羅芙奧季刊第44期 RAVENEL QUARTERLY NO. 44

No. 44 Autumn 2023

CONTENTS

泰國當代藝術的智慧之眼－亞歷克斯．費斯

細說從頭之蘇格蘭威士忌的五大產區是怎麼劃分的？

走在收藏市場潮流之先，羅芙奧邀您同行

Step Ahead of The Trend of Collector's Market

As

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 唐維怡 Eva Tang

發行所 Published / 羅芙奧股份有限公司 Ravenel Ltd.

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電話 Tel / +86 21 2411 9575

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高珀富斯－ QP à Équation 時間等式萬年曆腕錶 羅芙奧 2023 秋季鑑賞會手袋及精品

GREUBEL FORSEY QP à Équation

Ravenel Autumn 2023 Private Sale

Timeless Handbags & Luxury Collectibles

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.

Farewell to The Masters

2023 年台灣藝術界送走兩位享譽國際的大師 人物：住在台北雙溪的朱銘，享年 85 歲；及定居 高雄的蕭勤，享年 88 歲。大師們晚年受疾病所苦。

蕭勤留下 15 億遺產爭議，奧地利籍遺孀清貧度日， 卻無權過問遺產分配，全數歸 2014 年成立的蕭勤 基金會所有。讓外界霧裡看花，此一爭產事件釀 成國際官司。東方畫會大師一生縱橫四海，身後 事讓人唏噓不已。

朱銘早於 1998 年成立財團法人文教基金會， 1999 年成立朱銘美術館。生前用十數年時間在金 山購地養地打造了一座雕塑天地，留住畢生心血。 今朱家人延續大師的理想。第 44 期季刊「藝術與 投資」專欄，回顧朱銘大師一生奮鬥闖盪天涯的 精彩歷程。

本期新銳藝術家介紹泰國藝術家 Alex Face, 筆下主角三眼兔 Mardi ，輕塗鴉時尚風格展現對現 下時局的關心。義大利藝術家 Giuseppe Penone 早 年創作和貧窮藝術相關，他近期的展覽在羅馬一 間巴洛克風格的博物館空間展出，以簡馭繁，生 機蓬勃、美不勝收的反差。米蘭家具展，峇里島

的竹建築，詮釋經典實用美學，創意時尚與綠色 環境永續的美好。

本期還有介紹歐洲獨立高級製錶的工藝展現， 以及珠寶精品的市場現況。還有很受歡迎的品酒 專欄，本期揭密蘇格蘭威士忌五大產區如何劃分？ 原來起源跟稅制有關係。是不是覺得內容非常豐 富呢？敬請鎖定每期季刊發表，掌握富新聞性與 含金量高的生活與藝術資訊。

塔提雅娜．帕丘卡《秋日狩獵．格雷獵犬》 2005 年 油彩 麻布 60 x 80 cm

羅芙奧 2023 秋拍薈萃國際現代與當代藝術

Tatyana PALCHUK, TheHuntingwithGreyHounds.Autumn, 2005, oil on linen, 60 x 80 cm

Ravenel Autumn 2023 SELECT: Modern & Contemporary Art

總編輯

國際雕塑大師

ENDURING LEGACY IN THE LIVING WORLD: THE JOURNEY OF MASTER JU MING

Text / 陳惠黛 Odile Chen

Photo / Ravenel International Art Group

▶ 朱銘《太極》（兩件一組）

1991 年 單一件 木雕

羅芙奧 2023 秋拍 「薈萃國際：現代與當代藝術」專場

Ju Ming, Taichi (a set of 2), 1991, Wooden sculpture, Unique, 58.9 (L) x 24.6 (W) x 53.3 (H) cm;

25.1 (L) x 27.6 (W) x 52.4 (H) cm

Ravenel Autumn Auction 2023, SELECT: Modern & Contemporary Art

2023 年台灣殞落了兩位藝壇國際巨星，一是雕塑家朱銘（ Ju Ming ），享年 85 歲；二是畫家蕭勤（ Hsiao Chin ），走完 88 歲的人生。

他們的作品為世人所熟知，堪稱國寶級藝術家。儘管令人不捨，然而大 師們各自精采的創作人生，已為人類留下永恆的經典。本次季刊將以朱 銘先生為主題，介紹這位具有親和力又不斷超越自我的藝術大師。

再見朱銘！朱銘再見！

2023 年 4 月 23 日的下午，收到 LINE 的收藏家群組裡一則快訊消 息，說台灣國寶級大師朱銘先生於昨日 22 日晚間於住家意外身亡享壽 85 歲。一時之間，藝術圈人士議論紛紛。眾人莫不感到震驚，他去年 甫於台北舉辦個展發表新作，藏家們讚嘆其寶刀未老的創作力。不料其 實他飽受疾病之苦，深居簡出，終於久病厭世。而晚間新聞不斷地播放 這則消息。朱銘聲名享譽海外，國際媒體也轉發台灣新聞，散居世界各 地的藏家朋友非常關心，紛紛聯繫走告表達哀悼。

筆者自學生時代以來，就已聽聞朱銘的名字。朱銘 1988 年鑄造大 銅雕，當年矗立在中央大學文學院旁大草坪上。台灣社會面臨解嚴後的 洗禮，學生們經常利用大字報或活動表達意見。學生們抗議校方願意花 費四、五百萬元添購公共藝術，卻未有預算為女生宿舍安裝窗簾，在校 園掀起一陣波瀾。儘管有此過往，那件高達 392 公分的編號 1/6 的戶外 型朱銘《太極》拱門銅雕，多年已成為中大最重要的地標之一。還有深 深印在我們那一代學生的腦海中，宏偉的塑像及尊貴不凡的造價。

如今在台灣，不論是否身在藝術圈，眾人多半知曉這位國際藝術大 師，位於尖山的朱銘美術館一直是北海岸旅遊的重要景點。朱銘生前打 造的美術館園地，保留一生最重要的作品，且致力於兒童藝術教育的推 廣，以及台灣雕塑研究，獎勵年輕雕塑家的養成。在他離世之後，獲總 統褒揚令表揚，文化部將朱銘美術館納入文化部「台灣品牌團隊計畫」 （可獲政府經費補助）的一員，完成藝術家的遺願。

從傳承到創新－藝術如修行

1938 年 1 月 20 日臘月初七，苗栗山城通霄鎮朱姓人家的么子出生， 生肖屬牛，名為朱川泰，為家中第 11 個孩子，就是後來的朱銘。成長 於日治時代末期，物資缺乏，食指浩繁，瘦弱的朱川泰在刻苦成長，感 念父母養育子女的艱辛。小學畢業就急著找工作為母親分憂解勞，肖牛 的他性格勤奮、堅毅執著。

15 歲的朱川泰向寺廟木雕師李金川（ 1912-1960 ）拜師學藝，師傅 也是文人書畫家，技藝不俗。李金川傾囊相授，雕刻與繪畫並行，為其 打下堅實基礎，並鼓勵除了學技術，還要知曉創新，學習像已故的黃土 水那樣的雕刻家。朱川泰在畫報上看到現代雕刻家楊英風（ Yuyu Yang, 1926-1997 ）的名字，默默留下剪報，期許將來效法學習。 20 歲的年紀 不到，朱川泰就已出師自立門戶，北上金山鄉以雕刻佛像維生，手藝精 湛負有盛名。

1968 年 30 歲的朱川泰已成家立業，沒有忘記當年的願望。託人介 紹，輾轉到台北楊英風住處拜訪，帶著為母親和妻子雕刻的兩件木雕， 請楊點評。談了一個上午，楊英風看朱川泰忠厚誠懇，同意納為弟子。 於是，楊英風成為朱川泰人生中第二位老師，也是他從藝匠蛻變為藝術 家的貴人。老師期許他走自己路，不要做楊英風第二，勸他擺脫太過精 細的雕工，改以質樸自然的刀法，提升到靈性的境界，還要丟掉朱川泰 在工藝界的名氣，從此改名為「朱銘」。

楊英風作育英才，並刻意以準備不及為由，力薦弟子朱銘替代他在 歷史博物館的檔期。博物館深怕資格不符，特意請日本雕刻大師審核， 大師驚豔於朱銘的才華，博物館因而同意辦展。 1976 年 3 月朱銘木雕 藝術展揭幕，甚獲好評，報紙副刊連日報導，參觀者眾多還延長展期。 朱銘純樸具生命力的木雕，巧逢鄉土運動，與博物館對面的美國新聞處 素人畫家洪通（ 1920-1987 ）的畫展，連成一氣，每日看展人潮不斷， 成為鄉土運動中重要的代表人物。

朱銘以新人之姿，在國內藝術界獲得肯定，還當選當年度十大傑出 青年。他初期的歷史人物、水牛像深植人心。因天生瘦弱，恩師鼓勵他 練太極拳強身，進而從拳法悟出武術的力與美，最初曾以《功夫》為名， 發表首件太極系列作品，為他開拓更有內涵底蘊的雕刻藝術。從「鄉土 系列」，演化到「太極系列」，曾引起島內強調本土意識人士的批評。 朱銘為雕刻的現代化不斷創新精進，並更從靈性的思考，追求簡單與精 神性的造型美。太極是無疑是朱銘自我風格的開端。朱銘曾說：「太極， 外國人喜歡，因為它簡化，簡化到甚麼人根本都無所謂。比如說我到國 外展覽時，沒有人問我太極在做甚麼，連一個人都沒有。」太極系列的 成功，使他不再是傳統的雕刻家，成為華人雕塑界的大師。

英國牛津大學藝術史教授蘇立文（ Michael Sullivan, 19162013 ），曾撰文推薦：「朱銘的成就，不只在於作品所呈現的懾人力量 和美感，重要的是，他比當世任何一位華裔雕塑家，更睿智地發現他自 身的文化傳統，是創造一種有效語言的自然，甚至可說是必然的泉源， 而這語言，是當代的，也是中國的。」

勇於跳脫舒適圈、經紀人運籌帷幄助力走向世界舞台

朱銘跟隨楊英風習藝七年，期間陪同出訪新加坡與日本，增廣見 聞，有更寬廣的未來等著他探索。歷史博物館首展成功後，朱銘有機會 放洋單飛，到東京參展，引起日本雕刻之森美術館的注意，進而收藏他 的《單鞭下勢》作品。

朱銘最早的合作商業空間是 1979 在春之藝廊，該畫廊推薦過許 多台灣新興藝術家。後來在藝文界友人施寄青和許博允的幫助，赴香 港藝術中心展出，和香港藝術圈有了密切往來機會。 1981 年勇敢赴 美，找尋契機。世界的擂台賽中，他的才華獲得馬克斯．漢查森（ Max

◀ 朱銘《太極》 1995 年 銅雕 版次 AP 4/6 57 （長） x 58 （寬） x 41 （高） cm 羅芙奧 2023 秋拍 「薈萃國際：現代與當代藝術」專場

Ju Ming, Taichi, 1995, Bronze, ed. AP 4/6 57(L) x 58(W) x 41(H) cm Ravenel Autumn Auction 2023, SELECT: Modern & Contemporary Art

Hutchinson ）藝廊老闆的注意，願為他舉辦展覽。而香港畫商張頌仁 （ Johnson Chang, 1951- ）注意到朱銘的才氣，成為日後合作多年的經 紀人，為其打開海外市場的關鍵人物，促成英國幾次展覽。後來又有法 國大畫商歐德瑪（ Hervé Odermatt, 1926- ）的加入，代理朱銘在歐洲和 北美的經紀事務。

張頌仁是中港台重要的藝術評論家與市場推手，善於發掘潛力藝術 家，除了 1983 年在香港創辦漢雅軒，後來也在台北（ 1988-2000 ）設定 分部十年，也將觸角移至新加坡與中國大陸。張頌仁在〈朱銘與中國現 代雕刻〉一文中，指出：「朱銘的最大成就，就是把中國暮氣沉沉的傳 統雕刻打開一個新的局面，進而把中國現代雕塑帶入新的紀元。」

朱銘有應接不暇的國際個人展覽，以 1980 年代與 1990 年代最為 風光。朱銘認為 1997-1998 年巴黎梵登廣場的展覽，是他生涯顛峰時期 的寫照。歐美展覽有賴於歐德瑪豐沛的政商人脈與業務推廣能力，促成 多間國際博物館永久典藏朱銘的大型雕塑。

放眼朱銘歷年來的國際大展覽，從初期的： 1977 年東京中央美術 館（ Tokyo Central Museum of Art ）； 1978 年日本奈良文化會館（ Nara Prefecture Cultural Hall, Japan ）； 1980 年香港藝術中心； 1981 年紐約 漢查森藝廊（ Max Hutchinson Gallery ）（另有 1983 、 1985 和 1986 年 度）； 1982 年香港藝術中心、香港漢雅軒（另有 1984 、 1985 和 1988 年度）； 1984 年馬尼拉艾雅拉博物館（ Ayala Museum, Manila ）、曼谷 比乃西現代美術館（ Birashri Institute of Modern Art, Bangkok ）； 1986 年香港交易廣場（ Exchange Square, Hong Kong ）、新加坡國家博物院 （今新加坡歷史博物館 National Museum of Singapore ）、新加坡漢雅軒；

1989 年新加坡萊佛士城購物中心（ Raffles City Atrium, Singapore ）、 紐約菲立斯．康達藝廊（ Phyllis Kind Gallery ）。

1990 年代朱銘的國際展覽包括： 1991 年香港藝術中心、香港漢雅

軒、倫敦南岸文化中心（ South Bank Centre, London ）、布朗斯與達比

藝廊（ Browns & Darby Gallery, London ）、港英友誼恊會（ Anglo-Hong Kong Trust ）、英國約克夏雕塑公園（ Yorkshire Sculpture Park ）、法

國登克爾克現代美術館（ Musée d'Art Contemporain de Dunkerque ）；

1992 年橫濱 NICAF 國際藝博會（ NICAF Yokohama '92 ）、巴黎貝爾

芙畫廊（ La Galerie Bellefroid, Paris ）、英國白金漢郡米爾頓．凱恩斯

雕塑公園（ Milton Keynes Sculpture Park ）； 1995 年東京雕刻之森美術

館（ Hakone Open-Air Museum, Japan ）； 1997 年巴黎梵登廣場（ Place

Vendôme, Paris ）；1999 年盧森堡和比利時布魯塞爾羅斯福大道展覽等。

千禧年之後的個展：包括 2003 年德國柏林朱銘國際戶外雕刻

大展（ Avenue Unter den Linden and West of the Brandenburg Gate, Berlin ）； 2004 年新加坡美術館（ Singapore Museum of Fine Arts ）； 2005 年澳門民政總署（ Civic and Municipal Affairs Bureau , Macao ）、

