Elite Lifestyle Magazine : Issue 68

E L ITE 時 尚 精 英

The Tang Lifestyle 文化：唐朝生活大觀 2025 FALL EDITION

An Award-Winning Oil Painter’s Higher Calling 藝術：獲獎油畫家范一鳴的寫實之路

America’s Only Female Coppersmith: Reviving a Nearly Lost Craft 人物：美國唯一女銅匠復甦失傳技藝

Graceful ISSUE 68

LIVING Brittany Bromely’s House of Dreams

室內設計師獨家專訪 從容生活美學

PUBLISHER Ellen Wang

序 EDITOR’S NOTE Behind The Scenes

EDITORIAL EDITOR IN CHIEF

Astrid Wang

五月初，我參加了位於D&D設計大樓舉辦的一場簽書座談會。上一次走

ARTS & CULTURE EDITOR

Belinda Lin

進這棟大樓，是數年前一次和de Gournay手繪壁紙品牌合作拍攝雜誌封

Jennifer Tseng

面時。這是紐約室內設計圈內，無人不曉的標地性建築。走進大廳，兩排

LIFESTYLE EDITOR PEOPLE EDITOR

Cora Wang

BEAUTY EDITOR

Pia Norris

CONTRIBUTORS

Ida Pink

美麗的展示櫥窗令人駐足，這可能比第五大道的百貨櫥窗還有趣！二戰之 後，隨著美國室內設計行業的蓬勃發展，該建築於1960年代落成後，便成

Gigi Tseng

為設計專業人士的專屬樂園，如今業內最為響亮的精品家居品牌，都在此

Ryan Cashman

設有展示間。

Michelle Plastrik Makai Allbert COPY EDITORS

Louise Rothman Huixuan Yang

走進座談會場幾乎座無虛席，布列塔妮 · 布倫莉（Brittany Bromley）女 士為本次座談會主角之一，她身著淺藍色上衣，一頭金髮，有著美麗的銅 色肌膚，談吐間充滿自信與親和力。還記得她面對主持人提問，逗趣回應：

CREATIVE

「 我想會來找我的人，都很喜歡色彩運用！」極簡主義以及單色愛好者並 非她的客群。這讓我想起，第一次在網路上發現布列塔妮的作品，大膽花

LEAD DESIGNER

Karen Tang

DESIGNERS

Hsinyu Lo

紋、色彩與特殊壁飾等，讓我對她的設計案印象深刻。會後，有幸能與布

Ziyao Wu

列塔妮交談，進而邀訪，這才促成了本期的封面故事。

SALES SALES DIRECTOR

Jo Yang

室內設計不僅是美化居家環境的專業，也是充滿人情味的行業。我們透過 布列塔妮的分享，一窺門道。房屋不僅是物件，更是一個能成為「 家 」的地 方。布列塔妮大膽且活潑的創意，體現其處世哲學與鮮明的個人風格。

ADDRESS 229 W 28th Street, 6FL, New York, NY 10001 PHONE 646-862-9930

另外得知，兩年一度新唐人全世界油畫大賽入圍作品，即將在明年初於紐 約畫廊展出。我們特別專訪榮獲第一屆大賽銀獎的畫家范一鳴。他以西藏 人物肖像創作而名聞國際，現居瑞典的他，遠離喧囂，潛心作畫。

EMAIL editor@elite-magazine.com

他的話少，語調誠懇，就像他筆下的藏人，在遼闊的高原與天地間展開無

advertising@elite-magazine.com

聲對話。沒有俗世牽絆，一心想靠近他們的神。他用畫筆細膩捕捉溢乎言

subscription@elite-magazine.com www.elite-magazine.com

TRANSLATION STATEMENT Stories that have been translated from English or Chinese have been edited for brevity and clarity.

詞的瞬間。然而，透過畫筆，他想表達的不僅是藏人的故事，而是展現無 可取代的人性光輝，向每一位觀畫者，訴說一個普世價值──善就是美， 美就是善。 本期獨家專訪，盼能帶各位一起探索創作者們，傾心打造的美麗視覺語言。

EDITOR IN CHIEF

T H E 1 1 TH N T D I N T E R N AT I O N A L

CLASSICAL CHINESE DANCE COMPETITION

GOLD AWARD

$10,000 NE W YORK , USA SEP TEMBER, 2025

MORE INFO

DA N C E . N T DT V.C O M

DA N C E @ N T D.C O M

+1- 8 5 5 - 5 61- 0 8 8 8

目錄 CONTENTS 2

Editor’s Note

序

6

Editor’s pick: Moonlit Reveries

9

Pamper Me Pretty: The Magic of Face Masks

14

Time Travel to the Tang Dynasty A Guide to China’s Golden Age

編輯精選：月思

妙用面膜 升級護膚日常

穿越時空到大唐 品味長安生活二三事

24

22

Editor’s pick: Tang Colors Reimagined

24

A Chat With Brittany Bromely: An Interior Designer’s Top Tips for Living Beautifully

居家精選：彩唐之色

專訪紐約室內設計師——「室內設計是替人生打造舞臺」

34

All-American Copper Queen: Bringing Pioneer-Era Cookware Back in Style

美國唯一女銅匠 重鑄歷史之美

42

An Oil Painter’s Search for Meaning: From Tibet’s Sacred Peaks to a Journey of Faith

探尋生命純粹之美——油畫藝術家范一鳴的寫實之旅

48

秋之畫師 克羅普西名作賞析

34 58 On the Cover Brittany Bromley’ s designs for her St. s Louis project complement the home’ Georgian Revival architecture.

Photography by Annie Schlechter

4│

Autumn Masterpieces Jasper Francis Cropsey’s Vision of America

Let’s Talk About Courage

認識勇氣 解鎖潛能

2025 N TD 5 T H IN TERNATIONAL

PHOTOGRAPHY COMPETITION 新唐人 第五 屆國際攝影大賽

DE A DLIN E: SEPT. 30, 2025 MORE INFO

Look at the Vast World, Capture the Beautiful Moments.

PHOTO.NTDT V.COM

PHOTO @ NTD.COM

1- 855 - 561- 08 8 8

EDITOR'S PICK

HAY, NELSON BALL BUBBLE PENDANT SMALL, FROM $445, DWR.COM

Moonlit Reveries 月思

TEMPAPER & CO., MOONS PEEL AND STICK WALLPAPER, IVORY SKY, $44.99 PER ROLL, TEMPAPER.COM

The moon has always been a silent companion to all humankind—a reminder that though miles apart, we all bask in the same serene glow.

In traditional Chinese culture, the moon’s waxing and waning reflect life’s undulating rhythms: the joy of reunions, the sorrow of partings, and the quiet hope of coming together again. This fall, let that spirit shine through with moon-inspired pieces that celebrate love, connection, and the beauty of moments worth cherishing.

