在世界各地建立葡萄酒鑑定軍團，是假酒鑑定領域的領軍人物之一。 Maureen 相信葡萄酒的生產是一個專業的流程，對酒質有所追求的莊主們不會放任玻璃瓶、酒標印刷、酒塞選用等細節的隨意。也正因如此，某些假酒確實很容易被識別，例如，GUANGDONG-CONTI 這類明顯的拼寫錯誤、聖彼得被換置成毛澤東頭像的 Petrus 等酒莊標誌的誤植、寫著 Bordeaux 的 Sassicaia 等產區資訊的謬誤……，然而，手法精良的仿冒品有的使用回收空瓶、有的重複利用舊酒標，使得具體判斷變得益發困難，所需要的不僅僅是敏銳的雙眼，更需要長時間經驗和資料庫的累積。樸實且枯燥的驗酒過程

Maureen 和她的專業鑑識團隊建立起了一套有著 95 個檢驗點的系統驗酒流程，大項目包含了酒標、錫封、玻璃瓶、印刷、墨水、膠水、酒塞，酒標大項內又包含了彩色圖樣、文字印刷、老化狀態、髒污破損程度等細節，每一個項目的比重不同，但都必須被考慮，且每

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知識就是力量

因被相信而存在的獨角獸

Maureen Downey 一次又一次在公開場合強調，當一瓶酒的來歷與故事

辯證真酒假酒需要的除了無比的耐心和經驗，也必須要有過人一等的記憶力和足夠的知識。

越精彩，通常就越有問題。舉例來說，當有人試圖向您販售一瓶僅存在酒莊內從不曾對外發售的 1945 年大瓶裝 DRC Romanée-Conti、深埋在比利時某

如果知道 Pauillac AOC 制度是在 1936 年才建

神秘家族酒窖中的十六世紀 Château Lafite，心中的警報就必須拉響。正如

立，當看到一瓶掛著 Pauillac AOC 產區規範的 1821

同 Rudy 所創造的 1945 年 Domaine Ponsot Clos Saint Denis 和 Rodenstock

年 Château Lafite，第一反應就會從讚嘆轉為嘆息；

創造的傑弗遜總統簽名收藏 Lafite，這種類型的假酒通常利用了人們對於

如果知道 Rothschild 家族在 1868 年後才擁有 Château

「獨角獸」那獨一無二、界於現實與幻想間浪漫的迷戀。

Mouton，看到一瓶 1859 年 Château Mouton Rothschild 就不會盲目地追求；如果知道五公升瓶自 1978 年之後

假酒確實是個需要被高度重視的課題，且只要有利可圖，仿冒就不會

才出現在波爾多地區，翻閱到拍賣圖錄上一瓶 1945 年

停止，即便 Maureen Downey、Michael Egan、Jancis Robinson 這樣的專業

五公升裝的 Cheval Blanc 就該讓您心中警鈴大作。

鑑定大師堅定地站在第一線，能做到的防範依然只是杯水車薪。正如曾被 Rudy 假酒殃及的倫敦佳士得拍場負責人所說，防治假酒需要的是整個葡萄

熟悉各產區法規的生效日期與產區歷史、不同市場

酒產業鏈的重視，專家們現在正在做的事情，便是呼籲大家正視問題。熱愛

對於玻璃瓶使用的習慣、印刷技術的時代更跌、了解各

葡萄酒的我們，同樣也不需要因為假酒問題的氾濫而因噎廢食，我們能做

酒莊們最新的防偽技術等，就算無法百分之百分辨出一

的，是找尋自己熟悉且信任的購買渠道，不要貪小便宜，並且不斷的自我充

瓶葡萄酒的真假，至少可以避免輕易陷入假酒誤區。

s e m l o H k c o l r She of Wines

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實，如此，不僅能減低落入仿冒者陷阱的風險，也能在深入了解一瓶酒的來歷與背景之下，領略這瓶酒的獨特、享受它所帶來那無與倫比的體驗。

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In 2002, Rudy Kurniawan, a shy Indonesian Chinese man, start

signature should be "Th:J" instead of "Th.J". Pieces of evidence pointed

to appear at auction market, generously buying large amounts of rare

to the conclusion that these so-called Jefferson collection do not exist at

wines. He very soon became widely known for his impeccable taste and

all. However, even though the evidence were compelling and right there,

extensive knowledge of wine. People called him "Dr. Conti" for he had

Rodenstock was able to run away from any legal liability due to his

collected a great amount of rare vintages of DRC. Later in 2006, Rudy

living in Germany.

started to collaborate with Acker Merrall & Condit, achieving astonishing auction results. However, good story didn't last long. In April, 2007, several magnums of 1982 Le Pin were featured on the cover of Christie's catalogue for Los Angeles sale, and were identified to be fake by the owner of Le Pin. Then in 2008, Rudy consigned lots of Clos St. Denis of Domaine Ponsot to Acker, with vintages ranging from 1945 to 1971. Laurent Ponsot, owner of Domaine Ponsot, identified the wines as fake on spot. In 2009, Rudy was even accused of knowingly selling fake bottles to Bill Koch, an American super rich man. Rudy was accordingly arrested in March, 2012. The verdict of guilty of the unprecedentedly biggest wine fraud was reached on 8 August 2014 after 30 months' detention. That the alleged involvement in wine fraud valued 30 million US dollars which led Rudy Kurniawan to 10 years' imprisonment that stunned the whole world. Having said that, if one who had kept track of Rudy, would find that 30 million dollars was merely the tip of the iceberg. From the appearance of Rudy in the world of wine in 2002 to his arrestment, the value of counterfeit wines he'd consigned should have amounted to more than 100 million dollars. Rudy's case has drawn an alert to counterfeit wine, but he was not the first one who made and sold counterfeit bottles in the history. Early in the 1980s, a German, Hardy Rodenstock, whose real name was Meinhard Görke shot to fame in the world of collection for he hosted spectacular tastings of rare wines like 125 vintages of Château d'Yquem starting from 1783. In 1985, Rodenstock said to have accidentally discovered a lot of rare wines with vintages from 1784 to 1787 and signed "Th.J" on the bottom, which indicated that these had been collected by Thomas Jefferson, the President. One bottle among the lot, Château Lafite 1787, was impressively sold at 1.05 million sterling pounds at auction, making it the most expensive bottle of wine in the world at that time. Rodenstock, though constantly challenged by some experts, kept selling the rarities he dug out from "inconspicuous cellars secretly hidden in small towns of Paris or Europe". Each bottle brought him inestimable fortune. Not until year 1988 did Bill Koch, the American rich man, find that the signature on the four President Jefferson-collected bottles, which cost him more than 500,000 US dollars, was actually engraved by a modern electric dental handpiece. On top of that, the president's

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Back in 1973, a French tax auditor noticed that a small Bordeaux wine store Pierre Bert sold more than purchased. It turned out that Pierre tampered with the origins of wines. They bought in cheap bottles from South France or Bordeaux and change the origin information on the label into renowned area such as Saint-Émilion and Pomerol. The number of bottles involved reached 3 million, accounting for 5% of Bordeaux' annual sales at the time. The disclosure of this case not only forced CRUSE Frères & Fils Company that had been passed on for 160 years to be sold, but also arouse the awareness of counterfeits of Bordeaux wine in the whole world. Since then, collectors believe only in those "mis en bouteille au château (bottled by the winery)".

Counterfeit is not something new. In fact, the history of counterfeit wine is just as long as wine itself. They are always there, and keep improving. Despite the amount already been consumed, many counterfeit wines still circulate among collectors' cellars. Laurent Ponsot, former winery owner and winemaker of Domaine Ponsot, once said that in the auction market, there are more than 80% of Burgundy bottles produced before 1980s were counterfeit. The situation seems to get even severe as wine investment becomes more and more popular. Many collectors lost their confidence and left the market because of counterfeits. What can we do now? S h e rlo c k H o lme s o f W in e s

Known as "the Sherlock Holmes of Wines", Maureen Downey has been committed in authenticating wine since 2005. Just like in the movie "Sour Grapes," Maureen has gone through collections of many big collectors around the world, standing at the frontline of fighting against counterfeits. As one of the leaders in the field of fine wine authentication, she is now establishing her wine authentication teams at every corner of the world.

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Maureen believes that the production of wine is a professional process.

Among all checking points, the most fundamental point is the

Winery owners in pursuit of quality would never allow incautious work on

printing. "No winery would want their wine label to be unclear,"

glass bottles, printing of wine labels, or selection of corks. Because of the

quoted Maureen. Therefore, under magnification, we should expect to

prudence, it is easy to identify some forged wines. For example, some bottles

see Lafite label with clear woman face and man's clothes, every lines

contain obvious spelling mistakes, such as GUANGDONG-CONTI; ridiculous

of the windows of Haut-Brion separated, Henri Jayer's family crests

detail such as the profile of St. Peter on the label of Petrus replaced with Mao

and lion paws clearly, and the color of Armand Rousseau bright red

Zedong; the provenance on Sassicaia showing Bordeaux…etc. However, some

and gold...

professional counterfeiters applied recycled bottles or reuse old labels which look perfectly real. The improved skill and technology has made the judgement of whether it's a counterfeit or not more and more difficult. What we need is more than keen eyes, but also experience and database.

Tra c e s o f Time

Paper should look differently as it ages. When encountering an old vintage bottle with bright new label, besides the possibilities of new/late release and recork, we should also consider the possibility

Te d i o u s P roc es s of Wine Aut hent ica t ion

that we are meeting an 80-year-old lady with plastic surgery that turns

Maureen and her professional authentication team have built up a system of wine authentication consisting 95 checking points in categories such as wine label, seal, bottle, glue, and cork. Under every categories, there are several sub-items. For example, under wine label, there are sub-items like ink, printing, aging status, level of dirt and damage. Each item weighs differently, but cannot be skipped so to make sure every details echo with each other. To go through the whole process, the authentication of one bottle takes at least 20 minutes. Maureen and her team have been repeating this process of 95 authentication points in the cellars around the world for the past 20 years, building up a huge database with tens of thousands of bottles.

her into 18-year-old. According to the tools FBI found in Rudy's place, he had paper toasted to make it yellow or stained the label with coffee, wine, and tobacco to make it dirty; he even purposely tear apart wine label to make it looks like aged. Nevertheless, the largely produced yellowish wine labels showed overlay marks. It was also strange to see stains of coffee or wine that fix at certain area. Also, leaking glue should not be found below a broken whole…etc. Regardless of all those smoke and mirrors, plenty of flaws are still obvious to experts.

