羅芙奧季刊第45期 RAVENEL QUARTERLY NO. 45

精采時刻 雋永人生

大隱隱於市 RECLUSIVE PAINTER

No. 45 Winter 2023

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CONTENTS No.45 ｜ Winter 2023 ｜ https://ravenel.com

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THE ARTIST

羅芙奧秋季現代與當代藝術盛事：窺探藝術多樣性 Ravenel Autumn Modern and Contemporary Art Extravaganza: Exploring Artistic Diversity 12

ART & INVESTMENT

隱士般的人物：八十回顧王懷慶 Reclusive Painter, Wang Huaiqing Almost Eighty 24

THE ARTIST

大自然的禮物－長井朋子 A Gift from the Nature－Tomoko Nagai 28

CHINESE PAINTINGS

京戲水墨添韻事｜張大千與歸妹圖 When Opera Meets Ink: Zhang Da-qian and his work 'Wang Kui Betrays Gui Ying' 24

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. 地址 Address / 106485 台北市敦化南路二段 76 號 18 樓 18F, No. 76, Sec. 2, Dunhua S. Rd., Taipei 106485, Taiwan 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306 電子信箱 email / info@ravenel.com 羅芙奧藝術集團台北辦公室 台北市敦化南路二段 76 號 18 樓 電話 Tel / +886 2 2708 9868 傳真 Fax / +886 2 2701 3306

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WINE

跨入葡萄酒收藏前，你必須知道的三件事

羅芙奧藝術集團香港辦公室 香港灣仔皇后大道東 239 號 10 樓 C 室 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

Three Things You Must Know Before Your Wine Collecting Journey!

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LUXURY

世所罕有的限量經典，稍縱即逝的美麗傳承 Limited Edition of Exquisite Classics, Wonderfully Ephemeral Heritages of Our Time

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TRAVEL

丹麥童話旅店 NIMB HOTEL 50

FASHION

概念藝術｜ " 食 " 尚與時尚 60

FASHION

SUPERMODEL 的文藝復興 40+ 超模重磅復出

王懷慶《坐具肖像》1999年 油彩 畫布 131 x 145.5 cm 羅芙奧2023秋拍「薈萃國際：現代與當代藝術」專場 Wang Huaiqing, Portrait of Stool, 1999, oil on canvas, 131 x 145.5 cm Ravenel Autumn Auction 2023 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.

[ CHIEF EDITOR'S NOTE ]

經典的魅力

ENCHANTED CLASSICS

歡迎閱讀 Ravenel No.45 期的季刊，我們即將引領您踏上藝術、 文化、時尚、美食和生活等探索的迷人旅程。 年近八十歲的北京畫家王懷慶，如隱者般的神秘人物，他憂懷傳 統美好的易逝，用嘔心瀝血的創作見證歷史的珍貴。日本當代藝術家

酒收藏前，必須謹記的三件事。我們邀請您細細品味本期的每一 頁，讓故事和視覺將您帶到不同的世界。感謝您的參與，並繼續 探索、發現和享受生活和文化的各種面向，探索新奇之餘，別忘 了回顧歷史，經典永遠不敗。願您有一次愉快的閱讀旅程！

長井朋子，提醒自然世界與我們之間的深刻聯繫。在古典的藝術中， 戲曲與水墨兩種不同型式藝術，透過張大千的妙筆生花演繹，從焚香 記王魁轉為嫁妹的鍾馗，但更像是大師自畫像，一段有趣的收藏故事。 在復古懷舊之旅中，讓我們回到 1990 年代 T 台超級名模定義時 尚和風格的年代，辛蒂．克勞馥 Cindy Crawford、琳達．伊凡吉莉絲 塔 Linda Evangelista、克莉絲蒂．杜靈頓 Christy Turlington 和娜歐蜜． 坎貝兒 Naomi Campbell，個個都是後人難以復刻或超越的經典。時尚

張宏圖《孫克弘（細部）—梵谷》2003年 油彩 畫布 92 x 122.5 cm 羅芙奧2023秋拍「薈萃國際：現代與當代藝術」專場 編號028 預估價 TWD 950,000 - 1,400,000 Zhang Hongtu, Sun Kehong (Detail) - Van Gogh NPM, 2003, oil on canvas, 92 x 122.5 cm Ravenel Autumn Auction 2023 Select: Modern & Contemporary Art, lot 028, estimate price USD 29,700 - 43,800

在跨界之後，Food Fashion Style 潮流聯名更像是觀念藝術般的高高在 上。經典愛馬仕在推出限量版和特別訂製款時，曾帶來何種驚奇呢？ 世界 40 大最佳旅宿 Nimb Hotel，像丹麥童話故事一般的美麗建 築，令人心醉。有興趣加入品飲佳釀的酒迷們，專家提醒您跨入葡萄

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總編輯

羅芙奧秋季

現代與當代藝術盛事： 窺探藝術多樣性 Text、Photo / Ravenel International Art Group

趙無極《1.5.2002》2002 油彩 畫布 ZAO Wou-ki, 1.5.2002, 2002, oil on canvas, 150 x 162 cm

2023 年秋季拍賣會將於 12 月 3 日舉行，率先重磅出擊抽象 大師趙無極作品《在植物園裡》，畫面概括從具象到抽象的轉變， 作品名稱煽動觀眾在畫布上尋找 50 年代初仍然存在的人物和物 體。這些符號並不是來自傳統書法，而是指向更遙遠和神秘的中 國古文字來源。同為抽象大師朱德群《開啟之門》，畫面中佈滿 紛呈的色彩點塊，如同此起彼落音符跳躍其中。色彩的跌宕起伏 更見波瀾壯闊，顏色的應用上可見收放自如，在構圖上更加寫意， 多呈信手拈來的自得意趣。氣韻與靈活的筆勢，自由奔放的用筆 與色彩間，衍生出對光線的交織。 趙無極《在植物園裡》1953 油彩 畫布 ZAO Wou-ki, Dans un jardin des plantes, 1953, oil on canvas, 65 x 81 cm

中國當代藝術家周春芽《綠狗》，此作背景以室外花園為場 景，被擬人化的綠狗永遠主導畫面，炯炯有神、蓄勢待發，忠犬 之態仿如用畫筆雕塑。日本當代藝術家草間彌生《夏日時光》， 她的幻覺使其看到身邊的事物都佈滿圓點，畫畫則成為她唯一舒 緩病徵的方法。她用藝術進入「自我消融」的狀態，選擇不壓抑 腦海裡的瘋狂幻想，反而任意在畫布上繪出想像力。奈良美智《吉 祥天女習作》，「吉祥天女」是佛教守護神的諸神之一，象徵幸 福、美麗與財富的神。《吉祥天女習作》，線條巧妙流暢、溫婉 圓潤，恰似微笑女神般擁有一張如月圓的柔和臉龐。五官為奈良 美智經典的小女孩，半睜半眛的眼神既祥和寧謐，又似有萬語千 言。名和晃平《王座》，2018 年曾在巴黎羅浮宮的玻璃金字塔下 展出，參考日本傳統祭典中出現的山車的形態及根源，結合古埃 及貼金箔和鑲嵌技巧，結合最新的 3D 列印技術及雕刻和日本漆 藝而成。 說到日本藝術家又怎能不提依然炙手可熱的六角彩子，是次

朱德群《開啟之門》1988 油彩 畫布 CHU Teh-chun, Door of Opening, 1988, oil on canvas, 60 x 73 cm

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上拍的兩件《無題》，純真無邪，如夢似幻，富有想像力，其創 作與她自身對童年與自由的渴望有著緊密的連結。

[ THE ARTIST ]

草間彌生《夏日時光》2012 壓克力 畫布 Yayoi KUSAMA, Summer Days, 2012, acrylic on canvas, 112 x 145.5 cm

Invader《別名：巴塞爾3號》2016 馬賽克磁磚 玻璃板

Invader, Alias BSL 03, 2016, mosaic tiles on perspex, 75.9 x 85.4 cm

現 代 西 方 大 師 貝 爾 納． 畢 費《 鬱 金 香 靜 物 》， 作 品 以 黃、 綠色調有力地描繪菱角分明的頎長圖形，以黑色粗線條勾勒的輪 廓，在色彩的襯托下顯得張力十足，具有強烈的個人風格。當代 藝術的西方代表 Invader，是次上拍《別名：巴塞爾 3 號》，原設 置在巴塞爾城市中的施耐德街上，為其城市 25 個外太空侵略者 之一。馬賽克外太空侵略者為 Invader 精典符號之一，彩虹更為 Invader 對於藝術美好的理想表現。 台灣國際雕塑大師朱銘《太極拱門》，拋棄了太極拳招式所 帶來的包袱，至臻至「無形」的哲學。充份發揮想像力往簡潔抽 奈良美智《吉祥天女習作》2019 銅雕 7/7 Yoshitomo NARA, Study for Auspicious Heavens, 2019, bronze, edition no. 7/7 21(L) x 18.5(W) x 21.1(H) cm

象的方向行進，造型強烈更富表現力，如對決的兩人最終融為一 道拱門。

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Ravenel Autumn Modern and Contemporary Art Extravaganza: Exploring Artistic Diversity Our autumn auction will be held on December 3, firstly Zao

Zhou Chunya's figurative "Green Dog". The background of this

Wou-Ki's "Dans un jardin des plantes", perfectly encapsulates

work is an ordinary outdoor garden scene. This anthropomorphic

his transition from figuration to abstraction. The title of the work

green dog always dominates the picture, bright and ready, and the

incites the viewers to look for characters and objects on the canvas

attitude of this loyal dog is as if it is sculpted with a paintbrush.

that still exist in his works from the early 1950s. These invented

Japanese contemporary artist Yayoi Kusama's "Summer Days", her

symbols do not come from calligraphy, but clearly point to more

hallucination leads her seeing everything around her was full of

distant and mysterious sources of ancient Chinese writing. Another

polka dots, and painting became her only way out to relieve her

master of abstraction is Chu Teh-Chun's "Door of Opening", in

symptoms. She uses art to enter a state of "self-dissolution". She

which the painting is filled with colorful dots, like notes jumping

chooses not to suppress the crazy fantasies in her mind, but instead

one after another. The colors are clearly magnificent, and their

paints her imagination on the canvas in her own will. Yoshitomo

application can be seen with ease. The composition is more

Nara's "Study for Auspicious Heavens", "Auspicious Heavens" is

freehand, showing a self-satisfied sense of ease. The free and

one of the Buddhist patron Gods, a god who symbolizes happiness,

unrestrained use of brushwork, charming and flexible, creates an

beauty and wealth. The lines of this masterpiece are ingeniously

interweaving of light.

smooth, gentle and rounded, just like a smiling goddess with a soft face like a full moon. The facial features of this little girl are classic

貝爾納．畢費《鬱金香靜物》1978 油彩 畫布 Bernard BUFFET, Nature morte aux tulipes, 1978, oil on canvas, 81 x 100 cm

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六角彩子《無題》2020 壓克力 畫布 Ayako ROKKAKU, Untitled, 2020, acrylic on canvas, 130 x 130 cm

[ THE ARTIST ]

周春芽《綠狗》2009 油彩 畫布 ZHOU Chunya, Green Dog, 2009 oil on canvas, 150 x 120 cm

邱亞才《女人肖像》1993 油彩 畫布 CHIU Ya-tsai, Portrait of Woman, 1993 oil on canvas, 116.5 x 90.5 cm

of Yoshitomo Nara. Her half-open eyes are peaceful and tranquil, but also seems to want to speak a thousand words. The second piece is "Throne" by another Japanese artist, Kohei Nawa. It was exhibited under the glass pyramid of the Louvre Museum in Paris in 2018, referencing the shape and origin of the float that appears in traditional Japanese festivals. It combines ancient Egyptian gold foil and inlay techniques with the latest 3D printing technology for engraving, and also Japanese lacquer techniques. How can we talk

長井朋子《花束女孩》2018 油彩 亮片 畫布 Tomoko NAGAI, Bouquet Girl, 2018 oil and glitter on canvas, 116.7 x 91 cm

and the rainbow is Invader's ideal expression of the beauty of art.

Taiwan International Sculpture Master Ju Ming's "Taichi Arch". He completely abandoned the burden brought by Taichi moves and achieved the philosophy of emptiness. He gave full play to his imagination and moved in the direction of simplicity and abstraction, with strong and expressive shapes, like two dueling figures finally merging into an arch.

about Japanese artists without mentioning Ayako Rokkaku who is popular as always. Her innocent and dreamlike "Untitled" is full of imagination. Her creation is closely related to her own desire for childhood and freedom.

Western modern art master Bernard Buffet's "Nature Morte aux Tulipes", he uses dark tones to powerfully depict long figures with sharp corners, and outlines them with thick black lines. The color contrast is full of tension and has such a strong personal style. Invader, the Western representative of contemporary art, "Alias BSL 03" that is up for auction this time was originally set on Schneider Street in Basel and is one of the city's 25 outer space invaders.