MUSUBI KILN, HAKUICHI, HAZY MOON LACQUERWARE MAIN PLATE WITH KANAZAWA GOLD LEAF, $383, MUSUBIKILN.COM

高掛於夜空之月，帶給人們無聲的陪伴，儘 管與親友們天涯各一方，也能千里共嬋 娟。月亮的圓缺也象徵著人世間離 合，有歡喜團聚、悲傷別離，望月盼 秋季，邀「 明月」相伴左右，在 月色下惦記彼此、慶祝團圓， 也歌頌生命裡美好的時刻。 ZANOTTA, LOW BOWL TABLE BY ZAVEN, PRICE UPON REQUEST, ZANOTTA.COM

SOFTLINE, DRUM POUF IN GOLDENROD, WIDE, $645, DWR.COM

6│

PATEK PHILIPPE, 4946R-001 ANNUAL CALENDAR, MOON PHASES, ROSE GOLD MODEL, $58,096, PATEK.COM

PHOTOS BY PATEK PHILIPPE, TEMPAPER & CO., MUSUBI KILN, ZANOTTA AND DWR.COM

著下一次的相聚。自古令人感傷的

“Exquisite and haunting… one of François Ozon’s very best films.” Dennis Dermody, PAPER

Explore Over 10,000 Movies & Shows Watch Now on GJW+ GanJingWorld.com/GJWPlus

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

姓名 Name：

電話 Tel：

郵箱 Email：

地址 Address： 城市 City：

（英文填寫）

州 State：

□ 訂閱 1 Year $19.96（4 Issues）

付款方式 Payment Method

1.支票（Check Pay to Elite Magazine Inc.）

2.信用卡 □ Visa □ Mastercard □ Amex 郵編 Zip：

卡上姓名 Name：

卡號 Credit Card Number： 過期日 Expiration Date：

訂閱表格請寄至 Mail to：

Elite Lifestyle Magazine 229 W 28th St. 6th FL., New York, NY 10001 *註明訂閱《時尚精英》雜誌 Attention: Subscription 網上訂閱：elite-magazine.com

掃碼訂閱電子版 ▶

Subscribe our digital version

（英文填寫）

ELITE BEAUTY

Little Luxuries Why Face Masks Are Your Skin’s Best Friend 妙用面膜 輕奢煥顏

By Ida Pink

IMAGES BY ADOBE STOCK, SHUTTERSTOCK.

F

ace masks have evolved far beyond the occasional Sunday treat. Today, they are part of everyday routines across cultures—used to calm, hydrate, brighten, and reset the skin. But not all masks are created equal. With so many formats and formulas on the market, it helps to know what works and when to use it.

The concept of face masks isn’t new: China documented skin care recipes as early as the Tang Dynasty. It was known back then as "mianzhi" or "facial paper." Cleopatra VII, the famed Egyptian queen, was said to use face masks made from crushed green grapes and honey. With such a rich history, their benefits clearly extend beyond current trends or hearsay.

Face masks deliver a concentrated dose of ingredients that can hydrate, soothe, exfoliate, brighten, or do a combination of these. They also offer something more than just skin benefits: 10 to 20 minutes of self-care can feel both soothing and restorative. Unlike moisturizers or serums, which often work gradually, face masks are made to deliver visible effects quickly, making them ideal for a pick-me-up before an event or anytime your skin needs a little extra attention.

面膜 不再只是 週 末額外的 護 膚保養，而是人們日常保 養中重要的一環——用來舒緩、補水、提亮，並重整肌 膚狀態。然而，但並非所有面膜效果都相同，市面上有 各種質地與配方，清楚哪一種有效、該什麼時候使用就 格外重要。藉此替您的膚況挑選最適合的產品。 面膜真的有效嗎？這不是當代人的專利，中國早在 唐朝就出現相關護膚配方的文獻記載，時稱「 面脂 」； 而克麗奧佩 脫 拉七世（ 人稱 埃及豔 后）使用面膜的事 蹟，也廣為人傳頌。面膜既然有如此悠久的歷史，可見 其功效並非空談。一般來說，面膜提供高濃度的護膚成

MAIN TYPES OF FACE MASKS Face masks come in many forms, each with its own unique function. Despite the different texture of masks, each type of mask is formulated to achieve specific goals.

分，具備補水、舒 緩、去角質、提亮，或結合多重 效 果 的功用，10~20 分鐘的敷用時間，就可替肌膚注入有效 成分。相較於乳霜或精華液需較長時間見效，面膜則為 短時間設計。無論是想讓妝容更加服貼，或讓肌膚更加 自然透亮，所有想讓膚況升級的時刻，都適合使用面膜。 │9

Anti-aging masks target fine lines and wrinkles with ingredients like retinol and peptides. Purifying masks—typically made with clay or charcoal—deepclean pores and absorb excess oil. Brightening masks boost radiance with ingredients such as vitamin C or niacinamide. Calming masks soothe irritation and sensitivity with botanicals like chamomile and centella asiatica.

In Asian countries, especially in Korea and Japan, masks are often part of daily routines with a focus on hydration and layering. Sheet masks and sleeping packs are the most popular. In the West, masks tend to be used as intensive treatments, often just once a week, with ingredients like clay, acids, or retinol.

In recent years, however, sheet masks and sleeping packs are quickly becoming a favorite among beauty enthusiasts in the West. Meanwhile, high-tech LED masks, originally developed and popularized in the West, are beginning to find a place in Asian skin care routines.

Face masks are not a cure-all, but they are a simple way to give your skin a little extra TLC. The right one can provide relief, restore balance, and offer a quick reset when you need it. So whether you are indulging in a self-care day or getting ready for an event, a well-chosen mask can give both your skin and your mood a boost. Start simple. One or two masks can go a long way.

面膜的主要類型 面膜形式多樣，每種都有其獨特功效。除了面膜質地（ 下文 會分類說明），不同的面膜配方都是針對特定肌膚問題而 設計。抗老面膜針對細紋與皺紋，常含有視黃醇或胜 肽；

塗抹型面膜（ 通常為泥狀或活炭類 ）可深入清潔毛孔、吸 附多餘油脂；提亮面膜則含有維生素 C 或 B3，有助肌膚 煥發光澤；舒緩型面膜則含有洋甘菊與積雪草等植物萃取 成分，能有效減緩刺激與敏感，鎮靜肌膚。

在亞洲護膚習慣中，尤其是韓國與日本，面膜往往是 每日保養程序的一部分，著重在補水與舒緩護理，其中貼 片式面膜與晚安面膜最受歡迎。而一般西方護膚，多將面 膜視為強效護理，通常每週使用一次，常見成分包含泥類、 酸類或視黃醇。然而，近年來，貼片式面膜與睡眠面膜也 廣受西方消費者青睞。而 LED 光療面膜儀這項源自西方的 護膚風潮，近來逐漸進入亞洲市場。

WHAT TO CONSIDER WHEN CHOOSING A MASK · Skin Type: Match your mask to your skin type. · Goals: Are you targeting acne, dryness, dullness, or fine lines? · Ingredients: Avoid alcohols, fragrances, and allergens that could irritate your skin. · Routine: Some masks are for daily use, others weekly.

面膜並非萬靈丹，但卻是帶給肌膚額外呵護的簡單方 式。只要選對產品就能紓緩不適，並在需要時快速恢復狀 態。無論是日常保養的一天，或是特別活動前的準備，一 款精心挑選的面膜，不只能讓提亮肌膚，也能在享受護膚 的當下，放鬆身心。 面膜選擇基本考量： ．膚質：選擇適合自身膚質的面膜。 ．保養目的：想改善痘痘、乾燥、暗沉，還是細紋？ ．成分內容：避免含有酒精、香料或過敏原等刺激成分。

WHAT TO AVOID · Excessive ingredients: Too many active ingredients can harm your skin’s natural barrier. · Incompatible ingredients: Don’t pair exfoliating masks with retinoids or acids. · Expired products: Always check the expiration date and store properly.

10│

．使用頻率：因面膜成分差異，分作每日使用或一週一次等 不同頻率。 避免事項： ．成分過多：活性成分太多，可能傷害肌膚屏障。 ．成分不合：避免將去角質面膜與含有酸類或視黃醇並用。 ．過期產品：記得查看保存期限，並妥善存放於陰涼處。

AN EASY GUIDE TO FACE MASKS 面膜類型與功效

Cream Masks 霜狀面膜

Exfoliating Masks 去角質面膜

• Best for dry and sensitive skin. Rich in emollients and hydrating agents.

• Contain AHAs/BHAs or enzymes. Use sparingly (1–2 times per week).

• Can use 2–3 times per week or daily if your skin condition is good.

