羅芙奧季刊第35期 Ravenel Quarterly No. 35 by Ravenel International Art Group

精采時刻雋永人生

存在的狀態 STATE OF BEING

No. 35 Summer 2021

CONTENTS

No.35 ｜ Summer 2021 ｜ https://ravenel.com

THE ARTIST

生命，是個費盡心思繞回終點的圓－顫動靈魂的藝術家：塩田千春 Life is a circle that goes all the way back to the end. Artist who trembles the soul: Shioda Chiharu 14

ART & INVESTMENT

狂野自由的畫筆－羅伯•貢巴斯 Figuration Libre－Robert Combas 28

WINE

除了純飲，威士忌還可以這樣喝 How to Enjoy Whisky? Straight Up, on The Rocks, or Mizuwari? 34

CHINESE PAINTINGS

游牧的朗誦者：卜茲作品中的書藝演法 An Exploration of Rhythmic Representation: The Variations of Calligraphy Expressions in The Works of Pu Tzu 38

ANTIQUE

詠玉之美：歷史的對話與美的擁抱 14

The Beauty of Jade: An Intimate Conversation with The Past And The Beauty of Nature

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

LUXURY

見證時代的碧綠之焰－重拾木佐祖母綠的亙古星光 Witness the Green Flame through Time Revisit the Eternal Shine in Muzo Emerald

ART

NFT 狂潮來襲《數位藝術品》席捲藝術圈？ 48

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

LIFE

走過當代和中世紀 54

FASHION

自拍藝術女王－辛蒂．雪曼 58

LIFE

老東西、舊東西，原來都是好東西 66

LIFE

巴黎「五感」抓住「甜」心！

塩田千春存在的狀態(洋裝), 2020 金屬洋裝紅線 45(長) x 45(寬) x 80(高) cm 羅芙奧2021春季拍賣會-現代與當代藝術專場 Chiharu SHIOTA State of Being (Children's Dress), 2000 Metal frame, dress, red thread 45(L) x45(W) x 80(H) cm Ravenel Spring Auction 2021 Modern & Contemporary Art

[ CHIEF EDITOR'S NOTE ]

FREE MARKET 自由市場

又一位日本藝術家作品登上雜誌封面？最近台灣島內美術館個展熱潮，從三月的奈良美智 Yoshitomo，交棒給五月的塩田千春 Shioda Chiharu，社群媒體上紅黑色千絲萬縷的影像洗版，引起某些藏家朋友圈的話題，擔心台灣藝術市場為日本藝術殖民？藝術收藏家多為事業有成之士，思慮週到，藝術家一旦有國際知名博物館、藝評家、藝廊與拍賣專家的層層推薦，已具備成功基本要素，容易產生共鳴。單打獨鬥的個人藝術家，希冀異軍突起進入市場，並非不能，現今靠 Instagram 走紅的例子不少。大抵而言，藝術家首先得突破一級市場（畫奈良美智無題（LA 106.7 92.3 NYC） 2005 色鉛筆紙本（信封） 39 x 24 cm 羅芙奧2021春季拍賣會薈萃國際：現代與當代藝術 Yoshitomo NARA Untitled (LA 106.7 92.3 NYC) 2005 Colored pencil on paper (envelope) 39 x 24 cm Ravenel Spring Auction 2021, Select: Modern & Contemporary Art

廊或博覽會）的肯定，再看藏家們買不買單，還有二級市場（拍賣會）能否延續買氣，最後能否進入基金會、博物館殿堂。日本和國際藝術家有相對成熟的市場機制，容易獲致成功。 Ravenel No.35 期推出豐富的藝文消息：藝術家專題有日本塩田千春、台灣的卜茲、法國的羅伯．貢巴斯 Robert Combas、自拍女王辛蒂．雪曼 Cindy Sherman。最 IN 的新聞話題－ NFT 狂潮、AR 擴充實境展覽。當然還有經典款的 Flea Market? Free Market! 歐洲跳蚤市場尋訪，當代與中世紀博物館視覺旅行，本期內容為您補充滿滿的藝術新知與能量。當然，還有碧綠之焰祖母綠與玉石之美的專家推薦，以

總編輯

及頗受老饕酒迷喜愛的藏酒專欄，暢談純飲之外的威士忌品法。從政治民主、經濟自由度審酌，台灣是認證全球名列前茅的自由國家，消費、品藏、收藏者皆享有高度選擇自由，相信多數讀者亦有同感，且珍惜之。

Life is a circle that goes all the way back to the end. Artist who trembles the soul: Shioda Chiharu 生命，是個費盡心思繞回終點的圓－顫動靈魂的藝術家：塩田千春

[ THE ARTIST ]

Text / 李維屏 Apolline Li

Photo / Ravenel International Art Group

無數的線交織成網，由點至面、從地面蔓延至牆壁。如果草間彌生專注於描繪無限的波點，那麼塩田千春則是為生命織起無限延伸的網絡。身為日本當代藝術具有代表性的藝術家之一，塩田千春現今活躍於世界的舞台。1996 年畢業於京都精華大學油畫系，1997 年搬到德國並繼續深造。受教於兩位名藝術家，行動藝術家雷貝嘉．霍恩以及有行為藝術之母之稱的瑪莉娜．阿布拉莫維奇，勇於嘗試跨界演出使她的作品迅速受到國際的關注。2015 年代表日本參與威尼斯雙年展、巴黎的路易威登基金會以「Le Fil Rouge」（紅線）為題舉辦個展外，塩田千春於藝博會受歡迎的程度更是不言喻，這位學術與市場兼備下藝術家的未來發展更值得藏家關注。「我總是因為日常生活經驗與過往及未來之間的多元牽繫而感到驚奇。如何創造這種無法破解的知覺網絡及其可塑性，始終是個謎團，如同我們的大腦、宇宙，以及生命。對於這一切，我從來沒有答案，只能不斷地提出問題，而這些問題便是我創作的基礎。」－塩田千春

線與網，篩落了記憶中的光與影透過一根根細繩編織出恢宏的景觀，紅線、黑線或白線交纏而成、鋪天蓋地貫串整個空間，千絲萬縷勾勒出的詩意氛圍，日常家用物品被懸吊於數千萬根細繩上，和藝術家共感的記憶如潮水流瀉般觸動觀賞者的內心深處。塩田千春透過作品所描述的，是情感、是生活、更是與人之間的連結。儘管生命有限，但她深信肉體雖死而靈魂長存。自被診斷出 12 年前的癌症復發後，塩田千春抱著這個信念用線重現萬物活過的痕跡以及人生無常的課題。紅色的線象徵著血液的顏色交織起人與人之間的關係；黑色的線如夜空或宇宙交織成一個無限的空間，白色的紗線代表新生和永恒，體現了多次徘徊生死間藝術家的生死觀。是次羅芙奧 2021 春拍敬獻塩田千春三件不同色系的經典裝置作品《存在的狀態 ( 洋裝 )》、《存在的狀態 ( 報紙 )》、《存在的狀態 ( 書 )》，藝術家探索了我們的內在情感與有形物體之間的密切聯繫，呈現「缺席中的存在感」，唯有觸動人心的藝術、讓觀者深刻體會塩田對於無常人生的體悟，才是藝術家所追求的救贖。

◀

塩田千春《存在的狀態（洋裝）》2020 金屬洋裝紅線 45(長) x 45(寬) x 80(高) cm 羅芙奧台北2021春拍「現代與當代藝術」Lot 223 Chiharu SHIOTA, State of Being (Children's Dress), 2020, metal frame, dress, red thread, 45(L) x45(W) x 80(H) cm Ravenel Spring Auction 2021 Modern & Contemporary Art, lot 223

現常居柏林，直至今日塩田千春的國際展覽仍邀約不間斷，她於

known as the pioneer of performance art, Shiota's courage to try cross-

2015 年代表日本參加威尼斯雙年展，2019 年時於東京森美術館的個人

border performances made her work quickly attract international

展覽，日本參觀人數截至結束時期已有超過六十萬民眾參觀證明了其作

attention. In 2015, she was selected to represent Japan at the 56th Venice

品的影響力。《塩田千春展：撼動的靈魂》是以柏林為據點，更為塩田

Biennale, and held a solo exhibition titled "Le Fil Rouge" (The Red Line)

千春舉辦迄今規模最大的個展。在日本被譽為「2019 年最盛大的藝術

at Fondation Louis Vuitton in Paris. Her popularity at the art fairs is

展覽」之一，東京森美術館獲得了空前絕後的佳評如潮以及迎來前所未

even more self-evident, her future development both in the context of the

有的成功，今年 5 月 1 日起於台北市立美術館開展便引領各界期盼與關

academic and market is certainly worthwhile for the collectors to pay

注。這位不需言語即能觸動人心的藝術家更於去年拍場屢創佳績，2020

attention.

年起，塩田千春的作品受歡迎的程度在拍賣市場中成長，積極上揚的趨勢並一路攀升。面對時代的急速變遷，多元文化的衝擊下，學術與藝術市場兼備下的塩田千春，個人辨別度高，無論海內外藝術舞台都對其投注極大的注意力，都讓人更期待塩田千春未來的市場表現。 Countless threads are intertwined into a net, from point to surface,

"I am always amazed by the multiple connections between daily life experience and the past and the future. How to create this unbreakable network of perceptions and its plasticity is always a mystery, just like our brain, the universe, and life. I never have the answer to all of these, I can only ask questions constantly, and these questions become the foundation

from the ground to the wall. Yayoi Kusama focuses on depicting the

of my creations." － Chiharu Shiota

infinite polka dots, while Chiharu Shiota is weaving an infinitely

STRINGS AND NETS SIEVE OFF THE LIGHT

extending network for life. As one of the representative artists of Japanese contemporary art, Shiota is now active on the world stage. She graduated from the Oil Painting Department of Kyoto Seika University in 1996, and moved to Germany in 1997 to continue her studies. Taught by two famous artists, body art artist Rebecca Horn and Marina Abramovi ,

AND SHADOW IN MEMORY

The magnificent landscape is woven through a string of thin ropes, the red, black or white threads are intertwined and run through the entire space. The poetic atmosphere is inextricably outlined, everyday

[ THE ARTIST ]

◀

塩田千春《存在的狀態(書) 》2019 金屬書黑線 20(長) x 20(寬) x 20(高) cm 羅芙奧台北2021春拍「現代與當代藝術」Lot 225 Chiharu SHIOTA, State of Being (Books), 2019, metal frame, books, black thread, 20(L) x 20(W) x 20(H) cm Ravenel Spring Auction 2021 Modern & Contemporary Art, lot 225

▶

塩田千春《存在的狀態(報紙)》金屬報紙白線 50(長) x 30(寬) x 50(高) cm 羅芙奧台北2021春拍「現代與當代藝術」Lot 224 Chiharu SHIOTA, State of Being (Children's Dress), State of Being (Newspaper), metal frame, newspaper, white thread, 50(L) x 30(W) x 50(H) cm Ravenel Spring Auction 2021 Modern & Contemporary Art, lot 224

household items are suspended by tens of millions of threads, sharing the

Currently living in Berlin, Chiharu Shiota receives endless invitation

memory of the artist's sympathetically touches the viewer's heart like a

to international exhibitions even to this day. She represented Japan at

pouring tide with waves. Chiharu Shiota's works describe emotions, life,

the Venice Biennale in 2015, and her solo exhibition at the Mori Art

and even more connections with people. Although life is limited, she is

Museum in Tokyo in 2019, the number of visitors has exceeded six

convinced that even though the body is dead, the soul will live forever.

hundred thousand in the end proves the influence of her works. "Chiharu

After recurrence of the cancer being diagnosed 12 years ago, she holds the

Shiota Exhibition: The Soul Trembles" based on her life in Berlin, and is

belief in recreating the traces and impermanence of life with thread. The

her largest solo exhibition to date. Known as one of the "most grand art

red thread symbolizes that the color of blood interweaves the relationship

exhibitions of 2019" in Japan, Mori Art Museum has received unrepeatable

between people, the black thread as if the night sky or the universe,

and unique reviews and unprecedented success. When Taipei Fine Arts

intertwines into an infinite space, and the white yarn represents new life

Museum announced to expect an opening of her exhibition on May 1,

and eternity, reflecting the artist's viewpoint of life and death, as she often

which undoubtedly brings expectation and attention from all walks of life.

lingers between. This Spring Sale 2021 Ravenel proudly presents three

Shiota's ability to touch people's heart without words has also made great

pieces of classic installation art by the artist in different colors, "State

achievements in auctions last year. Starting from 2020, the popularity of

of Being (Dress)", "State of Being (Newspaper)" and "State of Being

her works has grown in the auction market, and the trend is noticeably

(Book)". She explores the close connection between our inner emotions

actively rising. Faced with the rapid changes of times and the impact of

and tangible objects, presents "the sense of being in absence". Only the art

multiculturalism, the artist who has both excelled in the academic and art

that touches people's hearts and allows viewers to deeply understand her

markets, has a high degree of personal differentiation. Both the domestic

comprehension of the impermanent in life is the ultimate salvation pursued

and overseas art stages have invested a great deal of attention on her,

by the artist.

making people even more looking forward to her performance in the market in future.