Maureen Downey

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Kn owledge is Pow er

Th e Ex is te n c e o f U n ic o rn

To verify authenticity entails endless patience and

Maureen highlighted again and again in public that a bottle with

experience as well as prodigious memory and sufficient

sensational provenance and vivid story tends to be questionable. For instance,

knowledge.

your alarm should go off when someone is trying to sell you a magnum of

If one is aware that Pauillac AOC system was established in 1936, when you see a bottle of 1821 Château Lafite coming from Pauillac AOC, the first reaction should not be wow. If one is aware that Rothschild family did not own Château Mouton until 1868, they would not blindly pursue 1859 Château Mouton Rothschild at first sight. If

1945 DRC Romanée-Conti which has only been stored in the winery and never been circulating in the market; or a bottle of 16th century Château Lafite hidden in the cellar of a mysterious family. Just like the 1945 Domaine Ponsot Clos Saint Denis created by Rudy and the Jefferson Lafite collection created by Rodenstock, wine fraud very often occur under people's romantic obsession with "unicorn."

one is aware that 5 Litre glass bottle appeared at Bordeaux

Counterfeit wine will not stop and is indeed an issue people should

after 1978, their alarm should go off when browsing

pay more attention to. Even though experts of authentication like Maureen

through a catalogue and seeing a 5 litre 1945 Cheval

Downey, Michael Egan, and Jancis Robinson stood firm at the frontline, their

Blanc.

effort of prevention is only a drop in the ocean. Just like the representative

Therefore, by familiarizing with the effective date of origin rules and winery history, the habits of glass bottle use in different markets, evolution of printing technology, and the latest anti-counterfeit technology of wineries….etc, consumer can avoid falling into a wine fraud too easily.

of London Christie's auction once said, it is an issue that the whole chain of wine industry should take great concern of and fight against together. Wine lovers don't need to give up the love of wine for fear of the counterfeit. What we can do now is to purchase only through trustworthy channels and to acquire knowledge of the wine, the winery, and the origin. In this way, we not only lower the risk of buying counterfeits, but to truly enjoy a bottle with all the indepth knowledge of it.

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最耀眼的寶石搭擋彩鑽與祖母綠 PARTNERS IN BRILLIANCE: COLORED DIAMONDS AND EMERALDS Text / 劉允華

Photo / Ravenel International Art Group

[ LUXURY ] 根據安特衛普鑽石交易中心的報告，過去 50 年來，全球鑽石市場規模至少成長了三倍。而同一篇研究也指出，在經濟趨勢影響下，鑽石產業在 2020 年將經歷存貨盤整與逐步成長，而在 2021 年原石產量稍減，而經濟不再衰退的前提下，有機會迎接自 2015 年以來首次強力成長的機會。根據媒體估計，鑽石投資市場下一個十年的前景普遍看好。羅芙奧精品統整資料發現，相對於一般白鑽市場，彩鑽自 1970 年代開始成為投資標的，而到 1990 年代 10.83 克拉 Graff 極品粉紅鑽在日內瓦以超過 6 百萬美元的高價賣出後，才真正成為市場焦點，也因三十年來不斷飆升的拍賣單價而受到收藏界的矚目。其中黃鑽的拍賣價，從 2002 到 2012 年間的 10 年值線就成長了 322%，而最受寵愛的粉紅鑽，從 2003 到 2013 的 10 年間則成長了近五倍之多。儘管近幾年的漲勢因經濟與生產因素而遲滯，然而一般而言，比起白鑽與其他貴金屬，彩鑽的保值程度依然輕鬆勝出。無獨有偶地，另一種稀有寶石祖母綠，也同樣在市場上屢創佳績。根據 Piat 集團對哥倫比亞祖母綠的市場研究，從 2001 年起，祖母綠一般價格的每年漲幅超過 10%，而從 2003 到 2013 年，祖母綠五種最高質品項的價格，則上漲了超過四倍之多。

約自 2012 年起，祖母綠開始受到大中華地區市場的關注，市場迅速擴張；而在高品質祖母綠最大產地哥倫比亞，自從年前該國政局逐步穩定之後，礦區獲得開發，生產的低鐵質少瑕疵祖母綠得以大量進入市場，而價格指數仍然不斷上揚。根據媒體報導，近來高品質哥倫比亞祖母綠的價格，可從以往的每克拉 4 萬美金直升至 9 萬美金之譜。羅芙奧指出，如同鑽石，祖母綠從遠古以來，就是收藏家力抗通膨的保值首選。值得注意的是，在 2013 年彩鑽價格逐步趨穩的同時，在各種特有因素影響下，祖母綠的高質品項價格與一般價格依然雙雙穩步上揚。翻開寶石的歷史，從人們開始使用珍稀寶石製作首飾以來，鑽石和祖母綠便是歷久不衰的經典搭配。羅芙奧精品建議買家留意，在今天的寶石市場裡，彩鑽與祖母綠的搭配，結合了收藏界中的新潮與傳統，是在收藏與分散風險時，非常值得考慮的投資組合選項。

According to a report issued by Bain & Company in Antwerp World Diamond Centre, in the past 50 years, the world diamond market saw its growth for more than 3 times. The same report indicates, under the influence of economic trends, the industry will experience a period of releasing the stocks and gradual growth. In 2021, the report claims, with the context that the rough diamond production diminishes, and that the economy continues to grow, the market can be expected to receive its first strong opportunity of growth from 2015. In other words, the diamond investment market has a bright future in the next decade.

◀ 8.50克拉雷迪恩明亮形中彩紫粉紅色鑽石配鑽石戒指 A 8.50 CARAT RADIANT-SHAPED FANCY PURPLE PINK DIAMOND AND DIAMOND RING. ▼ 逾88克拉豔彩黃色鑽石 A RARE AND IMPRESSIVE OVER 88 CARAT FANCY VIVID YELLOW DIAMOND.

By observing the data, The Ravenel International Art Group discovers that, compared with white diamond market, after becoming a target of investment in 1970s, the colored diamonds are truly noted in the market from 1990s, when the 10.83ct Graff pink diamond sold in Geneva by over 6 million dollars. And they are deemed noteworthy by the collectors, with their rapidly growing auction price in the past 30 years. Within their ranks, yellow diamond auction price saw its 10-year rise of 322% from 2002 to 2012 ; and from 2003 to 2013, the beloved pink diamonds realized a 5-time growth in this decade. Although this trend was slowed by economic and production factors in recent years, but generally speaking, the colored diamonds are still far better than white diamonds and other precious materials in terms of value-holding. Similarly, emerald is making its records on the precious gemstone market. According to a research of the Columbian emerald market by Piat, the average price of emerald rise by 10% annually from 2001 ; from 2003 to 2013, the 5 highest lot of emerald would see its rise as much as over 4 times.

[ LUXURY ]

The emerald gains its spotlight in the sinophone regions. As the result, the market is

Colored Diamonds and Emeralds

expanded rapidly. At the biggest producer state Columbia, as the political situation calms, the mines are fully exploited, and thus those low iron emeralds are pushed into the market. However, the price continues to rise. From related reports, we can see the price of high quality Columbian emeralds raised from $40,000/ct to a whopping $90,000/ct. The Ravenel International Art Group remarks that, like diamonds, emeralds are one of the first choices for the collectors to resist inflation, which can be dated back to ancient times. It worths to note that under many particular factors, when even the colored diamonds' price are holding, the price of the best and general lots are still rising.

We only have to look into the history of gemstones to see that, from the first accessories with precious stones, coupling diamonds and emeralds is a timeless choice of design. To the buyers, The Ravenel International Art Group would suggest noticing the pairing of colored diamond and emerald, combining the newest trend and most classic choice between the collectors. This pairing, for its collection and risk-avoiding potentials, is worthy of serious consideration in your investment combo.

▲ 海瑞．溫斯頓設計哥倫比亞祖母綠配鑽石耳環項鍊套裝 A HIGHLY IMPORTANT SUITE OF COLOMBIAN EMERALD AND DIAMOND JEWELRY, BY HARRY WINSTON.

還攜筆墨向高丘八十再攀新巔峰－歐豪年 A N O N G O I N G P U R S U IT O F EXC E L L E N C E I N I N K A N D B R U S H － AU H O - N I E N

[ CHINESE PAINTINGS ] Text / 吳宗翰

Photo / Ravenel International Art Group

歐豪年先生 1935 年出生於中國廣東省茂名，為現今華人世界嶺南畫派中的傑出代表畫家。他在正值壯年之際的 70 年代來台。其巨大尺幅與連屏作品，氣勢恢弘而磅礡，廣受好評；因他山水、人物、花鳥、走獸兼擅，被推為「不世出」之才。他以「詩、書、畫三絕」聞名藝壇，其繪畫特色運筆雄健，墨韻、光影變化萬千，造景跌宕起伏，造境無窮，傳統與創新的兼具，使其成為當代中華文化美學代表之一。歐氏除延續嶺南前輩所倡導藝術革命，「以折衷中西、融匯古今為途徑，建立現代國畫」為宗旨，更追求形神兼備、兼工帶寫與彩墨並重為藝術手法。其藝術成就是「注重創新寫實，融匯中西繪畫之長，以革命的精神和強烈的時代責任感改造中國畫，創製出具有時代精神與地方特色，並帶有濃厚情感的作品」。歐氏早年啟發於嶺南畫派，受業於趙少昂先生，其恩師趙少昂先生讚曰：「自有高人韻，空山任鳥啼；扶搖雲漢路，回首萬峰低」。創作五十餘年，窮其畢生精力致力於創新求變，其每幅作品無不是歐氏精心構圖與擘劃，作品題材包含山水、走獸、花卉、鳥禽、昆蟲與人物，無不精通。歐豪年先生在藝術上創作五十餘年的成就，榮獲海內外博物館與收藏家所肯定，2019 年應舊金山亞洲藝術博物館之邀請，推出《縱橫健筆舊金山》個展，此次在舊金山的展覽，則是該館繼上世紀 70 年代「張大千」的個展後 40 年，首位亞洲藝術家的個展，堪稱當代畫壇第一人。 50 年代渡海名家紛紛抵台，這批藝術大師影響中國半世紀的藝術發展，隨著中國大陸經濟的崛起，近年來「渡海名家」的作品常常屢創新高，尤以張大千、溥心畬與黃君璧等諸位渡海名家的作品首先帶動起收藏的熱潮，身為嶺南名師的黃君璧、楊善深與趙少昂先生，好的作品也一幅難求，中國內地與港、澳、台，甚至日本與東南亞地區，只要有這幾位大師的足跡，都成為收藏者的標的。到了 70 年代，嶺南的諸位大師受邀抵台，包括歐豪年與黃磊生先生，任職於台北文化大學，數十年來教育無數，將其畢生的精力遺留在台灣，亦等於將嶺南畫派開枝散葉，深深的扎了一株苗根。台灣數十年的安定繁榮，也讓這些藝術家有了