• Avoid if you're already using other exfoliating treatments.

• 適合乾性與敏感肌，富含潤澤與保溼成分。

• 含有 AHA/BHA 或酵素，每週使用 1~2 次即可。

• 每週可用 2~3 次，若肌膚狀態良好，甚至可

• 已使用其他酸類產品者，應避免重複使用。

每天使用。

Sleeping Masks 晚安面膜 Sheet Masks 貼片式面膜

• Act as an overnight sealant for hydration and active ingredients.

• Great for hydration and convenience, easy to carry with you, can be used for a quick boost.

• Come in a light, gel-based texture, can be used a few times a week,

• No need to rinse off the remaining elixir.

Gently massage it into your skin with your fingertips to help absorption.

• Whether they’re suitable to use more than

or whenever needed.

• 於夜間密封滋潤與活性成分，多為輕盈凝膠質地。 • 每週可用數次，也可視需求使用。

3 times a week depends on the formula.

• Mask materials vary. In addition to the commonly used nonwoven fabric, silk and bio-cellulose are among the best options for comfort and breathability.

• 方便快速，能立即補水提亮，適合旅行、出席正式 活動前使用。 • 取下後無需使用清水沖洗臉部殘留的精華液，可用 手輕輕按摩，幫助肌膚吸收。 • 依據成分配方，決定是否能在一週內使用三次以上。

Lip Masks 脣膜 • Usually come in the form of balms or gel patches • Nourish and soften lips overnight—great as part of a nighttime or pre-makeup ritual • 常見為護脣膏或凝膠貼片 • 滋養雙脣、隔夜見效，適合睡前或 上妝前使用。

• 貼片有各種材質，除了最常見的不織布， 蠶絲以及生物纖維具有最佳的親膚與透氣 性，發揮面膜最大效用。

LED Light Masks LED光療儀面膜 • Red and blue light, the most common, are used to boost collagen or target acne-causing bacteria.

Clay and Charcoal Masks 泥狀與活性炭面膜 • Ideal for oily or acne-prone skin but can be drying.

• Great for deep-cleaning and absorbing excess oil.

• Can use 1–2 times per week.

• 適合油性與痤瘡肌，但過度使用可能會太乾燥。 • 能深層清潔與吸油 • 每週可使用1~2次

• Some masks offer up to seven LED light colors, including green, which may help reduce pigmentation and dark spots.

• Follow device guidelines, typically 2–5 times per week.

• 紅光與藍光最常見，能促進膠原蛋白生成或抑制 痤瘡生成菌。 • 某些產品提供多達七種光色，如綠光可淡化色斑與 改善膚色不均。 • 依產品建議，通常每週使用 2~5 次。

│11

TOP MASK PICKS 精選面膜

By Pia Norris

Natura Bisse: C+C Vitamin Souffle Mask The vitamin C-rich soufflé mask hydrates, firms, and brightens for a smoother, more radiant complexion in minutes. It’s perfect for when your skin looks tired or devitalized. ($58, naturabisse.com)

DefenAge: 2-Minute Reveal Mask This gentle exfoliating mask uses sugar crystals and enzymes to remove dull cells, revealing brighter, smoother skin while refining pores and enhancing radiance in just two minutes. ($58, defenage.com)

EVE LOM: Rescue Mask This multitasking clay mask purifies, exfoliates, and conditions with honey-infused kaolin and ground almonds for a clearer, more radiant complexion. It’s the go-to SOS mask for breakouts, dullness, or tired skin. ($90, evelom.com)

Laneige: Water Sleeping Mask Powered by niacinamide, squalane, and a probiotic complex, this Korean overnight mask leaves skin deeply hydrated and glowing. Perfect for dull, tired skin in need of a morning boost. ($32, laneige.com, sephora.com)

Tree Hut: Strawberry Overnight Lip Mask This overnight lip mask wraps lips in moisture with a cushiony, nonsticky texture and a delicious strawberry flavor. Ideal for when lips need extra care and deep hydration. ($9.99, amazon.com) 12│

Chantecaille: Detox Clay Mask With Rosemary

La Prairie: Platinum Rare Haute-Rejuvenation Mask

This creamy clay mask purifies with kaolin and black clay to absorb oil, draw out impurities, and replenish the skin, leaving it soft, balanced, and visibly clearer.

This high-potency rejuvenation mask delivers visible results in just 15 minutes—reducing the appearance of wrinkles while boosting radiance, smoothness, and hydration. With continued use, it enhances firmness, elasticity, and overall skin quality.

($105, chantecaille.com)

Chantecaille: Bio Lifting Mask+ This high-performance mask combines plant stem cells, advanced peptides, tensing agents, and moisture enhancers to visibly lift, firm, and smooth the skin. ($235, chantecaille.com)

($1,775, laprairie.com)

Augustinus Bader: The Hydrogel Face Mask This hydrogel sheet mask hydrates, evens, and plumps the skin while softening fine lines, leaving you with a radiant complexion. Ideal for a preevent glow or whenever skin needs a boost. ($180, augustinusbader.com)

Epicutis: Lipid Recovery Mask This bio-cellulose mask calms, soothes, and restores the skin in minutes with a concentrated dose of healing lipids. Perfect for after procedures or whenever your skin needs rapid repair. ($125, epicutis.com)

│13

ELITE CULTURE

THE

Tang Lifestyle The Golden Days of China’s Greatest Era 品味大唐風采 唐人生活二三事

By Astrid Wang | English translated by Gigi Tseng

T

he Tang Dynasty was a pinnacle of Chinese civilization—a time of extraordinary splendor and cultural brilliance. Even today, the word “Tang” sparks a sense of pride among Chinese communities. Chinatowns around the world are referred to as “Tang Ren Jie,” which translates literally into “streets of the Tang people.”

Strolling through Chang’an over 1,200 years ago might have felt somewhat like walking around Manhattan—alive with merchants, scholars, and diplomats 14│

大唐氣象萬千，「 唐」一字，有著中國人引以為豪的身分 認同，就像在 21 世紀，世界各地的華人聚集地仍以「 唐 人 」為名。唐朝，為何能成為數千年來華人自居的代稱 呢？千 年前 的唐朝 時 尚與風 潮，至今仍 為人歌 頌 且懷 想。當年大唐帝國的強盛，萬國來朝，讓長安成為世界 名都，各國人才都想親赴中國見聞或學習，多元文化在 此交匯，碰撞出許多奇想與創新。 距今約 1,200 年前的唐朝，走在大街上就像我們走 在紐約的街頭——除了漢人，還有許多其他族裔的人種， 身著不同的文化服飾。唐太宗開創貞觀盛世，又被突厥

from around the world. This vibrant mix of cultures sparked a burst of creativity and innovation with an influence that endures to this day. Much of this golden age is credited to Emperor Tang Taizong, so respected that even the Turks called him the Heavenly Khan.

His reign during the Zhenguan era ushered in a time of remarkable peace, prosperity, and stability.

尊為天可汗，威儀四方，天下太平，百姓安居樂業。在此 基礎之上，人民生活多了許多吃飽喝足之外的發展可能。 食在唐朝 夫民以食為天，要論生活，就避不開飲食一題。長安位 於今日陝西一帶，仍屬北方之地，而唐朝時期，北方以 栗米飯為主食，如小米、黃粱等穀物，有別於食用稻米 的南方地區。唐朝之於中華文化料理的歷史，是個關鍵

THE TASTE OF TANG Culinary traditions are so deeply woven into China’s history and identity that it’s impossible to tell its story without first tasting its food.

In ancient Chang’an, located in present-day Shaanxi of northern China, the locals ate millet and corn as their staple grains, quite different from the rice-based diets of the southern provinces. Their gastronomy was divided into three main categories, with the most elaborate dishes reserved for the banquets of the imperial court and noble families.