新加坡誰先覺（ iPreciation, Singapore ）（另有 2010 、 2011 、 2017-18

和 2022 年度）； 2006 年中國北京中國美術館（ National Art Museum of China, Beijing ）、香港時代廣場（ Time Square, Hong Kong ）； 20062008 年加拿大蒙特婁皇家山公園（ Mount Royal Park ）、維多利亞廣場

（ Square Victoria ）、舊港區（ Old Port ）戶外展覽； 2010 年中國北京

中國美術館、香港交易廣場與置地廣場； 2011 年加拿大蒙特婁貝勒里

夫公園（ Parc de la Promenade Bellerive ）； 2014 年香港藝術館（ Hong Kong Museum of Art ）；2015 年中國成都、重慶、大連、上海巡迴展等。

數十年藝術市場的風起雲湧

漢雅軒張頌仁和朱銘三十年合作至 2006 年告一段落。法國畫商歐

德瑪年歲已高，辦完歐洲展後也宣告退休，交棒給兒子弗朗索瓦．歐德 瑪（ François Odermatt ），兩次的加拿大蒙特婁展覽由弗朗索瓦．歐德 瑪促成。新加坡畫商陳淑娟（ Helina Chan ）於 1999 年創辦誰先覺畫廊。

隨著漢雅軒和朱銘的合作漸告終後，誰先覺畫廊成為朱銘的海外代理。 新加坡、香港和中國大陸的巡展是這時期的合作。陳淑娟因健康因素力 有未逮，從 2015 年後朱銘的海外大展幾乎停擺。

15 歲當雕刻學徒，到 1976 年歷史博物館首展之後，朱銘七十年的 漫長耕耘，在國內美術館展出經歷包括 1987 年與 1992 年台北市立美 術館個展； 2006 年台灣省立美術館（今國立台灣美術館）； 2015 台東 美術館個展； 2016 屏東美術館個展等。國內博物館個展次數其實屈指 可數。享譽國際的朱銘，在台灣人稱國寶，但其實在國內尚無公立博物 館回顧展展出，相信內心存在委屈。當年 1978 年台灣駐日代表處擅自 將《單鞭下勢》參展品送給雕刻之森美術館，枉顧創作者權益與國際辦 展成本。朱銘在自傳裡坦言不喜歡跟官方打交道。或許這使他心生為自 己的作品蓋一座美術館的想法。

▼ 朱銘《太極系列－單鞭下勢》 1991 年 銅雕 5/6 303( 長 ) x 128( 寬 ) x 160( 高 ) cm 羅芙奧 2010 秋拍「亞洲現代與當代藝術」編號 150 成交價 TWD 82,240,000 Ju Ming, TaichiSeries-SingleWhip, 1991, Bronze, ed. 5/6, 303(L) x 128(W) x 160(H) cm Ravenel Autumn Auction 2010 Modern & Contemporary Asian Art, lot 150, sold for USD 2,711,507

▲ 朱銘《太極系列－單鞭下勢》 1982 年 木雕 47( 長 ) x 35( 寬 ) x 46( 高 ) cm

羅芙奧 2007 秋拍「 20 與 21 世紀華人藝術、韓國當代藝術」編號 074 成交價 TWD 16,280,000

Ju Ming, TaichiSeries-SingleWhip, 1982, Wood, 47(L) x 35(W) x 46(H) cm

Ravenel Autumn Auction 2007 The 20th & 21st Century Chinese Art, Korean Contemporary Art, lot 074, sold for USD 504,572

1987 年決定在金山購地，展開歷時十二年闢建美術館 的艱辛過程。 1999 年「朱銘美術館」開幕，朱銘靠一己之 力打造美術館，幸偶有企業家挹注。 2001 年朱銘為太極系 列創作最大拱門銅雕在博物館安置後，宣告太極系列發表 已圓滿完結，爾後，專心創作反映當代的「人間系列」。

除了前文提到的春之藝廊，和台北漢雅軒，朱銘在台 灣的商業推廣，多為家族經營，如長媳經營的雋永雕塑畫 廊（ Jun Youn Sculpture Gallery ）（ 2012 年離婚後停業）、 次女的真善美畫廊（ Kalos Gallery ）、么子的李記創意， 還有近期合作的亞洲藝術中心等。多年來他的一手市場有 穩定的支持者，且過去三十年間也常見於華人圈的拍賣行。

隨著國際聲名打開，行情屢破紀錄，合作過的鑄銅廠 和藏家好友，竟然心生歹念，翻鑄銅雕獲利。從 2014 年左 右，每隔一段時間報章雜誌就經常報導藝廊、畫商、企業 家、寺廟或節目主持人販售贗品或保證書造假等新聞，贗 品交易金額總值上億，讓收藏家心生疑慮。導致後來拍賣 公司對所有朱銘委託人，要求一律需附朱銘親簽保證書， 或者朱銘基金會的鑑定報告書，方能上拍。

▶

朱銘《太極系列－對招》 1982 年 木雕 45( 長 ) x 23( 寬 ) x 56( 高 ) cm ( 左 ) ； 30( 長 ) x 24( 寬 ) x 53( 高 ) cm ( 右 )

羅芙奧 2011 春拍「亞洲現代與當代藝術」編號 150 成交價 TWD 16,800,000

Ju Ming, TaichiSeries-ShadowBoxing, 1982, Wood, 45(L) x 23(W) x 56(H) cm (left); 30(L) x 24(W) x 53(H) cm (right)

Ravenel Spring Auction 2011 Modern & Contemporary Asian Art, lot 150, sold for USD 585,978

朱銘目前的拍賣最高紀錄是， 2010 年羅芙奧秋拍《單 鞭下勢》銅雕的台幣 8224 萬（ USD 2,711,507 ）。附表中 拍賣前十名紀錄，十之八九都是十多年前的舊紀錄。顯見， 過去十年來市場對其作品偏空看待。贗品消息，十分打擊 藏家的信心。還有朱銘文教基金會給緊盯港台拍賣行，要 求審閱拍品的保證書或鑑定報告，擔心有造假的疑慮。凡 此種種，拍賣行自然小心翼翼處理其拍品，寧缺勿濫。近 年，除偶有的專場，朱銘雕塑的交易量逐年下滑。

2015 年 10 月漢雅軒的老闆張頌仁在香港蘇富比拍賣以「論武．朱 銘——張頌仁珍藏」專題，釋出朱銘藏品 26 件，成功拍出 19 件，成交 金額 5524 萬港元（約台幣 2.3 億元或約美元 713 萬元），件數成交率 73% ，金額成交率 98% 。此次專拍是朱銘市場的階段性總結。

根據全球拍賣資料庫中心 Artprice 的數據分析，朱銘作品拍賣年度 交易量最大值是在 2011 年。 2011 年交易量為 US$19,766,204 （不含買 方傭金），而去年 2022 年只剩下 US$3,422,375 ，僅兩成不到，為 2006 年以來的新低紀錄。 Artprice 的拍賣數據的地理分析， 2000 年至 2023 年（取樣時間為 2023 年 8 月），朱銘作品在台灣的拍賣數量最多達 553 件，香港次之 244 件；不過這段時間香港交易額為台灣的 1.5 倍之多， 應是高價雕塑拍賣多集中於香港拍場之故。

期望更多學術與展覽介入 恢復其榮景 張頌仁當年專場的藏品主力為太極系列，輔以「人間系列」及「鄉 土系列」。顯見太極系列仍較受到國際藏家的喜愛，新作品人間系列在 市場尚仍未有全面的肯定，仍有待開發。不過 2022 年他在亞洲藝術中 心發表的芭蕾舞主題新個展，令藏家驚艷，讚嘆其寶刀未老，並在今年 的香港巴塞爾博覽會中展出。

朱銘曾說：「我的藝術生涯如同一棵樹的成長，鄉土是它的根，『太 極系列』是它的枝幹，而『人間系列』是它的開花結果」。鄉土、太極、 以至人間，此三個系列在時間上互相連貫，串聯朱銘一生的美的追求。

朱銘在華人雕塑藝術界的成就，至今無人能出其右。在知音的牽成 與推動下，曾經國際大展邀約不斷，將其聲名推向顛峰。在所有華人雕 塑家中，他的國際能見度最高，公共收藏經歷最豐富，除了朱銘美術館 本身完整收藏以外，過去四十年國際大展後有多件大型公共藝術永留該 國典藏。如今隨著朱銘意外離世，收藏界重新關注這位雕刻大師，紛紛 感嘆應恢復其市場榮景，也期許未來有其大型國際回顧展的出現。 朱銘基金會致力於推動作品鑑定，立意良善，可惜鑑定費用高昂， 耗時長，且一年僅有一個月的時間收件，且申請程序繁複，凡此種種原 因使得想要交流的藏家無可奈何。朱銘一生創作豐沛，有鑑定需求的藏 品必然非常之多，基金會人力恐怕力有未逮，只能徒呼負負。朱銘美術 館以家族之力，財團法人形式經營之外，更有賴政府、學術界或外界 能為朱銘藝術投入更多研究，並請專家籌備編年目錄全集（ catalogue raisonné ），或可減少贗品的猖獗。

斯人已遠，典型在夙昔。國際雕塑大師一生奉獻於創作，懷念朱銘， 刻痕永在人間。

Chin, who completed his 88-year journey of life. Their artistic creations are celebrated globally and hold a place of distinction akin to national treasures. Amidst the poignancy of their absence, the exceptional and resplendent creative narratives they authored have bequeathed timeless masterpieces to mankind. Within the pages of this quarterly edition, the spotlight falls on Mr. Ju Ming, offering an introduction to this amiable yet ceaselessly transcendent maestro of art.

Farewell, Ju Ming! Rediscover, Ju Ming!

On the afternoon of April 23, 2023, a breaking news message arrived in the LINE collector group, conveying the unfortunate news of the passing of Taiwan's national treasure-level master, Mr. Ju Ming. He had unexpectedly passed away on the evening of the 22nd at the age of 85. A tidal wave of discussions surged within the artistic realm, leaving everyone spellbound. Just months ago, he graced Taipei with a solo exhibition, unveiling a collection of new creations that garnered accolades from collectors for his inexhaustible wellspring of creativity.

Yet concealed behind the veil of his vibrant artworks was a lesserknown narrative a battle against illness, a life cloaked in seclusion, and a growing fatigue for the struggles of existence. The evening news cycle relentlessly echoed this heartrending announcement. Ju Ming's renown

and kindred spirits scattered across the globe, woven into various corners of the world, joined in unity to share their profound sympathy and extend heartfelt condolences.

Since my student days, I've been familiar with the name Ju Ming. In 1988, Ju Ming cast a large bronze sculpture that stood beside the lawn of the College of Liberal Arts at National Central University. Taiwan's society was undergoing the baptism of post-martial-law freedom, and students frequently utilized big-character posters and events to express their opinions. Students protested against the university's willingness to spend four or five million Taiwan dollars to acquire public art while not allocating a budget for curtains in the women's dormitories. This stirred up a wave of controversy on campus. Despite this history, the outdoor sculpture "Taichi" with its arch-shaped bronze gate, measuring a towering 392 centimeters and numbered 1/6, has over the years become one of the most significant landmarks at National Central University. The grand statue and its distinguished cost remain deeply imprinted in the minds of our generation of students.

In present-day Taiwan, familiarity with this international art master extends beyond the boundaries of the art sphere. The Juming Museum, situated in Jianshan District of New Taipei City, has consistently stood as a captivating draw for North Coast tourism. The museum grounds

◀ 朱銘《太極系列－對招》

1998 年 木雕 48.1( 長 ) x 32.9( 寬 ) x 67.8( 高 ) cm ( 左 ) ； 50( 長 ) x 35( 寬 ) x 66( 高 ) cm ( 右 )

羅芙奧 2011 秋拍「亞洲現代與當代藝術」編號 156 成交價 TWD 16,800,000

Ju Ming, TaichiSeries-ShadowBoxing, 1998, Wood, 48.1(L) x 32.9(W) x 67.8(H) cm (left); 50(L) x 35(W) x 66(H) cm (right)

Ravenel Autumn Auction 2011 Modern & Contemporary Asian Art, lot 156, sold for USD 557,214

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朱銘《同心協力》 1976 年 銅雕 2/4 161.5( 長 ) x 44.6( 寬 ) x 75.2( 高 ) cm

羅芙奧 2014 春拍「亞洲現代與當代藝術」編號 198 成交價 TWD 4,560,000

Ju Ming, In One Heart, 1976, Bronze, ed. 2/4, 161.5(L) x 44.6(W) x 75.2(H) cm

Ravenel Spring Auction 2014 Modern & Contemporary Asian Art, lot 198, sold for USD 152,051

works. It also endeavors in promoting art education for children, advancing Taiwanese sculpture studies, and fostering the development of young sculptors. Following his passing, he received presidential commendation, and the Ministry of Culture included the Juming Museum as a member of the Ministry's "Taiwan Brand Team Plan" (eligible for government funding support), fulfilling the artist's wishes.

From Tradition to Innovation Art as Practice

Born on the 7th day of the first lunar month in 1938, in the Ju family of Tongxiao Township, Miaoli County, Ju Chuantai later known as Ju Ming entered the world under the zodiac sign of the Ox as the 11th child. Growing up during the late period of the Japanese colonial era, amidst material scarcity and arduous living conditions, the slender and tenacious Ju Chuantai persevered through his hardships, grateful for the sacrifices his parents made to raise their children. Graduating from elementary school, he swiftly sought work to alleviate his mother's burdens and share in her labors. With the characteristics of an Ox, he exhibited diligence and unyielding determination.

