羅芙奧季刊第31期 Ravenel Quarterly No. 31

精采時刻 雋永人生

一百年的現在和未來 ONE HUNDRED YEARS OF PAST AND FUTURE

No. 31 Summer 2020

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CONTENTS No.31 ｜ Summer 2020 ｜ https://ravenel.com

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THE ARTIST

當代藝術「女孩力」－Mr. 的萌藝術 "Girl Power" in Contemporary Art "Moe" Art of Mr. 10

THE ARTIST

童言趣語：哈維爾・卡勒加的大眼男孩 The Fascinating Language of Children: The Large-Eyed Boys of Javier Calleja 14

ART & INVESTMENT

光燦百年：抽象藝術大師朱德群 A Century of Glory: Abstract Master Chu Teh-chun

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WINE

看不見的手－從供需法則看日本威士忌狂潮 The Invisible Hand－ Understanding The Craze of Japanese Whisky 34

FINE CHINESE PAINTINGS

寫毛筆字的筆放不得－董陽孜 The Persistent Creation of Tong Yang-Tze 40

LUXURY

彩鑽與祖母綠，穿越世局歷練的亙古光輝 Colored Diamond and Emerald, Eternal Brilliance Through Challenging Times

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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

CUISINE

與自然相遇

Stedsans in The Woods

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CUISINE

EMBERS餐廳 餘燼的溫度裡，燃起食物最真實的滋味

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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

LIFE

漫步博物館 52

LIFE

浪漫生活博物館

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

LIFE

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

Souvenirs Du Romantisme: Musée De La Vie Romantique

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巴黎聖羅蘭博物館

Légende De La Mode Française－ Musée Yves Saint Laurent Paris

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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

SPECIAL REPORT

我的未來不是夢 擁抱「太空夢」，人類最大挑戰：你今天AI了嗎？

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FASHION

時尚的「可持續性」？ Mr. (岩本正勝) 《川流淙淙》 2009 壓克力 畫布，116.7x80.3cm 羅芙奧台北2020春拍「亞洲現代與當代藝術」 Mr. Masakatsu Iwamoto "Murmuring Stream", 2019 Acrylic on canvas, 116.7 x 80.3cm Ravenel Spring Auction 2020 Modern & Contemporary Asian Art

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

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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 ]

藝 起加油！ 見好就「收」！

THE ARTS MATTER. NOW, MORE THAN EVER. 新冠肺炎疫情蔓延全球，世界被按了暫停鍵，經濟尤其受挫。英國藝術家 Matthew Burrows 在 Instagram 發起 「#artistsupportpledge 」定價£200 的藝術家互助活動，台灣則有「藝起加油 Art」臉書社團與之呼應，藝術家 PO 圖， 網友留言「收」，就是一筆交易，短短幾天達成千萬元台幣的小額經濟。世界級藝博會和畫廊競相推出「線上展廳」， 各大拍賣會舉辦「線上拍賣」活絡藝術宅經濟。 藝術，賞心悅目，可以收藏，救經濟。在疫情艱困之際，被隔離的人們除了醫療物資，也需要藝術來幫忙。隨著 疫情趨緩，城市解封、邊境解禁，社交距離能否再靠近一點？想要旅行就能勇敢飛嗎？ 2020 年春季實體拍賣會不約 而同從四五六月份，推遲至夏日炎炎七月份，該是多麼熱鬧的藝術集會啊。 31 期的《Ravenel》季刊裡，篇篇內容精采富知識性。東西方當代－日本 Mr. 岩本正勝和西班牙 Javier Calleja 哈 維爾·卡勒加，筆下的女孩、男孩萌力全開。文字的力量，就看董陽孜的書畫何以盪氣迴腸。經典不敗，逢百年誕 辰的抽象藝術大師朱德群，行情持續看漲中。同樣也是百年歷史的日本威士忌，近期的拍賣行情不斷締造紀錄，其 中奧妙值得探索。另推薦未來旅遊景點，巴黎聖羅蘭博物館，以及浪漫生活博物館。遠離塵囂的瑞典 Stedsans in the Woods 餐廳，健康又自然，無菜單料理台北 Embers，AI 太空保養品新概念，新時代迎接新的生活。 後疫情時代，相信你我看待人生的態度都有所改變，傳染疾病永遠不會消失，人類要更愛地球，健康地迎接挑戰。 一起加油！

總編輯

▲ 古利 《當洛克威爾遇上沃荷》 2018年 壓克力 畫布 110 x 108 cm Gully, Rockwell Meets Warhol, Acrylic on canvas, 110 x 108 cm

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"GIRL POWER" IN CONTEMPORARY ART "MOE" ART OF MR. 當代藝術 「 女 孩 力 」 － M r . 的 萌 藝 術

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[ THE ARTIST ]

Text / 李維屏 Apolline Li

Photo / Ravenel International Art Group

如果村上隆是第一個成功把日本次文化帶入當代藝術中的藝術

「他的作品包含蘿莉控和御宅族文化的融合，

家，那身為其首席弟子的 Mr. 更是把「御宅族」文化發揚光大的佼佼

一種無法抗拒的純真世界。」

者。村上隆提出超扁平美學理論，嘗試挑戰大眾既有的美學觀點，

－保羅・麥卡錫 ( 美國當代藝術家 )

而 Mr. 則把大眾藝術中的動漫形式推上高峰而大放異彩。本名岩本 正 勝 的 Mr. 1996 年 畢 業 於 東 京 創 形 美 術 學 校， 和 村 上 隆 合 作 10 來 年，已成為 Kaikai Kiki 中最出名的藝術家，並在日本、歐洲、美國 以及亞洲各地等地舉辦個展。2019 北師美術館盛大推出的展覽「美 少女的美術史」中亦展出其大型藝術裝置《Hikari–A Cherry Blossom

"The blending of a Lolita complex and otaku culture in his works … [has] 'an unbearable irresistibility in its tiny, innocent world" － Paul McCarthy (American Contemporary Artist)

Path–》，而近年來日本出現「CHAOS LOUNGE」的展示方法即是 受到 Mr. 的強烈影響，意為「在自己的骯髒房間裡遍地都是作品」， 追隨其創作者亦急遽增加中。

從小眾至主流，承載國際化的標誌性風格－ 從新普普至超扁平 「動漫美學的藝術作品，不僅僅是動畫或漫畫的本身而已，是一 種面對新世紀審美態度的比較全面化概念。動漫美學的藝術，是超越 藝術的藝術，是超越了時間性的時間，是空間之外的空間，超越人生 的生命。」─ 陸蓉之（引自《3L4D 動漫美學新世紀》， 2007，頁 4） 在日本，漫畫與動畫等雖被稱做次文化，但實際上卻是壓倒性 地涵蓋了社會大眾的日常生活，1988 年至 1990 年初的日本社會正處 於泡沫經濟的狂亂年代中，村上隆、奈良美智、矢延憲司等 1990 年 代前後崛起的年輕創作者有對與大眾文化直接對應，由海外逆輸入形 式在日本受到許多以年輕人為中心的大眾歡迎。而其中時村上隆於 1999 年提出超扁平美學理論，首次將漫畫、動畫等文化性力量，成 為做為連結美術的重要線路，御宅文化更是獲得世界性的接受度。

追尋內心的初衷，萌少女拯救世界 Mr. 的作品充分發揮了日本動漫文化的精神，特別是其中蘿莉控 和御宅族綺想。常見於動漫電玩中的「萌少女」以標誌性水汪汪的 大眼睛和纖細外貌成為日本次文化中不可捉摸之想像。自認御宅族 的 Mr. 認為純真女孩擁有無比吸引力，對他而言藝術創作更是一種治 療以及對於自身的重新詮釋，讓他從離異的家庭中恢復過來。他曾經 說到：「人們都誤解了我的作品，以為只是懷舊、可愛，看似日本動 漫，但其實我不斷作畫，是想擺脫那纏繞我靈魂的魔鬼，它隱藏在血 管裡，揮之不去，唯有以繪畫對抗。」 為了與世界對話，Mr. 加入了西方街頭塗鴉藝術元素，突破過往 單純的少女形象、他編織出層次多元且具有強烈敘事性的無邪樂園， 並傳達出一種獨特的視覺語言。在層層疊疊的文化底蘊中有著強烈敘 事性，這完全是出自他條理分明和嚴謹的態度所精心設計的風格，且 他自創常見於日本動漫等次文化中與世無爭的少女樣貌，Mr. 所內藏 的本土符號成為獨樹一幟的標誌性風格。

▲ DJAPA 香港，店內一景，林慧菁攝 DJAPA Hong Kong, a view inside the restaurant, photo: Maggie Lin ◀ Mr. (岩本正勝)《川流淙淙》2009 壓克力 畫布 116.7 x 80.3 cm 羅芙奧台北2020春拍「亞洲現代與當代藝術」專場 Mr. Masakatsu Iwamoto, Murmuring Stream, 2009, acrylic on canvas, 116.7 x 80.3 cm, Ravenel Spring Auction 2020 Modern & Contemporary Asian Art

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If Takashi Murakami was the first ever artist to successfully bring Japanese subculture into the contemporary art, then being his principal disciple, Mr. nevertheless is the leading figure in promoting the otaku culture. Murakami proposed the Superflat theory, trying to challenge the public's existing aesthetic viewpoints, and Mr. made anime risen from popular art to its peak and shined brilliantly. Mr., real name as Masakatsu Iwamoto, graduated from Tokyo Zokei University in 1996 and having teamed up with Murakami for more Mr. (岩本正勝)《微型日記》2011 壓克力 畫布 131.4 x 194.3 cm， 富藝斯香港2019秋季拍賣會，編號136，成交價：港幣 4,230,000 Mr. Masakatsu Iwamoto, Miniature Diary, 2011, acrylic on canvas, 131.4 x 194.3 cm, Phillips Autumn Auction 2019 HK, lot 136, US$ 434,435 sold

than 10 years. He has become the most famous artist in Kaikai Kiki company, and has held solo exhibitions in Japan, Europe, the United States, and Asia. The grand exhibition "Bishojo: Young Pretty Girls in Art History" launched by the Museum of NTUE in 2019 also exhibited its large-scale art installation "Hikari–A Cherry Blossom Path–". In recent years, the way of exhibition "CHAOS LOUNGE" in Japan was strongly influenced by Mr., which means "works are all over in one's own messy room", and those who follow him to create also rapidly increase.

「萌就是『不可能的愛』，是一種 永不為人接受的慾望。」－ Mr.

Bearing the iconic style of internationalization from niche to mainstream ─ Neo-Pop to Superflat "The art pieces of Animamix are not restricted to animation or comics, they represent a more comprehensive concept of art appreciation in the new century. Animamic art is beyond art, beyond time, beyond space and beyond life." Victoria Lu (3L4D - 3rd Life

近年來 Mr. 以誇張式御宅形式成為了拍賣市場焦點，有別於村上隆多

4th Dimension, 2007, p4)

以著名動漫人物「多啦 A 夢」為創作題材，Mr. 以繽紛的色彩且充滿正向

Manga and anime are considered a subculture in Japan due to

能量日本卡漫風格的人物造形，將內心的渴望與幻想具體呈現於畫布上。

their sheer circulation volume. From 1988 to early 1990, Japanese

本次春拍亞洲現代與當代藝術敬獻 Mr.《川流淙淙》，畫面以紫紅色頭髮

society was in a frenzy era of bubble economy, young artists such

的女孩為中心，她水汪汪的大眼與粉嫩稚氣的臉龐流露出無比的純真，於

as Takashi Murakami, Yoshitomo Nara, and Kenji Yanobe who have

淙淙溪流中高舉雙手，綻放出無比的青春與活力。青春正盛、纖弱可愛的

risen around the 1990s have a direct response to popular culture,

萌女孩除了擁有無比吸引力，同時卻又是 Mr. 內心中可望而不可即的欲望

the reverse import form from overseas is popular among young

投射，是一種承載著美好理想的想像。Mr. 的作品閃耀著魔法的奇幻時刻，

generation in Japan. In 1999, Murakami proposed the Superflat

洋溢著無邊的熱情與正向能量，充份傳達了青春、可愛又天真無邪的日式

theory, it was the first time, cultural powers such as manga and

「萌」精神。在充滿殘缺困頓的現實世界，開闢出一方幻想無邊、充滿活

animation have become an important link to mainstream art, and

力的夢想世界。

otaku culture has received worldwide acclaim.

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[ THE ARTIST ]

Pursuing the original aspiration from inner heart, Moe girl saves the world His works have given a full play to the spirit of Japanese animation culture, especially the fancy imagination of lolicon and otaku. The "Moe girl", which is commonly seen in anime, manga and video games, has become an elusive imagination in Japanese subcultures with its iconic large watery eyes and slender appearance. As a self-confessed otaku, Mr. believes innocent girl is extremely attractive, he considered his artistic creation as a kind of treatment, and also the reinterpretation of one self, so that he can recover from his broken family. He once said, "People have misunderstood my work, thinking that it is just nostalgic, cute and looks like Japanese animation, but in fact, I keep painting in order to get rid of the devil that entangles my soul, they hide in my vein, impossible to escape from, can only confront with paintings."

In order to communicate with the world, Mr. adds the diversity of western graffiti art, exceeds the past of just the portrait of a young girl, but successfully weaves an innocent paradise with multi-layers and strong narrative, and hence conveys an unique visual language. The intertwining layers of cultural heritage have an intensive narrative character, this carefully designed style entirely comes from his organized and rigorous attitude. Moreover he created images of innocent and indisputable young girl, which are often seen in Japanese subcultures such as anime and manga, the native motif that Mr. built-in has therefore become his distinctive iconic style.

The style exaggerated with otaku created by Mr. has become the focal point in the auction market in recent years. Different from Murakami, who mostly used the famous anime character "Doraemon" as his creative theme, Mr. employs flourishing colors, creates Japanese animated manga character with style that is full of positive energy and expresses his inner desire and fantasy on the canvas. Ravenel Spring Auction 2020, Modern and Contemporary Asian Art honestly presented Mr. "Murmuring Stream", centered a purple red-haired girl, her big watery eyes and childish face reveal her incomparable innocence, she raises her hands in the running water, exerted blooming youth and vitality. The youthful yet fragile Moe girl overloaded with cuteness is utmost attractive, but it is a projection of desire that is totally out of reach, and an imagination that possessed of the ideal of beauty at the same time. The works of Mr. present fantasy moments filling with magic, brimming with boundless enthusiasm and positive energy, fully conveying the youthful, cute and pure of heart Japanese "Moe" spirit. In such an incomplete and troubled real world, opens up a world full of dreams with boundless fantasy and vitality.

北師美術館，台北，「美少女的美術史」， 2019年展覽一隅，傅斐郡攝 "Bishojo: Young Pretty Girls in Art History", Museum of NTUE, Taipei, August 24-November 24, 2019, photo: Flora Fu

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THE FASCINATING LANGUAGE OF CHILDREN: THE LARGE-EYED BOYS OF JAVIER CALLEJA 童言趣語： 哈維爾・卡勒加的大眼男孩 藝術家 哈維爾 卡勒加 Artist Javier Calleja

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[ THE ARTIST ] Text / 陳怡潔 Josephine Chen

Photo / Ravenel International Art Group, Credit: APPortfolio

當今炙手可熱的西班牙藝術家 說到近期藝術市場上吹起的療癒系作品旋風，除 了日本奈良美智筆下吶喊內心的孩童、日本中村萌的 溫暖系木雕之外，不可不提到現今一作難求的當紅藝 術家：來自西班牙的哈維爾・卡勒加。他所創造的大 眼男孩，造型呆萌可愛，眼睛如寶石般晶瑩剔透，頭 髮如雲朵般蓬鬆，笑容天真無邪，身穿寫著俏皮字句 的 T 恤，驚喜而幽默地輕觸你我片段的內心世界。 卡勒加的創作，不論是素描、塗鴉、油畫、版畫、限 量玩具，皆是當下熱度持續燃燒的收藏標的。 哈維爾・卡勒加，1971 年出生於西班牙南部的 馬拉加，在成為藝術家以前，他曾是奧林匹克體操競 賽的訓練選手。2000 年自格拉那達大學美術系畢業， 開始他的藝術創作生涯。2003 年在西班牙舉行首次 個展，之後陸續展覽於世界各地如巴黎、德國瓦爾德 基興、漢堡及紐約。2017 年起開始在香港、東京舉 行畫廊個展，並於 2019 年首次在希臘舉行個人畫展。 ◀ 哈維爾•卡勒加 《請勿觸碰》 2020年 樹脂 鋼 細繩 壓克力彩 限量250件, 羅芙奧2020春拍「薈萃：國際現代與當代藝術」 Javier Calleja, Do Not Touch, 2020, resin, steel, string, acrylic paint, edition of 250, Ravenel Spring Auction 2020 Select: Modern & Contemporary Art

結合圖像與文字的卡通男孩肖像

▼ 哈維爾•卡勒加《紅髮男孩》2017年 壓克力 畫布 46 x 55 cm 羅芙奧2020春拍「薈萃：國際現代與當代藝術」 Javier Calleja, Carrot, 2017, acrylic on canvas, 46 x 55 cm, Ravenel Spring Auction 2020 Select: Modern & Contemporary Art

街頭藝術、卡通、動畫、電玩，卡勒加透過這些大眾化普 及元素和觀眾互動。他的作品平易近人，貼近生活，輕描淡寫 的簡短文字，妙語如珠地道出日常生活中不經意的片刻情緒。 他結合普普藝術的通俗和漫畫的扁平式表述，有時像是巨型的 筆記本內頁，有時充滿超現實奇想。卡勒加獨樹一幟的藝術語 言，利用方頭而不合身材比例的卡通造型、繽紛生動的色彩、 肖像式構圖，將觀者聚焦於放大的內心獨白。 卡勒加曾在馬拉加當代藝術中心舉辦的奈良美智展覽工 作，將文字與圖像結合的作風，正可見奈良美智對他的影響。 此外，自小深受日本動漫影響的他，在作品中融入「大眼」元 素。「大眼」如今是日本動漫人物的經典標誌，其實這樣的表 現手法，原是在江戶時代晚期自歐洲國家傳入日本，而今日又 藉日本動漫被這位西班牙藝術家重新詮釋。 之所以選擇畫男孩，卡勒加表示，每幅畫的背後其實也藏 著藝術家自己，是他的自畫像，他的內心反射。卡勒加的作品 有趣之處，在於一種既天真又成熟、既脆弱又堅韌的雙重性。 他筆下的男孩總有著微紅的鼻子，好像哭過後恢復笑容的那一 瞬間，這種介於悲傷和喜悅之間的微妙轉折，從悲觀轉向樂觀 的堅強勝利，正是卡勒加作品嘗試表達的情緒。

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市場熱度持續升溫，後勢看好 如今於國際藝壇相當活躍的卡勒加，目前工作 及居住於馬拉加。他的作品在各大藝博會現身，如 2019 年的「香港巴塞爾藝術博覽會」、2019 年的 「台北當代」等。2017 年「第 20 屆馬拉加電影節」 官 方 海 報 也 出 自 其 手。 作 品 為 西 班 牙 薩 瓦 德 爾 銀 行、馬拉加省政府、西班牙 DKV 藝術收藏等機構 收藏。不僅藝術作品，卡勒加的藝術玩具也十分搶 手，繼 2017 年 9 月與 APPortfolio 合作推出限量公 仔《想念藍天》（Missing The Blue Sky），發售價 460 美元的玩具，在拍賣市場上一躍而升超越九千 美元行情，今年發行的新作《請勿觸碰》（Do Not Touch）更甫推出便搶售一空。自 2019 年以來，卡 勒加作品在拍賣市場上紛紛倍數成交，後勢看好。

Known for therapeutic artworks that have recently taken the art market by storm, two Japanese artists—Yoshitomo Nara and Moe Nakamura— respectively capture the psychological landscape of children and the heartwarming hand-carved wooden figures. However, they are not the only creative force raising the profile of therapeutic artworks. In high demand, the trending Spanish artist Javier Calleja creates large-eyed boys with adorable and beloved features, including gem-like glassy eyes, cloud-like fluffy hair, and innocent smiles. On T-shirts with playful and surprising statements, these characters are able to touch people deeply. Calleja's creations, be it sketches, graffiti, oil paintings, prints, or limited art toys, are highly-coveted items with an increasing popularity among collectors.

