羅芙奧季刊第36期 Ravenel Quarterly No. 36 by Ravenel International Art Group

精采時刻雋永人生

秋光綠影 THE AUTUMN SUNLIGHT WITH GREEN SHADOW

No. 36 Autumn 2021

CONTENTS No.36 ｜ Autumn 2021 ｜ https://ravenel.com

ART & INVESTMENT

當代眾生相－加藤泉的藝術 Contemporary Portraits of Sentient Beings－ The Art of Izumi Kato 22

THE ARTIST

推倒數位與現實的界線－喬納森．查普林 Pushing the boundaries between the digital and the physical－ Jonathan Chapline 26

WINE

美好，屬於耐心等待的人－關於葡萄酒的適飲期 Good Things Come To Those Who Wait－ How to Figure out When a Wine Is at its Peak 22

LUXURY

彩鑽與祖母綠近年市場趨勢索引 Looking through the Recent Market Index of Colored Diamonds and Emeralds

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

SPECIAL REPORT

泡泡宮皮爾．卡登 PIERRE CARDIN 的天堂宮殿 42

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

ART

藝術財徘迴與錯過－倫敦大英博物館與自然歷史博物館 48

TRAVEL

世界關照蘇活好藝術－ ModernHaus SoHo 包浩斯來作客 52

FASION

喀什米爾披肩的故事

AN EXCEPTIONAL COLOMBIAN EMERALD AND YELLOW DIAMOND NECKLACE 總重20.06克拉哥倫比亞祖母綠配黃色鑽石項鍊， MUZO礦區，附SSEF證書及GIA證書

[ CHIEF EDITOR'S NOTE ]

Time Travel 二十多年前我在故宮參觀「三星堆傳奇」特展，為沉睡數千年的古老文明遺存，感到嘖嘖稱奇。近日新聞報導，藉助全新現代科技，四川三星堆遺址陸續出土更多文物寶藏，有薄如蟬翼的黃金面具，還有造型奇特的青銅人像，難以想像當時有此先進技術及藝術展現，簡直如科幻穿越劇再現。隨著時間推移，人類發現了世界更多的面相。時間，確實是人類認識歷史、理解世界不可或缺的要素。藝術家加藤泉日本島根縣人，20 世紀誕生於古老文化發源地與神話國度，鬼怪傳說的兒時記憶，穿越到下一世紀，化身為他親手繪塗的當代人物造相。歷史最悠久的大英博物館，還有紀錄著生物進化史的自然歷史博物館，呈獻人類文明的證據。「葡萄美酒夜光杯」，琵琶聲疾疾催促著想飲酒的人。今天的藏酒專家告訴我們，葡萄酒也有最適飲的時間。醉臥沙場君莫笑，辦公室的上班族們，天冷時披上尊榮的喀什米爾披肩，珍惜當下的美好。說出「直線是對自然的侵略」激進言論，一心只想用圓形弧線的匈牙利建築師，為法國皮爾卡登大師打造一座「泡泡屋」宮殿。創作者擅長以天馬行空的想像力，在虛實之間讀取訊息，發現恆久的價值。美國藝術家強納森．查普林 Jonathan Chapline，推翻虛擬數位與現實之間的界線，詮釋 3D 渲染，突破藝術創作的空間，頗有超現實的迷幻感。漫威世界裡的一顆顆寶石，有無限的能量，允許持有者窺探過去與未來。以上全篇非常跳 Tone 的字句，忽古忽今又東又西，為讀者開展 36 期《Ravenel》季刊精彩的內容，邀請您一起來穿越。總編輯

加藤泉《無題》2014 壓克力木雕 26 x 53 x 63 cm 羅芙奧台北2020秋季拍賣會成交價TWD 4,200,000 Izumi Kato, Untitled, 2014, Acrylic on wood, 26 x 53 x 63 cm Ravenel Autumn Auction 2020 Taipei sold for USD 147,368

CONTEMPORARY PORTRAITS OF SENTIENT BEINGS THE ART OF IZUMI KATO 8

[ ART & INVESTMENT ]

日本當代藝術，在近期的國際拍賣市場是一重要板塊，除有草間彌生、村上隆、奈良美智、白髮一雄等大咖級名家，原作身價早已是數百萬甚或千萬美元起跳。較年輕一代有所謂「奈良美智接班人」態勢的名和晃平、五木田智央、六角彩子、加藤泉，還有潮流藝術的 MADSAKI 與 Mr. 等等，最高拍賣紀錄最近紛紛突破五十萬美元，成為眾多國際藏家們的關注名單。他們的共通點都是先在國際藝壇受到肯定之後，才逐漸紅回日本國內。藝術家們積極創新、拓展海外的遊學資歷，尋求重要美術館機構或雙年展的曝光。前段提及的幾位藝術家當中，加藤泉（Izumi Kato）是行事作風相對低調、大器晚成的一位。雖然有人也將加藤泉的創作歸類為潮流藝術，他和同樣出生於 1969 年的黑白灰單色畫家五木田智央，御宅族文化代表 Mr，今年（2021 年）都已是 52 歲中年大叔，各有各的一片天。加藤泉是個人主義色彩濃厚，他的藝術風格與日本藝壇中的療癒系、萌文化有所不同。觀眾們或許從他的作品喚起某些可愛的印象，然而多直覺神祕玄奇，帶點怪誕暴力，兼具科幻未來與古老樸拙之感，使得加藤泉在同代藝術家中顯得與眾不同，十足有個性。 2021 年 5 月 24 日，加藤泉一幅 120 號繪於 2012 年的無題油畫作品，在香港的夜場拍賣會上拍出 425 萬港元（約 1530 萬台幣或 US$547,336）的新高紀錄。半年前，加藤泉的無題木雕作品，也甫於香港寫下 226.8 萬港元（約 816 萬台幣或 US$292,628）的個人拍賣紀錄。一件雕塑，一件繪畫，顯見加藤泉在繪畫與雕塑不同媒材上都有出色表現。加藤泉是一位畫家、雕塑家，也玩搖滾樂隊，三十歲左右真正專注創作，他手裡創造的 21 世紀當代之作，反映著久遠的記憶與現下的存在。 ◀

加藤泉《無題》2021 展於香港 K11 MUSEA 6樓 K11 Sculpture Park Izumi Kato, Unitited, 2021 @ 6F K11 Sculpture Park, K11 MUSEA, Hong Kong

當代眾生相－加藤泉的藝術 Text / 陳惠黛 Odile Chen

Photo / Ravenel International Art Group、Perrotin、K11 MUSEA、SCAI The Bathhouse、Centre for Heritage, Arts and Textile (CHAT)

誕生於諸神之國的男孩加藤泉是日本島根縣人，出生於 1969 年。島根縣位於日本海沿岸山陰地方，被稱之為「日本的背面」，臨近廣島縣。島根縣是日本古文化的發源地之一，擁有古老神話傳說，還保留著舊石器時代與繩紋時代的遺跡，一處自然與人文交織的所在。據說日本人的先祖之一彌生人，跨海而來，在島根登陸，將農業文明帶來此地，這片土地被稱為「出雲大國」，這裡擁有日本最古老的神社「出雲大社」，創建年代可以追溯到紀元前 660 年菊花王朝之前（約中國的戰國時代與秦朝），為傳統日本神道教信仰的重要代表場域。相傳每

要被怪物吃掉」。加藤泉的老家附近有一大片古代墓場，他小時候穿梭在一根根石碑之間遊玩。所謂「萬物有靈」的自然崇拜思想影響了他的人生觀，以及後來的藝術創作脈絡。加藤泉兒時成長的 1970 年代，是日本超能力和超古代文明漫畫的創作巔峰時期，科幻鬼怪漫畫風行全世界，動漫相關產業佔有日本經濟極高的比重，日本男孩幾乎沒有人不愛看漫畫。同世代的其他國家的男孩女孩，誰不愛看漫畫呢？動漫次文化在二次大戰戰敗國日本成為一種心靈慰藉與重振民族信心的良方。

年十月，來自全國八百萬眾神齊聚於此，寬廣宏偉，有精彩

藝術家村上隆曾提出「小男孩」的概念，講述戰後的創

的神話傳說。島根另有「黃泉平阪」的名勝，幽靜森林矗立

傷使得日本社會瀰漫著長不大的心態，不願當個大人面對世

著兩根石柱，傳說是冥界的入口，增添神祕的色彩。島根是

界的殘酷。而同時，「小男孩」也是 1945 年美國在日本廣

許多神話與漫畫故事取材的景點，後人笑稱此地的神靈比人

島投擲第一枚原子彈的代號。原爆之後，日本面臨的巨大改

還多，由於日本人口高齡化，老年人口比例高，年輕人外移，

變。2005 年村上隆在紐約日本協會策劃了《小男孩：日本爆

如今島根縣人口數不過七十萬人。如此富有傳說怪奇文化的

發的次文化藝術》(Little Boy: The Arts of Japan's Exploding

地方，正是孕育了加藤泉的故鄉。

Subculture) 大展。加藤泉也受邀參加是次展覽，此後鴻運大

來到二十世紀，島根與神話關聯的傳統與文化，仍然存在於現代生活之中。當地的長輩總是恐嚇孩子們說，晚上不

要去海邊，會有蛇身女人頭的鬼怪出沒，「不聽話的小孩就

開，漸受關注。

[ ART & INVESTMENT ]

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加藤泉《無題》2009 油彩畫布 130.3 x 162 cm，羅芙奧香港2013春季拍賣會成交價TWD 2,307,692 Izumi Kato, Untitled, 2009, Oil on canvas, 130.3 x 162 cm Ravenel Spring Auction 2013 Hong Kong sold for USD 77,320

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加藤泉公共藝術項目現場圖，香港大館，2018-2021年｜攝影：佐藤祐介大館委託作品，2018年. ©2018 Izumi Kato. 圖片提供：藝術家與大館 Installation view of Izumi Kato's Public Art Project at Tai Kwun - Centre for Heritage and Arts, Hong Kong, 2018-2021. Photo: Yusuke Sato Commissioned by Tai Kwun, 2018. ©2018 Izumi Kato. Courtesy the Artist and Tai Kwun

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加藤泉《無題》2014 壓克力木雕 26 x 53 x 63 cm，羅芙奧台北2020秋季拍賣會成交價TWD 4,200,000 Izumi Kato, Untitled, 2014, Acrylic on wood, 26 x 53 x 63 cm Ravenel Autumn Auction 2020 Taipei sold for USD 147,368