At the age of 15, Ju Chuantai embarked on an apprenticeship under the tutelage of temple woodcarver Lee Chin-chuan (1912-1960), a virtuoso adept in both woodcarving and traditional painting. With unwavering dedication, Lee transferred his expertise, underscoring the

robust groundwork for Ju, not only instructing him in techniques but also kindling his passion for innovation. Lee's counsel extended to urging Ju to delve into the works of the late sculptor Huang Tu-shui, whose artistry he held in high esteem. Ju Chuantai came across the name of modern sculptor Yuyu Yang (1926-1997) in a magazine and silently saved the clipping, aspiring to follow in his footsteps. At the young age of 20, Ju Chuantai had already established his own workshop, crafting Buddha statues in the northern town of Jinshan. His exceptional craftsmanship earned him a prominent reputation.

In 1968, at the age of 30, Ju Chuantai, now a family man, remembered his past aspirations. He visited Yuyu Yang in Taipei, bearing two wooden carvings he had made for his mother and wife, seeking Yang's critique. After a morning of discussions, impressed by Ju Chuantai's sincerity and integrity, Yuyu Yang agreed to take him as a disciple. Thus, Yuyu Yang became Ju Chuantai's second mentor and the pivotal figure that guided him from being a craftsman to becoming an artist. Yang advised him to find his own path and cautioned him not to merely replicate Yang's style. He encouraged Ju to move away from intricate details, focusing on a more natural and straightforward approach that would elevate his work to a spiritual level. Yang also suggested Ju cast off his reputation in the world of craftsmanship and adopt the name "Ju Ming."

◀ 朱銘《水牛》 1985 年 木雕 56( 長 ) x 35.2( 寬 ) x 46.4( 高 ) cm

羅芙奧 2023 春拍「薈萃國際：現代與當代藝術」

編號 037 成交價 TWD 1,680,000

Ju Ming, Water Buffalo, 1985, Wood, 56(L) x 35.2(W) x 46.4(H) cm

Ravenel Spring Auction 2023 Select: Modern & Contemporary Art, lot 037, sold for USD 387,991

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朱銘《太極拱門》 1992 年 木雕

19.7( 長 ) x 23.5( 寬 ) x 46( 高 ) cm ( 左 ) ； 49.5( 長 ) x 25( 寬 ) x 47( 高 ) cm ( 右 )

羅芙奧 2007 春拍「 20 與 21 世紀華人藝術」編號 071 成交價 TWD 17,400,000

Ju Ming, Taichi Series - Arch, 1992, Wood, 19.7(L) x 23.5(W) x 46(H) cm (Left); 49.5(L) x 25(W) x 47(H) cm (Right)

Ravenel Spring Auction 2007 The 20th & 21st Century Chinese Art, lot 071, sold for USD 526,874

Yang, nurturing talents, tactfully recommended Ju Ming to take his place at the National Museum on short notice, under the pretense of being unprepared. Concerned that Ju Ming might not meet the qualifications, the museum sought the evaluation of a Japanese sculpting master. Impressed by Ju Ming's talents, the master endorsed the exhibition. In March 1976, the Ju Ming Wood Sculpture Exhibition was unveiled, receiving high praise. Newspapers ran features for days, and the exhibition period had to be extended due to the influx of visitors. Ju Ming's vibrant and vital wood sculptures dovetailed with the Nativist movement, coinciding with an amateur painter named Hung Tung (1920-1987), whose exhibition was hosted by the American News Agency across from the museum. This synergy transformed Ju Ming and Hung Tung into significant figures in the Nativist movement.

With his emerging presence, Ju Ming garnered acclaim within Taiwan's art scene, even being named one of the year's top ten outstanding young individuals. His early works featuring historical figures and water buffalo struck a chord with the public. Due to his naturally frail constitution, his mentor encouraged him to practice Taichi for physical strength. From this martial art, Ju Ming gleaned elements of strength and beauty, leading him to create his first series of Taichi sculptures, initially titled "Kung Fu." This marked the inception of a more profound and introspective phase in his carving artistry. Evolving from the "Nativist Series" to the "Taichi Series," his transition sparked criticism from those emphasizing native identity. Nonetheless, Ju Ming continued to innovate and refine the modernization of sculpture, driven by his spiritual contemplation, pursuing simplicity and spiritual elegance. The Taichi series undoubtedly marked the initiation of Ju Ming's distinctive style. He once said, "Foreigners like Taichi because it simplifies everything, to the point where it's irrelevant who the subject is. For example, when I exhibit abroad, nobody asks what Taichi is doing, not even a single person." The success of the Taichi series elevated him beyond being a traditional sculptor, propelling him to the ranks of a master in the Chinese sculpture arena.

Michael Sullivan, a professor of art history at the University of Oxford, lauded Ju Ming's achievements, stating, "The achievement of Ju Ming is not only about the magnificent power and beauty his works present. More importantly, he has found, in his own cultural heritage, a natural source for the creation of a formal language that is both contemporary and Chinese."

Boldly Venturing Beyond: Ju Ming's Path to the Global Stage Propelled by Strategic Partnerships

Following seven years of apprenticeship under Yuyu Yang, during which he embarked on journeys to Singapore and Japan, Ju Ming broadened his horizons, standing on the precipice of a more expansive future. After the resounding success of his inaugural exhibition at the National Museum of History, Ju Ming seized the opportunity to venture overseas, showcasing his talent in Tokyo. This caught the discerning eye of the Hakone Open-Air Museum in Japan, leading to the inclusion of his work "Single Whip" in their collection.

In 1979, Ju Ming's first foray into commercial spaces began at the Spring Gallery, a platform that had previously endorsed many emerging Taiwanese artists. Guided by the assistance of friends in the arts and culture circles, Shih Chi-ching and Hsu Po-yun, Ju Ming's path led him to exhibit at the Hong Kong Arts Centre, fostering close ties with Hong Kong's artistic community. In 1981, he took a bold step, journeying to the United States in search of opportunities. His exceptional talent caught the attention of Max Hutchinson, owner of the Max Hutchinson Gallery in New York, who extended an offer for an exhibition. Johnson Chang (born 1951), an art dealer in Hong Kong, recognized Ju Ming's prowess and would go on to become his long-time agent. Chang played a pivotal role in unlocking overseas markets for Ju Ming, facilitating multiple exhibitions in Hong Kong and the United Kingdom. Subsequently, Hervé Odermatt (born 1926), a prominent art dealer in France, also joined forces, representing Ju Ming's artistic endeavors in Europe and North America.

Chang, an influential figure in the art realm of Greater China, renowned as both an art critic and market influencer, possessed a keen knack for identifying potential artists. In addition to founding the Hanart TZ Gallery in 1983, which has shaped the careers of numerous artists, he also established a branch in Taipei from 1988 to 2000, and extended his reach to Singapore and mainland China. In his essay titled "Ju Ming and Modern Chinese Sculpture," Chang notes, "It could be seen that Ju Ming had given China's stagnant sculptural tradition a new lease of life."

Ju Ming's international solo exhibitions have been numerous, with the 1980s and 1990s marking particularly shining periods. Ju Ming regarded the 1997-1998 exhibition at Place Paris as the pinnacle of his career. His overseas exhibitions, particularly in Europe and America, were facilitated by Hervé Odermatt's extensive political and business connections, leading to several of Ju Ming's large sculptures finding permanent homes in international museums.

Reflecting on Ju Ming's past international solo exhibitions, some notable highlights include: Tokyo Central Museum of Art in 1977, Nara Prefecture Cultural Hall in 1978, Hong Kong Arts Centre in 1980, Max Hutchinson Gallery in New York in 1981 (also in 1983, 1985, and 1986), Hanart TZ Gallery in Hong Kong in 1981 (also in 1984, 1985, and 1988), Ayala Museum in Manila and Birashri Institute of Modern Art in Bangkok in 1984, Exchange Square in Hong Kong, National Museum of Singapore, and Hanart TZ Gallery in Singapore in 1986, Raffles City Atrium in Singapore and Phyllis Kind Gallery in New York, among others in 1989.

In the 1990s, Ju Ming's major international solo exhibitions included: Hong Kong Arts Centre and Hanart TZ Gallery in Hong Kong in 1991; South Bank Centre in London; Browns & Darby Gallery in London; Anglo-Hong Kong Trust; Yorkshire Sculpture Park in the UK; Musée d'Art Contemporain de Dunkerque in France; NICAF Yokohama '92 in Yokohama, Japan; La Galerie Bellefroid in Paris; Milton Keynes Sculpture Park in Buckinghamshire, UK; Hakone Open-Air Museum in Tokyo in 1995; Place Vendôme in Paris in 1997; Luxembourg and Brussels Roosevelt Avenue Exhibition in 1999.

Post-millennium solo exhibitions include: Ju Ming International Outdoor Sculpture Exhibition on Avenue Unter den and West of the Brandenburg Gate in Berlin, Germany in 2003; Singapore Museum of Fine Arts in 2004; Civic and Municipal Affairs Bureau in Macao and iPreciation in Singapore in 2005 (also in 2010, 2011, 2017-18, and 2022); National Art Museum of China in Beijing and Time Square in Hong Kong in 2006; Mount Royal Park, Square Victoria, and Old Port outdoor exhibitions in Montreal, Canada from 2006 to 2008; National Art Museum of China in Beijing, Exchange Square, and Landmark in Hong Kong in 2010; Parc de la Promenade Bellerive in Montreal in 2011; Hong Kong Museum of Art in 2014; touring exhibitions in Chengdu, Chongqing, Dalian, and Shanghai in China in 2015.

Decades of Turbulence in the Art Market

The collaboration between Johnson Chang of Hanart TZ Gallery and Ju Ming spanned thirty years and concluded in 2006. The French art dealer, Hervé Odermatt, being of advanced age, retired after organizing Ju's European exhibitions. He passed the baton to his son, François Odermatt, who facilitated two exhibitions in Montreal, Canada. In 1999, Singaporean art dealer Helina Chan founded the iPreciation. Following the gradual conclusion of the partnership between Hanart and Ju Ming, the iPreciation became Ju Ming's overseas agent. Collaborations during this period included exhibitions across Singapore, Hong Kong, and mainland China. However, due to health reasons, Helina Chan found herself unable to continue actively, leading to a near halt in Ju Ming's overseas retrospective exhibitions since 2015.

◀ 朱銘《人間系列—游泳》 2009 年 不銹鋼 2/8 70.4( 長 ) x 29.4( 寬 ) x 104.6( 高 ) cm

羅芙奧 2015 秋拍「亞洲現代與當代藝術」編號 200 成交價 TWD 1,320,000

Ju Ming, LivingWorldSeries-Swimming, 2009, Stainless steel, ed. 2/8, 70.4(L) x 29.4(W) x 104.6(H) cm

Ravenel Autumn Auction 2015 Modern & Contemporary Asian Art, lot 200, sold for USD 40,392

▶ 朱銘《關公》銅雕 AP 2/5 31( 長 ) x 37( 寬 ) x 83( 高 ) cm

羅芙奧 2006 春拍「 20 與 21 世紀華人藝術」編號 076 成交價 TWD 2,242,000

Ju Ming, Chinese God-Kuan Ti, Bronze, ed. AP 2/5, 31(L) x 37(W) x 83(H) cm

Ravenel Spring Auction 2006 The 20th & 21st Century Chinese Art, lot 076, sold for USD 69,986

Ju Ming's artistic journey began as a 15-year-old sculpture apprentice and has stretched across seven decades. It commenced with his inaugural exhibition at the History Museum in 1976. Noteworthy moments in his career within domestic art museums involve solo exhibitions at the Taipei Fine Arts Museum in 1987 and 1992, the Taiwan Provincial Museum in 2006 (now known as the National Taiwan Museum of Fine Arts), the Taitung Art Museum in 2015, and the Pingtung Art Museum in 2016. While his solo exhibitions within domestic museums are relatively limited, Ju Ming holds international acclaim and is revered as a national treasure by the Taiwanese people.

Curiously, despite his renown, there has been no retrospective exhibition of his work within public museums in his own country situation that likely brings him some sense of disappointment. In 1978, a contentious event arose when the Taiwan Representative Office in Japan unilaterally sent his exhibited artwork "Taichi Series - Single Whip" to the Hakone Open-Air Museum, disregarding the artist's rights and the financial implications of international exhibitions. This incident is mentioned in Ju Ming's autobiography, where he candidly expresses his reluctance to engage with officialdom. This sentiment might have motivated him to consider the possibility of establishing an art museum exclusively dedicated to showcasing his creations.

In 1987, Ju Ming took a significant step by acquiring land in Jinshan, initiating a challenging 12-year endeavor to bring the Ju Ming Museum to life. The culmination of his efforts came in 1999 when the museum officially welcomed visitors, a testament to Ju Ming's resolute determination, bolstered by the backing of entrepreneurs. A significant milestone occurred in 2001 with the completion of the monumental bronze arch sculpture from the "Taichi Arch," signifying the conclusion of that series. Subsequently, he transitioned his artistic focus to the "Living World" series, which artfully embodies contemporary themes.

Aside from the previously mentioned Spring Gallery and Hanart Taipei, Ju Ming's commercial ventures in Taiwan are largely family-run, including Jun Youn Sculpture Gallery operated by his daughter-in-law (which closed in 2012 after her divorce), Kalos Gallery operated by his second daughter, and his youngest son's Lee Chi Creative. His artworks have enjoyed consistent support in the market for years, often seen in auctions within the greater Chinese community.

With Ju's growing international recognition and record-breaking sales, unfortunate incidents of unauthorized recasting of his sculptures by foundries and collector friends emerged, causing a decline in collectors' confidence. Around 2014, reports began surfacing in newspapers and magazines, revealing instances involving galleries, art dealers, entrepreneurs, a temple, and even a TV host participating in counterfeit sales or issuing fraudulent certificates. The total value of these counterfeit transactions reached millions. This climate prompted auction houses to require a certificate of authenticity, personally signed by Ju Ming, or authentication reports from the Juming Culture and Education Foundation for all consignors of his works.

Ju Ming's highest auction record stands with his bronze sculpture "Taichi Series - Single Whip," achieving NTD 82.24 million (USD 2,711,507) during Ravenel's Autumn Auction in 2010. However, the leading auction records are predominantly established by outcomes spanning more than a decade ago. This pattern suggests a shift in the art

market's perception of his pieces during the past ten years. The rampant proliferation of counterfeits has profoundly affected the confidence of collectors.