作品賞析

很好的發展空間，等於將其一生最好的創作都在此孕育出來。歐氏的藝術精品目前均為全世界的博物館與收藏家所收藏，亦已在全球展露頭角。2018 年於北京中國美術館為歐豪年先生舉辦八十回顧展「還攜筆墨向高丘」，而位於北京的「中國美術館」是中國最高等級的藝術殿堂，等於是給與一位藝術家的最高肯定，生動的展示歐豪年的一生，為藝術傳承與發展所作出的傑出貢獻。

《海鷹圖》

歐豪年先生所繪的《海鷹圖》，這張寫繪蒼鷹擊浪，咨遊於海浪與岸邊之景，歐氏先以雄健的筆法寫出岸邊之山壁，饒富任意揮灑的筆觸捕捉海浪，他善於用水，並將山壁與海浪間驚濤裂岸激盪所產生融合寫繪，烘染出蒼潤之意遠

然而歐豪年先生的作品題材為之精深且多元，以未來性的經營來看，在羅芙奧都能看見歐氏精彩作品的呈現，不論是山水、走獸、花卉、飛禽等題材。曾以《山君圖》、《雄雞一鳴天下白》、《兔子》、《春郊放牧圖》等精彩之作在市場亮相，受到收藏家們的喜愛與熱烈迴響。此次羅芙奧 2020 春季拍賣會，在中國書畫專場

方的曙色，一只蒼鷹從空中一躍而下，展翅擊浪，無論色感、墨韻，與蒼鷹之神態，無不展現出藝術家內心的濃厚情感，非常精彩，故每觀歐氏之作，均感覺他將其生命力展現於紙張之上。

中，同樣精選歐豪年先生的《海鷹圖》、《兔》、《雨後白荷圖》等多幅書畫作品，其中《雨後白荷圖》更是歐氏早年之作，我們也為收藏家們精選更加多元的作品選擇，值得藏家期待。

《兔》

此幅以墨兔據於籐籃之上，欲得食物之態。畫家先以重墨寫繪墨兔之神韻，趁濃淡乾濕之際寫出兔毫蒼潤之感，墨兔前肢居前欲試待發，後肢輕提，其勢若徐徐而欲動。目視

◀ 歐豪年《海鷹圖》水墨設色紙本鏡框 94.5 x 57.5 cm 羅芙奧2020春拍「翰墨丹青－中國書畫專場」款識：戴威先生雅正，豪年鈐印：歐（朱文）、物物而不物於物（朱文） Au Ho-Nien, Eagle by the Sea, Ink and colour on paper, framed, 94.5 x 57.5 cm Ravenel Spring Auction 2020 Refined Brushwork : Fine Chinese Paintings

斜下之處，寫繪翻倒之籐籃，紅蘿蔔灑落其間。兔子的繁殖力很強，又有多子多孫之寓意；而蘿蔔在漢語裡又稱作「采頭」，所以有吉利的意思，而紅色又是大喜之色，所以紅蘿蔔的意義是喜上加喜，非常吉利。 33

《雨後白荷圖》

宋人周敦頤愛蓮說：「蓮之出淤泥而不染，濯清漣而不妖，中通外直，不蔓不枝，香遠益清，亭亭淨植，可遠觀而不可褻玩焉。」數千年來，中國人對荷花之形象及其高潔特性，特別鍾愛，而極盡讚美之能事。在遠古，荷花即視為聖潔的花朵，佛經以荷花比喻菩薩在生死煩惱中出生而不為其所染，人們亦以荷花比喻君子而敦品勵行。這幅《雨後白荷圖》為歐氏早年的作品，他很注重氣氛的營造，善於將生動的景物直接賦予生命力的感動，他先寫繪大朵的荷葉半垂落於池塘中，再寫繪一朵白荷，與荷葉因姿態與白色花瓣的色感所產生的強烈對比，再烘染河塘中前後遠近的朦朧水氣，在濕潤之中似乎透出微光，似乎下過雨後的荷花顯得特別嬌豔，筆法空靈流暢，整體空間的氛圍讓觀者感到寧靜而悠遠，將河塘景色描繪得非常生動，最後作者寫繪一只蜻蜓停駐於花朵之上，更添生氣，充分表現出作者內心的情感。

Au Ho-Nien was born in 1935 in the city of Maoming in Guangdong Province, China. As an accomplished living artist of the Lingnan School of Art, Au was invited to relocate to Taiwan in the 1970s. His works including large-sized paintings of landscape, portraiture, Flower-and-Bird and animal works are widely praised for their magnificence and splendour. Au is famous for his poems, calligraphy and paintings, which were depicted with sturdy brushstrokes, dynamic colours and composition to juxtapose traditional with modern creation. In the course of pursuing the tradition of Lingnan School of Art, Au insists on the depiction of spirit with colours, and both gongbi and abstract styles. Through the adaptation of Chinese and Western paintings, Au's paintings revolve the spirit of Chinese art with a modern and local twist and affection.

歐豪年《兔》水墨設色紙本鏡框 69 x 45 cm 羅芙奧2020春拍「翰墨丹青－中國書畫專場」款識：嶺南歐豪年畫於竹簃軒鈐印：歐介（朱文） Au Ho-Nien, Rabbit, Ink and colour on paper, framed, 69 x 45 cm Ravenel Spring Auction 2020 Refined Brushwork : Fine Chinese Paintings

Having a solid foundation from Lingnan School of Art, Au received compliments from his teacher Chao Shao-An. In the past 50 years, Au dedicated his lifetime in artistic creation, composition and structure on various genres including landscape, animals, flowers, birds, insects and human depiction.

The influx of scholars to Taiwan in the 1950s created huge impact to the Chinese artistic development in the late 20th century.

In time, Au's achievements received worldwide recognition from

In recent years, due to the rise of Chinese economy, works by

national museums and collectors. In 2019, he was invited to hold a

these immigrated artists, such as Zhang Da-Qian, Pu Hsin-Yu and

solo exhibition "The Bold Brush of Au Ho-Nien" at the Asian Art

Huang Chun-Pi, achieved excellent results and initiated the trend

Museum in San Francisco, USA. Such honor was only previously

of art collection. Works by Lingnan artists, such as Huang Chun-

given to Zhang Da-Qian in 1970s. This proves Au Ho-Nien's

Pi, Yang Shan-Shen, Chao Shao-An were highly sought-after in the

accomplishment as an artist, comparable to the great master of the

markets of China, Hong Kong, Taiwan, Japan and South East Asian

century in the Asian Art community.

countries where these masters visited.

[ CHINESE PAINTINGS ]

In the 1970s, artists such as Au Ho-Nien and Huang Lv-Sheng from Southern China were invited to Taiwan as professors at the Chinese Culture University. These decades of education and economic growth enabled him to cultivate the Lingnan School of Art locally in Taiwan. In terms of worldwide exposure, works of Au Ho-Nien were collected by museums and private collectors over the globe. An 80 years retrospective exhibition "In the Pursuit of Eminence in Ink and Brush: 20th Century Chinese Painting Masters Au Ho-Nien" was held at the National Art Museum of China. This shows the public's high regard towards the contribution of the artist in terms of art education and development.

White Lotus

Song scholar Zhou Dun-Yi once praised lotus' purity in his work "On the Love of Lotus". Such belief was common among Chinese scholars throughout history. Lotus was associated with sacred purity in Buddhism and gracefulness of a Chinese gentleman. This painting, White Lotus , was made in Au Ho-Nien's early artistic career when he was fascinated by the depiction of surroundings and the personification of still objects. He commenced by depicting the leaf, which is drooped downwards, followed by the depiction of the flower. Huge contrast was made between the postures of the flower and the leaf. The dampened surrounding and haze soften the reflected light, while enhancing the tenderness of the flower and the tranquility of the pond. A dragonfly rests gently on the flower, which heightens the animated scene on the panel.

Au Ho-Nien's works demonstrate great depth in meaning and a rich variety of subjects, which can also be reflected in Ravenel's Chinese Paintings sale. His works such as Tiger ,

Roosters , Hare and Buffalo and Herdboy , attract surmounting attention from devotees and collectors. In the upcoming Chinese Paintings of Spring Sale 2020, Ravenel offers works including Eagle by the Sea , Rabbit and White Lotus , an early work by the artist. We encourage collectors to keep your heads up, as we further disclose more variety of works for you!

ART APPRECIATION Eagle by the Sea

This painting depicts an eagle flying over the choppy sea which beats wildly against a towering cliff. The artist's depiction with bold brushstrokes carved out the steep cliff and the merciless waves, highlighting the ferocious scene against the serene dusk at a distance. The composition of colours and brushstrokes reflect the spirit of the eagle and the inner thoughts of the artist, thus created vividness of the painting. Rabbit

This painting depicts a black rabbit scrambling over a basket of vegetables. In terms of technique, thick ink with varying densities and humidity, was applied to highlight the spirit of the animal. Its limps were carefully depicted to represent its eagerness, which is further enhanced by its gaze towards the carrots spilled from the basket. Rabbits have high fertility rate, which suggest abundance in family. Carrots in Chinese suggest luck and prosperity. Red is an auspicious colour, which further enhance the artist's greetings.

