Elite Magazine September-October 2020

E L I TE 時 尚 精 英

名人專訪 秋季時裝 東方智慧 景觀設計 老宅翻新

The Olmsted Legacy 奧姆斯德的景觀世界

SEPTEMBER-OCTOBER 2020

The Chrysanthemum: Symbol of Strength and Resilience 華夏之菊蘊無窮

A Time of Family Reunions and Divine Blessings 月懷中秋 尋道其中

Uncovering the Beauty of Old English Design 19世紀英式風格改造宅

2020 Fall Fashion for

Remote Work Beyond ISSUE 46

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September-October 2020 $6.99

秋日遠距新時尚

2020/9/8 下午7:34

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12/16/19 8:43 AM 2020/9/8 下午7:34

©2020 E. Rémy Martin & Co., Rémy Martin Cognac Fine Champagne, 40% Alc./Vol., 1738®, Centaur Design®, VSOP Bottle Design®, XO Bottle Design®, Imported by Rémy Cointreau USA, Inc., New York, NY. Please Drink Responsibly.

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目錄 CONTENTS 3

Editor’ s Note 序

6

2020 Fall Fashion for Remote Work and Beyond 遠距新時尚

16

Beauty: New Launches 護膚新品

20

Editor’ s Fall Favorites

22

Jason J. Kim ｜ The Master Ceramist

秋季新寵 美齒新境界 專訪高級瓷牙技師——金政道

30

Mid-Autumn Festival: A Time of Family Reunions and Divine Blessings 月懷中秋 尋道其中

36

The Chrysanthemum: Symbol of Strength and Resilience

42

The Olmsted Legacy: A Core Belief in the Inherent Goodness of People and Nature

華夏之菊蘊無窮

樹說百年光影 構築未來風景——奧姆斯德的景觀世界

50

Michael Sull: The Beauty and Personality of Handwriting 美國書寫體國寶級大師邁克 · 索爾——手寫之美與溫度

56

The Miraculous Congee ｜ Dr. Hu’ s Health Corner 食在「粥」道——名醫講解治百病的粥品養生方

66

Living One’ s Inner Noble 兼容並蓄 西班牙老宅展現新風貌

COVER

Photographer: Ronald Ji Stylist: Marisa Ellison Model: Selina Lum Makeup Artist: Wendy Lin Hair Stylist: Eloise Cheung Coat by Adeam Shoes by Alexander McQueen

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Uncovering the Beauty of Old English Design 新妝再現古典美——19世紀英式風格改造宅

80

Baccarat Sponsors the Fifth Annual China Fashion Gala 巴卡拉贊助美華協進社和靳羽西美基金第五屆中國時尚慶典

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序 EDITOR’S NOTE

歷久彌新

從古代至近代，從近世紀至今日，每一段歲月裡都有無可取代的風貌。期間，我們能看見 傳承，也能看見奠基於此的創新智慧；時代，因與久遠的記憶產生連結，變得更加堅韌而 富有生命力。 當我們重溫自唐朝伊始慶的中秋之祭，品味膾炙人口的詩句和優美的傳說之際，暫時忘卻 紛擾世事，與家人品茗、分享月餅及當季鮮果，靜思傳統文化對人們生活的影響，咀嚼那 經典詩句和古老傳說中的深刻內涵。 紐約中央公園猶如曼哈頓島上的翠綠寶石，它不僅提供人們休憩的場所，也滿足人們回歸 自然的渴望。公園內美麗的景致，有著獨特的象徵意義，它還是「 美國景觀設計之父 」弗 雷德里克．奧姆斯德（Frederick Law Olmsted）200年前的夢想——在奴隸制度廢除 後，為人們創造一塊人人皆可共享的空間，無分種族、階級。讓我們一同回望這位改變美 國當代地景的傳奇人物，他的設計理念與遠景，至今仍替人們的生活帶來美好。 在電子數位化的時代下，仍堅持用筆書寫的人已寥寥無幾，怎還有人寧可破產，也要推廣 史賓賽英文書法（Spencerian script）？他是推廣美國書寫體的大師級人物——邁克． 索爾（Michael Sull），在其義無反顧的執念中，我們學習到他對文化承傳的堅持，對責 任承諾的擔當。 擁有256年歷史的巴卡拉（Baccarat）水晶，華麗優雅，璀璨明豔。巴卡拉在保有傳統精 湛工藝的基礎上不斷創新突破，至今仍然是水晶製品界的翹楚。今年秋季，它又將帶給我 們什麼樣的驚喜？ 波士頓的室內設計師Nina Farmer，其專長是為歷史建築注入新生命力，看她如何透過巧 思與設計，讓一棟19世紀英式風格的宅邸，既保持房子原有風格，又與當代的舒適和設計 元素融為一體。 本期開始增添「 健康養身 」欄目，以中醫養生為主題。中醫，乃中和之道，承傳數千年的 智慧，非三言兩語能道盡。我們將精選話題，與各位分享此一珍貴的養生妙道，祝願各位 健康平安地度過2020年。

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PUBLISHER Ellen Wang EDITOR IN CHIEF Astrid Wang VICE PUBLISHER Echo Liu EDITORIAL ADVISORY BOARD CHAIR Dana Cheng, Ph.D.

華麗地毯 窗簾牆紙中心

SALES DIRECTOR Jo Yang ART DIRECTOR Chen Fu PRODUCTION DIRECTOR Karen Tang

QUEENS CARPETONE CORP.

全美最大的家庭裝飾連鎖公司 Carpet One Floor & Home 唯一華人成員

地毯 | 窗簾 | 牆紙 | 地板 華麗地毯窗簾牆紙中心 是您的最佳選擇

SENIOR DESIGNERS Hsinyu Lo, Ingrid Longauerová DESIGNERS Benson Xiao, Tan Zhao SPECIAL PHOTOGRAPHER Ronald Ji CORRESPONDENTS Pia-Maria Norris, Angela Feng, Janet Ma, Cora Wang, Megan Wang, Faithe Lo TRANSLATORS Juliet Ma, Joel Chang, Ivy Tseng, Minghui Wang COPY EDITORS Connie Phillips, Louise Rothman, Huixuan Yang FASHION EDITOR Joy Ye

QUEENS CARPETONE CORP. for your perfect FLOOR & HOME

BEAUTY EDITOR Pia-Maria Norris PEOPLE EDITOR Cora Wang ART & CULTURE EDITOR Angela Feng

大量現貨 歡迎設計師 洽談合作

BUSINESS EDITOR Hong Wang HOME EDITOR Faithe Lo Assistant Editor Patricia Smiles

Address 229 W 28th Street, 7FL, New York, NY 10001 Phone 646-862-9930 Email editor@elite-magazine.com advertising@elite-magazine.com subscription@elite-magazine.com www.elite-magazine.com

Adeline 電話：718-460-1161 Email: qcarpetone@gmail.com 地址： 18-13 128th Street College Point, NY 11356 （大口福附近）

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WeChat

San Francisco Ke Bian 510-299-4392

Los Angeles Yan Lieser 818-836-2937

Boston Timothy Pi 617-388-1688

Seattle Echo Liu 425-877-5121

2020/9/9 下午2:24

EDITOR’S PICK

ALTUZARRA, ELEANOR WOOLBLEND CREPE BLAZER, $1,695, NETAPORTER.COM

PHOTOS BY MODA OPERANDI, NET-A-PORTER AND GETTY IMAGES

THE ROW, SCHOOLBOY STRETCH WOOLBLEND CREPE BLAZER, $1,325, NETAPORTER.COM

BRUNELLO CUCINELLI, OVERSIZED SATIN BLAZER, $3,050, MODAOPERANDI. COM

VICTORIA BECKHAM, OVERSIZED CORDUROY BLAZER, $1,425, MODAOPERANDI.COM

GABRIELA HEARST, ANGELA DOUBLEBREASTED SUEDE BLAZER, $4,190, NETAPORTER.COM

Comfortable BL A ZERS

By Lina May When you need to upgrade your work-from-home look, an oversized blazer can be a perfect option.

Worn over a simple T-shirt, a blazer makes you feel more put-together, but comfortable at the same time. │5

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DRESS BY ADEAM NECKLACE EARRINGS AND RING BY JACOB & CO. SHOES (NOT SHOWN) BY MAX MARA

2020 Fall Fashion for

Remote Work Beyond

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ELITE FASHION

People will stare. Make it worth their while. " — Harry Winston

「既然人們在看，那就讓他們一飽眼福 。」 ——哈利·溫斯頓

經歷數月的居家令和防疫生活，遠程工作與視頻社交活動已 經成了我們日常的一部分。枯乏無味的大口罩已成了每個人 非戴不可的「首飾」，而眾人唯一能欣賞精心裝扮時尚的機 會，恐怕也只有在視頻前或在室外餐館用餐的短暫時光了。 當季時尚潮流中，即在視頻上能讓人眼前一亮的 「Statement Jewelry」（即透過醒目珠寶來表現自我）是 必不可少的。美麗大氣的珠寶不僅能給配戴的人帶來自信， 也可通過視頻瞬間讓觀眾了解妳的個性與品味。有質感的服 裝，配上「Statement Jewelry」，讓您成為網絡會議和 視頻社交活動的明星。

Photographer: Ronald Ji Stylist: Marisa Ellison Model: Selina Lum Makeup Artist: Wendy Lin Hair Stylist: Eloise Cheung Location: Great Empire Realty, LLC & Endaxi Capital

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延 續前幾季 的主 題， 2020 年 秋季 時尚的一大特點是，回歸 19、20 世 紀的黃金時代，復古中找回最適合 自己的風格。在網 絡社交的時 代，

Statement Jewelry 加上華奢 的蕾絲，把時尚巧思集中於上半身。 TOP BY ZUHAIR MURAD SKIRT (NOT SHOWN) BY VERSACE WATCH AND RING BY PIAGET EARRINGS BY JACOB & CO. SHOES (NOT SHOWN) BY PHILOSOPHY DI LORENZO SERAFINI

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2020/9/9 下午12:32

2020 年 秋 季 的另一 時尚 趨 勢 是 謙 虛但不拘 謹，多採 用維多利亞 時 代風格的高領口蕾絲，或是帶 有絲帶的高領口設計 。而荷葉邊 的蕾絲裙，讓行 走時有一種 飄 逸 別緻的感覺。 TOP, SKIRT, AND BELT BY ZUHAIR MURAD BAG BY ALEXANDER MCQUEEN SHOES BY VERSACE

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當季眾多設計師都推出了單肩連衣 裙的設計，而秀場上展示的單肩蓬 袖連衣裙也比往年都更豪氣亮眼。 如果您正考慮入手一件具有今年特 色的裙裝，這也許是個好選擇。 DRESS BY HELLESSY EARRINGS, BRACELET, AND RING BY STEPHEN WEBSTER SHOES BY SERGIO ROSSI

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成熟女性適合搭配大氣、沈穩的花案套件。上身著以有浪漫粉色印花的 毛衣，配上深色的緊身皮裙，給人幹練活潑、剛柔並濟的感覺。 SWEATER, SHIRT, AND SKIRT BY VERSACE NECKLACE, BRACELETS, AND EARRINGS BY TIFFANY & CO. SHOES (NOT SHOWN) AND BAG BY VERSACE TIGHTS BY FALKE │11

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黑色是秋冬季的時尚經典色。今秋流行的關鍵詞是「光澤感」。 此款皮領邊、袖口及口袋的邊緣處都繡滿了水晶石，微微一動，便光艷照人。 BLAZER, TROUSERS, AND SHOES (NOT SHOWN) BY PHILOSOPHY DI LORENZO SERAFINI BODYSUIT BY WOLFORD EARRINGS BY STEPHEN WEBSTER

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Alexander McQueen 的這款 「戰士公主」（Warrior Princess） 風格的皮裙大衣。上身包裹 嚴實， 下半身則墜有甜美花邊裙擺設計， 這些具有強烈女性化的剪裁，既有 個性又不失女人味，讓皮裙不再是 龐克女孩的專利。 COAT BY ADEAM SHOES BY ALEXANDER MCQUEEN

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EDITOR’S PICK

STELLA MCCARTNEY, EMBELLISHED VEGAN LEATHER FLATS, $715, MODAOPERANDI.COM

LOEWE, LEATHER BALLET FLATS, $690, MODAOPERANDI.COM

Fall for FL ATS

By Lina May

CHRISTIAN LOUBOUTIN, GALATIVI SUEDE AND MESH POINT-TOE FLATS, $645, NETAPORTER.COM

AEYDĒ, MOA LEATHER POINT-TOE FLATS, $230, NETAPORTER.COM

PHOTOS BY MODA OPERANDI, NET-A-PORTER AND GETTY IMAGES

Wearing flats combines comfort and style.

Fall shoes call for more monochrome shades to tone down the outfit.

GUCCI, DEVA EMBELLISHED LEATHER COLLAPSIBLEHEEL POINT-TOE FLATS, $890, NETAPORTER.COM

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Stronger, together.

賽貝格博士是國際知名的醫美領域及抗衰老護理先驅，創造 了完美的日常肌膚護理流程，不僅可以提亮膚色、撫平細紋及 緊緻肌膚，還可以加倍呵護肌膚免受侵害。賽貝格說： 「 這種深 具活力的護理流程不僅含有屢獲殊榮的護理理念及產品專利， 還能通過將這些產品搭配使用，使您容光煥發重獲新顏。」 1.請首先使用微整形煥膚面膜清潔臉部肌膚，可瞬間恢復光澤。 為了更有效的提亮膚色，可混合少量高濃度美白VC粉。這種富 含抗氧化劑的穩定配方有助於修復和保護肌膚免受環境侵害。

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2. 在掌心混合屬於您可自由搭配的混合液，即高效除紋修護精 華液（透明質酸可使肌膚豐盈水潤，緊實和修復）和玫瑰活妍 精露（含天然玫瑰果油，滋養呵護肌膚，令您持續光彩照人） 。 3. 在您的混合液中加入一定劑量的美白VC粉，讓肌膚充滿活 力，煥發新生，提亮膚色的效果使您亮麗一整天。 賽貝格專櫃及drsebagh.com有售。

2020/9/9 下午12:32

ELITE BEAUTY

NEW LAUNCHES

By Pia-Maria Norris

La Prairie - Skin Caviar Liquid Lift La Prairie’s reinvented new superstar. Think “liquid thread lift” in a bottle. Enriched with the highest concentration of pure caviar, this rejuvenating and gravity-defying serum provides an immediate lifting effect while also helping to increase firmness and elasticity. ($690, laprairie.com)

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2020/9/9 下午1:22

Chloe - Rose Tangerine EDT

Marc Jacobs - Perfect Marc Jacobs

A feminine and fresh fruity-floral scent in key notes of tangerine essence, rose absolute, and blackcurrant absolute.

A playful, bright, and feminine scent in key notes of juicy rhubarb and bright daffodil, almond milk, and cashmeran.

($32–$109, sephora.com)

($30–$128, macys.com)

Gucci - Bloom Profumo di Fiori EDP

Burberry - Her London Dream

A vibrant scent in key notes of tuberose flower, ylang ylang, and sandalwood accord.

A vibrant and intriguing fruity-floral scent in key notes of lemon, rose, and musk.

($34–$130, macys.com)

($30–$123, macys.com)

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primera - From Seed to Glowing Skin Anniversary Set This limited-edition set features bestselling heroes, Miracle Seed Essence and Alpine Berry Water Cream, to deliver glow-boosting radiance and moisture. Includes travel sizes and a limited-edition reusable water bottle, fiddler crab eco-pouch, and a supercool, friendly otter doll! ($100($125 value), primerabeauty.com)

Melach 33 Instead of excessive ingredients at low concentrations, Melach 33 focuses on ingredients that deliver a powerful punch, without a long list of chemicals.

Combining the power of Dead Sea salts and minerals with other actives to nourish and protect, Melach 33 brings the benefits of the Dead Sea to life in five creamy, silky products.

Nourishing Eye Cream ($60), Nourishing Antioxidant Moisturizer ($57), Silky Shea Body Butter ($58), Nourishing Night Cream ($58), Nourishing Moisturizer ($55) (melach33.com)

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2020/9/9 下午1:22

HairMax - LaserBand 82 Flex

Laneige - Cream Skin Milk Oil Cleanser

This fabulous home-use medical device delivers therapeutic light energy to stimulate hair follicles, reverse thinning, restore hair’s natural growth cycle, and promote hair growth. Features a new and unique ComfortFlex band design that flexes to fit all head sizes comfortably!

Gently melts away makeup and impurities without stripping the skin of moisture, leaving the skin feeling soft and refreshed. ($34, laneige.com)

($799, hairmax.com)

Laneige - Cream Skin Mist Perfect for keeping skin hydrated on the go.

