羅芙奧季刊第37期 RAVENEL QUARTERLY NO. 37

精采時刻 雋永人生

新興藝術 收藏新寵 INVESTING IN EMERGING ARTISTS

No. 37 Winter 2021

26

CONTENTS No.37 ｜ Winter 2021 ｜ https://ravenel.com

8

THE ARTIST

從不設限，Mr Doodle的塗鴉狂想曲

Never set a limit, Mr Doodle's Doodling Rhapsody

12

ART & INVESTMENT

年輕世代大進場－發現國際藝術市場 未來之星 The Entrance of a New Generation Discovering Rising Stars of the International Art Market 26

THE ARTIST

印尼普普．超現實－羅比．安托諾 Indonesian Pop Surrealism - Roby Dwi Antono 30

CHINESE PAINTINGS

筆底明珠－丁衍庸海外遺珍專場 Pearl of the Brush：The Works of Ding Yan-Yong 36

WINE

重啟的沈默酒廠 The Awakening of Silent Distilleries 42

LUXURY

高級機械錶收藏－品味與資產的傳承 8

Collecting High-end Mechanic Watches: Establishing a Legacy of Taste and Wealth

42

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

30

46

SPECIAL REPORT

夢想之旅啟程－豪華遊艇 Set off your dream trip

52

LIFE

『藝』起走走 走進紐約布魯克林房間 56

羅芙奧藝術集團台北辦公室 台北市敦化南路二段 76 號 18 樓 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 羅芙奧藝術集團香港辦公室 香港中環金融街 8 號國際金融中心二期 19 樓 電話 Tel / +852 2889 0859 傳真 Fax / +852 2889 0850 羅芙奧藝術集團上海辦公室 200050 中國上海市長寧區鎮寧路 465 弄 181 號 1 幢 2 樓 2E 電話 Tel / +86 21 2411 9575 傳真 Fax / +86 21 2411 9570

國家公園酒店

未被馴服的世界 62

皇室緣，珠寶情

權力與愛情 ｜倫敦 V&A 博物館｜艾伯特親王 VS 維多利亞女王 ｜凡登廣場 愛在巔峰｜拿破崙 VS 約瑟芬皇后

｜拿破崙逝世 200 週年紀念｜拿破崙，法國歷史的懺悔？

72

ONLINE AUCTION

羅芙奧線上拍賣 ｜ 無設限：NFT 專場 ALL IN: NFT CURATED

彼得．萊茲伯斯《高度懷疑》2015 綜合媒材 畫布 200 x 200 cm 羅芙奧2021秋季拍賣會-薈萃國際專場 PETER RIEZEBOS, Radical Doubt, 2015, Mixed media on canvas, 200 x 200 cm Ravenel Autumn Auction 2021 Taipei－ Select: Modern & Contemporary Art

創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly 登記證 中華郵政臺北雜字第 1883 號執照登記為雜誌交寄 © 版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 All rights reserved. Use of editorial content without permission is strictly prohibited.

羅芙奧2021秋季拍賣會時程表

Timetable of Ravenel Autumn Auctions 2021 場次 Event

高雄預展 Kaohsiung Preview

台中預展 Taichung Preview

台北預展 Taipei Preview

台北拍賣 Taipei Auctions

秋季鑑賞會

8

部門/品項

Section/ Items

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

尊釀雲集 翰墨丹青： 書畫及古文物專場

日期 / 時間 Date/Time

地點 Venue

Finest and Rarest Wines

11/13 (六)

琢璞藝術中心 高雄市前金區 五福三路63號8樓

Refined Brushwork: Ink Paintings and Works of Art

11:00 am-6:00 pm

手袋及精品鑑賞會

Timeless Handbags and Luxury Collectibles Private Sale

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

尊釀雲集

Finest and Rarest Wines

翰墨丹青： 書畫及古文物專場

Refined Brushwork: Ink Paintings and Works of Art

11/14 (日)

11/20 (六) 1:00 pm-6:00 pm

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

豐藝館 臺中市西區 五權西路一段110號B1

11/21 (日) 11:00 am-6:00 pm

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

12/2 (四) 11:00 am-7:00 pm

萬豪酒店 台北市中山區 樂群二路199號3樓 博覽廳

手袋及精品鑑賞會

Timeless Handbags and Luxury Collectibles Private Sale

尊釀雲集

Finest and Rarest Wines

現代與當代藝術

Modern and Contemporary Art

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

翰墨丹青： 書畫及古文物專場

Refined Brushwork: Ink Paintings and Works of Art

尊釀雲集－葡萄酒專場

Finest and Rarest Wines－WINE

12/2 (四) 2:00pm

尊釀雲集－烈酒專場

Finest and Rarest Wines－SPIRITS

12/3 (五) 2:00pm

翰墨丹青： 書畫及古文物專場

Refined Brushwork: Ink Paintings and Works of Art

12/4 (六) 1:30pm

薈萃國際：現代與當代藝術

Select: Modern & Contemporary Art

12/4 (六) 3:30pm

現代與當代藝術

Modern and Contemporary Art

12/5 (日) 2:00pm

手袋及精品

Timeless Handbags and Luxury Collectibles Private Sale

12/2 (四)~12/5 (日) 11:00am~7:00pm

12/2 (四)~12/4 (六) 11:00 am-7:00 pm

MARRIOTT TAIPEI Grand Space, 3F, No. 199, Lequn 2nd Rd. Zhongshan Dist., Taipei, Taiwan

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

[ CHIEF EDITOR'S NOTE ]

歡迎來到元宇宙

Welcome to the Metaverse!

Metaverse「元宇宙」一詞最早出自於 1990 年代科幻小

儘管時間不斷向前，藝術經典不會沉沒，也無須沉默。

說，描述一個虛擬的城市環境。最近，社群大戶 Facebook

某些生命體驗，必須身體力行，自我和世界的哲學關係會

宣布改名，擁抱 Meta-verse。未來虛實相融的互聯應用，將

是未來重要議題。亞洲大學現代美術館此刻仍在展出丁衍

成為社會的常態。

庸回顧展。本期介紹丁衍庸的書畫藝術和其故事。威士忌

世界的變化速度超乎你我想像，誰都無法漠視這股趨 勢的力量，畢竟每個人只是宇宙渺小的一粒塵埃。然而一 沙一世界，偉大的夢想能夠帶我們飛向無限。 《Ravenel》第 37 期「藝術與投資」專欄，探討因應千 禧網路世代進場，NFT 數位藝術崛起，點名收藏新寵「國 際新興藝術家」International Emerging Artists。四十歲不到 新興藝術家，身價原本從數千美元計價，有機會突破十萬、 百萬美元，英國塗鴉先生 Mr Doodle 是代表之一。亞洲超現

醇酒，經得起歲月的等待，關廠後重啟芬芳的記憶；法國 拿破崙大帝逝世兩百周年，回眸約瑟芬珍藏的愛戀情仇； 遊歷倫敦 V&A 博物館、鑑賞高級機械表、Ferretti Yachts 720 & Riva 66 Ribelle 遊艇，不忘幫自己累積品味的資產。 2021 年是元宇宙元年，人類走入數字的世界，每天翻 閱新聞報導，這些字眼時時刻刻在眼前。這是最酷的革命， 其實互聯網的終極形態就是元宇宙。歡迎來到元宇宙！ 總編輯

實主義風格新秀羅比．安托諾 Roby Dwi Antono，黑色幽默 造型突出，亦值得關注。 格倫登．科德爾《帶我去神奇的地方 #1》2019-2021 壓克力 畫布 94 x 58 cm 羅芙奧2021秋季拍賣會-薈萃國際專場 Glendon Cordell, Take Me Somewhere Magical #1, 2019-2021, Acrylic on canvas, 94 x 58 cm Ravenel Autumn Auction 2021 Taipei－Select: Modern & Contemporary Art

9

Never set a limit, Mr Doodle's Doodling Rhapsody 從不設限，Mr Doodle 的塗鴉狂想曲

10

[ THE ARTIST ]

「我的動機一向是創造一種通用的即興塗鴉語言， 吸引來自世界各地的人們，並與他們接軌」— Mr Doodle "My motivation has always been to create a universal

improvisational graffiti language to attract people from all over the world and hence connect with them" — Mr Doodle

Text / 李維屏 Apolline Li

Photo / Ravenel International Art Group 翻攝自藝術家Instagram

英國鬼才藝術家 Mr Doodle（本名 Sam Cox）憑藉一隻麥克筆，以密 鋪式的簡單線條塗鴉風靡全球。九歲開始其藝術生涯，有著鮮明的個人風 格，Mr Doodle 充滿英式嬉皮及幽默也令他坐擁無數粉絲。若現場觀看藝 術家的即興創作，必定會對他從來流暢地一筆畫而感到驚奇。Mr Doodle 以當代流行元素或是日常生活經驗為靈感，在他的塗鴉世界中千奇百怪 的人物與符號、個個獨一無二，亦滿足了觀者的異想，為 Mr Doodle 的 塗鴉世界中編織出生動幻想與故事，在想像中感受藝術家所帶來的樂趣。 他形容自己的作品為「強迫性塗鴉」唯一解藥就是盡情創作，靠著 對塗鴉如同強迫症一般的熱愛，對任何可以拿到的物體都做塗鴉，並用 塗鴉紙貼滿了他的臥室。他很快地創造了一種全新的視覺現象：標誌性 的「Doodle Land」（塗鴉樂），密集的符號、物體和圖案不斷地增長和 繁殖，展現出了他的宇宙觀。他的風格經常被形容成是「塗鴉義大利麵」， 他的創作不僅入侵了畫布，還入侵了家具、書、地鐵站和服飾等，並創 造了一個不斷擴展的世界，裡面充滿了各種新奇好玩的事物。2018 年， 他在首爾 Ara Art Center 舉辦了「Doodle World」大型個展，其後並跨界 與三星、PUMA、Fendi 等品牌聯名合作，成為近年紅遍全球、炙手可熱 的新一代藝術家。 「創作這一系列作品的過程充滿樂趣，我希望能讓觀眾透過我的視 角，以輕鬆詼諧的方式看待藝術，從中取樂。」－ Mr Doodle 本季羅芙奧羅搜一系列標誌性的一筆畫作品外，亦有 Mr Doodle 早 期 Dr Scribble 時期作品，Dr Scribble 最早出現在 2016 年於倫敦舉辦的 個展「Attention Seeker」中。更於在 2017 在 IG 創建了以 Dr Scribble 為 名的帳戶，獨立於 Mr Doodle 發表作品為 Mr Doodle 邪惡孿生兄弟，以 黑底白線為基，可愛又有些邪惡塗鴉風格展現了他塗鴉藝術的另一面貌。 藉由 Dr Scribble 人格形象的塑造，有如「壞小孩搗蛋」的行為，也體現 他另一自我的狂想曲。 ◀

左：塗鴉先生 《火》2019 壓克力 畫布 200 x 200 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Left: Mr Doodle, Fire, 2019, Acrylic on canvas, 200 x 200 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

◀

右：塗鴉先生 《 獸醫 》2018 壓克力 畫布 50.8 x 20.32 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Right: Mr Doodle, The Vets, 2018, Acrylic on canvas, 50.8 x 20.32 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

11

▼

▲

塗鴉先生 《 流淚的山》2018 壓克力 畫布 30 x 30 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Mr Doodle, Mountain Cry , 2018, Acrylic on canvas, 30 x 30 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

塗鴉先生 《 蝸牛派對 》2018 壓克力 畫布 25.4 x 30.4 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Mr Doodle, Snail Party, 2018, Acrylic on canvas, 25.4 x 30.4 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

即興塗鴉，再創經典 Mr Doodle 稱 他 的 風 格 為「 義 大 利 麵 式 塗 鴉 」( Graffiti

British talented artist Mr Doodle (His real name Sam Cox) wins

Spaghetti )，以顛覆傳統塗鴉的構圖，用線條填滿每一吋能創作的

enormous popularity across the world by creating with his marker densely

空間。他的作品色彩鮮艷、線條簡潔、希望觀眾透過他的視角，以

laying out simple graffiti lines. He started his artistic career at the age of

輕鬆幽默的方式看待藝術家所要傳達的訊息。在他的塗鴉世界中，

nine and has such an extraordinary personal style. His English hippie and

這些隨筆誕生的角色栩栩如生。他創造了一種全新的視覺現象，即

humor enabled him to attract countless fans. If one ever watches his live

興揮筆充滿標誌性的一筆畫以不斷增長地密集字符、物體和圖案，

improvisation, the viewers must be amazed at his never repeated one-stroke

展現出了他的宇宙觀。2019 年 Mr Doodle 更取材一系列改造世界名

painting. Mr Doodle is inspired by either contemporary pop elements or daily

畫的塗鴉創作，重新演繹那些藝術史中的名家作品。

life experience, in his graffiti world, his weird characters and symbols are

另一件大尺幅精彩塗鴉作品《火》屬於 Mr Doodle「宇宙」、 「生命」系列，古希臘哲學家亞理斯多德所說構成宇宙的四種元素：

distinctively unique and fully satisfy the whimsical viewers, the vivid fantasy weaved in his graffiti brings the joy with imagination.

Earth、Water、Air 和 Fire 也是生物生命所需要的四種元素為土壤、

He described his work as "compulsive graffiti" and the only antidote

水、空氣和陽光。Mr Doodle 於 2019 年創作四幅以這四種元素為母

is to create as much as he can, relying on his love of graffiti as obsessive-

題的系列作品橘色代表《火》，另有《水》( 藍色 )、《氣》( 紫色 )、

compulsive disorder, he painted any objects that he could get and filled his

《土》( 綠色 )，Mr Doodle 將四元素形象化，以他獨特視角詮釋物

bedroom with graffiti. He quickly created a brand-new visual phenomenon:

質世界的重要基本構成。萬物由火而生，而火永遠處於變化之中。

the iconic "Doodle Land", with his dense symbols, objects and patterns

Mr Doodle 匯聚於各種關於火的幽默元素，噴火的恐龍、火山、營

keep reproducing and multiplying, demonstrating his view of the universe.

火以及火花等等，喚醒童年腦海中的幻想朋友，亦可發現他塗鴉中

His style is often described as "Graffiti Spaghetti", his creation is not only

的故事性且傳遞著自身情感和充滿樂趣的世界觀。《睡蓮 Doodles

applied on canvas, but also furniture, books, subway stations and clothing

1》為 Mr Doodle 於 2019 年亮相於香港的名畫系列，取材自印象派

etc., he created an ever-expanding world full of novelty and fun. In 2018, he

中最具代表性的莫內「睡蓮」系列，睡蓮靈感來自莫內自家花園美

held a large-scale solo exhibition "Doodle World" at the Ara Art Center in

景，藝術家透過柔和明亮的色彩，呈現夏季睡蓮池中生機盎然的風

Seoul, and later collaborated with brands such as Samsung, PUMA, Fendi

貌。莫內以睡蓮為主題，共繪製 250 幅畫作，是他晚年最具代表性

etc., he became a new generation artist who have gained popularity all over

的作品。而睡蓮主題轉化為 Doodle 式一筆畫風格，佈滿了各色海

the world and numerous fans in recent years.

中或幻想中的小生物，在一遍綠意盎然中點綴幾抹灼灼紅花，如淡 綠綴枝卻又妙趣橫生，Mr Doodle 以他獨特且新穎的個人視角重新 詮釋了屬於他自己的塗鴉藝術。 12

"The process of creating this series of works is full of fun. I hope that the audience can look at art through my perspective in a relaxed and humorous way, and make fun of it." — Mr Doodle

[ THE ARTIST ]

▼

塗鴉先生 《 睡蓮 Doodles 1 》2019 壓克力 畫布 100 x 100 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Mr Doodle/Dr Scribble, Untitled, 2018, Acrylic on canvas, 100 x 100 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

翻攝自藝術家Instagram

▲

塗鴉先生 《 貪食蛇 》2018 壓克力 畫布 50.8 x 50.8 cm 羅芙奧台北2021秋拍「現代與當代藝術」 Mr Doodle/Dr Scribble, Snake, 2018, Acrylic on canvas, 50.8 x 50.8 cm Ravenel Autumn Auction 2021 Modern & Contemporary Art

This autumn Ravenel proudly presents a series of Mr Doodle works.

the universe: Earth, Water, Air and Fire, which are indeed the same four

In addition to a series of iconic one-stroke works, there are also works

elements needed for biological life: Soil, Water, Air and Sunlight. Mr

from the early Mr Doodle period created in the name of Dr Scribble. Dr

Doodle created a series of works in 2019 exactly based on these four

Scribble first appeared in the solo exhibition "Attention Seeker" held

elements, where "Fire" is visualised in orange, "Water" obviously is in

in London in 2016. He even created an IG account under the name of

blue, "Air" is depicted in purple and finally "Earth" is represented in

Dr Scribble in 2017 and published works independent from Mr Doodle,

green. Mr Doodle visualises and reinterprets these four crucial yet basic

positioning as his evil twin brother. Based on the black background and

components of the material composition in the world from his unique

lines in white, the cute and somewhat evil graffiti style shows another

perspective. All things are made out of fire, yet which is always in the

facet of his graffiti art. Through the shaping of Dr Scribble's personality

midst of change. "Fire" integrates various humorous elements about fire,

image, sort of like a "naughty kid making trouble" behavior, which also

such as fire-breathing dinosaurs, volcanoes, campfires and sparks etc.,

reflects the rhapsody of his other self.

awakening the imaginary friends once lively appeared in one's mind

IMPROMPTU GRAFFITI, RECREATION OF CLASSICS

during childhood, and also can discover the storytelling narrative in his

Mr Doodle calls his style "Graffiti Spaghetti" subverting the traditional graffiti composition and filling every inch of creative space with lines. His works have bright colors and simple lines, through his perspective, he hopes that the audience can look upon the message he wants to convey in a relaxed and humorous way. In his graffiti world, his characters are vivid. He created a brand-new visual phenomenon, improvised brushstrokes are so iconic with ever-increasing and densely layout of characters, objects and patterns, demonstrating his view of the universe. In 2019, Mr Doodle created a series of graffiti which transformed from the world's famous paintings, reinterpreting the works from those masters in art history.