歐豪年《雨後白荷圖》水墨設色紙本鏡框 68.5 x 55 cm 羅芙奧2020春拍「翰墨丹青－中國書畫專場」款識：豪年鈐印：歐豪年（白文） Au Ho-Nien, White Lotus, Ink and colour on paper, framed, 68.5 x 55 cm Ravenel Spring Auction 2020 Refined Brushwork: Fine Chinese Paintings

那些，隱身的繁華

巴黎府邸 Text、Photo / 李淳淵（巴黎傳真）

需要記得歷史是累積，就像生命一樣，不斷地延續。巴黎無疑是世界上最迷人的城市之一，從古羅馬時期高盧人的聚落，到中世紀哲學與神學的重鎮，逐漸演變為現代藝術的搖籃，歷史的經緯在此交織出豐富的向度，也成就了無與倫比的絢爛花都。曾經存在超過 2000 座府邸 (Hôtels particulier)，

在歷經無數戰亂的摧殘之後，如今巴黎僅存約 400 座歷史府邸，無論是舊時王公貴族的府第，或是新興中產階級的宅邸，走過十七、十八和十九世紀風華一時的歷史宅邸，每一棟建築都擁有輝煌的過去，也隱藏著許多不為人知的秘密，不僅是法蘭西的真實見證，更是發現巴黎另類回憶的風景。留一天的時間，給巴黎。

1 7 世紀

博韋府邸

Hôtel de Beauvais 博韋府邸的歷史可以追溯到中世紀，1654 年由皮埃爾．德．博韋（Pierre de Beauvais）買下，為了取悅妻子凱薩琳．亨麗埃特．貝利耶（Catherine-Henriette Bellier）。請來皇室御用建築師安托萬．勒．博特爾（Antoine Le Pautre）設計。凱薩琳原本是皇后奧地利的安妮身旁的仕女，據聞其貌不揚，因為這樣正好可以避免和國王產生曖昧，沒想到凱薩琳不是省油的燈，她乾脆對未來的國王路易十四下手，傳說小路易十四的第一次就獻給了凱薩琳，當然下場是被逐出宮廷。不知道是第一次太令人難忘，或路易十四多情念舊，他還是給了凱薩琳一筆豐厚的養老金，同時讓她享有令人羨慕的地位與特權，如今在博韋府邸外牆上的獅子頭和公羊頭（bélier）的雕飾，即象徵著國王與凱薩琳娘家的姓氏。

凱薩琳過世後，府邸在眾多貴族間轉手，其中最值得一提的是巴伐利亞選帝侯馬克西米連．埃馬努埃爾．法朗茲．馮．艾克（Emmanuel Franz van Eyck），他的妻子瑪麗亞．安娜．費利西塔絲（Maria Anna Felicitas）非常喜愛莫札特，176 3 年 11 月 18 日年僅 7 歲的莫札特第一次來到巴黎，和父親大人與姊姊就在博韋府邸內住了 5 個月。

2004 年博韋府邸成為巴黎行政上訴法院（Cour administrative d'appel de Paris）的所在地，可惜內部的裝飾早已不復存在，如今只剩立面供人遙想當年的歷史場景，外牆上刻劃了喜怒哀樂的頭像，彷如凡塵間悲歡離合的縮影，看盡多少人世的繁華與淒涼 .....

落成：1654 年地址：68 Rue François Miron, 75004 Paris 37

1 8 世紀

塔列朗府邸

Hôtel de Talleyrand

落成：1769 年地址：2 Rue Saint-Florent in, 75001 Paris

以美國軍事家、政治家、外交家喬治．馬歇爾（George C. Marshall）命名的文化中心的塔列朗府邸全名為塔列朗－佩里戈爾府邸（Hôtel de Talleyrand-Périgord）。通常府邸名字與第一任主人路易．菲利波．德．聖弗洛朗坦（Louis Phélypeaux de Saint-Florentin）有關，他不僅是路易十五的國務卿與外交大臣，同時是國王的好友，權顯一時；1767 至 1769 年間建造了這座豪華的私人府邸。由於有能力邀請皇室御用建築師昂熱 - 賈克．加布里埃爾（Ange-Jacques Gabriel）進行設計，內部裝飾則是由凱旋門的建築師尚 - 弗朗索瓦 - 泰雷斯．查爾格林（JeanFrançois-Thérèse Chalgrin）負責，可以說是聚集了當時法國最頂尖的能工巧匠來打造府邸。府邸在 1812 年由歐洲歷史上最有名的外交官夏爾．莫里斯．德．塔列朗－佩里戈爾（Charles Maurice de Talleyrand-Périgord）買下，塔列朗曾在此接待沙皇亞歷山大。1838 年府邸轉手到羅斯柴爾德家族的詹姆斯．德．羅斯柴爾德（James de Rothschild），詩人海涅曾形容塔列朗府邸是「巴黎大富豪的凡爾賽宮」（Versailles de la ploutocratie parisienne）。第二次世界大戰後府邸租給美國政府，成為美國駐法大使館的一部分，也是美國歷史上第一座駐外大使館。 39

1 9 世紀

拉帕伊瓦府邸

Hôtel de la Païva

位於香榭麗舍大道上的拉帕伊瓦府邸，擁有優雅的義大利文藝復興風格，曾是 19 世紀名交際花拉帕伊瓦（La Païva, 1819-1884）的豪宅，本名埃斯特．拉赫曼（Esther Lachmann）的她出生俄羅斯，是波蘭與德國猶太人的混血，脫離莫斯科的貧民窟後隻身來到巴黎。從一名身分卑微的妓女，一躍成為巴黎上流社會追捧的名媛，無數的王公貴族與文人雅士拜倒在她的石榴裙下，宅邸聚集了文學、藝術、政治界的名人；福樓拜、左拉、鞏固爾兄弟、泰奧菲爾．高提耶、李斯特和華格納等人皆慕名而來，最後嫁給了富有的普魯士伯爵亨克爾．馮．杜能斯馬克（Henckel von Donnersmarck）。

拉帕伊瓦府邸由建築師皮埃爾．芒更（Pierre Manguin）設計，一進門就可以看到阿爾及利亞黃色縞瑪瑙雕刻而成的樓梯盤旋而上，沙龍由當時最有名氣的畫家與雕刻家進行裝飾，天花板上有巴黎歌劇院壁畫作者保羅．博德里（Paul Baudry）繪製的畫作，是法蘭西第二帝國的象徵。二樓浴室更是令人歎為觀止，伊斯蘭風格下的牆上是西奧多．德克（Théodore Deck）的彩陶，各式青銅、瑪瑙、綠松石材質打造的裝飾無比奢華，據說拉帕伊瓦以牛奶、菩提花和香檳沐浴，可想其奢華。這裡也曾是義大利時尚品牌 MIU MIU 斯移作私人俱樂部，但狂歡之後，誰還記得一代名流韻故事，徒留宅邸故居依稀供人憑弔 ....。

落成：1866 年地址：25 Av. des Champs-Élysées, 75008 Paris 41

米其林

三顆星的海味 Text / 伊森

Photo / Thomas Chien法式餐廳

海的神祕，始終被探索。從風土，氣候甚至能源，找尋未知；舌尖的嘗鮮更是海洋持續不斷提供驚喜探索的來源。來自西班牙，人稱「海王子」，馬賽唯一米其林三星 le Petit Nice 小尼斯餐廳主廚 Gérald Passédat 傑哈德 ‧ 巴瑟達不藏私地露了一手絕妙海味，教人吮指留香。從開胃小品到主菜，全都來自家鄉海洋的食材，彷如魚料理的星級廚神和海的對話，在視覺與味覺之間來回切換，不由得教人讚嘆海洋給予如此豐沛美好的資源！

▶〈聖維克多彩繪鮮魚片〉如歐洲教堂花窗玻璃般悅目，其實是把擀薄魚漿黏貼各種色彩的的蔬菜巧手製作。

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神星級廚

瑟達巴 ‧ 德哈傑 t d Passéda Géral

地中海造就了我主廚傑哈德 16 歲入行，他說，馬賽和地中海造就了他。位在西班牙的「小尼斯餐廳」是一棟面對地中海的別墅型餐廳，傑哈德初掌理餐廳時，作了一項突破，他認為，地中海魚種非常豐富，「為什麼高級餐廳不能主攻地中海魚類 ?」，事實上，在馬賽，傑哈德和漁夫合作，在餐廳廚房裡特別設置了漁船可以直接送上魚獲的專用窗口，每天，第一時間供給他取用最新鮮且多樣的海鮮。以知名的馬賽湯為例，「極少的水份，逐一將不同滋味的魚，階段性地組合起來的層次口感，是祕訣所在。」一般餐廳頂多供應 10 種魚，小尼斯餐廳卻可以用到 65 種以上魚鮮，也因此從祖父開始家傳三代的餐廳，2008 年，在傑哈德手中摘下米其林三星。

料理海底世界的靜謐懷抱海的情感，傑哈德做出驚嘆的藍色蝦湯料理。但這藍色完全是個意外，超過 8 小時小火慢煮，燒出蝦的鮮甜，然後過濾至完全清澈，出餐前浸泡蒜頭、蝶豆花、檸檬香茅和紫羅蘭等，讓濃郁的蝦湯帶著夢幻般的藍色上桌。啜飲熟成七年氣泡隱而不顯的香檳後，像教堂花窗彩繪玻璃般的聖維克多彩繪鮮魚片，把魚漿擀至薄可透光，鋪上切削成不規則形狀的紅甜菜根、黃金蘿蔔和芹菜根。吃在嘴裡，因為包裹了蘿蔔泥，更襯出魚漿片的清爽。食材有白腹魚、鮪魚、旗魚，3 種魚的〈三魚佐月桂凝凍〉分別搭了大蔥、薑絲和山葵，晶瑩剔透的凝凍很費工，將番茄澄清湯經 24 小時慢慢滴漏萃取，與鮮美生魚在舌齒間交融。〈珍奇海味集錦〉這道菜，以白花椰菜泥做底，鋪滿煙燻魚片、生魚片、烏魚子和魚子醬。搭配把魚肉以真空低溫蒸 8 小時才取得少少魚汁，經煙燻處理後打成乳白色泡泡醬汁，封藏在輕盈空氣感的濃郁鮮味，「烹調以橄欖油為主，幾乎不用奶油。」傑哈德試圖用高明的魚料理詮釋海底世界的靜謐。

▲ G'ERALD PASSE'DAT傑哈德‧巴瑟達經營的le Petit Nice小尼斯餐廳，是馬賽地方唯一米其林三星的餐廳 ▼ le Petit Nice小尼斯餐廳有一整面湛藍海景，一望無際，情調十分浪漫

小尼斯餐廳小尼斯餐廳矗立在海崖旁，餐廳窗戶底下就是斷崖和藍色地中海，是馬賽地區唯一米其林三星餐廳。「接掌家族餐廳時，馬賽是個飲食很傳統保守的地區，我嘗試把海鮮做成頂級料理，」傑哈德主廚秀出他存在手機裡各式奇異魚類圖片的資料庫：海鰻、繽紛的礁石魚群、具有保護色的小魚…他說，運用在地食材可以減少食材運輸的碳排放，更是身為主廚的責任。「現代人越來越難得吃到的魚類理。」傑哈德說：「我就是要去開發頂級料理比較少吃到的海味，也是一種對傳統老食譜的創意和保存之道。」事實証明，深入探索各種魚肉質地和滋味強度，萃取海魚菁華的烹調，守護著馬賽飲食文化，也是 le Petit Nice 小尼斯從傑哈德祖父開始家傳至今三代，1977 年獲米其林一星、1981 年獲二星，2008 年在傑哈德手中拿下三星的強勢保証。

