High Porcelain Magazine by Lladró

Juan Lladró.

Founding President of Lladró.

Lladró: President: Rosa Lladró Sala Vice-president: Ángeles Lladró Sala Editorial team: Editor: María Rosaleny Coordinator: Gabriel Borràs Spain (headquarters): Tel: 900 21 10 10 (toll free from Spain) +34 96 318 7000 customer-services@es.lladro.com Graphic Design: Josep Gil, Susi Martínez, María López Photography: Josep Gil Porcelain virtuosos: Ángel Garcés Lamassu: Manuel Artero Layout & printing: Fernando Gil, S.L. Legal deposit: V-3057-2009

Lladró: 主席：Rosa Lladró Sala 副主席：Ángeles Lladró Sala 編輯團隊: 編輯：María Rosaleny 協調：Gabriel Borràs 西班牙（總部）電話: 900 21 10 10 (西班牙境內免費) +34 96 318 7000 · customer-services@es.lladro.com 平面設計： Josep Gil / Susi Martínez / María López 攝影：Josep Gil 陶瓷鑒賞：Ángel Garcés 拉馬蘇：Manuel Artero 排版與印刷：Fernando Gil, S.L. 法定送存：V-3057-2009

Juan Lladró. LLADRÓ主席、品牌創始人

I often think we are unable to escape the fate assigned to us. When I was just 15 years old, back in 1942, I decided to paint ceramics following the advice of a friend of my mother. I never imagined I would actually end up devoting my whole life to it. Even today I still wonder whether I did it to please my mother, and whether her wish was based on an intuition about my potential artistic skills, or was it simply fate and something I was destined for. However, what I do know for sure is that I have never regretted embarking on this adventure which started almost by chance.

我時常感到每個人都有其無法逃避的宿命。還清楚的記得

To tell the truth, my passion for porcelain began 67 years ago and came from the bottom of my heart. Porcelain is such a very fine material and yet again it is so whimsical when fired in the kiln. Unless everything is just right, the color and shape can be affected. This encouraged us to undertake serious research into the formulas for creating our pieces and our painting techniques. After much experimentation we eventually achieved the quality in porcelain and gres which has earned us worldwide renown.

註定了窯火中的略微差池將導致作品形態及色澤的不可控變

Now Lladró has decided to go one step further and with High Porcelain we are focusing on the most demanding lovers of our creations. We offer them exquisite sculptures whose perfection is the main goal of all of us who have spent our lives and talent on these creations. It is our dream come true. High Porcelain is the category comprising all those works conceived throughout the years in our High Porcelain Workshop without limitations of any kind. This is art porcelain at its purest and a true challenge for a team of talented women and men who apply their know-how, artistic skills and mastery to shape such a beautiful and yet complex material. We are guided by our desire for perfection and the luxury of the handcrafted. In every High Porcelain creation this is instilled in each gesture and fold, in each color and shape. Every figurine was carefully studied, observed, pampered and lovingly cared for until we succeeded in creating the exclusive works of art we are now presenting. Only a pure love of porcelain can give rise to creations as evocative as Oriental Horse, as colossal as Queen of the Nile, as exquisite as Arabian Pure Breed or as delicate as The Flow of Life. These pages speak not only of an aesthetic philosophy and a love of art but also, and very especially, of enthusiasm and excitement, the same feelings I see everyday reflected in the eyes of the artists at the City of Porcelain, the place where all Lladró creations are born.

Welcome to the world of High Porcelain.

1942年，剛滿15歲的我在母親友人的勸教下開始嘗試進行陶瓷上色工作。但那時自己並未真正把其視為一份將終身致力的職業，直至今日我還在不斷問詢著自己緣何如此遵從母親的意願而最終走上了這條藝術之路。或是因為那被母親察覺的藝術潛能所激發，亦或是冥冥之中天命如此。但毋庸置疑的是我卻從未對這段近乎隨心所欲般展開的人生旅程感到過絲毫後悔。在長達67年的陶瓷創作生涯中，我全身心的投注了莫大的藝術激情。而陶瓷本身那高貴的材料屬性以及多變的特質，就化。為此我們對作品塑形以及上色技藝進行了不懈的研究探索。在長期艱苦卓絕奮鬥下，最終我們的陶瓷品質獲得了廣泛的國際認知。為更好服務於品牌最嚴苛的藝術愛好者們，Lladró將自身定位拓展至更為深遠，在華貴瓷藝中投入完全的藝術生命力及百分百的才情，創造出堪稱完美的陶瓷藝品。就這樣，我們多年來在華貴瓷藝工作室中一步步實現著天馬行空般的作品構思，這些想法臻至著我們的藝術渴望。而這不僅是一門需要淋漓展現陶瓷皎潔之美的藝術課題，更是一場對手工技藝的殘酷嚴格挑戰。我們的藝術團隊遊刃有餘的應用著其充沛的專業認知、非凡的藝術天賦以及熟巧的技能從容應對，最終令一件件美麗精緻的作品傲然綻放。在追求完美這一信念的指引下，藝術家們憑藉著高超的手工技藝打造出一件件在面部表情、紋理處理、色彩與形態調配等各方面均堪稱絕倫的華貴瓷藝作品。由於他們一貫認真觀察、刻苦專研，方才使這些令人過目難忘的雕塑重獲新生。也正是這種純潔的藝術情感才最終造就了一眾如奔騰迸發的東方神馬，氣勢磅礴的埃及豔後，精湛完美的阿拉伯純種馬，絕妙動人的新生等觸動心弦的傑出佳作。本期雜誌為您講述了諸多我們一貫傳承的美學理念以及所懷抱的藝術激情，其中最令我為之動容的是在這個誕生無數品牌作品的瓷都之中，日復一日都能在這群藝術家的眼中感受到他們所熊熊燃燒著的藝術情感。

最後，在此衷心的歡迎您進入華貴瓷藝工作室的美妙世界。

Contents 目錄 04 Porcelain virtuosos

陶瓷鑒賞 An overview of Lladró’s High Porcelain Workshop and the creative team which conceives the brand’s most spectacular sculptures. 親歷Lladró華貴瓷藝工作室的世界，細細品味那些在品牌團隊手中綻放的動人作品。

14 Winged beauty

羽翼

印度女神

Venetian fantasy 夢幻威尼斯

As beautiful as a woman, as enigmatic as a goddess. A powerful and striking depiction of the feminine spirit and an exaltation of life.

The Hindu goddess of fortune is represented in all the splendor and opulence of the best High Porcelain pieces.

The carnival in Venice served as inspiration for a luxurious and spectacular piece in which Lladró flowers reach new heights.

貌美如女子，神秘如女神。對女性精神和生命釋放的一種強大、驚人的描繪。

印度財富女神，運用頂級華貴瓷藝作品的所有風采與豐裕加以詮釋。

威尼斯嘉年華為奢華而壯麗的作品創造了靈感，促使 Lladró 花飾達至新的高度。

展示了浪漫與優雅年代裡的閑適場景，Lladró 藝術家們用精湛的雕刻技巧進行了生動的演繹。

拉馬蘇

30 Arion on a seahorse

18 Goddess Lakshmi

樂神阿里昂

巴斯克的女祭司

Guardian lions 獅鎮乾坤

A true display of color in a piece full of energy inspired by one of the great stories from Greek mythology.

Sensuality and power come together in an impressive sculpture showcasing the decorative exuberance the most expert artists are capable of.

Lladró recreates the majesty of these fantastic creatures which bring good luck, in sculptures half way between a thousand year old tradition and the work of a contemporary artist.

卓越的藝術家們運用其高超手法將性感與力量和諧的展現在這尊極具奢華裝飾效果、令人印象深刻的雕塑作品中。

千古文明與現代作品的不斷權衡下，Lladró最終幸運的成功再現了這些承載莊嚴雕塑作品。

在古希臘神話偉大篇章的啟迪下所創作的這件活力洋溢的作品，還一併為我們呈現了其華麗的色階運用。

48 Great Dragon

34 Bacchante on a panther

中國龍

埃及豔後

Oriental Horse 東方神馬

This icon of wealth and strength comes to life in a spectacular sculpture boasting exquisite attention to detail and a combination of enamels and lusters.

The largest and most complex work ever undertaken by Lladró. Queen Nefertari sails with her entourage in a boat that marks a before and after in the history of art porcelain.

Lladró artists draw their inspiration from one of the true treasures of Tang art, creating a sculpture which stands out for its chromatic wealth and power of expression.

藝術家們準確精湛的雕琢著此尊象徵財富與頑強生命力的神物的每處細節，並賦予了它莊嚴華麗的表現力。搭配那巧奪天工的琺瑯彩上色技巧與奪人眼球的高光處理，最終一併呈現出令人驚豔的視覺效果。

這件Lladró史上製作手法最為繁雜的大型雕塑作品，栩栩如生的為人們展現了埃及豔後內菲塔利女王在侍從的陪伴下乘一葉輕舟沿河而行的動人場景，足可堪稱為陶瓷藝術發展史中極具里程碑意義的作品之一。

Lladró藝術家從被喻為人類歷史璀璨藝術瑰寶的中國唐朝藝術中汲取靈感，創造出這件色彩華麗、極具表現力的作品。

72 The Flow of Life

56 Queen of the Nile

76 Arabian Pure Breed

新生

阿拉伯純種馬

A mother and her child completely surrounded by the flowers so distinctive of Lladró creations, in a tribute to Mother Nature inspired by art deco.

Only High Porcelain artists could reflect with such accomplished realism the elegance of the Arabian Pure Breed, widely considered the world’s most beautiful horse.

本件裝飾作品再現了母子二人在最具Lladró特色的繁花叢中恣意嬉笑的溫情場景，並以一種淡淡思緒般的情懷表達了對母愛的濃濃敬意。

得益于華貴瓷藝工作室藝術家們的絕倫技藝，最終令這匹全世界最俊美無雙的阿拉伯勇馬栩栩如生般躍然眼前。

88 Fact sheet

作品一覽 All the details of the sculptures featured in this magazine summarized on one page. 在此您可流覽到本期雜誌為您精彩呈現的所有作品。

Lord Ganesha 象頭神

Ladies of Aranjuez vase 花園漫步 The relief representation of a romantic and elegant period scene is a true display of sculptural virtuosity by Lladró artists.

44 Lamassu The artists from the workshop borrowed their inspiration from the wealth of images from ancient Mesopotamia to create this imposing mythological being with the power to ward off evil spirits. 華貴瓷藝工作室的藝術家們有感于古美索不達米亞華麗的聖像作品，創作了這尊被賦予神力、可驅散厄運的威嚴雕塑。

68 Hina Dolls

日本玩偶 The luxury and mystery of the East are combined in creations whose beauty and spiritual meaning have captivated the West. 集聚奢華與神秘感的東方特質通過這些瓷偶恣意張揚著其奪目的美麗及深邃的精神內涵，深深令西方世界為之沉醉。

86 Tea in the Garden

花園裏的茶敘

A particularly special palette of colors from Lladró and a true work of craftsmanship bring to life a universal symbol of wisdom and knowledge.

Lladró porcelain captures all the charm of a day in the countryside, recreating the refined ritual of afternoon tea.

Lladró與眾不同的配色技藝與真材實料的精工打造，為這尊象徵智慧和認知的神像注入了最鮮活的生命力。

心曠神怡的午後花園，一段精緻動人的下午茶時光被Lladró陶瓷世界完美撲捉記錄。

Porcelain Virtuosos

Discover the secrets of the exclusive High Porcelain Workshop

陶瓷鑒賞

绝伦的LLADRÓ華貴瓷藝工作室之體驗

If Friedrich Böttger, the German chemist who, in 1708, discovered porcelain as we now know it in Europe, could take a look at Lladró’s High Porcelain Workshop today, he would certainly feel that all his efforts were well rewarded. Far from being puzzled, he would probably be proud to discover that the “white gold”, as it was formerly known in the Chinese Tang dynasty (618 – 907), is still handcrafted today in Lladró with the same loving care and attention as once lavished by ancient alchemists. In fact, Lladró’s High Porcelain is an entire philosophy of aesthetics made real. These sculptures, addressed differently from the rest of Lladró’s creations from the very outset, are the maximum exponent of the brand’s creative potential. This workshop produces extremely complex creations which are the best example of what can be done with porcelain, not only for the spectacular formats of the pieces or the intricate compositions, but also for the virtuosity demonstrated in the decoration. The brand’s artists take on the challenge of creating the most daring sculptural projects with highly specific formats, techniques and treatments. With the same concern and excitement which once guided the three brothers who founded the brand, Lladró artists create pieces which respond to the most exquisite aesthetic and artistic tastes. The luxury of the handcrafted.

1708年德國化學家Friedrich Böttger創造加工出了現今所廣為使用的陶瓷材料，試想一下如果此刻他能夠來訪 Lladró華貴瓷藝工作室親眼見證那為之奮鬥終身的成果在這裏綻放，又會激蕩出何等的藝術火花。驚訝之餘他必將為眼前在中國唐朝（618-907）時期被譽為“白色黃金”的陶瓷藝術在一位位好似古代煉金術士般充滿夢想、不懈奮鬥的Lladró藝術家手中小心翼翼被賦予生命的延續而由衷的感動自豪。 Lladró華貴瓷藝工作室始終秉持著其最大限度發揮品牌創作潛能這一美學理念，以不斷變幻的方式進行每項創作。進而鍛造出一批集合迥然的表現形態、豐富的搭配組合、高超的裝飾技能於一體的佳作，並借此充分彰顯了品牌陶瓷創作的無限可能性。在這裏，卓越的藝術家們攜手追尋著他們遠大的藝術夢想，緊跟品牌創始人三兄弟的步伐，不斷的迎接著塑形、技巧、處理操作手法上一次次高難度的挑戰，嘔心瀝血製作出在美學及藝術鑒賞角度均堪稱極致的精美作品。而這便也是真正意義上最為奢華高雅的手工藝術之結晶。

Slowly but surely, and free from technical constraints, the brand’s most outstanding and talented artisans aim for the goal of maximum artistic expression. This sums up the prevailing tone at Lladró’s High Porcelain Workshop, the place where the most exquisite and extraordinary sculptures by the world-leading Spanish brand in handcrafted art porcelain are imbued with life. 閒適的工作節奏，無拘無束的技藝碰撞，傾情的將最出類拔萃的天賦投入藝術表達中，這就是全球陶瓷藝術領域的西班牙領軍品牌LLADRÓ旗下華貴瓷藝工作室裏極為常見的工作景象，也正是在這裏誕生了不計其數的精美絕倫的雕塑作品。

In the best hands

創造之手

The City of Porcelain, Valencia, Spain. The light filters through a large window into an open room where a group of artists and technicians work with a single goal in mind: to achieve the utmost expression of beauty in porcelain. Dressed in white coats, the coming and going of the artists at the High Porcelain Workshop brings to mind the spirit of Renaissance studios, where skills, know-how and style were passed down from masters to disciples.