Another wonderful large-scale work "Fire" forms one of the elements from Mr Doodle's "Universe" series. The ancient Greek

graffiti, conveying his own emotions and a fun-filled worldview. "Water Lily Doodles 1" forms part of the series of Mr Doodle's famous paintings that first appeared in Hong Kong in 2019. It is based on the most iconic work in Impressionism, the series of "Water Lilies" from Monet. The water lilies are inspired by the beautiful landscape of Monet's own garden, through the application of soft and bright colors, the artist presents the lively and vibrant water lily pond during summer. Under the theme of water lilies, Monet made a total of 250 paintings, which are the most representative works in his later years. The water lily theme is transformed into a Doodle-style one-stroke graffiti painting, the canvas is decorated with small creatures in various colors either under the pond or in pure fantasy, adorned with a few burning red flowers among the greenery landscape. Mr Doodle reinterprets his own graffiti art through his unique and novel personal perspective.

philosopher Aristotle once said there are four elements which make up 13

A R

未來之星 Text / 陳惠黛 Odile Chen

Photo / Ravenel International Art Group

#

THE ENTRANCE OF A NEW GENERATION DISCOVERING RISING STARS OF THE INTERNATIONAL ART MARKET 14

#AYA TAKANO

年輕世代大進場－ 發現國際藝術市場

INTERNATIONAL EMERGING ARTISTS

MARKET

[ ART & INVESTMENT ]

#MAIKO KOBAYASHI

#GRACE WEAVER

一般藝術圈對於藝術家生涯的分類，大致可區分為三類，其一是 emerging artist（新興藝術家或新銳藝術家），其二是 mid-career artist （ 中 生 代 藝 術 家 ）， 還 有 established artist（ 穩 定 成 就 藝 術 家 ）。 年 紀資歷是劃分此三類藝術家的首要標準，當然行情亦是現實的決定性 因素。本文推薦亞洲藏家較為熟悉具有潛力的當代藝術家，多數挑選 1980 年後出生（所謂八零後、九零後，或四十歲以下）的國際當代藝 術名家，分類上屬於「新興藝術家」，或甫自「新興藝術家」初進階 為「中生代藝術家」。囿於篇幅，僅為取樣介紹，或許僅能反映市場 因應貨幣寬鬆與通貨膨脹時代來臨，藝術品儼然成為資金停泊與資 產投資標的之一。面對後疫情時期，網路虛擬展場、藝博會、線上與線 下藝術拍賣會交出亮麗成績單。而從各家國際拍賣行推出的專場特色， 很容易觀察到，當代藝術的件數及金額佔比，已明顯逐漸位居要角。 根 據 Artprice 的「2021 當 代 藝 術 趨 勢 報 告 」（The Contemporary Art market Report in 2021），從 2020 年 7 月到 2021 年 6 月，全球拍賣市 場累計有 27 億美元以上的當代藝術交易額，這前所未有的數額已是上 一年度同期兩倍之多。光以 2021 年上半年的當代藝術拍賣交易額，已 然超過 2020 全年度同類的總額。新冠肺炎疫情顯然未澆熄市場的熱度， 反而逆勢助攻，無論件數與成交金額、成交率皆優於過往。

愛冒險的千禧世代藏家大進場

一二，無法窺得全貌。 隨著時間推移，潮流藝術崛起，近期的藝術市場有大批年輕藏家 新血加入，好不熱鬧，這批所謂的「千禧世代」（Millennials, 1981 年 至 1996 年出生）或稱「Y 世代」的新藏家，他們的收藏取向，自然與 前兩代「戰後嬰兒潮」（1946 年至 1964 年出生）與「X 世代」（1965 年至 1980 年出生）有所差異。「千禧世代」也是「網路世代」，成長 在網際網路蓬勃發展的時期，得利於全球化時代，這一世代有其收藏偏 好，喜愛高知名度，視覺感強烈、時髦具話題性的藝術。初生之犢不畏 虎，今日拍場上年輕藏家擅於利用資源優勢，敢於出價，樂衷於分享社 群，大舉推升拍賣成交金額。 千禧網路世代藏家大舉進入拍賣市場，亦助升網路與實體拍賣的

探究近期市場數據，多位年輕藝術家們在一場又一場拍賣會中行情

活絡與熱度。他們不排斥以投資觀點看待收藏，喜愛屬於他們世代的藝

高升，當筆者在分析整理當代藝術家拍賣紀錄期間，必須不斷地更新行

術，購買時較無價格偏見。他們可以透過網路平台瀏覽購買藝術品，或

情。相信這些數字只是暫時性的，未來拍賣紀錄必定會持續翻新。選粹

是從 Instagram、抖音 TikTok 社群發現藝術家，或跟隨藝人網紅，或與

幾些明日之星，共通特徵是有潛力、詢問度高的年輕藝術家，短時間內

社群同好分享戰利品，獲得成就感。出手時眼明手快，當然若覺得購藏

以高於拍賣估價數倍、甚或數十倍的價格成交。傑出藝術家快速竄紅，

的作品不合適時，多半能果決地釋出，加快藝術市場的交易頻率，這也

在拍賣市場已形成趨勢。

是為何他們能成為藝術市場交易的潛力客群。 15

大數據下顯示的藝術同溫層 雖然千禧世代擁有潛力十足的購買力，來勢洶洶，不可諱言的，他們的 上一代戰後嬰兒潮或 X 世代仍是藝術收藏界的主力，在骨董書畫或是現代經 典、戰後藝術等項目，仍擁有不可撼動的財富收藏，喜好多元且個人化。試 看台灣名人收藏中，清翫雅集的大腕級企業藏家，多屬戰後嬰兒潮世代，收 藏跨越中西，藏品各霸一方。而 X 世代 41 歲至 56 歲族群，目前正值中年最 富裕階段，對於網路亦不陌生，他們能夠銜接兩代的藝術收藏，比起嬰兒潮 世代更容易接受前衛與潮流當代藝術。 網路世代因應社群體的發達，知名藝人或網紅的收藏品味，無形中影響 同一代人的喜好。因為網路的交流，使得千禧世代藏家有較為近似的收藏風 格。粉絲們在社群媒體追蹤名人，新藝術家也會透過社群自媒體，尋找知音 伯樂。最有名的例子，愛爾蘭藝術家吉妮維．菲吉斯 Genieve Figgis 因為在 推特 Twitter 上展示作品，引起美國藝術家前輩理查．普林斯 Richard Prince 的注意，進而買下她的畫，並推薦給紐約藝術界。這個故事鼓舞了許多仍在 奮鬥默默無名的年輕藝術家，起而效尤。 加拿大華裔藝術家王俊傑 Matthew Wong，靠自學繪畫展現不凡天分， 紐約時代稱他為「與其同時代最有才華的畫家之一」。然而他長期因自閉症

#SOL FELPETO

與妥瑞症所苦，2019 年自殺結束了 35 年短暫人生。隔年 12 月作品《夕陽之 河》（River at Dusk）在香港拍出 3776 萬港元（約 487 萬美元或 1.43 億台 幣）的天價。現代版的梵谷，不需要百年等待，短短一年時間已寫下神話。 而 1994 年出生的塗鴉先生 Mr Doodle，有強迫塗鴉的慾望，盛名讓他產生患 上思覺失調，二十多歲即揚名世界，在拍場上寫下五百萬港元（約 64 萬美元 或 1800 萬台幣）的紀錄。

#PETER RIEZEBOS

#NIKKI 16

[ ART & INVESTMENT ]

新興藝術家的成名之道 畫廊經紀人與拍賣會專家需要不斷有新題材，鑒於過往的經典現代與當 代大師們的藝術品不易釋出，或是價格高不可攀，因此應運而生的從當代藝 術中找議題，有「潮流藝術」、「塗鴉藝術」、「非裔或黑人藝術」、「中 南美裔」、「女性藝術」、「彩虹同志 LGBTQ」等話題性藝術家。最近許多 專文，紛紛以「你不可不知的 X 位新興藝術家」（Emerging artists）或「新 星藝術家」(New Stars)，作為標題，以相對較低價格門檻，吸引新進年輕世 代買家。

粉絲關注，因此能很快地被一級市場的畫廊或經紀商發現，代理並推薦給收 藏家、博物館，進而時尚品牌聯名合作，或發行版畫與公仔，擴大客群，甚 至進軍二級市場的拍賣平台。近期也有發現：從拍賣平台熱賣的藝術家，吸 引國際級大畫廊洽談代理與展約，如法國的克萊爾．特伯萊 Claire Tabouret、 西班牙艾德加．普連斯 Edgar Plans，原本和小型畫廊合作，後來獲知名的阿 爾敏．萊希畫廊 Almine Rech Gallery 爭取代理，該畫廊也爭取到與拍賣會新 星哈維爾．卡勒加 Javier Calleja 個展合作機會。 判斷新興藝術家的人氣指數，從畫廊、藝博會、拍賣會的銷售成績可見 其端倪。尤其潮流藝術家的行情打開之後，隨後會與發行商合作，著名的有 「AllRightsReserved」（KAWS、朱安．葛明尼拉 Joan Cornellà）、「Avant

#ÁKOS EZER

優秀的新興藝術家，透過媒體或網路社群自帶流量，擁有來自世界各地

Arte」（LY、羅比．安托諾 Roby Dwi Antono、阿德里安娜 · 奧利弗 Adriana Oliver、松山智一 Tomokazu Matsuyama、高野綾 Aya Takano、赫布魯．布蘭 特 里 Hebru Brantley、Claire Tabouret 克 萊 爾． 特 伯 萊 ）、「Case Studyo」 （哈維爾．卡勒加 Javier Calleja、強納森．查普林 Johnson Chaplin、Daniel Arsham 丹尼爾．阿爾軒）、「APPORTFOLIO」（小泉悟 Satoru Koizumi、 天 野 タ ケ ル Takeru Amano、 下 田 光 Hikari Shimoda、 平 子 雄 一 Yuichi Hirako、凱薩琳．伯恩哈特 Katherine Bernhardt、A 先生 Mr. A、格里．巴斯 曼 Gary Baseman）、「Medicom Toy」（小畑多丘 Taku Obata）、「VTSS」 （塗鴉先生 Mr Doodle、羅比．安托諾 Roby Dwi Antono、上野陽介 Yosuke Ueno），共同合作出版限量版畫或複數公仔玩具等。 無 論 是 二 十 年 前 從 潮 牌 服 飾 搪 膠 玩 具 走 紅 的 詹 姆 斯． 賈 維 斯 James Jarvis、KAWS，抑或是近期玩具展崛起的中村萌 Moe Nakamura、中田郁美 Ikumi Nakada、龍家昇 Kasing Lung，皆是眾人津津樂道的成功範例。限量版 畫或公仔一旦推出便秒殺，搶得機先者可再轉賣牟利，過去幾年間透過臉書、 LINE 或微信社群，成為一門好生意。

名人、品牌加持 拍賣行情再翻揚 若 轉 型 成 功 為 mid-career artist（ 中 生 代 藝 術 家 ） 或 established artist （ 穩 定 成 就 藝 術 家 ） 之 後， 能 更 進 階 與 時 尚 大 品 牌 跨 界 合 作， 例 如 Louis Vuitton、DIOR、Stella McCartney、Off-White、Supreme、NIKE、Puma、 UNIQLO 等等。這些藝術家諸如 KAWS、烏爾斯．費歇爾 Urs Fischer、傑夫． 昆斯 Jeff Koons、村上隆 Takashi Murakami、蜷川實花 Mika Ninagawa、奈良 美 智 Yoshitomo Nara、 空 山 基 Hajime Sorayama 與 塗 鴉 先 生 Mr Doodle， 更 早之前的斯蒂芬．施普魯斯 Stephen Sprouse、草間彌生 Yayoi Kusama、達明． 赫斯特 Damien Hirst、理查．普林斯 Richard Prince 等等成功的案例，藝術結

#NAT MEADE

合流行時尚，使得這些藝術家更能貼近普羅大眾，吸引更多人加入收藏行列。 17

#TANIA MARMOLEJO 潮流藝術、街頭藝術、種族性別平權 回歸藝術初心 塗 鴉 藝 術 始 於 街 頭，20 世 紀 先 驅 藝 術 家 如 奇 斯． 哈 林 Keith Haring、尚 – 米榭．巴斯奇亞 Basquiat、Invader、Blek Le Rat 的地下 化 行 動， 接 續 有 Banksy、KAWS、 洗 腦 先 生 Mr Brainwash、 荷 西． 帕拉 José Parlá，在街頭找尋靈感、繪寫圖案與省思文明，更多的後

具有商業頭腦的村上隆，領軍 Kaikai Kiki 畫廊，旗下帶出一批批優 秀的子弟兵，如御宅族 Mr.、奇幻動漫的高野綾 Aya Takano、迷幻風格 的 ob、惡搞名畫的 Madsaki、日本塗鴉先驅 Snipe1，個個都有一片天。 而和村上隆關係良好的法國血統的貝浩登畫廊，接力推薦這些日本藝術 家，將他們的作品帶向國際市場。日本當代藝術畫廊 NANZUKA，也 頗具慧眼，成功地推薦哈維爾．卡勒加 Javier Calleja、喬納森．查普林 Jonathan Chapline 等。頗富盛名的小山登美夫畫廊，近期代理的長井朋 子 Tomoko Nagai 銷售十分成功。 藝術家 KAWS、村上隆也是收藏家，經過他們推薦的藝術家容易受 藏家青睞。亞洲歌王周杰倫非常欣賞艾迪．馬丁內斯 Eddie Martinez， 往來密切，也使得馬丁內斯的行情倍受關注。2021 年 6 月在香港周杰 倫策畫的收藏專拍，獲致成功，多位藝術家創下個人拍賣紀錄，洛伊． 霍 洛 韋 爾 Loie Hollowell、 賈 米 安． 朱 利 安 諾． 維 拉 尼 Jamian JulianoVillani、井田幸昌 Yukimasa Ida、a'strict、Snipe1 都是 Y 世代年輕藝術家。

馬克．布拉德福特 Mark Bradford；2019 年威尼斯雙年展的庫扎奈． 維 奧 萊 特． 瓦 米 Kudzanai-Violet Hwami， 還 有 拉 希 德． 詹 森 Rashid Johnson、阿莫奧克．博福 Amoako Boafo、亨利．泰勒 Henry Taylor、 辛格．森松 Cinga Samson 等是頗富盛名的黑人藝術家，國際大畫廊豪 瑟沃斯 Hauser & Wirth 有代理上述多位藝術家。

進也在街頭發現舞台，如美國的馬丁內斯、謝帕德．費爾雷 Shepard

種 族 議 題 在 西 方 一 直 是 嚴 肅 的 課 題，2020 年 佛 洛 伊 德 George

Fairey、法國的 JR、市霸奇奇 SupaKitch、義大利的米洛 Millo，還有

Floyd「拜託我不能呼吸」的遺言，觸動了黑人藝術家傑米．霍姆斯

無數各國的塗鴉天才，使得街頭充滿活力與驚奇。

Jammie Holmes 創作行為藝術的念頭。「黑人的命也是命」的訴求延

21 世紀的人類，尊重性別平等與有色人種的議題，受到普遍重視。

燒藝術圈，聲援黑人社會，進而改善有色人種的工作平權。

2009 年美國產生首位非裔總統歐巴馬，在此前後長期處於邊緣地位

各類風格的新興藝術家得以蓬勃發展，而在拍賣平台留下數據化

的非裔藝術重新被提出。長期西方白人至上的西洋美術史，繪畫的主

證據。本文附表收集四十位新銳當代藝術家的最新拍賣紀錄，幾乎所

角很少是黑人。而 2016 年紐約大都會美術館舉辦馬歇爾 Kerry James

有成績都在過去一兩年間所締造。此時是最艱困的時期，卻也是充滿

Marshall 回顧展，使得非裔藝術再度受到關注。女力崛起，全世界有

機會的年代，更新穎以數位化展現的的 NFT 藝術經濟，已經在藝術市

愈來愈多的女性領導人，職場亦然，藝術圈亦若是。

場形成另一股風潮。世界變化之快，超乎一般人的想像，我們需要理

黑人女性藝術家莎芭拉拉．塞爾弗 Tschabalala Self、賈黛．法多 朱 蒂 米 Jadé Fadojutimi、 艾 米． 謝 拉 德 Amy Sherald、 馬 德 琳． 格 林 Madelynn Mae Green 成為市場寵兒；曾參展 2016 年威尼斯雙年展的

解並掌握趨勢，與時俱進。然而，不忘回歸初衷，選擇收藏真心喜愛 能觸動人心的作品，又兼具投資保值。不妨開始找尋年輕有潛力的美 好藝術，讓今日的藝術成為明日的經典。

#ADAM HANDLER

#MOLLY BROCKLEHURST 18

[ ART & INVESTMENT ]

In the current environment of monetary easing and inflation, art has become a popular investment and a destination for parking money.