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魚湯阿嬤招牌馬賽以傑哈德祖母命名〈露西松露香草狼鱸〉，低溫烹調的海鱸魚有果凍般的口感，也是餐廳傳承三代的招牌菜。鱸魚上鋪疊交錯著切條的櫛瓜和黃瓜，最上面一片抹橄欖油微烤的松露片，盤底是融合番茄碎、香草碎和松露碎的金黃色醬汁。傑哈德表示，法菜的醬汁是一種口感的平衡。帶皮海鱸魚最是精華，以 60 度低溫烹調 12 分鐘，肉質如布丁般彈嫩。搭配醬汁，展現山與海交融的和諧。最終章是馬賽魚湯，這道法國地中海沿岸傳統魚湯，為了表現濃郁海味，先將洗淨的各種鮮魚入鍋，傑哈德解釋，特別是小魚為佳，因為炒至魚肉幾乎都化散，加入小蟹、番紅花及多種蔬菜再炒，小火熬煮時保 1 3

2 4

持食材和魚高湯比例約 3:1，由於水量極少

1.〈三魚佐月桂凝凍〉白腹魚、鮪魚、旗魚，分別搭了大蔥、薑絲和山葵，底下的凝凍，是將番茄澄清湯像冰滴咖啡那樣一滴滴慢慢收集來的 2.〈蝦佐番紅花洋芋、馬賽魚湯〉以食材與魚高湯比例約3:1熬煮的馬賽魚湯，濃稠湯汁似乎還能吃到魚肉 3.〈露西松露香草狼鱸〉低溫烹調的海鱸魚有果凍般的口感，鋪在上方的櫛瓜和黃瓜片必須一條條裁切擺放，非常費工

的馬賽魚湯，濃稠湯汁才有經典味道。主廚傑哈德考量現代人健康，特地以橄欖糖漿取代砂糖。一道拆解甜食元素後重新擺盤，帶著繽紛童趣的〈解構牛軋糖〉，像激越長浪之後，串起澎湃的海洋、土地與人的故事，餘波盪漾，沒有句點。

4.〈珍奇海味集錦〉將煙燻魚片、生魚片、烏魚子和魚子醬交疊如珊瑚礁，另把魚肉打真空低溫蒸8小時，取魚汁打成乳白色的泡泡

Thomas Chien 法式餐廳七連霸美味客座簡天才說：「馬賽和高雄這兩個有著共同特色的城市，透過美味的分享和交流，也會是探索海洋最美的記憶。」 2012 年開店以來，高雄 Thomas Chien 法式餐廳每年都按例邀請米其林主廚來台客座，成為台灣美食界的盛事。主廚簡天才說：「初次造訪南部大城馬賽，那是個充滿陽光與海水氣味的城市，卻也讓我感受到我生活的高雄。」事實上，馬賽的地理位置與高雄很相似，不僅都是位在國境南方的第二大城市，也都有豐富的海洋資源。精於海味，尤其聞名全球的「馬賽湯」更是一絕：「對魚肉海鮮的烹調十分精準，搭配普羅旺斯風味的香草、蔬菜，」營造「魚料理」和諧滋味，無人出其右。

不

丹

Bhutan

簡單的幸福

在遙遠的地方國王帶領著一群快樂的子民生活在雪山山腳下如果世界上真有童話之國不丹，就是這個神秘國度的名字

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Text、Photo / 古鎮榮

雷龍之國人間仙境搭機飛往不丹唯一的帕羅（Paro）國際機場，降落在群山環拱，號稱世界上最難起降的帕羅機場之前，從機上一窺「雷龍之國」的大地。不丹國土面積 38,000 平方公里，比台灣稍大，但超過 70% 的面積被未開發的自然森林覆蓋，原因在於不丹人口僅 70 萬人左右，是世界上人口密度最低的國家之一。所以在不丹許多地方，是沒有公路可以抵達，甚至全國都沒有任何一條高速公路，遑論鐵路建設。但是如此的低密度開發，也正好保留了不丹最珍貴的大地贈禮：東喜馬拉雅山脈南麓的自然景觀和潔淨水源。造訪不丹，不就為了在崇山峻嶺之間，淙淙溪水旁的花草幽徑，呼吸著來自世界屋脊的新鮮空氣，感受雷龍之國幕天蓆地的大自然靈氣，其中最受歡迎的步道，莫過於位在帕羅附近的虎穴寺登山步道（Taktsang Trail）。相傳在第八世紀時，來自西藏的蓮花生大士來到此地降妖伏魔，並騎在老婆化身的飛天虎身上，抵達虎穴寺現址的洞穴中，坐禪修行 3 年 3 個月又 3 天，離去時並預言此處未來會出現一個偉大的國家，於是在第 16 世紀不丹建國時，全國都尊奉蓮花生大士為開國宗師，今天的虎穴寺想當然爾地香火鼎盛，每天清晨未明之時，就有絡繹不絕的參拜者從海拔 2600 公尺左右的登山口出發，爬上海拔 3120 公尺，有如天外飛來，鑲嵌在岩壁中的虎穴寺，即使上下山來回要花上六七個小時，但能親眼目睹蓮花生大士當年修行的洞穴（禁止拍照），疲憊之餘仍然感動不已。

一年一度策秋曬大佛不丹在實質上屬於政教合一的國家，在第 8 世紀蓮花生大士做出預言之後，16 世紀時同樣來自西藏的夏宗阿旺朗傑喇嘛（Shabdrung Ngawang Namgyal），將不丹劃分為 20 個區域，每一區都建立一個宗堡寺廟（Dzong），在這些宗堡內的僧侶平時舉行宗教儀式，為民祈福，戰時則化僧為兵，抵抗外來勢力，並將宗堡做為人民的庇護所，以如此僧兵合一的方式，5 次擊敗藏傳佛教格魯派（黃教）勢力，讓不丹第一次出現國家的形式，也因為戰事中雷龍幾度出現協助不丹僧兵戰勝敵人，被認為是祥瑞的象徵，因此不丹被稱為「雷龍之國」。在大部分一年一收的不丹，慶祝秋收是非常重要的慶典儀式，所以在各個宗堡寺廟舉行的策秋慶典（Tshechu），也成了每個城鎮的年度大事，位在中部富畢卡谷地（Phobjika Valley）的甘唐寺（Gangtey Monastery），由於是不丹寧瑪派的領袖寺廟，每年的策秋儀式都由住持轉世活佛親自主持祈福，鄰近城鎮居民無不扶老攜幼，不遠千里來參加，寺廟周邊更形成一個臨時市集，在策秋祭典的最後一天清晨，還有俗稱「曬大佛」的大型唐卡展示活動，與佛寺同高的巨幅唐卡自四層樓高的屋頂直抵地面，氣勢不凡，也讓信徒居民們認為能夠目睹曬大佛，是非常幸運的一件事。除了熱鬧的策秋祭典之外，造訪甘唐寺所在的富畢卡山谷，最適合的季節還有 11 月左右，自西藏高原飛越喜馬拉雅山脈，來此過冬的黑頸鶴（Black-necked Crane），會成群出現在谷底的沼澤地區，遊客們只要走在平坦的甘唐自然步道上，就可以近距離欣賞到黑頸鶴生態，甘唐寺也會舉辦黑頸鶴節來歡迎這些來自北方的嬌客。 48

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知足常樂的幸福不丹，除了欣賞自然風景和藏傳佛教文化之美，最令人好奇的還是這個看似簡單，民風純樸的國家，為何幸福指數的調查排名上，總是能領先其他富裕先進大國，其實篤信佛教的人民，原本就有一顆知足常樂的心，加上現任國王汪楚克（Wangchuck）家族自 1907 年掌權之後，極力拒絕西方文明入侵，鼓勵不丹國民穿著不丹傳統服裝，不砍伐森林，不殺生，全國沒有任何一間工廠（手工除外），反璞歸真的生活方式，讓人民的心靈富足之外，在基礎建設方面，以豐沛自然的水力發電將電力輸往印度，換取印度提供石油及民生必需物資，讓政府有能力提供國民免費義務教育至高中甚至大學，以及全民醫療保險，都是不丹人民幸褔指數滿點的重要原因。不丹鄉間每一戶農舍的屋頂，曬滿紅艷艷的辣椒，無辣不歡的不丹傳統食物，正如熱情又善良的民情，以雷龍之國的美麗秘境召喚世人來訪。

印之身烙印的權利 Text / 袁青

Photo / 鄭景陽、高雄市立美術館

刺青的存在淵遠流長，卻在不同的集體想像中有著不同的命運，歷史上刺青曾是歐洲或亞洲的邊陲文化，然而在大洋洲的原住民族中卻是一種社會聲望的象徵；而今，刺青重新回歸全球主流文化的藝術潮流，追蹤 5 0 0 0 年歷史文物，探索人類文明發展之間既神祕又複雜的關係。承載著彰顯族群身分，讚禮神祗，也被視為一種放浪者的標記。因為地域和文化之不同，烙印肌膚上的圖案有各種寓意，代表不同意涵和美感，梳理紋身歷史，彷如追索人類進化。

當沾滿墨汁的刺針刺在肌膚上的那一霎那間，心裡住的那個 Rocker 搖滾客，彷彿睡醒了，隨著構圖浮現逐漸鮮活過來。伴著刺青在肌理和心理上的妥協，進而成為生命的一部分，真實地烙印在身上和平共處的刺青，會上癮。足球明星貝克漢露出滿是刺青的手為腕表代言的全球廣告，令人驚覺過往從水手和罪犯者皮膚上遊走的刺文化，帶著禁忌和危險象徵，在十九世紀初，卻己逐漸擺脫地下化的宿命，堂而皇之成為表現個性的「刺」文化。今天刺青成為一種「次文化」，名符其實的體現了對於獨一無二的自己和永恆的追求。不論是信仰口號，愛人或老婆，前任還是新歡的名字，甚至小貓，小狗都行；這年頭，身上不秀點刺青還真不是 Fashion Icon。刺青的解禁跟流行，社群影響不小。一改過去為了紀念在戰爭中失去的愛人，刺上小鳥、蝴蝶、紅玫瑰或是愛人的名字。現在一朵玫瑰、一隻蝴蝶、或是一行文字或經文、符號，全覆式的、半袖的或點綴在臂膀、肩頸、小腿，腳踝和肚皮之間，刺青不再是身價百萬的足球明星或好萊塢女星安潔莉娜裘麗的專利。 ▲ 高美館《刺青－身之印》特展_01｜高雄市立美術館提供，攝影：鄭景陽 ▶ 帝舵表全新#BornToDare廣告中，時尚攝影師大衛 ‧ 西姆斯匠心運用微妙色調與獨到的光線表現手法，捕捉大衛·貝克漢的身影

