羅芙奧季刊第33期 Ravenel Quarterly No. 33 by Ravenel International Art Group

精采時刻雋永人生

新立體派新普普藝術 NEW CUBISM & NEW POP ART

No. 33 Winter 2020

CONTENTS

No.33 ｜ Winter 2020 ｜ https://ravenel.com

THE ARTIST

超越畫布當代藝術市場中的暖流－日本人氣當代雕塑家 Beyond Canvas The Warm Current Amidst Art Market, Japanese Contemporary Sculptors 12

THE ARTIST

明眸善睞的捕手－貝爾納•夏洛瓦 An Artist Who Captures Shining Eyes-Bernard Charoy 16

ART & INVESTMENT

Space Invader 數碼懷舊－地球是他的遊樂場

Space Invader Digital Nostalgia The Earth is His Playground

WINE

威士忌也有Terroir? Is there Terroir in Whisky? 34

FINE CHINESE PAINTINGS

筆墨常新：孫雲生大風堂門人，到新店菁園的藝道傳承 44

Variations of Expression of Sun Yun-Sheng The Inheritance of Art of Dafeng Tang and Jingyuan

PEOPLE

東方不敗中國古代藝術正夯

LUXURY

愛馬仕不畏動盪世局，重拾市場榮耀

Thrive Ina Troubling World, Hermès Retains Its Glory

建築巡禮

巴黎法院巡禮

Du Passé Au Présent Du Tribunal Judiciaire De Paris

LIFE

下榻克里雍酒店擁抱富豪之夜

FASHION

社會拜物主義二三事踩進紅底鞋鱷名昭彰

FASHION

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 發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd. 地址 Address / 106485 台北市敦化南路二段 76 號 18 樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com 羅芙奧藝術集團台北辦公室台北市敦化南路二段 76 號 18 樓電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 羅芙奧藝術集團香港辦公室香港中環金融街 8 號國際金融中心二期 19 樓電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850 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

後疫情時代我要活下去

「超越畫布－日本人氣雕塑家」專拍，羅芙奧2020秋拍「現代與當代藝術」 "Beyond canvas Japanese contemporary sculptors", Ravenel Autumn Auction 2020, Modern and Contemporary Art

[ CHIEF EDITOR'S NOTE ]

GAME IS NOT OVER! 我要活下去

2020 年終於走到尾聲，歷史中庚子年的凶險動盪，令全球人都感受到威力。這一年來我們都被迫改變，以適應巨變後的環境。在藝術市場中，「可愛主義」Cutism 已然成為最受歡迎的風格之一，艱難年代裡需要可以微笑的提醒，日本雕塑的恬靜、純美，使人得有確幸之感。神級的街頭藝術家「太空侵略者」Space Invader，以低像素磁磚畫為街頭公共空間紋身，更以魔術方塊陶磁創建 21 世紀新立體派，為潮流美學增添懷舊風味。善於捕捉巴黎女人神態的畫家夏洛瓦 Bernard Charoy，他的畫作曾令大文豪李敖先生折服。巴黎不只女人有風情，建築也別具韻味，還有時尚界的愛馬仕包 Hèrmes、Louboutin 紅底鞋，讓人過目不忘，想要擁有。法文的 Terroir 是風土之意，專家說威士忌也有 Terroir，風味背後蘊藏的自然人文意義。威士忌風味要追本溯源，書畫風格也講門派師承。孫雲生通過張大千的考驗，正式納入大風堂門下，藝道傳承毫不遜色。在西方，中國古美術是上流社交圈身家地位的指標，陳仁毅先生以自身經驗分享骨董收藏與投資心得。第 33 期《Ravenel》季刊集結各領域專家的精闢見解，持續為讀者掌握最 IN 的資訊。後疫情時代，讓我們健康的活下去。如同 Invader 說的，「Game is not over! 」懷抱赤子之心，繼續探索未知的世界。

總編輯

麥可．卡根《維特爾在馬來西亞》 2015年油彩畫布 76.2 x 101.6 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 Michael Kagan, Vettel Malaysia, 2015, Oil on canvas, 76.2 x 101.6 cm Ravenel Autumn Auction 2020－ Select: Modern & Contemporary Art

BEYOND CANVAS T H E WA R M C U R R E N T A M I D S T A R T M A R K E T, J A PA N E S E C O N T E M P O R A R Y S C U L P T O R S

超越畫布當代藝術市場中的暖流日本人氣當代雕塑家

[ THE ARTIST ]

Text / 李維屏 Apolline Li

Photo / Ravenel International Art Group

超越畫布之外－環境雕塑家草間彌生

日本當代藝術具有原創的豐富內涵，當代藝術家嫻熟地展現日本當

被譽為是日本現存國寶級藝術家的草間彌生，於 90 年代末著手創

代藝術的獨到魅力。而其中日本當代雕塑創作中所呈現出的細膩韻味更

作雕塑，並將自己定位為雕塑家多於畫家，2000 年她開始創作大型公

顯魅力，亦是悠遠文化的體現，美術工藝可為富國的文化意識，而其中

共戶外雕塑，其中包括 2002 年創作日本長野縣松本市美術館的《幻

更以繪畫、雕刻為中心。日本文化中有歷史悠久的佛雕傳統，明治維新

之華》、2003 年日本新潟松代町的《妻有花開》、2007 年美國比佛

時期亦引介西方的雕塑訓練體系，明治維新之後設置「工部美術學校」

利山莊的《生命讚歌：鬱金香》等畫布以外的立體創作。她把的畫布

延聘義大利籍的勒古薩（Vincenzo Ragusa）擔任雕刻部教師，東西方

上的主題呈現在感官所能觸及的真實空間。《花－綻放在午夜》(Lot

的雕塑系統在學院體制內衝撞與交融，逐步開展出屬於日本文化中特有

222) 創作於 2009 年，充滿生命力的花朵為草間彌生大型雕塑之一，

的風格，即便到了當代的作品也可以看到東西文化交融的特殊表現，以

別具感染力且極具震撼力。

及雕塑作品的獨特韻味所呈現出的細膩文化。

萬物皆有靈，神祇與自然為一，充滿靈性的木雕藝術

雕塑行情更帶想像空間

日本木雕藝術呈現出嚴謹卻又不失獨特內涵的藝術特徵，大部份的

隨著時代的推移，限量雕塑的概念獲得收藏家認可，當代藝術家

木雕創作者皆保留了雕刻時的刻痕紋路，木頭溫潤的質感，內斂、沉穩，

的雕塑作品與裝置藝術，已在全球市場形成穩固的收藏族群。近年來由

而木雕之外的立體雕塑亦傳達了創作者獨特的內在語境。日本文化中悠

限量雕塑公仔所刮起的新世代收藏旋風，使得木雕、複合媒材或石膏像

遠的佛像雕刻技法更使得日本當代雕塑呈現出細膩獨到的韻味。

等「單一件」（unique）的獨特性及不可複製性，因稀有性使得雕塑行

2005 年加藤泉開始探索雕塑的三維空間，因此他開始了一系列木

情更有想像空間。日本當代藝術無限可能，新崛起的藝術家所掀起的日

刻雕塑的創作，反覆出現的如神靈般的生物形象賦予了另一種形式的

本當代藝術旋風堪稱異軍突起。日本當代雕塑往社會維度與心態深探，

存在。他保留了木頭原始的質感，粗曠、原始有如充滿生命力的非洲

本季現代與當代藝術推薦一系列日本當代雕塑藝術，於不同視角的欣賞

雕塑，更為原生藝術的一種極致表現。加藤泉完成於 2014 的木雕作品

中，呈現出各種令人讚嘆的細膩情感與技法。由當代藝術巨擘草間彌生

《無題》(Lot254)，帶著風格化的蝙蝠翅膀及昆蟲網狀眼，怪誕且脫俗，

領銜，精選重量級及市場新寵等超人氣 10 位日本當代雕塑家：加藤泉、

亦表現出他對人類形象高度風格化的處理，使觀者面對藝術家於自然

三宅一樹、土屋仁応、灰原愛、小泉悟、中村萌、大森曉生，金卷芳

萬物的獨特詮釋，從平面到立體，加藤泉自由豐富藝術特質創造出當

俊及山崎龍一，展現超越畫布之外使空間突破二次元的雕塑作品，細膩

代雕塑中無限大的可能性。

地描繪雕刻者的內在靈魂並展現各自的獨特風格及魅力。

◀ 草間彌生《花－綻放在午夜》2009 玻璃纖維金屬塗料（單一件）228(長) x 220(寬) x 136(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 222 Yayoi KUSAMA, Flowers - That Bloom at Midnight, 2009, FRP, metal, paint (unique), 228(L) x 220(W) x 136(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 222 ▲ 大森曉生《月夜中的鹿角兔》2018 銅雕 17.5(長) x 18.5(寬) x 29(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 256 Akio OHMORI, Jackalope in Moonlight, 2018, Bronze, 17.5(L) x 18.5(W) x 29(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 256

另有傳統佛像雕刻技法塑曲線柔美動物木雕的土屋仁応，生物的

對環境議題產生省思，也希望表達對社會時事的關心，讓藝術更貼近生

姿態與靈性一直是土屋仁応的創作主題，清透乳白如神話般充滿靈性的

活。金卷芳俊則為近年來炙手可熱的雕塑家之一，人類數面向心理狀態

動物雕刻，如藝術家賦予牠們靈魂與魔法般來去自如。以極簡的方式去

的多臉少女為其經典創作主題帶給觀者和收藏家獨特的視覺感受。

呈現生物的姿態與靈性，並以水晶來製作眼珠，栩栩如生的靈性動物細膩、纖弱但卻透露出一股神秘感，美得讓人窒息。而在當代藝術市場掀起一股療癒系旋風的中村萌，其作品以充滿手感溫度的人物木雕創作為主，大部份的雕塑作品皆保留了雕刻時的刻痕紋路，獨具風格。小泉悟於 2010 年間，發表一系列身穿著動物裝的孩子木雕作品，在可愛的外表下，小泉悟描繪的是每個人內心中的孤獨。而其木雕作品尤其為人追捧，為當代市場新寵的小泉悟其限量公仔熱絡售罄極具話題性帶動單一件木雕行情看俏。灰原愛創造「雕刻繪畫化」風格。而她獨有的少女氣質為當代創作難能可貴的特徵、有治癒人心的溫潤近年來在拍賣市場上屢創佳績，在現當代藝術家中備受矚目。日本新生代藝術家山崎龍一都傳遞對於「文化依存症候群」的探討，焦慮又不失可愛都在白衣孩童的眼神中表露無遺。

日本雕塑發展歷程悠遠，但面對時代的急速變遷，多元文化的衝擊下，十足展現其豐富地發展面向。而那些貼近人心及生活的創作有日本文化的細膩體現，深具收藏價值。時至今日收藏走入生活，當代雕塑帶給藏家們更豐富多元地收藏面貌。 Japanese contemporary art consists of rich original cultivation, contemporary artists skillfully demonstrate the unique fascination of Japanese contemporary art. In which, the delicate charm presented in the creation of contemporary Japanese sculpture is even more captivating, it is also the embodiment of the culture that exists long ago. Art and crafts can be viewed as the cultural consciousness of a rich country, among them painting and sculpture are considered as prominent. After the Restoration, the Technical Fine Arts School (Kobu Bijutsu Gakko) was established and hired Italian Vincenzo Ragusa as teacher in the sculpture

富投資價值的「限量」雕塑近年來，年輕一代收藏家帶動的「限量公仔」的雕塑收藏觀念席捲全球藝術市場。隨著全球資訊爆炸，造成人們追求更多視覺影像的刺激，新一代藏家尋找更符合自己時代背景或文化風格標的使得藝術創作更多元發展。

department. Both the Eastern and Western sculpture system collides and blends within the academic, and gradually developed a peculiar style of Japanese culture. Even in contemporary works, one can still witness the extraordinary performance by integrating these two cultures, as well as the exquisiteness displayed by the remarkable charm of sculptural art.

三宅一樹 2005 年開始的「瑜珈」系列是最能闡述藝術家創作觀的作品，《瑜珈 — 樹式》(Lot255) 中的姿勢展現內在氣韻循環與宇宙的關係，隱含了他「藝術即是修行」的美學觀，如同「連結宇宙與人」之

THE MARKET PRICE IN SCULPTURE BRINGS MORE IMAGINATION

理。藝術家以內在氣韻循環與宇宙的關係，將內心的思想與情感轉化在

Throughout the passage of time, the concept of limited edition

塊面的刻畫與形塑過程中，精神在創作時得到療癒，因而成功塑造一件

sculpture has been well embraced among collectors, the sculptural

件承載精神體現的

雕塑。日本新生代雕塑家大森曉生，結合日

works and installation art of contemporary artists have already formed a

及漆藝，細膩、完整地呈現

steady and solid collecting group in the global market. In recent years,

了動物的心境。

《月夜中的鹿角兔》(Lot248)

the limited edition sculpture figure causes whirlwinds among the new

為藝術家的複數

作品，將雕刻藝術融入日常生

generation collectors, which has made sculptures with materials such as

創作理念。他希望能透過作品，

wood carving, composite media or plaster, such one of the kind "unique"

本傳統木雕工藝

活中為大森曉生的

[ THE ARTIST ]

pieces non-reproducible. Due to their rarity and scarcity, the market price for such singular sculpture brings more imaginary space. The possibilities of Japanese contemporary art are infinite and the whirlwind of Japanese contemporary art stirred up by emerging artists can be described as a sudden emergence. Contemporary Japanese sculpture has been deeply explored towards the social dimensionality and mentality. This season Ravenel's Modern and Contemporary Art proudly presents a series of Japanese contemporary sculptural art, conveying a variety of delicate emotions and techniques amid from different perspectives.Led by the contemporary art master Yayoi Kusama, a total of ten popular Japanese contemporary sculptors including heavyweights and new favorites in the market. Their sculptural works extend beyond the canvas and break through the two dimensions space, delicately depict the inner soul of the sculptor and display their characteristic style and charm.

BEYOND THE CANVAS － ENVIRONMENTAL SCULPTOR YAY OI KUSAMA Yayoi Kusama has been well recognised as the existing national treasure artist in Japan, she set out to create sculptures in the late 1990s and positioned herself as a sculptor more than a painter. In 2000, she began to create large-scale public outdoor sculptures, including "The Visionary Flowers" in Matsumoto City Art Museum, Nagano Prefecture, Japan in 2002, "Tsumari in Bloom" in Matsushirocho, Niigata, Japan in 2003, and "Hymn of Life: Tulips" in Beverly Hills, USA in 2007. These threedimensional creations form an actual space that can be touched by all senses and exhibit themes she originally painted on canvas. "Flowers - That Bloom at Midnight" (Lot 222) created in 2009, this vibrant flower is one of her large scale sculptures, which is so infectious and powerful.

ALL LIVING THINGS ARE DIVINITIES － GOD AND NATURE ARE ONE, FULL OF SPIRITUAL WOOD CARVING ART There is a long history in the tradition of Buddhist sculpture in Japanese culture. Both the Eastern and Western sculpture system collides and blends within the academic, and gradually developed a peculiar style of Japanese culture. Even in contemporary works, one can still witness the extraordinary performance by integrating these two cultures, as well as the exquisiteness displayed by the remarkable charm of sculptural art. ◀ 土屋仁応《青貓)》2018 樟木水晶彩色 19(長) x 7(寬) x 12(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 249 Yoshimasa TSUCHIYA, Wild Boar, 2018, woodcarving, crystal, polychrome, 19(L) x 7(W) x 12(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 249 ◀ 土屋仁応《亥(山豬) 》2018 樟木水晶彩色 19(長) x 7(寬) x 12(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 248 Yoshimasa TSUCHIYA, Wild Boar, 2018, woodcarving, crystal, polychrome, 19(L) x 7(W) x 12(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 248 ▶ 三宅ㄧ樹《瑜珈－樹式》2008 銅雕 4/5 50(長) x 72(寬) x 295(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 255 Ikki MIYAKE, YOGA - The Embodiment of Tree, 2008, bronze, edition no. 4 /5, 50(L) x 72(W) x 295(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 255

In 2005, Kato Izumi began to explore the three-dimension

series of woodcarving works of children wearing animal costumes in 2010,

sculptures, hence he commenced a series of woodcarving sculptures.

under their lovely appearance, he depicts the solitary in everyone's heart.

The imagery of deity-like creature repeatedly appears, which gives

His woodcarving works are especially sought after, being a new favorite in

another form of existence. He retains the rawness texture of wood,

the contemporary market, the news on his sold out limited edition figurines

rough and primal as if the vibrant African sculptures, which is

are such a hot topic, which undoubtedly heat up the market for his singular

an ultimate expression of primitive art. In his woodcarving work

woodcarvings. Ai Haibara creates the style of "Painterly Sculpture", her

"Untitled"(Lot 254) made in 2014, with stylized bat wings and insect

distinctive girly temperament is such a rareness and precious characteristic

mesh eyes, uncanny yet refined, also exhibiting his highly stylised

among the contemporary creation, surround with healing warmth. She has

process in working with human images, this allows viewers to confront

repeatedly achieved good results in the auction market in recent years and

with the artist's peculiar interpretation of all things in nature. From flat

has attracted much attention among modern and contemporary artists. The

surface to three-dimensional,Kato Izumi's unrestrained and abundant

new generation Japanese artist Ryoichi Yamazaki conveyed his exploration

artistic characteristics create infinite possibilities in contemporary

towards "cultural dependence syndrome", both anxious and adorable

sculpture. Traditional Buddha sculptures have gentle curve and

sentiments were all revealed in the eyes of his white-clothed children.

dignified form, the artist Yoshimasa Tsuchiya learned this traditional technique when he was a student. The posture and spirituality of living creatures have always been the creation theme of Yoshimasa Tsuchiya.