During the COVID-19 pandemic, online virtual exhibitions and art fairs, as well as online and offline art auctions have been producing impressive results. From the special features of various international auction houses, it is easy to see the increasingly important role of art from the amount and proportional value of contemporary art. According to Artprice's Contemporary Art market Report in 2021, from July 2020 to June 2021, the global auction market accumulated more than $2.7 billion in contemporary art transactions, an unprecedented amount that is more than double the same period last year. Contemporary art auction sales in the first half of 2021 alone have already exceeded the total for the entire year of 2020. It is now obvious how the pandemic has not had a cooling

#EDGAR PLANS

effect on the market, but rather the opposite. No matter the number of works, the amounts and rates of transactions are higher than in the past.

Adventurous Millennial Collectors Make a Big Entrance According to recent market data, works by young artists appearing in

artists or emerging-to-mid-career artists. Due to constraints of space, this

auctions has been steadily increasing. As I analyze the auction records of

paper offers only a limited sample size that only reflects a portion of the

contemporary artists, I must constantly update the market. I believe that

market, so it is difficult to represent the whole picture.

these figures are only temporary, and that auction records will continue to transform in the future. A common feature of the stars of tomorrow is that young artists with potential and high degree of inquiry have traded at prices several times or even dozens of times higher than their auction valuation within a short time. Outstanding artists quickly become popular and are trending in the auction market.

Along with time, this trend in art has been increasingly emerging.

Recently, a large number of young collectors have joined the art market.

This group of so-called "millennial" (born from 1981 to 1996) or "generation Y" new collectors tend to have different orientations for collection from their predecessors, the "post-war baby boomers" (born from 1946 to 1964) and "generation X" (born from 1965 to 1980).

The classification of artists' careers in the general art circle can

Growing up during the rapid development of the Internet and benefiting

be roughly divided into three categories: emerging artists, mid-career

from the era of globalization, millennials are also known as the "Internet

artists, and established artists. Age and experience are the primary

generation". This generation has its own collection preferences with

criteria to classify these three categories of artists. Of course, in reality,

preferences for high-profile, visual, fashionable, and topical art. These

the market is also the decisive factor. This article proposes that Asian

newcomers to the art market also tend to be bolder than more experienced

collectors are more familiar with the potential of contemporary artists.

art investors. Today, young collectors in the auction field are particularly

Most of them choose international contemporary artists born after 1980

adept at taking advantage of resources. They dare to bid, are happy to

(so-called post-80s and post-90s, or under-40s), classified as emerging

share the community, and greatly increase auction turnovers.

19

The influx of millennial collectors into the auction market has also helped to increase the activities and popularity of online and physical auctions. Millennials tend not to reject the idea of art collection being a valid form of investment. They like the art of their generation and are less price-sensitive when buying. They can browse through online platforms to purchase art, find artists from Instagram or TikTok, follow influencers, or share their successes with the community and feel a sense of accomplishment. If they feel that the works they've purchased and collected are inappropriate, they tend to be decisive about letting them go, speeding up the trading frequency of the art market. This is why millennials are customers with high potential in the art market.

Art stratosphere displayed under big data Although millennials wield a promising level of purchasing power, it cannot be denied that their predecessors, the baby boomers and Gen-Xers, are still the big players in the art collection industry. They still dominate the markets in antique calligraphy and painting, modern classics, post-war art and other projects, and appreciate diversity and personalization. Among Taiwan's celebrity collections, most of the top corporate collectors of Ching Wan Society art are baby boomers. Their collections span works from China and the West

#LY

with a particular affinity for niche art. Spanning 41 to 56 years of age, Generation X, is currently in the most affluent stage of middle age with a familiarity of the Internet. Gen-X collectors integrate the art collection habits of two generations and are more likely to accept trendy and avant-garde contemporary art than baby boomers.

The Internet generation responds to the development of social groups, and the collection taste of well-known artists or online celebrities influences the preferences of their followers. Because of online communication, millennial collectors tend to have a similar collection style. Fans follow social media influencers and celebrities, and new artists will also be discovered by talent scouts through social media. The most famous example is Genieve Figgis, an Irish artist who shared her works on Twitter and attracted the attention of Richard Prince, a well-known American artist who bought her paintings and recommended her to the art world in New York. This story has inspired many struggling young artists to follow suit.

Self-taught Chinese-Canadian artist Matthew Wong was described by the New York Times as "one of the most talented painters of his generation". However, he suffered from autism and Tourette's syndrome for a long time. He committed suicide in 2019, ending a short 35-year life. The following December, River at Dusk sold in Hong Kong for HK$37.76 million (US$4.87 million or NT$143 million). In modern times, a century is no longer required for artists to "become van Gogh"—just one year is enough to reach such a legendary status. Mr Doodle, born in 1994, had a strong drive to create graffiti art, but a sudden wave of fame caused his mental health to suffer. When he was in his twenties, he achieved global fame, setting a record of HK$5 million (US $640,000 or NT $18 million) in auction houses.

#TAKERU AMANO 20

#M R. A

[ ART & INVESTMENT ]

#MR DOODLE #KATHERINE BERNHARDT The Way to Fame for Emerging Artists Gallery brokers and auction specialists need to constantly come up with new subjects. Since classic works of modern and contemporary masters are unavailable or unaffordable, it became common practice to find topics from contemporary art, such as popular art, graffiti art, African-American or Black artists, Central and South American artists, female artists, LGBTQ artists, etc. Recently, the Internet has been flooded with articles on "‘X Emerging Artists' or ‘New Stars' You Need to Know" and similar topics to attract new, young buyers with relatively low price thresholds.

Excellent emerging artists bring their own traffic through media or online communities and have the attention of fans from all over the world. They can be quickly discovered by galleries or brokers in top markets or recommended to collectors and museums. Then they may collaborate with fashion brands or issue prints, dolls, and other merchandise, expand the customer base, and even enter auction platforms in the secondary market. Recently, it has also been found that artists selling on auction platforms have attracted large international galleries to negotiate agency and exhibition agreements, such as Claire Taboulet from France and Edgar Plans from Spain. These artists originally worked

To judge the popularity of emerging artists, we can look for clues from the sales records of galleries, art fairs, and auctions. In particular, after the market for trendy artists opens, they will cooperate with brands to create merchandise. Some famous examples of artists who created limited edition co-branded prints or plural doll toys include "AllRightsReserved": KAWS, Joan Cornellà; "Avant Arte": LY, Roby Dwi Antono, Adriana Oliver, Tomokazu Matsuyama, Aya Takano, Hebru Brantley, Claire Tabouret; "Case Studyo": Javier Calleja, Johnson Chaplin, Daniel Arsham; "APPORTFOLIO": Satoru Koizumi, Takeru Amano, Hikari Shimoda, Yuichi Hirako, Katherine Bernhardt, Mr. A, Gary Baseman; "Medicom Toy": Taku Obata; "VTSS": Mr Doodle, Roby Dwi Antono, Yosuke Ueno.

Whether we look at artists like James Jarvis or KAWS, who became popular from trendy clothing and enamel toys 20 years ago, or Moe Nakamura, Ikumi Nakada, and Kasing Lung, who rose in a recent toy exhibition, are all successful examples that people like to talk about.

Once the limited edition prints or dolls are launched, they often sell out instantly. The buyers who managed to snap up a few products can then resell them for a profit. In the past few years, this has become a good business for sellers on Facebook, Line, or WeChat.

with small galleries, but later signed agreements with the well-known Almine Rech Gallery. The gallery also won the opportunity to cooperate with Javier Calleja, a rising star in art auctions.

21

#JONATHAN CHAPLINE Celebrity and Brand Support: Auction Market Grows Again After successfully transitioning into a mid-career or established artist, an artist can pursue more advanced cross-border cooperation with major fashion brands such as Louis Vuitton, Dior, Stella McCartney, Off-White, Supreme, Nike, Puma, UNIQLO, etc. Success stories include KAWS, Urs Fischer, Jeff Koons, Takashi Murakami, Mika Ninagawa, Yoshitomo Nara, Hajime Sorayama, Mr doodle, Stephen Spruse, Yayoi Kusama, Damien Hirst, Richard Prince and more. These artists combined art with fashion, bringing them closer to the general public and attracting more people to participate in art collection.

Business-minded Murakami leads the Kaikai Kiki gallery, which has seen the emergence of one outstanding artist after another, including Mr. Otaku, fantasy animator Aya Takano, psychedelic artist OB, masterpiece satirist Madsaki, and

#KENZ

Japanese graffiti pioneer Snipe1. Perrotin, an artist of French descent who had a good relationship with Murakami Takashi, recommended these Japanese artists and helped bring their works to the international market. The Japanese art gallery NANZUKA has also proved to be very insightful and has successfully recommended Javier Calleja, Jonathan Chaplin, and Johnson Chaplin. Tomoko Nagai, a recent agent of the famous Tomio Koyama Gallery, has also been very successful in sales.

Artists KAWS and Murakami are also collectors, and artists they endorse are easily favored by collectors. Asian singer Jay Chou is a great fan of Eddie Martinez, and his close contact with the artist has also attracted much attention to his market value. In June 2021, Jay Chou's collection was auctioned off in Hong Kong with great success. Many artists set personal auction records. Roy Hollowell, Jamian Juliano Villani, Yukimasa Ida, a'strict, and Snipe1 are all Gen Y artists.

Trend Art, Street Art, and Racial and Gender Equality: Return to the Original Spirit of Art Graffiti art began in the streets. Pioneering artists in the 20th century—such as Keith Haring, Jean-Michel Basquiat, Invader, and Blek Le Rat, followed by Banksy, KAWS, Mr. Brainwash, and José Parlá—sought inspiration, painted patterns and reflected on street culture. More artists who followed them also became famous in the streets first. Graffiti talents such as Martinez and Shepard Fairey in the United States, JR and Supa Kitch in France, Millo in Italy, and countless artists from around the world filled the streets with vitality and surprise.

22

[ ART & INVESTMENT ]

#MILLO In the 21st century, the issue of respecting gender equality and people of color has attracted universal attention. In 2009, the United States elected its first AfricanAmerican President, Barack Obama. Since this historic event, long-marginalized African-American art has been receiving increasingly more attention. For most of western art's white-supremacist history, paintings rarely featured black subjects. In 2016, the Kerry James Marshall retrospective exhibition held by the Metropolitan Museum of art in New York drew public attention back to African-American art.

Likewise, with the rise of women's rights, there are more female leaders all over the world, as well as in the corporate and art worlds.

Black female artists Tschabalala Self, Jadé Fadojutimi, Amy Sherald, and Madelynn Mae Green have become market favorites. Other well-known black artists include Mark Bradford, who participated in the 2016 Venice Biennale; KudzanaiViolet Hwami of the 2019 Venice Biennale, Rashid Johnson, Amoako Boafo, Henry Taylor, and Cinga Samson. The internationally renowned gallery Hauser & Wirth has represented many of these artists.

Race has always been a serious issue in the West. In 2020, the last words of George Floyd, "Please, I can't breathe", moved black artist Jamie Holmes to create performance art. The "Black Lives Matter" movement spread throughout art circles in support of the black community to improve work equity for people of color.

Emerging artists of diverse styles can flourish and leave their digital footprints on the auction platform. The table attached to this article shows the latest auction records of 40 cutting-edge contemporary artists. Almost all of the works listed were created in the past two years. This past two years has been an extremely difficult period, but it is also an era full of opportunities. The NFT art economy, which is more novel and digitized, has formed another trend in the art market. The world is changing faster than most people can imagine; we need to understand and master this trend and keep pace with the times. However, we must remember our original intention and collect works because we really like them and because they have the power to touch people's hearts, not just because they are a profitable investment. We might as well start looking for beautiful art by young artists with potential and make today's art a classic of tomorrow.

#JAMMIE HOLMES

#SNIPE1

23

中生代與新興藝術家拍賣紀錄選樣 1

2

3

4

5

王俊傑 夕陽之河 Matthew WONG (Canadian, 1984-2019) River at Dusk 2018 Oil on canvas 203.2 x 178 cm

艾利．辛格 無題 Avery SINGER (American, b. 1987) Untitled 2018 Acrylic on canvas stretched over wood panel 216.2 x 241.3 cm

弗洛拉．尤赫諾維奇 我會擁有她所擁有的 Flora YUKHNOVICH (British, b. 1990) I'll Have What She's Having 2020 Oil on linen 169.5 x 220 cm

洛伊．霍洛韋爾 連接的林伽 （黃，綠，藍，紫，粉紅色） Loie HOLLOWELL (American, b. 1983) Linked Lingams (yellow, green, blue, purple, pink) 2018 Oil paint, acrylic medium, sawdust, and high-density foam on linen mounted on panel 122 x 91.5 x 9.3 cm

賈黛．法多朱蒂米 愉悅傳說 Jadé FADOJUTIMI (British, b. 1993) Myths of Pleasure 2017 Oil on canvas 140.5 x 140.5 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$7,000,000~10,000,000

US$1,200,000~1,800,000

GBP 60,000~80,000

HK$3,000,000~5,000,000

GBP 80,000~120,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$2,126,801 HK$16,510,000

US$1,612,436 GBP 1,172,000

拍賣日期 Auction Date 倫敦蘇富比富藝斯 Sotheby’s, London October 14, 2021

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong June 18, 2021

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London October 15, 2021

US$4,871,567 HK$37,760,000 拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong December 3, 2020

拍賣日期 Auction Date 紐約富藝斯 Phillips, New York June 23, 2021

US$3,083,542 GBP 2,253,500

成交價 Sold at

6

7

8

9

10

尼古拉斯．帕蒂 樹 Nicolas PARTY (Swiss, b. 1980) Trees 2014 Pastel on canvas 200 x 109.9 cm

莎拉．休斯 夜間糾察隊 Shara HUGHTES (American, b. 1981) Night Picket 2017 Oil, acrylic on canvas 170.2 x 154.9 cm

艾米莉．梅．史密斯 掃帚人生 Emily Mae SMITH (American, b. 1979) Broom Life 2014 Oil on linen 122 x 94 cm

阿莫奧克．博福 巴巴．迪奧普 Amoako BOAFO (Ghanaian, b. 1984) Baba Diop 2019 Oil on canvas 211 x 167.5 cm

克萊爾．特伯萊 名媛少女（天藍色） Claire TABOURET (French, b. 1981) Les débutantes (bleu azur) 2014 Acrylic on canvas 230 x 330 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$7,000,000~10,000,000

GBP 80,000~120,000

HK$400,000~600,000

HK$800,000~1,500,000

US$200,000~300,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong October 9, 2021

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London October 15, 2021

拍賣日期 Auction Date 香港富藝斯與香港保利 Phillips & Poly, Hong Kong June 8, 2021

拍賣日期 Auction Date 香港佳士得 Christie’s, Hong Kong December 2, 2020

US$1,530,297 HK$11,912,000

24

US$4,144,000

US$1,196,256 GBP 869,500

US$1,591,544 HK$12,350,000

US$1,146,818 HK$7,200,000

成交價 Sold at

US$870,000

拍賣日期 Auction Date 紐約佳士得 Christie’s, New York May 14, 2021

[ ART & INVESTMENT ]

TOP

SELECTED MID-CAREER AND EMERGING ARTISTS AUCTION RECORD

40

製表 ∕ 陳惠黛 Odile Chen （Update 2021.10.20; Source: Artprice.com, Artron.com, Sotheby's, Christie's, Phillips, SBI）