在有陶瓷之都美譽的西班牙城市瓦倫西亞，陽光正透過一面巨大的玻璃窗灑進透明的工作室裏，在這兒兢兢業業工作著一群以彰顯陶瓷之美為己任的藝匠。傳承著文藝復興時期的專研精神，身著白色工作服的藝術家們在這間華貴瓷藝工作室中穿梭忙碌的向學生們傳授其熟巧的技藝、豐富的認知以及傑出的藝術風格。

Piles of brushes lying on the tables, palettes with thousands of different colors impatiently waiting their turn, hundreds of molds soon to be filled with gallons of the purest liquid porcelain paste… in the High Porcelain Workshop it’s all about numbers. But there is one variable that doesn’t count, and that’s time. You can pinpoint when the creation process for a piece begins but not when it is going to end. There is no rush when it comes to creating these pieces and each individual sculpture dictates its own pace. All of them require exclusive dedication, sometimes lasting up to several years. That’s because the process is free from constraints and artistic or commercial restrictions. This is the only way to make the most of the artistic and technical potential of Lladró professionals.

眾多龐大數字貫穿著華貴瓷藝工作室的日常工作，例如被隨處擺放不計其數的畫筆，成千上萬的顏料，百余件純白的陶瓷模型等等。。。但唯獨時間的計數卻被摒除在外。雖然製作的起始時間有跡可循，但我們卻永遠無法預測其具體的竣工時間。故而在此沒有急促的腳步，沒有固定的作品進度節奏，人們只是全身心的投入到每一件作品的創作過程中，有些作品甚至將需耗費數年的時間方才能夠真正完成。另外，這裏也不存在任何的明文限制、藝術條例，亦或是商業買賣。因此，在華貴瓷藝工作室中您僅能感受到的是那滿滿的Lladró藝術創作潛能及川流不息、不斷提升的專業技藝。

Including sculptors, ornamentation artisans, technicians and decorators, around 20 people work here. In fact, the team boasts the brand’s best and most expert hands, capable of keeping the most ancient trades and techniques alive. From the chemistry to the molding, not forgetting the carving, relief work, drawing, ornamentation, engraving, painting… each step is carried out by hand at the City of Porcelain, located in Valencia (Spain). Very few companies today can say the same. Total control of porcelain means making sure that the white porcelain paste, made with the purest minerals from the world’s best seams, passes the test of fire in the kiln. This is the challenge of the artists in the High Porcelain Workshop. In fact, it is their way of responding to the original idea of the Lladró creative team, whose only limitations are imposed by the imagination. The whole creative process revolves around that goal, so that each step is overcome like in an obstacle course, but without the stopwatch ticking away. Similarly to all Lladró creations, a High Porcelain sculpture is born from the original idea of its creators. We can picture the artist in his design studio modeling the initial sketch in clay or plasticine, with his hands, his tools, his inspiration, plus exhaustive documentation. However, the artistic development of the model does not begin until the Creativity Committee, consisting of Juan Lladró and his daughters Rosa and Ángeles, approves the final sketch. Once the piece has been given the go-ahead by the Committee, the elaboration of the prototype in three stages begins: the making of the volume, the treatment of shapes and the decoration. From the very first moment every High Porcelain sculpture is assigned a highly qualified team put together especially to perform the specific tasks required by the sculpture. The order of tasks to be accomplished by the different artists (sculptors, ornamentation artisans, technicians, decorators) depends on how the piece evolves. All these experts work together closely during the whole process.

Juan Lladró with his daughters Rosa (left) and Ángeles, and the creative team of the High Porcelain Workshop. Juan Lladró 攜女兒 Rosa (左) 和 Ángeles，與華貴瓷藝工作室全體創意工作同仁合影留念。

近20位出類拔萃、經驗豐富且技藝超群的藝術家們各司塑形、裝飾、技術等職責組成了我們整個工作團隊。在當今略顯浮躁、崇尚機器化生產的快節奏社會中，他們摒棄一切雜念聚集在這位於西班牙陶瓷之都瓦倫西亞的工作室中，手工完成了從化學分析到建模、繪圖、裝飾、雕刻、上色等各個環節，這一切顯得難能可貴。我們先仔細挑選最為純淨的礦物成分將其加入潔白的陶泥之中，再小心翼翼的刻畫出獨特的紋理，待其經歷窯火的高溫冶煉後最終方才完成陶瓷的全套製作工藝。這將是對華貴瓷藝工作室的藝術家們一項無可避及的艱難挑戰，因為只有如此的精工細作才可將我們天馬行空般的原始藝術設想在現實中完美呈現。而這一漫長的加工創作過程就猶如一場沒有碼錶的障礙賽，最終成果唯有在跨越終點的那刻方見分曉。誠如Lladró品牌所有作品般，華貴瓷藝工作室每件藝術品的誕生也無一例外的得益于藝術家們最初的靈光一現。試想他們在工作室中使用著靈活的雙手操作各式工具，忙碌的翻閱著博古的資料文獻以釋放靈感描繪草圖，繼而在塑形時又不斷調試著各種陶泥、黏土材料，這是一種多麼忘我的藝術情懷展現啊。但往往一項構想的真正落實需要經過由Juan Lladró 及他兩位女兒Rosa 和 Ángeles組成的創意委員會嚴格審查而最終確定。經委員會批准的優秀創意將細分為包括作品尺寸構建、形態整合、裝飾等三階段依序展開實際的加工創作工作。華貴瓷藝工作室出品的每件作品從籌備之初便配備有一個完整的專業團隊全程參與協作整個創作過程，隨著作品工序的推進，包括造型、繪圖、技術及裝飾的各類專家的密切配合，最終將該創作構想完美呈現。

And how can you successfully reproduce a sketch such as the Queen of the Nile in porcelain? First of all, the model has to be split into several fragments, which are then reproduced in plaster. Afterwards the ornamental motifs originally conceived by the sculptor during the initial sketch are engraved in the plaster model. Facial expressions, vegetal motifs, reliefs of clothing, floral compositions… every detail is reproduced in the plaster fragments which will later on be taken to the department where the molds are made. The amount of molds depends on the number and size of the fragments the piece is divided into. A simple piece might need an average of 5 molds, though a High Porcelain sculpture will require 300 molds. The molds are filled with liquid porcelain paste during the process known as casting. Once the paste has set, the fragments are carefully removed from the molds and are then ready to be assembled. Now take your time to visualize the 380 fragments of the Queen of the Nile ready to be assembled with barbotine, a liquid porcelain paste that acts as an adhesive. Lladró artists successfully put together gigantic jigsaws like this every day. But to ensure that the process runs smoothly, all the pieces must undergo a thorough analysis. In the event that a problem arises during any of the stages of the process, the Artistic Technical Committee comprising specialists from various departments considers various possible solutions.

那麼現在就讓我們以作品埃及豔後其原始模型的構建過程為例為您詳細剖析一件作品誕生的全過程吧。首先，為了在創作伊始即能夠精准描繪出包括人物面部表情、植物圖案、衣服紋理、花卉結構等資訊，藝術家用石膏分門別類地製作了上述題材的各個細節，力求抓住每樣裝飾的精髓所在。再根據這些石膏部件的數量及尺寸綜合統計以確定該作品所需建造的模具數額。就因如此5件模具便可成型的簡易雕塑，華貴瓷藝工作室憑其精益求精的理念往往需要籌備多達300餘件細緻入微的模具方可達成。再向這些模具中倒入陶漿以完成所謂的“注漿” 工序，隨後待坯體在模具內部成型後，小心翼翼的取出這些成型的陶瓷部件以進行餘下的裝飾加工。現在埃及豔後共計380個部件均已成型，接下來我們便使用專業陶瓷黏結劑使它們完整組合。此過程中Lladró藝術家們耐心細緻的工作，不厭其煩的解開了無數技術難題。同時，為確保該品相的完美，作品還均需經過極為精密的檢驗。一旦發現在製作過程中存在任何問題，一個由不同領域的專家組成的技藝委員會將負責研究其相應的解決辦法。

Each piece is hand painted, sometimes by several people, but in all cases with a steady hand, reinforcing the uniqueness of these pieces. 每件作品均是由多位藝術家共同協作、手工完成，以確保其獨一無二的品性。

The magic of color

魔幻色彩

Can you imagine a palette of 4,000 different colors? Well, Lladró has one and if there is a place for making use of all these colors, that is the High Porcelain Workshop. In close collaboration with the laboratory, Lladró artists research the different varieties of colors required by each model, together with their varying densities, saturation, textures, nuances... Apart from these expert hands, lots of heads also join to carefully examine every tone and nuance, until the desired result is achieved. One of the distinctive elements of this category is the special chromatic palette of the High Porcelain Workshop which contains colors created specifically for these pieces.

能夠想像一個包含4000餘種色彩的調配板嗎？只有在 Lladró華貴瓷藝工作室，這些顏色才能大放異彩。藝術家們在實驗室中依照各異色調應用在不同模具上之後其在密度、飽和度、結構組成、色差等方面的細微出入進行反復調查研究，力求呈現絕對完美的視覺效果。最終以此為前提而創造出這種豐富的色階效果，這便是華貴瓷藝工作室的作品能在陶瓷領域獨領風騷的秘訣之一。

Once the decoration details have been approved by the Creativity Committee, the painting process begins. Each piece is hand painted, sometimes by several people, but in all cases with a steady hand, reinforcing the uniqueness of these pieces. Faces are unquestionably the part that requires the greatest skill and expertise. The facial features are rendered with the painstaking application of soft touches of color, demanding a level of dexterity that is only possible with many years of experience. Besides, High Porcelain creations also include small decorative elements which are little works of art in their own right, such as the hull of the boat in the Queen of the Nile, the saddle of the Arabian Pure Breed or the kimonos of the Hina Dolls.

每當作品在經過創意委員會的檢驗合格後便立即展開了對其上色的工作。每件瓷偶雕塑均是由多位藝術家共同協作、手工完成，以確保其獨一無二的品性。在應對諸如人物臉部刻畫等更為技術性的課題時，也只有這些經驗豐富的藝術家們才能以輕柔的色調勾勒出渾然天成的視覺效果。但同時華貴瓷藝工作室的作品中那些基礎、簡單的裝飾部件也是一件完整藝術品所不可或缺的重要組成部分，作品埃及豔後中的一葉輕舟，阿拉伯純種馬所附的那座馬鞍，以及華貴瓷藝之玩偶身著的雅致和服等，其色彩的選用均也是對美的淋漓展現。

Varnish is applied evenly onto the piece using a spray gun. It then crystallizes in the kiln and brings the true Lladró colors to the surface. 在瓷偶表面使用噴槍均勻的上釉後，再送人窯火中煆燒以創造結晶體般最具 Lladró色調特點的視覺效果。

The test of fire And finally, the key moment in the entire process: the firing in the kiln. The night before the first trial by fire the entire workshop is restless. Within a few hours, months and months of hard work will be put to the test. Ever since the 1960s, when Lladró introduced single firing, leaving behind the brands still using a second or even third firing, all bets have been placed on one card. The kiln ultimately decides whether the piece has been successfully elaborated and, if so, gives the go-ahead for its final development. During the firing process, the porcelain changes to a semiliquid state and one can frequently hear artists saying that porcelain is alive. It is not hard to imagine the effects of this in a High Porcelain creation. It is almost a miracle that monumental pieces from the workshop actually come through the last stage of this process. The piece spends an entire day in the kiln, from the moment it is introduced at room temperature until it cools down, reaching a maximum temperature of approximately 1,300 ºC / 2,500 ºF. Two or three people monitor the piece during this decisive stage, after which the final colors will come to light, together with its glazed appearance. Besides, due to the chemical reactions taking place during the firing of porcelain, the piece is reduced in size by around 15%.

火之試煉終於我們邁向了這至關重要的一步：窯燒。首次試驗的前一晚對藝術家們而言則是個不眠之夜，因為它意味著數月的辛勞工作即將初顯成果。在Lladró六十年的藝術創作過程中為與眾多競爭者二次甚至三次燒窯的作品相抗衡，其可謂孤注一擲的開創了一次燒窯技法，並取得了空前的成功。時至今日，我們仍始終堅信窯火的洗禮是作品創作最為關鍵的步驟，其結果將直接導致作品的成敗。在燒窯過程中陶瓷將呈現半流質的狀態，所以並不難想像華貴瓷藝的藝術家總是將此時形容為賦予生命的時期。故而任何試圖控制處於此階段的這些宏偉作品在高溫中不發生任何變化或破損的努力無疑都將是癡人說夢。窯內作品將經歷共計24個小時從加熱、高溫1300 ºC(2500 ºF)直至冷卻的完整試煉過程。同時，工作室還配有2至3 名專員全程跟蹤監督，以確保陶瓷出爐時色澤、光感的完美，並將窯火燒制後的作品尺寸變化控制在15%範圍之內。

The night before the first trial by fire the whole workshop is restless. Within a few hours, months and months of hard work will be put to the test. 首次試驗的前一晚對藝術家們而言是個不眠之夜，因為它意味著數月的辛勞工作即將初顯成果。

And finally, perfection

終極完美

If the porcelain has been properly controlled throughout the entire process, the new High Porcelain creation undergoes the firing test. Then the final touches are applied and the pieces are ready to be shown to the Creativity Committee.

華貴瓷藝工作室的全新作品在經歷認真細緻的加工製作過程以及窯火的鍛造洗禮之後，略微進行細節調整便將迎來創意委員會的最終審查。

In the event that the piece fails the test of fire, then the whole process starts all over again, right from the sculpting stage. Failed stages are repeated as many times as necessary until the desired result is achieved. Our goal is to ensure that the final piece is a faithful reproduction of the original ideal, no matter if we have to go over the same stages again or if the processes must be continued for a longer time or if steps have to be repeated. The courage, tenacity and commitment of the experts at the High Porcelain Workshop are our best guarantee of reaching our goal. Indeed, all artisans who work on the piece leave their personal mark on the base of the piece. This shows just how specialized and committed their work is. This complex and painstaking process ensures the standards of quality that have earned Lladró its international reputation. This means however that the number of pieces in the High Porcelain category is extremely limited and that each piece comes in an edition of just a few units, a logical conclusion of the meticulous process of creation.