The mosaic outer space invader is one of Invader's classic symbols, 朱銘《太極拱門》1992 木雕 JU Ming, Taichi Arch, 1992, wood carving, 60(L) x 22(W) x 32(H) cm

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隱士般的人物：八十回顧王懷慶 Reclusive Painter, Wang Huaiqing Almost Eighty Text / 陳惠黛 Odile Chen Photo / Ravenel International Art Group

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[ ART & INVESTMENT ]

2007 年秋天，我曾經為舊版的季刊專欄撰寫一篇〈一畫難 求行情穩健勁揚．王懷慶金石為開挑戰新紀錄〉的專文，探討 王懷慶當年的行情走向，那曾經是華人藝術市場最高峰的一年， 無論現代與當代藝術皆極其蓬勃。隨之而來的 2008 年，雖遭逢

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王懷慶《坐具肖像》1999年 油彩 畫布 131 x 145.5 cm 羅芙奧2023秋拍「薈萃國際：現代與當代藝術」專場 編號030 預估價 TWD 9,000,000 - 13,000,000 Wang Huaiqing, Portrait of Stool, 1999, oil on canvas, 131 x 145.5 cm Ravenel Autumn Auction 2023 Select: Modern & Contemporary Art, lot 030, estimate price USD 281,400 - 406,500

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王懷慶《永字八法》2012-2013年 木條 綜合媒材 油彩 畫布 150 x 420 cm; 60 x 420 cm 北京永樂2021春拍 成交價 RMB 71,875,000 Wang Huaiqing, Eight Laws of Yongzi, 2012-2013, wood, mix media, oil on canvas, 150 x 420 cm; 60 x 420 cm

全球性金融海嘯的襲擊，中國當代藝術是受打擊最重的項目之 一，有些至今尚未全面恢復。然而，當年度王懷慶的拍賣成交 金 額 達 到 3.5 億 台 幣（US$11,126,618。 數 據 來 源 Artprice.com 資料庫，以下同）的首波高峰，未受過多撼動，相對穩健。 八年過去，2016 年王懷慶的拍賣市場迎來另一波高峰，當 年度拍賣成交總額達到近 3.7 億台幣（US$11,447,445），為藝 術家個人前所未有最高的成交量。多年之後，王懷慶的畫作依 舊是「一畫難求」，在拍賣市場上每年僅偶然可見一二幅油畫

Beijing YongLe Spring Auction 2021, sold for USD 11,176,562 ▼

藝術家本人照片 Artist Picture

現身。王懷慶早年自海外發跡，不僅曾遊學美國，參加海外展 覽，如法國、新加坡、香港、台灣、澳門與日本，市場集中於 海外華人收藏圈。

曾經牆外開花牆內香，如今主力市場在大陸 大陸的《澎湃新聞》如此形容王懷慶的市場狀況：「…王 懷慶如今是市場中『隱士』般的人物。拍場上常常好幾年都見 不到他的作品，但一旦出現也常常會創造高價。（2021 年）5 月的北京春拍中，王懷慶的《永字八法》即創下了 7187.5 萬元 （人民幣）的拍賣紀錄。王懷慶市場最早興起於 2008 年第一個 當代藝術熱潮前後，作為吳冠中的弟子，他中西結合的作品在 海外受到追捧，因此，有人稱其為『牆外開花牆內香』。不過 隨著中國藝術市場話語權逐漸回歸，他的作品也逐漸被內地美 術館重視，也炮製了眾多高價。」 就 市 場 面 而 言， 王 懷 慶 的 作 品 的 確 最 早 出 現 於 1991 年 9 月香港佳士得的拍場，而後零星出現於每年香港的拍賣會上。 台灣的拍賣公司從 2000 年秋拍後才首次見到。1990 年代王懷 慶最早進入商業市場，在香港漢雅軒和新加坡斯民藝苑展出。 1999 年後與台北的大未來畫廊首次合作。而大陸的拍場一直到 2006 年才見到上海拍賣行的推薦，起步甚晚。 所謂「牆外開花牆內香」，王懷慶在大陸也享有高知名度。 他是吳冠中先生的得意門生，而恩師從不吝於對外稱讚他的才 情。除了早年中國美術館和上海美術館收藏有王懷慶的作品， 上海的龍美術館也收藏王懷慶的油畫大作。根據拍賣數據分析， 王懷慶自 2000 年以後至今（2023 年），市場的「地理分布」， 主要落在中國、香港和台灣三地，市場占有率分別為 46.39%、 36.72% 和 16.89%。而據報導，王懷慶已經至少 8 年登上「胡 潤中國藝術榜」，雖作品相對稀缺罕見，但仍能激起市場漣漪。 13

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王懷慶《金石為開（三聯幅）》1998年 油彩 畫布 200 x 480 cm 羅芙奧2007秋拍 編號069 成交價 TWD 87,960,000 Wang Huaiqing, Gold Stone (Triptych), 1998, oil on canvas, 200 x 480 cm Ravenel Autumn Auction 2007, lot 069, sold for USD 2,726,174

潛居北京的王懷慶，除了出席展覽之外，鮮少現身公眾場合。最近

1959 年王懷慶 15 歲時，考入中央美術學院附中高中班，受嚴格且

一次參加的畫展是 2021-2022 年間母校北京清華大學藝術博物館，為他

規範的繪畫基礎訓練，學習蘇聯式寫實繪畫教學。王懷慶課餘期間透過

舉辦的「縱 橫：王懷慶藝術展」大型回顧展，展出七十餘件作品，藝

友人上教堂帶回的文藝復興時期圖畫明信片，臨摹圖畫並將之放大，獲

術跨度有五十年。並邀請二十多為專家學者出席參與藝術研討會，在中

取西方近代藝術的啟蒙，並使其學習更為廣泛。他的圖畫表現優異，作

國美術界泛起王懷慶現象。該博物館也獲王懷慶本人捐贈多幅作品豐富

品《鋼鐵工人》曾經獲得 1959 年印度香卡國際兒童繪畫展獎。1960 年

館藏。

木刻版畫作品《景山公園》參加蘇聯莫斯科國際兒童畫展，繪畫基本功

儘管藝術家一貫的低調而神祕，宛如隱士般的存在。然而他的作品 在華人藝術市場仍有相當能見度。在本文附表的「王懷慶作品二十大拍 賣成交排行」，分別在 2021 年和 2022 年都有新名次的加入，尤其藝 術家目前拍賣最高價紀錄為《永字八法》，2021 年在北京永樂拍賣公 司所創下，成交價 7187.5 萬人民幣（US$11,176,562）。

吳冠中力推的得意門生 王懷慶，別名王懷，中國第三代油畫家，為中國美術家協會會員，

扎實發展。1964 年 20 歲時考入中央工藝美術學院（今清華大學美術學 院）。不久中國大陸推行文化大革命，期間他被迫大量繪製宣傳畫。 1970 年隨學校到河北農村勞動改造，過集中營式的農村生活，期間他 也隨吳冠中先生繪畫寫生和學習為人之道。 1971 年起被指派至人民解放軍部隊擔任舞台美術設計工作，假日 偷閒從事自己熱愛的油畫和水墨創作。文革經歷對於擁有自由創造靈魂 的人都是磨難，經歷過其中的王懷慶，至今仍覺得苦澀。吳冠中先生就 曾表示，感受到了王懷慶「藝術中潛伏的悲劇意識」。

北京畫院一級畫師。1944 年出生於北京，父親曾是木工勞動者，期許 孩子將來能務實當工人易求溫飽。然而王懷慶自小耳濡目染古老原木的

1972 年 28 歲時和美術學院同學徐慶慧結婚，兩年後生下女兒王田

拆解榫卯結構，早已埋下藝術種子。母親慈愛包容，頗能鼓勵並支持王

田，後來女兒也學藝術，一家人都是藝術人。1975 年至 1978 年期間，

懷慶跟著兩位喜愛藝術的兄長，一起塗鴉繪畫，成長於 1950 年代的貧 困年代，生存尚且不易，何況學習美術，多年之後，王懷慶仍感恩於母 親當年的默許支持。

隨著文革結束，他在業餘時間大量研習油畫、連環畫和插畫作品。因不 滿足於現有成就，1979 年王懷慶以 35 歲大齡考入中央工藝美術學院碩 士班繼續深造，並師從張仃、吳冠中、祝大年、袁運甫等中西畫大師先 生，精進繪藝。

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王懷慶《大明風度》1991年 油彩 畫布 145 x 130 cm Wang Huaiqing, The Great Ming Manner, 1991, oil on canvas, 145 x 130 cm

1980 年 在 學 期 間， 策 畫「 同 代 人 畫 會 」， 在 中 國 美 術 館 舉 辦 同 代人油畫展，王懷慶展出八幅作品，這次的展覽可謂是中國美術館自 1963 年開館以來首次由民間舉辦的團體展覽，它也開啟中國美術館有 償收藏作品的先例。王懷慶的《伯樂像》、《初雪》、《棗樹》等經典 作品都蒙館藏。同年，王懷慶也加入中國美術家協會，成為官方認定的 美術家身分。1981 年正式取得中央工藝美術學院的碩士學位。隔年以 《畫家的母親》參加法國春季沙龍展，隨後於 1983 年調回北京畫院任 專職畫家，經常參與海內外展覽。 1980 年代前期在中國美術界有傷痕繪畫與鄉土寫實繪畫兩大主流， 王懷慶也創作許多膾炙人口的寫實風格作品。如 1983 年的《秋玉米》、 《 黃 河 水 》 和 肖 像 畫，1984 年 作 品《 博 》 獲 北 京 市 美 術 協 會 收 藏、 1985 年作品《四月》為中國美術館收藏，1986 年《故園》、《三味書屋》 作品為中國美術館收藏。1985 年王懷慶也參加黃山舉行的全國油畫研 討會。接著，中國當代藝術思潮進行巨大的變革，不滿於左傾的社會寫 實窠臼、藝術長期政治化，以人為本的 85 新潮現代美術運動因運而生， 促進了當代藝術在中國的蓬勃發展。

明式家具的啟發 書法意識的繪畫 恩師吳冠中早年熱愛寫生，他從江南風景魯迅故鄉，領略粉牆黛瓦 的黑白簡潔美感。而學生王懷慶也受其感召，在隨之走訪江南老屋故居 的建築中，發現傳統建築空間蘊藏的巨大美學與能量，《故園》與《三 味書屋》的渾厚質樸風格，都是其中備受推崇的作品。

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王懷慶《房中房－韓熙載之床（夜宴圖系列之三）》 2002年 油彩 畫布 拼貼 200 x 300 cm 羅芙奧2010春拍 編號148 成交價 TWD 49,760,000 Wang Huaiqing, House in a House Bed of Han Xizai(Han Xizai's Night Revels 3), 2002, oil on canvas, collage, 200 x 300 cm Ravenel Spring Auction 2010 lot 148, sold for USD 1,541,989

王懷慶多年累積的創作能量，在兩年的旅美考察期間醞釀極大的轉

他努力尋覓歷史的吉光片羽痕跡，鍾情於傳統民藝建築構造，著迷於古

變。1987-1988 年間擔任美國 OCU 奧克拉荷馬城市大學訪問學者，期

玩市場裡的舊瓶瓦罐、窗花木雕、家具元件的濃厚韻味。進而關注繪畫

間參觀美國博物館與美術界，大開眼界，並發表作品。1988 年攜眷自

中的色彩結構空間的對應、和諧關係。他的繪畫臻至成熟，創作出《夜

美返國，謝絕一切採訪與報導，決心閉門畫畫。沉潛之後，他的創作有

宴圖》、《大音無聲》、《金石為開》、《坐具肖像》等文化底蘊深厚

了令人驚豔的展現。

的主題作品。1998 年，王懷慶的作品參加受全球矚目的古根漢美術館

他將《故園》舊作重新改造詮釋參展 1989 年全國第七屆美術作品 展，作品為上海美術館收藏。1990 年他創作了一系列以明式家具和東

「中國藝術 5000 年展」，作品收錄《中國現代美術全集》，他的藝術 在海內外都獲得矚目。

方建築的作品，如《雙椅》、《白襯托得立木四根》、《有一扇到另一

2000 年過後，王懷慶更有自信地創作一系列巨幅大作，如《一生

房間的門》、《黑窗格剪碎白窗紙》。此外，他也一方面開始創作中國

萬》、《無家的家具》、《房中房》、《五千歲》、《天工開物》、《高

水墨畫作品，中西並進。

山流水》、《福在其中》、《飛天》等，有古老文化符碼，更繁複華麗

1991 年以太師椅為發想，創作出《大明風度》巨作，參加中國美

的空間創造。

術館的首屆「中國油畫年展」獲得金牌獎，造成藝壇轟動。此作見證此

王懷慶性格審慎嚴謹，自我要求很高，所有創作親力親為，因此

明式家具系列正式成為他的風格轉折點，東方家具簡約古雅，將之解構

作品在市場上極為稀缺，為了更貼近小資收藏家。2002 年，應西班牙

抑或組構，黑白空間，充滿文化自信力度的布局構成為他的最大特色。

Poligrafa 版畫公司與大未來畫廊之邀，赴巴塞隆納製作五幅銅版畫。

有人說，他的黑白油畫創作和法國藝術家蘇拉吉（Pierre Soulages）有

Poligrafa 曾為趙無極與朱德群等大師合作製作版畫，具有象徵意義。

異曲同工之妙，然而王懷慶的東方底蘊與工藝舞台設計多年的背景加持 之下，繪畫空間更添加歷史感與書畫意識。

王懷慶將明式家具黑白化、抽象平面化，而在後來的創作中將平面 化的結構予以立體化，也是自然而然的演進。他先在平面的繪畫中，添

1993 年和 1994 年連續兩年，王懷慶在新加坡發表一批中國水墨作

加拼貼的元素，二維結合三維，最後以立體裝置的方式詮釋他的藝術全

品，結合女體與靜物畫，帶有幾分東方馬諦斯的味道，然個人新意亦足。

面思考。王懷慶曾在他的創作自述中提到：「用『折』與『疊』替代傳

吳冠中在 1994 年展覽圖錄序言中，如此寫道：「新竹高於舊竹枝，王

統意義的『雕』與『塑』——新立體」。以此完成他的創新研究。他的

懷不步我的腳印，不步前人的現成腳印，願他為探新境而寧摔死深谷。

藝術還應該包括了時間的第四維，所以他曾經說過「縱橫是空間也是時

確乎，他沒有留戀早期的榮譽，不作榮譽的囚犯；他不學舌；在經濟大

間。」而這個縱橫的意義，也正是一兩年前他的回顧展的標題，概括了

潮中頭腦迄今未發昏。我盼望，珍視疾風中永遠有勁草。」對於高足的

他的藝術縱深。

新作多所鼓勵。

空間與時間。優雅沉穩文化之大美 王懷慶對文化有迫切的危機感，他生長於人文寶藏豐富的北京城， 卻感嘆於舊時代美好傳統的快速崩解，經過深沉的內化思考，有段時間 16

七十歲的前後幾年間，王懷慶在台北市立美術館舉辦「一生萬」個 展，還有日本日本兵庫縣立美術館舉行「出山－王懷慶個展」，寫下人 生階段里程碑。而 2024 年王懷慶將迎來他的八十大壽，他的藝術或許 再次受到美術收藏界的關注，也許盛大的回顧展將指日可待了。

[ ART & INVESTMENT ]

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王懷慶《空間》1994年 油彩 畫布 100 x 80 cm 羅芙奧2003秋拍 編號035 成交價 TWD 529,000 Wang Huaiqing, Space, 1994, oil on canvas, 100 x 80 cm Ravenel Autumn Auction 2003 lot 035, sold for USD 15,666

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王懷慶《古玉系列 (二)》1999年 綜合媒材 紙本 89 x 58 cm 羅芙奧2008春拍 編號065 成交價 TWD 5,900,000 Wang Huaiqing, Antique Jade Series 2, 1999, mixed media on paper, 89 x 58 cm Ravenel Spring Auction 2008, lot 065, sold for USD 194,047

In the autumn of 2007, I once wrote a special article for the old version of the quarterly column titled "Wang Huaiqing's paintings are so precious that their prices are steadily rising. He establishes a milestone and advances to set a new record," exploring the market trends of Wang Huaiqing that year. It was a peak year for the Chinese art market, with both modern and contemporary art thriving. The following year, 2008, despite being hit by a global financial crisis, Chinese contemporary art was one of the most severely affected sectors, and some aspects are yet to fully recover. However, in that year, Wang Huaiqing's auction turnover reached 350 million New Taiwan Dollars (US$11,126,618, data source: Artprice.com database), experiencing only modest fluctuations and remaining relatively stable.