11

12

13

14

15

塗鴉先生 東京塗鴉 Mr Doodle (British, b. 1994) Tokyo Doodle 2019 Acrylic on canvas 200.3 x 182 cm

拉法．馬卡龍 氟日常（雙聯作） Rafael MACARRÓN (Spanish, b. 1981) Rutina Fluor (diptych) 2019 Mixed media on canvas 226.2 x 294 cm

希拉里．佩西斯 後院景觀 Hilary PECIS (American, b. 1979) Backyard View 2018 Acrylic on canvas 60.9 x 50.8 cm

辛格．桑松 啟航 Cinga SAMSON (South African, b. 1986) Lift Off 2017 Oil on canvas 80.4 x 59.9 cm

松山智一 快樂星座 Tomokazu MATSUYAMA (Japanese, b. 1976) Happy Zodiac 2011 Acrylic on canvas (triptych) 182.5 x 122 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$150,000~250,000

HK$500,000~700,000

GBP 20,000~30,000

GBP 50,000~70,000

HK$300,000~500,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong October 10, 2021

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong October 9, 2021

拍賣日期 Auction Date 倫敦蘇富比 Sotheby’s, London October 14, 2021

拍賣日期 Auction Date 倫敦蘇富比 Sotheby’s, London October 14, 2021

拍賣日期 Auction Date 香港佳士得 Christie’s, Hong Kong May 25, 2021

16

17

18

19

20

阿布迪亞 兒童遊戲 Aboudia Abdoulaye DIARRASSOUBA (American-Ivorian, b. 1983) Jeux d'Enfant 2012 Mixed media, collage on canvas (in two parts) 150 x 399.2 cm

喬納森．查普林 無題 Jonathan CHAPLINE (American, b. 1987) Untitled 2018 Acrylic, vinyl paint on panel 178 x 203.5 cm

凱薩琳‧伯恩哈特 三倍威脅 Katherine BERNHARDT (American, b. 1975) Triple Threat 2019 Acrylic, spray paint on canvas 122 x 152.8 cm

艾莉森．扎克曼 首張皇家肖像畫 Allison ZUCKERMAN (American, b. 1990) The First Royal Portrait 2018 Acrylic archival CMYK ink on canvas 205.1 x 137.2 cm

艾德加．普連斯 愛情 Edgar PLANS (Spanish, b. 1977) Amore 2019 Mixed media on canvas 100 x 100 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

GBP 35,000~45,000

HK$300,000~500,000

HK$300,000~500,000

US$30,000~40,000

HK$350,000~550,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 倫敦蘇富比 Sotheby’s, London October 15, 2021

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong December 4, 2020

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong October 10, 2021

US$644,262 HK$5,015,000

US$277,360 GBP 201,600

US$550,351 HK$4,284,000

US$243,856 HK$1,890,000

US$468,262 GBP 340,200

US$250,894 HK$1,953,000

US$439,645 GBP 321,300

US$252,000

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

US$418,665 HK$3,250,000

US$194,232 HK$1,512,000 拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong September 23, 2021

25

中生代與新興藝術家拍賣紀錄選樣 21

22

23

24

25

傑米．霍姆斯 第一個生日 Jammie HOLMES (American, b. 1984) First birthday 2020 Acrylic and oil pastel on canvas 121.6 x 152.1 cm

中村萌 羊鬼鬼 Moe NAKAMURA (Japanese, b. 1988) Goat Ghoast 2017 Wood, oil paint 69 x 21.5 x 21.5 cm

路易斯 弗拉蒂諾 特里斯坦跳舞中，金星 Louis FRATINO (American, 1993) Tristan Dancing, Venus 2017 Oil and crayon on canvas 35.9 x 27.9 cm

小泉悟 動物人－羚羊 Satoru KOIZUMI (Japanese, b. 1983) Animal Human - Arabian Oryx 2015 Wood, resin, pigment 102.5 x 26 x 23 cm

彼得．萊茲伯斯 天賦 Peter RIEZEBOS (Dutch, b. 1980) Gifted 2017 Mixed media on linen 200 x 200 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HK$480,000~680,000

NT$3,800,000~5,000,000

HK$600,000~900,000

NT$2,600,000~3,600,000

NT$1,600,000~2,400,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$128,678 NT$3,600,000

US$87,505 NT$2,760,000

拍賣日期 Auction Date 香港佳士得 Christie’s, Hong Kong May 25, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 18, 2021

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong October 9, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 18, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei June 1, 2019

26

27

28

29

30

赫布魯．布蘭特里 無題 Hebru BRANTLEY (American, b. 1981) Untitled 2018 Acrylic, canvas wrapped fiberglass, resin 167.5 x 118 x 171 cm

LY 來自某處 LY (Japanese, b. 1981) From Somewhere 2017 Acrylic on canvas 130 x 130 cm

Nikki 右眼 NIKKI (American, b. 1996) Right Eyes 2021 Mixed media on canvas 120 x 120 cm

平子雄一 無題 Yuichi HIRAKO (Japanese, b. 1982) Untitled 2020 Acrylic on canvas 93 x 75 cm

克莉絲蒂娜 德 米格爾 森巴風扇 Cristina de MIGUEL (Spanish, b. 1987) Samba Fan 2021 Acrylic and wax crayon on canvas 115 x 101 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

JPY 4,000,000~7,000,000

JPY 1,500,000~2,500,000

NT$240,000~360,000

NT$280,000~380,000

GBP 4,000~6,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

US$64,339 NT$1,800,000

US$62,100 GBP 45,000

拍賣日期 Auction Date 東京SBI SBI Art Auction, Tokyo June 20, 2020

拍賣日期 Auction Date 東京SBI SBI Art Auction, Tokyo April 24, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 17, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 18, 2021

拍賣日期 Auction Date 倫敦佳士得 Christie’s, London July 2, 2021

US$193,230 HK$1,500,000

US$86,084 JPY 9,200,000

26

US$162,992 NT$4,560,000

US$74,578 JPY 8,050,000

US$153,774 HK$1,197,000

US$64,339 NT$1,800,000

成交價 Sold at

成交價 Sold at

[ ART & INVESTMENT ]

TOP

SELECTED MID-CAREER AND EMERGING ARTISTS AUCTION RECORD

40

製表 ∕ 陳惠黛 Odile Chen （Update 2021.10.20; Source: Artprice.com, Artron.com, Sotheby's, Christie's, Phillips, SBI）

31

32

33

34

35

o.b. 第三個我 OB (Japanese, b. 1992) The Third Me 2012 Oil on canvas 130.5 x 130.5 cm

阿德里安娜．奧利弗 女人 Adriana OLIVER (Spanish, b. 1990) Woman 2019 Acrylic on linen 150.2 x 129.9 cm

奧高古曼 (蘿拉．馬斯) 宇宙女孩：頭 OKOKUME (Spanish, b. 1985) Cosmic Girl Head 2018 Acrylic on canvas 79 x 90.9 cm

天野タケル 穿襪維納斯 Takeru AMANO (Japanese, b. 1977) Venus with Socks 2020 Acrylic on canvas 120 x 120 cm

灰原愛 無法發出的聲音 Ai HAIBARA (Japanese, b. 1981) A sound unable to issue 2009 Sculpture, wood 48 x 21 x 28 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

NT$750,000~1,100,000

JPY 1,000,000~2,000,000

HK$100,000~200,000

RMB 200,000~400,000

NT$200,000~300,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 17, 2021

拍賣日期 Auction Date 東京SBI SBI Art Auction, Tokyo October 31, 2020

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong July 31, 2021

拍賣日期 Auction Date 廈門十竹齋 Shi Zhu Studio, Xiamen April 25, 2021

拍賣日期 Auction Date 台北中誠 Zhong Cheng, Taipei December 18, 2019

36

37

38

39

40

格蕾絲．韋弗 哭泣 (III, 向外) Grace WEAVER (American, b. 1989) Crying (III, Outward) 2020 Oil on canvas 125 x 114.5 cm

SNIPE1 海綿寶寶 SNIPE1 (Japanese, b. 1974) aBob 2020 Spray paint on canvas 90 x 90.5 cm

索兒．費佩托 七龍珠毛團 Sol FELPETO (Venezuelan, b. 1990) Dragon Hairball Z 2021 Acrylic on cotton canvas 150 x 150 cm

長井朋子 水果潘趣酒的休假日 Tomoko NAGAI (Japanese, b. 1982) A Day Off of Fruit Punch 2015 Oil and glitter on canvas 145.5 x 227.3 cm

小林麻衣子 無題 #5 Maiko KOBAYASHI (Japanese, b. 1977) Untitled Songe #5 2013 Acrylic on canvas 27.5 x 22 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

EUR 20,000~30,000

HK$40,000~60,000

NT$340,000~550,000

JPY 400,000~700,000

HK$20,000~40,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 慕尼黑凱特勒 Ketterer Kunst, Munich November 21, 2020

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong June 22, 2021

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei July 17, 2021

拍賣日期 Auction Date 東京SBI SBI Art Auction, Tokyo July 29, 2019

拍賣日期 Auction Date 香港蘇富比 Sotheby’s, Hong Kong September 21, 2021

US$60,049 NT$1,680,000

US$27,642 EUR 23,800

US$54,953 JPY 5,750,000

US$22,711 HK$176,400

US$51,871 HK$403,200

US$21,446 NT$600,000

US$43,125 RMB 287,500

US$21,160 JPY 2,300,000

US$32,317 NT$984,000

US$21,034 HK$163,800

27

INDONESIAN POP SURREALISM

ROBY DWI ANTONO

印 尼 普 普． 超 現 實 羅 比． 安 托 諾 羅芙奧2021年秋季拍賣會― 羅比．安托諾《小魔女》 2020年 炭筆 噴漆 原始畫布 100 x 150 cm Ravenel 2021 Autumn Auction, Roby Dwi Antono, Demonic Little Girl, 2020, Charcoal and spray paint on raw canvas, 100 x 150 cm

28

[ THE ARTIST ]

Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

2021 年 初 印 尼 日 惹 市 斯 里 薩 桑 蒂． 辛 迪 加 畫 廊 （Srisasanti Syndicate）畫廊，為 1990 年出生的印尼當代 藝術家：羅比．安托諾（Roby Dwi Antomo），舉行其藝 術生涯第四次個人展覽「清晰的片段－關於過往的敘事」 （Lucid Fragments–A Narrative About The Past）。作為印 尼當代藝術新星，安托諾的藝術創作始於天份驅動與自學 的成果。2012 年受畫廊邀請首次舉辦個展，成為晉身全職 藝術家的起點。安托諾的藝術如同印尼當代社會，外來文 化交揉的歷史背景，與本土的自然風俗刺激，孵化令人驚 艷的獨特成果。市場初認識安托諾，認為其畫風受美國低 眉藝術影響，藝術家也自承對馬克．萊登（Mark Ryden） 與瑪麗恩．佩克（Marion Peck）的仰慕，並同樣擅長運用 荒誕場景與略帶神秘的古典氣質，打造出詭譎與童真並具 的奇幻風格。早年作品畫面精緻，女孩與小動物的形象如 陶瓷玩偶，經過不斷變造與附加符號，各種奇異可愛的「類 人類」生物，喚起觀者自我解讀後的內在情緒，「普普超

▲

2021年二月思想空間畫廊－羅比．安托諾個展 Roby Dwi Antono solo exhibition at Thinkspace, February 2021 Photo Courtesy of Artist's Instagram

▼

羅比．安托諾《愛愛愛》2021年 油彩 畫布 70 x 90 cm Roby Dwi Antono, Love Love Love, 2021, Oil on canvas, 70 x 90 cm All right reserved © Roby Dwi Antono

現實」風格已成為安托諾的同義詞。

最新的創作系列中，安托諾的想像與東南亞特色，繪 成一篇篇別具風情的當代繪畫。他在疫情之下保留更多時 間創作，回望童年時期成長於家鄉安巴拉旺（Ambarawa） 的景色與回憶，探索自我的軌跡。揮別以往的復古棕色系， 安托諾筆下的世界好像戴上紅色濾鏡，各種深淺漸層與對 比在主色調的調度下突出線條輪廓。猶如雨林版愛麗絲夢 遊仙境，擁有大眼眸色澤碧綠如深潭的小動物們，和諧的 與奧特曼、雪怪、蝙蝠俠等超扁平世代英雄同框野餐。畫 面裡深綠色熱帶樹林的環繞，闊葉植物與奇花異草相互襯 托，不禁讓人聯想同樣是自學成才，以純真、原始風格著 稱的後印象派畫家亨利．盧梭。人型小精靈們作為藝術家 擅長的單一主題直視觀眾，它們手抱鱷魚、山貓抑或剖開 的魚肚，碩大頭部與身體如嬰孩的不成比例。總總趨近於 「野生動物」的側寫，或許是藝術家探索人類 / 自我內在 的動物性本質綜合當代表現的思考過程。

29

由九零後策展人寧．德扎尼（Nin Djani）編撰的藝術家個人展覽目 錄，詳細剖析不同媒材，如：噴漆、油畫、蠟筆，對於安托諾藝術創作 ▲

▼

羅芙奧2021年秋季拍賣會－羅比．安托諾《眼淚與靈魂》2020-2021年 複合樹脂 版次74/150 22（長）x 22（寬）x 29（高）cm Ravenel 2021 Autumn Auction, Roby Dwi Antono, Luh & Ruh, 2020-2021, Poly-Resin, ed. 74/150, 22(L) x 22(W) x 29(H) cm

的進階意涵。除了展示媒材能表現的視覺效果，如藝術家作為鐵匠之子，

翻攝自藝術家Instagram Photo Courtesy of Artist's Instagram

精益求精的自學過程，反而驅動他大膽嘗試各項媒材，而毫不受限。他同

炭筆連結的兒時記憶，更影響創作者在情緒表現上，回望過往與現存狀態 相互之間的轉折。安托諾雖然不曾接受過傳統學院教育，但是創作熱情和 樣熟悉於平面設計和電腦技術，型塑特色角色的能力擴大他與公仔製造商 合作，跨出平面創作領域，在不同層級間擴散自己的知名度與影響力。巴 黎、倫敦、香港、東京、雅加達、紐約、墨爾本、馬尼拉、台北，安托諾 的展覽足跡已經遍佈全球等重點城市，也讓人備加期待他未來的發展。 In early 2021 at the Srisasanti Syndicate Gallery in Yogyakarta, Indonesia, Roby Dwi Antomo, an Indonesian contemporary artist born in 1990, held the fourth solo exhibition of his artistic career, Lucid

Fragments-A Narrative About The Past . As a rising star in Indonesian contemporary art, Antono's artistic creation stems from his natural artistic drive and independent studies. In 2012, he was invited by the gallery to hold his first solo exhibition, which launched his career as a full-time artist. Antono's art mirrors contemporary society in Indonesia, featuring a historical background of diverse foreign cultures, stimulated by local customs, that incubate unique and amazing achievements. When Antono first entered the art market, his style was considered to have been influenced by American low-brow art. With his admiration for Mark Ryden and Marion Peck, Antono was equally adept at using absurd scenes and slightly mysterious classical temperaments to create a freakish and childlike fantasy style. His early works are highly refined, featuring dolllike images of girls and small animals. Through constant change and additional symbols, a variety of strange and lovely human-like creatures evoke the viewer's post-self-conscious inner feelings. Antono has since become synonymous with the "pop-surrealism" style.

30

[ THE ARTIST ]

In the latest series, Antono's imagination and Southeast Asian characteristics are incorporated into contemporary paintings with a distinctive style. During the COVID-19 outbreak, he spent more time making art, reflecting on the scenery and memories of his childhood in his hometown of Ambarawa and exploring his own trajectory. Departing from the retro sepia tones of the past, Antono's world now seems to sport a red filter, with various shades and contrasts highlighting the line contours under the main tone. Like a rainforest version of Alice in Wonderland, small animals with huge eyes as blue as deep pools harmoniously have a picnic with Altman, Snow Monster, Batman and other super flat generation heroes. Surrounded by dark green tropical forests, broad-leaved plants and exotic flowers, one can't help but be reminded of Henri Rousseau, a post-impressionist painter who is also a self-taught talent known for the innocent appearances of his original style. Looking directly at the viewer, the human-like elves serve as the single theme, characteristic of Antono's art. The elves hold crocodiles, bobcats, or cut-out fish bellies, with large heads out of proportion to their bodies like babies. The general profile approach of Wild Animals may be the thinking process of the artist in exploring the comprehensive contemporary expression of the animal nature of the human or inner self.