藝術家們將一次次重塑那些曾經失敗的燒窯作品直至達到預想的最佳效果。儘管幾度的失敗、反復的工作將拉長成品的時間進度，但我們仍無怨無悔的堅持著，力求忠誠於每件作品的創作初衷。正是憑藉華貴瓷藝工作室全體同仁的勇敢、堅韌、忠誠的藝術信念，才更加確保了成品的完美品相。最後每位藝術家都在其作品底部留下個人簽名以此銘記這份專注忘我、全情投入的創作精神。得益于其複雜艱辛的創作過程，才令Lladró推出的每件瓷偶雕塑其品質標準皆在全球獲得了廣泛的認可。毫無疑問這種榮譽使命感導致了華貴瓷藝工作室極為有限的出品數量，故而這些全球限量發行的藝術品也更顯彌足珍貴。但也只有這樣，懷抱著對陶瓷藝術純淨無暇的熱愛，我們才創作出了諸如傲然挺立的阿拉伯純種馬；浴火重生、身軀盤繞的中國龍；莊重威嚴、永不沉沒渡船上的埃及豔後；以及作品花園裏的茶敘在歷經1300 ºC高溫洗禮後鮮活呈現的那深蘊茶道的貴婦形象等眾多佳作。更多關於上述作品的創作細節我們將在本刊的其他章節向您娓娓道來。。。

Only by working with a pure love of porcelain is it possible to ensure that the elegant horse of Arabian Pure Breed stands on its fine legs, that the twisted posture of the Great Dragon does not break into smithereens in the kiln, that the majestic Egyptian boat of Queen of the Nile does not collapse or that the sophisticated ladies of Tea in the Garden remain unchanged after undergoing temperatures over 1,300º C / 2,372º F. But that is another story, one we are keeping for the following pages…

winged beauty AN EXALTATION OF FREEDOM

羽翼自由的釋放

Half woman, half goddess, the character in this creation is inspired by ancient mythology, affording us a representation of femininity that is as beautiful as it is powerful. With a mixture of sensuality and mysticism, Winged beauty brings to mind a past time of belief in magic and freedom, the feminine principles of the exaltation of life that have been passed down to us through the art of classical civilizations. The delicate gesture and the white skin of the woman’s seminaked body contrast with the elaborate design of the wings and the jewelry adorning her. The end result is a masterful combination of the virtues of the best pieces in Lladró High Porcelain: on one hand, the purity and soberness with which the figure is modeled and, on the other, the exuberance and refinement of the ornamentation. The coloring and the decoration of the piece are inspired by the majestic feathering of the peacock, a creature invested with manifold meanings throughout the centuries, in which it has been seen as an incarnation of good luck, harmony, serenity and inner peace. To emulate the fantastic plumage of this wonderful creature, the artists in the High Porcelain workshop concentrated all their skill in the decorative filigree work on the wings, applying different techniques ranging from enamels in various tones of green, blue and ocher to the use of colored varnishes and metal luster. The brilliant and complex play of shades and ranges of color is topped off with the aged-gold luster that enhances the sense of nobility and solemnity the figure inspires. In addition, Lladró’s technical team created a new tonality, used for the first time in this piece: a luster with a pearlized effect, applied on the crown and earrings, that further adds to the decorative wealth of the piece. 一半是女人，一半是女神，這次創作的角色受古代神話的啟發，塑造了美麗與力量並重的女性代表。這尊羽翼集嫵媚與神秘於一身，不禁讓人聯想到信仰仙法與自由的往昔時光，傳統文明的藝術向我們傳遞了生命中釋放的女性主義真諦。翩然的姿態和女性半裸嬌軀的白皙肌膚，與精巧的羽翼設計和佩戴的華麗珠寶交相輝映。最終造就的傑出作品集聚了 Lladró 華貴瓷藝系列最佳作品之精華：一方面，塑造出人物的純潔與莊重，另一方面，亦展現了裝飾品的繁茂與精緻。作品的上色和裝飾受孔雀的華麗羽毛所啟發，數百年來，這種動物被賦予了多重含義，一直被視為好運、祥和、寧靜與安心的化身。為了模仿這種神奇動物的奇異羽毛，華貴瓷藝工作坊中的藝術家們在翅膀上鑲飾金銀細絲時使出了渾身懈數，運用了多種技術，包括綠、藍和赭等色彩的瓷釉，以及彩色清漆與金屬光澤。巧妙複雜的色調搭配及色彩變換，加上做舊效果的金色光澤，更顯美不勝收，讓這尊雕塑散發出更為強烈的高貴與莊嚴感。此外，Lladró 的技術團隊研製了一種全新的色調，並首度用於該作品：塗於王冠和耳環之

Winged goddesses Since time immemorial, human beings have fantasized about beautiful women with large wings as powerful incarnations of supernatural forces. This is how the Babylonians represented Ishtar, the goddess of love and war; and how the ancient Egyptians depicted Isis, the great mother goddess, and Maat, who symbolized truth, justice and cosmic harmony. Centuries later, within the western tradition, the Greeks also represented Nike, the goddess of victory, with wings.

羽翼女神自遠古時期開始，人類便幻想出擁有碩大羽翼的貌美女子，她也是超自然力量的強大化身。所以，古巴比倫人描繪了愛情與戰爭女神伊什塔爾；而古埃及人則描述了豐饒女神伊希斯和真理、正義和秩序之神瑪特。幾百年後，在西方傳統中，古希臘人還描述了長著翅膀的勝利女神尼克。

上，透出珍珠般的光澤，進一步顯露出作品裝飾之豐盈。

Winged beauty (44 x 81 cm, 17 ¼” x 32”) Limited edition of 750 pieces 羽翼 (44 x 81 厘米) 全球限量750 件

GODDESS LAKSHMI The goddess of fortune

印度女神財富女神

Lakshmi is also the goddess of good fortune, of material and spiritual prosperity, showering her devotees with gold coins to bless them with her riches. That’s why the Lladró artists pictured her in maximum splendor, ranging from the fabulous haloed crown to her luxurious robes, headdress and jewelry as well as the floral decoration. Everything is highly worked and defined in minute detail to underscore her majesty. Even the nose-stud that Lakshmi is usually depicted with has been reproduced here, though further embellished with a diamond, a decorative device used for the first time in a High Porcelain piece. Lladró artists have enriched the fabrics of Lakshmi’s robes with details of bird’s feathers, a typically Indian decorative motif. The flower garland in several hues is also particularly complex given the definition of each one of its elements. In addition we have to add the lotus flower buds she holds in her hands, symbolizing beauty, purity and fertility.

The goddess of fortune “The righteous Lakshmi adorns her veils with the new sacred signs” is how the Hindu goddess of good fortune, happiness and beauty is described in the Ramayana, one of the great Sanskrit epics of ancient India. And that is how the artists at the Lladró High Porcelain workshops have depicted her, decorated in accordance to her divine status. 1.

Seated on a large lotus flower, the symbol of purity, Lakshmi is revered as the Mother Goddess as she is the consort of Vishnu, the Creator God in Hindu philosophy. Her four hands symbolize the goals in human life: virtue or dharma, passion or kama, wealth or artha, and liberation or moksha.

財富女神印度象徵財富、幸福與美麗的女神，古印度偉大梵文史詩之一《羅摩耶那》中曾有記載：「正義的吉祥女神總是戴著面紗宣告神聖的新預示」。Lladró 華貴瓷藝工作坊的藝術家們加以借鑒，根據她的神聖地位進行裝飾。拉克什米端坐於象徵純潔的蓮花之上，被敬為眾生之母，因為她是印度哲學創世主毘濕奴神之妻。她的四隻手象徵人類生活中的目標：美德（或 dharma）、熱情（或 kama）、財富（或 artha）以及自由（或 moksha）。

The colors used in the decoration of the piece have also been carefully chosen. The reds in her costume match the golden tones of the crown, the trimming, and the bracelets, anklets, rings, necklaces and earrings, while the deep blue provides a note of contrast. Apart from this wealth of color, also worth highlighting is the use of various decorative techniques, like the velvety finish of the sash and the cushion on which the coins are resting, or the metal luster in the golden-decorated parts, in various tones, with a combination of gloss and matte finishes, providing a myriad of nuances to the piece. The expression on her face has also been carefully studied: the pink complexion, the soft make-up, the delicate feminine features and the assertive gaze succeed in conveying the profound spirituality of this goddess and her halo of divine happiness. 拉克什米亦是財富女神，既指物質上的財富，也指精神上的財富，總是向她的信徒佈施金幣，意指她能施與眾生財富。因而，Lladró 的藝術家盡絢麗之能來描繪她的形象，從頭冠的光環到華麗的紗麗、髮飾和珠寶，以及花卉裝飾。每一處都是精工細做，細緻入微，處處彰顯她的威嚴。甚至連拉克什米的鼻釘亦被重新塑造，鑲上了鑽石，而這種裝飾品應用在華貴瓷藝作品中尚屬首次。 Lladró 的藝術家豐富了拉克什米所穿的紗麗面料，採用典型的印度裝飾圖案鳥羽這一細節作為點綴。艷麗的花環也顯得極其複雜，因為每一處都精緻無比。此外，我們加入了她手中所持的蓮花花蕾，象徵美麗、純潔與多子多福。作品裝飾中所採用的色彩亦經過精心挑選。紅色服飾與金色王冠、裝飾品、手鏈、腳鏈、戒指、項鏈和耳環完美搭配，而深藍色則營造出強烈的對比色調。除了斑斕的色彩外，還應強調各種裝飾技巧的運用，比如腰帶上的天鵝絨裝飾，金幣下的墊子，還有金色裝飾部分的金屬光澤，五彩紛呈，結合光澤與啞光飾面，展現紛繁的細微之處。面部表情也經過細心研究：紅潤的氣色，溫婉的妝容，纖美的體態，堅定的目光，成功的傳達了女神深厚的靈性與逍遙的光環。

Goddess Lakshmi (48 x 32 cm, 19” x 12 ¼”) Limited edition of 720 pieces 吉祥女神拉克什米 (48 x 32 厘米） 720 件限量版

VENETIAN FANTASY Luxury, mystery and fantasy

夢幻威尼斯奢華、神秘而夢幻

In this spectacular High Porcelain piece, Lladró artists have recreated the mystery, luxury and exoticism of the carnival in the city of canals. The exuberant ornamental wealth of Venetian fantasy is striking, especially in the headdress worn by the enigmatic character. Hibiscus, roses, water lilies … here the talent of the artists at The City of Porcelain in elaborating flowers reaches new heights, making this piece the most important floral composition in the Lladró catalogue. Like all Lladró creations, each petal and each delicate little stamen are individually modeled and set by hand, ensuring that each piece is unique and unrepeatable. On a par with the high degree of complexity in the floral decoration, the character’s mask and the costume boast the same level of preciosity and meticulous finish thanks to an intricate combination of decorative techniques. The use of enamels, liquid colors, paint pastes and luster produces a profusion of different tonalities, further enriched by the contrasts of textures, ranging from the gloss of the sumptuous fabrics and mask to the matte of the flowers and face. Venetian fantasy is an ambitious sculpture conceived to be the centerpiece of any interior where it is placed, deserving to be admired unhurriedly from all angles and quietly enjoyed by the most demanding lovers of High Porcelain. 在這款華美的華貴瓷藝作品中，Lladró 藝術家締造了水城嘉年華的神秘、奢華和異國風情。夢幻威尼斯繁茂的裝飾讓人歎為觀止，尤其是神秘人物所佩戴的頭飾。木槿、玫瑰、水蓮…… 瓷器之都的藝術家製作花飾的技藝達到了新的高度，使這件作品成為了 Lladró 產品名錄中最重要的花卉精品。和 Lladró 的所有作品一樣，每一片花瓣和每一個精緻小巧的花蕊都是由手工逐一雕琢而成的，保證每件作品獨一無二，絕無重複。與花飾的複雜程度一樣，透過巧妙地揉合各種裝飾技術，使人物的面具和服裝展現出相同程度的考究與細膩感。瓷釉、液體色彩、厚漿漆和光澤融合了各種色彩，從華麗的面料和面具，到花卉和臉龐的啞光效果，質感對比進一步得到強化。

夢幻威尼斯是一件熱情洋溢的雕塑，無論擺放於室內何處，都是能夠成為絕對焦點的中心裝飾品，即便是最挑剔的華貴瓷藝愛好者，亦能從各個角度靜靜欣賞並由衷的折服稱讚。

Courtesan Masks While all over the world carnival is synonymous with celebration, partying, dancing and enjoyment, in Venice it also stands for sophistication and refinement. The city of canals has turned the carnival into one of its most universal signs of identity, recreating the atmosphere of the 17th and 18th centuries, when European nobility mixed with the people behind the anonymity of their luxurious masks and colorful fancy dress. 1.

嘉年華面具全世界所有嘉年華都離不開慶祝、派對、舞蹈和娛樂活動，在威尼斯，它還代表修養與文雅。這座運河之城已將嘉年華變成了最普遍的象徵性標誌，重現了 17 和 18 世紀歐洲貴族佩戴奢華面具，身著艷麗服裝，藏匿身份混入人群之中的歡騰氛圍。

Venetian Fantasy (55 x 36 cm, 21 ¾” x 14 ¼”) Limited edition of 750 pieces 夢幻威尼斯 (55 x 36 厘米) 全球限量750 件

LADIES FROM ARANJUEZ VASE Romanticism in High Porcelain 花園漫步花園漫步

Depicting elegant ladies in bucolic gardens is part of an ageold artistic tradition that had its high points in Rococo and Romanticism. In the Ladies of Aranjuez vase, Lladró reinterprets this classical theme and raises it to the category of High Porcelain. This vase is especially noteworthy for the complex treatment of depth in the elaborate sculptural composition. Five ladies stand out in relief in the foreground of this vase measuring 60 centimeters tall, surrounding it and creating different scenes. The lush vegetation of a garden in bloom can be appreciated in the background and, further back, one can make out the arches of the arbor sheltering the ladies.

Ladies from Aranjuez vase (62 x 28 cm, 24 ½” x 11”) Limited edition of 1,000 pieces 花園漫步 (62 x 28 厘米) 全球限量1000 件

The sense of depth is also increased by the decorative techniques used by the artists at the Lladró High Porcelain workshop. Instead of the usual dissolved colors, the details of the skirts, flower and embroidery are decorated with paint pastes. This makes the decoration of the piece more complex, enriching the ornamentation and bestowing the necessary depth and transparency to heighten the realism of each element. For instance, while the dresses are represented in the vaporous style of the period, the porcelain parasols are extraordinarily fine and delicate.

At the Royal Palace The Ladies of Aranjuez vase gets its name from the Spanish town of Aranjuez. To the south of Madrid, the town is the site of one of the Royal Palaces of the Spanish monarchy, built under the reign of King Philip II. Its sumptuous gardens inspired Joaquín Rodrigo to compose his famous Concierto de Aranjuez, one of the best-known pieces of Spanish music.