加藤泉回憶從前在島根鄉間生活，家中沒有電視，只有怪物

三十歲時學會妥協，和人溝通，才真心專注創作，離開了六、七

傳說。印象裡盡是約束與不自由。鄉民鄰居喜歡議論是非，年少

年建築工作。加藤泉說把自己看作畫家，他想辦法讓他的畫看起

時與女孩在街上牽手，立刻有人通報父母。類似的情況其實在亞

來有趣。

洲社會中十分常見。而他叛逆的個性，從小就開始醞釀，成長總是苦澀。家庭教育對自然宗教崇拜的思想，潛移默化影響了他，人雖然容易自滿、自我，然而神明存在的文化會教人學習自謙。

日本的美術教育令加藤泉困惑與懷疑，普遍認為擬真寫實才是好畫功，二十世紀末還要臨摹希臘石膏像素描。他回想每個人的小時候是怎樣開始畫畫的呢？都是從圓圈、點與線條開始

他高中時原想要當專業的足球員，沒有入選，成績普普，對

的吧，畫畫應該像兒童一樣隨意自由。因此他很欣賞素人藝術

讀書的興趣不大，勉強潦草應付。高中畢業後報考分數不高的藝

家（outsider artists），原生藝術的杜布菲（Dubuffet），梵谷

術學校，考取了東京武藏野美術大學造形部油畫系。1990 年代

（Vincent van Gogh）、培根（Bacon）還有日本江戶時代的伊

初期，日本仍在泡沫經濟尾聲，打工賺錢容易，工作半年所得足

藤若沖（Ito Jakuchu），都是景仰的大師，他期許將來自己能有

以供給另外半年時間探索繪畫，身邊的朋友皆是如此，他也想循

這樣的造詣。

此模式，租一間畫廊辦展覽，從 1995 年起每年發表一次，初期畫風以象徵主義的簡約風格為主，與後來的作品有顯著的不同。

如同素人藝術家般創作 1992 年自藝術學校畢業，正式進入職場。在日本，美術系學生一旦離開校園後，不是擔任美術教師，就是辦公室上班族。因為作品賣不出去，根本無法依靠賣畫維生。二十多歲的加藤泉

過去加藤泉選擇壓克力顏料作畫，因為材料便宜容易取得，早期還用畫筆作畫。主題上開始從象徵性風格轉換為人形化的形體與面容。後來，他改用油彩、放棄畫筆的拘束，改用手來作畫。但並非徒手，多數時會穿上橡皮手套沾抹顏料，或用抹刀平塗，使用於背景，人物的臉孔五官，他會用手指直接抹畫，形塑出特殊的肌理質感。

十分叛逆，畢業後一心想要玩音樂，遇到挫折，三年後玩完。

他常常流連於博物館欣賞雕塑展品，認為「世界本來是立體

2007 年加藤泉受邀參加第 52 屆威尼斯雙年展，由美國藝評

的，所以雕刻本身就是自然」。三維雕塑使人易與世界連結，而

家兼策展人羅伯特．斯托（Robert Storr）策展，主題為「感性思

且雕塑的創作，也是幫助他突破繪畫瓶頸時的重要出口。2003 年

考、理性體會：藝術現在時」（Think with the Senses - Feel with

後他從繪畫轉移至雕塑創作，選用日本佛像雕刻常用的樟木，木

the Mind. Art in the Present Tense），為其藝術生涯重要里程碑。

質帶著香氣，電鋸鋸開大木塊，鑿子用來雕琢眼睛細節。避免使

隨後 2008 年在東京上野之森美術館舉行個展、2010 年在箱根雕

用黏土或樹脂等易於塑形的材質，直接在木頭上創作。2012 年時

刻之森美術館個展與 2012 年霧島藝術之森美術館個展。2014 年

加入兒童玩具常用的軟塑膠（Soft Vinyl）來創作，帶來有趣的發

之後，與國際知名的貝浩登畫廊（Perrotin）合作，活躍於國際舞

想，有助於探索繪畫的更多可能。後期更以石頭創作，並且探索

台，在香港、巴黎、紐約、首爾與上海等地展出。近期主要博物

織品皮革等材質。加藤泉喜愛古老文化，曾以古董傢俱作為木雕

館個展，包括了北京紅磚美術館（2018）、墨西哥的 Casa Wabi

底座，紙本繪畫也常配上四處蒐羅的古畫舊框，特色十足。

藝術中心（2019）、東京與群馬兩地的原美術館個展（2019）

人物是加藤泉的唯一主題

以及美國 SCAD 設計藝術學院美術館（SCAD Museum of Art）（2021）等等。

人們可以從五顏六色的人物臉孔，辨識出加藤泉的作品。他對於靜物風景主題不感興趣，人物是他唯一有興趣的主題。他的大部分作品題目都是「無題」，因為他不願限制觀眾的想像，如同多數抽象畫家對待抽象作品時。

藝術探索的路上總是充滿冒險與挑戰，因展覽合作之故，加藤泉赴香港旅行，對當地的人文景觀頗有興趣。2015 年決定到香港港島南區的鴨脷洲成立工作室。自此往來於東京與香港，一年約有三分之一時間住在香港。就地取材，使用當地的元素創作，

我們看他創作的擬人化形體，頭大身小，纖長四肢如植物，或像胚胎或像昆蟲的精靈，有時有男女性徵，有時則雌雄同體，樸拙的面容與姿態用色瑰麗，有一種原始的美感與生命力。他用

例如花崗岩，他選定之後即保留原有形體，不再打磨切割，直接在石頭上色創作。2016 年就發表石頭系列。此外在香港的布莊找到織品，拼接織品的立體作品，豐富了他的創作面貌。

人的形狀來創作，但不用模特兒作畫，靈感來自於生活，來自於活著。他的作品反映了童年的記憶，文化傳承與歷史經驗。加藤泉曾說：「在我的家鄉，神道教、佛教和萬物有靈論都混雜在一起。我受到成長經歷的影響，那裡的一切都有自己的生命。我知道我畫的人形不是特定的人，而是用人的形狀來畫。可能是你，也可能是我。我不知道是誰，使用這樣一個無名的人，我關注的不是個人，而是存在本身。」他不在意評論家或觀眾如何解讀他作品，若是觀眾從他的作品中發現當代反映的面相，他自然樂見其成。

加藤泉的創作中有特殊的人物分割方式，無論是立體或平面，常見垂直或水平的分割線。「我個人喜歡雕塑的接縫，無論是木雕還是軟塑膠雕塑。我有時會保持關節的原樣，而非將它們塑造為扁平狀。直覺上，我認為保留關節原樣會更有趣，但後來我意識到保留關節會增加作品的創意信息。一個念頭出現在我的腦海中，是否我可以在我的畫中使用它，於是我開始創作分割成幾個部分的畫。」

◀

加藤泉於東京工作室與他正在籌備展於紐約貝浩登的作品 Inside Izumi Kato's Tokyo studio with work for his show at Perrotin New York

[ ART & INVESTMENT ]

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左：加藤泉《無題》2008 油彩畫布 53 x 45.5 cm 羅芙奧台北2021春季拍賣會成交價TWD 2,160,000 Izumi Kato, Untitled, 2008, Oil on canvas, 53 x 45.5 cm Ravenel Spring Auction 2021 Taipei sold for USD 77,143

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右：加藤泉《無題》2013 油彩畫布 28 x 22.5 cm 羅芙奧台北2021春季拍賣會成交價TWD 1,200,000 Izumi Kato, Untitled, 2013, Oil on canvas, 28 x 22.5 cm Ravenel Spring Auction 2021 Taipei sold for USD 42,857

小時候想要當音樂家的夢想，在五十歲前夕一償宿願。2018

在重要企業家與私人美術館的收藏，包括了日本愛知縣的

年加藤泉和朋友組成 THE TETORAPOTZ 搖滾樂團，由他擔任

豐田汽車 Toyota Motor Corporation、東京的高橋收藏 Takahashi

鼓手，並發行 7 吋黑膠唱片。一如他的藝術裡的古拙童趣特色，

Ryutaro Collection、田口藝術收藏 Taguchi Art Collection；

團員們會罩著頭套面具表演，稀奇另類的搖滾樂手。同一年 8 月

西班牙馬德里的 Colección SOLO、瑞士日內瓦的 Japigozzi

24 日加藤泉和團員們一起出席北京紅磚美術館的個展開幕，率

Collection；中國大陸企業家成立的私人美術館也收藏了加藤

領 THE TETORAPOTZ 樂團在現場表演同樂。隔年，在日本群

泉的作品，例如北京的紅磚美術館 Red Brick Art Museum、止

馬縣的原美術館 ARC 的草地上再度合體，精彩展現加藤泉的多

觀美術館 Zhiguan Museum of Fine Art、上海的龍美術館 Long

才多藝。

Museum、南京的四方當代美術館 Sifang Art Museum、秦皇島

深受國際機構與藏家的喜愛加藤泉如今是貝浩登畫廊主要代理的藝術家，透過該畫

的阿那亞 Aranya；還有香港的 Longlati 非營利基金會、K11、 CHAT 六廠等等。加藤泉創作於 2004 年的立體木雕作品《無題》

廊的人脈與分支據點，將藝術家的作品成功銷售至各地。他的作品已為國際知名博物館與美術機構收藏，在日本國內已有多家重要美術館典藏。例如東京的東京都現代美術館 Museum of Contemporary Art Tokyo、東京國立近代美術館 The National Museum of Modern Art, Tokyo、原美術館 Hara Museum of Contemporary Art、大阪的國立國際美術館 The National Museum of Art, Osaka；愛知縣的豐田市美術館 Toyota Municipal Museum of Art, Aichi 與岡崎市美術博物館 Okazaki Mindscape

（205x56x52cm），奇特古怪的風格，意外地成為次文化網路社群組織的靈感泉源。SCP Foundation 是一網路虛構的特務組織，在同名的網路接龍小說創作專案裡，4chan 網友 Moto42 以加藤泉該件雕塑為原型，捏造了虛構故事裡的恐怖生物角色「SCP173」，使得此一雕塑圖像在網路世界頗富盛名，而該作品曾參加 2005 年村上隆在紐約策畫的「小男孩」展覽，現由東京的高橋收藏。

