羅芙奧季刊第49期 RAVENEL QUARTERLY NO. 49 by Ravenel International Art Group

No. 49 Winter 2024

山水人 MAN OF LANDSCAPE

6 ISSUE

對話－現當代頂尖藝術家作品

In Dialogue: Modern & Contemporary Works by Leading Artists

12 ART & INVESTMENT

山水人莊喆 Man of Landscape: Chuang Che

28 WINE

承先啟後，匠心無限：佐治敬三的三得利之路

Legacy in Motion: Keizo Saji's Innovation Journey at Suntory

36 LUXURY

In Watches, Yellow Gold is Back No.49 ｜ Winter 2024 ｜ https://ravenel.com

捲土重來金色風潮強勢回歸

40 CUISINE

森林裡的一餐「廚房花園」

48 FASHION

奧運風決戰奢華世代

54 投資理財

2.55 水漲船高｜香奈兒迷的黃金密碼

58 FASHION

關於你所不知道的「藝術」

「亞蘭德倫眼光」（Alain Delon Eye） 15

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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趙無極《 18.10.68 》 1968 油彩畫布 46 x 50 cm

羅芙奧台北 2024 秋季拍賣會

Zao Wou-ki, 18.10.68, 1968, Oil on canvas, 46 x 50 cm

Ravenel Autumn Auction 2024

創刊 2012 年 5 月 First issue May, 2012

季刊 Quarterly

VINTAGE RETURN: AUTUMN IS ARTISTIC

經典回歸。

秋天很藝術

一雨成秋，人們突然換上久違的保暖衣物。秋天向來是藝術界最繁忙的季節。國際博覽會、美術館展覽、故宮特展、畫廊活動、拍賣會輪番登場，行事曆上滿滿的註記，藝術圈的同好們在這些場合中熱鬧穿梭、交流，勾勒出秋季的文化氛圍。

第 49 期季刊介紹了眾多經典回歸的故事。今年滿九十歲的旅美畫家莊喆便是其一。他的百餘件作品回到故鄉霧峰，在亞洲大學美術館舉行盛大回顧展。莊喆的創作，透過台灣、香港、紐約和巴黎專業畫廊的代理與推廣，全球有超過 40 多個博物館或機構收藏，更於 2020 年獲得龐畢度中心典藏，重回收藏界的焦點。羅芙奧 2024 秋拍，徵集一系列現代與當代大師經典之作，也展開穿越時代的藝術對話。

公認世界第一帥亞蘭德倫的辭世，象徵著法國影壇一個時代的落幕，引人緬懷新浪潮時期的輝煌。奢侈品市場也見證經典的復興，金錶的經典風格再度崛起。同樣，香奈兒 2.55 包包的復古設計經典不墜，成為時尚界永恆的精緻單品。

餐飲界則掀起了一股注重自然的風潮。廚房花園強調自然與可持續的理念，吸引了越多關注健康與環保的美食家。日本三得利集團的二代掌門人則透過專業的國際策略，將旗下的白州酒廠推向全球市場，高品質的威士忌成功贏得認可。奢侈品牌的跨界聯名也成為近年來的一大趨勢，運動與時尚的結合，進一步擴大了品牌的市場影響力。

從藝術、時尚到奢侈品市場，各領域間的交織不斷塑造全球文化與消費的面貌，反映了對傳統與創新的雙重需求。經典的回歸，不僅再現了過往的風華，更注入活力引領著新一波潮流的誕生。

總編輯高野綾《回旋踢》 2006 壓克力畫布 80.5 x 60.7 cm 羅芙奧台北 2024 秋季拍賣會 Aya Takano, Round Kick, 2006, Acrylic on canvas, 80.5 x 60.7 cm Ravenel Autumn Auction 2024 Taipei

IN DIALOGUE: MODERN & CONTEMPORARY WORKS BY LEADING ARTISTS

對話—現當代頂尖藝術家作品

羅芙奧 2024 秋季拍賣會「現代與當代藝術」專場，訂於 12 月 1 日下午 2 時於大直萬豪酒店舉行，選粹現當代藝術拍品共 169 組。專場聚焦藝術市場國際知名大師與潛力新銳作品，涵蓋國際現當代傑作、華人經典、日本現當代、台灣當代雕塑等主題，並且專設「陳炎鋒常玉舊藏」單元，呈獻已故旅法藝術學者陳炎鋒早年帶回台灣之六幅常玉珍貴作品。拍品內容精彩可期，冀圖為各界藏家提供暢覽視覺藝術、交流藏品的契機。

重點國際大師拍品推薦：全球最有影響力的藝術家之一—奈良美智（ Yoshitomo Nara ） 1987 年創作《無題》方形油彩畫作，揭示藝術家蓬勃年輕的心境，鼓舞著觀者，迎接嶄新未來。藝術家融合日本與西洋文化象徵，畫中細緻多層次用色，象徵新生的火焰、房屋、白色翅膀等元素，連貫藝術家至今的創作脈絡。英國 YBA 團體代表人物—達明．赫斯特（ Damien Hirst ）《可愛與體貼》經典蝴蝶主題畫作，表達其創作概念的核心精神：愛與死亡、美、慾望；痛苦對比永恆；象徵與現實，以及人類在生活與藝術交替的邊界。赫斯特 1995 年榮獲英國特納獎殊

榮，多年來持續活躍於市場並享有盛名。美國潮流塗鴉藝術家—艾迪．馬丁內斯（ Eddie Martinez ）《紫色蘑菇》 2021 年完成抽象畫作，保留了街頭藝術的粗獷不羈、以及極具表現派風格的線條和奔放色彩。

巴黎畫派「蒙巴納斯之王」—莫依斯．奇斯林（ Moïse Kisling ） 1936 年《瑪德蓮．索洛涅畫像》描繪法國知名電影女演員肖像，藝術家保有十七世紀荷蘭畫風格，汲取古典技法與新潮流思維，以極度個人化表現為現代藝術史留下精彩篇章。「戰後十大最傑出藝術家」之首— 貝爾納．畢費（ Bernard Buffet ） 1961 年《雨傘花靜物》花朵造型和筆觸俐落且精確，反映戰後存在主義情緒； 1990 年《兔子花》見證藝術家從憂鬱青年至成熟期，翻新的創作體驗與感悟。畢費熟臻的繪畫功力，率性自若風格，令人陶醉。「自由具象」跨界大師—羅伯．貢巴斯（ Robert Combas ） 2008 年畫就《穿紅色馬靴的阿爾方斯將軍》以軍裝人物演奏樂器為主題，色調鮮明華麗，氣勢高昂，充滿朝氣與榮光；另一幅 1983 年《無題》象徵創作者早期的蓬勃創造力，幽默風趣的性格表露無遺。 1 2

Text / 陳昱良 Iris Chen

Photo / Ravenel Art Group

華人抽象藝術標竿—趙無極《 18.10.68 》「狂草時期」抽象畫作，象徵藝術家於革新和傳承間闊斧前行，精彩傑作起於終生對繪畫的探索。

趙無極長期接觸西方傳承的美學思惟，巧妙把西方特有的光線感融入創作之中。此作構圖宛如太極圖象虛實相生，墨色線條鐵畫銀鉤，中央筆觸皴擦冰藍色澤絲絲入扣。中國當代油畫家—羅中立《回鄉》完成於 1983 年，屬「故鄉組畫」系列，曾收錄於 2006 年出版《山藝術精選：羅中立故鄉組曲》藝術家個人畫集。此作完美詮釋，藝術家構建個人風格之起點，喚醒觀者聚焦人本精神，兼負藝術表達與時代語境的卓越成就。

台灣寫實畫派代表人物—葉子奇《樹的追想．台南》畫作高達 2 米， 2010 年藝術家創作能量蓬勃之年份畫就。全景以細緻刻畫的寫實畫風，描繪成功大學「國泰大榕」雄姿，題名呼應知名台語歌謠「安平追想曲」，藝術家將南台古都人與樹和諧相處的城市印象，深情繪入了蓊鬱茂盛的樹影。台灣素人藝術代表—洪通《觀音與媽祖》主題貼近民心，是紅蠟春聯紙媒材系列，尺幅最大件的作品色彩豐富。作品體現親職對疼愛下一代與藝術家純真善良的祝福。蕭勤《宇宙之進化 5 》 2001 年完成，以西方表現方式詮釋東方靜觀哲學；王攀元《獨木舟》 1979 年油彩畫作，半抽象構圖隱喻著藝術家思鄉的心象風景。

台灣當代雕塑家—李真《大士騎龍；文殊菩薩 & 普賢菩薩》來自藝術家 2001-2003 年「大氣神遊」系列，轉譯佛像唐代豐腴飽滿及宋代俊美秀麗的精神形象。通過禪宗思想和當代藝術結合，推得亞洲當代雕塑的再進化；《影沈寒水》藝術家源自生命經驗，以雕塑表現水的源源動感和自在清淨之心。朱銘《太極—十字手》 1981 年木雕，其刀法之極致，賦形象以神韻，完美表現「天人合一」之境界。

1. 趙無極《 18.10.68 》 1968 油彩畫布 46 x 50 cm

Zao Wou-ki, 18.10.68, 1968, Oil on canvas, 46 x 50 cm

2. 奈良美智《在聖誕沒有真的聖誕樹》 1991 壓克力彩色鉛筆紙本 64.7 x 50 cm

Yoshitomo Nara, At Christmas No Real Christmas Tree, 1991, Acrylic color pencil on paper, 64.7 x 50 cm

3. 葉子奇《樹的追想．台南》 2010 油彩畫布 213.4 x 137.2 cm

Tzu-Chi Yeh, The Memories of Trees, 2010, Oil on canvas, 213.4 x 137.2 cm

4. 貝爾納．畢費《兔子花》 1990 油彩畫布 92.5 x 65.5 cm

Bernard Buffet, CyclamensI, 1990, Oil on canvas, 92.5 x 65.5 cm

日本當代藝術—草間彌生《玉米》、奈良美智《在聖誕沒有真的聖誕樹》紙本原作。山口歷《莫比烏斯》雕塑繪畫應用環氧樹脂（ Expoy ）形塑立體視覺，鮮豔色彩交織於抽象線條，飛濺動態緊扣日本書道之美與潮流藝術的新穎魄力。塩田千春《存在的形狀（模型屋）》經典紅絲線裝置作品，探索內在情感與有形物體之間的密切聯繫。備受亞洲藝術市場藏家喜愛的日本當代藝術畫家：平子雄一《剩餘 3 》來自藝術家 2018 年，東京第一生命畫廊個人展覽「剩餘」同一系列，該系列另一雙聯幅作品目前為藝術家拍賣生平次高紀錄；另一幅《我的榕樹》象徵自然的生命力量如湧泉源源不絕且無所不在。中村萌《沉睡的山》木雕與《內在的我》平面畫作，藝術家療癒系風格具象化情緒的投射，捕捉瞬息變化的心境。高野綾 Aya Takano

《回旋踢》、長井朋子《夢的餘韻》與《枝垂梅》、山本麻友香《山羊男孩》、《小鹿男孩》、小松美羽《里山的初夏》等，多幅精彩油畫作品，同樣呈現於秋季拍賣會，敬請期待。

5. 常玉《端莊仕女》約 1920 - 1930 水墨水彩紙本 45 x 28 cm

Sanyu, ElegantLady, 1920s-1930s, Ink watercolor on paper, 45 x 28 cm

6. 莫依斯．奇斯林《瑪德蓮．索洛涅畫像》 1936 油彩畫布 73 x 54 cm

Moïse Kisling, PortraitdeMadeleineSologne, 1936, Oil on canvas, 73 x 54 cm

7. 李真《影沈寒水》 2005 銅雕版次 3/8 48 ( 長 ) x 38 ( 寬 ) x 51 ( 高 ) cm

Li Chen, NothingintheHeart, 2005, Bronze, ed 3/8, 48 (L) x 38 (W) x 51 (H) cm

8. 羅伯．貢巴斯《穿紅色馬靴的阿爾方斯將軍》 2008 壓克力畫布 202 x 133 cm

Robert Combas, LegénéralAlphonsedelaMécanoNapoléonien, 2008, Acrylic on canvas, 202 x 133 cm

The 2024 Ravenel Autumn Auction, featuring the "Modern and Contemporary Art" session, will take place at 2 PM on December 1st at the Marriott Hotel, Taipei. A curated selection of 169 lots modern and contemporary art will be presented. The session highlights works by internationally renowned masters and emerging talents, with themes spanning international modern and contemporary masterpieces, post-war Chinese art, Japanese modern and contemporary works, and Taiwanese contemporary sculpture. Additionally, a special section titled "Chen Yen-fon's Sanyu Collection" will feature six rare pieces by Sanyu, brought back to Taiwan by art scholar Chen Yen-fon a.k.a Antoine Chen in his earlier years. The auction promises an exciting array of artworks, offering collectors a unique opportunity to explore and exchange fine pieces of visual art.

Highlight recommendation from an international master: Untitled (1987), a 130 cm square oil painting by Yoshitomo Nara, one of the most influential artists in the world, captures the artist's vibrant, youthful spirit and inspires viewers to embrace a brighter future. Nara seamlessly blends symbols from both Japanese and Western cultures, using a rich, multi-layered palette. The painting features elements like flames of rebirth, houses, and white wings recurring motifs that continue to resonate throughout his body of work.

Damien Hirst, a leading figure of the Young British Artists (YBA) movement, presents Lovely and Kind, an iconic butterfly-themed painting that encapsulates the core themes of his work: love and death, beauty and desire, the contrast between pain and eternity, symbolism and reality, and the boundary between life and art. Hirst, who won the prestigious Turner Prize in 1995, has been an active and celebrated figure in the art world for many years. American graffiti artist Eddie Martinez's Purple MushRoom (2021) is an abstract work that preserves the raw, untamed essence of street art, with bold lines and expressive colors, heavily influenced by expressionism.

9. 平子雄一《我的榕樹》 2013 壓克力畫布 162 x 130 cm

Yuichi Hirako, My Ficus Microcarpa, 2013, Acrylic on canvas, 162 x 130 cm

10. 達明．赫斯特《可愛與體貼》 2001 蝴蝶光澤塗料畫布 108.2 x 130.3 cm

Damien Hirst, LovelyandKind, 2001, Butterflies, househlod gloss on canvas, 108.2 x 130.3 cm

Moïse Kisling, celebrated as the "King of Montparnasse" in the Parisian art scene, created Portrait of Madeleine Sologne in 1936, capturing the likeness of the renowned French actress. He retains the style of 17th-century Dutch painting while seamlessly integrating classical techniques with contemporary ideas, leaving a significant mark on modern art history through his highly personalized expression. Bernard Buffet, regarded as the foremost artist among the "Ten Most Outstanding Artists of the Post-War Era," produced Ombelles dans un vase (1961), a still life featuring flowers with sharp, precise shapes and brushwork that reflect the existentialist sentiments of the post-war period. The work Cyclamens I (1990) represents the artist's evolution from a melancholic youth to maturity, showcasing his renewed creative experiences and insights. Buffet's mastery of painting and his effortless style continue to captivate viewers. Robert Combas, a cross-disciplinary master of "Free Figuration," created Le général Alphonse de la Mécano Napoléonien in 2008, depicting a military figure playing an instrument. This vibrant piece is characterized by its bright, extravagant colors and an uplifting atmosphere brimming with

vitality and glory. Another work, Untitled (1983), symbolizes the artist's early creative exuberance, vividly revealing his humorous and whimsical personality.