Each of the five ladies is decorated in her own range of colors: blue, red, yellow, green and white. Also worth noting is the floral decoration: on one side of the vase one can see bougainvillea, used for the first time in a Lladró piece. The other side is decorated with roses, one of the brand’s signature elements and one of the varieties of flowers most difficult to execute. Also on view are calla lilies, as well as wild flowers in two pots, one on each side, making a total of six varieties of flowers. Crowned with an elegant lid, the inside of the vase is varnished to protect the porcelain if it is used to hold flowers. The result is a work worthy of being admired in detail from all angles and an exclusive piece to be thoroughly appreciated by the most discerning High Porcelain lover.

皇家宮殿花園漫步 (Ladies of Aranjuez) 的名字源於西班牙小鎮阿蘭輝茲 (Aranjuez)。在馬德里南部的小鎮裡，坐落著西班牙君主的一座皇家宮殿，建造之時是國王菲利普二世執政。花園的奢華啟發了 Joaquín Rodrigo，促使其創作了著名的阿蘭輝茲協奏曲 (Concierto de Aranjuez，西班牙音樂史上最著名的樂曲之一)。

描繪置身於詩意花園中的優雅女士是古老藝術傳統的一部分，在洛可可風格和浪漫主義中曾達到登峰造極的地步。在花園漫步中，Lladró 重新詮釋了這個經典的主題，並將其提升至華貴瓷藝類別。這個花瓶因精心雕刻之處的複雜深度處理而格外引人注目。五位女士的悠然姿態在 60 厘米高的花瓶前部表現得栩栩如生，圍成一圈，風格各一。花園裡植被茂盛，生機勃勃，背景亦耐人尋味，更遠處甚至還能看清女士們休憩的涼亭拱角。 Lladró 華貴瓷藝工作坊的藝術家們運用各種裝飾技術，增加了景深。短裙、花卉和刺繡未採用常見的溶解色，而是選用厚漿漆進行裝飾。這讓作品的裝飾顯得更為複雜，點綴更具多樣性，賦予其不可或缺的深度和透明度，增強了每個元素的現實感。比如，服飾呈現了當時的浮誇風格，瓷陽傘極其精美別緻。五位女士的色彩各異，分別為：藍色、紅色、黃色、綠色和白色。花飾也不容小覷：花瓶的一側可以看到簕杜鹃，首次用於 Lladró 作品之中。另一側則飾有玫瑰，這種花飾是該品牌的標誌性元素，亦是處理起來最為棘手的花飾之一。此外，還可以看到海芋和兩盆野花，分置兩旁，共構成六種不同的花卉。頂部配有雅致的瓶蓋，花瓶內部塗有清漆，如果用來插花，可起到保護瓷器的作用。即便是眼光最獨到的華貴瓷藝愛好者，也能從各個角度欣賞這件傑作的細節，並被這件獨特的作品深深折服。

ARION ON A SEAHORSE Wealth of color and dynamic energy to express the power of a myth

樂神阿里昂豐富的色彩運用及非凡的活力一併傳遞出強烈的神秘感。

On nights in the northern hemisphere, one can see a small constellation in the form of a dolphin near the celestial equator. The legend goes that the god Apollo created it in honor of Arion, a celebrated musician whose story has come down to us as a myth. This fantastic character is the centerpiece of one of the most beautiful Lladró High Porcelain creations. Of the many depictions of this legendary figure which the history of art has passed down to us, Lladró artists chose the painting by William-Adolphe Bouguereau Arion on a Seahorse (1855) as their source of inspiration. In this picture, the dolphin from the original myth has been transformed into a fantastic seahorse on which the musician is riding as he strums his lyre. Lladró’s Arion on a Seahorse is a highly dynamic composition which brings together two basic yet opposing concepts from classical art: the Apollonian, as represented by the serene beauty of the young musician, and the Dionysian, expressed in the movement and exuberance of the sea creature that transports him, almost flying through the water. Pivotal in this balance between calm and energy, between charm and strength, is the contrast between Arion’s delicate skin and the colorful, decorative wealth of the elaborate armor covering the seahorse. Together with the complex design of Arion’s tunic and the countless details of the sea waves, the overall creation boasts a notable display of the ornamental profusion that is a signature of the best Lladró High Porcelain works. 在靠近赤道的北半球夜空中有一個形似海豚的小型星座，它在向人們娓娓講述著天神阿波羅所讚譽的青年樂師阿里昂的傳奇。這段動人的音樂故事與其中寓言的主角便成為LLADRÓ 華貴瓷藝工作室藝術家手中所塑造的美妙神秘的雕塑作品的創作題材。故事承載了眾多的藝術歷史象徵符號，因此畫家威廉·阿道夫·布格羅（1855）也借鑒了這一主題，卻巧妙的將傳說中彈奏著里拉琴的樂師所駕馭的海豚改為具有魔力的海馬，進而創作了這幅名為“海馬上的阿里昂”的畫作，而它便也成為現今工作室藝術家們的靈感源泉。LLADRÓ此件雕塑與傳統藝術裝飾背道而馳，獨特的融合了包括代表靜謐之美的動人青年音樂家形象，以及在激烈水流湧動中猶如飛行一般且裝飾華麗的神奇海馬造型這兩大截然不同的表現理念，最終令作品所包含的強烈生命力得以迸發。此外，我們還通過阿里昂細膩的皮膚處理與海馬全身所包覆的裝飾繁雜、色彩豐富的盔甲般外殼的對比，來呈現出安詳與靈動、溫柔與活力之間的激烈藝術碰撞。阿里昂身著華麗長衫，坐看色澤多變的海浪，此般與眾不同的豐富裝飾手法便也是每件LLADRÓ華貴瓷藝工作室所出品的傑作的特質。

Arion on a Seahorse (62 x 77 cm, 24 ¾” x 30 ¾”) Limited edition of 500 units 樂神阿里昂 (62 x 77 cm) 全球限量500件

1. The painting Arion on a Seahorse by the French artist WilliamAdolphe Bouguereau (1825-1905) served as inspiration for this High Porcelain piece. 1. 這件法國畫家阿道夫·布格羅（18251905）所創的同名畫作：樂神阿里昂，為華貴瓷藝工作室的藝術家們提供了源源不斷的創作靈感。

A legendary musician Arion was born on the island of Lesbos and was one of the most celebrated musicians of his time. He received permission from his patron, the king of Corinth, to compete in a musical contest held in Sicily, where he obtained first prize. He won over many admirers who lavished him with valuable gifts. However, on the ship returning home the sailors plotted to kill him and steal his treasures. Arion, fearing the worst, begged them to let him sing one last song. He sat on the prow of the ship and invoked the gods with a passionate melody before throwing himself overboard. But his captivating voice had attracted a school of dolphins and one of them took him on its back and carried him to the safety of the shore.

傳奇的樂師阿里昂出生於勒斯博島，是當時最知名的音樂家。他曾經在國王科林托的委派下參加於西西里島舉行的音樂大賽並一舉奪魁。傾慕者們向他贈送了許多價值不菲的禮品，卻引起水手們的覬覦，為此密謀要將他殺害。阿里昂在絕望之際懇求他們允許自己奏響生命的最後樂章。在即將被投入大海前，他來到船頭向上天悲傷的演唱出飽含情感的旋律。那絢麗的嗓音卻意外引來成群結隊的海豚，他順勢爬上其中一隻海豚的脊背，最終逃離了危險並安全抵達陸地。

BACCHANTE ON A PANTHER The art of exuberance in porcelain

巴斯克的女祭司以陶瓷表達靈動的藝術

There was a time when the forests of Europe bore witness to ancestral rituals forbidden to men. Held in honor of the god Bacchus (Dionysius in Greek mythology), these women-only ceremonies intrigued men for centuries and inspired countless works of art, such as the great Greek tragedy The Bacchae (409 BC), by Euripides.

1. The work Bacchante on a Panther by the French painter WilliamAdolphe Bouguereau (1825-1905), from which the artists at the Lladró High Porcelain workshop borrowed their inspiration.

The High Porcelain creation Bacchante on a Panther follows in the footsteps of these works and focuses on an evocative combination of sensuality and strength, delicacy and ferocity. The white skin of the semi-naked bacchante stands out against the dark skin of the panther, a powerful animal associated with the god Dionysus-Bacchus. This expressive play of contrasts is further heightened thanks to Lladró High Porcelain’s signature preciosity and decorative wealth.

法國畫家阿道夫· 布格羅（1825-1905）所創作品：黑豹上的女侍，為Lladró華貴瓷藝工作室的藝術家們開啟了創作的靈感之源。

Above all else Bacchante on a Panther is noteworthy for the complex painting process in which the tiniest detail of the piece, from the bacchante’s flowing headdress and skirt to the exuberant ornamentation of the panther, is profusely decorated with the complex technique of glazes, applied by hand by the best artists at The City of Porcelain.

An exaltation of life An exaltation of life Bacchanals were rites practiced exclusively by groups of women. The Romans picked them up from the Greeks, who in turn were reproducing even older customs that are lost in the mists of time. In this way, the masculine and rational classical world set aside a space for passion, magic and freedom, and an archaic bond with the female principles of fertility and the exaltation of life. 1.

生命的昇華神秘的酒神女祭司的儀式向來由特定的女性團體執行。之後羅馬人承襲了古希臘人這種已消失在歷史長河中的古老習俗。故而，在一個傳統的由男性、理性主宰支配的世界，這個兼具激情、神秘、自由等特性，可追溯至遠古人類為表達其最初對女性生育及生命傳遞能力的膜拜而舉行的儀式最終得以保留其一席之地。

The glazes, with a lot of body, create dense textures that stand out from the surface of the piece. They are applied with such expertise that, while being completely matte, they produce bright effects more proper to varnished pieces. Furthermore, the structural complexity of Bacchante on a Panther makes the whole process particularly laborious: given that it is not possible to turn the piece upside down to decorate the feline’s abdomen, it has to be painted before the process of assembling the different parts. 先人們曾在歐洲的叢林中舉行男子禁入的神秘祭祀儀式。這種以酒神（古希臘傳說之神）為名的女性專屬儀式卻引來男人的好奇，並以此激發了眾多作品的創作靈感，而這其中便包括歐裏庇得斯所創作的著名希臘悲劇文學作品“巴斯克的女祭司” (西元前 409年)。華貴瓷藝工作室所創作的巴斯克的女祭司形象是對古時文化的傳承，女祭司半裸著潔白的身軀跨坐在被酒神所賦予神力的深色金錢豹軀體上，將感性與力量、溫柔與野性各種矛盾完美融合於一身。Lladró華貴瓷藝工作室其最具特色的精密、華麗裝飾風格完美的詮釋了這種強烈的對比效果。此外，巴斯克的女祭司在其上色全過程中無論是髮式、裙體設計上最微小的細節處理，還是金錢豹繁雜的通體裝飾，均是瓷都藝術家們憑藉其卓越的琺瑯彩操作技藝，純手工完成。這些巧奪天工的琺瑯彩被運用在整體呈現啞光感的雕像中，進而創造出了奪目的視覺藝術。同時，巴斯克的女祭司極為複雜的造型結構使得藝術家們需投入最特別的勞動，例如在進行金錢豹的腹部的上色時，由於無法將作品翻轉，故此它的上色工序須在各部件被粘合前便提前完成。

Bacchante on a Panther (56 x 78 cm, 22 ½” x 31 ¼”) Limited edition of 500 units 巴斯克的女祭司 (56 x 78 cm) 全球限量500件

GUARDIAN LIONS Between a thousand year old tradition and the work of a contemporary artist

獅鎮乾坤千年文化與當代藝術產生的共鳴

Two impressive animals stand guard over the home. They are Guardian Lions, fantastic creatures which bring good luck, happiness, courage and strength, power and grandeur. Seen from the front, the male is located on the right and looks after the building, represented by the globe it holds under its paw, while the female is located on the left and watches over its inhabitants, represented by the cub she is playing with, which symbolizes the cycle of life. Lladró artists have taken their inspiration from the traditional bronze, iron and granite statues that protected palaces, temples and noble houses in various Eastern countries. Recreating this majestic effect in porcelain was a true challenge, full of complex technical difficulties, such as the large volume and the quantity of molds required to reproduce each one of the elements. But the final result could not have been more satisfactory, complementing the traditional iconography with the signature decorative wealth of all great Lladró works. The decoration of these pieces is so intricate that it is only within the reach of the most expert artisans. The detailed ornamentation of the breastplates and armor, the elaborate modeling of the manes and tails, as well as the spectacular decoration using enamels, golden luster and varnishes, combine the iconographic wealth of the Orient with the boundless imagination of Lladró artists. In fact, the artists from Lladró’s High Porcelain workshop have embellished some details of the original sculptures, for instance increasing the number of raised, spiral-shaped protuberances of hair on the head of the lions. In ancient times, the number of these protuberances signified the rank of the soldier who lived in the house they guarded, up to a maximum of 13. The outline of the lion has also been idealized. To understand this enhancement, one must bear in mind that the sculptors of the original statues had not seen a real lion and actually used certain breeds of dogs, thicker in build than lions, as their source of inspiration. Furthermore, Lladró has dressed them in profusely ornamented breastplates and armor, elements that reinforce the protective mission of these creatures.

兩尊威嚴的神獸把守著府邸——"獅鎮乾坤"，在傳說中其被賦予了招運求福的神奇魔力，亦被視為權利與地位的象徵。圖中右側擺放的雄獅充分考慮了結構學原理，將球牢牢固定在獅掌中，意喻生命的繁榮。左側的雌獅守護著與其玩耍的幼獸，意喻生命的輪回與傳承。它們的藝術創作源自于 Lladró的藝術家們對那些散佈在東方眾國，忠誠守護著宮廷、廟宇及貴族門庭，由銅、鐵或花崗岩打造的傳統雕刻形象的深深感悟。由於充滿了大量技術型難題，如龐大的體積以及為完美詮釋每一個細節所需的基礎模型部件數量眾多等，因此，用陶瓷重塑這件威嚴的作品是一項難以逾越的挑戰。但最終藝匠們完美的將賦予神力的威嚴神獸再現，並使其躋身成為Lladró最具裝飾特性的不朽之作。也只有這些最專業的藝匠方能完成這樣一件極為精工細作的裝飾雕塑作品。無論從神獸盔甲和腹甲的紋飾，大量雕刻入微的獅鬃，栩栩如生的尾部等裝飾，還是從那歎為觀止的底釉處理，黃金般的光澤和精妙的配色，都使得這尊令人印象深刻之作成為Lladró藝術家洋溢著創造力游走于傳統東方藝術界的代表力作。製作過程中，華貴瓷藝工作室還為其細節增添了一些原創元素，例如獅子微微隆起螺旋狀的獅鬃數量象徵著古代守宅士兵的官銜，最多為13顆，以此表達祥瑞鎮宅之意。同時獅子的造型也頗為理想化，這是一種融合了犬類血統後前所未有的獨特創意，而使其在體型上較之普通獅子更為龐大且兇狠。此外為了增強其看家護院的功能性，Lladró還特別針對盔甲和腹甲上的紋飾加強了細節的裝飾。鎮宅獅包括了3種不同的繪飾版本，其中每對皆運用不同的色階：莊重的紅色，高雅的黑色，及絢麗的藍色，以象徵其迥然的特質。這尊令人印象深刻之作便是藝匠堅持不懈的創新精神的詮釋，更是成為其創作者向千年文明的獻禮。

The Guardian Lions come in three distinct finishes, one in each of three color ranges that give each pair a different character: from the power of red to the elegance of black, not forgetting the splendor of blue. Creations half way between a respect for a thousand year old tradition and the innovation and creativity of a contemporary artist.