Javier Calleja, born in Málaga of southern Spain in 1971, was a gymnast in training for the Olympic gymnastics competition before becoming an artist.

He graduated from the Fine Arts Department of the University of Granada in 2000 and began his career as an artist. Calleja's first solo exhibition was held in Spain in 2003, followed by those held in various places around the world such as Paris (France), Waldkirchen and Hamburg (Germany), and New York (the United States). Since 2017, his solo exhibitions have taken place at galleries in Hong Kong and Tokyo, and in 2019 he held his first solo show in Greece. ▲ 哈維爾•卡勒加《01980、眼睛先生（兩件一組）》2017年 水彩 鉛筆 紙本 10.5 x 10.5 cm（01980）；19 x 13 cm（眼鏡先生） 成交價：台幣504,000元 羅芙奧2019秋拍「薈萃：國際現代與當代藝術」 Javier Calleja, 01980; Mr. Eyes (a set of 2), 2017, watercolor and pencil on paper, 10.5 x 10.5 cm (01980); 19 x 13 cm (Mr. Eyes), Sold for US$ 16,525, Ravenel Autumn Auction 2019 Select: Modern & Contemporary Art ▶ 哈維爾•卡勒加《怎麼樣》2017年 炭筆 綜合媒材 紙本 112 x 76 cm 成交價：台幣900,000元 羅芙奧2019秋拍「薈萃：國際現代與當代藝術」 Javier Calleja, What About, 2017, charcoal and mixed media on paper, 112 x 76 cm, Sold for US$ 29,508, Ravenel Autumn Auction 2019 Select: Modern & Contemporary Art

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[ THE ARTIST ]

Remaining active in the international art scene, Calleja currently lives and works in Málaga. His works have appeared in major art fairs, such as Art Basel Hong Kong 2019 and Taipei Dangdai 2019. Calleja also designed the official poster of the 20th Málaga film festival held in 2017.

Artworks created by Calleja are embraced with gusto by institutions including the Spanish banking group Banco Sabadell, the Provincial Deputation of Málaga, and the Spanish DKV Collection. Besides artworks, the artist's designer toys are highly coveted. His limited-edition Missing the Blue Sky sculptures, produced by APPortfolio and released in September 2017, were originally priced at US$460. However, the sale price skyrocketed to more than US$9,000 at auction. His latest creation this year, the Do Not Touch sculptures, also sold out soon after release.

Since 2019, Calleja's works have been selling at auction for multiples of their initial values, constituting a promising future for the artist.

Calleja interacts with the audience through popular elements such as street art, cartoons, animations, and video games. Approachable, liferelevant, expressed in light-hearted short statements, his artworks capture unobserved moments of daily life. Combining highly comprehensible characteristics of pop art and the flat nature of manga, Calleja's artworks often take the form of an enlarged notebook page filled with surreal imagination. Adopting a unique artistic language, Calleja creates square-headed, non-proportional cartoon characters with vivid colors and portrait-based composition, which enable viewers to focus on the intensified inner monologue.

H a v i n g w o r k e d f o r t h e Yo s h i t o m o N a r a ' s e x h i b i t i o n a t t h e Contemporary Art Centre of Málaga, Calleja was inspired by Nara to incorporate text into his artworks. The profound influence of Japanese anime culture on the artist since he was little is manifested in the largeeyed characters he creates. "Large eyes," now a classic and recognizable element of Japanese anime characters, was originally introduced to Japan from European countries in the late Edo period. Today, this artistic expression is reinterpreted by this Spanish artist drawing inspiration from Japanese anime.

The reason for choosing boys as the subject is explained by Calleja— each painting serves as a portrait of the artist that reflects his inner self. The distinct feature of Calleja's works subsists in the juxtaposition of innocence and maturity as well as fragility and strength. The boys portrayed by Calleja always have a reddish nose, seemingly to depict the instantaneous moment of regaining joy after sorrows. The paintings, wherein Calleja endeavors to illustrate the subtle emotional transition from sadness (pessimism) to joy (optimism), elicit the victory of overcoming obstacles.

▲ 哈維爾•卡勒加《我在粉紅裡》2017年 壓克力 畫布 27.5 x 30 cm 成交價：台幣 1,080,000元 羅芙奧2019秋拍「薈萃：國際現代與當代藝術」 Javier Calleja, I am in the Pink, 2017, acrylic on canvas, 27.5 x 30 cm, Sold for US$ 35,410, Ravenel Autumn Auction 2019 Select: Modern & Contemporary Art ▼ 哈維爾•卡勒加《想念藍天》2018年 綜合媒材 玻璃纖維 金屬 52/200 16(長) x 16(寬) x 36.5(高) cm 成交價：台幣288,000元 羅芙奧2019秋拍「亞洲現代與當代藝術」 Javier Calleja, Missing the Blue Sky, 2018, mixed media, fiberglass, metal, ed. 52/200, 16(L) x 16(W) x 36.5(H) cm, Sold for US$ 9,443, Ravenel Autumn Auction 2019 Modern & Contemporary Asian Art

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A CENTURY OF GLORY: ABSTRACT MASTER CHU TEH-CHUN 光燦百年：抽象藝術大師朱德群 Text / Odile Chen 陳惠黛

Photo / Ravenel International Art Group, Christie's

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[ ART & INVESTMENT ] 2020 年本為華裔法籍抽象大師朱德群、趙無極百歲誕辰的重要年度。同

術學院終身院士，也是兩百年來獲此殊榮的華人第一人。2001 年又

樣出生於 1920 年，趙無極是冬去春來的二月，朱德群則為秋末冬初的十月。

榮獲法國教育部頒授騎士棕櫚勳章，以及榮譽軍團騎士勳章等藝術

1930 年代時，皆是杭州藝專同窗，相似的師承，先後往巴黎拓展藝術，晚年

成就。

成為法蘭西美術學院的終身院士，無論在法國或是華人的美術界或學術界對他 們投報以敬意，畫商、收藏家遍及各洲，國際拍賣行情也屢創新紀錄。然而， 最重要的百年回顧大展意外遇上全球性新冠肺炎災情而停止，令無數藏家無奈 惋惜。 根 據 報 導， 朱 德 群 基 金 會 Chu Teh-chun Foundation 原 本 盛 大 籌 備 規 劃 2020 百歲大型回顧展，預計四月起在北京中國國家博物館，而後中東、歐洲 和美國的巡迴展出，不料 2019 年底爆發新冠肺炎傳染病，2020 年春天疫情擴

朱德群逝世後三年，2017 年其家族在日內瓦成立「朱德群基金 會」慈善機構，由夫人朱董景昭擔任主席，次子朱以峰 Yvon Chu 為副主席，宗旨於保護、宣傳和推廣朱德群作品的影響力，籌辦展 覽、保存藝術家文獻檔案，建立作品編目，協助鑑定與認證，並出 版畫冊書籍，以及鼓勵年輕藝術家的獎學金等，遺愛人間。 值此 2020 年的春天，僅以此文和紙上畫展形式，獻給百年前 誕生的時代巨人，聊表敬意與追思。

及全球，展覽計畫無以為繼。面對全球性的災難，基金會捐出藝術作品參加巴 黎和香港的慈善義賣，支持抗疫工作。 朱德群於 2014 年 3 月 26 日以 93 歲高齡逝世於巴黎自宅，法蘭西學院的 新聞資料曾以「繼兩位同儕喬治・馬修與趙無極的先後殞落，朱德群是革新西 方繪畫史抒情抽象的最後一位美術院士。」1997 年，朱德群被選為法蘭西美

◀ 朱德群《1978年5月5日》1978 油彩 畫布 162 x 128 cm, 羅芙奧台北2020春季拍賣會「亞洲現代與當代藝術」, 預估價 台幣3800-4600萬元 Chu Teh-chun, 5 Mai 1978, 1978, oil on canvas, 162 x 128 cm Ravenel Spring Auction 2020 Taipei Modern & Contemporary Asian Art, Estimate: USD 1,261,200~USD 1,526,700 ▼ 藝術家 朱德群 Artist, Chu Teh-chun

力與美的選擇 前衛的杭州藝專

朱德群本名朱德萃，1920 年出生於江蘇省蕭縣白土鎮（後劃為安徽省） 一文人家庭，故鄉位於蘇魯豫皖交界，清朝時隸屬於江蘇徐州。祖父朱漢山、 父親朱禹成皆為知名中醫，父親亦是書畫收藏家，懂得傳統水墨畫。朱德萃家 中有三兄弟，他排行第三，自幼特別喜好書畫，受父親指導，臨摹無數碑帖。 幼時跟兄長就讀私塾，後入蕭縣縣立實驗小學、師範，轉入徐州中學、海州中 學。成長於動盪不安的時代，生存教育屢屢受逆境考驗。 1935 年在開明的父親的指點下，朱德萃捨棄擅長的體育，報考藝術專科， 當時有北平、上海、徐州、杭州四地可選擇。朱德萃聽同鄉轉述，杭州藝專的 校長、教授多從法國留學回來，師資強不易考取。好勝心強的他於是選擇報考 杭州藝專，當時因中學畢業文憑尚未發下，恐趕不上報名，借用堂兄德群的畢 業證書報名，一考即中。取得文憑後要求還原本名未果，從此成為朱家的第二 個「朱德群」，冒用的名字戲劇性的為他一生所用。 離開朱家山村，進入西湖畔全中國最前衛的美術學校，從此改變了他的 一生。不僅師從林風眠、吳大羽、方幹民等留法名師，從歐洲帶回的現代美術 教育，灌輸古典主義的透視、色彩學、解剖學，以及印象畫派、野獸派與立體 主義等引領風潮的觀念。繪畫系主修西畫，但同時仍必修國畫，雙管齊下，因 此朱德群和其他同校的趙無極、吳冠中一樣，向中國繪畫的大師潘天壽學習書 畫。朱德群自認為他的抽象繪畫中的雄渾陽剛，應可追溯自潘天壽師的影響。 天天在西湖邊寫生，有吳大羽師的指導，兩年畫了五百多張寫生。吳大 羽點出印象派的精髓，「繪畫即是畫家對自然的感受，亦是與宇宙間一霎那的 真實…。要能抓住一霎那真實，就要畫家與自然融合，進入物我兩忘的創作境 界。」這是朱德群後來畫抽象畫的座右銘。朱德群在名師的教授下，左右逢源， 融會現代西方畫和傳統中國畫，構築藝術人生堅實的基礎。

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© 2020 圖片由佳士得提供 Credit to Christie's Images LTD. [2020]

時 空 旅 人 中國、台北、巴黎

往法國的越南號輪船上，巧遇往西班牙留學的師大女學生董景昭，

藝專學習期間逢中日戰爭，學校遷入四川，1941 年朱德群以優異

萌生愛慕之情，悄悄結下後半生的因緣。在此之前，朱德群已有過兩段

成績畢業，留校任助教。1944 年任大後方中央大學建築系講師。戰爭

婚姻，對象都是繪畫系同學，年輕時自然而然在一起，唯有對女學生的

結束後，與師生從重慶遷返南京，途經長江三峽，沿途所見山苔峭壁、

情感是生平第一次，放下為人師表或傳統禮教約束，此時他不計毀譽及

松石峻崖的雄偉山水，留下畢生難忘的印象。令人遺憾的全部油畫留在

後果，像藝術的追求一樣，義無反顧。經過數十年戲劇般的牽扯拉鋸，

重慶無法帶走，隨身攜帶的七八百張生活速寫遇暴風雨，多年作品化為

將軍的掌上明珠董景昭最終成為他的妻子，生涯奮鬥的最強支柱。

紙團毀於一旦。

幸有張道藩事先安排，及音樂家留學生許常惠的幫助，朱德群到了

1948 年朱德群與同窗柳漢復結婚，次年女兒凱蒂出生於亂世的南

巴黎先學習法語，於大茅屋工作室 La Grande Chaumière 畫人體素描，

京。中國時局動盪，妻子的兄長已轉往台灣定居，1949 年妻女先離開

結識久仰其名的潘玉良和藝術圈好友。朱德群連續以兩幅典雅娟麗帶有

南京，他隨後經上海乘船抵達台北。行前數十幅油畫託付與同學王如

東方神韻的《景昭肖像》油畫，入選 1955 年和 1956 年巴黎的春季沙龍

松，後來得悉王返鄉，所有油畫已不知下落。命運多舛，二十世紀初期

展，分別獲得榮譽獎與銀獎。此時的敲門磚象徵著朱德群的寫實繪畫的

中國藝術家，因戰亂被迫遷徙，生活尚且不易，早年創作能留存者幾希。

自我檢驗與總結，他決定開始新的藝術探索。

1949 年以前在中國的所有畫作連一張速寫都沒留下，成為朱德群一生

在巴黎 朱德群的風景是一嶄新篇章

中莫大遺憾。

1956 年俄裔畫家史塔耶爾（Nicolas de Staël）的遺作回顧展，敏銳

來台生活五年時間，朱德群先在台北工專建築系任教餬口。因為曾

而天馬行空的表現，點爆了朱德群內在的宇宙，藝術的壯遊出現重大轉

是潘天壽高足，後來結識了曾學過畫的教育部長張道藩、蔣碧微，以及

折。他擺脫形體的約束，開始嘗試畫抽象畫。在創作的過程中，體驗到

黃少谷、羅家倫等政要聞人，推薦他到台灣最高美術學府師範大學藝術

莊周逍遙遊、孔夫子遊於藝的自由自在。

系教書，劉國松即為高足之一。

「在抽象畫中，不一定要完全否定物質的自然形象。」史塔耶爾的

所謂教書的先生很少畫畫，朱德群雖然居鬧市台北，卻是一個愛

自由精神，使他聯想起三峽聳立的抽象山峰，巴黎街道斑駁牆面的迷人

畫畫的隱士，擁有古典寫實與素描的深厚功力，以及塞尚的現代風格啟

具象與抽象圖紋。中國老子的「恍兮惚兮，其中有象。」就是抽象畫。

發，偏好畫靜物、風景還有人物肖像，曾在阿里山、八仙山畫過多幅風

中國人的寫意美學、道家哲學，消弭了西方抽象與具象的對立。朱德群

景。1954 年 12 月在台北中山堂舉辦生平首次個展，展出 50 多幅畫作，

的抽象繪畫，從西方人的畫裡觸發，源頭卻在中國文化，在「大象無形」

成為當年畫壇盛事，在尚無藝術市場的 1950 年代，全數作品售罄，籌

與「恍兮惚兮，其中有象」的理念裡。

措了前往巴黎尋夢與生活旅費。他一心盼望能如恩師與同窗趙無極、吳 冠中一般，前往藝術的麥加朝聖。 16

[ ART & INVESTMENT ] 朱德群喜愛古典音樂與唐宋文學，平日朗讀詩賦，聽交響樂作畫，

1983 年後朱德群幾度獲香港中文大學邀請擔任藝術系校外評

他的繪畫裡經常融入詩詞韻律，最特別的是他不介意為抽象畫題寫畫

審，且旅行中國和老友吳冠中、李可染等重聚。1986 年在香港文化

題，詩詞一般的文字，本就非常抽象，不會干預藝術的解讀。1956 年

中心舉辦紙上作品個展，林風眠恩師為其畫冊題字。朱德群離開台

開始嘗試抽象畫，先是變形，一些色塊的組合，然後藍灰黑構成的音樂

灣三十二年後，1987 年在台北的歷史博物館舉辦回顧展，同好故友

性線條與節奏，而早期的抽象作品透露著中國筆墨的基因。好友吳冠中

都來相聚。隨後有金陵藝術中心、台中省立美術館的展覽。1989 年

曾點出朱德群的作品特色：「遠看西洋畫，近看中國畫」。「德群表現

台北市立美術館的「中國巴黎」聯展，他的作品和常玉、趙無極、

中另一突出的特點是特明性，黏糊糊的油彩，織成透明的新裝，那種半

林風眠等共同展出，獲得華人地區市場的關注。1992 年起台中臻品

透明的效果，本是中國宣紙特有的風采，是令西方可望不可攀的風采。」

畫廊，1993 年台北帝門藝術中心，1996 年高雄茉莉畫廊，接續展出。

朱德群在法國成為巴黎畫派的成員之一，趕上抒情抽象藝術的浪 潮，他的繪畫經過 1950 年代早期凝彩寶石典雅構成時期；1960 年代大

1997 年香港藝倡畫廊也為他舉辦近作展。同年在北京中國美術館、 香港藝術館、高雄市立美術館以及隔年在台北市立美術館巡迴展出。

幅狂草動勢強烈，寬筆刷畫的大抽象畫時期；1970 年代受林布蘭繪畫

1997 年當選法蘭西學院美術院士，獲得空前的榮譽。香港的

啟發的幽微與光源的奧妙探索，1980 年代中期酣暢淋漓的雪景系列，

藝倡畫廊、台北的傳家藝術、台中的現代畫廊，巴黎的納瓦哈畫廊

以及後期的波瀾壯闊的交響詩合奏律動，一生繪畫成就不凡。

（Galerie Enrico Navara）、台北的印象畫廊、天使畫廊等等，都是

法 國 詩 人 曾 以「 超 脫 之 風 景 畫 」（Les Dépaysages de Chu TehChun, une poétique de l'espace）評析了朱德群的抽象畫，讚揚畫中展現 詩意空間。在巴黎，朱德群的風景畫是嶄新的一章。又有「二十世紀的 唐宋畫家」的封號。他的畫能在西方美術界受到評論界的重視，進而進 入西方博物館與大藏家的寶庫。

畫家的推手。在收藏家方面，清翫雅集成員的曹興誠是眾所周知的 朱德群重要藏家之一；而科技公司董事長鄧傳馨從 2004 年開始收藏 朱德群的作品，後來極為著迷並與畫家成為忘年之交，為其奔走籌 畫日本上野之森回顧展，以及 2007 年台北歷史博物館「朱德群八八 回顧展」都獲其大力贊助與支持。鄧傳馨是目前所知兩岸三地收藏 朱德群系統最為完整的藏家之一。2006 年朱德群獲歐盟在盧森堡頒

留法三劍客 百年各領風騷

吳冠中、趙無極與朱德群是 1930 年代杭州藝專林風眠的得意門生，

授歐洲成就金獎，2010 年北京中國美術館曾在朱德群九十歲回顧 展。此時，藏家群遍佈歐美與亞洲華人圈。

也是華人西畫市場所謂的「留法三劍客」。他們一生留下美麗雋永的作 品，在拍賣市場頗受追捧。三人之中，朱德群最晚抵達巴黎，晚了吳冠 中九年，趙無極六年，他的個性木訥內向，只知畫畫，鮮少送往迎來。 1958 年，抵法兩年後在音樂家許常惠的牽線幫忙下，找到勒讓特畫廊 Galerie Legendre 代理簽下五年合約，得以安住巴黎。參與國際間重要 盛會，1969 年參加巴西聖保羅雙年展，以專室陳列。1979 年袖珍博物 館出版社 Le Musée de poche 曾推出大師傳記叢書專題，朱德群為該專 輯的第三本，在此之前是安德烈．馬松（André Masson）和皮耶．蘇

◀ 朱德群《雪霏霏》1990-1999 油彩 畫布（二聯屏） 單屏: 200 x 200 cm 全幅: 200 x 400 cm 佳士得2009香港秋拍, 成交價HKD 91,820,000 Chu Teh-Chun, Vertige Neigeux (Snowy Vertigo), 1990-1999, oil on canvas, diptych, each: 200 x 200 cm, overall: 200 x 400 cm.