These feasts weren’t just about opulence and indulgence; every detail of the meal mattered—the aroma, the appearance, the flavor, and even the plating.

Through Chancellor Wei Juyuan’s menu for his Shao Wei Yan banquet, we get a glimpse into the dishes served more than a thousand years ago. At this banquet celebrating his promotion, guests were served roasted prawns and oil-seared shrimp arranged in the shape of a lantern, along with delicacies like caviar sandwiches.

Many of the Tang Dynasty’s most iconic dishes were linked to famous historical figures. Hanlin Chicken, for example, is named after the prestigious Hanlin Academy, in honor of the poet Li Bai. Guifei Chicken, a dish infused with grape wine, was said to have been created for Yang Guifei, the emperor’s favorite consort known for her love of tender chicken.

Seasonal dishes like huaiye lengtao, cold noodles tinted green with the juice of locust tree leaves, were also popular. Served chilled, it was a favorite during the sweltering summer months.

It’s interesting to note that many of the Tang’s most famous dishes weren’t actually invented during the era, but were passed down from earlier dynasties and refined over time. Hubing, for example, was originally a flatbread eaten by commoners. The element “hu” indicates its foreign roots. During the Tang Dynasty, the wealthy gave this humble bread an upgrade by adding lamb fillings.

的發展時期。 那時菜品分為三等，上等是皇家以及門閥貴族設宴 時的料理，除強調色香味之外，擺盤也極其講究，根據 唐朝宰相韋巨源的食單，記載時下「 燒尾宴 」的精緻菜 品，我們可以一窺千年前的宴會料理。例如：光明炙蝦， 油爆大蝦擺盤成燈籠樣；金粟平粱是魚子醬夾餅等。雖 然這些並非尋常百姓可享用的美味，但平民飲食也豐富 多樣。 唐朝常見的料理 並非當朝所創，而是在 前朝基 礎 上，繼續深化及創新。胡餅即平民美食，胡字可見源自 外邦，前朝已出現，但唐朝文獻記載，此時權貴人家開 始在餅中加入羊肉等餡料，發明出更多樣的胡餅。 羹湯類也受唐人喜愛，看似簡單，只需將食材通通 丟入鍋中煮，但該料理講究刀功、火候、調料，羹湯的 好壞，就能看出廚師的水平。膾料理即切絲的肉品，把 肉片切得又細又薄，體現廚師的刀工，料理也分生食與 熟食，生食魚片在唐朝曾一度大受歡迎。此時，廚界的

唐 周昉 內人雙陸圖 卷 局部 Women of the House Playing Double Sixes by Zhou Fang, Tang Dynasty. Ink and color on silk. Leisure in the Tang Dynasty was lively and varied. Board games like Go and backgammonstyle variants were among the era’s favored pastimes.

Left page: 唐 周昉 畫人物 卷 局部 Tang Dynasty painter Zhou Fang brought the lives of affluent families to life, portraying women caring for children as they played with the popular toys of the time. _Courtesy of Taiwan National Palace Museum │15

Thick soups and stews were also beloved in Tang cuisine. Though they may seem as simple as tossing ingredients into a pot, the Chinese saw them as culinary art demanding expert knife work, precise temperature control, and careful seasoning. A chef ’s reputation often hinged on the quality of his soup.

Above all, Tang chefs were celebrated for their knife skills. Ingredients, especially raw fish, were expected to be sliced into thin, delicate pieces. These beautifully prepared cuts were so admired that many poems from this era praised the chefs’ almost magical precision.

Though not everyone dined like royalty, commoners still enjoyed a varied and satisfying diet. Lacking regular access to fresh ingredients, preserved and pickled foods, including tofu and soy sauce, became staples. Tang households perfected the art of fermentation and passed the technique down through generations. In fact, many pickled dishes still popular today in Japan’s Kansai region can trace their origin back to this time.

烹飪技藝達到新高度，名廚出神入化的刀功故事，也寫 入當時文學作品中。 平民無法像貴族那般天天有新鮮的高級食材，吃醃 漬物就成了日常。要將漬物做得風味俱佳也非易事，而 當今日本關西一代遠近馳名的漬物料理，便可回溯自唐 朝，淵遠流長。此外還有豆腐、醬油這些日常飲食，民 間都已經有相當精良的製法與釀造技術。 若要論及唐代名菜，則多與歷史名人有關，如得名 於李白官職名稱的翰林雞，以及為了取悅愛吃嫩雞肉的 楊貴妃，將葡萄酒入菜而得名的貴妃雞等創新料理。此 外，還有季節限定美食，最著名的便是夏日的「 槐葉冷 淘」，也就是涼麵。以槐葉汁揉入麵粉，製成綠色麵條， 煮熟後冰鎮食用。從這些豐富的料理品項可以看出時人 不僅求飯飽，也吃得精巧。 喝茶 是中華飲食文化中不可或缺的一環，但在 唐 朝之前，飲茶還未成風尚。《舊唐書》寫到： 「 茶為食物， 無異米鹽 」，可見時人生活已離不開茶品。在唐朝盛行 煮茶，與我們今日所熟知的泡茶有所不同。於唐朝問世 的《茶經》，作者陸羽被後世封為茶聖，其中記載「 三 沸 」的煮法是以炭火燒水，須在水未開時加入茶末，使 茶末與水相 融煮至沸騰，有些 人會在 此階段加入 鹽調 味；再煮至二沸，出現沫餑，撈出至其他器皿備用，此

OF TEAS AND WINES Tea drinking is an indelible part of traditional Chinese culture. As recorded in the Old Book of Tang, “Tea is a food, no less important than rice or salt.” During the Tang Dynasty, carefully selected tea leaves were typically brewed with boiling water.

According to The Classic of Tea by Lu Yu, China’s greatest tea master, proper preparation followed the “three boilings” method. Just before the water reached a full boil, finely ground tea powder was added and allowed to infuse. Next, a pinch of salt was sometimes included to enhance the flavor. As bubbles formed, they were carefully skimmed off, and the tea was brought to a final boil before serving.

In addition, the Tang people loved a good banquet, and no celebration was complete without a touch of liquor. Red wine, in particular, was favored by the nobility because grapes—introduced to China during the Western Han—were a luxury few could afford.

One tale, recorded in New Stories From the Great Tang, tells of Emperor Gaozu serving grapes at a feast. When the official Chen Shuda took some but didn’t eat them, the emperor asked why. Chen explained that his mother suffered from dry mouth, and having heard that grapes could relieve thirst, he hoped to take the fruit home for her.

16│

為茶之精華；繼續燒煮至茶鍋內翻湧沸騰，此即三沸。 茶湯一詞因而得名。宋朝則在此基礎上 繼續將飲茶文 化發揚光大， 「 茶道 」一詞，也是在唐朝之後才被廣泛 使用。 另外，唐朝宴飲、宴遊風氣鼎盛，宴會上當然少不 了美酒相伴，值得一提的是紅酒！葡萄自西漢引進中國 栽 種後，在當時仍非人人可以嘗到的高級水果。《大 唐 新語》有個故事可見一斑——唐高祖設宴款待眾臣，葡 萄為席上美食之一，侍中陳叔達拿了卻沒有吃，高祖相 問原因，他 才 說出因為母 親 患有口渴之疾，聽 說葡 萄 有解渴功效，想將宴會上的葡萄帶回家孝敬母親。貞觀 年間，唐太宗下令在宮內種植葡萄，後來才逐漸普及， 是中國最早開始 釀 造葡萄酒的時期。從皇家開始至文 人墨客，葡萄酒如前所述，入了料理，入了觥籌交錯的 酒杯中，也入了才子們的詩作之中——「 葡萄美酒夜光 杯，欲飲琵琶馬上催。 醉臥沙場君莫笑，古來征戰幾人 回。」（ 王瀚〈涼州詞〉） 市井生活 如開篇所述，長安城是個多元文化交流的集散地，這座 城市的建設在千年前，也是獨樹一幟的存在。知名中國 建築史學家梁思成先生就曾在其著作中寫道： 「 長安城 是當時世界上最大、最完整的按全盤規劃建造的城市。 像長安那樣有明確的分區——皇室居住的宮城、衙署所 在的皇城和一般坊里——和系統化的街道和坊里布置的 城市在當時是罕見的。」

唐人宮樂圖 軸 A Palace Concert Scroll from the Tang Dynasty. This unsigned painting captures a lively banquet of court ladies.