FIGURATION LIBRE ROBERT COMBAS © Atelier Robert Combas, View of Robert Combas at studio

[ ART & INVESTMENT ]

狂野自由的畫筆羅伯•貢巴斯 Text / 陳惠黛 Odile Chen

Photo / Ravenel International Art Group、Atelier Robert Combas、 Strouk Gallery, Paris

法國跨界大師羅伯．貢巴斯，畫家、漫畫家、雕塑家，亦是搖滾樂手、作曲家，他為生命中各個斜槓角色投注以熱情，沒有最狂只有更狂。留有一頭年輕時代的標誌捲髮，講話時如機關槍般的急促快速，興致所至，夾雜著一連串手勢動作，過動兒似的搖晃身體，難得片刻寧靜空白。畫如其人，貢巴斯的繪畫也是華麗豐彩、大膽露骨，畫面塗滿色塊圖案線條，甚至以黑白線框凸顯形象，巧妙嵌入畫面的 Combas 簽名，也會加上一圈圈輪廓線框，熱切與觀者分享情感。

▲

創作中的貢巴斯，約1982年 Courtesy of Atelier Robert Combas

◀

羅伯．貢巴斯《波斯傳奇》1994 壓克力畫布 261 x 208.5 cm 羅芙奧2021春拍薈萃國際：現代與當代藝術 Lot 036 Robert Combas, Persian Romances, 1994, Acrylic on canvas, 261 x 208.5 cm, Ravenel Spring Auction 2021 SELECT: Modern & Contemporary Art, Lot 036

不知是偶然或巧合，事業竄起不久的美國塗鴉畫家凱斯．哈林

斯．哈林 Keith Haring 的街頭地鐵塗鴉藝術；英國的「新繪畫」（New

Keith Haring，1984 年 12 月參加巴黎法國國立當代美術館的「自由具象

Painting）由克里斯多夫．勒．布倫 Christopher Le Brun 領銜；德國的

5/5：法國 / 美國」聯展（《Figuration Libre, 5/5, France/USA》, Musée

「新表現主義」（Neo-Expressionism）或「新野獸派」（Les Nouveaux

d'Art Moderne de la Ville de Paris）過後，幾個月後也他的畫裡採用與

Fauves），以巴塞利茲 Georg Baselitz、基弗 Anselm Kiefer、印門朵夫

貢巴斯類似的古怪人物圖樣，研判可能曾受到彼此的啟發與影響。

Jörg Immendorff、潘可 A. R. Penck 為代表藝術家；義大利的「超前衛」

1980 年代法國「自由具象」領導者

（Transavangurdia），所謂三 C 藝術家，齊亞 Sandro Chia、克雷蒙第

儘管出生於優雅的法蘭西，貢巴斯的生猛性格比較傾向英美龐克火辣作風。他曾說：「我不愛法國香頌，聽的是英國或美國的搖滾或龐克音樂。」1970 年代他的創作畫風，被稱之為「有趣的繪畫」（Fun Painting），帶有貶抑之意，直到 1981 年到前輩藝術家本．沃捷（Benjamin Vautier, 1935 年生，簡稱 Ben Vautier）以「自由具象」（Figuration Libre）一詞為之正名，得以登上大雅之堂。他的藝術非常的人性化，無論在繪畫或是音樂的創作之路，都瘋狂地投入。從最情色，到最黑暗、甚至暴力，狂野無所不用其極。打造情感和感知的殿堂。貢巴斯為法國「自由具象」團體的主要創始人，好友迪羅沙兄弟（Di Rosa）等為共同成員，崛起於 1980 年代。「自由具象」藝術家們顛覆

Francesco Clemente、古基 Enzo Cucchi 等人出色拔粹。這類延續「達達主義」精神，被評論家們泛稱為所謂的「壞畫」品味，或者統整以德國「新表現主義」泛稱，進而擴展歸類為「前衛藝術」，其影響力一直延續至 21 世紀的此時此刻。而以貢巴斯為首的法國的「自由具象」或稱「新自由具象」（Nouvelle Figuration Libre），在這波前衛潮流裡熠熠發光。貢巴斯與夥伴們的繪畫裡，不見強烈的政治傾向，純然盡情自由的繪畫。他們鍾情於搖滾與龐克音樂，舉凡歷史英雄人物、非洲原生藝術，華麗阿拉伯式普普藝術、暴力情色題材等始終感到興味盎然。如同畢卡索在 1960 年代也曾回歸古典藝術，貢巴斯等輩以再現經典懷舊、敘事性的繪畫革新展現自我。

了「極簡主義」、「觀念主義」等代表的高尚品味，以扭曲粗獷的筆觸、漫畫嘲諷式前衛風格，寫下當代美術史的重要史篇。對照 1970 年代末至 1980 年代同一世代，瘋狂頹廢與酒神享樂的懷舊時空背景下，大西洋兩岸藝術家們對傳統、歷史、自由、性別等議題有更深切的探索，各國興起以「新」為名的具象畫派的誕生。

藝術評論家認為，貢巴斯的藝術，如同一座巨大熔爐，交會了歐亞非傳統歷史、次文化流行音樂、以及地中海文化色彩，沒有階級意識，純粹多元性與能量俱足的奇想世界。貢巴斯獨特繪畫風格的成形，與其 1960-1970 年童年及青少年時期成長於法國南方，有絕對必然的關聯。他的繪畫裡經常回溯著神話、歷史、酒吧爵士樂、嘻哈、詩歌、銅管樂、

在美國有擷取歷史的「新意象畫」（New Image Painting）或「壞畫」（Bad Painting）的藝術家群：例如巴斯奇亞 Jean-Michel Basquiat、凱 16

嘉年華服飾、黑色幽默、嘲諷漫畫、電影、街頭塗鴉等地方風土底蘊，張力十足。

[ ART & INVESTMENT ]

南法地中海多元文化的養成

超級畫商李歐．卡斯特里的加持

羅伯．貢巴斯，1957 年 5 月 25 日出生於法國大三大城─里

1980 年貢巴斯在蒙佩利爾的埃哈塔畫廊（Galerie Errata）舉辦生

昂（Lyon），這座東南方城市曾是歐洲的絲綢之都，也是法國

平首次個展。後來陪同女友凱蒂到巴黎參加電影《雷克斯樂團》（La

盧米埃電影誕生地。四歲時，隨父母遷居至更南方的港都─塞特

Bande du Rex）演出，見識到萬花筒世界般的巴黎，而選擇要落腳巴

（Sète），成長於此，因而，第二故鄉塞特，反而與貢巴斯的關係

黎。從南方城市過渡到天龍國巴黎，他成為異鄉人，南方人的特質，很

更加緊密。塞特，號稱是「南法的威尼斯」，或是「小威尼斯」，

快融入並創作出無國界的繪畫風格。1980 年代是他施展藝術潛力的年

因鄰近地中海，成為歐洲知名的度假中心，到處可見海鮮美食、

代，很快地 1981 年分別受邀前往德國杜塞道夫和荷蘭阿姆斯特丹參加

音樂、戲劇，由於運河交錯，水上運動在此蓬勃發展。法國文學

畫展，1982 年甚至到美國紐約展出。成立多時的「自由具象」團體，

作家保羅．梵樂希（Paul Valéry），以及創辦「亞維儂藝術節」

1982 年才首度以團名正式舉行聯合畫展。

的劇場導演尚維拉（Jean Vilar），都是塞特人。2022 年，小城塞特將競選為「法國文化之都」（La Capital Culturelle）的榮譽，藝術家貢巴斯也被推舉為城市之光，表彰其藝術貢獻及成就。

人生的里程碑在 1983 年有所成就，此時貢巴斯的作品漸漸受到藏家們的喜愛。畫風趨向飽滿，結構複雜、寓意深奧，樹立起個人獨特的魅力。二十世紀打造無數 A 咖明星藝術家的超級大畫商李歐．卡斯特

「我的作品來自於隨意塗鴉，而非美術學校所學。」貢巴

里（Leo Castelli, 1907-1999），分別在 1983、1986 年邀請貢巴斯在其

斯在其自傳如此說道。早慧的貢巴斯，兩歲起即懂得畫戰役圖

紐約畫廊舉行個展。1984 年 12 月與參加前文提過的法國國立當代美術

（battle），顯露不凡的漫畫天賦。在父母的有意安排下，九歲時

館的「自由具象 5/5：法國 / 美國」聯展，五位美國塗鴉藝術家巴斯奇亞、

曾進入當地美術學校預作準備。由於父親是一名工人，母親有時擔

凱斯．哈林、肯尼．沙夫（Kenny Scharf）、曾廣智（Tseng Kwong

任清潔婦，養育六個小孩食指浩繁，家境並不寬裕。少年貢巴斯

Chi），以及五位法國自由具體成員貢巴斯、狄羅沙（H Di Rosa）、布

一直到 17 歲時（1974 年）才進入學校，在塞特的美術預科（Ecole

朗夏（R Blanchard）、玻斯宏（Boisrond）、詹姆斯（James）一同參

des Beaux-Arts in Sète）學習一年。1975 年遷居，考入蒙佩利爾

與展出。

美術學校（l'École Supérieure des Beaux-Arts de Montpellier），為期五年（1975-1979）的美術技能教育。1979 年獲得聖艾蒂安美術文憑（École des Beaux-Arts in Saint-Étienne）。聖艾蒂安博物館的館長（Musées de Saint-Étienne et du Musée national d'art modern），藝術史學者貝爾納．賽頌（Bernard Ceysson），當時擔任評審委員，發現了貢巴斯的創意與才華，邀請他參與博物館

貢巴斯也曾應邀參加 1987 年巴黎龐畢度中心聯展。隨後還有來自亞洲的邀請，如 1989 年韓國首爾的個展、1991 年台北市立美術館專題展。此外，貢巴斯重要的博物館展出，有 2006 年大皇宮國家畫廊展覽； 2012 年里昂當代藝術館（Musée d'Art Contemporain in Lyon）大型回顧展；2016 年摩納哥格里馬爾迪館（Grimaldi Forum in Monaco）個展等等。

的展覽。以星象特質，貢巴斯擁有雙子座的走在前頭、勇者無懼的性格，預視了後來的開創格局。1977 年學院時期因喜愛搖滾龐克及漫畫，和凱蒂（Ketty Brindel）、迪羅沙兄弟（Hervé & Buddy Di Rosa）等好友組成樂團，不久後凱蒂變成女友，樂團成員還發行《BATO》（Bateau, 法文「船」的簡稱，1978-1980 年間發行） 100 本限量手抄本雜誌，共同渡過青春搖滾的歲月。前期在校主修版畫與油畫，無意間發現了本．沃捷 Ben Vautier 的文字藝術，啟發了後來貢巴斯興起發展「自由具象」的念頭，將文字入畫。「自由具象」（Figuration Libre）一詞，也是本傑明．沃捷最早所提出。貢巴斯早期繪製大量的素描手稿，內容多來自電視、卡通和暴力戰爭，也曾嘗試在牛皮紙上創作風景畫，可惜多數作品早已散佚。由於畫材料昂貴，窮學生無力負擔，只能用紙箱、桌子、門、床單等素材作畫，甚至拿同學丟棄的筆記本當作畫紙，完成第一幅米老鼠的畫作。甚或，直接在雜誌內頁上再繪畫，種種天馬行空的繪畫經歷，成就他後來發光發熱的養分。

▲

法國國立當代美術館的「自由具象 5/5：法國 / 美國」聯展（畫冊封面） The catalogue cover of Figuration Libre, 5/5, France/USA》, Musée d'Art Moderne de la Ville de Paris, 1984

經歷過幾位伯樂的慧眼推薦，如前文所述的已故大畫商李歐．卡斯特里，1982 年開始合作的伊馮．蘭伯特（Yvon Lambert）；以及 1997 年合作至今的勞倫．斯特羅克（Laurent Strouk），還有比利時知名畫商居伊．皮耶特（Guy Pieters）等。在藝術家生涯的四十多年間，已經舉辦過數十次個人畫展。貢巴斯的作品珍藏於巴黎龐畢度中心、巴黎卡地亞藝術基金會、荷蘭阿姆斯特丹市立美術館、亞維儂的蘭伯特收藏

◀

創作時的貢巴斯，約1993年 Courtesy of Atelier Robert Combas

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羅伯．貢巴斯《太陽王》1987 壓克力印花布 218 x 134 cm 羅芙奧2017春拍台幣 6,480,000 成交 Robert Combas, Le Roi Soleil, 1987, Acrylic on printed fabric, 218 x 134 cm, Ravenel 2017 Spring Auction, USD 215,282 sold

其五，千禧年與後來。嘗試在攝影作品上註解與塗鴉，重製舊作。如安迪沃荷等絲網印刷上的再創作等。其六，2006 年的「學院紋身」。十多年前貢巴斯就曾用他的線條，在不知名的學院生舊作上以線條描繪。隨著大眾刺青文化的再度流行，運用於創作，高彩度螢光，拼貼色彩與光線，結合多媒體，賦予藝術新意。

館、台南永都藝術館等。

「我的搖滾，我的繪畫。」以藝術譜寫人生旋律貢巴斯曾說道：「我的畫是搖滾音樂，是對『感覺』的追逐。感覺

進入 21 世紀後，貢巴斯創作媒材更為多元。如 2006 年嘗試中世紀主題的大尺寸畫作，回歸他喜愛的古典巴洛克主題。而後更以攝影創作。曾經離開巴黎後，2010 年回歸巴黎藝術圈，結識音樂家盧卡斯．

是節奏，它是叢林裡瘋狂的鼓手和巫毒教的舞蹈，滾石樂團翻唱了黑人

曼西歐尼 Lucas Mancione 共同合作，完成 40 首音樂作品與錄影帶。

藍調歌手們的老歌，無意間創作了新音樂。對我而言，繪畫亦然，感覺

後期的色彩運用不似年輕時的火氣，轉為輕盈柔和。

到中國書法、阿拉伯文，還有地中海彩繪廣告的韻律。」貢巴斯的創作歷程，依照時間序列可分為幾階段：其一為 19771983 年的「藝術學院與巴黎最初時期」，粗糙的筆觸，懷舊的塗鴉，喜愛英雄與卡通主題，創造出三角形人、米老鼠和殺戮相關題材，南法文化大熔爐式的無國界繪畫語言，其自由具象風格即源於此時。

異國情調前衛塗鴉行情值得更高估值上天賦予的才華，直觀的創作，加上記憶與細膩的觀察體驗，無窮想像力發掘出創作的靈感。貢巴斯的個性坦率，用繪畫書寫日記，他的藝術也反映出當代的精神。青春歲月裡，1970 年代在第二故鄉塞特，有許多的酒吧和樂團，當時他愛穿著黑色皮衣，打扮花俏、毛皮