TATTOO

英文 TATTOO 是源自大溪地語「標記」的意思；它的發音，是部落民族用刺針在皮膚上敲打出紋形時的聲音。從人類學的角度觀察，用來美化身體的方式，幾乎所有民族都有或曾有過紋身的歷史。遠古時代，還未發明用來蔽體禦寒的衣物，但愛美之心，古已有之，將美麗的羽毛、閃光的貝殼作為外表裝飾外，還用塗色、紋身（刺青）等方法

作出各種肉體裝飾。「禮記・王制」稱：「東方曰夷，被發文身」；「南方曰蠻，雕題交趾」。可以斷定「紋身」是人類歷史上最早的裝扮。中國自先秦時代就有在犯人身上刺字的「黥刑」；埃及金字塔內存放超過 4000 年的木乃伊，都有明顯的刺青傑作。一度是可恥的印記和奴役的符號，但也因為西方水手、或監獄裡自願性或抗爭的行為讓刺青得以流傳：觀察獄中，刺青扮演著在黑暗中對外面世界的幻覺，不同圖案代表一種意義，角色和功能，透露著身分証明和群體性的訊息。軍旅更適合用墨水記錄回憶的環境。英國退役士兵湯姆・萊帕德身體有 99.9% 的面積被一種豹皮圖案的紋身覆蓋。耳朵和腳趾之間的皮膚是唯一沒有刺的地方。

1. 紋面的馬克薩斯群島男性，菲利克斯‧馬宏－波伊蘇弗爾(1821-1900)(或仿菲利克斯‧馬宏-波伊蘇弗爾)，馬克薩斯群島、法屬玻里尼西亞，約1846，油彩、畫布，30.7 x 1.6 x 30.7 cm 法國國家凱布朗利博物館典藏(Inv. 75.10097) © musée du quai Branly – Jacques Chirac, photo Claude Germain

3. 刺青計畫：紋身「體衣」設計，莎賓‧葛芙蓉(1969- )，瑞士，2013，繪於亞麻畫布， 128 x 80 cm © musée du quai Branly – Jacques Chirac, photo Claude Germain 4. 男性人體背部的刺青圖紋，李奧‧祖魯艾塔(1952- )，美國，2013，矽膠模型、墨水，高89 cm 法國國家凱布朗利博物館典藏(Inv. 70.2017.26.5) © musée du quai Branly – Jacques Chirac, photo Thomas Duval 5. 高美館《刺青－身之印》特展_09｜高雄市立美術館提供，攝影：鄭景陽

[ SPECIAL REPORT]

「刺青不需要別人的標準判。」它像一面鏡子，下意識反應出內心喜好和害怕 ? 紋身曾經一度也是馬戲團裡宣傳效果的表演節目之一；刺青師甚至跟著戲團巡演遊走，當下擺攤為在地觀眾提供刺青服務。 2500 年前，夏威夷移民帶著刺青經日本來到中國。紋身在日本發展成為一門人體藝術，大和民族稱刺青為「入墨」，在人體刺上如浮世繪般的作品。雖明治時代天皇禁令，但到了江戶時期的浮世繪卻是刺青從點塊狀圖案或字體符號，演變形成整片完整構圖的風格的重要推手。東京博物館就曾展示上百幅裱褙的刺青皮膚。透過全球傳播大放送，NBA 籃球或世足賽場上的巨星球員們，手肘、膝蓋、胸膛上，更是推波者，各式展現個性的刺青圖騰成了球員們向心力的最佳宣示之餘，密密麻麻，愛至永恆的字句、家人名字，包括球王馬拉度納便刺有阿根廷的革命領袖畫像；英格蘭大將魯尼右臂上刺的是凱爾特族的十字；更有甚者，左腿是玫瑰、右腿有耶穌，「only God can judge me」只有上帝可以裁定的「狂言妄語」刺在身體各處，五花八門、歷歷可見，成為「人體藝術」的推波。稱霸影壇 40 年，演出系列 007「占姆士龐德」聞名於世，16 歲投身英國海軍的男演員史恩康納萊，出生工人家庭，以蘇格蘭人為傲，身上就刺有 Scoland Forever。2000 年，他被英國女皇封為「爵士」。 ▲ 高美館《刺青－身之印》特展_10｜高雄市立美術館提供，攝影：鄭景陽 ▶ 歌舞伎役者繪，市川小團次飾演鬼薊清吉，《豐國漫畫圖繪》系列版畫，歌川國貞 (三代目歌川豊國)(1786-1864)繪，谷下魚榮出版，日本，1859，木刻版畫，37 x 24.8 cm 法國國家凱布朗利博物館典藏(X.2016-11) © musée du quai Branly – Jacques Chirac, photo Pauline Guyon

刺青過去代表不受社會

根據 2010 年法國民意機構的研究調查，發現法國十個人

規範，被視為低俗流行層次，

之中，就有一人刺青；而 25 到 34 歲的族群，約五位就有一人。

今天，廣為接受，它是一個主

在其他國家，刺青也正持續成長。今天，大約有四分之一人

意，一種流行的社交現象。年

口刺青。2008 年，蘇黎世一家拍賣行就曾將一名瑞士男子背

輕世代流行卡通、幾何或繽紛

上的聖母瑪利亞紋身拍出 15 萬歐元。條件是他每年三次巡迴

夢幻印記；近年，水彩、潑墨

展示紋身，而且死後這塊刺了圖案的皮膚屬德國買家所有。

和迷你小清新的韓式「微刺青」在手指，耳根，腳踝間，很受歡迎。

用針和墨為生命留下記憶中的痛楚，更多時候，刺青師更像心靈治療師，「把痛和勇敢，透過針尖刻畫在肉身上，訴說著難以言喻的重。」如果，問刺青有多疼？那裡最痛 ? 畢竟，把身體當作畫布，動念之先，深思熟慮想清楚，因為永

久性的刺青不也是對自己人生的一種負責嗎 ?

5. 高美館《刺青－身之印》特展_03｜左起為策展人Julien、高美館李玉玲館長、策展人Anne｜高雄市立美術館提供，攝影：鄭景陽 6. 展現出遊歷刺青師之圖樣目錄的折疊屏風，北非與中東地區，19世紀，木、玻璃、顏料、漆，115 x 2.2 x 84 cm 法國國家凱布朗利博物館典藏(Inv. 71.1933.165.239) © musée du quai Branly – Jacques Chirac, photo Claude Germain 7. 女性人體前身的刺青圖紋，廷-廷(1965- )，法國，2013，矽膠模型、墨水，高95 cm © musée du quai Branly – Jacques Chirac, photo Thomas Duval

8. 男性人體胸部的刺青圖紋，沃爾克(1965- ) & 席夢(1973- )，德國，2018，矽膠模型、墨水，55 x 65 x 23 cm 法國國家凱布朗利博物館典藏(Inv. 70.2018.37.1) © musée du quai Branly – Jacques Chirac, photo Claude Germain 9. 高美館《刺青－身之印》特展_08｜高雄市立美術館提供，攝影：鄭景陽

10. 高美館《刺青－身之印》特展_04｜高雄市立美術館提供，攝影：林宏龍

[ SPECIAL REPORT] 10

原始藝術博物館

Text / 伊森

Photo / 高雄市立美術館

希拉克總統在揭幕典禮上聲稱，這是一座向曾經「被侮辱和蔑視的人民」致敬的博物館。法國巴黎凱布朗利博物館（Musée du quai Branly）與羅浮宮、奧塞美術館、龐畢度中心並列為法國四大國立博物館，也是為紀念法國殖民地藝術，以及格陵蘭島、南北美洲和中美洲、夏威夷帶有原始藝術風格藝術品，也有罕見的源自中國展品的博物館。位於布朗利河岸（Quai Branly），在埃菲爾鐵塔正下方的沼澤地。以物理學家愛德華·布朗利的姓來命名。這間「非西方藝術博物館」令人驚嘆的布局、氛圍和特殊藝術風貌…，像一隻長滿鱗片和植物的巨大昆蟲的超當代建築設計則是出自著名法國建築師讓·努維爾（Jean Nouvel）之手。法國媒體慣稱它為「原始藝術博物館」。巴黎凱布朗利博物館體現了非西方藝術和文明的人性與神奇縮影；館藏來自世界各地藝術品，包羅各種吉祥物（fétiches）、塑像、面罩、飾物和各種宗教與日常生活器具，充分反映出人類精神與創造性的偉大和多元性。

Text / 袁青 Eddie

Photo / 林立杰 Josh Lin

刺青已為一種身分証明的社會雷達。「我每天就專注在這些有關人、符號、情感以及糾結的人體印記，」比起別的紋身師傅，「最深刻的情感是藏在灰階裡的，介於全黑或全白中間的掙扎，才美。」刺青師傅有時候更像心理諮商，「自由從來就不是我想做什麼就能做什麼，而是我不想做什麼，能拒絕什麼。」

多麼痛的領悟

因為紋身；林立杰 Josh Lin 把自己投向未知的旅程。每一個刺青都是命中註定，不需要別人的標準來評判。像希臘神話那樣，被征服的是時間的永生。價值建立在時間上的紋身，更多的代表了一個時代，一種精神。很多時候紋身像一面鏡子，下意識反應了內心的喜好和害怕 ? 從監獄發跡到街頭，從地下到檯面上，從街頭次文化提升到藝術殿堂，帶著禁忌和危險，不斷擴張版圖的「刺青」之所以引人入勝，因為，一出生，我們就跟一切的舊我說再見，刺青體現了人們對於獨一無二的自己和對永恆的追求。如果，刺青象徵時代多元性，Synthetic Lab 合成刺青品牌創辦人 Josh Lin，Josh 見證了這個時代，並且不斷找尋更多可能性。他以寫實風格，讓刺青不再只是印記，更是一幅描繪著澎湃情感的畫作。 56