Christie's Hong Kong Autumn Auction 2009, sold for USD 11,835,596 ▼ 朱德群《意志堅強》2004-2005 油彩 畫布（四聯幅）195 x 456 cm 羅芙奧台北2013秋拍, 成交價 TWD 75,360,000 Chu Teh-Chun, Force d'âme (Fortitude), 2004-2005, oil on canvas, 195 x 456 cm Ravenel Autumn Auction Taipei 2013, sold for USD 2,546,806

拉吉（Pierre Soulage），其藝術之重要可見一斑。1980 年入籍法國， 1981 年過了耳順年才與人生伴侶董景昭公證結婚。

17

後新冠時代 迎接藝術市場榮景

朱德群的藝術成就自然可與二位大師分庭抗禮，然而平均行情確是委屈， 在補漲行情的預期下，行情仍有想像的空間。不少收藏家近幾年已開始留意 朱德群的精采作品，慢慢地納入收藏名單，從國際拍賣市場可看出端倪。 2003 年 SARS 疫情結束後，藝術拍賣市場至少走了五年的蓬勃時期。而 金融海嘯過後，市場行情快速修正，大師經典藝術很快地復甦，且突破過去 的行情水位，大幅拉高大師們的收藏門檻。大華人收藏家的實力睥睨國際， 使得華裔的國際名家如常玉、趙無極、吳冠中、朱德群等，跟著西洋大師身 價平起平坐。 紐約畫派大師在國際拍場具有領先地位，而隨著時間推移、追本溯源， 包括華人抽象藝術、日本具體派、或者韓國單色畫等，及其創新源頭的歐洲抒 情抽象如喬治．馬修（Georges Mathieu）、漢斯．哈同（Hans Hartung）、 趙無極與朱德群等，他們與東方的脈絡連結，豐富了二十世紀歐洲抒情抽象 藝術的發展演進，留下人類文明的瑰寶。僅管普普藝術和潮流藝術搶占社群 媒體目光，經典恆久遠，世紀大師的藝術價值經得起時間的考驗。 2020 marks the 100th birth anniversary of the Chinese-French abstract masters, Chu Teh-chun and Zao Wou-ki. Zao was born in February, 1920, Chu in the October of the same year. In the 1930s, they were both students at ▲ 朱德群《構圖51號─萬家掩映翠微間》1960, 油彩 畫布, 120 x 100 cm, 羅芙奧台北2014春拍, 成交價 TWD 89,920,000 Chu Teh-chun, Composition No. 51 - Mille vies se cachent dans le bois, 1960, oil on canvas, 120 x 100 cm Ravenel Apring Auction Taipei 2014, sold for USD 2,998,333 ▶ 朱德群《無題》1963 , 油彩 畫布（二聯屏）, 195 x 243.5 cm, 佳士得香港2013秋拍, 成交價HKD 70,680,000 Chu Teh-chun, Untitled, 1963, oil on canvas (diptych), 195 x 243.5 cm, Christie's Hong Kong Autumn Auction 2013, sold for USD 9,117,720

談及拍賣市場的大幅飛漲，大約從 2004 年開啟。亞洲地區剛經

Hangzhou National College of Art and were trained by the same teachers. Both went to Paris to pursue a career in art. Both became the lifelong members of the French Academy of Fine Arts. The art and the academic communities in both France and the Chinese world hold them in high regard. Dealers and collectors of their works are all over the world. The prices of their works have repeatedly set new records in international auctions. To the dismay of countless collectors, the significant 100th anniversary retrospective exhibition was called off due to the unexpected global outbreak of COVID-19.

過 SARS 急性傳染病前所未有的震撼，藝術市場展開報復性的買氣。

Reportedly, the Chu Teh-chun Foundation originally planned a large-

2004 年 4 月 11 日在台北羅芙奧春拍的一件 1950 年 10 號朱德群小

scale retrospective exhibition for Chu's 100th birth anniversary in 2020. The

畫開始點燃，原本低預估價僅台幣 15 萬，搶拍喊至逾百萬元。接著

exhibition was scheduled to start in April, at the National Museum of China

在 4 月 25 日他的油畫作品在香港突破一千萬台幣關口，接下來就是

in Beijing, and then tour in the Middle East, Europe, and the United States.

一段行情飛躍的時期，一直持續到 2008 年金融海嘯。在此之前，朱

However, as COVID-19 broke out in late 2019, and spread across the globe

德群的作品價值長期被低估。儘管國際美術地位崇高，多間博物館

in the spring of 2020, the plan fell through. Facing the global disaster, the

展出與收藏，他的畫作比起當代藝術家還要低，最貴一幅不過台幣

Foundation donated artworks for charity auctions in Paris and Hong Kong to

兩、三百萬元，簡直不可思議。

support the prevention of the pandemic.

從此兩岸三地的拍賣會上，朱德群的行情經常被拿來與同樣以

Chu passed away at his home in Paris on March 26, 2014, at the age of

抽象畫聞名的趙無極相提並論，以及另一同窗好友吳冠中橫跨中西

93. The press release of the Académie des Beaux-Arts of I'Institute de France

畫領域，都是華人藝術界的超級天王，2006 年後的高價紀錄已超越

described him as "the last academy member who revolutionized the lyrical

億元台幣行情，彼此價格水位互有競逐。截至 2020 年 4 月本文撰稿

abstraction of Western painting, after the passing of his peers, Georges Mathieu

時間為止，吳冠中最高價的油畫一幅是 1997 年所繪的《周莊》（The

and Zao Wou-ki." (Après Georges Mathieu et Zao Wou-Ki, ses deux confrères

Zhou Village, 148 x 297 cm），2016 年 4 月在香港保利拍出 2.36 億

disparus récemment, Chu Teh-Chun "était le dernier représentant à l'Académie

港元（約 9 億台幣或 US$30,444,000）；趙無極最高價油畫為三聯

de l'abstraction lyrique qui renouvela l'histoire de la peinture occidentale"

幅 巨 畫《1985 年 6 月 至 10 月 》（Juin-Octobre 1985, 280 x 1,000

dans un communiqué.) In 1997, Chu was elected as a lifelong member of the

cm），2018 年 9 月在香港蘇富比拍出 5.1 億港元（約 20 億台幣或

Académie des Beaux-Arts. He was the first Chinese to win this honor in 200

US$65,204,488）。 而 朱 德 群 果 然 以 後 期 作 品《 雪 霏 霏 》（Vertige

years. In 2001, the French Ministry of National Education awarded him with

neigeux, 200 x 400 cm），2016 年 11 月在香港佳士得拍出 9180 萬

the Ordre des Palmes académiques and the Légion d'honneur, amongst other

港元（約 3.6 億台幣或 US$11,835,596）的紀錄。

accolades in art.

18

[ ART & INVESTMENT ]

In 2017, three years after Chu's passing, his family established the charity "Chu Teh-chun Foundation" in Geneva. Chu Tung Ching-chao and Yvon Chu (his second son), serve as president and vice president, respectively. The foundation aims to preserve and promote Chu's works and

cataloging his works, helping with identification and certification, publishing albums and books, and offering scholarships to young artists, etc.

It's the spring of 2020. The purpose of this article is to honor and remember this giant of his era, who was born 100 years ago.

his influence, by organizing exhibitions, archiving the literature on Chu,

C hoos in g t h e Pow er ful a nd t he B ea ut iful:

t h e P rogres s ive Ha ngzhou Na t iona l Col leg e o f A rt

of calligraphy and paintings, and was familiar with t raditional in k painting. Teh-tsui was the third of the 3 brothers in the Chu family. He

Chu Teh-chun, whose real name is Chu Teh-tsui ( 朱 德 萃 ), was

had a keen interest in painting and calligraphy since childhood. Under

born in 1920 in a literati family, in Baitu Town, Xiao County, Jiangsu

his father's guidance, he copied numerous calligraphy works. Initially,

Province (later classified as Anhui Province). His hometown is located

he went to private school with his brothers, and then entered Xiaoxian

at the junction of 4 provinces-Jiangsu, Shandong, Henan and Anhui,

Experimental Primary School and Xiaoxian Normal School. Later, he

and was a part of Xuzhou, Jiangsu Province during the Qing Dynasty.

transferred to Xuzhou Senior School and Haizhou Senior High School.

His grandfather Chu Han-shan and his father Chu Yu-cheng were both

Growing up in a turbulent era, his survival and education were tested by

renowned Chinese medicine doctors. His father was also a collector

adversities.

19

In 1935, guided by his enlightened father, Teh-tsui decided to

Regrettably, all of his oil paintings were left in Chongqing, and his

give up sports, which had been his specialty, and applied for an art

works over the years, seven or eight hundred life sketches he carried

college. At the time, there were four art colleges to choose from:

with him, were destroyed in a storm.

Beiping, Shanghai, Xuzhou, and Hangzhou. He heard from his fellow villagers that most of the principals and professors at Hangzhou National College of Art had studied in France. Driven by his competitive nature, he chose to apply for Hangzhou National College of Art. However, he had not yet received his high school diploma at the time of application, so he borrowed the diploma of his cousin Teh-chun. He was admitted on the first try. After receiving his own diploma, he attempted to restore his name, but failed. From then on, he became the second Teh-chun of the Chu family. Little did he know that the fake name would be used throughout his entire life.

Leaving the mountainside hometown, he entered the most progressive art school in China, located by the West Lake. This was the turning point of his life. He studied under famous teachers such as Lin Fengmian, Wu Dayu, and Fang Ganmin, who had studied in France and brought back modern art education from Europe. From them, he learned not only the classicist concepts of perspectives, chromatics, anatomy, but also the progressive concepts of Impressionism, Fauvism, and Cubism. While Chu majored in Western painting, he was also required to study traditional Chinese painting by his department.

That is why, like Zao Wou-ki and Wu Guanzhong, who studied in the

In 1948, Chu married his classmate Liu Han-fu. The next year, their daughter, Kate, was born in the troubled Nanjing. The situation in China was unstable, and his wife's brother had moved to Taiwan.

In 1949, his wife and daughter left Nanjing for Taiwan, and then he arrived in Taipei later by boat. Before the trip, he entrusted dozens of oil paintings to his classmate, Wang Ju-sung. Later, he learned that Wang had returned to his hometown, and the paintings were nowhere to be found. Such was the fate of a Chinese artist living in the early 20th century. He was forced to migrate because of war, and few of his early works were able to survive. Of all the paintings he created in China before 1949, not even a sketch survived. This was one of the greatest regrets in his life.

During his 5-year stay in Taiwan, Chu taught at the Department of Architecture of the Provincial Taipei Institute of Technology for a living. Being Pan Tian-shou's prized pupil, he met Chang Tao-fan, the Minister of Education, who studied fine arts, and Jiang Bi-wei, as well as other political figures such as Huang Shao-ku and Luo Jia-lun.

They recommended him to teach at the Department of Fine Arts at the National Taiwan Normal University, the best art institute in Taiwan.

Liu Kuo-sung was one of his students there.

same school, Chu studied painting and calligraphy under Chinese painting master Pan Tian-shou. Chu believed that the masculinity in his abstract paintings derived from the influence of Pan.

Most art teachers seldom paint themselves. Although Chu lived in the lively city of Taipei, he was a hermit who loved to paint. He had profound skills in classicist realism and sketching, but was also

He painted everyday by the West Lake. Under the guidance of Wu Dayu, he finished more than 500 nature paintings in two years. Wu pointed out the essence of Impressionism, "Painting comes from the painter's feeling of nature. It is a moment of cosmic reality. To grasp that moment of reality, it is necessary for the painter to become one with nature, to enter a state of creativity, where the line between he or she and the nature becomes irrelevant." This became Chu's motto for creating abstract paintings. Under the instruction of these great

inspired by Paul CĂŠzanne's modernist style. He liked to draw still life, landscapes and portraits. He did several landscape paintings in Alishan and Baxianshan. In December of 1954, he held his first solo exhibition at the Zhongshan Hall in Taipei. More than 50 paintings were exhibited. It was the event of the year in the art world. In the 1950s, he sold all his works for travelling and living expenses, to chase his dream in Paris. He dreamed to be like his teachers, his classmates Zao Wou-ki and Wu Guanzhong, and go to the Mecca of art.

teachers, Chu mastered both modern Western painting and traditional Chinese painting, building a solid foundation for his art career.

A Trav e le r t hro u gh T im e a nd Spa ce ďź?

C h in a, Taipei, P ar is

On the Vietnamese ship he took to go to France, he met a NTNU student, Tung Ching-chao, who was going to study in Spain. He fell in love with her, and she became the most important woman in the rest of his life. Chu had already had two marriages before. Both were

While Chu studied in the art school, the Sino-Japanese War was

his classmates in college. Both marriages were the product of young

raging on, and the school moved to Sichuan as a result. He graduated

love. Never had he developed feelings toward a student before, but he

with honors in 1941, and stayed as a teaching assistant. In 1944, he

decided to break away from the restraint of traditional values. He did

became a lecturer in the Department of Architecture of the wartime

not care about the consequences to his reputation. Like his pursuit of

National Central University. After the war, he moved from Chongqing

art, he was determined about his love for Ching-chao. After decades of

to Nanjing with the students and other teachers. They passed through

dramas, Tung Ching-chao, beloved daughter of a general, became his

the Three Gorges of the Yangtze River. The majestic mountains, cliffs,

wife at last. She would become the most loyal supporter of his career.

and rivers he saw on the way stayed with him throughout his life.

20

[ ART & INVESTMENT ]

◀ 朱德群《紅色構圖 149號》1963, 油彩 畫布, 130 x 97 cm, 羅芙奧香港2011秋拍, 成交價HKD 10,720,000 Chu Teh-Chun, Composition No. 149, 1963, oil on canvas, 130 x 97 cm, Ravenel Autumn Auction 2011 Hong Kong, sold for USD 1,376,123 ▶ 朱德群《阿里山》1954, 油彩 畫布, 65 x 53 cm, 羅芙奧台北2007春拍, 成交價TWD 2,950,000 Chu Teh-Chun, Ali Mountain, 1954, oil on canvas, 65 x 53 cm, Ravenel Spring Auction Taipei 2007, sold for USD 89,326

Thanks to the arrangement by Chang Taofan and the help of overseas student musician Hsu Chang-hui, Chu started to learn French in Paris. He also drew figures at La Grande Chaumière. It was there he met Pan Yu-liang, whom he had admired for long, as well as her friends in the art circle. Chu's works were selected by the Paris Spring Salon in 1955 and 1956, and won honorary award and silver medal, respectively. The award-winning oil portraits of Ching-chao are elegant, filled with Oriental charm. The acknowledgments concluded Chu's selfassessment of his realistic painting. From then on, he started to explore new grounds artistically.

Pa r is: a B r a n d N e w C h a p te r

he experienced the freedom the Chinese philosophers Zhuang Zhou and Confucius once described.

"Abstract paintings do not have to deny the natural image of things." De Staël's free spirit reminded him of the abstract mountains of the Three Gorges, and the enchanting patterns, both concrete and abstract, on the weathered walls of Parisian architecture. Laozi wrote in Tao Te Ching, "The Way is vague and intangible. Yet, in the vague and void, there is image, there is substance." This also applies to abstract painting. The Chinese aesthetic of "freehand brush work" and the Taoist philosophy erase the distinction between the abstract and the concrete in the Western tradition. Although Chu's

In 1956, Chu went to the retrospective exhibition

abstract paintings were inspired by a Western artist,

of the late Russian-French painter Nicolas de Staël.

their origins can be found in the ancient Chinese

The keen and free expression of de Staël's works

wisdom, such as "Great Way is formless," and "The

inspired Chu greatly, transforming his approach to

Way is vague and intangible. Yet, in the vague and

art. He was free from the shackles of concrete forms

void, there is image, there is substance."

and began creating abstract paintings. In the process,

21

Chu loved classical music and the literature of the Tang and Song

The first three volumes were about André Masson, Pierre Soulage, and

Dynasties. He recited poems. He listened to symphonies while he painted.

Chu Teh-chun. This shows the importance of Chu's works. He became

The rhythm of poetry often blended into his paintings. He did not mind

a French citizen in 1980, before finally marrying Tung Ching-chao, the

titling his abstract paintings. Poetic titles are abstract themselves. They

love of his life, in 1981.

do not interfere with the interpretation of the artwork. In 1956, he started experimenting with abstract paintings. First with deformation, combinations of color blocks, and then lines of blue, grey and black with musical rhythm. His early abstract works reveal the influence of traditional Chinese art style. His friend Wu Guanzhong said this about Chu's works: "Look at it from afar, it's a Western painting. Look at it closely, it's a Chinese painting." "Another distinguishing feature of Tehchun's works is the translucency he creates with oil paint. It's a quality that could only be found in Chinese Xuan paper, which could not be achieved by any Western art style."

After 1983, he was invited by the Chinese University of Hong Kong several times to serve as an external judge of the art department.

He also traveled to China to reunite with his old friends such as Wu Guanzhong and Li Ke-ran. In 1986, he held a solo exhibition at the Hong Kong Cultural Center. His mentor Lin Fengmian wrote an inscription on his album. In 1987, after leaving Taiwan for 32 years, Chu held a retrospective exhibition at the National Museum of History in Taipei.

There, he reunited with his old friends. Then there were exhibitions at Jinling Art Center and the Museum of Art in Taichung. In 1989, the Taipei Fine Arts Museum held the "China and Paris" joint exhibition. In

In France, Chu became a member of the School of Paris, catching

the exhibition, Chu's works were displayed alongside the works of Sanyu,

up with the trend of lyrical abstraction. His painting style went through

Zao Wou-ki and Lin Fengmian, etc., garnering the attention of Chinese

many different phases. In the early 1950s, his works were elegantly

buyers. His works then went on to be displayed at Taichung's Galerie

composed and colorful like gemstones. In the 1960s, they became big,

Pierre in 1992; at Taipei's Dimension Art Gallery in 1993; at Kaohsiung's

wild, dynamic, and more abstract with the use of broad strokes. In the

Jasmine Gallery in 1996. Hong Kong's Alisan Fine Arts also held an

1970s, he became inspired by Rembrandt's works and started to explore

exhibition of his recent works in 1997. In the same year, his exhibition

the effects of lighting. In the mid-1980s, he created the energetic Snow

traveled to the National Art Museum of China in Beijing, the Hong Kong

Scene series. In his last phase, he created magnificent, symphony-like

Museum of Art and the Kaohsiung Museum of Fine Arts. It went to the

paintings.

Taipei Fine Arts Museum in the following year.

A French poet described Chu's abstract paintings as "transcendental

In 1997, he was elected as a member of the Académie des Beaux-

landscape paintings", praising the poetic space shown within. Chu

Arts of the Institute de France, It was an unprecedented honor. Among

transformed his landscape painting in Paris. He was dubbed the "Tang

others, Alisan Fine Arts in Hong Kong, Modern Art Gallery in Taichung,

and Song Painter of the 20th Century". His works are held in high regard

Galerie Enrico Navara in Paris, Chuanjia Art, InSian Gallery, and Angel

by the Western art critics and become the collection of Western museums

Art in Taipei were the supporters of Chu. Robert Tsao, a member of

and collectors.