其二，1984-1988 年，「特殊風格的成熟與實現」。豐沛的色彩組

外套、紅髮龐克捲髮、偏好暴力、愛抽菸，自認為是風流的花花公子。

成，不留白，粗黑的輪廓線描邊。1984 年搬遷至新畫室，風格更顯自信。

他的南方歲月多姿多采。到了巴黎之後，走訪瑪黑區、以及第十八區，

貢巴斯開始在色彩邊緣添加黑色輪廓框線，發展出個人的標誌語彙。

和塞特有種似曾相識之感。他假裝成阿拉伯人、或打扮成黑人靈魂樂

1985 年參觀羅浮宮後，致力研究傳統美術史主題。1986 年在衣物布料

手、如同龐克英雄人物。

上繪畫，為其一大特色。羅芙奧先前拍賣過的貢巴斯油畫作品《太陽王》（Le Roi Soleil）即是繪於印花布料上。

當年因漫畫與搖滾樂的共同興趣交往多年的學生情人，隨著兩人發展不同調，終於在 1987 年宣告分道揚鑣。同年在畫商伊馮．蘭

其三，1988-1994 年間「文學精神時期」，來自教堂、聖像與彩繪

伯特（Yvon Lambert）安排的派對上認識了舞者吉娜維芙．波特伊亞

玻璃的靈感，也閱讀文學、歷史與哲學等，以黑色為主調，探索潛意識

（Geneviève Boteilla），終生的繆斯女神與伴侶，也是他眾多數作

的神祕風格，自認為研究的高峰期。1989 年開始出現滴流（drip）風格，

品中的模特兒。情愛、慾望在貢巴斯的藝術裡佔有極大的份量。貢巴

神秘的線條或圓圈交織，占據大面積的畫面。對於煉金術、古典繪畫產

斯一生至少有四位情人出現在他的繪畫裡─凱蒂 Ketty（1977-1987

濃厚興趣。羅芙奧 2021 年春拍薈萃國際專場的拍品《波斯傳奇》，波

年）、梅特 Maïté（1987 年）、蘇菲 Sophie（1995-2002 年）、不離

斯風華麗深奧寓意的創作，即為此階段作品。

不棄的吉娜維芙（1987 年至今），陪伴著不同階段的生命階段且共同

其四，1994-2000 年，「進化時期」。經歷過多階段的風格演變，轉而從未完成作品、草圖的重新繪製，並嘗試三 D 立體作品，音樂與詩歌文本上的創作。 18

創作。法國藝術家對情感的態度比較放浪不羈，無所保留，畢卡索的情人們，不也是成就了他的藝術大業。

[ ART & INVESTMENT ] 「對我來說，一幅畫可能會受到的影響，原始非洲的廣告公司，或小學課本一張插畫，或一連串的畢卡索或米羅的影響，或再者受到漫畫，假造的阿拉伯文字，原生繪畫，非常杜布菲式或眼鏡蛇畫派的影響。如同小說家朱爾．凡爾納，無須離開我的房間半步，我已到過非洲廷巴克圖。」羅伯．貢巴斯說道。貢巴斯從學校畢業後，即成為職業藝術家，當然也少不了他熱愛的搖滾樂。長期在歐洲或美國都有不少收藏家，亞洲如台灣、韓國也有不少藏家收藏過他的畫作。2017 年羅芙奧春拍的一幅《太陽王》油畫，648 萬台幣（US$214,488）成交，一度寫下藝術家全球最高拍賣紀錄。這幅畫的原藏家和新買家皆是台灣藏家，當時參與電話競拍者也有來自海外的客戶。這項紀錄讓歐洲藝術市場驚喜連連，Artprice 更以專文〈藝術市場認可羅伯．貢巴斯為法國重要在世藝術家之一〉（Artprice: The Art Market Confirms Robert Combas as One of France's Major Living Artists）介紹這則消息。隨後 2018 年、2019 年接連四度改寫紀錄，目前貢巴斯的最新紀錄是在 2019 年 12 月巴黎拍賣會一幅 1986 年作品《寵物大遊行》（A Pet Hit Parade），創下的 35 萬 3445 美元或 31 萬 9000 歐元（約一千萬台幣）成績。如果說畫風類比於畢卡索的美國畫家喬治．康多（George Condo, 1957 年生），可以在近期的藝術市場叱吒風雲，2020 年在香港拍賣會上寫下 686 萬美元（5315 萬港元）的天價紀錄。同

In December 1984, emerging American graffiti painter Keith

齡的羅伯．貢巴斯，天份與才氣不在其下，際遇卻大不相同。皆

Haring participated in the Figuration Libre, 5/5, France/USA

為新表現主義風格的德國畫家巴塞利茲，近期也在拍賣市場創造

exhibition held at the Musée d'Art Moderne de la Ville de Paris.

912 萬美元的高價紀錄；而當年互有影響的紐約塗鴉藝術家凱斯．

A few months later, whether by accident or coincidence, Haring

哈林，最高拍賣紀錄也有達到 650 萬美元的行情。

also began to paint strange characters similar to those by Combas.

隨著法國藝術大師們落後補漲行情，例如「藝術與投資」專欄先後推薦過的：堅持具象的超級藝術家貝爾納．畢費（Bernard Buffet）、抒情抽象之父藝術的喬治．馬修（Georges

Perhaps they had been inspired by and influenced each other.

Leader of the Figuration Libre in France in the 1980's

Mathieu）。而個人風格極強，創作豐沛的「自由具象」塗鴉大師

Although he was born in elegant France, the exuberant

羅伯．貢巴斯畫作，期待未來在國際拍賣市場有很大的想像空間。

personality of Combas is closer to the peppery style of British American Punk. He once said: "I don't love French chanson. I

A French master of multiple art forms, Robert Combas has worked as a painter, cartoonist, sculptor, rock musician and composer, vigorously investing his energies in each of these interdisciplinary roles. It is not the maddest but the baddest. With a youthful head of curls, Combas speaks in quick succession, firing words like a machine gun. When he gets excited, there is rarely a moment of pause or silence, as his body sways like a hyperactive child with wildly gesturing hands. Just like him, his paintings are gloriously colorful, bold and explicit. His canvas is often filled

listen to British or American rock n' roll and punk music." In the 1970's, his painting style was called "Fun Painting" in a disparaging tone. Only after 1981 did his artistic style gain wide acceptance after his predecessor Benjamin Vautier (born in 1935, Ben Vautier for short) gave it the name, "Figuration Libre". His art is filled with a humanized quality. Whether he is creating visual art or musical composition, he consistently invests whole-heartedly to the extreme - the most erotic, darkest, wildest and even violent creating of emotion and perception.

with colorful block patterns and lines, and the images are often

Combas is the main founder of the French Figuration Libre

highlighted with black and white wireframes. Cleverly embedded

movement that flourished in the 1980's. His good friend Di Rosa

into the picture, the Combas signature is also surrounded by layers

was also a member. Figuration Libre artists subverted the noble

of wireframe outlines, sharing his emotions enthusiastically with

status of Minimalism and Conceptualism, and created an important

viewers.

chapter in the history of contemporary art with twisted and rough

Art critics believe that the art of Combas is like a giant melting pot that blended traditional history in Europe, Asia and Africa, subcultural pop music, and Mediterranean culture to create an amalgamation of diversified and energetic whimsical world without class consciousness. The formulation of the unique painting style of Combas is absolutely related to his childhood and adolescence spent in southern France from the 1960s to the 1970s. His paintings often contained local and dramatic culture and customs, including mythology, history, jazz bar, hip-hop, poetry, brass music, carnival costumes, black humor, satirical cartoons, films, and street graffiti.

Cultivation of Mediterranean Multiculturalism in Southern France Robert Combas was born on May 25, 1957 in Lyon, the third largest city in South Eastern France that was once the silk capital of Europe and the birthplace of films invented by the Lumiere Brothers. At the age of four, Combas moved with his parents to the port city of Sète brushworks as well as avant-garde satirical cartoons. Compared to those of the same generation from the late 1970s to the 1980s who indulged in crazy decadence and Bacchus pleasure, the artists on both sides of the Atlantic began in-depth explorations of tradition, history, freedom and gender issues, giving birth to the Figuration Libre and other emerging styles beginning with the name "New" in various countries.

further south and grew up there. Thus Combas had a closer relationship with Sète, his second hometown. Sète is also known as the "Venice of Southern France", or "Little Venice", which became a well-known holiday destination in Europe due to its proximity to the Mediterranean Sea. Seafood, music and theatre are available everywhere in the city, and water sports have flourished here due to its network of canals. French literary writer Paul Valéry, and Festival d'Avignon founder/theatre

In the U.S., there was a group of artists who captured history with

director Jean Vilar are both from Sète. In 2021, the little town of Sète

New Image Painting or Bad Painting, such as the street or metro graffiti

was recognized as the La Capital Culturelle. Combas was also nominated

of Jean-Michel Basquiat or Keith Haring. In England, there was a New

as the light of the city, in recognition of his artistic contributions and

Painting style led by Christopher Le Brun. In Germany, there was the

accomplishments.

Neo-Expressionism style or the Les Nouveaux Fauves represented by Georg Baselitz, Anselm Kiefer, Jörg Immendorff, and A. R. Penck. For the Italian Transavangurdia style, outstanding representative artists include the so-called three C artists, Sandro Chia, Francesco Clemente, and Enzo Cucchi. As a continuation of Dadaism, these new styles were generally referred to by critics as the "bad paintings", or collectively known as the German name "Neo-expressionism". The style expanded to become part of the classification of the "avant-garde art", which has continued its influence to the current moment in the 21st century. Headed by Combas, the French Figuration Libre or Nouvelle Figuration Libre stood out in this avant-garde trend. In the paintings by Combas and his fellow artists, strong political tendency was absent as they favored pure and free-style paintings. They also loved rock and punk music, and had a strong interest in historical heroic figures, native African art, magnificent Arabic pop art, and themes with violence and eroticism. Just as Picasso also returned to classical art in the 1960s, Combas and friends also presented themselves with reproductions of classical nostalgic and narrative innovation in painting. 20

C o m b a s w r o t e i n h i s a u t o b i o g r a p h y, " M y w o r k c o m e s f r o m scribbling rather than from what I learnt at art school". The precocious Combas began drawing pictures of battles at age two, demonstrating his extraordinary cartoon skills. His parents once arranged for him to enter a local art school as preparation for his future profession. However, as one of six children of a father that worked as a laborer and a mother who sometimes worked as a cleaner, his family was far from well-off. As a result, Combas did not attend school until 1974 when he was 17 years old, when he studied for one year at the Ecole des Beaux-Arts in Sète. Moving to a new location in 1975, he was admitted to the l'École Supérieure des Beaux-Arts de Montpellier for a five-year (1975-1979) training in art techniques. In 1979, he graduated from the École des Beaux-Arts in Saint-Étienne. Subsequently, Combas participated in an exhibition at the Musées de Saint-Étienne et du Musée national d'art modern, because the curator of the museum and the exhibition juror, art history scholar Bernard Ceysson, had recognized the talent and creativity of Combas and extended an exhibition invitation.

[ ART & INVESTMENT ]

Combas has the characteristics of a Gemini, his astrological sign, which walks fearlessly ahead of others. This also foretells his future in developing a new genre. When he was in school in 1977, Combas formed a band with good friends including Ketty Brindel and Hervé & Buddy Di Rosa brothers due to their love of rock and punk music and cartoons. Soon after, Ketty became his girlfriend. Also, band members released 100 limited-edition hand-made magazines BATO (short for Bateau, which means "Boat" in French, published between 1978-1980). That was how this group of young friends spent their rock n' roll years together. Combas majored in printmaking and oil painting in his early school years. He incidentally discovered the textual art of Ben Vautier, inspiring in him the idea to develop "Figuration Libre" by incorporating texts into his paintings. Benjamin Vautier was also the first person who proposed the term "Figuration Libre". The drawings made drawn by Combas in the early years consisted mostly of the content of TV, cartoons, and violent wars. He also attempted to draw landscape sceneries on Kraft Paper though most of such works have disappeared. As a poor student who is hard to afford ◀

羅伯．貢巴斯《音樂大歡樂POUM POUM》1982 壓克力畫布 174 x 210 cm Robert Combas, Big Fun Musique Poum Poum, 1982, Acrylic on canvas, 174 x 210 cm

▶

1987年的貢巴斯 Courtesy of Atelier Robert Combas

▼

貢巴斯2018年巴黎斯特羅克畫廊個展《海上劇院》現場 View of Robert Combas' solo exhibition"Le théâtre de la Mer" at Strouk Gallery, Paris, 2018, Photo Courtesy of Gallery Strouk

Combas was also invited to participate in a joint exhibition at the Centre Pompidou in Paris in 1987. Subsequently, he received invitations from Asia, and held his solo exhibition in Seoul, Korea in 1989, as well as a special exhibition at the Taipei Fine Arts Museum in 1991. Furthermore, Combas has had several significant exhibitions at various museums, such as the exhibition at the Galeries Nationales du Grand Palais in 2006, a major retrospective exhibition at the Musée d'Art Contemporain in Lyon ▲

羅伯．貢巴斯作品市場指數 Price index of Robert Combas

expensive painting materials, he would paint on cardboard boxes, desks, tables or bedsheets. He even completed his first Mickey Mouse painting using a notebook discarded by a classmate. He would even draw directly on the inside pages of magazines – all of his unusual and creative painting experiences would soon become the nourishment for his blossoming career.

Support from Legendary Art Dealer Leo Castelli In 1980, Combas held his very first solo exhibition at Galerie Errata in Montpellier. Later, he chose to move to Paris after accompanying his girlfriend Ketty Brindel in the filming of La Bande du Rex and experienced the wonder of Paris. Moving from Southern France to the upscale Paris, he became a foreigner, though the characteristics of a southerner quickly helped him to become assimilated as he created a borderless painting style. The 1980s was the era when the artistic potential of Combas dazzled the world. Very quickly, he received invitations to participate in exhibitions held at Dusseldorf, Germany and Amsterdam, the Netherlands. He also went to New York, USA in 1982, when the longestablished Figuration Libre group participated in a joint painting exhibition in the name of the group.

in 2012 and a solo exhibition at the Grimaldi Forum in Monaco in 2016. Combas rose in fame after obtaining the recommendation of several major art collectors, including the late art dealer giant Leo Castelli, Yvon Lambert (his agent since 1982) and Laurent Strouk (his agent from 1997 to the present), as well as the famed Belgium art merchant Guy Pieters, etc. In his more than four decades of career as an artist, he has held several dozen solo exhibitions. His artworks have also become prized collections at various locations, including the Centre Pompidou in Paris, Fondation Cartier pour l'Art contemporain in Paris, Stedelijk Museum Amsterdam, Collection Lambert in Avignon, and Yung Tu Museum of Art in Tainan.

"Mon Rock, c'est de la peinture. / My Rock is Painting!" Composing a Melody of Life with Art Combas once said: "My painting is rock n' roll music, the search for Feeling. The Feeling is rhythm, it is the mad drummer in the jungle and voodoo dances, it is the Rolling Stones who imitated the old songs of black bluesmen and created a new music without knowing it. For me, it's the same with painting, feeling the rhythm of calligraphy on Chinese, Arabic, and Mediterranean painted advertisements." The creative styles of Combas may be divided into several phases in time. The first phase from 1977 to 1983 was The Art Academy period, and

the first years in Paris. His favorite works of heroes and cartoons were painted in a nostalgic graffiti style of rough brushstrokes, creating works

Combas achieved a personal milestone in 1983 as his artworks

featuring triangle people, Mickey Mouse, and massacres. A borderless

became actively sought after by collectors. He had established his unique

painting language had emerged from the giant cultural melting pot of

charm with a plump painting style, complex structure, and profound

Southern France, becoming the origin of Figuration Libre.

significance. Legendary art dealer Leo Castelli (1907-1999), who had sparked the careers of countless A-list artists, invited Combas to hold solo exhibitions at his New York gallery in 1983 and 1986.

The second phase from 1984 to 1988 was The Sophistication and

the realization of Combas' specific style. Works of this period consisted of bountiful color compositions with thick black outlines without any

In December 1984, as mentioned above, Combas participated in the

whitespace. After moving to a new art studio in 1984, Combas grew

Figuration Libre, 5/5, France/USA exhibition held at the Musée d'Art

confident of his style and began adding black outlines on the edge of

Moderne de la Ville de Paris, along with five graffiti artists from the

colors, developing his personal trademark vocabulary. After a visit to the

U.S., including Jean-Michel Basquiat, Crash (John Matos), Keith Haring,

Louvre in 1985, he devoted himself to the study of traditional art history.

Kenny Scharf and Tseng Kwong Chi, as well as four other Figuration

Another of his major specialties was paintings on clothing in 1986. The

Libre artists from France, including Hervé Di Rosa, Rémi Blanchard,

oil painting Le Roi Soleil by Combas in a previous auction at the Ravenel

François Boisrond and Louis Jammes.

was painted on print fabric.