Zao Wou-Ki, a pioneer of Chinese abstract art, presents 18.10.68, a painting from his "Wild Cursive" period. The piece symbolizes the artist's bold journey between innovation and tradition, a masterful work born from a lifelong exploration of painting. Zao, who was deeply influenced by Western aesthetics, skillfully incorporated Western notions of light into his creations. This painting's composition resembles the yinyang balance of a Tai Chi diagram, with bold, calligraphic ink strokes that are both firm and graceful. The central brushwork features delicate icy blue hues, intricately woven into the composition. Luo Zhong-Li, a contemporary Chinese oil painter, created Back to Hometown in 1983 as part of his "Hometown Series." This work is included in the artist's personal collection published in 2006, titled Selected Works of Mountain Art: Luo Zhongli's Hometown Suite. This piece perfectly embodies the starting point of the artist's personal style, awakening viewers to focus on the human spirit while showcasing his exceptional achievement in balancing artistic expression with the context of the times.

Tzu-Chi Yeh, a prominent figure in Taiwanese realism, created The Memories of Trees - Tainan, a striking 2-meter tall painting, in 2010 a period marked by intense creative energy for the artist. With its meticulously detailed realistic style, the painting showcases the majestic presence of the "Kuo Tai Banyan" at National Cheng Kung University. The title resonates with the famous Taiwanese folk song "Anping

11. 羅中立《回鄉》 1983 油彩畫布 93 x 67 cm

Luo Zhong-Li, Back to Hometown, 1983, Oil on canvas, 93 x 67 cm

12. 中村萌《沉睡的山》 2021 木雕油彩上色單一件

55 ( 長 ) x 48 ( 寬 ) x 52 ( 高 ) cm

Moe Nakamura, SleepingMountain, 2021, Wood, painted with oil, unique piece, 55 (L) x 48 (W) x 52 (H) cm

13. 長井朋子《枝垂梅》 2020 油彩鉛筆畫布 97 x 130.5 cm

Tomoko Nagai, WeepingPlum, 2020, Oil and pencil on canvas, 90 x 130.5 cm

Reminiscence," as the artist affectionately portrays the harmonious coexistence of the people of Tainan, the ancient city, with the lush, vibrant shadows of the trees. Hung Tung, a representative of Art Brut in Taiwan, created Guanyin and Matsu, a work that resonates deeply with the public. This piece is part of his series using red wax paper for traditional spring couplets and is the largest in the series, featuring rich colors. It embodies parental love for the next generation and reflects the artist's pure and kind blessings. Hsiao Chin's Cosmic Evolution 5, completed in 2001, interprets Eastern contemplative philosophy through Western expressive techniques. Wang Pan-Youn's The Canoe (1979) oil painting, features a semi-abstract composition that metaphorically reflects the artist's nostalgic landscape of longing for home.

Lee Chen, a contemporary sculptor from Taiwan, created Dragon–Riding Bodhisattva; Wisdom Bodhisattva & Fulfillment Bodhisattva as part of his series The Greatness of Spirit from 2001 to 2003. This work captures the essence of Buddhist statues, reflecting the plump fullness of the Tang Dynasty and the elegant beauty of the Song Dynasty. By blending Zen Buddhist philosophy with contemporary art, Lee advances the re-evolution of Asian contemporary sculpture. Another piece, Nothing in the Heart, draws from the artist's life experiences to convey the dynamic movement of water and the tranquility of a peaceful heart through sculpture. Ju Ming's Taichi Series - Underarm Strike (1981), a wooden sculpture, showcases the ultimate mastery of carving techniques, infusing the figure with a sense of vitality and spirit. It perfectly embodies the concept of "harmony between nature and humanity."

In contemporary Japanese art, Yayoi Kusama's Corn and Yoshitomo Nara's At Christmas No Real Christmas Tree are both original works on paper. Yamaguchi Meguru's sculpture-painting Mobius No.12 utilizes epoxy resin to create a three-dimensional visual effect, with vibrant colors interwoven in abstract lines. This dynamic splatter art closely connects the beauty of Japanese calligraphy with the innovative spirit of contemporary art. Chiharu Shiota's State of Being (Doll House) is a classic installation work made with red threads, exploring the intimate connection between inner emotions and tangible objects. Japanese contemporary artists who are highly favored by collectors in the Asian art market Yuichi Hirako's Leftover 3 is part of his 2018 solo exhibition "Leftover" at the Tokyo Dai-ichi Life Gallery. Another diptych from the same series currently holds the artist's second-highest auction record. The piece My Banyan Tree symbolizes the life force of nature, flowing endlessly and omnipresent like a spring.

Moe Nakamura's Sleeping Mountain, a wood sculpture, and Inside Me, a painting on wood, embody her healing style that materializes emotional projections, capturing the fleeting changes of the mind. Aya Takano's Round Kick, Tomoko Nagai's Rest of the Dream and Weeping Plum, Mayuka Yamamoto's Mountain Goat Boy and Little Deer Boy, as well as Miwa Komatsu's Satoyama in Early Summer, are among the many remarkable oil paintings that will be featured in the upcoming autumn auction.

Man of Landscape: Chuang Che

Text / 陳惠黛 Odile Chen

Photo / Ravenel International Art Group

◀ 莊喆攝於台北市立美術館回顧展現場

Chung Che was photographed at the Taipei Fine Arts Museum retrospective in 2015.

▶ 莊喆《無題》 1964 墨油彩貼紙畫布 122x87 cm

法國龐畢度中心新近典藏，藝術家捐贈

Chuang Che, Untitled, Ink on canvas, collage, 122 x 87 cm

Centre Georges Pompidou Collection, donated by the artist

▼ 莊喆《無題》 1981 油彩壓克力畫布 134 x173 cm

法國龐畢度中心新近典藏，藝術家捐贈

Chuang Che, Untitled, 1981, Oil and acrylic on canvas, 134 x173 cm

Centre Georges Pompidou Collection, donated by the artist

今年九十高齡的旅美華人藝術家莊喆，獲邀於 2024 年 10 月 26 日起於亞洲大學現代美術館，舉行「元氣淋漓—人間 90 莊喆特展」，展期至 2025 年 4 月 6 日，館方自美國、法國、上海、新加坡、台灣借展百餘件作品，涵蓋 1960 年代早期作品，至千禧年後的近期作品，讓藏家們得以一飽眼福。

回顧莊喆在美術館的回顧展，平均十多年能遇上一回。 2015 年台北市立美術館為他舉辦「鴻濛與酣暢」八十回顧展。在此之前， 1992 年台北市立美術館也辦過一場回顧 35 年創作生涯的個展。其創作備受美術界的重視，也有海內外知名機構與藏家收藏。

巴黎龐畢度中心於 2021 年 5 月宣布典藏了兩幅莊喆的畫作：一幅是 1964 年代直式構圖，帶有東方墨韻渲與拼貼的早期作品，另一件是 1981 年橫式構圖大留白的淺綠色抽象畫，融合東西方文化的特色。此次典藏計畫是透時任國法國台灣文化中心（巴文中心）主任連俐俐，和巴黎畫商莎賓．瓦季尤（ Sabine Vazieux ），合力促成。龐畢度中心策展人凱薩琳．大衛（ Catherine David ），曾經擔任 1997 年德國文件大展的藝術總監，經她挑選的作品，再由藝術家莊喆捐贈，這些精采的收藏補上博物館闕漏的華人抽象畫家名單，另一位同時獲典藏的同為「五月畫會」成員馮鍾睿（ 1934 年生）。

莊喆的繪畫受到北宋山水的啟發，他也心儀崇仰明清八大山人、石濤、陳洪綬與徐渭等大師，追求超凡脫俗。莊喆出生於中國大陸，略晚於趙無極和朱德群，但在台灣發展和建立其藝術脈絡，又經常往來於國際，對於西方的前衛藝術有深刻的理解。莊喆能以新的觀點，和「五月畫會」、「東方畫會」等同代藝術家切磋，從而因自身的家學淵源，形

成極為豐富且有涵養的藝術觀。莊喆從十來歲時即臨摹古典山水人物，回顧他一生的漫長和精彩，難怪能描繪出一幅幅瀟灑和諧的藝術創作。出身藝術世家看盡山水古畫之美

1934 年莊喆出生於北京，父親莊嚴（本名莊尚嚴， 1899-1980 ）、母親申若俠（ 1906-2006 ）。父親莊嚴畢業於北大哲學系，曾赴日本研究考古，他同時是古文物專家、藝術史家以及書法家，以瘦金體書法聞名。莊喆為家中三子，長兄莊申（ 1932-2000 ），後成為藝術史學家，創辦香港大學藝術系；二哥次子莊因（ 1933-2022 ），後為知名文學家與詩人，筆名桑雨；弟弟莊靈（ 1938 年生），後為知名攝影家。他們的父親每天勤練書法，孩子們一旁拉紙磨墨學習，父親喜愛書寫行草，運筆形式抑揚頓挫，字體大小疏密變化，空間調配等，皆是視覺的基本訓練，也融入莊喆兄弟們的藝術 DNA 之中。

莊喆從小受書香世家的薰陶，出生時父親時任北平故宮古物館第一科科長。後因大陸政局變化，故宮文物準備南遷。 80 鐵箱珍藏的精美古物字畫，於 1935 年選送英國倫敦展覽，莊嚴被指派為中文秘書，負責押運。 1937 年中日戰爭開始後，赴英展出的文物，再加上其他故宮珍品，又由莊嚴安排藏匿避禍。戰爭期間人力短缺，多為莊家人協助看管文物。南方氣候潮濕，裝箱的書畫需取出晾曬防潮。戰爭時期年幼的莊喆等兄弟，總會在一旁協助，父親會逐漸講解名畫的典故。父親擔任運送故宮文物的重責大任，一家人隨之從北京遷徙，西遷又南遷，經上海、南京，湖南的漢口、長沙，至桂林、貴陽、重慶，再返回南京，幾年間辛苦奔波。

莊嚴於故宮博物院偏安南方時的兩位同事—劉峨士（ 19141952 ）和黃異（本名黃居祥， 1909-1954 ），他們是莊喆的繪畫啟蒙老師。劉峨士畢業於北平藝專，曾受西畫訓練，擅長臨摹古畫；黃異則是民俗人物畫專家，以墨描邊，非正統人物畫法，頗具特色。莊喆年幼時跟隨父親輾轉於大陸各地，看盡山川名勝之美。曬晾書畫，默默浸淫於古畫文化的滋養。據說當時莊家人在睡前享受天倫，一起玩著他父親自創的「名畫接龍」遊戲，唱名古畫的朝代、作者和畫名等，這些經典書畫在莊喆的腦海裡已經深刻牢記著。

二次大戰結束， 1946 年莊喆就讀於南京朝天宮小學和市立第一中學。曾在課堂上不專心聽講，被老師發現，原來莊喆正在速寫老師的肖像，畫中人物頗為傳神，師長非但沒有處罰，還驚喜地留下那張圖畫。莊喆會畫畫的名氣因而在校園傳開。

1948 年後，他的父親押運故宮國寶跨海來台，從台中糖廠、霧峰北溝、最終落腳於台北外雙溪。職位也從協助清宮清點的事務員，到古物館科員、科長、館長，最後成為台北故宮博物院的副院長。莊喆初抵台時年僅 15 歲，歷經戰爭和不斷遷徙，走遍大江南北，莊家人經歷過多數人不曾有的驚險與震撼，培育出莊家兄弟各領風騷的文藝專業。

遷居台灣學習西畫

莊喆和兩位兄長就讀於省立台中二中，從霧峰搭乘台糖南投的支線火車前往台中，課餘時到車站旁父親的同事劉峨士和黃異先生家，看他們畫畫為樂。高中畢業，考前到省立一中美術老師王爾昌先生（北平藝專畢業）指導，學習素描基礎。 1954 年以優異的術科成績，考進台北的師範大學美術系就讀。進入大學學習後，莊喆確定了終生將以創作為志業。他喜愛寫生，寒暑假返家，還為家人畫像，也到鄉野田間對著自然寫生。他曾說在師大的課業，唯一受惠的是炭筆素描，對近代西方繪畫僅是摸索，深悉不是模仿自然，應透過不同觀念再現自然。

莊喆是思想自由的年輕藝術家，亟思突破固有僵化的觀念。 1958 年美術系畢業後加入「五月畫會」前衛團體，全心投入抽象畫，思考中西繪畫走向抽象階段的結合。 1959 年他獲邀參加巴西聖保羅雙年展，總共參加過四次展出（其他為 1963 、 1965 、 1973 年度）。

1961 年莊喆與小一歲的師大同窗馬浩結為連理，馬浩是畫家，也是「五月畫會」成員，尤其以陶藝創作聞名。 1962 年開始，莊喆往抽象探索，以渾然手法表現自然，採用快速的技法，使畫面呈現流動之感。早期的作品抒情飄逸瀟灑，後轉而知性沉著凝重。為了增加形式的豐富，他開始思惟更多的創新。

A family photo of the Chuang family, with the boy in suspenders, second from the left, being Chuang Che.

▲ 莊喆《風景》 1975 油彩畫布 117 x 101.5 cm

羅芙奧台北 2024 秋季拍賣會

Chuang Che, Landscape, 1975, Oil on canvas, 117 x 101.5 cm

Ravenel Autumn Auction 2024

1962-1963 年後採用拼貼（ collage ）技法，將棉紙黏貼於畫布，兩種媒材並用。對油彩沖水，營造出潑彩渲染的效果，黏糊著溼答答的紙片皺褶衍生多變的圖像，或刮或挖，大膽破壞，找出中西方皆能融會貫通共賞的審美。莊喆其行為動作伴隨著繪畫留下形跡，也是一種行動繪畫（ action painting ）。畫面裡加入比例不小的中國文字，粗粗黑黑的線條，寫意的方塊字成為構圖的一部分，融合古詩和現代詩的作法，既傳統又當代。透過西方的表現手法，在結構空間中展現東方精神。

莊喆的藝術受到學術的肯定，頗有佳評。如 1962 年以書法線條結合潑彩的《雲影》油畫，獲得香港國際繪畫沙龍金牌獎。 1965 年參加國泰航空公司舉辦的「亞洲代表畫家巡迴獎」，獲得台灣區首獎。 1963 年至 1973 年間，莊喆曾執教於東海大學建築系，擔任教職。另一方面，莊喆也頗富文彩，尤其是藝術理論的見地，於 1964 年他大量地發表寫作。經常在書報雜誌中可見他的精闢觀點。後來集結 24 篇章成《現代繪畫散論》一書，由文星書店出版，被譽為是台灣戰後現代繪畫運動的重要史料。

▲ 莊喆《夜之城》 1989 油彩畫布 153.5 x 204 cm

羅芙奧台北 2008 春季拍賣會成交價 TWD 4,720,000

Chuang Che, NightTown, 1989, Oil on canvas 153.5 x 204 cm

Ravenel Spring Auction 2008, sold for USD 155,238

1965 年莊喆於台北的國立台灣藝術館舉辦首次個展，也確立了他的時代地位，在台灣畫壇仍顯荒蕪保守的 1960 年代，莊喆等五月、東方畫會藝術家，鼓吹創新與自由，堪稱拓荒的前衛藝術家。溫文儒雅的莊喆，以文學詩詞的情感去觀想大自然，逐漸實踐抽象的繪畫之道。獲得洛克斐勒基金會贊助赴美留學

1966 年獲得美國洛克斐勒亞洲美術基金會贊助，赴美國考察世界藝術一年。同年轉往紐約，曾擔任抽象表現主義雕塑家西摩爾．立普頓（ Seymour Lipton, 1903-1986 ）短期助手，藉以了解材質的特性與三維空間的創作。 1968 年繞道歐洲訪問，在巴黎停留半年，遇見朱德群、趙無極、彭萬墀、熊秉明和夏陽等藝術家，相互交流，遊覽歐洲各國後始返回台灣。