Ching Wan Society, is one of the most well-known collectors of Chu's

T h e T hree Frenc h M usket eer s,

works. Technology company chairman Teng Chuan-hsin has been

L e ad in g t h e Trend for a Cent ur y

collecting Chu's works since 2004. Teng became good friends with Chu himself and organized a retrospective exhibition for Chu at the Ueno

Wu Guanzhong, Zao Wou-ki and Chu Teh-chun were the proud pupils of Lin Fengmian of the Hangzhou National College of Art in the 1930s. The Chinese collectors of Western paintings call them the "Three French Musketeers". Their beautiful, timeless works are highly sought after in the auction market. Among the three, Chu arrived in Paris latest: 9 years Wu; 6 years after Zao. Chu was an introvert. He focused on his art and didn't socialize much. In 1958, two years after he arrived in France, Chu signed a 5-year contract with Galerie Legendre, with the

Royal Museum in Japan. He was also a major sponsor for the 2007 "Chu Teh-chun 88 Retrospective" at the National Museum of History in Taipei.

Currently, Teng is one of the most systematic collectors of Chu across the Taiwanese Strait. In 2006, Chu was awarded the European Gold Medal of Merit by the European Union in Luxembourg. In 2010, the National Art Museum of China in Beijing held a retrospective exhibition to mark his 90th birthday. At this time, his collectors were all over the Chinese circles in Europe, the US and Asia.

help of the musician Hsu Chang-hui. That was when he started to settle in Paris. He participated in major international events. The 1969 São

2004 is Chu's breakthrough year in the auction market. Having just

Paulo Art Biennial had a display room dedicated to his works. In 1979,

recovered from the unprecedented shock of SARS, the Asian art market

Le Musée de poche published a series of biographies of art masters.

rebounded ferociously. It started on April 11, 2004, at the Ravenel Spring

22

[ ART & INVESTMENT ]

朱德群《書法—王維渭城曲》2000, 水墨 紙本, 40 x 88 cm, 羅芙奧台北2014秋拍, 成交價TWD 5,040,000 Chu Teh-Chun, Calligraphy – The Song of Wei City by Wang Wei, 2000, Ink on paper, 40 x 88 cm, Ravenel Autumn Auction Taipei 2014, sold for USD 161,902

Auction, with size of 53.5x33.5cm, a small 1950 painting by Chu. The

Pre pa re fo r t h e A rt M a rk e t Bo o m a fter CO V ID - 1 9

appraised price was as low as 150 thousand NTD; the bid price, however,

Although Chu's artistic achievement is no less than Wu and Zao,

went over 1 million. On April 25th, one of his oil paintings was sold in

the average price of his works is indeed lesser. However, it is expected

Hong Kong for more than 10 million NTD. The prices kept rising until

to grow in the future. In recent years, many collectors are starting to

the financial crisis in 2008. Before this, Chu's works had long been

notice the brilliance of Chu's works, and plan to add his works to their

undervalued. Despite his prominence in the international art world and

collections. The international auction market has revealed signs of this.

the fact that his works were collected and displayed by many museums, the prices of his works (the most expensive of which were only 2-3 million NTD) had been surprisingly low compared to the works of other contemporary artists.

The auction market of art experienced at least a 5-year boom after the outbreak of SARS in 2003, and it also swiftly rebounded after the financial crisis. Demand for the masters' works came back to life, and the market prices continued to break records, raising the difficulty to acquire

From then on, Chu has often been compared at the auctions on both

their works. Chinese collectors are the most fervent in the world. That is

sides of the Taiwan Straits with Zao Wou-ki, who was also a renowned

why the stature of great Chinese artists such as Sanyu, Zao Wou-ki, Wu

abstract painter, and Wu Guanzhong, who excelled in both Chinese and

Guanzhong and Chu is no less than that of the Western masters.

Western painting. They were the superstars of the Chinese art world. The highest prices of their works have exceeded 100 million NTD since 2006, surpassing one another again and again. By April 2020, the highestpriced oil painting by Wu is The Zhou Village (148 x 297 cm), painted in 1997. It was sold at the Poly Auction in Hong Kong for 236 million HKD (approximately 900 million NTD or 30,444,000 USD) in April 2016; Zao's highest-priced oil painting is a giant triptych Juin-Octobre 1985 (280 x 1,000 cm), sold at Sotheby's Hong Kong for 510 million HKD (approximately 2 billion NTD or 65,204,488 USD), in September 2018.

Chu's later work Vertige neigeux (200 x 400 cm) was sold at Christie's

The artists of the New York School dominate the international auction scene. Their influence includes the Chinese abstract art, the Japanese Gutai art and the Korean Dansaekhwa, all of which are rooted in the European lyrical abstraction, in the works of Georges Mathieu, Hans Hartung, Zao Wou-ki, and Chu Teh-chun. The Eastern connection enriched the development of the European lyrical abstraction in the 20th century, making it a treasure of human civilization. Despite social media's fixation with pop art and urban art, the works of the masters of the 20th century withstand the test of time.

Hong Kong for a personal-best 91.8 million HKD (approximately 360 million NTD or 11,835,596 USD), in November 2016.

23

朱德群作品二十大拍賣成交排行 1

2

3

4

5

雪霏霏 Vertige neigeux (snowy vertigo)

第268號構圖 No. 268

無題 Untitled

白色森林之二 La forêt blanche II

紅肥綠瘦 Rouge lourd et vert

1967/68 Oil on canvas 150.2 x 300.5 cm

1963 Oil on canvas (diptych) 195 x 243.5 cm

1987 Oil on canvas (diptych) 130 x 390 cm

leger 1959 Oil on canvas 87 x 116 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

Estimate on request

HK$50,000,000~ 70,000,000

HK$30,000,000~ 40,000,000

Estimate on request

HK$50,000,000~ 60,000,000

成交價 Sold at

成交價 Sold at

US$7,742,580 HK$60,020,000

1990-1999 Oil on canvas 200 x 200 cm x 2

成交價 Sold at

US$11,835,596 HK$91,820,000 拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong November 26, 2016

US$9,117,720 HK$70,680,000

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong November 24, 2012

成交價 Sold at

US$6,753,895 HK$53,000,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's Hong Kong September 30, 2018

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong November 23, 2013

6

7

8

9

10

雪霏霏 Vertige neigeux

冬之組合C Synthèse hivernale C

第312號 No. 312

構圖No. 39 Composition No. 39

第81號 No. 81

1990-1999 Oil on canvas (diptych) 200 x 400 cm

1988 Oil on canvas 130 x 195 cm

1969 Oil on canvas 198 x 199 cm

1959 Oil on canvas 87 x 116 cm

1961 Oil on canvas 162 x 130 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

Estimate on request

EUR 1,000,000~ 1,500,000

HK$38,000,000~ 48,000,000

HK$8,000,000~ 16,000,000

HK$35,000,000~ 45,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$5,192,250 HK$40,250,000

US$4,888,089 HK$38,350,000

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris June 4, 2019

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong May 28, 2016

拍賣日期 Auction Date 香港保利 Poly Auction Hong Kong November 24, 2012

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong May 26, 2018

成交價 Sold at

US$5,864,340 HK$45,460,000 拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong November 29, 2009

24

US$9,672,122 HK$75,706,000

成交價 Sold at

US$5,822,405 EUR 5,177,400

US$5,208,672 HK$40,440,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's Hong Kong March 31, 2018

成交價 Sold at

[ ART & INVESTMENT ]

TOP 20 MOST EXPENSIVE PAINTINGS OF CHU TEH-CHUN EVER SOLD AT AUCTION

TOP

20

製表 ／ 陳惠黛 Odile Chen

11

12

13

14

15

第229號 No. 229

春雪 Printemps hivernal

冬之微妙 Subtilité hivernale

第404號 No. 404

1966 Oil on canvas 130 x 195 cm

1986-1987 Oil on canvas 195 x 130 cm

1985 Oil on canvas 130 x 100 cm

1970-1971 Oil on canvas 162.5 x 202.5 cm

晴 Une belle journée (A beautiful day)

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$28,500,000~ 35,000,000

US$4,000,000~ 6,000,000

Estimate on request

HK$20,000,000~ 30,000,000

HK$25,000,000~ 35,000,000

成交價 Sold at

成交價 Sold at

US$4,414,380 HK$34,220,000

成交價 Sold at

成交價 Sold at

US$4,421,000 拍賣日期 Auction Date 紐約蘇富比 Sotheby's New York May 14, 2014

拍賣日期 Auction Date 香港保利 Poly Auction Hong Kong October 5, 2015

拍賣日期 Auction Date 紐約佳士得 Christie's New York November 22, 2014

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

16

17

18

19

20

第51號萬家掩映翠微間 No. 51 - Mille Vies se Cachent dans le Bois (A Thousand Lives Hiding in the woods

冬之靈感 Inspiration hivernale

紅雨村・白雲舍 Village de pluie rouge, maison de nuage blanc No. 53

詩意的冬天之一 L'hiver poétique I

構圖51號－萬家掩映翠微間 Composition No. 51 - Mille vies se cachent dans le bois

US$4,891,560 HK$38,395,000 拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong May 25, 2019

1960 Oi on canvas 120 x 100 cm

1987-1990 Oil on canvas (diptych) 195 x 260 cm

成交價 Sold at

1960 Oil on canvas 130 x 195 cm

US$4,274,322 HK$33,160,000

1989 Oil on canvas 96.5 x 130 cm

1982 Oil on canvas (diptych) 162 x 260 cm

US$3,850,155 HK$30,125,000

1960 Oil on canvas 120 x 100 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$25,000,000~ 35,000,000

HK$20,000,000~ 30,000,000

HK$4,000,000~ 6,000,000

HK$12,000,000~ 16,000,000

NT$78,000,000~ 95,000,000

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

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong May 26, 2018

拍賣日期 Auction Date 香港蘇富比 Sotheby's Hong Kong April 4, 2011

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong May 28, 2006

拍賣日期 Auction Date 香港佳士得 Christie's Hong Kong November 23, 2013

拍賣日期 Auction Date 台北羅芙奧 Ravenel Taipei June 1, 2014

US$3,683,592 HK$28,900,000

US$3,685,676 HK$28,660,00

US$3,338,520 HK$25,880,000

US$3,194,040 HK$24,760,000

US$2,995,235 NT$89,920,000 (HK$23,235,142)

25

Understanding The Craze Of Japanese Whisky 看不見的手－ 從供需法則看日本威士忌狂潮

2015 年 5 月，一瓶 2011 年出品的山崎 50 第三版在邦瀚斯（Bonhams） 香港以港幣 30.63 萬成交；同年 8 月，同樣在邦瀚斯香港，一瓶 1960 年 蒸餾的輕井澤以 92 萬港幣（台幣約 386 萬）收槌，創下單瓶日本威士忌 最高價格紀錄，也是威士忌拍賣史上第一次日本威士忌價格超越蘇格蘭 威士忌。驚人的拍賣成績引發日本威士忌的熱潮，接續的一年半可謂日 本威士忌飛速成長的黃金年代，以山崎（Yamazaki Distillery）和輕井澤 （Karuizawa Distillery）為首的日本威士忌在世界各地的拍場大放異彩， 從普飲款到收藏等級酒款，拍賣數量與上漲幅度之大令一眾蘇格蘭威士忌 望之興嘆。 收藏圈熱烈地討論著，大家對於歷史相對短暫的日本國產威士忌充滿 好奇，究竟日本威士忌與蘇格蘭威士忌有何不同 ? 這股突如其來的熱潮究 竟是有心人士的炒作抑或是市場的水到渠成 ? 近兩三年快速跌宕起伏的市 場又是否代表日本威士忌終將面臨崩盤 ? 且讓我們一起來一探究竟。

和魂洋才－獨樹一格的日本特色 日本國產威士忌的技術基本上承襲自蘇格蘭，自被譽為「日本威士忌 之父」的竹鶴政孝在 1920 年將其在蘇格蘭酒廠的經驗帶回日本後，1923 年便與日本威士忌的鼻祖—鳥井信治郎—一起創立了日本第一家威士忌蒸 餾廠 -- 山崎蒸餾所（Yamazaki Distillery），融入日本民族特有的職人精 神與匠人文化，從蒸餾器、糖化槽等用具的打造、麥芽的泥煤烘焙程度、 到陳年酒液的橡木桶選擇，鳥井信治郎與竹鶴政孝堅信唯有每一個細節的 完美才能造就最高品質的威士忌。自此，開啟了日本國產威士忌的新時代。 許多人說到日本威士忌會立刻聯想到甜美順口的風格，事實上，在鳥 井信治郎與竹鶴政孝的聯手打造下，1929 年首批問世的日本國產威士忌 「白札サントリー」帶著強烈泥煤煙燻的風味，然而這種風格並未得到市 場的青睞，嚴重的滯銷讓鳥井信治郎判定當時的日本市場尚無法接受道地 的蘇格蘭風味，因此開始致力發展更符合東方人口感、擁有日本在地風情 的威士忌。而這恰恰與忠於蘇格蘭風味的竹鶴在理念上背道而馳。1934 年， 竹 鶴 揮 別 壽 屋， 在 北 海 道 建 立 了 余 市 蒸 餾 所（Yoichi Distillery）， 同年七月成立「大日本果汁株式會社」。鳥井信治郎與竹鶴政孝的分道揚 鑣，造就了今日雄踞日本威士忌半壁江山的兩大巨頭—三得利株式會社 （Suntory）與日果威士忌株式會社（Nikka Whisky），也讓日本威士忌在

Text / 唐維怡 Eva Tang

Photo / Ravenel International Art Group

26

兩種截然不同角度的詮釋下，迸發出今日多元又獨特的樣貌。

喝

酒

不

開

車

[ WINE ]

更有趣的是，日本的威士忌產業因經濟大環境的變化幾經震盪，激發了

根 據 日 本 農 林 水 產 省 的 統 計 數 據， 日 本 威 士 忌 的 出 口 額 從

許多因地制宜、絕地逢生的創意，最有代表性的例子是水楢桶的開發與使用。

2004 年的 9.5 億日幣上升至 2008 年的 14.28 億日幣，到了 2015 年

1941 年二戰的爆發使得橡木桶的進口變得困難，除了開發北美橡木與波本桶

更成長為 103.78 億日幣。

的使用外，日本酒廠開始積極尋覓本土木材的使用可能，當時主要用來製作 高級家具、來自北海道的水楢木（Mizunara Oak）雀屏中選，儘管他的硬度

－翻轉的內需－

面對萎縮的內需市場，日本酒廠也不斷尋思著突破。為了反

和偏大的毛細孔增加了橡木桶製作的困難度，同時不管是在 1960 年代還是 1970 年代，山崎蒸餾廠歷屆首席調酒師都對水楢桶過於強烈的香氣感到擔憂。 然而，勇敢的碰撞終於在 1980 年代結出燦爛的果實，過去不受歡迎的濃烈氣 息在時間的醞釀下被沉澱，幻化出日本神社的線香風情與圓潤細緻的酒體，

轉年輕人對於威士忌是屬於老人與工薪族的負面形象，Suntory 於 2008 年將 1937 市場熱賣的角瓶重新推出，結合流行的加碳酸飲 料（Highball）喝法，以低熱量、便宜且摻水加冰也不減其風味的 「角 High」做為主打，更在其後推出了以生啤為靈感研發的「角

是西方世界難以想像亦無法模仿的東方風格。

High Towe」，颳起一陣角 High 旋風，成功抓住年輕族群。除了 融合日本人追求極致的職人文化，日本國產威士忌在短短七八十年的時

居酒屋、壽司店、與 Karaoke 等即飲通路的銷售增長，Suntory 與

間，便帶著獨特的氣韻，闖入世界威士忌的舞台，成為暨蘇格蘭、美國、愛

Nikka 集團更推出了能在便利商店與投幣機輕易買到的罐裝威士

爾蘭後的第四大產地，令喜愛日本威士忌的藏家深深著迷。

忌 Highball，由於日本政府對啤酒課徵的稅率較高，對比啤酒平均

狂潮的背後－日本威士忌的浴火重生

225 日幣的含稅零售價格，罐裝威士忌 Highball 平均只要 160 日幣，

市場是需求與供給間相互作用的反映，讓我們試著從需求面與供給面

非常具有競爭力的價格使得他的銷量從 2009 年的 3.8 萬箱瞬間上 升至 2010 年的 620 萬箱。種種革命與創新，為處在低谷的威士忌

來分析自 2015 年起的這一波日本威士忌狂潮。

產業帶來了翻轉的契機。 －急速上升的需求 －

1990 年至 2010 年是日本經濟「失落的二十年 ( 失われた二十年 )」，同 時也是日本威士忌的寒冬，1980 中期後日本燒酎突如其來的大流行與連番的 稅制改革更是雪上加霜，許多較小型的日本酒廠瞬間面臨降低產量或停產閉 廠的痛苦決定。然而，如同傲立雪中的那剪寒梅，幾家日本威士忌酒廠在艱 困的環境下依然堅持著高品質威士忌的生產，山崎蒸餾所甚至在 1984 年推出 了日本第一款單一麥芽威士忌 (Single Malt Whisky)，他們這份堅持不懈的努 力終於在 2000 年後逐漸被注意到。

2014 年，NHK 推出以 Nikka Whisky 創辦人竹鶴政孝為藍本 的晨間劇「阿政與愛莉 （マッサン）」，電視劇播出後日本威士 忌突然成為風靡全國的話題，威士忌不僅再次成為主流烈酒，日本 國產威士忌更深入各階層消費者，所帶動的銷量遠遠超過任何業界 人士的預期。根據日本國稅廳的統計數據資料，日本國內威士忌消 費量自 2007 年至 2019 年成長了 2.11 倍，單單 2014 年至 2015 年 間的成長便高達 1.3 倍。

首 先 嶄 露 頭 角 的 是 余 市 10 年 與 響 21 年， 在 2001 年 英 國 威 士 忌 雜 誌 Whisky Magazine 首次舉辦的「Best of the Best」盲品競賽中，被評選為綜合 組第一與第二；2003 年，山崎 12 年獲得 International Spirits Challenge （國 際烈酒挑戰賽）金獎；2005 年，響 17 年獲得舊金山世界烈酒競賽 SWSC 的 金獎；2007 年，竹鶴 21 年奪得 WWA The World's Best Blended Malt Whisky （全球最佳純麥威士忌）一獎；同年，桶號 103 的輕井澤 1981 年酒款獲得 MMA 麥芽狂人競賽金牌；2008 年，余市 1987 彩標與響 30 年更技壓群雄， 分別取得過去一向由蘇格蘭威士忌壟斷的 Whisky Magazine Best Single Malt （全球最佳單一純麥威士忌）和 Best Blended Whisky Award （年度最佳調和 威士忌）殊榮……。連年的國際獎項將日本威士忌推向世界舞台，引起全世 界威士忌迷的關注，來自海外的需求頓時大增。 同一時間，日本政府開展了 Visit Japan 赴日旅遊促進計畫，在日幣走弱 與簽證放寬的鼓舞下，單年赴日觀光的人數從 1989 年的 284 萬上升到 2008 年的 835 萬人，2015 年更躍升至 1,974 萬人，觀光人數的激增讓日本國產的 高端威士忌成了最受歡迎的伴手禮之一。