"LIMITED EDITION" SCULPTURE WITH INVESTMENT VALUE

The clear and milky white animal sculptures are full of spirituality,

In recent years, the sculptural collection concept of "limited edition

like myths, they come and go freely as if the artist entrusts them with

figurines" driven by the young generation collectors has swept the global

soul and magic.The almost lifelike spiritual animals are exquisite

art market. With the explosion of global information, stimulating people to

and delicate, but they reveal a sense of mystery, which is suffocating.

pursue more visual images, the new generation of collectors seeks more in

Through his extraordinary sentiments towards the myths in Japanese culture, Tsuchiya bestows his sculptures with the agility of life, mysterious yet grace. In the contemporary art market, Moe Nakamura

line with their own era background or cultural style, which makes artistic creation more diverse. The "Yoga" series, which started in 2005, best explains Ikki Miyake's creation concept.The "Yoga-

has set off a healing whirlwind, her works are mainly

Tree Pose" (Lot 255) shows the relationship between

woodcarving of figures, her handcraft is filled with

the circulation of inner rhythm and the universe, which

warmth. Most of her sculptures retain the veined

implies the artist's aesthetic view of "art indeed

pattern, these carved lines show such a

is practice". Palms are placed together and

distinctive style. Koizumi Satoru published a

both arms are lifted up, the body is only

[ THE ARTIST ]

supported with an independent leg. Resembling the principle of "connecting the universe and human being", tranquility and harmonious. While in regards to Ikki Miyake, the process of creating sculpture is also a kind of cultivation. His spirit is healed during the creation, which in turn leads to successfully creating one after another sculptures that bear his essence. The new generation Japanese sculptor Akio Ohmori, combined with traditional Japanese woodcarving techniques and lacquer art, delicately and completely present the mood of animals. "Jackalope in the Moonlight" is one of his plural works, his creative idea integrates sculptural art into daily life. He hopes that through his works, he can reflect on environmental issues and also can express his concern for current social events , in order to make art even more closer to life. Yoshitoshi Kanemaki is one of the hottest sculptors in recent years. The multifaced young girl confronts with the psychological state of human being, his classic creative theme indeed brings exceptional visual experience to viewers and collectors. The development of Japanese sculpture has a long history, but facing with the rapid changes of time and the impact of multiculturalism, it has fully demonstrated its prosperous development orientation. And those creations that are close to people's hearts and lives have exquisitely reflected Japanese culture, which have enormous collection value. Today, while the practice of collection has become part of our life, contemporary sculptures definitely have brought collectors with a richer and more diverse collection.

◀ 中村萌《數綿羊》2017木油彩47(長) x 26(寬) x 48(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 253 Moe NAKAMURA, Night Sheep, 2017, wood, paint, 47(L) x 26(W) x 48(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 253 ▼ 灰原愛《悄悄話》2007 木雕 20(長) x14(寬) x 63.5(高) cm； 16.5(長) x14.5(寬) x 63.5(高) cm 羅芙奧台北2020秋拍「現代與當代藝術」Lot 251 Ai HAIBARA, Secret Talk, 2007, wood, 20(L) x14(W) x 63.5(H) cm; 16.5(L) x14.5(W) x 63.5(H) cm Ravenel Autumn Auction 2020 Modern and Contemporary Art, Lot 251

An Artist Who Captures Shining Eyes Bernard Charoy

明眸善睞的捕手貝爾納 • 夏洛瓦

[ THE ARTIST ]

Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

隨美劇《艾蜜莉在巴黎》近日熱映，為什麼「巴黎女人」總讓人著迷的疑問，也再度被全球熱議。不僅時尚界，對女性姿態的美好想像，也往往是藝術創作的靈感來源。二十世紀的藝術家之中，來自法國的貝爾納・夏洛瓦（Bernard Charoy, b. 1931）更是捕捉女人靈動之美的翹楚。夏洛瓦來自歷史豐富的洛林省，家族成員多以手工創作為志業，耳濡目染之下，1955 年夏洛瓦搬至巴黎蒙馬特，在工作坊中學習包含油畫、海報設計、插畫等各式創作技藝。而夏洛瓦傑出的天分與人物側寫的精湛表現，三年後開花結果，被新聞業出版業者相中，包含：La Figaro, Ici Paris, Press de la Cité, Albin Michel Editions, Dargaud Editions, Édi Monde 等媒體，紛紛邀請他繪製海報、雜誌封面與各類型的出版物。對於各色人物類型的刻劃，年輕的夏洛瓦漸漸確立自己的風格。 1960 年代夏洛瓦發展出「畫報女郎 Pin-ups」系列，個人特色強烈富有濃濃法式風情，聲名一炮而紅遠播至歐美亞。英文 Pin-up 一詞源於美國，原指模特兒、女明星為主視覺，可以用大頭針固定的宣傳海報。第二次世界大戰時期結合好萊塢大眾影視，美軍將此風氣散播至世界各地，從原本的機頭藝術（Nose Art）與通俗塗鴉

◀ 羅芙奧2017秋拍貝爾納•夏洛瓦《地中海花園》成交價台幣90萬元

文化，延伸成近代美式視覺文化的主流精神。此一時期，夏洛瓦筆

▲ Lot 041 貝爾納•夏洛瓦《麗莎》2015年油彩畫布 41 x 33 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」

下的嬌俏女郎身著薄莎馬甲與美國星旗，嘴叼雪茄腳踩跟鞋，目光風情萬種，搭配挑逗意味的法文標題。觀者甚至能從模特兒模樣，依稀辨認當時紅遍全世界的女星碧姬 • 芭杜（Brigitte Bardot）與珍 • 柏金（Jane Birkin）的輪廓。

1970 年代夏洛瓦開始在美國、歐洲各地，包括瑞士巴塞爾藝博會上嶄露頭角，1982 年他被重要巴黎「新視界畫廊」（Vision

創作至今超過半世紀，藏家們腦海中的夏洛瓦，已等同仕女肖

Nouvelle Gallery）相中邀請簽約合作，漸漸地他開始專注於純創

像的代名詞。他以現代風格演繹自己的美好年代，交織著印象派雷

作為主。他也與東京為永畫廊（Tamenaga Gallery）、銀座三越

諾瓦的抒情夢幻、野獸派梵童根（Kees van Dongen）的熱情俏麗，

（Mitsukoshi Ginza Gallery）等單位開始合作展覽，同年德國杜塞

精準補捉巴黎名媛的獨有神韻，她們神秘、優雅、動人，雍容的姿

道夫舒馬克畫廊（Schumacher Gallery）也與之簽約。據當年台灣

態使人心生愛憐。藝術家以真人命名永遠青春的她們，一雙明眸善

的畫廊前輩描述，1990 年代鼎盛時期夏洛瓦受歡迎的程度，在日本

睞鮮活了獨一無二的個性和故事。夏洛瓦在巴黎的工作室作畫，依

有近千家畫廊都推薦其作品，而油畫作品更是洛陽紙貴一作難求。

著充足日光、植栽與鏡中人影，筆下謬斯則一一現身於凡爾賽花

而近年，隨亞洲市場的熱絡發展，這位眾人喜愛的畫家，拍賣成交

園、亞歷山大三世橋、與海風輕拂的南法海岸。

紀錄也穩定推升至新高度。

With the recent popularity of the American series, Emily in Paris, the question of why Parisian women are always so fascinating has once again become a hot topic around the world. This is not only limited to the fashion industry, as beautiful imaginations about feminine postures often serve as a source of artistic inspiration. Among 20th century artists, Bernard Charoy (b. 1931) from France stands as an outstanding talent in capturing the graceful beauty of femininity.

◀ Lot 024 貝爾納•夏洛瓦《古西巴》約1961年油彩畫布 72 x 59.5 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」 ▼ 羅芙奧2019秋拍貝爾納•夏洛瓦《綺琪》成交價台幣50.4萬元

Charoy came from the historic district of Lorraine, where most of his family members had careers in handmade art. Under their influence, Charoy moved to Montmartre in Paris in 1955 to learn a variety of creative skills, such as oil painting, poster design, and illustration in workshops. Charoy's exceptional talent and exquisite performance in character portraits led to fruitful results after three years. He was scouted by news publishers, such as La Figaro, Ici Paris, Press de la Cité, Albin Michel Editions, Dargaud Editions, Édi Monde, etc. These publishers invited Charoy to draw posters, magazine covers, and all kinds of publications. Young Charoy gradually established his own style in portraying different types of characters.

[ THE ARTIST ]

▶ Lot 040 貝爾納•夏洛瓦《蔻伊與花》2006年油彩畫布 46 x 38 cm 羅芙奧2020秋拍「薈萃國際：現代與當代藝術」

In the 1960s, Charoy developed the Pin-ups series, which invoked strong personal characteristics with a strongly French style. He instantly became famous with his popularity spreading as far as Europe, America, and Asia. In English, the term, " Pin-up" , originates from the United States. It originally referred to promotional posters featuring models and female celebrities as key visuals that can be fixed in place by pins. Integrating popular films and television from Hollywood during the Second World War, the US Armed Forces spread this atmosphere to different parts of the world, extending the original Nose Art and popular graffiti culture into the mainstream spirit of contemporary American visual culture. During this time period, Charoy portrayed charming female characters wearing gauze corset and American flags with a cigar in their mouth and high heels on their feet. Their affectionate gaze is matched with teasing titles in French. From the looks of the models, the audience may even vaguely identify the facial outlines of the then world-famous female celebrities Brigitte Bardot and Jane Birkin. With over half a century of creation, Charoy became synonymous with female portraits in the minds of collectors. He depicts the wonderful era he experienced in a contemporary style that interlaces the sentimental fantasy of Impressionist Pierre-Auguste Renoir and the lively passion of Fauvism Kees van Dongen. He precisely captures the unique charm of Parisian female socialites, whose mysterious, elegant, charming, and graceful postures invoke love and affection. The artist named the immortal characters by real names as their shining eyes bring

to focus on pure creation. He also collaborated with organizations like

one-of-a-kind personalities and stories to life. Charoy creates paintings

Tokyo's Tamenaga Gallery and Mitsukoshi Ginza Gallery for exhibition

in the Parisian studio under sufficient sunlight and plantation from

collaboration. The Schumacher Gallery in Germany also signed a

shadows in the mirror, while the muse in his paintings appear in the

contract with Charoy in the same year. Senior enthusiasts at Taiwanese

Gardens of Versailles, on Pont Alexandre III, and under the sea breeze at

galleries described the level of Charoy's popularity during his heyday

South France coast.

in the 1990s—his paintings were not only recommended by nearly

During the 1970s, Charoy came into prominence in the United States as well as different parts of Europe, including Art Basel in Switzerland. In 1982, he was scouted by Vision Nouvelle Gallery in Paris and invited to sign a contract for collaboration. Slowly, he began

a thousand galleries in Japan, but his oil paintings were also highly favored and hard to find. With the prosperous development of the Asian market in recent years, the auction record of this beloved artist has also steadily reached a new height.

SPACE INVADER DIGITAL NOSTALGIA THE EARTH IS HIS PLAYGROUND

SPACE INVADER ☼ 數碼懷舊地球是他的遊樂場

Text / Odile Chen 陳惠黛

Photo / Ravenel International Art Group, Artcurial, Invader Official, PMQ, 達志影像

[ ART & INVESTMENT ]

◀ 2015年初，INVADER的馬賽克作品隨著太空船Space2飛上地球上方數千公里之外 Early 2015, the Space 2 mosaic floats thousands of kilometers above the Earth ◀ 侵略者 INVADER《魔方主義紅色小精靈》2007年魔術方塊陶磁裱於樹脂玻璃單一件, 84.5 x 78 x 5.5 cm, 羅芙奧2020秋拍「薈萃國際: 現代與當代藝術」 INVADER, Red Rubik Phantom, 2007, Rubik's cubes mounted on Plexiglas Unique, 84.5 x 78 x 5.5 cm Select: Modern & Contemporary Art Ravenel Autumn Auction 2020 - Select: Modern & Contemporary Art

中紀錄著法國藝術家洗腦先生（Mr. Brainwash / Thierry Guetta），據 Invader 表示，洗腦先生是他的表哥。Invader 難得現身時，不是戴上面具，就是臉部打上低畫素馬賽克，夜間出門創作，僅有少數人知道他的真實身分，父母也以為他在建築產業任職貼磚工。對 Invader 而言，藝術從博物館或機構的白立方殿堂釋放出來，親近現實的世界。太空侵略者小蜜蜂也從電玩遊戲視頻中釋放出來。 Space Invader 或稱 Invader，一位國際知名的街頭藝術家，來自法國，藝名的靈感取材自 1978 年起風靡多時的街頭電玩遊戲機「太空侵略者」Space Invaders。太空侵略者，在台灣暱稱為「小蜜蜂」，玩家用左右平行移動的方式，發動飛機射擊上方的太空侵略者，是有史以來，最有開創性與影響力的電玩遊戲之一，藝術家少年時期熱愛的電子遊戲，深植心中，Invader 發展出一格格 2D 點陣式馬賽克磁磚拼裝塗鴉，宛如「太空侵略者」遊戲的外星人，悄悄地攀上世界各大城市的街牆，用一種藝術高度識別度，在 21 世紀的今日成為另類的經典，他的低像素風圖像創作，無疑是對 20 世紀數碼時代既懷舊且浪漫的詮釋。而獨一無二的的馬賽克磁磚或魔術方塊的塗鴉運用，成為 Invader 最標誌性的媒材表現。

街頭藝術神秘玩家儘管風格獨特，街頭藝術家 Invader 還是一號神秘人物，他以外星人的姿態自居，入侵地球。他究竟是誰？根據藝術家的官方網站上書寫的簡歷：「Invader，1969 年出生於法國巴黎，目前生活與工作於地球。他畢業於巴黎美術學院和索邦大學」。（Invader lives and works on Earth. He is graduated from les Beaux-arts de Paris and from la Sorbonne University.)

低像素磁磚的外觀，其實是他的畫布，一格一格的馬賽克磁磚，宛如太空生物，開始爬上巴黎鄰居的牆壁，然後進軍全世界。 Invader 有策略性的入侵地球上人口稠密的主要城市。通常設定在每座城市部署 20 到 50 件作品，有時會回到同一座的城市，他稱之為不同的「入侵波」（Invasion waves），入侵成功後即可得分（Points 簡稱 PTS），每件作品給予 10-100 分之間的分數，分數是依牆上安裝有多少個「太空侵略者」。如同電玩遊戲中不斷累積得分。累計的分數會在他的個人網頁上更新，螢幕顯示的分數的呈現打遊戲機一般。Anytime（隨時）、Anywhere（隨地）是 Invader 的哲學，通過每一次的精確且嚴謹的美學，執行入侵計劃，他得以自我進化、自我重塑。

至 2020 年完成入侵 79 座城市 Space Invaders 太空侵略者的大計劃，不斷地入侵新空間，公共空間。Invader 彷彿空間的駭客，透過美學入侵，打游擊的高難度方式佔領，幾乎常人難以到達的高度，而後它們與空間共存、發展。21 世紀，數碼科技宛如是世界的心跳脈動，所有生物都是像素構成，以方形磁磚形式複製再複製。 Invader 將他所有入侵的公共空間計劃創建完整數據庫，圖文詳細記錄著照片、日期與地點等，集結後出版，至今已有入侵巴黎、洛

在創作自述中他如此形容自己：「我自我定義為 UFA，一個身

杉磯、倫敦、羅馬、邁阿密、香港、馬賽等數本圖冊書籍。龐大又宏

分不明的自由藝術家。我選擇 Invader 為化名，現身時總會戴著面具。

觀性的全球性藝術裝置，融入城市自身文化，同時吸引城市居民與之

這樣一來，可以隨意參觀自己的展覽，無需讓任何觀眾知道我的真

互動對話。

實身分，即使僅有幾步之隔。從 1998 年起，我開始發展一項大計劃，代號名稱 Space Invaders『太空侵略者』。」

創作至今逾二十年，Invader 的作品高度最高者在瑞士高山村莊，海拔 2,362 公尺，更高者甚至已離開了地球表面，2015 年隨作

如同班克斯 Banksy 一樣，Invader 從不以真面目示人，起初是基

品 Space2 飛到 ISS 國際太空站；而最低者，則靜靜地埋藏在墨西哥

於安全因素隱藏身分，畢竟潛入公共空間張貼磁磚圖有違法疑慮，後

坎昆灣（Cancun Bay）的海洋深處，附在藝術家 Jason de Caires 的

來他覺得一直保持神秘感其實也頗有意思。班克斯在 2010 年發行一

雕塑作品上，只有專業潛水員才能看得見。世界著名景點：好萊塢

部知名紀錄片《畫廊外的天賦》（Exit through the Gift Shop），片

HOLLYWOD 標誌（最後一字母 D）、巴黎鐵塔，都有他的足跡停留。

根據他的網站資料，截至 2020 年 10 月中旬本文截稿時， Invader 已入侵 79 座城市，完成 3,954 件作品。Invader 的家鄉巴黎，當然是擁有 Invader 最多創作的地方，入侵波顯示「常駐狀態」（Permanent），共計有 1,446 個作品，而整座巴黎宛如是一座他的大型博物館，處處有其巧思與趣味。

快閃羅浮宮與正式博物館展覽 Invader 於 1998 年開始執行「太空侵略者」計劃。就在 1998 年 12 月 30 日週三，Invader 曾大膽入侵藝術文化殿堂─羅浮宮博物館。在攝影師朋友的幫助下，他安裝了十片太空侵略者，就這樣他成為唯一在羅浮宮展出的在世藝術家，成就任務達成，洋洋得意。週三法國的博物館

其實被剷除清理的 Invader 作品相信不在少數，有人推斷早期

一般開放至晚間九點三十分，又接近年底新年假期，允許從容的行為創

創作大約有 15% 已經永遠消失。隨著藝術家的知名度大增，當他

作。相信這件博物館快閃塗鴉創作，不久後已為官方或清潔人員清除。

在建築物外牆上標記時，無形中增加房屋的價值，這或許是他不會被逮捕的原因。Invader 在安裝磁磚馬賽克時，會仔細挑選匹配的顏色，和城市文化、建築造型完美融和。大多數的房產所有人都會不介意。例如巴黎歌劇院（Opera Garnier）的國家歷史建築物，也有他的精心巧思，創作被留下來。

英國藝術家班克斯 Banksy 也曾於 2004 年快閃羅浮宮殿堂，以一幅大笑的蒙娜麗莎圖畫混入，究竟成功懸掛了多久不得而知。2005 年 Banksy 繼續以一件《偽巖穴壁畫》（Peckham Rock）成功掛在大英博物館的牆上數天。這些快閃的行為，或許是受到藝友 Invader 的啟發呢。 Banksy 出道比 Invader 要早，不過 Invader 長了 Banksy 六歲，在惡搞

香港是 Invader 在亞洲中侵略波、累積得分最多的城市，7 個

博物館這件行為上，稱為前輩亦屬合理。他們長年匿名在街頭創作，各

波、132 次侵略，積分 4,800 分。代表著他七度「入侵」香港，不

自有一片天，他們的藝術屬於街頭，亦有各自隱含的訴求。一個屬於英

過香港得以保存下來的馬賽克作品也不多，大部分作品已被有關當

倫的龐克叛逆，一個帶著歐洲的典雅幽默，各有一片天地。

局有爭議性的清除，為街頭藝術迷扼腕不已。其次是東京，累計有 6 個侵略波、138 次侵略，積分 3,240 分。值得玩味的，他還未入侵人口密集的中國大陸，幅員廣大的俄羅斯，還有以色列以外的中東，猜測是該地區不允許他戴上面具或恣意的塗鴉惡搞。

[ ART & INVESTMENT ]