The ornate drinkware, detailed furniture, the women’s elegant hairstyles, their makeup, and clothing offer a vivid glimpse into the dynasty’s rich lifestyle. _Courtesy of Taiwan National Palace Museum

During the Zhenguan era, Emperor Taizong planted grape vines within the palace walls and began red wine production in China. Before long, its popularity spread from the nobility to scholars and eventually into literature. As Wang Han’s famous poem “Song of Liangzhou” reads:

《唐會要》中記載，「 貞觀 元年十月，敕 五品以 上不 得入市。」五品以上的官員不能進入市集，市集是平民的 市場。若要想像一般唐朝人的生活，當然要走進市場。 長 安城 內，皇城 南邊 以 朱 雀 大 街 為中 軸，兩 側 分 為東 市與西市，兩者買賣的商品迥異，步行街左右距離約有 一百步寬。初唐至盛唐時期，市場有嚴格的管制，住商 分離，從營業時間到不同商品的商鋪位置，都有明確的

Fine red wine shimmering in jade cups by night— Just as we raise it to our lips, the pipa calls us to ride.

Laugh not, my friend, if we lie drunk on the battlefield; For since ancient times, how many soldiers have returned from war?

規定與劃分。 那時沒有「 早市」，市場一直到午後才開門，並在日 落前七刻，鳴鑼三百下以閉市。在有限的市場時間內，人 們無不利用時間前來逛街。走在街上，有突厥、波斯、大 食人，還有可以從衣著辨認的日本人、吐蕃人，也有黑人。 西市比東市更為繁華，又被稱為「 金市」，也是西域 絲綢之路商人卸貨交易的地點。各色異域的奇珍異寶， 吸引王公貴族前來尋寶。食衣住行，生活各個面向的商品

INTO THE CITY Chang’an was undeniably cosmopolitan—a city remarkable even by today’s standards. Chinese architectural historian Liang Sicheng wrote:

應有盡有，有賣寶馬、玻璃、香料、金銀器等，針對女性 消費者的商鋪更是玲瑯滿目，有充滿異國雕刻紋樣的梳 妝用品、珠寶，胡人開設繡、夾纈坊（ 印染），深受仕女 喜愛，以及販售各色綾羅綢緞的衣料行。 │17

Chang’an was the largest and most comprehensively planned city in the world at the time. It’s rare to see a city with such clearly defined districts.

From the Imperial Palace, where the royal family resided, to the Imperial City housing government offices, and the residential neighborhoods—the entire city was systematically organized.

To better picture the metropolis, close your eyes and imagine standing at its heart. To your north lies the Imperial City; to the south runs Zhuque Avenue, flanked on both sides by major marketplaces: the East Market and the West Market. The pedestrian walkway running through each market measures 100 paces wide.

From the early to mid-Tang Dynasty, these markets were strictly regulated. Residential and commercial zones were separated, and rules were meticulously enforced, including shop placement business hours, and the types of goods sold.

These markets didn’t open until the afternoon and closed at about an hour and a half before sunset, signaled by the sounding of 300 drum beats. During these limited hours, the streets buzzed with shoppers from every ethnicity—Turks, Persians, Arabs, Japanese, Tibetans, and Africans.

The West Market, also known as the Gold Market, was the more prosperous one and served as the main arrival point for Silk Road merchants unloading their goods. There, one could find everything, including food, lodging, horses, glassware, jewelry, cosmetics,

需特別指出，在唐朝除了銅錢之外，布料（ 絹帛） 也可以當作貨幣使用，可用來納稅、買賣或抵債，政府 明文規定了布料的長度、寬度、重量等標準，對布帛品 質進行檢測，再根據紡織的密度、厚度、品類、染色好 壞等標準定價。 市場關閉後，大部分人也都回家去，因為入夜後， 長安城內有宵禁，平民不得隨意外出在街上遊歷。不過 有特殊的節日來臨時，也有可以難得夜遊的日子，那就 是上元節。上元一詞源於道教，為黃曆正月十五日。這 一天流行賞燈，前後共有三日沒有宵禁。無論貴族或平 民，男男女女皆可在夜間出遊交際，街上彩燈高掛、熱 鬧非凡，正如張祜《正月十五夜燈》一詩： 「 千門開鎖萬 燈明，正月中旬動地京。三百內人連袖舞，一時天上著 詞聲。」寫這夜裡歌舞樂曲、人聲鼎沸都傳至天上去了。

Above & left: 搗練圖 局部 A Northern Song Dynasty replica of Court Ladies Preparing Newly Woven Silk

by Emperor Huizong, based on the original painting by Tang Dynasty artist Zhang Xuan. Ink, color, and gold on silk. Depicting court ladies preparing a new bolt of silk for sewing, the artwork showcases the emperor’s artistic talent and his dedication to preserving the painting style of the Tang Dynasty. _PD-US

18│

embroidery, and fine silks. It was the go-to destination for the wealthy in search of exotic treasures or daily necessities.

Before setting off, it’s worth noting that in the Tang Dynasty, silk—alongside copper coins—served as currency. It could be used to pay taxes, trade goods, or settle debts. To ensure fair trade, the government set strict standards for inspecting each bolt’s length, width, and weight. Prices were determined by the silk’s weave, thickness, type, and dye quality.

When the markets closed, most people returned home, as a nightly curfew was enforced and commoners were not allowed to wander the streets. On special occasions, however, night outings were permitted, such as during the Shangyuan, or Lantern Festival.

Rooted in Daoist tradition, Shangyuan falls on the 15th day of the first lunar month. For three consecutive nights, colorful lanterns lit up the streets, and people were free to socialize and celebrate.

佛道精神 一個時代的藝文高度，體現人們富足的精神生活，文學 與藝術創作成了最直接的媒介與證據。 唐朝將詩體推向顛峰，有詩仙李白、詩聖杜甫、初 唐四傑、白居易、王 維、柳宗元、孟浩 然等，是文學大 家的盛產時代。雖然名家各有千秋，但綜觀唐朝作品所 展現出的生命氣質，尤其盛唐時期的作品，多為後世感 到大氣、格局宏大。這種超越現世的信仰，或對塵世的 灑脫，或許也與當時人們的宗教信仰、修煉文化有關。 唐朝雖尊道教為國教，但皇室以及王公貴族，下至 百姓，多信仰佛教。貞觀年間，唐太宗並未以國教限制 人民的信仰，佛、道並行之外，還有從國外傳入的景教、 伊斯蘭教等少數宗教，在民間流傳，廣州還有唐朝建成 的清真寺，是中國現存最古老的清真寺。其中，唐太宗 對於玄奘遠赴西方取真經一事極為重視。 在玄奘成功取回真經，回到長安後，唐太宗不僅親 自接見，並大力支持往後的譯經事業，在翻譯經文完成 後，又親自為翻譯佛經作序——《大唐三藏聖教序》—— 「 是以翹心淨土，往遊西域；乘危遠邁，杖策孤征。積雪 晨飛，塗間失地；驚砂夕起，空外迷天。萬里山川，撥煙 霞而進影；百重寒暑，躡霜雨而前蹤。誠重勞輕，求深

SPIRITUAL TRANSCENDENCE Art and literature are the heartbeat of a society. They offer a vivid window into how people lived, what they valued, and how they made sense of the world around them.