Museum, Aichi、香川縣的高松市美術館 Takamatsu Art Museum,

羅芙奧 2021 年春拍曾推薦了兩幅加藤泉油畫，陸續吸引來

Kagawa、靜岡縣的貝爾納．畢費美術館 Bernard Buffet

自歐洲、日本、台灣、香港與中國大陸，還有線上藏家的參與競

Museum、石川縣的金澤 21 世紀美術館 21st Century Museum of

標，出價踴躍，以兩倍甚或三倍於預估價售出。儘管疫情仍在壟

Contemporary Art, Kanazawa, Ishikawa、神奈川縣立近代美術館

罩全球，加藤泉今年在秦皇島、香港、東京、紐約持續舉辦展覽，

The Museum of Modern Art, Kamakura & Hayama, Kanagawa、

國際間藏家的詢問度一直很高，未來行情的發展有無窮的想像空

岡山縣的 S-HOUSE 美術館 S-HOUSE Museum, Okayama 等。

間。

◀

Contemporary Japanese Art has become an important segment of the international auction market in recent years. For famous master artists, such as Yayoi Kusama, Takashi Murakami, Yoshitomo Nara, and Kazuo Shiraga, their original works start at millions or even tens of millions at auctions. There is also the younger generation of artists, including Kohei Nawa, the so-called "successor of Yoshitomo Nara", Tomoo Gokita, Ayako Rokkaku, and Izumi Kato, as well as trendy artists, such as MADSAKI and Mr. All of their highest auction records have recently exceeded the US$500,000 threshold, catching the attention of many international collectors. Having each gained international recognition before becoming popular back in Japan, the artists are proactive innovators who went overeas study tour while seeking exposure in major museums and biennial exhibitions. Compared to the other artists mentioned above, Izumi Kato is a relatively low-key late bloomer. Even though his works have been categorized as trendy art, he is actually a middle-aged man who became 52 in 2021. Born in 1969, he is the same age as monochromatic black-gray-white painter Tomoo Gokita and Otaku culture representative Mr, each of whom have carved out their own niche. With a strong sense of individualism, Kato's art differs from the Japanese style healing art or moe culture. Viewers looking at Kato's art sometimes see it as adorable, though most think of it as intuitively mystical and esoteric with a hint of grotesque violence. Kato appears to be one of a kind among artists

加藤泉《無題2（兩件一組）》2020 木刻版畫 37/120 34.6 x 25.8 cm 羅芙奧台北2021春季拍賣會成交價TWD 192,000 Izumi Kato, Untitled 2(a set of 2)d, 2020, Woodcut print edition no. 37/120, 34.6 x 25.8 cm Ravenel Spring Auction 2021 Taipei sold for USD 6,857

of the same generation. He adheres to his own style, which is a combination of futuristic science fiction and ancient austerity. An untitled painting by Kato in 2012, size 120F, sold for a record HK$4.25 million (about NT$15.3 million or USD$547,336) at an evening auction in Hong Kong on May 24, 2021. Six months ago, Kato also set a new personal auction record in Hong Kong with HK$2.268 million (about NT$8.16 million or USD$292,628) for his untitled wood sculpture. Both auction records serve as evidence that Kato has performed exceptionally in various media, such as sculptural art and paintings. In addition to being a painter and sculptor, Kato is also a rock drummer, who truly enjoys art creation starting at the age of 30. His 21st century contemporary works reflect ancient memories and existence of the moment.

The Boy Born in the Land of the Gods Izumi Kato was born in 1969 in Shimane Prefecture, which is in Japan's coastal San'in Region, also known as "the backside of Japan", next to Hiroshima Prefecture. As one of the birthplaces of ancient Japanese culture, Shimane Prefecture preserves the remains of the Paleolithic Age and the Jōmon period. As a place where nature and culture interweave, it also preserves ancient myths and legends. It is said that one of the Japanese ancestors, the Yayoi people, had traveled across the ocean and landed on Shimane Prefecture, introducing agricultural civilization to this land. Shimane Prefecture is also known as the "Izumo

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左：加藤泉《無題》2004 炭筆木雕 205 x 56 x 52 cm 私人收藏 (網路虛擬恐怖生物角色「SCP-173」靈感來源為此件作品) Izumi Kato, Untitled, 2004, wood, charcoal, acrylic, 205 x 56 x 52 cm, Private collection Photo: Keisuke Yamamoto (Internet virtual horror creature "SCP-173" is inspirated by this piece)

Great Nation" in Japanese Mythology. As an important venue

The concept of a "little boy" was once proposed by artist

representative of traditional Japanese Shintoism, Japan's oldest

Takashi Murakami to describe the traumatized mentality of

shrine "Izumo Taisha" is also situated here. The shrine dates back

never growing up in post-war Japanese society, unwilling to face

to 660 BC, prior to the establishment of the Chrysanthemum

the cruelty of the world as adults. Incidentally, “Little Boy"

Throne (Equivalent to the Warring States period and the Qin

was also the codename of the first atomic bomb dropped by the

dynasty in China).

U.S. on Hiroshima in 1945. After the atomic explosion, Japan

The expansive and magnificent shrine is associated with exciting myths, including the story of eight million gods from across the nation gathering here every October. Another famous scenery in Shimane Prefecture is "Yomotsu Hirasaka", a secluded forest with two pillars and mysterious characteristics, known to

faced extensive changes. In 2005, Takashi Murakami curated an exhibition at the Japan Society Gallery in New York titled Little Boy: The Arts of Japan's Exploding Subculture, and Izumi Kato was invited to participate. Kato's reputation has grown since then, gradually drawing the attention of the art community.

be the entrance to the underworld. Some people jokingly refer to

Growing up in the countryside of the Shimane Prefecture,

Shimane Prefecture as the place where gods outnumber people,

Kato recalls a home without televisions, only monster stories,

because it frequently serves as the backdrop of many fairy tales

limitations, a lack of freedom, and neighboring villagers who

and manga stories. As a society with an aging population, a high

seemed to enjoy gossip. As a young man, if he was seen holding

ratio of elderly people, and outbound younger generations, the

hands with a girl on the streets, someone would tell his parents

population of Shimane Prefecture is currently around 700,000.

right away. Similar circumstances actually occur frequently in

Such a place rich in fantasies and bizarre culture happens to be

Asian societies. Such an environment perhaps cultivated his

the birthplace of Izumi Kato.

rebellious personality starting in his childhood, as some would

Even in the 20th century, the mythical tradition and culture associated with Shimane Prefecture still remains in modern life. The local elders always telling kids scary stories of ghostly monsters with a head of a woman and a snake body, warning them

say growing up is always difficult. He was also affected by the beliefs of his family, which worships nature and religion - even though people may easily develop hubris, they will learn the lesson of modesty from the culture of gods' existence.

against going to the beach at night. "Disobedient children will be eaten alive by monsters."

When Kato was in high school, he strived but failed to

communicate with others. He truly began to enjoy painting, and

become a professional football player. He had little interest in

left the construction site where he had worked for six or seven

his studies, and grudgingly did enough to receive so-so grades.

years. Kato said that he saw himself as a painter, and he wanted to

After graduating from high school, he applied for art schools with

make his paintings look interesting.

low-admission score requirements, and was admitted to the Oil Painting Department in the Musashino Art University in Tokyo. In the early 1990s, Japan was near the end of the economic bubble, but it was still easy to do odd jobs for money. After working for six months, he could make enough money to support his exploration of painting for another six months, which was the case for all his friends. He decided to follow suit and rented a gallery for exhibitions. Starting in 1995, he held an exhibition every year. His early paintings tended to be simplistic in the style of the Symbolism art movement, which differed greatly from his later works.

Be Creative like an Outsider Artist

Kato had been puzzled by Japanese art education, where the general perception was that a realistic painting is the only one that shows good painting skills. At the end of the 20th century, the students still had to sketch Greek plaster statues. He tried to think about how every child would begin to paint. They probably all start with circles, dots, and lines. Painting should be free spirited just like children. Therefore, he really admires outsider artists and painting masters, such as the Art Brut Dubuffet, Vincent van Gogh, Bacon, and Ito Jakuchu from the Edo period. He aspires to achieve their accomplishments one day. In early days, Izumi Kato chose to paint with acrylic because it was inexpensive and easy to get. He also used paint brushes

Kato began working officially after graduating in 1992. Art

focusing on topics in the Symbolism style at first, gradually

college graduates in Japan usually work as art teachers or office

transforming into the human body and face. Subsequently, he

employees, because it's nearly impossible to make a living by

switched to using oil paint, tossing aside the limitation imposed by

selling their paintings. In his twenties, Kato was quite rebellious,

brushes to paint with his hands. Instead of bare hands, he would

and only wanted to play music after he graduated from college.

wear rubber gloves to dip into paint, or apply a palette knife to

However, he quit music after three years due to many obstacles.

flatten the paint for background colors. For facial features, he uses

When he turned 30, he learned the art of compromise and ways to

his fingers to paint directly to create the special texture of skins.

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左：加藤泉《無題》2017 版畫 28/36 57 x 76 cm 羅芙奧台北2020春季拍賣會成交價TWD 120,000 Izumi Kato, Untitled, 2017, Print, edition no. 28/36, 57 x 76 cm Ravenel Spring Auction 2020 Taipei sold for USD 4,060 中：「意象連綿：方法的彌合與觀念的縱橫」六廠紡織文化藝術館2020香港展覽 Unconstrained Textiles: Stitching Methods, Crossing Ideas, Exhibition Centre for Heritage, Arts and Textile (CHAT) Hong Kong 2020

右：「加藤泉—每日自省」個展現場圖，箱根雕刻之森美術館，日本神奈川縣，2010年｜攝影：木奧惠三 ©2010 Izumi Kato. 圖片提供：藝術家與貝浩登 Installation views of "KATO Izumi Journeying into Each Day", The Hakone Open-Air Museum, Kanagawa, Japan, 2010. Photo: Keizo Kioku ©2010 Izumi Kato. Courtesy of the Artist and Perrotin

He enjoys lingering around museums to view sculptures. He

Looking at his anthropomorphic figures of large heads and

believes that "The world is originally three-dimensional, thus

small bodies, with plain facial features and postures as well as

sculpture itself is natural." Three-dimensional sculptures make it

magnificent colors, they seem to extrude a primitive aesthetic and

easy for people to connect with the world, and Kato's sculptures

vitality. The figures also feature thin and long limbs like plants

were an important factor helping him to break free of his painting

or spiritual entities resembling embryos or insects. Sometimes

plateaus. After 2003, he began transferring his creative energies

female or male characteristics are visible, other times they are

to sculptures, choosing camphor that is often used for Japanese

hermaphrodite. He creates in the shape of a human but never relies

Buddha statue carvings. The wood is known for its fragrance. He

on any models. His inspiration comes from living, from being

would use an electric chainsaw to saw large wood blocks, and a

alive. His works echo his childhood memories, cultural heritage

chisel to carve the details of the eyes. Working directly with wood,

and historical experience. Kato once said: "In my hometown,

he avoided materials that are easily shaped, such as clay or resin.

Shintoism, Buddhism, and Animism are all blended together.

In 2012, he also began using soft vinyl, a material for making

Affected by my experience growing up, where everything has its

children's toys, which inspired many interesting ideas and provided

own life. I know that what I paint is not the shape of a designated

many more possibilities for his painting explorations. Later on, he

person, but I paint using a human form. It could be you and it

added stones to his list of materials and than fabric and leather.

could be me. I don't know who it is, but using such an anonymous

Kato likes vintage culture. He once used vintage furniture as the

person, I am focusing not on an individual, but on existence itself."

base of his wood sculptures. His drawings are frequently paired

He does not care about how art critics or the viewers interpret his

with interesting vintage frames he collected from different places.

works, though he is happy to see viewers discover the reflection of

Figures Have Been Kato's Only Theme

contemporary aspects from his art.