已有多家知名博物館與機構正式舉行過 Invader 的個展：

1999 年 Invader 在巴黎舉辦首次個展，隨後進入畫廊產業，2001 到亞

如香港當代藝術基金會 HOCA（2015）；維也納的博物館

洲的東京和大阪展出，除了故鄉巴黎，在世界主要城市如墨爾本、洛杉磯、

區（MuseumsQuartier）（2008）；美國的洛杉磯當代藝術

倫敦、維也納、羅馬、布魯塞爾、香港等，舉辦重要個展。儘管進入藝術

館 MOCA（2011）、聖地亞哥市的聖地亞哥當代藝術館；

市場，他在街頭的創作其實更令人尊敬，成為獨數一幟的經典。

韓國的大田市立美術館；法國的里昂當代美術館（2001）、蒙托邦的安格爾暨羅浮宮博物館（Musée Ingres et Musée du Louvre, Montauban）（2009）、巴黎的赫伯博物館這（Musée en Herbe）（2017）、馬賽當代藝術中心（MaMo, Centre d'art contemporain）（2020）；土耳其伊斯坦堡的波路桑文藝中心（Borusan Center for Culture and Arts）；瑞典的哈爾姆斯塔德市 Mjelby 美術館（Mjelby Konstgard Museum, Halmstad）

Invader 的作品於 2000 年進入拍賣市場，一張彩色攝影作品配上磁磚套件，拍了五千法郎（約 US$630）落槌，市場小試身手。2003 年即漸漸為拍賣市場的常客。而隨著 Urban Art 街頭藝術於全球蔚為風行，Invader 的藝術入侵公共空間行為，獲得當代藝術界的肯定。因此，2015 年他的藝術成為探索外星球的媒介，與前輩達明 • 赫斯特（Damien Hirst）等，飛上無窮宇宙世界。

（2002）等。除此之外，西班牙畢爾包藝術基金會（Fundación

每當 Invader 有作品售出時，他同時會在街頭另外創作一件。2019 年

BilbaoArte）、英國波羅的海當代藝術中心（Baltic Centre for

11 月在紐約蘇富比，Invader 的作品首度突破百萬美元大關，一件以原子

Contemporary Art）等多家機構永有展示或典藏了他的作品。

小金剛形象創作的作品《東京第 119 號》（TK_119），在 2019 年秋天在

大藝術市場裡的侵略者儘管街頭藝術屬於公共空間，屬於街頭，不屬於私人資產。然而當藝術家的知名度大開，不少人想要從牆上挖下他的作品轉

紐約蘇富比以 122 萬美元（約台幣 3500 萬元）售出，為目前 Invader 拍賣行情最高價紀錄。這件作品也有街頭版本，位於亞洲的東京街上，原子小金剛為日本漫畫之父手塚治虫筆下的角色，Invader 的創作會融入當地的歷史文化。例如，他也曾為香港創作過功夫題材、李小龍等知名人物圖像。

售牟利。以水泥和特殊膠水黏貼的磁磚，若從牆上卸下，恐怕都會碎裂破損，偷竊者想要完整擁有作品幾乎不可能。因此也有人試圖購買磁磚複製或重建成不良的仿品或複製品。藝術家認為，任何人不應該購買未經認證的仿品，自己 DIY 以磁磚創作也未嘗不可。其實，胸懷壯志的 Invader 他完整而詳細記錄著所有的創作，建立龐大的資料庫和出版品，贗品容易露出破綻，他希望偷竊的行為可以永遠終止。街頭藝術家需要購買創作的素材與旅行的支出，他與代理畫廊 Over The Influence 合作，收藏家若擁有原件，可以透過畫廊或拍賣會購買認證過的作品。而他的工作室發行的版畫與簽名的磁磚套件（Invasion Kit）也極具收藏價值，所出版的圖冊地圖也價值不斐，磁磚套件的行情有兩萬美元（約台幣六十萬），部分版畫最高價甚至可達四、五萬美元（約台幣一百四十萬元）。從事街頭創作與進行「太空侵略者」計劃之前，Invader 於 1997 年進入專業的藝術創作，在木板上創作磁磚作品，內容為街機遊戲 Space Invaders 的低像素圖案、加密打碼的風景、還有 X 級的情色圖案。這些磁磚板透過巴黎凡夫（Vanves）跳蚤市場販售，有時也製作情色圖案 T 恤售賣。

◀ INVADER入侵世界地圖（翻攝自藝術家網站） World Map of Invader artworks (refer to Invader official) website ▲ 太空侵略者 INVADER《維也納》2008年雙色拼接磁磚作品背面有簽名和日期, 165 x 236 cm 巴黎艾德拍賣以35.62萬歐元成交（約1190萬台幣） INVADER, Vienna - 2008, Ceramic tiles on two assembled panels, 165 x 236 cm, sold €356,200, Artcurial Paris

21 世紀的新立體主義─魔方主義 RUBIKCUBISM 「魔方主義」或「魔術方塊主義」，顧名思義與魔術方塊有關。

（Artcurial）以 48 萬歐元（約 56 萬美元。約 1600 萬台幣）拍出，成為

此乃 21 世紀由 Invader 在巴黎發起的美術學派運動，也是他所命名，

目前排名第二高的 Invader 作品，僅次於《東京第 119 號》（TK_119）

最早於 2004 年開始。「魔方主義」呼應了一百年前立體主義風格的

原子小金剛圖像作品，成為「魔方主義」系列目前的最高價。

創作，在 21 世紀改以立體方塊、電玩風格的當代創作。

羅芙奧 2020 秋拍「薈萃國際」專場中，推出一件《魔方主義紅色小

「魔方主義」系列不同於其他的公共空間牆面創作，為適合室內

經靈》，創作於 2007 年，取材自日本經典電玩 Pac-Man 小精靈遊戲中

展示的作品。Invader 在此系列創作中，運用 1970 年代匈牙利建築教

的紅色鬼魂。有趣的是，紅色鬼魂可能是遊戲界的壞男人、又是經典名

授魯比克（Ern Rubik）發明的魔術方塊公司為主要媒材，透過計算

作、且低傳真的像素畫立體作品。1980 年出品的小精靈，曾被金氏世界

機程序算出魔術方塊上六種顏色的精確分佈，獲得所需的圖像數據，

紀錄認可為全球最受歡迎的機台遊戲。對於 1960 年後出生的 Invader，

將實體魔術方塊拼組於背板上。魔術方塊如同磁磚，組成低像素風格

當然是非常熟悉又懷舊的電玩遊戲。電玩 Pac-Man 小精靈，和 Space

的圖畫，像素越高，所需的魔術方塊數量越高，反之亦然。魔方主義

Invaders 太空侵略者，具有傳承關係的 20 世紀電玩，非常具有魔性的吸

後來也有其他藝術家的加入，但以 Invader 的影響力最顯著。

引力與時代性趣味。

運用「魔方主義」的創作題材有三：包括恐怖份子首腦賓拉登、

Invader 曾說：「我只想在風景中放進可以讓人微笑的東西。有點兒

007 中的大鋼牙（Jaws）和黑幫老大艾爾 • 卡彭（Al Capone）等「壞

積極正面的。我的目標是為城市中的每個人製作藝術，並創造一些美麗

男人」（Bad Men）肖像；第二是「經典名作」（Masterpieces）主

的事物。」

題，復刻藝術家達文西（Da Vince）、德拉克洛瓦（Delacroix）、秀拉（Seurat）、安迪渥荷（Warhol）、李奇登斯坦（Lichtenstein）；還有第三的「低傳真」（Low Fidelity）主題，以經典音樂專輯或出版為藍圖。一幅屬於「經典名作」系列、創作於 2005 年的《魔方主義蒙

儘管城市環境裡 Invader 的藝術幽默又不刺激，但其實藝術家冒著生命的危險去達成幾乎難以到達的高度。太空入侵者的遊戲，需要有外星人般的神奇與生命力去達成。Invader 從孩童的玩樂中得到靈感，用赤子之心玩樂於街頭，回饋給居住於城市的人類，不斷地挑戰並突破自我。「Game is not Over ！」遊戲未完待續！

娜麗莎》（Rubik Mona Lisa）作品，2020 年 2 月在巴黎艾德拍賣

SPACE INVADER

R...

[ ART & INVESTMENT ]

World-renowned French urban artist Space Invader, or just Invader,

sneaking into a public space and mounting tiles on the walls. Later on, he

got his pseudonym from the video game of the same name, which became

began enjoying cultivating a sense of mysteriousness. In 2010, Banksy

hugely popular in 1978. Also nicknamed, "Little Honey Bee", in Taiwan,

released a well-known documentary Exit through the Gift Shop, featuring

players moved fighter jets to the left or right while shooting at alien

French artist Thierry Guetta, also known as Mr. Brainwash. According to

invaders coming from above. "Space Invader" was a groundbreaking

Invader, Mr. Brainwash happens to be his cousin. Invader's face is either

and influential video game that the artist loved to play in his youth.

masked or blurred via pixelation when he makes a rare appearance, and

Inspired by the game, Invader developed tiled mosaic 2D matrix graffiti

very few people know his true identity as he goes about his work covertly

where aliens from the game quietly creeped up the walls of metropolis

at night. Even his parents believe that he is a tiler in the construction

sidewalks around the world. With a highly recognizable aesthetic, his

industry.

technique has since become a new classic in the 21st century. These pixelated images are no doubt a nostalgic and romantic interpretation of the 20th century digital era, and the unique application of graffiti mosaics and Rubik's Cubes has become Invader's most iconic media.

MYSTERY PLAYER OF STREET ART Despite his unparalleled style, graffiti artist Invader prefers to remain mysterious, thinking of himself as an alien invading Earth. Who is he? According to the resume on his official website, it states: He has described himself in this way: "I define myself as an UFA, an Unidentified Free Artist. I chose Invader as my pseudonym and I always appear behind a mask. As such, I can visit my own exhibitions without any visitors knowing who I really am even if I stand a few steps away from them. Since 1998, I have developed a large scale project, code name: Space Invaders." Just like Banksy, Invader never reveals his true identity, initially for personal safety reasons. After all, there could be legal consequences for

◀▶ 2015年香港PMQ 侵略者展覽現場 Exhibition of INVADER in PMQ, Hong Kong, 2015

Invader's mission is to release art from the confines of white cubic halls inside museums or institutions and establish relevance in the real world, just as the Invader is released from video games. The lowresolution ceramic tiles serve as his canvas, one square against the next, like space aliens crawling onto the walls of Paris neighborhoods before conquering the world. Strategically, Invader has targeted densely populated cities on Earth, typically planning 20 to 50 works in each city. He revisits the same city occasionally, calling it different "Invasion Waves". He gives himself Points (PTS) after a successful invasion, with each tile installation between 10 to 100 points according to how many "invaders" were mounted on the walls, just as a gamer would accumulate points playing a video game. The point accumulation is updated on his webpage in the style of a video console. Anytime, anywhere is his philosophy, by executing each invasion project accurately and strictly in accordance with aesthetics standards, so that he may evolve and transform to become a better self.

After more than two decades of attempts, Invader has carried out his project as high as 2362 meters above sea level at villages in Swiss mountains, or even higher into space in 2015, the mosaic Space2 floated to an International Space Station. The lowest altitude was works buried deep in Cancun Bay affixed to a sculptural work by Jason de Caires, visible only to professional divers. Invader has left his mark even at world renowned scenic spots such as the Hollywood Sign (on the last letter 'D'), and the Eiffel Tower. According to the data on his website, it's countedtil mid Dct. of 2020, Invader has succeeded in 79 cities, completing 3,954 works. Most of the works, 1,446 in total are in Invader's hometown of Paris, where the 'Invasion Wave' status is permanent, turning the whole Paris into his personal museum, showcasing his humor and artistry everywhere. Quite a number of Invader's art have also been removed. Some estimate that about 15% of his early works have vanished forever. As his fame grew, the real estate value of structures where he has left his mark have increased, which is perhaps one reason why he has not been arrested. While mounting the mosaic tiles, he is careful to match tile colors that complement the city culture and architectural style. Most of the property owners do not mind having his work on their building. Even Opera Garnier in Paris, a national historical building, has kept the tiles he put on the exterior. The Asian city where Invader has scored the most points is Hong Kong, with a total of 4800 points scored in 132 invasions over seven invasion waves, meaning he "invaded" Hong Kong seven different times. However, most of his mosaics in Hong Kong have been removed by the authorities, which has been a controversial topic that left many urban art fans saddened. The second-most invaded Asian city is Tokyo with six invasion waves

SUCCESSFUL INVASION OF 79 CITIES BY 2020 Space Invader keeps conquering new public spaces according to his grand master plan. Like a space hacker who launches highly-difficult aesthetics guerrilla warfare on a height unreachable by ordinary beings and remains afterwards to co-exist and co-develop within the invaded space. In the 21st century, digital technology is like to the heartbeat of the world, where all creatures consist of pixilation, replicated repeatedly via square porcelain tiles.

totaling 138 invasions, accumulating 3240 points. Interestingly, he has not invaded China, Russia, or the Middle East outside of Israel, regardless of population density or vastness of territories, perhaps because the authorities of such regions would not allow him to wear masks or put graffiti on buildings.

FLASH MOB AT THE LOUVRE AND OFFICIAL EXHIBITION AT MUSEUMS Invader began implementing his Space Invader project in 1998. On Wednesday, December 30 of 1998, Invader boldly intruded on one of the

In the database created to keep track of his public space invasion

most esteemed artistic and cultural halls, the Louvre Museum. Assisted by

projects, Invader has uploaded text, images, photos, dates, and locations,

a photographer friend, he installed 10 pieces of space invaders, becoming

publishing the collected data. Several books have been published,

the only living artist with work showing at the Louvre. He was quite proud

detailing invasions in Paris, Los Angeles, London, Rome, Miami,

of accomplishing this mission with ease since it was nearing the year-end

Hong Kong, Marseille, and more. The grand, macroscopic global art

holiday, and French museums usually open till 9:30 pm on Wednesdays.

installation has been integrated into the culture of each city, enticing city

Of course, the installations were likely removed quickly afterwards by the

residents to engage in a dialogue with it.

museum or cleaning staff.

[ ART & INVESTMENT ]

British artist Banksy also targeted the Louvre in 2004 with a portrait of a laughing Mona Lisa. How long it remained on display is not known. In 2005, Banksy followed up with a Peckham Rock at the Moco Museum for several days. These flash-mob performances were perhaps inspired by Invader. Although Banksy debuted six years earlier, Invader is more senior in both age as well as experience in "parodying museums". Without revealing their personal identities, they have become long-term urban artists, each with their own success. Their art belongs on the streets, though each with unique appeal. One is an example of classic European humor, while the other exhibits the punk rebellion of England. Numerous famous museums and institutions have held Invader solo exhibitions, including: HOCA Foundation, Hong Kong (2015); MuseumsQuartier, Vienna, Austria (2008); MOCA, Los Angeles, CA, USA (2011); Museum of Contemporary Art of San Diego, SanDiego, CA, USA; Daejeon Museum of Arts, Daejon, South Korea; Musée d'art contemporain, Lyon, France (2001); Musée Ingres et Musée du Louvre, Montauban, France (2009); Musée en Herbe in Paris, France (2017), MaMo, Centre d'art contemporain, Marseille, France (2020), Borusan Center for Culture and Arts, Istanbul, Turkey; Mjelby Konstgard Museum, Halmstad, Sweden (2002), and more. Furthermore, several institutions have his works on permanent display or in collection, such as Fundación BilbaoArte in Spain, and the Baltic Centre for Contemporary Art in England.

INVADER OF THE MAJOR ART MARKET Urban art is not meant to be a personal asset; it belongs to the public space, the streets. When the artist becomes famous, many people wish to remove the works from the walls so they can resell for profit. However, it is nearly impossible because the porcelain tiles are mounted using cement and special glue, and will most likely crack and break apart if removed. Thus, some have attempted making replicas or imitations with tiles. The artist believes that people should not buy replicas without certification. Instead, it is better to DIY and create one's own art with tiles. Invader hopes theft of his work would cease. Since he has completely and meticulously documented all of his works in a database and publications, forgeries are easily spotted. To raise funds for art supplies and travel expenses, Invader has been collaborating with a gallery agent, Over The Influence. Certified original works owned by collectors may be purchased through the gallery or auctions. The prints and Invasion Kits with signatures issued by the Invader Studio are also highly collectable, as are his publications and maps. The current market value of his Invasion Kits are USD$20,000 (~ NT$600,000). Some of his prints have sold for as much as USD$50,000 (~ NT$1.4 million) ◀ 太空侵略者藝術作品於倫敦蘭貝斯街頭 Urban art by INVADER in Lambeth, London ▼ 太空侵略者藝術作品於香港街頭 Urban art by INVADER in Hong Kong

◀ 太空侵略者藝術作品於巴黎街頭 Urban art by INVADER in Paris Photo by Gina Yeh

Invader first tried the auction market in 2000, obtaining 5,000 francs (~ USD$630) for a color photo plus an Invasion Kit. In 2003, he gradually became a frequent visitor of the auction market. As urban art swept around the world, Invader's public-space act of invasion with art won the approval of the contemporary art community. In 2015, his art became a medium of space exploration, and was launched into space along with the works of Damien Hirst. Whenever one of his works is sold, Invader would create another on the streets. In November 2019, one work inspired by the Astro Boy (TK_119) surpassed the million-dollar threshold for the first time at Sotheby's in New York. TK_119 sold for USD$1.22 million (~ NT$35 million), setting a record high for Invader at the auction market. There is a street version of this work, situated on the streets of Tokyo, as the Astro Boy is a character created by the father of Japanese manga, Osamu Tezuka. This is an example of how Invader integrates his work with local culture and history. In Hong Kong, Invader created works based on images of Kung Fu figures such as Bruce Lee.

NEW CUBISM OF THE 21ST CENTURY – RUBIKCUBISM Rubikcubism, as the name suggests, is associated with the Rubik's Cube. It is a 21st century aesthetics movement in Paris initiated and named by Invader. As early as 2004, Rubikcubism Prior to the Space Invaders project or working as an urban artist, Invader began producing mosaic tile works professionally on wooden boards. The subjects were low-resolution images of Space Invader arcade

echoes the creative works of Cubism of one century before. In the 21st century, it has transformed into contemporary works with the style of 3D cubes in video games.

games, encryption of sceneries, and X-rated images. These tiled boards

Unlike his works on the walls of public spaces, Invader's

were sold through the Paris flea market Vanves. Sometimes, he also made

Rubikcubism series was created for indoor displays, using the Rubik's

T-shirts with X-rated images for sale.

Cubes invented by Hungarian architecture professor Ern Rubik in the

In 1999, Invader held his first solo exhibition in Paris, and began his career in the gallery industry. In 2001, he exhibited in Tokyo and Osaka, Japan. In addition to his hometown of Paris, Invader has had solo exhibitions in major cities around the world, such as Melbourne, Los Angeles, London, Vienna, Rome, Brussels, and Hong Kong. Even though he has become part of the art market, his street art has garnered more respect, becoming a one-of-a-kind classic.