In response to these challenges, the Juming Cultural and Educational Foundation has been meticulously monitoring auction houses in Hong Kong and Taiwan. They've instituted measures that necessitate the scrutiny of certificates or authentication reports for the lots on offer, aiming to alleviate concerns over counterfeit items. Consequently, auction houses have become exceptionally vigilant in handling Ju Ming's artworks, leading to a discernible reduction in the trading volume of his sculptures in recent years.

In October 2015, Sotheby's Hong Kong organized a special auction titled 'Embodying The Dao of Martial Arts – Important Sculptures by Ju Ming from the Collection of Johnson Chang Tsong-Zung.' This auction showcased 26 pieces of Ju Ming's sculptures, out of which 19 pieces found successful buyers, resulting in a total sales figure of HKD 55.24 million (approximately NTD 230 million or USD 7.13 million). The auction achieved an impressive sales rate of 73% by lot and an even more remarkable 98% by value. This event marked a significant phase in Ju Ming's journey within the art market.

According to data analysis from the global auction database Artprice, Ju Ming's highest annual auction turnover was in 2011, with transactions amounting to USD 19,766,204 (excluding buyer's premiums). However, this figure drastically decreased to USD 3,422,375 in 2022, marking a drop of just under 20% and establishing a new low since 2006. In terms of geographical analysis of auction data from 2000 to 2023 (as of August 2023), Ju Ming's works appeared in and were sold across 553 lots in Taiwan and 244 in Hong Kong. Despite the larger volume of auctions in Taiwan, Hong Kong's transaction turnover is 1.5 times greater, likely due to a concentration of high-priced sculpture auctions in Hong Kong.

朱銘近作展於 2023 年香港巴塞爾博覽會 Ju Ming's recent works at Art Basel Hong Kong 2023

▼ 朱銘《三姑六婆》水墨

設色 紙本 鏡框 29.5 x 44 cm

羅芙奧 2018 秋拍「翰墨丹青－中國書畫專場」

編號 682 成交價 TWD 72,000

Ju Ming, Gossiping, Ink and colour on paper, framed, 29.5 x 44 cm

Ravenel Autumn Auction 2018 Paintings and Calligraphy of Tai Jing-Nong Refined Brushwork: Fine Chinese Paintings, lot 682, sold for USD 2,335

▶

朱銘《觀音》天然奇木 46( 長 ) x 36( 寬 ) x 78( 高 ) cm

羅芙奧 2004 春拍「 20 世紀華人藝術」編號 020 成交價 TWD 3,422,000

Ju Ming, Guanyin, Naturally odd wood, 46(L) x 36(W) x 78(H) cm

Ravenel Spring Auction 2004 The 20th Century Chinese Art, lot 020, sold for USD 103,697

Seeking Renewed Glory Through Academic Engagement and Retrospectives

During Johnson Chang's special auction, his core collection predominantly featured Ju Ming's "Taichi Series," accompanied by the "Living World Series" and the "Nativist Series." It's evident that the "Taichi Series" continues to garner favor among international collectors, while the newer "Living World Series" is still awaiting broader recognition and development in the market. However, in 2022, his new ballet-themed solo exhibition at the Asia Art Center astounded collectors, affirming his enduring artistic prowess. The exhibition was even showcased at this year's Hong Kong Basel Art Fair.

Ju Ming once said, "My artistic journey is akin to the growth of a tree: the local culture is its roots, the 'Taichi Series' is its branches, and the 'Living World Series' is its blossoming fruit." These three series Nativist, Taichi, and Living World are intertwined over time, weaving together the tapestry of Ju Ming's lifelong artistic pursuit.

In the realm of Chinese sculpture art, Ju Ming's accomplishments remain unmatched to this day. Fueled by understanding and support, he received a constant stream of invitations to major international exhibitions, propelling his renown to its zenith. Among all Chinese origin sculptors, he boasts the highest international visibility and the richest experience in public collections. Beyond the comprehensive collection

at the Juming Museum, numerous monumental public art pieces from the past four decades remain as treasures in various countries' collections. With Ju Ming's unexpected passing, the art world has renewed its attention to this master sculptor, expressing hopes for a revival of his market prominence and anticipating the emergence of large-scale international retrospectives in the future.

The Juming Culture and Education Foundation is dedicated to promoting work authentication with good intentions. However, the high cost and prolonged duration of the authentication process, coupled with the limited one-month annual submission window, the complex application procedures, and other reasons, leave collectors desiring for a more accessible option. Considering Ju Ming's prolific creative output, the demand for authentication is bound to be substantial. Unfortunately, the foundation's manpower may fall short, leaving collectors with limited options. The Juming Museum, operated in the form of a foundation by the family's efforts, could benefit from greater research investments by the government, academia, or the wider public. Initiatives such as compiling a comprehensive catalogue raisonné with expert preparation could potentially help combat the rampant proliferation of counterfeit items.

Though Ju Ming is physically distant, his legacy remains vivid in the annals of history. A master of international sculpture, he dedicated his life to creation. His memory lingers, etched into the fabric of time.

朱銘作品二十大拍賣成交排行

太極系列－單鞭下勢

Taichi Series - Single Whip

1991

Bronze, ed. 5/6

303 x 128 x 160 cm

預估價 Estimate TWD 58,000,000~ 80,000,000

成交價 Sold at USD 2,711,507

TWD 82,240,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei December 5, 2010

太極系列－單鞭下勢

Taichi Series - Single Whip

1985

Bronze, ed. 5/6

269 x 496 x 206 cm

預估價 Estimate HKD 10,000,000~ 20,000,000

成交價 Sold at USD 2,675,370

HKD 20,820,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong October 3, 2011

太極系列－對打 Taichi Series - Sparring

1991 Wood 82 x 56 x 126 cm; 144 x 61 x 135 cm

太極系列－大對招

Taichi Series - Big Sparring

1996

Bronze, ed. 1/8

190 x 145 x 190 cm; 245 x 175 x 230 cm

預估價 Estimate

HKD 14,000,000~ 18,000,000

成交價 Sold at USD 2,099,690

HKD 16,340,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 28, 2011

預估價 Estimate HKD 4,500,000~ 5,500,000

成交價 Sold at USD 1,901,664

HKD 14,880,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 27, 2007

太極系列－單鞭下勢

Taichi Series - Single Whip

1991

Bronze, ed. 6/6

165 x 265 x 122 cm

太極系列－單鞭下勢

Taichi Series - Single Whip

1999

Bronze, ed. 6/8 189 x 115 x 114 cm

預估價 Estimate HKD 12,000,000~ 18,000,000

成交價 Sold at USD 1,850,311

HKD 14,520,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong March 31, 2018

太極系列－單鞭下勢

Taichi Series - Single Whip

1988

Bronze, ed. 4/6 265 x 118 x 157 cm

預估價 Estimate HKD 9,500,000~ 15,000,000

成交價 Sold at USD 1,848,524

HKD 14,400,000

拍賣日期 Auction Date

香港羅芙奧 Ravenel, Hong Kong May 31, 2010

太極系列－轉身踢腿；雲手

Taichi Series - Turn Stomp; Cloud Hands

1999; 1996

Bronze, ed. 2/8; 1/8 177 x 119 x 203 cm; 165 x 146 x 253 cm

太極系列－單鞭下勢

Taichi Series - Single Whip

1999

Bronze, ed. 6/8 189 x 115 x 114 cm

預估價 Estimate

HKD 8,000,000~ 12,000,000

成交價 Sold at USD 1,864,699

HKD 14,500,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong April 2, 2017

預估價 Estimate

HKD 6,000,000~ 8,000,000

成交價 Sold at USD 1,707,960

HKD 13,240,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong November 23, 2013

太極系列－太極拱門

Taichi Series - Taichi Arch

1986

Bronze, ed. 1/3 245 x 425 x 130 cm

預估價 Estimate TWD 38,000,000~ 60,000,000

成交價 Sold at USD 1,706,813

TWD 49,600,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel, Taipei December 2, 2012

預估價 Estimate

HKD 7,000,000~ 9,000,000

成交價 Sold at USD 1,626,469

HKD 12,647,500

拍賣日期 Auction Date

香港佳士得

Christie's, Hong Kong November 25, 2007

TOP 20 MOST EXPENSIVE ARTWORKS OF JU MING EVER SOLD AT AUCTION TOP 20

製表 ／ 謝依廷 Tina Hsieh （Update 2023.06.20; Source: Artprice.com, Artron.net, Ravenel, Sotheby's, Christie's, Guardian, Zhong Cheng）

太極系列

Taichi Series

1996

Bronze, ed. 4/8

148 x 170 x 192 cm;

175 x 178 x 239 cm

預估價 Estimate HKD 9,000,000~ 15,000,000

成交價 Sold at USD 1,625,854

HKD 12,700,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong September 30, 2017

太極系列－進步搬攔捶

Taichi Series - Advancing Step Barricade Moving Punch

1990

Bronze, ed. 1/3

220 x 135 x 240 cm

太極系列－單鞭下勢 Taichi Series - Single Whip

1988

Bronze, ed. 1/6 166 x 274 x 126 cm

預估價 Estimate

HKD 10,000,000~ 15,000,000

成交價 Sold at USD 1,522,823

HKD 11,860,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 29, 2010

預估價 Estimate

HKD 6,000,000~ 8,000,000

成交價 Sold at USD 1,474,615

HKD 11,440,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong April 5, 2014

太極系列－轉身踢腿；雲手

Taichi Series - Turn Stomp;

Cloud Hands

1999; 1996

Bronze, ed. 2/8; 1/8

203 x 180 x 128 cm;

253 x 171 x 142 cm

預估價 Estimate

HKD 9,600,000~ 15,000,000

成交價 Sold at USD 1,443,766

HKD 11,190,000

拍賣日期 Auction Date

香港嘉德 Guardian, Hong Kong

Octobre 8, 2020

太極系列

Taichi Series

1996; 1991

Bronze, ed. 3/8; 3/6

179 x 139 x 96 cm; 134 x 136 x 100 cm

預估價 Estimate

HKD 6,000,000~ 8,000,000

成交價 Sold at USD 1,381,164

HKD 10,740,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong April 4, 2011

太極系列 Taichi Series

1990

Bronze, ed. AP 3/3 240 x 240 x 135 cm

太極系列－單鞭下勢 Taichi Series - Single Whip

1991

Wood

143 x 92 x 88 cm

太極系列－轉身蹬腳

Taichi Series - Spin Kick

1994

Bronze, ed. 3/6

356 x 180 x 365.5 cm

太極系列－單鞭下勢

Taichi Series - Single Whip

1994

Bronze, ed. 3/8

122.5 x 189 x 90 cm

十字手 Preparation for Underarm Strike

1988

Bronze, edition of 6 356 x 180 x 365.5 cm

預估價 Estimate

HKD 7,000,000~ 9,000,000

成交價 Sold at USD 1,272,544

HKD 9,880,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 28, 2016

預估價 Estimate HKD 8,000,000~ 10,000,000

成交價 Sold at USD 1,272,544

HKD 9,880,000

拍賣日期 Auction Date

香港佳士得 Christie's, Hong Kong May 28, 2016

預估價 Estimate

HKD 4,500,000~ 6,500,000

成交價 Sold at USD 1,248,720

HKD 9,680,000

拍賣日期 Auction Date

香港蘇富比

Sotheby's, Hong Kong October 4, 2015

預估價 Estimate

HKD 5,000,000~ 7,000,000

成交價 Sold at USD 1,248,720

HKD 9,680,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's, Hong Kong October 4, 2015

預估價 Estimate

TWD 30,000,000~ 38,000,000

成交價 Sold at USD 1,225,653

TWD 34,080,000

拍賣日期 Auction Date

台北中誠

Zhong Cheng, Taipei October 3, 2021

泰國當代藝術 的智慧之眼

－亞歷克斯

THE THIRD EYE OF THAI

CONTEMPORARY ART

ALEX FACE

Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

泰國擁有斑斕華麗的人文歷史，和富饒壯闊的 自然環境，一直是輸出東南亞文化的領銜者，深 受全球旅行者的喜愛。二十世紀泰國開啟現代藝術 的發展，緊密結合傳統文化，配合中央政府的政策

集中於泰國藝術大學（ Silpakorn University ）的菁 英團體。民間從八零年代開始商業活動，西方文化 透過影視媒體的輸入，新一代泰國藝術家對創作 形式的想法更加多元開闊。社群時代的推波助

瀾，藝術家以通俗化創作視角贏得大眾認同，

並委託專業經紀人擴展國際能見度。這其中的 佼佼者，正是多年在泰國本地與各國都會區，以

三眼兔造型角色 Mardi 創作大型街頭塗鴉的亞歷克斯．

費斯（ Alex Face ）。

亞歷克斯．費斯 Alex Face 泰文本名

Patcharapon Tangruen 出生於 1981 年，家鄉 是距離曼谷一百公里遠的北柳省（ Paet Rio ，

又名差春騷府 Chachoengsao ）。恬適的鄉村風

光和無憂無慮的生長環境，物質生活雖然簡約，卻也 激發他無限的創造力。繪畫是遊戲，木板與稀泥是畫材，電視卡通的 刺激則是世界的另一扇窗。大學進入先皇技術學院（ King Mongkut's Institute of Technology Ladkrabang ，簡稱 KMIT ）學習建築，並獲「美 術與應用藝術」學位。

因喜愛嘻哈文化而接觸街頭塗鴉， Alex Face 愛 上不斷征服高牆和環境限制的成就感。開闊藍天下的 創作能大量觸及人群，讓他深信藝術不該只是白色空 間的封閉產物。當時二十六歲的 Alex Face 初為人父， 家庭內新生命的誕生，刺激他對未來的想像與責任感。 當塗鴉能夠在公共視野下傳達創作者對社會現狀的觀 點，設計一個貼近人群的形象去詮釋，則能夠加深 觀者記憶點與共鳴。 Alex Face 2009 年創造出擬人造 型角色 Mardi ，它擁有幼體化的柔軟外型與傳統宗教