Eight years later, in 2016, Wang Huaiqing's auction market experienced another peak, achieving a total turnover of nearly 370 million New Taiwan Dollars (US$11,447,445), marking an unprecedented peak in the artist's sales volume. Many years later, Wang Huaiqing's paintings are still considered "hard to come by," with only one or two oil paintings appearing in the auction market each year. Wang made a name for himself overseas in his early years, having studied in the United States and participated in exhibitions abroad, including France, Singapore, Hong Kong, Taiwan, Macau, and Japan, with the market focusing on the overseas Chinese collector circle.

Undervalued in this Locale, Revered Elsewhere; Now Thriving in the China Mainland Market.

spring auction, Wang's "Eight Laws of Yongzi" set an auction record of 71.875 million yuan. Wang's market first emerged around the first wave of contemporary art enthusiasm in 2008. As a disciple of Wu Guanzhong, his works, combining Eastern and Western elements, were highly sought after overseas. Therefore, some people call him 'blooming

The mainland's 'The Paper' describes Wang Huaiqing's market

outside the wall, fragrant inside the wall.' (Undervalued in this Locale,

situation as follows: ... Wang Huaiqing is now a 'recluse' in the market.

Revered Elsewhere) However, as China's art market influence gradually

His works are rarely seen on the auction scene for several years, but

returns, his works are also gradually being valued by mainland China art

once they appear, they often create high prices. In the May 2021 Beijing

museums, leading to many high prices."

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In terms of the market, Wang's works first appeared in the September 1991 Hong Kong Christie's auction, and sporadically appeared at Hong Kong auctions every year. Taiwan's auction companies first saw them after the autumn auction in 2000. In the 1990s, Wang Huaiqing initially entered the commercial market, exhibiting in Hong Kong's Hanart TZ Gallery and Singapore's SooBin Art Gallery. After 1999, he first collaborated with the Taipei-based Lin & Keng Gallery. The mainland auction scene didn't see recommendations from Shanghai auction houses until 2006, starting relatively late.

Art List" for at least eight years, and although his works are relatively scarce, they still create ripples in the market.

Residing in Beijing, Wang Huaiqing seldom appears in public places, except when attending exhibitions. The most recent exhibition he participated in was the "Vertical – Horizontal: Wang Huaiqing's Art Exhibition" held at his alma mater, the Tsinghua University Art Museum, between 2021 and 2022. The large retrospective exhibition showcased more than seventy works, spanning fifty years of art. Over twenty experts and scholars were invited to participate in the art seminar, igniting a

Despite the saying 'blooming outside the wall, fragrant inside the

phenomenon centered around Wang Huaiqing in the Chinese art world.

wall' (Undervalued in this Locale, Revered Elsewhere), Wang Huaiqing

The museum also received numerous works donated by Wang to enrich

is highly esteemed in the mainland. He is a favored disciple of Mr.

its collection.

Wu Guanzhong, and his mentor never hesitates to praise his talent. In

Despite the artist's consistent low-profile and mysterious presence, like a recluse, his works still have considerable visibility in the Chinese art market. In the attached table of "Top 20 Most Expensive Artworks of Wang Huaiqing Ever Sold at Auction" in this article, new rankings have been added in both 2021 and 2022.

Particularly noteworthy is the artist's current record for the highest auction price, set by "Eight Laws of Yongzi" in 2021 at the Beijing YongLe Auction, with a transaction price of 71.875 million yuan (US$11,176,562).

Wu Guanzhong's Proud Disciple Wa n g H u a i q i n g , a l s o k n o w n as Wang Huai, is a third-generation Chinese oil painter, a member of the 王懷慶《古玉系列 (一)》1999年 綜合媒材 紙本 58 x 89 cm 羅芙奧2008春拍 編號066 成交價 TWD 7,080,000 Wang Huaiqing, Antique Jade Series 1, 1999, mixed media on paper, 58 x 89 cm Ravenel Spring Auction 2008, lot 066, sold for USD 232,85

China Artists Association, and a firstgrade artist at the Beijing Academy of Fine Arts. Born in 1944 in Beijing, his father was a carpenter, hoping

addition to Wang's works being collected by the China National Art

that his child would have a practical future as a worker. However, Wang

Museum and the Shanghai Art Museum in the early years, the Long

Huaiqing, exposed from an early age to the disassembly of ancient timber

Museum in Shanghai also holds his major oil paintings. According to

structures, had already planted the seeds of art. His mother, loving and

auction data analysis, from 2000 to the present (2023), the market's

supportive, encouraged Wang to doodle and paint alongside his two art-

"geographic distribution" is mainly concentrated in China, Hong Kong,

loving brothers. Growing up in the impoverished 1950s, surviving was

and Taiwan, with market shares of 46.39%, 36.72%, and 16.89%,

a challenge, let alone pursuing art. Many years later, Wang still feels

respectively. Reportedly, Wang Huaiqing has been on the "Hurun China

grateful for his mother's silent support.

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王懷慶《飛天（三聯幅）》2006年 油彩 畫布 拼貼 200 x 363 cm 羅芙奧2009春拍 編號053 成交價 TWD 43,760,000 Wang Huaiqing, Flying Apsaras (Triptych), 2006, oil on canvas, collage, 200 x 363 cm Ravenel Spring Auction 2009, lot 053, sold for USD 1,338,226

In 1959, at the age of 15, Wang Huaiqing entered the High School

In 1972, at the age of 28, Wang Huaiqing married his art school

Affiliated to the Central Academy of Fine Arts, undergoing rigorous

classmate Xu Qinghui, and two years later, their daughter Wang Tiantian

training in realistic Soviet-style painting. During his spare time,

was born. Later, their daughter also pursued art, making their entire

influenced by postcards of Renaissance paintings brought back by

family artists. From 1975 to 1978, as the Cultural Revolution ended, he

friends from the church, he enlarged and copied the pictures, gaining

devoted a significant amount of time to studying oil painting, comics,

enlightenment in Western modern art and broadening his artistic

and illustration works during his free time. Unsatisfied with his current

horizons. His outstanding artistic talent was recognized when his work

achievements, in 1979, at the age of 35, Wang was admitted to the

"Steel Workers" won an award at the 1959 India International Children's

master's program at the Central Academy of Arts and Crafts for further

Art Exhibition. In 1960, his woodcut print "Jingshan Park" participated

education. He studied under masters such as Zhang Ding, Wu Guanzhong,

in the Moscow International Children's Art Exhibition in the Soviet

Zhu Danian, and Yuan Yunfu, honing his artistic skills.

Union, further solidifying his foundation in painting. In 1964, at the age of 20, he was admitted to the Central Academy of Arts and Crafts (now Tsinghua University's Academy of Arts & Design). However, during the Cultural Revolution in mainland China, he was compelled to create propaganda art in large quantities. In 1970, he underwent labor reform in rural Hebei with the school, experiencing a concentrated camp-style rural life. During this period, he also painted and learned the ways of the world alongside Wu Guanzhong.

In 1980, during his studies, he organized the "Same Generation Painting Society" and held a contemporary oil painting exhibition at the China National Art Museum. Wang Huaiqing exhibited eight works, marking the first time the China National Art Museum hosted a privately organized group exhibition since its opening in 1963. This also set a precedent for the museum's paid collection of works. Wang's classic works like "Portrait of Bo Le," "Initial Snow," and "Jujube Trees" were all collected by the museum. In the same year, Wang also

In 1971, he was assigned to work as a stage art designer for the

joined the China Artists Association, officially recognized as an artist.

People's Liberation Army, and during holidays, he engaged in his

In 1981, he formally obtained his master's degree from the Central

beloved oil painting and ink art creations. The Cultural Revolution posed

Academy of Arts and Crafts. The following year, his work "Mother of

hardships for anyone with a soul for free creation, and Wang Huaiqing,

an Artist" participated in the French Spring Salon exhibition, and in

who experienced it, still feels the bitterness today. Wu Guanzhong once

1983, he was transferred back to the Beijing Academy of Fine Arts,

expressed that he sensed the 'tragic consciousness lurking in Wang

where he frequently participated in exhibitions both domestically and

Huaiqing's art.'

internationally.

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In the early 1980s, there were two mainstream trends in the Chinese art scene: scar art and rural realistic painting. Wang Huaiqing created many wellreceived realistic style works during this period. Notable pieces i n c l u d e " C o r n s " a n d " Ye l l o w River" in 1983, as well as portraits, "Struggling" collected by the Beijing Artists Association in 1984, and "April" collected by the China National Art Museum i n 1 9 8 5 . Wo r k s l i k e " N a t i v e P l a c e " a n d " S a n We i B o o k Room" in 1986 were also collected by the China National Art Museum.

museums and the art scene, presenting his works and gaining exposure.

In 1985, Wang participated in the National Oil Painting Seminar held

Returning to China in 1988 with his family, he declined all interviews

in Huangshan. Subsequently, a massive transformation occurred in

and reports, dedicating himself to painting in seclusion. After this period

the ideology of contemporary Chinese art. Dissatisfied with the left-

of immersion, his artistic creations took on a stunning new form.

leaning social realism framework and the prolonged politicization of art, the people-oriented '85 New Wave modern art movement emerged, promoting the vigorous development of contemporary art in China.

Inspiration from Ming-style Furniture: Painting with Calligraphic Consciousness Wang Huaiqing's mentor, Wu Guanzhong, had a deep passion for sketching in his early years. He explored the black-and-white simplicity of the traditional Southern architecture, capturing the beauty

In 1989, he reinterpreted his previous work "Native Place" for the 7th National Art Exhibition, and the revised piece is now part of the Shanghai Art Museum's collection. In 1990, he created a series of works inspired by Ming-style furniture and Eastern architecture, including "Double Chairs," "Four Pillars Against the White Walls," "A Door to Another Room," and "Cut the White Window Rice Paper into Pieces with Black Window Frame." Additionally, he began creating Chinese ink paintings, seamlessly integrating Eastern and Western influences.

of the white walls and black tiles in Lu Xun's hometown. Influenced by

In 1991, inspired by the Tai Shi Chair, he created the monumental

his mentor, Wang embarked on a journey to visit the ancient residences

work "Great Ming Manner" for the inaugural 'First Annual Exhibition

and buildings in Southern China. Within the architectural spaces of

of Chinese Oil Painting' at the China National Art Museum, winning the

traditional structures, he discovered immense aesthetic beauty and energy. Works like "Native Place" and "San Wei Book Room," with their rich and rustic style, became highly acclaimed.

During his two-year research period in the United States from 1987 to 1988 as a visiting scholar at OCU (Oklahoma City University), Wang's accumulated creative energy underwent significant transformation. He expanded his horizons by visiting American 20

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王懷慶《琴桌》2003年 油彩 畫布 165 x 200 cm 羅芙奧2011秋拍 編號155 成交價 TWD 39,520,000 Wang Huaiqing, Lute Table, 2003, oil on canvas, 165 x 200 cm Ravenel Autumn Auction 2011, lot 155, sold for USD 1,310,779

[ ART & INVESTMENT ]

gold medal and causing a sensation in the art world. This masterpiece

Wang Huaiqing is known for his careful and rigorous personality,

marked the formal turning point in his style, where the simplicity and

setting high standards for himself. He is deeply involved in every

elegance of Eastern furniture were deconstructed or reconstructed.

creation, making his works extremely rare in the market, catering to the

The black-and-white spaces, filled with cultural confidence, became

taste of small-budget collectors. In 2002, at the invitation of the Spanish

his defining characteristic. Some have compared his black-and-white

Poligrafa Printmaking Company and the Lin & Keng Gallery, he went

oil paintings to the work of French artist Pierre Soulages, yet Wang

to Barcelona to create five copperplate prints. Poligrafa had previously

Huaiqing's paintings, enriched by his Eastern heritage and background

collaborated with masters like Zao Wou-ki and Chu Teh-Chun, adding

in stage design, carry a unique historical and calligraphic consciousness

symbolic significance to the collaboration.

within the spatial composition.

Wang Huaiqing transformed Ming-style furniture into black and

In the consecutive years of 1993 and 1994, Wang Huaiqing presented

white, abstracted it into a flat plane, and later in his works, he rendered

a series of Chinese ink works in Singapore, combining the female form

the flat structure three-dimensional, a natural evolution. In his flat

with still-life paintings, exuding a touch of Eastern mysteriousness yet

paintings, he added collage elements, combining two-dimensional and

brimming with personal innovation. In the preface to the exhibition

three-dimensional elements, and finally interpreted his art through three-

catalog in 1994, Wu Guanzhong wrote, "'In New Bamboo Taller Than the

dimensional installations. In his creative statement, Wang Huaiqing

Old', Wang does not follow my tracks, choosing to explore a new route

once mentioned, "Use 'folding' and 'stacking' to replace the traditional

even if it means risking a fatal tumble on the way. Indeed, he has chosen

meanings of 'carving' and 'molding' – a new three-dimensionality." This

not to rest on his laurels and be a prisoner of honors; he does not repeat,

completed his innovative research. His art should also include the fourth

parrot-fashion: he has not lost his head facing the onslaught of economic

dimension of time, as he once said, "Vertical and horizontal vectors have

prosperity. I hope and cherish this grass to be forever tough against

spatial and temporal dimensions," and the significance of this vertical

strong winds." Wu Guanzhong's encouragement was abundant for the

and horizontal dimension is also the title of his retrospective exhibition

works of his accomplished disciple.

from a year or two ago, summarizing the depth of his art.

Space and Time. The Elegance and Steadiness of Cultural Grandeur.