The artist's personal exhibition catalogue, compiled by Gen-Z curator Nin Djani, analyzes in detail the advanced implications of different media, such as painting, oil painting and pastel, for Antono's artistic creation. In addition to displaying the visual effects that the medium can show, such as how charcoal evokes the artist's childhood memories as the son of a blacksmith, it also affects the creator's emotional performance and recalls the transition between past and present. Although Antono

▲

翻攝自藝術家Instagram Photo Courtesy of Artist's Instagram

▼

羅比．安托諾《戀人們的甜蜜歌曲》2021年 油彩 畫布 180 x 130 cm Roby Dwi Antono, A Sweet Song About Lovers, 2021, Oil on canvas, 180 x 130 cm All right reserved © Roby Dwi Antono

never received a traditional college education, his creative enthusiasm and independent study have driven him to boldly and freely experiment with various media. He is also familiar with graphic design and computer technology, expanding his ability to shape characteristic roles. He cooperated with doll manufacturers to step out of the field of graphic creation and spread his popularity and influence at different levels. In Paris, London, Hong Kong, Tokyo, Jakarta, New York, Melbourne, Manila, Taipei, and other major cities, Antono has been leaving his artistic footprints all over the world, leaving the world looking forward to his future development.

31

筆底明珠 丁衍庸海外遺珍專場 PEARL OF THE BRUSH： THE WORKS OF DING YAN-YONG

Text、Photo / Ravenel International Art Group

丁衍庸（1902-1978）一位早年天資聰慧，勤奮勉學的油畫家，後走向中國水墨一 途，是中國現代藝術史上東西藝術融合的先驅者；其一生致力於美術教育上的奉獻，更 是中國現代美術教育的奠基者，作為華人現代藝術史上重要的藝術家，其重要性與獨特 性卻未曾讓世人窺其全貌，然而或許可由丁衍庸一生的藝術成就與教育事業來了解一代 名家的風範與地位。 中國現代藝術史素有「廣東三傑」之稱的林風眠（1900-1991）、關良（1900-1986）、 丁衍庸三人同為留學歸國的藝術家。林風眠赴法留學，提倡中西融合的藝術理論，成為 中國新藝術「西體中用」一路；留日歸國的關良則以野獸派風格滲入了中國式的稚拙造 型，追求以西方媒材創造出中國民族特色的風格，突破了中西審美觀點的途徑。 二十世紀初期，丁衍庸選擇了當時深受西方繪畫思潮與現代主義影響甚深的日本 作為去處，修讀於著名的東京美術學校西洋畫科，留學期間（1920-1925），丁氏長時 間的研究了現代藝術與現代化的精神，對於野獸派在畫面純粹形象上的追求特別相應， 更醉心於馬蒂斯（Henri Matisse，1869-1954）的創作，1925 年學成歸國，成為中國新 藝術運動推廣的健將，積極推動西方現代藝術理念的傳播，近二十年的野獸派主義的推 動，是中國最正宗、最有代表性的野獸主義派畫家，此後推廣美術教育不遺餘力。1940 年抗戰時期，丁衍庸在重慶任職於國立藝專，是其教育事業的巔峰，同時期同事有林 風眠、趙無極（1921-2013）、龐薰琹（1909-1985）等人。1949 年寓居香港後，直至 1978 年逝世，丁衍庸無一日放下美術教育的重責，他的重要性在於堅持發展中國現代 新藝術的主張以鞏固美術教育，成為中國現代美術的重要倡導者，著名美術教育家姜丹 書（1885-1962）更是對丁氏在藝術教育上的貢獻推崇備至。

◀

丁衍庸《綠天庵》1969 水墨 設色 紙本 鏡框 180 x 96 cm 羅芙奧2021秋拍 台幣480,000 - 700,000 DING Yan-yong, Huai, The Tang Monk Calligrapher Resting inside Gazebo, 1969, Ink and colour on paper, framed, 180 x 96 cm Ravenel 2021 Autumn Auction, US$ 17,200 - 25,100

▶

丁衍庸與本次秋拍《水族圖》（拍品編號617）合照於1969年新亞書院創校二十週年藝術展覽會。 Photo of Ding Yan-yong with Lot 617 at the 1969 exhibition at New Asia College, The Chinese University of Hong Kong. 丁衍庸《水族圖》1969 水墨 紙本 鏡框 180 x 96 cm 羅芙奧2021秋拍 台幣300,000 - 500,000 DING Yan-yong, Fish, Crab and Frog, 1969, Ink on paper, framed, 180 x 96 cm Ravenel 2021 Autumn Auction, US$ 10,800 - 18,000

32

[ CHINESE PAINTINGS ]

丁衍庸畢生承擔著美術教育的任務，作育英才之餘，仍不忘在藝術上走出自己的路，丁氏早年學習西畫，後走向中國水墨一路， 同樣也將西方的繪畫理念帶入中國畫中，而他獨到之處在於先踏上「回歸傳統」的道路，他發現中國藝術的廣博精深，深入探究傳統 藝術鑑賞及蒐集歷代書畫、金石、璽印等文物，並推崇朱耷為最具創造性的藝術家，丁氏並非表面的臨摹倣作，而是深究其精神性 的表現，這與西方現代藝術的理念不謀而合。因此他走出西方藝術的圈囿，從中國藝術文化的精神層面去找尋新的知識與技法，在丁 氏的水墨線條中可以看到八大山人與馬蒂斯的完美揉合，他想做的不只是一名成功的藝術家，更是一位如八大山人一般為國家民族 貢獻的藝術家！在當時新中國一片揚西抑中的浪潮裡，丁衍庸成為了一個異類，他的藝術跳脫了古人窠臼，從理論到實踐，他表現 出中國藝術獨有的性格，完備了「書畫印」三絕的造詣，在創作中表現出民族性、時代性與高尚的人格，這也是同時代人無法企及的。 1949 年丁衍庸赴港，雖屈居天台斗室之中，但絲毫不損其對於藝術與教育的努力，作育英才無數，桃李滿門，也因為這個機運， 讓丁衍庸與林緝光結下了近三十年不解的緣分。1950 年林緝光拜入丁衍庸門下，學習中西繪畫與收藏鑑定，是與丁衍庸最為親近的 學生，雖說為師徒，實則情同父子，丁氏因避難隻身赴香江，寡居一人，舉目無親，讓他常感寂寥孤單，林緝光曾憶及往事，提及恩 師丁衍庸除了是一位博學多才的老師，對於學生更有如父輩般的情親意切，對於林氏更是愛護有加，從二人來往信件與作品更可了 解：丁氏曾贈與一幅畫有兩隻水墨金魚相伴從游，頗有相濡以沫之情，款題「此幀寫付愛兒 父作」，可知兩位師徒情同父子的關係； 丁衍庸在港生活不易，多有林緝光關懷，讓其能安穩生活、專心於創作，幸得林緝光多年珍藏保存丁衍庸的重要作品與過往展覽紀錄， 讓這些至為可貴的書法、水墨、篆刻、素描等作品重現於世，不僅能夠全面地了解到丁衍庸 1960 年代晚期至 70 年代、其藝術創作 能量最高峰時期的作品，更可以重新對這位遺世獨立的藝術家作出新的理解與定位。 1970 年丁衍庸於加拿大貴湖大學美術館舉辦個展，該展覽由林緝光居中籌畫聯繫，丁氏與其來往信件中一再提及十分重視這次 的展覽，對於展覽的細節、作品的挑選無一不經其手眼確認再三，並急切地索要展會目錄、照片，消息與評論，曾自嘆「筆底明珠 無處賣」的丁衍庸，終於藉由此展覽得到香港本地與國際藝壇的關注：香港報刊不僅將丁衍庸與八大山人、吳昌碩等三人相提比較， 作出正面的評價，後更有以「貴妃出浴」一作為雜誌封面刊登作品，丁氏旋風一時席捲香港藝壇；巴黎大學東方研究所更曾派人赴香 港拍攝丁衍庸作畫刻印的影片，計畫將其作品與影片在法國當地放映展出，並製作出版物。此後，日本南畫院連續數年邀請參與年展； 1974 年受邀於澳洲墨爾本大學展覽，無數展覽遍及台灣、美國、法國、澳洲等地。在教育界，他是中國現代美術教育的奠基者；在 藝術界，丁衍庸的藝術造詣成為當時世界藝壇對於中國現代水墨藝術的楷模與借鏡，其成就非凡，無人能望其項背。

33

◀

左：丁衍庸《山鬼》水墨 設色 紙本 鏡框 130 x 66 cm 羅芙奧2021秋拍 台幣240,000 - 400,000 Left: DING Yan-yong, Mountain Fairy, Ink and colour on paper, framed, 130 x 66 cm, Ravenel 2021 Autumn Auction, US$ 8,600 - 14,400

◀

右：丁衍庸《春江無盡圖》1969 水墨 紙本 鏡框 180 x 96 cm 羅芙奧2021秋拍 台幣400,000 - 600,000 Right: DING Yan-yong, Landscape, 1969, Ink on paper, framed, 180 x 96 cm Ravenel 2021 Autumn Auction, US$ 14,400 - 21,500

▶

左：丁衍庸《素描作品》，林緝光收藏。 Left: Ding Yan-yong, Sketches, Collection of Lam Kwong

▶

右：丁衍庸《十里長松結屋安》水墨 設色 紙本 鏡框 180 x 96 cm 羅芙奧2021秋拍 台幣550,000 - 900,000 Right: DING Yan-yong, Landscape, Ink and colour on paper, framed, 180 x 96 cm, Ravenel 2021 Autumn Auction, US$ 19,700 - 32,300

若從「現代八大」、「東方馬蒂斯」的稱號可以知悉丁衍庸創作的歷程與演變，丁氏曾去信林緝光提及他的創作是將：「這 十餘年來把中國的金石方法去改造西洋畫的一點成績。」他走出了自己的路：將野獸派的精神與八大山人的神髓發揮在自己的水 墨形式上。丁衍庸的水墨寫花鳥蟲魚為經典圖式，畫風獨創一格，《蘭石圖》（拍品編號 613）、《水族圖》（拍品編號 617）、 《荷花雙鴛鴦》（拍品編號 611）等，墨色淋漓痛快，並善用濃墨、潑墨與焦墨，用筆勁中求拙、雄渾大氣；山水畫構圖粗放天然， 筆觸走勢氣魄驚人，如《春江無盡圖》（拍品編號 618）、《十里長松結屋安》（拍品編號 620）二作脫胎自日本大阪市立美術館 藏的八大山人《彩筆山水圖》，丁氏用筆更加生猛大膽，以大量的留白空間開闢出水墨畫中的立體透視感，虛實相間，更見奇險； 人物畫則多以神話、戲劇人物作為重點，不拘角色性格與故事情節，《山鬼》（拍品編號 621）、《鍾馗像》（拍品編號 608）二 作中所繪的裸女線條近乎野獸派的人體曲線，展現出人物肌肉的律動感，更用心經營畫面的趣味性與可看性。書法與篆刻，則是 丁衍庸畢生收藏、治學之道的展現，丁氏以先秦璽印為師，刻印之法以金石甲骨為上，線條古拙、結構巧妙；書法則以草書見長， 隨意所至，筆勢奔走如雷電騁，丁衍庸以畫法入書、也以書法作畫，二者齊觀更能見其巧妙之處。 丁衍庸這樣一位戮力於美術教育與藝術創作的藝術家，數十年來堅定地走出自我獨特的中國新水墨之路，成為近年藝術市場 上對於留學海外的中國藝術家之關注焦點及近現代水墨藝術的名家典範，歷經五十年珍藏的時光，能夠一次盡蒐齊全丁衍庸的書 畫精品及篆刻等創作，實為難得盛事，若無林緝光先生的用心經營與整理收藏，慨允珍藏五十年的傳世精品，今日也難能再見丁 衍庸筆底的鋒芒；此次專場全面地呈現出現存少有的丁衍庸 1969 至 1970 年水墨藝術發展高峰期的作品，部分作品曾經展覽於 1969 年 10 月「新亞書院創校 20 周年藝術展覽會」與 1970 年 11 月 -12 月於加拿大貴湖大學「丁衍庸作品個展」，不僅能讓世人 了解到丁氏融合中西藝術的水墨風格之確立，其重要性亦在於這是他向國際藝壇嶄露頭角的關鍵時期，自此奠定了他在華人水墨 藝術史上的成就與高度，其中少有的大幅山水、花鳥蟲魚畫更是市場上質量俱精、難得一見的珍品，丁衍庸一生的藝術志業在於 「至誠」二字，作為中國現代美術教育的奠基者，其足以繼承中國水墨大統的藝術成就，更是華人現代藝術史上最為罕見的瑰寶。

34

[ CHINESE PAINTINGS ]

Ding Yan-yong was a gifted and dedicated oil painter who later pursued a career in ink painting.

He was a pioneer in modern Chinese art by merging Chinese and Western art. With a life dedicated to art education, he was considered as an important figure in modern art history of the Chinese community. His contributions have been undermined yet, through his life and career, we can now have a glimpse of a great artist.

Along with Lin Feng-mian and Guan Liang, Ding Yan-yong was considered as one of the greatest artists in Guangdong who returned from art education from abroad. Lin Feng-mian returned from France and promoted the merge of Chinese and Western ideologies, forming a new branch in art. Guan Liang introduced Fauvism to Chinese art and promoted the application of Western media on Chinese subjects, thus transforming Chinese and Western aesthetics standards.

35

In the early 20th Century, Ding Yan-yong went to Japan, a melting

devoted to the nation, as Bada Shanren. During the years where Western

pot of Western ideologies and modernism. He studied Western paintings

beliefs prevailed, Ding Yan-yong struggled his way beyond classical

in the Tokyo University of the Arts from 1920-1925, specializing

artists. From theories to application, he managed to develop an all-round

in modern art and modernism. He was deeply touched by Fauvism,

scholarly character to represent a nation, the times and a noble artistic

especially by the works of Henri Matisse. In 1925, he returned from

personality.

Japan and actively promoted new art reforms on the basis of Western modern art ideologies, dedicated to Fauvism and art education. During the war in 1940, Ding was a teacher in the National Art School in Chongqing and worked with Lin Feng-mian, Zao Wou-ki, Peng Xunqin, etc. By 1949 till his death in 1978, he resided in Hong Kong with a sole commitment to art education. He propagated the development of new Chinese modern art and was admired by the art education circle, including Jiang Dan-Shu.

After arriving in Hong Kong in 1949, he stayed in an attic. Yet such a deplorable situation did not waver his will and devotion to art and education. He became a teacher and met Lam Kwong, thus starting a friendship for three decades. In 1950, Lam started learning Chinese and Western paintings and art connoisseurship from Ding and was regarded as his closest student. Their relationship went beyond apprenticeship to a family. Alone in Hong Kong, Ding had no close relatives, so he treated students as a father, especially to Lam, as he recalled. From their letters,

Aside from his teaching career, Ding Yan-yong created his own path

Ding gave Lam a work of two goldfish in ink, written with a message

in artistic creation. His early education in Western art and his transition

from a father. Life in Hong Kong for Ding was greatly eased by Lam,

to Chinese ink art allowed him to combine the two ideologies, while

thereby enabling Ding to focus on artistic creation. With Lam's precious

staying genuine to Chinese classical paintings. His deep understanding

collection of Ding's pivotal works and past exhibition records, we could

of classical paintings, epigraphy (jinshi) and seals. His admiration

now view the calligraphy, paintings, seal carvings and sketches. These

towards Zhuda allowed him to explore his artistic intentions, which

works were produced from the late 60s to the 70s, at the peak of Ding's

matched miraculously with Western modern art. This drives him to

career.

extend the Chinese art applications towards the spirits of Bada Shanren and Matisse. This drived him towards becoming an exceptional artist

36

Ding Hwin-young's solo exhibition at the University of Guelph in Ontario in 1970 was organized by Lam Kwong. From their letters,

[ CHINESE PAINTINGS ]

▶ 丁衍庸《貓石圖及貓鳥圖（兩件一組）》 水墨 紙本 立軸 140 x 34 cm（每件） 羅芙奧2021秋拍 台幣200,000 - 320,000 DING Yan-yong, Cat with Rock and Cat with Bird (A set of two), Ink on paper, scroll, 140 x 34 cm (each), Ravenel 2021 Autumn Auction, US$ 7,200 - 11,500 ◀ 本次秋拍《貓石圖》(拍品編號612)與《采藥尋真對聯》(拍品編號625)， 錄於1970年加拿大貴湖大學丁衍庸作品個展簡冊。 Lots 612 and 625 featured in the Exhibition Brochure of the 1970 Ding Hwin-young Solo exhibition at the University of Guelph.

Ding was cautious about every detail of the exhibition and the choice

3-D perspective. His figure paintings are based on mythical, theatrical

of works. He was anxious to receive photos, documentations, news and

subjects, such as Mountain Fairy (Lot 621) and Zhong Kui Exorcising

critics' messages. The once underrated Ding Yan-yong was now a well-

Demon (Lot 608). The nude figures have close resemblance to the curves

known artist of the local and international art community. A newspaper in

of Fauvism, creating a vivid muscular depiction. His calligraphy and

Hong Kong ranked Ding the same as Bada Shanren and Wu Changshuo;

seal carvings demonstrate Ding's lifetime studies in art and collection.