During the Tang Dynasty, appreciation for poetry reached new heights, giving rise to some of China’s most beloved poets like the free-spirited Li Bai, often called the Immortal Poet, and Du Fu, known as the Poet-Sage, among many others.

Each of these poets had a voice of his own, and together, they painted a vivid portrait of life in China. Literature from this era is known for its spiritual depth and the calm, detached tone shaped by the dynasty’s strong religious influences.

Although Daoism was the Tang Dynasty’s official religion, Buddhism was widely practiced. During the Zhenguan reign, Emperor Taizong encouraged religious freedom and allowed foreign faiths like Nestorian Christianity and Islam to take root. Today, visitors to Guangzhou can still visit a mosque from that era—the oldest in the country.

Moreover, while many know the story of the Tang Monk from Journey to the West, few realize it’s based on the real-life travels of the monk Xuanzang. In 629, he began a 17-year journey to India in search of Buddhist scriptures.

願達，周遊西宇，十有七年。⋯⋯爰自所歷之國，摠將三 藏要文，凡六百五十七部，譯布中夏，宣揚勝業。」太宗 感佩玄奘花上 17 年的歲月，一心為求真經，不問路途的 艱險，如今又完成翻譯，使中原子民得以沐浴佛法。 也因宗教信仰的盛行，有學者稱寺廟有如長安人的 「 公園 」，因人們的日常與寺廟息息相關，禮佛、抄佛經、 燒香祈福等⋯⋯另一件有趣的現象，則是當時佛寺有戲 場表演「 俗講 」。俗講是以佛經故事變文，來教化普羅 大眾，作為講經的一種方式，目的也是透過表演，讓世 俗大眾捐香火錢給佛寺。俗講還會根據聽眾的性別，區 分為「 僧講 」和「 尼講 」——男性觀眾為僧講；女性觀眾 為尼講。後來逐漸演變為以通俗故事為講唱主題的一種 藝術形式，富有劇情發展、角色扮演、配樂，逐步具備了 後世戲劇的雛形。長安城內有名的戲場有：慈恩寺、青 龍寺、薦福寺、永壽寺戲場，有些戲場至今還在。 而若論及道教與人民生活的關係，那便離不開中醫 了。被後世尊為藥王的孫思邈，是歷史上著名的道家人 物，相傳其活逾百歲。根據《太平廣記》記載，他年輕時 就精通老莊及百家學說，人曰聖童。他一生歷經數次改 朝換代，受召出仕，但皆推辭不受。關於孫思邈所行之 神蹟與預言的文獻不少，但他一生致力於醫，其著 《備急 千金要方》，至今仍是中醫學的聖典之一。 其中〈大醫精誠〉一文中寫到： 「 凡大醫治病，必當 安神定志，無欲無求，先發大慈惻隱之心，誓願普救含 靈之苦。」他雖然是道家，卻有濟世之懷，尤其重視醫 德修養，並將道家內修理論與醫學相結合，倡導德行、 食 療、養 生等，這 些 如今 都是根植 於中國文化 的重要 │19

都督夫人太原王氏禮佛圖 The reconstructed replica of a wall mural from Cave 130 at the Mogao Grottoes, circa 742–756, showing Lady Wang, wife of a military governor, accompanied by a procession of 11 maids offering flowers and prayers at a temple. At the height of the Tang Dynasty, Buddhism flourished across all social classes, and scenes of worship were commonly portrayed in Dunhuang paintings. _PD-US

Emperor Taizong deeply valued this mission.

When the Xuanzang finally returned, the emperor welcomed him personally and supported his translation efforts. At the project’s completion, Taizong penned “The Emperor’s Preface to the Sacred Teachings” to celebrate the occasion and honor the monk’s devotion.

In the Tang Dynasty, Buddhist temples were more than just places of worship; they functioned much like modern-day parks, where people would spend their leisure time praying, copying scriptures, and enjoying moments of peace.

Local temples often hosted storytelling performances that brought Buddhist teachings to life, sharing moral lessons and encouraging donations. These performances—sengjiang for men and nijiang for women—gradually evolved into full-scale theatrical productions with rich plots, three-dimensional characters, and live music.

內涵。唐朝有許多人追求長生術，但他在《千金方》中強 調： 「 德行不充，縱服玉液金丹未能延壽。故老子曰：善 攝生者，陸行不遇虎兕，此則道德之指也，豈假服餌而 祈遐年哉。」倡導人們修身養性，行善才是根本之道。其 一生，如唐太 宗的 詩作所述： 「 鑿開徑 路，名魁 大醫。 羽翼三聖，調和四時。降龍伏虎，拯衰救危。巍巍堂堂， 百代之師。」（〈賜真人孫思邈頌〉） 永遠的長安 關於唐朝的精采，並非本文可盡述。坊間關於唐朝的著 述，比起其他中國朝代多上數倍，原因也不難猜想。這 盛世的光彩，讓許多學者恨不得乘上時光機，穿越千年 來一探究竟。雖未能如願，但那敦煌石窟裡一幀幀的壁 畫、龍門石窟的雕像、無數絕倫的唐朝詩文樂畫，無不 展現著唐朝神奇又令人著迷的世界。 當今人們對日本古都的喜愛，甚至可謂是人們對唐 朝憧憬的一份例證。位於奈良的藤原京、平城京，皆建 成 於唐朝，都是 比 照當年的長 安城 城市規 劃而建，只 是總面積未如當年的長安城；而京都舊稱為平安京，也 是延 續相同的城市格局而建，此後長 達千年作為日本

SECRETS TO LONGEVITY From the very beginning of Chinese civilization, traditional medicine has been deeply intertwined

20│

首都。 當年的長安城早已退出歷史舞臺，僅存遺址，現存 於中國的唐朝木構建築屈指可數，種種關於「 天朝 」的事

with Daoism, and no one represents that connection better than Sun Simiao, or the King of Medicine.

A devoted Daoist, he was said to have lived for over a hundred years. According to the Extensive Records of the Taiping Era, Sun was a prodigy, wellversed in Daoist teachings even from a young age. Though he was invited multiple times to serve in government, Sun always turned it down, choosing instead to dedicate his life to healing others.

His seminal work, Essential Prescriptions Worth a Thousand Gold for Every Emergency, is still considered one of the most important texts in Chinese medicine today.

In the chapter “On the Absolute Sincerity of Great Physicians,” he wrote: Whenever eminent physician s treat an illness, they must quiet the spirit and settle the will, they must be free of wants and desires, and they must first develop a heart full of great compassion and empathy. They must pledge to devote themselves completely to relieving the suffering of all sentient beings.

Tang Dynasty and still just skim the surface. It is the most-documented era in Chinese history. Its influence is so immense that scholars around the world would give anything for a time machine to experience its splendor firsthand.

Today, travelers flock to Japan’s ancient cities. Many would be fascinated to learn that much of Japan’s traditional culture is rooted in Tang influences. Cities like Fujiwara-kyo and Heijo-kyo, located in present-day Nara, were built during the Tang Dynasty and modeled after Chang’an, though on a smaller scale. The most exquisitely preserved of these is Kyoto, formerly Heian-kyo, which has served as Japan’s capital for over a thousand years.