Wang Huaiqing senses an urgent cultural crisis. Growing up in the culturally rich city of Beijing, he laments the rapid disintegration of the beautiful traditions of the past. After deep internalization and contemplation, he devoted time to searching for traces of history, particularly captivated by traditional folk art architecture and entranced by the rich flavors of old bottles, tiles, window flower wood carvings,

In the years around his seventieth birthday, Wang Huaiqing held the solo exhibition "One to All" at the Taipei Fine Arts Museum, and in Japan, the Hyogo Prefectural Museum of Art hosted the exhibition "Out of the Mountains – Wang Huaiqing Solo Exhibition," marking a milestone in his life stage. In 2024, Wang will celebrate his eightieth birthday, and his art may once again attract attention from the art collecting community, perhaps heralding a grand retrospective exhibition on the horizon.

and furniture components in the antique market. He also focused on the correspondence of color, structure, and space in painting. His matured paintings include culturally profound thematic works such as "Night Revel," "Soundless Sound," "Gold Stone," "Portrait of Stool," among others. In 1998, Wang Huaiqing's works were featured in the globally renowned Guggenheim Museum's "5000 Years of Chinese Art" exhibition, and his works were collected in the "Collected Works of Chinese Modern Art." His art gained attention both domestically and internationally.

After 2000, Wang Huaiqing confidently created a series of largescale masterpieces, such as "Mono Infinity," "Homeless Furniture," "House in a House," "Age of 5000 Years," "Trace of Nature," "High Mountain Water Fall," "Happiness," "Flying Apsaras," etc., featuring ancient cultural symbols and more intricate, magnificent spatial creations.

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王懷慶《三味書屋》1986-1990年 油彩 畫布 112 x 145 cm Wang Huaiqing, San Wei Book Room, 1986-1990, oil on canvas, 112 x 145 cm

21

王懷慶作品二十大拍賣成交排行 1

2

3

4

5

永字八法 Eight Laws of Yongzi

足－2（雙聯幅） Feet 2 (Diptych)

立定1&2 Halt 1&2

四合 South/North/West/East

2012-2013 Wood, mix media, oil on canvas 150 x 420 cm 60 x 420 cm

1999 Oil on canvas 200 x 320 cm

沒家的傢具（四聯幅） Homeless Furniture (Quadruple)

2006 Oil on canvas 400 x 70 cm

1999 Oil on canvas 300 x 300 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

諮詢價

HKD 30,000,000 40,000,000

RMB 18,000,000 28,000,000

諮詢價 RMB 13,000,000

諮詢價 RMB 16,000,000 26,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 3,530,960 RMB 23,230,000

USD 3,389,232 RMB 23,520,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 3, 2016

拍賣日期 Auction Date 北京嘉德 China Guardian, Beijing April 28, 2008

拍賣日期 Auction Date 北京保利 Poly Auction, Beijing June 4, 2016

拍賣日期 Auction Date 北京保利 Poly Auction, Beijing May 28, 2008

6

7

8

9

10

房中房－紅色之床（雙聯幅） House in a House-Red Bed (Diptych)

金石為開（三聯幅） Gold Stone (Triptych)

一根紅線（雙聯幅） Red Thread (Diptych)

相對有聲 Wordless Encounter

玉壺春瓶 Yuhuchun Vase

1998 Oil on canvas 200 x 480 cm

2008 Oil on canvas 200 x 120 cm

1992 Oil on canvas 130 x 145 cm

1999 Oil on canvas 213 x 122 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

HKD 20,000,000 30,000,000

TWD 80,000,000 98,000,000

HKD 16,000,000 25,000,000

HKD 12,000,000 18,000,000

HKD 12,000,000 24,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 1,867,920 HKD 14,480,000

USD 1,850,311 HKD 14,520,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 2, 2017

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei December 2, 2007

拍賣日期 Auction Date 香港嘉德 China Guardian, Hong Kong October 9, 2022

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 4, 2015

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong March 31, 2018

成交價 Sold at

USD 11,176,562 RMB 71,875,000 拍賣日期 Auction Date 北京永樂 YongLe Auction, Beijing May 21, 2021

2002 Mixed media, oil on canvas board 200 x 240 cm

USD 2,790,619 HKD 21,700,000

22

USD 7,033,080 HKD 54,520,000

USD 2,726,174 TWD 87,960,000

2001 Oil on canvas 200 x 480 cm

USD 4,001,200 RMB 28,000,000

USD 2,701,921 HKD 21,210,000

成交價 Sold at

成交價 Sold at

[ ART & INVESTMENT ]

TOP

TOP 20 MOST EXPENSIVE ARTWORKS OF WANG HUAIQING EVER SOLD AT AUCTION

20

製表 ∕ 陳子萱 Jenny Chen（Update 2023.10.18; Source: Artprice.com, Artron.net, Ravenel, Sotheby's, Guardian, YongLe Auction, Zhong Cheng）

11

12

13

14

15

錯覺 Illusion

相對有聲 Wordless Encounter

天工開物－3 Traces of Nature No. 3

1234567 1234567

1993 Oil on canvas 145.5 x 112 cm

1992 Oil on canvas 130 x 145 cm

2004 Oil on canvas 256 x 200 cm

1997 Oil on canvas 116 x 81 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

TWD 44,000,000 58,000,000

TWD 38,000,000 42,000,000

諮詢價

HKD 6,000,000 8,000,000

HKD 9,000,000 15,000,000

成交價 Sold at

成交價 Sold at

USD 1,422,320 RMB 9,200,000

成交價 Sold at

成交價 Sold at

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 26, 2018

拍賣日期 Auction Date 香港嘉德 Guardian, Hong Kong Octobre 2, 2018

房中房－韓熙載之床 （夜宴圖系列之三） House in a House Bed of Han Xizai (Han Xizai's Night Revels 3) 2002 Oil on canvas, collage 200 x 300 cm

USD 1,541,989 TWD 49,760,000

USD 1,515,085 TWD 45,429,840

成交價 Sold at

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 5, 2014

USD 1,358,724 HKD 10,660,000

USD 1,340,304 HKD 10,500,000

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei June 6, 2010

拍賣日期 Auction Date 台北中誠 Zhong Cheng, Taipei June 8, 2014

16

17

18

19

20

飛天（三聯幅） Flying Apsaras (Triptych)

榻 Chinese Couch

鏡中的椅子 Chairs in the Mirror

琴桌 Lute Table

椅子和椅子 Chair and Chair

2006 Oil on canvas, collage 200 x 363 cm

1999 Oil on canvas 140 x 197 cm

1993 Oil on canvas 130 x 145 cm

2003 Oil on canvas 165 x 200 cm

1999 Oil on canvas 131 x 146 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

TWD 29,000,000 42,000,000

HKD 9,000,000 12,000,000

HKD 8,000,000 12,000,000

TWD 38,000,000 48,000,000

HKD 8,000,000 12,000,000

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 June 7, 2009

拍賣日期 Auction Date 香港嘉德 China Guardian, Hong Kong April 6, 2015

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 3, 2016

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei December 4, 2011

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 4, 2010

USD 1,338,226 TWD 43,760,000

USD 1,335,150 HKD 10,350,000

USD 1,326,120 HKD 10,280,000

USD 1,310,779 TWD 39,520,000

USD 1,240,017 HKD 9,620,000

23

大自然的禮物－長井朋子

A GIFT FROM THE NATURE – TOMOKO NAGAI 24

[ THE ARTIST ]

Text / 陳昱良 Iris Chen Photo / Ravenel International Art Group

櫻花－在日本代表春天與山神的住所，擁有崇高地位；近年更成為日本在國際間的 重要文化象徵。2020 年 3 月初春，日本眾神之鄉：島根縣出雲大社，由小山登美夫畫廊 協辦，在五百株盛開的櫻花林中，舉行了藝術家長井朋子「春天，垂枝的櫻花」（しだ れざくらと春を）個展。喜愛櫻花的長井朋子，每年都會創作櫻花主題的畫作，甚至將 孩子的命名取自相同諧音。該展出長達五百四十公分的三聯幅鉅作《垂櫻》。畫風華美 壯觀，在神聖的園林裡，連結起自然、藝術與人類的和諧關係。 長井朋子 1982 年出生於愛知縣，2006 年畢業於該縣的藝術大學美術系。從小立定 志向的她，是一位天生的藝術家，嚮往在充滿小動物與大自然的環境中創作藝術。有一 點孤單的童年時光，長井喜歡帶著心愛玩偶一起到森林中野餐散步，沉浸在想像世界， 就是她最幸福的時光。手邊撿拾樹葉、橡實、碎花布和鈕扣，再加一點點創造的魔法， 就會是可愛又獨特的手工作品。長井朋子描述繪畫就像用顏色拼圖，憑感覺打底抽象的 背景，色彩層次深深淺淺重重疊疊。核心圍繞著「自然」，主題則是「風景」。她描繪 著那些從沒去過，自己仍似曾相識的景色。構築想像世界的過程，就像園丁悉心呵護園 藝造景。繪畫本身是與自然的結合，如同植物珍惜點點露水，藝術家也應當守護每一滴 不經意落下的顏料。她無意中回應了崇尚自然的日本神道文化，上天恩賜的「偶然」應 當保持原狀，一切不多不少，渾然天成的和諧，才是最好的成果。 長井朋子就像活在夢中的人，無數的夢境與想像，用畫筆捕捉著其中的風景和事件， 畫布就是現實與夢境的通道。她深信語言無法傳達的情境與感受，可以透過繪畫與他人 分享。2015 年長井朋子曾遭遇創作的瓶頸，經過沉澱和自我療癒，她重新出發並鼓舞著 有相同經歷的人們，投入創作。不一定是繪畫，任何運用到創意的活動，如：植栽、陶藝、 裁縫等等，都可以為過於理性與知識化的成人世界，喚醒感知與感性。畫作與其用眼睛 欣賞，不如用心投入其中，漫遊在藝術家創作的過程，全心全意的感受作品帶來妙不可 言的感覺。彷彿自由穿梭的時空旅人，眼前是森林、蘑菇、小動物，下一秒則來到雪原、 海洋與沙漠，或是如舞台劇的故事場景環繞著洋娃娃與玩偶。 2007 年首場個人展覽後，連年展覽的長井朋子，2011 年跨海於香港、韓國展出； 2013 年則於高雄藝博會正式亮相於台灣收藏圈，距今已然十週年。2022 年則由小山登 美夫畫廊與就在藝術空間合作，首次舉辦藝術家的台灣個人展覽。2020-2022 年愛知縣 豐川市櫻丘美術館舉行藝術家首場美術館展覽。目前長井朋子作品的拍賣紀錄未達百件， 百分之七十五的成績締造於 2021-2023 年間。羅芙奧 2022 年秋拍《來自白馬的禮物》， 尺幅達三米五雙聯幅畫作，以台幣 4,800,000 成交，則是目前藝術家個人的最高紀錄。 作品也典藏於日本高橋收藏（Takahashi Collection, Japan），德國奧布里希收藏（The Olbricht Collection, Germany）， 英 國 薩 布 多 維 奇 收 藏（The Zabludowicz Collection, British），瑞士尚皮戈齊收藏（JAPigozzi Collection, Suisse）等藝術收藏機構。 羅芙奧2022秋季拍賣會 長井朋子《來自白馬的禮物 (雙聯幅)》2008 油彩 壓克力 漆 畫布 227.5 x 364 cm 台幣4,800,000 成交 Ravenel Autumn 2022, Tomoko Nagai, A Gift from White Horse (diptych), 2008 Oil, acrylic, color spray on canvas, 227.5 x 364 cm, USD 156,914 sold

25

Sakura － representing spring and the abode of mountain gods in Japan, holds a revered position; in recent years, it has become an important cultural symbol for Japan internationally. In early spring of March 2020, at the Izumo Taisha in Shimane Prefecture, the homeland of Japanese deities, a solo exhibition by the artist Tomoko Nagai, 'Spring, Weeping Cherry Blossoms' ( し だ れ ざ く ら と 春 を ), was organized in collaboration with the Tomio Koyama Gallery among a garden of five hundred blooming sakura trees.

Tomoko Nagai, an enthusiast of sakura, annually creates artworks themed around cherry blossoms, even naming her own child with homophones of the same. The exhibition showcased the monumental triptych 'Weeping Cherry,' measuring a striking five hundred and forty centimeters. With a magnificent and elegant style, the exhibition connects the harmonious relationship between nature, art, and humanity in the sacred garden.

Tomoko Nagai was born in Aichi Prefecture, Japan, in 1982. She graduated from Aichi Prefectural University of Fine Arts in 2006. From a young age, she had a clear vision and was a natural-born artist who aspired to create art in the nature with animals. During her somewhat solitary childhood, Nagai enjoyed taking her beloved dolls on picnics and walks in the forest, immersing herself in an imaginative world, which was her happiest time. By collecting leaves, acorns, floral fabrics, and buttons, and adding a touch of creative magic, she would create cute and unique handmade creations.

Tomoko Nagai describes painting as if creating a color puzzle, starting with an abstract background guided by intuition, layering colors deep and shallow, one on top of the other. Her core focus is on "nature," and her theme revolves around "landscapes." She portrays scenes she's never visited, yet they feel strangely familiar to her. The process of constructing an imaginary world is akin to a gardener carefully tending to landscape gardening. Painting itself

羅芙奧2023秋季拍賣會 1. 長井朋子《新綠》2020年 水彩 鉛筆 色鉛筆 紙本 17.5 x 12.4 cm 2. 長井朋子《蘿莉波莉》2018 油彩 畫布 24 x 19.3 cm 3. 長井朋子《貓咪高帽子》2020年 油彩 亮粉 畫布 162 x 130.3 cm

③

Ravenel Autumn 2023 1. Tomoko Nagai, Green, 2020, Watercolor, pencil, color pencil, collage on paper, 17.5 x 12.4 cm 2. Tomoko Nagai, Loli Polly, 2018, Oil on canvas, 24 x 19.3 cm 3. Tomoko Nagai, Cat Hat, 2020, Oil and glitter on canvas, 162 x 130.3 cm

is a union with nature, much like how plants cherish each dewdrop. Artists should also safeguard every drop of pigment that falls with the same care.

Inadvertently, she resonates with the reverence for nature found in Japanese Shinto culture, where the gifts from the heavens, the "encounters," should be left in their original state. Not too much, not too little – achieving a harmonious and inherently natural result is the best outcome.

Tomoko Nagai is like someone living in a dream, capturing the countless dreams and imaginings with her brush, turning them into landscapes and events. Her canvas serves as the gateway between reality and dreams. She firmly believes that situations and emotions that cannot ①

26

②

[ THE ARTIST ]

羅芙奧2023秋季拍賣會 4. 長井朋子《花束女孩》2018年 油彩 亮片 畫布 116.7 x 91 cm 5. 長井朋子《麻雀的忠告》2018年 油彩 亮片 畫布 145.7 x 112 cm

④

Ravenel Autumn 2023 4. Tomoko Nagai, Bouquet Girl, 2018, Oil and glitter on canvas, 116.7 x 91 cm 5. Tomoko Nagai, March on with Sparrow, 2018, Oil and glitter on canvas, 145.7 x 112 cm

⑤

be conveyed through words can be shared with others through painting.