A painting of nude female was published in a front cover; The Oriental

Specializing in Qin seals and oracle inscriptions, his seals show signs of

Institute of University of Paris visited him to record a film documentary

ancient inscriptions. Cursive scripts in his calligraphy were free-handed as

with publications on seal carving and painting. Since then, Ding was

a painting itself. Both of these forms are intriguing to the modern eye.

invited to exhibitions in Japan, The University of Melbourne (1974), Taiwan, the US, France and Australia. Ding was a prominent figure in both modern Chinese art education and creation in an international context.

Ding Yan-yong's unique form of Chinese ink art made his art a rising star in the contemporary art market, and a pioneer in modern ink art. After 50 years of relentless collection of Ding's artwork, exquisite artworks

Ding Yan-yong was also known as the Modern Bada, Matisse of

and seal carvings are once again assembled, displaying the glory of Ding

the East. These names hinted at his transition in creation. Ding once

Yan-yong. This sale focused on the art of Ding from 1969 to 1970, ie. the

wrote to Lam that he successfully transformed Western art with Chinese

peak of Ding's art production. Some lots were exhibited in the Twentieth

epigraphy. He paved his path from Fauvism and Bada Shanren into his

Anniversary Art Exhibition of New Asia College at The Chinese University

unique art form. Flowers, birds, insects and fish were common subjects of

of Hong Kong in October 1969, while some were exhibited in the Ding

depiction with unique depiction, shown in Orchid by the Rock (Lot 613),

Hwin-young's solo exhibition at the University of Guelph in Ontario in

Fish, Crab and Frog (Lot 617), Lotus and Mandarin Ducks (Lot 611), to

November-December 1970. These works were evidence of the artist's style

name but a few. The use of ink, namely thick, splashed and dry ink, was

and a witness of the artist's milestone stepping into the international art

intriguing. Brushwork was slow forming majestic strokes. Landscape

scene. Rare large-scale paintings and magnificent drawings of flowers,

paintings such as Landscape (Lot 618) and Landscape (Lot 620) have the

birds, insects and fish were put on sale. These shows Ding Yan-yong's

gradiosity of a similar painting by Bada Shanren, kept in the collection of

genuine character in the development of art and education, making him

Osaka art museum. His bold brushwork and large spaces created a unique

one of the greatest Chinese artists in modern art history.

37

重啟的

沉默酒廠

THE AWAK E N I N G OF SILENT DISTILLERI E S

38

喝

酒

不

開

車

[ WINE ]

Text / 唐維怡 Eva Tang

Photo / Diageo, Ian MacLeod Distillers

2017 年對於深愛著蘇格蘭威士忌的老饕們來說是個喜 訊 連 連 的 一 年， 位 於 高 地 的 Brora( 布 朗 拉 )、 位 於 艾 雷 島 的 Port Ellen( 波特艾倫 )、和位於低地的 Rosebank( 玫瑰河 畔 ) 相繼傳出復廠消息。這三間酒廠無疑是蘇格蘭沉默酒廠 (Silent Distillery) 的最佳代表，獨樹一格的優異酒質、為數 不多的單一麥芽酒款、和真正喝一瓶少一瓶的特質，在三十 多年時光的推移下顯得益發珍貴。 Port Ellen 的蒸餾器因荒廢超過三十個年頭早已無法使 用，Rosebank 蒸餾執照取消、部分廠房夷平整建為餐廳、 蒸餾設備更慘遭竊賊盜賣，如今竟將迎來復廠重生，消息一 出，威士忌愛好者們無不翹首以盼。 今天就讓我們來聊聊蘇格蘭的沉默酒廠。

什麼是沉默酒廠 ? 除 了 持 續 運 轉 生 產 的 蒸 餾 廠， 其 餘 的 蒸 餾 廠 大 致 上 可 以 被 分 為 四 種 狀 態：(1) 休 停 (Monthballed) 、(2) 關 廠 (Closed)、 (3) 拆 廠 (dismantled)、(4) 毀 廠 (demolished)。 休停指的是暫時性的停產或是不定期的休廠，然而只要有需 要，產線隨時可以動起來，例如已於 2013 年重新啟動產線 的斯貝賽區 Glen Keith 酒廠；關廠則通常因為財務面的考量 而停止生產並解散酒廠團隊，其蒸餾設備和酒窖都還被原封 不動地保存著，例如復廠前的 Brora 和同樣隸屬 Diageo 旗下 的斯貝賽酒廠 Dallas Dhu( 達拉斯杜 )；拆廠基本上代表著一 間酒廠命運的終結，酒廠不僅徹底停止生產，蒸餾設備被拆 除，也許就這麼閒置著、也許變賣，然而酒廠過去蒸餾出的 庫存依然被保存在酒窖當中，例如復廠前的 Rosebank 和於 1985 年關廠、1990 年拆廠的 Convalmore( 康法摩爾 )；而毀 廠則代表著酒廠建築物本身的拆除或毀損，基本上再無復廠 可能，例如復廠前的 Rosebank、短短一百年卻遭遇四次祝 融之災的 Banff 酒廠、和在 2012 年被剷平的 Imperial 酒廠。 處 於 後 面 三 個 狀 態 的 蒸 餾 廠， 便 被 稱 之 為「 沉 默 酒 廠 Silent Distillery」或是「消失的酒廠 Lost Distillery」。無論 是哪一種狀態，蒸餾器的停止運作便代表著不會再有新的酒 液被蒸餾產生。

安

全

有

保

障

39

被神化的沉默酒廠 ?

正 處 在 蘇 格 蘭 威 士 忌 產 業 第 二 次 滑 落 谷 底 的 尾 聲， 酒 廠 擁 有 者 UDV

每一間酒廠的殞落，都令人感到惋惜，然而在威士忌做為收藏品的 概念開始風行，且單一麥芽威士忌需求益發高漲的這幾年，沉默酒廠開 始受到關注，除了舊時代確實與今日不盡相同的特殊風情，沉默酒廠真

(United Distillers & Vintners) 原 本 就 在 Glenkinchie ( 格 蘭 昆 奇 ) 與 Rosebank 兩 間 位 於 低 地 區 的 酒 廠 間 抉 擇 著，Rosebank 地 處 偏 遠， 周 邊交通不慎完善，再加上當時歐洲對於汙水處理的政策要求，若要讓

正意義上喝一瓶少一瓶的特性，和過去因調和威士忌盛行致使各酒廠單

Rosebank 的生產條件一切符合法規，酒廠還需斥資 200 萬英鎊進行設

一麥芽威士忌品項稀少的稀有性，更使老饕們和收藏家趨之若鶩，價格

備改善，權衡之下，Rosebank 面臨毀廠 (demolished) 的命運。

也因此水漲船高。

無論酒廠的製程和酒質有多麼出類拔萃、也不論關廠背後有著如何

Brora 酒廠於 2014 年推出的 1972 蒸餾 40 年原廠裝瓶，在 2019 年 的 一 場 拍 賣 會 上 以 54,450 英 鎊 ( 近 台 幣 220 萬 ) 收 槌； 一 瓶 1980 年 Port Ellen 原廠裝瓶的 12 年特殊紀念版 (Visit from H.M. The Queen to Port Ellen Maltings Islay)，於 2018 年的一場線上拍賣會中敲出 72,000 英鎊 ( 合台幣約 270 萬 ) 的高價。Brora、Port Ellen、與 Rosebank 在拍 賣市場上的熱度一部分來自於沉默酒廠珍貴稀少的特性，另一方面也來 自於他們突出的酒質。但這樣的好酒當初為何會面臨被關廠的處境 ? 在調和威士忌盛行的年代，一間蒸餾廠的酒質對於調和威士忌的適 用性絕對是首要的考量；再者，在幾次的大環境不景氣之下，產量與酒

可歌可泣的故事，不符合當時代的市場需求，許是產量過小、因追求量 產酒質不佳、也或許因為風味過於特殊或過於平庸而不被調和威士忌所 採納 ...，才是一間酒廠面臨關廠的真正原因。以 Brora 和 Port Ellen 來 說，他們的酒質和泥煤風味並不特別被當時市場主力的調和威士忌所青 睞。同樣的，如今這些酒廠被選擇重啟，也是因為當今的集團掌舵人認 為他符合了現在這個時代的市場需求，符合了如今消費者對單一麥芽威 士忌的追捧，也符合了威士忌愛好者對獨特酒質的追求。 我們要珍惜，卻無需過度神化沉默酒廠的地位。每一瓶沉默酒廠的 作品都像是時代遺留下來的殘片，讓我們得以透過與如今截然不同的風

廠靈活性也是至關重要的。對於帝亞吉歐前身的 DCL 集團來說，他們

味，用味蕾和嗅覺拼湊起蘇格蘭威士忌的百年歷史。

觀察到泥煤對於 1980 年代的消費者吸引力開始下降，集團旗下泥煤風

沉默酒廠的重啟值得期待嗎 ?

味的 Lagavulin 是 White Horse 調和威士忌的重要基酒，不得割捨，而 Caol Ila 則因其可同時生產無泥煤威士忌的彈性被保留，僅能生產泥煤 風味的 Port Ellen 因而在 1983 年拆廠 (dismantled)，僅保留其發麥廠的 作業。同樣的，Brora 蒸餾廠原先成立就是為了迎合艾雷島風情的調和

而 於 1993 年 關 廠 的 Rosebank， 所 面 臨 的 狀 況 又 不 盡 相 同， 當 時

喝

2021 年撰文當下已相繼投入生產的 Brora、Port Ellen、和 Rosebank。 這三間傳奇酒廠之所以傳奇，正因為他們的酒質和風味獨樹一格， 而這樣的與眾不同來自酒廠的蒸餾與製酒工藝。然而，由於長時間的停

威士忌需求而生，在 1980 年代這樣的特色反而成為累贅。

40

無 論 是 哪 一 間 沉 默 酒 廠 的 重 啟， 都 是 令 人 萬 分 期 待 的， 特 別 是

酒

工，Brora 和 Port Ellen 的設備遭受不同程度的毀損，必須添購新的生 產設備，Rosebank 更因蒸餾設備遭竊需要全數重新訂製，新的設備是

不

開

車

[ WINE ]

否真能打造出與舊時代完全相同的酒質 ? 三十多年的

2017 was filled with great news for Scotch whisky lovers. Brora in the Highlands,

停產也讓酒廠找回原有班底的可能性大大降低，舊時

Port Ellen on Islay, and Rosebank on the Lowlands had all announced their return to

代的製酒工藝又是否真能依靠著紙本的文字記載完整

normal operations. These three distilleries are no doubt the most representative of silent

傳承 ? 此外，無論如何追求復刻，時代帶來的變化諸

distilleries in Scotland. Their unique and outstanding spirit quality, their limited quantities

如大麥品種的改變和節省人力的現代科技介入、消費

of single malt whisky, and the fact that every bottle consumed means there's one less left

者需求帶來的風味轉變、甚或是否存在爭議依然極大

have made their products increasingly valuable in the past 30 years.

的威士忌瓶中陳年轉化 ... 等等，都讓人們對於舊時代 經典的想像難以與十多年後重生酒廠的產出劃上等號。 與其他新成立的酒廠相比，這三間傳奇酒廠過去的聲 譽既是他們未來的優勢，也是他們沉重的枷鎖。 此外，威士忌產業的決策者往往要比任何其他消

For over three decades, distillation equipment in Port Ellen had been left unused due to neglect. The distillery license of Rosebank had been revoked, while some of its factories were reconstructed into restaurants, and its distilling equipment was stolen or sold. However, their factories will soon be restored - an exciting prospect for whisky lovers.

費 性 產 業 更 需 善 於 解 讀 未 來 的 市 場。2021 年 蒸 餾 生 產出的酒液，至少要到三年後才能上市，絕大多數會 在十年甚或二十年後才投入市場，屆時的主力消費族

Today, let's talk about silent distilleries in Scotland.

What is Silent Distillery?

群是否仍然會與現在一樣追求著獨具特色的單一麥芽

Different from distilleries in constant production, others can be categorized into

威士忌 ? 即便單一麥芽威士忌仍蔚為主流，也將有超

four statuses: (1) mothballed, (2) closed, (3) dismantled, and (4) demolished. To be

過十座與之同期開工、同樣瞄準崛起中的單一麥芽威

"mothballed" means to temporarily stop producing or to irregularly have production

士忌市場的新酒廠，將在相近的時間點釋出他們的新

shut down, although production lines can start operating at any time when needed. For

酒；於此同時，還有更多耕耘了數十年甚至上百年、

example, the Speyside distillery Glen Keith restarted its production lines in 2013. Next,

口 碑 穩 定 的 麥 芽 蒸 餾 廠 如 The Macallan( 麥 卡 倫 ) 和

the "closed" status refers to the halting of productions and the dismantling of a distillery

Glenfiddich( 格蘭菲迪 ) 與之競爭著。

due to financial concerns. However, the distilling equipment and cellars remain intact.

當失去了沉默酒廠的另類光環，這三間傳奇酒廠 重生後是否能走出一條嶄新的路 ? 十年後還有待各位

For example, Speyside distilleries Brora and Dallas Dhu (both Diageo brands) were both closed before operations were restarted. The status of "dismantled" refers to a distillery

威士忌愛好者與我們一同舉杯見分曉。

安

全

有

保

障

41

being permanently closed. Production not only completely stops, but distilling equipment is also removed to be either stored or sold.

However, the stock being distilled in the past remains preserved in the cellar. Examples include Rosebank and Convalmore, which returned to business after being closed in 1985 and dismantled in 1990. The "demolished" status refers to a distillery being torn down or damaged, with no possibility for restoring operations.

Examples of these include Rosebank and Banff, which experienced four fire hazards in 100 years, and the Imperial distillery, which was demolished in 2012.

Mothballed, closed, and dismantled distilleries are categorized as "silent distilleries" or "lost distilleries". In any of these cases, the cessation of distilling operations means there is no more spirit being distilled.

Are silent distilleries being deified?

meet the need for blended Islay whisky. In the 1980s, this type of whisky

The closure of any distillery is a pity. However, the trend of whisky

became out of favor with the market.

being viewed as a collectible began to increase with demand for single

The Rosebank closure in 1993 faced a different situation. It was the

malt whisky soaring in recent years; silent distilleries in particular have

end of the second fall of Scotch whisky. United Distillers & Vintners

started to receive a considerable amount of attention. In addition to

(UDV) had to choose between two Lowland distilleries: Glenkinchie and

nostalgia for the past, the nature of silent distilleries, particularly that one

Rosebank. The first thing against Rosebank was that it was in a remote

bottle drunk means one bottle fewer in existence, and the rarity of single

area with no logistics infrastructure. In addition, back then, Europe had

malt whisky releases from each distillery (mainly due to blends being so

strict policies on wastewater treatment. For Rosebank to meet these

popular in the past), both connoisseurs and collectors are eager for these

regulations, it would require

rare single malt whisky releases, causing their prices to skyrocket.

these factors in mind, Rosebank was demolished.

£2 million in equipment upgrades. With

In 2014, Brora released a 40-year-old bottling that was distilled

No matter how outstanding a distillery's production process or

in 1972. At an auction in 2019, one of the 160 bottles released was

spirit quality is, no matter how many inspiring stories there are behind

auctioned for £54,450 (nearly NT$2.2 million). An exclusive Port Ellen

a distillery, the real reasons behind distillery closures include not being

12-year (bottled to celebrate a visit from H.M. The Queen to Port Ellen

able to meet market demand, production being too low, sacrificing

Maltings Islay) was auctioned at

£72,000 (nearly NT$2.7 million) in

quality for the sake of quantity, or flavor profiles becoming too unique

2018. The strong market demand for Brora, Port Ellen, and Rosebank at

or plain for use in blends. Take Brora and Port Ellen as examples. Their

auctions was partly due to the rarity of the silent distilleries. However,

spirit quality and peat profile were not widely accepted by the majority

why would such good spirit producers face closure in the past?

of the market for blends. Likewise, their reopening now signifies that the

When blended whisky was the popular type of whisky, the quality of a distillery's spirit was the primary consideration for whether it could be used in a blend. Moreover, under several waves of depression, the yield and flexibility of a distillery are also critical. According to DCL, demand

leaders of whisky groups consider them to be up to standard with regard to current market demand, satisfying the current consumers' demand for single malt whisky and meeting whisky-lovers' longing for a unique spirit profile.

for peated whisky declined in the 1980s. Lagavulin, which was limited

We must cherish, but do not need to overly deify the status of silent

to producing peated whisky, was a critical base wine for blended whisky

distilleries. Each bottle from a silent distillery is like a relic of time.

and had to be let go. Caol Ila had the flexibility of being able to produce

Though a markedly different flavor profile compared to contemporary

unpeated whisky, so it remained open. Port Ellen, which only produced

whisky, they test our pallets and sense of smell in piecing together

peated whisky, was dismantled in 1983, although it remained in operation

Scotch whisky's hundred-year-old history.

for its malting factory. Similarly, Brora Distillery was established to

42

喝

酒

不

開

車

[ WINE ]

Is the reopening of silent distilleries worthy of anticipation?