中象徵感知的第三隻眼，集結藝術家個人的生命經驗與 泰國視覺形象，強化了作者敘事的情感渲染力，並弱化包 藏的政治性與批判攻擊，因而深植人心。

街頭藝術圈對 Alex Face 的支持，將這位藝術家

推升至國家，乃至國際跨文化交流的領域。他不 斷受邀至各國創作，與台灣的淵源更可追溯到 2013 年台北與曼谷共同舉辦的雙城計畫（ ThaiTai Project ）。 2016 年由曼谷城市畫廊（ Bangkok City City Gallery ）為藝術家舉辦首場大型個展，可視 為推進泰國街頭藝術，正式進入商業藝術市場的關鍵展覽。其 中適合展覽於公眾空間的超大型雕塑，與繪畫系列結合十九世 紀印象派元素，皆暗示藝術家期望藝術應回歸日常與大眾並行 的觀點。

◀ Alex Face 曼谷空鐵國家足球場站旁的大型壁畫

Alex Face Mural next to National Stadium station, Bangkok

▲ 亞歷克斯．費斯《花園守護者》 2016 年「印象派系列」銅雕作品

Alex Face, The Gardner, 2016, Bronze, Ed.of 3, H:150 cm

▶ 亞歷克斯．費斯《蒼穹之下 No. 2 》畫作

羅芙奧 2023 春拍 成交價 TWD1,320,000

Alex Face, UnderneaththeSkyofCeilingNo. 2, Ravenel Spring Auction 2023, sold for USD 43,053

2018 年 Alex Face 受邀參加雙年展，也是同一年其作品於拍 賣市場亮相。今年三月「印象系列」畫作在香港拍賣以近美金六 萬八千元成交，為目前藝術家個人最高紀錄。香港、台灣等海外 市場認同效應的漣漪，反向催生了泰國本地對 Alex Face 的支持 度，當地拍賣的成績同樣亮眼。疫後全球經濟的不確定因素，瞬 息萬變影響著藝術市場的風向。觀者如何莫忘初衷，純然秉持對 藝術的喜愛，或許也能從 Alex Face 筆下的智慧之眼中獲得啟發。

Alex Face Mardi

Thailand possesses a vibrant cultural history and abundant, expansive natural environment. It has long been a leader in exporting Southeast Asian culture and is greatly loved by global travelers. In the 20th century, Thailand initiated the development of modern art, closely interweaving it with traditional culture, in alignment with the policies of the central government and the elite groups of the Silpakorn University. Starting from the 1980s, commercial activities began to flourish among the general public. Through the influence of Western culture conveyed by film and television media, the new generation of Thai artists have embraced a more diverse and open approach to creative forms.

The era of social media has played a significant role, allowing artists to gain popular recognition through more accessible creative perspectives. Many artists have entrusted professional agents to expand their international visibility. Among them, one standout figure is Alex Face, who has been creating large-scale street graffiti featuring his iconic three-eyed rabbit character, Mardi, for years in both local Thai settings and international urban areas.

Alex Face, whose name is Patcharapon Tangruen, was born in 1981. His hometown is Paet Rio, also known as Chachoengsao, located a hundred kilometers away from Bangkok. The tranquil countryside scenery and carefree childhood, though modest in material comforts, ignited his boundless creativity. Painting was a game, wooden boards and mud were his materials, and the stimulation from television cartoons opened another window to the world. He pursued higher education at King Mongkut's Institute of Technology Ladkrabang (KMIT), studying architecture and earning a degree in Fine Arts and Applied Arts.

Inspired by his love for hip-hop culture, Alex Face was drawn to street graffiti. He fell in love with the sense of accomplishment that came from conquering tall walls and overcoming environmental constraints. The expansive canvas of the open sky allowed his creations to reach a wide audience, leading him to firmly believe that art should not be confined to white gallery spaces. At the age of 26, Alex Face became a father, and the birth of new life in his family stimulated his imagination and sense of responsibility for the future.

▲ Alex Face 台北街頭塗鴉作品

Alex Face graffiti on street, Taipei ▶ 藝術家塗鴉，曼谷

Alex Face's Graffiti in Bangkok

Photo courtesy of ©Xu,Ming-Ge

亞歷克斯．費斯《落日彩霞

亞麻布 30 x 40 cm

羅芙奧 2023 秋拍 「薈萃國際：現代與當代藝術」專場

Alex Face, Sunset Cloud No.3, 2022, oil, acrylic and spray on linen, 30 x 40 cm

Ravenel Autumn Auction 2023, SELECT: Modern & Contemporary Art

羅芙奧 2022 秋拍 成交價 TWD1,320,000

Alex Face, Cool-headed No.1, Ravenel Autumn Auction 2022, sold for USD 43,151

▼ 2016 年藝術家個人展覽空間一隅

Alex Face solo exhibition in 2016

When graffiti can convey the artist's perspective on social issues in the public eye and when a relatable image is designed to interpret these issues, it can deepen the viewer's memory and resonance. In 2009, Alex Face created the anthropomorphic character Mardi, characterized by a soft and youthful appearance and a third eye symbolizing a sense of perception often seen in traditional religious contexts. Mardi embodies both the artist's personal life experiences and the visual identity of Thailand, enhancing the emotional impact of the artist's storytelling while tempering overt political messages and critical attacks. As a result, Mardi has become deeply ingrained in the hearts of many.

The support from the street art community has propelled Alex Face into the realm of national and even international cross-cultural exchange. He has been continuously invited to create in various countries, and his connection to Taiwan dates back to the ThaiTai Project in 2013, a collaborative initiative between Taipei and Bangkok. In 2016, Bangkok City City Gallery organized his first major solo exhibition, which can be seen as a pivotal showcase that propelled Thai street art into the

commercial art market. The exhibition featured massive sculptures suitable for public spaces and painting series infused with elements reminiscent of 19th-century Impressionism. Both aspects implied the artist's desire for art to reconnect with the everyday and the public, highlighting his perspective that art should coexist with the ordinary.

In 2018, Alex Face was invited to participate in a biennial exhibition, and in the same year, his works made their debut in the auction market. In March of this year, his "Impression Series" paintings were sold at an auction in Hong Kong for nearly $68,000 USD, setting a new personal record for the artist. The ripple effect of recognition in overseas markets like Hong Kong and Taiwan has, in turn, bolstered local support for Alex Face in Thailand, with similarly impressive results in local auctions. The post-pandemic uncertainty in the global economy is causing rapid fluctuations that impact the art market's direction. As viewers navigate these changes, holding onto their initial passion and embracing a genuine love for art, they might find inspiration through the insightful eyes depicted in Alex Face's works.

細說從頭之蘇格蘭威士忌的 五大產區是怎麼劃分的？

Whisky History for Dummies

－ It's all about Tax

Text / 唐維怡 Eva Tang

Photo / Ravenel Finest and Rarest Wines

◀ 低地區地勢相對平坦，是蘇格蘭政治經濟 發展最早的一個區域，早在十八世紀便將

規模經濟和出口貿易帶入蒸餾廠經營思維。

圖片來源： Alchetron.com

▶ 在蘇格蘭民族詩人 Robert Burns 的歌詞中 被描述為惡魔的稅務稽查官 (The Exciseman)

圖片來源： SCOTCHWHISKY.com

「考你們喔 ~ 要被稱為『蘇格蘭威士忌』， 有哪些條件？」最近剛上完蘇格蘭威士忌專業 認證課程的 S ，看來是收穫滿滿。

「這還不簡單 !! 蘇格蘭威士忌的酒精濃度 一定要大於 40% 、蒸餾出來之後至少在橡木桶 中熟成超過三年、除了法定的食用焦糖外不可 有水以外的任何額外添加。」酒友 T 用狐疑的 眼神看著 S ，思索著這難道就是 S 上了兩個禮 拜課的收穫？

「那你知道為何蘇格蘭威士忌的最低酒精 濃度要訂在 40% 嗎？還有你有想過為什麼會有 橡木桶中熟成至少三年的要求嗎？」 S 得意地 笑了下，哪可能這麼簡單，剛剛的問題只是鋪 陳而已。

趁著大家愣住的那一會兒， S 繼續趁勝追 擊，「還有你們有想過蘇格蘭的產區是怎麼劃 分的嗎？」

「產區，是因為各地風味不一樣吧 ! 像是 艾雷島有泥煤風味、低地的比較乾淨、斯貝賽 有果香。」 B 搶答到。

「對啊，各產區各有特色。不過其他的還 真的沒想過耶 !! 」面對著 S 一臉的得意洋洋， 一眾酒友突然發現，這些我們一向視為理所當 然的規則似乎有些蹊蹺。

「你想想，我們今天喝的這瓶百富 (Balvenie) 14 年雖然來自斯貝賽區，不也走一 個泥煤滿滿的路線？布納哈本 (Bunnahabhain) 雖然位於以泥煤著稱的艾雷島，卻被村上春樹 形容為『飄著淡淡花束香』，主打無泥煤酒款。 所以說，產區的劃分一開始其實跟風味一點關 係都沒有 ! 」 S 不賣關子了。

是的，在我們所熟知的蘇格蘭威士忌五 大產區劃分中，高地區 (Highland) 與低地區 (Lowland) 是最早被定義出來的，而決定這一 個劃分的，實際上是因為「稅法」。

'The deil cam fiddlin' thro' the town, And danc'd awa wi' th' Exciseman, And ilka wife cries, "Auld Mahoun, I wish you luck o' the prize, man".

The deil's awa, the deil's awa, The deil's awa wi' the Exciseman, He's danc'd awa, he's danc'd awa, He's danc'd awa wi' the Exciseman.'

Robert Burns, 1792

1644 年 1 月，蘇格蘭政府首次祭出「 Act of Excise 」法案，以每品脫 (pint ，約 568ml)2 先令 8 便士的稅率針對威士忌開徵酒稅，在 1707 年英格蘭、蘇格蘭與愛爾蘭正式合併為一個國家之後， 英格蘭的稅務人員開始越過邊境，強制執行對非法酒廠的稽查。這種強制措施在蘇格蘭引起強烈的 反彈，認為這是英國政府干涉蘇格蘭事務的越權行為，再加上當時一磅牛肉約為 7 便士的物價水平、 和生活水準遠低於英格蘭的蘇格蘭，這樣的稅率無疑是極高且不合理的。因此，非法蒸餾、反抗稅 務官稽查、和逃避納稅成了蘇格蘭當地受到肯定的英勇行為， 1713 年，英國政府開始對蘇格蘭徵收 和英格蘭一樣的麥芽稅，最終在 1725 年引爆了蘇格蘭各地嚴重的麥芽稅暴動 (Malt tax riots) 。根據 史料記載， 1782 年紀錄在案的非法蒸餾器就有 1940 座，甚至直到 18 世紀末，蘇格蘭實際納稅的酒 廠也僅有少少的八家。

ISLANDS

ISLAY

SPEYSIDE HIGHLANDS

當時人口密集且交通便利的低地區自然成為稅務官稽查的主力， 因此非法酒廠多半選擇躲到偏遠且難以抵達的地方，例如有著許多 河谷的高地區和天高皇帝遠的艾雷島 ( 艾雷島直到 1797 年才出現第

一位稅務官 ) 。稅務官的無奈從時任稅務官的蘇格蘭民族詩人 Robert Burns 的作品中得以窺見。

1784 年「酒汁法 (Wash Act of 1784) 」和 1786 年「蒸餾器 法 (Distillers Act of 1786) 」的頒布，畫出了一條所謂的「高地線 (Highland Line) 」，將蘇格蘭切分為「高地 (Highlands) 」和「 Lowlands ( 低地 ) 」兩大區，兩區的稅率和稅基有著極大的區別，同時更規定 高地區的酒廠僅能使用當地種植的穀物，每年僅能消耗 25 噸的穀物， 更不能將他們產出的威士忌出口到低地區。

相較於高地區的蒸餾器容量及原物料用量規定、以及嚴格的 出口限制，此一時期的低地區在稅基訂為蒸餾器預估可處理的酒汁 (wash) 量進行課稅的前提下，開始增加蒸餾器的運轉，位於低地的 Canonmills Distillery 當時已可達到每 12 小時 40 多次蒸餾的運轉量，

CAMPBELTOWN

LOWLANDS

產量大幅爆增，更出現企業化的集團經營，銷往英格蘭市場的蘇格蘭 威士忌市佔率超過 1/4 。 1788 年，在備受威脅的英格蘭酒商不斷遊 說下，「低地許可法案 (Lowland License Act 1788) 」限制了蘇格蘭 威士忌的出口，使得當時由 Steins & Haigs 家族旗下擁有的五間低地 酒廠破產，這才打破廉價的低地威士忌暴衝的產量。高地與低地區的 差異稅收一直到 1816 年的「小蒸餾法案 (The Small Stills Act) 」才 被消除。

也正是由於不同的課稅基準，高地區與低地區發展出的蒸餾方式 全然不同，小量生產的高地區威士忌在消費者眼中遂成了品質相對較 高的代表。也正因如此， 1822 年當熱愛奢華生活的英國國王喬治四 世 (George IV) 造訪蘇格蘭時，竟要求一嚐當時在黑市聲名遠播的非 法私釀酒－格蘭利威 (The Glenlivet) 。

1820 年，在議員 Duke of Gordon 減稅才能促進酒廠合法化的主 張下， 1822 年至 1823 年間陸續通過「非法蒸餾法 Illicit Distillation Act 」和「消費稅法 Excise Act 」，酒廠僅需花費 10 英鎊即可取得官方

的蒸餾許可，由非法轉為合法，稅率也大幅降為每公升 6 便士，慕赫 (Mortlach) 、格蘭利威 (The Glenlivet) 便是最早一批取得合法執照的酒 廠。 19 世紀的蘇格蘭威士忌也是在法條的助長下繁榮發展，各地新酒 廠紛紛設立，而這種迅速擴張更在歐洲葡萄藤飽受根瘤芽蟲的摧殘下， 讓威士忌逐漸取代了白蘭地與葡萄酒的市佔，走入大部分歐洲人的日常 中。

「所以一直到 19 世紀末，蘇格蘭的威士忌產區實際只有分成高地 和低地兩個區域？」 T 好奇問到。

是的，蘇格蘭五大產區第一次被提出，是在 1909 年「皇家調查委 員會」針對威士忌含其它烈酒所做的調查報告「 The Royal Commission on Whisky and other Portable Spirits 」。一個世紀後的 2009 年，由蘇格 蘭威士忌協會 (SWA) 提交英國國會通過的「英國蘇格蘭威士忌法規 (The UK Scotch Whisky Regulations 2009) 」才正式定義了蘇格蘭威士忌的五

大產區—斯貝賽區 (Speyside) 、高地區 (Highland) 、低地區 (Lowland) 、 坎培爾鎮 (Campbeltown) 、艾雷島 (Islay) 。當然，這個時候的劃分更多 的是市場考量，讓消費者能更快速地認識酒廠和品牌。

Whyte & Mackay 的製酒師 Gregg Glass 就曾表示產區與地域特性 確實是幫助消費者探索蘇格蘭威士忌很好的起點，但當品嚐了足夠多 的單一麥芽威士忌，你會開始嘗試到低地的泥煤、細膩且無泥煤的艾雷 島，發現原來酒的風味和個性更多是被個別酒廠的蒸餾傳統、多年下來 積累的製酒工藝、以及首席調酒師與酒廠老闆的理念所決定，而非酒廠 所在的地方或區域。

「這樣說起來， Charles MacLean 也曾經說過，威士忌的風味影響 關鍵並非風土，只要有心，艾雷島的蒸餾廠也可以製作出高地風情的威 士忌。原來如此 !! 學到了 ! 」 T 恍然大悟。

「那酒精濃度為何訂在 40% 以上呢？跟稅法也有關係嗎？」 B 追 問到。

「精確來說，應該是跟政治角力有關。」S 賣了個關子，啜了口酒， 滿足地瞇了瞇眼。

且待下回分曉。

▲ 蘇格蘭早期許多家戶都有小規模私釀酒的習慣，但在政府開始針對威士忌與使用麥芽徵 收稅賦後，這種家戶生產的威士忌開始轉為地下化，非法蒸餾活動蓬勃發展。為躲避稅 務官的稽查，使用的蒸餾器尺寸都不大，方便移動與躲藏。

圖片來源： The Drinks Business

▼ 有著綿延群山、曠野、湖泊的蘇格蘭高地，因為到達不易，是早期非法蒸餾的聚集地。

圖片來源： EF TOURS official website

"Quiz time!! To be called "scotch whisky," what is required?" Looks like S, who just finished the Edinburgh Whisky Academy course, had learned a lot.