1972 年離開台灣，移居美國中西部密西根州的安娜堡（ Ann Arbor ），地處郊區，以農莊馬廄改裝為畫室。莊喆住在鄉間田園生活達 14 年之久，寧靜的環境讓他得以靜心自省，使創作進入一個新的階段。期間對過去產生懷疑，對於抽象畫感到不滿，希望重現中國山水精神。他沉潛創作，還進入密西根大學，重新修讀美術史。回顧 1970 年代抽象畫的作品命名，隱喻了宇宙萬物大自然的山水形質：春夏秋冬、江河湖海、樹木、天光、雲彩、殘寂、人物⋯。莊喆的山水畫常出現大塊空白，有時用以襯托山石的冷凝堅實，給予冥想的空間。

1978-1982

年提出「第三條路」的概念。開闢新路，意指不再追隨西方，也不走回中國畫的教法，進入現代畫的傳承，強調自由抽象繪畫觀。莊喆曾寫道：「這條路沒有課程設計要你一步步去跟隨，卻可以憑個人的本能、潛能去試探鑽研。」

「不是老子，不是莊子，我的山水自有我的意思。」莊喆以此為他的山水畫說法，期許自己「想給傳統一個新樣貌」。他長期隱居於美國鄉間，或許孤獨，但並未與外界隔絕。 1986 年獲得美國傅爾布萊特計畫（ Fulbright Program ）贊助返回台灣，擔任國立藝術學院客座教授一年，並於台北龍門畫廊發表新作。隔年又受中國美術家協會之邀，與王無邪共同展覽於北京中國美術館，在華人藝術圈備受敬重。

1987 年至 1992 年期間，又搬遷到美東距紐約北方三十里的都擺渡鎮（ Dobbs Ferry ），哈德遜河邊廢棄啤酒廠改造的畫室，終於走近都會人群。有感於工業對自然環境的摧殘，化腐朽為傳奇，他會撿拾一些漂流木或現成物，以木材鐵和其他廢料與畫布結合，更進一步擴充為集合藝術，創作為三維空間的雕塑或裝置，藝術家稱之為「哈德遜系列」。在他的抽象畫中，出現有「城市」相關的題材，思索當代的人文景觀。他使用工業棉紙畫羅漢像及綜合媒材的浮雕「臉系列」和「造像系列」。樸素自然、單純而美好的繪畫樂趣。 1994 年後他又遷至紐約的下東城四街，開啟曼哈頓時期。

▶ 莊喆《十六羅漢系列之 1 》 2003 彩墨紙 196 x 97 cm 國立歷史博物館收藏 Chuang Che, Sixteen Lohans Series 1, 2003, Mix-media on paper, 196 x 97 cm Collection of National Museum of History

回歸初衷嚮往山水精神

1990 年代探索臉相的主題，以複合媒材繪寫，形式自由，以筆勢牽引解悟形象，不拘泥於傳統，情感流露才是視覺的核心。人物冊頁圖像，或以報章雜誌拼貼再繪畫，都是莊喆造像的符碼。他試圖在作品中連結現實生活的存在，賦予創造的意義。

千禧年後，莊喆透過古代作品，創作出「柏岩變奏」系列及「雪舟破墨山水變奏」系列，回歸早年嚮往宋代山水畫的精神追求。而為了向二哥莊因祝壽，想送羅漢像給他，翻看史料參考了五代貫休的羅漢尊者畫像，完成了一卷 16 張的羅漢造像給兄長。期間，因投入之後，竟然欲罷不能，又另外一連創作出尺幅夠大的「十六羅漢像系列」，這批作品後來被台北的國立歷史博物館典藏。

2015 年莊喆為北美館的回顧展，在創作自述中總結其歷年創作，分為四個階段：「開始」（ 1958-1972 ）、「融薈」（ 1972-1987 ）、「辯證」（ 1987-1992 ）、「綜合」（ 1993-2014 ），過去二三十年，綜合了前三個階段，延續特色更往前探索，他稱之為「山水人系列」，也是他晚年的階段。

莊喆的創作風格貼近於他生命行旅的軌跡，在不同的地方生活，發展出各不同的繪畫風貌。更不可忽視的，根源於藝術世家的背景，以及他對中國山水畫的孺慕崇仰，甚或走遍大江南北，世界各地的山水情懷，涵養出莊喆寧靜儒雅包容又和諧的抽象表現主義風格。

莊喆的代理畫廊與藝術市場概況

1970 年代後莊喆長期旅美，但與台灣的聯繫未曾中斷。他和成立

於 1975 年的龍門畫廊有多年合作情誼，自 1978 年起到 2002 年龍門畫廊結束台北業務遷往上海，期間合作的個展至少有 11 次之多，平均每兩年即舉辦一次個展。該畫廊對莊喆藝術的推廣卓有貢獻。自 1989 年起也與香港藝倡畫廊合作多次個展，廊主金太太推崇海外華人藝術家不遺於力，也曾為莊喆舉辦過三次個展，協力開拓香港等海外市場。

莊喆曾於 1998 年前往北京中央美院第四工作室講學一個月，且 1999 年任高雄師大美術系客座教授一學期，足見與故鄉的聯繫頗深。

旅美期間，與美國當地的畫廊也多有合作，尤其是紐約的芬里畫廊（ Findlay Galleries ），自 2006 年為其代理畫廊，累計至 2021 年至少為他舉辦過七次畫展之多。

台北的亞洲藝術中心從 2005 年起代理莊喆，一直到 2020 年都有不定期舉辦其個展，發行畫冊並至赴海外參展，對藝術家的推廣有目共睹。前文所述，促成龐畢度中心典藏計畫的法國瓦季尤畫廊（ Galerie Vazieux ），從 2015 年開始合作聯展至今， 2019 年以個展形式推薦，目前為主要代理畫廊。各家畫廊不僅在畫廊展出，也參加大型藝術博覽會，如藝術巴黎（ Art Paris ）、香港巴塞爾以及台北當代藝術博覽會，瓦季尤皆主推莊喆作品，據悉期間多能成功售罄，市場反應良好。

莊喆的公共收藏，包括巴黎龐畢度中心，台北市立美術館，國立歷史博物館、香港藝術館、廣東美術館、上海美術館、北京中央美術學院美術館及美國博物館和私人企業等，合計至少 45 家。藏家遍布全球，美國、香港、台灣都是主力，當然因為代理畫廊之故，台灣的莊喆藏家比例應該還是最高的。然而根據 Artprice 統計歷次拍賣數據，顯示從 2000 年至 2024 年間交易金額約 US$9,772,480 （約 3.1 億台幣，不含傭金），以拍賣市場地區占比，台灣地區佔總成交金額的 42.89% ，香港居次 38.80% ，美國 12.63% ，中國大陸 3.44% ，新加坡 1.33% ，其他地區 0.91% 。

而二級市場，自 1992 年 3 月蘇富比首度在台北舉行拍賣會，一幅 60 號莊喆的畫作就收錄其中。同年 4 月也有一幅 50 號莊喆油畫在香港蘇富比上拍，都分別拍出 30 萬台幣落槌，和 8 萬港幣落槌。至此，他的畫作經常可見於台港兩地拍賣會，目前拍賣排行最高價是 2019 年春在香港蘇富比上拍的巨幅油畫《無題》，畫幅有三米寬，成交金額含傭金 137 萬 500 港元（約 US$173,158 或約 565 萬台幣）；其次是 2008 年台北羅芙奧春拍的《夜之城》，畫幅有兩米寬，成交金額 472 萬台幣（約 US$155,238 ）。過去三十年來，藝術家的行情相對穩定，沒有太劇烈的漲跌， 2008 年和 2019 年因為金融海嘯和代理畫廊加入，為兩個行情高峰，未來價格仍值得期待。

九十歲的莊喆先生，他的作品回到他在台灣生活最久的霧峰，亞洲大學現代美術館，在知名建築師打造的美術館內展出，令人期待。各地的藏家應該珍惜這難得的機會，前往觀賞，品味現代文人的抽象圖繪與寫意風景。

The 90-year-old Chinese-American artist Chuang Che has been invited to hold a special exhibition titled "Vivacity Overflowing –Chuang Che at 90" at the Asia University Museum of Modern Art, starting on October 26, 2024, and running until April 6, 2025. The museum has borrowed over 100 works from the United States, France, Shanghai, Singapore, and Taiwan, covering pieces from the early 1960s to more recent works from after the millennium, offering collectors a visual feast.

Chuang Che's retrospective exhibitions at major museums have occurred approximately every decade. In 2015, the Taipei Fine Arts Museum held an "Effusive Vitality" exhibition to celebrate his 80th birthday, following an earlier solo exhibition in 1992 that reviewed 35 years of his artistic career. His work is highly esteemed, with collections held by prestigious institutions and private collectors both domestically and internationally.

In May 2021, the Centre Pompidou in Paris announced the acquisition of two of Chuang Che's paintings. One is a vertical composition from 1964, showcasing his early use of Eastern inklike washes and collage techniques. The second, a large horizontally composed abstract painting from 1981, is distinguished by its light-green

palette, broad white spaces, and a seamless blend of Eastern and Western elements. This acquisition was made possible through the efforts of Li-Li Lien, then Director of the Taiwan Cultural Center in Paris, and art dealer Sabine Vazieux. Catherine David, senior curator at the Centre Pompidou and artistic director of the 1997 Documenta exhibition in Germany, selected the works, which were later donated by Chuang himself. These additions filled a crucial gap in the museum's collection of Chinese abstract painters, which also includes works by fellow Fifth Moon Group artist Fong Chung-Ray (born 1934).

◀

莊喆《龍域》 1994 油彩畫布 101 x 172 cm

羅芙奧台北 2007 秋季拍賣會成交價 TWD 4,602,000

Chuang Che, DragonRealm, 1994, Oil on canvas, 101 x 172 cm

Ravenel Autumn Auction 2007, sold for USD 142,631

▼ 莊喆《山光雲影》 2006 壓克力油彩畫布 168 x 406.5 cm

羅芙奧 2015 春季拍賣會成交價 TWD 4,200,000

Chuang Che, Mountain and Cloud, 2006, Acrylic and Oil on canvas, 168 x 406.5 cm

Ravenel Spring Auction 2015, sold for USD 136,143

Chuang's art is deeply influenced by the landscape traditions of the Northern Song dynasty, and he holds great admiration for Ming and Qing masters such as Bada Shanren, Shitao, Chen Hongshou, and Xu Wei. His work embodies a refined, transcendent aesthetic. Although Chuang came slightly after renowned artists like Zao Wou-Ki and Chu Teh-Chun, he developed his artistic framework in Taiwan, while actively engaging in international art exchanges. His profound understanding of Western avant-garde movements, combined with his connections to the Fifth Moon Group and the Ton-fan Group, enriched his vision and allowed him to merge diverse cultural elements in his work.

With a rich artistic heritage, Chuang began copying classical Chinese landscape and figure paintings at the age of ten. Reflecting on his long and eventful life, it's clear why his work exudes such elegance, balance, and harmony. His ability to draw from both Eastern and Western traditions has made him a pivotal figure in modern abstract art.

Born into an Artistic Family: Appreciating the Beauty of Classical Landscapes

Chuang Che was born in Beijing in 1934. His father, Chuang ShangYen (1899–1980), and his mother, Shen Ruo-Hsia (1906–2006), had a profound influence on his upbringing. Chuang Shang-Yen graduated from Peking University's Department of Philosophy and studied archaeology

◀ 莊喆《無題》 1963 油彩水墨畫布 60 x 84 cm

羅芙奧 2020 春季拍賣會成交價 TWD 468,000

Chuang Che, Untitled, 1963, Oil and ink on canvas, 60 x 84 cm

Ravenel Spring Auction 2020, sold for USD 15,832

▶ 莊喆《青河》 ( 雙聯幅 ) 1994 壓克力油彩畫布 127 x 336 cm

羅芙奧 2023 秋季拍賣會成交價 TWD 3,840,000

Chuang Che, GreenRiver(Diptych), 1994, Acrylic, Oil on canvas, 127 x 336 cm

Ravenel Autumn Auction 2023, sold for USD 122,021

in Japan. He was also an expert in ancient artifacts, an art historian, and a renowned calligrapher, known for his distinctive "slender gold" style of calligraphy. Chuang Che was the third son in the family. His eldest brother, Chuang Shen (1932–2000), became an art historian and founded the Department of Fine Arts at the University of Hong Kong. His second brother, Chuang Yin (1933–2022), became a famous writer and poet, known by the pen name Sang Yu. His younger brother, Chuang Ling (born in 1938), became a well-known photographer. Their father practiced calligraphy diligently every day, and the children would grind ink and prepare paper while observing him. Their father's love for writing cursive script, with its rhythmic brushstrokes, variations in character size, and balance of spatial composition, provided fundamental visual training that became deeply ingrained in the artistic DNA of the Chuang brothers.

From a young age, Chuang Che was immersed in a scholarly environment. At the time of his birth, his father was head of the First Section of the Antiquities Department at the Palace Museum in Beiping (Beijing). Due to political changes on the mainland, the museum began preparations to move its treasures southward. In 1935, 80 iron boxes filled with valuable ancient artifacts and paintings were selected for exhibition in London, with Chuang Shang-Yen appointed as the Chinese secretary responsible for escorting them. After the outbreak of the SinoJapanese War in 1937, the exhibited artifacts, along with other treasures

from the Palace Museum, were hidden to protect them from harm. Chuang Shang-Yen supervised this effort. With labor shortages during the war, the Chuang family often helped guard these treasures. In the humid southern climate, boxed paintings and calligraphy had to be aired to prevent damage from dampness. As children, Chuang Che and his brothers assisted in these tasks, while their father explained the history behind famous artworks. Over the years, the family moved from Beijing to Shanghai, Nanjing, Hankou, Changsha, Guilin, Guiyang, Chongqing, and back to Nanjing, enduring an arduous journey as they accompanied the Palace Museum's treasures.

While working for the Palace Museum in southern China, Chuang Shang-Yen's colleagues Liu Eshi (1914–1952) and Huang Yi (real name Huang Juxiang, 1909–1954) became Chuang Che's first painting mentors. Liu Eshi, a graduate of the Beiping Art School, had training in Western painting and excelled at copying ancient works, while Huang Yi, a folk figure painting expert, used non-traditional ink techniques to outline figures. These mentors helped shape Chuang's early artistic development. As a child, he also traveled with his father to various parts of China, admiring its famous landscapes and absorbing the essence of classical painting culture. The family often played a bedtime game called

"Masterpiece Relay," where they would name the dynasties, artists, and titles of renowned paintings a tradition that deeply ingrained classical Chinese art in Chuang Che's memory.

After World War II, in 1946, Chuang Che attended Chaotian Temple Elementary School and the Municipal First Middle School in Nanjing. On one occasion, he was caught drawing a lifelike portrait of his teacher in class instead of paying attention. Impressed by his talent, the teacher chose to keep the drawing rather than punish him. Word of Chuang Che's artistic abilities quickly spread throughout the school.

In 1948, Chuang Che's father escorted the Palace Museum's treasures across the sea to Taiwan, where they were initially stored at the Taichung Sugar Factory, then in Beigou, Wufeng, and later at Waishuangxi, Taipei. Chuang Shang-Yen's role evolved from a clerk assisting with Qing palace artifacts to curator, department head, and eventually vice director of the National Palace Museum in Taipei. Chuang Che arrived in Taiwan at the age of 15, after having lived through the upheavals of war and constant relocation. The extraordinary experiences of traveling across China and protecting national treasures profoundly influenced the Chuang family, shaping the lives of each brother, who went on to make significant contributions in their respective fields of art and literature.