After her inaugural solo exhibition in 2007, Tomoko Nagai exhibited

In 2015, Tomoko Nagai faced a creative block, but after a period of

annually, showcasing her works in Hong Kong and South Korea in 2011.

reflection and self-healing, she started anew, inspiring others who had

In 2013, she made her official debut in the Taiwanese art scene at the

experienced similar challenges to embark on their creative journeys.

Kaohsiung Art Fair, marking a decade since. In 2022, the Tomio Koyama

It doesn't have to be painting; any creative activity, such as gardening,

Gallery and Project Fulfill Art Space collaborated to host the artist's

pottery, sewing, and more, can awaken perception and sensibility in the

first solo exhibition in Taiwan. From 2020 to 2022, the artist held her

overly rational and knowledge-driven world of adults.

inaugural museum exhibition at the Sakuraoka Art Museum in Toyokawa

Appreciating artwork goes beyond using your eyes; it involves immersing your heart and soul into the process, allowing you to experience the indescribable beauty it brings. It's like becoming a free-spirited time traveler, where one moment you're in a forest with mushrooms and little animals, and the next, you're in a snowy landscape, an ocean, or a desert. You may find yourself surrounded by dolls and toys, much like the scenes in a stage play.

City, Aichi Prefecture. Presently, the auction records for Tomoko Nagai's works total fewer than one hundred pieces, with 75% of these achievements realized between 2021 and 2023. In the autumn auction of 2022, her diptych titled 'A Gift from the White Horse,' measuring 3.5 meters, sold for NTD 4,800,000, setting a new personal record for the artist. Nagai’s works are also included into institutions such as the Takahashi Collection, Japan; The Olbricht Collection, Germany; The Zabludowicz Collection, UK and the JAPigozzi Collection, Switzerland.

27

張大千與歸妹圖

京戲水墨添韻事

WHEN OPERA MEETS INK: ZHANG DA-QIAN AND HIS WORK 'WANG KUI BETRAYS GUI YING' Text、Photo / Ravenel International Art Group

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[ CHINESE PAINTINGS ]

2023 年適逢八二三砲戰六十五週年紀念暨當時奮勇抗共、時任國 防部長的俞大維逝世三十週年，浙江俞氏家族的顯赫家世與歷史又重新 得到人們的關注目光。俞大維母親為清末名臣曾國藩的外孫女，俞氏早 年留美、後赴德國深造，專研數理與彈道兵學，曾任兩屆國防部長與交 通部長，是第一位非黃埔軍校出身的文人國防部長，在對日抗戰與國共 戰爭時期立下汗馬功勞；其平生好學不倦、幾近全才，被譽為台灣近代 極具清望且才幹超群的重臣。 俞大維胞弟俞大綱，曾從徐志摩學習現代詩，加入詩社「新月派」； 俞大綱大學畢業後考上北平燕京大學國學研究院，由國學大師陳寅恪悉 心教導。抵台後由臺靜農推薦任教於台灣大學中文系，淡江大學與國立 台灣藝術大學，後赴中國文化大學中國戲劇系首任系主任，俞大綱是近 代中國戲曲專家，一生專注於中國傳統戲曲、詩詞研究與台灣現代戲劇 教育，其作育英才無數、被視為七零年代的台灣文藝界的精神導師與 「台灣現代劇場藝術的推手」，著名京劇名伶郭小莊、雲門舞集創辦人 林懷民等人都曾受俞大綱的提攜與栽培。 1960~1980 年間，台灣藝文界深受西方戲劇與流行娛樂多元化的影 響，傳統的皮黃戲曲——京劇日漸式微，俞大綱有鑑於中國傳統戲曲文 化沒有系統化的傳承與改造，因此於 1970 年完成了根據南戲佚文、明 代戲曲家王玉峯所著《焚香記》和川劇《情探》，重新編寫出《王魁負 桂英》一劇，劇中描述傳統多情女子與負心漢的傳奇故事，因俞大綱藉 由其詩詞造詣與戲劇的才華改寫成文辭優美、極富人性而突顯出風格的 新京劇。此劇由當時年僅 19 歲的郭小莊擔綱演出「焦桂英」一角，劇 中郭小莊飾演性格剛烈的焦桂英，唱作俱佳、感人落淚。俞大綱於淡江 大學任教時期便開始教導並提攜郭小莊，從日常舉止與教養開始培養她 成為一名好演員，為感念俞大綱多年的栽培與繼承其遺志，1979 年郭

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張大千《歸妹圖》1975 水墨 設色 紙本 鏡框 125 x 62 cm 羅芙奧台北2023秋季拍賣會「翰墨丹青－書畫及古文物」專場 預估價 台幣 3,200,000 - 5,000,000 Zhang Da-qian, Chung K'uei Marries off His Younger Sister, 1975, Ink and colour on paper, framed,125 x 62 cm Ravenel Autumn Auction 2023 Refined Brushwork: Ink Paintings and Works of Art Estimate: USD 100,100 - 156,300

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本次秋拍《歸妹圖》（拍品編號636）刊登於民國六十五年二月十二日的聯合報 Chung K'uei Marries off His Younger Sister (Lot 636) published in the United Daily News on 12th February 1976

小莊成立「雅音小集」，選演《王魁負桂英》作為創團作品，用以紀念 俞大綱在台灣文藝史上對於京劇戲曲的推展與其具有承前啟後的地位。 1974 年張大千即將離台返美，臨行前經由安排觀賞了《王魁負桂 英》一劇，俞大綱與張大千原為舊識老友，暫居香港時曾多次前往張大 千寓所做客；張大千早年獨鍾京劇，此回演出讓其深受俞大綱的改編劇 本及郭小莊的精湛演技而感動，返美後的張大千念念不忘此劇所帶來的 感動，便於 1975 年在美國環蓽庵創作了《王魁負桂英》一作，畫中以 郭小莊飾焦桂英的扮相為題，畫款以九歌詩句為題贈，表示對後輩的提 攜厚愛；與此同時，大千也為改編新劇的俞大綱畫了一幅《焚香記》， 而《焚香記》畫成《歸妹圖》又是另一段逸聞。

以自拔，返美後欲將心中所思付之於畫筆、藉「以報先生之雅」，但當 時張大千身體狀況欠佳，手腕掣顫而擱置不成；而後張大千決定返台定 居前夕的歲末，趁健康恢復之時追憶當時的演出劇情，心有所感之際鋪 紙揮毫，畫成後卻被家人視為「鍾馗嫁妹」而非「王魁與桂英」，大千

此幅《歸妹圖》得自俞氏家族，圖中鍾馗相貌極似張大千的自畫像，

亦為此掀髯一笑，而在畫上題款二回以記之。然而細究其中原由實因張

與台北故宮博物院藏張大千《鍾馗軸》的畫風與技巧極為相似，張大千

大千作畫時逢歲末年終，傳統國畫都在歲朝圖畫鐘馗，用以拔除不祥，

畫鍾馗長髯飛鬢、眉濃髮密，頭戴進士帽、身著長袍灰靴，右臂端起水

又因其極力回想「焚香記」的情懷而畫成「歸妹圖」，而造成「筆下王

袖，儀表堂堂地與身旁的妹妺對視；圖中鍾馗妹造型長髮披散、白裙水

魁變鍾馗」、「負心漢化捉鬼客」的錯置，俞大綱收迄贈畫後賦七言詩

袖以拖絲飛白的技法寫成，神情樣貌若有所思，不似早期張大千「鍾馗

一首唱和回報而成就一段藝壇佳話。此作曾於 1976 年張大千於台北歷史

歸妹」畫中待嫁仕女的秀麗姿態，通幅作品用筆粗荒，兼帶逸筆粗豪之

博物館畫展中，與《王魁負桂英》及 1945 年所做的《九歌圖》卷一同展

感，頗有「老大意轉拙」的勢態。1975 年歲末所成的《歸妹圖》原是

出，可見張大千對此畫的重視，其背後的故事更加賦予了近代中國歷史

張大千對於俞大綱改編《焚香記》中《王魁負桂英》之劇情表現久久難

與文化發展的意義，為世存張大千自畫像中極為可貴且獨一無二的創作。

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He was renowned for his achievements in modern Chinese theatrical performances, poetry and modern theatre education in the 1970s with students including Guo Xiao-Zhuang, Lin Huai-min of Yunmen Dance Theatre. ▲

俞大綱賢伉儷與作品《歸妹圖》(拍品編號636)合照 Mr. and Mrs. Yu Da-gang together with the work Chung K'uei Marries off His Younger Sister (Lot 636).

In the 1960s to 1980s, the Taiwanese theatrical scene was heavily influenced by western performances and entertainments. Traditional performances such as Peking operas were disappearing. Yu Da-gang saw the poor management of traditional arts and redirected 'Wang Kui Betrays

2023, a year to commemorate the 65th anniversary of the Second

Gui Ying' with reference to traditional operas such as the Southern

Taiwan Strait Crisis and the 30th anniversary of the death of Yu Da-wei,

school, 'Burning Incense' of Ming dynasty and 'Lover's Visit' of Chuan

who headed the Ministry of Defense at that time, and it brings about

opera. Guo Xiao-zhuang, then 19 years old, took up the leading role of

the story of the renowned Yu family of Zhejiang. Yu's mother was the

Jiao Gui-ying who has a strong character but a sad ending. Guo was a

granddaughter of Zeng Guo-fan, a historically important General of the

student taught and shaped by Yu Da-gang at the Tamkang University. As

Qing Empire. Yu Da-wei studied in the US and Germany specialising in

a gift of gratitude towards Yu and his contribution towards Peking operas

mathematics and the studies of missiles, hence headed the Ministry of

in Taiwan, Guo chose to perform this play as an inauguration play of her

Defence and the Department of Transport. He was the first leader of the

group Yayin Studio in 1979.

ministry who did not have any military training but achieved success in the Sino-Japanese war. He was studious and prodigious making him a well-acclaimed member in Taiwan.

In 1974, shortly before his departure to the US, Zhang Da-qian watched the play of his old friend, Yu Da-gang, who often visited him in Hong Kong. Zhang Da-qian always loved Peking operas. This

Yu Da-wei's younger brother Yu Da-gang pursuit a literary path,

reproduction by Yu Da-gang and the outstanding performance of Guo

having followed Xu Zhi-mo in modern poetry and joined the Xinyue

Xiao-zhuang astounded the artist after returning to the US in 1975, thus

society. Yu Da-gang studied at the Beijing Yanjing University under Chen

painted a memorable scene of 'Wang Kui Betrays Gui Ying' and inscribed

Yin-luo. With the recommendation of Tai Jing-nong, Yu taught at the

a poem of the Nine Songs as an appreciation towards Yu's devotion in

National Taiwan University, Danjiang University and the National Taiwan

education. While this work shows a scene from 'Burning Incense' by Yu

Arts University after relocating to Taiwan. He was the first professor

Da-gang, the title 'Chung K'uei Marries off His Younger Sister' sheds

at the Chinese theatrical faculty at the Chinese Culture University.

light on another interesting fact of this work.

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[ CHINESE PAINTINGS ]

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張大千（左）與俞大綱賢伉儷（中、右） Photo of Zhang Da-qian (Left) with Mr. and Mrs. Yu Da-gang together (Middle and Right)

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郭小莊（左）、俞大綱之女俞啟木（右）與作品《歸妹圖》（拍品編號636）合照於台北 Guo Xiao-zhuang (left), Yu Da-gang's daughter Yu Qi-mu (right) together with the work Chung K'uei Marries off His Younger Sister (Lot 636) in Taipei.

Consigned by the Yu family, this work shows Chung K'uei, having a stark resemblance to Zhang Da-qian with long beard and thick brows, wearing an official's hat, grey boots and folded sleeves showing the arms, facing a young girl next to him. Chung K'uei's sister, with long hair and white loose robes, depicted using thin expressive lines, wraps herself in thoughts, a style different from Zhang's usual lady portraits.

Brushwork is rough, expressive yet slow in depiction. Painted by the end of 1975, this painting was initially painted with a strong attachment towards Yu Da-gang's reproduction of 'Burning Incense' to express his gratitude to Yu. Due to his declining health, Zhang's wrist could not recover and his work was delayed. Shortly before returning to Taiwan, Zhang resumed working on it by recalling the performance and his thoughts from memory. Due to the timing of completion, where Chung K'uei was a common subject of year-end paintings, Zhang's family members mistook the painting as Zhong Kui instead of the opera scene.

Hence Zhang inscribed a note explaining such resemblance and the scene from memory. Upon receiving the painting, Yu composed a poem as a gift of gratitude in return, marking this exchange a renowned story of the time. This work was exhibited along with 'Wang Kui Betrays Gui Ying' and 'Nine Songs' made in 1945, showing the importance of this painting to the artist, an alternative and unique self-depiction and its significance in the arts development in Taiwan.