The reopening of any silent distillery is a cause for great anticipation, especially Brora, Port Ellen, and Rosebank, which had already recommenced production at the time of this article's writing in 2021.

These three distilleries are legendary because their spirit quality and flavor profile are unique. These unique features are attributable to the distilling and craft method of the distilleries. However, due to operations having ceased for a long period of time, the equipment at Brora and Port Ellen were damaged to varying degrees, requiring the purchase of new equipment. Rosebank had to order new equipment because its distilling equipment was stolen. Will the new equipment be able to produce the exact same flavor profile as older releases? Also, with operations having been stopped for over 30 years, it is highly unlikely that these distilleries will be able to find their original crews.

Can the spirit-production crafts of the old era be passed on in their entirety through written records alone? Furthermore, no matter how much people seek to reproduce the original, changes over time (e.g., different wheat species being used and modern technology replacing human labor) and changes in consumer taste, as well as the highly controversial effect of whisky aging in the bottle, make it difficult for people to imagine that classics from the old era are the same as the production of the reborn distilleries after over a decade. Compared to newly established distilleries, the fame of these three legendary distilleries is both their advantage in the future and a heavy burden.

Moreover, decision-makers in the whisky industry must be able to read the future market better than other consumer industries. Spirit distilled in 2021 will take at least 3 years for it to be considered whisky. Most will take 10 or even 20 years before they are ready for the market. Will main consumer groups then seek single malt whiskey with unique features as those do now? Even if single malt whisky is still the mainstream, there are over 10 new distilleries that started operation in the same time and are also aiming for the budding single malt whisky market who will release their first releases around the same time. In the meantime, there are more malt distilleries that have been working for several decades or even over a century, such as Macallan and Glenfiddich, who they are competing against.

When they lose the halo of being a silent distillery, will these three distilleries pave a brand-new path? A decade from now, fellow whisky-lovers, let us raise our glasses and find out.

安

全

有

保

障

43

高級機械錶收藏－ 品味與資產的傳承

COLLECTING HIGH-END MECHANIC WATCHES: ESTABLISHING A LEGACY OF TASTE AND WEALTH Text、Photo / Sans Souci

44

[ LUXURY ]

在淵遠流長的時光之中，人類創造各種裝置來計時和報時，握住時

而在 2021 上半年拍賣總成交金額最高的是錶王百達翡麗，拍出的

間的流逝，演化至今高級機械鐘錶幾乎是永恆的代名詞，因為它僅能以

手錶數量多達 180 只，成交金額加總也來到 8100 萬瑞郎，另一位拍賣

人手溫度創建的機械工藝性質造就其保值性佳、折舊率低的特殊性；不

榜上常見的勞力士在 2021 年上半年的拍賣金額加總為 2100 萬瑞郎，

但不易隨時間流逝貶值，極少因市場流行喜好震盪，加諸其上的歲月痕

總共拍出 88 只，位居第二。『錶王』百達翡麗曾在 2019 年以一只具

跡更增添紀念意義與收藏價值。

備 20 種複雜功能的不鏽鋼材質 Grandmaster Chime 6300A-010 超級複

正當全世界受到疫情影響而經濟停滯時，鐘錶市場卻已經從各大國 際拍賣行嗅出回景氣回溫的跡象。根據瑞士 The Mercury Project 公司 所提出的調查報告中指出，2021 年前六個月內，各大國際知名拍賣行 光是在高級手錶的拍賣金額方面加總，共寫下打破歷史紀錄的 2.41 億 瑞郎，比起 2020 年同期大幅增加 239% ！與此同時，根據瑞士鐘錶行 業聯合會 (Federation of the Swiss Watch Industry) 的數據，今年 1 月至 7 月，瑞士對華出口總額達 17.7 億瑞士法郎（約合 19 億美元以上）， 比 2019 年同期增長 63.7%。對瑞士第二大市場美國的出口總額為 17 億

雜腕錶，在兩年一屆的 Only Watch 拍賣會上拍出 3100 萬瑞士法郎（約 3369 萬美元）的史上最高價，創下歷年來各家拍賣行紀錄。打破了在 2018 年由勞力士型號 6239 宇宙計時型迪通拿（Cosmograph Daytona） 腕錶的 1780 萬美元紀錄。相比百達翡麗，勞力士的拍品多伴隨一段故 事或情懷，這只最高價勞力士便是被稱為『鐘錶界聖杯』的傳奇腕錶， 已故的奧斯卡影帝保羅紐曼（Paul Newman）在一九六九年的賽車電影 《獲勝》（Winning）中佩戴過，亦成為他的日常腕錶，之後便引起一 陣配戴『保羅紐曼錶』的風潮。

瑞士法郎，比 2019 年同期增長 26.2%。由此可看出高級鐘錶的市場需 求不減反增，人們已然意識到這項精緻工藝在動盪不安的局勢之中，是 一種有形可見的投資。

◀ Patek Philippe Grandmaster Chime 6300A-010 百達翡麗Grandmaster Chime 6300A-010超級複雜腕錶不鏽鋼版

Grandmaster Chime 6300A-010

45

除 了 百 達 翡 麗 和 勞 力 士 這 兩 位 拍 賣 場 上 的 常 客 之 外，F.P. JOURNE 是 拍 賣 場 上 少 見 的 獨 立 製 錶 品 牌， 他 曾 三 獲 日 內 瓦 鐘 錶 大 賞 殊 榮， 發 明 出 不 少 融 合 古 董 懷 錶 功 能 與 最 新 科 技 於 一 體 的 作 品，限量的銷售方式造就稀有性，從而在拍賣場上獲得青睞。另外 像 Audemars Piguet、A.Lange & Söhne、Richard Mille、Breguet、 Vacheron Constantin 都是拍賣總成交金額最高的鐘錶品牌前十名。 羅芙奧精品部認為，一只腕錶在拍賣場上受到歡迎的原因，不外 乎具有限量稀有性、歷史象徵意義、傑出的機械工藝及技術成就、品 牌或名人加持等特性。腕錶收藏之所以有趣，在於每個人都能從中看 見自己所認同的價值，而這份滿足將會因時間的累積成為一種經過淬 煉後的純粹，將那獨一無二的美學品味，生生不息地傳承下去。 From time immemorial, humans have created various mechanisms for measuring and telling time, in order to grasp the vanishing of time.

Today, after generations of evolution, high-end mechanic watches have become a symbol of eternity. It's created by the warmth of human hands. Being a mechanic artwork, it specializes in keeping its value and low depreciation rate. It does not devaluate easily and rarely fluctuates with the market. Traces of age on these watches can only add to their commemorative and collector's value.

When the world economy grinds to a stop by the effects of the pandemic, the watch market has already caught the wind of the good old days. According to a report of Swiss-based Company the Mercury

46

[ LUXURY ]

Chronomètre Souverain

Project, in the first half of 2021, the sum of high-end watch sales from

watches", was worn by late Oscar winner Paul Newman in the 1969 racer

all the international auction houses would arrive at 241 million CHF,

film "Winning", and became his daily accessory. From then on, it even

which is 239% more than the same period in 2020! Meanwhile, according

brought about a trend of accessorizing with "the watch of Paul Newman".

to the Federation of the Swiss Watch Industry, from January to July, the exportation of Swiss to China was up to 1.77 billion CHF (about 1.9 billion USD), an increase of 63.7% from the same period in 2019; and to the USA, its second-biggest market, was 1.7 billion CHF, representing a 26.2% increase from the same period in 2019. From these numbers, we can see that market demand for the high-end watch was in fact increasing rather than decreasing. People have realized that this delicate art is a solid investment in these troubled times.

Besides frequent guests like Patek Philippe and Rolex, a rare breed like the independent brand F.P.JOURNE is also seen in the auction houses. It received 3 times the Grand Prix d'Horlogerie de Genève; many of its works are invented by integrating antique pocket watches functions and the latest technologies. Its rarity comes from limited production and is therefore cherished in the auctions. There are also Audemars Piguet, Ａ .

Lange & Söhne, Richard Mille, Breguet, Vacheron Constantin, etc., are among the first ten houses that make the highest sum of auction sales.

In 2021, the highest seller from the auction would be the king of the houses, Patek Philippe. It auctioned as many as 180 pieces, with a total amount of 81 million CHF. Another frequent guest on the billboard, Rolex, made its glory to second place with the sum of 81 million CHF of 88 pieces. In 2019, the "king" Patek Philippe made a sale in the biannual Only Watch auction with a Grandmaster 6300A-010 ultra-complex stainless steel watch equipped with 20 complex functions for 31 million CHF (about 33.69 million USD), a historic high price and an auction record. This surpasses the record of 17.8 million USD set by Rolex 6239 Cosmograph Daytona. Differed from those of Patek Philippe, auction items from Rolex come mostly with a story or zeitgeist. This legendary Rolex watch with its incredibly high price, dubbed "holy grail of all

The luxury division of the Ravenal International Art Group recognizes that, for a watch to be well received in the auctions, the reason is either its rarity, its symbolic or historic traits; the extraordinary achievement in mechanic art and technology represented by it, its brand itself, or celebrity promotions. The interesting part of collecting watches is that everyone can identify his or her value within, and this satisfactory trait will mature with time, be distilled to its purest form, and pass on its unique aesthetic to the next generations. ◀ F.P. Journe, Chronomètre Souverain, Nº707-CS, a platinum wristwatch with power reserve. Inscribed 'FP to George Daniels.

F.P. JOURNE，重要鉑金腕錶，配動力儲存，為給George Daniels 致敬而製的贈 禮，Chronometre Souverain

47

Text / Arthur Wang、Ferretti Group Photo / Ferretti Group

蔚藍海岸的摩納哥碼頭，晴空中飛來私人直昇機翩然而降，緩緩地落在一 艘超級遊艇的停機坪上。俄羅斯富豪阿布拉莫維奇步下直升機，登上日蝕 號遊艇，準備展現他的渡假行程。 這艘長達 162.5 公尺的超級遊艇，自 2010 年下水以來，經過各方面的設 施提升，據說已經耗資高達 8 億歐元。日蝕號除了具有七星級的生活及娛 樂空間，還在重要的區域裝設了軍規等級的裝甲剛板，甚至具備了飛彈防 禦 系 統 ，堪 稱 為 一 座 海 上 的 移 動 城 堡 。超 級 富 豪 的 財 力 真 是 令 人 望 塵 莫 及 。 台灣島四面環海，擁有極佳的發展遊艇休閒產業條件，過往，由於嚴格的 海防管制因素，造成推動此類活動的障礙。近年來，相關規範已經大幅改 善，政府開始重視此產業，也政策性的投入遊艇相關產業的設施建設。 同時，擁有私人遊艇的風氣也逐漸地在形成中，擁有一艘私人豪華遊艇已 經不是遙不可及的想望。羅芙奧精品部門開展高端遊艇洽購，在此為您介 紹兩款出色的中型遊艇。

48

[ SPECIAL REPORT ]

SET OFF YOUR DREAM TRIP

夢想之旅啟程 - 豪華遊艇

49

FERRETTI YACHTS 720 設計感與舒適兼具 此系列遊艇出自知名設計師 Filippo Salvetti 之手，他和法拉帝集團 (Ferretti) 攜手打造了一個 全新的遊艇外觀風格並成為品牌艦隊的新晉成員，720 系列解鎖了航海體驗的全新方式，巧妙地 將舒適和奢華航海理念提高到新的層次。 FERRETTI YACHTS 720 曾於 2019 年坎城遊艇節上首次展出，當時引起業界與貴賓高度關 注。寬敞的生活與娛樂空間及良好的內部挑高高度，使這艘新艇將巡航體驗推上了一個新的高度。 此外該艇是第二艘由 Filippo Salvetti 一手打造外觀遊艇系列，內裝則承襲集團的高品味風格呈 現。寬敞的主臥設計風格呼應著整個主甲板層的色系與材料搭配，在這樣一個絕無僅有的私人空 間內，顯然是一種無比愉悅的探索之美。 極簡卻不失細節的設計風格在主臥房的衣物間 (walk-in) 和大浴室內得以延續，尤其後者的煙 薰色內嵌玻璃與空間功能規劃與當下的主流風尚協調一致。這款新型號保受好評的設計風格建立 在對比紋理的混搭使用之上。例如天花板的條紋、牆面的稜紋、床頭板的格子圖案、以及沙龍傢 具的斜條紋等，在相互衝擊中形成一種更深層次的自然和諧。720 系列的照明設計也是別具特色， 水平的 LED 燈自然和諧地融入天花板，營造出柔軟舒適的燈光效果，而垂直的獨立可調聚光燈 可以投射出空間中的焦點，這一切都體現出高端遊艇的質感。

觀看影片

50

[ SPECIAL REPORT ]

全長

船體長

最大船寬

22.3 [m]

21 [m]

5.6 [m]

油箱容量

水箱容量

限載人數

4600 [l]

1000 [l]

18

吃水深度

空載排水量（即船重）

滿載排水量

1.8 [m]

46000 [kg]

54000 [kg]

發動機

最高速度

巡航速度

MAN V8 1200

28 [kn]

24 [kn]

Design Category

Classification

A

B + F + Aa (Sound Emission) RINA S.p.A.

51

Riva 66' Ribelle 最新高科技運動遊艇 Riva 是世界上首屈一指的頂級豪華遊艇品牌，其系列的尺寸及型號十分多樣 化，但共同特點是追求卓越表現、安全性能與獨特風格，彰顯這傳奇品牌的崇高靈 魂與極致品位。船種包含 8 米至 50 米長的開放式、飛橋式和運動飛橋式遊艇。 66' Ribelle（逆浪）為新形態的運動飛橋式遊艇，從命名就顯得卓越且打破常規 具特立獨行的精神，同時也為船體、設計與豪華感再添新的歷史歷程。Riva 66 前衛 的造型令人驚艷，極流線形的外觀設計兼具了功能考量。最高航速可達 37 節以上。 船艙內擁有包括三間套房的生活空間，設計風格著重簡約時尚感。 66' Ribelle 產自歷史悠久的薩爾尼科船廠 (Sarnico shipyard)，同時為義大利設 計工作室（Officina Italiana Design）、產品戰略委員會和法拉帝集團工程部的共同 合作成果，展現卓爾不群的 Riva 系列風範。

更多資訊敬請聯繫：精品部 總監 Annika Lin ｜ annikalin@ravenel.com

觀看影片

52

[ SPECIAL REPORT ]

全長

船體長

最大船寬

20.67 [m]

20.06 [m]

5.29 [m]

油箱容量

水箱容量

限載人數

3800 [l]

710 [l]

12

吃水深度

空載排水量（即船重）

滿載排水量

1.8 [m]

39500 [kg]

46500 [kg]

發動機

最高速度

巡航速度

MAN V 12 1550

37 [kn]

33 [kn]

續航里程

船艙

衛浴

250 [nm]

3

3

53

Ace Hotel Brooklyn 54

[ LIFE ]

走進紐約

起走走

布魯克林房間

Text / Ethan

Photo / Ace Hotel Brooklyn

藝術延伸的驚喜常常並不見得是拍賣 會或畫廊所能一網打盡的。 而 選 在 這 個 時 候 開 幕 的 紐 約 Ace Hotel Brooklyn 酒店就打算用藝術的多元 面相和豐富情感表達無懼於疫情的勇氣。

55

走進酒店以布魯克林行政區有著密 切 關 係 的 藝 術 家 作 品 為 布 置 的 287 間 客 房，獨一無二的原創藝術作品為房間帶來 無 限 活 力， 更 營 造 了 抒 壓 的 環 境 。Niki Tsukamoto 也是原創藝術家之一，也是他 第一次為 Ace Hotel Brooklyn 酒店開張的 策展。這個頌揚紐約在地 DNA 的藝術表 達，織品是共同主題。 22 位藝術家獨特的織品創意，以掛毯 方式懸掛在酒店房內，展現著布魯克林行 政區多元文化的情感。 Ace 酒店與當地藝 術家合作，不但豐富了空間並激發住房客 人深度認識紐約布魯克林社區的興趣，而 藝術活力是連結彼此的美好交集。

56

[ LIFE ]

布 魯 克 林 Ace Hotel Brooklyn 酒 店 也 設 有對大眾開放的畫廊。未來，將更聚焦各類 藝術的跨界合作。包括訂製家居用品和珠寶 等，而不同領域的藝術風采會是共同的語言。

57

國 家 公 園 酒 店

58

未被馴服 的世界

[ LIFE ]