Moving to Taiwan and Studying Western Painting

Chuang Che and his two older brothers attended Provincial Taichung Second High School, commuting by the Taiwan Sugar Corporation's Nantou branch railway from Wufeng to Taichung. In their free time, they often visited the homes of their father's colleagues, Liu Eshi and Huang Yi, near the station, where they observed them painting for leisure. Before his high school graduation exams, Chuang received foundational sketching guidance from Wang Er-chang, an art teacher at Provincial First High School and a graduate of the Beiping Art School. In 1954, Chuang was accepted into the Department of Fine Arts at National Taiwan Normal University (NTNU), excelling in his art subjects. It was during his university years that Chuang solidified his ambition to pursue a life in creative work. He had a passion for sketching from life, often returning home during winter and summer breaks to paint family portraits and venture into the countryside to capture nature in his drawings. He once remarked that the most valuable lesson from his time at NTNU was mastering charcoal sketching, as it revealed to him that modern Western painting was not about imitating nature but rather expressing it through different conceptual lenses.

As a young artist with a free spirit, Chuang sought to challenge outdated and rigid conventions. After graduating in 1958, he joined the avant-garde "Fifth Moon Group" and focused on abstract painting, exploring the interplay between Eastern and Western abstraction. In 1959, Chuang was invited to participate in the São Paulo Biennial in Brazil, marking the first of four appearances (also in 1963, 1965, and 1973).

In 1961, Chuang married Ma Hao, a fellow NTNU classmate and a year younger than him. Ma Hao, also a painter and member of the Fifth Moon Group, was known for her work in ceramics. Around 1962, Chuang

began to delve into abstraction, employing fluid techniques to capture the essence of nature. His early works were marked by lyrical and free-flowing qualities, later evolving into a more intellectual and composed style. Eager to enrich his compositions, Chuang sought new forms of innovation.

Between 1962 and 1963, he adopted collage techniques, applying rice paper to his canvases and blending multiple media. He experimented with combining water and oil paints to create splashes and washes, while the wet, wrinkled paper generated dynamic textures through scraping and gouging. His bold surface disruptions reflected his quest to balance Eastern and Western aesthetics, aiming for a fusion that resonated with both traditions. His physical, gestural approach to painting drew comparisons to action painting. He infused significant amounts of Chinese calligraphy into his compositions, using bold black lines and expressive characters as integral elements. Incorporating both classical and modern poetry, Chuang's work became a blend of tradition and contemporary expression, manifesting an Eastern spirit within Western expressive techniques.

Chuang's art received academic recognition and high praise. In 1962, his painting Cloud Shadow, which combined calligraphic lines and splashed colors, won the gold medal at the Hong Kong International Salon of Painting. In 1965, he won first prize in the Taiwan region at the "Asian Representative Painter Tour Prize," organized by Cathay Pacific Airways. From 1963 to 1973, Chuang taught in the Department of Architecture at Tunghai University. On the other hand, Chuang was also a gifted writer, especially in art theory. In 1964, he published many articles, and his insightful perspectives were frequently seen in newspapers and magazines. Later, 24 of these essays were compiled into Essays on Modern Painting, published by Book's World Co., which was hailed as an important historical document of Taiwan's post-war modern art movement.

Chuang's first solo exhibition in 1965 at the National Taiwan Arts Hall in Taipei further cemented his status in Taiwan's art scene. During

the conservative and relatively barren Taiwanese art landscape of the 1960s, Chuang, along with other avant-garde artists from the Fifth Moon Group and Ton-fan Group, championed innovation and artistic freedom. His refined and poetic vision of nature, coupled with his intellectual approach to abstract painting, positioned him as one of the pioneering figures in modern Taiwanese art.

Returning to Original Intentions, Longing for the Spirit of Landscape

In the 1990s, Chuang Che explored the theme of faces, using mixed media to express forms freely. His brushstrokes evoked imagery unconstrained by tradition, with emotional expression at the core of the visual experience. The figures in his sketchbooks, often created through collage with newspapers and magazines before being repainted, symbolized Chuang's portrayal of the human experience. He aimed to connect real-life existence within his works, infusing them with deeper meaning.

◀

莊喆《抽象》（三聯幅） 1982 壓克力畫布 126 x 383 cm

羅芙奧台北 2013 秋季拍賣會成交價 TWD 2,640,000

Chuang Che, Abstract(triptych), 1982, Acrylic on canvas, 126 x 383 cm

Ravenel Autumn Auction 2013, sold for USD 89,219

▼ 莊喆《春光乍現》 1989 壓克力畫布 125 x 125 cm

羅芙奧台北 2020 春季拍賣會成交價 TWD 2,880,000

Chuang Che, TheBeginningofSpring, 1989, Acrylic on canvas, 125 x 125 cm

Ravenel Spring Auction 2020, sold for USD 97,429

Chuang's creative style closely reflects his life journey. Living in diverse places allowed him to develop various painting styles. His roots in an artistic family and admiration for Chinese landscape painting, coupled with extensive travels, cultivated his tranquil, elegant, inclusive, and harmonious approach to abstract expressionism.

Chuang Che's Representing Galleries and Art Market Overview

Since the 1970s, Chuang Che has lived primarily in the United States, but he has maintained strong connections with Taiwan. He collaborated for many years with Lung Men Art Gallery, established in 1975. From 1978 until the gallery closed its Taipei location in 2002 and moved to Shanghai, Chuang held at least 11 solo exhibitions at Lung Men, averaging one every two years. The gallery played a significant role in promoting his art. Since 1989, he has also collaborated with the Hong Kong-based Alisan Fine Arts gallery, holding several solo exhibitions. The gallery's owner, Mrs. King, was dedicated to promoting overseas Chinese artists and organized three solo exhibitions for Chuang, helping him expand into the Hong Kong and international markets.

After the millennium, Chuang drew inspiration from ancient art to create the "Rock & Cypress Series" and "Variation on Shesshu's Broken Ink Landscape," returning to his early pursuit of the spirit of Song dynasty landscape painting. To celebrate his second brother Chuang Yin's birthday, he wanted to present a figure of a Lohan (arhat). Referring to historical materials, he studied the Lohan paintings of Guo Xiu from the Five Dynasties and completed a scroll of 16 Lohan figures for his brother. So engrossed in his work, he subsequently created the larger "Sixteen Lohans Series," which was later acquired by the National Museum of History in Taipei.

In 2015, for a retrospective exhibition at the Taipei Fine Arts Museum, Chuang summarized his creative journey into four stages in his artistic statement: "The Beginning" (1958-1972), "Combining" (19721987), "Dialectic" (1987-1992), and "Synthesis" (1993-2014). Over the past two to three decades, he synthesized elements from earlier stages, further developing their characteristics while venturing into new explorations. This culminated in the "Man of Landscape" series, marking the final phase of his later years.

In 1998, Chuang spent a month lecturing at the Fourth Studio of the Central Academy of Fine Arts in Beijing. In 1999, he was a visiting professor for a semester at the National Kaohsiung Normal University's Department of Fine Arts. These experiences highlighted his deep ties to his homeland. During his time in the U.S., he collaborated with local galleries, particularly Findlay Galleries in New York, which began representing him in 2006. By 2021, the gallery had hosted at least seven exhibitions of his work.

In Taiwan, the Asia Art Center has represented Chuang since 2005, organizing exhibitions and producing catalogues until 2020. The gallery has also promoted his work internationally. As mentioned, Galerie Vazieux in France, which facilitated the Pompidou Center's acquisition of his works, began collaborating with him in 2015 and hosted a solo exhibition in 2019. Galerie Vazieux remains his primary representative gallery, showcasing his work at major art fairs like Art Paris, Art Basel Hong Kong, and Taipei Dangdai, where his works have reportedly sold out, reflecting strong market demand.

Chuang's public collections include the Centre Pompidou in Paris, Taipei Fine Arts Museum, National Museum of History in Taipei, Hong Kong Museum of Art, Guangdong Museum of Art, Shanghai Art Museum, and Central Academy of Fine Arts Museum in Beijing, among others, totaling at least 45 institutions. His collectors are spread worldwide, with the majority in the U.S., Hong Kong, and Taiwan. Due to gallery representation, Taiwan likely has the largest proportion of Chuang's collectors. According to Artprice, from 2000 to 2024, the total sales volume of Chuang's works at auction reached approximately US$9,772,480 (around NT$310 million, excluding commission). By auction region, Taiwan accounted for 42.89% of total sales, followed by Hong Kong at 38.80%, the U.S. at 12.63%, mainland China at 3.44%, Singapore at 1.33%, and other regions at 0.91%.

In the secondary market, Chuang's works have been featured in auctions since March 1992, when Sotheby's held its first auction in Taipei. A size 60 painting by Chuang was included in that sale. In April of the same year, a size 50 oil painting was auctioned at Sotheby's Hong Kong, with final hammer prices of NT$300,000 and HK$80,000, respectively. Since then, his works have regularly appeared in auctions in both Taiwan and Hong Kong. The highest auction price for his work to date was achieved in spring 2019 at Sotheby's Hong Kong, where his large-scale oil painting "Untitled" (three meters wide) sold for HK$1,370,500 (about US$173,158 or NT$5.65 million, including commission). The second highest was "Night Town" (two meters wide), which sold for NT$4.72 million (about US$155,238) at Ravenel's Spring Auction in Taipei in 2008. Over the past 30 years, the market for Chuang's works has remained relatively stable, with two notable peaks in activity: during the financial crisis in 2008 and after new representing galleries joined in 2019. Future prices remain promising.

Now, at the age of 90, Chuang Che's works have returned to Wufeng, where he lived for many years in Taiwan. They are being exhibited at the Asia University Museum of Modern Art, housed in a building designed by a renowned architect. This highly anticipated exhibition offers collectors from around the world a rare opportunity to appreciate the abstract compositions and expressive landscapes of this modern literati artist.

◀ 莊喆《煙江疊嶂》 1989 壓克力畫布 126 x 126 cm

羅芙奧台北 2007 春季拍賣會成交價 TWD 3,186,000

Chuang Che, Misty River, LayeredPeaks, 1989, Acrylic on canvas, 126 x 126 cm

Ravenel Spring Auction 2007, sold for USD 96,472 ▲

莊喆《雪舟破墨山水變奏 03 》 2001 油彩畫布 203 x 126 cm

羅芙奧台北 2021 春季拍賣會成交價 TWD 1,200,000

Chuang Che, VariationofLandscape03, 2001, Oil on canvas, 203 x 126 cm

Ravenel Spring Auction 2021, sold for USD 42,857

莊喆作品二十大拍賣成交排行

無題 Untitled

x 304.2 cm

預估價 Estimate

HKD 500,0001,200,000

成交價 Sold at USD 175,158 HKD 1,375,000

拍賣日期 Auction Date

香港蘇富比

Sotheby's Hong Kong April 1, 2019

夜之城 Night Town

Dragon Realm

預估價 Estimate TWD 1,800,0002,800,000

成交價 Sold at USD 155,238 TWD 4,720,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel Taipei June 1, 2008

疊韻 Assonance

on canvas (diptych)

x 283.3 cm

預估價 Estimate

HKD 350,000700,000

成交價 Sold at USD 135,460 HKD 1,062,500

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong October 6, 2019

青河 (雙聯幅) Green River (diptych)

預估價 Estimate

TWD 1,300,0002,300,000

成交價 Sold at USD 142,631

TWD 4,602,000

拍賣日期 Auction Date

台北羅芙奧

Ravenel Taipei

December 2, 2007

3 8 4 9

無題 Untitled

山光雲影 Mountain and Cloud

預估價 Estimate TWD 3,600,0004,600,000

成交價 Sold at USD 136,143 TWD 4,200,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel Taipei June 7, 2015

預估價 Estimate

HKD 800,0001,200,000

成交價 Sold at USD 135,794

HKD 1,062,500

拍賣日期 Auction Date

香港佳士得 Christie's Hong Kong November 23, 2019

鴻濛 Harmony

預估價 Estimate TWD 3,600,0004,800,000

成交價 Sold at USD 122,021 TWD 3,840,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel Taipei December 3, 2023

預估價 Estimate

HKD 300,000600,000

成交價 Sold at USD 121,401

HKD 945,000

拍賣日期 Auction Date

香港蘇富比

Sotheby's Hong Kong October 10, 2021

預估價 Estimate

HKD 350,000700,000

成交價 Sold at USD 113,574 HKD 882,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong April 19, 2021

預估價 Estimate

HKD 400,000600,000

成交價 Sold at USD 112,893

HKD 875,000

拍賣日期 Auction Date

香港佳士得

Christie's Hong Kong July 11, 2020

TOP 20 MOST EXPENSIVE ARTWORKS OF CHUANG CHE EVER SOLD AT AUCTION

製表／陳惠黛 Odile Chen（Update 2024.10.11; Source: Artprice.com, Christie's, Ravenel, Sotheby's, Zhong Cheng）

虹彩 Untitled 1987 Oil on canvas 126.5 x 190.5 cm

風景1987 - 第34號 Landscape 1987 N°34

1987 Oil on canvas 245 x 198.8 cm

春光乍現 The Begining of Spring 1989

Acrylic on canvas 125 x 125 cm

預估價 Estimate HKD 380,000580,000

成交價 Sold at USD 104,650 HKD 812,500

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong April 6, 2013

預估價 Estimate HKD 800,0001,200,000

成交價 Sold at USD 103,841 HKD 812,500

拍賣日期 Auction Date

香港佳士得 Christie's Hong Kong November 24, 2019

預估價 Estimate TWD 1,600,0002,200,000

成交價 Sold at USD 97,750

TWD 2,880,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel Taipei July 19, 2020

TOP 20

無題 Untitled 1989 Mixed media on canvas 154.7 x 127 cm

15 20 12 17 11 16

煙江疊嶂 Misty River, Layered Peaks

1989

Acrylic on canvas 126 x 126 cm 13 18 14 19

預估價 Estimate HKD 180,000350,000

成交價 Sold at USD 97,349 HKD 756,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong April 19, 2021

超越極限 Above & Beyond

1994

Oil on canvas

168 x 168 cm

抽象（三聯幅） Abstract 1982

Acrylic on canvas, (triptych) 126 x 383 cm

無題（雙聯作） Untitled (diptych)

1982 Oil on canvas (126 x 133) x 2 cm

風景76-65

Landscape 76-65

1976 Oil, mixed media on canvas (diptych)

89.5 x 121.5 cm

預估價 Estimate HKD 350,000700,000

成交價 Sold at USD 97,070 HKD 762,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong April 6, 2023

無題 Untitled 1994 Oil on canvas 132 x 160 cm

預估價 Estimate

TWD 820,0001,200,000

成交價 Sold at

USD 96,313

TWD 3,186,000

拍賣日期 Auction Date

台北羅芙奧 Ravenel Taipei June 3, 2007

預估價 Estimate TWD 1,800,0002,500,000

成交價 Sold at USD 94,985 TWD 3,068,000

拍賣日期 Auction Date

台北中誠

Zhong Cheng Taipei December 9, 2007

預估價 Estimate

TWD 2,600,0003,800,000

成交價 Sold at USD 89,179 TWD 2,640,000

拍賣日期 Auction Date

台北羅芙奧

Ravenel Taipei December 1, 2013

預估價 Estimate HKD 380,000500,000

成交價 Sold at USD 87,720 HKD 680,000

拍賣日期 Auction Date

香港蘇富比 Sotheby's Hong Kong October 7, 2012

預估價 Estimate HKD 300,000500,000

成交價 Sold at USD 87,588 HKD 687,500

拍賣日期 Auction Date

香港佳士得 Christie's Hong Kong May 26, 2019

匠心無限：佐治敬三的三得利之路

Legacy in Motion:

Keizo Saji's Innovation Journey at Suntory

Photo / Ravenel Finest and Rarest Wines

鳥井信治郎早在 1899 年創立壽屋之時，便透過一次次產品的推出，意識到了日本消費者對洋酒的接受度有限，純粹引進或是教育消費者並非市場上上策，創造出日本消費者喜愛的風味才是自己要做的。因此無論是 1907 年甫一推出便搶佔日本葡萄酒超過 60% 市場份額的甜味果實酒「赤玉スイートワイン（赤玉波特酒）」、 1937 年成功深入大眾日常生活且至今仍活躍的「角瓶」、 1946 年因應戰後稅法而生的 37% 「トリス Torys 」、還是 1960 年擁抱了日本人對美味的理解和一切期待的「サントリーローヤル（ Suntory Royal ）」，鳥井信治郎秉持著打造「屬於日本人的威士忌」的信念奠定了三得利在日本威士忌的龍頭地位。

1961 年，鳥井信治郎正式將壽屋經營權交棒給兒子佐治敬三，壽屋也於 1967 年正式更名為三得利株式會社（サントリー）。

國內市場的持續深耕

▶ 將威士忌融入日本都市生活的 Torys 酒吧佐治敬三做為三得利的第二代社長，繼承並延續了父親鳥井信治郎在日本國內市場深耕的策略。他不僅堅守父親「放手去做（やってみなはれ）」的精神，突破當時日本啤酒市場三強鼎立的格局，更在行銷與品牌推廣上有著超前的思維，透過他一系列的操作，讓三得利的威士忌品牌深植人心。

佐治敬三深信，三得利賣的不僅僅是產品，更是「產品當代的生活型態」。當壽屋於戰後物資匱乏的 1946 年推出價格低廉的 Torys 威士忌時，他創立了「 Torys 酒吧」，規模不大的酒吧有著溫馨的燈光和簡單的下酒小菜，主打「トリスバー（ Tory's Highball ）」的輕鬆喝法，讓看似高不可攀的威士忌變得容易親近，很快便受到上班族的熱烈歡迎。到了 1960 年代， Torys 酒吧遍地開花，全國的酒吧數量超過 2000 家。

「 Torys 酒吧」企劃不僅成功推廣了 Torys 的品牌知名度，更將威士忌文化與日本都市生活緊密連結。 Highball 的輕鬆喝法更創造了一種容易接受的洋酒享受方式與飲酒文化，間接推動了日本的洋酒熱潮。

▶ 革命性的公關雜誌《洋酒天國》

1950 年代至 1960 年代迎來了快速的工業化和現代化，隨著日本經濟的迅速復甦，人們對於文化娛樂等需求也逐漸增長，許多雜誌紛紛於此時創刊。

時任三得利專務的佐治敬三招募了一批才華橫溢的創意人進入三得利廣告部，其中包含後來的芥川獎得主開高健、直木獎得主山口瞳、插畫家柳原良平、視覺設計大師坂根進、廣告策劃達人山崎隆夫，《洋酒天國》公關雜誌就在這幾位核心人物的推動下於 1956 年創刊。

雜誌內容豐富多樣，除了威士忌歷史的介紹、雞尾酒配方、時尚品酒方式的分享，也結合各種西洋文化，才華洋溢的編輯群更找來當時知名的作家與文化名人撰稿，如在巴黎社交圈活躍的「薩摩男爵」薩摩治郎八、以書寫男同性戀戀情聞名的日本當代文學家森茉莉，各式訪談、遊記隨筆、和小說帶來前衛的觀點與文化思潮，編輯風格獨樹一格，《洋酒天國》很快便成為都市時尚男性的娛樂讀物，在鼎盛時期發行量達到 20 萬冊。

有趣的是，《洋酒天國》並不在書店銷售，僅能在三得利旗下的 Torys 酒吧中翻閱。兩套行銷策略的強強聯手，讓下班後去酒吧享受威士忌的風氣變成時尚潮流，而《洋酒天國》也在傳遞西方飲酒文化與生活型態的同時注入文學與前衛的元素，讓喝威士忌是富有文化內涵的優雅形象深植人心。通過《洋酒天國》，三得利成功地塑造了品牌形象，更讓威士忌品飲成為日本文化的新潮流。

▶ Torys 大叔（アンクルトリス）— 超級 IP 的創造 Torys 大叔是佐治敬三與宣傳部推出的 Torys 威士忌廣告角色，由插畫家柳原良平創作。這位上班族性格善良老實、做事小心謹慎，內心卻充滿正義感，偶爾會有出乎意料的大膽舉動。普通平凡的 Torys 大叔熱愛在下班後來杯トリスバー（ Tory's Highball ），第二天上班又再次充滿幹勁，這個形象完美貼合所有昭和時代的上班族，也呼應了 Torys 威士忌作為「平民威士忌」的市場定位。

柳原良平還打造了一支動畫廣告，描述 Torys 大叔在 Torys 酒吧喝酒的故事。這隻動畫打中無數上班族，更是五零年代末期最具代表性的一部商業動畫作品，榮獲第 12 回廣告電通賞。

1961 年，佐治敬三更以 Torys 大叔為主角，在山口瞳的操刀下推出了「喝 Torys· 遊夏威夷」的廣告活動，成功將 Torys 威士忌與追求美好生活的願景聯繫在一起，有效提升了品牌的忠誠度，為 Torys 威士忌帶來了廣泛的市場認同。

森林中的蒸餾所—白州蒸餾所

儘管三得利已在 1957 年為旗下第一座蒸餾廠－山崎蒸餾所汰換設備、增設四座新蒸餾器，但日本國內對威士忌的需求攀升太過快速，原酒的產出仍供不應求，為了彌補山崎的產能與多樣性的不足，佐治敬三開始尋覓新蒸餾廠建立的可能性。

▶ 得天獨厚的自然環境

鳥井信治郎在為山崎蒸餾所選址時，除了靠近大城市的經濟優勢外，他更看重的是當地自然環境的條件。蒸餾所所在地鄰近百大名泉之一的「利休之水」，也鄰近桂川、宇治川、與木津川三條河流匯聚之地，長年被霧氣所籠罩，這種適合威士忌熟成的環境正是鳥井信治郎心中的理想之所。

與父親鳥井信治郎一樣，佐治敬三堅信好的威士忌始於優質的水源與風土。 1973 年，他終於在山梨縣北杜市的南阿爾卑斯山脈找到了心目中的完美之地，白州蒸餾所就此誕生。

白州蒸餾所位於海拔約 700 米的南阿爾卑斯國家公園境內，這片林地有著分明的四季與較大的日夜溫差，特別適合威士忌的長期熟成。更為關鍵的是，酒廠的用水來自甲斐駒岳的融雪，這些雪水融化後緩慢地在花崗岩層間緩慢流過，歷經數十年的時間被層層過濾，最終匯聚於尾白川，成為極軟的伏流水，這樣獨特的軟水水質賦予白州威士忌清爽輕盈、細膩柔和的特質。對名水百選之一的「尾白川」深具信心，三得利更在 2003 年蒸餾所旁設立了天然水白州工廠，將該水源裝瓶販售，成為日本最受歡迎的瓶裝水之一。

為保護這片珍貴的自然資源，三得利斥資買下 82.5 公頃的土地，儘管佔地遼闊，開發範圍卻不到兩成，其餘大片森林依舊保持著原始狀態。這片林地還成為了野鳥保護區，棲息著超過 50 種的野生鳥類，這些鳥兒成為酒廠天然的「水質監測器」，在保護自然環境的同時，也確保了水源的純淨與穩定供應。

與國際接軌

▶ 日本單一麥芽威士忌的誕生

▶ 日本製程工藝的職人精神

白州蒸餾所於 1973 年建廠之際擁有六對蒸餾器，並於 1977 年新增了同樣配置的白州二廠。為跟上市場的需求量，後來被稱作白州東蒸餾所的白州三廠於 1981 年落成。三座蒸餾廠的共同運轉，使白州一舉成為當時全球最大的威士忌蒸餾廠。日本調和式威士忌也正是在 1980 年代初期達到頂峰，單單 1983 年，三得利在國內就銷售了多達 1200 萬瓶的威士忌。

然而，隨著時代變遷，威士忌市場遭遇了前所未有的挑戰。隨著進口關稅的下調、歐美烈酒革命的興起、八零年代歐美白色烈酒革命引發的燒酎熱潮，威士忌的內需急劇縮減。到了 1988 年，白州的兩座舊蒸餾廠正式停止運轉，如今，白州一廠已被改建為紀念館，巨大的蒸餾器聳立著，它們是市場擴張下的遺跡，在昏黃的吊燈下緬懷著曾經的輝煌。

面對這樣的變局，鳥井信治郎「用日本人的手，打造世界級日本威士忌」的信念與那永不放棄的精神，帶領著三得利在長達二十多年的低迷市場中持續探索與創新。如今，運作中的東廠配備有八對蒸餾器，形狀和大小各異，有胖有高、有瘦有圓；林恩臂有的上揚、有的下傾，有的還可以調整角度；有的連結冷凝器、有的則使用傳統的蟲桶冷凝。此外，白州蒸餾所使用四種麥芽，同時採用威士忌酵母和艾爾啤酒酵母，並使用全木製發酵槽進行至少 72 小時的長發酵，最後再盛裝於不同的橡木桶中，每一個步驟的不同選擇都能生產出風味迥異的原酒，為三得利威士忌帶來了獨特且多樣的風貌，這種對於各個製程細節工藝的追求與不斷探索，使得三得利迄今仍能在威士忌界屹立不搖。

鳥井信治郎專注於本土市場，為三得利打下堅實穩固的基礎。而隨著三得利威士忌在日本的成功，佐治敬三則放眼國際，他深信日本威士忌不應只侷限在國內市場，應該要讓世界見證他的卓越與獨特。

1984 年正值日本經濟高速發展的巔峰，也是調和威士忌市場蓬勃發展之時，佐治敬三大膽地推出「山崎」單一麥芽威士忌。希望透過本土蒸餾釀製的單一麥芽威士忌，展現日本得天獨厚的風土條件、職人們極致的蒸餾釀造技術，以及所孕育出的威士忌那獨到的內斂優雅。

然而，單一麥芽威士忌並非一推出便廣受歡迎。 1984 年之後不久，日本經濟開始陷入長期低潮，日本威士忌產業步入寒冬；而蘇格蘭威士忌也在同一時期面臨著自七零年代黃金時期轉入產量過剩、供過於求的狀態，許多酒廠陷入停產甚至倒閉的窘境。幸而在這樣艱難的市場環境下，我們觀察到單一麥芽威士忌如黑暗中的一絲曙光，逐步在調和威士忌的式微中嶄露頭角。「單一麥芽威士忌」這個概念很早就存在於裝瓶廠的作品當中，格蘭菲迪更是早在 1963 年便率先以單一麥芽做為品牌訴求，但一直要到 1980 年代， DCL 的 Malt Cellar Collection 和 United Distillers 推出的 Classic Malts of Scotland 意外受到市場熱烈迴響，單一麥芽威士忌這才逐漸受到蒸餾廠的重視。隨後在 2000 年代初期，單一麥芽威士忌逐漸從一個極小眾市場走向國際舞台，受到對高品質有所追求的消費者的青睞。山崎 12 年自 1984 年推出後，也一直要到 2003 年才開始在國際烈酒競賽中屢次獲獎。正是因為山崎和後來 1994 年白州單一麥芽威士忌的陸續問世，讓日本威士忌有機會站上世界威士忌的舞台，開創了日本威士忌的全球化時代，再再證明佐治敬三於 1984 年的決策展現了他前瞻性的市場眼光。

As early as 1899, when Shinjiro Torii founded Kotobukiya, he quickly realized that Japanese consumers had a limited acceptance of Western spirits. Simply importing foreign products or educating consumers was not the most effective strategy. Instead, Torii understood that creating flavors that resonated with the Japanese palate was essential.

Thus, whether it was the launch of the sweet wine "Akadama Port Wine" in 1907, which captured over 60% of Japan's wine market, the 1937 debut of Suntory Kakubin, still widely popular today, the introduction of the 37% Torys whisky in 1946 in response to post-war taxation, or the release of Suntory Royal in 1960, which met the Japanese demand for refined and sophisticated flavors, Torii's belief in crafting "whisky for the Japanese" laid the foundation for Suntory's leadership in the Japanese whisky industry.

In 1961, Shinjiro Torii officially passed the reins of Kotobukiya to his son, Keizo Saji, and in 1967, the company was officially renamed Suntory Limited ( サントリー ).

▶ 集大成之作—「響」的誕生

1989 年正值三得利創業九十週年，佐治敬三希望能推出一款「用日本人的手，打造出的世界級日本威士忌」，向父親鳥井信治郎一生懸命的堅持致敬。

在時任首席調酒師的稻富孝一協助下，他們從三得利旗下的兩座麥芽蒸餾廠—山崎與白州、以及專注於穀物威士忌的知多蒸餾所中，挑選超過三十種酒齡 17 年以上的威士忌原酒進行調配。鍾情於交響樂的第二代首席調酒師稻富孝一在調製「響 Hibiki 」時，布拉姆斯第一號交響曲第四樂章盤旋心中，奠定了「響」燦爛奢華卻又和諧的獨特風格。

「響」可以說是佐治敬三自 1961 年接掌三得利後兢兢業業的縮影。集旗下三個蒸餾廠最精華的酒液，將三得利豐富的釀酒歷史凝聚在一瓶威士忌當中；而刻意採用超過三十種以上原酒的調和，部分酒液於日本特有的水楢桶中熟成，打造出的酒液有著獨特的日本神社線香風情，是西方世界難以想像亦無法模仿的東方風格，可以說是日本調和工藝的極致展現。在包裝上，向來擅於行銷的佐治敬三也毫不馬乎，瓶身標誌性的 24 道切割面，更寓意著 24 節氣的更迭，代表響系列經時間淬煉的風情，也呼應著三得利的品牌精神：強調人與自然、自然與社會的和諧共鳴；酒標則採用來自京都堀木エリ子工作室的越前和紙，由書法家荻野丹雪題字，將日本職人工藝完美融入。

傳承是過去的創新，而創新就是未來的傳承。日本職人精神講求的從來就不是一成不變的傳統，他們勇敢順應當下的市場，擁抱改變，不害怕失敗也不輕言放棄，如果一定要用一個形容詞來定義日本威士忌，「永不放棄」的日本職人精神，或許就是最好的詮釋。

DEEPENING THE ROOTS IN THE DOMESTIC MARKET

▶ Torys Bar: Integrating Whisky into Japanese Urban Life

As the second president of Suntory, Keizo Saji inherited and expanded upon his father Shinjiro Torii's strategy of deeply cultivating the domestic Japanese market. Saji not only upheld his father's entrepreneurial spirit embodied in the motto "Yatte Minahare" ("Go for it"), but also disrupted the three-way dominance of Japan's beer market with his forward-thinking approach to marketing and brand promotion. Through a series of innovative campaigns, he succeeded in embedding Suntory's whisky brand into the hearts of consumers.

Keizo Saji firmly believed that Suntory was not just selling a product, but a "modern lifestyle" through its offerings. When Kotobukiya introduced the affordable Torys whisky in 1946, during a time of post-war shortages, Saji established the "Torys Bar." These cozy, small-scale bars, adorned with warm lighting and offering simple bar snacks, focused on serving Tory's Highball, making whisky previously perceived as an inaccessible luxury both approachable and enjoyable. The concept quickly resonated with the workingclass population, and by the 1960s, more than 2,000 Torys Bars had sprouted across Japan.

The Torys Bar initiative not only bolstered the brand's recognition but also successfully intertwined whisky culture with Japan's urban lifestyle. The casual nature of drinking whisky highballs also made Western spirits more accessible to Japanese consumers, thus driving the wave of international liquor appreciation in Japan.

▶ The Revolutionary PR Magazine: Yoshu Tengoku

The 1950s and 1960s marked a period of rapid industrialization and modernization in Japan, with the country's economy quickly rebounding. As a result, people's demand for cultural entertainment began to grow, and many new magazines were launched during this time.