安

全

有

保

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延遲反應的供應面短缺 需求正不斷提升，供應面卻面臨始料未及的壓力。 對威士忌有些研究的人都清楚威士忌是時間的結晶，2020 年 的我們正享受著的 20 年威士忌來自西元 2000 年甚或更早之前酒 廠蒸餾的酒液，而那時正值日本威士忌產業的寒冬與日本經濟泡沫 時期，除了 Suntory 與 Nikka 外，僅有個位數家的酒廠撐過這段長 達二十年的寒冬，更多的酒廠面臨停止蒸餾甚或關廠歇業的痛苦抉 擇，據傳即便是兩大集團旗下的蒸餾廠，也在這段時間以一周運轉 一天的方式減少成本與開銷，大量減產的影響到了需求激增的十多 年後才漸漸浮現，各酒廠逐漸意識到庫存原酒的嚴重不足。 除了在 2010 年前後開始增設蒸餾設備與擴廠以期最大化提升 產能，2014 年山崎 10 年、白州 10 年、與竹鶴 12 年首先祭出停售 策略，於是我們開始觀察到了一波又一波因停售而引發的價格上漲 潮，2015 年富士山麓 18 年、響 12 年跟進，Nikka 集團更一次性 停售所有余市與宮城峽的年份產品，消息一出，原本一瓶四千多台 幣的余市 20 年翻漲數倍至如今的五萬多台幣；2018 年白州 12 年 和響 17 年停售，再次引發相關系列產品的飆漲，響 30 年更在羅 芙奧台北拍賣中以一瓶 20 萬台幣的價格落槌。

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為應對需求與供給間的差距，日本酒廠紛紛祭出擴大產量與停售

儘管 2020 年受到 COVID-19 疫情的衝擊，二手拍賣市場的向上走

年份常規商品的手段。同時，為保住經濟大蕭條後好不容易攀升的市

勢整體趨緩是必然的結果，然，要探究二手市場的長期趨勢仍然必須回

場佔有率，防堵進口威士忌與其他酒精類飲品搶占國內市場，各蒸餾

歸對單一酒款收藏與投資基本原則的判讀，而其中，在日本威士忌的世

廠推出無年份作品（No-Age Statement）彌補產品線的空缺，而這也

界裡，諸如已關廠、裝瓶數量少等稀有性將是最主要的關鍵，陳年時間

恰巧與因 2000 年後全球威士忌需求大增導致蘇格蘭老酒短缺的現狀

（Age）則是第二關鍵。在 < 威士忌的收藏與投資 > 一文中我們也曾聊過，

吻合，這些簡稱 NAS 的無年份作品如新山崎、新白州、響 Japanese

一瓶威士忌反映的是一段歷史，不了解它背後的故事，便無法領略這瓶

Harmony 等成了市面上最親民的日本威士忌選擇。

威士忌的獨特，也就更加無法識穿它的稀有性與真正的價值。舉例來說，

我們亦可觀察到的另一現象是近幾年日本各地小型酒廠的復興與 成立：例如於 2008 年創立的秩父蒸餾所、於 2011 年重新開始運作的

如果對水楢木當初之所以成為橡木桶選項的這段歷史不清楚的話，也就 無法理解水楢木陳年威士忌如山崎 50 年、山崎 1984 等的特殊與珍貴。

Mars 信州蒸餾廠、於 2015 年成立的厚岸、安積、靜岡等。不同於

然而，日本威士忌短時間的暴漲吸引了許多投機客的加入，正如股

Suntory 與 Nikka 兩大集團的經營策略，這些小型酒廠專注於小批次

票市場，持有同一品項的藏家性質決定了這個品項市場的健全性。在大

與單桶作品的製作，在蒸餾手法與橡木桶應用上的各種嘗試與探索為

量的短線操作下，日本威士忌的市場價格起伏劇烈。舉例來說，2018 年

日本國產威士忌注入一股鮮活的力量與創意。

5 月白州與響宣布停售旗下部分產品，消息一出，過去一瓶台幣一千多

然而，隨著日本威士忌的熱潮，身為消費者的我們還須特別注意 的是，由於過去日本國產威士忌法規定並不嚴謹，日本存在著許多並 不具備生產能力的酒商，他們將從海外進口的陳年威士忌於日本國內 裝瓶貼標，以「日本國產威士忌」的身分上市，因此不時會看到酒齡 比公司歷史還老的酒款。根據 IWSR 的數據，日本在 2017 年間對加

元的普飲款白州 12 年價格瞬間翻倍，甚至一度超越山崎 12 年，但很快 的，這一波劇烈的漲福因為大量平行貨的坐地起價與頻繁的過手交易最 終開始下滑。而這一兩年也有許多新出廠的作品，因被視為投資工具鮮 少被開來飲用，導致價格在出廠後迅速飆升，爾後在不斷的轉手間價格 不斷被拉高，最後又因市場上過剩的供給而回跌。

拿大與蘇格蘭的威士忌進口量較 2013 年增長近 70%，然而同一時期

日本威士忌最光輝的時代又是否已經過去 ? 我認為目前還言之過早，

國內市場的加拿大威士忌與蘇格蘭穀類威士忌銷售量並未明顯增長。

日本國產威士忌中的經典仍然是所有威士忌迷的追求，而老東西也因時

這些游走在國產威士忌模糊定義邊緣的酒款填補了市場對於年份日本

間所醞釀出的美好以及不可被複製而益發珍貴，僅是追求搭上「Japanese

威士忌的追求，卻已經開始為外銷市場帶來負面影響。

Whisky」狂潮順風車而生的酒款將在時間的推移下自然地被淘汰。

價格暴漲帶來的是機會抑或是危機 ?

如果我們以 2008 年作為日本威士忌轉折重生的元年，短短十年後的

2016 年 10 月 份， 一 瓶 2005 年 面 市 的 山 崎 50 年 第 一 版 在 香 港 保利敲出了 100 萬港幣的成績；2017 年 4 月，一瓶輕井澤 1960 於香

現在也還只是個開始，且讓我們記住 2019 年 6 月日本威士忌創下的這個 單瓶價格紀錄，回歸品飲和收藏威士忌的初心，繼續拭目以待。

港保利以 110 萬港幣收槌；2018 年 11 月，輕井澤 1960 年於羅芙奧 台北拍場敲出 1057.5 萬台幣的新高成績；緊接著 2019 年 6 月，山崎 50 年第一版再次突破紀錄，於羅芙奧台北拍場敲出 1351 萬台幣（美 金 42.98 萬）的成績，穩坐日本威士忌單瓶最高紀錄至 2020 年的今 日。日本威士忌儼然在山崎 50 年與輕井澤 1960 年的衝鋒陷陣下，與 同樣在這幾年不斷創下世界價格紀錄的麥卡倫形成了拍賣市場上分庭 抗禮的兩股勢力。 許多人不禁好奇，相較於蘇格蘭傳承數百年的威士忌歷史，日本 短短七八十年的歷史是否足夠支撐日本威士忌延續過去五年多來創下 的奇蹟，繼續於二手市場上大放光彩；抑或在過於快速的攀升下即將 面臨如同平成大蕭條那般戲劇性的泡沫轉折 ?

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In May 2015, a third edition Yamazaki 50 Year Old released in 2011 was

More interestingly, several massive social economic upheavals

sold at Bonhams Hong Kong for HK$ 306,300. In August of the same year, also

have brought forth many ingenious innovations in the Japanese

at Bonhams Hong Kong, a bottle of Karuizawa 1960 was sold for a hammer

whisky industry. Among all, the discovery and application of

price of HK$ 920,000 (about NT$ 3.86 million), the highest price achieved for

mizunara oak is the most noteworthy. After the outbreak of World

any single bottle of Japanese whisky ever. It was also the first time in the history

War II in 1941, Japan had difficulty receiving imported oak from

that the price of Japanese whisky exceeded Scotch whisky. The staggering prices

Spain and Europe for barrels. Therefore, aside from using American

brought about a rush on Japanese whisky. The following one and half years

oak and Bourbon barrels instead, Japanese distilleries actively

saw a sharp rise in demand for Japanese whiskies at auctions across the world,

sought for domestic alternatives. This alternative turned out to be

particularly those from Yamazaki Distillery and Karuizawa Distillery. From

mizunara oak (Quercus Crispula), which was distributed in Northeast

entry-level whisky to collectible ones, the sheer spike in sales and prices of

Asia and Hokkaido and had been used in the craftsmanship of luxury

Japanese whisky threw the majority of Scotch whisky into the shade.

furniture. However, mizunara oak for cask making did not come

Heated discussions broke out among whisky collectors. People grew more and more curious about Japanese whisky. With a relatively short history, how exactly does it differ from Scotch whisky? Was this sudden craze a result of marketing hype or a natural tendency? Are the wild market fluctuations during the past two three years indicative of the ultimate bubble of Japanese whisky?

without difficulties. For one thing, it is hard and porous, making it much more difficult to work with. For another, all previous master blenders at the Yamazaki distillery were not too optimistic about its overly intense aroma during the 1960s and 1970s. However, the real magic of the unloved Japanese oak shone through in the 1980s. With the maturation over time, its pungent smell matured into a mellow,

Let us find out together.

delicate note scented with Japanese temple incense. This unique

WAKON YOSAI － S CO T CH T E CH NI Q UE S , JAPA N ESE SPIR IT

Eastern flavor is unimaginable and inimitable to the Western world.

Blending with the Japanese spirit of craftsmanship and pursuit

Inspired by Scotch whisky technique, Masataka Taketsuru, known as the Father of Japanese Whisky, took the knowledge he acquired at distilleries in Scotland back to Japan in 1920, and established the first ever whisky distillery in Japan-- the Yamazaki Distillery, with Shinjiro Torii in 1923. They incorporated Japanese nature and cultural values of craftsmanship into whisky making. They

of perfection, Japanese whisky burst onto the global scene within a short span of seven-ish decades, captivating collectors with its distinctive style, and making Japan the fourth largest whisky producer following Scotland, the United States, and Ireland in the world.

paid meticulous attention to the smallest details, from the building of distillers and mash tuns, to the level of peatiness of malts, to the selection of oak barrels for aging whisky. Committed to creating top-tier whisky, Masataka Taketsuru and Shinjiro Torii opened a new era of domestic Japanese whisky thenceforth.

When it comes to Japanese whisky, many would automatically think of its soft sweetness and mellow taste. But do you know that the first batch of Japanese whisky launched by Masataka Taketsuru and Shinjiro Torii in 1929-Suntory Shirofuda-was actually a heavy peated whisky? This peated flavor, however unfortunately, was not welcomed in domestic market and resulted in

BE H I ND TH E CRAZE － TH E RE BI RTH O F JAPANE SE W H I SK Y According to the basic economic concept, the market and the price is a reflection of the interaction between the availability of a certain products and the desire or demand of it. Therefore, let us try to analyze this craze of Japanese whisky since 2015 applying the law of supply and demand.

- T h e S u rg i n g D e m a n d -

sluggish sales. Having realized that the Japanese market was not ready for the

The years from 1990 to 2010 was said to be the "Lost Two

classic peated style of Scotch whisky, Shinjiro Torii was then determined to

Decades" , a period of economic stagnation. Japanese whisky

create whisky that catered to the taste of Asians, devoted his career in finding

industry faced the same situation. To add insult to injury, the second

that unique Japanese twist However, this transition ran counter to the conviction

half of the 1980s saw a sudden craze for Japanese shochu and

of Masataka, who preferred sticking to the tradition of Scotch technique and

successive tax reforms. During that period, many smaller Japanese

the original Scotch flavor. Therefore, in 1934, Masataka left Kotobukiya (later

wineries were forced to either cut back on their production or shut

changed its name to Suntory), established Yoichi Distillery in Hokkaido, and

down. Despite the bleak economy, a few Japanese whisky distilleries

founded Dai Nippon Kaju (the Great Japanese Juice Company), in July that

persisted in producing high-quality whiskies. Particularly, Japan's

same year. The split-up between the two has given birth to the existence of two

first single malt whisky was launched by Yamazaki distillery in

strikingly different Japanese whisky giants, Suntory and Nikka (short for Nippon

1984. Such perseverant efforts began to receive attention from 2000.

Kaju), and the unique and diverse characteristics of Japanese whisky today.

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Among the first to receive recognition were Nikka's Yoichi

- Bo o s t e d D o m e s t i c D e m a n d -

10 Years Old and Suntory's Hibiki 21 Years Old, ranked first and

Confronted with shrinking domestic demand, Japanese distilleries

second in the "Best of the Best" contest, an international blind tasting

sought various efforts to achieve a breakthrough. In 2008, to shatter the

organized by the British publication Whisky Magazine, in 2001.

negative stereotype youngsters held that only old people and salary man

Later in 2003, Yamazaki 12 Years Old grabbed a gold award at the

drank whisky, Suntory relaunched its 1937 hot-selling Kakubin Blend as

International Spirits Challenge; Suntory's Hibiki 17 Years Old received

Kaku Highball, using the popular Highball cocktail recipe (whisky with

a gold medal at the San Francisco World Spirits Competition (SWSC)

soda). It's a low-calorie, low-priced whisky that remained flavorful even

in 2005; Taketsuru 21 Years Old fetched the World's Best Blended Malt

with water or on ice. Later, inspired by the design of draft beer towers,

Whisky award at the World Whisky Awards in 2007, and Karuizawa

Suntory went on to launch Kaku Highball Towers, sparking a Kaku Highball

1981 cask no. 103 won a gold medal at the Malt Maniacs Awards that

craze among younger generations. Aside from increasing sales at marketing

same year; in 2008, Nikka's Single Malt Yoichi 1987 and Suntory's

channels such as izakayas (Japanese bars), sushi restaurants, and karaoke

Hibiki 30 Years Old outshone other competitors at the World Whiskies

bars, where ready-to-drink beverages were served, Suntory and Nikka also

Award, receiving the previously Scotch exclusive titles of Best

introduced canned Highball, which were readily available at convenience

Single Malt and World's Best Blended Whisky, respectively. Awarded

stores or in vending machines. Moreover, as higher tax was imposed on

international prizes in consecutive years, Japanese whisky shot to

beer, the average tax-included retail price of a canned whisky appeared to

global prominence, caught the attention of whisky enthusiasts around

be relatively low. Due to its competitive price, the sales of canned whisky

the world, and hence resulted in a sharp spike in overseas demand.

burgeoned from 38,000 cases in 2009 to a staggering 6.2 million in 2010.

In the meantime, Japanese government launched the Visit Japan Campaign. Due to the devaluation of the Japanese Yen and relaxation

All these revolutions and innovations paved the way for the revival of the whisky industry.

of visa requirements, the number of international travelers to Japan in

In 2014, NHK launched a morning drama Massan based on the story

a single year rose from 2.84 million in 1989 to 8.35 million in 2008,

of Masataka Taketsuru, founder of Nikka Whisky. After it was first aired,

and even soared to 19.74 million in 2015. The surge in the number

a sudden craze for Japanese whisky swept through the country. Whisky

of foreign visitors made high-end Japanese whisky one of the most

once again reemerged as a mainstream spirit. Japanese whisky in particular

sought-after souvenirs.

became sought-after among all consumer groups, resulting in a sales volume

According to statistics released by the Ministry of Agriculture,

that far exceeded the expectations of anyone in the industry. According

Forestry and Fisheries of Japan, the export value of Japanese whisky

to statistics released by the National Tax Agency Japan, domestic whisky

increased from 950 million yen in 2004 to 1.428 billion yen in 2008

consumption grew by 2.11 times from 2007 to 2019, with the period from

and a staggering 10.378 billion yen in 2015.

2014 to 2015 alone showing a sharp increase by as much as 1.3 times.

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D E LAYED R EA C T IO N O F S UP P LY S H O RTAGES － JAPA N ESE W HISK Y I S GO I NG DRY On the other hand, the rising demand placed an unexpected pressure on supply chains.

People who are familiar with whisky would aware that it takes time to mature. A bottle of 20 Years Old whisky we enjoy now in year 2020 actually came from the liquor distilled back in year 2000 or earlier, exactly the period when Japan was suffering from the severe economic bubbles and the time domestic whisky industry faced serious recession.

Other than Suntory and Nikka, only a single-digit number of distilleries managed to survive through those gloomy 20 years. Most distilleries, however, were forced to suspend or even shut down permanently. Rumor has it that even distilleries owned by Suntory and Nikka had to reduce operations to one day a week during that period in order to cut back on cost and expenditure. The impact of massive production cuts had not hit home until demand surged immediately more than a decade later.

Distilleries had then began to notice a serious shortage of cask strength year 2000. NAS whiskies such as the New Yamazaki Whisky, the New

stock.

Around 2010, distilleries started to expand the scale of distillation facilities and property, seeking to maximize their production capacity.

Hakushu Whisky, and Hibiki Japanese Harmony, are now the most wallet-friendly Japanese whisky options on the market.

Additionally, in 2014, decisions were made to discontinue Yamazaki 10

Another noteworthy phenomenon is the revival and establishment

Years Old, Hakushu 10 Years Old, and Taketsuru 12 Years Old. At this

of small-scaled distilleries across the country in recent years. These

point, we observed waves of price hikes arising from the discontinuation.

include the Chichibu distillery founded in 2008, the Shinshu Mars

In 2015, Fujisanroku 18 Years Old and Hibiki 12 Years Old were also

distillery relaunched in 2011, as well as the Akkeshi, Sasanokawa

removed. Nikka even discontinued all Yoichi and Miyagikyo aged

Asaka and Shizuoka distilleries established in 2015. Using different

whiskies at once. Soon after the news came out, the price of Yoichi 20

business strategies from those of Suntory and Nikka, these small

Years Old skyrocketed, rising from NT$4,000 a bottle to more than

distilleries focus on small batch and single cask releases. Their various

NT$50,000today. Later in 2018, the discontinuation of Hakushu 12 Years

attempts and explorations with distillation techniques and oak barrel

Old and Hibiki 17 Years Old once again triggered price increases in

applications have infused Japanese whisky with vibrancy and creativity.

related products. Notably, Hibiki 30 Years Old was sold at a staggering

However, alongside the craze, we consumers have to be especially

hammer price of NT$ 200,000 per bottle at the Ravenel Finest and Raret

aware that due to the loose regulations of Japanese whisky, many spirit

Wines Auctions in Taipei half month after the news of discontinuation of

merchants that do not have the capacity to distill would import aged

Hibiki 17 Years Old.

whiskies from overseas, relabel and sell them as "Japanese Whisky".

Japanese distilleries expanded their capacity and discontinued regular aged products to address the supply-demand gap. In the meantime, in order to maintain the newly expanded market share after the economic depression and to prevent imported whiskies and other alcoholic beverages flooding the market, distilleries rolled out NoAge Statement (NAS) variety of whisky to fill in the vacancies of their product lines. This also coincided with the shortages of aged Scotch which resulted from a surge in the global demand for whisky after the

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Therefore, it was not uncommon to find whisky that were older than their "producers". According to statistics released by IWSR, imports of whisky from Canada and Scotland to Japan in 2017 increased by nearly 70% compared to 2013, yet there was no significant rise in the sales of Canadian and Scotch grain whisky during the same period. These ambiguously regulated Japanese whiskies did fed some demand for aged Japanese whisky, but have began to bring a negative impact on Japan's export market.

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D ID T HE PR ICE H I K E S B R I NG AN O P P O RTUNI TY O R A C R ISIS?