Guardian Lioness (69 x 82 cm - 27 ½” x 32 3/4”) Guardian Lion (69 x 77 cm - 27 ½” x 30 3/4”) Limited edition of 188 units per color and model. 獅鎮乾坤-雌 (69 x 82 cm) 獅鎮乾坤-雄 (69 x 77 cm) 各色各款分別全球限量 188件

Millenarian Guardians The lion is the king of the animals both in western and in eastern cultures. It was adopted as a symbol of protection and the bearer of power and prestige which spread with Buddhism to the whole of Asia, from Tibet to Japan, from China to Myanmar. For Buddhists, the lion is a divine animal that can ward off evil spirits. The story goes that when Gautama Buddha, the founder of the religion, was born, he pointed to the heavens with one hand and to the earth with the other, roaring like a lion. Buddha’s lotus throne was supported on eight lions, representing the “Bodhisattvas” who propagate the truth of the teachings of the master to the eight directions of the universe.

千年守衛在東西方文化中獅子均擁有毋庸置疑的王者地位。在佛教文化影響深遠的亞洲，從西藏到日本，從中國到緬甸，其都被喻為是守護、裁決、權威的象徵。佛教徒們更是把獅子視為神物，能夠幫他們驅散惡靈。相傳佛教祖師達摩誕生之日，天空與大地各出現一隻手掌形狀，並伴有獅子般的咆哮聲。佛祖的蓮花座由八頭雄獅支撐，它們代表著菩薩將真理傳播到宇宙的四面八方。

LAMASSU The splendor of Mesopotamia recreated by expert hands

拉馬蘇絢麗的美索不達米亞文化經藝術之手絢麗綻放

Mighty Protectors Babylonia’s period of splendor was in the 7th century BC, during the reign of Nebuchadnezzar II. At the time, the city of Babylon was a truly impressive place, closely protected by high walls and over three hundred towers. The Ishtar Gate was a vaulted fortification and the entrance to the city from the north. It was also the beginning of the famous Processions Avenue which ran through the monumental part of the city. The striking Lamassu protected both flanks of the gate, keeping enemies at bay and warding off evil spirits.

威嚴的守護者西元前7世紀，尼布甲尼撒二世統治下的巴比倫在文化藝術方面大放異彩。那曾是一個讓人驚歎不已的城池，被高聳的城牆以及愈300座塔樓所嚴密守衛。位於城市以北的伊什塔爾大門入口呈現特殊拱形，以此增強城內守衛功能。著名的游行大道便是起源於此並橫穿整座城池。而威嚴的拉馬蘇忠誠的守護著大門兩側，以驅趕敵人及惡靈的侵擾。

When the rest of the world was still barbaric and uncivilized, when the Greeks and Romans had not yet come out of the obscurity of history, the light of civilization began to shine between the rivers Tigris and Euphrates. Between their banks, powerful kings who were worshipped as gods built the world’s first cities. Of all these mythical places, the name of Babylon has come down to us shrouded in a cloak of legend, luxury and sophistication. Entry to the city was through eight monumental gates, the most important of which was the Ishtar Gate, flanked by spectacular mythological creatures called Lamassu. These were winged bulls with a human head that protected royal palaces. The striking beauty of these treasures of Mesopotamian art served as inspiration for our artists when creating Lamassu, a piece showcasing the precise modeling and ornamental wealth of the best Lladró High Porcelain works. Despite the fact that these figures were usually monochrome, the Lladró Lamassu is enhanced with a bright coloring based on the most common tones used in ancient Mesopotamia: blues and turquoises reminiscent of lapis lazuli and the golden hues symbolizing wealth. New lusters in cobalt-blue and brown are then added, as well as a combination of matte, gloss and satin finishes that heighten its expressive quality and add an extraordinary wealth of textures and light effects.

Lamassu (51 x 53 cm – 20’’ x 21’’) Limited edition of 750 pieces 拉馬蘇 (51 x 53 cm) 全球限量發行750件

Each one of the elements of this mythological being are recreated with surprising accuracy. The wild bull of Mesopotamia, a symbol of strength, was an enormous animal standing almost two meters high which the kings used to hunt in the times of the Assyrians; the eagle, as a representation of the king contemplating his subjects; and the human head crowned in allusion to his intelligence, with the face of the Lamassu sculpted to depict the reigning monarch at the time. Above the head is a crown, with the horns as a sign of divinity. The architectural shape of the base enhances the sculptural nature of the piece. 當世界還處於原始奴隸社會時期，當羅馬人以及古希臘人還尚未脫離這段黑暗歷史，文明的曙光卻已經開始照耀在Tigris 與Éufrates河流域。這兩河流域岸邊受人敬仰的開明君主們如創世之神般開始打造世界上第一批真正意義上的城市。在這些神秘古城中，巴比倫城更是以傳奇、奢華、虛幻而令人魂牽夢繞。城內分別有八座大門各自把守，其中又以伊什塔爾大門最為莊嚴，它兩側安放有長著翅膀牛身人首的神獸—— 拉馬蘇以保衛皇城。受到美索不達米亞這一人類文化藝術瑰寶時期的深刻影響，Lladró華貴瓷藝工作室創作了這件形態精美、裝飾華麗的大型拉馬蘇雕塑。華貴瓷藝工作室的藝術家們為原本單色調創作的神獸增添注入更多諸如藍色、靛青色等美索不達米亞古典色彩，而使其形象更加飽滿生動，這些閃爍金光、天青石般的特殊色調便是財富的象徵。他們還在沽藍色和棕色中融入了極具光澤感的色調，並製造出了啞光、高光及柔光完美相結合的藝術效果，賦予了作品生動華麗的色彩與造型。讓人歎為觀止的是該作品每處細節都被極為精准的完美重現。在亞述時代常常作為國王獵物的美索不達米亞野牛，憑其近兩米的龐大身軀而幻化為雕像中力量的象徵；老鷹展翅翱翔天際巡視著屬民，其翅膀則寓意為皇權的體現；戴著王冠的人首象徵著智慧，而頭上所佩皇冠更有神之象徵意味；此外，拉馬蘇的臉孔還是依照當時的國王樣貌所特別雕刻。底座獨特的造型更是為這件作品增添了卓爾不群的雕琢特性。

GREAT DRAGON A symbol of power and prosperity

中國龍成功與權力的象徵

Transforming into water or fire, making itself invisible or glowing in the dark, shrinking until almost disappearing, or swelling as big as the entire universe, flying among the clouds… according to mythology, these spectacular oriental dragons are capable of doing all this, and more. Since ancient times they have been regarded as bearers of good fortune and as divine protectors of mankind’s fate. Power, strength and prosperity are rendered to perfection in this stunning creation from the High Porcelain Workshop. Depicted as a long-bodied, twisted creature, Great Dragon faithfully reproduces its graceful yet agile movements while its five claws tell us that this magical being is an imperial dragon. In a display of artistic prowess, Lladró artists have also succeeded in recreating the fierce, defiant look of this creature. This sculpture comes in four different versions. The red dragon stands for the power to serve and protect the gods. Blue dragons are the lords of storms and rain, directly connected with the weather, while the gold dragon reigns over all the others and brings success when undertaking new challenges and setting goals. The significance of the colors is captured to perfection in the precise tones used. Great Dragon (red) uses a mix of very bright enamels to produce “oriental red”, a new color in the Lladró palette. Both in this particular sculpture as well as in the blue versions, the colors are combined with golden luster, which in turn comes in matte and gloss finishes. On the other hand, the dominant golden luster in is enhanced by the counterpoint of red, turquoise and iridescent metallic enamels that reflect a variety of different tones depending on how the sculpture is lit.

水火之間的幻變，黑暗中的若隱以及刹那乍現的交替：它時而全副偽裝、微不可見，時而又如浩瀚宇宙般以巨大的身姿傲然於世，自由自在的雲中翱翔…… 這便是東方傳說中關於中國龍其姿態與習性的一些常見描述。從遠古時代起它們就被塑造為預示吉祥如意、可以趨吉避凶的神物。如今華貴瓷藝工作室憑藉孜孜以求的專研精神重新為這件矚目作品注入了鮮活的生命力。為了將一個盤旋著的龐然大物呈現優雅、敏捷的靈動效果，這便是一項猶如魔術般不可思議的工程。藝術家們在創作過程中成功再現了那極具挑戰意味且眼神淩厲的蛟龍形象，忠實還原了其最為原始的特質及標誌性的五爪造型，以令觀者產生宛若直面神龍王者般的威嚴肅穆感。這幅雕塑作品共有四種不同的版本。紅色的龍代表侍奉與保護諸神的力量。藍色的龍是風暴雨神，與天氣息息相關，而金色的龍司掌其他諸龍，能夠在面臨新挑戰及訂立目標時，努力促進成功。為了精準地使用色調，在色彩的重要性上可謂煞費苦心。中國龍（紅色）採用色澤鮮艷的瓷釉，締造了 Lladró 調色板裡的一種新色彩--「東方紅」。在這款特別的雕塑和藍色款雕塑中，鮮豔的色彩中融入了金色光澤，啞光與亮澤的質感交相輝映。另一方面，中國龍（金色）以金色為主打，飾有紅色、寶石綠和彩虹金屬色瓷釉，視乎雕塑光照條件的不同，可以反射出多種不同的色調。在傳統東方文化中，視中國龍為萬物之主。結合陰陽學理論，青龍、白虎、朱雀、玄武被尊為四大神獸，供奉其雕像能夠起到辟邪保安的作用。同時在風水學中，龍還代表著生命的本質，它呼息吐納的便是祥瑞之氣。

According to oriental tradition, the dragon is regarded as the supreme being among all creatures. Associated with the duality of ying and yang, the Chinese dragon or Lung is considered one of the four magical animals, along with the unicorn, phoenix and turtle. This mythical divine being has the power to ward off wandering evil spirits, to protect the innocent and to keep all those possessing its emblem, safe from harm. In Feng Shui, the dragon is the essence of life because its breath is made of cosmic Qi.

The artists from the High Porcelain Workshop have managed to capture the beauty of this magical animal which brings success and good fortune. 華貴瓷藝工作室的藝術家們精准的撲捉了這一傳說中能夠帶來成功與財富的神獸之美的精髓。

As you can observe in the image, the scales of Great Dragon (blue and golden) carefully combine enamels with gold luster. 作品中國龍（藍金）在對鱗片等諸多細節的刻畫中審慎的將繽紛琺瑯彩與耀眼的金黃色調搭配組合，進而創作出絕倫觀感。

The hands of the artists in the process The intricate shape of the body requires over 60 fragments, some of which, like the whiskers and claws, are very small and complicated. This means that, technically speaking, the process of creation of Great Dragon, one of Lladró’s largest pieces, is highly complex. Besides, the hundreds of scales covering the dragon are painted one by one, meaning that each one of these sculptures requires the joint work of several artisans. The dragon’s abdomen is covered with up to four different colors of enamels (in red, green and blue shades), further enhancing the expressive features of the piece.

創作過程中的藝術之手在這件名為中國龍的Lladró大型作品的創作過程中，藝術家們盡心運用了其細膩高超的技藝，僅在龍身處理上就分門別類地製作了60余件包括龍髯、龍爪等極為微小複雜的基礎模型部件，正是這樣嚴謹認真的態度方才能打造出成品栩栩如生的傲人姿態。此外，小到包覆軀幹的那成百上千片龍鱗，也均是眾多藝匠通力協作純手工完成。在中國龍腹部處理上，藝術家還專門挑選運用了紅、綠、藍等四種不同顏色的琺瑯彩，以增加強烈的色彩衝擊效果。

Great Dragon (74 x 70 cm 29 1/4” x 27 1/2”) comes in four different versions: red; blue and golden; blue enamels; and gold. Each version is a limited edition of 150 pieces, except Great Dragon (gold), which is an edition of 300 pieces.. 中國龍 (74 x 70 cm) 含三種色調作品：藍金色、紅色、琺瑯藍。每色調作品均全球限量 150 件。

QUEEN OF THE NILE Over 1,000 hours invested in embellishing it, 13 sculptures on board, 380 fragments... Queen of the Nile sails mysteriously through time, full of secrets

埃及豔後歷時1000小時、由380餘個部件組成、總共13尊人物形象，此刻絕美的尼羅河女王承載著歷史的奧秘，穿梭時間的隧道向我們神秘駛來。

Queen of the Nile is the most complex sculpture ever created by Lladró, and the greatest artistic and technical endeavor ever undertaken by the brand. “埃及豔後”作為Lladró 最為複雜的作品，是一件在技巧與藝術性等各方面均堪稱極致的品牌傑作

Queen of the Nile (75 x 160 cm – 30” x 63”). Limited edition of 100 units 埃及豔後

(75 x 160 cm) 全球限量發行100件

Queen Nefertari sits on her throne on a boat sailing down the Nile. Looked after by a maid and two servants, the queen cruises gently northwards, steered by the expert hands of a helmsman. Accompanied by two of her children and her black panther, the queen delights in listening to the sound of the melodies played by a double-flute, a guitar and a lyre. Meanwhile, two dancers move sinuously to the sound of the music. This is the scene depicted in the Queen of the Nile, the largest sculpture ever created by Lladró and comprising over 380 fragments. From the moment the piece was conceived by the sculptor until the first perfect piece was achieved, five years of work were necessary. And it is hardly surprising, considering the dimensions of this sculpture: its length of 160 centimeters (63 inches) gives a good idea of its technical complexity. For twelve days, two people work full-time and exclusively on painting the hull of the boat. This work requires a true demonstration of mastery in reproducing the hieroglyphs and motifs related with Egyptian culture, and particularly their beliefs.