The refreshing superfine mist delivers a naturallooking glow and long-lasting hydration. ($27, laneige.com)

Amorepacific - Moisture Plumping Nectar Cream This silky, plumping moisturizer delivers allover radiance, especially for dehydrated skin. ($160, us.amorepacific.com)

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2020/9/9 下午1:23

EDITOR’S FALL FAVORITES

By Pia-Maria Norris La Prairie - White Caviar Illuminating Clarifying Lotion Balances, preps, and gently exfoliates to promote skin clarity. ($230, laprairie.com)

La Prairie - White Caviar Crème Extraordinaire Provides fabulous skin firmness and luminosity. ($735, laprairie.com)

La Prairie - White Caviar Illuminating Pearl Infusion Effectively targets age spots, redness, and grayness. ($585, laprairie.com)

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2020/9/9 下午1:23

La Prairie - Skin Caviar Absolute Filler Restores tone and density for enhanced skin fullness and refined contours. ($635, laprairie.com) La Prairie - Skin Caviar Luxe Cream This luxurious gem offers outstanding lifting and firming results. ($510–$930, laprairie.com)

Theraderm - OPC Reparative Serum This powerful antioxidant serum helps reduce redness and signs of aging. ($81–$115, theraderm.net) Amorepacific - Vintage Single Extract Essence Improves skin’s firmness, clarity, and texture with the antioxidant power of fermented green tea. ($95–$175, amorepacific.com)

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ELITE BEAUTY

JASON J. KIM

The Master Ceramist Part I 美齒新境界 專訪高級瓷牙技師——金政道

By Pia-Maria Norris Photography by Ronald Ji

A

s in any trade or art form, the market is f looded with products that span a wide range of quality. Occasionally, someone comes along who masters his craft at a level that raises our standards of beauty and technical perfection. Jason Kim is such a master. He has introduced a new level of excellence to his field.

Little is known to the public about the art form he has mastered to perfection as a certified dental technician, yet he is the artist behind some of the most beautiful celebrity smiles in the world. We often assume that it is the dentist who takes center stage when it comes to smile makeovers, when it is actually the teamwork between the dentist and ceramist that creates superior aesthetic results. It is the ceramist who designs and makes the final veneers.

In essence, the ceramist is the architect and designer of the smile.

任何藝術形式和貿易市場上，總是充斥著良莠不齊的選 擇，然而每隔一段時間，總會出現一位技藝精湛的大師， 他的出現，提高了我們感知卓越與美麗的評判標準，帶 領我們進入一個嶄新而出色的境界。金政道（Jason J. Kim）就是如此特殊的存在。 一般人只知道他是近乎完美的認證牙科技師，但他 卻是打造那些名流人士美麗微笑的藝術家。我們通常會 以為，牙醫才是創造美好微笑的關鍵角色，其實這是牙 醫與瓷牙技師共同合作，才得以締造的卓越成果。由瓷 牙技師負責設計、創造瓷牙貼片，從這一點上來看，瓷 牙技師即「 微笑 」的建築師與創造者。 令我們慶幸的是，不透明的牙貼與讓人遙想的樹酯 材質已成為過去式，當代的瓷製牙貼更加薄透，擁有適 應自然光線的半透明效果。而金政道就是其中一位改變 瓷牙貼效果的先驅者。如今，打造無數美麗笑容的他， 已成為業界傳奇，並透過特殊瓷質混合打造的藝術性與 頂級技術而為人所著稱，他的成就已是業界的新指標。

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Thankfully, gone are the days when veneers looked opaque and reminiscent of Chiclets. Modern ceramic veneers are much thinner, with translucencies that adapt naturally to different light settings.

Jason was one of the pioneers who changed the way ceramics work. Today, he is known for his legendary customized smiles and ability to replicate nature to perfection with his signature porcelain mixes and artistic and technical genius. His work has become the new gold standard in the industry.

美國夢 金政道在韓國首爾出生、成長，18歲時和家人一起移民 至美國。在韓國時，他就已經從事、探究牙醫技術的相 關領域，並有一些訓練經驗。來美後，他設法在新澤西 州東奧蘭治市的一間牙體技術所工作，那時他便開始嘗 試與瓷牙技術相關的實驗，一年半後，他已在該領域擁 有熟練的技藝。 當他決定辭去工作，準 備幫忙 家人在 紐 約 揚克 斯 地區開設食品雜貨店時，他的職涯稍微繞了點道。「 我 賣了 3 年的蔬菜水果，連搬貨都不假他人之手，」金政 道回憶道。在工作幾年後，他決定重返牙技業，晚上讀

THE AMERICAN DREAM Born and raised in Seoul, South Korea, Jason immigrated with his family to the United States when he was 18. Back in Korea, he had already started exploring the dental technical field and had taken a bit of training. Soon after arriving in the United States, he managed to get his first job as an assistant in a dental lab in East Orange, New Jersey. He started experimenting with ceramics, and after about a year and a half, he was already rather good at his craft.

His career path took a slight detour when Jason decided to quit his job so that he could help his family open up a grocery store in Yonkers. “I sold fruits and vegetables for three years and loaded them on and off trucks,” Jason said. After a few years, he returned to the industry, studying at night and working hard in a lab during the day. In 1990, he opened up his own dental laboratory. It was a kick-start, to say the least, as he started working right away with the late, world-renowned dentist Jeffrey Golub Evans, whom he considered a mentor.

"However, at some point, I found myself not knowing much about the industry's clinical aspects," Jason explained. "I was communicating with the doctor but didn't know anything about what he did.

I only knew how to make teeth, which is just a craft, but I didn't know the science of it. So I said to myself, ‘I don't know anything. I have to get educated.’"

Jason went to Europe, where he took courses with the best ceramic masters in the industry, most notably with master ceramist Willi Geller, founder of the world-renowned Oral Design International Foundation, under whom he studied from 1994 to 1997.

Geller soon took a particular interest in Jason, who stood out as unusually gifted. Like Geller, he had

書，白天則在實驗室埋頭苦幹。 1990 年，他終於開了 一家屬於自己的牙體技術所。而這僅是開端，他旋即開 展了與他的恩師——已故的知名牙醫師 Jeffrey Golub Evans 的合作。 「 然而，我發現自己對臨床方面不甚了解，」他解 釋。「 我在與醫師溝通交流時，並不清楚他的醫療工作 內容，我知道如何製作牙體，但這只是手工藝，而對它 背後的科 學原理則一竅不通。所以我告訴自己： 『 我什 麼都不懂，我必須去學習。』」

Left page: Jason J. Kim handcrafting a porcelain veneer.

Right page: Closeup of Jason doing a porcelain buildup, which is the feldspathic process of adding layers of porcelain in order to mimic natural light reflection and depth.

(Photo courtesy of Neil Gershman)

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the unique talent of being able to intuit a person’s essence and energy and then apply it to his work, creating individualized smiles that match and enhance not only the person’s facial aesthetics but also the personality.

“I studied ceramics for a long time, and as I learned it, I said OK, now I need to understand what dentists do,” Jason recounted. “So over the years, I took extensive continuing-education studies in clinical diagnosis, occlusions, and implants. I took every course I could possibly find.” This gave Jason a big advantage, since these were courses for dentists, not for dental technicians. He became clinically knowledgeable in what dentists do and was also able to apply this knowledge to his work.

A protégé of Geller, Jason eventually went on to become the owner and president of Jason J. Kim Oral Design New York Center. Word about his talent quickly spread, and he soon became the favored ceramist for top dentists around the world. Professors of dentistry at NYU also took note, and soon he was invited to teach at the New York University College of Dentistry, where he is a clinical assistant professor. “They gave me my own year-long course, offered to dentists and ceramists, which I created and ran for seven years,” Jason said.

Now a legend in the industry, and with an impressive list of academic credentials, Jason has spent the last 30 years developing groundbreaking techniques in dental ceramics and lecturing across the world. He has published numerous articles and is the author of The Master Ceramist, Style Seoul, and co-author of Aesthetic Restorative Dentistry Principles and Practice, a book devoted to fundamental and advanced restorative techniques for dental professionals.

He is also the owner and president of Jason J. Kim Dental Aesthetics, a dental laboratory with about 50 employees, located in Port Washington, New York.

“I don’t oversee any of the cases, but I trained all the technicians, “Jason explained. “I developed the umbrella under which they are working. There is a specific protocol that they follow based on my philosophy.”

1994 至 1997 年間，金政道毅然前往歐洲，向業界 最 知 名 的 瓷 牙 大 師 Willi Geller 學 習。Willi Geller 是 「Oral Design International Foundation」的創辦人。 沒多久 Geller 就發現，金政 道十分與眾不同，非常有天 分。就像 Geller 一樣，他可以很直覺地把記憶的精華與 精力傾注於工作中，為顧客創造專屬的笑容，他的作品不 只符合該顧客的臉部美學，同時也合乎其性格特色。 「 我鑽研瓷牙很長一段時間了，過程中，我發現自己 需要更加了解牙醫的工作，」金政道回想。「 於是幾年下 來，我上了非常多樣的進修課程，如臨床診斷、咬合及植 牙等，能找到什麼課就上什麼課。」這為他帶來很大的優 勢，因為這些都是為牙醫開設的課程，不是為牙科技師 開設的。如此一來，他對牙醫的工作內容了解越來越深， 對其職涯有相當助益。 身為 Geller 的徒弟，金政道也成為「Jason J. Kim 口腔設計紐約中心」（Jason J. Kim Oral Design New York Center）的負責人兼理事長。關於他才華出眾的消 息不脛而走，同時也成為全球最受牙醫歡迎的瓷牙技師之 一。紐約大學（New York University）的牙醫系教授也 注意到了，他因此受邀至該所大學牙醫學院任教，擔任臨 床助理教授一職。他表示，「 他們為我開設了一門為期一 年的課程，專為牙醫及瓷牙技師開設，並在整整 7 年間， 由我設計並負責這門課。」 如今，金政道是業界的傳奇人物，擁有亮麗的學界資 歷，在過去 30 年間發展了劃時代的瓷牙技術，在世界各 地巡迴講課，並發表了大量文章。他同時也是《首爾式高 級瓷牙師》一書的作者，及《牙科修復美學，理論和實務》 的共同作者（ 該書為專門探討進階牙齒修復技巧的專業 著作）。 身 兼「Jason J. Kim 牙齒美 學實 驗 室 」（Jason J. Kim Dental Aesthetics）的負責人，金政道的實驗室位 於紐約華盛頓港，擁有約 50 名僱員。「 我不對所內的案 例進行監督，我負責訓練所有的技師，」他解釋， 「 我為 所有的僱員展開一把大傘，發展出來的特定規約都是遵 循我的哲學觀。」 與「Lowenberg, Lituchy & Kantor」合作 除了精細地手工製作每一顆牙，金政道還有一項無人能及 的特殊天賦、知識和能力：創造獨一無二且自然無比的笑 容，這項天賦讓他在過去30年間，成為世界上頂級的整 形醫師及修復牙醫師皆欲與之合作的瓷牙技師。然而，在 2018年，他決定與牙醫界最富盛名的 診所Lowenberg, Lituchy & Kantor（ 下文簡稱LLK）診所獨家合作，將 他帶到了紐約中央公園南側的頂級地段。

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The reception area of the newly renovated offices of Lowenberg, Lituchy & Kantor at Central Park South in Manhattan, New York.

PARTNERSHIP WITH LLK Besides meticulously handcrafting each tooth, Jason possesses unique talent, knowledge, and the ability to create individualized smiles and natural-looking results that are unmatched. This has made him the goto ceramist for top cosmetic and restorative dentists around the world for the past 30 years. However, in 2018, Jason decided to partner exclusively with the prestigious dental office Lowenberg, Lituchy & Kantor (LLK), which brought him in-house to its exquisite Central Park South location in New York.

K now n for their ta lent a nd innovation (a nd star-studded clientele), the LLK partners have been at the forefront of the cosmetic dentistry field since the 1980s, earning them a reputation as the best in the field. By bringing in Jason, LLK scored the ultimate coup of combining two stellar reputations under one

LLK 以創新和精湛的技術（ 以及星光褶褶的客戶 名單）而聞名，自 1980 年代起，即在牙齒美容的領域 擔任領頭羊。金政道加入後，LLK 可說是將兩顆最閃耀 的星星放在同個屋簷下。此次合作也為辦公室帶來新氣 象，更重新整修跟擴張辦公室，以容納金政道最先進的 牙體技術所。 本刊訪問了該診所的 Gregg Lituchy 醫師，詢問 關於金政道成為合夥人意味著什麼？「 我們已經與金政 道合作 30 年以上了，還一起發展了一種功能性強、看上 去自然且符合美學的技術。幾十年下來，我們互相切磋 指導，並且持續幫助彼此更上一層樓、一起成長。長此 下來，在同一個屋簷下一起創造出美麗的笑容，這是水 到渠成的結果。」Lituchy 說。 「 創造美麗笑容是一種藝術，」Lituchy 解釋，「 這 是美容牙醫師與瓷牙師的通力合作，創作出構造與功能 兼具的笑容。我們稱之為『 笑容的藝術』，因為我們在 重塑每一顆牙的過程中，也改變了人們的笑容。」

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Teamwork and communication between the ceramist and the dentist is key in achieving superior aesthetic results.

Jason Kim (right) and Dr. Gregg Lituchy discuss a case.

roof. The partnership came with a fabulous office renovation and expansion to accommodate a stateof-the-art, on-site aesthetics laboratory for Jason’s masterful work.

We asked Dr. Gregg Lituchy, of Lowenberg, Lituchy & Kantor, what the partnership with Jason Kim means to LLK. “We have worked with Jason for over 30 years, and together we have developed a technique that incorporates functional teeth with beautiful natural aesthetics. Over the years, we have mentored each other and kept improving our skills.

Like any relationship, we grew together. At some point, it seemed only natural that we work under the same roof so we can create great smiles together,” Dr. Lituchy said.

Lituchy 醫師以出眾才華及最先進的技術聞名，加 上溫和有禮又風趣的性格，使他在牙齒美容界建立了過 人的聲譽，許多社交名流慕名而來。他為許多超模創造 及維持她們的絕美笑靨，如 Cindy Crawford、Christy Turlington、Naomi Campbell 以及 Heidi Klum 等。 「 有了金政道在辦公室，對顧客非常有益處，因為牙 醫和瓷牙師與顧客三方面對面溝通，讓我們可以全面回 應病人的需求。關於笑容或顏色校正等的任何小細節， 都可以在診療椅上完成，立即滿足顧客。」Lituchy 醫 師說。 當問到為什麼選擇 LLK 作為獨家合作的對象時， 金政道表示： 「 如果要能在臨床上及技術上達到最完美 的成果，我認為最好的做法是跟醫生在同一處工作。」 他接著說： 「 我們合作已逾 25 年，對彼此非常了解。他 們是優秀的臨床美容牙醫及領導者，真心希望能幫助病

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“Creating smiles is an art form,” he said. “It is a collaboration between the cosmetic dentist and the ceramist to create a smile that merges form with function. We call it “the art of the smile” because we recreate each tooth, one by one, to change the appearance of one’s smile.”

Known for his talent, state-of-the-art techniques, and his gentle, fun, and friendly manner, Dr. Lituchy has built an impressive reputation in the aesthetic dental field, and has a long list of celebrity clients. He is the dentist responsible for creating or maintaining the smiles of supermodels such as Cindy Crawford, Christy Turlington, Naomi Campbell, and Heidi Klum, to name a few.

“Having Jason Kim in the office with us is a huge benefit to the patient because the patient’s input directly to the dentist and ceramist allows us to give the patient exactly what they want. Any nuances in the smile or color correction that the patient wants can be achieved right in the dental chair, and the patient gets immediate gratification,” Dr. Lituchy said.

When asked why he chose to work exclusively with LLK, Jason said: “To achieve the highest possible results clinically and then technically, I thought the best way would be to work together in the same place. “I have worked with them for over 25 years, so I know them very well. They are excellent clinicians and leaders of cosmetic dentistry. They really want to achieve the best results possible for their patients, and their level of patient care is the highest I have seen, which I like,” he added.

In the era of digitalization and mass production, it is inspiring to come across someone who continues on the traditional path of the artisans of old, passionately and painstakingly handcrafting his art form. “There is no greater work of art than a human face,” Jason says. “Your smile and teeth affect the entire shape and look of your face. A beautiful smile is your best asset for good first impressions.”

And Jason J. Kim has certainly mastered the art of creating beautiful smiles.