Keizo Saji, then the Executive Vice President of Suntory, recruited a group of talented creatives into the company's advertising department, including future Akutagawa Prize winner K ō b ō Abe, Naoki Prize winner Hitoshi Yamaguchi, renowned illustrator Ryohei Yanagihara, visual design master Susumu Sakane, and advertising expert Takao Yamasaki. With these brilliant minds at the helm, the PR magazine Yoshu Tengoku (Whisky Heaven) was launched in 1956.

The magazine's content was richly varied, offering readers everything from whisky history, cocktail recipes, and fashionable drinking tips to diverse Western cultural elements. The editorial team also invited famous writers and cultural figures of the time to contribute, such as the flamboyant Baron Satsuma, a prominent figure in Parisian social circles, and Mori Mari, a contemporary Japanese novelist known for her explorations of homosexual themes. Through interviews, travel essays, and fiction, Yoshu Tengoku provided avant-garde perspectives and cultural insights, setting itself apart with its unique editorial style. The magazine quickly became a popular read among urban, fashionable men, reaching a peak circulation of 200,000 copies.

Interestingly, Yoshu Tengoku was not sold in bookstores; it could only be read in Suntory's Torys Bars. This dual marketing strategy created a seamless connection between whisky culture and trendy urban nightlife. At the same time, the magazine infused elements of literature and progressive culture into whisky drinking, cementing the image of drinking whisky as a sophisticated and culturally rich indulgence. Through Yoshu Tengoku, Suntory not only shaped its brand image but also helped make whisky consumption a chic and modern part of Japanese culture.

▶ Uncle Torys: A Legendary Advertising Icon

Uncle Torys, the mascot for Torys Whisky, was a character developed by Keizo Saji and the Suntory advertising team, brought to life by illustrator Ryohei Yanagihara. Uncle Torys was portrayed as a kind-hearted and honest office worker, cautious in his actions but driven by a strong sense of justice. Occasionally, his quiet demeanor gave way to unexpected boldness. His modest, everyday persona and love for unwinding with a Tory's Highball after work resonated deeply with the typical Japanese salaryman of the Showa era. This connection reinforced Torys Whisky's image as the "people's whisky," accessible and relatable.

Yanagihara also created an animated commercial featuring Uncle Torys enjoying a drink at a Torys bar. The advertisement struck a chord with countless office workers and became one of the most iconic pieces of commercial animation from the late 1950s, earning the prestigious 12th Dentsu Advertising Award.

In 1961, Keizo Saji capitalized on Uncle Torys' popularity by launching the "Drink Torys, Travel to Hawaii" campaign, written by Hitoshi Yamaguchi. This clever marketing strategy linked Torys Whisky to the aspirations of a better life, enhancing brand loyalty and earning wide recognition for Torys Whisky.

To preserve this invaluable natural resource, Suntory purchased 82.5 hectares of land, of which less than 20% was developed. The remainder remains as a pristine forest. This forest has also been designated a bird sanctuary, home to over 50 species of wild birds. These birds serve as natural "water quality monitors," ensuring the purity and stability of the water supply while contributing to the preservation of the natural environment.

▶ The Spirit of Japanese Craftsmanship

When the Hakushu Distillery was first established in 1973, it housed six pairs of stills, and by 1977, a second facility with the same configuration was added. In 1981, to meet the growing market demand, a third distillery, later known as the Hakushu East Distillery, was constructed. With all three distilleries in operation, Hakushu became the largest whisky distillery in the world at the time. In the early 1980s, Japanese blended whisky reached its peak, with Suntory selling over 12 million bottles domestically in 1983 alone.

However, as times changed, the whisky market faced unprecedented challenges. The lowering of import tariffs, the rise of the Western white spirits revolution, and the shochu boom of the 1980s caused domestic demand for whisky to sharply decline. By 1988, two of Hakushu's older

THE DISTILLERY IN THE FOREST: HAKUSHU DISTILLERY

Although Suntory had upgraded its first distillery, Yamazaki, in 1957 by adding four new stills, domestic demand for whisky in Japan continued to surge at an unprecedented rate. The output of original whisky could no longer keep pace with the growing demand. In response to this, Keizo Saji began exploring possibilities for establishing a new distillery to complement the capacity and diversity of Yamazaki.

▶ A Pristine Natural Environment

When Shinjiro Torii, Keizo Saji's father, selected the site for Yamazaki, he considered not only the economic advantages of proximity to major cities but also the natural environment. The distillery was located near "Rikyu's Water," one of Japan's top 100 famous spring waters, and at the confluence of the Katsura, Uji, and Kizu rivers. The area, frequently enveloped in mist, created ideal conditions for whisky maturation, making it Torii's dream location.

Like his father, Keizo Saji firmly believed that great whisky begins with quality water and an excellent terroir. In 1973, after years of searching, he finally found the perfect site in the Southern Alps of Hokuto City, Yamanashi Prefecture. Thus, the Hakushu Distillery was born.

distilleries ceased operations. Today, Hakushu Distillery No.1 has been transformed into a museum, with its large stills standing as relics of a bygone era, illuminated in the warm glow of chandeliers, a tribute to past glory.

In the face of such market shifts, Shinjiro Torii's unwavering belief in creating world-class Japanese whisky with Japanese craftsmanship guided Suntory through over two decades of market downturns, continually driving exploration and innovation. Today, Hakushu East Distillery is equipped with eight pairs of stills, each varying in shape and size some tall and wide, others slim and rounded. Some lyne arms rise, others slope downward, with some adjustable for different angles. Certain stills are connected to modern condensers, while others use traditional worm tubs. Hakushu also employs four types of malt, whisky yeast, and ale yeast, using fully wooden fermentation tanks for at least 72 hours of long fermentation, and finally maturing the whisky in different types of oak barrels. Each of these choices allows for the production of a diverse range of whisky styles, contributing to the uniqueness and variety of Suntory whiskies. It is this dedication to perfecting every step of the process and constant pursuit of excellence that has kept Suntory a formidable presence in the whisky world.

BRINGING JAPANESE WHISKY TO THE WORLD

▶ The Birth of Japanese Single Malt Whisky

Shinjiro Torii focused on the domestic market, establishing a solid foundation for Suntory's success in Japan. Building on this achievement, Keizo Saji set his sights on international expansion, believing that Japanese whisky should not be confined to local appreciation but should demonstrate its unique excellence to the world.

In 1984, at the height of Japan's economic boom and a thriving blended whisky market, Keizo Saji boldly launched the Yamazaki Single Malt Whisky. His vision was to showcase Japan's unique terroir and the meticulous craftsmanship of Japanese distillers, creating a whisky that embodied a refined and understated elegance, nurtured by Japan's natural environment and masterful distillation techniques.

However, single malt whisky was not widely embraced upon its initial release. Shortly after 1984, Japan's economy entered a prolonged recession, plunging the Japanese whisky industry into a winter of decline. At the same time, Scotch whisky was also transitioning from the golden age of the 1970s to a period of overproduction and oversupply, with many distilleries halting operations or even closing down. Yet, amidst this challenging market environment, we observed single malt whisky emerging like a ray of hope in the fading popularity of blended whisky. The concept of "single malt whisky" had long existed in the portfolios of bottlers, with Glenfiddich being the first to market itself as a single malt as early as 1963. However, it wasn't until the 1980s, when DCL's Malt Cellar Collection and United Distillers' Classic Malts of Scotland unexpectedly resonated with the market, that single malts began to garner significant attention from distilleries. By the early 2000s, single malt whisky gradually transitioned from a niche product to a global presence, attracting consumers in search of premium quality. Similarly, the Yamazaki 12-year-old, which was launched in 1984, did not begin to receive multiple awards at international spirits competitions until 2003. It was the successive releases of Yamazaki and, later, the 1994 Hakushu single malt whiskies that provided Japanese whisky the opportunity to step onto the global whisky stage. These developments marked the beginning of the globalization era for Japanese whisky, once again proving the foresight of Keizo Saji's 1984 decision and highlighting his visionary market insight.

▶ Masterpiece Unveiled: The Birth of Hibiki Whisky

In 1989, which marked Suntory's 90th anniversary, Keizo Saji sought to create a world-class Japanese whisky "crafted by Japanese hands" as a tribute to his father, Shinjiro Torii, and his unwavering dedication throughout his life.

With the assistance of then Chief Blender Koichi Inatomi, they selected more than 30 whiskies aged over 17 years from Suntory's two malt distilleries, Yamazaki and Hakushu, as well as the Chita distillery, known for its grain whisky production. Deeply inspired by his love for symphonies, Inatomi was influenced by the fourth movement of Brahms' Symphony No.1 while crafting "Hibiki." This musical inspiration shaped Hibiki's luxurious yet harmonious style, blending a sense of grandeur with a rich complexity.

"Hibiki" can be seen as the culmination of Keizo Saji's diligent efforts since taking over Suntory in 1961. It is a masterpiece that blends the finest spirits from Suntory's three distilleries, encapsulating Suntory's rich history of whisky craftsmanship into a single bottle. By harmoniously combining more than 30 carefully selected whiskies, some of which are aged in Japan's unique mizunara (Japanese oak) barrels, Hibiki features a distinctive aroma reminiscent of incense from Japanese temples, an oriental fragrance that is both unimaginable and impossible to replicate in the Western world. It is a true testament to the art of Japanese blending. In terms of packaging, Saji's marketing brilliance shines through. The bottle's iconic 24 facets symbolize the 24 seasons in the traditional Japanese calendar, representing the refinement of Hibiki over time and aligning with Suntory's brand philosophy, which emphasizes harmony between people and nature, and between nature and society. The label, crafted from Echizen washi paper by Kyoto's Horiki Eriko Studio, features calligraphy by Ogino Dansetsu, seamlessly integrating the craftsmanship of Japanese artisans into the design.

"Heritage is the innovation of the past and Innovation is the heritage of the future." The spirit of Japanese craftsmanship has never been about adhering rigidly to tradition. Instead, it embraces change, responding courageously to contemporary market needs, without fear of failure or surrendering to challenges. If one were to define Japanese whisky with a single adjective, perhaps the most fitting expression would be the "unyielding spirit" of Japanese craftsmanship a testament to their enduring perseverance and unwavering dedication.

IN WATCHES, YELLOW GOLD IS BACK

捲土重來金色風潮強勢回歸

Text 、 Photo/ 王維浩 Gawaine

大約 30 年前開始，高級製錶產業原本最大量使用的黃金就逐漸被白金屬（白金、不鏽鋼）和色澤更溫潤的玫瑰金所取代，尤其近十年唯運動錶獨尊的氛圍，更讓黃金錶款近乎絕跡。然而若是有在關注這兩年間各大品牌的新品，會發現從勞力士到江詩丹頓，無論是中階或頂級品牌都出現了越來越多的金錶。另一方面，社群平台上的鐘錶玩家分享中金錶的比例也明顯大增，從各方面來看似乎都意味著整個市場的喜好正悄悄地轉變。

進一步探討金錶復甦的可能原因，其中一個重要因素當是買家品味在近年中的變化。自從運動錶成為主流後，各品牌無不爭相推出以運動為設計出發點的款式，市面上充斥著重複性過高的產品自然會讓消費者感到審美疲乏。部分厭倦運動錶的玩家將目光轉往 80 至 90 年代間生產的近代古董錶，這種所謂 neo-vintage 風格古典，品相卻保持得比有五六十年歷史的老錶好非常多。更重要的是這個時期大多採用黃金製作錶殼，能帶來與運動錶截然不同的調性。這一批專收 neo-vintage 的玩家將收藏在社群平台分享後收到廣泛回響，甚至好萊塢男星 Ryan Gosling 也在賣座電影《芭比》中戴著三只 TAG Heuer 的古董金錶亮相，各種曝光吸引到更多藏家在市場上追尋這類型腕錶，這也是為什麼卡地亞 CPCP 系列和勞力士 Ref. 16238 或百達翡麗 Ref. 3940 等款式近期在拍賣會的行情會水漲船高。觀察到了這樣的市場變化，製錶品牌們才會不約而同地重啟黃金錶款產線。

除了消費者的喜好正在改變之外，價格當然也是主因。不鏽鋼錶款之所以會在近十年間大行其道，就是因為他價格實惠好入手，一旦買的人多導致供不應求時，行情就慢慢漲起來了。現在不鏽鋼運動錶價格居高不下，消費者心態也會跟著轉變，同樣的價買貴金屬豈不是比較划算？此外，熱門不鏽鋼運動錶不是要排隊溢價，就是要配貨才有機會入手，問題是多數用來配貨的庫存錶消費者買回去根本不想戴，想轉手還得要打好幾折才賣得出去。相較之下，黃金款式不必配貨，還無需等待就可以把錶帶回家，對消費者而言也許已經比不鏽鋼錶款更具吸引力。而從投資的角度來看，不鏽鋼運動錶目前雖然還是相當搶手，但整個市場的需求量似乎已經達到飽和，行情上揚的態勢逐漸疲軟，還能在高點維持多久並不好說，反觀貴金屬無論如何都有黃金的基本價值，金價也只會越長越高，把眼光放長遠來看，金錶更適合長期持有。

▲ 卡地亞 1998 年至 2008 年間製作的 CPCP 系列在近兩三年間行情漲幅接近 50%

The price of Cartier CPCP produced between 1998 and 2008 has gone up almost 50% in recent years.

◀ Neo-Vintage 時期的錶款如百達翡麗 Ref. 3940 在社群平台的大量曝光也刺激了市場上金錶的詢問度 Neo-vintage watches such as Patek Philippe Ref. 3940 are widely shared on social medias, and it draws greater attentions towards gold watches.

精品品牌會觀察市場動態以決定未來產品走向，因此觀察品牌策略是了解市場行情最好的方法之一。卡地亞風格與傳承總監 Pierre Rainero 去年就曾在訪問中指出，他們確實發現風潮已倒向黃金錶款，全球的卡地亞專賣店都有同樣的消費行為，而且無論男女都開始買金錶。勞力士雖未明確表態，但他們這兩年 Oyster Perpetual 金錶越出越多，去年更難得發表 Perpetual 1908 斯文款金錶，從中也可看出端倪。瑞士製錶領頭的兩大品牌在策略上不謀而合，正驗證了金錶熱潮即將來襲的趨勢。

It has been more than 30 years since yellow gold, the material that was greatly used by high-end watchmaking, was pushed out of the industry by white metal and rose gold. And with the rise of sport watches in recent years, yellow gold seems to have sunk without a trace. However, look through the novelties from those watchmaking brands in 2022 and 2023, you should notice a fact that from Rolex to Vacheron Constantin, brands are launching more watches in yellow gold in both mid-range and top-notch categories. In addition, shares of gold watches on social medias have increased dramatically, all in all it suggests that the market has changed once again.

◀ 與不鏽鋼錶款相比，金錶無論如何都有黃金的基本價值，更適合長期持有

Compared to stainless steel, gold watches hold the value of yellow no matter how the market changes.

Looking into the possible reasons to the revival of gold watches, one of the main causes is that tastes of buyers has changed. Ever since sport watch became a hype, almost every manufacturer introduced multiple models in this particular category. The excess of sport watches in the market led to customers being tired of similar products. Some of these customers turned their attentions to pre-owned watches produced in the 80s and 90s. These so-called neo-vintage timepieces are elegant and yet remain in great condition in comparison with those produced 60 years ago. More importantly, they were made in yellow gold which brings a completely different vibe from sport watches. These collectors love to share their neo-vintage watches via social medias, and they draw even more extensive attentions. Even Hollywood star Ryan Gosling wore three vintage gold TAG Heuer in the blockbuster "Barbie". More and more collectors are now looking for this type of watches thanks to the various exposures. This is why Rolex Ref. 16238, Patek Philippe Ref. 3940, and the CPCP collection from Cartier are so targeted in auctions these days. Noticing such shift, manufacturers all took the same action to reboot their gold watch productions.