Old soared overnight, rising from NT$1,000 something per bottle to exorbitant amounts and even surpassing that of Yamazaki 12 Years Old

In October 2016, a bottle of first edition Yamazaki 50 Years Old

at one time. Before long, however, the price began to decline because

released in 2005 was sold at the Poly Auction Hong Kong for a hammer

of large volumes of parallel imports as well as frequent selling and

price of HK$ 1 million. In April 2017, a Karuizawa 1960 fetched HK$ 1.1

buying. Moreover, over the past two years, as many newly released

million at Poly Auction Hong Kong. In November 2018, Karuizawa 1960

products have been viewed as alternative investments,thus they were

achieved a record high price of NT$ 10.575 at Ravenel Auctions Taipei.

bought to trade instead of being enjoyed. This has led to a quick price

Shortly after in June 2019, first edition Yamazaki 50 Years Old once

surge after release and eventual declinedue to excess supply in the

again fetched a record-breaking price of NT$ 13.51 (US$ 429,800) at

market.

the Ravenel Auctions Taipei, and has held the record for most expensive

Are the glory days of Japanese Whisky over already? I think it is

Japanese whisky ever sold at auctions till today. With the highly sought

still too early to conclude. Classic Japanese whiskies are still highly

after Yamazaki 50 Years Old and Karuizawa 1960, Japanese whisky

coveted by whisky enthusiasts; Old whisky that distilled decades ago

has put itself on par with Macallan, which has also constantly achieved

that have taken years to mature are irreplaceably precious and become

world-record prices in recent years, in the auction market.

rarer and rarer. Eventually, those piggybacking on the phenomenal

Many people can't help but wonder if the Japanese whisky miracle

Japanese Whisky craze will be eliminated over time.

created over the past five years could continue since Japan has a

If 2008 marked the first year for the rebirth of Japanese whisky,

relatively short whisky history - only 70-ish years - when compared to its

with only a decade passed, it is still young at this point. Let us bear

centuries-old Scotch counterpart. Will Japanese whisky continue to shine

in mind the record Japanese whisky had achieved while reminding

in the second-hand market or turn into a bubble with such rapid growth,

ourselves the purity of loves towards whisky itself, and see where the

just like the dramatic twist of the Heisei depression?

market will lead us eventually.

Due to COVID-19, the overall slowdown in the upward development of the second-hand auction market is a natural result. However, to understand the long-term development of the second-hand market, we have to look back to the basic principles of whisky investment. In terms of Japanese whisky, rarity resulting from distillery closure and limited numbers of bottles released is the key factor. Additionally, the age of whisky also matters. In the article Whisky Collection and Investment, we have stated that a bottle of whisky reflects a piece of history. Without understanding the story behind it, we will not be able to appreciate its uniqueness, let alone understand its rarity and true value, just as the case with mizunara oak. Without knowing the history of why it was chosen for cask production, we will not be able to realize why mizunara aged whisky like Yamazaki 50 Years Old and Yamazaki 1984 are considered unique and precious.

However, the overnight surge in the price of Japanese whisky has drawn a large number of speculators. As is the case with the stock market, collectors of a specific item will determine the soundness of its market. Massive amounts of short-term trading has caused sharp price fluctuations in the Japanese whisky market. For example, when the news of discontinuation of some product line of Hakushu and Hibiki in May 2018 was announced, the price of an entry-level Hakushu 12 Years

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董陽孜

TONG Yang-Tze 寫毛筆字的筆放不得 THE PERSISTENT CREATION OF TONG YANG-TZE Text / 陳姿穎 Zin Chen

Photo / Ravenel International Art Group

書畫同源 臺 靜 農 曾 在 董 陽 孜 作 品 集 序 的 一 文 中 提 及 和 溥 心 畬 的 談 話 ，溥 心 畬 言：「 要 想 學 畫 ，不 先 學 寫 字 ， 那怎麼成？如山水的皴法，董源用中鋒，倪雲林非偏鋒不可，還不都從書法出來？」

董陽孜 1942 年出生於上海，自 8 歲起便隨父習字，每日臨寫大楷一百字，小楷兩百字，原以顏真卿麻 姑帖與二王書體為主，後導入蘇軾與黃庭堅的行草筆韻，1962 至 1966 年間隨臺靜農、丁念先、張隆庭、傅 申等藝術家學習，直到 1966 年赴美國麻州藝術大學就讀碩士班，主修油畫，副修陶藝，而董陽孜早在中學 時期就已獲得國際書法獎的肯定。 在臺靜農先生的觀看下，曾兩度以此形容董陽孜的作品「運筆如椽，力破整齊，水墨飛白，相映成趣， 書耶畫耶，渾然莫辯。」書中有畫，山水的韻致，書法的自然以空間的形體表現出來，習得源流以達到書畫 同源的境地。熟悉到閉眼聞聲即可感受其形態，書體在行草之間騰躍，一氣呵成，虛實中錯落有致，濃墨靜 穆，淡墨古雅，讀聲的段落雄渾、奔放，完美詮釋著現代藝術與書寫的融合。

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[ CHINESE PAINTINGS ]

自然中觀山水－從古典走出現代 從「 古 典 書 法 」 中 走 出 來 致 力 於「 現 代 書 法 」， 觀 者 隨 著 線 條 律 動 去 感 受 創 作 者 的 心 境， 這 也 得 在 深 入 古 典 書 學 的 基 礎 後 求 發 展， 深 切 感 受 臨 帖 功 夫， 才 能 夠 去 表 現 抽 象， 這是臺靜農先生在看完董陽孜書法展後的心得。

若說書法的符號源於文化，那繪畫呢？並非只是將整個山水 如實的複製給觀眾吧？藝術家巧妙的將時間、空間都表現出來， 不論是春雨如絨、夏夜晚風、秋分紅葉、冬至霜雪，均一拖而出， 細膩的甚至連蟬鳴鳥叫和濕度都能一一感受，這些換作在書藝上 的呈現，有人形容一筆一畫行雲流水，書法的點撇劃捺，揉攪在 畫中，是更為細膩的呈現。 1968 年從麻州大學畢業後，董陽孜到紐約從事獨立設計，自 1960 年末起，行文留白到空間文化的呼應，如詩悠遠以方形尺幅 書寫，此時書藝解構的運用，墨點表現出空間前後，董陽孜作品 中的點呼應空間的前後，線條大幅度的流轉加強了立體的呈現， 以畫的方式觀看書體的表演，現代書法將畫面的呈現抽象化、符 號化，形上符號以文字做為代表，代表某個意義的概念，這些符 號的產生從文化演變而至，象形、篆、隸、草、行、楷書體，由 符號到意義，再由字義本身轉演至符號的空間性，以形下直觀的 產生代替客觀的表現。 在此次羅芙奧 2020 春季拍賣會中，兩件方形紙幅的作品呈 現，《圓融》中的線條流轉與字意相襯，佈局和比例在下第一筆 時即定，圓字從畫圓的符號到提拉扭轉，線條流暢而不滯，最後 一撇超出字框，融字下筆濕潤，然卻不超於框架，任憑墨韻在字 中恣意滑淌，在一筆勾拉而出，超越字體型態的框架，從表現的 層次上貼近字義，甚至超越的灑脫；而《涓涓不塞終為江河》作 於 1995 年其句取於孔子家語；觀周，幾乎是以點為主的佈局，字 體中的符號型態，使觀看作品時，能看出字和字彼此間的超越與 交疊，整作中可見比例渾實，墨深色濃卻絲毫不滯留，唯獨停頓 在涓、塞、河字上，究竟此心境上是涓涓細流還是江河之胸懷？

▲ 董陽孜《涓涓不塞終為江河》1996 水墨 紙本 鏡框 69 x 69 cm 羅芙奧 2020春拍 「亞洲現代與當代藝術」專場 Tong Yang-Tze, An Unhampered Stream Could Become a River, 1996 Ink on paper, framed, 69 x 69 cm Ravenel Spring Auction 2020 Modern & Contemporary Asian Art ◀ 董陽孜《見素抱樸》1988 水墨 紙本 屏風 136 x 253 cm 羅芙奧 2020春拍「翰墨丹青－中國書畫」專場 Tong Yang-Tze, Cherish Simplicity and Plain Honesty, 1988, Ink on paper on wooden panels, 136 x 253 cm Ravenel Spring Auction 2020 Refined Brushwork : Fine Chinese Paintings

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文字藝術－重複書寫展現文字書寫的獨特性 董陽孜 :「叫書法太沉重，這是文字藝術」

一句「我先選字句、打草稿」，從形狀確立、字體選擇到位置安排，尺幅的大小、 墨色濃淡，重複書寫在每個時間點不同字詞的心境、意境不同，承前啟後相呼應，每 每在下筆寫字前，董陽孜會先以紙張作構圖，端視著字間的比例，那意境和觀畫中的 佈局相似，是一橫豎一點撇都馬虎不得。 在此次春拍中收錄一幅董陽孜作於 1988 年的《見素抱樸》，此幅作品以四連屏風 作呈現，同時收錄於《樂山堂中國當代繪畫三》，樂山堂，香港 / 倫敦，1990 年，頁 30-31；其中濃墨的靜穆揮灑於大紙幅上，字中若懷素狂草中的灑脫，點點墨跡灑落在 筆墨飛白間，可見下筆之疾勁，筆力飽滿，收放自如，「見素抱樸」一詞則取於老子道 德經中，以喻品性高潔之聖人，接續下一句「少私寡欲」，同是表現崇尚品格的純樸， 董陽孜的作品中以筆墨行旅走入內心發芽。而重複書寫上，在台中國立台灣美術館的典 藏中便有一幅董陽孜作於 1991 年的《見素抱樸》，與此次春拍中的作品雖佈局相同， 但整體尺幅卻小了將近一倍，兩件作品均體現董陽孜老師的心境，時間心境的不同，就 如一部觀看三遍以上的電影，反覆聽著的那首歌，也看見重複書寫上的真義。 1990 年末開始，董陽孜的巨幅書寫，成為其獨特的標誌性，創造出恢弘的氣勢， 引起觀者視覺上的震撼，除了挑戰藝術家身體上的極限，也挑戰傳統書法的觀賞方式。 此時董陽孜書寫的高度，已進入畫作欣賞的層次，作品有時一揮而就，有時反覆書寫， 巨幅書寫中，紙幅上呈現三維的方向性，視野順著墨跡而走，錯落於步伐間符號性的 墨點，使景深更為諾大，在米芾蜀素帖中，相同的字不同的寫法，表現出靈動、極盡 變化之巧，書風盡顯其「不偶於俗」的人格特質。同樣在此次春季拍賣會中的《涓涓 不塞終為江河》亦是相同詞句，在重複書寫下，呈現出當下時間力道不同的感覺。 36

[ CHINESE PAINTINGS ]

◀ 董陽孜 《圓融》水墨 紙本 立軸 68 x 70 cm 羅芙奧 2020春拍 「翰墨丹青－中國書畫」專場 Tong Yang-Tze, Harmony, Ink on paper, scroll, 68 x 70 cm Ravenel Spring Auction 2020 Refined Brushwork : Fine Chinese Paintings

最遠到最近的距離－傳承與創新 「 從 什 麼 時 候 學 校 不 練 毛 筆 字 了？」 書 寫 的 時 代 走 了 多 久， 從 古 典 進 入 到 現 代 的 表 現， 跨 入 了 資 訊 爆 炸 的 大 領 域 裡， 董 陽 孜 老 師 曾 提 及 被 看見的重要，如何說被看見的需要？

近年來董陽孜老師，仍在不斷的突破，直接將書藝放置到跨界領域中做融 合，從 2009 年的墨韻無邊與時尚產業的結合開始，加入空間結構的元素、切 入音樂的節奏抑揚頓挫、服裝的媒材到展示的流動和書藝線條結合、影像裝置 的互動，使書法不再只是書法，跳脫出觀看的框架，積極的將書藝融入生活美 學與視覺當中。

THE SYNCHRONIZATION OF CALLIGRAPHY AND PAINTINGS Tai Jing-Nong once cited Pu Hsin-Yu's words in a publication of Tong Yang-Tze's works, "How could o n e l e a r n p a i n t i n g b e f o re c a l l i g r a p h y ? C u n f o r Landscapes resembles central strokes for Dong Yuan, slanted strokes for Ni Yun-Lin. They are all derived from calligraphy."

Tong Yang-Tze was born in Shanghai in 1942. She practised calligraphy with her father since 8 years old.

在這次春拍當中《心閑意適》一作完成於 2008 年，書於金宣紙上，其特

Practising Regular script was a daily task for her, from

性不易吸墨，墨在金宣紙上游移流淌，將底材當成是空間書寫，字義心閑之外，

copybooks of Yan Zhen-Qing to Two Wangs, from Su Shi

字體流暢的線條婉轉融於空間之內，和宣紙紙材的墨韻延展不同，一遍又一遍

to Running script of Huang Ting-Jian. She followed several

的練習，就如同跨領域也是在不同的媒材上創作，嘗試了再嘗試，作中點和線

ink masters including Tai Jing-Nong, Ding Nian-Xian,

的錯落線條流暢，能看出運筆疾速，每個轉折柔美，游移間見飛白，連接墨點

Zhang Long-Ting and Fu Shen from 1962-1966. Later, she

深濃，就像有意識的超越行列、字型架構，如作中所書予人心閑，隨藝術家感

studied masters at the Massachusetts College of Art and

受線條上的適意。

Design, majoring in oil paintings and minoring in pottery.

She received early recognition for calligraphy in secondary

談到精神的傳遞，是一點都不簡單，看見的需要，傳統書法到文字藝術的

school.

轉變，那一撇的延伸無限，頓捺如山谷。羅芙奧 2019 年秋季拍賣會中，曾拍 出一幅董陽孜 1994 年的大幅作品，《取之不盡用之不竭》，此作並收錄在同

Her teacher Tai Jing-Nong made a consistent comment

年由台北市立美術館出版當中，在「董陽孜：行墨」首次展於台北市立美術館

twice upon seeing Tong's work, "Movement of the brush was

的回顧展，位於二樓展間播放藝術史學者孫曉玲 1997 年的紀錄片「The Living

clean and sturdy. Ink and blank spaces echo in harmony. Her

Brush」中亦能看見此作的蹤影，影片中董陽孜曾形容定下筆前的紙張構圖與佈

works could be perfectly described as both calligraphy and

局觀看，到真正下筆時的感覺，甚至到作品待乾後的感受與樣貌，都是一步步

painting." Her calligraphy work itself forms a picture, and

的，若說董陽孜老師的作品是點線的進擊亦不為過，董陽孜作品和社會的連結

possesses the grandiosity of a Landscape painting, which

不難看見，從台北車站、誠品書店、金石堂、雲門舞集到電影艋舺的標題，書

was expressed by the lines and space. Such phenomenon

寫與字型在生活中無處不見，我們又將如何發現他的巧妙。

proved the same origin of calligraphy and paintings. One could sense the rhythmic movement of brush through the

在都市人快速的步伐當中，步伐的正在行走，同樣的墨亦行於步伐之中。 中國文化中詩書畫分不可，點點墨跡揮灑，如詩般悠遠，文化就像將一顆石頭 放置於現代人的掌心中，細細感受掌心那真實沉甸的重量與樣貌。

lines of the Running script. The rhythm synchronized with the speed of reading through the lines. Such harmony of modern art and calligraphy is perfectly demonstrated.

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VIEWING LANDSCAPE IN ITS NATURAL FORM TRANSFORMATION FROM CLASSICAL TO MODERN As such modern calligraphy works are derived from traditional techniques, viewers can trace back to its classical origins through the movement of lines. One can also trace back to the hardworking practices from copybooks, which eventually evolved to an abstract work. This is what Tai Jing-Nong saw in Tong's calligraphy.

If calligraphy could be traced back to a culture, what about paintings?

Isn't it a representation of an actual landscape? The artist carefully

THE ART OF WRITING - FINDING UNIQUENESS IN REPEATED WRITING To n g Ya n g - T z e o n c e m e n t i o n e d , " C a l l i g r a p h y i s a solemn word. It should be called the art of writing."

"First, I choose the words, then I make a draft." The shape of words, the script and the arrangement, the size of panel and the tonality of ink have to be carefully chosen. Similar works show the different states of mind in different time periods. Drafts were made in advance, so as to determine the proportional spaces between the lines. Every stroke was carefully applied onto the panels.

represented time and space through an artwork, regardless of seasonal

Cherish Simplicity and Plain Honesty f r o m 1 9 8 8 w a s

differences, humidity and its vibrant surroundings. These characteristics were

presented in this sale in four panels. This work was illustrated in

symbolized through every line and stroke in the work.

Lo Shan Tang: Contemporary Chinese Paintings III: Migration ,

After graduation from the university in 1968, Tong started a career in

Lo Shan Tang, Hong Kong / London, 1990, pp. 30-31. Thick

design in New York. Since the 1960s, lines and spaces have been drawn

ink was applied on the huge paper panel, suggesting Huaisu's

in poetic expression on square panels. The structure, such as foreground

frolic Running script. Dots scattered in the spaces between the

and background, was defined by black dots. Lines thus become fluid and

lines, suggesting swift strokes and soaked brush with excellent

3-dimensional. The painting itself becomes a form of visual performance of

manipulation. The words were extracted from Laozi teachings,

lines. Modern calligraphy has become an abstract representation represented

describing a noble character who doesn't waver under temptations

by symbols. Yet each of these "symbols" dates back to the history of scripts

and greed. A similar work was kept in the National Taiwan

development, e.g. pictographs, Seal, Clerical, Cursive, Running and Regular

Museum of Fine Arts in Taichung. Shared the same title, that work

scripts. From pure pictographs to its implications, these characters have

was completed in 1991 and much smaller than the work offered in

returned into their simple representations, subjected to interpretations of

this sale. Despite having the same content and composition, the

viewers.

different states of mind could be spotted. Such experience could be compared to repeated viewings of a movie or listening to a

In this sale, Ravenel presents two squared works by the artist. The

song again and again. Each experience is unique.

work Harmony has a strong dialogue between the lines and the word itself.

Proportional structure was set spontaneously with the first stroke of brush.

By the end of 1990, Tong Yang-Tze started to write in huge

The first word "Yuan (circle)" is formed by smooth and curvaceous lines by

panels, thus becoming her unique symbol. Such size creates a huge

the movement of the wrist. The last stroke of the word even pierce through

visual impact to the viewers and a challenge to the artist, and this

the circle. "Rong (melt)" was written with a wet brush. Wet ink swims but

revolutionized the way of appreciating calligraphy work. Tong has

stays inside its frame. Such depiction enhanced the implication of a word in

enhanced the visual impact of a large canvas, showing a 3-dimensional

calligraphy in a graphical way. A calligraphic work An Unhampered Stream

way of representation along the lines and dots. Such technique could

Could Become a River from 1995 shows a Confucious teaching. This work is

be traced back to Mi Fei's works, done with similar elusiveness and

composed with dots in between the words. The arrangements of words seem

animated scenes. This makes Tong Yang-Tze unique. Also offered in

overlapped and squeeze to fill the panel. Ink is highly fluid throughout the

the Spring Sale is An Unhampered Stream Could Become a River ,

painting, except "Juan (flow)", "Sai (blocked)" and "He (river)", where thick

which revealed a similar experience of viewing rewritten works at

dark ink was used. At this point, one would ponder if the artist's current state

different times.

of mind was gentle as a running stream, or ferocious as a mighty river.

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[ CHINESE PAINTINGS ]

A CLOSER ASSOCIATION TO DAILY LIVES FROM TRADITIONAL TO MODERN "Since when was calligraphy withdrawn from the school curriculum?" From classical to modern period, writing as a tool o f c o m m u n i c a t i o n s h a s l o n g g o n e a s w e re a c h e d t h e g re a t Information Age. Tong Yang-Tze mentioned "visual aesthetics" rose in importance.

In recent years, Tong seeks a breakthrough by merging calligraphy with different media. In 2009, a project was launched to cooperate with the fashion industry: A juxtaposition of space, music and rhythm, clothing as media, lines of calligraphy and video setting. Under this project, calligraphy has surpassed its restricted boundaries to become aesthetic ornaments of our daily lives.