1970's. The location of the six-colors are calculated precisely using computers, to determine image data to create for each Rubik's Cube, which are then assembled together on a backdrop. The Rubik's Cubes are like mosaic tiles, forming pictures of low resolution. The higher the resolution, the higher the number of Rubik's Cubes are needed, and vice versa. Subsequently, other artists have joined the school of Rubikcubism, but of course, Invader enjoys the most influence.

[ ART & INVESTMENT ]

So far, three themes have been the focus of Rubikcubism creative works. The first consists of portraits of "Bad Men" such as al-Qaeda terrorist leader bin Laden, 007 James Bond henchmen Jaws, and American gangster boss Al Capone. The second category consists of replicas of masterpieces, such as works by Da Vinci, Delacroix, Seurat, Warhol, and Lichtenstein. The last theme is Low Fidelity based on classic music albums or publications. One of the "Masterpiece" series created in 2005, Rubik Mona Lisa , sold for 480k euros (equivalent of USD$560k or NT$16 million) in at a Artcurial auction in Paris in February 2020. The price set a record high for Rubikcubism, and became the second-highest of Invader works at auctions, just behind TK_119 the Astro Boy. T h e R a v e n e l A u t u m n A u c t i o n s 2 0 2 0 S E L E C T: M o d e r n & Contemporary Art will feature a 2007 work by Invader, "The Red Fairy of Rubikcubism", taken from the red-colored ghost of the classic Japanese video game Pac-Man. Produced in 1980, Pac-Man was certified by the Guinness World Records as the most popular video game in the world. Interestingly, the red ghost is an enemy in the video game, as well as a classic masterpiece and a low-fidelity 3D pixilation work. Of course, Pac-Man was a familiar and nostalgic video game for Invader, who was born after 1960. The Pac-Man ghosts and Space Invaders are part of the 20th century video game heritage, representative of the times and full of a magical attraction. Invader once said: "I just want to put something in the landscape that people can smile about it. It's something positive. My goal is to produce art for everybody in the city and create some beautiful things." Even though his artistic humor is not necessarily considered

▲ 太空侵略者 INVADER《魔方主義蒙娜麗莎》2005年魔術方塊拼接, 有圖標簽名與日期, 136.5（高）x 93（寬）x 7（厚）公分巴黎艾德拍賣以48.02萬歐元成交（約1604.8萬台幣） INVADER, Rubik Mona Lisa (Serie Rubik Masterpiece), 2005 Rubiks cubes assembly ; H 136.50 x W 93 x D 7 cm, sold €480,200, Artcurial Paris

provocative in urban environments, Invader actually risks his life to achieve impossible heights. The so-called space-invasion game requires the magical power and vigor of aliens to accomplish. Inspired by children's play to engage in urban art with a childlike mentality, Invader constantly challenges and surpasses himself while giving back to city dwellers. The game is not over!

GAME

IS NOT OVER!

INVADER 作品二十大拍賣成交排行 1

東京第119號 Tk_119

魔方主義蒙娜麗莎（魔方主義經典系列） Rubik Mona Lisa (Serie Rubik Masterpiece)

維也納 Vienna

別名 : 香港第59號 Alias HK-59

別名: 巴黎第1030號 Alias PA-1030

2005 Assemblage (rubik's cube) 136.5 x 93 x 7 cm

2008 Ceramic (carreaux/2 panneaux assemblés) 165 x 236 cm

2014 Mosaic/glass panel, in 2 parts 210 x 240 cm

2013 Mixed media (carreaux de céramique)/ plexiglas & carte d'identité 155.8 x 194.8 cm

預估價 Estimate

US$100,000~150,000

US$139,676~174,595 €120,000~150,000

US$290,992~407,389 €250,000~350,000

US$171,382~257,074 HK$1,200,000~1,800,000

US$290,992~407,389 €250,000~350,000

成交價 Sold at

US$382,755 HK$2,680,000

US$292,156 €251,000

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris Feb 23, 2020

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris May 05, 2019

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Mar 15, 2015

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris Oct 25, 2016

別名：香港第58號 Alias Hk_58

魔方主義紅色小精靈 Red Rubik Phantom

香港第63號 Hk_63

巴黎第1200號 Pa_1200

大紅色 Big Red

2014 Ceramic (tiles)/glass panel 132.6 x 208.5 cm

2007 Assemblage (Rubik's cubes mounted/Plexiglas) 84.5 x 78 cm

2014 Ceramic (tiles)/panel 33.4 x 78.59 cm

2016-2017 Mixed media sculpture (ceramic tiles)/panel. Unique work 96 x 67 cm

2009 Ceramic (ceramic tiles)/board 120 x 165 cm

預估價 Estimate

US$129,550~194,325 HK$1,000,000~1,500,000

US$89,869~115,546 £70,000~90,000

US$44,718~70,270 HK$350,000~550,000

US$60,000~80,000

US$128,384~192,576 £100,000~150,000

成交價 Sold at

US$187,500

2014 Installation (ceramic tiles/ Perspex) 103.8 x 132.1 cm

成交價 Sold at

US$1,220,000 拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York Nov 15, 2019

US$253,917 HK$1,960,000 拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Jan 20, 2015

US$558,938 €480,200

US$208,625 £162,500

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London Apr 21, 2020

US$414,605 €356,200

US$191,647 HK$1,500,000 拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Jul 10, 2020

成交價 Sold at 拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York Nov 15, 2018

成交價 Sold at

US$176,529 £137,500 拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London Feb 12, 2020

[ ART & INVESTMENT ]

TOP

TOP 20 MOST EXPENSIVE PAINTINGS OF INVADER EVER SOLD AT AUCTION

製表／吳彣薇 Vivian Wu （Update 2020.10.26; Source: Artprice.com, Sotheby's, Christie's, Phillips, Artcurial, SBI Art Auction, Tajan, Digard Auction）

別名：聖保羅第43號 Alias SP_43

別名：香港43號 Alias HK_43

別名：香港第45號 Alias HK-45

魔方主義鄉村生活 Rubik Country Life

大藍色跑步者 Big Blue Runner

Ceramic (ceramic tiles/Perspex) 71.5 x 35.6 cm

2015 Assemblage (ceramic tiles/perspex panel and laminated ID card) 52.4 x 61.9 cm

2014 Mosaic (ceramic tiles)/acrylic board, ID card 57 x 50 x 2 cm

2009 229 Rubik's Assemblage (229 Rubik's cubes)/Plexiglas 84 x 84 x 6 cm

2009 Mosaic (carreaux céramique)/plexiglas 120 x 150 cm

預估價 Estimate

US$40,000~60,000

US$657,494~83,047 HK$450,000~650,000

US$75,122~112,683 JPY8,000,000~12,000,000

US$78,578~104,771 £60,000~80,000

US$104,757~162,956 €90,000~140,000

成交價 Sold at

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Jul 09, 2020

拍賣日期 Auction Date SBI藝術拍賣 SBI Art Auction, Tokyo Nov 02, 2019

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London Oct 15-22, 2020

拍賣日期 Auction Date 巴黎艾德 Artcurial, Paris Dec 12, 2017

催眠糖果 Hypnotic Candy

魔方主義塔樓 Rubik Towers

魔方主義疤面煞星 Rubik Scarface Palms

魔方主義大鋼牙 Rubik Jaws

別名：巴黎1177號 PA_1177: Alias

2019 Mosaic (carreaux de céramique)/ panneau. Unique 43 x 50 cm

2005 Assemblage (252 rubikcubes/bois) 78 x 101 x 5.5 cm

2007 Stainless steel (Rubik's Cubes) 89.2 x 117.2 x 5.4 cm

2007 Sculpture (Rubik's Cubes, unique) 117.2 x 89.4 x 5.5 cm

2015-2016 Mosaic/panel & ID card 59.2 x 59.4 cm

預估價 Estimate

US$34,919~58,198 €30,000~50,000

US$93,117~139,676 €80,000~120,000

US$35,000~45,000

US$75,122~131,464 JPY8,000,000~14,000,000

US$44,718~57,494 HK$350,000~450,000

成交價 Sold at

US$100,000

成交價 Sold at

拍賣日期 Auction Date SBI藝術拍賣 SBI Art Auction, Tokyo Oct 26, 2019

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Dec 08, 2017

成交價 Sold at

US$162,500

拍賣日期 Auction Date 紐約佳士得 Christie's, New York Aug 19, 2020

US$115,000 €98,800

拍賣日期 Auction Date 巴黎塔尚拍賣 Tajan, Paris Nov 06, 2019

US$159,705 HK$1,250,000

US$102,895 €88,400

拍賣日期 Auction Date 巴黎Digard拍賣 Digard Auction, Paris Apr 08, 2019

US$138,093 JPY14,950,000

成交價 Sold at 拍賣日期 Auction Date 紐約蘇富比 Sotheby's, New York Oct 04, 2018

US$123,760 £94,500

US$97,189 JPY10,350,000

US$121,053 €108,400

US$95,823 HK$750,000

Is the r e Te r r oir in W his ky? 威士忌也有 Terroir?

熱愛艾雷島威士忌的我們，總是被那濃郁又神秘的泥煤氣味給深

土地特性的葡萄酒。1936 年建立起的 AOC 法定產區制度，以嚴格的

深吸引著，鼻間縈繞著那股子特殊的泥煤氣息，彷彿可以看到個性豪

法律規範產區的葡萄品種與釀造方法，在勃根地 (Burgundy)，「Terroir

爽的艾雷島人用泥煤燻烤著大麥，又彷彿凝視著長期受到海浪猛烈拍

( 風土 )」的概念更被發展到極致，每一片葡萄園都被徹底的研究分

打的酒窖，感受橡木桶中的酒液在那一呼一吸之間吸收著海洋和這片

析 -- 土壤元素 ( 黏土值、石灰質、微生物、礦物質…)、坡度、坡向 ( 面

土地的精華。

南面北 ) 等等，每一片葡萄園有著自己的名字和分類等級，一些風格

只是，如果你知道大部分的艾雷島威士忌，實際上一生中在艾雷島的時間可能連 168 小時都不到，就像是個到艾雷島渡假的過客，是否會大感震驚呢 ? 是的，我們所認知的艾雷島威士忌，指的是在艾雷島島上酒廠蒸餾出的作品。威士忌三個原料中的大麥來源可能是蘇格蘭本島、也有可能是海外進口，在外包的發麥廠中經過不等程度的泥煤烘烤後送入蒸餾廠進行蒸餾與冷凝，成品也許留在艾雷島上，更多的卻被載回蘇格蘭本島進行橡木桶陳年。這中間能跟「艾雷島」扯上關係的只有來自艾雷島的泥煤和艾雷島蒸餾，嚴格來說似乎無法全面地代表「艾雷島」的風味 ? 但能夠代表「艾雷島風味」的又是什麼呢 ? 這正是 2001 年復廠後的布萊迪 (Bruichladdich) 酒廠這幾年來一直在追尋的。什麼是「Te rroir」 ?

特殊的歷史名園更被以石牆圍起，稱之為「clos」。在酒莊莊主的親自耕種親力釀造下，每個年份每個地塊的每一瓶葡萄酒都是他對這片土地的詮釋。這也就是為什麼身為消費者的我們會在不經意間被某種味道所觸動，透過味蕾自覺地和這地球上的一方土地產生了情感上的連結，這正是「Terroir ( 風土 )」精神的追求，他的特殊性來自於人與這片大地歷經數百數千年的緊密連結，無法被量化、亦無法被標準化。艾雷島風土真的存在 ?

按照這樣的思維，每一片土地都有成為一方「Terroir ( 風土 )」的潛力，艾雷島當然也有。 2001 年 Bruichladdich 在歷經多次休廠與易主後，在 Jim McEwan 和兩位來自倫敦的葡萄酒經銷商 Simon Coughlin 和 Mark Reynier 的

原文為法文的「Terroir」翻譯到中文是「風土」，他所乘載的意

手下浴火重生，三人試圖將葡萄酒產業的這種「Terroir ( 風土 )」概

含包羅萬象，從大範圍的氣候如當地的日照時間、雨量、氣溫、風向、

念帶進蒸餾廠的經營，他們深信，即便是經過蒸餾的高酒精濃度酒類

霜霧情況；到小範圍的天氣如葡萄酒園所在位置的坡度坡向、海拔高

如威士忌，也應該要能展現出別的地方所無法複製的在地風情。

度、土壤組成；甚至是人為因素如莊主的理念、釀酒師的技法、現代科技的應用 ... 等等。

由於「Terroir ( 風土 )」是沒有法律規範或清楚定義的，就跟葡萄酒一樣，同樣來自法國勃根地 Chambertin 村莊的風土，各家酒廠

「Terroir ( 風土 )」強調的是一種在地特色的最大化呈現，一片

會有各自的見解與最終呈現，品牌大使 Rax 稱這個為「一個風土各自

土地上生長的果實和作物與運用這些作物所打造的成品之所以與眾不

表述」。對 Simon 和 Mark 而言，唯有從最初的大麥種植培育、在地

同，是因為孕育他的這塊土地在各種風土條件的交會下是獨一無二

人的在地製作、到最後的橡木桶熟成，整個威士忌的生產流程全數都

的，當地居民因應這樣的特殊性發展出有別於他處的種植模式與製作

在艾雷島上進行，才能被視為代表艾雷島風情、完整呈現「艾雷島風

傳統，這才打造出具有當地特色的產物，這也就是為什麼在英語系國

土」的在地威士忌。

家，「Terroir」有時會被翻譯為「The Sense of Place」。

為達到這個終極目標，首先必須要振興艾雷島的威士忌產業

將「Terroir ( 風土 )」理念貫徹得最為徹底的莫過於葡萄酒產業，

鍊，讓島上的經濟循環活絡起來。Bruichladdich 酒廠做的第一個

對法國葡萄酒產區而言，土地風味是他們的核心精神，無論市場風向

努力便是強調尊重傳統的手工釀造，雇用大量的本地人力，如今的

如何，他們依舊堅守著這片土地賜予的一切好壞，釀造著最貼近這片

Bruichladdich 已然發展成艾雷島上第一大的私有企業。

[ WINE ]

Text / 唐維怡 Eva Tang

Photo / 布萊迪酒廠 Bruichladdich Distillery

如果一瓶威士忌傳遞的，是來自那片孕育他的土地和蒸餾廠裡揮汗工作的人的味道，乘載著只屬於這片土地也許並非完美卻獨特迷人的風味、精神、和歷史深度，那麼僅僅是這樣的一杯酒，就可以讓我們在小酌的片刻暫時跳出日常，用味蕾來一場產地的旅行。

然而，談論到原物料之一的大麥，艾雷島過去沒有量產大麥是有原

致性 Consistency」，六零年代的黃金諾言大麥 (Golden Promise)、八

因的，瞬息萬變的天氣使得艾雷島說是一小時經歷四季都不為過，這樣

零年代的 Triumph 與 Camargue、九零年代的 Chariot、與如今當道的

的自然環境導致任何作物的生產在艾雷島上都是艱難的，如果一英畝的

Optic 和 Concerto，出酒率從畢爾大麥每公噸的不到 300 公升到如今的

麥田在蘇格蘭本島上可以收獲 3 公噸的大麥，在艾雷島上能有 1.5 公噸

超越 450 公升。

的大麥就被視為豐收。因此，單單使用在地原料，就讓 Bruichladdich 吃盡苦頭。大麥不同，威士忌的風味不同 ?

講到威士忌的風味，我們談論水、談論橡木桶、談論陳年年齡，卻鮮少聽到人討論威士忌的三個原料。 Bruichladdich 在過去幾年基於對風土的追求，針對威士忌的三大

在這樣的考量下，無論是斯貝賽還是艾雷島、島嶼或高地，人人都使用相同幾種大麥的結果出酒率的確實提升，但大麥不同所造成的風味差異也就大幅度的減少，這與「Terroir ( 風土 )」的考量是完全背馳的。對於威士忌風味追本溯源追尋的還有甫於 2020 年年中發表了首批單一農莊大麥酒款的愛爾蘭蒸餾廠 Waterford。Mark Reynier 自 2014 年正式落腳愛爾蘭開始，便巧妙運用愛爾蘭豐富的土壤類型與微氣候，

原料—大麥、水、酵母—進行了無數的試驗，他們發現：水的不同來自

積極與地理位置大不相同的農場契作大麥，雇用專職的農業博士 Grace

於水中礦物質含量的不同，會為威士忌帶來口感和架構上的差異；而酵

O'Reily 做深入的農業追蹤報告，針對每個契作農場的地質與土壤成份

母的不同，截至目前為止對終端產品的影響似乎微乎其微，儘管身為

做了詳盡的分析，也針對不同的農法 ( 有機、自然動力 ) 進行研究，並

生物化學博士的格蘭傑 (Glenmorangie) 首席調酒師 Dr. Bill 仍不斷在酵

陸續推出數款 Single Farm 的單一麥芽威士忌，在近乎相同的製程條件

母的領域探索著，並在 2019 年運用蒸餾廠附近麥田裡的野生酵母打造

下，Mark Reynier 秉持著「Where Barley is King, Provenance is all.」

出充滿花朵與青草氣息的 Allta。對風味呈現影響最顯著的，則是大麥

的理念，目標是為所有的嘗試與實驗留下完整的數據資料，建立可供檢

(Barley)，無論是品種亦或是產地的不同，都會帶來全然不同的體驗。然而，許多人依然會質疑，在經歷了蒸餾和橡木桶的長期熟成，原料的不同真的會為威士忌帶來風味上的差異嘛 ? 讓我們試想，以米蒸餾的日本燒酎、以甘蔗和糖蜜蒸餾的蘭姆酒 (Rum)、以玉米裸麥小麥蒸餾的美國波本威士忌 (Bourbon)、以葡萄蒸餾製成的白蘭地 (Brandy)...，不同原料在經過發酵蒸餾和橡木桶桶陳後，風味上確實仍然大相逕庭。因此，直觀上推斷，不同品種的大麥、甚或是不同產區的大麥應該也能在蒸餾和桶陳後展現不同的風味。

索的土壤 - 大麥 - 威士忌方法論。除了 Bruichladdich 與 Waterford 近幾年對原料來自哪裡的在意，早在 1990 年前後，位於坎培爾鎮的雲頂酒廠 (Springbank) 便推出了 Local Barley 系列，以酒廠附近的農莊大麥為原料進行蒸餾，許多酒款陳年時間超過三十年，代表酒廠在 1960 年代就已經開始對在地原料的重視與應用，這一系列也成為酒廠的經典，款款都獲得酒評家的高分讚譽。格蘭利威 (Glenlivet) 在 2011 年推出以八零年代流行的 Triumph 大麥為原料的 Nàdurra Triumph 1991 ; 艾倫酒廠 (Arran Distillery) 在 2014 年推出過古老的奧克尼畢爾大麥 (Orkney Bere Barley) 十年 ; 格蘭傑

既然對風味的影響是存在的，為何如今的蒸餾廠對於大麥的討論卻

(Glenmorangie) 也在 2015 年的年度特別版採用五零年代一度流行的冬

如此之少呢 ? 在威士忌產業剛剛開始發展的十八世紀，大麥的選擇標準

季大麥 Maris Otter 推出 Tùsail，原料、與來自何處的原料對風味的影

主要在於大麥適應氣候與抗菌的能力，因此，能夠忍受蘇格蘭貧脊的土

響確實開始引起越來越多酒廠的關注。

壤與寒冷多風的六稜畢爾大麥 (Bere Barley) 成為當時的主流；然而，

製程是一連串的選擇，也是人與土地間的對話

寒冷的天氣畢竟不適合作物的生長與儲存，到了威士忌蓬勃發展的二十世紀，蘇格蘭的釀酒用大麥以進口為主，主要來自英格蘭、丹麥、澳洲、美國、加拿大，選擇大麥的準則也從存活率轉向「出酒率 Yield」和「一

風土討論的是氣候、土地、與夾在其間生活和工作的人們，人們因應當地環境與作物選擇相應的製程，自然也就是「Terroir ( 風土 )」重要的一環。

佳的土壤卻讓蓮霧樹在瀕死邊緣結出甜美的黑珍珠，這是農民這半個世紀以來與土地的不斷對話下建立起的風土。對於艾雷島來說，島上契作的大麥產量才僅僅足夠支撐 Bruichladdich 一家酒廠三成的威士忌生產；對於愛爾蘭來說，Waterford 也才勘勘突破三年的最低桶陳年限，究竟未來的他們能創造出怎麼樣的威士忌 ? 又是否能走在產業前端，引領其他的產地投入風土的研究 ? 且讓我們拭目以待。 Those of us passionate about Islay whisky are lured by the mysterious peated smell, which seems to conjure up the image of friendly Islay people smoking barley with peat logs. With the lingering scent of peat-smoke pervading our senses, we seem to be gazing at a whisky cellar that has long-endured the impact of crushing waves, and share in the feeling of whisky inside oak casks soaking up the essence of the ocean and earth between breathes. However, would you be surprised to find that actually most Islay whisky is on Islay for less than 168 hours, just like a tourist on the Islay Island for the holidays? 在威士忌的世界裡，製程包含發麥、研磨、糖化發酵、蒸餾、陳

Yes, the Islay whisky we are familiar with usually refers to the

年，與最後的調和。麥粉要磨到多細、採用什麼酵母、糖化溫度、發

whisky distilled in the Islay distillery. One of the three major whisky

酵槽的材質、發酵時間、蒸餾火侯、酒心提取的範圍、蒸餾器的形狀、

ingredients, barley, may come from Scotland or elsewhere overseas.