In addition to the shift of tastes, price is also a key factor. Stainless steel became popular because it was a lot more affordable. Once it got too popular to buy, the price went up. As the price of sport watches in steel reaches its peak, consumers would have a different mindset – could it a better deal to buy a watch in gold with the same price? Besides, in order to get a hand on those coveted steel watches, people need to buy them with the amounts much higher than retail prices, or they have to purchase some less popular timepieces before they can get on the waiting list. In the case of yellow gold watches, there is no need to build such relationship with the dealers, people can just bring their watches home without waiting for months. Thus, the gold watches is likely to be more appealing to consumers. And from an investment point of view, although the steel sport watches are still beloved, it seems to have neared market saturation. The price is not going up as it used to be and it is hard to tell how much longer it will last. On the contrary, gold watches hold the value of gold no matter how the market changes. Since the price of gold will only increase, it is smarter to own gold watches in a long term.

▶

歐米茄首度將獨家 Moonshine 金用於熱門款 Speedmaster 登月錶，意味著不鏽鋼已不再

是唯一的市場主流

For the first time, Omega applied its exclusive Moonshine Gold in the Speedmaster Moonwatch, indicating that steel is no longer the only favourite in the market.

▼ 江詩丹頓去年以 1977 年型號 222

為基礎推出的復刻錶不僅搭配黃金錶殼，鍊帶也完全以黃金製作

Vacheron Constantin introduced a retro watch last year based on its Ref. 222 in 1977, the case and the bracelet are both made in yellow gold.

Luxury brands develop their products based on the market, thus following brand strategies is an effective way to learn about market price.

Pierre Rainero, Cartier's director of style and heritage, said in a recent interview, noting that the house definitely saw a trend towards yellow gold. He also indicated that the consumer behaviour is seen at all the Cartier boutiques around the world and both men and women are buying gold watches. Rolex, on the other hand, although they have not put it explicitly, the brand did introduce a lot more models in gold in the last two years. And Perpetual 1908 – a dress watch in yellow gold from Rolex - was an even more solid proof. The top two brands by revenue in Swiss watchmaking happen to hold the same strategy, somehow verifies the revival of yellow gold.

「廚房花園」森林裡的一餐

Text / Janet Photo / THE PIG

從森林到土地、從農場到花園，從菜圃到廚房； THE PIG 酒店的餐飲 DNA ；打從一開始，「花園廚房」就是創造輕鬆隨意的核心價值。「將大自然引入室內」，置身令人驚嘆的森林幽境和園藝菜圃，在溫室花房的餐桌上，

「你很清楚盤子裡食物的新鮮度和來源，」令人陶醉的每一刻。

一間可透視廚房花園和果園，而另一面可俯瞰 80 隻鹿的森林，以任何酒店的標準來看，這都是非常獨特的景觀。「當我看到森林，靈光一現。打從一開始，廚房就是創造輕鬆、隨意的核心價值。

英倫 THE PIG 餐飲集團，致力打破鄉村別墅酒店的模式，重新定位為 " 置身花房的餐廳 " ，靈感來自種植在地新鮮食材的

菜圃，所有物產不出方圓 25 英里範圍內，一種近乎執著自產、自製，充分發揮「物盡其用」的經營哲學。

花園和廚房之間的距離從來沒有如此親近過，園藝般的菜圃發揮了「將大自然引入室內」，一如置身溫室花房的獨特環境和氛圍。專注於簡單的美味；強調以自家種植的在地食材為菜單。

非必要，儘可能以在地為優先，成為一種未來酒店的先趨。

忠於季節變化，時時刻刻坐擁自然生態環繞的幽境氛圍；「一間擁有客房的餐廳」。

位於新森林 (New Forest) 中心地帶， 2011 年開業，富有想像力的全新概念下， THE PIG 酒店大膽嘗試推出了忠於季節變化，時時刻刻坐擁自然生態環繞的幽境氛圍。介於傳統鄉村別墅和都會星級酒店之間，一種截然不同的遺世獨立體驗，私密又悠然的度假感。

為了實現這個目標，園丁和廚師之間建立了密不可分的關係，每天取材最新鮮、美味的時令食材製作當日菜單。園藝團隊向廚房通報己熟成的作物，並優先採收後，直送廚房，由大廚設計時鮮美味的當日菜單。雙管齊下，縮短食材新鮮上桌的流程是 THE PIG 烹飪道地美食的關鍵。你可以看到廚房的一張工作台，連接著花園門旁邊種滿各式果菜，培育素食和藥草的園子，每天供應最新鮮的在地時令農作物，甚至每小時，菜色都可能更新，完全取決於園丁和廚房的完美默契。

THE PIG 的用餐環境是真實重現維多利亞溫室，搭配整裸原木的桌面和各式骨柄餐具，應接不暇的美食、美酒，令人陶醉的每一刻。

整間酒店樸實無華的本土風格在溫馨的餐桌、色調柔和而古典的大沙發和家具，以及熊熊爐火等元素建構下，得到完美複製。

取材自家菜園的時令農作，每天，甚至每小時，菜單都可能更新，完全取決於園丁和廚房的完美默契。

THE PIG 是非正式的、悠閒的、有趣的、非常放鬆的！ 32 間住房，舒適、寬敞的床、超大淋浴間、獨立浴缸等不拘一格的魅力延續；另外，配置有 " 食品儲藏室 " ，供客人外食。這一切也意味著從酒店風格到食物及每間住房設備，以至整個森林環境，兼具舒適、豪華和隱密的獨具休閒品味。

有一點是可以肯定的；最精采的莫過，「你很清楚盤子裡食物的新鮮度和來源，」置身令人驚嘆的花園景觀，俯瞰溫室花園的用餐環境，品嘗來自在地美味的季料理和享受沐浴森林中的按摩理療。

THE PIG – 南丘陵國家公園飯店

距離倫敦僅 48 英里，位於南丘陵國家公園內的這間 THE PIG ，擁有一種寧靜、未受破壞的白堊丘陵的祕境，等你來訪。

位於馬德赫斯特（ Madehurst) 小村莊，坐落在南丘陵褶皺中。歷史可以追溯到 1770 年代，由喬治亞風格和傳統溫室所架構出的這間飯店，擁有高高的天花板，充足的自然光線，佔地近兩英畝，風景如畫的菜園和出奇不意的花房餐廳聞名。

抵達飯店，來到明亮的接待區，右側是一間奇特的藝術間，展示著 Robin 和 Judy Hutson 多年來收集的肖像和風景畫。穿過大廳，可直達配有開放式壁爐和飾邊沙發和扶手椅的奢華酒吧。

THE PIG 的招牌；不用說，廚房花園的盡頭與以往一樣，種植著豐富的蔬菜和水果，提供豐富的時令農產品。一系列按照傳統磚塊、燧石和木材所精心修復的馬廄庭院建築，和四面環繞著葡萄園融為一體的溫室餐廳，提供了徜徉南部丘陵絕美景致的用餐氛圍。

餐廳正前方一塊面向西南、佔地兩英畝的田野，種植了 4,500 株葡萄藤。這種自由排水的白堊質底土，以前用於放牧羊駝，含有淤泥和粘土，以及高海拔的氣候，規模雖小，但結構完美，為香檳和霞多麗（ Chardonnay) 、黑皮諾（ Pinot Noir) 和莫尼耶皮諾（ Pinot Meunier) 等葡萄提供絕佳種植條件； 2022 年秋季才進行了首次的收穫。

主樓的一樓設有幾間客房；配有各種淋浴間、浴室和奇怪的酪梨獨立式浴缸的大臥室；其中三間可俯瞰花園、葡萄園和遠處的山光。與主樓分開的庭院和馬厩，設有可以合併供團體住宿使用的房舍。

附屬建築裡的雞棚，仍然保留。創意翻新的乾草棚、舊馬廄和馬具室，一如既往，配有燃木爐、獨立式浴缸，位於廚房花園和俯瞰起伏的田野花園的私密空間，幾乎每個窗戶都可以看欣賞，無法抗拒的景觀。另外，兩座有著英國 50 年樹齡蘋果樹為鄰的維多利亞風格溫室，則被巧妙地規畫為絕佳的按摩治療室。

THE PIG – in the wall 濃縮版 THE PIG

沉浸古老繁華城市中心的夢幻屋

這間巧妙隱藏在南安普敦的古城牆內，提供探索漢普

郡古老林地、壯麗海岸線或附近懷特島的酒店，就像濃縮版 THE PIG 一樣，充滿標誌性「維多利亞」深情而時尚的風格。這棟喬治亞風格建築酒店的中心是開放式的大堂。溫暖不在話下。天然泥土色油漆、質樸的木地板、舒適角落有開放式壁爐和不配套的裝飾家具。這裡，是以一種輕鬆的熟食店而不是餐廳的體驗。

奇特的聯排別墅的樓上隱藏著 12 間大小各異的獨特房間－屋簷、橫樑、秘密樓梯和彩色瓷磚，所有客房明亮而通風。靠近遊輪碼頭、火車站、機場和市中心，使 THE PIG-in the wall 成為沉浸古老繁華城市中心的夢幻屋。

關於 THE PIG 新鮮就是最好的味道園藝般的菜園，供應新鮮的在地作物、強調自然熟成風味，為餐飲來驚喜。

一個強調生活風格和設計品味的餐飲集團。目前共有 8 間飯店；依循本土發展的 THE PIG 每家酒店都有獨具個性和自我意識，提供輕鬆溫馨的服務以及對環境和社會責任的真誠承諾則是如出一轍。每間系列飯店均設有花園餐廳和帶著奢華氛圍的居家式住房；其中「廚房花園」更己成為標誌性風格。

THE PIG 一切都與廚房花園有關，是整個運作的心臟。一切都是由廚房園丁和採摘者及廚師驅動。種植並採購在地和當季食材，然後廚師創建菜單；對本土種植和當地農產品的執著追求，只使用最好、最新鮮和最在地原食材和原料，即使無法種植的作物均來自酒店方圓 25 英里的範圍內，自給自足。 THE PIG 以回歸原始的山林；強調自然簡單的自耕菜園，為現代生活提出「在地化」的最佳實踐。

海灘莊園別墅酒店

The Manor House Hotel THE PIG

2014 年 6 月開業，一棟古老的沿海別墅，原屬於因金斯頓．萊西（ Kingston Lacey ）而聞名的班克斯（ Bankes ）家族。融合了各種古怪的建築風格，讓人想起 C.S. 劉易斯小說中的城堡。

THE PIG 海灘酒店的前身為莊園別墅酒店（ The Manor House Hotel ），經過精心修復，集輕鬆、古怪風格，成為 THE PIG 的系列代表作。 THE PIG-on the beach 的溫室餐廳，遠眺老哈利岩（ Old Harry Rocks ），遠處船隻悠閒地搖曳的風情，提供英國最美麗的海岸線海景。

從田地到餐桌， THE PIG 菜園以外，所有的作物都設定在 25 英里半徑範圍內採購。廚房園丁，日復一日；白天，忙著培育的蔬菜和藥草園，生產茴香、櫛瓜、豌豆芽、菜豆和懷特島番茄。果籠裡種植著藍莓、覆盆子、黑醋栗等，供應了菜單上部分開胃菜。而包括如多塞特海螺和野蒜黃油以及馬鞭草蛋黃醬波貝克雞蛋等，更是不可錯過的當地美食。

一間可供私人晚餐使用，改建自避暑別墅的古老的茅草屋，享有絕美的景致而聞名。可容納 12 人，配有披薩烤箱和戶外酒吧，客人可以自行安排私廚和料理特殊菜單。甚至可以使用從花園裡採摘的自製口味的冰淇淋。

餐廳後面是酒吧，地板由舊鐵路枕木製成，舒適的燃木爐，營造輕鬆氛圍。

23 間各具特色的客房就像經典童話故事中的場景，配有維多利亞風格的窗戶、舒適浪漫的閣樓、位於巧妙角落的獨立浴室以及標誌性「食品儲藏室」。

The Lookout 和 The Bothy ，兩間戶外臥室的花園房－享有隱私和迷人海景，而俯瞰圍牆花園，更是情侶的美麗隱居之所。花園裡還有位於懸崖草地上的牧羊人小屋，俯瞰著老哈利岩石－一間是臥室，另一間是毗鄰的浴室，由一條舖有甲板的走道相連。

The Shepherd's Huts 位於 THE PIG 之外的田野中，兩間舒適的鄉村小屋，可以在這裡享受 Bamford 產品的按摩服務，盡情享受置身自然景致裡的舒緩或放鬆。

「這座偉大的維多利亞式建築，擁抱它的怪異和特色。每個舊壁爐和形狀奇怪的窗戶，讓人驚嘆於難忘的海景。」臨海而居；在海邊，感受腳趾間的細沙。「 THE PIG 位居西南部，距離倫敦最近的自然美景海岸線，接下來的美麗海灘，感覺已經挖到了金子。

奧運風決戰奢華世代 SPORT SPORT

全球關注的 2024 「巴黎奧運」己光榮落幕，作為最大贊助夥伴的全球精品集團 LVMH ；旗下 Louis Vuitton 路易威登和 Dior 迪奧領銜演出的時尚大戲，將 Sport 推向前所未有的巔峰時刻。

Market Research Future 報告預測，「時尚和運動」兩股匯潮聯手下， 2028 年 " 運動休閒 " 類別的時尚銷售額將超過 8,420 億美元。

說起運動風的時尚契機，其歷史性連結早在近一個世紀前就己發生。整個 1920 年代，受運動布料（用於製作射擊夾克、馬術騎士裝和馬球衫）啟發的香奈兒 Chanel ，率先以方便行動和舒適穿搭的直筒小洋裝、水手的喇叭褲、平紋針織等單品，不但讓女性第一次得以擺脫僵硬、束縛的緊身馬甲，迎來自然又自信的「新女性」身分，可以說是時尚運動風的前哨戰。

20 世紀下半葉，運動風得以延續並蓬勃發展，來自 90 年代，女星珍芳達帶動的健身風潮，意識到對「身體的自覺」的人們，投入各種健美行列；尼龍外套和背心、針織休閒單品、腰包、側背包包，或是象徵上流社交文化的網球俱樂部，有著斗大團體隊服標誌的靈感，在時尚圈獲得空前的「成功」。從此以往，陽光下，逐年成長的運動裝備，全面揭開不再缺席的 Sport 時尚。

▶ 跨界「聯名」運動奢侈化的典型

隨著精品品牌不斷拓展的跨界「聯名」合作，令人垂涎的運動系列跟著滲透到高級時裝和其他周邊項目發展—例如繼時尚精品 Balenciaga 於 2017 年在巴黎時裝秀上推出第一雙 Triple-S 運動鞋之後， Gucci 連手運動品牌愛迪達 adidas 的三條線時尚系列，更是運動風奢侈化的典型。

20 世紀 90 年代，國際運動賽事加碼延續精品接管新一代的時尚態度。看準運動熱潮的先鋒，還有普拉達 Prada 。贊助 1995 年美洲盃帆船賽的義大利隊 Luna Rossa 選手制服的啟發； 1997 年新推出標有紅色標誌的 Linea Rossa 系列的 Prada 開出大紅盤。

顯然 Prada 結合尼龍科技面料的運動系列行銷策略，是對的。

鬆緊抽繩、肘節、網袋等實用的運動功能和極簡主義美學愈走愈近；「除了特殊場合之外，更多理由，愛上舒適又具功能性的運動系列。」

日本設計師山本耀司 Yohji Yamamoto 因為有感：「時尚有點無

聊。」發想自當時「紐約客」穿西裝配運動鞋步行上班的奇怪組合，促成向德國運動品牌愛迪達 adidas 借用三條紋的運動鞋，作為時裝秀造型，一炮而紅； 2003 年春夏，聯手在巴黎時裝週推出全新運動品牌「 Y-3 」。 Yohji 前衛主義結合運動功能的迷人組合下，首次亮相的 Y-3 限量 50,000 運動鞋，立即銷售一空。