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， 前 藏 收 酒 萄 跨入葡 事 件 三 的 道 知 須 你必

Before w o n K t s u M u o Three Things Y Journey! g n ti c e ll o C e Win

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a Tang Text / 唐維怡 Ev st Wines Finest and Rare l ne ve Photo / Ra

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喝

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那 天 踏 進 一 家 新 開 的 葡 萄 酒 吧， 點 了 瓶 自 然 酒 Gaia

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「 葡 萄 酒 這 麼 貴 ! ! ! ! 有 錢 人 真 是 聰 明 ，知 道 要 投 資 葡 萄 酒 。 不像我們就這樣把錢給喝掉了。」 感嘆了兩番的兩位女子拿起酒杯敲了一下，豪邁地一乾， 開懷大笑，繼續他們無所顧忌的天南地北。 低 頭 笑 了 笑 ，坐 在 隔 壁 的 我 默 默 朝 她 們 舉 杯 ，也 一 飲 而 盡 。

是 了， 葡 萄 酒 投 資 一 向 充 滿 高 度 品 味 色 彩， 其 與 金 融 市 場 的 低 相 關 性， 更 讓 葡 萄 酒 成 為 富 豪 人 士 最 喜 歡 的 另 類 投 資 之 一， 根 據 Knight Frank 2023 年 度 的 Luxury Investment 調 查 報 告， 過 去 十 年 高 淨 值 資 產 人 士 在 投 資 葡 萄 酒 的 報 酬 上 高 達 149%， 位居奢侈品投資品類潛在報酬第二，僅次於威士忌。誠然，一瓶在 1983 年僅數千元 的 DRC Romanée-Conti 在平均每年 10-15% 的漲幅下，一瓶來到超過五十萬的價位， 更 屢 次 在 國 際 拍 賣 中 敲 出 驚 人 天 價； 勃 根 地 當 紅 炸 子 雞 Domaine Leroy 的 旗 艦 酒 款 Musigny，更因供不應求，在一級市場的價格就超過兩百萬一瓶。然而，亮麗的市場數 字沒有提到的，是其背後投入的成本。

入門門檻高 在跨入葡萄酒收藏前，你必須知道的第一件事，就是葡萄酒是個入門門檻偏高的收 藏投資品類。 所謂的門檻高，指的並非價格上的門檻。相較名錶與經典車，葡萄酒的單價起始點 絕對是平易近人的。然而，葡萄酒的世界廣博精深，早在八世紀神聖羅馬帝國奠定了今 日葡萄酒釀造法後便不斷演進發展，歷史長遠，單單酒莊與品牌就足以令新手眼花撩亂。 我們曾與讀者分享，挑選收藏標的首重產地與品牌，一瓶酒的來歷大抵上決定了他 的市場流通性，以拍賣市場作為二手市場的代表，我們可以看到 80% 以上的酒都來自 法國，代表了法國葡萄酒的流通性和變現性是相較強勁的。而品牌的精神與形象對消費 者來說不僅是生活態度與品味的選擇，其長年維持的品質、鮮明的形象以及市場的定位 等，更代表著品牌與酒莊經營的策略與方向，這些對於該品牌的未來市場價值都有著劇 烈的影響。

安

全

有

保

障

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然 而， 即 便 鎖 定 了 數 家 酒 莊， 每 間 酒 莊 由 於 其 產 區 的不同，又有著不同產區的好壞年份。同樣是波爾多五大 酒莊的 Château Lafite，酒評家 Robert Parker 給了滿分的 1982 年，就硬生生比 1991 至 1994 年間出產的同款酒貴上 五倍。波爾多 (Bordeaux) 的好年份也不能直接對照到同屬 法國的明星產區 - 勃根地 (Burgundy)，同樣是 1982 年，對 勃根地來說就非表現出彩的一年。這樣的價格差距是由於 好的年份除了酒評家給予高分評價外，更重要的是其架構 為他帶來的陳年實力，一瓶 1982 年的波爾多到 2023 年的 現在都還在適飲期，無論是收藏亦或預期未來轉手，能夠 放得久的品項自然在市場上的競爭力比其他年份來得高。

本的產地、品牌與年份挑選上，就需要新入行的藏家投入 不少時間學習。 此 外， 儘 管 與 金 融 市 場 相 關 性 不 大， 但 葡 萄 酒 本 身 的市場也是會不斷變化的。舉例來說，直到十多年前都引 領著消費動脈的法國波爾多產區，逐漸在消費者對小農觀 念的喜愛、中國突如其來的打奢政策、以及與勃根地等產 地在產量上的對比之下，逐漸退位交棒給法國勃根地，在 2022 年度的 LIV|EX Power100 中，勃根地產區奪下 39 個 名次，過去向來強勢的波爾多僅佔有 25 個席次。 作為一名著眼未來的葡萄酒投資人，除了對各產區、 酒莊、與年份的瞭若指掌，也必須洞悉並跟上這不斷變動

哪些酒是值得關注、值得收藏與投資的？單單在最基

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喝

酒

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收藏成本高 再者，收藏與投資葡萄酒最最重要的是存放環境。 灌裝在玻璃瓶中的葡萄酒透過軟木塞，持續緩慢地呼吸著，不斷在瓶 中轉化陳年。既然是呼吸著，四周環境就十分重要，如何讓儲存環境的溫 度與溼度保持在葡萄酒最舒適的範圍，是所有藏家必須面對的課題。投資 專業酒窖空間以及壓縮機等專業設備，是長期收藏葡萄酒不可或缺的投入， 而長時間下來不容小覷，因此，儲藏成本是一開始就必須被規劃進去的重 要收藏成本。 很幸運的是，如今各大城市都有許多專業酒窖的出現，提供理想且完善 的儲藏環境，確保葡萄酒能夠在最舒適的環境下沉澱歲月。而收藏家僅需依 照自己的收藏量租用酒櫃或隔間，支付相應的租金，大大降低了收藏成本。

變現管道少 最後，既然說到投資，未來的變現管道在哪裡便是需要考量的重點。 許多人直覺想到「拍賣 (auction)」，特別是許多高價紀錄都是在世界 各大拍場中所創下。是的，拍賣可以說是是收藏世界中最具有公信力的二手 流通集散地，但拍賣行的收件是有其標準的，並非來者不拒：品項是否符 合當前市場趨勢、收藏環境與保存狀況是否符合專業條件、收藏來源是否 正確等等，在送拍第一步，往往就必須面臨嚴格的篩選。此外，委託上拍 也存在有成本，手續費與所得稅金在投入葡萄酒收藏前就必須考量並規劃。

因此，會建議有心踏入葡萄酒收藏與投資的朋友多多關注 各大拍賣行的葡萄酒拍賣資訊，觀察哪些酒莊的作品不斷出現、 哪些品項較受藏家喜愛、哪些是拍賣行可能會篩選上拍的品項， 並從參與拍賣和投標中，與拍賣行建立起關係，讓拍賣行有機 會認識您與您的收藏，為未來的出脫管道做鋪墊。 一瓶葡萄酒乘載的，是釀酒師的信念與時間的軌跡。而收 藏葡萄酒的有趣就在於它是一個有一天會被開瓶來享用的有形 資產，深入了解一瓶酒的來歷與背景，領略這瓶酒的獨特，那 麼即便他最終未能為您帶來高投報率，也能好好享受它所帶來 那無與倫比的體驗。

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O n t h a t d a y, I s t e p p e d i n t o a n e w l y o p e n e d w i n e b a r a n d o r d e r e d a b o t t l e

of natural wine, the Gaia Muscadet Cuvee Ovoide. With a brand-new e-book reader in hand, I leisurely indulged in my reading, savoring both the pages

a n d t h e w i n e . S u d d e n l y, m y e a r s p e r k e d u p a s I o v e r h e a r d t w o l i v e l y w o m e n a t

the neighboring table, their conversation filled with names that sounded oddly f a m i l i a r.

" H a v e y o u s e e n t h e n e w s ? P i e r r e C h e n , C h a i r m a n o f Ya g e o h a s s u c h a n astonishing wine collection!"

"Are you talking about the recent auction of the private collector?" " Ye s ! L o o k a t t h i s , t h e n e w s s a y s t h a t t h e m o s t e x p e n s i v e b o t t l e i n t h i s a u c t i o n w i l l f e t c h o v e r s i x m i l l i o n N e w Ta i w a n D o l l a r s ! "

" W i n e c a n b e t h a t e x p e n s i v e ! ! ! R i c h p e o p l e a r e t r u l y c l e v e r, i n v e s t i n g i n w i n e .

U n l i k e u s , w e j u s t s p e n d o u r m o n e y a w a y. "

The two women sighed in unison, then raised their glasses and clinked them

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

I chuckled to myself, lowering my head, and raised my glass in their direction, quietly toasting to their merriment, before savoring the wine in a single, satisfying gulp.

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Indeed, wine investment has always been associated with a touch of sophistication. Its low correlation with financial markets has made it one of the favored alternative investments for the affluent. According to Knight Frank's 2023 Luxury Investment Survey, over the past decade, high-net-worth individuals have seen returns of up to 149% on their wine investments, making it the second-highest potential return category in luxury investments, only surpassed by whisky.

Undoubtedly, a bottle of DRC Romanée-Conti that once cost just a few thousand dollars in 1983 has seen an average annual increase of 10-15%, skyrocketing to a price tag exceeding half a million. It has even fetched astonishing prices in international auctions multiple times. Domaine Leroy's flagship wine, Musigny, often referred to as the crown of Burgundy, has become so sought after that its price in the primary market has exceeded two million NT dollars per bottle.

However, what these dazzling market figures often fail to mention are the hidden costs that go into wine investment.

High Entry Barrier The first thing you must know before stepping into the world of

image, and market positioning. These factors have a profound impact

wine collecting is that it's a category of investment with high entry

on the brand's future market value and reflect the strategies and

barriers.

direction of both the brand and the winery's management.

When we talk about high entry barriers here, we're not referring

However, even if we narrow down our selection to a few wineries,

to the price. Compared to luxury watches and classic cars, the starting

each winery has its own uniqueness influenced by the region it hails

price for a bottle of wine is relatively accessible. However, the world

from, as well as the quality of vintages in different regions. Take

of wine is vast and deep. It has evolved and developed since laying its

Château Lafite, one of the Bordeaux's top five wineries, for example.

foundations in the 8th century, and its long history, coupled with the

In 1982, it received a perfect score from wine critic Robert Parker,

multitude of wineries and brands, can easily overwhelm newcomers.

making it five times more expensive than the same wine produced

As we've shared with our readers before, selecting a target for your wine collection should focus on the region of origin and the brand. The provenance of a bottle of wine largely determines its market liquidity.

Taking the auction market as a representative of the secondary market, you can see over 80% of the wines come from France, which signifies the strength of French wine in terms of circulation and realization. The brand's spirit and image are not just choices of lifestyle and taste for consumers. They represent the brand's long-standing quality, distinctive

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between 1991 and 1994. Bordeaux's exceptional vintages can't be directly compared the other wine region of France, Burgundy. In 1982, a year when Bordeaux shone, Burgundy did not perform as well. This pricing disparity is because exceptional vintages, besides high scores from wine critics, represent its aging potential. A bottle of Bordeaux from 1982 is still at its peak in 2023. Whether for collecting or future resale, items that can be aged longer naturally hold a higher competitive edge in the market compared to other vintages.

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Which wines are worth watching, collecting, and investing in?

Just in terms of selecting the basics like region, brand, and vintage,

vintages but also to stay attuned to these ever-evolving trends.

novice collectors need to invest a considerable amount of time in

High Storage Costs

learning.

Furthermore, although wine has minimal correlation with the financial market, the wine market itself undergoes constant changes.

For instance, the Bordeaux region in France, which led the consumer market until a little over a decade ago, has gradually given way to Burgundy. This shift is driven by consumer preferences for smaller producers, China's sudden anti-extravagance policies, and comparisons in production volumes with regions like Burgundy. In the 2022 LIV|EX Power100, Burgundy secured 39 spots, while Bordeaux, once dominant, only had 25.

As a wine investor with an eye on the future, it's crucial not only

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to have an in-depth understanding of various regions, wineries, and

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Furthermore, one of the most critical aspects of wine collecting and investment is the storage environment.

Wine stored in glass bottles that sealed with cork, undergoes a slow and continuous transformation while aging inside the bottle.

Since wine breathes, the surrounding environment becomes crucial.

Maintaining the temperature and humidity of the storage environment within the wine's most comfortable range is a challenge all collectors must face. Investing in professional wine cellar space and equipment like cooling systems is an essential expense for long-term wine storage. Over time, these costs can accumulate, making storage expenses an important consideration from the outset.

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Fortunately, in today's major cities, there are numerous professional

items for auction, including handling fees and taxes, which need to be

wine cellars available, offering ideal and well-maintained storage

considered and planned for before entering the world of wine collecting.

environments to ensure that wine can mature gracefully in the most comfortable conditions. Collectors can rent wine lockers or compartments based on their quantity, paying corresponding rents, significantly reducing storage costs.

Therefore, it is advisable for those interested in wine collecting and investment to closely follow the wine auction information provided by major auction houses. Observe what wine from which wineries consistently appear, which items collectors favor, and which items the

Limited Liquidation Channels

auction houses may be inclined to select for auction. Participate in

Finally, when it comes to investment, it's essential to consider where the future liquidity channels lie.

Many people immediately think of "auctions," since numerous high-

auctions and bidding to establish a relationship with auction houses, enabling them to get to know you and your collection, which can pave the way for future liquidity options.

price records have been set in major auction houses around the world.

Indeed, auctions are often considered the most credible secondary marketplaces in the world of collecting. However, auction houses have their standards and do not accept every item that comes their way. Items must align with current market trends, meet professional conditions regarding storage and preservation, and have a correct provenance.

From the very first step of submitting an item for auction, you often face rigorous scrutiny. Additionally, there are costs associated with consigning

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A bottle of wine carries the winemaker's belief and the passage of time. The beauty of collecting wine lies in the fact that it's a tangible asset that will one day be opened and enjoyed by someone. Delving into the history and background of a bottle of wine, savoring its uniqueness, even if it doesn't ultimately yield a high return on investment, allows you to enjoy the incomparable experience it brings.