Another work offered in the sale, My Heart Is at Ease, My Mind Is

Contented , completed in 2008, was written on gold-coated paper. With low absorbability, the ink flows on the gold-coated paper, creating curvaceous lines meandering through the spaces. The varied texture from ordinary paper requires constant practice, so as to achieve such fluidity. Viewers can see the swiftness and eloquence of each turn, balanced with a saturated black dot.

These strokes are enhanced with the artist's emotion and peace of mind.

Regarding the expression of spirituality, visual impact has risen in importance. The transformation from traditional calligraphy to the modern art of writing could be distinguished from the expression of strokes. A calligraphy work (1994) sold in Ravenel's Autumn Auction 2019 was recorded in the publication of the Taipei Fine Arts Museum. The work could also be seen in a documentary recorded by art historian Sun Hsiao-Ling in 1997, displayed at the "Tong Yang-Tze: Moving Ink" exhibition of the museum. In the documentary, Tong described the process from drafting, structuring, writing with brush and eventually drying of ink. Each of them are baby steps. Tong's works have close associations with the world. Her works could be seen at the Taipei Main Station, Eslite Bookshops, Kingstone Bookshops, Cloudgate and Taiwan movie titles. One can easily discover the uniqueness of her works from our daily lives.

As we catch up with the hustle and bustle, ink flows along in our lives.

▲ 董陽孜《心閑意適》2008 水墨 金宣紙 鏡框 138 x 69 cm 羅芙奧 2020春拍「翰墨丹青－中國書畫」專場 Tong Yang-Tze, My Heart Is at Ease, My Mind Is Contented, 2008, Ink on gold-coated paper, framed, 138 x 69 cm Ravenel Spring Auction 2020 Refined Brushwork : Fine Chinese Paintings

As part of the Chinese culture, literature, calligraphy and paintings created an unbreakable bond. A spontaneous expression of the ink flows poetically through centuries within the palm of our hands.

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Colored Diamond And Emerald, Eternal Brilliance Through Challenging Times

彩鑽與祖母綠，穿越世局歷練的亙古光輝

Text / 劉允華

Photo / Ravenel International Art Group

在彩鑽及祖母綠直至去年底依舊保持穩步上揚的保值能力之下，根據羅芙奧精品部統整指出， 立足於 2019 年寶石市場的媒體與業界，一般還是以謹慎樂觀的心態看待 2020 年的趨勢。

[ LUXURY ]

直到 2020 年初，冠狀病毒疫情在兩個月內迅速遍佈全球，當然也

Meanwhile, the industry was dedicated to relief actions. The

對精品市場帶來一定程度的衝擊。各家業者紛紛依此展開對策，僅舉

GJEPC donated nearly 7 million dollars for the workers affected

幾例：世界最大的俄羅斯鑽石礦產商埃羅莎（Alrosa）在 2 月初時就

by the pandemic. Chow Tai Fook and other houses transform their

已經將拍賣場地轉往以色列與莫斯科；美國零售聯盟（NRF）在此時

production line to make medical masks. Chambers of commerce in

對美國傳播提出警告。2 月底，日內瓦鐘錶展取消；3 月中，安特衛普

the US established a jewelry aid network to support small jewelers.

鑽石交易市場關閉，並與以色列鑽石交易所（IDI）共同舉辦線上鑽石

Tiffany donated a million dollars to health organizations. De Beers

展，多家業者關閉全球零售中心。

donated 2.5 million dollars to an aide for Botswana and Namibia,

而 在 此 同 時， 業 界 也 積 極 啟 動 援 助 措 施： 印 度 寶 石 出 口 策 進 會 （GJEPC）捐出近 7 百萬美金協助受疫情影響的工人，周大福與其他

and transform the diamond pressure machines to produce elements of medical protective gear...

珠寶商將生產線轉為製造口罩，美國商會組織建立珠寶援助網絡，支

Ravenel International Art Group acknowledges the timely

持小型珠寶商人，蒂芬妮捐出百萬美金給衛生組織，戴比爾斯也捐出

response of the industry, and the continuous efforts of relief

250 萬美金援助波札那與奈米比亞，並改裝鑽石機具用以生產醫療護

initiatives by the governments of the world, and would underline

具零件。

some information worth noticing. For example, a renowned house

隨著各家珠寶業者的即時反應，以及各國發動的紓困政策持續挹

held its auction online at the end of March and broke its historical

注之下，羅芙奧精品部認為，2020 年的寶石拍賣市場仍有一些值得注

record of online sales, with the benefit of attracting many new

意的訊息。例如一場在 3 月底由知名拍賣商舉辦的珠寶展會，就創下

collectors rarely seen in the auction halls. On the other hand, an

該公司有史以來最佳的線上銷售紀錄，同時更吸引了許多原本在拍賣

emerald auction held by Gemfields group at the end of February

場上少見的全新買家。另外，寶田（Gemfields）集團在 2 月底舉行的

even generated 6.5% more revenue than the same period last year.

祖母綠拍賣會，更創下了比去年同期高出 6.5％的銷售紀錄。而在一片

Alrosa, amidst this alarming time, sold a rare purple-pink diamond.

警訊之中，埃羅莎仍然在年初售出一枚珍貴的粉紫紅鑽石。尋覓珍稀

The buyer from New York, having searched for an extraordinary

彩鑽逾 40 年的紐約買家指出，在全球鑽石生產不振的時刻，粉紅鑽「必

natural color diamonds over 40 years, pointed out that at the time

然更為稀有，也因而更顯珍貴」。

when the global diamond production declines, precious stones like pink diamonds "will become rarer and thus more valuable".

羅芙奧精品部指出，總體而言，彩鑽及祖母綠市場依然展現出體 質健全的徵兆。寶田集團的祖母綠礦區，十年來產量增加了三倍，同

In summary, the Ravenel International Art Group would

時更推行前所未有的高級祖母綠原石產地認證；根據業內人士指出，

suggest that the markets of colored diamonds and emeralds are

近來驚豔市場的哥倫比亞無浸油祖母綠，也與傳統浸油寶石拉開價格

still manifesting healthy signs. for example, the Gemfields Group

差距：在每克拉 4 萬美金的市場上，無浸油的品項可達 10 萬美金之譜。

pushed the production 3 times more in one of its mines in ten

另外，彩鑽的稀有性更獲得市場更進一步的注目。羅芙奧精品部根據

years. It also seeks to establish a high-value emerald production

諸多市場反應，維繫初衷，相信在多變世局中，彩鑽與祖母綠在市場

tracing, first of its kind. Recently, as reported in the industry, the

上的關注度以及穩定性皆是值得多加留意的選項。

Colombian emeralds with no indications of clarity modifiaction that shocked the market continues to widen the price gap between it and

According to the Ravenel International Art Group, with the constant

the traditional oil processed stones: at a market of 40,000$/carat,

value-keeping capacity of colored diamonds and emeralds until the end

the stones with no indications of clarity modifiaction could reach

of last year, the media and colleagues in the gemstone market still kept

100,000$/carat. On the other hand, the rarity of colored diamonds

their optimism with caution towards the trend in 2020.

is further recognized by the market. By analyzing the response in

Then came 2020. The coronavirus had its global impact, and the

the market, the Ravenel International Art Group would like to keep

luxury market is not excluded. The companies responded in time. For

its stance and believe that even in this trying time, the focus on

example, Alrosa, the largest mining company in the world, announced at

and stability of colored diamonds and emeralds are still very good

the beginning of February to transfer its auction to Israel and Moscow;

reasons to be considered.

The NRF alerted at the same time the effect in the US. At the end of the month, It is determined to postpone the Geneva Watch and Creation Expo. Mid-mars, Antwerp closed its diamond trading floor and held an exposition with Israeli IDI. At the same time, many companies closed their retail service around the world.

◀ 右：3.38克拉枕形正彩棕粉紅色VS1鑽石配鑽石戒指，附GIA證書 RIGHT: A 3.38 CARAT CUSHION-SHAPED FANCY BROWNISH PINK VS1 DIAMOND AND DIAMOND RING 左：3.84克拉哥倫比亞祖母綠配鑽石戒指，MUZO礦區，無浸油，附SSEF證書 LEFT: A 3.84 CARAT COLOMBIAN EMERALD AND DIAMOND RING, from Muzo mine with no indications of clarity modification.

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與自 然 相 遇 PA L ATA B L E 美

味

ST E D S A N S I N T H E W O O D S

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Text / Aline

Photo / Stine Christiansen, Inge Skovdal, Skovdal Nordic

打敗連續三年被評為世界第一餐廳 NOMA 的 Stedsans in the Woods， 它 藏 身 在 哥 本 哈 根 樹 林 裡 的 美 食 尋 覓， 實 現 自然與華美料理的相遇。 對於許多料理人來說，星級的肯定當然是一種榮耀加身，對 於 Stedsans in the Woods 餐廳而言，追求食物與天地、 與心靈的接軌，因為只有拿掉「人為」，才會擁有真正感動 的快樂。 Stedsans in the Woods 餐 廳 搬 到 離 哥 本 哈 根 市 區 2.5 小 時車程的樹林中，增設湖邊露宿的體驗，一切為了追尋最新 鮮 的 食 材 並 提 供 休 憩 地 點， 不 但 打 破 了 對 於 餐 廳 的 既 有 印 象，更讓奢侈重新被定義。

被 評 為 世 界 第 一 餐 廳 的 Stedsans 又 有 新 舉 動！ 這 回， Stedsans 不是擴張營業，而是搬離塵囂。 Stedsans in the Woods 的 負 責 人 夫 婦 Mette Helbæk 與 Flemming Schiøtt Han sen 相 遇 於 2001 年，Mette 是 美 食 作 家 Flemming 則 是 廚 師， 兩 人 彼 此 對 生 活 中 的 美 好 有 相 同的感應，一路以來一起經營料理已經長達 15 年，新開幕 的 Stedsans in the Woods 則 是 他 們 料 理 夢 的 終 點。 事 實 上 Stedsans in the Woods 的前身 Stedsans 位於哥本哈根市區， 結合社區支持型農業和城市花園，短短兩年間屋頂上的溫 室餐廳 Stedsans 讓所有來此用餐的客人皆感受到自然的呼 喚， 連 米 其 林 星 級 肯 定 的 NOMA 都 不 敵 Stedsans 對 於 自 然的崇敬，被迫歇業於 2017 年轉型為都會農場。然而對於 Stedsans 而言，這還不是他們理想中的料理大夢。

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一即一切的「3 號房」溫室 「 這 麼 多 年 我 們 學 到 一 件 很 重 要 的 事 情， 那 就 是『 一 即 一 切』，」Mette 這麼說到。他的意思是，如果我們糟蹋自己，又怎 能好好對待別人？同樣的，如果我們視地球如敝屣，就別奢望地球 會回饋給我們最好的。因而如果人們想要得到快樂，品質、幸福與 永續這三塊不但缺一不可更是同樣重要。所以，城市裡的 Stedsans 在 Mette 心中離自然還是太遙遠了，他們一直在尋找一片遠離塵囂 的森林，終於，決定落腳於瑞典南部 Halla Lake 的岸邊。 在 Stedsans in the Woods，森林就像是他們的自然農場，吃剩 的食物變成動物的飼料或土壤施肥之用，蔬菜亦以老天爺的甘霖灌 溉，所有的運輸、包裝都盡可能降至最低，自給自足的程度極高。 而餐廳和廚房就在他們稱為「3 號房」（The 3rd room）的溫室裡， 挑高十米、地坪近 250 坪的「3 號房」既非室內亦非室外，因為「3 號房」的地板就是森林裡的土壤，完全不使用化石燃料僅擷取太陽 的熱能，裡頭更種了番茄、各式藥草與沙拉用的蔬菜，北歐的季節 性植物更可不受限於氣候長時間的生長於此。

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讓 味蕾與身心同樣滋潤 至於料理，Stedsans in the Woods 更是產地到餐桌最短距離的實踐者，為減緩地 球暖化所計算的食物里程（Food miles）在這裡可都是食物公尺（Food meters），因 為幾乎所有的食材都是在上桌前的前幾分鐘才採摘下的，新鮮的漁獲則來自於當地的 湖泊。當然 Mette 並非為永續而永續，在料理手法上不使用任何現代化廚房設備只簡 單火烤，Mette 認為更重要的是食材本身的新鮮被零時差的送上餐桌，而非華麗的料 理技巧。「最簡單的往往就是最奢華的，不是嗎？」Mette 這麼說到。 除 了 讓 味 蕾 得 到 自 然 的 滋 潤，Stedsans in the Woods 還 在 森 林 裡 開 起 了 民 宿， 讓 身 心 也 同 樣 得 到 釋 放。Mette 找 來 丹 麥 知 名 的 家 具 設 計 品 牌 Københavns Møbelsnedkeri 於湖畔設計了一座木屋，木屋裡配備有獨立的馬桶，並可共用淋浴與 水療設施。「身體和心靈需要的，這裡都有，沒別的更多的了。」 木屋一次可容許二人同時入住，兩天一夜的行程包括第一天下午三點的點心、晚 上六點用餐則有迎賓飲料、六道菜、酒單、巧克力、咖啡與茶，以及篝火旁的酒品； 隔天，當然喚醒旅人的，亦是最新鮮的農場直送早餐，兩人費用折合台幣約為 2.5 萬 左右。當然，既然身處在森林裡，Stedsans in the Woods 也提供露營選項，自備睡袋 或帳棚，就能以每人台幣 8,500 左右享受兩天一夜的所有餐點。

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EMBERS

餘燼的溫度裡，燃起食物最真實的滋味

Text、Photo / Ethan

「我常常在找尋食材時，發現新的料理方式， 重新定義了食物的味道和可能性。」 郭庭瑋（Wes）說，他想開一家尋找台灣食材根源的餐廳。 曾經在士林夜市賣過鹹酥雞，了解生活的滋味， 如今有機會開一家餐廳，試試身手， 挑戰人們對料理的既定印象，特別是看似簡單的食材， 其實原生活的土地緊緊相連， 但每每我們卻忘了這熟悉又陌生的味道。

EMBERS 台北市大安區仁愛路四段 122 巷 24 號

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從攤子做到日式食堂，沒有受過正規廚藝訓練的廚師 Wes 因為不想辜負了「師」 字輩所代表傳遞知識的責任，開始找尋食材與料理的關係。於是他上山林、進部落， 在自然裡找味，觀察萬物生長與生活關係，更以此延伸到餐廳室內設計，每一個環 節都扣著與自然銜接的永績思維。2020 春天，決定交出一間申論料理和土地關係的 「EMBERS」餐廳。 和客人解釋著風味前菜「醃魚」，以竹籤插著的其實是一種身長僅 10-12 公分的 泥鰍－白腹泥鰍烤泥鰍；Wes 他以土「韻」來形容吃到嘴裡，也勾動著生長在台灣的 我們們對這塊土地的信仰。來自泰雅獵人保存食物的醃製法，遇上明明是台灣養殖， 卻僅出口到日本的泥鰍。就這樣把「醃魚」的想像化作台灣味。 座落在仁愛路巷弄，EMBERS 以四季變化的九芎樹迎賓。玻璃磚砌成牆面若隱若 現的阻隔了建築與空間的界限。Wes 說：「放下對食物的成見。」店內景致，一進門 視覺被樹幹形成的巢穴吸引。親自上山選材，在海拔 1000 公尺以上的林間，為吧台 挑了三棵 25 公尺高的伐木柳杉，依照 3D 設計圖構成流洩的樹巢，並將樹橫削，形成 可以倚著樹小酌的吧台。Wes 說，他知道 30 年後一株柳杉成材的林地又可生生不息 的循環永續給下一代，EMBERS 餐廳的這個樹巢也象徵原住民的「獵寮」：「所謂獵 寮，就是處理獵物的地方，就像是餐廳，是處理食材的地方。」 EMBERS 餐廳的「隱形菜單」，客人只須告之不吃的，或過敏的，其他都交給 Wes，但其實固定有兩道主菜；羊和春雞。「十個人有九個不吃羊。」Wes 探究台灣 羊市場現況後，卻把它當成主角，他選擇炭烤，重新定義羊肉。関鍵在醬汁，乳化的 羊脂加入醃製發酵的酸白菜湯汁一起熬製，最後再磨上羊起司，很自然褪去了羊腥。

而春雞則是對台灣土地的另一番實驗。Wes 和小農合作一起投入春雞飼育，「一分地只飼有 2-300 隻，」小量放養的土雞養成適合台灣人口味『胸小腿大』型的春雞。直接浸泡鹽水，風乾， 上炭爐，配上烤野菜，最後淋上油菊燉煮的醬汁，吃的是來自山中封存的鮮嫩。 回想起來，每一口在嘴裡化開的都是台灣山裡，海域裡似曾相識的味道；比如，有著芥蘭味 道的海苔，配上米粒長型，嚼來甜香的「秈米」，但若不經解釋，完全不知這口台灣在地滋味有 多麼難得吃到？白芝蔴油香過過的魚鰻，一改我們對傳統日式烤鰻的印象。而看似焦黑的「地瓜」 被盛在石頭上，煞有其事地端上桌。擅長提味取香的 Wes 說，這道菜是他試著把小時候田裡烤蕃 薯的記憶用焦糖化的烹法，保存下來，但入口的這道「地瓜」居然像咬下去是千層酥的莫名驚喜。 接著是「墨軟絲」、「楊桃海蝦」、「洄游鰻」和暖湯，每道菜都有來頭。彷彿跟隨著味 覺被帶往山上去拜訪部落，三步五時又來到海岸線的一趟環島旅程；但，當我得知其中有一道合 著客家菜風味的「構樹擂茶」，這台灣原生的「構樹」是南島嶼系植物的 DNA 根源時，不但上 了植物學，連台灣近代史都上了一課，當然接下來，不容多說，滋味有多麼引人入勝了。這些在 EMBERS 菜單上的食材，奇妙的是，居然不假外求，全來自 Wes 從台灣土地上遍尋來的美味。 什麼是台灣味？ Wes 笑著說，他希望借由烹飪技術的創新，「雕琢」出有別於僅限『魯肉飯， 九層塔』等台灣味的刻板印象。我們生長在這裡，可能都叫不出幾座山脈的名字，更別說，少有 人知道台灣有 16 個原住民部族，何況認知食物了。若對這塊土地都無法認同，還談什麼國際化？ 有如穿透樹林的「斑光」灑在用餐空間，感受著 EMBERS 餐廳所傳遞的永續價值。一桌一木 座椅的角度；牆面的質地，太平整不行、太過斑駁又矯揉；對 Wes 來說，餐廳取名 EMBERS「餘 燼」；意指用剩餘的火苗，燃起食物最真實的滋味。主人希望刻意營造一種「枯」的氛圍，對應 親手端上的美味「料理」，為來這裡用餐的人播下一粒尋根的種子，在口舌，在胃裡，更在每個 人心裡，許下透過料理，重新理解台灣這塊土地的心願吧！ 49

沙龍文化

漫步博物館 Text / 李淳淵

時值今日，疫情延燒， 彷彿被按下暫停鍵的世界，做什麼好呢？ 或許正是人類，回頭去看看歷史的時刻了。 「博物館」museum 脫胎自希臘文 mouseion， 意 思 是 「 繆 斯 神 殿 」 （ Te m p l e o f M u s e s ） 。