Stay tuned. In our next issue, Jason will share some fascinating insights into his art form, how he

Master ceramist Jason J. Kim.

creates his legendary individualized smiles, and how a smile makeover can harmonize and enhance one’s face and appearance. 人達到最好的效果，而且他們的照護水準是這個業界我 所接觸過的人中最優質的，我非常滿意。」 在此電子化及大量製造的時代，能夠遇到願意堅持 傳統，並在手工技藝上精進不懈的人，實屬不易。「 沒有 比人的面孔更偉大的藝術形式了，」金政道表示，「 你的 笑容和牙齒影響著整個臉型和外觀。一個美麗的微笑是 給人留下良好第一印象的最佳辦法。」而金政道的確是 掌握了創造美麗笑容的最佳方法。 敬請期待下期，金政道將會分享關於他如何創造個 人化笑容的內行門道，以及透過笑容改造面容及外型的 看法。

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Top, left: Wei pours his heart and soul into every production, even if it means bringing himself to

ELITE CULTURE

MID-AUTUMN FESTIVAL A Time of Family Reunions and Divine Blessings 月懷中秋 尋道其中 English text by Megan Wang Chinese text by Janet Ma

A

brilliant full moon adorns the boundless sky as households gather with their families.

They laugh and talk, savor mooncakes with tea, and every so often, gaze up to marvel at the beauty of the moon while relishing the joy of their rare reunions. Still a widely celebrated holiday in much of Asia, the Mid-Autumn Festival, celebrated on every 15th of the 8th lunar month, traces back thousands of years and provides an opportunity for us to peek inside the rich heritage of Chinese culture.

年分四時，月行朔望。仲秋月圓之日，在八月十五，唐 代以後稱為中秋。《禮記 • 保傅》中有「 三代之禮，天子 春朝朝日，秋暮夕月，所以明有敬也。」 （ 《大戴禮記》 ） 之語，「 夕月 」即祭月。自古以來，皇帝遵循天象，有祭 祀天地日月的禮儀。中秋因來源於「 夕月 」，所以也叫 「 月夕 」。 人間繁華 當天地星河秩序井然地行至中秋這一天，正是風清雲淡， 夏蟲息聲之時，人們抬起頭，看見一輪圓月，如約高懸長 空，都會感歎造物的莊嚴神奇。因此，中秋之日不獨天子

DIVINELY INSPIRED TRADITION Like many other traditional Chinese events, the Mid-Autumn Festival owes its origin to the ancients’ keen celestial observations and more importantly, reverence for the heavens. Emperors in the past were known by the title “Tian Zi,”which literally translates to “Son of Heaven,” signifying their responsibility in carrying out the divine mandate. According to The Book of Rites by Dai De, to receive guidance and blessings, emperors from as early as the Zhou Dynasty (1046–256 BCE) set aside specific days to host solemn worship of the sun and moon in the spring and the fall, respectively.

As this tradition persisted through the changing dynasties, it has since inspired noble families and

夕月，世家大族也會致祭宗祠，至於民間，則家家戶戶必 祭月、賞月。 明朝劉侗《帝京景物略》中載，「 八月十五日祭月， 其祭果餅必圓，分瓜必牙錯瓣刻之，如蓮華。」用來祭 祀月亮的糕餅要做成圓形，西瓜要一瓣一瓣的刻成蓮花 的形狀。清代《燕京歲時記》中記載，皇家祭月常用九節 藕，民間多用西瓜。中秋之夜，人們在自家院落中月亮 升起的方向設月光位，陳設各式瓜果供品，闔家女眷， 向月而拜。 臨近中秋，市肆商販便相繼整絡門面，結綵樓、花

頭、畫竿、醉仙、錦 斾 等飾，富貴之家盛飾臺榭，置辦

宴饗，尋常百姓則爭占酒樓高臺，備丹桂、石榴、孛萄、 梨、棗、栗、橘等新熟之果。是夜，風清月白，月華如 洗，人間燈火，如星墜地。一輪圓月，映照著人間繁華。 家家開筵，處處明燈，喧鬧之聲遍耳，絲竹之音繚繞， 若是靠近皇宮，還可隱隱聽到內庭傳出的笙竽管弦，飄 渺宛自天外。樂聲間或被人聲打亂，是某處又得一樂事。

Left page: 清畫院畫十二月月令圖八月 A painting titled Activities of the 12 Months: The 8th Lunar Month, by court artists of the Qing Dynasty (1644–1911).

(Picture courtesy of the National Palace Museum, Taiwan)

閭巷小童嬉戲笑鬧，徑至連宵而人亦不禁。夜市燈燭輝 映，通曉不息，人們悠遊其中不知疲倦，市中亦有聯袂 踏歌者，盡興與白日無異。 │31

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天上奇景 相傳，唐代玄宗曾於中秋之夜遨遊月宮，帶回千古絕響 《霓裳羽衣曲》。 是夜，一位道長使用神通，變化出一座通天長橋。 道長與玄宗登上長橋，行走無多時便至一高大城門，上 題「 廣寒清虛之府 」。穿門而入，神仙府邸忽現眼前： 紫氣繚繞，瑞靄千重，廣寒宮玉宇清明，不染纖塵。只 見月宮仙人正伴樂起舞，廣袖舒展，羽衣輕揚，變換多 姿如飛雲飄逸，流霞宛轉，令人眼花繚亂，不知要看向 何處。耳畔樂音不知從何而起，柔和清麗，時而高揚， 時而低迴，時而合鳴，時而輪轉，意境高妙，令人心神 俱明，洗盡凡塵，聞之如沐神光。玄宗沉醉其間，只想 將天宮勝景多看一眼，把仙音再聽仔細一些。 然而，天上人間，時空殊異，玄宗縱是天子，亦為 人身，難抵廣寒宮清冷之氣，一曲聽畢已是寒冷徹骨， 不覺懷戀起人間溫暖。此念一出，便朦朧般，似乎變換 了周遭景物，睜眼一瞧，豈不是熟悉的皇宮景致？仙宮 勝景，頓失眼前，夢耶？非耶？ 玄宗畢竟是當世的音樂大家，憑藉記憶，他譜出了 《霓裳羽衣曲》。月宮仙韻自此流傳人間，成為宮廷大 曲。大詩人白居易曾寫下洋洋灑灑上百字的《霓裳羽衣 歌》，訴說對此曲歌舞的喜愛，感歎「 千歌百舞不可數， 就中最愛霓裳舞。」 清 董邦達繪御筆中秋帖子詩 軸 A hanging scroll of the moon-gazing poets on the MidAutumn Festival. Painting by Dong Bangda of the Qing Dynasty (1644–1911).

(Picture courtesy of the National Palace Museum, Taiwan)

團圓之喜 中秋，向來象徵著人間團圓。明代《熙朝樂事》載，「 八月 十五日謂之中秋，民間以月餅相遺，取團圓之義。」 清代時，若女子歸寧，中秋必返其夫家，乃因當日 為「 團圓節 」。《燕京歲時記》有載，當時侯門朱戶盛行

common people alike to appreciate nature’s mid-autumn harmony—a joyous time of harvest, family reunions, gentle breezes, and a full moon.

以月餅相贈，大者尺餘，其上繪有月宮、蟾、兔等形狀， 精美工巧。清人於中秋之夜闔家分食月餅，如有剩者則 仍整收，藏於乾燥風涼之處，至歲暮除夕出而分享，是 仍取其團圓之意。中秋之夜，闔家團圓，月餅香甜，言

AN EMPEROR’S JOURNEY TO THE MOON PALACE According to legend, Emperor Xuanzong of the Tang Dynasty once journeyed to the Moon Palace and brought back the famous song “Rainbow Skirts, Feather Coats.”

On one mid-autumn night, Xuanzong met a Daoist master who invited him onto a magical bridge. Ascending the bridge into another realm, they arrived at the cloud-shrouded Moon Palace, where heavenly maidens danced with silken sleeves that flowed like water. Xuanzong was immediately mesmerized and did not know where to turn his eyes next. Music graced the scene with melodies so soft, beautiful, and dynamic—at times gentle, at times lively, at times played

笑晏晏，清人沈兆緹詩云：「 中秋鮮果列晶盤，餅樣圓分 桂魄寒。聚食合家門不出，要同明月作團圓。」 如月之恆 每逢佳節，獨行在外的旅人，難免思念起遠方的親人。 然而蘇軾歎道，「 人有悲歡離合，月有陰晴圓缺，此事 古難全。」人們於中秋之夜舉頭遙望，卻也看見了不同 的月亮。「 小時不識月，呼作白玉盤。又疑瑤台鏡，飛在 青雲端。仙人垂兩足，桂樹何團團。白兔搗藥成，問言與 誰餐？蟾蜍蝕圓影，大明夜已殘。羿昔落九烏，天人清且 安。」 （ 《古朗月行》 ） 幼時的李白，看見月亮裡，有仙人、 有桂樹，有擣藥的白兔和拯救蒼生的英雄，遂做此詩。 後來，當他被皇帝賜金放還，離開長安，遍遊山 水時，與友人飲酒唱和，月亮，則引發了無盡的疑問： 「 但見宵從海上來，寧知曉向雲間沒。白兔擣藥秋復春，

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in unison, at other times split into countermelodies.

The emperor was filled with compassion and grace.

He lost himself in the moment, wishing to delve deeper into the divine sounds and sights. However, Heaven and Earth exist in different time-spaces. Despite the emperor’s title as the Son of Heaven, he was a mortal after all. As the Moon Palace was known for its cold temperature, he was chilled to the marrow after a few brief minutes and could not help but long for the warmth of the human world.

As soon as the thought emerged, Xuanzong’s vision blurred, and when he opened his eyes again, he found himself in his own imperial palace. The Moon Palace was nowhere in sight. Was it merely a dream?

Fortunately, Xuanzong was a talented musician and was able to preserve from memory what he had heard that night in the composition “Rainbow Skirts, Feather Coats.” As a result, this heavenly song from the moon came to prominence in the royal court and later spread among the people.

A JOYFUL TIME WITH FAMILY Festivities start to permeate the air weeks before the Mid-Autumn Festival. In the marketplace, shops are already stocked with mooncakes. This signature pastry associated with the holiday boasts a variety of flavors like lotus seed paste, mixed nuts, and fruits.

In dynasties past, mooncakes, along with fresh fruits and other food offerings, were an indispensable part of the moon ceremony, and entire families would join in the festivities.

Mooncakes—mini full-moons— are especially significant on this day, as they signify completeness and harmony, and symbolize people’s longing for family reunion. In the past, this holiday was often characterized by extraordinarily bustling scenes, with the royal palace and common households alike holding feasts for large numbers of guests. In the palace, music and dance performances enhanced the festivities. While the adults relished the many savory dishes inside, children would chase around in the alleyways lit with delicate lanterns, which added to the already colorful townscape.

Today, though many traditions like large-scale feasts and moon ceremonies have gradually disappeared in much of the industrialized regions of China, family reunions still represent the essence of the Mid-Autumn Festival.

明唐寅畫嫦娥奔月 軸 Moon Fairy Chang’e, by painter Tang Yin of the Ming Dynasty (1368–1644). Chang’e was a beautiful legendary woman who had to ascend to the moon without her husband.

(Picture courtesy of the National Palace Museum, Taiwan)

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清 佚名 七夕/中秋佳節圖 雙軸之 中秋節圖 A hanging scroll depicting the ascension of Chang’e to the moon, by an unidentified artist of the Qing Dynasty (1644– 1911). Though many believe the moon is a cold and lonesome place, this artist depicts Chang’e meeting new neighbors and enjoying her new life there. (Picture courtesy of The Metropolitan Museum of Art)

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HUMILITY BEFORE THE ETERNAL MOON Perhaps people would not throw such grand celebrations had family reunions been easily achieved. As the famous Song Dynasty poet Su Shi expressed in his poem “Water Melody,” “Just as the moon can appear bright or dim, round or crescent, humans likewise experience joy, sorrow, reunion, or parting; we cannot always obtain all that we wish for.” On the nights of the Mid-Autumn Festival, people in different situations revere the moon in similar fashion, but with different emotions and wishes.

Literary works throughout Chinese history showcase different poetic visions of the moon and are often associated with folklore, such as the stories of Chang’e, Jade Rabbit, and the laurel tree.

CHANG’E. There are many versions of this legend.

One version goes like this: In ancient times, nine suns occupied the sky, setting fires on the land and putting the earth in serious danger. Houyi, the husband of a beautiful woman named Chang’e, shot down eight suns, thus rescuing the earth’s population from disaster. Though Heaven rewarded the couple with an elixir to become immortals, they spilled half of the potion while fighting against villains. After drinking the remaining half, Chang’e was lifted up and transported to the moon and thus became the lone fairy in the cold palace there.

mortal. His master banished him to the moon, where he had to chop down a laurel tree that automatically grew back as soon as he axed it. Only if Wu became a diligent Daoist could he pass this test.

According to legend, the fates of Chang’e, Jade Rabbit, and Wu Gang haven’t changed. No matter how many times the moon waxes and wanes, it also remains unaffected. Yet, over the ages, people have continued to impart their individual desires and emotions to the moon. Perhaps there is a lesson for us in these ancient legends. 嫦娥孤棲與誰鄰。今人不見古時月，今月曾經照古人。 古人今人若流水，共看明月皆如此。」（ 《把酒問月 · 故 人賈淳令予問之》）如他所寫，今夜之月正是年幼時的白 玉盤，那裡依然有白兔，仙人和桂樹⋯⋯。 ——據說，古時一隻森林中的兔子，為了救助飢乏 瀕死的修道人，甘願將自身投入火中化為一餐，天帝感 其心之精誠，將兔子畫在月輪上曉義後世。 ——據說，古代天空曾出現九個太陽，嫦娥助夫君 后羿射落其八，救生民於水火，卻因喝下了一半仙藥而 不得不在一個清冷的夜晚寂寞的向月宮飛去。 ——據說，伐樹的吳剛本是一位修道之人，因道心 不堅，師父罰其砍樹。吳剛每砍一斧，鬆神休息之際， 桂樹便自動癒合，只有當他克服惰性，道心堅定時才能 通過師父的考驗。 在無盡的時空中，在盈虧圓缺中，月恆久無改。白兔 未變，仙人未變，桂樹、吳剛亦未變。而塵世中的人們， 看見月的陰晴圓缺，有了難以釋懷的悲歡離合。正如玄宗

JADE RABBIT. There once was a forest rabbit who

willingly ran into a fire to save a dying Daoist monk from hunger. Its sacrifice and sincerity touched the Emperor of Heaven, who granted Jade Rabbit a place on the moon to honor its altruism.

THE LAUREL TREE. This tree was put on the moon

to temper a restless Daoist monk named Wu Gang, whose mind was not firm enough to become an im-

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一夢至廣寒，見天上奇觀，仙子起舞，只一念思凡即聖境 盡失。團圓之喜，思鄉之情，無盡之問，同一片月，不同 的人寫下了不同的心思。中秋一片月，引動萬載情。誠如 東坡一語， 「 不知天上宮闕，今夕是何年？」

月餅 Boasting a variety of flavors such as lotus seed paste, mixed nuts, and fruits, mooncakes are the signature dessert of the Mid-Autumn Festival. (Photo by shutterstock)

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ELITE CULTURE

The Chrysanthemum: Symbol of Strength and Resilience 華夏之菊蘊無窮

English text by Angela Feng | Chinese text by Cora Wang Pictures courtesy of the National Palace Museum

A

s the chill of autumn sets in, trees begin to lose their vibrancy, and plants begin to wilt. However, one particular f lower prevails—the chrysanthemum. While its surroundings fade away, defeated by the frigid winds, this resilient flower starts to bloom. Since ancient times, the chrysanthemum has been admired by Chinese scholars and literati, inspiring countless poems, stories, and artworks. Besides praising it for its beauty, they celebrated it as a symbol of vitality and tenacity.

入秋後，草木逐漸凋零，唯菊花不畏霜寒而綻，不似那 一夜春雨就打落的嬌嫩花兒。秋日之菊，覆霜猶燦，此 風骨自古為文哲志士所 欽賞。菊 花走 進 歷 代文人的內 心，從而讓菊花有形化無形，無形入有形，入文理、入 詩意、入畫境。無論以何種形式表現，菊花之美都不再 只是一抹稍縱即逝的生機，躍然而成一道生生不息的文 化底蘊。 淡泊之名 「 朝飲木蘭之墜露兮，夕餐秋菊之落英 」屈原《離騷》中 此二名句，則描繪出淡泊清貧的生活情貌，可見菊科植

HUMBLE ORIGINS One of the earliest instances of the chrysanthemum being referenced in poetry is in Qu Yuan’s famous poem Li Sao, composed during the Warring States period.

In it, he writes: “Dew from magnolia leaves I drank at dawn, / At eve for food were aster petals borne.”

Aster refers to the Asteraceae family of f lowering plants, to which the chrysanthemum belongs.