Y-3

誕生帶來了震撼和啟示，不僅推動整個時尚產業的運動化，也引發設計師和運動品牌聯手的浪潮，重新定義現代時尚和運動文化。想想 Raf Simons 的 RS Ozweego 和 Rick Owens ，後有 Nike 和 Jun Takahashi 的 GYAKUSOU ，高端時尚跨界聯名運動盤，創造商機的例子，不勝枚舉。

▶ 體育明星等同 " 流行文化英雄 "

「紐扣領是在 19 世紀為馬球運動員開發的，更不用說，更舒適、更透氣的球衣 Polo 衫是網球巨星 René Lacoste （又名「鱷魚」）於 1920 年代發明的。

IG 世代，社群媒體比以往任何時候都加關注明星名流穿著。體育明星等同「流行文化英雄」，運動員與流行歌手或名流寵兒同樣具備帶風向的推波效益。即使那些可能不喜歡運動的人，也開始對運動產生關注；其中，足球球衣在 TikTok 上的爆發力，放大了運動狂熱的次文化。各種類型頂尖的運動員。以犀利的造型聞名的一級方程式明星劉易斯漢密爾頓（ Lewis Hamilton ）；網球巨星喬奇維科（ Novak Djokovic 都登上 VOGUE 時尚封面了。

無獨有偶，籃球皇帝詹姆斯（ LeBron James ）和他騎士隊隊友穿著 Thom Browne 西裝參加季後賽主場比賽的陣容，一時之間， NBA 球場變成了個人秀場：義大利網球職業選手揚尼克．辛納（ Jannik Sinner ）更因為被 Gucci 相中，成為第一位獲准攜帶非傳統網球運動包進入球場的球員，那只引人注目的淺棕色 Gucci 手提包，為運動和時尚的聯手，寫下新里程。

▶ 運動時尚指標瞄準「網球」

具運動功能的單品都己被列為時尚字典裡的重要詞彙。夏天，超小型運動短褲成了時尚咖的日常， Tory Burch 、 Chloé 和吃素的環保先鋒 Stella McCartney 更是爭相推出專為健身的服裝。另一方面，性感的網球裙—自 60 年代以來一直是設計經典—更是延燒至球場外，無論 Gucci 與愛迪達的合作，還是 Miu Miu 無處不在的迷你版網球衫；甚或連續十九年擔任溫布頓網球錦標賽官方指定服裝的御用設計師 Ralph Lauren ，總能在頌揚傳統，迎接新世代的網球社交文化中，串連起尚和運動風的完美配對。

「網球氛圍」成為時尚趨勢指標之一，不令人意外，這種結合運動的學院派風格對 Miu Miu 到 Dior 等時尚精品的設計和和穿搭產生重要影響。今年義大利精品 Brunello Cucinelli 推出膠囊系列，從傳統喀什米爾到輕盈針織將網球運動的優雅風情延伸至球場外。

「意味著經過時尚驗證的運動單品，一旦融入日常，就將成為每個人衣櫃中的基本款。」難怪 Market Research Future 的報告預測，到 2028 年「運動休閒」類別的銷售額將超過 8,420 億美元。

▶ 比賽、比賽「運動聯盟」達標此外，運動周邊效應也在發燒。「運動聯盟」有計畫地將注入時尚意識的 Sport 氛圍擴散給更多新消費者。 NFL 與 Boss 和 BaubleBar 建立聯繫； NBA 則選擇和 Louis Vuitton 、 Rowing Blazers 和 Canada Goose 等建立合作。

然後是 MLB ，除了與 Gucci 和 Polo Ralph Lauren 的合作外，現在還將注意力轉向珠寶和配件品牌。該品牌的「膠囊系列」包含飾有九支球隊的官方徽標的 18 款髮帶。與運動聯盟的升級版運動紀念品，帶來更多商機。

「或許時尚咖並不會因為 Gucci x Yankees 而熱衷運動；而普通運動迷也不會因此而真正進入時尚，」但購買自己喜歡球隊的「紀念品」，卻意味著時尚和運動的合擊，無法抗拒。

▶ 流行次文化的叛逆基因

根據街訪報告， 72% 的年輕受訪者表示。運動鞋是他們最愛的單品，而連帽衫和 T 恤的比例為 58% 。

奢侈品與街頭服飾之所以如此合拍，原因在於點燃一種來自個人化收藏的慾求；而且透過社交媒體的傳播與消費者建立緊密關係：主要歸功於千禧世代，受到次文化代表人物透過大膽設計運動鞋，引領加速運動奢侈化的成長。一次又一次網路瘋傳的； Supreme x Nike Air Force 1 Low 、 WTAP x New Balance 992s 或 Travis Scott x Nike SB Dunk Lows 都是例子。

對於高端精品來說，運動文化和族群提供重振形象和擴大市占率的機會。 Nike 耐吉是金童代表之一；吸引了 Louis Vuitton 、 Balmain 、 Off-White 、 Supreme 或 Comme des garçons 等品牌的時尚加持下，躋身全球最有價值的品牌之林。緊隨其後的競爭對手 adidas 愛迪達，同樣吸引了從山本耀司到亞歷山大．王的關注和合作。更不用說，重塑形象的 Hugo Boss 創建了 Boss Orange ， Valentino 推出 VLNT 系列， Prada 重新啟動了 Linea Rossa 紅標運動系列，而 Philipp Plein 和 Givenchy 也跟進建立致力於更完備的運動系列。

奢侈品牌特有的行銷：限時或限量，有助拉檯運動商品高出 10 倍的零售價。大牌如 Louis Vuitton 、 Dior 等在運動系列的業績表現，貢獻 LVMH 總收入的 23% 。再次證明，永眼未來，時尚奢華關鍵字，非「 Sport 」莫屬。

難道，你還沒有一雙時尚聯名的球鞋嗎 ?

香奈兒迷的黃金密碼

2.55水漲船高 Text / 袁青 Photo / Chanel

「時尚會改變，但風格永留存。」

"Fashion changes, but style endures."

毫無疑問地 Chanel 香奈兒是時尚界最受歡迎的精品之一。而香奈兒女士早在 1955 年 2 月，率先大膽引用肩帶、搭配金屬鍊帶設計所打造的 2.55 包，更是跨越時空時髦又經典的代表。

香奈兒女士率性地以誕生時間點為命名，就原創設計和標誌性的時代風格， Chanel 2.55 皮包是時尚願望清單中上的首選，不為過。然而，隨著成本上漲和持續通膨，指標級的精品包款，變得愈來愈奇貨可居，甚至成了拍賣市場比藝術品更搶手的投資標的。

以香奈兒為例，從 Boy 包到 Deauville 手提包，到經典翻蓋 2.55 包最知名且暢銷。對許多粉絲來說，社群媒體的推波下， 2023 年，成為 The RealReal 平台上搜尋度最高的包款之一，連 Z 世代也很哈，可以說是網路世代跨入精品門檻的通行証。其受歡迎程度更直接反映在二手市場，節節上揚的拍賣行情。

最為人熟知的蓋口設計於 1955 年首次發布，當年， 2.55 的雙 C 標誌、鏈條和皮革肩帶以及絎縫面料至今成為其標誌性的識別。

在奢侈品市場上與愛馬仕 Hermes 柏金包，迪奧 Dior 女士包等齊名。隨著近來價格己飆到一萬歐元，但仍引起搶購。

Coco Chanel

香奈兒經典翻蓋包版本有多種選擇，其價格取決於尺寸、顏色和材質。但有一個標準的最低成本。例如，香奈 Classic Flap 包在 2024 年 3 月漲價後，現在起價為美元。如果是限量版，價格會依供需要求而波動。

但情況並非總是如此。據蘇富比拍賣行稱，香奈兒經典年再度推出時，售價為 1,000 美元（以今天的價值 3,000 美元）。自 2016 年以來，成本明顯增加了。因此，以中號經典翻蓋包為例，漲到近 10,000 美元。

這也是為什麼香奈兒最經典的 2.55 包會被視為一項投資。根據藝術市場統計數據， 2020 年，精品包款是比藝術品是更好的投資； Chanel 香奈兒、 Hermès 愛馬仕和路易威登等品牌的估值增長超過 100% 。

Rebag 的 2023 年 Clair 報告，評估了奢華經典的精品皮包需求和估值顯示，香奈兒經典單蓋包在轉售市場上的價值略高於去年的 100% 。同時，自 2022 年以來增加 42% 。換言之，香奈兒的投資回報率為 104% 。

其他香奈兒值得考慮值得投資的包款。包括 Chanel Deauville Tote （可可．香奈兒 Coco Chanel 在諾曼第海濱小鎮的第一家精品店命名的長方形超大包）保值了 110% 以上。

隨著精品包價格上漲，回報仍然是一個公平的權衡，至於，是不是足以成為一種時尚的投資，時間會証明。

「要實現偉大的成就，你必須敢於做夢並由此開始。」

"To achieve great things, you must dream and start with that."

看來 Chanel 香奈兒之所以會被視為一項投資，沖著 Coco Chanel 女士曾說過，充滿前瞻性的願景和對自我激勵的名言金句，應該不假。

「要實現偉大的成就，你必須敢於做夢並由此開始。」

To achieve great things, you must dream and start with that.

－

Coco Chanel

AlainDelon

關於你所不知道的「藝術」「亞蘭德倫眼光」（Alain Delon Eye

Text / 伊森 Photo / 取自網路

無論多少流言、祕密和不為人所知的真相， 1960-1980 年代，法國電影黃金時期最後一位超級巨星亞蘭德倫（ Alain Delon ）；這個曾經閃耀，但也遭逢掙扎於愛情和親子間心靈創傷的生命，結束了；那些曾經愛過的、擁有和失去的，或是不被諒解的，於 2024 年 8 月 18 日劃上了，再也不用爭奪和辯解的休止符。

享年 88 歲的亞蘭德倫，憑著俊朗外型，叱吒影壇數十載；作品極多；早年《洛可兄弟》片中，光是貼了膠帶的那張集英氣與憂鬱的臉龐，就不知令多少人心碎。《慾海含羞花》和《浩氣蓋山河》片中，逐漸走出昔日小生，另闢冷漠絕情的戲路；《午後七點零七分》則化身為殺手典型。 1958 年成名作《花月斷腸時（ Christine ）》；不過，用盡各種特寫鏡頭捕捉男性美的《陽光普照（ Plein soleil ）》該片，讓亞蘭德倫一舉躍登國際紅星。而此時，號稱「第一美男子」傳出「同志」緋聞。

風流倜儻，影壇公認的男主角，一生情史錯綜迷離；曾公開宣稱，雖然愛過男人，但更愛的還是女人。晚年面對崩離與驚恐的家庭和婚姻，終以悲劇收場；但撇開私生活，很少人知道，亞蘭德倫生平最稱職的角色是「非關愛情」的世界級藝術收藏大咖。

藝術圈裡，甚至流傳著「亞蘭德倫眼光」（ Alain Delon Eye ）。這句用來形容法國傳奇男星奠基於深厚藝術史的收藏眼光和品味，不可多得。

橫跨 500 年藝術史，由古典大師及文藝復興時期畫作，到 19 世紀三位重要藝術家德拉克羅瓦 Delacroix 、柯羅 Corot 、米勒 Millet ，然後再到杜菲 Dufy ，以及格列茲 Gleizes 的前衛藝術畫作等，亞蘭德倫整體藝術收藏既廣泛且龐大。

收藏興趣開始得很早，在倫敦購得第一幅素描，從此，亞蘭德倫踏上收藏之路。三十出頭，己是圈內古典畫作少見的藏家。這要歸功年輕時結識，並成為好友的「邦瀚斯 Cornette de Saint Cyr 」拍賣行的創辦人。

生前，曾舉辦過「藝海縱橫：亞蘭德倫六十年傳奇收藏」拍賣會，共 84 件藏品，囊括雕塑、意大利文藝復興素描，及法國十九世紀畫作，每件均出自大師之手，總估價高達 NT$1.3 億台幣。可見其收藏的珍稀和代表性都頗為可觀。

時代走遠了，台上的角色模糊了，生命也終有時盡，唯有「亞蘭德倫眼光」，那份對藝術的傳承和分享，讓人記得「全民情聖」亞蘭德倫。

羅芙奧季刊第49期 RAVENEL QUARTERLY NO. 49

CONTENTS

VINTAGE RETURN: AUTUMN IS ARTISTIC

經典回歸。

秋天很藝術

IN DIALOGUE: MODERN & CONTEMPORARY WORKS BY LEADING ARTISTS

對話—現當代頂尖藝術家作品

Man of Landscape: Chuang Che

遷居台灣學習西畫

回歸初衷嚮往山水精神

Born into an Artistic Family: Appreciating the Beauty of Classical Landscapes

Moving to Taiwan and Studying Western Painting

Sponsored by the Rockefeller Foundation for Studies in the United States

Returning to Original Intentions, Longing for the Spirit of Landscape

Chuang Che's Representing Galleries and Art Market Overview

莊喆作品二十大拍賣成交排行

TOP 20 MOST EXPENSIVE ARTWORKS OF CHUANG CHE EVER SOLD AT AUCTION

TOP 20

與國際接軌

▶ 集大成之作—「響」的誕生

DEEPENING THE ROOTS IN THE DOMESTIC MARKET

▶ The Spirit of Japanese Craftsmanship

THE DISTILLERY IN THE FOREST: HAKUSHU DISTILLERY

▶ A Pristine Natural Environment

BRINGING JAPANESE WHISKY TO THE WORLD

▶ Masterpiece Unveiled: The Birth of Hibiki Whisky

IN WATCHES, YELLOW GOLD IS BACK

海灘莊園別墅酒店

The Manor House Hotel THE PIG

奧運風決戰奢華世代 SPORT SPORT

▶ 流行次文化的叛逆基因

AlainDelon

羅芙奧季刊第49期 RAVENEL QUARTERLY NO. 49

CONTENTS

VINTAGE RETURN: AUTUMN IS ARTISTIC

經典回歸。

秋天很藝術

IN DIALOGUE: MODERN & CONTEMPORARY WORKS BY LEADING ARTISTS

對話—現當代頂尖藝術家作品

Man of Landscape: Chuang Che

遷居台灣學習西畫

回歸初衷 嚮往山水精神

Born into an Artistic Family: Appreciating the Beauty of Classical Landscapes

Moving to Taiwan and Studying Western Painting

Sponsored by the Rockefeller Foundation for Studies in the United States

Returning to Original Intentions, Longing for the Spirit of Landscape

Chuang Che's Representing Galleries and Art Market Overview

莊喆作品二十大拍賣成交排行

TOP 20 MOST EXPENSIVE ARTWORKS OF CHUANG CHE EVER SOLD AT AUCTION

TOP 20

與國際接軌

▶ 集大成之作—「響」的誕生

DEEPENING THE ROOTS IN THE DOMESTIC MARKET

▶ The Spirit of Japanese Craftsmanship

THE DISTILLERY IN THE FOREST: HAKUSHU DISTILLERY

▶ A Pristine Natural Environment

BRINGING JAPANESE WHISKY TO THE WORLD

▶ Masterpiece Unveiled: The Birth of Hibiki Whisky

IN WATCHES, YELLOW GOLD IS BACK

海灘莊園別墅酒店

The Manor House Hotel THE PIG

奧運風 決戰奢華世代 SPORT SPORT

▶ 流行次文化的叛逆基因

AlainDelon

回歸初衷嚮往山水精神

奧運風決戰奢華世代 SPORT SPORT