Josh Lin

[ PEOPLE] 年輕時，每天跟樂團朋友混在一起，震耳欲聾的搖滾樂跟煙霧瀰漫的懵懂陪伴著 Josh 度過少年時光，樂團 NIRVANA 和主唱 Kurt Donald Cobain，一直是他少年記憶，對於未知，未來的興奮與恐懼，多年後都在他的刺青作品裡，彷彿可感受到那分猙獰而強烈的輕狂，令人悸動。「從我有記憶以來，就是在畫畫。」Josh 說，「我每天就專注在這些有關人、符號、情感以及糾結的人體印記，」比起別的紋身師傅，「最深刻的情感是藏在灰階裡的，介於全黑或全白中間的掙扎，才美。」Josh 更像心理諮商，「自由從來就不是我想做什麼就能做什麼，而是我不想做什麼，能拒絕什麼。」「其實畫畫，無關喜歡、療癒，」退伍後，Josh 一邊唸書一邊思考，藝術家要怎麼維持生計。考上台藝大後，當了 4 年紋身學徒，成立 Synthetic 品牌，以蝙蝠般「跨界合成」象徵去除界線，讓一切更自由，至今 16 年，不變。

「紋身很私密。」Josh 喜歡稱客人是『最熟悉的陌生人』；話本來就不多的他，謹守專業本分，既不打知名度也沒有流言蜚短。專長寫實具象手藝的 Josh 有一個『教堂理論』。人體就是一座教堂，每個軀幹像是內部構造，「肢體本身也是符號，有不同的語彙意義，圖案要顧慮視覺，但更須符合人體特性。」紋身的解禁跟流行，社群影響蠻大。新興的「刺」文化，轉為文青風格的小清新顛覆了「與黑道掛勾」的傳統形象。事實上，用針和墨為 2012 澳洲雪梨刺青展 The Australian Tattoo and Body Art

生命留下記憶中的痛楚，「也許我們都太健忘，」刺青師更像心靈治療師，

Expo 以寫實的刺青榮獲世界冠軍。「第二次印象比較深刻是，

聆聽生命印記。「把痛和勇敢，透過針尖有節奏地刻畫，訴說最難以言

我跟我的模特兒歐帝斯，決定以路人甲乙身分，去觀摩全世界

傳的重。」幾年年輕世代流行卡通、幾何或繽紛夢幻；近年，當屬水彩、

水準最高的倫敦紋身展，」結果，當時能參加這個展的全亞洲

潑墨和迷你小清新最受歡迎；「想紋身的人，多半有非做不可的理由，

不超過個位數，但第三天，會展上 Josh 和他的刺青人體活動招

他們必須改變。」在身體上刺下肖像和自我價值強烈的紀念性烙印，隨

牌，卻引起騷動，以非參展身分得到媒體瘋狂注目，可想而知，之後受邀參與義大利米蘭刺青展及更多大小刺青展的常客或評審，也成為多位藝人及藝術家指定刺青師。「通常紋身師大都

著時代改變，紋身有點不太一樣，比較象徵自我的自由，「紋身，單純就是喜歡」，Josh 一語道破，刺青，就像如鯁在喉，不吐不快的個人標記。

以自己文化為題材，我算是第一個以寫實紋身得名的亞洲紋身師。」一直以來 Josh 喜歡黑灰素描的刺青，在脫皮復原之後，灰階會呈現刺青真正要的顏色。深諳灰色階應用，擅長宗教圖像，各式畫風，Josh 在黑灰 tattoo 中，紮實的繪畫功底和詭奇特異的風格，刻畫在人體上的素描彷如超寫實的一頁史詩。不論信仰，愛人或老婆，前任的名字，甚至小貓小狗都行；這年頭，身上不秀點紋身還真不是 Fashion Icon 寵兒。但基於憧憬，Josh 萌生用紋身來重建傷者的念頭，去了倫敦跟被封為爵士 MBE 的老師學藝，運用紋身修復和遮蓋疤痕。已經 80 幾歲的恩師是唯一一位被英國女王特許，沒有醫療執照能在倫敦哈里街開業的人。 57

所有的

色彩都要繼續色彩何辜 ? 香港興起黃色經濟區塊；法國有「黃背心」勞工運動，更遑論台灣被政黨長期貼上標籤的「藍、綠」之爭。但是，色彩不是單獨存在的，只有在進行關聯或對比時，更能體現其真正傳遞的意涵。從歷史、文化、藝術、風俗、時尚設計和美學角度切入 , 色彩，不但可作為趨勢走向預測的指標參考，也是某種具有療癒的現代處方。

[ FASHION ]

Text / 袁青 Eddie

Photo / LV, Gucci, Givenchy, Valentino, Loewe, Boucheron, Bluerider ART 楠弘衛浴

色彩對一切，至關重要。各種研究發現，舉凡亞里斯多德、達文西、牛頓等從文學，心理和科學的辯証中，都試著提出各自對於光與色彩的關係。有趣的是，達文西將一般科學家不認為是色彩的「黑」與「白」納入所創的六原色系統。而牛頓所建構的光譜色彩理論，更以科學定義我們看見了甚麼色彩的機制。但這在歌德眼中卻不這麼以為，「主觀的經驗是無法被忽略的」。這也同時刺激了繪畫藝術開始實驗「互補與對比色」對視覺的影響，串起印象派的崛起。從牛頓與歌德構築在理性與感性的色彩系統之爭開始，色彩的世界普遍就一直是種幻象。從自然科學到裝飾設計的各種領域，都有著適用於該領域機制的色彩論，彼此都有其主觀與客觀事實之間的優劣。尤其在明暗關係中，更近似於人眼以視網膜看到萬物所呈現的畫面，通透之間，特別令人意識到光對於色彩存在的影響。米羅《藍色》藉由拼貼色塊呈現生命篇章，以直觀的方式使用色彩及形狀，舒緩心靈，感受寧靜、和諧、恬淡的歲月靜好。作為一個藝術家，選擇獨特色彩語言描繪心情、簡練的構圖在低彩度啞色間，描繪日常生活的心情集錦，反映生活中簡單而美好的本質。

低調的，不過時的藍色國際色彩權威 PANTONE® 彩通，宣布 2020 年度代表為色號 PANTONE 19-4052Classic Blue「經典藍」。今年是 PANTONE 第 21 次發布年度流行色。如今商業領域，色彩已經越來越重要。除了產品開發，它還關係到一連串各項設計和消費者心理溝通等各環節，色彩也成為行銷上最重值得參考的預測和趨勢指標之一。 Classic Blue 到底有多「經典」？這種帶有持久性的藍色，仿如海洋調，注入了平靜，自信和聯繫，也突顯了人們在跨入新時代門檻之際，渴望建立可靠和穩定的基礎。「我們處在需要信任與信心的年代，」經典藍，象徵沉靜、可靠、穩定與無限的可能性，充滿深刻共鳴，像是浩瀚無邊的藍色夜空，亦或藍色海洋，清新、流水般的動感，『讓世界停止，我想要去旅行！』鼓勵暢通交流的顏色。

變，而藍色偏向「不過時的調性」暗示了“買更少買更好”的價值觀抬頭。放眼時尚圈包括 Chanel、Marc Jacobs、Givenchy 和 Gucci 已經將 Classic Blue 納入 SS20 系列，似乎對街頭風產生了舒緩的作

藍色是寧靜，迎來了和平與安定，提供庇護。這種直觀且具有

用。藍色的加入，既不會過於甜美也不至過分陽剛，令人感到平衡

包容性的顏色，是最普及的顏色家族。經典藍有助於集中意志力和

和放鬆。作為搭配，即便是簡單的白色、黑色，都能讓經典藍更加

思維清晰。正如源於永恆的象徵，2020 年反映了對環境的意識轉

突出，整體視覺感顯得俐落有秩序。

時尚流行趨勢權威機構 WGSN，公布 2020 年流行色彩，為清新、簡潔與純粹的薄荷綠－ Neo Mint ！薄荷綠，一種產生氧氣感的清透色。帶有科技氛圍，象徵未來，清新又自然，讓人有被「淨化」的感受。「人們對未來世界的想像，驅使色彩流行方向，2020 年，純潔明亮調性的薄荷綠可望成為最好的代表。」此外，黑醋栗色（Cassis ）、哈密瓜色（Cantaloupe）以及檸檬黃色（Mellow Yellow）等也是 2020 年春夏時尚圈值得關注的流行色調。「作為預測者，非常能反映消費者偏好的參考來自食品與飲料產業，因為每個人都想要找到可口、新穎、想嘗試的食物。」而比如，「番紅花黃和蔥綠色」的追求和想像反映出色彩的流行逐漸更為生活化。綠色幾乎沒有退燒過，之所以受歡迎，很大一部份是因為深綠蔬菜被現代人視為健康食材，因此色調深沉的綠色也被視為討喜、令人身心愉悅的顏色，「透過烹飪、外食或叫外賣，顏色認知意願，會產生巨大的影響。」來自「食物」的代表色，也說明了色彩無所不在，也是一種反映生活情緒的投射。 60

氧氣感的薄荷綠 Neo Mint

[ FASHION ]

《全球城市玩色計劃》

灰、粉、綠台北3原色

色彩也強烈展示著一個城市在「人文、環境和生存」等國際性的性格。永恆灰（T imeless Gray）、活力粉（Vibrant Pink）、盎然綠（Revitalizing Green）。但，為什麼這 3 個顏色代表了台北 ?