栽遍地可尋。然下句緊接「 苟余情其信姱以練要兮，長 顑頷亦何傷？」屈原表明，心存美好而過的儉貧，就算長 期面黃肌瘦又何妨？詩文裡的菊花尚未被賦予鮮明的意 涵，食菊亦非雅興，而是尋常的清苦之徵。 《本草綱目》載，「 菊之品凡百種，宿根自生，莖葉花 色，品品不同 」，種類繁複，開遍神州大地，並不以豔 奇著稱，自來以平實的樣態與人們朝夕相伴。如此平凡 的花兒，何以在浩蕩的中華文明裡留下耀眼的身影？

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鄒一桂 畫菊花 軸 This elegant chrysanthemum painting is one of Zou Yigui’s most celebrated pieces.

It depicts vibrant clusters of chrysanthemums amid lush green leaves and was painted with the “mogu” technique.

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Chrysanthemums were commonly used for medicine. In just a few lines, Qu Yuan conveys that what matters isn’t one’s wealth, but rather the purity of one’s one’s heart.

As the poem suggests, the chrysanthemum was a relatively unremarkable f lower, frequently used by the common people. In the Compendium of Materia Medica, a Chinese herbology volume written in the Ming Dynasty, numerous species of chrysanthemums were documented. One may wonder how such an ordinary plant acquired such cultural significance.

The chrysanthemum’s escalation in status didn’t occur until the Jin Dynasty when it was brought to prominence by the poet Tao Yuanming. Much of his poetry described his simple life of reclusion in the countryside. He often drew inspiration from the beauty and serenity of nature, with the chrysanthemum being a frequent motif. In one of his most famous poems, “Drinking: No. 5,” he wrote: “I pluck chrysanthemums under the eastern hedge, / and gaze afar towards the southern mountains.”

Yuanming’s poetry often evoked within readers a yearning for the simplicity of a pastoral lifestyle, away from the bustle of city life. As a result, the chrysanthemum became a symbol of seclusion and a life free of materialism.

時至晉朝，菊花因一位名士而聲明大起。據宋朝范大 成所作的《范村菊譜》有云： 「 名勝之士，未有不愛菊者。 至陶淵明尤甚愛之，而菊名益重。」淵明愛菊，舉世皆知。 東晉末年，素有田園詩人之名的陶淵明，身處動盪時局， 其著名的詩文構築了野逸的田園風光，在其天真自然的筆 觸下，菊花常伴左右。 其中最負盛名的一首，「 結廬在人境，而無車馬喧。 問君何能爾？心遠地自偏。採菊東籬下，悠然見南山。」 （《飲酒詩》其五）凝斂了人們嚮往田園生活的清逸閒情， 淵明以後，菊花淡泊隱逸的意象便深植人心。 隱士之操 清初短篇小說集《虞初新志》其中一篇為 〈花隱道人傳〉， 題寫之花，正是菊花。故事述寫一位名叫高巉的道人，家 道中落後棄商而專注求學。他的性格奇特，與一般士人 見識不同，也不願與儒生為伍。他不慕功名，克己修身， 仗義行俠，默默行善，四方賢豪都想認識他。然而，他感 嘆俗世的變幻無常，感知兵 禍將至，攜妻兒移居山湖之 中，逃遁亂世，日日與湖光山色為伴。一日遭逢水災，房 宅俱毀。歷經此事，他悟到，隱居何須買下一座山？「 古 之大隱，有隱市者，吾何為不然？」於是他就在鬧市之中 尋一東南隅，框地建宅，生活過得簡樸愜意。 他在家旁築牆圍地，種了 500 株菊，悉心照料，待 到秋至，菊花從含苞未放到爛熳滿開，「 其列也如屏，散 也如星，疊也如錦；其色如玉，如金，如霞，如雪⋯⋯」喧 騰鬧市中，人們慕名而至，或聞香而來。他敞開大門，讓 城民入院賞菊。人們不知園主大名，只見宅院匾額上題了 二字「 花隱 」，遂稱其為「 花隱道人 」。誰人道歸隱只能

A RIGHTEOUS HEART This characterization of the chrysanthemum can further be seen in literature, such as in the story Yuchu Xinzhi. Written in the Qing Dynasty, it tells the tale of a scholar named Gao Chan. He was viewed as peculiar by his fellow intellectuals, as he had no desire for fame or wealth, and was often at odds with the Confucian scholars prevalent at the time. Gao Chan kept a low profile, but was known by those close to him for his kindness and righteousness. He was always seeking self-improvement and frequently carried out good deeds in secret.

Gao Chan felt disillusioned by the fickleness of the world around him and longed for the freedom of the countryside. Thus, he decided to leave the tumult of the city and moved with his family to the mountains. For years, he lived a simple yet fulfilling existence among nature. All was well, until one day a flood suddenly destroyed his home. Once again, he was forced to consider the volatility of life.

在窮鄉僻壤？這位同樣愛菊的道人恰好印證了「 心遠地自 偏 」的逍遙。 這篇小說短而精煉，不僅在文末構築了一幅美好的 菊花園景，透過刻畫故事主角高風亮節的性格，將抽象的 人生哲理具象化，以其愛菊形象作結，更突顯了菊花的文 化表徵。似乎有菊的地方，就有遠離塵囂的放飛心靈。 清逸之態 秋菊歷來與春蘭、夏竹、冬梅並稱「 四君子」，是經典花 卉繪畫主題。清代有許多技藝超群的工筆畫家，讓一株株 神態各異的菊花躍然紙上。 談及清朝花卉名家，則不能略過惲壽平，《清史稿》 謂其畫風「 超逸 」，筆下有仙氣。自知山水畫技無以超越 王翬，不願屈居次位，遂轉而鑽研花卉寫生，畫風自成一 格。他還重拾了幾乎失傳的「 沒骨」畫法，這是一種捨棄 以細墨線勾邊的高超畫技，下筆後不能修改，極其考驗畫 家對色彩飽和、作畫程序等細節的掌控。 另一位清朝名家鄒一桂，曾學習惲壽平的畫風。《國 朝畫徵續錄》謂鄒氏擅工筆花卉，「 分枝布葉，條暢自如， 設色明凈，清古冶艷。」可知其在花卉型態的線條與色彩

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鄒一桂 畫金英秋實 軸 In this black-and-white ink wash painting, the chrysanthemum takes on a more solemn, sophisticated feel. It is depicted alongside citruses and melons, which symbolize virtue and literary talent.

惲壽平 畫菊花 軸 In this exquisite chrysanthemum painting, Yun Shouping uses a gradient effect on each petal, giving the flowers a vivid, life-like feel.

After some deliberation, Gao Chan realized that living a peaceful, idyllic lifestyle didn’t necessarily mean he had to retreat completely from society.

Therefore, he moved back to the city, found an empty plot of land downtown, and built a new home. In his garden, he planted 500 chrysanthemum bulbs. Once autumn came around, his garden was in full bloom.

Its beauty and sweet fragrance attracted visitors from all over the city.

Gao Chan opened the doors of his garden to the public, hoping to share his tranquil oasis with others.

的處理，細緻入微，風格清新妙美。鄒一桂還有一著作 名為《小山畫譜》，書中詳述創作花卉畫作的方法與要 領，闡述畫有「 八法四知 」，其中四知為「 知天、知地、 知人、知物」，須感四時、遵地異、識人育、格物理，不 單是用眼細察花兒形態，還得用心去感知天地人物的精 神，才得以繪出傳神的花卉。 其 中 一 幅 收 藏 於 臺 灣 故 宮 博 物 院 的 工 筆《畫 菊 圖》，以沒骨法畫葉，兼以雙鉤填彩法畫花瓣。這叢倚 石而生的菊花，錯落而飽滿，似有殘香溢畫，餘蘊無窮。 畫菊，花色不可重於葉色，此外，細密的花瓣中層遞的 色彩變化，使花兒更加生動立體。儘管有些花色不拒濃 │39

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鄒一桂 畫霜菊秋羅 軸 Zou Yigui impeccably captures the soothing feminine essence of the chrysanthemum in this painting through his use of gentle brush strokes and soft pastel colors.

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However, he chose to stay in the background, unknown to visitors. Guests remained unaware of the mysterious owner’s true identity, and referred to the garden by two words on the sign near the door—“Hua Yin,” meaning “hidden in the flowers.” This story demonstrates the upstanding character of Gao Chan. His love for chrysanthemums contributed to the f lower becoming a symbol of righteousness as well as a sign of seclusion and simplicity.

GRACE AND PURITY In Chinese art, the plum blossom, orchid, bamboo, and chrysanthemum are known as the “Four Gentlemen.”

They are the most common subjects of traditional ink wash paintings. Artists were attracted to them not only for their beauty, but also because they symbolized uprightness, purity, and perseverance. Throughout the Qing Dynasty, the chrysanthemum, in particular, served as the muse for many talented painters.

One of the most famous artists of the Qing Dynasty is Yun Shouping. He is regarded as one of the “Six Masters” of the Qing period, and his works were known for their vibrancy and expressiveness. He repopularized the “mogu”—also known as “boneless”— painting technique. This skill is particularly difficult to master, as there are no outlines, and brush strokes are made directly in either ink or color. Though it is challenging, the resulting artworks are exceptionally beautiful, ast the technique captures the essence of a scene or object.

Another famous Q ing Dynasty painter is Zou Yigui, who started out as a follower of Shouping’s style. He was an artist for the imperial family and was known for his meticulous eye for detail, especially in his stunning flower paintings. In his book Xiao Shan Hua Pu, he explains the methods and techniques needed to improve one’s landscape and flower compositions. According to Yigui, being a good artist is not just about having skills. One must truly understand and be in tune with one’s subject. This means not only appreciating the beauty of the flowers, but genuinely feeling the essence of nature on a deep level.

One of Yigui’s most celebrated chrysanthemum paintings is currently on display at the National Palace Museum in Taiwan. It depicts vibrant clusters of chrysanthemums blooming amid lush green leaves, and was painted using the mogu method. By painting each petal with a soft gradient effect, Yigui gives the flowers

錢維城 畫洋菊 軸 Qian Weicheng was one of the leading landscape and flower painters of the 18th century. In this vibrant and detailed painting, he illustrates five different types of chrysanthemums.

a vivid, three-dimensional feel. Looking at the painting, one is filled with a sense of peace and comfort.

As the autumn leaves start changing color, and cold winds have a sharper bite, the aromatic scent of the chrysanthemum will once again fill the air. With thousands of years of rich cultural history, the chrysanthemum is much more than just another pretty flower.

This autumn, take a page from the books of the ancient Chinese literati: Brew yourself a cup of chrysanthemum tea, sit by a window with a view of the changing landscape, and enjoy some traditional poetry. 豔，卻又透著高潔的風骨。觀菊畫之神態紋理，不僅能 感受自然界的野趣，更有一種曠然與舒心。 春秋更迭，循四時之跡，品大地韻理。一叢路旁盛 開的繡球菊，孰料經過數千年來的積澱，除了如昔的亮 麗，更有悠遠而深刻的文化況味。黃曆九月，不妨依循 古人的雅興，或簪菊詠詩，或賞菊作畫，或沏一壺菊花 茶啜飲，皆為細品秋日之上選。 │41

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ELITE CULTURE

THE OLMSTED LEGACY A Core Belief in the Inherent Goodness of People and Nature 樹說百年光影 構築未來風景 ——奧姆斯德的景觀世界 English text by Angela Feng | Chinese text by Cora Wang Pictures courtesy of Central Park Conservancy

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S

unlight filters through the branches of billowing trees. A cloudless cerulean sky and a warm breeze make it a perfect day for an outing.

Throughout the park, couples, families, and friends sit in groups of twos and threes, enjoying the last remnants of summer. Amid this peaceful oasis, you can almost forget that you are in the center of America’s biggest metropolis.

“Every day, millions of people wander through Central Park. … They never think about someone going through the process of designing these places,” said Lucy Lawliss, co-chair of the National Association of Olmsted Parks in an interview with Elite. “We forget that these aren’t just little random pieces of nature that the city left behind.”

The birth of Central Park in the 19th century had a profound impact on the landscape-design industry.

Frederick Law Olmsted, one of the primary architects, became known as the father of American landscape design. His remarkable legacy also includes Prospect Park in Brooklyn and Biltmore Estate in Asheville, North Carolina, among hundreds of other projects.

Olmsted’s work was motivated by a commitment to providing visually compelling and accessible green space to people of all economic backgrounds. He believed in the restorative and healing power of nature, as well as its role in promoting a stronger sense of community, especially in urban areas. His views are especially relevant today as we cope with the COVID pandemic. While indoor gatherings are considered unsafe, people are turning to the outdoors to connect with friends and family members. Places like Central Park provide people with a safe space to unwind and get fresh air.

午後的陽光在林間灑落，大樹骨感的枝影如扇，站在鐵 鑄的哥德式橋邊上往下一望，有蜿蜒的小徑，也有隨湖 岸延伸的清翠綠地。人們三三兩兩，或坐、或躺、或緩 行於隨風顫動的光影之間，而在湖畔的彼端，卻有高聳 入雲的摩天大廈，忽然意識到自己身處喧囂繁忙的都市 之中，眼前這片景緻的愜意，顯得不可思議。而這一道 不經意瞥見的美景，其實不是偶然的幸運。 「 每天有數以百萬計的人們造訪中央公園、展望公 園以及芝加哥等地的公園，但他們卻從未想過，這些景 觀是經誰人之手而完成的作品⋯⋯」美國國家奧姆斯德 公園協會（National Association Olmsted Parks）的 聯合主席 Lucy Lawliss 接受本刊專訪時表示，那些看 似渾然天成的美景，實則是精心打造的「 藝術作品 」。

EMBODYING AMERICAN VALUES Central Park was the first urban landscaped park in the United States. The idea for establishing a large green space in New York City was proposed initially in the 1840s. However, construction didn’t begin until 1857, after Olmsted and his co-designer, Calvert Vaux, won the rights to the project through a park-design competition with their proposed Greensward plan.

The project spanned nearly two decades and cost $10 million. It wasn’t officially completed until after the Civil War, in 1876.

19 世紀中央公園的誕生，為美國景觀設計領域帶來 深遠的影響。擔任中央公園景觀建築師的弗雷德里克． 奧姆斯德（Frederick Law Olmsted）歷來被譽為「 美 國景觀設計之父 」，他與其事務所的設計遍布北美，為 美國的景觀設計奠定了文化精神。

Top: Beginning in 1857 with the design for Central Park in New York City, Frederick Law Olmsted went on to become known as the father of American landscape design.

Left page: Central Park provides lovely vistas even during a brief stroll. (Photo by ELITE Lifestyle Magazine)

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Central Park’s more than 800 acres of beautifully sculpted greenery can almost make you forget that the park sits amid America’s biggest metropolis.

Nearly all of Central Park was built by hand. The only machine used through the entire process was a rock crusher.

“It’s amazing to me because of how little of our work today is done by our own hands,” Lawliss said. Thousands of men worked for hours every day, grinding rock formations into walkable roads.

Central Park was built upon land that was especially difficult for construction of any kind. It had been chosen because of its rockiness, which made it unsuitable for commercial buildings.

Transcendentalism was a core concept in the creation of Central Park. Developed in the United States in the 1830s, the philosophy is based on a core belief in the inherent goodness of people and nature.

“In this country, nature has been a theme from the very beginning,” Lawliss said. Olmsted had traveled

美國學者查爾斯．貝弗里奇（Charles E. Beveridge） 花了逾半世紀時間，致力研究奧姆斯德其人與職涯。他 認為，奧姆斯德的景觀藝術是「 為了與人們深層的內在 需求相遇 」，透過外在的精心設計，引起內心深處的共 鳴。至今，我們仍能循著那些優美經典的設計，與大師 對話，細心品味他藏在風景裡的珍貴訊息。 用設計體現美國價值 1857年紐約的「 草坪計畫 」比賽中，奧姆斯德與卡弗 特． 沃 克 斯（Calvert Vaux） 的 設 計 獲 得 首 獎， 遂 著 手執行中央公園內部建設，直到南北戰爭結束後的1876 年，公園開發工程才正式告終。戰後的美國社會，面對 國家建設亦展開多元角度的反思與實踐。 奧姆斯德在戰爭爆發前便主張廢奴，宣揚人權之平 等，而公園正是可以創造人人共享的空間，無分種族、 階級，為都會居民提升生活品質。公園社交禮儀將潛移 默化，發揮文明教化作用，在享用公共空間的同時，也

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Throughout Central Park, couples, families, and friends sit in groups of twos and threes, enjoying the last remnants of summer.

throughout Europe and spent time studying many European cities. He observed that while they had many well-designed piazzas, historic cathedrals, and beautifully paved streets, their designs consisted mostly of hardscape—there wasn’t much nature.

Olmsted viewed the Central Park project as an opportunity to make nature an essential part of the American experience, even for those living in big cities. “He’s saying that our democracy would be based on setting aside places of nature for everybody—that this is what would make America distinct,” Lawliss explained. After the successful establishment of Central Park, other cities in the United States began deliberately leaving green spaces during their development process, leading to an urban landscape model that would endure for generations.