Works by Izumi Kato are easily recognizable based on the colorful faces. Uninterested in still life or landscape, he is only fascinated by figures. Most of his works are Untitled, because he does not want to restrain the imagination of the viewers, just as how most abstract painters view abstract art.

In 2007, Kato was invited to participate in the 52nd Venice Biennale International Exhibition curated by American art critic and curator Robert Storr, with the theme of Think with the Senses - Feel with the Mind. Art in the Present Tense, which established an important milestone for his artistic career. Subsequently, he

held several solo exhibitions, in 2008 at the Ueno Royal Museum Gallery in Tokyo, in 2010 at the Hakone Open-Air Museum, and in 2012 at the Kirishima Open-Air Museum. After 2014, he began working with the internationally renowned Perrotin, which promotes his works with exhibitions in Hong Kong, Paris, New York, Seoul, Shanghai, and other cities. His recent solo exhibitions at major museums include the Red Brick Art Museum in Beijing (2018), the Fundación Casa Wabi in Mexico (2019), the Hara Museum in both Tokyo and the Gunma Prefecture (2019), and the SCAD Museum of Art in the United States (2021), etc.

Vertical or horizontal dividing lines are frequently seen in Kato's art, whether they are three-dimensional or two-dimensional figures. "Personally, I like the joints of sculptural parts, whether it is made of wood or soft vinyl. Sometimes I will keep the original appearance of the joints instead of turning them into flat shapes.

His journey of artistic exploration has always been full of

Intuitively, I believe that it is more interesting to retain the original

adventures and challenges. For collaborative exhibitions, Kato

appearance of joints. Later on, I became aware that preservation of

traveled to Hong Kong and became very interested in the local

joints enhances the creative information of the work. An idea came

culture and landscape, which prompted him to set up a studio

to my mind – perhaps I could use it in my paintings. Therefore, I

in Ap Lei Chau in the southern region of Hong Kong in 2015.

began to create paintings with divided parts."

Since then, he began traveling to and forth between Hong Kong and Tokyo, spending roughly one-third of his time in Hong Kong. He would choose materials local to his studio, such as granite, preserving its original shape without cutting or polishing, painting directly on the stone. In 2016, he released his Stone Series. In addition, he sourced fabrics in the shops in Hong Kong, and put them together into three-dimensional forms, diversifying

his creative style.

Kato's childhood dream of playing in a band came true just before turning 50. In 2018, Kato became a drummer for THE TETORAPOTZ rock band he co-founded with his friends, and released a 7-inch vinyl record. Similar to the characteristic primitive and playful elements in his art, this group of unusual and alternative rock band members wear masks during performances. On August

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左：加藤泉《無題》2020 軟膠皮革樹脂細繩 Izumi Kato, Untitled, 2020, Soft vinyl, leather, silicon, string

右：加藤泉《沉默的女子》2001 油彩畫布 145.5 x 89.4 cm 羅芙奧台北2009秋季拍賣會成交價TWD 780,000 Izumi Kato, Moku (Silent Woman), 2013, Oil on canvas, 145.5 x 89.4 cm Ravenel Autumn Auction 2009 Taipei sold for USD 24,254

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加藤泉東京工作室與正在籌備展於紐約貝浩登的作品 Inside Izumi Kato's Tokyo studio with work for his show at Perrotin New York

24, 2018, Kato and THE TETORAPOTZ band members held a

museums in China have also collected works by Kato, including

live performance at the opening of the Red Brick Art Museum

the Red Brick Art Museum and Zhiguan Museum of Fine Art

in Beijing. In the following year, the band again performed on

in Beijing, Long Museum in Shanghai, Sifang Art Museum in

the open grass field at the Hara Museum ARC at the Gunma

Nanjing, Aranya Art Center in Qinhuangdao, and several places

Prefecture, showcasing Kato's diverse talents.

in Hong Kong including the Longlati Foundation, K11 and the

Loved by International Institutions and Collectors

Centre for Heritage, Arts and Textile (CHAT) etc.

Izumi Kato is exclusively represented by Perrotin, which has successfully promoted his art for sales across the globe through the gallery's branch locations and contacts. His works have been collected by museums and art institutions internationally as well as numerous museums of significance in Japan, including the Museum of Contemporary Art Tokyo, the National Museum of Modern Art in Tokyo, Hara Museum of Contemporary Art, the National Museum of Art Osaka, Toyota Municipal Museum of Art and Okazaki Mindscape Museum in Aichi Prefecture, Takamatsu

The quirky untitled wooden sculpture (205x56x52cm) by Kato in 2004 has unexpectedly become a source of inspiration for a subcultural Internet social group. SCP Foundation is a fictional spy organization. In the collaborative fiction creative project of the same name, 4chan netizen Moto42 used a sculpture by Kato as the prototype to create a mysterious creature SCP-173 in a fictional story, which made the sculptural image world famous. Currently part of the Takahashi Ryutaro Collection, the work was once part of the "Little Boy" exhibition curated by Takashi Murakami in New York in 2005.

Art Museum in Kagawa Prefecture, Bernard Buffet Museum in

Two oil paintings recommended by Ravenel during its 2021

Shizuoka Prefecture, 21st Century Museum of Contemporary Art

spring auction attracted bids from Europe, Japan, Taiwan, Hong

in Kanazawa City of Ishikawa Prefecture, the Museum of Modern

Kong, and China, as well as collectors online with enthusiastic

Art, Kamakura & Hayama, Kanagawa Prefecture, S-HOUSE

bids, and sold for double or triple the estimated price. Even

Museum in Okayama Prefecture, and more.

though the COVID-19 pandemic still has a tight grip on the

Izumi Kato's art is also highly prized by various entrepreneurs and private museums, including Toyota Motor Corporation in Aichi Prefecture, Takahashi Ryutaro Collection in Tokyo, Taguchi Art Collection, the Colección SOLO in Madrid, Spain, the Japigozzi Collection in Geneva, Switzerland. Several private

global economy, Kato has enjoyed high levels of inquiries for his work from international collectors while he continues to hold exhibitions in Qinhuangdao, Hong Kong, Tokyo, and New York. There is boundless room for imagination in the future market value of Kato's works.

加藤泉作品二十大拍賣成交排行 1

無題 Untitled

2012 Oil on canvas 194 x 130.3 cm

2017 Wood, acrylic, soft vinyl 150 x 44 x 30 cm

2008 Oil on canvas 194 x 130.5 cm

2008 Oil on canvas 130.3 x 194 cm

2012 Oil on canvas 194 x 130 cm

預估價 Estimate

HK$800,000~1,200,000

HK$500,000~700,000

HK$400,000~600,000

HK$800,000~1,500,000

HK$550,000~750,000

成交價 Sold at

US$209,626 HK$1,625,000

US$203,214 HK$1,575,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 24, 2021

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Dec 04, 2020

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Dec 02, 2020

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Dec 04, 2020

無題 Untitled

2007 Oil on canvas 162.1 x 227.3 cm

2017 Oil on canvas, triptych 149 x 45.5 cm

2014 Wood, acrylic 63 x 26 x 53 cm

2009 Oil on canvas 194 x 130 cm

2013 Oil on canvas 65.5 x 45.5 cm

預估價 Estimate

JPY15,000,000~25,000,000

HK$300,000~500,000

TW$2,200,000~3,200,000

HK$300,000~400,000

HK$100,000~150,000

成交價 Sold at Hammer price:

成交價 Sold at

US$135,348 HK$1,062,500

US$129,022 HK$1,000,000

拍賣日期 Auction Date 香港保利 Poly Auction, Hong Kong Apr 21, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei Dec 06, 2020

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Apr 01, 2019

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Sep 14, 2020

US$547,336 HK$4,250,000

US$169,460 JPY18,500,000 拍賣日期 Auction Date 東京親和 Shinwa Art Auction, Tokyo Apr 16, 2016

US$292,628 HK$2,268,000

US$154,618 HK$1,200,000

US$211,342 HK$1,638,000

US$148,885 TW$4,200,000

成交價 Sold at

[ ART & INVESTMENT ]

TOP

TOP 20 MOST EXPENSIVE PAINTINGS OF IZUMI KATO EVER SOLD AT AUCTION

製表 ∕ 吳彣薇 Vivian Wu （Update 2021.08.11; Source: Artprice.com, Christie's, Phillips, Shinwa Art Auction, Poly Auction, Ravenel, Sotheby's, SBI Art Auction, Asian Art Auction Alliance, Seoul Auction）

無題 Untitled

2008 Wood, oil, acrylic, stone and chair H 142.8 cm

2008 Oil on canvas 99.8 x 80.09 cm

2010 Oil on linen 50 x 65.5 cm

2004 Oil on canvas 60 x 80 cm

2003 Oil on canvas 65.09 x 91.1 cm

預估價 Estimate

JPY8,000,000~12,000,000

HK$200,000~300,000

HK$150,000~250,000

HK$200,000~300,000

US$25,000~35,000

成交價 Sold at Hammer price:

成交價 Sold at

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Nov 25, 2019

拍賣日期 Auction Date 香港富藝斯與香港保利 Phillips, Hong Kong & Poly Auction, Hong Kong Jun 07, 2021

無題 Untitled

2011 Oil on canvas 130 x 80 cm

2009 Oil on canvas 60.6 x 50 cm

2007 Oil on canvas 194 x 130.3 cm

2005 Oil on canvas 130.5 x 194cm

2014 Wood 35 x 40 x 100 cm

預估價 Estimate

HK$350,000~550,000

JPY2,500,000~3,500,000

HK$300,000~500,000

HK$470,000~650,000

HK$90,000~150,000

成交價 Sold at

成交價 Sold at Hammer price:

成交價 Sold at

拍賣日期 Auction Date 香港亞洲國際藝術拍賣聯盟 Asian Art Auction Alliance, Hong Kong May 28, 2010

拍賣日期 Auction Date 首爾首爾拍賣 Seoul Auction, Seoul May 15, 2009

US$128,384 JPY13,500,000 拍賣日期 Auction Date 東京親和拍賣 Shinwa Art Auction, Tokyo Oct 29, 2016

US$112,898 HK$875,000

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

US$127,775 HK$1,000,000

US$91,221 JPY9,545,000 拍賣日期 Auction Date 東京SBI藝術 SBI Art Auction, Tokyo Oct 31, 2020

US$121,787 HK$945,000

US$89,879 HK$700,000

US$113,668 HK$882,000

US$87,720 HK$680,000

US$113,400

拍賣日期 Auction Date 紐約富藝斯 Phillips, New York Jun 24, 2021

US$85,040 HK$660,000

拍賣日期 Auction Date 香港保利 Poly Auction, Hong Kong Apr 21, 2021

現實的界線推倒數位與

JONATHAN CHAPLINE 喬納森．查普林 Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

[ THE ARTIST ]