「灰」是安靜穩健的，彷彿見証台北四十多年水泥建築景觀下，人

被形容為「亞洲文字最強塗鴉客 DEBE」選擇現代裝置藝術將台北

們有禮友善的城市性格，優雅的人文環境；「粉」表達台北的前衛，俏

三原色以絢麗奇幻的螢彩流線燈色柱，貫穿九道象徵布落族群祖靈的拱

皮和創意，多變的，多元化的一面，也點出許多「女力」在平權議題上

門，穿梭其下，彷彿洗滌生命性靈。

的勇敢，前衛和大膽的話語權；永續、環保與和平的「綠」，印証台北在環境綠化，再生能源、環保動力車推廣的努力成效。PANTONE® 彩通以這樣的基礎為台北定義出代表色。而透過台灣土生土長的新世代藝術家跨界，從攝影、街頭塗鴉藝

身兼部落客、模特兒與演員的香港歌手蔣雅文，刻意在黑白攝影作品，以粉紅，綠和灰色塊描繪出她心中台北的每個被忽略的角落。畫家潘學觀讓水彩畫中的粉紅色大象走出畫紙，走出房間，遊走在台北西門町領會台北城市的戶外活力。

術、自然仿生設計、食文化、動畫光雕、文字藝術、拼貼、音樂等視角，更真實地投射出台灣世代對台北城市生活的印象，和屬於台北在地的色彩連結。

「溫度物所」，服裝設計起家的 Isaac 與 Wayne，將蒐集來自城市的青苔作為可呼吸的有機體，而投以環保回收膜片的粉紅光源，在鏡面空間的反映倒影下，轉化成台北的色溫。創意玩家 Candy Bird 搬進看似下水道管道 2 米巨型水管，卻又像每個生活在城市中的人，都有一個這樣封閉又安全的家；向外窺探，街頭塗鴉布局，模擬一種很城市、很台北的灰階心境。綜合色彩、構圖與投影的效果，五月天演唱會御用攝影師翁偉中，以倒置的方式投影於牆面上，套上台北三原色的七八年級生人物照，隱喻對城市充滿憧憬又徬徨心情，「平靜又隔絕」既直接又抽象。隨著不同攝影角度下的世代影像，象徵著不同的視角來看世界。小時候受「總鋪師」祖父調教的藝術家蔡承原創造了一個屬於台北人的流水席。「食藝」出發的傳統圓形桌椅喚醒被遺忘的團圓與分享；桌椅加上牆面，全是粉色的辦桌用免洗碗盤，「就用色彩粉飾社會缺乏的溫度吧」。

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《學學文創》

5種寶島最日常的「偏鄉色」教育部與「學學文化創意基金會」以文化色彩為核心，透過建築、景點或公園的城市色彩踏查，引導在地文化與人文風貌認同與感受力的色彩調查，看見臺灣是什麼顏色。「學學台灣文化色彩網站」，藉由藝術家與攝影師作品，學習藝術家與大自然的色彩及配色，搭配「XueXueColors」APP 進行數位色彩採集，帶領 141 所國中小學生，以臺灣藝術家繪畫作品、文化古蹟、人文地景及特色、族群特色、地方產業、特色植物或動物、風景氣象，或是日常生活中氣候及節慶意象等，為色彩採集來源，共同集結出代表台灣各地的 705 種文化色彩，並挑出 5 種「家鄉色」。

1814 年，影像技術尚未被發明，《維爾納色彩命名法》是顏色和其分類的權威性指南，也是藝術家、科學家、自然觀察家、人類學者都會參考的重要依據。有趣的是，文字成為色彩的標示。使用豐富的詞彙描述各種顏色，並試圖列出每種顏色在動物、植物、礦物等大自然中，實際看見的顏色；比如「普魯士藍」（Prussian Blue），根據書中記載，在綠頭鴨翅膀、藍紫色海葵或是藍銅礦石上可見；又如，在金翅雀、金

PANTONE

絲雀、黃色茉莉花、硫等動植物上可看見「藤黃色」。如詩的色彩形容，像是動脈血紅、天鵝絨黑色、翡翠綠，為許多色彩加了溫度。1823 年，達爾文也曾在日記中以《維爾納色彩命名法》形容海水「靛藍又帶

《最古老的色彩學指南》

110種，達爾文也愛的色彩命名法

點天藍」的顏色。《維爾納色彩命名法》起初由德國礦物學者 Abraham Gottlob Werner 創立，後來蘇格蘭畫家 Patrick Syme 再加上了色票，也為範例清單多加了一些例子。對於這古老的色彩指南《維爾納色彩命名法》共有 10 個顏色家族，總計 110 種顏色。參考價值可能不比從前，但感受一下，文字和色彩之間的連結，還是很經典的。

你所不知道的安迪泰德現代美術館安迪．沃荷英倫大展 THE ANDY YOU DIDN'T KNOW WARHOL IN TATE MODERN LONDON 64

[ AGENDA ] 距離上一次安迪在泰德的展覽已經將近 20 年， 2020 年的展覽展出超過 100 件展品，包含繪畫、絹印、錄像、手稿等媒材，並將新的藝術歷史研究發表，給予這位美國普普大師新的詮釋與認識。瑪麗蓮夢露肖像、可口可樂汽水，像是美國 20 世紀文化的鏡面寫照，將慾望、身份認同在社會、政治與科技巨變的時代中表達出來。

A N DY WA R H O L Text / 嚴仲唐 Jason Chung Tang Yen Photo / 泰德現代美術館提供

最後的晚餐 2017 年 11 月 15 日晚間，於紐約的夜間拍賣，後來被歸屬為達文西工作室的《救世主》以四億美金落槌創下了世界拍賣紀錄，同一天晚上，安迪．沃荷（Andy Warhol）1986 年做的「60 個最後的晚餐」巨幅作品以逾六千萬美金成交，創下他拍賣紀錄第五名新高，是近年來最高價的拍賣成交作品，而這件寬近十公尺的重要作品在此月將於英國倫敦的泰德現代美術館展出，成為回顧展的亮點之一。安迪巧妙地結合藝術歷史、宗教以及大眾文化營造出令人省思的作品，同時也發展出藝術的各種可能性。

女士與先生們作為一位前衛的創作者，沃荷於 1975 年開始了他最有特色的系列之一「女士與先生們」（Ladies and Gentlemen）總共創作超過 250 件以非裔與拉丁裔變裝皇后（Drag Queen）們為主角的肖像作品，此次為三十年來首次由一個重要私人收藏中借出了 25 件該系列作品，也是這個系列作品首次於英國最完整的呈現紀錄。比起人人皆知的明星，這些「女士與先生們」似乎是有更多的故事等待觀賞者發現。

▲《自畫像》Self Portrait 1986 Tate © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London. ◀《夢露聯作》Marilyn Diptych 1962 (left panel) Tate © 2019 The Andy Warhol Foundation for the Visual Arts, Inc / Artists Right Society (ARS), New York and DACS, London ▼《女士與先生們》Ladies and Gentlemen (Alphanso Panell) 1975 Acrylic paint and silkscreen ink on canvas, 813 x 660 mm Italian private collection © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.

創新與突破他對名人與名人文化具有高度的熱情，創辦《訪談雜誌》（Interview Magazine）與許多有影響力的人建立友誼，不僅在藝術造詣上有創新，於行銷公關上更是強大。著名的風格據說是借鏡日本大師草間彌生的第一件裝置藝術《千船會》，無論究竟為何，兩者都獨領風騷，在藝術界闖蕩出一番名號。安迪的藝術工廠挑戰藝術的大量製造與普及化，諷刺的是，如今他的藝術品水漲船高已經不是一般人所能負擔的起，不過版畫倒是不錯的選擇，而針對此次展覽，美術館還推出了可以食用的藝術品！ 65

當藝術遇到美食泰德的餐廳 Tate Eats 也特別為此次大展準備了藝術家安迪所吃過的菜單，讓參展民眾能夠飽眼福也滿足口福，視覺搭配味覺饗宴，進入普普藝術的世界，可說是創意十足。安迪可說是著名的愛吃甜食，所以除了濃湯罐之外，更有可口可樂果凍、使用零食巧克力條所做的蛋糕、藝術家最愛的冷凍熱巧克力，更有聖代製作教學課程。 ◀ Tate Eats 推出的火星巧克力蛋糕 Mars Cake by Tate Eats ▼《綠色可口可樂瓶》Green Coca-Cola Bottles 1962 Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 68.25. © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.

POP ART A f t e r a r o u n d 2 0 y e a r s , A n d y Wa r h o l t a k e s t h e s t a g e a g a i n a t Ta t e M o d e r n in London, the exhibition in 2020 features over 100 works incluing painting, silk screen, videos, works on paper with new findings published, providing a new perspective on this A m e r i c a n p o p s t a r. P o r t r a i t s o f M a r i l y n Monroe, Coca-Cola bottles mirrored the 20th Century American popular c u l t u re t h a t re f l e c t e d t h e m e s o f d e s i re , identity in an era that underwent s i g n i f i c a n t c h a n g e i n s o c i e t y, p o l i c t i c s and technological advancements.

[ AGENDA ]

THE LAST SUPPER On the evening of November 15th, 2017, the auction in New York City broke the world record of the most expensive work of art with the now attributed Leonardo Da Vinci Studio's Salvator Mundi hammered at 400 million US dollars, on the same night, Warhol's 1986 work titled Sixty Last Suppers was sold for over 60 millions which is now the 5th of the artist's auction records and the highest auction sales number in recent years. This works spans around 10 meters in width, is showing at the Tate Modern in London as part of the hightlights of this retrospective. Andy has cleverly combined art history, religion and popular culture to create pensive works while exploring various possibilities of art.

LADIES AND GENTLEMEN As a pioneer, Warhol created one of his most intriguing series starting in 1975 titled Ladies and Gentlemen, with more than 250 works spotlighting various African-American and Latinx drag queens and trans women, this is the first time in 30 years 25 works ▲《鐮刀與鎚子》Hammer and Sickle 1976 Museum Brandhorst © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London. ▼《黛比・哈利》Debbie Harry 1980 Private Collection of Phyllis and Jerome Lyle Rappaport 1961 © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.Licensed by DACS, London.

from this series is lent from an important private collection and the most comprehensive showcase of the series in the UK, compared to the wellknown stars, these Ladies and Gentlemen seem to have more fascinating stories waiting to be discovered by the audience.

C REA TIV I T Y AND BREAKT HROUG H Andy's fascination of celebrities and their culture is his passion, he founded Interview magazine and established friendships with numerous figures, not only he had a creative mind for his artistic endeavours, he was great at networking and marketing. His famous repetitive style was rumoured to be inspired by Kusama Yayoi's One Thousand Boats, which was her first room installation, whether or not this was the case, both of them have become cult leaders in the artworld. Andy's art factory challenged to mass produce art, to popularise it, ironically his works are not so affordable anymore nowadays by the mass public, however, with the exception for his limited edition prints on the market that is still affordable, the museum has presented edible art inspired by the icon.

WHE N ART M EET S F OOD Tate Eats has prepared food Andy Warhol loved, so visitors can satisfy both visual sensations and their taste buds into the world of pop art filled with creativity. Andy was a famous sweet-tooth, besides soup cans, there's Coca-Cola Jelly, Marsbar cake, his favourite frozen hot chocolate, and even a workshop for ice cream sundaes. 67

酒後不開車安全有保障