[ ART & INVESTMENT ]

▲

貢巴斯2015年巴黎斯特羅克畫廊個展《在塞特的夏日記憶》現場 View of Robert Combas' solo exhibition"Un été a Sète et dans ma tête" at Strouk Gallery, Paris, 2015, Photo Courtesy of Gallery Strouk

The third phase from 1988 to 1994 was his Literal Spiritual Period ,

The fifth phase was the millennium and several years afterwards, when

when his inspiration came from churches, icons and stained glass, as

he tried photographic annotation, graffiti, and reproduction, such as screen

well as his literary, history and philosophy readings. With black as

printing recreations of the works of Andy Warhol.

the main color tone, he considered this the peak of his research as he explored the mystical style of the subconscious. In 1989, he began to draw in the drip style, with mysterious and interweaving lines or circles occupying large areas of the canvas. He also became strongly interested in alchemy and classical paintings. The Persian Romances painting, a lot from the Ravenel 2021 spring auction SELECT session, featuring the splendor of a Persian style with mysterious references was painted during this period. The fourth phase from 1994 to 2000 was the period of Evolution . After going through several style transformations, he had changed from never finishing his works, to recreating his draft works. He also attempted creative works in three-dimensional forms, music composition, and poetry.

The sixth phase was The Academic Tattoos of 2006 . More than a decade ago, Combas had drawn lines on the old works of unknown academy students. As the tattoo culture regained popularity, Combas began to apply the style in his works with high chroma fluorescent collage of colors and light, integrating a multitude of art forms to imbue new ideas into art. In the 21st century, Combas adopted even more media into his artworks. For example, he attempted large-scale paintings with medieval themes in 2006, returning to his favorite classical Baroque style. In addition to photography, he also completed 40 works of music and videos after returning to Paris in 2010, after meeting and collaborating with musician Lucas Mancione. His works of the later period featured gentle and soft colors, instead of the fiery colors used in his youth.

Exotic Avant-Garde Graffiti Works Deserve Much Higher Valuation With innate talents, intuitive creativity, delicate observation and memories, the boundless imagination of Combas generated a vast number of works. Combas has a straightforward personality. He painted in his diary, and his art has reflected the spirit of the contemporary era. In his youth, at his second hometown of Sète in the 1970s, he frequented bars and hung out with bands. At the time, he dressed in fancy outfits, black leather and fur coats, while sporting a head of punk style red curls. His life in Southern France was quite colorful, as he preferred violence and smoking, and considered himself a lady's man. After moving to Paris, his visits to Marais and the 18th arrondissement reminded him of Sète. He would disguise himself as an Arab, or an African soul musician, just like a punk hero. For many years, he dated his student with whom he shared interests in comics and rock music. After the two began to drift, they finally separated in 1987. In the same year at a party hosted by an art dealer Yvon Lambert, he met dancer Geneviève Boteilla, who became his lifelong muse, partner, and one of the many models in his works. Love and passion have always had a significant presence in Combas' art. At least four lovers have been featured in his paintings, including Ketty (1977-1987), Maïté (1987), Sophie (1995-2002), and the persistent Geneviève (1987 to present). They have accompanied him in different stages of life and became partners in his creative works. French artists seem to have an unrestrained attitude about romance. After all, Picasso's lovers also helped him achieve a level of artistic magnificence.

"For me, a canvas can be influenced by naïve African advertising agents, by an illustration in a primary schoolbook, by a dash of Picasso or Miró, or again by drawings like comics, plus phony Arabic script, raw painting, very Dubuffet or Cobra. Like Jules Verne, without leaving my room, I've been to Timbuktu.'' － Robert Combas After graduating from the academy, Combas became a professional artist, and continued with his love for rock n' roll. For a long time, his works have been popular with numerous collectors in Europe and the U.S., as well as collectors in Taiwan and South Korea in the Asia region. In 2017, his oil painting Le Roi Soleil sold for NT$6.48 million (US$214,488) at Ravenel Spring auction, setting the highest auction price for his works in the world at the time. Both the original collector and the new buyer were Taiwanese. There were also overseas bidders who participated in the auction over the phone.

◀

貢巴斯2013年巴黎斯特羅克畫廊個展《色彩第一》現場 View of Robert Combas' solo exhibition"La couleur c'est au 1er" at Strouk Gallery, Paris, 2013, Photo Courtesy of Gallery Strouk

▶

2015年貢巴斯《畫筆的賦格》個展海報 Post of exhibition "La fougue du pinceau, 2015"

[ ART & INVESTMENT ]

This record delivered quite a surprise to the European art market. Artprice also responded with a special article introducing the news (Artprice: The Art Market Confirms Robert Combas as One of France's

Major Living Artists ). Combas also set the record four times subsequently in 2018 and 2019. The latest Combas auction record was US$353,445 or 319,000 euros (about NT$10 million) for his 1986 painting titled A Pet Hit Parade sold at an auction in Paris in December 2019. In contrast to other artists of the same generation and similar talents, the fortune of Robert Combas has not been the same. For example, American painter George Condo (born in 1957), whose style has been compared to Picasso, has dominated the art market recently. In 2020, Condo set an incredible high record of US$6.86 million (HK$53.15 million) at an auction in Hong Kong. German Neo Expressionist painter Baselitz also set a record of US$9.12 million at a recent auction. New York graffiti artist Keith Haring, who has inspired and been inspired by Combas, also set a record as high as US$6.5 million. As the valuation of French art masters gradually catch up in the market, there is a lot of room for imagination in the international auction market of the future, especially for the following artists recommended by Art and Investment columns: Bernard Buffet, the super artist who insisted on the art of Expressionism, Georges Mathieu, the father of lyrical abstract art, as well as Robert Combas, the Figuration Libre graffiti master with an intense individual style of abundant paintings. 25

羅伯．貢巴斯作品二十大拍賣成交排行 1

寵物大遊行 A pet hit parade

犧牲 Hécatombe

佐佐之戰 La bagarre à Zozo

攻佔巴士底獄 La Prise de la Bastille

太陽王 Le Roi Soleil

1986 Acrylic on canvas 227.5 x 180.5 cm

1992 Acrylic on canvas 213.5 x 297 cm

1986 Acrylic on canvas 130 x 262 cm

c.1989 Acrylic on canvas 205 x 250 cm

1987 Acrylic on printed fabric 218 x 134 cm

預估價 Estimate

€70,000~90,000

€90,000~150,000

€70,000~90,000

€50,000~70,000

TW$3,400,000~5,500,000

成交價 Sold at

US$219,170 €187,500

US$214,488 TW$6,480,000

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Dec 04, 2019

拍賣日期 Auction Date 巴黎科奈特．德．聖許荷拍賣 Cornette de Saint Cyr Paris Apr 09, 2019

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Jun 04, 2018

拍賣日期 Auction Date 巴黎蒂埃里．德斯貝尼特拍賣 Thierry Desbenoit Paris Jun 04, 2018

拍賣日期 Auction Date 台北羅芙奧 Ravenel Taipei Jun 03, 2017

過橋就行了 Il suffit de passer le pont Acrylic on canvas

叢林及其神秘 La jungle et ses mystérieux

五條腿的狗 Le chien à cinq pattes

受刑者馬車 La charrette des Condamnés

阿曼多人魚 Armando l'homme sirène

211 x 257 cm

1985 Acrylic on canvas 210 x 201.5 cm

1987 Acrylic on canvas 202 x 269 cm

c.1979 Acrylic on canvas 205 x 250 cm

1986 Acrylic on canvas 199.5 x 247 cm

預估價 Estimate

€100,000~150,000

€50,000~70,000

€60,000~80,000

成交價 Sold at

US$189,947 €162,500

US$187,248 €169,000

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's Paris Mar 19, 2019

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's Paris Jun 06, 2019

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Jun 05, 2018

拍賣日期 Auction Date 巴黎蒂埃里．德斯貝尼特拍賣 Thierry Desbenoit Paris Jun 04, 2018

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Dec 04, 2019

US$353,445 €319,000

US$212,413 €187,500

US$303,743 €269,400

US$211,840 €187,500

US$220,338 €188,500

US$190,526 €162,500

成交價 Sold at

[ ART & INVESTMENT ]

TOP

TOP 20 MOST EXPENSIVE PAINTINGS OF ROBERT COMBAS EVER SOLD AT AUCTION

製表／吳彣薇 Vivian Wu （Update 2021.05.12; Source: Artprice.com, Artcurial, Cornette de Saint Cyr, Thierry Desbenoit, Ravenel, Sotheby's, Digard Auction, Versailles Encheres）

吉普賽女郎愛上軍官 La gitane amoureuse d'un certain godillot

騎士之戰 Bataille chevaleresque

瑪莉亞大街上的四個絨毛玩具 Les 4 peluches de l'Ave Maria

馬恩河馬車 Les taxis de la Marne

拿破崙 Noléon

1988 Acrylic on canvas 209 x 214 cm

1987 Acrylic on canvas 211.5 x 124 cm

1988 Acrylic on canvas 266.5 x 159.5 cm

2003 Acrylic on canvas 213 x 338 cm

1987 Acrylic on canvas 200 x 243 cm

預估價 Estimate

€130,000~180,000

€120,000~180,000

€35,000~45,000

€120,000~180,000

€80,000~120,000

成交價 Sold at

US$184,529 €162,500

US$181,209 €162,500

成交價 Sold at

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Dec 03, 2018

拍賣日期 Auction Date 巴黎科奈特．德．聖許荷拍賣 Cornette de Saint Cyr Paris Oct 22, 2019

拍賣日期 Auction Date 巴黎科奈特．德．聖許荷拍賣 Cornette de Saint Cyr Paris Apr 04, 2012

拍賣日期 Auction Date 巴黎艾德 Artcurial Paris Dec 03, 2019

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's Paris Dec 06, 2017

路易十四 Louis xiv

晚安先生女士們 Bonchoir mechieu, fauchoir mesdames

犧牲 Hécatombe

鋼琴家 Le Pianiste

1992 Acrylic on canvas 214 x 295 cm

1987 Acrylic on canvas 162 x 129.5 cm

保拉利茲．德德．巴比利塞的樂隊 La bande à Paularizé Dédé Babilisse

1985 Acrylic on canvas 218 x 165 cm

1984 Acrylic on canvas 205 x 196 cm

US$176,516 €132,500

US$173,000 €156,000

US$169,575 €143,750

2014 Mixed media on canvas 235 x 180 cm

預估價 Estimate

€80,000~120,000

€40,000~60,000

€100,000~120,000

£40,000~60,000

€50,000~70,000

成交價 Sold at

拍賣日期 Auction Date 巴黎科奈特．德．聖許荷拍賣 Cornette de Saint Cyr Paris Mar 28, 2013

拍賣日期 Auction Date 巴黎Digard拍賣 Digard Auction Paris Oct 21, 2017

拍賣日期 Auction Date 凡爾賽拍賣 Versailles Encheres Paris Jul 03, 2011

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's London Mar 06, 2019

拍賣日期 Auction Date 巴黎蘇富比 Sotheby's Paris Jun 06, 2019

US$166,621 €130,000

US$165,410 €140,400

US$162,050 €111,528

US$156,272 £118,750

US$155,348 €137,500

HOW TO ENJOY WHISKY? STRAIGHT UP, ON THE ROCKS, OR MIZUWARI?

Text、Photo / 唐維怡 Eva Tang

喝

酒

不

開

車

[ WINE ]

週四晚上十點多，好友 T 突然打來，說是她再也不跟 Y 一起去酒吧了。「你知道嗎 ? 她竟然當著大家的面說我不懂喝威士忌 !」 T 激動的在話筒的另一端叨念著。「妳做了什麼 ?」把手機拿遠了些，我問。「Bartender 問我要怎麼喝的時候，我說加冰塊 ! 加冰塊不行嗎 ? 就她純飲高尚 ! 快幫我評評理 !」威士忌確實有著各式各樣的喝法，孰優孰劣，且讓我們一起來評評理。

享受純粹的原味純飲，顧名思義就是單純飲用。威士忌源自於天候寒冷的蘇格蘭與愛爾蘭，當地人喝酒極少加冰塊，因此直接喝，最能感受到酒廠想要帶給消費者的風味。不過即便是純飲，也會因為溫度的不同，有著不一樣的表現：最簡單的純飲便是依著室溫，直接將威士忌從酒瓶中倒入杯中享用，這個方法我們稱之為「Neat」。如果想要稍微降低一些溫度，也可以選擇所謂的「Straight Up」，也就是將酒加入冰塊攪拌後，再濾掉冰塊的喝法，稍稍降低的溫度會讓酒精的刺激感隨之降低。還有一種方式，稱之為凍飲「Frozen」，和近年來流行的高粱凍飲一般。將威士忌整瓶放入冰凍庫中，由於酒精凝固點遠低於水，酒液的稜角被低溫修飾，口感變得滑順而濃稠。當冰涼的酒液順著口腔流入喉間，由於溫度的升高，酒精伴隨著香氣會以一種燃盡一生的火熱方式一股腦兒綻放於胸口，帶來與直接純飲全然不同的體驗。

加冰塊村上春樹式的琥珀色小漩渦既然知道了降溫可以柔化入口時的刺激感，加冰塊當然也會有相同的效果。唯獨一般飲料我們會選擇加小顆冰塊，喝威士忌的時候，卻通常會選擇大顆的冰塊，減緩冰塊融化的速度，則既可在前半段享受到降溫後純飲的直爽，也可以在中後段冰塊開始融化時享受到稍加稀釋的柔順，這種喝法我們稱之為「On the Rocks」。

安

全

有

保

障

實際上關於如何加冰塊、加怎麼樣的冰塊，也是有著許多學問的。

就跟加什麼冰一樣，有些人認為一份的威士忌加上兩分的水是最

文學界中與威士忌有著緊密關係的村上春樹，曾用一段文字描述了「On

恰當的水割，但不同地區、不同酒吧對於水該加多少有著不同的見解，

the Rocks」的奧妙：「光是冰塊的分配方法這一點，就足以影響 On

1:2.5、1:3 都是常見的比例。

the Rocks 的品味和味道。大塊的冰和小塊的冰融化情況不相同。如果只使用大塊冰，硬梆梆地不美觀；但是反過來小塊冰太多的話，又會馬上變得淡而無味。必須將大中小的冰塊巧妙搭配，然後才將威士忌注入。這樣威士忌才能夠流暢地在玻璃杯裡畫出琥珀色的小漩渦。只不

既然可以加一般的水，當然也可以加帶著氣泡的氣泡水。在杯中裝滿冰塊，加入威士忌後再加滿蘇打水這種喝法我們稱之為「Highball」。將這種喝法發揚光大的，和水割一樣也是日本人，事實上，這種喝法受到全世界的喜愛，成了酒吧中最基本的調酒品項之一。

過，要到達這種境界必須耗費相當長的歲月……。」

怎麼喝 ? 自己開心最重要

加水喝不僅僅是稀釋那麼簡單

是了，加冰也好、加水也好、純飲也好，怎麼喝沒有孰優孰劣之分，只可以冰凍喝、可以加冰喝，當然也可以加水來喝。

要你覺得好喝，就是最好的喝法 !