▲

2021年8月「喬納森‧查普林」作品展覽－梵藝術私人美術館，台南 Jonathan Chapline at Fine Art Private Museum, Tainan

總覽 2021 年上半的藝術市場，Digital, NFT, Under

硬。不難發現在主題構思，藝術家仍依循傳統選擇如：

40s, HK, Evening Sales 等關鍵詞，似乎都交集在一位藝

桌面靜物、室內空間與人體群像，作為喚醒觀者熟悉感

術家 ─ 喬納森．查普林 Jonathan Chapline（1987 年生），

的共鳴點。當復古元素與經典題材，復生於科技感的表

這位畢業於羅德島設計學院（RISD），目前定居於紐約

現手法，過去與未來想像濃縮於畫作，也許是藝術家對

布魯克林，自 2020 年春季登上香港夜拍，其拍賣、畫廊

於時序的提問，表達出「現在式」的個人觀點。

展覽、私人交易成績，皆高速飛漲的美國當代藝術家。

2021 年夏季在紐約、東京、香港與台南，皆有查普

當 2020 年 1 月底，查普林首場亞洲個展於東京舉

林的展覽與大型雕塑亮相。最新釋出的 3D 影片，畫作

行，全球情勢雖為疫情籠罩，卻不掩其獨特風格得到亞

的構圖越趨繁複，宣告藝術家蓬勃的創造力，伴隨技術

洲市場的迴響。他的作品完美詮釋「3D 渲染」（3D -

提升而卓越躍進。查普林自承思考大師傑作，如：畢卡

Rendering）超出電腦螢幕，在當代藝術創作的實踐。

索、馬諦斯、塞尚是引發靈感的重要過程。此一特點更

查普林自詡創作精神「推倒數位與現實的界線」，凝視

是在人體雕塑中有所表現，分成不同區塊的人體結構，

其畫作的第一印象，大量洋紅與靛藍相互對比，充滿虛

因增厚的平面帶來立體與量感，舞蹈式誇張姿態組合一

擬、未來和超現實迷幻感。他活用 Instagram 世代的漸層

起，立體派的外觀覆上鮮活色彩更添戲劇效果，吸引如：

技巧，彷彿視覺化 Synthwave 電子音樂，反向輸出虛擬

ICA Miami、Hermès、Hawkins Ferry House 等公共或商

概念於物質世界。2017 年 VICTORI + MO 畫廊（現為

業機構，在各種空間場域裡合作展演。

+DINNER）查普林個展「House Work」，展覽佈置跳脫當代的「白盒子」定律，全空間打造成電氣靛青（Electric Indigo），一邊呼應作品裡大量運用此色，也引導觀眾脫離現實的氛圍。

目前可公開查詢的拍賣資料中，共有十三筆紀錄，最高為 2020 年 12 月香港拍賣，室內空間系列畫作《無題》，由低預估六倍之多創下成交價港幣 189 萬。查普林與科技聯結的新穎形象，和近兩年線上交易的蓬勃發

梳理查普林的脈絡，約莫 2015 年顯見電腦生成圖

展，新世代藏家無疑是亮麗成績的幕後推手。在台灣亦

像、建模技術，對他創作核心的影響力。多維空間設定，

有不少專業人士，早早將目光鎖定，2018 年就將查普林

光源佈局突破以往限制，漸層色彩的運用，豐富視覺感

的作品推薦給收藏家。獲悉近期查普林作品私人交易的

與空間關係，同時間弱化幾何板塊，直線切割的冰冷生

價格，也間接反映出當時眼光之精準。 23

▲

羅芙奧2021年秋季拍賣會― 喬納森‧查普林《家庭景觀》2017年壓克力 FLASHE顏料畫板 61.6 x 78.7 cm Ravenel 2021 Autumn Auction, Jonathan Chapline, Domestic Landscape, 2017, Acrylic and FLASHE on panel, 61.6 x 78.7 cm

An overview of the art market during the early half of 2021 shows

contemporary art. The entire space was painted Electric Indigo, echoing

that various key terms, including Digital, NFT, Under 40s, HK, and

the extensive use of the color in his works that lead viewers to become

Evening Sales, seem to all describe American contemporary artist,

detached from reality.

Jonathan Chapline (born in 1987). A graduate of RISD currently residing in Brooklyn, NY, Chapline has been rapidly achieving new heights at auctions, gallery exhibitions, and private sales since his participation in Hong Kong Spring Auction Evening Sale in 2020.

Looking at the creative context of Chapline, the computergenerated image and modeling technologies that emerged around 2015 had a strong influence on his creativity. The multi-dimensional setting includes a lighting layout that has broken free from former limits. The

Though the global situation was feeling the effects of the pandemic

application of color gradation enriches the visual sensation and spatial

at the end of January 2020, Chapline held his first Asian solo exhibition

relationships, simultaneously weakening the cold and rigid geometric

in Tokyo, winning over the Asian market with his unique style. His art

plates cut by straight lines. In terms of theme and concept, the artist

perfectly interprets the idea of 3D-Rendering transcending computer

adhered to traditional selections of still life on table top, interior space

screens and into innovations in contemporary art. Chapline describes

and group portraits, elements awakening a sense of familiarity among

his creative spirit as "Pushing the boundaries between the digital and

viewers. When retro elements and classical themes are resurrected via a

the physical" using a large amount of complementary magenta and

technological method of presentation, imaginations of the past and future

indigo colors. While gazing at his works, the impression that one has

are materialized in the artwork. Perhaps it is the artist's chronological

is of a virtual, futuristic, and surreal sense of fantasy. He has applied

inquiries that express his personal viewpoint on the definition of "present

the color-gradation technique used by Instagrammers, as if visualizing

tense".

the Synthwave electronic music and reverse outputting the virtual to the material world. In 2017, the VICTORI + MO Gallery (currently the +DINNER) held Chapline's solo exhibition, House Work. The exhibition design differed from the fixed tradition of a "white box" for 24

During the summer of 2021, Chapline's exhibitions and large-scale sculptures appeared in New York, Tokyo, Hong Kong, and Tainan. The latest 3D video release shows his canvas composition with increasing complexity, declaring the vibrant creativity of the artist, which

[ THE ARTIST ]

◀

藝術家攝於工作室 Artist at studio, courtesy of LSC & Jonathan Chapline

progresses along with technical advancement. Chapline states that contemplation upon the works of masters, such as Picasso, Matisse, and Cézanne, are an important process sparking his inspiration. These characteristics are presented especially in the human sculpture, dividing into body structures of different sections. The sense of three-dimensionality and volume comes from the thickened flat surface, integrated together in an exaggerated dance style. The cubist appearance is enhanced by lively colors to create a dramatic effect, while attracting public or commercial organizations such as ICA Miami, Hermès, Hawkins Ferry House, and more, collaborating in exhibitions and performances in various spatial venues. Looking at the 13 publicly available auction records, the highest amount was Untitled in the Interior Space series during the Hong Kong auction in December 2020. The transaction price of HK$1.89 million was more than six times the low-estimate. The novel impression created by Chapline integrating with technology is probably the result of flourishing on-line transactions in the past two years by a new generation of collectors. Professional art dealers in Taiwan have been recommending the works of Chapline to collectors as early as 2018. The latest private transaction sales price of Chapline's works also indirectly reveals the accurate foresight at that time. 25

Good Things Come To Those Who Wait – How to Figure out When a Wine Is at its Peak

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[ WINE ] Text、Photo / 唐維怡 Eva Tang

上周末，拎了瓶壓在酒窖深處的羅亞爾河松賽爾區白酒到餐廳，一坐下來，同樣熱愛葡萄酒的好友 C 便迫不及待拿起酒瓶，「1994 的松賽爾白酒 ! 這 ... 還能喝嗎 ?」她詫異地看向我。「不知不覺放了好久 ! 希望還可以。」我心虛地笑了笑，「真不行就再點餐廳的吧。」是了，一般人對松賽爾白酒的看法，便是他應該趁著新鮮被飲用，也就是說，大家期待他的「適飲期」就在出廠後的那幾年。葡萄酒所謂的「適飲期」究竟是什麼 ? 他又是怎麼被決定的 ?

封藏在瓶中的時間軌跡對於所有的美酒愛好者來說，最痛苦的莫過於永遠不足的酒量與荷包。等待被嘗試的美酒太多了，即便同一家酒莊的同一款酒，每年也因著天候狀況的不同而有所差異，因此，如何讓每一次的品酒體驗盡善盡美，就不得不在每次開瓶前問自己：現在，真的是喝這瓶酒最好的時間嗎 ? 一瓶葡萄酒乘載的，是釀酒師的信念與時間的軌跡。被裝入玻璃瓶並不代表葡萄酒就此被封存，維持著如睡美人般永恆的年輕與美孔，葡萄酒仍持續緩慢地呼吸著，瓶中的化學元素與空氣互動，無聲地變化著，鮮甜欲滴的新鮮果香漸漸轉化為成熟而甜美的果乾，煙草、炒蘑菇、蜜餞、土壤等所謂的三級香氣 (Tertiary Aromas) 逐漸浮現，酒液中令人感到顆粒與苦澀感的單寧，也逐漸在時間的醞釀下變得柔軟。當然，並不是每瓶酒都講求長時間的瓶中陳放。事實上，市場上超過八成的酒是為了讓消費者新鮮飲用而生，釀酒師期盼消費者在這些酒中感受到新鮮躍動的果香與花香，在出廠後的數個月內，他們便開始進入適飲的高峰，在良好的保存狀態下，這樣的高峰期可能維持數年，但數十年後便過度老化，失去了釀酒師最想呈現的新鮮樣貌。

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然而，部分釀酒師有著遠大的企圖心，他們期盼自己的酒能夠經得

事實上，針對同一款酒，十位酒評家給出來的適飲期都不盡相同，

起時間的考驗，因此，堅實的骨架、渾厚的單寧、與偏高的酸度被刻意

因為，正如醒酒時間一般，適飲期是沒有正確答案的，每位葡萄酒愛好

地雕琢。這些酒款在甫一出廠時，也許仍會有些新鮮的水果香氣，卻有

者都有自己的觀點與見解。

著略為苦澀或過於雄壯而難以親近的口感。然而，若是經過三五年的陳放，成熟而濃郁的氣息將伴隨著逐漸柔化而顯得圓潤飽滿的口感，展現出輕熟女那迷人的自信；經過七年十年的陳放，濃郁華麗的氣息變得益發內斂，華美的口感下仍可感受到那經歲月洗禮、稜角分明的睿智。

酒評家的神預測 ?