銅對話的多寡、冷凝器的裝置、橡木桶的使用策略 ... 等等，對於蒸餾

After being roasted with peat logs to varying degrees inside outsourced

廠裡的工匠、調酒師與酒廠經理而言，製程就是一連串的選擇，每一

fermentation plants, the barley is sent to the distillery for distillation and

個關卡不同的選擇，最終會排列組合出截然不同的風格。就像是不同

condensation. Some of the finished products stay on Islay Island, though

品種的大麥在糖化、蒸餾、甚至是用桶等細節上都需要不同的應對，

most are shipped to Scotland for oak maturation. Strictly speaking, the

需要發麥廠與蒸餾廠人員在製程上的隨機應變，這就是風土中「人」

flavor is not entirely representative of Islay - the only elements related

帶來的影響，這也是高度商業化的大宗產品再怎麼美味，一切交給自

to Islay are the peat which used to smoke the barley and the distillery on

動化的生產程序總是欠缺了份來自土地、人、與傳統的靈魂。

the island. But what can be the representative of the "Islay flavor"?

當然，如同我們所想像的，浪花激起的海水拍打著倉庫牆面、經

W h a t is " Te rro ir" ?

年的海風吹拂帶來鹹鹹的海洋氣息，酒液在裝入橡木桶後，放在什麼

"Terroir" is French, meaning local wind and soil characteristics,

地方熟成應該也會帶來風味上的差異。儘管已有許多專家分析指出海

encompassing all regional climate factors such as the insolation

風的鹹味多半來自製酒過程中所使用的泥煤與水，許多因空間考量並

duration, rainfall, temperature, wind direction, frost and fog conditions,

未能在海邊進行熟成的酒廠如 Coal Ila、Lagavulin 等酒款也都具有海

or small-scale climate factors such as the slope, soil aspects, altitude

風般的鹹味，則證明了海風吹拂的說法很是浪漫但仍有待商確。然而，

and soil composition of the winery. The concept of terroir also contains

Bruichladdich 依舊遵循著酒廠「Terroir ( 風土 )」的在地宗旨，堅持所

human factors such as the philosophy of the winery owner, the skills of

有酒款在艾雷島上熟成。

the winemaker, the application of modern technology...etc..

「Terroir ( 風土 )」必須在一個特定的地理範圍內討論，因此談論

"Terroir" emphasizes the maximization of local characteristics. The

威士忌是否有所謂的 Terroir 實際上是個假議題，然而每個威士忌產區

uniqueness of agricultural products derived from the fruits and crops

卻確實有著僅屬於自己的風土條件，只是在以商業量產為大部分酒廠

grown on a particular plot of land comes from the unique characteristics

主要訴求的今日，Bruichladdich 和 Waterford 對於回頭檢視酒廠與所

of the land and various wind and soil conditions. Local residents also

在土地間關係的提倡還只是個開始。

develop a distinct cultivation and production tradition based on these

一方「Terroir ( 風土 )」的建立往往需要數十甚至數百年的時間，

special local factors, creating products that reflect local attributes. That

就如同台灣因鄰近出海口而嚴重鹽化的林邊一帶，高黏性排水極度不

is why "terroir" is sometimes translated into "the sense of place" in English speaking countries.

[ WINE ] The concept of "terroir" is carried out most thoroughly in the wine

To arrive at this ultimate mission, the first objective is to reactivate

industry. Terroir represents the core vitality of grape winery regions

t h e e c o n o m y o n I s l a y b y r e v i t a l i z i n g t h e w h i s k y i n d u s t r y. T h e

in France. Regardless of the market trend, the winemakers insist on

Bruichladdich Distillery focused first on the heritage of hand-brewing,

safeguarding all the good or bad provisions bestowed by the land, making

employing a lot of local labor force. Today, Bruichladdich has become

wines that embody the special attributes of this land. Established in

the largest private corporation on Islay.

1936, the system specifying a list of wines entitled to use the designation Appellation d'Origine ContrĂ´lĂŠe (AOC) on their label, strictly regulates the grape varieties and vinification methods. In particular, the "terroir" concept has been applied to the extremes in Burgundy , with comprehensive research and analysis of each vineyard such as soil (clay value, calcareous, microorganisms, minerals...), slope, and soil aspects (facing the south or north direction)...etc. Each vineyard has its own name and classification. Historical vineyards with unusual styles have even been delineated by stone walls and called "clos". When the winery

Nevertheless, one of the three ingredients, barley, hadn't been massproduced on Islay for a good reason. The weather is so unpredictable that the Island sometimes experiences four seasons within one hour. The climate conditions make it difficult to cultivate any crops. If one acre of wheat field yields three metric tons of barley in Scotland, a good harvest on Islay is just 1.5 metric tons of barley per acre. Thus, simply applying local barley had been a difficult part for Bruichladdich. W h is k y fla v o r d iffe rs w it h d iffe re n t b ar l e y ?

owner grows the grapes with their own hands and makes the wine in

Water, oak casks and the years of whisky maturation are often

person, each bottle of wine from each plot of land produced in different

mentioned when speaking of whisky flavors, but few people discuss the

years symbolizes his rendition of the land.

three ingredients of whisky.

As consumers, that is the reason we are serendipitously touched by

In pursuit of terroir in recent years, Bruichladdich has conducted

a certain flavor, forging an emotional connection with a plot of land on

numerous experiments on barley, water and yeast, the three major

earth through our taste buds. This is exactly the pursuit of the terroir

ingredients of whisky. They found that water containing different

spirit. The unique feature comes from close-knit connections over

minerals creates variations in the taste and structure of whisky. In terms

hundreds or thousands of years between man and earth, which cannot be

of yeast, although Bruichladdich believes that it had little effects on

quantified or standardized.

the end product, master distiller Dr. Bill Glenmorangie, who has a PhD

D oes t he Te rroir of Isla y Rea l ly Exist ?

in biochemistry, has continually exploring the topic. He had applied

Under this trend of thought, each area of land, including Islay, has the potential to possess its own "terroir". After several times of closures and changing of hands, the Bruichladdich distillery was reopened by Jim McEwan and two wine dealers, Simon Coughlin and Mark Reynier from London. The three new owners attempted to incorporate the concept of terroir in viticulture into the operation of the distillery. They firmly believe that local characteristics not available elsewhere should be featured, even with distilled whisky products of high alcoholic content. Just like grape wine, since "terroir" is impossible to define or legally regulate, each winery in Chambertin Village in Burgundy, France, exhibits its own interpretation of terroir. Rax, the brand ambassador of Bruichladdich Distillery, calls the phenomenon: "One terroir, different statements". For Simon and Mark, a local whisky that fully represents the Islay terroir must be processed entirely on the Islay Island beginning with barley cultivation, then brewed by local workers and aged in oak casks on Islay.

wild yeast found in wheat fields near the distillery in 2019and created the Allta full of aroma of flowers and grass fields. Barley, on the other hand, affects the flavor of whisky the most, offering completely different experiences with different varieties and different planting locations.

Still, many people doubt that different ingredients would actually

Ireland in 2014. He sign contracts with barley farms located at vastly

create different flavors, after all those distillation process and oak

different geographical conditions, to take advantage of Ireland's abundant

maturation. However, Japanese shochu distilled from rice, rum distilled

soil types and microclimates. He even hired Grace O'Reily, a PhD in

from sugar cane or molasses, American bourbon distilled from corn,

agriculture, to conduct in-depth agricultural research tracing and analyzing

rye and wheat, and brandy distilled from grapes...which all have vastly

the soil composition of each contracted farm. Additional research was

different flavors despite the fact that they all go through distillation and

conducted regarding different cultivation methods â&#x20AC;&#x201C; organic and bio-

oak maturation. We can then roughly draw the conclusion that barley of

dynamics. Applying nearly the same distillation process and conditions

different varieties, or barley harvested from different regions, could indeed

while upholding the concept of "Where Barley is King, Provenance is all",

generate different characteristics and flavors.

Mark Reynier's mission is to retain a complete set of data during all the

While the effect of barley on whisky flavor is undeniable, why is there so little focus and discussion on barley in the industry nowadays? When

experiments and trials, to establish a barley-whisky methodology for future reference.

the whisky industry first began in the 18th century, the criteria of barley

While Bruichladdich and Waterford distilleries have been emphasizing

selection were the adaptation to weather and its antibacterial capability.

the origin of raw ingredients in recent years, the SpringBank Distillery in

The six-row Bere Barley thus became mainstream for its tolerance of soil

Campbeltown had begun decades earlier. SpringBank launched a series of

deficiencies and windy cold weather of Scotland. However, cold weather is

Local Barley around 1990s, applying barleys from farms nearby distillery.

simply not conducive to growing and storage of crops. When whisky was

Most of the whiskies in this series were more than 30 Years Old, indicating

vastly booming in the 20th century, distilleries mainly relied on imported

Springbank's focus on local ingredients was as early as in the 1960s.

barley from England, Denmark, Australia, America, and Canada. The

This series has become SpringBank's classic. In 2011, Glenlivet launched

standard for barley selection had transformed from survival rate to "Alcohol

NĂ durra Triumph 1991, made with Triumph barley popular in the 1980s.

Yield" and "Consistency". Considering the Golden Promise from the 1960s,

In 2014, Arran Distillery launched a 10-year product made with an ancient

Triumph and Camargue of the 1980s, Chariot of the 1990s, to Optic and

variety of Orkney Bere Barley. In 2015, Glenmorangie also launched TĂšsail,

Concerto of recent years, the whisky yield has increased from 300 liters per

made with the winter barley Maris Otter that was once popular in the 1950s.

metric ton of Beer Barley to more than 450 liters per metric ton today.

Increasingly, more distilleries are paying attention to the ingredients and the

Under such circumstances, whisky yield has indeed greatly increased when every distillery relies on those few varieties regardless of the production site, whether it is Speyside or Islay, Island or Highland. Flavor distinctions created by different barley varieties are minimized as a result, which is totally opposite from the terroir concept. In mid-2020, Waterford Distillery in Ireland presented the first batch of single-farm barley whisky, which was produced in adherence to

effects of ingredient origins on whisky flavors. Th e ma k in g o f w h is k y is a s e rie s o f c h o ic e s , as w e l l as a d ia lo g u e be tw e e n ma n a n d e a rt h

Discussions about terroir include climate, land, and people who live and work in the environment. How people develop a production process that corresponds to the local environment and crops is naturally an important aspect of terroir.

the pursuit of the tradition of whisky terroir. Mark Reynier, the founder

In the process of making whisky which includes malting, mashing,

of Waterford, had began his search of barley since his settling down in

fermentation, distillation, maturation and the final adjustment, every detail

[ WINE ] A bottle of whisky conveys the flavor of the nurturing land and

t h e p e o p l e s w e a t i n g i n s i d e t h e d i s t i l l e r y, e m b o d y i n g a n i m p e r f e c t y e t u n i q u e l y a l l u r i n g f l a v o r,

spirit and historical depth that belong only to this land. Thus, just that one sip of

whisky would allow us to escape from our daily routines,

to journey to the landscape where the whisky was made.

in the process represents a choice to the craftsman, master distiller, and

it is not yet a proven fact. Nevertheless, Bruichladdich continues to

distillery manager, including. For example, how fine should the mash

adhere to its terroir mission of being local, and insists on aging all their

goes, what kind of yeast to use, the temperature and time of fermentation,

whisky on the Island of Islay.

material of the fermentation vats, distillation temperature, the range of heart cutting, the shape and size of the still, the amount of contact with copper, the types of condenser, the oak cask application strategy...etc.. Different choices at each decision-making point will result in vastly different flavors. For different barley varieties, different strategies must be applied in terms of barley fermentation, distillation, and the use of casks. All of the above require timely adjustment and response by distillery staff, which is the effect of "people" in the terroir. This is also the reason that no matter how good it taste, highly automated mass-produced products lack the spirit that comes only from intersection of the land, the people, and the tradition.

The discussion of terroir must be within a designated geographical region, thus the discussion of whether there is terroir in whisky is actually a false dilemma. However, each whisky production region does have its own unique terroir conditions. In a world currently dominated by mass commercial production, a re-examination of the relationship between distillery and land promoted by Bruichladdich and Waterford is only a beginning. The establishment of terroir often takes decades or even centuries. For example, the black-pearl variety of wax apple comes from wax apple trees on the verge of dying, because the trees survive on severely salinized soil with high viscosity and poor drainage properties in the coastal area of Linbian Township in Taiwan. It is a treasured terroir

Imagine ocean waves striking the walls of the warehouse along with

established by continuous dialogues between the farmers and the land

year-round salty sea breeze in the atmosphere, whisky kept in oak casks

for over half a century. For Islay, the contract barley cultivation on the

for maturation in such an environment would also take on a different

island is only enough to support one third of Bruichladdich whisky

flavor. Even though many experts believed that the salty flavor comes

production. For Ireland, Waterford has just surpassed the 3-year cask-

mostly from the peat log and water used in the making process. Some

aging minimum. What type of whisky will these distilleries produce in

whisky that was made on Islay and store somewhere else such as Coal

the future? Will they continue to remain at the forefront of the industry,

Ila and Lagavulin also have that signature salty peated flavor. Therefore,

leading distilleries in other regions to explore the issue of Terroir? Let us

even though the story of whisky aging with sea breeze is quite romantic,

grab a drink and wait and see.

SUN YUN-SHENG 筆墨常新：孫雲生

大風堂門人，到新店菁園的藝道傳承 V A R I A T I O NS O F E X P R E S S ION OF SUN YUN- SHENG THE INHERITANCE OF ART OF DAFENG TANG AND JINGYUAN

Text / 陳姿穎 Zin Chen

Photo / Ravenel International Art Group

「1936 年拜入為大風堂門下的孫雲生，追隨張大千先生長

氣氛，大千取法自石濤、八大等古人之唯妙，其領略後授於大

達四十七年，旅居巴西之時，夜以繼日的隨侍於大千左右，整

風堂弟子們，巴西時期可說是張大千潑墨潑彩進入成熟階段的

理粉本到細細臨摹，深造畫藝，會大千墨中妙意，被大千視為

重要時期，同樣在孫雲生潑彩中略見其由心的領發，潑墨與破

衣缽弟子。」

墨間的拿捏變幻，而孫雲生的潑彩似乎更帶些清逸明亮之感。

孫雲生，本名家瑞，1918 年出生於北平，孫雲生家學淵源，

此次三幅山水，其中兩幅潑墨，以大小尺幅的不同呈現外，

平時修臨王羲之、歐陽修、蘇軾等名家書法外，隨其母習誦四

並能看出以彩和墨為主的不同心境，《泛舟覓句》一作色感清

書、唐詩。受叔父啟蒙習畫，而後曾先後隨胡佩衡習山水、王

楚，以石青石綠相互滲色，畫中的適當留白以供天地使用，山

雪濤習花鳥，著手勾勒古人名跡，臨遍宋、元、明、清各大家。

峰處點蒼苔，一抹大青綠的濃蔭在層巒疊嶂間繽紛，屋舍置於

1936 年當時十九歲的孫雲生，在父親託人推介下，孫雲生以山

雙峰間的亮點區隔，以表現前後，整體構圖在排佈上使山徑曲

水、花鳥各一幅畫作通過大千考驗，得以正式入到大風堂門下。

線別富趣意； 1999 年孫雲生年歲以至耄耋，體力較差，故作

張大千曾讚孫雲生：「山水能用吾法而融匯於古人，氣韻沉厚，了無刻畫之痕，人物又能善用吾法，筆墨繁簡，並具會心」。自 1936 年開始，孫雲生在張大千的身邊共長達四十七年，在這將近半百的歲月裡，孫雲生曾兩次受張大千召隨，一次是隨大千至四川為，另一次便是至巴西八德園。1954 年當時在台

畫不多，而一幅《巫峽清秋》以重墨中流淌的線條表現綠意深鬱的山崖面，渾沌中景的山峰處表現出山巒崎嶇遠近，畫中在將乾或未乾之處可見畫筆來回游走之跡，仍可感受雨濕煙嵐之氛圍，雖說為晚年之作，但整體佈局賦色不失古雅之氣，以意筆淡墨輕寫屋舍帆影，描繪出延續墨彩之外的山中生境。