繆斯是希臘神話中，各司史詩、抒情詩、愛情詩、 頌歌、歌與舞、悲劇、喜劇、歷史、天文的九位女神。 西元前第三世紀初，亞歷山大城創建了 museum； 一個集研究、教育和圖書館為主體的聯合體。 也可以解釋為一處「從事研究和學習的處所」 的「繆斯神殿」。 基本來說，一切與人類文化密切相關，但近代， 以徵集、典藏、陳列等特殊具體的收藏方式， 保存人類文明的「遺產」， 提供研究人類歷史和藝術文物「知識」， 逐漸形成所謂 「博物館」。 1753 年大英博物館，是最古老的國家博物館。 同為歷史文物和藝術品的收藏為主的 法國羅浮宮博物館則於 1793 成立。 放緩腳步，帶你一起漫步巴黎， 走進兩處代表歐洲「沙龍文化」和「法蘭西」 光輝時尚的博物館，從生活， 愛情和時尚一同重新發現美好。

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生活愛情

浪漫生活博物館 SOUVENIRS DU ROMANTISME :

MUSÉE DE LA VIE ROMANTIQUE

[ LIFE ]

19 世紀上半葉， 浪漫主義思潮席捲法國， 以個人情感經驗作為依據， 顛覆強調理性的啟蒙時代。 與 相 對 於 實 證 主 義 哲 學 ，浪 漫 主 義 反 對 理 性 化 ， 自由奔放，展現人類精神活動的不同向度， 是貴族文化與專制統治的反動， 位於蒙馬特山丘下的浪漫生活博物館， 就是法國浪漫主義的最佳見證。

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藏 在 巴 黎 第 9 區 的 巷 弄 間， 一 棵 兀 自 挺 立 巍 峨 的 大 樹，若不仔細留意，很 難發現裡面別有洞天，選過一條筆 直的狹長小徑，通往被建築物層層包圍的庭園，這裡彷彿 是巴黎鬧區的世外桃源，天氣晴朗時，來此漫步沈思，或 是在花園中靜靜地享受下午茶，偷得浮生半日閒。走進原 本是荷蘭裔法國畫家，阿希．席佛（Ary Scheffer, 17951858）的故居，首先映入眼簾的是一棟樸素的房舍，綠色 格柵的窗櫺搭配白牆，一旁還有座迷人的小花園，現址己 改為巴黎「浪漫生活博物館」。 當時蔚為流行的「文學藝術沙龍」以雨果和巴爾札克 為首的文人雅士，經常聚在一起展開哲學、文學、音樂、 戲劇和美術的對話，也就是，成為來自不同領域的作家、 詩人、音樂家、哲學家、政治家和藝術家彼此交流的場所， 也很自然地推波了「浪漫主義風潮」。

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[ LIFE ]

浪漫主義繪畫代表人物之一阿希・席佛於 1830 年買下這棟兩 層樓的房子後，時常邀請他的藝文界好友來此聊天和舉辦音樂會， 其中不乏大名鼎鼎的人物，例如蕭邦、李斯特、喬治桑、巴爾札 克、福樓拜、狄更斯、屠格涅夫和德拉克洛瓦等人都是常客，蕭 邦和喬治桑更是在此相識，因而譜出一段動人心弦的戀情。1928 年其孫女將房子捐給了巴黎市政府，但一直等到 1983 年才改建成 為博物館，由法國室內設計大師雅克・賈西亞（Jacques Garcia） 負責規劃，終於完美再現 19 世紀文學藝術沙龍的氛圍。 巴黎小皇宮與浪漫生活博物館共同主辦〈巴黎浪漫主義 18151848〉大展，以超過 600 件展品回顧法國浪漫主義，涵蓋繪畫、 雕塑、文學、音樂、戲劇、服裝、裝飾藝術等領域，再現 1815 年 拿破崙戰敗到 1848 年法國二月革命的巴黎，經由探索工業革命的 城市轉變，勾勒出 19 世紀的社會意識與時代脈絡，透過詩人的眼 睛展開現代性思索，全面展現法國浪漫主義的輝煌與光彩。

適 逢 情 人 節， 博 物 館 推 出 名 為〈 心： 當 代 藝 術 中 的 浪 漫 主 義 〉(Cœurs, du romantisme dans l'art contemporain) 的展覽，展出 30 位 藝 術 家 的 作 品， 從 歡 樂 的 妮 基． 桑 法 勒 到 詩 意 的 蘇 菲． 卡 爾， 還 有 台 灣 旅 法 藝 術 家 張 夏 翡 的 霓 虹 燈 管 裝 置《 林 志 玲 簽 名 》， 當 代 創 作 與 歷 史 的 彼 此 對 話， 一 場 穿 越 心 靈 與 愛 情的美學探索。

CŒURS

心 之浪漫

地 址：1 6 R u e C h a p t a l , 7 5 0 0 9 P a r i s 展覽日期：2/14~7/12

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LÉGENDE DE LA MODE FRANÇAISE MUSÉE YVES SAINT LAURENT PARIS

巴黎聖羅蘭博物館

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[ LIFE ]

時尚傳奇

斯人已去，風格永恆。 2008 年法國服裝設計大師聖羅蘭 （Yves Saint Laurent, 1936-2008）辭世， 一代傳奇殞落，象徵了一個時代的結束。 所幸，我們還有博物館可以追憶那些美好。 57

如果加列拉宮—巴黎時尚博物館（Palais Galliera, Musée de la Mode de la Ville de Paris）， 令人感受巴黎之所以難以 撼動的時尚之都地位。那麼僅一步之遙的巴黎馬索大街 5 號（5 Avenue Marceau） 聖羅蘭的博物館，則是世人追憶，考據法 蘭西時尚輝煌的根據地。 曾幾何時，終將一去不復返，才華橫溢，叱吒風雲，縱橫 時尚界長達近半世紀的天才設計師絕對是聖羅蘭莫屬。1974 至 2002 年間，出生於阿爾及利亞的奧蘭（Oran），從擔任克 里斯汀 迪奧（Christian Dior）先生的助手起步，到 1962 年聖 羅蘭和伴侶皮耶 貝爾傑（Pierre Bergé, 1930-2017）攜手成立 品牌，寫下無數經典雋永之作。如今，在貝爾傑 - 聖羅蘭基金 會（La Fondation Pierre Bergé - Yves Saint Laurent）努力下， 在巴黎成立了第二 所聖羅蘭博物館。這是繼位於摩洛哥馬拉 喀什的「聖羅蘭博物館」之後，緬懷聖羅蘭先生精彩人生旅程 的另一處聖地。前者如果是設計師的事業與創作中心，後者選 在聖羅蘭公司舊址，收藏的則是聖羅蘭的愛情與靈感泉源。

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[ LIFE ]

位 於 花 都 巴 黎 的 聖 羅 蘭 博 物 館， 座落在一棟第二帝國時期的古典建築之 內，由大名鼎鼎的佈景設計師娜塔莉 克 利尼埃（Nathalie Crinière）和室內設計 師賈克・格蘭吉（Jacques Grange）操刀， 在佔地 450 平方米的空間內展示聖羅蘭 歷年來的服裝、珠寶、配件、手稿與影 音資料，擁有超過 35000 件收藏，是巴 黎唯一一座完全奉獻給一位設計師的時 裝博物館。無庸置疑的，意義非凡。

2017 年〈開幕首展〉（Parcours inaugural）回顧聖羅蘭創造的經典形象與風格， 從中性帥氣的吸菸裝、自由奔放的撒哈拉到性感狂野的非洲風，還有蒙德里安風格 洋裝，並且展出受到中國、摩洛哥、西班牙和俄羅斯等國家啟發的系列。隔年推出 的〈夢迴東方〉（L'Asie rêvée d'Yves Saint Laurent）關注於以中國、日本和印度為 靈感的作品，聖羅蘭以奢華工藝與高級訂製服描繪了他對遙遠東方的想像，同時爬 梳了品牌經典香水《鴉片》（Opium）的創作過程與受到抵制的爭議始末。 博物館開幕至今，早已成為時尚愛好者的朝聖地，不僅是普羅大眾貼近時尚世 界的管道，每年定期舉辦聚焦於不同主題的特展更是深入探索聖羅蘭創作世界的重 要線索。今年初甫落幕的〈館藏新展〉（Nouvelle présentation des collections）聚 焦兩大系列：1965 年秋冬發表的「蒙德里安系列」和 1969 年秋冬與雕塑家克洛德 • 拉蘭（Claude Lalanne, 1925-）合作的「金屬馬甲」，同時展出拉蘭創作的的一系列 高級珠寶。 聖羅蘭時尚傳奇的偉大見證下，博物館反映出設計師無與倫比的才華，同時也 呈現高級時裝的創作過程，聖羅蘭的伴侶皮耶 貝爾傑說：「對歷史學者、策展人、 檔案管理員、創作者、時尚專業人士或業餘愛好者而言，開放這一資產得以豐富他 們對 20 世紀全新藝術—高級訂製服的認識，希望成為創作的資源，並為聖羅蘭的作 品提供全新的視角。」

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我 的 未 來 不 是 夢

太空夢 AI

陳威宇 「元盛生醫」CEO

Text / 方紅

曾經夢想當太空人，好奇心強，始終熱愛科學，追求真 相本質的「太空迷」陳威宇，指著牆上「星戰大戰」的海報 笑說，「希望有一天，太空人可以使用我的保養品。」 好像通往火星的太空長途航行，漫漫長日， 一片寂黑，但，我知道目標就在眼前。 太空、化妝品和實驗室，以醫療器材起家 「元盛生醫」，致力醫療級生物科技的 CEO 陳威宇坐在擺設科幻經典《星際大戰》 「絕地武士」公仔和「千年鷹號」模型戰艦的辦公室， 36 歲的他信心滿滿地說，「我的戰場是外太空」。

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自創動態檢測「iCi en orbite」（法文：航向軌道）檢測 儀器，不但申請了 16 項專利，一舉拿下 LVMH 集團主辦， 堪稱美容界奧斯卡 360 的「創新」和「品牌」兩項大獎，從 科技業轉戰美妝界，扛著首度獲獎台灣廠商的殊榮，陳威宇 認為，「成功讓理性科學判斷植入過去感性訴求的化妝品產 業」是他 2011 年創立「元盛生醫」科技獲獎的原因。 陳 威 宇 回 想， 當 時 創 業， 真 的 是 源 於 美 國 太 空 總 署

一心完成太空夢想的他，

（NASA），針對太空人極端環境下皮膚狀況動態檢測的太

也鍾情葛飾北齋《神奈川沖浪裡》等，

空研究報告，開始構思開發處於極端環境下「太空人的保養

蒐集不少日本經典浮世繪，

品」。也因為科學的背景，創立 AI 保養系統，陳威宇一步

「人生就浪濤，有高低起伏才精采。」陳威宇說。

步研發太空旅行保養品的計畫彷彿一圓太空夢。

[ SPECIAL REPORT]

首創全球動態檢測醫療化妝品牌的「元盛生醫」登上巴黎伸展

網路時代，透過 AI 或大數據管理，其實不是新科技，背後重要的

台，最大的突圍是可攜帶式，有如粉餅盒般大小的「肌膚檢測儀」，

是，你有沒有足夠的樣本數作為演算的基礎。運用數據作分析，元盛生

結合 AI、大數據及物聯網，隨時隨地透過 App 檢測，掌握皮膚當下

醫 AI 保養系統「iCi en orbite」是第一個。陳威宇進一步解釋其中的差

數據，而且精準度達 95%；成為全球最大的膚質數據平台之一，也

異，目前市面上的肌膚檢測技術大多為表層影像分析法，也就是拍照，

吸引了全球美妝大廠雅詩蘭黛、歐舒丹等品牌關注，指定技術合作。

很表面的；而「iCi en orbite」採用擴散光學 DOT 技術與電容水份檢測

有人好奇，甚至歸咎於「大男生，不懂女生？」做保養品，如何 建立說服力；陳威宇回應說，美妝和科學最大不同在於，前者販售的 是一種文化社會氛圍；而科學是講究証據，而且通常是以自己的想法 去找答案。也因此，「科學有時候，賭很大。」但是，他的新創事業， 結合生醫領域還有傳統電子強項，為傳統美妝業注入新思維。 科學的訓練是講求深入了解「本質」。所有的發明都不可能是無 中生有的，這也就是為什麼科學等於知識，而知識形成一股力量。陳 威宇正好把科學的見証法引入幾乎被國際品牌壟斷的傳統美妝業，一

技術，提供更準確、深層資訊，更能做好提前保養；此外，可攜帶的膚 質檢測器，利於「iCi en orbite」可隨著環境變化、皮膚狀況，即時分 析適合的保養配方比例，符合現代人追求效率、精準的保養需求。 不過陳威宇想得很遠，既然是未來太空的產品，開發和創新上也預 先考慮到永續環保。未來回收，將透過區塊鏈來追蹤，更為落實。用對 保養品，少一分浪費，不也是一種環保態度 」。 新創事業風氣日盛，陳威宇志在創立一個「品牌」，不論設計或產 品都有「記憶點」，而且是 100 年也會被記得的貢獻。

砲而紅。

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時尚

的

「 可 持 續 性 」？ Text / 袁青 Eddie

Photo / Maison Margiela, Givenchy, Ralph Lauran, Stella McCartney, 織本主義

時尚世界，你賣我買，交易背後是收穫與犧牲？ 擁有一件奢侈精品，花費的豈止是金錢，還賠上消耗地球資源的代價。 雖然，買少一點？買好一點？買貴一點？都是個人選擇。 但今天，時裝在設計與藝術以外也開始關注環境、道德與社會責任的問題。 「保持理智和人性化。」時尚界寄望「可持續」的概念下， 展現「一種出於良心的創新設計」 徹頭徹尾造出「生生不息」的時裝，重新為奢侈品訂義。 62

remade

63

recycle polye 環保這個老掉牙話題。因為全球疫情延燒，再度引發奢侈 品的原罪論？ 從前人們的基本需求和慾望是來自生存的必需品，但消費 文化興起之後，慾望則指向了奢侈品，穿戴成為證明自己價值、 階級和地位的一種手段。時尚離不開慾望和消費，但我們正身 處於一個過度消費的世代，尤其當紡織業己成為全球第二污染 源頭，使時裝業被冠上不道德的罪名，再則近年來，打著「快 時尚」之名的全球連鎖店氾濫，習以為常的浪費更助長了欲求 和環境的破敗。 比如一件衣服，綜觀整條生產線，90% 以上的污染是來自 供應鏈，即研發技術，將壞影響縮到最小，是早在原材料的生 、加工時就避開對環境的損害；所幸 Kering Group 作為全球 三大奢侈品巨頭之一的開雲集團，在「sustainability」這個領 域上，大力推動時尚界積極發展 eco-friendly 商品，即所謂「可 持續性」概念下的趨勢：「鼓勵 buy better，就是投下對對品 牌回饋社會和環境信任的一票。」

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ester 這是一個革命的年代，創意不獨在衣服剪裁設計上展現，開發新 穎、具環保意義的物料，同樣能震撼人心。從原料着手，研究嶄新環保 物料創造科技，不僅應用在時裝，更擴展至其他精品項目。從合成物料 中擷取聚酯和棉花，最新的「textile to textile」科技，採獨有技術把指 定物料從混合物中分離，成功突破傳統再生技術在回收上的障礙， Stella McCartney 堅持「零殘忍」理念，拒用動物身體作服飾素材， 近年更宣佈棄用原生羊絨，由回收得來的再生羊絨取代。炙手可熱的 Gucci 也高呼皮草過時，宣佈明年開始進入「零皮草」的時代，期望對 時裝界帶來正面的連鎖效應。 為求平反過往時裝業每年製造垃圾、帶來污染，「可持續時裝」為 時尚關注的一環下，帶動「綠色紡織」成為一股趨勢，展示著時裝界如 何以實際行動回應潮流的覺醒。而環保的関注也分別就「舊」與「新」 來實踐可持續的理想。

textile to textile 65

以二手衣服製作的方式重新創作，解構並賦予全新的情 感，這是另一種可續的思考和創新。一線精品 GIVENCHY 紀梵希也率先在這一季春夏成衣推出回收丹寧布系列。而入 主 Maison Margiela 的設計師 John Galliano 一方面挑戰著高 級訂製的意義，另一方面賦予了衣服全新生命和價值：2020 春夏高訂系列，毫不避諱地切入 21 世紀過度消費下，服裝 過剩的反思，用夢幻又衝突的手法將回收二手衣再製成教人 驚艷的高級製服，帶動一波再生製造，再次利用的時尚革命。

biodegradable

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[ FASHION ]

GREEN TEXTILE 新 型 冠 狀 病 毒 令 全 球 陷 入 困 境， 即 時 反 映 人 類對地球的將來，勢必作出改變。而生 者、 消 費 者、 環 境 三 贏 局 面， 考 驗 著 時 尚 能 否 轉 危為機？

Stella McCartney 一直以保護環境為己任，繼在堆填區拍攝其秋冬廣告 反思過度消費的問題外，亦宣布與 Bolt Threads 合作研發可持續發展的時尚 奢侈物料。過往，時尚行業，不論服裝還是化妝品依賴大量石油化學製品， 而近年「可持續發展」概念愈來愈成熟，綠色紡織品技術亦開始備受重視。 Stella McCartney 研發新物料，例如在蛋白質中提取幼絲來開發更潔淨的物 料、透過酵母製造絲綢。應用至時裝系列之中。 Stella McCartney 持續與不同機構合作研發環保物料。比如，與海洋公 益 機 構 Parley for the Oceans 合 作 為 Adidas 推 出 UltraBOOST X 鞋 款， 以 海洋回收而來的塑料廢物加工成紗線來製成紡織鞋面。 數 十 年 來，Polo 衫 已 成 為 知 名 象 徵 的 Polo Ralph Lauren 致 力 至 2025 年回收 1.7 億個寶特瓶，用於產品製造及包裝的環保承諾。今年全新 Earth Polo 衫系列，己採用完全回收寶特瓶製造的紗線縫製，每件 Earth Polo 衫 平均以 12 個回收寶特瓶製造，並利用創新環保的無水染色技術製成。「改 變設計和生產方式，推動永續發展的第一步措施，」採用將環境污染元兇 聚酯寶特瓶轉化成環保纖維的 Earth Polo 是 Ralph Lauren 的第一砲。 Ralph Lauren 品牌發表全球公民責任及永續發展報告中，承諾所有配送 中心將至 2023 年達到零廢棄物掩埋，而至 2025 年，營運及價值鏈將減少 至少 20% 總耗水量，主要生產及包裝材質亦將 100% 轉用可永續發展資源。 至於，台灣在地潮牌代表「織本主義」WEAVISM 更是不落人後，以機 能面料為後盾，長期關注發展環保時尚，從三個概念；第一個是可以生物 分解（Biodegradable），像是有機棉，天絲，等等）；其二是原料 Recycle 的或是可以輕易被 recycle 的東西像是 Recycle Nylon, Recycle polyester 等 等。最後則是，重新 Remade，拿舊衣再去改造，更為全面且周詳地實踐「可 持續性」時尚。

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羅芙奧

2020 春季拍賣會

- 誠摯地邀請您 -

預展日期 7/4-7/5 ｜台中豐藝館｜台中市西區五權西路一段 110 號 B1 7/16-7/19 ｜台北萬豪酒店｜台北市中山區樂群二路 199 號 3F

專場拍賣時間 7/17

AM11:00

尊釀雲集

7/18

PM2:00

翰墨丹青－中國書畫專場

PM3:30

博物怡情－中國古文物專場

PM1:00

薈萃: 國際現代與當代藝術

PM2:30

亞洲現代與當代藝術

7/19

7/16-19 AM10:00-PM7:00 手袋及精品鑑賞會

拍賣地點 台北萬豪酒店｜台北市中山區樂群二路 199 號 3F 博覽廳

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