Text / 伊森

Photo / PR

這個世界是公平的，尤其是一個被超級病毒癱瘓的世界，提醒我們 學會以不同角度，重新認識必須和其他物種共生的這個地球；其實 還有太多需要謙卑，尋求和諧和永續的責任和使命。 由於全球疫情，顯現了人類對環境生態的徨恐和未知，但也激起對 於一切自然的，原始的，甚至未被開發世界的探索。今年夏天，耐 不住封城令的富豪們早已紛紛預約國家公園門票，準備搶頭香了。 置身自然奇觀的國家公園，唯一遺憾的是，沒有高檔浮華的房間讓 你 示晚宴禮服。但是，一生也許只有一回的難忘體驗，卻更令人躍 躍欲試，為了冒險。

59

錫安公園

Zion

安 縵 的 使 命 是， 提 供 意 想 之 外 的 體 驗

60

[ LIFE ]

Zion National Park Amangiri 意為 " 和平的山峰 " 這裡位於一個受保護的 山谷中：長期以來，一直保有一種未被馴服的蠻荒和神祕 未知；包括峽谷、台地、山脊和詩般的田園荒野亦或一覽 無遺的沙漠黃塵。離擁有數百種植物和動物物種的最大的 美洲原住民保留地 " 錫安公園 " 僅約兩小時車程的得天獨厚 地理位置，難怪任何時候都很難預訂。 安縵的使命是延續提供客人意想之外的體驗。2021 年 新增了洞穴山頂樓梯；一個獨特的裝置，高出地面約 400 英尺（122 米）的洞穴山頂樓梯，有 120 級台階，非常適 合尋求刺激。 周圍不同的路線都各有獨特的冒險挑戰。峽谷穿越 Via Ferrata 旨在挑戰和激勵所有家庭成員，是學習在科羅拉多 高原混合地形中所需的技能一種有趣的方式。包括依靠幾 個世紀前阿爾卑斯山發明，固定在岩壁上的纜索和梯子橫 檔的 Via Ferrata（" 鐵道 "），完成攀登陡峭的山路。

61

至於，周邊地區山脊上的遊樂，熱氣球令人沸騰；尤其是從浩瀚星空的夜視到日出的飛行， 高空移動下獨特的新視角。或者，終極地形車 (UTV)，帶著穿越廣闊地形的探索。對期待造訪神 秘沙漠之旅的初體驗，再也沒有比躍上牧馬馬背更見沙漠多變的各種面相了。 想按照自己節奏探索的人，Amangiri 邊界科羅拉多高原上，不同長度和難度的小徑，等著 打算徒步地質考古大自然的相遇。如果只想一個人，不妨選擇日落時漫步，看著自己長長的身影， 沈浸在淒美又平和的獨處，難以言喻的溫柔和安靜地天地合一。 圍繞整個沙漠而設計的私密行程，感受大自然的慰藉，永遠充滿了探索，永遠為美好而活著。

物業：Amangiri，峽谷點，猶他州 Amangiri, Canyon Point, Utah ｜ 兩人起價為 5,150 美元

62

我在黃石公園

[ LIFE ]

GRAND TETON AND YELLOWSTONE 物業：Amangani，傑克遜霍爾，懷俄明州 ｜ 起價為 700 美元。

位 於 海 拔 7,000 英 尺 處， 享 有 大 提 頓 山 脈 和 蛇 河 山 脈 的 壯 麗 景 色。 Amangani 度假村從高天花板、陽台和大觀景窗的客房望出去；俯瞰群山的室外 無邊泳池，水療；以及餐餐都是產地直送新鮮食材烹飪的好料，就值回票價了。 但重頭戲來了，客人可以在約 15 分鐘和 90 分鐘車程分別造訪大提頓國家 公園和的黃石公園來趟野生動物之旅。通過步行和駕車，在知識淵博的導覽下， 什麼是野牛、麋鹿、駝鹿，還有 300 多種鳥類等著去 辨識。打著黃石國家公園 的知名度，絕對此生無憾。

63

－

皇 室 緣， 珠 寶 情

權力與愛情

－

64

Text / 陳欣婷（資深策展人。雙碩士學位研究藝術教育與完形心理學派的 藝術治療，博班研究博物館策展與藝術財） Photo / Mihai Mihalache

[ LIFE ]

「徘徊」在收藏的背後 , 「誰送誰給誰是誰愛誰又賣誰又搶誰又到誰手裡 ..」繪聲繪影的傳聞 , 總為 珠 光 翠 華 憑 添 不 少 色 彩 ，但 相 較 於 歷 史 上 , 最 受 矚 目 與 後 世 討 論 的「 愛 的 信 物 」，則 非 皇 室 珠 寶 莫 屬 。 這些背負著歷史人物愛欲和顯赫家族傳承的驚世之作，既表彰著權勢和地位，也暗藏多少柔情輾轉； 或許浪濤盡，終究只是過往雲煙 , 但來去人世間，卻因為珠寶有「愛」，方可傳世，可以憑弔，可以 追憶，可以永遠典藏。

65

艾伯特親王

維多利亞女王

VS

－

倫敦

－

博物館 V&A

66

[ LIFE ]

倫 敦 Victoria and Albert 博 物 館 ( 簡 稱 V&A museum)，1852 年 成 立 ( 原名為 South Kensington Museum)，直到 1899 年伊莉莎白女王為 該館的館址行奠基禮，為紀念英國「日不落帝國」時期英國維多利亞女 王 (Queen Victoria) 和她的夫婿艾伯特親王（Prince Albert ) 而正式更名 為 V&A 博物館。 從建築、雕塑、繪畫、家具、珠寶、服飾、時尚、攝影或跨領域等， 包羅萬象；甚至就連中庭花園、圖書館、餐廳或迴廊的設計，一角一隅， 一物一件，令人流連忘返。但尤其，V&A 博物館的珠寶收藏，不但見 証了時代風格的迭變，更因為英國皇室的愛情，閃閃動人，堪稱最浪漫 的博物館。 「藏品看過的人生其實比我們還精彩」，這句話用在 V&A 珠寶展 區最適合不過了。2019 年是維多利亞女王誕辰 200 週年，首次展出艾 伯特親王於 1842 年為女王所設計，共鑲有 11 顆藍寶石與鑽石的「小藍 皇冠」。V&A 博物館就以此鎮館之寶作為珠寶展區命名。

67

▲

倫敦V&A 博物館的珠寶展區Jewellery, Rooms 91 - 93, The William and Judith Bollinger Gallery

◀

維多利亞時代流行綠松石有護身傳統, 右下件為維多利亞女王的蛇吞尾「蛇形手鐲」

▼

19世紀也有許多對大自然的熱愛, 以葉子或花朵為設計的時代風華

這件成為皇室標誌性象徵的「愛的證據」，別具歷史意義。而大 器優雅的設計風格更被奉為維多利亞統治時期最偉大的珠寶之一。在 The William and Judith Bollinger Jewellery 珠寶展廳最幸福的事，莫 過於一一回眸「時間軌跡」下，超過 3,000 件的珠寶「證據」相視而笑。 一進展間有如曼陀羅密碼般艷麗無比的上百顆寶石在門口迎賓，一顆 一世界，然而秋風不敢吹，謂是天上香，但卻也像是彼岸花般，看著 人世間各種傳奇與凋零。總之沒人能說得清楚，為何女王這頂「愛的 小藍冠」從皇室中消失，但花開花落自有時，最後又被有心人捐贈回 到 V&A 博物館成為永久典藏。 位於 V&A 博物館二樓的珠寶展廳的蒐藏，一向以皇室珠寶聞名。 包括從伊麗莎白女王一世、法國的皇后瑪麗．安托瓦內特、亨利八世， 瑪莉女王、俄國凱瑟琳大帝、法國皇帝拿破崙等皇冠、項鍊、權杖、 耳環、手鍊、戒指、扣針、飾物盒等，古今皇室的稀世珠寶。

68

[ LIFE ]

而 大 牌 如 Cartier、Jean Schlumberger、Peter C a r l F a b e rg é 、 A n d r e w G r i m a 、 H e m m e r l e 、 Boucheron 等，曾受皇家委任訂製珠寶的品牌，挾 其「御用」之名，日後也都從見証時代風格的歷煉 中，各自擁有不敗的珠寶經典之作傳世；比如，維 多利亞女王於 1837 首次露臉佩戴的「蛇形手鐲」， 以 19 世紀常見的綠松石，設計出古老符號「蛇吞 尾」這款象徵永恆，也是愛的證據之一的作品。更 多影響至今，諸如「浪漫主義」與「洛可可」風格， 而以葉脈或花朵等繁複而不對稱線條為元素的代 表，充分反映早期設計對於大自然蔓然姿長的曲線 追求和推崇，而花語表達愛意，及綠松石有護身傳 統的意象，在在彰顯屬於那個時代的風華，令人驚 嘆再三，眷戀不捨。 正 巧 今 年 話 題 不 斷 的 拿 破 崙 逝 世 200 周 年， 展 廳 亦 可 見 1806 年， 拿 破 崙 與 夫 人 約 瑟 芬 皇 后 (Empress Josephine) ，送給養女史蒂芬妮．德．博 哈奈 (Stéphanie de Beauharnais) 一整套祖母綠項鍊 與耳環，浮誇而霸氣的大寶石，也算是為當時拿破 崙偏愛造型簡約但璀璨奪目，足以彰顯皇室輝煌與 雄厚財力的「宮廷風」留下傳奇代表。

▲

拿破崙與約瑟芬皇后送給養女愛的證據

69

｜ 凡 登 廣 場 愛 在 巔 峰 ｜

拿 破 崙 VS 約 瑟 芬 皇 后 Text、Photo / 李淳淵

Chaumet 珠寶可以說是法蘭西第一帝國皇室情緣的輝煌見證。 拿破崙與約瑟芬透過珠寶宣示權力與愛情，一如巴黎凡登廣 場上屹立不搖的圓柱，同時也體現了法蘭西帝國的潮流風尚。很

安 格 － 約 瑟 夫． 奧 伯 特 (Ange-Joseph Aubert, 1736-1785) 的 工 坊 內擔任學徒。

巧合都出生於島嶼—科西嘉島和馬丁尼克島的英雄和美人，聯手

1804 年 拿 破 崙 在 巴 黎 聖 母 院 加 冕 稱 帝 後，Chaumet 創 始 人

登上法國歷史，委托 Chaumet 設計製作一頂珠寶冠冕更讓這段情

的兒子弗朗索瓦－雷格諾．尼托 (François-Régnault Nitot, 1779-

緣來到巔峰時刻。

1853) 受拿破崙委託，為教皇設計製作了一頂冠冕。約瑟芬更是對

1780 年 馬 力 － 艾 提 安． 尼 托 (Marie-Étienne Nitot, 1750-

70

1809) 在巴黎成立 Chaumet，他曾在瑪麗．安東妮皇后御用珠寶匠

這件作品愛不釋手，於是 Chaumet 理所當然地成為皇室御用珠寶 品牌，從此與法國歷史擁有不可分割的緊密聯繫。

[ LIFE ]

Exposition Joséphine & Napoléon chez Chaumet 1812 年落腳凡登廣場 15 號，位於今日麗池飯店 (Hôtel Ritz Paris) 的位置，Chaumet 成為第一個進駐凡登廣場的珠寶品牌。1907 年 Chaumet 正式搬到凡登廣場 12 號。 推開凡登廣場〈約瑟芬與拿破崙〉Exposition Joséphine & Napoléon chez Chaumet 總店大門，沿著華麗的大理石樓梯拾級而上，店內為了紀念 1849 年 10 月 17 日在此棟 房屋內逝世的鋼琴家蕭邦而命名的蕭邦沙龍 (Salon Chopin)。由法國歷史學家皮埃爾． 布宏達 (Pierre Branda) 策展的展覽，集結超過 150 件難得一見的珍貴作品，涵蓋從未對 外公開的珠寶、寶石、畫作、信件、檔案和設計稿等，意義非凡。 1810 年拿破崙與約瑟芬正式離婚，儘管兩人沒有子嗣，但法蘭西帝國將透過約瑟芬 的後代繼續延續，今日的瑞典王室、丹麥女王、盧森堡大公、挪威國王和比利時國王都 有約瑟芬的血統。 Chaumet 借鑒自古典時代的象徵符號，為約瑟芬皇后創作出月桂樹、橡樹葉和麥穗 等不同主題的珠寶，材質包含黃金、鑽石、珍珠及各種寶石。當時珠寶設計大都集中在 首飾上，例如皇冠、頭飾、髮梳和髮插，當然少不了成套配對的耳環、項鍊和手鐲作搭 配，為「新古典主義」風格在珠寶潮流上留下閃耀而不可磨滅的影響。

71

拿 破 崙 逝 世 200 ans de la mort de Napoléon Bonaparte

200 週 年 紀 念

拿破崙， 法國歷史的懺悔？ Text、Photo / Ian Li

適逢拿破崙 (Napoléon Bonaparte,1769-1821) 逝世 200 週年紀念，巴黎大皇宮主導的 拉維萊特公園〈拿破崙大展〉 Exposition Napoléon à Paris Grande Halle de La Villette，再一次見証這位歷史人物的影響力。

法國總統馬克宏說：「不否認，也不後悔。」 對 於 拿 破 崙 (Napoléon Bonaparte) 這 位 充 滿 爭 議 的政治人物，一生功過，褒貶兼有；是他奠定了現代 法蘭西的國家制度，機構，度量衡，民法，刑法和社 會俗約；但恢復殖民地奴隸制，打壓女權主義者也是 他。但只提到拿破崙這個名字，彷彿就觸動法國人的 心弦。 從「直視法國歷史的一部分」的觀點，從悲劇英雄到 獨 裁 壓 迫 者；野 心 與 榮 耀；勝 利 與 失 敗；失 意 與 孤 寂； 進步和倒退之間，再看兩極化的拿破崙。

72

[ LIFE ]

－ －

裝飾主義

人物，一直是法國人的熱門話題。 拿破崙在「裝飾藝術史」留下不滅的印記，

拿破崙

究竟要以何種角度理解這位備受爭議的歷史

遠征埃及創造充滿異國風情的傢俱與藝術品，沙

服裝、珠寶等，一一喚起拿破崙帝國時期的氛圍。 巴黎大皇宮在拉維萊特公園，匯集了軍事博 物館、楓丹白露宮、羅浮宮、馬爾梅松城堡、國 家傢俱管理處和拿破崙基金會的 150 多件展品， 以自凡爾賽宮與特里亞儂宮的珍貴收藏。展覽依 照時序分為：布里安軍事學校時期、義大利 (1796) 與埃及 (1799) 戰役、霧月政變、帝國崛起、約瑟 芬皇后與瑪麗·路易絲、戰爭之王、拿破崙與歐洲、

VS

﹁藝術史﹂

器，透過大量繪畫、雕像、武器、傢俱、物件、

邁 閣 樓 (Attique Chimay)。1833 年 法 王 路 易 - 菲 利普一世下令修復凡爾賽宮，在建築師弗雷德里 克．內普沃的建議下，他將宮殿閣樓改建為歷史 博物館，用以展示從法國大革命到第二帝國末期

龍內的擺設代表了帝國全盛時期的風格演變。從 約瑟芬皇后穿過的紅袍，到價值連城的塞夫爾瓷

值得一提的是，許多展品來自凡爾賽宮的希

的藝術收藏，其中就有一系列波拿巴王朝的家族 肖像。 策展人以不同角度呈現拿破崙的眾多面向， 並刻意避免任何褒揚或貶低，同時試圖探索拿破 崙統治下的矛盾爭議，展覽充滿豐富的歷史與教 育意義。在拿破崙與瑪麗·路易斯結婚時乘坐的豪 華馬車上，我們看到他的野心與榮耀；當展覽步 入尾聲，在聖海倫娜島用來運送拿破崙遺體的馬 車上，彷彿見到失意與孤寂。這是一趟，走過情 緒起伏的 200 年旅程。

帝國衰亡、滑鐵盧戰役後的百日等主題。

73

Ravenel Online Auction 2021

B I D

D I B

羅芙奧線上拍賣 | 無設限：NFT專場

線上拍賣部 | onlinebids@ravenel.com 02-2708-9868

高端傢俱空間藝術｜尊尚私洽諮詢 RAVENEL LUXURY FURNITURE EXCLUSIVE EXPERT SERVICE

即日起開始接受「高端傢俱空間藝術」尊榮登記服務， 更多訊息歡迎洽詢 furniture@ravenel.com

羅芙奧台北 2021 秋季藏酒拍賣會 Autumn Auction 2021 Taipei 如醉如狂 精彩私人窖藏專拍 葡萄酒專場 2021年12月2日（四）下午2:00

Thursday, December 2, 2021, 2:00pm

烈酒專場 2021年12月3日（五）下午 2:00 Friday, December 3, 2021, 2:00pm

酒後不開車 安全有保障