The world has changed dramatically since China’s golden age, and its stories now survive only in legends and memories. Perhaps no reflection captures this better than author Yongtao Shi’s words in The Nostalgia of the Tang Dynasty: A Kaleidoscopic Life History:

Chang’an is a city that lives on in the hearts of the Chinese An anonymous painting of Monk p e o pl e . It o n c e e x i s t e d , o n c e Xuanzang, 14th century, Kamakura period. Color on silk. In A.D. 629, flourished, and helped shape the Xuanzang embarked on a 17-year very spirit of the nation. To the While many during that era journey in search of Buddhist scriptures.

Chinese, Chang’an is not meresought immortality through po_Courtesy of Tokyo National Museum ly a name, a city, or even [the tions and alchemy, Sun offered a present-day] Xi’an—it is a formative force that different perspective. He emphasized the importance shaped who we are, and it now endures as part of of moral character, balanced nutrition, and holistic our cultural DNA. healing. For him, true health and longevity came from cultivating virtue and doing good in the world.

Sun believed: “Without moral integrity, even con蹟，留予後世無限的想像。 《唐代的鄉愁：一部萬花筒式 suming jade and gold elixirs cannot prolong life.” As 的唐朝生活史》作者師永濤在書中對唐朝的注解，尤其 Laozi said, “Those who lead a virtuous life can walk 貼切地道出了許多人的心聲： 「 它仍然是中國人心目中的 among tigers unharmed—this is the power of good.” 城市，它曾經來過、輝煌過，而且在城市的發展史上，塑 玄奘三藏像

造過這個國家的精神。對於中國人來說，長安不僅僅是

THE ETERNAL CHANG’AN You could spend weeks reading the stories of the

一個地名，一個城市，甚至不是西安，它是一種造就過 我們的元素，這種元素現在是我們文化基因的一部分。」 │21

EDITOR'S PICK

LITTLE GREENE, DAHLIA SCROLL–GIALLO (C.1890–1900) FROM NATIONAL TRUST PAPERS III, $193 PER ROLL, LITTLEGREENE.US

TANG COLORS REIMAGINED 彩唐之色

STEFANO GERINI, YELLOW PICTURE FRAME, $130, ARTEMEST.COM

Tang sancai, the beloved tri-colored ceramics of the Tang Dynasty, exemplifies the artistic brilliance of China’s golden age. Though traditionally glazed in warm amber, jade green, and soft ivory, the low-fire technique behind these works can yield a rainbow of colors.

Bring home a touch of that splendor with furniture reminiscent of the era’s glory and let its story unfold. 唐三彩——這一唐代備受喜愛的三色 釉陶器，展現了中國唐朝盛世的藝 術成 就。雖 以溫潤 的琥 珀色、翡 翠綠與象牙白為傳統釉色，但其 低溫釉燒技術也能綻放出其他 不同的色彩，在千百年前，鮮 活了人們對陶器的想像。以唐 三 彩 的釉色 為靈感，感受 唐 朝的視覺之美，用盛世美學妝

ZANABONI, T165/S SIDE TABLE, $10,070, ARTEMEST.COM

點 家中 的 角落， 品 味 時 代 的 餘韻。

A Tang sancai ceramic figure from the eighth century, depicting a court lady relaxing with a playful lapdog at her feet. _Courtesy of The Metropolitan Museum of Art

22│

DOLCE&GABBANA CASA, MAJOLICA DECORATIVE TRAY, $ 645, MYTHERESA.COM

AMEICO, KNIT-WIT PENDANT 57, $1,050, DWR.COM

PHOTOS BY ROCHE BOBOIS, LITTLE GREENE, LAZZONI, MYTHERESA, DWR.COM AND ARTEMEST.COM

LAZZONI, EVA ARMCHAIR IN BURNT ORANGE, $1,980, LAZZONI.COM

MAHARAM, WIDE CORDUROY PILLOW IN THREE SIZES, $195–275, DWR.COM

ROCHE BOBOIS, INTEMPOREL DESIGNED BY MAURIZIO MANZONI, 3/4 SEAT SOFA WITH SMILE FABRIC, $9,090, ROCHE-BOBOIS.COM

│23

ELITE HOME

A LIFE OF

Graceful Ease

Brittany Bromley on Designing a Home You Love

以家為名的設計 布列塔妮·布倫莉的從容生活美學

English by Jennifer Tseng | Chinese by Astrid Wang Photography by Annie Schlechter

Y

ou wouldn’t know it from her impressive portfolio, but celebrated interior designer Brittany Bromley—owner of a thriving firm in New York and Palm Beach—didn’t originally plan to enter the field. Yet that’s the curious way life unfolds. Oftentimes, the happiest outcomes find those who go with the flow and let life take its course.

For over a decade, Bromley built a successful career in real estate. Unbeknown to her at the time, those years spent matchmaking clients with homes, reimagining floor plans in her head, and seeing beauty where others saw blank space were quietly preparing her for the next chapter. 五月初，在紐約設計圈別具歷史意義D&D大樓內舉辦的簽書座談會上，知名 室內設計師布列塔妮 · 布倫莉（Brittany Bromley）今年甫出版其首部著作 《Relaxed Elegance: Rooms for Living Well 》（ 暫譯：從容優雅：美好 生活的居家空間）。會上她侃侃而談，分享了自己的設計見解及小故事，並回 應各式提問，如今她在紐約與佛州棕櫚灘，都擁有美麗的展示間。 布列塔妮從事室內設計，是一段不期而遇的歷程。後來她在接受本刊 專訪時說，「 我喜愛設計，但直到我開始做，都不清楚自己是否想過要以此 為業。因為我無法相信人們會如此信任我的技術以及直覺，真的，這超 越 所有的一切。」顧客的信賴讓她感到無比幸運。看似偶然的機遇，卻成了開 花結果的事業。 24│

Bromley always sees the ceiling as a fifth wall and takes extra care to incorporate it into her designs. In this family room, she chose reflective wallpaper with hand-painted details to brighten the space and add visual interest.

Once a real estate agent, Brittany Bromley now leads a flourishing interior design firm in New York and Palm Beach._Marc Tousignant

Being a real estate agent “forced me to really listen to what my clients were looking for,” Bromley shared with ELITE. She said she’d suggest changing the swing on a door or putting in a wall. “Those sorts of renovation techniques [and] ideas were always part of the way that I sold real estate. So, it felt like a very natural thing to then start doing design.”

That same creativity and initiative carried over when Bromley took on the renovation of her own dream home—a 290-year-old colonial-style house. As the project neared completion, puzzle pieces fell into place, and the fruits of her labor returned tenfold.

“The first home that I ever really did was my own," Bromely said. She had chosen every detail and taken on much of the physical labor herself. When a

2012 年，布列塔妮創立了與其同名的 室內設計事務所，但早在創立商號前，她的 第一件室內設計案已進行許久，「 我的第一 件作品就 是自己的房 子，也是我買的第一 間房屋。」這間房子位在紐約上州貝德福德 （Bedford）鎮上，設計自宅雖能夠隨心所 欲，但為了達成內心最理想的狀態與維護老 屋 既存的特色與風貌，她耗費長達數十年 的歲月才完成房屋設計改造。孰料初試啼 聲便遇上伯樂——住在對街的鄰居。 「 他們 來 我 家共 進 晚 餐，看 到 我 的 設 計，他們很喜歡，就問我能不能幫他們家做 Relaxed Elegance: Rooms for Living Well

設計。」這是布列塔妮從未想過的請求，因 為在此之前，她是一名紐約的資深地產經

Publisher: Rizzoli

紀人。面對鄰居突如而來的盛情請託，她雖

Bromley’s debut book offers an inspiring glimpse into her interiors, celebrating a fresh, colorful, and pattern-filled take on traditional design.