加水飲用會降低酒精濃度，讓口感不那麼嗆辣，同時又能包覆住酒精，讓香氣得以釋放，許多國際烈酒大賽的評審也都曾分享他們會在杯

「我就說威士忌可以加冰塊喝嘛 !!!」T 驕傲地說。我笑了笑，闔上手上的《1Q84》，挑瓶威士忌，調了杯 Highball，為

中加入數滴的水，讓一款威士忌能在最短的時間內完全綻放。而談到加水喝，最有名的就是日本人獨特的「水割 (Mizuwari)」喝

今夜的自己點綴以一抹微醺。

法。水割的出現源自於日本口感偏清淡的飲食文化，為了能夠佐餐，他們會在杯中加入比單純品飲威士忌時更多的水，大幅降低酒精濃度，也讓口感更為溫和，搭餐時便不會奪去了食材的風采。

喝

酒

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ay night when my clock on a Thursd d It was past ten o' say that she woul ddenly called to g o o d f r i e n d , T, s u . n i a g a Y h t i bar w never go out to a that I didn't know She actually said " Yo u k n o w w h a t ? yone!" T said r e v e f o t n o r f ky in how to drink whis e. n o h p e h t er end of angrily on the oth g the phone a ?" I asked, holdin "What did you do m y e a r. little further from uld like it, and I sked me how I wo "The bartender a really not okay? s e b u c e s!' Are ic said, 'On the rock aight? Come on, r t s t hty to drink i Wa s s h e m o r e m i g !" you be the judge k w h i s k y. L e t ' s ty of ways to drin There are a varie benefits and e h t h g i her to we take a look toget each. disadvantages of

H AV I N G I T S T R A I G H T A N D E N J O Y I N G T H E O R I G I N A L F L AV O R As the name implies, having it "straight"

The easiest way to enjoy a pure drink is to

simply means drinking it directly without

taste it directly at room temperature after pouring

additional adding.

whisky from the wine bottle into the glass. We call

Whisky originated from the cold weather

this the "neat" method.

regions of Scotland and Ireland, where locals

If lower temperatures are preferred, the

seldom drink alcohol with ice. Therefore, having

"straight up" method consists of adding and stirring

a pure drink is the best way to enjoy the flavor the

some ice cubes into the liquor before taking them

distillery originally intended for customers.

out. The slightly lower temperature also reduces

However, even having a pure drink, the liquor would taste differently at different temperatures:

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any burning sensations by the alcohol when consumed.

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Another method called "frozen" is similar to the technique used for the frozen Gaoliang drink, which became popular in recent years. To do it, take a bottle of whisky and put it into the freezer. Since the freezing point of alcohol is lower than water, the edginess of liquor is refined by the lower temperatures, transforming into a smoother and thicker taste. When the ice-cold liquor flows along the mouth into the throat, the temperature rises and the alcohol accompanying the fragrance blooms all of a sudden in the chest in a fiery manner that exhausts the life of the liquor. This method brings an entirely different experience from that of a pure drink.

ADDING ICE CUBES, THE HARUKI MURAKAMI STYLE AMBER SMALL SWIRL Now that you know temperature reduction can soften burning sensations when the liquid enters the mouth, you may achieve the same effect by adding ice cubes. Ordinarily, we would add small ice cubes for other beverages. Nevertheless, large ice cubes are often selected for whisky to slow the speed of ice melting. It's called "on the rocks" when whisky is served this way. One may enjoy a cooler straight-up pure drink in the beginning, as well as the gentler taste in the later stage when the liquor is diluted due to the melting of the ice. Actually, there is a lot of information regarding how and what type of ice cubes to be added. Haruki Murakami, a celebrated literary figure known to have a love for whisky, once wrote a passage about the mystery of "on the rocks": "The single attribute of the distribution of ice cubes is enough to affect the taste and aroma of 'on the rocks'. The melting of a large chunk of ice is quite different from the melting of small ice cubes. If only large ice chunks are used, it looks harsh and ugly. Conversely, if there are too many small ice cubes, the drink soon becomes diluted and tasteless. It's important to mix the large, medium and small ice cubes just right before the whiskey is poured. This way, the whiskey would be able to flow smoothly to create a small amber swirl. However, it would take a very long time to reach such a realm..."

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D R I N K I N G W I T H WAT E R I S NOT AS EASY AS DILUTING You can drink it frozen. You can drink it with ice. So, you can, of course, drink it with water. Adding water will reduce the alcohol concentration so the taste isn't so spicy. Also, water can envelop the alcohol to release its unique aroma. Many judges of international spirits competitions have shared how they would add a few drops of water in the glass to allow whisky to bloom fully in the shortest time frame. Speaking of drinking with water, the most well-known is the "Mizuwari" method unique to Japanese whisky connoisseurs. The Mizuwari or water-cutting method grew out of the preference for subtle taste in the Japanese food culture. To drink it with meals, the Japanese would add even more water than a pure drink of whisky. The method greatly reduces the alcohol concentration and softens the taste, so the drink would not over-shadow the flavor of the food. Just like the art of adding ice, some people believe that the best water-cutting method consists of one part of whisky with two parts water. The ratio varies depending on the region or bar serving the drink, and 1:2.5 or 1:3 are commonly used methods. An alternative to adding plain water is to add sparklinge water. Highball is a method of filling a glass with ice and some whisky before topping it with soda water. Just like the water-cutting method, it has been popularized by the Japanese. In fact, highball is enjoyed by many around the world, becoming one of the most basic mixed-drinks in bars.

HOW WOULD YOU DRINK YOUR GLASS OF WHISKY? AS LONG AS YOU ARE HAPPY! Whether you add ice or water, or just drink it straight, there is no good or bad way to drink whisky. As long as you think it tastes good, that is the best way for you. "That's what I said, I can have whisky with ice", T said proudly. I laughed a little, put down the "1Q84" in my hand. I picked out a bottle of whisky and mixed a glass of Highball, embellishing myself with a touch of tipsy tonight.

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游牧的朗誦者：卜茲作品中的書藝演法 AN EXPLORATION OF RHYTHMIC REPRESENTATION: THE VARIATIONS OF CALLIGRAPHY EXPRESSIONS IN THE WORKS OF PU TZU 「草書是線條語言不對稱的對稱關係，在抽象離合的軌跡中，推衍出心靈圖像的語彙，而其所屬現的高度成就，在於心手相忘，思書相成，並構築出當代性格的個人圖騰。」－卜茲 34

[ CHINESE PAINTINGS ]

◀ 卜茲《無窮游（三聯幅）》水墨紙本 181 x 183 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 280,000 - 400,000 PU Tzu, Calligraphy in Cursive Script (triptych), Ink on paper, 181 x 183 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 9,800 - 14,000

Text / 陳姿穎 Zin Chen

Photo / Ravenel International Art Group

師法自然，陶性情卜茲本名陳宗琛，1959 年出生於台南，字少俊，號卜茲，別署溪心散人。受父親薰陶，自幼研習書法，其後除了師承曹秋圃、陳其銓外，更隨周植夫學詩。卜茲沈浸碑帖名家之中，能臨篆、隸、草各體，對於書法創造的渴求，「狂草書」更成為其作為自我展現藝術實現的媒材，反射強烈的超越可能，其創作核心價值全然地源自於東方哲學思想，源於師從古人，追求「技與道」全然的表現。更透過技的鍛鍊，相映各大書家精神力的純粹性，將其轉化成為自我生命可用的能量，隨著經驗修養不斷不斷的累積，進而積累成為生命底蘊的蒙養，創造出當代時空裡奉行「古典法度」的東方藝術「原創」價值。

書如其人，一字見心一層樓高的紙，一筆一口氣把字由頭寫至尾，有如不用盡力氣便不罷休，渴筆、濕筆，恍若是線條與線條間的一場雄辯，2008 年直到 2009 年，這段時間正巧是卜茲創作巔峰的時期，卜茲將創作的核心轉至到書寫人如何利用空靈去駕馭點線，以完「美」辨證各種文字的意境。下筆偋住呼吸，揮筆的毛流聲、墨流到呼吸，於是乎卜茲的「後設狂草」衝決「碑統書法」的網羅，幫時代找出活路，然而其除了追求書寫方式

生氣勃勃的動態美和氣勢美了。心和手同時頌讀著，跟隨著卜茲「道」中每一字每一字的節奏起伏，字形扭轉在腕中彈跳，輕重似醉舞頓踏，此次一幅《無窮游》以三併呈現，作中滿版的畫面，字在紙幅空間中充斥著強烈的視覺張力，熟練至臻，以致每一筆下筆狂而飛快，墨韻更在每次轉筆間恣意的飛灑開來，時則縱任奔逸，狂亂中現優美之姿；在《草書商丘道中詩》中，以草書取句於王鐸詩；《霜落秋山黃葉春》一作則書於紅箋紙，可觀作中落筆至收筆，轉折行雲流水中偶帶枯筆。

( 二 ) 「四維空間」的表現在超越時間、線條與立體的四維空間中，相當的去詮釋了卜茲作品中的無限延伸，然而不僅僅是速度所能展現時間感，書體及內容真義同樣能橫跨時間，卜茲書藝中，在完整性之外，特創以左右參差排列來達到變化萬端的變化，常以前後數行的小字來尋求通體結構的互動，在《臨古隸書》一作中可見字字筆道飽滿，體勢雍容，波磔平挑；《荔帷》，荔帷二字線條婉曲流暢，旁題小字記，此作曾收錄於 1997 年卜茲出版的《卜茲書法集》中；而自古的語言總是那麼富有詩意、韻律和想像力，即使專業的書論也是如此，《草書墨池飛出北溟魚》作中書李白一句，並題小字莊子《逍遙遊》，也使每幅作品富俱不同的生命特質。

不斷突破之外，卜茲在用紙、筆和墨色方面，也備俱科學試驗的精神。

回到 1997 年卜茲扎句：「書法之道的歸宿是心靈，只有在技巧無

更許是長年打羽球的關係，卜茲手勁之力也較一般人來的強健許多，其

礙、心靈會歸之際，書法才能趨近圓熟。當生命的智慧點燃書寫的技巧，

作中「黑、密、厚、重」的表現及腕力，同樣讓觀者感受其書寫時玲瓏

書法才能自由奔放，變化萬端，隨性前行，無罣無礙。」

剔透溫潤酣暢意境，與內心深沉痛快的自然感受。筆中的拙、醜、直率與自然，都將是他書藝臻於老的必要條件。

( 一 ) 說「意象」書法常以萬千自然之態形容，如懷素草書有如蛇般游移自如，畫間圓轉遒勁且筆意相連形似「奔蛇走虺勢入座，驟雨旋風聲滿堂」，卜茲擅用篆隸行個體運用草書之意趣巧妙變化，獨創別有韻致的個人風格，在一氣呵成的作品中，誇張的節奏與一筆快慢的連貫。從美學切入的角度，如同在聲音和旋律的節奏下，「發聲的位置，下筆的姿勢」，韻律和節奏同樣是書法重要的美學成分。如果沒有韻律節奏，字中亦是缺少

談及卜茲書藝的價值，從開始到現在，一步步都像極苦行僧的步伐，從追尋中不斷去超越，這也是為什麼卜茲作品便如同一條內化於生命的蜿蜒之流，一路奔向於無限，正是作品中獨具的深沉奧密，每當你目不轉睛的看著，隨畫作中行走的痕跡，看著看著便越覺深入，似乎能感受無限存在的面貌與無限深度的美，在作品中一一蛻變為展現時間空間獨特的表演。當代藝術才能產生多元的不同形式與面貌，一件好的作品，必然是回歸於他生命自身的本來表現，展現最純粹性的精神性投射，在卜茲的作品中便能感受到如此純粹，彷若「大音希聲，大象無形。」

"The cursive script is an adjusted linear depiction of the imbalanced. It is an abstract representation to achieve a visual portrayal of the mind, in unity with the hand and the brush, creating a totem of a modern individuality." － Pu Tzu

From old masters to individual expression Pu Tzu was named by birth as Chen Zong-chen, and was born in Tainan in 1959. Under the influence of his father, Pu Tzu started formal practice in calligraphy and literature from teachers Cao Qiu-pu, Chen Qi-quan and Chou Zhi-fu. His extensive exposure to calligraphy, including stone rubbings, seal, clerical and cursive scripts, sculpted his interest in self-expression through cursive strokes. The core ideology of his works stems from the philosophy of the East, to explore the balance between skills and concepts. His skills were further refined by experience and observations, from the representations of old masters to individual expressions, thus creating a unique and modern interpretation of classical Eastern art. Calligraphy as a unique representation A three-meter work on paper was created in continuous strokes with tremendous effort. It is a dialogue between wet and dried strokes. In the peak of his career, in 2008-2009, Pu Tzu managed to elevate his writings to a spiritual expression with an astounding aesthetic level. As the tip of the brush sets on the paper, ink flows along with the brush. In this process, Pu Tzu created a breakthrough of cursive expression in the manner of rubbings. Hence Pu found a modern expression of cursive script. He also explored possibilities from scientific experiments. Through the years of playing badminton, Pu Tzu had strong hands to depict variations of strokes through his wrist power in sync with the mind. Such natural, sturdy and authentic representation is the key feature of his works. (1) Representation of the mind Calligraphy has multifarious forms of representation, from the cursive strokes of Huaisu to Pu Tzu's unique interpretation of seal ▲

卜茲《荔帷》1993 水墨紙本 57 x 19 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 30,000 - 60,000

and clerical scripts applied on cursive script. Pu's works play with the

PU Tzu, Calligraphy, 1993, Ink on paper, 57 x 19 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 1,100 - 2,100

on the paper. Such tempo and rhythm are crucial aesthetic elements as

tempo and movement of the brush, from the point where the brush sets they stipulate the movement of the strokes. The synchronization of the

[ CHINESE PAINTINGS ]

hand and the mind follows every tempo of strokes in a character, forming a joyous jig. Calligraphy in Cursive Script is a triptych, packed with words on the panels. Such strong visual impact is accentuated by the skillful and swift depiction of the brush in a lyrical expression. Poem in Cursive Script was derived from a

▼

卜茲《草書商丘道中詩》水墨紙本立軸 139 x 67.5 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 50,000 - 100,000 PU Tzu, Poem in Cursive Script, Ink on paper, scroll, 139 x 67.5 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 1,800 - 3,500

poem by Wang Duo. Calligraphy in Cursive Script was completed on red paper. Smooth and fluid strokes could be observed with a balance of dried brush from the start to finish. (2) Four-dimensional representation A four-dimensional representation of time in an artwork is expressed through the speed of brush, the form of character and its implied meaning. In Pu Tzu's works, the idea of completeness and variations are depicted through a neat array of characters followed by its continuation of words in smaller fonts. Such a structure is demonstrated in Calligraphy in Clerical Script , featuring squared and balanced characters. The curvaceous and fluid characters in

Calligraphy contrast with the small inscription on the side. This work was illustrated in "Exhibition of Pu Tzu and Chen Yung-mo", published by Pu Tzu in 1997. A language has been a romantic, rhythmic and imaginative representation. The same applies to calligraphy. Calligraphy in Cursive Script depicts a poem by Li Bai, inscribed with a poem by Chuang Tzu, which enriches the work with an additional philosophy and meaning. Pu Tzu once said in 1997 that, "Calligraphy leads to the state of mind. It is only with flawless techniques that are in sync with the mind, can calligraphy reach a spiritual level. As spiritual enlightenment incorporates with writing techniques, calligraphy elevates into an elusive and free spirited expression of the mind." From his early exploration of calligraphy, Pu Tzu went through a gradual transformation towards a unique expression in his works. Such exploration allows his works to gleam in a vibrant form. As the eye traces the strokes of the work, the viewer explores infinite variations of forms and depth of beauty, consequently, a demonstration of time and space. Such variations form an essence of modern calligraphy, an expression of individuality and the purest form of spirituality. Hence, such expression becomes the ultimate representation of sound and aesthetics.