內菲塔利女王由一名女僕與兩位男僕分侍身側，端坐於安放在甲板的王位之上。遊船在舵手熟練的操控下順著歡快流淌的尼羅河水向北方駛去。女王在兩位小王子和她的黑豹陪伴下愉悅欣賞著雙笛、吉他與里拉琴交匯而出的動人旋律。一雙舞者伴著節拍器及音樂的韻律翩翩起舞。這便是由超過380個部件所打造出的品牌最大規模的雕塑作品“埃及豔後”所展現的動人場景。這件雕塑的尺寸不禁讓人歎為觀止，作品長達1.6米、融合了複雜技藝的作品，從概念訂立之初到第一件完美成品的出爐，共歷時5年。僅船體的上色工作就花費了兩位技藝超群的藝術家12天時間，此外他們還需具有相關特別認知，最終才真實的再現了這些象形文字及其所包含更深層的埃及文化象徵意義。

To create this sculpture, artists from the High Porcelain Workshop borrowed their inspiration from the boats found in Tutankhamon’s tomb, as well as undertaking a lot of research and following the advice of a leading Egyptologist. This allowed them to reproduce everything from the bird-shaped prow to the stern of the ship, crowned with an artistic element characteristic of Ancient Egypt. The experts from the workshop have succeeded in recreating each of the strokes of Egyptian symbolism, as it can be appreciated on the hull of the boat. The costumes of the characters are also of the period: from the light cotton and linen fabrics worn by the servants and dancers, to the queen’s headdress and jewelry. The wigs, considered an erotic symbol, the inside of the parasols or the papyrus flowers, as well as the flower arrangements, all demonstrate exquisite attention to detail. The boat rests on an elegant base of dark-lacquered wood imitating Egyptian ebony. The ornamentation is coupled with the wealth of the chromatic palette, exclusively created for this sculpture. The wide range of blue reminds us of lapis lazuli, a sacred stone symbolizing the color of Egyptian gods. Ocher is also included in this chromatic palette, adding the warmth of gold, the precious metal used in the jewelry worn by both women and men. Another of the challenges, in this case technically speaking, is the balance achieved by the 13 characters. Each one of them rewrites a different chapter in the history of Ancient Egypt. Hence, Queen Nefertari, “the Beautiful”, the Great Royal Wife of Ramses II and one of the most brilliant political minds of the time, represented the upper class, and her features express the divine nature of kings and queens. The combination of all these features and characters form a scene of utmost beauty, full of mystery and symbolism. 在船體的創作過程中，華貴瓷藝工作室的藝術家們根據在圖坦卡蒙法老墓中發現的古船圖案為範本，嚴謹的翻閱比對了大量歷史文獻資料，虛心的向古埃及學專家求教，最終將其完美呈現。其船首至船尾的鳥形設計便是古埃及特有的藝術表現手法。工作室的藝匠們還根據現存的船體殘片在作品中重現了當時最具特色的線條刻畫，從僕人們輕便的棉麻衣物、鞋襪到女王光芒閃爍的頭飾、珠寶，所有人物在服裝設計上均真實還原了古埃及時代的日常生活場景。藝術家們還分外細心的刻畫了包括象徵妖嬈嫵媚的假髮、遮陽傘的內部，紙莎草略顯粗糙的表面及種類紛繁的花朵等每處細節。此外，為了喚起人們對埃及烏木的記憶，品牌甚至使用了特殊的黑色實木材料以製作那高雅船體的支撐底座。藝術家們為其專門量身打造了眾多全新的色調，使得整件作品呈現繽紛效果。他們參考了被譽為聖石，代表著埃及眾神之能量的青金石其特殊的色澤，在雕塑中細分出多種迥然的藍色色調；又比如在男女瓷偶身上所配戴的珠寶中使用了大量象徵黃金般富貴的赭石色，之後再將所有這些色澤雅致的顏料相互搭配組合，創作出絕倫的視覺饗宴。而雕塑所面臨的另一大技術難題便是如何精准的展現那13位在古埃及歷史中有過濃墨重彩篇章的各異人物的絢麗身姿及相互間的互動。其中當然包括了那位政績卓越的偉大君主拉美西斯二世的絕美皇后：奈菲爾塔利。藝術家們力圖通過對這些上層人物的細膩刻畫傳遞出神聖的王權特質。作品集中展現了所有人物及其姿態濃重的神秘感，美輪美奐的藝術感與深邃的象徵意義。

In front of the queen are her two children, both with shaved heads except for a single lock, as it was typical at the time. The queen and her children are the only ones wearing sandals, probably made of papyrus leaves. The journey down the river must have been a very special occasion as Egyptians usually went barefoot. The children are playing with some flowers on the deck of the profusely ornamented boat.

女王兩位年幼的兒子在她面前開懷的擺弄著那些已被藝術家賦予極強裝飾效果的花朵，我們按照當時的社會習慣將二子塑造為光頭僅留一縷髮髻的可愛造型。不僅如此，母子三人還是船上唯一腳穿用紙莎草編制成的拖鞋的人物，這與普通埃及百姓慣常光腳河邊行走的形象夠成截然對比。

The Queen conquers the world The Queen of the Nile is the source of inspiration for one of the haute couture designs by Carlos Haro (left). The piece was presented at the exclusive Petrovsky Passazh (middle) in Moscow where the Lladró Boutique is located, in an incredible event coordinated by the renowned Russian choreographer Andrei Liepa. The Egyptian Hall at Harrods was the chosen venue to showcase this sculpture in London, with Mohamed Al Fayed and Rosa Lladró playing host at the event (below).

女王魅力席捲全球左圖：設計師Carlos Haro從華貴瓷藝系列作品中獲得靈感，特別設計的眾多高級定制禮服之一——埃及豔後。中圖：作品在位於俄羅斯莫斯科最奢華的Petrovsky大道上的Lladró精品店內隆重展出，俄國著名編舞家Andrei Liepa為此特別安排了精彩紛呈的相關表演活動。下圖：Mohamed Al Fayed 與 Rosa Lladró在英國哈洛斯埃及大廳展出的該作品旁合影。

Oriental horse High Porcelain artists masterfully recreate this gem of Tang art

東方神馬華貴瓷藝工作室的藝術家們淋漓的揮灑著才情，重現唐朝藝術瑰寶。

“Should horses falter, the state will fall” is how the courageous Chinese general Ma Yuan (14 BC – 49 AD) described the importance of the horse in oriental culture. Lladró borrowed its inspiration from the equestrian sculptures of the Tang dynasty (618 – 907), the golden age of Chinese art, to create this High Porcelain Oriental Horse.

Legendary horses Only a few animals evoke as many myths and stories somewhere between reality and legend as the horses from Ferghana, the region currently known as Samarkanda. Bred from the third millennium BC by nomads from the Ferghana Valley, these horses and their physical resistance were present during the beginning of the Silk Road. Since their introduction in China in the first century BC, they were so highly valued by upper class that they were considered to have a divine origin. It was believed that they would sweat blood due to their fierceness, and that they even had magical powers. However, one thing is for sure, this breed became a sign of social status: the more horses you owned, the higher you were on the social scale. It is said that someone even bartered a horse for 10 meters of silk, which at that time was a highly valuable currency. Their beauty and exclusiveness have turned these statues into real works of art in museums exhibits and into the prized objects of collectors. Pieces from the Tang era are much coveted and their value is incalculable.

神馬傳說沒有一種動物能夠像撒馬爾罕地區所出產的費爾幹納馬一般引發出如此眾多介於現實與神話間的動人典故和傳說。此馬最早出現於西元前3世紀，因其產地為費爾幹納流域故而得名，又因其身具超群的耐力成為了絲綢之路的開路先鋒。直到西元前1世紀它開始被引入中國，即刻受到貴族階級的追捧，他們爭相讚頌著這種汗如血色的寶駒具有神奇的魔力，從此漸漸開啟了關於它經久不衰的神秘傳說。毋庸置疑它成為了地位的象徵：擁有越多的馬匹便更為彰顯其主人在當時尊貴的社會地位。據說甚至有人願意用市值極為昂貴的10米絲綢來換取一匹良駒。此外，它絢爛的生命之美及與眾不同的個性使得以馬為題材的雕塑作品也成為現今博物館與私人收藏市場上難求一見的藝術瑰寶。而這其中又以唐朝出產的作品最為美輪美奐，其價值無法估量。

Oriental Horse conveys the beauty and wealth this animal has symbolized in China since ancient times. Worshiped for its power and energy, the horse reflects the rank and personality of its owner. Similarly to the sculptures from the golden age, this High Porcelain sculpture stands out for the recreation of its anatomy and characteristic posture, an elegant gesture showing off the bowed neck and prominent chest. A true depiction of nobility and elegance that demonstrates why these animals were the pride of upper class and royalty.

Oriental Horse (glazed) (57 x 66 cm 22 1/2” x 26 1/2”) Limited edition of 1,000 units Oriental Horse (matte) (57 x 66 cm 22 1/2” x 26 1/2”) Limited edition of 1,000 units 東方神馬（釉彩）釉彩(57 x 66 cm) 全球限量1000件東方神馬（雾彩）霧彩(57 x 66 cm) 全球限量1000件

The highly valued equestrian sculptures combined the ocher shades of the horse with different ranges of colors. The glazed version of Oriental Horse is particularly noteworthy for the colorful application of enamels and particularly the green turquoise shades of the neck, a color created specifically for this work. This is a very colorful version, tying in with the traditional finish of glazed porcelain. Unlike other pieces, there is no use of different painting techniques, just a combination of enamels which gives the sculpture lots of texture and nuances, also applicable to Oriental Horse (matte). “馬者，甲兵之本，國之大用”。英勇的漢代伏波將軍馬援（西元前14年-49年）用這番話道出了當時馬對東方文明所起的重要作用。Lladró深受這些來自中國藝術黃金時代——唐朝（618 – 907）的馬類題材雕塑啟發，在華貴瓷藝工作室中辛勤耕耘，最終成功再現了這匹東方神馬的形象。在中國社會，從古至今東方神馬均是作為美與財富的象徵而被代代傳承。同時因其旺盛的生命力與源源不斷的活力更是化身為其所有者之階級、身份的最直觀表現。如同在這個黃金時代所出品的雕塑一般，華貴瓷藝工作室濃墨重彩的刻畫了其生理構成與體態擺位等細節，從彎曲的頸項、微隆的胸肌到高貴的面部表情，其製作之精良無不引人讚歎。而這種華麗高貴的質感也將上流社會及王權對坐擁良馬的自豪感完美演繹。而此件作品更彌足珍貴之處便在於為達理想效果，華貴瓷藝工作室針對馬匹頸項裝飾量身打造出一種全新的土耳其藍，以搭配傳統的赭石色馬身及色調豐富的琺瑯彩裝飾物，進而獲得奪目耀眼的視覺觀感。並且，這件絢爛的瓷馬及其同題材霧彩作品在秉持了傳統陶瓷色彩之外，並不像其餘瓷偶般選用紛繁的上色技巧，而僅是將各種琺瑯彩進行色調搭配，輔以藝匠們卓越的造型、結構組合，便成功塑造出這件栩栩如生的東方神馬形象。

In addition, the finish of the matte version brings to mind the patina of old times, a distinctive feature of surviving thousand-year-old figurines from the golden age that are highly appreciated by antique collectors. Decoratively speaking, these are profusely ornamented pieces. The details of the horse blanket and its tack, a distinction of upper class, or the pride with which this horse wears them, makes this piece a symbol of exclusiveness. With regard to technique, Oriental Horse is what is known in Lladró as an aerial composition, because the horse is resting only on three legs and has no porcelain base, conveying a greater sense of movement. When admiring this majestic horse, it is easy to agree with experts in oriental sculpture when they wisely claim that “you don’t have to read a book on Chinese art to love a Tang horse”.

為真實再現那令古董收藏家魂牽夢繞近千年的唐朝動人雕塑之原貌，Lladró藝術家另闢蹊徑的製作了經特殊銅綠色處理的霧彩版本。注視著這件飽含豐富裝飾細節的作品，不難感受到其通過服裝與馬具刻畫所淋漓展現的統治階級特質，以及利用傲視群雄的造型張揚出舍我其誰般恢弘氣勢。值得一提的是在東方神馬的技術製造過程中，藝術家們還別具匠心的設計出馬匹一腳騰空、三足鼎立這種極具空間流線感的造型，旨在營造出動態的視覺效果。細細觀賞這件莊嚴華麗的雕塑，不禁為我們以東方雕塑為題材的藝術家們在製作這尊唐朝神駒而進行相關的中國藝術典籍研究時所投注的巨大時間與精力深深折服，正是如此嚴謹的藝術態度方才完美的塑造出眼前這最為典範的東方神馬之形象。

Similar to the sculptures from the golden age of Chinese art, these sculptures stand out for the textures and chromatic nuances achieved through the application of enamels. 誠如那些中國藝術黃金時代的代表性雕塑作品一般，這件經琺瑯上色獲得繽紛色彩混搭效果的瓷偶配以其卓越的形態構建，越發彰顯動人的藝術光芒。

hina dolls TRADITION MADE PORCELAIN: THE WORLD OF HINA DOLLS IN A UNIQUE DISPLAY OF LUXURY AND SENSITIVITY

日本玩偶以瓷器詮釋傳統：塑造一個奢華、感性的玩偶世界。

Particularly noteworthy is the Empress’ braid, something women paid special attention to, which has been delicately modeled. The scene is completed with the oriental silk-lined cushion and bases. This is another excellent example of the realism achieved in the creations by the High Porcelain Workshop. However, the face is unquestionably the part of the sculptures which best reflects the dignity of the characters. It almost looks as they were wearing makeup, in the pale colors that were traditional at the time. The perfectly outlined features have been reproduced according to modern tastes to transmit a greater sense of realism to the pieces, following the advice of experts in Japanese art and traditions. The extremely thin painted eyebrows can be appreciated, as both men and women used to have them plucked, together with the pink shades that highlight their lips. Decoratively speaking, Emperor and Empress are a true spectacle for the sight from any point of view. These creations are a unique display of luxury and sensitivity whose attraction goes far beyond Japanese tradition to show us an aesthetic and spiritual wealth that has always attracted the West. 此外女性頗為重視的髮辮在這件皇后雕塑中也被用心地刻畫展現。藝術家們還深受盛典的啟發，為作品特別配以絲綢坐墊及底座等，在工作室中真實的呈現了最具東方元素的動人作品。毋庸置疑，臉部刻畫是作品最能集中展現人物特質之處。據說當時的人們為了迎合平治時期的審美標準而將臉塗成蒼白的色澤。經過細緻的分析研究，諮詢日本藝術、風俗專家意見，結合現代美學理念，我們最大程度的真實展現作品人物的原貌，包括依照男女皆以修眉為流行的細柔眼眉處理，以及唇部的桃紅點綴等各處。

Hina Dolls - Emperor (30 x 31 cm - 12” x 12 1/2”) Limited edition of 1,000 units Hina Dolls - Empress (24 x 31 cm 9 1/2” x 12 1/2”) Limited edition of 1,000 units 華貴瓷藝之玩偶國王 (30 x 31 cm) 全球限量1000件華貴瓷藝之玩偶皇后 (24 x 31 cm) 全球限量1000件

Giving a Hina Doll as a gift to a new-born baby girl is the best way to wish her a prosperous life full of health and happiness. In spring these dolls are put on display in the halls of homes in the Land of the Rising Sun to celebrate Hina Matsuri, the Doll Festival. The artists from Lladró’s High Porcelain Workshop render these ancient traditions in the noble and long-lasting material of porcelain. For this reason, the artistic and sentimental value of these dolls can last the whole lifetime of the girls they are given to. The result is two creations absolutely faithful to the splendor and refinement of the Japanese Imperial Court from the Heian period (794 – 1185), a time when Japanese culture and art achieved its maximum splendor. From the several characters forming a Hina ningyo, the composition arranged on a kind of altar to ensure a happy life for girls, the sculptor has chosen the two main characters, in other words, the Emperor and Empress. Each detail of these sculptures has been painstakingly reproduced. From the royal costumes to the attributes associated with the Emperor such as the sword, the scepter and the crown. The kimonos of both characters are made in very rich fabric with heavily worked embroidery imitating damask silk. Lladró artists have succeeded in depicting these textures realistically through the use of reliefs and colors. On the Empress’ costume we can count up to seven layers, each of a different color and the finest silk. In addition, the Empress is holding in her hands a striking miniature of a traditional fan decorated with flowers and birds.