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世所罕有的限量經典，稍縱即逝的美麗傳承 LIMITED EDITION OF EXQUISITE CLASSICS, WONDERFULLY EPHEMERAL HERITAGES OF OUR TIME Text / 劉允華 Photo / Ravenel International Art Group

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[ LUXURY ]

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左：限量版駝色TOGO及SWIFT牛皮30公分3 IN 1柏金包 附金色金屬配件 LEFT: A LIMITED EDITION GOLD TOGO & SWIFT LEATHER 3 IN 1 BIRKIN 30 WITH GOLD HARDWARE

若問時尚收藏家們，最能代表始終如一的優雅和永恆不墜的經典象徵，愛馬仕的浮金 細字必然會在絕大多數人的想像中翩然浮現。紮實與精準的神韻貫穿了這個品牌的一切， 從設計到工法，從經營到展望無不如此。無論是散發著明星的灑脫氣質，實用性與美感兼 具的柏金包，或如嫁入貴族的王妃般，出身平實而後一夕間奪取全球目光的凱莉包，都是 全球精品愛好者之間口耳相傳，須知必備的傳奇品項。這些令人愛不釋手的高級皮件，更

右：限量版SWIFT小牛皮，北方藍色及金啡色EPSOM 牛皮30公分TRESSAGE柏金包附銀色金屬配件， M3 Bleu Encre 墨水藍色 RIGHT: A LIMITED EDITION BLEU ENCRE SWIFT, BLEU DU NORD & GOLD EPSOM LEATHER TRESSAGE BIRKIN 30 WITH PALLADIUM HARDWARE

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A LIMITED EDITION MATTE SO BLACK ALLIGATOR BIRKIN 30 WITH BLACK HARDWARE 限量版霧面SO BLACK ALLIGATOR短吻鱷魚皮30公分柏金包 附黑色金屬配件

因為專注精工的產量限制而令無數名媛紳士趨之若鶩。 如此珍稀的物件，在愛馬仕的戮力經營下，依然持續再創新猷，成就定期推出的限量 包款，展現皮革配件世家無止盡的豐沛創造能力。對經典款式進行的各種詮釋，更從未讓 全世界的收藏家們失望，吸引深度收藏者的眼光。每年推出的限量版柏金包和凱莉包在精 品市場上都有不錯的反應表現，其中卓越者如：2021 年秋冬巴黎時裝周首次亮相的限量 版 3 in 1 柏金包，以固有風格呈現三種多層次創意功能，結合手拿和手提款式重塑永恆的 柏金包，令人無比驚艷。此外，2018 年出品的限量版 TRESSAGE 柏金包結合兩種素材， 展現極致工藝，使中央彩色編織皮革與精巧輪廓完美地融合，更僅限量推出墨水藍色、駝 色及紅色。除此之外，2017 年生產的限量版 TOUCH 柏金包，是愛馬仕為滿足一眾收藏 家渴望，以品牌拿手的稀有皮革工藝綴飾經典包款，在手袋閉合時更能展現其非凡細節。 另一方面，上市時並未迅速跳上收藏榜首，但今日已登上收藏殿堂尖塔的品項，例如 2010 年由尚·保羅·高緹耶（Jean Paul Gaultier）設計的 SO BLACK 系列，逐步推升至今， 更於 2022 年由一只 30 公分霧面鱷魚皮柏金包創下 1,625,000 港元的拍賣佳績。無獨有 偶地，於 2000 年推出的 QUELLE IDOLE 娃娃包，由愛馬仕首席執行官尚 路易 杜馬斯 (Jean-Louis Dumas ) 親自構思設計，對品牌標誌性凱莉包的俏皮演繹，富有童趣玩味。本 款於 2005 年停產，2008 年第二代開始進入旗艦店，作為開幕限量發售，更於 2017 年開 放重要客戶特別訂製 (SPECIAL ORDER)。本系列中採用稀有霧面鱷魚皮革製成的款式， 經常在國際拍賣會上拍出天價。 最後，在全球情勢的隱憂下，愛馬仕依然在 2023 年交出了上半年業績成長 22% 的喜 訊。走過無數風雨起伏，從始終如一的工藝堅持，到收藏家不墜的熱情擁戴，愛馬仕一再 向世人證明這個百年品牌的堅韌不移，持續以品質和雅緻的典範之姿卓立於世。羅芙奧精 品部始終緊隨精品市場的脈動，為您呈獻各種高價值的品項，讓時間的考驗成為您收藏品 味的明證。 41

When asked about a symbol that could represent perpetual elegance and permanent classics, the eloquent golden mark of Hermès would surely be part of every fashion collector's imagination. From design to craftsmanship, its entrepreneurial expansion to perspective, the spirit of solid precision runs through the famous artisan house. The celebrities of the brand, be it the Parkin bag, which exudes celebrity flair and is both practical and beautiful; or the Kylie bag, coming from a modest background and then captures the world's attention overnight like a princess married into the aristocracy, are all truly legendary and must-have items amongst the world's fashion enthusiasts. These icons, however, have become even more coveted by the world's elites through their finely crafted limited series.

Being such rare objects, these treasures continue to be reinvented by the hard work of Hermès, crystallized in periodic limited editions, demonstrating the endless creativity of the leather accessory house. These many interpretations of the classical series have never disappointed collectors worldwide, attracting the attention of even the most in-depth collectors. The limited-edition Birkin and Kelly bags launched every year performed well in the luxury market.

Some extraordinary examples: a limited edition 3 in 1 Birkin bag first revealed at Paris Fashion Week in fall / winter 2021, presenting multi-layer creative functionality with consistent style, reshaping the timeless Birkin with a surprising combination of clutch and hand-held styles. In addition, the limited edition Tressage Birkin bag revealed its finest craft, perfectly integrating the intricate profile and colorful weave-like center part with options only like ink blue, camel and red. Furthermore, the 2017 limited edition Touch Birkin bag, as a present to collectors by Hermès, was still the all-time classic, just embellished with the brand's specialty of rare leather craftsmanship. When closed, the bag would reveal its extraordinary details.

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[ LUXURY ]

On the other hand, some items didn't leap to the top of the collector's list at first, but today have reached the pinnacle of the collector's hall of fame, such as the So black collection designed by Jean Paul Gaultier in 2010, have gradually risen in popularity to the present day. Within the collection is a 30cm matte crocodile Birkin bag that made a record at auction, selling for HK$1,625,000 in 2022. Another wonderful example is the Quelle Idole doll bag, launched in 2000, a playful interpretation of the brand's iconic Kylie bag, conceived by Hermès CEO Jean-Louis Dumas. Discontinued in 2005, the second generation was launched at flagship stores for its opening in 2008 as a limited edition. Later in 2017, it was released as a special order for important customers. The rare matte crocodile leather used in this collection has often resulted in astronomical prices at international auctions.

◀

特別訂製ALLIGATOR鱷魚皮QUELLE IDOLE包附金色金屬配件 A CUSTOM MATT ALLIGATOR QUELLE IDOLE KELLY BAG WITH GOLD HARDWARE

▶

右：限量版EPSOM牛皮、SOMBRERO小牛皮及CHEVRE山羊皮28公分 外縫GRAPHIE LETTRE H 字母凱莉包附銀色金屬配件 RIGHT: A LIMITED EDITION EPSOM, SOMBRERO & CHÈVRE LEATHER GRAPHIE LETTRE H SELLIER KELLY 28 WITH PALLADIUM HARDWARE

▶

左：限量版餅乾色SWIFT牛皮25公分IN & OUT柏金包附銀色金屬配件 LEFT: A LIMITED EDITION BISCUIT SWIFT LEATHER IN & OUT BIRKIN 25 WITH PALLADIUM HARDWARE

Finally, despite the shadow cast on the global situation, Hermès still achieved some 22% growth in the first half of 2023. Throughout its many ups and downs, from the perseverance of its craftsmanship to the passionate support of its collectors, Hermès has proved time and again the strong foundation of this centuries-old brand and that it will continue to stand out in the world as the paragon of quality and elegance. The Luxury Department of the Ravenel Art group always follows the pulse of the luxury market, presenting you with a wide range of high-value items. We hope that time will be a true testament to the collector's taste of yours.

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FAIRY-TALE Nimb Hotel MENU

丹麥童話旅店

在藝術家 Cathrine Raben Davidsen 經典希臘神話壁畫下喝茶，或點一杯《夜鶯》雞尾酒， 走進安徒生童話故事中。

Text / Janet

Photo / BY Nimb Hotel INSPIRED

ONE THOUSAND AND ONE NIGHTS 44

[ TRAVEL ]

世界第二古老遊樂園內，擁有洋蔥圓頂塔、裝飾性尖塔、拱形柱廊和水晶吊燈，保留斯堪地那維亞風格的 Nimb Hotel，被 Condé Nast Traveler 評為全球排名第 40 最佳酒店，這間被遊樂園環繞的五星精品酒店令人彷彿走童話城堡。 建於 1909 年，位於哥本哈根著名的蒂沃利（Tivoli Gardens）公園裡的一座城堡，最初是個東方市集，展示藝術 和手工藝品，之後成了一家餐廳，也是當時丹麥精英們休閒聚集的地方。一個世紀後，熱衷於美食的 Nimb 家族接手， 創立了僅有 17 間客房的 Nimb 酒店。

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與一些曾陷入困境歷史悠久的酒店不同，Nimb 一直保持卓越的水準。 2008 年，酒店進行第一次大規模翻新，外 觀採用義大利大理石灰泥修復，而內部以簡潔的北歐線條，彰顯丹麥設計及斯堪地納那亞的裝飾元素，作為重新開幕。 由紐約建築師 Pei Cobb Freed & Partners 設計的新翼樓，將酒店的豪華客房從 17 間擴建至 38 間，是 Nimb 酒店另 一個重要里程碑，這些套房均採用現代風格裝飾，配有四柱床、壁爐與原創藝術品，將簡約的北歐設計注人古典藝術。 從來自中國和東方 17 至 19 世紀精美古董家具布置成中西合壁的房間向外俯瞰，美麗而古典的蒂沃利花園，盡收眼底。

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[ TRAVEL ]

從酒店後門可直接進入遊樂場，在 1843 年開放的 蒂沃利花園可以看到中國風格的啞劇劇院、日式花園、 中東風格宮殿和有趣的古老遊樂設施及穿著紅色制服的 蒂 沃 利 男 孩 樂 隊 遊 行， 探 索 Nimb Hotel 的 美 食 世 界。 包括經典的法式小酒館、質樸的酒窖和宏偉的 Nimb 酒 吧， 提 供 不 同 餐 飲 選 擇。 從 Nimb Brasserie 的 法 國 美 食和北歐開味菜、Gemyse 的有機時令創意素食、Nimb Bar'n'Grill 提供的亞洲風味燒烤牛排及海鮮、Fru Nimb 的丹麥開放式三明治到 Cakenhagen 每天現製的經典丹麥 奶油泡芙及法國馬卡龍…等甜點，為美食畫下完美體驗。

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曾經的宮殿宴會廳，現在是 Nimb Bar，供應下 午茶和以安徒生童話為靈感精心調製的雞尾酒，明確 引用他不朽的奇思妙想故事，將 13 款的雞尾酒單製 作成如同安徒生童話書。在宏偉的圓頂水晶吊燈、六 英尺高的壁爐與藝術家 Cathrine Raben Davidsen 的經 典希臘神話壁畫下，享用松露、魚子醬及香檳的下午 茶或點杯《夜鶯》的雞尾酒，走進安徒生童話故事中。 晚上，宏偉的摩爾風格外牆、洋蔥圓頂和尖塔被 數百萬顆五顏六色的燈泡照亮，來自中東集市靈感的 色彩和特色，彷彿鑲嵌著千顆閃閃發光的寶石，突顯 獨特建築的童話外觀。外在的奢華和內在將北歐歷史 風情融為一體的 Nimb Hotel，讓你入住栩栩如生的丹 麥童話故事中，一夜好眠。

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[ TRAVEL ]

希臘 米克諾斯島

O BY MYCONIAN COLLECTION O by Myconian Collection 像一封希臘島寫給全球旅人的情書，

米科尼亞飯店集團選擇希臘米克諾斯島作為旗下第一家濱海飯

分享曾被遺忘的快樂。米克諾斯島是希臘地標性的度假島，也是地

店，強調與環境的觸覺連結的生活哲學下，細心規劃的 65 間秉持綠

中海地區頂級時尚旅遊地點之一。

色環保永續客房，植根希臘經典島嶼生活的木材、石材和大理石等

坐 落 希 臘 米 克 諾 斯 島 上 奧 爾 諾 斯 灣 地 區（Ornos Beach） 的 O

by Myconian Collection 飯店，一如其名「O」，在島上，一片靜謐 綠洲中營造令人沉浸在自然與設計完美融合與平衡，閒適輕鬆；居 然是，一種無可挑剔的隱私。重新發現曾被遺忘的快樂。

天然建材，明亮通風、自然與時尚並陳的室內，均配私人露臺或陽 臺，在客房就能盡情沐浴在米克諾斯島的陽光。 O by Myconian Collection 善用地利優勢，客房皆可直通島上絕 美海灘，在棕櫚樹，一片靜謐間的滿月下，瑜伽；重拾被遺忘的身心。

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FOOD FASHION STYLE

食 尚 與時 尚 Text / 伊森

Photo / Gucci 、Prada 、Moschino、Fendi +網路取材

多麼驚人的「食尚 聯名」炒作效應！ 據 Forbes 報 告， 不 到 1 美 元 的 Supreme X Oreo 餅 乾， 在 轉 售 市 場上，售價飆破 92,000 美元。 “這是概念藝術。你不必購買它；我不會戴它，但我喜歡把它當作一 件 [ 藝術品 ]。引發有關什麼是「奢侈品」的辯論。 時尚和食物產生合作，提供精品品牌一種創新的身份和創意的混合。 自從上世紀 80 年代以來，食物和時尚之間的愛情故事經歷起伏，當 時 Giorgio Armani 在 倫 敦 開 設 了 第 一 家 Armani Caffè， 隨 後 是 Doney 咖啡館在佛羅倫斯以 Emporio Armani 的形象重新開業。

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從 Moschino 靈 感 來 自 食 品 行 業 的 巨 頭 的 連 身 裙，到 Leeann Huang 的食品；越來越多融入時尚生 活風格點子和餐廳提供獨特的飲食體驗，不僅僅是你

最

有 料 的合作

吃下肚的，去那裡吃的食物。 盛在盤子中食物的視覺某種程度已經改變了吃的 方式，的趨勢不斷湧現：食物製作技巧和食材，甚至 呈現的方式和行銷都面臨改變和傳承。重點是來自時 尚的界入；從來沒有過像現在這麼考究將烹飪藝術與 時尚聯繫在一起。 如今，時尚品牌和食品公司的實驗到聯名合作， 創造出獨一無二的產品，吸引更多消費者購買。對於 時尚品牌來說，和食品合作最吸引人的因素是憑空增

Supreme X Oreo Nike SB X Ben & Jerry's

加了不同市場的客戶群和品牌全球知名度。

SUPREME Ｘ OREO 僅 8 美 元 就 可 以 購 買 Supreme 的 商 品。 驚 訝 嗎？ Supreme 與 奧 利 奧（Oreo） 的 合 作 以 3 件 裝 售 價 8 美 元的食品，而同樣的餅乾則不到 1 美元。但驚人的是， Forbes 報告稱，在轉售市場上，Supreme X Oreo 餅乾每 包售價高達 92,000 美元。多麼驚人的「聯名」炒作效應！

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NIKE SB X BEN & JERRY'S "CHUNKY DUNKY" 運動鞋 「從舔到踢」是 Nike SB 與霜淇淋品牌 Ben & Jerry 的合作口號。這款鞋子的顏色和紋理看起來就 像是從霜淇淋中挖出來的一樣，可能是「最愉悅的 一次穿在腳上的體驗」。多彩紮染圖案和大膽的圖 紋覆蓋了鞋墊和鞋後跟。這雙鞋只能在某些轉售網 站上可買到，價格大約在 6,000 至 7,000 美元之間。

食物啟發的時尚

頭角。當時，就己發現食物和時尚的 " 軟實力 "。如今，成為 時尚品牌以更精緻和具概念趣味性的方式和食品連手出擊。

Moschino 的 「食」尚夾克 令人發笑的歷史時刻：Jeremy Scott 在 2014 年首次擔任 Moschino 創意總監，設計了一整個系列的服裝。遵循了義大 利時尚品牌 Moschino 的創始人 Franco Moschino 曾展示一件， 上面附有刀叉，標誌與社交場合、食物和服裝的聯繫的 " 晚 宴夾克 "。