詠玉之美：歷史的對話與美的擁抱蔣勳：「美是歷史的加法，是要累積的。」

THE BEAUTY OF JADE: AN INTIMATE CONVERSATION WITH THE PAST AND THE BEAUTY OF NATURE CHIANG HSUN: "AESTHETICS IS ENHANCED BY AN ACCUMULATION OF HISTORICAL RECOLLECTIONS."

Text / 周媛玲 Connie Chau

Photo / Ravenel International Art Group

中華文化向來賦予玉石一個獨特高尚的定義，根據《說

卻永久不滅。「尚象製器」的古人相信晶瑩剔透的玉是協助

文解字》，「石之美。」玉是大自然裡眾多石頭中最具藝

溝通的物品，他們相信玉器能感應神祇祖先的法力，吸收古

術欣賞力的代表，早期在黑龍江支流烏蘇里江濱的小南山文

人的智慧。華東沿海文化出現了動物精靈形狀的玉飾品，包

化，我們的祖先發現一塊璞雅的美石，雕刻成環、璧、管、

括龍、虎、熊、鳥、蟲、魚等。華西齊家文化卻出現天體的

珠，隨後演變成工具及配飾。溫潤的本質備受世代的推崇，

崇拜，圓璧方琮代表「天圓地方」（商周白玉琮；戰國 / 漢

「瑞玉」帶有宗教吉祥的象徵，在倡導教化的古文明社會中，

蒲紋玉璧），中間的圓孔象徵著訊息的傳達，一方面培育古

(1)

它代表五德「仁、義、智、勇、潔」。無論是身份象徵、宗教物品或學術品味的代表，玉石陪伴著中華文化超過七千年的歷史。

山川孕育古文化古玉深入中華文化的每一個環節。玉刀、斧等曾為刃器，後於四千年前被青銅器取代。然而，玉器在中華文化的地位

文明的宗教信仰，另一方面為帶有吉祥、安穩的作用。青銅器的發現並無減少古人對玉的寵愛。早期被當作石斧的瑗（文化期白玉凸齒瑗）逐漸演變成臂飾、玉鐲和玉環（齊家文化青白玉素環）。當古文化步入繁華穩定，社會便開始階層化，而玉製配飾變成身份的象徵。玉劍飾之一的劍珌（漢白玉劍珌）置於劍鞘底端，除了保佑佩劍主人，更於西漢時期成為上流社會的身份象徵。

[ ANTIQUE ]

◀

商周白玉琮長：8.6 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 600,000 - 900,000 AN ARCHAIC WHITE JADE CONG, Shang Dynasty - Zhou Dynasty (CA. BC 1523 - BC 256), L: 8.6 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 21,000 - 31,500

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西周魚形飾（六件一組）長：5.9 cm; 7.3 cm; 7.3 cm; 4.6 cm; 8.8 cm; 8.3 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 90,000 - 180,000 ARCHAIC FISH-SHAPED PENDANTS (A SET OF SIX), Western Zhou Dynasty (CA. BC 1027-BC 771) L: 5.9 cm; 7.3 cm; 7.3 cm; 4.6 cm; 8.8 cm; 8.3 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 3,200 - 6,300

(1)

據《說文解字》，玉「有五德：潤澤以溫，仁之方也；理自外，可以知中，義之方也；其聲舒揚，尃以遠聞，智之方也；不橈而折，勇之方也；銳廉而不技，絜之方也。」其溫潤的顏色象徵「仁」，清晰的紋路象徵「義」，響亮的聲音象徵「智」，堅硬的質地象徵「勇」，銳利的斷口象徵純「潔」。

雕刻成不同形狀的「瑞玉」龍、魚形玉珮（西周魚形飾（六

常理居然是美談。」乾隆皇帝欣賞著一塊良渚素璧（現藏北京故

件一組）；戰國龍形玉珮（三件一組））或龍形觿（西漢白玉

宮博物院）的同時，思索古人如何以玉平衡社會階層秩序，銘記

龍形觿）鑿上圓孔細洞被串聯成為配飾，或縫綴在衣裳成為「寶

漢人文化傳承的道德故事。鑑賞古玉成為與歷史的單獨對話，也

玉衣」。《史記》記載「紂走，反入登於鹿台之上，蒙衣其殊玉，

是對文化的崇敬。

自燔於火而死。」當中敘述商紂王臨終自盡時，所披上的正是寶玉衣，在生命的最後一刻都要保持尊貴的帝王形象，從此可知縫上玉石的衣裳在古代帝王貴族眼裡是多麼的重要。

藝術擁抱古歷史歷代最有名的收藏家清乾隆皇帝對古玉情有獨鍾，當時宮廷收納的古玉收藏相當豐富，並賦御體詩讚美古玉之美，思索古人的智慧。《御製詩三集》卷 79 作於乾隆 44 年（1779 年）寫道：「古色千年穆且沈，肉徑五寸好分三。琢如不限蒲兮谷，執者誰

古人向來對玉石的愛戴非常深厚，讓古玉能陪伴著文化的成長，見證著歷史的傳承。當代作家蔣勳曾說：「美是歷史的加法，是要累積的。」身為古文明的中華文化，在幾千年的時間為溫潤的玉石賦予歷史的美感。眼前的古玉，所刻的紋路是古文明的智慧，敲痕是歷史的印記，古玉記載著中華文化悠遠的歷史。手握著溫潤的古玉，觸摸傳統工藝的智慧，感受歷代貴族的光榮。隨著時代的變遷，懷古成為一種藝術體驗，用心感受古玉，享受被歷史包圍的瞬間，沉醉於文化滋養的藝術生活。

知子與男。何代火炎崑嶠逮，猶餘霞起赤城含。朱公疑獄分厚薄，

Jades are sought after objects in the Chinese culture.

thus large discs bi and cong were carved. Their circular form

They are "beauty of the stones'', as defined in Shuowen Jiezi,

symbolized the sky, while their rectangular shape symbolized

an ancient Chinese dictionary. Early in the civilization of

the land. The circular opening at the center facilitated

Heilongjiang, our ancestors found pieces of jade and carved

ceremonial rituals, which brought religious meanings and

them as tools and accessories. Since then, jades have become

comfort to the ancient civilizations.

auspicious objects with both religious and enlightenment

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purposes. They are representations of status, religion and noble characters for more than 7000 years.

Nurturing a Culture with Jades Archaic jades are deep rooted in the Chinese civilization. Early use of stone axes might have been replaced by bronzes, however jades remain to take a pivotal role in the Chinese

U n d e r t h e p r o l i f e r a t i o n o f b r o n z e s , t h e a ff e c t i o n towards jade did not relinquish. Early forms of axes became fashionable accessories such as discs and jade rings . As the civilization burgeoned, hierarchical society emerged and jade accessories become a symbol of status. Scabbard chape were fitted on staggers or swords as a symbol of protection and status, most prevalent in the Western Han period.

culture. Translucent jades were believed to have transcendent

Auspicious jade were carved in openwork, in the form

powers to communicate with ancestors and spirits. Animal-

of fish and dragon. According to the Records of the Grand

shaped jade accessories of dragons, tigers, bears, birds, insects

Historian, King Zhou of Shang put on his clothes with jade

and fish were discovered along the coasts of Eastern China. As

ornaments before ending his life in fire. This demonstrates the

for Western China, the Qijia Culture worshipped the cosmos,

strong association of jade with dignity of the ancient nobles.

[ ANTIQUE ]

◀

AN ARCHAIC WHITE JADE ORNAMENT, XI, Western Han Dynasty (CA. BC 206 - AD 9), L: 11.5 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 3,200 - 6,300

Embracing History through Jade Connoisseurship Throughout history, the mightiest collector Emperor Qianlong

▲

of Qing adored archaic jades. The Qing court kept a vast collection and detailed records of imperial poems praising archaic jades. One

（左圖）戰國/漢蒲紋璧直徑：8.5 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 90,000 - 180,000 A JADE DISC, BI Warring States Period - Han Dynasty (CA. BC 475 - AD 220), D: 8.5 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 3,200 - 6,300

of them was a commentary made by the Emperor while appreciating the object. It states his admiration for the role of jade in stabilizing society through status, and in enlightening the public through a Han moral story. Jade connoisseurship becomes a personal experience with the Past and an admiration towards a culture.

西漢白玉龍形觿長：11.5 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 90,000 - 180,000

▲

Archaic jade was profoundly attached to the Chinese civilization

（右圖）文化期白玉凸齒瑗直徑：8 cm 羅芙奧台北 2021春季拍賣會「翰墨丹青－中國書畫及古文物」專場預估價台幣 120,000 - 220,000 AN ARCHAIC WHITE JADE DISC, YUAN, Neolithic Period (CA. BC 6000 - BC 1500), D: 8 cm Ravenel Spring Auction 2021 Refined Brushwork: Fine Chinese Paintings and Works of Art Estimate: USD 4,200 - 7,700

and history. Contemporary author Chiang Hsun once mentioned that aesthetics is enhanced by an accumulation of historical recollections. Every incision marks the intelligence of an ancient civilization; every mindless imperfection is a mark of history. Their touch is softened by excellent craftsmanship; Their translucent surface shines

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in their ancient pride and glory. This makes the experience of jade

five qualities. Its translucent quality represents gentleness; its clear markings

appreciation comparable to an enlightening journey to the past.

As stated in Shuowen Jiezi, an ancient Chinese dictionary, jade possesses

represent righteousness; its clear sound represents wisdom; its hard texture represents bravery; its sharp edge represents purity.

WITNESS THE GREEN FLAME THROUGH TIME REVISIT THE ETERNAL SHINE IN MUZO EMERALD 見證時代的碧綠之焰－重拾木佐祖母綠的亙古星光 Text / 劉允華

Photo / Ravenel International Art Group

[ LUXURY ]

▶ A COLOMBIAN EMERALD AND DIAMOND RING, from Muzo no indications of clarity modification. 哥倫比亞祖母綠配鑽石戒指，MUZO礦區，無浸油 ▼ A COLOMBIAN EMERALD AND PINK DIAMOND RING, from Muzo mine with no indications of clarity modification. 哥倫比亞祖母綠配粉紅色鑽石戒指，無浸油

紀元 1544 年，西班牙遠征軍在南美洲西部發現了豐富的礦脈。他們

and refurbished by international firm MTC. The same mine, though

循著寶石的軌跡，發現了已由原住民開採數百年的綠色寶石礦坑，並以

modernized, keeps produce the extremely rare gems as the beginning of its

當時人稱為「祖母綠部落」的 Muzo 命名。時至今日，數度易手，直到

time, and the Muzo Emerald returns to its original brilliance. Nowadays,

2016 年，由跨國礦業 MTC 正式取得所有權並改善製程之後，經過現代

the name of Muzo Emerald has become the unmistakable mark of

化裝修的，依舊是同一個礦坑，源源不絕地出產是所罕見的珍貴寶石，

excellence in the global gem market.

木佐祖母綠才得以回復初始的熠熠光芒。木佐祖母綠之名，如今已是世界寶石市場上不可忽視的珍品銘記。

A gem as rare as this would not be ignored by the royal collections. According to the history, such gems include the 3000+ karat Unguentarium,

如此珍稀的寶石，自然是皇家收藏的常客。在史料記載中，如哈布

acquired by the house of Habsburg in the 17th century; the 218 karats

斯堡王朝在 17 世紀取得，超過 3000 克拉的 Unguentarium；同時期蒙兀

Mugal Emerald possessed around the same era by the Mughal Empire;

兒皇室持有，與帝國同名的 218 克拉 Mughal 祖母綠；以及 19 世紀由巴

and the 1384 karat Duke of Devonshire Emerald, gifted by the Emperor of

西皇帝皮耶一世致贈英國貴族，重達 1384 克拉的德文郡公爵祖母綠等都

Brazil Pierre 1st to the Duke in the 19th century... etc. On the other hand,

是顯例。另一方面，在全球寶石市場上，祖母綠也始終是買家樂於收藏

in the global market of gems, emeralds are always a welcome addition

的對象。PIAT 機構根據 15 年拍賣資料的報告指出，至 2016 年止，祖母

to the collectors' vaults. A report of 15 years worth of data from PITA

綠的普遍價格每年升值約 10%，而特選品更有每年升值 15% 的亮眼表現。

indicates that the value of emerald was up 10% every year until 2016, and

根據這篇統整所有祖母綠市場表現的報告，高價祖母綠的表現，特別在

the first tier ones can reach 15% per year. In this report consolidating all

2011 年後，與普遍拍賣價格之間有逐步拉開的趨勢。

performance of the emerald market, the high-end emerald even widened

在世界各大產地之間，木佐礦區自古以來便獨樹一幟，頗有傲視群

the gap with the general price after 2011.