在日本象徵著富足、健康與幸福的玩偶是贈予新生女嬰的最佳禮品。每當春天降臨這個名為太陽升起的國度，家家戶戶早已在門廳裏擺放好玩偶以慶祝女兒節的雛祭盛典。華貴瓷藝工作室的藝術家們將這種傳統文化通過使用雅致、恒久的陶瓷，以一種極富藝術觀賞性的細膩方式呈現，同時還賦予這些人形瓷偶永伴主人的生命力。他們所創造出的這兩尊瓷偶真實還原了日本歷史上文化藝術發展巔峰時期“平安時代”(794 - 1191)其最絢麗、精美的視覺效果。這些形態各異的玩偶被齊齊供奉在展臺，以庇佑女孩們的一生幸福美滿。而藝術家們從其中挑選並完美再現了最為尊貴的：天皇與皇后人偶。兩件作品從類比錦緞那精美豐富刺繡手法的朝服設計到包括配劍、色調、王冠等身體特性都被我們通過凹凸有致的細細雕琢與繽紛絢麗的色彩搭配技巧，以最完美的形態呈現。皇后身著在當時社會極盡奢華、最精美且顏色各異的絲綢所制的七層和服。手持一柄奪人眼球、裝飾有花鳥圖案的微型經典古扇。

從裝飾角度來看，天皇與皇后人偶均在所有角度都具有非凡的藝術欣賞效果。此外，在美學及精神層面，作品更是獨特的從其奢華、細緻的角度為我們展現了令西方世界所神往的異域之美。

Imperial Textures The patterns and folds of the costumes, and the way the fabrics hang... these sculptures recreate the texture of Japanese fabrics, including their painstaking and complex embroideries, with exquisite attention to detail. The expert hands of Lladró artists have managed to give porcelain the appearance of real silk. One wonders how the decorative details can stand out so intensely on the dark background of the kimonos. In fact, Lladró reinvented its palette to add more intense colors to highlight the characters’ expressions. This decorative wealth is further enhanced with the golden luster applied in one of the layers of the Empress’ costume, in the hilt of the sword and in the Emperor’s crown.

奢華質感服飾的裝飾設計、褶皺、布料的垂墜紋理，真實再現了日本人用他們的辛勤勞作以及完美的刺繡功底所呈現給世人的服裝剪裁文化的全部細節。在 Lladró藝術家才情洋溢的雙手中，陶瓷煥發出絲綢般雅致的外觀效果。 Desmoldarlos requiere una

那麼，我們又是如何將這些極富表現 gran minuciosidad, pues 裝飾力細節呈現在底色為深色的和服 se trata de elementos muy delicados, pero la fase de 上的呢？為此，Lladró不辭辛勞專門 montaje es sin duda la más 創造出最為濃厚的暗色色調以凸顯其 compleja. 筆下人物的特質，並且在皇后數層和 Desmoldarlos requiere una 服、天皇佩刀手柄與皇冠上均點綴豐 gran minuciosidad, pues 富的金色紋理，最終創造出所追求的 se trata de elementos muy delicados, pero la fase de 視覺饕鬄。 montaje es sin duda la más compleja.

THE FLOW OF LIFE A HYMN TO MOTHER NATURE INSPIRED BY ART DECO

新生裝飾藝術唱響母愛讚歌

The Flow of Life (27 x 52 cm 10 ½” x 20 ½”) Limited edition of 50 units 新生 (27 x 52 cm) 全球限量50件

Petal by petal Only after many years of experience, lovingly, caressing and shaping porcelain paste, the most dexterous hands are ready to create the tiniest detail and the almost translucent petals of these flowers. Small and large varieties are tastefully combined, further increasing the complexity of the composition.

花之綻放從內部結構細緻入微的花蕊到具有半透明質感的片片花瓣，都在這群為陶瓷藝術傾注畢生心血的傑出藝匠手中激情綻放。那些小小花骨朵爭相競豔的造型也更增添了作品整體飽滿的視覺效果。

Some Lladró creations throb with a life on their own. This is the case of The Flow of Life, a sculpture paying tribute to the origin of everything, to the symbiosis between humankind and nature. In this allegory to Mother Earth and to the life of the newborn child who extends the cycle of life, Lladró artists present a recumbent woman with her child straddling her midriff. The scene is framed by flowers, one of nature’s most beautiful gifts and a signature element of Lladró work which is taken to its utmost expression in the High Porcelain Workshop. The sculpture connects with the ornamental profusion so typical of Art Deco. This style is also acknowledged in the wooden base, decorated in silver leaf to further enhance the decorative appeal of the overall sculpture. The woman and child are completely embraced by a cloak of over 130 flowers. Each single flower is handcrafted following a very delicate process in which the petals are intertwined one by one in a unique and unrepeatable composition. When it comes to artistic prowess, the balance of the mother is without doubt another outstanding achievement. The woman’s posture with her legs raised pointing to the sky involves great complexity. The slightest imbalance or the tiniest imperfection would break the piece in the kiln due to the transformation it undergoes when submitted to extremely high temperatures during firing. 生命的節拍在Lladró作品中鮮活的跳躍著。新生便是這樣一件展現人類與自然和諧交融，並向生命之源致以禮贊的動人作品。 Lladró藝術家將女性形象喻作我們的地球母親，通過塑造她幸福洋溢的懷抱著孩童的溫馨場景來展現一個嶄新生命的傳承過程。他們身邊花團錦簇，象徵人與自然界孕育的產物相輔相成的美好關聯。值得一提的是，華貴瓷藝工作室此次對這些花朵的技術處理更是到達了登峰造極的展現。整件作品呈現出豐富的裝飾元素，為增強藝術裝飾表現力其所搭配的木制底座還特別添加純銀點綴。超過130朵手工雕琢、精心打造的瓷花將母子二人緊緊圍繞，在這些花朵的製造過程中藝術家們小心翼翼使用金屬絲將一片片花瓣細細連接起來，該種工序在品牌藝術創作史上堪稱前所未有。此外，整件作品製作過程最大的挑戰之一便是需確保其中母親瓷偶出窯後能達到穩定的成品效果。如何在經歷超高溫窯火洗禮之後杜絕出現絲毫的失衡、損毀，進而完美呈現她雙腿向天空方向伸展的造型成為了我們重大的技術考驗。

ARABIAN PURE BREED THE WORLD’S MOST BEAUTIFUL HORSE SCULPTED BY THE MOST VIRTUOUS HANDS: PURE ELEGANCE

阿拉伯純種馬最富才情的藝術之手重塑全球最頂級駿馬之極致高雅。

Ever since the Bedouin people began the selective pure breeding of horses they have avoided crossing breeds. As a result, the present day Arabian horses basically come from five blood lines differentiated by their singular and particular features. 為避免馬匹混血交配，貝督因人精心挑選出阿拉伯純種馬進行專門飼養。在此嚴苛的體系控制下，至今它僅衍生出了五大性格截然的血系。

An ancient Bedouin legend tells how God wanted to give the Southerly wind the shape of a creature that flies without wings. And so the Arabian pure breed, widely considered the most beautiful and intelligent horse on earth, was born. In an authentic display of technical and creative virtuosity, the artists at the High Porcelain workshop have faithfully reproduced it in three different versions, white gloss, white matte and black, capturing its elegance and the purity of its silhouette, from the features of its sleek head to its musculature and the coloring of its coat. A true technical and creative challenge. Such is the passion of the sculptor of Arabian Pure Breed for this horse that he actually owns two of these beautiful animals himself. The sculptor has successfully achieved his wish to reflect the ideal of beauty of this breed and, as he says, “the outcome is close to perfection”. To this end, he personally supervised every stage of the process of creation. He was also advised by knowledgeable experts like Marieta Salas, owner of Ses Planes de Mallorca and one of the most outstanding horse breeders in the world. The sculpture depicts a dapple-gray horse, a variety that is born with a coat that fades in color with the passing of time. This chromatic effect is extremely complex to reflect in porcelain, as it requires utmost expertise and a perfect command of several complex decorative techniques. These meticulous processes succeed in perfectly capturing the coat of a real horse. The features of the horse’s face have also been painstakingly worked: the slight forehead bulge between the haughty eyes, a narrow muzzle with large nostrils, a gracefully arched neck and the concave profile of the forehead and nose, which is one of this breed’s most highly appreciated features, are all faithfully reproduced. The elegant high tail carriage is also typical of this breed. The horse is inspired by the Egyptian variety of the breed and for this reason an Egyptian saddle was chosen to bedeck it. The profusion of details, such as the relief work and the embroidery, all painted by hand, as well as the use of luster, make this piece a true gem in its own right. The bit, the bridle, the leather reins and the rest of the accessories even further enhance its beauty and value. In the white gloss version, the saddle and the accessories are ornamented in white. Golden luster is used for the damask saddle in the white matte version, while the black version uses red and a combination of golden and platinum lusters. All the details are carefully painted by hand, one by one. Besides, this sculpture boasts volumetric features that make it truly unique: the bone density of the legs of Arabian Pure Breed horses is twice that of other breeds, hence the thinness of their legs. Rendering this feature in porcelain involves huge difficulties because the legs must support the weight of the body during the firing process. Keeping the straight shape and robustness of the legs is a real achievement only attainable by the most expert hands.. 78

有一則古老的貝都因傳說，講述天神希望賜予折翼的南風以動物形體。因此，世間公認最健美、最聰穎的馬--純種阿拉伯馬就此誕生。透過真實地展現高超的技術與創意，高瓷工作坊的藝術家們精心再現了三種不同的版本，即白色亮澤款、白色啞光款和黑色款，從光滑的頭部到肌肉，還有外層的上色，均彰顯出輪廓的雅致與純淨。兩種不同版本的阿拉伯純種馬雕塑以一種近乎完美的姿態將該馬匹之美淋漓表露。在製作的每一階段均配有專人進行嚴格的監督審查，此外我們還詳細諮詢了包括知名良馬飼養員 Marieta Salas，以及來自馬略卡並在全球業界享譽盛名的馬場主 Ses Planes 等眾多專業人士，力求盡善盡美的將其呈現。作品中馬體呈現一種經時間沉澱越發淡雅的灰色。這是一種在陶瓷塑造中極為罕見、複雜的色澤，為此我們投入了最為嚴謹的態度與各種複雜的裝飾技藝，方才創作出此般臻至的視覺效果。同時，馬頭創作過程中我們格外傳神的對它那突出的眼球、高傲的眼神、狹長的嘴唇、噴張的鼻孔，優雅的頸部弧線以及生動的額鼻輪廓凹槽等進行了刻畫，藝術家們正是憑藉其精密的工作態度將這種血統高貴的駿馬栩栩如生的呈現。我們還從埃及馬中汲取創作靈感，選擇了與之相同出處的馬鞍作為裝飾。搭配那凹凸有致的浮雕設計、精美的刺繡雕琢以及絕倫的手工上色效果，最終將其打造為堪稱傳世珍寶的藝術作品。同時，口銜、馬轡、皮質韁繩與一眾配件更加相得益彰的表現了駿馬之美與價值。另外，在釉彩版本的作品中，馬鞍及相關配件均選用白色進行妝點，而其霧面版本我們則特別進行了金屬光澤處理。所有細微的部分都經過藝術家們精心的逐一上色，以確保作品更具觀賞性。這款駿馬雕塑受到埃及多類純種馬的啟發，因此選用了埃及馬鞍加以裝飾。浮雕與刺繡等豐富的細節全部採用手工繪製，並加入了誘人的光澤，使其因固有特質幻化為名副其實的瑰寶。馬嚼子、馬鞍、皮革韁繩和其餘配件進一步提升了作品的美感和價值。在白色光澤款中，馬鞍和配件皆用白色裝飾。白色啞光款的錦緞馬鞍飾有金色光澤，黑色款則採用紅色搭配金色和鉑金光澤組合。所有細節均逐一精心手工繪製而成。此外，阿拉伯純種馬的骨密度是普通馬匹的兩倍，導致了其四足更為纖細，我們的作品便別具匠心的刻畫出這一決定性體征。但如何在四足之上牢固的撐起陶瓷馬身的重量，為此藝術家們投注莫大的心血。也正是這些技藝超群的專家不懈努力專研，最終才創造出了作品筆直的線條及穩定的外觀。

Reproducing the ideal of beauty The casting of the fragments composing this piece requires utmost expertise, as the fragments are very delicate and, in some cases, very small. However, the assembling process is even more complex. Ensuring that the sculpture stands on such delicate legs requires great expertise in working the porcelain. The high temperatures in the kiln transform the porcelain into a semiliquid state, so the tiniest flaw or imbalance wound spoil the whole sculpture. The white gloss version used a laborious painstaking technique to break the white tone of the horse’s coat with pearlized and golden shades. In the white matte version the white tone is combined with soft grey touches which the artist applies with a special brush in a process that takes several days. The enamels used on the tail and mane in the black version accentuate the gloss of the horse’s coat. This finish further enhances, if possible, the faithful reproduction of this animal’s musculature.