MOSCHINO Ｘ LEEANN HUANG

巴黎既是美食之都，也是時尚之都，這並非巧合。路易 十四致力於使巴黎成為品味和風格的領先者，導致名廚嶄露

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Leeann Huang 可食用服裝 亞洲時尚設計師 Leeann Huang，決定以可食用引發觀眾 的思考。熱愛烹飪的她，使用果凍和巧克力製作襯衫，並用 帶堅果的柳丁裝飾閃亮的褲子。這些可以吃掉的衣服，正好 作為另一種抵制消費主義。

模特兒做烹飪節目 時尚與食物絕對是聚光燈下，最閃亮的聯手。T 台上 的主角，模特兒終其一生與吃不飽奮戰。但食物卻也是時 尚秀後臺放鬆和交流的必備品。 Impatient Foodie 食 物 指 南 的 作 者， 將 手 工 製 作 的 Birkin 包的吸引力與採購有機種植的番茄相比較。兩者都 講述對愛的勞動，將消費者與工匠和傳統聯繫在一起，這 是時尚不可多得的想像力。 YouTube 是 Elettra 與 Grace Coddington 和 Blake Lively 等嘉賓一起烹飪。偶爾請模特兒 Cara Delevingne 擔 任助理廚師，另一位 Romee Strjid 則以「作為維多利亞的 秘密天使一天，吃什麼？」的節目，引起網路關注。

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Osteria X Gucci Prada X Bar Luce Etro X Bice Fendi X Steccolecco Balenciaga X Lays

時尚跨界餐廳 食物與時尚不僅在盤子上相遇，更在豪華的精品餐廳產 生火花。對大多數知名時尚品牌來說，開餐廳是一種實驗。 此外，繁忙的時裝周期間，頂著時尚品牌的快餐車或臨時行 動 Cafe 攤位，所形成注目的活廣告效力也十分可觀。

OSTERIA X GUCCI Gucci 前 創 意 總 監 Alessandro Michele 對 義 大 利 的 卓 越 品 質 非 常 瞭 解， 並 將 Gucci Osteria 餐廳的經營權交給了 Massimo Bottura，這位三星級廚師讓 Gucci Osteria 成為美食家、 歷史學家和時尚愛好者聚集的地方，他們來享受 Karime López 的戲劇化，她是第一個獲得 米其林星級的墨西哥廚師。 自 2018 年以來，Bottura 的 Osteria 品牌通過與時尚強大品牌 Gucci 的合作已經走向國際， 時尚跨界餐飲的合作証明了精品生意除了服飾之外的可能性是無所不在的。由此產生的餐廳 被稱為 Gucci Osteria de Massimo Bottura，分佈在比佛利山莊、佛羅倫斯、東京和首爾。餐 廳受到豪華時尚品牌啟發，正如 Gucci Osteria Beverly Hills 主廚 Mattia Agazzi 向《米其林 指南》解釋：受到 Gucci 所創造的合作創意環境的啟發。更具體地說，餐廳的所有餐具都是 Gucci 的 Richard Ginori 瓷器，有助於提升菜肴的體驗。

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PRADA X BAR LUCE 位 於 普 拉 達 基 金 會（Fondazione Prada）內，這家米蘭時尚品牌的標誌甚至 沒有出現在這家酒吧及小酒館中，PRADA 品牌和導演 Wes Anderson 確實從色彩範圍、 傢俱、座位、地板和木質面板的合作，都讓 人聯想到舊米蘭的流行文化和美學，也是 Miuccia Prada 長大的地方。餐廳供應米蘭 的 Pasticceria Marchesi 的 咖 啡 和 糕 點， 這 家店己被納入普拉達集團時尚的領域之一。

ETRO X BICE 著 名 的 米 蘭 小 餐 館 Bice 成 為 臨 時 Etro 展覽的場所，Etro 家族經常在 這 裡 舉 行 聚 會 和 晚 宴。ETRO 家 居 系 列的個性化傢俱和配件遍佈 Bice，用 Paisley 和暖色調的印花裝飾房間。

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FENDI X STECCOLECCO Steccolecco 和 Fendi 都將羅馬視為故鄉，因此決定聯手 創造這家可愛的快閃店，以慶祝米蘭時裝周，位於米蘭中央 火車站的中央位置。在這家小店裡，Fendi 的標誌無處不在， 特別是色彩豐富而美味的霜淇淋，必須拜訪。

BALENCIAGA X LAYS 這家西班牙公司一直以不容忽視的原創作品為人 所熟知。這一次也不例外。Balenciaga 推出了一系列 與 Lays 薯片包裝相關的包包。具體來說，包包使用了 經典的 Lays（黃色）、含鹽的 Lays（藍色）、辣味的 Lays（紅色）以及帶有一絲檸檬味的 Lays（綠色）。 這款 2023 年春夏系列的一部分，價格約為 1,900 歐元。 Balenciaga 過去曾推出一系列備受爭議的產品， 包括過度磨損的運動鞋和高跟鞋式的塑膠鞋。2022 年 秋季，引發轟動的事件是推出一款設計成巨大的 Lay's 薯片包裝袋的手提包。這款印有圖案的皮包有三種顏 色，零售價約為 1800 美元。內部銀色內襯效果模仿 了薯片袋內部的鋁箔，拉鍊則可將包袋密封。

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FOOD FASHION STYLE 58

有關這個奇特包包評論：" 這是概念藝術。你不必購買它，我不會戴它，但我喜歡它 作為一件藝術品 [...] 引發了有關什麼是奢侈品的辯論。" 時尚和食物長期以來一直產生品牌合作，提供了一種創新的身份和創意的混合。 從 Taco Bell 與 Forever 21 的合作到 Heineken 與日本街頭潮牌 A Bathing Ape 的合作， 最近食品和時尚之間的合併已經達到了高潮，因為時尚和美容品牌、獨立餐廳和全球食 品公司繼續擴大著這兩大行業的交匯點。 通過品牌合作和精明的行銷策略，食品被引入多感官的時尚互動，提供更難忘並刺 激消費購買的體驗。 與此同時，豪華時尚品牌也因大力進軍高級餐飲領域，包括 Gucci、Louis Vuitton、 瑞士奢侈手錶品牌 IWC Schaffhausen 和 Breitling，紛紛開設新的餐廳和咖啡館。 「食物和時尚共用將沉浸式體驗傳遞給最終客戶的相同理念，品牌可以定義一種 生 活 方 式， 而 不 僅 僅 是 一 套 服 裝 或 一 個 外 貌。」 從 Ralph Lauren Polo 酒 吧 到 Prada Marchesi 和 Gucci Bottura，食品行業與時尚的合作在在征服所有感官，提供一種難得且 強而有力的體驗旅程。 「食」尚有助品牌知名度並獲得免費宣傳的絕佳機會。另一方面，消費者又怎會錯 過同時體驗相似又交錯的時尚品味的機會呢 ?。

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40+ SUPERMODEL 的文藝復興 40+ 超模重磅復出 Text / 袁青

Photo / 取材網路

Supermodel《 超 模 》 定 義 了 時 尚 的 獨 特 時 代， 為 T 台 注入魅力和個性；她們深深烙印在時尚流行文化的集體 記憶中，不僅僅是模特兒，更成為時代的名人。 Vo g u e 封 面 再 現 和 一 部 紀 錄 片 ， 使 9 0 年 代 超 模 傳 奇 再 一次從我們的記憶中活過來。 復古嗎 ? 有別於不斷追捧全新面孔，最近時尚圈有趣的

現象，許多過往的 Fashion icon 又重新新站上鋒頭。 不 是 壓 軸 走 秀 就 是 再 度 占 據 版 面 ，並 簽 下 新 的 代 言 合 約 。

SUPER MODEL 60

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為什麼我們無法忘記超模？ 今 年 九 月， 一 部 Apple TV+ 發 佈《 超 級 模 特 》（The Super Models） 的 紀 錄 片 系 列， 探 討 了 四 位 名 模 的 生 活 和 職 業 生 涯， 記錄了她們飛速崛起以及對時尚界的影響。正在把超模如 Cindy C r a w f o r d 、 L i n d a E v a n g e l i s t a 、N a o m i C a m p b e l l 和 C h r i s t y Turlington 帶回聚光燈下。但這似乎也突顯了時尚產業無法再重現 與 90 超模競爭的新星。 低腰喇叭褲和芭蕾平底鞋重新流行，Y2K 風格主導了最新的時 尚趨勢。但在模特兒行業，90 年代仍然是至高無上的：美國和英 國 Vogue 合併的九月號封面上，90 年代的超模 Naomi Campbell、 Linda Evangelista、Cindy Crawford 和 Christy Turlington 合體亮相， 重登封面。 90 年代的超模們，不少都己是要進入 50 大関的女性，但顯然 仍舊充滿魅力，不但身形和外貌保持得宜，而且因為不同的人生歷 鍊和不可一世的事業，展露出何止風韻猶存的個人魅力。 Campbell、Schiffer 和 Crawford 在 Versace 的 2018 年 春 夏 秀 上 與 Helena Christensen 和 Carla Bruni 一 起 亮 相， 紀 念 Gianni Versace 去世 20 周年。 Cindy Crawford 剛 剛 成 為 MCM 品 牌 刷 新 的 新 面 孔， 她 曾 在 1996 年擔任該品牌的廣告模特。

今 年 米 蘭 時 裝 周 除 了 Donatella Versace， 還 有 誰 能 請 得 動，以完美人體比例贏得 " 人間芭比 " 的克勞蒂亞雪佛 Claudia Schiffer 重返 T 台呢？ Schiffer 仍然保持著極具魅力的身形：一條棋盤格的薄荷 綠和銀色金屬網紗 Versace 禮服，配以銀色 Gianni 緞帶高跟鞋。 基本上，Schiffer 並不感到走秀的壓力。她告訴 Vogue：" 我總 是保持運動，確保好的休息。除此之外，「我就是我自己。」 對於女兒、或是下一代，甚至有志成為模特的人，Claudia Schiffer 提醒， 「而且找一個好律師吧！」 走 它 千 遍 也 不 厭 倦 的「 黑 珍 珠 」，53 歲 的 娜 歐 蜜 Naomi Campbell 更是不遑多讓，穿著透明吊帶睡裙和 18 歲的嫩模們 一起走秀。 「來吧，女孩們！抬起你們的腳！可以走快點兒嗎？」果 然不愧是超模「黑珍珠」，那個踩動時裝伸展台的巨星又回神 了！在 Dolce&Gabbana 大秀上，步伐強而有力卻又流暢自如的 娜歐蜜，一個轉身，甚至連一頭如雲秀髮都彷佛配著節奏擺動， 融入 Beyoncé 的歌曲中。

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SUPERMODEL 「我仍然享受這一切，但也很緊張！因為我已經不再年輕了。」娜 歐蜜回憶 90 年代，如何創造了一個識別度很明顯的「Super 超模」風格： 「我確實感到那個時代屬於 T 臺的熱情；因為有機會展現個性。」 Victoria's Secret Angels 維 多 利 亞 內 衣 祕 密 是 元 祖 級 的 巴 西 名 模 Gisele Bündchen 吉 賽 兒 也 回 歸 了。 現 年 43 歲 的 她 是 登 上《VOGUE Brazil》 封 面 最 多 的 模 特 兒。 2001 年 起， 己 是 全 球 收 入 最 高 的 模 特 兒 之 一，2014 年， 被 福 布 斯 列 為 世 界 最 具 影 響 力 的 女 性 之 一。 近 年 Gisele 專注家庭生活，相夫教養兩個孩子，偶然出席公益活動，論體型 和風采，仍然是女皇級人物。 至於成為 GUCCI 全新 high jewelry 廣告主角的烏克蘭超模 Daria Werbowy，戴著大耳環，裸著上半身，在泳池邊曬太陽的廣告中，39 歲幾乎沒有修飾地 Daria Werbowy，真實又閃亮地現身鏡頭前，歲月反 而為她平添一恬靜自在的模樣。 14 歲 出 道， 曾 和 Chanel、Yves Saint Laurent、Gucci、Prada,、 Celine 等合作，但很多人因為 CELINE 更認識 Daria Werbowy；因為她

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長得居然和設計師 Phoebe Philo 有幾分相似，尤其是那份真實又獨行的 靈魂性格。 但是，提及超模，怎能錯過林達伊絲凡妮 Linda Evangelista。憶起 這位，一句「沒有一萬美金，我不下床」的狂言，造就了 90 年代超級 模特兒的年代。 世代更迭，消聲匿跡在後浪興起時尚圈的 Linda，沒想到全球疫情 期間，在面對整型失敗的 " 毀容 " 後，受 FENDI 之邀，再度登上英國 Vogue 的封面。趁著超模回籠的風潮，她還發行了一本超過 190 張圖 像，展現和當初發掘她入行，也是時尚圈深具影響力的攝影大師 Steven Meisel 的 時 尚 攝 影 集《Linda Evangelista Photographed by Steven Meisel》。 時尚一直聚焦於，即使已經邁向 50 多歲的超模，但每次走上 T 台 的她們都能夠吸引頭條新聞。這不僅反映了超模獨特的明星魅力，也代 表市場未能培養出與她其爭鋒的後繼者。

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40+ " 那是一個獨特的時代，無法被複製的時尚。" 90 年代的超模之所以能夠嶄露頭角，不僅僅因為她們自己的個人魅力 和美貌，更因為她處於一個紙媒時尚雜誌擁有巨大推波影響力的環境中。 今天，時尚不再那麼由上而下。觀眾某種程度上決定了喜歡誰。 今 天 時 尚 雜 誌 不 再 是 決 定 新 趨 勢 和 明 星 的 仲 裁 者。 像 Gigi 和 Bella Hadid、Kendall Jenner 和 Hailey Bieber 當今熱門模特兒只要簡單地走上 街，就可以佔據 Instagram 和 TikTok 的動態。但這卻也讓她們比 90 年代 超模更沒有距離，也不那麼神祕誘人。 超模之所以令人迷戀，在於，除非你在雜誌，報章上，否則無法真正

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接觸到她們。反而現在，名人的生活隨時在社交媒體上可被任何窺視。" 這波超模回歸，美麗而且具代表的時尚精神被新一代接受，似乎正好 解釋為時尚圈的 " 文藝復興 "。證明有了 9 0 年代勾起不少人美好回憶； 40+ 的獨特美麗，值得好好注視。 看來這個超模旋風還沒有結束，人們還會有更多機會在各大時尚場 合，看到更多相親相愛的「超模姊妹們」亮相。

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