捉摸不定而引人入勝。也許出廠之際就是一瓶葡萄酒最華麗的轉身，也許我們永遠也等不到他的巔峰期，也許會很不巧地與最美好的巔峰擦身而過，也或許，巔峰期不只會出現一次，可能在一次絢爛的開展後進入長時間的閉鎖期，等待著下一次輝煌的來臨。

「哇 ! 這濃郁的龍眼蜂蜜也太誘人 !」好友 C 讚嘆到 !

有時候，美好屬於耐心等待的人

「口感飽滿、酸度也還很漂亮 ! 看來再放個兩三年都沒問題 !」自己老王賣瓜道。

「不曉得如何判斷最適當的適飲期怎麼辦 ?」好友 C 問到。其實，假使不幸在開瓶後發現他似乎還太青澀或太過緊實也不用著

「這麼好喝的酒竟然已經過了適飲期，看來酒評家講的也不一定正確嘛 !」C 總結。

急，給他一些時間讓他跟空氣接觸，靜待他的變化與成長也是可行的，他需要的是，只是更多一些的耐心。繁盛之後是一片平淡，亦或再

確實，酒評家們依據自己多年的經驗，感受酒液的單寧與酸度等架構，推敲著這瓶酒的「適飲期」，但這並非唯一標準。

但若只是放越久就越美好這樣的直線變化，葡萄酒就不會因神祕與

喝

一次的動人心魄的高潮，無人能斷定；可以肯定的是，給予葡萄酒足夠的耐心，他亦將回應以美好。

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[ WINE ]

Last weekend, I dig out a bottle of Sancerre Blanc that has been buried deep down in the cellar and brought it to a restaurant. As soon as I sat down, my wine-loving good friend Miss C picked up the bottle and said, "1994 Sancerre Blanc! Is it...still drinkable?" She looked at me, puzzled. "Well....I hope it's still good." I smiled sheepishly. "Let's see how it tastes like. We can always open up a bottle from the restaurant if it is not okay." Ye s , t h e i m p r e s s i o n m o s t p e o p l e h a v e a b o u t Sancerre Blanc is that it tastes better when it's fresh. That is, everyone expects that a wine is "ready to drink" right after its release. Exactly what does it mean when a bottle of wine is "ready to drink", how do you know the wine is at its peak, and how is it decided?

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READY TO DRINK?

The Trace of Time Sealed in a Bottle For all wine lovers, two biggest dilemmas are never being able to drink that much and not having enough money to buy that much. There are simply too many choices of wine waiting in line to be tasted, not to mention different vintages of the same wine from the same winery counts for different wines. Therefore, in order to create the best experience for the very bottle at the very moment, we have to ask ourselves questions before opening it: Is this the best time for this wine? Has it reached its peak? Will I be able to taste the best out of it should I open it now? Each bottle of wine carries the faith of the winemaker and the trace of time. Being sealed inside the bottle does not mean the wine stops growing, like the sleeping beauty that preserve its youth and beauty over time. It continues to breathe slowly through the tiny pores of the cork. The chemical elements interact with air inside the bottle, changing in a silent but continuous manner. The freshness and salivating fruitiness gradually transform into ripe dried fruits. Also emerging gradually are the so-called tertiary aromas, including tobacco, fried mushrooms, candied fruits, and soil. The granular and astringent taste of tannins in the liquor also soften gradually with time. Of course, not every wine is aimed for long-term aging in the bottle. In fact, more than 80 percent of the wines in the market were brewed for early drinking. The winemakers want consumers to sense the freshness and vibrant fruity and floral aromas. Only a few months after the wines are released, they are at their peaks. When well-preserved, the peak period may last for several years. The wines will become over-aged decades later, losing the freshness that winemakers aiming to present. Nevertheless, some of the winemakers are more ambitious. They expect their wines to withstand the test of time. Thus, solid framework, thick tannins, and high acidity may be formulated deliberately. Fresh fruity notes may still exist right after they are released, but the taste may not be as approachable for its rather muscular body. However, after aging for three to five years, a mature and rich aroma will accompany the gradually softened and rounded taste, demonstrating the enchanting self-confidence of a woman in their thirties and forties. After aging seven to ten years, or even longer, the aroma move from vibrant to restrained and gentle as the taste become rounder.

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[ WINE ]

Amazing Predictions of Wine Critics?

Perhaps the best time of a bottle is at the moment it is released;

"Wow, this rich longan honey flavor is fascinating!" Miss C shouted. "not to mention that beautiful acidity! I think it could last for another three years!" I sort of boasting of my wine.

perhaps we will never be able to wait that long for the peak of a bottle to emerge; or perhaps we had unfortunately passed by the best moment of a bottle. Moreover, there could be more than one peak period of a bottle, and after the very first peak period, , it may stay dormant until the next glorious arrival.

"It's remarkable that such a delicious wine has passed its peak according to the critics. Looks like wine critics aren't always right", concludes Miss C.

Sometimes, Good Things Come to Those Who Wait Miss C asked curiously: "What would you do when you don't know how to determine if a wine is ready to drink?"

In fact, wine critics often estimate the "ready to drink" and "peak" period of wine when they are just released, sometimes even before bottling. They make the decision base on years of experience concerning the structure of wine – tannin, acidity, and body. However, in fact, ten out of ten wine critics would have different opinion towards the same bottle of wine, describing different prediction. Therefore, just like the

In fact, just as the critics would give out different answers, it is totally fine when you open up a bottle and find it somehow tight. Simply give it some time to breathe in the glass, interact with air, and wait calmly for its transformation and development. All it needs is more patience.

time required for decanting, there is no one correct answer when a wine

After the peak period, what follows may be staleness or another

is ready to drink. Every wine lover will develop their own perspectives

exhilarating peak. What is certain is that given enough patience, it will

and understanding over time.

likely respond splendidly.

If it is a linear transformation that wine will always get better when it gets older, the wine would lost its most charming characteristics of being mysterious and elusive.

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LOOKING THROUGH THE RECENT MARKET INDEX OF COLORED DIAMONDS AND EMERALDS 彩鑽與祖母綠近年市場趨勢索引 Text / 劉允華

Photo / Ravenel International Art Group

瀏覽各家精品投資報告，無論報告範圍涵蓋多少類別，彩鑽必然是

另一方面，在歷史上光彩從未稍減的祖母綠，市場表現也相當不

不可或缺的嬌客，彩鑽的表現，也因而成為難以忽視的投資標的。以整

凡。近年來，從寶田集團的增產，到哥倫比亞木佐礦區重新開採，雖然

體價格而言，近二十年來，彩鑽的表現始終突出。僅舉相關組織報告數

祖母綠的產量有所提升，但身價仍不斷上漲。儘管祖母綠沒有標準報價

例：2002-2012 年之間，鑽石價格漲幅約 10%，但同期 0.5 克拉的阿蓋

機制，但從各方調查報告裡仍可窺見趨勢。例如，至 2016 年止，哥倫

爾礦區豔彩粉紅鑽漲幅則達 375%。其後 2010-2019 年間，彩鑽市場綜

比亞祖母綠在各大拍賣場中賣出的總體價格連續 15 年上漲，每年漲幅

合價格指數增長 77%，其中粉紅鑽增幅更高達 116%。

達 10%，而無浸油等級的祖母綠亮點拍品（每年拍賣場中最高價的 5 件）

2020 年新冠肺炎疫情的變數，打亂了許多產業的腳步，幾乎無一

更可達到 15%，並因而逐漸拉開與總體價格之間的落差。

倖免，連帶也對精品市場產生影響。但相較之下，彩鑽交易價格則更為穩定，承受經濟衝擊的抗壓性強，並且在精品匯集的近代拍賣場上，彩鑽也佔有主導性的地位。日內瓦各大拍賣場中售出最高價的 5 筆鑽石

▲

A 2.02 CARAT PEAR-SHAPED FANCY INTENSE PINK DIAMOND AND DIAMOND RING 2.02克拉水滴形濃彩粉紅色鑽石配鑽石戒指，附GIA證書

▼

A 10.36 CARAT COLOMBIAN EMERALD AND DIAMOND RING, from Muzo no indications of clarity modification. 10.36克拉哥倫比亞祖母綠配鑽石戒指，MUZO礦區，無浸油，附SSEF及Gübelin證書

單品之中，彩鑽就佔了前四名，分別是 2016 年以 5190 萬美元賣出的 Oppenheimer Blue、2015 年以 4840 萬美元賣出的 Blue Moon、2018 年以 5066 萬美元賣出的 Pink Legacy、2010 年以 4620 萬美元賣出的 The Graff Pink 等。 32

[ LUXURY ]

跟隨市場調查的腳步，我們也可以從全球拍賣場的祖母綠物件加以觀察：近年來拍賣場賣出價格最高的 5 件歷史性拍品，分別是 2008 年以 430 萬美元賣出的祖母綠鑲鑽胸針、2011 年以 658 萬美元賣出的 Elizabeth Taylor 胸針、2013 年以 990 萬美元賣出的 The Patiño Necklace 祖母綠鑽石項鍊、2018 年以 550 萬美元賣出的 Rockefeller Emerald 鑽戒，以及 2019 年以 450 萬美元賣出的來自哥倫比亞無浸油祖母綠耳環 The Grand Muzos。羅芙奧精品部認為，基於對市場資訊的綜合觀察，我們可以看到：重要的稀有寶石品項，例如彩鑽與祖母綠等，在整體經濟動盪不安之際，依舊能展現出抗跌穩升的保值實力。其間，特別是來自如哥倫比亞等重要產區的頂級無油祖母綠、澳洲阿蓋爾礦區關閉後更為稀有的彩鑽等等，在行家之間絕不陌生，拍賣場上持續大放異彩的優質品項，經過

▶ A 0.52 CARAT FANCY PINK DIAMOND AND 0.19 CARAT FANCY BLUE DIAMOND COCKTAIL RING 0.52克拉水滴形正彩粉紅色鑽石配0.19克拉正彩藍色鑽石戒指，附GIA證書

一年多來的考驗，證明無論是將其作為投資、收藏，抑或保值傳家，都是未來市場上值得期待的絕佳標的。 Navigating among the luxury investment reports from all the sources, no matter the extent of their research, one can always see the undisputed performance of colored diamonds that stands out on the billboards, which makes them an indispensable asset to invest in. From a broad perspective, in these twenty years, the colored diamonds always stand in the front. From various reports: between 2002 and 2012, diamonds' pricing was up by 10%, whereas an 0.5 carat Argyle Vivid Pink diamond could increase as much as 375%. A bit later, from 2010 to 2019, the Average pricing index of colored diamonds increased 77%, and pink diamonds' prices have increased even more, by 116%. The surprising situation of 2020 has brought many companies to reconstruct their strategies of development with rare exceptions, including the luxury brands. In comparison, colored diamonds' price is more stable, more resistant to market impacts, and occupies the leading role in the much more competitive modern auctions. Among the 5 most expensive diamonds from the auction houses in Geneva, 4 were colored ones: Oppenheimer Blue sold for 51.9 million dollars in 2016, Blue Moon sold for 48.4 million dollars in 2015, sold for 51.9 million dollars in 2016, Pink Legacy sold for 50.66 million dollars in 2018, and The Graff Pink sold for 46.2 million dollars in 2010.