"Easy!! Scotch whisky is made in Scotland from only cereals, water and yeast. It must be bottled at a minimum strength of 40% abv, must be matured in oak casks for no less than three years after distillation, and other than legally defined caramel, there cannot be any additives added." T looks at S suspiciously, wondering if this is what S had learned from the two-week classes.

"Then, do you know why the lowest alcohol level for Scotch whisky is set at 40%? And have you ever thought why it has to be matured in an oak cask for at least three years but not two years or four years?" S smiled proudly. It couldn't be this simple. Those questions were just starters.

When everyone is still thinking, S continued on, "Also, do you know how the five Scotch whisky regions are divided?"

"The region is divided because different terroir generate different flavours, right?! Like Islay has peated characteristics, the Lowland has cleaner style, and Speyside has that fruity tone," B answered first.

"Yeah, I think each region has its own characteristics, that's why we have the five region divided. But for the 40% abv and threeyear maturation, I don't have a clue!!!" all of us suddenly found out those what we take for granted seems to conceal a hidden agenda.

"Think about it, although the Balvenie 14 years old that we drank today came from Speyside, it is made with peated flavor. Although Bunnahabhain is located in Islay, which is the island of peat it was described by Haruki Murakami as having a light floral fragrance. They specialize in whisky with no peat. So the division in different regions originally had no relationship with different flavors nor characteristics!" S said.

That's right. Of the five major Scotch whisky region that we are familiar with, the Highlands the Lowlands were the earliest to be defined. And actually, their division was due to tax.

◀ 格蘭利威 (The Glenlivet) 蒸餾廠在 1823 年酒精稅法 (Excise Act) 通過後，成為了第一批合法蒸餾廠。

圖片來源： VCL VINTNERS

▲ 1644 年，政府首度針對生命之水課稅

圖片來源： National Records of Scotland

▶ 《 The Roasted Exciseman 》 沈重的稅賦使蘇格蘭人對稅務稽查官 (The Exciseman)

充滿敵意。

圖片來源： Wikimedia Commons

In January 1644, the Scottish government introduced the "Act of Excise" for the first time, levying a tax on whisky by a rate of 2 shillings nad 8 pence per pint (appromiately 568ml). After the formal unification of England , Scotland, and Ireland In year 1707, English tax officials began crossing the borders to enforce inspections on illicit distilleries. This measure elicited strong backlash in Scotland, perceived as an overreach of authority by the British government into Scottish affairs. Coupled with the cost of living, where a pound of beef was priced at around 7 pence; not to mention Scottish standard of living was significantly lower than English at that time. The tax rate was undeniably extremely high and unreasonable for Scottish people. As a result, resistance against tax inspectors and tax evasion became somewhat heroic acts and sign of bravery among the local Scottish peoples. In 1713, malt tax was imposed by British government on Scotland with a rate equivalent to that of England, ultimately lead to the eruption of severe malt tax riots across Scotland in 1725. According to historical records, there were 1940 illegal distillers documented in year 1782. Up to the end of the 18th century, there were only eight legal distilleries in Scotland that were actually subject to taxation.

During that time, comparatively densely populated and easily accessible Lowland areas naturally became the focus of tax inspectors. Consequently, illicit distilleries predominantly opted to locate themselves in remote and hard-to-reach regions, such as the Highlands with numerous valleys and the distant Islay, where the very first tax inspector appear until 1979. The frustration of the tax inspectors could be sensed from the works of Robert Burns, the Scottish national poet who reluctantly held the position of a tax inspector at the time.

'The deil cam fiddlin' thro' the town, And danc'd awa wi' th' Exciseman, And ilka wife cries, "Auld Mahoun, I wish you luck o' the prize, man".

The deil's awa, the deil's awa, The deil's awa wi' the Exciseman, He's danc'd awa, he's danc'd awa, He's danc'd awa wi' the Exciseman.'

Robert Burns, 1792

The enactments of the "Wash Act of 1784" and the "Distillers Act of 1786" drew a demarcation known as the "Highland Line" in 1784, dividing Scotland into two major regions: the Highlands and the Lowlands. The tax rates and bases for these two areas exhibited significantly different. Additionally, the Act stipulated that Highland distilleries could only use locally grown grains, consume no more than 25 tons of grain annually, and were prohibited from exporting their whisky to the Lowlands.

In comparison to the Highland region's regulation on still capacity, raw material usage, and the stringent export restrictions, the Lowland region adopted a different approach during this period. Taxation in the Lowlands was based on the estimated volume of wash that the still could process. As a result, they began to increase the operation of their stills. The Canonmills Distillery, situated in the Lowlands, was able to achieve a rate of over 40 distillations in 12 hours. This led to a significant surge in production and the emergence of corporatized operation. The Scottish whisky from the Lowlands held a market share of over a quarter of the English alcohol market. In 1788, due to relentless lobbying by threatened English liquor merchants, the "Lowland License Act 1788" was enacted, restricting the export of Scottish whisky. As a result, five Lowland

distilleries owned by the Steins and Haigs families went bankrupt, effectively putting an end to the rapid surge in production of inexpensive Lowland whisky. The disparity in taxation between the Highlands and the Lowlands persisted until the "Small Stills Act of 1816", which finally eliminated the different.

It is precisely due to the distinct taxation criteria that the Highland and Lowland regions developed entirely different distillation method. As a result, the small-batch production of Highland whisky came to be regarded by consumers as representative of relatively higher quality. This is why, in 1822, when King George IV of Britain, known for his penchant for luxurious living, visited Scotland, requested a taste of the famous illicit whisky on the black market The Glenlivet.

In 1820, under the advocacy by Parliament member Duke of Gordon that reducing tax is the only way to promote the legalization of distilleries, the "Illicit Distillation Act" and the "Excise Act" were announced between 1822 and 1823. Distilleries could transition themselves from illegal to legal operations by paying a mere 10 pounds to acquire official licenses. The tax rate also significantly decreased to 6 pence per liter produced. Mortlach and The Glenlivet were among the earliest to obtain legitimate licenses.

The 19th-century Scottish whisky industry prospered and expanded due to these legal provisions. New distilleries emerged across the country, and this rapid growth was further fueled by the devastation of grapevines in Europe caused by phylloxera. As a result, whisky gradually supplanted the market share of brandy and wine, becoming a staple in the daily lives off a majority of Europeans.

"So up to the end of the 19th century, Scotch whisky was only divided into two regions of Lowland and Highland?" T asked curiously.

Indeed, the first mention of Scotland's five major whisky regions was put forth in the report of the "Royal Commission on Whisky and other Portable Spirits" in 1909. A century later, in 2009, the "UK Scotch Whisky Regulations 2009" was passed by the British Parliament based on a proposal of Scotland: Speyside, Highland, Lowland, Campbeltown and Islay. However, it's important to note that this classification at this time was more market-oriented, aimed at enabling consumers to quickly recognize and understand distilleries and brands.

Gregg Glass, the Master Blender at Whyte & Mackay, has pointed out that whilte geographical regions are indeed a great startgin point

for consumers to explore Scotch whisky, once you've tried a sufficient variety of single malt whiskies, you'll begin to experience the peated of the Lowlands and the refined, non-peated character of Islay. You'll come to realize that the flavors and personalities of whiskies are more influence by individual distilleries' distillation traditions, accumulated craftsmanship over the years, and the philosophies of the Master Blender as well as distillery owners, rather than the location or region the distillery located.

"That's why Charles MacLean also mentioned once that the crucial factor influencing the flavor of whisky isn't solely the terroir. With enough determination, even the distillery on Islay could produce whiskies reminiscent of the Highlands. So that's how

"Then why was the alcohol content set at 40% or higher? Does it have something to do with taxation as well?" B inquired, intrigued.

"Actually, it's more connected to political maneuvering." S teased, taking a sip of his drink and narrowing his eyes with satisfaction. But that's a story for another time.

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Text / 劉允華

Photo / Ravenel International Art Group

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綠，除了兩者卓然出眾的品質與產量外，更是在史上無數因時空積累而 珍貴的寶石故事裡，最新寫就的耀眼章節。經過千萬年的淬煉，在土地 中鑄成無與倫比的瑰麗結晶，歷經開採、運送、輾轉流傳，又由匠人巧 手精心琢磨，鑲入光芒四射的飾品，這每一步都足以讓寶石脫穎而出， 成為獨特而誘人的傳奇。

從世家傳承到舉國珍藏，無論是結盟諦約、商賈權柄或私密情誼， 跨越世紀而風華不減的知名寶石，見證了人間數不盡的破鏡重圓，承載 人類短暫而燦爛的傳說軼事更是不知凡幾。近年來，寶石學校與品牌， 除了品質與成色等生硬資料之外，逐漸開始著重寶石本身的歷史與人文 價值，以課程和身世解說，向收藏家們傳達寶石的永恆特質如何成就其 無比豐富的內涵。

Throughout recent years, the luxury department of Ravenel has closely followed with global luxury trends for collectors and regularly released communiqués regarding important items such as Argyle pink diamonds and Muzo emeralds. We maintain that these treasures of the world have unparalleled value for collectors. Whether you are interested in gemstones or other luxury goods, we are confident in providing worldclass news and item appreciations in the luxury market. We provide you with a rare opportunity to shape your distinguished taste and experience.

Mid-2023, Tiffany, a member of the LVMH group, has again made waves in the gemstone section by announcing the purchase of one extremely rare 10 karat emerald from Muzo, Colombia, and the nomination of Tiffany Muzo Emerald. This gem enters the private collection of Tiffany due to its famous origin, rare properties, and great purity. Coincidentally, many brands, including Chaumet, Piaget and Van Cleef have also joined the hype, presenting item collections led by Colombian emeralds. These brands have also reported fast-growing sales numbers, with the department of jewelry and watches at LVMH reporting growth of over 10% annually.

As far as Tiffany goes, the famous collector brand has, on the other hand, responded to an invitation by purchasing a pack of pink diamonds. These are 35 gems, most distinguished as to their cut and color, mined in the last year of production in Argyle. They constitute the biggest buy-in for the brand. The gemstone expert at Tiffany, Victoria Reynolds, told the New York Times that for experts and collectors who understand what's at stake, this would be an extremely tempting purchase.

The Argyle pink diamonds, along with Colombian Muzo emeralds, are beloved by collectors around the world. Most distinguished in their quality and quantity, they are also the most recent and fantastic chapter in all the histories accumulated from time immemorial. They are forged in the earth for thousands of years, resulting in exquisite and strong essences. Through mining, transporting, turning hands, and being diligently processed by experienced hands, embedded in brilliant pieces of jewelry. Every step of the way would enrich the gemstone a little more; every gem is therefore unique, beautiful in its own right.

Whether being the inheritance of generations or treasured by the state, utilized to finalize treaties, represent power, or strengthen private bonds, legends of gemstones can live for centuries, witnessing every human moment and bearing every story that happened around them, becoming a true wonder of time. In recent years, many gemstone education establishments and luxury brands have begun to realize and therefore emphasize, other than some hard data like quality or color, the historical and humanistic riches of gems. They provide lessons and description services, for potential collectors should also realize the everlasting quality and the infinitely rich meanings within the gemstones.

THE RISING POTENTIALS OF INDEPENDENT WATCHMAKING 異軍突起

獨立製錶的潛在價值

高級製錶在過去 20 年中大幅成長，消費者增加，錶款定價上漲，而品牌們也為 了業績達標不斷擴大產能。這種狀況讓許多買家逐漸開始將目標轉向市場上更少見、 更具原創精神的產品。獨立製錶因此成為許多藏家的新目標，耕耘多年的獨立製錶師 如 Philippe Dufour 、 F.P. Journe 和 Roger Smith 在越來越多人追捧下身價水漲船高。 不過上述幾位大師級人物的作品在拍賣市場已被炒到了高點，與其這時候再下場去 追，將目光放在其他正在起飛的獨立製錶師上也許更有發展潛力。

▲ Greubel Forsey 的 QP à Équation 搭載獨家機制，能配合時間等 式指出春分夏至等節氣。

The QP À Équation from Greubel Forsey applied an original mechanism which allows it to indicate solar terms in accordance with equation of time.

▼ Greubel Forsey 獨創的 24 秒陀飛輪轉速更快，並且以 25 度角傾 斜，帶來更精準穩定的走時。

The 24-second tourbillon designed by Grebel Forsey rotates faster and inclines at a 25-degree angle to bring more accurate timing.