灣的孫雲生收到張大千的來信，隨即於 1955 年舉家遷至巴西

1984 年的《黃山松雲》此作則與當時所流行的重彩不同，

八德園一直到 1958 年，也正是這三年，取髓於大千粉本中深

以淺絳山水作為逸格畫作之風，首重師法於自然，以輕敷石青、

奧精神於眉目之中，從每日整理到一遍遍臨摹融會其奧義，隨

石綠、赭色表現秋冬之際的清雅，而筆觸不重精繪描寫，在簡

侍於大千身邊的日子，亦步亦趨，在畫藝上更是受益良多，深

約的筆意中流露其自然情感，這也是孫雲生潑墨潑彩中具有的

得其神韻。

特質，畫中寫黃山之景，以雲氣流於松林之間，松影迴盪，畫

大千曾言，古人曾說過：「得筆法易，得墨法難；得墨法易，得水法難。」潑彩以隋唐時期唯心畫觀的逸品風格為一脈，從大青綠的表現，筆蘸飽彩遷引勾勒，濕中濕之法，色料流淌與紙幅，墨跡互相滲透融合，匯流出山林雲霧濃鬱、雨濕煙嵐的

中山頂處寫兩位高士，似騷人墨客詩興勃發，兀然登頂吟誦著偶得詩句，迴盪於山谷之間。

[ CHINESE PAINTINGS ]

論及文人畫中，以氣韻為師，逸品為旨。言：「本乎形者，融靈而動，變者心也，得其精而忘其麤，在其內而忘其外；見其所見，不見其所不見；視其所視，而遺其所不視。」闡明文人畫中以形寫神，不以形似，體性合一，追求一種神、妙、能、逸的境意，而孫雲生的仕女溯自隋唐，花鳥取意宋元。細摹大千粉本，得其筆意，工筆的麗緻，鳥語花盛或人聲耳語，若涓流細長。《四序花卉卷》此作繪於 1982 年，以長卷呈現，繪中以靈動率意的筆法描繪梅、蘭、菊、竹、水仙、蓮等在內之花卉，筆在寫意的描繪沒骨出花卉，承自宋人格物致知之理念，寫形似神俏，畫中墨氣清韻，點染自如的淡雅賦色，使百花並齊仍別富和諧，孫雲生曾在一段口述中提及，自己在花鳥的創作風格上，仍脫不了王雪濤豪邁的氣息，這也是一生修習大千繪畫及風格中的異趣；《觀音》，作於 1995 年，以細勁勻稱的比例細膩勾繪觀音大士的姿態與神情，濃墨表現髮髻，在賦色上也能看出孫雲生的淡雅清麗，與摹寫大千石窟人像畫中的賦色濃麗略顯不同，而又不遜色於師。晚年張大千所留下大量的粉本遺產，其中時間早至敦煌時期臨摹底本到後期的創作線稿，題材涉及人物、花鳥、山水以及敦煌佛像等，這些珍貴的資料一直隨孫雲生所保存。大千先生在遺囑中更提及對孫雲生的肯定，望其繼大風堂繪畫基業。歲月點滴，或許張大千也正是看中孫雲生天性篤厚，酷嗜繪事這點，才兩次召其隨侍於側。人生飽滿似潑彩般濃烈而變幻難測，添上幾筆繪其意境，從大風堂的師生情藝，到菁園的春綠生機，書畫在歷史中習前人之風采，不論是唐人的丰姿、宋元文人的山水花鳥，在孫雲生的藝道傳承下，延續著大風堂的風采魅力。

▲ 孫雲生《黃山松雲》1984 水墨設色紙本鏡框 68 x 135 cm 羅芙奧台北 2020秋季拍賣會「翰墨丹青—中國書畫及古文物」專場預估價台幣 150,000 - 240,000 SUN Yun-Sheng, Huangshan, 1984, Ink and colour on paper, framed, 68 x 135 cm Ravenel Autumn Auction 2020 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 5,100 - 8,200

"Since he was admitted as a student of Dafeng Tang in 1936, Sun

Zhang Da-Qian once quoted an adage, "Strokes are easy to

Yun-Sheng served his teacher for 47 years. During his trip in Brazil,

obtain, but it turns difficult with the application of ink, and the

he followed Zhang Da-Qian closely and acquired the essential skills

application with water is even harder." Splashed ink was a typical

in detail through tidying up and copying his teachers sketches. This

style of Sui and Tang dynasty highlighting the expression of green

makes Sun Yun-Sheng the closest student of Zhang Da-Qian."

and turquoise. A wet brush filled with colours applied to the paper,

Sun Yun-Sheng, aka Jia-Rui, was born in Beijing in 1918. He studied scrolls of renowned artists, eg. Wang Xizhi, Ouyang Xiu and Su Shi with his family and learnt literature from his mother. His uncle inspired his passion in art, hence he followed Hu Pei-Heng in depiction of landscape, Wang Xue-Tao for flowers and birds, and famous scrolls of Song, Yuan, Ming and Qing dynasties. In 1936, the 19-year-old Sun Yun-Sheng was recommended by his father, passed through all tests in all genres of paintings, and was finally admitted to Dafeng Tang. Zhang Da-Qian once praised Sun Yun-Sheng, "One could depict the solemness of Landscapes through my way and ancient techniques. Figures could be achieved with my techniques with simple ink, brushstrokes and a sincere heart." From the year 1936, Sun YunSheng served Zhang Da-Qian for 47 years. He was nominated by Zhang Da-Qian himself to travel with him to Sichuan and Brazil within half a decade. Sun Yun-Sheng packed his belongings in 1955 without second thoughts after receiving his teacher's letter, and sent off to Bade Yuan in Brazil. During these three years till 1958, Sun Yun-Sheng learnt directly through Zhang Da-Qian's drafts his master's techniques in minute detail. His skills advanced greatly since the Brazil period.

to allow colours to naturally blend and flows through the paper. This creates a dense and luscious forest under thick mists. This technique was obtained through Zhang Da-Qian's observation of Shi Tao and Bada Shanren's works, and was passed to his students. It was refined in Zhang Da-Qian's stay in Brazil and the technique was also shown in Sun Yun-Sheng's works. The control of splashed ink and the blend of colours create a bright fresh expression on the work. Among the three landscape works selected for the auction, two of them in different sizes are completed in splashed ink. Sailing

by the River has a clear differentiation of blue and green with blank spaces. The peaks of mountains were filled with vegetation represented by dots. A large area of turquoise covers the valleys and cottages are placed in between the mountains, enhancing the variations of the work. In 1999, at Sun's old age and worsening health, Autumn Landscape was completed with dense splashed colours to represent dense vegetation on the cliff. The middle ground was depicted with overlapping hills. Dry and wet areas hint on the movements of the brush. Humid environment was depicted vividly. Despite his old age, Sun Yun-Sheng completed this work with an ancient aura and a delicate depiction of houses, to enhance the vividness of the landscape.

[ CHINESE PAINTINGS ]

Huangshan , completed in 1984, differentiates itself from the trend of colours at that period. A light depiction was made with true resemblance to the natural landscape. Light green, turquoise and ochre were applied to form an autumnal landscape. Simple strokes were used to enhance a natural depiction. These reflect the unique style of Sun Yun-Sheng. Huangshan was depicted with mists linger among the pine trees. Two scholars hike and compose poems of the majestic view. Literati paintings are renowned for their light representation in a scholarly manner. An adage goes, "An object's physical resemblance should be depicted along with its inner character as a whole. Mere appearances are not essential and not enough." This states that artists should depict an object's form in sync with their perceived characters. Figure paintings could be traced to the styles of Sui and Tang dynasty, the gongbi techniques of Zhang Da-Qian, producing elegant and refined works.

Flowers was completed in 1982 in the form of a long scroll. Excellent control of brush was used on plum blossoms, orchids, chrysanthemums, bamboo and daffodils. Boneless technique used on the flowers resembles the techniques of Song dynasty with a vivid expression. Light colours enhanced the harmony of the whole work. Sun Yun-Sheng once mentioned that his style is loyal to Wang XueTao's boldness, which was one of the styles branched out from Zhang Da-Qian's teachings. Guanyin , completed in 1995, used refined lines to depict the serene expression. Dense ink was used on the hair bun. An overall lightly-coloured depiction differentiates itself from and excelled those in the copies of Zhang Da-Qian from the caves. Drafts of Zhang Da-Qian were left behind, namely from the Dunhuang period to his mature periods. They come in all genres including Figures, Flower-and-Birds, Landscapes and Buddha of Dunhuang. These valuable relics were kept with Sun Yun-Sheng. He received his last recognitions from Zhang Da-Qian's last words and was given the task to inherit Dafeng Tang. After years of companionship, Zhang Da-Qian was impressed by Sun Yun-Sheng's talents and characters, which led him to invite his apprentice twice by his side during his travels. Sun's life was enriched from the companionship with his teacher, to the proliferation of Jingyuan. Under the tireless effort of Sun Yun-Sheng, the rich style of Tang and the scholarly styles of Song dynasty enable the bourgeoning of Dafeng Tang.

◀ 孫雲生《四序花卉卷》1982 水墨設色紙本手卷 24.5 x 587.5 cm 羅芙奧台北 2020秋季拍賣會「翰墨丹青—中國書畫及古文物」專場預估價台幣 440,000 - 650,000 SUN Yun-Sheng, Flowers, 1982, Ink and colour on paper, scroll, 24.5 x 587.5 cm Ravenel Autumn Auction 2020 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 15,100 - 22,300 ▲ 孫雲生《觀音》1995 水墨設色紙本鏡框 119 x 61 cm 羅芙奧台北 2020秋季拍賣會「翰墨丹青—中國書畫及古文物」專場預估價台幣 150,000 - 240,000 SUN Yun-Sheng, Guanyin, 1995, Ink and colour on paper, framed, 119 x 61 cm Ravenel Autumn Auction 2020 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 5,100 - 8,200

。

中國古代藝術正夯

東方不敗

｜收藏與投資｜

[ PEOPLE ]

Text / 袁青

Photo / 雅典襍

陳仁毅是亞洲第一個藝術品投資基金的成功操盤手，曾受聘於國際最知名的藝術品博覽會專業審核委員。過去三十年，經手的中國古代藝術品無數，以超過 100 億價值的過手文物經驗，分享「收藏」這門功課。

◀ 2018年全球評比最佳私人美術館，位於柏林的The Feuerle Collection, 2016年創辦至今陳仁毅也是重要顧問之一 ▲ 每年在紐約，雅虎YAHOO創辦人楊致遠家中舉辦的藝術沙龍

收藏古董或是買一件藝術品，關鍵不是你買到什麼，而是為你的人生又打開了那扇窗，看到了什麼！經營過藝術圈的第一市場，包括古代和當代藝廊，擔任過紐約亞洲藝術品博覽會審核委員、知名私人與拍賣公司顧問、主持藝術投資基金、也是知名國際博物館董事的陳仁毅，以成功而且資深收藏家的多元角色和經歷，一

1. 福斯集團總裁梅鐸，紐約家中的清朝紫檀龍紋大書桌，也是出自陳仁毅的推薦 2. 蘇富比全球中國古代藝術部門主席仇國仕先生《無盡意》攝影集中的全部藝術品，都來自陳仁毅的珍藏 3. 「中國藝術品投資基金」藏品：清乾隆－外粉青釉浮雕芭蕉葉鏤空纏枝花卉紋內青花六方套瓶 4. 「海外遺珍」－北齊響堂山石灰岩雕佛弟子手一雙

語中的地點出，古代藝術品代表了中國古代文明美好的沈澱，他認為收藏藝

5. 明尼蘇達州博物館的鎮館之寶，就是1996年在紐約佳士得拍賣會上，陳仁毅和Mr. Dayton競標，最後Underbid拱手讓賢的《明代黃花梨大地屏》

術品，絕對可以激發一個人的活力跟創造力。

6. 「重要美術品」－宋黑漆菊瓣盤

事實上，95 到 05 年可以說是中國古董非常重要且關鍵，也是被全世界看見的十年。一方面是西方藏家對東方跨文化的豐富內涵和異國風情，一心嚮往，再者 25 年前，紐約，1996 年的一次重要拍賣會上，一件中國古董家具就拍出超過百萬美金的成交記錄，使得中國古代藝術品直接站上國際。基本上，中國古代藝術品項包羅萬象，書法、繪畫、玉器、陶瓷、銅器和家具等等；早期博物館多以材質分類，但自 2000 年之後，以生活形式和社會階層的思考，如「宮廷」和「文人」的品味和人文性，各有擅長，更增添了古文明流傳的經典性。

[ PEOPLE ]

對於古董收藏的取向和進場時機，陳仁毅的經驗分析說，「海外遺珍」；也就是指十九世紀中期開始，中法戰爭、英法聯軍到八國聯軍等，被洋人掠走，流失海外的文物。「清宮舊藏」也是一個重要指標，因為物件多原屬宮廷舊藏外流，自然有其珍貴與稀有性；此外，源出自「名人名家」之手和「重要美術品」的收藏標的物等，也都具有高度的收藏價值，都值得參考。至於，眼前中美時局動盪、震盪逢低進場、古董稀有保值、資產分配趨勢、藝術優質好股、中國潛力未來等現況下… 陳仁毅觀察，目前是進場收藏中國藝術品最好的時機。從收藏到品味，陳仁毅以自身為例，分享他的心得：擴大興趣、閱讀學習、品味生活、儲蓄投資、分散風險或節稅隱藏等等，都是可以切入的角度。「藝術不是炫耀，而是用來豐富生活的。」藝術、文化、品味，很多時候內涵並非外顯，在親身體會、接觸古董收藏後，卻可以真實感受得到。身為不少重量級國際藏家的專業顧問，「我不是為賺錢賣古董，我的工作是推薦最好的藝術品。」陳仁毅是實踐者也扮演重要推薦者的角色。過去二十多年中服務過的國際知名藏家，從全球前五大富豪、知名科技 CEO 到好萊塢明星米夏・巴瑞辛尼可夫、哈理遜・福特等及許多博物館中國藝術品的購藏。

陳仁毅笑著說，在紐約結交西方友人在中央公園

「藝術美好，現實也殘酷」，談及古董收藏的投

畔的豪宅，仿如博物館般的布置，中國古藝術品絕對

資，陳仁毅提醒：紮實專業學習、建立系統標準、充

是一種上流社交圈身家地位的指標。但也因為欣賞像

裕資金準備、關注市場動態、開闊眼界、興趣及個人

美國明尼蘇達州首富 Bruce Bliss Dayton，捐出無數

品味培養，循序漸進，若以一句話總結，就是「閱讀

藝術品，包括過百萬美元的中國明代屏風給博物館當

與學習」。對於有心進入收藏的人，第一件事，自己

作永久鎮館之寶；更不用說 Jerry Yang 楊致遠，雅虎

要先分清楚目的；是興趣還是投資，而且，最好要有

創辦人對中國古董家具與書法的品味和鑑賞力，在國

中長期持有的心理準備。其次才是培養專業與經驗。

際上推動中國藝術的研究和專展，更是不遺餘力。另

「死藏不如活用」陳仁毅說，古董收藏之道，勤學自

外，如富達基金總裁 Edward Johnson III，更參予並

修或找有實戰經驗的專業顧問互相探討，都不失為藏

支助安徽古村落與北京故宮的修繕工程，對文化的傳

家入門的重要步驟。且下手前，切忌貪與寬，更不要

承與貢獻極大。也讓陳仁毅加入成為這些全球重要收

透支個人財力，多看少買，凡事謹慎為上。

藏家的好夥伴引以為榮。西方人把古董藝術品視為一種生活中不可或缺的美學應用，與近年中國藏家對古

7. 「清宮舊藏」－清乾隆御製雙龍紋蒼璧大座屏

董收藏多半作為投資的目的，大異其趣，這種情況在

8. 「清宮舊藏」－清嘉慶嘉慶帝御寶白玉雙螭紐「秀木佳蔭」方璽

未來會因為知識的累積與品味的提昇而快速的改變。

9. 「名人名家」－明"仲謙製"款竹雕枯瓜水洗

[ PEOPLE ]

Jerry JI Chen

陳仁毅，知名中國藝術品收藏家及資深顧問，「春在」 CHUNZAI 創辦人、設計總監，「雅典襍藝術品管理顧問公司」執行長。曾任紐約亞洲藝術博覽會 ASIA ART FAIR 審核委員、馬德里皇家普拉多博物館 PRADO 國際董事、台北故宮博物院文化與創意產業講師、蘇富比拍賣公司 Sotheby's 顧問、台灣學學文創意基金會董事，創辦紐約 CHAMBERS FINE ART 前波畫廊等，跨足全球中國古代及當代藝術各個領域。過去三十年間，曾經於歐美中台策劃及顧問多項中國古代藝術品及古今跨界之藝術展覽，也贊助多項博物館藝術研究計劃，在保存修護與出版的推動部份更是不遺餘力。2000 年開辦的「中國藝術品投資基金」，於 2005 年在香港蘇富比締造了 3 項非凡的市場成交記錄，其中一件「清乾隆粉青釉鏤空纏枝花卉紋六方套瓶」也打破了當時清代宮廷陶瓷的世界記錄。為近二十多年來，全球中國古董藝術品鑑賞與高品

質收藏聲名卓著的重要領路人。

THRIVE INA TROUBLING WORLD, HERMÈS RETAINS ITS GLORY 愛馬仕不畏動盪世局，重拾市場榮耀

Text / 劉允華 Wally Y.H. LIU

Photo / Ravenel International Art Group

愛馬仕不畏動盪世局，重拾市場榮耀 Text / 劉允華 Wally Y.H. LIU

Photo / Ravenel International Art Group

[ LUXURY ] 早在今年三月時，COVID-19 疫情在全球迅速發展，精品市場傳出

At the mid-year report, Hermès recognizes the loss of 335 million

的第一季業績就讓人無法過於樂觀：根據波士頓顧問集團 (BCG) 的總

euros in profit, yet still realizes its gross profit rate at 21.5%. In the

結預測，精品業在 2020 年 3-4 月的銷售可能會比去年同期減少 65%-

mid-year press release, Hermès pointed not only to the factual loss, yet

80%，而全球產業總體銷售金額比起 2019 年則可能降低 25%-35%。尤

also the fast return of brick-and-mortar store and online business in

其在奢侈品生產量佔全球 40% 以上的義大利遭受疫情嚴重打擊之後，

many Asian countries. It expressed a modest optimism. The investors

所有目光都聚集在這個儼然成為景氣指標的產業之上。

are obviously confident of the group. After the stock price of Hermès

羅芙奧精品部指出，雖然在一片低迷的景況下，愛馬仕的表現卻顯得一支獨秀。愛馬仕一方面迅速因應現況，例如關閉全球多數據點，並

impacted by the pandemic, it regains its force from September and onward, even higher than January 2020.