雄之意。當地出產的祖母綠質地純粹，幽綠色澤飽和無暇。在市場共認

Among the main production sites, the Muzo mine is unique from its

的鑑色標準中，甚至有著此地高級祖母綠專屬的色度等級「木佐綠」。

opening day. The Muzo emerald is purely green as the ocean and often

而為了保持自身產品的辨識度，木佐礦區廣邀全世界頂尖的切割師，在

flawless. the finest ones typically reaches a price three times higher

必要時使用產業標準油浸處理，每年接受第三方機構監察，藉以成就自

than a top diamond. The market even recognizes the particular nuance

訂的寶石鑑定與溯源證書制度。

standard for this region, named "Muzo Green". In order to maintain the

羅芙奧精品部提醒讀者，在觀察市場動態時，需要特別注意：根據各方報導方向與觀察報告，祖母綠市場的買家正逐漸意識到寶石的來源、製程，並要求更高的品質標準。在這些前提下，近期才除去地區衝突因素的哥倫比亞無油祖母綠，自然會重新奪回市場的目光。而此中頂尖的木佐祖母綠，必然更是不可忽視的投資標的，在展望未來的市場上持續發光。 In 1544, the Conquisitors discovered rich vines in the west part of South America. Following a shiny trail of gems, they arrived at a mine of green gems exploited by the indigenous people from centuries ago. The mine is thus named Muzo, as the tribe that was called "Tribe of emeralds" at the time. After centuries of changing hands, the mine is finally possessed

distinctiveness of its product, the managing company of Muzo mine invites elite cutters from all over the world and applies oiling processes following the industrial standard. They also accept monitoring from a third party, all to keep track of their own verification and certification system. The Ravenal Group would like to remind the readers that, when observing the market trend, as most reports indicate, the buyers are waking to the conscience of the source and the process of the gems, and to request higher quality standards. The Colombia emeralds have recently got rid of the regional conflict effect, which should make them regain the spotlight of the market. The Muzo Emeralds, being the top among those gems, would be an investment target that cannot be ignored, and keep shining through the future. 43

藝

NFT 狂潮來襲《數位藝術品》席捲藝術圈？

Beeple,The First 5000 Days, 2021 CHRISTIE'S IMAGES LTD. [2021]

術

異

數

[ ART ] Text / Eddie

Photo / Art Basel, Christie's, Cheshire Isaacs

一般藝術品拍賣，買家可以拿到一件實體，但是，如果藏家拿到的只是擁有一個數位畫作的「虛擬所有權」而已？而且，你必須心臟夠強，相信可以更高的價錢再將「權利」交易拍賣出去？史無前例的這項經濟活動，是一種由區塊鏈技術（blockchain technology）衍生出來的「非同質化代幣」NFT (Nonfungible token)；這種「新型數位資產」憑藉著比如擁有者、創作真性和無法在 ERC-721 智能合約紀錄上竄改的優勢，為每一件作品創造出獨一無二的「唯一性」，而大大引爆了藝術圈。說穿了，NFT 數位藝術品是販售一種「新權利」的擁有。數據顯示，目前 NFT 總市值約 4.9 億美元，出售作品數超過 17 萬件創歷史新高。這種不同於以往，不必實體接觸的藝術創作及交易，在疫情期間，更加火熱。

▲

Art Basel, 2019

▶

Beeple, The Eirst 5000 pays, 2021 CHRISTIE'S IMAGES LTD. [2021]

NFT 狂潮正掀起一波顛覆「藝術數位化」的革命。新鮮的事物總是吸引目光，國際知名藝術品拍賣所佳士得（Christie's）以 6,900 萬美元（近新台幣 20 億元）售出美國數位藝術家化名 Beeple（本名溫克曼 Mike Winkelmann) 的數位圖檔作品《日復

NFT 加密藝術品。這似乎很荒謬，但 NFT 為藝術品創造了獨一無二的數位「驗證」。換言之，數位藝術作品的「所有權」可以如同加密貨幣般方便的轉移交易，而不再需要傳統、如藝廊之類的第三方機構證書，提供了認証的優勢是勿庸置疑的。

一日：最初的 5000 個日子》（Everydays: The First 5000 Days），果

每一個 NFT 加密藝術品的價值通常是最高出價者設定的。以 NFT

真引發了史上「加密貨幣」和「區塊鏈平台」正在改變世界的浪潮，藝

形式出售作品的藝術家必須與市場簽約，然後在區塊鏈（通常是以太坊

術創作也不例外。現在，任何數位形式的虛擬事物被轉化為 NFT 藝術

區塊鏈）上傳並驗證作品信息，以「鑄造」專屬的唯一數位驗證。藝術

品，而且激起搶購與收藏慾望。換言之，藝術家把作品化為「不可替代

創作登記於區塊鏈上並且「貨幣化」，事實上就是在建立一個透明、可

的代幣」的數位資產，既顛覆了藝術創作的媒材，改變了藝術呈現及存

信賴的藝術資訊平台與藝術市場，因為在區塊上的 NFT 資產具有不可

在的方式，甚至帶來驚人的天價和豐厚的利潤。

分割、不可替代、可被驗證與永久紀錄等特性，彌補藝術作品來源及真

顛覆藝術「價值 VS 價格」

偽。區塊鏈技術解決了藝術買賣交易鑑別藝術品價值的信任。買家透過

由於區塊鏈技術具「不可篡改」特性，一旦交易記錄成了「區塊」，永久無法更改交易。但得標高價購買 NFT 的收藏者其實並沒有獲得作品流通的買斷權，任何網路用戶可以在合法範圍內無限觀賞、複製

NFT 清楚記載的藝術品真實資訊，諸如原作的鑑別方式、作品年代、品相、交易紀錄、交易時間、價格等，包括對藝術家或藝術機構確認數位作品版權收益。NFT 數位藝術透過區塊鏈讓收藏家獲得原版的「擁有權」，買下之後可以在網路或區塊鏈上展出。 45

▲

Art Basel, 2019

▶

Immersive Van Gogh Exhibit San Francisco, 2021

高價的「數位檔案」？網路世代掀起的 NFT 藝術熱潮，也象徵著 Z 世代鑑賞藝術的改變，他

而且雖減去鑑價成本，讓買賣受益，但從技術面和法律上，

們習慣購買線上遊戲的虛擬寶物、投資虛擬貨幣，現在願意購買虛擬藝術品，

NFT 仍有諸多存在問題：「傳統收藏家開始關注 NFT，但沒有興

放在網路上欣賞。「如果你的世界與生活幾乎都在虛擬網路中，那麼花錢買

趣解析網路語言，更遑論接納這概念。」比如，法律層面，現有

虛擬的東西就很平常，」NFT 的出現激起了數位藝術家的創作熱情，畫家、

的版權法規該如何納管這項新技術？藝術家的作品在未經其許可

音樂家，電影製片都在肖想。因為這些在臉書（Facebook）和 Instagram 等

下，就遭到他人竊取複製並以 NFT 的形式出售。其次，藝術家要

社群平台吸引關注和追蹤的創作，尤其是犀利諷刺、街頭風格配色、非主流

有一定資金，並且知道聯繫協助出售加密藝術品的區塊鏈技術機

的畫作，如今都可成為「兌換成現金」的藝術品。

構。此外，環境成本也是首當其衝的大問題；因為，拍賣 NFT 的

「目前知道 NFT 的人可能不只 1%，已經有百分之幾，但顯然還有很大成長空間。」但正當新一代數位藝術家正在緊密地討論 NFT 的發展。技術專家也預見這場區塊鏈革命可能會改變資本主義。

你買的不是藝術品的「所有權」？

耗電量驚人。但無論如何，身處數位化時代，NFT 帶來藝術創作的「無國界」。伴隨著區塊鏈跨境交易，不論對藝術家或藏家來說，藝術創作，鑑賞和收藏的意義都己不可同日而語。區塊鏈技術交易上的便捷性，它對數位資產的推波有其意義，很可能造成未來藝術

不過，NFT 狂熱當下，你買到的充其量只是一種由買方持有的「數位資產」。換個方式來講，NFT 是數位藝術、數位資產「所有權的記錄」，而不是「藝術作品本身的所有權」。 46

交易的改變。但，NFT 熱潮會不會是商業泡沫現象，或隨時可能修正，甚至嘎然而止？一切尚待時間考驗。

[ ART ]

AR 藝術沉浸式擴增實境小辭典何謂 NFT ？ NFT (Non-fungible token) 「非同質化代幣」 NFT 是一種數位資料的「所有權」，將數位資料經過由智能合約編寫的鑄造（Mint）過程後，透過區塊鏈技術（blockchain technology）將「資料結構 (Data structure)」存儲為獨一無二、可永久保存的「數位資產」。數位畫家創作了一個藝術品，並且在區塊鏈平台發行一枚 NFT，甚至在數位資產交易平台上拍賣，競標。藝術創作以代幣 (NFT) 匯給得標者，藏家也以代幣匯給數位資產交易平台，其中含手續費及標購價格，所有資料都記錄在區塊鏈，而且無法篡改，因此確保這張藝術創作的真正價值。唯一差別是將藝術創作發行為一枚不可替換代幣 (NFT)。 NFT 存在於區塊鏈當中的數位加密證明，用於驗證所

Text / 伊森

新冠疫情，實體互動受限，數位化成了熱潮。德國封城，博物館、畫廊被迫關閉，當地藝術家就運用 AR 擴增實境，讓民眾在智慧型手機上看展。不必實體接觸的在疫情期間，更加火熱。但隨著 NFT 聲勢大漲，投資者也擔心，一旦熱錢大量湧入市場，會不會也發生類似虛擬貨幣泡沫的情況。不過可以確定的是，數位藝術正夯，而運用 AR 擴增實境技術，所創作出來的作品，讓民眾就算在疫情期間，也能透過自己的智慧型手機，隨時隨地看展。疫情下，大家已經知道怎麼以 AR 藝術展擴增實境媒介來展示藝術。」因為不只德國，許多歐洲國家受到封城限制影響，使得傳統的博物館和畫廊被迫休館，各大展覽也跟著停辦，如今透過科技，不只能讓民眾繼續接觸藝術，觸及面也更廣，未來則希望能往通俗化的方向發展。會動的梵谷世界「沉浸式」展出

有權與真偽。區塊上詳細加密存儲有關作品的詳細信息，包含創作者署名、交易歷史、歷任所有者等，有助於鑑定這份作品的真偽、原創性和所有權，確保不可能在其他區塊鏈上傳相同圖像的 NFT 副本。 NFT 與比特幣（Bitcoin）、以太幣（Ether）有些類似，但兩者有一個關鍵差異：一枚比特幣可以與另一枚比特幣等價交換（所以是貨幣），然而每一枚 NFT 都是獨一無二的數位標記，不可互相替代交換。

實體的藝術展覽，透過科技線上直播，似乎已經成為新冠疫情下，藝術重要的出路。不少藝廊為了求生，紛紛轉型數位。而在美國舊金山，印象派大師梵谷的展覽，不但結合科技，還納入劇院和動畫元素，要給民眾 360 度無死角的沉浸式體驗！共動用到超過六萬個片格、九千萬畫素，再投影到 14000 立方公尺的場地上。彷彿置身在會動的梵谷世界裡，帶領穿越 1853 年到 1890 年，這位印象派大師的瘋狂世界，：「當你走進去，馬上被巨型的筆觸、影像，和美妙的音樂圍繞，體會，你必須要用心感受。」這種藝術結合科技、劇院和動畫，需要全身心投入的「沉浸式梵谷展」，也為這位印象派大師的創作，注入新的生命。目前德國當局已祭出多個援助方案，支撐藝術家和展場藝廊度過難關，並且紛紛轉型數位，只是要如何改變，一直以來對藝術的觀感與習慣，恐怕還需要時間來摸索與調適。

藝術

走過

的日常

當代和中世紀

這是一趟「後疫情時代」在博物館中的視覺之旅，走向世界各地不同角落，重新思考人類的基本需求，從中世紀食衣住行到試圖喚起與現實世界的關係，重新審視身處的當代文化。 Text / Lan Li

Photo / 克魯尼博物館－國立中世紀博物館 Regards sur la vie quotidienne、

Musée de Cluny－Musée national du Moyen Âge Paris、布朗利河岸博物館

Musée de Cluny x Musée du Quai Branly 48

[ LIFE ]

關於凝視與目光，觀看的角度決定了世界的樣貌。

Musée national du Moyen Âge Musée de Cluny

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日常生活的凝視一窺中世紀生活的不同面貌

〈日常生活的凝視〉(Regards sur la vie

座 13 世紀的古宅是由波旁家族的約翰三世

quotidienne)，聚焦於中世紀的生活物品，策

(Jean III de Bourbon, 1413-1485) 所建，他

展人精選館藏中具有代表性的精彩作品，可

並不像家族中的其他成員一般熱衷於戰爭與

以細分為餐桌藝術、宗教奉獻、身體護理、

王位繼承，而是獻身於宗教，最後成為虔誠

玩具遊戲、測量儀器和寫作閱讀等不同主

的本篤會修士與主教。

題，忠實呈現出中世紀生活的不同面貌。

1456 至 1480 年間約翰三世擔任著名的

這些展品使人重新思考人類的基本需

克魯尼修道院 (Abbaye de Cluny) 院長，他

求，從食衣住行到測量時間與距離，物件背

在任內修建了巴黎的克魯尼宅邸，也就是今

後隱藏著許多令人感到驚訝的事實，也破解

日法國國立中世紀博物館 (Musée national du

了許多關於中世紀生活的錯誤觀念。

Moyen Âge) 的前身。

19 世紀的巴黎在奧斯曼男爵主持的改建

2016 年博物館開始長達五年的改建，全

計畫下，髒亂不堪的中世紀古城蛻變為一座

新的入口已經於 2018 年完工，建築師貝爾納·

現代化都市，卻也抹除了許多古老的城市記

德慕蘭 (Bernard Desmoulin) 以「21 世紀的

憶，如今只能透過文獻與遺址來遙想當年。

博物館」為理念，讓古羅馬浴場遺址與當代

巴黎少數碩果僅存的中世紀建築，絕

建築產生對話。

對會提到克魯尼宅邸 (Hôtel de Cluny)。這

屬於你的目光 2 6 位青年藝術家，重新審視當代社會

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Musée du quai Branly Jacques-Chirac

布朗利河岸博物館擁有全世界最大的攝影收藏之一，總計超

走進狹長的展覽入口通道，首先看到的是喀麥隆藝術家山

過 71000 件作品，館方首次舉辦以影像為主題的當代藝術展，邀

謬· 佛索 (Samuel Fosso) 的〈六六六〉(SIXSIXSIX)，這件作品

請來自 18 個國家的 26 位非西方世界青年藝術家，透過攝影、電

以 666 張拍立得所組成，佛索本人扮演了安吉拉·戴維斯 (Angela

影和裝置思考觀看的方式，並且重新審視我們身處的當代社會。

Davis)、麥爾坎·X (Malcolm X) 和艾梅· 塞澤爾 (Aimé Césaire)

展覽標題〈屬於你的目光與事物間的無限聯繫〉出自德國哲學家奧古斯特·路德維格·胥爾森 (August Ludwig Hülsen, 17651809) 作品中的一句話，非常詩意的點明了展覽主題。這是一趟疫情時代在博物館中的視覺之旅，觀者可以藉此走

等非洲精神人物。越南藝術家黎光頂 (Dinh Q. Lê) 的作品令人印象深刻，他以上千張戰爭流亡者的家庭照片組成一件紀念裝置，充滿歷史與鄉愁的遺緒，同時展現既私密又宏觀的視野。

向世界各地的不同角落，涵蓋了非洲 ( 剛果、喀麥隆、埃及 )、

展覽中有不少擅於田野調查的藝術家，例如馬里奧·加西亞·

亞洲 ( 印度、泰國、越南 )、拉丁美洲 ( 墨西哥、巴西、哥倫比亞 )

托雷斯 (Mario García Torres) 或是薩米· 巴羅基 (Sammy Baloji)