重塑美感作品的每一部件以及其中一些微小細節都需要藝術家傾注嚴謹的態度，精密的將其整合呈現。毋庸置疑，作品的塑形階段堪稱其中最為困難複雜的時刻。因為在此之後作品需經過高溫窯火的冶煉而轉化為半液體狀態，此時塑形上輕微的差錯或損壞都將導致成品的完全失敗。如何成功的通過陶瓷展現出在纖細的四足上傲然挺立的偉岸形象，這便成為藝術家們高超技藝的最佳體現。白色光澤款運用了精湛複雜的技術，讓白色馬匹的外層透出珍珠般的光澤和金色光芒。在白色啞光款中，白色中糅合了淺灰色質感，藝術家使用特制的刷子，刷製過程持續數天之久。在黑色款中，馬尾和鬃毛上使用瓷釉，更加突出馬匹外表的光澤度。

Further information on this piece available at: 更多作品相關資訊請登陸： www.lladroarabianhorse.com

On the left is Arabian Pure Breed (matte), limited edition of 50 units (42 x 46 cm. - 16 1/2” x 18”). On the right is Arabian Pure Breed (glazed), limited edition of 200 units (42 x 46 cm - 16 1/2” x 18”). 阿拉伯純種馬（霧面）全球限量50件 [49 x 46 cm] 阿拉伯純種馬（釉彩）全球限量200件 [49 x 46 cm]

LORD GANESHA A universal symbol of wisdom with the richness of Hindu iconography

象頭神印度文化中宇宙智慧的象徵

Lord Ganesha (51 x 28 cm 20 ½” x 11 1/4”) Limited edition of 499 units 象頭神 (51 x 28 cm) 全球限量499件

Lord Ganesha captures Lladró’s unmistakable smooth and stylized approach to perfection. At the same time, it is decorated with special colors, distinctive to the thousand year old Hindu iconography. 作品象頭神淋漓的展現了LLADRÓ最獨特的風格，柔和且極具造型感。此外，配合其特別的色彩組合，展現出濃厚的千年印度文化藝術風格。

The legend goes that Ganesha, the son of Shiva and Parvati, was born while his father was away fighting against the Asuras or devils. When his father returned from war, Ganesha did not recognize him and refused him entry to his mother’s chambers. A fight broke out between the two in which Shiva beheaded his son. Given the mother’s consternation, Shiva went down to earth with a promise to give his son the head of the first being he would find. And it turned out to be an elephant. And so, Ganesha, the Hindu god of wisdom and knowledge, took on this appearance we know him by. Lladró artists have represented Ganesha on previous occasions yet never with the splendor and grandeur of this High Porcelain piece, an impressive sculpture with highly elaborate ornamentation. Particularly outstanding is the exquisite filigree work enriching every detail of the piece, including an elaborate garland of delicate flowers. Furthermore, Lord Ganesha boasts a wide-ranging palette that includes special colors such as saffron or iridescent green, besides a velvety red color created specifically for this piece. In this work, Lladró’s High Porcelain master sculptors have managed to transmit a sense of calm, tranquility and inner peace, patent in the mystic expression in the eyes of the god. Lord Ganesha transcends the iconography of a culture thousands of years old and is now a sign of spirituality and a universal symbol of wisdom. 相傳伽內什是濕婆與帕爾瓦蒂的兒子，他出生時父親正與阿修羅等一眾惡魔交戰。待濕婆凱旋而歸，與其素未謀面的兒子斷然拒絕他踏入母親的房間。兩人爭吵間濕婆砍下了兒子的頭顱。面對悲痛欲絕的母親，天神降臨並許下承諾將其遇見的第一個生物的首級替換給伽內什。這樣便造就了伽內什象頭的獨特外貌，而它也成為了掌管才智與知識的天神。Lladró 藝術家們曾經塑造過伽內什的形象，但卻從未如這件華貴瓷藝工作室所出品的作品般呈現絢爛且莊嚴的姿態，它兼具出眾的裝飾風格，精密的工藝品質以及在花環等處所彰顯的最為細緻地刻畫。此外，作品象頭神在色彩方面的運用也堪稱包羅萬象，例如藏紅花和石蕊色調以及品牌為其首創的一種特殊桃紅顏色，均絢麗的在雕像中昂然競豔。Lladró華貴瓷藝工作室的藝術家們還為雕塑注入了一種由內而外發散的靜謐之感，凝視它的雙眼甚至能夠使人感受到這股神秘的力量。象頭神承載著千年印度文化藝術之理念，幻變為智慧的化身，唱響了對人類精神思想的禮贊。

The god of wisdom Lord Ganesha is a god very dear to Hindus. He is believed to be the eliminator of obstacles and the opener of doors to self-fulfillment. The mouse that accompanies him and acts as his vehicle is a symbol of darkness, of ignorance, of the lower self over which the god imposes himself. Ganesha is always represented with four hands. One of them holds a noose, to lead believers to the path of Truth; the other carries an axe, to cut the binds of his followers; the third hand holds a sweet to reward them for their spirituality; and the fourth hand is extended in an attitude of blessing the faithful.

智慧之神象頭神是深受印度人民愛戴的天神之一。它能夠為人們掃清一切障礙，開啟成功之門。身旁伺駕的老鼠則是作為黑暗、愚昧的象徵，被天神責罰於象神麾下。象頭神一直以四手的形象示人，其中一手執繩索以引導信徒邁向真理之路，另一隻手握斧以斬斷縈繞生活的貧乏之束縛，第三只手托有甜食以慰藉疲勞的心靈，第四只手呈現張開的姿態以祝福它的信徒。

TEA IN THE GARDEN TIMES STOPS FOR A MOMENT OF PEACE AND QUIET. IT’S FIVE IN THE AFTERNOON: TEA TIME

花園裏的茶敘寧靜而安詳，時空仿佛戛然而止。下午五點——茶歇時間

Until the beginning of the 19th century, tea was a popular drink in the United Kingdom at any time of day. One afternoon, after recovering from a sudden spell of weakness with a cup of tea and some biscuits, the seventh Duchess of Bedford began the habit of inviting her friends for a cup of this delicious refreshment at five in the afternoon. The custom soon caught on among the upper classes and so one of the main challenges for Lladró artists was to reproduce the refinement of this bucolic scene which reflects the unhurried pace of this special moment. The key to the realism and beauty of Tea in the Garden undoubtedly lies in the stage setting, throwing a special spotlight on the main characters and the detailed decoration comprising around 300 flowers. Some of them are entwined around the arbor, posing a technical challenge for the experts at the workshop, particularly during the firing process. The dresses of the three ladies are profusely decorated with embroidery and lace, rounding off a scene with up to 70 different colors. The focus of our attention is the table with the dainty little tea set, a plate of biscuits and a vase of flowers. A unique moment captured thanks to the mastery of the best Lladró artists.

在19世紀初葉的大不列顛，飲茶曾經是一項不分時令、隨心所欲的大眾休閒方式。直到第9代貝爾福德公爵夫人偶然一次邀請了幾位密友伴著茶點同享輕鬆愜意的午後時光，這個無意間的舉動卻竟然在當時貴族社交圈內迅速的蔚然成風尚，名媛仕女趨之若鶩，直到今日儼然形成了一種優雅自在的下午茶文化。故此如何精緻入微的通過對這段被藝術時光所定格的特殊田園飲茶場景塑造，來形神兼具的重現當年那場閒適的聚會，便成為對Lladró藝術家們最大的技藝挑戰。毋庸置疑，真實展現的關鍵之處在於作品花園裏的茶敘的藝術之美，集中體現在對場景、主要人物以及周邊裝飾的審慎雕琢上：諸如約300朵花以及結構複雜的網格狀籬笆的塑形設計便是最佳範例，此外它們的燒制過程對於工作室的藝術家們而言也是特殊的技術挑戰。而三位貴婦身上那琳琅滿目的刺繡與鑲有花邊的華服一共動用了70多種繽紛的色調方才完成。她們身畔別致的餐桌上，小巧的茶具、花束以及分外可愛的點心也以活靈活現的姿態奪人眼球。茶歇時刻的輕鬆悠閒，被Lladró的傑出藝術家們完美撲捉，呈現出優雅寧靜的動人場景。

Tea in the Garden (60 x 52 cm - 23 ½” x 20 ½”) Limited edition of 2,000 pieces 花園裏的茶敘 (60 x 52 cm) 全球限量2000件

Technical details 作品一覽

winged beauty [44 x 81 cm - 17 1/4” x 32”] Ref. 01001956 Limited edition of 750 pieces

Goddess Lakshmi [48 x 32 cm - 19” x 12 ½”] Ref. 01001966 Limited edition of 720 pieces

羽翼

印度女神

Venetian fantasy [55 x 36 cm - 21 3/4” x 14 1/4”] Ref. 01001958 Limited edition of 750 pieces

Ladies from aranjuez vase [62 x 28 cm - 24 3/4” x 11 1/4”] Ref. 01001968 Limited edition of 1,000 pieces

Arion on a Seahorse [62 x 77 cm, 24 ¾” x 30 ¾”] Ref. 01001948 Limited edition of 500 pieces

Bacchante on a Panther [56 x 78 cm, 22 ½” x 31 ¼”] Ref. 01001949 Limited edition of 500 pieces

夢幻威尼斯

花園漫步

樂神阿里昂

巴斯克的女祭司

[62 x 77 cm] Ref. 01001948 全球限量500件

全球限量500件

Guardian Lioness (red) [69 x 82 cm - 27 ½” x 32 3/4”] Ref. 01001992 Limited edition of 188 pieces

Guardian Lion (red) [69 x 77 cm - 27 ½” x 30 3/4”] Ref. 01001993 Limited edition of 188 pieces

Guardian Lioness (black) [69 x 82 cm - 27 ½” x 32 3/4”] Ref. 01001994 Limited edition of 188 pieces

Guardian Lion (black) [69 x 77 cm - 27 ½” x 30 3/4”] Ref. 01001995 Limited edition of 188 pieces

獅鎮乾坤-雌（红色）

獅鎮乾坤-雄（红色）

獅鎮乾坤-雄（黑色）

獅鎮乾坤-雌（黑色）

[55 x 36 cm] Ref. 01001958 全球限量750件

Guardian Lioness (blue) [69 x 82 cm - 27 ½” x 32 3/4”] Ref. 01001990 Limited edition of 188 pieces

Guardian Lion (blue) [69 x 77 cm - 27 ½” x 30 3/4”] Ref. 01001991 Limited edition of 188 pieces

獅鎮乾坤-雌(蓝色)

獅鎮乾坤-雄（蓝色）

[69 x 82 cm] Ref. 01001990 全球限量188件

[69 x 77 cm] Ref. 01001991 全球限量188件

[56 x 78 cm] Ref. 01001949

[62 x 28 cm] Ref. 01001968 全球限量1,000件

[48 x 32 cm] Ref. 01001966 全球限量720件

[44 x 81cm] Ref. 01001956 全球限量750件

[69 x 82 cm] Ref. 01001992 全球限量188件

[69 x 77 cm] Ref. 01001993 全球限量188件

[69 x 77 cm] Ref. 01001994 全球限量188件

[69 x 82 cm] Ref. 01001995 全球限量188件

Lamassu [51 x 53 cm - 20” x 21”] Ref. 01001946 Limited edition of 750 pieces

Great Dragon (gold) [74 x 70 cm - 29 1/4” x 27 ½”] Ref. 01001973 Limited edition of 300 pieces

Great Dragon (red) [74 x 70 cm - 29 1/4” x 27 ½”] Ref. 01001933 Limited edition of 150 pieces

Great Dragon (blue and golden) [74 x 70 cm - 29 1/4” x 27 ½”] Ref. 01001934 Limited edition of 150 pieces

Great Dragon (blue enamels) [74 x 70 cm - 29 1/4” x 27 ½”] Ref. 01001935 Limited edition of 150 pieces

Queen of the Nile [75 x 160 cm - 30” x 63”] Ref. 01001918 Limited edition of 100 pieces

拉馬蘇

中國龍金色)

中國龍 (紅色)

中國龍 (藍色)

中國龍 (琺瑯)

埃及豔後

[51 x 53 cm] Ref. 01001946 全球限量750件

[74 x 70 cm] Ref. 01001973 全球限量300件

[74 x 70 cm] Ref. 01001933 全球限量150件

[74 x 70 cm] Ref. 01001934 全球限量150件

Oriental Horse (glazed) [57 x 66 cm - 22 ½” x 26 ½”] Ref. 01001943 Limited edition of 1,000 pieces

Oriental Horse (matte) [57 x 66 cm - 22 ½” x 26 ½”] Ref. 01001944 Limited edition of 1,000 pieces

Hina Dolls – Emperor [30 x 31 cm - 12” x 12 ½”] Ref. 01001940 Limited edition of 1,000 pieces

東方神馬 (釉彩)

東方神馬 (霧彩)

華貴瓷藝之玩偶國王

全球限量100件

Hina Dolls – Empress [24 x 31 cm - 9 ½” x 12 ½”] Ref. 01001939 Limited edition of 1,000 pieces

The Flow of Life [27 x 52 cm - 10 3/4” x 20 ½”] Ref. 01011917 Limited edition of 50 pieces

Arabian Pure Breed (black) [49 x 46 cm - 19 1/4” x 18”] Ref. 01001919 Limited edition of 300 pieces

華貴瓷藝之玩偶皇后

新生

阿拉伯純種馬 (黑色)

[57 x 66 cm] Ref. 01001943 全球限量1000件

[57 x 66 cm] Ref. 01001944 全球限量1000件

[30 x 31 cm] Ref. 01001940 全球限量1000件

Arabian Pure Breed (matte) [49 x 46 cm - 19 1/4” x 18”] Ref. 01011920 Limited edition of 50 pieces

Arabian Pure Breed (glazed) [49 x 46 cm - 19 1/4” x 18”] Ref. 01001920 Limited edition of 200 pieces

Lord Ganesha [51 x 28 cm - 20 ½” x 11 1/4”] Ref. 01001965 Limited edition of 499 pieces

Tea in the Garden [60 x 52 cm - 23 ½” x 20 ½”] Ref. 01001759 Limited edition of 2.000 pieces

阿拉伯純種馬 (霧面)

阿拉伯純種馬 (釉彩)

象頭神

花園裏的茶敘

[49 x 46 cm] Ref. 01001920 全球限量50件

[49 x 46 cm] Ref. 01011920 全球限量200件

[51 x 28 cm] Ref. 01001965 全球限量499件

[75 x 160 cm] Ref. 01001918

[74 x 70 cm] Ref. 01001935 全球限量150件

[24 x 31 cm] Ref. 01001939 全球限量1000件

[27 x 52 cm] Ref. 01011917 全球限量50件

[49 x 46 cm] Ref. 01001919 全球限量300件

[60 x 52 cm] Ref. 01001759 全球限量2000件

All pieces include base. 所有作品均含底座 88

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