曾在高複雜機芯廠 Renaud & Papi 任職的 Robert Greubel 和 Stephen Forsey 不 僅擅長開發複雜功能，兩個人也都追求純粹的傳統手工製錶，志同道合下共同創立 的 Greubel Forsey 可說是在 Philippe Dufour 之後最講究打磨修飾的品牌。年產量只 有 100 只上下的工廠中卻有將近 20 名工匠專門負責機芯零件的打磨拋光，由此可知 Greubel Forsey 對傳統手工價值有多麼堅持。他們同時也在功能創新上大有斬獲，研 究出更適合腕錶的陀飛輪傾斜角度，還開發能以高速旋轉的 24 秒陀飛輪，目眩神馳 的視覺效果外還帶來更精準穩定的走時。 QP à Équation 結合 24 秒陀飛輪與萬年曆及 時間等式三大複雜功能，更厲害的是其中配置了獨家機制，能配合時間等式指出春分 夏至等節氣。 Greubel Forsey 的錶款在拍賣市場成績穩定，總是能以接近預估價高點 或超過預估價的行情成交，是值得長期持有的潛力股。

牌。創辦人

師合作，設計出一款又一款在造型與機械結構上都顛覆想像的作品。逐 漸走出自己的路數後， 經排隊排到明年都還做不完。其中與愛爾蘭製錶師 Stephen McDonnell 聯手打造的 Legacy Machine Perpetual 搭載創新萬年曆系統，可快速設 定閏年，讓萬年曆進化為更符合現代人使用的複雜功能。而去年推出的 品牌首款計時腕錶 LM Sequential Evo 在機芯中配置了兩組計時輪系， 不只可分別獨立計時，還可透過獨創系統讓兩組計時同時運轉，發揮一 加一大於二的效果。物以稀為貴，以 MB & F 如今到處都銷售一空的盛 況來看，不難預見其行情將持續上揚。

同樣以前衛造型著稱的還有 Urwerk ，源自太空旅行的設計靈感擁 有超高辨識度，在社交名流間廣為流傳，籃球之神 Michael Jordan 和影 星小勞勃道尼皆多次配戴 Urwerk 在公開場合亮相。 UR-120 的衛星式

時間是品牌代表作，三個小時顯示裝置不斷公轉自轉令人過目難忘； UR-112 滾筒式時間顯示則徹底跳脫機械錶框架，有如太空戰艦般的錶

▲ MB & F 的 LM Sequential Evo 首創能透過按把讓兩組計時系統切換同步或獨立運作的機制。 The LM Sequential Evo from MB & F is the first-ever chronograph that can switch two chronograph systems into synchronizing or separating through a single pusher.

◀ MB & F 與愛爾蘭製錶師 Stephen McDonnell 聯手打造的 Legacy Machine Perpetual 配置了 突破傳統限制的萬年曆系統。 MB & F in collaboration with Irish watchmaker Stephen McDonnell created the Legacy Machine Perpetual with a innovative perpetual calendar mechanism.

殼設計更是超越傳統界線。年產量不到 150 只，又多次受到日內瓦中錶 大賞肯定，一直是頂級玩家收藏中不可或缺的逸品。

另一個新興品牌 Czapek 也開始讓藏家們搶破了頭。雖說是新品 牌，但 Czapek 這個名字卻已有近兩百年歷史。錶王百達翡麗最初發跡 之時便看重 Czapek 精湛技術與細膩手工，因而成為合作夥伴。乍看之 下 Czapek 沒有像其他獨立製錶那樣浮誇的設計，但魔鬼藏在細節中， 零件拋磨皆以最高標準處理，處處都有著濃濃手工質感。版路配置也依 循傳統設計式樣，在現代感輪廓中隱隱可以看到懷錶機芯的影子。其中 搭配不鏽鋼錶殼的 Antarctique Passage de Drake 價格討喜，又是獨立

製錶中少見的不鏽鋼運動錶，在世界各地都供不應求。

一個人手上戴的錶往往會悄悄透露個人特質與魅力，而獨立製錶 師與主流品牌迥異的風格更能將個人品味凸顯到極致。現在這個講究打 造自我風格的時代，獨立製錶的擁護者將越來越多，眼下正是趕上這班 「獨立」列車的好時機。

▲ Urwerk- UR-120 Space Black 。

▶ Urwerk 標誌性的衛星時間顯示極度複雜，單是開合式衛星轉頭部份便牽涉 超過 175 個零件。

The iconic satellite display is extremely complex, the satellite carousel comprises more than 175 components.

▼ UR-112 滾筒式時間顯示跳脫機械錶框架，有如太空戰艦般的錶殼更獨樹一 幟。

The UR-112 displays jumping hours and minutes placed on prisms, and its spacecraft-like case is even more distinctive.

High-end watchmaking has grown dramatically over the last two decades. More customers and higher retail price, the manufacturers kept increasing their capacities to meet the sales targets. As a result, some collectors chose to search for something rarer and more original. Independent watchmaking thus became the new target for many collectors. Long-standing names such as Philippe Dufour, F.P. Journe, and Roger Smith is growing more popular than ever. Nevertheless, works from these masters are extremely hard to reach in the auction market. Instead of keeping chasing them, it is better off focusing on other rising stars.

Both worked for the high watchmaking supplier Renaud & Papi, Robert Greubel and Stephen Forsey share the same passion for traditional handmade watchmaking. Together they founded Greubel Forsey, a brand which pays exceeding attention to finishings. For a manufacture producing just around 100 pieces per year, Greubel Forsey employs approximately 20 craftsmen whose expertise is in polishing and finishing movement components, that proves the brand's focus on the value of handmade. Greubel Forsey also knows a thing or two about innovations. It found an inclined angle for tourbillon that is more adaptable to wristwatches. In addition, it developed the 24 seconds tourbillon with higher speed in order to perform more accurate timing. The QP à Équation integrates the 24 seconds tourbillon, perpetual calendar, and equation of time. It also applies an original mechanism which allows it to indicate solar terms such as Equinox and Solstice in accordance with equation of time. Greubel Forsey has had stable results in auctions, mostly sold for more than high estimates. It is indeed a growth stock worth collecting.

For those who are partial to something modern and avant-garde, MB & F can be said to be the most popular brand in recent years. The founder Max Büsser has built great connections in the industry, through collaborations with different watchmakers, MB & F has introduced a variety of revolutionizing watches. Upon establishing its fame, MB & F made a hit in every city in the world. Reportedly, the orders it takes need more than a year to deliver. The Legacy Machine Perpetual designed in collaboration with Irish watchmaker Stephen McDonnell equips an inventive perpetual calendar system which allows the wearers to quickset leap year indication. That makes perpetual calendar a more practical complication for modern people. And the LM Sequential Evo introduced last year has two separate chronograph system in its movement. Not only can they work separately, but also work in a synchronizing state. Since MB & F has become such a hype, it is not hard to foresee its rising in the future.

Also known for spirited style, Urwerk can be easily recognized across a room. The brand is widely appreciated among celebrities, former NBA star Michael Jordan and Hollywood actor Robert Downey Jr. all showed up with Urwerk at multiple public occasions. The satellite time display of UR120 is the most iconic feature of Urwerk, it is absolutely impressive to see the three jumping hour mechanisms orbiting and rotating continuously. As for the UR-112, it displays jumping hours and minutes placed on prisms, and its spacecraft-like case that breaks the rule of traditional watchmaking is even more distinctive. Producing just 150 pieces a year, with multiple GPHG awards, Urwerk has always been a collector's delight.

Czapek, another rising star getting sought-after among collectors. Although it is a rather young brand, the name Czapek has been known for almost two centuries. The founder of high-end watch magnate Patek Philippe invited Czapek as his business partner for the masterful techniques and delicate craftsmanship. There are no dazzling designs in the watches from Czapek, but they are exquisite in every detail. All the components are finished with the hypercritical standards. The movements are designed based on traditional style as well as the handmade quality, a sense of pocket watch can be found amongst its contemporary look. The Antarctique Passage de Drake from Czapek is a steel sport watch rarely seen in independent watchmaking. With relatively affordable price, its demand is outpacing supply around the world.

The watch usually discreetly reveals the characteristics of whom it is wore by, independent watchmaking with more distinctive styles would amplify the effect even more explicitly. In the era which people tend to profoundly express themselves, independent watchmaking will only get more and more adored. Now is the great time to catch this train to rise.

▼ Czapek 的 Antarctique Passage de Drake 是獨立製錶中少見的不鏽鋼運動錶，目前在世 界各地都供不應求。 The steel sport watch Antarctique Passage de Drake from Czapek is a rare breed in independent watchmaking, the demand is outpacing supply around the world.

◀ Czapek 擁有深厚歷史底蘊，對機芯的拋磨與美感尤其講究。

Czapek holds a great history background, its movement is particularly fastidious about finishing and polish.

SALONE DEL MOBILE. MILANO

2023 米蘭家具

創意，請上座

功能等於美感。

如今，藝術與工藝的結合成為廣受歡迎的解藥，融和無所不在。 精緻華美的各種流派，在在影響著當代設計。

「米蘭家具展」融合純粹藝術與實用性的精品家具，為未來生活帶 來創新的視野及想像。關注於流行色彩、形體、材質和工藝，以實 用為基礎，創意為先鋒，逐年擴大版圖的精品家具、家飾挾著強 大的品牌DNA，向外放送並引領著全方位的生活美學。

Dior、Fendi 和Versace 2003最新精品家具，一手報導。

Photo / Dior Maison(by Philippe Starck) 、FENDI Casa 、 Versace Home

"對於 Christian Dior，陽剛和女性氣質間存在著一種既穩 固又微妙的完美平衡"

基於對享譽國際的設計大師 Philippe Starck 天才創意的激賞， Dior 於 2022 年啟動了以 Dior 標誌性的 Medallion 圓背椅為靈感的家飾系列。 2023 年米蘭國際家具展， Dior Maison 續寫與 Philippe Starck 第二年合作關係， 以迪奧先生為名繼續添增 Dior 家居的完整性。

繼 Miss Dior 後，很自然地以這張經典之作為基礎，延伸出 Miss Dior Sweet 座椅與 Monsieur Dior 扶手椅；運用重力與輕盈、調和與陰陽這些基 本又互補的存在主義概念下，進而達成一種平衡。就如同座椅和扶手椅，它 們宛如互補二元性的創作故事。

從鋁製銀到粉金色、黑色及螢光橘彩的法式印花圖騰，包括各種尺寸的 桌子和凳子，各自以其優雅姿態，結合法式風格與義大利製作技術，在「最 低緯度的激情（ passion du minimum ）」驅使下，強調藝術家對絕對純淨、 簡約的輪廓追求，重新構建這張極具品牌代表性的家具座椅；它就像一件優 雅的藝術品，帶領著 Dior 居家系列鮮明的特色風格。

於義大利市中心滿載 18 世紀華麗建築風貌的地標，奇特里奧宮 (Palazzo Citterio) 展出的全新 Dior by Starck 系列，預計於 2024 年在特定 Dior 精品 店發售，並可透過所有 Dior 精品店訂購。

師法自然，多元創新

一種連接時尚與設計的語言已經深植於 FENDI Casa 。 來自歷史、美學、意志和「可持續性」的環保實驗；結合優 秀工藝和迷人的生活格調，尋著這條軌跡塑造出屬於家居領 域的奢華。

FENDI Casa 投注心力拓展精品居家市場的承諾，從運用經典 FF 圖案，象徵著品牌根植於古典主義的當代性。 FENDI 與工藝有 關的 Crafting 、打造舒適氛圍的 Family ，以及散發出強烈迷人魅力 的 Vibrant 的三大系列緊扣核心概念，交織出豐富多元的設計語彙。 「我們師法自然，將各種材料改頭換面，儼然成為工坊的其中 一項設計精神，成為家飾創作的要角。材料是基礎：大理石、皮革、 金屬、木材、玻璃和布料等原材料製作 FENDI Casa 家具。但即使 融入各種新式物品，但不忘持續表達和塑造 FENDI 的歷史傳統。」

反覆使用皮革材質，對 FENDI 的悠久傳統與精湛技藝致敬，

而這股強烈風格，一路從時尚圈延伸到設計領域；而在用色上更以 煙草色和米色開始，逐漸轉化為柔和洗練的灰色和粉紅色詮釋典雅 氣質。

部分核心設計元素，例如使用金屬和木頭的管狀零件組成座 椅、桌子底座和床座。顯然受到包浩斯（ Bauhaus ）的設計風格影 響。

FENDI CASA

Toan Nguyen

Peekasit 座椅是以 FENDI Casa 同名的 FENDI Peekaboo 包款當成設計靈感來源：柔軟有機形狀 的皮革外表底下用布料或柔軟羊皮包裹的寬大軟 墊。座椅上的按鈕突顯出靠背曲線之間的連接點。

Blown 座椅以更勝似 logo 的條紋圖案被放大

成 3D 立體圖案：兩種厚度不一的橫帶變成了座椅

和靠背，另有提供多種襯墊選擇，適合家庭或是工 作場所。

Taiko 模組化座椅為巨大又具方形方型結構座 椅組，圓筒形和方形靠墊可以隨意層疊擺放，盡享 舒適。運用高級皮件製作細節和工藝，像是在椅子 加上皮帶，彰顯出座椅的手製高級感。

FENDI 結合環境與工藝價值的設計 DNA 中，強調靈活混搭各種 材質和風格。因此 FENDI Casa 持續和多個具有國際水準和知名度的 個人或工作室跨界合作，為 HOME 家居系列注入創新的點子。

由 Dimorestudio 設計的 Eros 桌子，強調兩個底座寬度的金屬線 條，以及連接它們的管狀元素中的金屬來美化直線造型的底座，管子 兩端還飾有 FENDI 的 logo 圖案；由 Cristina Celestino 設計的 Ottavia 餐椅，以與 FENDI 的 DNA 息息相關的拱門視覺元素，變化出線條柔 和的座椅形狀。

由 Toan Nguyen 設計的管狀軟墊 Totu 床架，透過不同的金屬管狀 不斷延伸，創造出透視感的座椅，搭配極為華美的粉色石英石材質桌 子、茶几、床架、床頭櫃和腳凳。管狀零件兩端上的 FF logo 圖案不 忘精品的宣示。