和大洋洲的藝術家。試圖喚起圖像與現實世界的關係，主題涉及

等人，後者追蹤了 1930 年代盧邦巴希 (Lubumbashi) 是殖民地建

個人情感、自我認識、風景和領土的感知，甚至是歷史與政治敘

築的現況，見證了非洲後殖民時代的衰落。

事，並且重新審視了文化挪用的概念。

女

力

來

了

Cindy Sherman à la Fondation Vuitton 自拍藝術女王－辛蒂·雪曼

「我知道相機總是會說謊」辛蒂·雪曼曾如此說道。

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Text、Photo / 李淳淵

辛蒂· 雪曼（Cindy Sherman）可以

說是自拍「圖片世代」（Pictures

Generation）藝術的始祖。1954 年

出生於新澤西州格倫里奇的這位奇女子，以「化裝自拍」的創作手法著稱，對當代藝術與文化領域極具影響力。

Pictures Generation

辛蒂．雪曼絕對是當代最多產的的藝術家之一，她以高識別度的肖像攝影聞名，透過各種刻意營造的場景與精心設計的姿勢，甚至女扮男裝來呈現不同的角色，創造出色彩分明且風格強烈的視覺效果，不僅展現性別及身份模稜兩可的曖昧性，賦予觀者自由詮釋與想像的空間，同時凸顯了女性社會身份與角色的議題，更藉扮裝諷刺媒體對於「美」的種種不合理要求。 1970 年代，辛蒂．雪曼，決定轉向攝影創作，並且自導自演，以自我為主角，結合舞台角色與攝影，奠定她嘲諷意味的攝影風格。Louis Vuitton 基金會匯集 1975 至 2020 年間拍攝的 170 多件、超過 300 幅作品，涵蓋了辛蒂．雪曼的 18 個系列作品，還有許多近期及未公開過的系列。

辛蒂．雪曼持續透過攝影來描繪當代眾生相，她一人分飾多角，鏡頭前千變萬化的女演員，轉身又兼燈光師、佈景設計師，造型和化妝更是不假手他人。 80 年代早期的成名作《無題電影劇照》(Untitled Film Stills) 系列中，透過裝扮化身金髮女郎、時尚名媛、超級名模到美艷美星的辛蒂．雪曼，畫面中充滿了各種關於性別的陳腔濫調，卻帶有濃厚社會批判意識。《歷史肖像》(History Portraits) 系列更是模糊古典藝術與流行文化界線，辛蒂．雪曼諧擬了大師繪畫中的女性人物，打破以男性視覺中心為主的觀看結構，女性的身體遠離了幻想機器的地位。

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受到流行與大眾文化的啟發，辛蒂．雪曼熱衷探索媒體如何影響觀眾，大膽戳破人為操作塑造的夢幻泡影，同時對主流社會對於女性的刻板印象進行反擊和批判。路易威登基金會特地製作大型掛毯，圖畫來自於 Instagram 上表情荒謬可笑的自拍照。這是辛蒂．雪曼擺脫女權主義的強硬，對社群媒體與自拍現象的回覆，如同她大部分的作品一般，毫不留情地戳破假象與謊言。至於「交叉視角」(Crossing Views) 展區，由辛蒂．雪曼挑選 20 多位不同時代的藝術家作品共同展出，試圖讓攝影作品與繪畫、雕塑、多媒體與裝置藝術產生對話。

尋

寶

地

圖

老東西、舊東西，原來都是好東西

Text、Photo / 許育華

在人文薈萃，幾世紀藝術風華的歐洲土地上，承載著豐富的文化、藝術、設計、時裝、工藝、品味 …… 歐洲的老東西、好東西們，從人們家中流入古董市場與二手市集，再重新進入居家或商業空間中；時間流轉，幾代循環，風格演化，交織出收藏的樂趣，人們用物的生活美學。流連跳蚤市集與古董市場，不只是挖寶而已，在這些每個人都可造訪的「寶山」中，你會看見時代的風格，人們的生活品味，和當今重要的環保觀念；不過，最重要的，是挑戰尋寶者的眼光與鑑賞力！

燦爛的時光都留在這兒了

Woody Allen 電影《Midnight in Paris》裡，男主角作家 Gil 與富家女未婚妻 Inez 旅行巴黎，在浪漫花都的行程中，就有 Inez 提著柏金包，加上她的母親和 Gil 三人在巴黎 Marché aux Puces de Saint-Ouen（聖圖安）市集逛街的畫面；這對富裕的母女為新家找幾萬美金的古董家具，而 Gil 則被老唱片所吸引……這段劇情反映的，不只是男女主角性格上的差異，也呈現這個世界上最迷人的古董市集，並存著巴黎的布爾喬亞與波希米亞兩樣風情。分做十四個市場，約莫兩千家店，聖圖安可能是世界上最大的古董市集了！若不是，也一定是最有意思的。它評價兩極，位於巴黎北邊的 Clignancourt，常有人說「那一帶很亂要小心」；的確，從地鐵站出來走向市集，短短十分鐘腳程沿路上並非風光明媚，因為市場極大、分做好幾個區塊，訪客經常會先穿越過一大區販賣廉價紀念品、混雜假貨與舊貨的「跳蚤」市場，要越裡頭走，才會進入真正的古董集散地。巴黎的富裕，過往的燦爛時光，都停留在這裡的美麗古董店了：各種珍奇異寶，有要價幾千、幾萬歐元的藝術品，是「美好年代」（Belle Époque）時期的純正家具；有保存良好的 Chanel 手袋與 Hermes 絲巾與「柏金」；有包浩斯的經典設計，收得比德國還要多且完整；也有舊時貴族打獵留下來的各種動物標本，難得一見。一位買物成精的朋友，領著我來到一間專賣古董行李（Trunk）店裡，舖子雖小，裡頭都是了不起的收藏－ Louis Vuitton、Goyard、Moynat 的老箱子疊成一落，帶著時光的痕跡又發亮，店主人驕傲說：「這些牌子店裡的展示品，都是從我這兒買來的呢。」每口要價超過一萬歐元的箱子，如同百年前的旅行，下一站，可能又旅行到某個精品店裡或倫敦、東京某個風格十足的家中了。聖圖安的大，一天逛不完，各種領域最一流的收藏都在這裡見得到，挑戰人們的鑑賞力與美感，也挑戰荷包，是最生動的民間博物館；得過普立茲獎的美國專欄作家 Art Buchwald 便曾幽默說道：「這裡是個品味齊全的大雜燴，你會找到別人視而不見珍寶，也可能會被偷走錢包。」 59

巴黎

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文青與中產生活的情調

倫敦 60

來到有皇室傳統又有英式搖滾的英國，倫敦著名的 Portobello Road Market（波多貝羅市場）每天都很熱鬧，尤其週六的古董市集，是市民與觀光客都前來閒晃挖寶的悠閒場所。位於西倫敦的 Notting Hill，這是中產階級的質感區域，1999 年因為電影《Notting Hill》聲名大噪，而成倫敦地標。週六一早，沿著 Portobello Road 與 Kensington Park Road 之間的攤位一攤一攤逛，像是進入英倫流行文化的捷徑，著名品牌如符號般，跳躍在尋寶者的眼前，像是：各種年代、樣式的 Wedgwood 瓷器，The Beatles 的老唱片，Burberry 風衣，Liberty 印花布料……還有印有女王肖像的各種紀念品。

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波多貝羅市集老東西五花八門，最值得深入探究的，可以是各種 Burberry 或 DAKS 風衣，甚至偶見 Mackintosh，最是原汁原味；或是英國男仕最愛戴的毛呢帽（Flat Caps），無論復古或嶄新，選擇豐富；在講究餐桌禮儀的國度，那些成套古董銀製餐具與精緻骨瓷，也都是外地少見、只有有「英式下午茶」文化的國家才有的。在全球化光速的這個十年，老倫敦人感嘆今天的波多貝羅，不再像過去那樣滿滿攤位一字排開，擺滿銀器瓷器小玩意，更多的是討好觀光客的紀念品；雖然如此，用外地人的眼睛看來，洋溢文青與中產生活情調的波多貝羅，時不時還是讓人想起《Notting Hill》裡，男主角修葛蘭穿過街頭的那個美好畫面。

Portobello Road Market 61

左派性格、樸實但很性感

柏林

[ LIFE ]

經營復古商店生意的亞洲人，都知道「柏林跳蚤市場」這個公開的秘密－它東西超多，價錢比其他地方低，再加上曾經東德西德的歷史，品項也夠特別；過去十五年間，柏林的跳蚤市們場是全球愛好二手家具者的天堂，無論是要開飯店咖啡館或找電影道具，經常聽到人們到柏林一趟，就「獵」了半個貨櫃的戰績。雖然好東西被大量「搜刮」，柏林依舊是歐洲二手市集最熱鬧的城市，在柏林觀光局的官方網站上，就明列了十來個大型蚤市，更別提社區規模的小市集們；這很大一部份的原因，來自以環保主義聞名世界的德意志生活態度－環保不只是垃圾分類，而是為舊東西找到下一位主人，延續其生命與價值，不任意浪費，是更高層次的環保實踐。若只能選兩個市集，小而精彩的 Arkonaplatz，以及位於 Friedrichshain 的 Boxhagener Platz 絕對是當地人的私房心頭好；尤其比起一旁大名鼎鼎、擠滿年輕人的 Mauerpark，Arkonaplatz 十分柏林品味，物件也更精緻。老的柚木（Teak）櫃子椅子是公認的寶貝，全球流行的文青風格空間裡總少不了這樣一件單品；包浩斯風格名椅如 Thonet 的鋼管椅，玻璃纖維材質的 Eames，或東德 70 年代無名的雞尾酒椅（cocktail chairs）……價錢都比其他城市可親許多：另外，我會推薦睜大眼睛找老的鋁質 Rimowa 行李箱，不為旅行用，而是最好看的裝飾品。至於德國最出名的頂級瓷器 Meissen、日用的 Rosenthal，則有數不盡的選擇。對比巴黎或倫敦，柏林深植骨子裡的樸實、左派性格，反映在這座城市的跳蚤市場裡，物件不夠高貴，時常摻雜莫名其妙舊物，但也夠特別，畢竟，現在哪兒找得到列寧頭像與印有「東德製」的咖啡杯呢？就如柏林前市長 Klaus Wowereit 的名言，「柏林雖窮，但很性感」，柏林蚤市，就是如此。 63

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[ LIFE ]

北歐首都哥本哈根、斯德哥爾摩、赫爾辛基、奧斯陸，都是人口不到百萬的中型城市，若有機會一訪當地跳蚤市場，會強烈感受到，北歐富裕的生活品質，還有他們引以為傲的「斯堪地那維亞設計」美學。以哥本哈根為例，最主要的古董市集是位在市政廳後方的 Frederiksberg，專業賣家與業餘賣家市民共同參與，訪客們能用好價錢，購得丹麥聞名全球的銀器與銀飾，如知名的 Georg Jensen，和著名的 Royal Copenhagen 的手繪瓷器。純正丹麥製造的銀器上，皆刻有匠人的名字與製作年份，之於想尋找特別紀念品的挖寶者，別有意義。又如赫爾辛基，若有機會遇上以設計品為主的 vintage design 市集，那麼，就是真正的進入寶山了。北歐重要的設計經典，如總師 Alvar Aalto 的玻璃藝術品、Marimekko 的老印花織品、Artek 的椅子、 Arne Jacobsen 的沙發……都紀錄著這片土地的講究生活品味，而這些老東西若賣飄洋過海來到日本後，便成為更被欣賞追捧的珍品，寶貴而美麗。為舊東西找到下一位主人，延續生命與價值；環保不是口號，也非標題，而且是用感情活出生活的一種態度。繞著地球走，一趟世界古董市集和跳蚤市場巡禮，大開眼界之餘，實踐資源共享的第一步，一起快樂地「再利用」吧。 65

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CINQSENS, LA PÂTISSERIE DE NICOLAS PACIELLO 巴黎「五感」抓住「甜」心！ Text、Photo / Ian Li

[ LIFE ]

疫情肆虐下，巴黎百年老店 Fauchon 和 Ladurée 相繼宣告破產，沒想到曾經擔任巴黎知名餐廳 Fouquet's 甜點主廚的尼古拉．帕希洛 (Nicolas Paciello) 依然不畏封城困境，選擇在此特殊時期開了個人甜點店。出生於法國東部小鎮奧埃坦 (Œting)，尼古拉．帕希洛早在 12 歲時就已經確立志業：甜點師。先在南錫 (Nancy) 和梅茲 (Metz) 等城市當甜點學徒，20 歲時獲得在巴黎 Fauchon 工作機會。「就像是跳進了一台洗衣機，也像來到競技場，見識到極度嚴謹的奢華，」他在《新觀察家》(L'Obs) 週刊受訪時，這麼形容競爭激烈的巴黎甜點業。在「閃電泡芙之王」克里斯多夫．亞當 (Christophe Adam) 的建議之下，尼古拉．帕希洛進入克里雍大飯店 (Hôtel de Crillon) 擔任副廚，隨後在西瑞爾．利尼亞克 (Cyril Lignac) 和楊．庫佛 (Yann Couvreur) 等知名甜點師身旁擔任助理，讓他打下扎實的技藝與經歷人脈。

2018 年成功進入法國最佳工藝師 (MOF) 決賽，隔年順利成為老牌餐廳 Fouquet's 的甜點主廚，是尼古拉．帕希洛職業生涯的轉捩點，也立馬打開個人知名度。尼古拉．帕希洛終於選在疫情緊繃時期開設第一家屬於自己的甜點店，地點就在巴黎 15 區。值得一提的是，店名 CinqSens「五感」，他希望每次客人造訪都是一個超越感官的體驗。這個概念也完全反映在甜點店裝潢上，木材與金屬結合的裝潢現代而優雅，連色調都與甜點師經常使用的堅果、柑橘、咖啡和巧克力呼應，一旁擺放著大溪地香草莢、西西里開心果和瓜地馬拉可可豆等製作各式各樣甜點的原材料，串連起獨一無二的五感經驗。

[ LIFE ]

情人節的特別款「抓住心」(L'Attrape-Cœur) 非常有趣。這款由蛋糕香草慕斯和杏仁餅乾組成的蛋糕看似普通，但切開後的剖面是一顆粉紅色的愛心，味道帶有濃郁的玫瑰香氣，如此充滿巧思的設計以簡單的手法詮釋出深藏不露的愛意，充滿驚喜。尼古拉．帕希洛的甜點充滿平衡之美，令人魂牽夢縈。沒有譁眾取寵的奇怪造型或口味，一般常見的泡芙、千層派或蘭姆巴巴，感受到一種細緻的美感，令人體會感官最微妙的和諧與愉悅。店內每月固定會推出幾款貼心的蛋糕，還有不同口味的小泡芙，以及各式各樣的餅乾、果醬和小點心。對很多巴黎人來說， CinqSens 甜點店算是封城期間唯一安慰人心的樂子。

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