On the other hand, emeralds, with its brilliance never waned in history, remain extraordinary in their performance as always. In recent years, although the market has seen the increasing production from Gemfields, and the reopening of Muzo mines, it still treats emeralds very well. There is no global pricing standard for emeralds, yet we can observe the trend revealed in various research reports. For example, until 2016, the general price of Columbia emeralds in the auctions had increased continually for 15 years and averaged an increase of 10% each year. Of the 5 most expensive non-oiled items in auctions, this rate could be 15% percent each year, and therefore further expanding the pricing gap between high-end and general items. Following the footsteps of market researches, we can unveil the recent trend by observing emeralds' performance in auction houses, such as the historically 5 most expansive items: an emerald brooch with diamonds sold for 4.3 million dollars in 2008, Elizabeth Taylor brooch sold for 6.58 million dollars in 2011, The Patiño Necklace sold for 9.9 million dollars in 2013, Rockefeller Emerald sold for 5.5 million dollars in 2018, and The Grand Muzos earrings sold for 4.5 million dollars in 2019, all in recent years. Based on these observations, The luxury division of the Ravenel International Art Group suggests that a trend is clear: rare gemstone items, such as colored diamonds and emeralds, can hold on to a stable performance even during economic turbulence. One can focus on the top-tier non-oiled emeralds from Columbia and other mines, or colored diamonds even rarer after the closing of Argyle mines. These items are highly recognized among experts, and keep their excellent performance

◀ A 1.16 CARAT AND 1.19 CARAT COLOMBIAN EMERALD AND PINK DIAMOND RING, from Muzo mine with no indications of clarity modification. 1.16克拉及1.19克拉哥倫比亞祖母綠配粉紅色鑽石戒指， MUZO礦區，無浸油，附SSEF證書

in the auctions. Surviving the harsh tests in this recent year, whether for the investments, collections, or an addition to the heritage, these gems have proven themselves worthy of being considered as extraordinary targets. 33

泡

皮爾．卡登

泡 PIERRE CARDIN 宮

的天堂宮殿

[ SPECIAL REPORT ]

Palais Bulles

Text / Eddie

Photo / 法商皮爾卡登台灣辦事處

Palais Bulles 又名萬國宮，是法國里維埃拉最奢華的地標；毫無疑問地，本身就是一個令人難以置信的傑作也因為是已故法國時裝大師皮爾卡登的私人豪宅，更受注目。傳奇大師離世後，這座標誌性的建築於 2017 年以 4.2 億美元上市，但沒有售出。未來歷史悠久的萬國宮是否有機會向公眾開放，並轉變為藝術家駐地空間的未來，仍在未定之天。

Théoule-sur-Mer

眾所周知，座落在法國里維埃拉濱海泰烏勒（Théoule-sur-Mer）的「萬豪宮」，是匈牙利建築師 Antti Lovag 歷時 14 年，於 1975 年建造完成，之後在 1991 年被皮爾．卡登（Pierre Cardin）收購為私人住宅。這幢因為建築外觀具有圓形，氣泡狀的形狀而被稱為 " 泡泡宮 " 佔地 13,000 平方英尺的建地，擁有 29 間客房，包括 10 間臥室和 11 間浴室；別墅內有可容納 500 人的私人戶外禮堂。皮爾卡登從未入住過他的豪宅，而住在附近的大師，把這個兼具奢華和代表「折衷主義」的空間用於娛樂，曾以每天 33,200 美元出租給度假團體。《紐約時報》稱這它是一件值得珍惜的藝術品。不僅是金錢，「需要一個真正會愛上它的主人。」萬國宮的建築結構令人難以置信，甚至在居住生活中幾乎有點不切實際。但並不意味著，它毫無用處。

[ SPECIAL REPORT ]

萬國宮被視為一種建築的實驗。匈牙利建築師安蒂．洛瓦格（Antti Lovag）於 1975 年建造這座標誌性豪宅時曾以「自發，快樂，充滿驚喜的遊戲」形容他的傑作。而建築師討厭直線，甚至稱直線為 " 對自然的侵略 " 的這番論調，在當時是很激進的。

DREAM a magical space

不必懷疑，萬國宮的藝術成就。重要的是它與皮爾卡登於 60 年代致力「未來主義」的現代服裝設計風格，息息相關。皮爾卡登談到他的「萬國宮」時曾說過：「這座宮殿是我自己的天堂。」一如細胞形式般的造型，長期以來反映了大師時尚創作的形象和具有前衛不可限的美學表現。「這是一間博物館，我喜歡在這裡展出當代設計師和藝術家的作品。」皮爾．卡登先生站在 Palais Bulles 宮外，無限自豪地說。

[ SPECIAL REPORT ]

Dior Showed Its Cruise Collection in a Bubble Palace

[ SPECIAL REPORT ]

從蔚藍海岸的岩石峭壁上可以欣賞到地中海的壯麗景色，這座如同文化中心的地址，曾被租借給克麗絲汀．迪奧（Christian Dior）的時裝表演。它應該成為一個公共博物館嗎？也許。也曾是「坎城電影節」和私人慶典的活動場地。法國里維埃拉沿海地區，有很多具有歷史的別墅，但都無法超越萬豪宮的地位和歷史意義。而作為揭示人類生活如何變遷的建築空間，或開放為藝術家駐地，針對建築與設計學校進行研究的活教材，更是不作第二人想。至少，對於開創時尚的前衛風格和一生充滿傳奇色彩的皮爾．卡登這位偉大的設計師來說；" 泡泡宮 " 的歷史和建築意義，都不應該成為泡沫，而是值得炫耀和保存的美好記憶。

｜藝術財｜

徘迴與錯過倫敦大英博物館與自然歷史博物館 Text、Photo / 陳欣婷（現任英國Feeling Arty藝術公司策展人，也曾任台北101 策展，與大英博物館、國家畫廊等均有合作經驗。）

台灣藏家與喜愛博物館的能量，一直在亞洲頗負盛名。相信對於倫敦的大英博物館（The British Museum）和自然歷史博物館 (Natural History Museum) 不會陌生。而英國從 2001 年開始免票制的博物館

如何兼具營運和推展文化的使命和功能 ?

從看門道的角度，你錯過了什麼精采的，又勾起那些經典的回顧。

THE BRITISH MUSEUM & NATURAL HISTORY MUSEUM 42

[ ART ]

如果，大英博物館是一部人類的文明史，那倫敦自然歷史館就是一本生物的進化史。前者是世界上歷史最悠久，也是最重要之一的綜合性博物館，擁有藏品 800 多萬件，橫跨東西文明的時光之旅，訴說著百萬年的時光證據。後者自 1881 年從大英博物館獨立出來，館藏珍寶有 700 多萬件動植物和化石礦物標本等，歐洲最具規模的自然史館，當之無愧。除了典藏價值不斐外，總能策畫引領時代風潮的展覽，並舉辦各種賦權公眾的體驗活動與當代產生對話。

大英博物館精品區，有許多設計師與國際品牌跨界合作作品

大英博物館精品區

英國博物館堪稱全球博物館中「財」貌雙全的博物館。全世界的博物館，門票都是最重要收入，而英國「免票制」政策的博物館，積極地透過「策展」提高公共服務與溝通，帶動民眾參與各種日夜間 EVENT 或學習服務，並推動生活美學文創商品、出版、博物館 IP 授權等，如大英館的禮品部（SHOP）早已獨立出來；從自製、與外部設計師合作，或跨界到時尚精品如 Georg Jensen 等。周遊列國巡迴展的能量驚人，同時也是館方發揮「藝術財」作為營運的重要來源之一。即便小島如台灣，大英館已前來三次、自然歷史館也來過一次，也做足文化交流。

拉美西斯二世頭像

[ ART ]

博物館是歷史的載體，數百千年來無盡的時代悲歌與繁華輪番上演，我們無法真正穿越時空目睹古人的生活，但博物館像是一面鏡子，或是縱橫在不同維度的世界，讓當代人類試著推敲、或研究過去的樣子，透過不斷地碰撞與省思，也留下未來的人看我們的時空。「徘迴」在博物館裡與時代的證據凝視與對話，感動於「一器一物、一書一畫」，在時間的洪流中觀察著人類何演化或退化，即使無奈歷史一再重演、或人性一再反覆被考驗，依然教人「流連」忘返。

中國玉器區的一對剔透的玉碗，約於明-清時期

玉龍，新石器時代-紅山文化

細數大英館中讓人再三「徘徊」不去的，包括鎮館之寶包括《羅塞塔石碑》、《復活節島石像》、《拉美西斯二世頭像》、《遼三彩羅漢陶塑坐像》、《紅山文化的玉龍》、《女史箴圖》等。而自然歷史館，絕對是老少咸宜的－「恐龍骨架化石」，還有在大廳鎮館 40 年之星「梁龍」《Dippy》或 2017 年後，由巨大 25 尺長的「藍鯨」上場；此外，「達爾文手稿與當時所採集的標本」、「貓咪木乃伊」、「長毛象標本」等，無論存世或絕種的，一一穿越千萬年來到眼前。

三彩羅漢陶塑坐像，遼代

不過，也因為兩館藏品多，地域大，「錯過」的也不算稀奇，尤其是大英館－「95 號展廳」，截然不同氣質與氣味的中國皇室瓷器區，與其傳奇性「大衛德爵士」的故事，包括十分耀眼的汝、鈞、官、定、耀州、龍泉官窯等全都在，還有讓人瞠目結舌的是一整櫃的《汝窯》，包括乾隆爺永世流傳的尷尬證據，其中一件《汝窯》的底部曾被乾隆皇帝御刻製詩，詩句中乾隆竟然「錯把汝窯當鈞窯」的祑事。好在成為

「公有財」的這些珍寶已不再屬於皇室或特權人士，才能讓人有機會靠近欣賞或從事研究。

1. 95號展廳中，有許多十分耀眼的皇室官窯 2. 95展廳內有一整櫃的汝窯 3. 倫敦自然歷史博物館的「月亮特展廳」，票房秒殺的夜間體驗瑜珈課 4. 9381克拉的藍色托帕石「The Ostro Stone」，耀眼動人 5. 每年耶誕12的月，倫敦自然歷史博物館門口便化身全英國最浪漫的溜冰場，彷彿在童話城堡中溜著冰，絕對是倫敦朝聖的月份