是一場無形的公民化運動。此外，19 世紀的美國社會 盛行超驗主義（Transcendentalism，又稱美國文藝復 興 ），其中對於「 回歸自然 」理念尤其重視。 奧姆斯德曾造訪歐洲，並細心體察多座城市。他發 現彼時的歐洲城市，充斥著精心設計過的街道、教堂、 建築，土地已受人為充分開發；這讓他意識到，美國那 些尚未被過度開發的自然環境，成了獨有的優勢。 Lawliss 告訴我們，奧姆斯德主張那些開發中的美 國城市「 不應將自然排除在外 」，因為他很清楚人們必 須與自然共存，「 他說，我們的民主建立在為每個人的 保有自然的基礎之上，這將使美國與眾不同。」在中央 公園成功樹立典範後，美國多座都市在開發過程裡，有 意識地留下綠地，塑造了世代傳承的都會地景。 看見未來——等待的藝術 「 不似建築物，它最完好的時刻是在建成的那一天，全新 的；但是景觀設計，卻可能要花上數十年才能看見其應

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A GLIMPSE INTO THE FUTURE Landscape artists face the challenge of maintaining a balance between artificial and natural elements.

“You don’t have one without the other,” Lawliss said.

It’s important to make sure a park doesn’t look overly polished and manufactured, but at the same time ensure that it doesn’t look unkempt. The organic and synthetic elements need to come together in tranquil harmony, thus enhancing your experience of both.

Landscape architecture is also unique in that you often have to wait decades—if not centuries—to see a place the way the designer intended it to look. At the time of the park’s 150th anniversary, many people noted that the park looked closer to Olmsted’s vision than it did when it was first completed. The small saplings planted back in the 1870s had transformed into sturdy, towering oaks.

“As landscape artists work with living materials, we have the ability to see the future in a way that architects and other artists don’t,” Lawliss said. “We have to be willing to wait and say, ‘Yes, I am going to plant that little seed, and someday that seed will be a giant oak tree.’” In an age when technology can make everything instantaneous, and people desire immediate results, landscape design recalls an earlier tradition.

THE BEAUTY OF CENTRAL PARK Using seemingly endless green lawns, undulating rock formations, and winsome flower fields, Olmsted created a stunning new landscape out of what was previously just rocky terrain. Central Park has many iconic features, such as its transportation network.

Various modes of transportation can pass through Central Park unimpeded: horse-drawn carriages travel gracefully along the roads, special bike paths allow cyclists to travel with ease, while pedestrians can stroll along the park's many paths.

Central Park’s beauty, as well as its many amenities, could not exist without constant maintenance.

Take, for example, Belvedere Castle. The fairy talelike landmark, built in 1867 had deteriorated over the years. The Central Park Conservatory renovated the structure for the first time in 1983 and turned it into a nature observatory. In 2018, it was closed once again to undergo extensive restoration. The stunning structure has been a beloved playground for generations of New York families, and it stands today in its original majesty.

The Central Park Mall in 2019 (top) compared to 1923.

Though New York City has changed drastically in the last century, Central Park remains a comforting constant.

有的面貌。」Lawliss以中央公園為例說明，2008年公 園在慶祝落成150週年之際，人們都在說，「 它比過往任 何時刻都像它應該擁有的樣態 」，當年紐約人親手栽下 的小樹苗，已茁壯成蔭，這些生命經歲月的積澱後，迎 來了它們最美麗的模樣，這正是景觀設計的美妙之處。 「 你是和活生生的素材打交道，那才是地景的真實 面貌，」Lawliss 說，「 我們必須等待，並肯定：『 對， 我們就是要種下那小小的種子 』，有一天它會長成大橡 樹。然後我們必須花費數年的時間照護它，直至它長成， 否則一切將無法實現。」在渴望立即成效的現代，景觀 設計卻反其道而行，因其真正的藝術性，交織於縝密的 構思與耐心的守候。 「 他們能預見他們未曾見識的樣貌 」，Lawliss 讚 賞奧姆斯德等傑出的景觀設計師，他們彷彿有「 預見未 來 」的能力，在一切成真前，就已能看見所有努力終將 構成一幅動人的景致。 │47

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In the midst of the COVID pandemic, outdoor spaces like Central Park have become more important than ever, as they provide people with a safe space to unwind and get fresh air.

Though New York City has changed drastically in the last century, Central Park remains a comforting constant. It coexists with the towering skyscrapers, and has established itself as one of the most prominent symbols of the Big Apple. In the midst of the hustle and bustle of the city, Central Park provides a relaxing retreat.

According to Lawliss, visiting Central Park is one of the best ways that outsiders can experience New York City. “I think that is one of the greatest experiences New York has to offer, because it is sort of a crossroads of all kinds of people—tourists and natives, the young and old,” she said. With his original vision, Olmsted seems to have transcended space and time. People from all backgrounds and walks of life gather in the park’s sprawling green space, sharing joy and laughter.

Lawliss 也談到，一名優秀的景觀建築師，必定會將 自然元素作納為首要考量。至於人為建設與自然元素如何 保持平衡，她則告訴我們，所謂景觀設計，就是「 讓兩者 相互結合，你不需要擁有其中一方而失去另一方，而它們 彼此間還有相互增強的作用。」因應時代的迅速發展，透 過景觀設計師們的努力，剔除野生的粗獷，讓自然變得優 雅親近。 「 穿越時空 」代表作——中央公園 一望無際的綠色草坪，高低起伏的層層岩塊，不同風格的 四季植披；有別緻的拱橋與湖泊相輝映，有精心打造的祕 密花園，有寬闊筆直的林蔭大道⋯⋯左臨湖畔，右傍緩坡 草坪，貫通高低路線的隧道與連結左右的橋梁，當所有元 素相聚，置身任何角度，都能擁有一片賞心悅目的風景。 中央公園裡有許多無可取代的經典設計，至今仍一 再地被運用，例如公園內部的交通運輸網。透過高低的變 化，不同建材的路線安排，使各種交通方式在公園內通行

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Belvedere Castle recently underwent a restoration process. The stunning structure, reminiscent of fairy tales, has been a beloved playground for generations of New York families.

無阻：馬車優雅地在路中行走；單車在專道上愜意行進； 行人漫步於高低錯落的小徑。

Lawliss 說，造訪中央公園是身處紐約最棒的體驗 之一，「 因為這裡就像是個族群的十字路口，匯集了遊

「 這 些 被 創 造 出 來 的 美 好 景 觀， 若 沒 有 獲 得 相 應

客、居民、家庭以及老幼 」奧姆斯德似乎早已超越時空，

的幫助，將不復存在 」，Lawliss 強調，景觀設計十分

看見他親手打造的綠地之上，有各色人群在此相聚，他

仰賴長期的悉心維護。以奧姆斯德當年精心打造的一

們在綠油油的草坪上恣意談天、嬉戲，與鳥語相依，與

隅 為 例 —— 公 園 內 童 話 般 的 眺 望 臺 城 堡（Belvedere

樹蔭為伴，與松鼠為伍，與遠處的風景共同勾勒出他心

Castle），隨歲月與社會動盪歷經風霜，曾遭縱火及人

目中最美好的畫面。

為破壞。在上個世紀就曾關閉整修，數十年後，當代 建築師與學者們經過一磚一瓦的考究，反覆構思重建計

註1：該著作名為《A Clearing in the Distance: Frederick

畫，嚴謹選用建材補強建築本體，終於在 2019 完成修

Law Olmsted and America in the 19th Century》1999

復工程。「Belvedere」一字源自意大利，意思為「 美麗

年出版。

的風景 」，在今人的努力下，守護了這道最初的美意。 Lawliss 還 分 享 了 她 在 閱 讀 建 築 師 Witold Rybczynski 的著作（ 註 1）時，令她印象深刻的內容—— 中央公園的開挖工程幾乎是靠人力完成，巔峰時期共有 3,600 人參與。這項於 19 世紀完成的巨大工程，幾乎 都是倚靠原始的勞動力，一點一滴地完成。 或許正因如此，中央公園裡的景色溫潤而自然，饒 富生機，似乎也讓人更能體會，為何它能擁有歷久不衰 的經典美感。百餘年來，無論都市如何迅速發展，它能 與高聳入雲的摩天大樓共存，與世無爭而生生不息，成 為紐約最引以為傲的象徵地景。

Olmsted Parks (NAOP) is a coalition of design and preservation professionals dedicated to preserving and furthering the Olmsted legacy. On April 26, 2022, NAOP will be holding the Olmsted 200 event to celebrate the bicentennial of the birth of Frederick Olmsted. It will be a coordinated national and local celebration, bringing together supporters and experts from all over the world to explore the many ways in which Olmsted’s values are relevant to 21st century America. For information, see Olmsted.org.

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ELITE PEOPLE

MICHAEL SULL: THE BEAUTY AND PERSONALITY OF HANDWRITING 美國書寫體國寶級大師邁克‧索爾 ——手寫之美與溫度 English text by Catherine Yang | Chinese text translated by Ivy Tseng Pictures courtesy of Michael Sull

邁克．索爾（Michael Sull）擅長書寫史賓賽英文書法 （Spencerian script），這是一種在 19 世紀中至 20 世 紀初，於美國使用的正式商業與文化用的手寫字體，這 項文化已流傳百年。 40 多年來，他透過書寫他人的名 字，推廣這種筆法，展現書寫自己名字的美好。 他說：「 因為有很多人不會寫自己的名字，他們隨 意塗寫自己的名字，當你恣意筆劃自己的姓名，也是 不尊重自我的表現。我想說的是，你的名字是自己從 出生就擁有的身份識別，因此應當寫好它。如果你能 寫好自己的名字，會受到欽賞，人們會認可你是文化 人，因為你很注重自己的身份。他還能展現出你的教 育水準，一種身分的象徵。如今卻沒人會如此思考， 這是很可惜的事。所以我很喜歡告訴對方，他的名字 其實多麼的美。」 當人們面對面在交談時，感覺像是百萬個小訊息 在彼此間傳遞。有時會覺得在這些感覺很難透過文本傳 遞，但那是因為你不知道如何真正地進行書寫。漂亮的 史賓賽字體，是一種富有自然精神以及保有自由與優雅 空間的字體，他可以透過手寫捕捉與表現人們在語言裡 的各式情緒。索爾對於書寫的熱情，為他創造極大的 啟發。他說：「 你必須要有一點瘋狂才可以做到我做的

THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.

O

ne of master penman Michael Sull’s favorite things to write is people’s names.

“Because so many people can’t write their names! They scribble their names. You scribble your name, you’re showing a lot of disrespect for yourself. I mean, your name is your most personal form of identification. You’ve had it since you were born. And you should write it well,” Sull said.

“In the old days, if you wrote your name well, you were really admired; people could tell if you were a cultured person, that you cared about who you were, it showed about your education, there was a sense of identity. Today nobody thinks about that, and it’s a shame.”

“So I love to show people how beautiful their names are,” Sull said.

Sull is credited with the revival of Spencerian script—cursive handwriting—rescuing the American style of writing from near extinction.

“There have been hundreds of times—I’ve been doing this for over 40 years—when I write people’s

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Sull’s penmanship greets students at the Platt R. Spencer elementary school in Geneva, Ohio.

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Left: Sull wrote this message for his students and friends this past spring, adding on social media: “As we shoulder the coronavirus pandemic in our own way, I constantly have warm thoughts for each of you—your kindness to me, your enthusiasm for penmanship and the joy I get from teaching you.

During this time, I wish you the best of health for you and your loved ones, and offer the following to you.”

Right: Master penman Michael Sull.

names and tears come out. And it’s not me; it’s just this style brings that out because it shows them how beautiful handwriting is, how beautiful their name can be, and nobody does it anymore,” Sull said.

When you converse in person, there are a million little visual cues to take in, Sull said. And you might think that’s lost in text correspondence, but it’s not if you know how to really write. The beauty of Spencerian script, with its nature-inspired curves and room for freedom and embellishment, is that it makes handwriting the act of translating your human thoughts and emotions into visible language.

Sull’s own great passion for handwriting has inspired a movement, to his delight.

“You’ve got to be a little crazy to do what I did, you know. I wrote a 600-page book, and when I was done,

事情。我曾寫了一本 600 多頁的書籍（《Learning to Write Spencerian Script》，又譯作《史賓賽聖經：美 國國寶級書法大師教你寫一手最正統的優雅美字》），完 成時也負債了 10 萬美元並且宣布破產，但是我並不在 乎，因為這對我來說並不重要，錢生帶不來、死帶不走。 但由熱情所開創的一條路，當旁人看見並受此影響時， 這一切也會成為你生命的一部分。」 他在努力耕耘後，結出了果實。比如說招收學生， 或者透過社交媒體，把作品帶給世界各地，目前這個社 群持續成長中。人們很喜愛這傳統的手寫字體，即使不 是英文母語的使用者，也會被打動，他的著作還被翻譯 成中文——這個與拉丁文使用者相差許多的文化群。 被遺忘的字體——史賓賽字體 很少人會花時間去思考，人們與手寫文字間的歷史，因 為這很自然地存在於我們的生活中，索爾比喻： 「 就像

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I was $100,000 in debt and had to declare bankruptcy. And I didn’t care, because that wasn’t important to me. Money comes and money goes,” he said.

“And yet, that’s the way your passion really drives you to do these things. And people see that, and it’s catching. They become part of that with you, and then it enters their life.”

His one-man mission slowly bore fruit. Sull took on students, who then took on students, and now with social media, his work has spread all around the world in an instant, and the interest is only growing. People find so much beauty in this traditional handwriting style that they are brought to tears, even in places where a different language is used. Sull’s book has been translated into Chinese, for instance, which has nothing resembling Latin letters.

A FORGOTTEN SCRIPT Few people spend time considering the history of the mechanics of handwriting. After all, it seems to come naturally to us.

“Just like nobody writes a book about how to brush your teeth, it’s such a commonplace activity,” Sull said.

Sull’s mother had beautiful handwriting, and as a secretary, she wrote everything by hand until the advent of the typewriter. But Sull himself didn’t do much writing until after college and after the Navy. He couldn’t find a single book that taught handwriting, but in the 1970s, calligraphy became popular, with guilds popping up all over the country.

“I became involved in that, and I really enjoyed it a lot,” he said. But at the time, calligraphers across America were writing in European styles, following in the styles of a few famous English and other European type creators. In grade school, students would learn Palmer-style cursive, which was adapted and simplified from Spencerian script.

“Everybody forgot about American penmanship, and most of the old masters were gone, passed away,” Sull said.

He had a stroke of fortune—being in a calligraphy guild led to meeting one of the last living master penmen.

“His name was Paul O’Hara; he was born in 1880.

When I met him, he was 90,” Sull said. O’Hara was a master from what is considered the Golden Age of penmanship and studied under the master penman

Sull wrote this for National Handwriting Day on Jan. 23, 2014: “Handwriting is the intimate expression of emotions, wishes and dreams made visible on paper. Through this personal medium we have the privilege of sharing our Humanity with everyone, or with no one one at all. It is an intensely private occupation that can never be exactly duplicated yet always reveals a glimpse of the writer’s soul.”

也很少人會去寫如何刷牙？因為這是一件很日常的事。」 他的母親是一位祕書，寫了一手好字，直到打字機問世 前，她可以書寫任何文件。而索爾是在大學畢業與入伍 海軍後，他才開始練習書寫，但在當時他找不到一本教 手寫字的書籍，直到1970年代，相關社群才開始流行。 但當時美國所流行的是歐洲型態字體，比如在學 校 裡， 學 生 學 習 帕 爾 默 式（Palmer-style） 的 英 文 書 法字體，是史賓賽字體簡化改編而來。「 大家都忘了美 國式的筆法，許多年邁的英文書法家過世後，這種文化 就慢慢消失了。」他因緣際會下擁有一筆財富，因為參 加公會，認識最後一位在世的高級製筆師。「 他的名字 是 Paul O'Hara，生於 1880 年，當我們相識時他已 90 歲。他生於英文手寫字的黃金年代，並且師從 Charles Paxton Zaner， 他 是 美 國 知 名 專 授 書 寫 的 札 納 爾 學 院 的 創 辦 人（ 現 已 改 名 為 札 納 爾 公 司 Zaner-Bloser Company）。另外，也認識了一位出生於 1913 年的紳 士 David Fairbanks，他可以全神貫注地手寫製作一些 很重要的證書。當他們相遇時，已經有 50 年沒有人與 David Fairbanks 討論筆法的事，所以他們一起探討許 多事，包含美式英文書法的歷史與故事，索爾因而從中 領會到：美式英文書法確實非常獨特。

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Left: There are days which occur in my Garden wherein the World reaches Perfection—when the Soil, the Green Plants, Bright Flowers, the Sun and Air bring forth a special Harmony. It is as though Everything that has Life breathes with Satisfaction and Promise, and fills me with Peace. —from Ralph Waldo Emerson Right: A quadruple twister “O” in ornamental penmanship penned on John Neal deluxe lined black paper.