FENDI Casa 的燈具系列與百年歷史的丹麥 Louis Poulsen 品牌合 作，採用散發奢華感的配色與極具辨識度的 Pequin 條紋圖案，巧妙 地反映出 FENDI 的獨特設計元素。著名的 Artichoke 吊燈採用金屬材 質並飾有 FENDI logo 圖案，另有每一個葉片使用黃色玻璃材質和 FF logo 圖案的款式。

地毯加入新圖案：輪廓不均勻的圓形 Stalagma 圖案，顏色層次如

同畫筆畫過一般錯綜複雜；運用羊毛、黃麻和皮革重新演繹 FENDI 典 藏資料裡的 Eskimo 圖案，創造出更具民族風情的長方形 Walata 圖案。

FENDI CASA

DIMORESTUDIO

強調與豐富的歷史傳統相互共存。巧妙融合設計、建築、藝術 和時尚、過往今來的時間概念，還有顏色和紋理，設計不同的家具、 紡織品和燈具照明。

「羅馬 1960 年代與當時帶點奢華又不張揚的美學風格，給了我 為 FENDI Casa 設計家具系列的靈感。波浪及幾何形狀、光亮的漆 面、黃銅做工，還有暖色系的棕色、奶油色和駝色。」

CHIARA ANDREATTI

「大自然是我進行設計及日常生活的重心；它有助於留下與人 類起源之間的聯繫關係，且為我們當下的這個時代帶來節奏。我想 用單純的材料與柔軟的條線形狀，在這個系列中創造出一種自然又 帶有動物形態的語言對話」將竹子、石頭和實木重新想像成表面的 鑲嵌物 – 與更為精確理性的線條碰撞出精彩火花。

TOANNGUYEN

貫徹初衷：實驗與創作家具，材料品質是產品價值的根本。參 考二十世紀上半葉的輝煌設計時期，但並非懷舊復古的情懷，用雙 F 這個貫穿能夠歷經考驗的共同主題加以創作。

三大合作伙伴

靈感來自古典主義與神話 , 在流線型的幾何構造基礎下 , 注 入古典元素。隨處可見延伸自 Versace 2023 年秋冬時裝的 巴洛克印花、緹花圖案及鱷魚皮革，展現極致華麗的精品居 家設計風格。

後疫時代

聚焦「紓壓」

創意總監 Donatella Versace 再度與 Luxury Living Group ，以及 ps+a studio 當代建築師 Roberto Palomba 和 Ludovica Serafini 攜手 合作，推出全新系列的 Versace Home 。

Versace Home 反映了「後疫時代」的心理需求，聚焦「紓壓設 計」。

Discovery 系列沙發以現代感十足的人字斜紋圖案為設計靈感， 可自由選配布料或皮革款式，標誌性字母 V 呈現 Versace 經典元素。 這套沙發，可組裝變身為現代風格的躺椅。

Discovery 系列圓桌以彎曲的皮革桌腳為特色，底座點綴鍍金鑲 邊，並飾有鍍金 Medusa 頭像。圓桌顏色及材質可選用高光白、啞光 紅、木質、漆木及大理石飾面，開啟客製化的完美搭配。系列椅子 融合極簡的椅腳結構。舒適的靠背坐墊完美結合，展現精簡時尚的 藝術風格。

Versace Home 推出多款暢銷家具的延伸產品。其中， Versace 的 經典 La Greca 系列最新推出的大型扶手椅，配備深度坐墊和旋轉底 座的設計，既舒適又實用。

Stiletto 系列亦推出新款皮革飾面邊桌、錐形凳、以及帶有腳踏 凳的扶手椅。極具現代感的錐形設計展現扶手椅優美的立體結構。 人魚尾狀的高長錐型線條從椅背延伸至底座，展現 Versace 標誌性的 stiletto 椅腳設計。其它系列睡床亦換上全新皮革飾面，乍現新意。 燈具則包括適用於任何現代家居空間的新款 Goddess LED 檯 燈、以及 Versace Galaxy 水晶吊燈，吊燈以大量飾有 Versace logo 的乳白色鍍金水晶球，展現精巧工藝細節。

自然與歷史的對話

"貧窮藝術"

就在生活裡

位於羅馬的「博爾蓋塞美術館」（ Galleria Borghese ）敞開大門歡迎當代藝術入駐的一

場雕塑展《 Giuseppe Penone. Universal Gestures 》，從館內展廳到戶外參觀路線的規 畫，完美串連起 Giuseppe Penone 藝術風格 大師一系列來自「貧窮藝術」的雕塑。

有趣的是，這些「作品」很自然地融入美術館 的環境，甚至互為呼應地形成一種景觀。不但 表達了《雕塑》所蘊藏永恆生命力致敬，同時 也啟動了 1903 年之後，這裡成為義大利國立 美術館的這幢古老建築與當代的對話。

Text / 袁青

Photo / FENDI, Galleria Borghese

出自「貧窮藝術」大師 Giuseppe Penone 之手，跨越 1970 年代至 21 世紀初的三十餘件雕塑作品。以大理石、雕塑和裝 飾物為特徵的創作， Penone 加入了樹葉、皮革、木材等有機 物，將這兩個領域串連起來並加以定義。花園裡則是將青銅金 屬的雕塑與四周茂密的植物進行對話，用了約四十個新盆栽。 「表達了人類與植物構成的自然的所有活力。」展覽策展人 Francesco Stocchi 說。

藝術家的介入並未破壞特有的形式和建築之間的平衡，而 是將景觀、自然和雕塑交織在一起，讓原本博爾蓋塞美術館的 「巴洛克風格」變得耳目一新，同時也提出一個環境與雕塑有 關的問題。

Penone 研究調查「人和植物構成」為創作核心，對 時間和歷史關係有所反思。藝術家利用鏡射手法，在所 使用的創作材料，與古典雕像歷史時間交錯出現，從旁 以主觀角度凝視作品以達到新的平衡。「這場展覽藉由 物品之間的對話，表達不同時代的思想，」然而共通點 在於描述人和周圍環境裡物質之間的關係。

「發生在創作的行動中，館內大量典藏之作與眼前 Penone 雕塑作品中的有機質串連起來，而與現實環境結 合的藝術形式和符號對話，表達了人類與植物構成的自 然的所有活力。」展覽策展人 Francesco Stocchi 說。

「 Giuseppe Penone 的這場展覽，參觀路線從博爾蓋 塞美術館的一些展廳一路延伸到室外空間，描述有機物 和室內展廳之間，以及青銅礦物作品和室外花園茂密植 物之間的滲透流動，讓觀者由物質與藝術家表現方式的 關係，重新發現人與自然在時間循環中可能的共同點。」

「不是對抗，而是試圖讓人們注意到被視為可共享 的價值觀。」 Giuseppe Penone 說，藝術與自然的對話展

示了對環境的反思，也啟發了博爾蓋塞美術館（ Galleria Borghese ）在過往與當代的演變。

Giuseppe Penone

名詞解釋

貧窮藝術 Arte Povera

二十世紀六十年代，義大利出現了一種新的藝術運動，它被稱之為 「貧窮藝術」（ Arte Povera ）。這種以原始而質樸的物質材料建構藝術 的方法和形態被認為是觀念藝術的一個流派。

起源由義大利藝術評論家切蘭 Germano Celant 於 1967 年提出「貧 窮藝術」的概念，以概括和描述當時一批年輕的義大利藝術家打破藝術 語言的地位、現狀與圖式，堅持藝術應該是被生活本身所取代。

「貧窮藝術」選用廢舊品和日常最廉價、廢棄材料或被忽視的材料－ 樹枝、金屬、玻璃、織布、石頭等，甚至是速溶咖啡、羊毛、麻袋或鐵 路的軌道進行拼貼、剪下為創作；旨在擺脫和衝破傳統的「高雅」藝術

的束縛，並重新界定藝術的語言和觀念。

藝術家簡介

Giuseppe Penone

1947 年， Giuseppe Penone 生於庫內奧附近的加雷西奧。他

在 FIAT 汽車而聞名於世的義大利城市，也是義大利學生運動和工 人抗議活動萌生地都靈，研習藝術。 Penone 在美術館中找到創作 靈感，選擇回歸自然進行創作。研究重點放在自然和其轉變過程 上，而被歸類為貧窮藝術團體的一員。濱海阿爾卑斯山脈是塑造 及孕育靈感的地方。 Penone 在山上與環境建立藝術交流，並以環 境作為創作主題的一部分。

Penone 將樹木視為「關於生命力、文化、雕塑的第一個，也 是最簡單的想法」，是關鍵元素之一。多年來以樹木塑造出大量 姿態各異的作品，在阿姆斯特丹、都靈以及多倫多的安大略美術 館（ AGO ）等地展出。

Penone 的作品不時會加上他自己寫下充滿詩意的文字，這些 作品已在許多國家和國際展覽中展出。 2007 年，代表義大利參加 第 52 屆威尼斯雙年展；作品在凡爾賽宮花園、巴黎龐畢度中心、 阿姆斯特丹國家博物館（ 2016 年）及紐約和費城藝術博物館展出。

竹夢

GREEN SCHOOL

IBU 意為「母親」， KU 則是「我的」； 意指我們共同的母親「地球」。

打造 Green School Bali「無牆綠色學校」 而聞名世界的 IBUKU ，創造了一個以「竹 子」為靈感的全新設計語彙，探索可持續 建築和設計的未來。而在世界各地建造的 酒店、住宅、學校和活動空間的成功案例 中，重新定義奢華。

Text / 方紅 Photo / IBUKU

2006 年，加拿大珠寶商 John Hardy 與妻子一同看了 紀錄片《不願面對的真相》，感受到全球暖化對後代造 成難以改變的現實影響；讓這對夫妻決定賣掉公司，移 居峇里島並創辦了用竹子建造的第一間友好生態的綠色 學校「 Green School Bali 」。

至今成立 15 年來，學校周圍己逐步建造成一個綠色 村莊。如今由己是創意總監的女兒，加拿大設計師 Elora Hardy 接續這個綠色夢想。

出生於加拿大，在峇里島成長的 Elora Hardy ， 14 歲 移居美國，就讀寄宿學校。獲得美術學位後，進入紐約 時尚界，擔任 Donna Karan 品牌印刷設計師。 2010 年， 搬回峇里島承繼父母的志業，並透過創建 Green School 綠色學校的經驗，創立了 IBUKU 。

IBUKU 相信竹子的強度、美觀和柔韌性可以改變設 計。而且生長周期只需 4 年和碳封存能力，是最環保的 建築材料。

Elora Hardy 發現以峇里島傳統建材及生長快速 的竹子做為建材，不僅能替代逐漸匱乏的木材，而 與鋼筋同等抗拉的韌性，經過硼溶液處理後的防蟲 防蛀的竹子，具備了耐久又環保的特性。

由設計師、建築師和工匠組成的 IBUKU 團隊， 運用竹子和其他天然材料建造結構創新的房屋。從 小到釘子到巨大的結構元素，一切都由竹子搭建完 成的「作品」堪稱建築典範。透過結合峇里島工匠 的傳統技藝與現代工程， IBUKU 成功地將峇里島當 地特色美學的竹子，推向極限。

正如創始人兼創意總監 Elora Hardy 所說： 「 IBUKU 的目標是提供人們可以與自然建立真實關 係的空間。」藉由天然物資建造的住宅和家具與自 然融為一體， IBUKU 團隊利用竹子連結自然的「時 尚」空間，為人類永續生活請命。

弧

THE ARC

最美麗的「有機」建築

美麗起伏的屋頂，狀似風浪中輕盈波動的船帆，接近自然的「有 機弧線」，薄而平衡。Elora Hardy 解釋，竹建築就像一個活的 有機體，每一根竹竿都是建築物的DNA，而且都是獨一無二的。

「 The Arc 」弧線結構是一項工程壯舉，將竹建築提升到一個全 新的水平，包括定制元素和經過深入研究的建築工法。 IIBUKU 團 隊以人體胸腔中，皮膚與肌肉包覆肋骨，形成具有彈性、張力的結構 為靈感，由一個個交叉竹拱構成高 14 公尺、跨距 19 公尺的曲線作 為骨幹，中間則由馬鞍面網格結構（ anticlastic gridshells ）互相連接， 使弧面具有承重能力，分攤拱竹結構的壓力。與德國木工專家 Jörg Stamm 和結構工程師 Atelier One 合作完成的這項精湛的設計，以最 少的結構圍塑出開闊空間，既遮擋陽光、也減少空間壓力。

The Arc 鑒於峇里島工匠的傳統技能，結合尖端工程的有機設 計，展現自然和幾何的力與美，打造出友好生態的建築。非凡竹屋定 義了綠色弧形的學校，更成就峇里島令人印象深刻的建築教育典範。

成立 15 年的 Green School Bali ，以讓孩子在自然中學習及

精心設計的課程而聞名，從學齡前兒童一直到中學教育，重點關 注創造力、藝術和生態責任。該學校由 John 和 Cynthia Hardy 於 2006 年創立，傳承「可持續」建築為基礎的教學，在教育領域獨 樹一幟。

2021 年 IBUKU 為 Green School Bali 校園創造了美麗的運動 場「弧（ The Arc ）」，非凡的竹屋頂是目前最大的竹拱結構，挑 戰竹建築的可能性！

IBUKU 與 jörg stamm 、 atelier one 合作，為 Green School Bali 設計的運動空間「弧（ The Arc ）」，外型如同輕盈柔軟的竹 編，充滿延展性的架構；竹子形成一個網絡結構，無論在牆壁、 天花板、樓梯還是屋頂，都有其特定的功能；訣竅是將傳統的古 老竹建築技術與新科技結合。

竹建築

IBUKU 已在東南亞、非洲和世界各地進行建築項目，包括 峇里島的麗思卡爾頓酒店、四季酒店的瑜伽館和河邊烹飪教室、 Sharma Springs 和 Bambu Indah 生態度假村，以及馬爾地夫的一 家海灘餐廳、新加坡 Como Marketplace 的家具、拉斯維加斯的 Area 15 及香港 Tri 餐廳，在這些地方， IBUKU 團隊已經建造了 超過 100 座風格各異的竹結構建築