3 46

[ ART ]

自然歷史館最需要「回望」的部分，是另一個入口 Earth gallery entrance of the NHM，有隻全世界骨頭最完整的「劍龍」迎接你，然後搭著手扶梯進入象徵最原始樣貌的地球，讓人有種臣服於大自然的儀式感。還有一顆 9381 克拉的耀眼藍色托帕石「The Ostro Stone」，也是全英國博物館中最大顆的寶石。而每年耶誕的 12 月，館門口化身童話城堡

般的溜冰場，也是倫敦必定朝聖地標之一。因為電影「博物館驚魂夜」的關係，館方發展出許多「夜間財」，如夜遊博物館、在恐龍化石旁露營過夜、或置身美國太空總署拍攝的探月實際地貌製成的－「月亮特展廳」裡體驗，印度老師在「太空藍月球下」帶領下，直視美麗又千瘡百孔的月球，一吸一吐之間來場夜間瑜珈課。不過，這些夜間體驗，都得先提前在網路預約。走一遭徘迴與錯過之間；歡迎光臨，博物館的大門永遠為尋求真相真知敞開。

6 47

文／方紅圖／ModernHaus SoHo

[ TRAVEL ]

＿世界關照＿

蘇活好藝術

ModernHaus SoHo 包浩斯來作客

Text / 方紅

Photo / ModernHaus SoHo

ModernHaus SoHo 是紐約時尚 SoHo 區一家距哈德遜河僅幾個街區，受 20 世紀初藝術運動啟發，具有當代藝術風格的新地標。在熙熙攘攘的曼哈頓，這間運用獨一無二的藝術遺產作為空間布置的飯店，不論是讓人對色彩的震撼，更是對戰後「包浩斯」運動的致敬。 ModernHaus SoHo 的藝術品味，來自包括 Alexander Calder、George Condo、Harland Miller、 Jean Dubuffet 和 KAWS 等大師，一眼就能認出的繪畫和雕塑作品。藍色落地大窗戶，反映著藝術家畢加索的藍色時期，整棟建築的線條，表現出幾何和諧。而在極簡主義視角下，客房比市中心任何其他酒店更強調戶外空間。房間佈局的每個細節，從引用寶石色調的座椅到弧形床架等標誌性時代符號，傳達對 SoHo 現代主義獨特的藝術觀點。

藝術主題一直延續到 1900 年代初期以屋頂酒吧形式轉世，備受喜愛的夜總會屋頂。置身植哉叢生的戶外酒吧和屋頂泳池，當然甲板是露天用餐的理想選擇。酒店設有米其林星級廚師喬治．門德斯（George Mendes）坐鎮的 Veranda 招牌餐廳，坐在利用可伸縮的玻璃屋頂，營造戶外溫室的用餐環境，別緻而優雅。

[ TRAVEL ]

Armani Hotel Dubai 23K 黃金咖啡在杜拜 Armani Hotel Dubai，可以品嘗到世界上「含金量」最高的咖啡。酒店的 23K 黃金 cappucino，幾乎是每個到訪旅客必點的咖啡。香濃的 cappucino 鋪滿了可食用的 23k 金箔。不少商務旅客首選的酒店屢獲殊榮的餐廳、豪華水療設施，以及待客之道，或是一口黃金 cappucino 讓繁忙旅程勞頓全消。

Baur au Lac 蘇黎世後花園位於蘇黎世的 Baur au Lac，擁有 176 年的悠久歷史，自開業至今仍是由同一家族擁有，現已傳到第六代。酒店的 Le Hall，提供傳統的下午茶。精選頂級茶葉品牌 TWG，更為酒店推出專屬口味，讓客人享用優質茶香。每天下午 1:30 至 5:30 Le Hall 新鮮出爐自家烤製鬆餅、精選 TWG 的茶葉、蛋糕和口味獨特的三文治，更是經典時刻。

[ FASION ]

KA S H M I R SH AWL'S STORY

喀什米爾披肩的故事 Text / 袁青

Photo / 馮賽珍

歐洲肖像畫裡常見披掛 pashmina 貴族入畫，在當時代表身分階級的一種表徵。據聞，約瑟芬皇后坐擁 16 條 pashmina，其奢豪地位，可見一班。但 wool 和 pashmina 怎麼麼區分；

眾說紛紜的 Shatush 又怎麼分辨？有待釐清的豈止「品味」，何以 Kashmir 從地理名詞

成為織品藝術 Cashmere（音譯 / 喀什米爾），這一切美麗的背後得從歷史的悲情走一回。

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從東方到西方受到皇室貴族喜愛的織品 Cashmere；它之所以被列為奢侈品的「經典」，來自蒙兀兒帝國皇室參與設計和對傳統手造工藝的堅持，功不可沒！確實 Cashmere「羊絨」一詞即由 Kashmir 而來！ 1947 年印度喜馬拉雅山脈下獨立的小王國，這個處境艱難的自治區有著悲慘的歷史宿命，但卻以對織品運用及染色的天份聞名；由於織品處理需要極其細心，一份安靜的態度和細巧的手才能完成。當時是由女人將採擷細緻的山羊毛捻成細又密的紗線，再交由男人靠鏽工完成塊毯（因為宗教限制，女人不允許製作用來祭拜的毯子）。十九世紀東印度公司將 Kashmir 以古老織花技術 Kani（如同緙絲）製作披肩被傳至歐洲，驚為天人的織物特意用 shmere（Kashmir）作為和綿羊羊絨 Wool 成品的區別。這個道理如同以 China 稱呼來自於中國的瓷器與陶器 pottery 的差別一樣。拿破崙王的驕寵約瑟芬王后對 pashmina 情有獨鍾，有助 pashmina 美學在上流社交流行的一股無形助力；許多肖像畫裡常可見中東貴族披掛 pashmina 入畫，甚至是仕女出閣時夢想的嫁妝。奢華如約瑟芬皇后，據聞她就獨擁 16 條 pashmina，展示過人風情，而其受寵位階也可見一斑。

Cashmere 比 Wool 輕柔細緻且保暖！ 1850 年，歐洲緹花機 Jacquard 的發明，加速改變了人們對喀什米爾樣式的喜好，但卻也慢慢被其他種類羊毛以量化生產逐漸取代，所幸九〇年代這種古老的織品風潮又起，一條一米寬滿花版樣的上好 Pashmina 需要兩個工人織作至少六個月才能完成。因為它不同於綿羊毛，非但不是從外層的毛 outerhair「剃」下來，而是來自山羊裏層的羊絨 innerfleece 於每年春天脫毛季節時，用鋼扒「梳」下來的；Pashmina 是來自生長於平均 4800 公尺的藏北羌塘高原環境下的一種特殊山羊種 pashminaoat 身上；因為必須適應常年零度以下風寒乾燥的惡劣環境，生長出比一般的 cashmere 在 15-21 微米還要細的，約為 12-15micron 微米山羊絨，而且因其之立體中空的絨毛結構可阻隔空氣，格外輕柔且保暖，又被稱為 kingofcashmere。至於被稱作 Shatush，是指來自目前是保育動物 Chiru( 藏羚羊 ) 所取得羊絨纖維為 7-10 微米。( 如果要比較，ㄧ般羊絨，大都 24-34 微米；人的頭髮約為 40-120 微米粗 )。今天，欣賞採手工，從紡紗、織造、染色、繡花等完全依照古法製作輕柔保暖的 pashmina 披肩，其意義，除了珍惜原物料的珍貴，傳統工藝的重現與美好歷史連結，更讓人動容！

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只有 CASHMERE，其他免談！

「永遠不會忘記第一次觸碰織品的感覺？」「好像盲測，只要用手一摸，穿上身就脫不下來了，」那就是 Cashmere 的觸感，你不會忘記。

世界頂級喀什米爾 Cashmere 義大利精品創辦人 Brunello Cucinelli 先生的私房話 " 你永遠不會將喀什米爾丟掉 "，你會嗎？多年來，我穿著這件毛衣，如果我太太有一天告訴我， " 也許是該向它說再見的時候了 " " 我想我會說，決不！ " 最壞的話，拿它來清理傢俱灰塵也好。

Cashmere 喀什米爾超乎了耐用和品質的追求，它所要傳達的是「輕鬆、自在又帶著質感」的品味解構。「不刺眼、低調、中庸但精細，一種協調的平衡感」。只要品味過 Cashmere 的人都不禁要讚嘆，美好的織品像一本書，好好保存，可以一再回味，穿上它就像擁抱了「愛的感覺」。「輕、更輕、非常輕」幾乎和紙的重量沒兩樣，Cashmere 打破了季節的限制。

除非 Cashmere 毛衣有了難以除去的污漬需要特別處理，否則不建議經常性地送去乾洗。當在家以手清洗 Cashmere 時，通常溫水來洗滌單色單品，若是多色或是印有圖案的 Cashmere，建議使用冷水來處理。若以五公升水為單位，加入一匙的溫和手洗肥皂，或是專為針織衫使用的肥皂（如果要使用衣物柔軟精，不妨試試天然的白醋。因為化學配方可能會改變衣物的質地）。將 Cashmere 浸泡二到三小時，這是為了讓纖維能夠延展開來。接著輕輕的將水「擠」出而不是用力「擰」，這樣會使 Cashmere 纖維延展過度。重覆這些步驟直到所有的肥皂和水都清乾淨了。晾乾 Cashmere 最好的方式是，在衣物下方鋪上一塊平坦且柔軟的毛巾。如果最後決定要熨燙，也請在衣物之上放塊軟布，熨斗不要直接接觸 Cashmere。蒸氣熨斗也是避免直接加熱的方法。 Cashmere 需要空氣，存放時，要讓它可以「呼吸」，因為這是上等的天然纖維。 Cashmere 在輕薄、舒適之間，有了全新的 Style：一種「輕鬆又帶著規範」的品味解構。

你不能不知道的 AB O U T C A SH M E R E 認定標準

價格波動 ?

Cashmere 纖維的單位是長度（以毫米 mm 測

因為原料來源稀少、複雜的加工過程再

量），細度（以微米測量；1 微米 =0.001 毫米）。

加上手工勞動力的代價。嚴苛的自然環境決

細度必須在直徑 18.5 微米以下和長度至少為 31.75

定了極其有限的絨山羊數量。一年只脫落一

毫米長的超細羊毛纖維，才能被稱為 Cashmere。愈

次羊毛的絨山羊，每隻至多產出約 100 克

長，愈細，顏色愈乾淨的羊絨，愈稀有且昂貴，通

羊絨。鑑於此，平均四隻絨山羊通常僅能織

常達此高標的高級紡織原料被用來精製成衣。和一

一件 Cashmere 衫。因受限天候和供應量，

般較粗較短的羊毛製作的毛衣或混紡針織品有別。

Cashmere 價格會波動，比美金價。 57

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