Charles Paxton Zaner, who founded the Zanerian College of Penmanship (now the Zaner-Bloser Company).

“And there was another gentleman; his name was David Fairbanks. He was born in 1913, and he was a master at engrossing, which is doing those big fancy certificates.

“No one had talked to him about penmanship, when I met him, for 50 years. So I renewed his interest in it; it was something he loved very much.

“He told me about the history and the story of American penmanship. … He taught me this beautiful style of penmanship,” Sull said. “American handwriting is really, really unique.”

一切奠基於自然 「 史賓賽字體 」筆法的奠基者Platt Spencer，是一位浪漫 主義者。他出生於1800年的紐約，喜歡長時間在森林與流 水旁，這些從自然領略到的愛與美，是他最重要的指引， 如上帝般引導著他。史賓賽字體無論在運筆、字體間的比 例、彎曲度等都與眾不同，這些元素都來自大自然。 平常的英文字體較為制式，比如說《獨立宣言》所使用 的字體，每個字的表現形式是統一的。但是史賓賽字體可以 展現一個人的個性，他從青年時期就開始教授筆跡，這種美 麗又充滿個人化的風格便成為經典。這是一種允許人們單獨 練習寫作的字體，每一次都會思考如何可以寫得更好看。 從南北戰爭開始至打字機的發明，美國的歷史紀錄都 是手寫文字，而且大多都是史賓賽字體。隨著時間流逝，史 賓賽字體又被轉化為其他更簡易的版本，比如 D'Nealian、 Zaner-Bloser、Palmer，或者是類似「 印刷 」字體的各類

A STYLE BASED ON NATURE Platt Spencer was a Romantic. Born in 1800 in a small New York village, he spent his time surrounded by dense forests and by the water. Spencer developed a great love for the beauty of nature, to him a creation of God.

樣態，雖然它們都還是帶有一點英文書法的元素。 如今在學校裡，我們鼓勵塗鴉，但是卻忘記了這項手 寫的技藝，不再重視它。但諷刺的是，這些為了效率所做出 的改變，卻讓書寫者的手感到不舒服，包含背部、手臂的疼 痛與抽筋，也影響了讀者的易讀性。史賓賽字體的運作核心 是手的握力，包含姿勢與手臂間的力度要平衡。

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The Spencerian script is distinct in its sense of movement, curvature, variety, and contrast—elements he gleaned from nature. The English scripts in use— what the Declaration of Independence was written in—were uniform and by comparison rigid; in this style, everyone’s handwriting is the same. Spencer’s script allowed for individuality and personality to shine through. He began teaching handwriting while still a teenager, and the beauty and personality of this style made it a widespread and enduring one.

“It allowed people to write individually yet have a reference for how to make it look nice,” Sull said.

From the Civil War up to the typewriter, our story is all handwritten, and primarily in Spencerian script.

Over time, others would modify Spencerian script into more simplified versions of American cursive with different methodologies, such as the D’Nealian cursive style, Zaner-Bloser cursive, the Palmer method, and something between cursive and “print” with detached letters that still resemble the cursive style. Today, few schools teach cursive at all; we hunch over and scribble, and then dismiss handwriting as inferior.

Ironically, the changes we have made for efficiency’s sake come at the cost of aches and pains—not just writer’s cramp in your hand, but the subsequent leaning over your work, and the arm and shoulder, and even back pains. Legibility then suffers too.

Spencerian script, on the other hand, requires for many a change in grip, how you hold your arm, and your posture.

that this kind of writing was a free form that just anybody did, there was no discipline to it. But they were wrong. There is quite a bit to it.”

Sull decided to start his own program, a weeklong course on the shores of Lake Erie, where Spencer lived. He directed it for 26 years, later handing it on to co-director and protégé Harvest Crittenden who still conducts his week-long course “Spencerian Saga” today. Sull finished his 600-page, two-volume book in 1989 and went back to give the first copy to his teacher, who was then 101 years old.

“It was very emotional. He certified me as a master penman and passed away six months after that,” he said. “So ever since then, it’s been my goal to bring back our heritage of American penmanship.”

Part of being a master penman is making a commitment to teach, and Sull has been to nearly 40 states and 20 countries where people continue to be awed by this beautiful style of writing.

“It’s not me, I’m just the storyteller,” he said. “That’s how much people really admire this American penmanship that everybody had just forgotten about. 說故事的人 從1980年 代 中 期， 索 爾 多 次 向 國 際 書 法 大 會 （International Calligraphy Convention） 申 請 史 賓 賽字體，但一直被否決。他說：「 這是我們歷史的一部 分，所以我決定帶著這個巨大的任務前行，建構美式英 文書法的架構，要把這個筆法與記憶找回來，這本書 （《Learning to Write Spencerian Script》）是目前美 國最全面的筆法書。」有人說牛仔文化應當為美國代表，

THE STORYTELLER In the mid-1980s, Sull applied several times to the International Calligraphy Convention to teach Spencerian script, and got rejection after rejection.

“It’s part of our history, so I became a one-man mission to write the biggest, most comprehensive book on American penmanship that has ever been done, so that it would bring it back,” Sull said. There were three books Sull could find that mentioned Spencer, and one of them said Spencer was English. Sull was determined to bring the script back, because if people only knew about it, he was sure they would love it.

“They said, ‘That’s just cowboy lettering,'” he said.

“Cowboy in that term means a sense of individual freedom. Cowboys are known to do what needed to be done, they don’t stand on ceremony, so it was thought

而他回應牛仔文化的核心是自由，有的人會誤會牛仔什 麼儀式都不用遵守，以為這種方式很自由、不用紀律， 但事實上有許多紀律要學習。 索爾經營自己的事業已超過 26 年，每年花超過一 週的時間在史賓賽生活過的伊利湖旁教學。近期這項 教學工作傳給了共同創辦人 Harvest Crittenden 授 課，至今仍持續維持為期一週的「 史賓賽傳奇 」課程。 索爾除了推廣教育外，他造訪將近 40 幾個州以及 20 幾個國家，所到之處，人們也都被這種美麗的字體所 吸引。 索爾完成自己的第一本巨作後，將之交給當時已 101 歲的老師。他說：「 這是一件讓我很激動的事。證 明我是正式英文書法家之後的，6 個月，他便去世了。 從那刻起，我就把推行美國英文書法當成我的責任， 我只是一個說故事的人，讓人們欣賞這種已被遺忘的 美式英文書法。」

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ELITE HEALTH

Dr. Hu’s Health Corner

THE MIRACULOUS CONGEE 食在「粥」道 名醫講解治百病的粥品養生方 English text translated by Minghui Wang Chinese text by Dr. Hu Naiwen Dr. Hu’s Health Corner, translated and edited for clarity with permission of NTD Television.

F

or millennia, Chinese people have relied on natural foods to strengthen immunity. This becomes especially necessary during the autumn, a drier season that’s known to trigger seasonal illnesses. Since ancient times, traditional Chinese medicine has offered us an excellent preventative— congee. Often known as rice porridge, congee is praised for its effectiveness in improving health, and has a reputation as the world’s best supplement.

秋季進補，粥品是為上選，「 烹穀為粥」乃中國歷史悠久 的飲食文化，早在《禮記》等古籍中就出現相關記載。然 而，你是否知道一碗粥就能治百病，還有美白、補血、延 年益壽的功效？甚至還有「 天下第一補物」的美名。一碗 看似平凡的食物，其實大有學問，可別小看這道天賜的 食糧。 濃米湯奇效 烹煮米粥最上層的米湯就是「 濃米湯」，濃米湯不僅可治 咳嗽還有很多功效，本文就來一探各色粥品有何助益？ 「 濃米湯 」補養人體的功效可媲美參湯，且經濟又 實惠。當米熬成粥時，最上一層的濃米湯會有「 米油 」， 即最上一層薄薄的油脂，就是粥的精華。按中醫講法， 這層米油具有「 益氣、養陰、潤燥 」之功效。清朝中藥學 家趙學敏的《本草綱目拾遺》有載，「 其力能實毛竅，最 肥人⋯⋯ 越醫全丹若云：黑瘦者食之，百日即肥白，以 其滋陰之功，勝於熟地也。」 此段文意為：米油能使皮膚光滑細嫩，具美容功效。 不僅如此，還能讓人長得壯實，尤其是營養不良的人吃

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了之後，大約百日，就能夠養得又肥又白——肥謂壯實， 白即美容。它的滋陰效果比中藥材「 熟地 」還要好，而 「 熟地 」就是「 地黃 」經過九蒸九晒的補益良藥。 清代名醫王士雄有一本著作《隨息居飲食譜》，其 中穀食類篇寫到： 「 貧人患虛証，以濃米飲代參湯，每收 奇績。」如果是貧窮人家體瘦虛弱，又沒有錢買參湯補

【About Dr. Hu】Currently a professor at Nine Star University of Health and Sciences in Sunnyvale, California, Dr. Hu Naiwen was previously a pharmacological researcher of Western medicine in Taiwan. He was also the director for traditional Chinese medicine clubs at numerous Taiwanese universities.

身要怎麼辦？熬一碗濃米湯來代替人參湯，也能有奇效。 五穀養人身 中醫經典 《黃帝內經》中 〈藏氣法時論〉載： 「 五穀為養，五 果為助，五畜為益，五菜為充。」意思是說，人的身體最 主要的是補充五穀，吃五穀才能夠養人的身體。

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A SPECIAL PORRIDGE THAT DOES WONDERS When one boils rice for congee, a translucent layer of thick liquid forms on top, producing the “soup” of the grain. The liquid has been proven effective for clearing coughs and restoring energy, along with many other benefits. On the uppermost layer of this soup is a thin sheet of “rice grease,” the essence of the congee.

According to traditional Chinese medicine studies, this element is capable of improving energy circulation, nourishing the organs, and clearing internal blockages. In general terms, this is called replenishing the yin, or the vital essence, of the human body. Congee grease possesses yin-nourishing effects unmatched even by medicines such as Rehmannia, a well-known natural treasure made through a meticulous process of steaming and sun-drying the herb.

In the records of The Collection of Compendium of Materia Medica by Zhao Xuemin (1719–1805), congee grease also boasts cosmetic effects, smoothing one’s complexion and strengthening one’s physique.

According to Zhao Xuemin, if a malnourished person eats congee grease, these effects will be evident within 100 days.

While its significant nutritional value and curing power are comparable to those of ginseng soup, congee’s readily accessible and budget-friendly ingredients have made it a more popular choice as a source of nourishment for thousands of years. According to the records of Wang Shixiong, a reputable Chinese physician of the 19th century (the Qing Dynasty), congee achieved miraculous health effects for the less-affluent families, who commonly used it as a substitute for ginseng soup.

THE INDISPENSABLE GRAINS The Chinese medical classic Yellow Emperor’s Inner Canon states that to maintain homeostasis, the human body depends on “five grains to nourish, five fruits to assist, five meats to tonify, and five vegetables to supplement.” Though all are needed, the most pivotal are the five grains, namely, millet, rice, soybean, wheat, and adzuki beans. They serve as the main fuel for the body, as they contain the carbohydrates and fiber needed to maintain healthy bodily functions.

Today, many young people believe they need to eat less rice in order to cut back on their starch intake

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since starch can cause weight gain or possibly even lead to diabetes. However, consuming grains can nourish and balance the inner organs and is necessary for keeping many illnesses away.

Ancient Chinese medicine studied the interconnectedness among the body’s mechanisms. It was understood that the lungs regulate the skin, the heart regulates the veins, the spleen regulates the muscles, the liver regulates the tendons, and the kidneys regulate the bones. To ensure the optimal functionality of all these elements, we must provide the nutrients needed by the respective organs.

This explains the cosmetic effects mentioned earlier. Congee boiled from white rice clears away dull-looking skin for a healthy, glowing complexion. According to ancient Chinese medicine, natural foods that are white in color benefit the lungs, thereby opening up the inner channels, unclogging and cleansing the pores, and freeing the skin from waste products while restoring the skin’s vigor.

You can also rejuvenate your hair with the frequent consumption of this thick rice soup. It helps to deliver the nutrients necessary to the different parts of the hair, nourishing it and reducing hair loss and gray hair, while also adding a natural shine. A bowl of well-made congee truly does wonders. In addition to its ability to detoxify and nourish, it can even cure illnesses.

現代人很常講：我在減 肥，米飯要少吃，因為 米飯裡頭含有很多澱粉等，吃了澱粉就會如何，更有 甚者認為會導致糖尿病，其實不然。你知道嗎？五穀 可以養人身體的五臟六腑。五臟六腑對應的是什麼？ 就是皮膚、血脈、肌肉、筋、骨，吃了五穀，才能把皮、 脈、肌、筋、骨都養好（ 肺主皮毛、心主脈、脾主肉、 肝主筋、腎主骨）。 長期食慾不佳的人，或是剛動完手術的病人， 由於元氣大傷，需要補充營養，剛開始進食時，切 記勿食乾飯，也忌大魚大肉，以米湯為食最佳。 濃米湯還能夠養髮，讓頭髮變得烏黑濃密。它

CONGEE’S CURATIVE POWERS Congee can also include foods such as taro root, mung beans, lotus seeds, millet, and pork. These combinations have special healing effects.

Alleviating Inflammation With Taro Congee

Taro congee stimulates appetite, relieves inflammation and pain, regulates internal energy flow, and nourishes the kidneys. It is especially effective in treating a stomach ache. In addition, taro can prevent illnesses like dysentery and chronic nephritis.

Harmonizing the Stomach With a Special Blend: Mung Bean, Lotus Seed, and Adlay Millet Congee

Traditional Chinese medicine maintains that an unsettled stomach disrupts quality rest. Any stomach discomfort negatively impacts one’s sleep quality and may even lead to insomnia. This can be resolved with a special kind of congee.

Job’s tears, also known as adlay millet, is incredible for clearing internal heat and smoothing one’s complexion, while the lotus seed can replenish the spleen and stomach. Lotus seed has a pleasant, light sweetness, and its “cool” property invigorates the spleen and thus prevents diarrhea, while mung bean detoxifies and clears away internal disturbances. Combining these three into a congee recipe can calm the nerves, improve energy circulation, moisturize skin, and eliminate edema.

可以幫助養分順利送達到頭髮各處，不僅能使頭髮長 得烏黑，還能減少掉髮。此外，以白米熬煮的濃米湯

Preventing Prostatic Hyperplasia

還能夠使皮膚白嫩有光澤。中醫講，白色的東西能夠

With Millet Congee

入肺，肺主管的就是皮膚，食之能改善皮膚黯淡，有 助打通筋絡，使阻塞毛孔等廢物被清出體外。由此可 知，喝一碗好的粥，即可防病、養身、排毒、養顏。

As recorded by Han Mao in Yi Tong (1522), a man was suffering from symptoms resembling the contemporary benign prostatic hyperplasia, and had difficulty

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urinating. The ancients named this illness “lin.” Since this person refused to take medicine, Han Mao prescribed that he eat only millet congee and nothing else.

In about just 10 days, his pain began to diminish. After a month, the symptoms were completely gone.

Restoring Appetite With Pork Congee

Pork tenderloin is often used for stir-frying, as it possesses a delightful balance of fragrance, crispness, and taste. But the real magic comes when you shred it and cook it with congee. This recipe is especially soothing for those with a loss of appetite. Years ago, a family member who had been combating cancer for

對症下「 粥 」 芋頭粥：開胃生津、消炎鎮痛

a long time, threw up everything he ate. One day a friend of his made him pork tenderloin congee, as it was something delicious while still easy to consume.

“This is the most soothing meal I’ve had in a long while,” the patient said.

Seemingly ordinary yet extremely beneficial, congee is indeed a low-profile treasure passed down from ancient times. With the busy modern life we lead today, it might be hard to take the time to boil the perfect congee, but it can be done very simply: Start cooking the night before, and then keep it overnight in a thermal cooker. By the next morning, a nutritious, tasty pot of congee will be ready for the entire family.