且在法國四十多個廠址中只留下一間香水生產廠，同時與其他大型集團

Meanwhile, through the analysis of luxury division of the Ravenel

共同投入疫情援助計畫，還有餘裕提供巴黎醫療體系 2000 萬歐元的資

International Art Group, we can see that when other brands had a hard

助；另一方面也抓住了第一季結束時中國商務逐漸復甦的機會，例如四

time catching up with the changes, such as delaying or cancelling the

月中在廣州重新開張的旗艦店，首日營收就達到 270 萬美元之譜。

fashion show and its new seasonal series barely reaching the customers,

而在年中結算後，愛馬仕儘管承受了 3.35 億歐元的利潤降幅，從另一方面來看，集團毛利率仍然維持在 21.5%，可說持家有成。在年中提出展望的新聞稿中，愛馬仕明白指出了上半年的損失，但也因為亞洲各國實體與線上業務的迅速回溫，所以對未來依舊能審慎樂觀。投資者對集團的信心也明顯可見：在三月因歐洲疫情發展而遭受影響的愛馬仕股價，到了九月已經超越今年年初水準，後勢看好。另外，羅芙奧精品部分析，在追趕時尚的精品業界之間，由於疫情造成大小展會不斷延遲，各季新品難以推動，唯有愛馬仕獨樹一幟的「永續時尚」風格大放異彩。新品的產量降低反而造成奇貨可居，而在愛馬仕本已獨佔鰲頭的二手市場中，依然深受收藏家的喜愛。知名歐洲拍賣商在年中時的 150 件大型拍賣會，原先估價僅有 15 萬歐元，卻能獲得 24 萬歐元結標。其中一款估價 5,000-7,000 歐元的 1986 年鑲金小牛皮柏金包，更賣出了 3 萬歐元的好成績。

the "Sustainability Fashion" principal of Hermès stands out brilliantly. The reduced production made its products even more popular, both at the seasonal and resale markets. A renowned European auction house held an important event with 150 items. It estimates 150 thousand euro in total sales, yet achieved 240 thousand. One of the items, 1986 veau Birkin with gold hardware which was estimated 5,000-7,000€ in auction, yet it was sold by 30,000€. In conclusion, the luxury division of the Ravenel International Art Group observes that Hermès has a relatively good performance in the industry. It maintains its value of sustainability fashion and therefore is able to keep its uncompromising status, even in this era of turmoil. Hermès is a great brand which deserves attention from both collectors and investors.

總結以上產業動態，羅芙奧精品部認為，愛馬仕在各大精品集團之間的抗疫表現相對良好，可說除了堅持品牌的永續發展價值之餘，就算在疫情持續發展的時局下，愛馬仕永不退流行的產品始終佔有不可忽視的地位，可說是後疫情復甦期間最值得關注的收藏及投資標的之一。 We know this as early as March, when the COVID-19 propagates on the Earth, and the first seasonal report strains our optimism. By the prediction of BCG, the luxury market would have some 65%-80% less revenue in March and April. This is especially noteworthy when the pandemic impacted heavily to Italy, which provides 40% production volume for the world. The world watches this industry as if it has become the thermometer of the economy. The luxury division of the Ravenel International Art Group points out that, even in these circumstances, Hermès maintains its outstanding performance. On one hand, Hermès rise to the situation fast, as it closed many boutiques in the world, and more than 40 sites in France, except one fragrance factory for the production of disinfectant. It joined the pandemic relief effort with other luxury groups, then put 20 million euros for the hospital network of Paris. On the other hand, Hermès did not loose sight of the commercial awakening in China. For example, the reopening of the flagship store in Guangzhou garnered some whopping 2.70 million dollars at its first day in April.

◀ A MATTE HIMALAYA NILOTICUS CROCODILE BIRKIN 30 WITH PALLADIUM HARDWARE 霧面喜馬拉雅NILO鱷魚皮30公分柏金包附銀色金屬配件 ▲ A SHINY NILOTICUS CROCODILE BIRKIN 25 WITH PALLADIUM HARDWARE 亮面NILO鱷魚皮25公分柏金包附銀色金屬配件

人生必修

D U PA S S É A U P R É S E N T D U TRIBUNAL JUDICIAIRE DE PARIS

的

Text、Photo / Lan Li

一堂

巴黎是一座偉大的城市，得天獨厚的歷史背景，造就出終其一生也無法完全探究的豐富內涵。以巴黎的法院建築為例，無論是歷史古

建

蹟活化再利用，或是建築名家設計的作品，都反映出巴黎跨越數個世紀的偉大歷史。

築

這些莊嚴的司法機關，從雄偉的中世紀宮殿、華麗的巴洛克古宅到

課

摩登的當代建築，帶領世人穿越巴黎最輝煌的歷史榮耀，也為後世建築立下不朽典範。

[ 建築巡禮 ]

Palais de Justice de Paris 位於巴黎城島上的司法宮，其前身是建造於 10 至 14 世紀的城島宮 (Palais de la Cité)，佔據了城島 1/3 的面積。此地是中世紀的權力中心，也是法國皇室的重要住所，國王和皇家委員會 (Curia regis) 在此進行統治，見證了法國歷史上諸多重要事件，也是無數的合議、同盟、宴會、謀殺和審判的場景。城島宮與法王路易九世 (Louis IX, 1214-1270) 密不可分。 1254 年這位人稱「聖路易」(Saint Louis) 的賢王頒布了「大敕令」 (Grande Ordonnance)，對王國進行大刀闊斧的司法改革，因此被視為公平正義的象徵；所有來司法宮的人都會到聖路易的雕像前祈禱，並且觸摸雕像腳趾以尋求帶來好運。法國大革命期間，城島宮成為革命法庭，無數的貴族在此被宣判死刑；在路易十八和查理十世統治下，司法宮逐漸確立其作為法國高等法院 (Tribunal de grande instance) 的地位。宮殿大門以新古典主義風格進行重建，華麗無比的鍛鐵大門氣勢十足，走入其中，漫長延伸的走道彷彿看不到盡頭，但最令人印象深刻的還是寬廣的「遺失腳步大廳」(Salle des Pas Perdus)，顧名思義，其面積大到令人迷失，耳邊不時傳來宛如空谷回音般的陣陣腳步聲。自從去年全新的巴黎法院落成後，主要業務都移至巴黎 17 區的大樓，因此進出司法宮的人潮大幅減少，不過此處依然是法國最高法院 (Cour de cassation)、法國巡迴法院 (Cour d'Assises) 和巴黎上訴法院 (Cour d'Appel de Paris) 的所在地，是法國民事和刑事的最終上訴法院。

Tribunal de Paris 去年 4 月正式啟用的巴黎法院，有別於城島上老舊的司法宮，這棟高達 38 層樓、160 公尺的當代建築，雄偉地矗立在巴黎西北方的巴蒂尼奧勒區 (Batignolles)，是繼 1970 年代的龐畢度中心之後，義大利建築師倫佐・皮亞諾 (Renzo Piano) 再度震撼巴黎人的作品。通過安檢走進大廳後，首先映入眼簾的是明亮的大廳，倫佐・皮亞諾在接受〈紐約時報〉採訪時說：「通過一種光明和開放的感受，而非威懾力來創造出信任感」，他將法院視為為社會服裝的機器，希望藉此展現司法公正透明的特性。法院大樓總面積 120,000 平方公尺，主要分為四個建築單元，從下至上體積依次遞減，將散落各處的機構集合在一棟建築之內，除此之外，法院大樓採用太陽能光板、自然通風系統與雨水蒐集裝置，但筆者聽說法院大樓有功能上的瑕疵，夏天的時候整棟大樓悶熱無比，法官和檢察官甚至沒辦法穿著法袍，所有人都是敞開上衣進行審判 ..... 民事與刑事法院之外，法國行政訴訟採三級制，依序是行政法庭、行政上訴法院和最高行政法院，分別位於三座風格迥異的歷史古蹟內：

Hôtel d'Aumont - Tribunal Administratif de Paris 位於塞納河畔的奧蒙府邸始建於 1644 年，由國王顧問米歇爾・安托萬・斯卡龍 (Michel-Antoine Scarron) 委託建築師路易·勒沃 (Louis Le Vau) 建造，這位主人是著名詩人保羅・斯卡龍 (Paul Scarron) 的叔叔，也是奧蒙公爵安托萬・德・奧蒙・德・羅歇巴隆 (Antoine d'Aumont de Rochebaron) 的岳父。 1656 年奧蒙公爵買下府邸，他聘請弗朗索瓦・芒薩爾 (François Mansart) 進行擴建，以查爾斯·勒布倫 (Charles Le Brun) 和西蒙・武埃 (Simon Vouet) 的畫作進行裝飾，據說花園也有可能是安德烈・勒諾特 (André Le Nôtre) 設計，可以說是集結了當時最頂尖的能工巧匠。後陸續有四個奧蒙公爵和許多貴族在此居住，法國大革命後曾作為市政廳、中學、中央藥品中心等不同用途，1959 年巴黎行政法庭正式進駐奧蒙府邸，可惜的是內部早已不是原始的裝潢樣貌。

Hôtel de Beauvais - Cour administrative d'appel de Paris 這棟建築物。由建築師安托萬·勒·博特爾 (Antoine Le Pautre) 設計，是皮埃爾・德・博韋 (Pierre de Beauvais) 為了取悅妻子凱薩琳・亨麗埃特・貝利耶 (Catherine-Henriette Bellier) 而建，她是路易十四的母親、皇后奧地利的安妮身旁的仕女。 1763 年 11 月 18 日，年僅 7 歲的莫札特第一次來到巴黎，他和爸爸與姊姊在博韋府邸內住了 5 個月。18 世紀府邸由巴洛克建築大師羅伯・德・科特 (Robert de Cotte) 和尚 - 巴普提斯特・德・博西爾 (Jean-Baptiste de Beausire) 進行改建，2004 年巴黎行政上訴法院進駐此地，府邸內的裝飾早已不復存在，但精巧的雕飾與優雅的弧形曲線牆面，使其成為巴黎私人府邸建築中不可多得的珍寶。

[ 建築巡禮 ]

Palais-Royal - Conseil d'État 皇家宮殿原本是紅衣主教黎塞留 (Armand Jean du Plessis de Richelieu) 的住所，他在過世前將宮殿送給了國王。18 世紀皇家宮殿花園成為巴黎上流社會聚會的場所，19 世紀迎來了眾多行政部門：1875 年年法國最高行政法院 (Conseil d'État)、1958 年的法國憲法委員會 (Conseil Constitutionnel) 和 1959 年在此成立的法國文化部，還有一直在此的法蘭西喜劇院 (ComédieFrançaise)。最高行政法院起源於 13 世紀，由當時的國王法庭 (Curia regis) 分裂為三個部分，路易十六時期進行改組，法律顧問和專家以在君主的訴訟上向國王提供建議，有權主持正義並宣布判決的國王，把權力委託給皇家法院和最高法院，但國王仍保有權力按意願推翻。走進法國最高行政法院，穿過訴訟廳、財政處室、全體會議室和圖書館，最令人震撼的是榮譽庭 (Hall d'honneur) 後方的穹頂，樓梯由兩側盤旋而上，最後在二樓的平台上交會，產生震懾人心的力量，烘托出法律的神聖與威嚴，法國上至高官顯貴、下至平民百姓的爭議案件都是在此解決。

宮殿級酒店認證

下榻克里雍酒店

擁抱富豪之夜

「那裡，只有和諧與美，奢華、平靜與歡樂」—波特萊爾《惡之華》 Là, tout n'est qu'ordre et beauté, Luxe, calme et volupté. － Les fleurs du mal de Charles Baudelaire

[ LIFE ]

Text / Lan Li

Photo / HÃ´tel de Crillon

超過百年歷史的輝煌傳奇，姿態萬化，滿眼繁華的巴黎當之無愧；而「克里雍酒店」更是堪稱極致的代表。 2 0 1 7 年，晉升為巴黎市內第 1 2 家獲得宮殿級 ( P a l a c e ) 認證的酒店之一 ( 截至 2019 年為止，法國共有 31 座宮殿級酒店 )。已故服裝大師卡爾・拉格斐 ( K a r l L a g e r f e l d ) 曾是受邀參予室內設計者之一。最昂貴的套房每晚要價 2 萬 5000 歐 ( 約合台幣 83 萬 )。

[ LIFE ]

1758 年，法王路易十五委託皇室御用建築師昂熱－賈克・加布里埃爾 (Ange-Jacques Gabriel)，在皇家路 (Rue Royale) 兩側建造；其中位於轉角處的私人府邸 (Hôtel d'Aumont)，即為今日克里雍酒店的前身。 1788 年，馬翁公爵弗朗索瓦・費利克斯・德・克里雍 (François Félix de Crillon) 買下府邸，一直屬於克里雍家族的財產。1907 年被集團買下改建為酒店，兩年後克里雍酒店正式開幕，展開超過百年歷史的輝煌傳奇。隨著歲月的流逝，酒店也有巨大的變化，原始室內裝潢多半早已被拆除，可以在紐約大都會博物館、佛蒙特州米德爾伯里學院和南法的羅斯柴爾德花園別墅見到過去歲月下的木雕裝飾。過往很長一段時間，克里雍酒店曾慘遭「降級」為五星級酒店。2010 年轉手沙烏地阿拉伯皇室成員買下，斥資 2.3 億歐元、長達 4 年的整修之後，2017 年終於晉升為宮殿級 (Palace)，成為巴黎市內第 12 家獲得此認證的酒店 ( 截至 2019 年為止，法國共有 31 座宮殿級酒店 )，目前由美國瑰麗酒店集團 (Rosewood Hotels & Resorts®) 管理，最昂貴的套房每晚要價 2 萬 5000 歐 ( 約合台幣 83 萬 )。

整修計畫由享譽國際的 AFFINE DESIGN 創辦人理查・馬蒂內 (Richard Martinet) 和黎巴嫩設計師阿麗娜・阿斯瑪・達曼 (Aline Asmar d'Amman) 主持，集結了崔斯坦・奧爾 (Tristan Auer)、夏罕・米納希安 (Chahan Minassian)、西里爾・韋尼奧爾 (Cyril Vergniol) 等三位室內設計師，以及已故的服裝大師卡爾・拉格斐 (Karl Lagerfeld) 和景觀設計師路易・貝內許 (Louis Benech)，聯手打造跨越經典與現代的空間，為這座擁有偉大歷史的建築注入當代感，創造出獨一無二的頂級奢華體驗。全新的「大使酒吧」(Les Ambassadeurs) 取代老舊的餐廳，青銅色調的地毯和沙發呈現無比尊榮的氣息；結合金屬與編織藤椅裝潢的奧蒙啤酒屋 (Brasserie d'Aumont)，靈感來自現代傢俱先鋒邁克爾・索耐特 (Michael Thonet)；擁有米其林一星的珠寶盒餐廳 (L' Ecrin) 恰如其名，隱藏在克里雍酒店內最隱密的位置，主廚鮑里斯・坎帕內拉 (Boris Campanella) 帶我們走上全新的味覺之旅。

[ LIFE ]

奢侈不是貼近巴黎的唯一途徑，卻是最不容錯過的管道之一。從克里雍酒店成立之初，數不盡的王公貴族、政商名流和影視巨星曾在此下榻，此處早已是法式生活美學與頂級富豪享受的永恆交會。

社會

拜物主義

二三事揭露時尚產業中不可或缺的神話與夢想本質，任何人都不得不臣服於當代工藝和文化的魔力。

[ LIFE ]

CHRISTIAN LOUBOUTIN L'EXHIBITION [NISTE]

踩進紅底鞋 Text、Photo / 李淳淵

「展示者」(Exhibitionniste)，這個字在法文中碰巧也有「暴露狂」的意思；鞋履設計大師 Christian Louboutin 毫無保留地暴露源源不絕的靈感來源、以及私密內在世界。回顧大師長達 30 年的創作生涯， Louboutin 曾說：「無聊是我不了解的概念」(L'ennui est un concept que je ne comprends pas.) 正是這分對不同藝術與文化的熱情造就了他的傳奇。

展期：延長至 2021/1/3 地點：鍍金門宮 Palais de la Porte Dorée 地址：293 Avenue Daumesnil, 75012 Paris

「一雙鞋子所能給予的遠不止於行走。」 UNE CHAUSSURE A BEAUCOUP PLUS À OFFRIR QUE JUSTE'MARCHER. 傳奇的鞋履設計大師 Christian Louboutin 首次回顧展，選在巴黎 12 區的鍍金門宮 (Palais de la Porte Dorée)，因為此處正是設計師居住成長的街區。幼年時被博物館中熱帶水族館吸引的記憶，著迷於阿爾弗雷・奧古斯特・雅尼奧 (Alfred Auguste Janniot) 的浮雕，當時仍是國立非洲大洋洲藝術博物館的鍍金門宮 ( 如今是國立移民歷史城 ) 激發他對旅行的熱情與對世界的想像；最有趣的是：避免破壞博物館木地板的「禁止穿著高跟鞋」標誌，是大師第一次看到鞋子圖畫的地方。某種程度卻開啟了 Louboutin 創作之旅的起點。最先引人目光的，是充滿曖昧多層含義的展覽名稱 L'EXHIBITION[NISTE]。在這場史無前例的盛大展覽中 (Exhibition)，設計師不單單是一位「展示者」 (Exhibitionniste)，這個字在法文中碰巧也有「暴露狂」的意思，Louboutin 將自身毫無保留地暴露在大眾的視野中，向所有人展示了他的源源不絕的靈感來源、邁向事業高峰的道路、以及私密的內在世界。

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還有一座「幻想博物館」 MUSÉE IMAGINAIRE 回顧 Louboutin 長達 30 年的創作生涯，打從品牌成立之初， Louboutin 毫不遮掩其對於不同藝術與文化的熱情。受到文學、音樂、戲劇、舞蹈、電影和流行文化的啟發，他建構出一個多元且富有包容性的世界，彰顯無可取代的傳統製鞋工藝，這所有的一切都獲得完美的體現。擔任策展人的巴黎裝飾藝術博物館館長奧利維耶・加貝 (Olivier Gabet)，試圖在流行時尚的洪流中，篩選出真正能代表品牌精神的珍寶與遺珠，呈現 Louboutin 多變的形象、大膽的幻想、包容的眼光、精湛的技術、獨到的品味、豐沛的創造力以及不可或缺的幽默感。穿越滿溢品牌代表色的紅色前廳，第一個展間鑲滿了玻璃工坊 Maison du Vitrail 製作的彩繪玻璃花窗，上面滿是與 Louboutin 密不可分的符號與物件，中央的玻璃櫃展示了眾多素描、草圖和樣本，爬梳了設計師創作生涯開端的早期作品。從木材、棕梠、魚皮、壓克力等各式各樣特殊的材料中，不難察覺出 Louboutin 不甘於平凡的野心，以及勇於突破的企圖心；比如 1987 年以鍍金門宮熱帶水族館為靈感的「鯖魚鞋」(Soulier Maquereau) 就是最好的例子。