當代所謂攝護腺肥大的病症，小便難以排盡，古人將此症 狀稱作「 淋 」。

「 芋頭粥 」可以開胃生津、消炎鎮痛、補氣益腎，常食之

此患「 淋 」病之人不肯吃藥，於是韓懋就替其開了

有治胃痛的效果。另外，芋頭也可預防痢疾、慢性腎炎。

「 只吃小米粥 」的處方，其他東西都不要吃。大約過了十 天，他的病狀開始減輕了，連續吃了一個多月後，症狀

綠豆蓮子薏米粥：消除青春痘、水腫

已經完全沒有了。

「 綠豆蓮子薏米粥 」可以美白、消水腫，薏仁能清熱， 消青春痘、雀斑，還可以讓皮膚不粗糙，而「 蓮子 」的

脊肉粥：體虛者良方

作用是補脾胃。中醫認為「 胃不和，則臥不安 」（《黃帝

「 脊肉 」就是豬的里脊肉，該部位的肉拿來炒肉絲，口感

內經》），就是胃不好的時候，影響人的睡眠品質，甚至

鮮嫩，做成肉排香酥美味。做成脊肉粥就是將肉切成絲，

會導致失眠。常吃「 蓮子粥 」補脾胃，可解除失眠的困

再下鍋熬煮成粥，特別是對長期沒辦法好好吃飯的人，是

擾。蓮子味甘微涼，能養心益腎、健脾止瀉；綠豆清熱

一道很不錯的料理。多年前，我有一位親人得癌症，很

解毒，結合煮成「 綠豆蓮子薏米粥 」可安神、補氣、潤

長時間，他吃什麼就吐什麼。一天，有位朋友看他這麼難

膚還可消水腫。

過，就煮個粥讓他吃吃看，他煮就是「 脊肉粥 」，結果， 這位親人喝了以後，他說： 「 哎呀，真好！我好久沒有這

小米粥：預防攝護腺肥大

麼舒舒服服的吃過一頓飯了。」

「 小米粥 」也是很棒的一個粥品，明朝韓懋在《醫通》中提

沒想到一碗平凡的粥就有這麼多的好處！現代人生

到，「 一人淋，素不服藥，予教以專啖粟米粥，絕他味，

活尤其忙碌，其實熬粥可於前天晚上進行，並燜鍋保溫，

旬餘減，月餘痊，此五穀治病之理。」有一個人患了類似

隔天一早，全家人便可一同享用這鍋養生美味的粥品了。 │59

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BACCARAT Harmonizing Tradition and Modernity 錘鍊雙世紀 煥采添新顏 ——傳奇巴卡拉 English text by Angela Feng | Chinese text by Ann Lin Pictures courtesy of Baccarat 60│

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S

ADVERTORIAL

ince 1764, Baccarat has been providing the world with exquisite and timeless luxury crystal glassware. Founded in Lorraine, France, the brand has survived over 256 years of wars, revolutions, and ever-changing tastes, all without compromising its integrity and unmatched quality.

Over the decades, Baccarat has come to symbolize an inimitable French “art de vivre” (art of living), inspiring leading designers from all around the globe.

From its iconic lighting to unique tableware, from fine jewelry to striking decorative objects, there is a fitting Baccarat piece for every corner of your home.

TRADITION MEETS MODERNITY The brand first came into existence when King Louis XV authorized the Bishop of Metz to establish workshops in Baccarat, a small village on the banks of the Meurthe River. By 1881, the modest town had become the heart of crystal manufacturing in France. Till this day, the Baccarat workshop houses four crystal furnaces that are running constantly.

In 1823, Baccarat received its first royal commission. The brand quickly gained popularity among royalty, aristocrats, and heads of state all over the world, earning it the nickname “Royal Crystal.” After Baccarat won a gold medal at the World’s Fair in Paris in 1855, its reputation further skyrocketed, and its name soon became synonymous with the highest-quality crystal glassware.

Baccarat created its first American subsidiary in New York City in 1948. Since then, it has expanded its products to jewelry and perfumes. Though the brand remains unwavering in its dedication to traditional techniques and craftsmanship, it is also continuously evolving with the times. “Baccarat’s key strength is to weave subtle ties between the combined facets of art, exceptional craftsmanship, and desire, striking the perfect balance between timeless heritage and modernity,” explained Jim Shreve, president and CEO of Baccarat, North America, in an email interview with Elite.

Through collaborating with some of the world’s most renowned artists and designers, Baccarat has released a number of limited edition collections and special commissions. In 2019, it launched its

它，可以是日常生活裡的一件器皿，也可以是櫥櫃間美 麗的藝術品，又或是高掛在挑高穹頂的華麗吊燈。它—— 巴卡拉——256 年以來，始終以優雅的姿態，穿梭在生 活的各個角落裡。輕撫著每件水晶的紋理與稜角，細細品 味，會發現這數百年的積澱與工藝，凝煉在每一個細節裡， 隨著光影流轉，悄然精緻著每一刻的平凡日常。 跨世紀承傳迎新潮 「 巴卡拉 」誕生於1764年，在那崇尚華美的年代，法王路 易十五授命梅斯主教，在法國默爾特河沿岸的巴卡拉小鎮 建立工坊。從此，以「 巴卡拉 」為名的水晶窯爐便從未關 閉。 256年以來，走過戰爭傾軋、時代更迭，憑著匠人們 的熱情與對工藝的追求，將這燃燒了百年的千溫之火，在 清幽的小鎮裡代代相傳。 自 1823 年，巴卡拉首次接到王室訂單開始，便奠定 其「 王室御用水晶 」的地位，深受歷代王公室貴族喜愛。 1855 年在巴黎世博會上榮獲金獎亮相後，更一舉躍上世 界舞臺，成為世界頂級水晶品牌的代名詞。至今，巴卡拉

Left page: Every Baccarat piece has been handcrafted by masters of the trade. Glassblowers must undergo 15 years of training before they can fully grasp the crystal fabrication process.

Top: This lidded-crystal tumbler is one of the most iconic pieces in Baccarat’s Crystal Clear collection, designed by Virgil Abloh.

It comes with a glass straw, ensuring maximum practicality and eco-consciousness. │61

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The completion of a Baccarat product is an exceedingly meticulous process, even for something as simple as a piece of stemware. Each piece is inspected by approximately 30 different people before it is allowed to leave the manufactory.

cutting-edge Crystal Clear collaboration with Virgil Abloh, the artistic director of Louis Vuitton and founder of Off-White.

“In any creative endeavor, I am interested in collaborating with the best in class,” Abloh said in a press release. “For me, Baccarat represents the expression of the dynamism of crystal through history and today.” Through a seamless blend of traditional and modern elements, Abloh brilliantly reinterprets the unique savoir-faire of the brand.

One of the collection’s most iconic pieces, the Crystal Clear Glass, brings a whole new meaning to everyday luxury. “I personally never knew I needed a lidded-crystal tumbler with a straw until this moment,” said Sally Burnside, Baccarat’s vice president of Sales, North America. “It’s truly the perfect oversized glass for the morning smoothie, the afternoon iced tea, the evening cocktail, and the water on the nightstand," she said in an email interview. The piece is simultaneously simple yet bold, radiating sophistication from its meticulously cut lines. It comes with a glass straw, ensuring maximum practicality and eco-consciousness.

的水晶文化始終不變，堅持使用最高品質的水晶原料與 傳承百年的手工技藝，不斷尋求創新與突破，打造一件 又一件貼合時尚潮流的精美生活用品。 「 巴卡拉的關鍵優勢在於能夠將卓越的工藝技術、 藝術美學以及人們的需求巧妙結合，在傳統經典和現代 之間取得完美平衡。」北美區總裁兼執行長 Jim Shreve 在接受本刊電郵訪問中表示。 2019 年，巴卡拉與知名 設計師維吉爾．阿布洛（Virgil Abloh）聯名合作的晶 瑩剔透（Crystal Clear）系列，便展現了巴卡拉的當代 品牌意識。阿布洛為貼合現今人們的生活習慣，採用獨 特的設計美學，詮釋品牌的精巧手藝，晶瑩剔透系列融 合傳統與現代元素，在工業風格下兼備優雅。其限量的 水晶隨行杯款，更是突破了以往對巴卡拉杯具的想像。 「 在此之前，我從未想過我需要一個附有吸管的玻 璃水晶製杯具。它真是一個完美的特大玻璃杯，可用來 盛裝早晨鮮果昔、下午茶、傍晚的雞尾酒，以及夜晚置 放床邊的一杯水，隔天你還可重複使用！」北美區銷售 副總經理 Sally Burnside 表示，阿布洛創新大膽的設 計，讓該水晶杯能夠以簡約的直筒線條、細緻切割的紋 理和實用環保的吸管設計，低調融入生活。

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Baccarat has been providing the world with exquisite and timeless luxury crystal pieces since 1764.

Over the years, its name has come to be synonymous with crystal glassware of the highest quality.

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IMPECCABLE TECHNIQUES Every crystal creation at Baccarat has been handcrafted by masters of the trade. Glassblowers must undergo 15 years of training before they can fully grasp the crystal fabrication process; the same goes for cutters, gliders, and engravers. Baccarat currently employs 20 craftsmen that hold the “Meilleurs Ouvriers de France” (Best Workmen of France) title—more than any other luxury company. The prestigious award is bestowed only to those at the very top of their craft; to earn it, candidates must win a competition that takes months, if not years, of preparation.

The completion of a Baccarat product is an exceedingly meticulous process, even for something as simple as a piece of stemware. The glassblower must first bring the crystal to life, shaping it either by blowing with their breath or compressed air, or molding it with the help of a hand press. Molten crystal is gathered from the furnace and onto a blowpipe, where it is prepared and placed in a mold.

Then, it is blown or pressed into shape; this is an immensely difficult process, as the craftsman must continuously turn the blowpipe to counteract the effects of gravity. The crystal also requires frequent reheating, as it will harden if temperatures fall below 650 degrees Celsius (or 1,202 degrees Fahrenheit).

Following completion, each piece of glassware goes through a careful inspection process to guarantee that it meets the Baccarat standard of perfection. Strict quality control measures ensure that any finished pieces that aren’t up to par are recycled into the ever-burning furnaces. Each piece is inspected by approximately 30 different people before it is deemed flawless and allowed to leave the manufactory. “Baccarat’s obsession with perfection is rooted in being able to masterfully reproduce beautiful pieces at a high quality,” explained Jim Shreve.

生活美學 匠心所在 「 巴卡拉對於完美的執著根植於能精湛重製高品質的精 美之作 」Jim Shreve透過文字解釋，巴卡拉的每一件 水晶製品，都是由法國的水晶工匠純手工打造。在東法 的工廠裡，巴卡拉以學徒制世代傳承淬煉百年的傳統工 藝，每道工序的工匠都必須經過15年的磨練，才能精準 掌握玻璃水晶的製作工藝。 工匠們必須頂著坩鍋窯爐噴發出的千度高溫，將火 光刺眼、呈麥芽糖狀的玻璃膏體，纏繞在細長但頗具重 量的中空鐵管上，吹製師一邊快速轉動著中空鐵管，朝 裡頭緩緩吹氣，玻璃膏遂膨脹成圓，再利用特定模型予 以整形。水晶在冷卻前是流動的固體，在高溫中形塑燒 得炙紅的水晶原料是一項高難度的工藝，吹製師必須精 準掌握每一口呼吸，以控制水晶的質量、形狀與厚度。 因玻璃水晶捉摸不定的流動特性，使工匠們須在製作全 程中保持專注，隨時感受水晶的變化，快速做出調整。 在製作全程中，無論是吹製、整塑、敲打還是拼 接，一切工序都必須在玻璃水晶冷卻凝固前的極短時 間內一氣呵成。此外，巴卡拉工匠以此精湛手藝打造 的最終成品，還需要經過大約 30 個不同的專業人士嚴 格把關，成品中若有任何一個細節不合標準，便會再 度熔融於窯爐中，不斷地重新整塑直至完美。唯有被 認定為完美無瑕的水晶產品，才有資格離開工廠，出現 在人們的生活中。 古法再煉 曜黑怒綻 巴卡拉對品質近乎苛刻的要求，對工藝技術的熱情執 著，讓其不斷成長突破。今年秋季，巴卡拉首次推出黑 水晶系列作品。Sally Burnside表示：「 黑水晶玻璃的製 法非常繁瑣複雜 」，以往的黑水晶只有單品販售。 打造黑水晶，必須在玻璃膏體中混合四種金屬元 素，讓其在熔爐中因高溫產生化學反應，從而生成獨特 的黑矅色澤。但因玻璃膏體在千度高溫中，宛如滾滾的 熔漿，在混色形塑的過程裡，工匠們無法看到染色的效 果，只能憑經驗在刺眼的火光中去感受色彩。所有的瑕 疵、氣泡、劃痕等，都要經過切割和拋光後才會被發現。 因此，工匠們必須時時確保燒製過程中玻璃膏體沒有任 何雜質，才能生成深黝純淨的黑水晶玻璃。 巴卡拉大膽翻玩他們的經典熱銷款，將每一個閃

REDEFINING CRYSTAL GLASSWARE Baccarat is always experimenting with the latest technologies and pushing the bounds of possibility.

Debuting this fall, its Reflections collection will give a whole new meaning to innovation: For the first time, the company will be launching an entire line made from black crystal. Black crystal is incredibly difficult to work with; therefore, in the past it

耀著透明光澤的精緻工藝品，染上富有神祕氣息的黑。 首次推出黑水晶款的 PAPILLON 幸運蝴蝶（Papillon Lucky Butterfly）、哈酷伊芙香檳杯（Harcourt Eve Flute）和璀璨花瓶（Eye Vase）系列。這款蝴蝶水晶 象徵著幸運，在巴卡拉的詮釋下，深邃黝黑的蝴蝶栩栩 如生，不透明的純黑水晶帶著神祕典雅的氣息，彷彿能 隨時翩翩起舞，透著流動的黑亮光澤和各色成對的蝴蝶 水晶，為廳房注入生機，帶來希望。

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Baccarat gives a whole new meaning to innovation with its Reflections collection, which is made from black crystal.

The striking pieces include the Eye Vase (left) and Papillion Lucky Butterfly (right).

was only used on single products. To achieve the rich, opaque color, four different metal elements are mixed with a glass paste. It then undergoes an intricate, labor-intensive process of molding, heating, and quality control to ensure that there are no impurities.

The new collection includes some of Baccarat’s bestselling silhouettes that were previously available only in clear crystal. One highly sought-after piece is the Papillion Lucky Butterfly. This feminine motif contrasts strikingly against the vivid midnight color, creating a mysterious, captivating aura. Paired with its more subdued clear crystal partner, the two are a match made in heaven—the perfect gift for a friend or partner.

The Harcourt Eve Flute is a classic Baccarat piece; the elegant champagne glasses are a favorite among nobility. The addition of the black crystal button on the stem adds a dash of daring—the resulting contrast is subtle yet seductive. Another standout piece from the collection is the Eye Vase, designed

by Nicholas Triboulot. With its bold, exquisitely cut lines, it’s the perfect contemporary touch for

any living space. The clear black crystal dazzles as brightly as a pool of water shining in the night.

Each masterpiece created by Baccarat is born from a meticulous process of repeated refinement.

Every intricate cut, curve, and detail tells a story of over two centuries of artistry and tradition. Despite adapting to new trends in changing times, Baccarat nevertheless manages to strike the perfect juxtaposition between timelessness and modernity. 哈酷伊芙香檳杯則是巴卡拉的經典系列，是全球最 多王室貴族御用的酒器，巴卡拉賦予其高挑、修長、細 薄的女性外型，鑲嵌在杯梗中閃耀的黑水晶更展獨特魅 力，讓這款經典酒器以優雅內斂的氣質，展現現今女性 獨立自主的意象。 巴卡拉精品設計師 Nicolas Triboulot 所設計的璀璨 花瓶，因其外部橫紋與內部直紋交錯的精湛切割工藝所 折射而出的鑽石光芒，是人們裝飾室內空間的亮點，新 推出的黑水晶款則是更加吸睛，如同日蝕般的耀眼震撼。 巴卡拉的每一件作品都是反覆淬煉的結晶，其散發 的每一道輝光都是一段故事，熔鑄匠心與歲月。在人們 越發注重家居環境的現代，有巴卡拉相伴，不僅平添一 道生活美學，更是分享美好的媒介。 │65

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ELITE HOME

Living One’s Inner Noble Casa Burés: An Art Nouveau Delight 兼容並蓄 西班牙老宅展現新風貌 English text by Megan Wang | Chinese text translated by Joel Chang Photography by Jordi Folch and Jose Hevia

B

arcelona, Spain, the city famed for its rich culture and breathtaking arts, is home to many architectural masterpieces, one of which is Casa Burés, a luxurious residential building meticulously restored from an office complex built in 1905.

Through its imposing façade, this century-old landmark exudes an aged charm, sending an invitation to explore the interior, where its antique beauty and grandiose furnishings mingle with the comforts of the modern world, allowing one to appreciate and admire a timeless classic in an intimate setting.