聖物，拜物主義的強大魔力緊接著在下一個展廳中，一座彷彿宗教祭壇的大型華麗裝置赫然出現眼前，上面還供奉著一雙璀璨奪目的水晶鞋，周圍以印度刺繡與賽爾維亞銀器進行裝飾，這是被譽為婚紗之王的印度設計師沙巴亞薩奇・穆克吉 (Sabyasachi Mukherjee) 與 Louboutin 的聯手創作，四周展示了設計師歷年來最令人目眩神迷的經典作品。凡人的鞋履在此昇華為至高無上的聖物，揭露了時尚產業中不可或缺的神話與夢想本質，任何人都不得不臣服於當今社會拜物主義的強大魔力。從威尼斯的高底鞋到中國的花盆底鞋，Louboutin 汲取東西方文化的相異元素，運用來自世界各地的傳統工藝，幻想出一雙又一雙顛覆歷史的鞋履，遊走在真實與幻想的邊界之上。展廳別出心裁地呈現品牌故事：英國設計師雙人組 Whitaker Malem 的皮革假人，簡潔明快地點出裸色高跟鞋的精神；一間十分老派的英式裝潢房間內，法國知名節目主持人史蒂芬・伯恩 (Stéphane Bern) 一本正經地介紹，卻不難發現一旁暗藏了性虐與搖滾的系列；俏皮可愛的動畫影片詳細介紹了品牌的製鞋工藝，風格與本次展覽的主題動畫相互呼應；動感十足的小劇場細數設計師與娛樂產業的淵源，當然少不了他的好友脫衣舞孃黛塔・范・提思 (Dita Von Teese)；最後以滿牆的照片回顧 Louboutin 的生涯，以及時尚媒體與名人的加持。為了延伸拓展展覽的面向，Louboutin 邀請多位藝術領域朋友跨刀相助，穿插了巴基斯坦藝術家伊姆蘭・古列西 (Imran Qureshi)、紐西蘭毛利藝術家麗莎・拉哈納 (Lisa Reihana)、英國設計師雙人組 Whitaker Malem 和西班牙編舞家布蘭卡・李 (Blanca Li) 等人作品。

「女人穿著衣服，但是鞋子穿著女人。」 UNE FEMME PORTE SES VÊTEMENTS. MAIS LA CHAUSSURE PORTE LA FEMME. 如果說罕見的特殊鞋款是外在世界的探索，那麼似乎還缺少了內在世界的追尋，導演大衛・林區 (David Lynch) 拍攝的 18 禁攝影作品正好彌補這一缺口，反映出 Louboutin 對於 SM( 性虐待 ) 的偏執與癡迷，穿著 Christian Louboutin 的女性不是為了舒適，而是為了征服他人的目光，或者是等待被他人征服，如同設計師本人所言：「女人穿著衣服，但是鞋子穿著女人。」(Une femme porte ses vêtements. Mais la chaussure porte la femme.)。展覽以一座不存在的「幻想博物館」結尾，展示了 Louboutin 的私人收藏，從鍵陀羅佛像、波斯細密畫、聖羅蘭的服裝到當代藝術，可以一窺設計師創作的靈感來源，他以英國頂級瓷器品牌 Wedgwood 的反蓄奴制度歷史為例，為被貼上膚淺且菁英主義的裝飾藝術愛好者平反。受到疫情影響，展覽 2 月開幕後被迫關閉，直到 5 月底才再度開放，展期延長到明年 1 月。Louboutin 曾說：「無聊是我不了解的概念」 (L'ennui est un concept que je ne comprends pas.)，為此次展覽做了做好的註解。

[ LIFE ]

鱷名昭彰剝

開

奢

侈

表

相

下

的

真

象

[ FASHION ]

Text / 伊森

Photo / Hermes's, LV

國際知名 X 光藝術家 Nick Veasey，藉由獨特 X 光穿透本質，揭示表面下隱藏的面貌之創作聞名。一件透視了愛馬仕柏金包的幽默之件。只見價值不斐的鱷魚皮包裡只剩下一毛錢？揭開我們看不見的表相與內在，探索社會價值，奢侈品和欲望的反諷，卻也說明了一只【皮包】的時代性。今天，皮包的社會學象徵意味絕對和它作為配飾功能，同等重要。人類對奢侈的嚮往像一個藏在心底，被壓抑著的欲望，只要一有機會，魔鬼般地忍不住伺機而動；你大約猜到我要說的是稀有皮革的魅力了。

從數十萬起跳到 300 多萬元的一只皮包。哦，我忘了註明是【鱷魚皮】。是的，就算你我不是下訂的大戶，但多一點茶餘飯後，拿來說嘴的常識有什麼不好呢？如果是買家，當作和別人炫耀手上這枚「移動式保險箱」般的配件的價值，至少也有所本，何樂不為？

[ FASHION ]

首先，所謂動物皮革中的珍稀家族，大抵不出「鴕鳥，蜥蜴，鱷魚，蛇皮」。基本上所有品種都是受【華盛頓公約組織】的管控。這四大天王各自以天生紋理上的特殊表現，分別擠上奢華排行榜。鴕鳥，毛孔密集均勻，皮質緊實，染色後會有毛孔顏色深，底色較淺的色差變化而聞名；蟒蛇皮花紋鮮明豐富，腹紋路則粗曠有個性，且價格較親民，但受眾有限。蜥蜴皮，角質圓形花紋，光亮細小的斑紋，有「皮革寶石」之喻，可惜基本上尺寸不大。

量少，設計上又呈現變化的鱷魚皮，是稀有皮革中最珍稀的搶手材質。但若挔考究程度又依序被分為 4 個等級。

灣鱷，又稱為鹹水鱷紋路最細，格紋到圓紋呈漸變，看起來秀氣優雅，鹹水鱷非常適合做大尺寸皮件，表面永遠都非常平整細緻，是最高級的鱷魚皮。

美國短吻鱷供應美國國內為主，直到有心人買下美國鱷魚皮養殖場

基本上，鱷魚皮通常會依皮紋狀況及設計風格需求，可以創造多種表面處理。比如，亮面，

後，引發了短吻鱷的世界性

又有噴亮處理，或刻意做出格紋微突的拱珠效果。保留原皮面的油面，比較少見的霧面，近來，

流行。短吻鱷腹部格紋整齊，

風格粗曠帶有仿舊感的鱷魚皮磨面也頗有市場。

格紋大，圓紋和格紋分布差異明顯，非常好利用。

如果提到珍奇感，二手拍賣市場的「行情價」就是最好的指標。「顏色」「材質」「保存狀態」等狀況息息相關。以對鑑定價格影響甚鉅的「顏色」為例，清爽的薄荷綠，糖果粉色以及桃紅和土其藍色等艷色系的鱷魚皮色都有一定的追捧人氣。

尼羅河鱷

鱷魚皮包的工藝，延伸至對染色的要求及變化。俗稱「喜馬拉雅」鱷魚皮包，一直是貴婦圈紋路類似於鹹水鱷，通常做油面處理，皮革柔軟紮實。

中必爭的搶手貨色，但要畫重點的是，霧面處理，彰顯皮革漸變色調對稱及平均效果的「喜馬拉雅」鱷魚皮包，其實並非指手袋來源地，而是形容非洲淡水尼羅河鱷魚皮因鱗片較大，可以表現手袋左右兩側呈煙灰棕色，彷如喜馬拉雅雪山的山腳；越靠近中央，皮革顏色漸變成珍珠白色，

暹羅鱷柔軟類的鱷魚，紋路較深，通常是做小皮件為主，或做皮外套用。

烘托出仿如「喜馬拉雅山雄偉白茫茫雪峰的精緻漸變色調」，因而得名。也因為需要極為繁複的染色工序，精緻手工只有經驗豐富的資深藝匠才能勝任，在各式鱷魚皮包中，更顯珍奇。可以體會擁有一枚鱷魚皮包的樂趣了嗎？除了工藝的可貴，拍賣增值之外，或許，拎著它，頓時吸睛的同時，感受到周圍濔漫著一股奢華氛圍的忌妒？你感覺到了嗎？

[ FASHION ]

愛

馬

仕

不能說的秘密

凱莉包凱莉包是 1935 年設計。20 年後，也就是 1956 年，面對媒體鏡頭，摩納哥王妃格蕾絲・凱莉（Grace Kelly）用她的「Sac à dépêches」來遮掩孕肚，一炮而紅。愛馬仕重新用凱莉王妃為這款手袋命名，凱莉包之名立刻不脛而走。

柏金包叫我第一名？：愛馬仕柏金包（Hermes's Birkin）。到底身價有多貴？佳士得拍賣會，一款鱷魚皮質的柏金包曾創下 6 百 40 萬台幣（16 萬英鎊）的成交紀錄，奠定精品界屹立不搖的鱷魚皮被稱為皮革中的黃金，一向以頂級和奢華著稱。而唯一在二手

地位；但，只有愛馬仕才能超越自己的前題下，再度以一個罕見霧面白色喜瑪拉雅尼羅鱷魚皮、附有鑲鑽鈀金配件的鉑金包，以 $380000 美金（約 1 千 1 百 53 萬零 67 台幣）在佳士得拍出。

拍賣市場行情看漲的愛馬仕皮包中，

柏金包的故事－始於 1983 年女明星簡·柏金（Jane Birkin）和愛馬仕創意總監讓・路易・

又以工藝製作繁瑣以及對染色和材質

迪馬（Jean-Louis Dumas）的機緣而促成。搭乘同一航班，並相鄰而坐的杜馬看見簡・柏金簡

要求極為嚴苛的鱷魚皮最夯，也因為

單草編手袋裡的東西掉落感到好奇？柏金解釋，因為當時沒有符合她品味的皮包。於是，信

生產數量遠遠趕不上市場需求，更造

手在飛機嘔吐袋背面畫了 Birkin 包的草圖。有趣的是，以她為名的柏金包推出以來，「款式

成鱷魚皮包，難求的情況。

或功能幾乎沒有什麼變化，歷久彌新。」

後疫情時代

我要活下去如果要為 2021 春夏時尚趨勢下個標題；恐怕再也沒有比『活下去』更貼切了 ! Text / 袁青

Photo / PRADA, Stella McCartney, Moschino, 三宅一生

[ FASHION ]

全球疫情籠罩，常懷疑下一步往那裡走？而從各家改絃易轍，因應現狀的線上時尚大秀，不難感受到這份 DOWM 到谷底的低氣壓讓春夏時尚緊緊抱住「安全牌」；為了存活下去，創意不再掛帥，反而看見過往高姿態的時尚以更謙懷的心態，演出一場場貼近日常，講求實用，強調社會責任，對環境反思和企圖以藝術平衡商業炒作的氛圍。沒有夢幻 Fantasy，時尚是燒不下去的。但疫情使然，浮華鋪排，極盡聲色的實體秀，幾乎都被迫改為網路連線，線上直播可以說來到時尚界前所未有的高峰期。眾所注目的米蘭時裝週最後一天，Raf Simons 為 Prada 推出 2021 春夏第一彈，明顯集結了設計師過往經歷之作；Prada 的線條，Calvin Klein 的印花及 Jil Sander 一貫極簡的成績單，不能說失望，但卻証明這個節骨眼兒「創意」似乎己被新冠肺炎打趴，但求平穩的心態下，即便被視為高級時裝的世紀連手也只能以業績考量出手，更何況其他品牌幾乎都是穩紮穩打，冷飯熱炒，不見奇招。 2021 春夏，時尚果真是淡成一片，但力求貼近實用的風潮下，打破穿著場合和時機，刻意糢糊正式和休閒的設計群起，印度和日本漫畫的街頭感塗鴉和自我任性的標語口號齊聲放送的 2021 春天，頗有幾分 70 年代嬉皮當道的 Free Love，這也是首度時尚，由下往上造成影響，日常風格熬成時尚主流。藝術平衡商業，持續加碼的跨界成為時尚常態也是 2021 春夏秀場焦點之一。靠攏藝術的例子，先有 Dior 在疫情期間率先推出迷你微型時尚，2021 春夏原本以 POP art 見長，經常以放大日常為時尚反諷主題的老牌 Moschino 邀請美國知名人偶品牌 Jim Henson 合作的春夏迷你版人偶劇場秀，更是一舉靠著藝術讓品牌重返時尚浪頭。

Stella McCartney

用「Marionette」這個法文來形容 Moschino 的「人偶」秀，其精緻程度己達到藝術等級，令人驚豔之餘，對於除了人偶穿戴的型迷你夢幻華服向高訂手工致意之外，以真人好友為雛形打造的袖珍看秀的人偶，彷如回到第二次世界大戰後期的「時裝劇院」歷史，重燃時裝的夢！也為日後時尚朝向藝術的趨勢，立下標竿和伏筆。此外，藝術形式在時尚創意表現上更見多元；不但是形而上，從文學，音樂，歷史或環保等，強調社會責的議題貫注品牌精神；手法上更是繪畫，影像，噴漆，裝置，拼貼甚或雕塑和聲光，一一被挪移，呈現時裝強烈的當代感。而可持續性或反思環境的態度也成為「後疫情時代」的靈丹。比如，堅持環保的 Stella McCartney 在全球隔離期間，發佈了一個以 A to Z 首字母為綱領的宣言言；從 2021 年春夏系列開始，貫徹原材料選擇至成衣的生產，對外溝通等，26 個關鍵詞的獨特視角與品牌精神，再度引起共鳴。可以預見未來，販售品牌精神，會是消費市場埋單的最佳戰略。男女裝合併作秀亦或女裝男穿的象現，顯示 2021 年時尚圈另一波強勁的文化運動「第三性」己啟動，甚至凌駕女性主義，儼然成為新主流，值得觀察。為了生存，為了時尚要活下去，所謂「包容性尺碼」，也就是一個尺碼可以因應不同身形或性別，其目的不外乎，降低產量，減少庫存；這樣變通之道也在品牌之間醞釀。對全球蔓延而膠著的疫情，人們思考失落和開創夢想的希望，也被迫重新定義溝通方式；對於熱愛的、夢想著、信仰的時尚，看著空無一人的線上秀場謝幕，服裝設計師心中的悵然仍需要適應，不過可以確認的是，當美感遇上存活的殘酷時，「我要活下去」，成了時尚唯一的信念。

拍賣時尚的藝術

[ FASHION ]

工具 " 作為時尚基礎理念，不但推波藝術掛帥，設計師 Miuccia Prada 也是當代藝術的藏家。為了保障全球因為疫情隔離的女性保有受教育權利，特意和蘇富比（Sotheby's）拍賣公司連手，不但印製拍賣目錄，並揭開線上競拍。拍賣品取自 Prada 2020 秋冬男女系列，包括秀上演繹獨一無二的原創服飾，以及相關秀場周邊商品，如攝影作品、座位卡及邀請函、秀場裝置道具及秀上播放的黑膠唱片，總共 72 件作品。Miuccia Prada 表示，服飾是慾望的實體，而當它成為一種記憶工具，回憶起情感和經驗時，可以幫助時尚的未來。

時尚 X 藝術

PAUL SMITH X JOHN BOOTH

以 " 文化是一種有效的知識與學習

英國設計師品牌 Paul Smith 於美國洛杉磯（Los Angeles, USA）門市，

可以說是繼梅爾羅斯大道著名粉紅牆之後的又一個時尚地標。向來以操控時尚脈動聞名的 Paul Smith，一直以來也嘗試把創意觸角更衍伸至藝術文化。與世界各地的 Paul Smith 門市一樣，洛杉磯店的設計取材當地風情，但很明顯地，一貫將傳統與現代巧妙融合的創造力中，藝術成為主調。 1970 年，Paul Smith 在英國諾丁漢開設了他的第一家門店。如今，時尚版圖拓展到全球，為了展現品牌對藝術的品味和推波，這次直接找上英國知名藝術家，也是知名插畫家和陶瓷藝術家的 John Booth，負責整體設計，包括圖形化櫥窗展示、大型藝術品以及古董家具上擺放的原創藝術作品。 John Booth 從當地裝飾藝術建築中汲取靈感，為這家洛杉磯市區門店挑選色彩搭配，並在建築外部管道進行創意繪製。John Booth 繽紛多彩的設計手法也體現在 Paul Smith 店內個人藝術品，及膠囊系列圍巾和帽子中，延伸出濃濃地藝術品味。攝影：Brandon Shigeta

Timetable of Ravenel Autumn Auctions 2020 羅芙奧2020秋季拍賣會時程表場次 Event

高雄預展 Kaohsiung Preview

台中預展 Taichung Preview

台北預展 Taipei Preview

台北拍賣 Taipei Auctions

秋季鑑賞會

部門/品項

Section/ Items

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

尊釀雲集翰墨丹青：中國書畫及古文物專場

日期 / 時間 Date/Time

地點 Venue

Finest and Rarest Wines

11/14 (六)

琢璞藝術中心高雄市前金區五福三路63號8樓

Refined Brushwork: Fine Chinese Paintings and Works of Art

11:00 am-6:00 pm

手袋及精品鑑賞會

Timeless Handbags and Luxury Collectibles Private Sale

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

尊釀雲集

Finest and Rarest Wines

翰墨丹青：中國書畫及古文物專場

Refined Brushwork: Fine Chinese Paintings and Works of Art

11/15 (日)

11/21 (六) 1:00 pm-6:00 pm

J. P. ART CENTER 8F, No.63, Wu Fu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

豐藝館臺中市西區五權西路一段110號B1

11/22 (日) 11:00 am-6:00 pm

FONG-YI ART GALLERY B1, No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

12/3 (四)

萬豪酒店台北市中山區樂群二路199號3樓博覽廳

手袋及精品鑑賞會

Timeless Handbags and Luxury Collectibles Private Sale

尊釀雲集

Finest and Rarest Wines

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

翰墨丹青：中國書畫及古文物專場

Refined Brushwork: Fine Chinese Paintings and Works of Art

尊釀雲集

Finest and Rarest Wines

12/4 (五) 11:00am

翰墨丹青：中國書畫及古文物專場

Refined Brushwork: Fine Chinese Paintings and Works of Art

12/5 (六) 2:00pm

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

12/5 (六) 3:30pm

現代與當代藝術

Modern and Contemporary Art

12/6 (日) 2:00pm

手袋及精品

Timeless Handbags and Luxury Collectibles Private Sale

12/3 (四)~12/6 (日) 10:00am~7:00pm

12/3 (四)~12/5 (六) 10:00 am-7:00 pm

MARRIOTT TAIPEI Grand Space, 3F, No. 199, Lequn 2nd Rd. Zhongshan Dist., Taipei, Taiwan 萬豪酒店台北市中山區樂群二路199號3樓博覽廳 MARRIOTT TAIPEI Grand Space, 3F, No. 199, Lequn 2nd Rd. Zhongshan Dist., Taipei, Taiwan