西班牙巴賽隆納，一座具有2千年歷史的文明古城，同 時 也 是 許 多建 築 傑 作 的 所在 地。 建 於1905年 的Casa Burés就座落在充滿藝術氣息的舊城區，其前身為一幢 住辦合一的建築，經過精心修復後，華麗變身為炙手可 熱的頂級豪華公寓。威風的立面外觀，渾身散發著百年 建築的氣勢，邀請人們入內探索充滿古典美及華麗裝飾 和現代的舒適感，近距離欣賞美麗的建築細節。

Top: Exterior: In the heart of the Eixample district of Barcelona, Spain, sits the century-old architectural masterpiece Casa Burés.

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A palatial residence

A palatial residence: The palatial residence transports one back to experience the 18th-century grandeur. From the delicate carvings on the doors, to the vivid characters living in the ceiling paintings, each detail has been painstakingly revitalized to preserve the work of the original artisans.

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Top: The ground floor instustrial style loft.

Left page: A palatial residence.

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CENTURY-OLD MAGNIFICENCE Casa Burés was built in the style of art nouveau, a fascinating art movement in which artisans expressed their love of nature and romance through everything from stately structures to fine, delicate carvings. In Casa Burés, this style is especially evident in the ceilings, as some of them boast high-relief plaster mouldings with f loral motifs and other elegant patterns. Entering this visual dazzle, where vivid details combine with enchanting hues, one feels as if being led into a huge piece of artwork.

Throughout the years, however, this artwork suffered from decay and vandalism, and it was not until a recent full-scale restoration that it regained its original glory.

百年風華 Casa Burés建築屬於新藝術（Art Nouveau）風格，是 一項開展於19世紀末的藝術運動，旨在鼓勵工匠透過質 樸穩重的結構，或精巧典雅的雕刻，表達他們對大自然 的崇敬和熱愛。 在 Casa Burés 建築中，天花板裝飾著新藝術風格 的花卉圖案深浮雕，佐以各種優雅的裝飾，視覺上令人感 到相當驚豔，各種雕花細節和色澤栩栩如生，就如同走 進一幅巨大的藝術作品。然而，歷經百年滄桑，這幢藝術 建築受風雨和人為的破壞，直到最近才得到全面性的修 復，恢復原始容貌。 精心修復 為了保存建築的歷史和文化特徵，一組技術純熟的工匠 細心地雕琢，使Casa Burés的每片磚瓦都重獲新生。在 經過整體評估後，工匠們選擇了強韌且可抵抗多種外部

METICULOUS RESTORATION With the aim of preserving the past and its cultural significance, the team of highly skilled artists painstakingly revitalized virtually all aspects of Casa Burés. After a full-scale analysis, the team selected only the finest materials, such as Vinaixa stone, American hardwood, and Cuban mahogany, which could withstand a number of external factors. These materials were soon put to use for the restoration of every door, windowpane, ceiling, floor tile, and more, all of which carried the traditional artistic values of the building’s past. With absolute respect for the incredible work of the original craftsmen, the team put in meticulous effort—with their very hands—to preserve a century of splendor. In addition, they installed modern components to ensure functionality.

EXCLUSIVE RESIDENCES During the restoration process, the ground f loor, which originally housed the offices of the textile firm, were transformed into three loft apartments with black iron columns and old-brick walls to create an ambiance preserving its past industrial aesthetics.

Differing from the ground level’s vintage charm, the main floor boasts two noble residences decorated

侵襲因素的建材，如加泰隆尼亞產的比奈克塞石、美國 實木和古巴桃花心木等，用於門板、窗框、天花板和地磚 等處，在在突顯了Casa Burés的傳統美感。 工匠的細膩手藝恢復了 Casa Burés 逾一個世紀的 光彩，向最初建造該建築的工匠致上敬意，同時也加入 些許現代元素以強化實用性。 特製化住宅 修復過程中，原本作為織品公司辦公室的一樓被改造為 三間Loft公寓，黑色鐵製飾柱搭配原始磚牆，保留了當 初建造時冷硬的工業之美。 不同於一樓簡潔的工業風，原為織品公司負責人宅 邸的二樓尚品之家，則充滿了洛可可式的繁複裝飾，洋溢 著正統的華美氣息。特製玻璃花窗、精緻彩繪天花板和 牆身，以及舒適的家具，如同搭乘時光機一般，體驗過 去的奢華。經過了大面積的修復，整個樓層設計更多元， 也增添了些許現代式的舒適感。 此 外，Casa Burés 還包含 16 間 公寓 和 5 間 頂 層 公寓，兼有古今元素。極簡的家具搭配加泰隆尼亞地區 傳統而古典的諾拉馬賽克及方格天花板，這些設計組合 讓現代與傳統得以和諧共存。 這 座 20 世紀 的建 築 也 妝 點著人們喜愛的各種 設 施。無論你喜歡悠遊於 79 呎長的室內溫水游泳池、在 地下酒窖品酒、邀請朋友在中庭小聚，或者在頂樓泳池 看星星，每個住戶都能在這裡找到自己喜愛的活動。重 生後的 Casa Burés，用熱情展望未來的同時，也提供 一個回到過去時光的入口，讓人們有機會重新體驗百年

A palatial residence: The palatial residence transports one back to experience the 18th-century grandeur. From the delicate carvings on the doors, to the vivid characters living in the ceiling paintings, each detail has been painstakingly revitalized to preserve the work of the original artisans.

前的風華。

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The flats and penthouses feature versatile modern homes with inspiration from the past.

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Lobby: Surrounded by polychromed stained-glass windows, the lobby showcases Casa Burés’s prized art nouveau elements. In the center, an imposing life-size stone bear stands on its hind legs to protect the riches inside.

Common area: Casa Burés features a wide range of modern amenities.

Whether one prefers relaxing at the 79-foot heated indoor pool, wine tasting in the underground cellar, joining friends for a fun time in the common area, or stargazing from the rooftop pool, there is a form of recreation to satisfy every resident.

in a traditional or rococo style, celebrating luxury in a traditional sense. With the exquisite stained-glass windows, magnificent fresco-adorned ceilings and walls, and the refined selection of furniture, one is transported back in time to experience true grandeur.

Of course, with the extensive renovations in place, the space was made even more versatile and comfortable.

The three floors above the ground level consist of 16 flats and 5 penthouses, with all of them contrasting the past and the present. Endorsing a contemporary minimalistic living style, these residences are the definition of modern comfort while combining with harmonious embellishments such as Nolla mosaics and coffered ceilings.

WORLD-CLASS AMENITIES Sophisticated and versatile, this 20th-centur y masterpiece is furnished with modern amenities.

Whether one prefers relaxing in the 79-foot heated indoor pool, wine tasting in the underground cellar, joining friends in the large common dining area, or stargazing from the rooftop pool, there is a form of recreation to cater to every resident.

In this forward-looking modern world, where innovations are associated with breaking from tradition, Casa Burés provides a haven for rewinding and appreciating a taste of the past.

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The family room is the most-used room in the house. With mid-blue walls and a sapphire velvet sectional, the room radiates warmth and coziness.

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ELITE HOME

Uncovering the Beauty of

Old English Design Nina Farmer injects new life in a historic home from 1904 新妝再現古典美——19世紀英式風格改造宅 English text by Angela Feng | Chinese text translated by Ivy Tseng Photography by Paul Raeside

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R

enovating historic homes is often a difficult task, as designers must maintain a meticulous balance between modernizing and preserving the home’s original charm. However, for Boston-based interior designer Nina Farmer, the challenge is a welcome one. With a fascination for history and antiques, she has established a reputation in the interior design industry as a “historic-house whisperer.”

Farmer’s most recent project was a 1904 English Arts and Crafts-style abode in the affluent town of Winchester, Massachusetts. When the house was first purchased years ago by a young family of five, the new owners had only a few minor changes in mind. They sought to update the kitchen, as well as enlarge the bathroom and closets in the master suite. However, as the family got a feel for the house over time, they decided that it needed a contemporary makeover.

Through an email interview with Elite Lifestyle Magazine, Farmer explained how she transformed the home into an elegant juxtaposition of classic and modern.

改建歷史建築是一件充滿挑戰的任務，因為必須保持房 子原有風格，又要加入現代化設施，從中找尋平衡。位 於波士頓的室內設計師Nina Farmer專長於這樣的挑 戰。「 我喜歡房子在我們的精心設計下，重新找回生命， 就像是她長久以來一直在等待這一切的發生 」，她在室 內設計圈享有「 歷史建物知音 」的美名。 Nina Farmer 最近所完成的一個物件，是始建於 1904 年的百年老屋，位於麻州的 Winchester鎮。此 屋 具 有 19 世 紀 的 英 式 工 藝 藝 術 風 格（The Arts and Crafts），該風格注重手工細節與設計質感。此次改建 的委託者，是一五口之家，一開始他們擁有此棟住宅時， 只更新了廚房與主臥室的浴室等處。隨著居住時間增 長，決定進行全盤改造，和屋子共創更多故事。本刊透 過電子郵件訪談，了解了 Nina Farmer 如何在這次設 計裡融合經典與現代。 由於房屋有許多經典細節，如精緻的木造家具，雖 沉穩但亦易產生壓迫感。因此 Nina Farmer 大膽加入現 代流行顏色，在原先全白牆面增加色彩，透過統一色調 上漆增加空間感的一致性、更能突顯精緻細節，結合各 種不同圖案、古董擺設與現代家具，增添活力外又不會 失去房屋原本的紋理。基本色調的改變，成了改變房子 氣氛的關鍵，大膽用色也能增加空間舒適感。如這次在

A BALANCED RENEWAL The couple wanted to keep the home’s classic details, such as the beautiful stained millwork, but give the interior a lighter and more refreshing feel. To achieve this, Farmer introduced bold pops of color to offset the deeper tones of the color scheme. She also combined a medley of patterns and textures, as well as a blend of antique, contemporary, and modern furnishings.

Throughout the entire modernization process, she made sure not to lose the essence of the period home’s architecture.

One key change Farmer made throughout the house was adding colors and patterns to the previously allwhite walls. The uniformity had caused the rooms to blend together, and prevented one from appreciating all the unique details the house has to offer. Additionally, bolder prints and tones can create a sense of coziness.

This can be seen in the family room, where the walls were painted a refreshing mid blue. A custom sapphire velvet sectional—designed to fit all five members of the family—beckons from the center, radiating comfort and warmth. According to Farmer, this is the family’s favorite and most-often used room.

Farmer’s favorite part of the house is the dining room, which she feels best embodies the overall design intent—to make the house both cozier and more updated.

客廳漆上令人耳目一新的靛色，搭配絲絨布面的藍色沙 發，營造出客廳的舒適與溫暖，成為這家人最常使用也 最喜愛的空間之一。 Nina Farmer 最喜歡飯廳的改造，透過工藝藝術風 格的代表威廉 . 莫里斯（William Morris）風格壁紙， 這種低調又精緻的壁紙，完美平衡空間的調性，搭配一 座 10 燈吊燈，營造空間的放鬆感，這樣不僅保留房屋的 歷史，又不會使空間過於壓抑如博物館嚴肅。 廚房則是另一個改建重點，由於過往某次翻修，廚 房失去其獨特的歷史細節，因此 Nina Farmer 在這一 次任務裡，替廚房找回歷史味，並與整體空間保持協調。 屋主給 Nina Farmer 全權自由，他們只希望成品能新 鮮又有趣，最後廚房使用部分裝飾藝術元素，例如訂製 黃銅飾邊的抽油煙機，或者是白橡木搭配雙色的訂製櫥 櫃，搭配光滑的大理石桌面，這些細節帶出優雅與現代 交織的觸感。 Nina Farmer 的設計理念之一「 人們讚賞工藝，並 願以光陰等待。」這種細膩的時光驚喜，藏在各角落。 如在玄關，進前門後就會被精美雕刻扶手給吸引，而簡 約的 Pierre Jeanneret 椅子與中世紀風格的 Blackman Cruz 燈具，則協調了整體環境。這一種根植古典與感性 的設計理念，來自 Nina Farmer 整合各歷史時期的美學 靈感，透過新舊元素融合，替富有歷史感的住家注入新 的生命力。

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Top: The dining room perfectly embodies the home’s design intent, with classic William Morris wallpaper and a contemporary 10-light Apparatus chandelier.

Bottom: Farmer chose to keep the living room’s original stained millwork, giving the home an elegant, venerable feel.

The addition of splashes of color in furniture and artwork, lends a sense of lightness.

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Left page, top: The kitchen was inspired by art deco, as seen in the custom brass-trimmed stove hood. Subtle marble countertops add an elegant, modern touch.

Bottom: In the master suite, dark teal curtains contrast elegantly against the light-neutral color scheme. The master bathroom is chic yet minimal with its sleek marble and gold hardware. │77

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Upon walking into the entryway, one is immediately drawn to the stunning, intricately carved staircase bannister. It is accompanied by a Pierre Jeanneret chair and a mid-century Blackman Cruz console.

The Arts and Crafts-esque William Morris wallpaper is a subtle nod to the property’s roots. It’s balanced out by the contemporary 10-light Apparatus chandelier. The result is a delicate juxtaposition of formal and informal, as well as tradition and modernity. Farmer is able to pay homage to the home’s history while ensuring that it doesn’t feel oppressive or museum-like.

The kitchen was another important part of the renovation. As a result of one of its previous updates, the kitchen had been stripped of all its unique and historic details, leaving it rather nondescript. Therefore, Farmer took on the task of reinvigorating the kitchen, giving it the same personality and charm as the rest of the house. The owners gave Farmer carte blanche— their only request being that they wanted something fresh and interesting. Farmer accomplished this by adding art deco-inspired elements, such as a custom brass-trimmed stove hood. She also designed custom cabinets with white-oak stained frames and two-tone Farrow & Ball panels. Subtle marble countertops give the room an elegant, modern touch.

TRADITIONAL INTRICACY Farmer’s love for historic buildings stems from the thought and care that was put into designing them.

“People appreciated craftsmanship, and were willing to wait for it,” she explained. This meticulousness can be seen in the stunning intricacies throughout the home, such as in the entryway. Upon walking through the front doors, one is immediately drawn to the home’s original elaborately carved staircase bannister.

A Pierre Jeanneret chair and a mid-century Blackman Cruz console complement the setting.

With a design philosophy rooted in classical sensibility, Farmer frequently draws inspiration from aesthetics across various time periods. Through a combination of old and new, she breathes fresh life into this historic Arts and Crafts home. “I loved how the house seemed to open itself up and become alive with every design detail we implemented,” Farmer said. “It was as though it was waiting for the transformation to happen.”

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ELITE EVENTS

Baccarat Sponsors the Fifth Annual China Fashion Gala 巴卡拉贊助美華協進社和靳羽西美基金第五屆中國時尚慶典 Text by Xiao Fei Wang | Photography by China Institute

Left: The group president and global brand president, Stephane de La Faverie, received the Beauty Award as a representative of the company.

Right: Chinese American designer Phillip Lim received the Leadership Award.

On Thursday, July 23, 2020, the China Institute and Yue-Sai K an China Beaut y Char it y Fund (CBCF) virtually hosted the fifth annual China Fashion Gala.

At the gala, Estée Lauder was honored with this year’s Beauty Award. The group president and global brand president, Stephane de La Faverie, received the award as a representative of the company. Chinese investor, entrepreneur, and philanthropist Wendy Yu was given the Millennial Leadership Award. Chinese American designer Phillip Lim was presented with the Leadership Award, while actress, director, and activist Lucy Liu was honored with the Icon Award. All the awards were donated

by Baccarat.

The funds raised from the gala will benefit the many diverse programs offered at the China Institute.

Founded in 1926, it’s the oldest independent, nonprofit organization in America to focus exclusively on China. 美華協進社和靳羽西美基金聯合舉辦的「 第五屆中國時尚 慶典 」於今年（2020年 ）7月23日舉行線上典禮。 美華協進社創建於 1926 年，是美國最早專門關注中 國的非營利組織。今年的慶典將「 美獎 」頒給了雅詩蘭黛 集團總裁、國際品牌總裁 Stephane de La Faverie；中 國投資家、企業家和慈善家余晚晚獲得「 千禧代領導獎 」 ； 美籍華裔時裝設計師林能平獲得「 領導獎 」，而演員、導 演、藝術家和活動家劉玉玲獲得「 偶像獎 」。 所有獎杯由巴卡拉贊助。慶典所獲捐助將用來贊助 美華協進社的多樣化活動。

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Bridging

East &West

兼容東西，發現美好

《時尚精英》是中英雙語的高端生活風格雜誌，致力於發掘根植於東西方文明的傳統價值、智慧與漫布其中的美。 在您追求美好人生的路上，盼《時尚精英》能成為您獲得啟發和激勵的好夥伴。

Elite Lifestyle Magazine is a leading luxury magazine, published in Chinese and English. At Elite, we celebrate the beauty, wisdom, and values of Eastern and Western traditions. We seek to uplift and inspire our readers in their pursuit of a life of fulfillment. 訂閱者資料 Subscriber Info

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