猶豫，但最終決定放手一博，就這樣展開了 她的室內設計之旅。此後十逾年，她陸續完 成了多件令人耳目一新的設計作品，證明了 她潛藏已久的天賦終於能夠施展。 活用創意 處處有新意 從一名房仲轉職 為室內設計師，兩種看似

Left page: In the space adjoining her living room, Bromley set the tone with a marbleized wallpaper, brought in visual interest with a floral fabric on the sofa, and anchored the room with deep olive-green throw pillows.

南轅北轍的行業，布列塔妮卻說： 「 對我來 說這是一件自然而然的事。」——她總是能 看見一個空間的潛力，「 我會想，如果我們 改變這扇門的開合方式，或是在 這 放一面 │27

To highlight the original wood paneling and bookcase elevations in this Park Avenue apartment, Bromley’s team applied a decorative tortoiseshell finish. Its rich tones are punctuated by the colorful details of the lampshade and throw pillows.

neighbor came by for dinner, she was so impressed with the result that she asked Bromley to help with her own home. From there, word spread quickly— and just like that, Bromley’s career took off.

牆，或是打開這處，這些翻新的技巧、想法始終伴隨著 我的賣房工作。」此外，她很享受探索房源的過程，看房 子也看室內裝修，這些與室內設計相關的一切，早已如 影隨形。轉行後，她只是繼續深化此技能。而無論是房 地產業或是室內設計，對她來說，最重要的是，都能與

A HOUSE LIVED IN For Bromley, every project begins with an honest, heartfelt conversation with her clients about goals and what’s possible. Guiding them to connect with their inner vision and translating that into tangible design is essential because, as she puts it, “Your environment shapes your experience.”

“If you spend 60 percent of your life inside your own home, then creating an environment which speaks to you, calms you, makes you happy—all of those things—you're setting the stage for your whole life,” Bromley said.

“Your diet is more than just what you eat: It's what you read, it's what you watch, it's who you talk to, it's what you listen to. I would say that your interior is a part of that. It's like the environment you've created for your life.”

Bromley’s design philosophy is captured in her new book Relaxed Elegance: Rooms for Living Well. She believes a home should not only be beautiful, but also lived in—not a fragile work of art you have to tiptoe 28│

人打交道，「 我很喜歡和人一起工作。」她說。 「 魔鬼藏在細節裡。」布列塔妮多次說著，因為在 她的眼中，室內設計就是一門充滿細節的工作，也是其 挑戰 所在。她 解釋： 「 在任 何情況下，每一件設計可能 有十種構成元素，這就代表可能有十種不同的方向會出 錯，這所有包括工程、填充、剪裁、布料、染料等。」 正因處處無法避免挑戰，布列塔妮分享了她與團隊 共勉的原則： 「 我們從事創意工作，所以我希望我們犯 新的、不同的錯誤，但不要再犯同樣的錯誤。」在大紐 約地區接案，會遇到各種超乎預想的狀況。她在書中分 享，設計師們不僅要對本行充滿創意，在處理所有後勤 工作與協調上，更要保持彈性與創意，像是——為了將 美麗訂製沙發放入老式公寓樓內，因尺寸問題無法放入 貨梯，那麼就把沙發放在貨梯機箱正上方送上樓去。 雖說不是靠天吃飯的行業，但也遇過大型訂製家具 交件當日遇上冰暴，客戶的家在斜坡上，團隊得想辦法 臨時搭建運送管道，才得以解除危機。「 我們試著不去 對任何事說不可能，而是想著，要依序採取哪些步驟才 能完成？」這是她一如繼往的心態。 能夠在超乎預料的情境下換位思考，也體現在布列 塔妮的設計風格。就如她在書中分享，許多人害怕使用

Bromley chose an intricate papier-mâché design by Casa Gusto for her home, full of movement and reminiscent of the tree of life.

Top, left page: The dining room of a Pound Ridge, N.Y., home reminiscent of an English country cottage. Bromley selected a warm coral lacquer for the walls, a shade that shifts with the light and remains equally beautiful throughout the day.

around in for fear of breaking it.

What’s key is understanding how a room functions and how it fits into the fabric of your life—whether you have time for regular upkeep, small children, or a plan for the room’s daily use. Only then can you decide how to decorate it.

Her approach to design is rooted in the belief that a space can be beautiful, elegant, and gracious without feeling overly precious.

In her book, Bromley wrote that she sees dining rooms as an “opportunity for unbridled grandeur: a place that should delight the eye as much as the palate.” Yet, for her own home—knowing her then two children would be using the room—she chose an intricate tree-of-life design in papier-mâché by Casa Gusto.

"We vacuum in there, we run through with lacrosse sticks, we’ve hit that [décor] a thousand times," she said. "I’m never worried about the preciousness of it because while it looks really beautiful, it’s very durable, … and because it’s not precious, we love it more and enjoy it more.”

BALANCE AND HARMONY Bromley’s designs are known for their pretty, polished aesthetic—often described as “Palm Beach meets Park Avenue” or “classic with a kick.” Marching to the beat of her own drum, she embraces bold colors and patterns others might shy away from.

黑色，因為那感覺像是一種承諾。但她有著不同的見解： 「 黑色在空間內有種鎮靜、接地的效果；我甚至將我家 廚房漆成黑色（ 班傑明摩爾瑪瑙黑）！」她選擇專注於 特點，並且善加利用。 她陸續分享了一些獨愛的色彩組合： 「 我特別喜歡 運 用一些 鮮 明 的 色 彩，比如：珊 瑚 紅 或 紅椒 橘，又 或 者是焦番 紅花那種帶有酸感的黃色，還有像是黃綠色 （chartreuse），幾乎接近萊姆綠。我覺得這些色彩在色 相環上的搭配潛力都非常有趣，例如：巧克力棕和珊瑚 紅的組合就非常出色；深紫色、茄子紫配上黃綠色也非 常迷人。紅椒橘本身就能與多種色彩協調，但與巧克力 棕的搭配總是格外出色；而番紅花黃則很適合和綠色系 搭在一起。」打安全牌，難以讓作品突出，大膽嘗試，使 她積累了精采的作品集。 同一種顏色，又有數十種不同的色調，比如她喜歡 的珊瑚紅，既迷人又難以捉摸。她在書中分享，在一次 的設計案中，選擇以珊瑚紅作為宴客餐廳的牆色，但為 了定下最終色調幾經波折。除了必須觀察不同時段光線 照射下的呈色效果，前後還嘗試了六種不同的版本，分 析彼此差異，最後為此空間量身打造它的珊瑚紅。「 這 珊瑚紅牆面讓每個人都看起來光彩照人，是舉辦晚宴的 最佳場所。」她附註。 優雅中的人情味 色 彩 的 運 用，涵 蓋 於室內設 計 的各方面，從 壁 紙 到窗 簾，從沙發座椅到地毯，從燈飾到掛畫等。然而，在色 彩之外，室內設計還有各方面的細節，無法一一細數。 不過再多的設計小偏方，也不能忽視一個重要的原則， 布列塔妮說： 「 帶著那些讓你想到『 家 』的物品 」。她認 │31

“I'll take a very neutral palette and then do a splash of something,” she told ELITE. “Some of the colors that I really enjoy using in that way are a bold coral or paprika, or a burnt saffron—a very acidic yellow— or a chartreuse, which is [similar to] a lime green.”

In Relaxed Elegance, Bromley said that although many people fear black because they think it feels too much like a commitment, she loves its calming, grounding effect. It’s a wonderful way to “tone down feral hues” in a vibrantly colored room.

“There is a reason why women wear black—it’s very flattering. Black paint can also conceal a multitude of sins on an inexpensive piece of furniture. For me, as someone who uses a lot of color, it is the world’s best neutral—even better than white.”

When it comes to patterns, Bromley compares the process of finding ones that work well together to arranging a seating chart for a dinner party: “You want your guests to have things in common, but you also want their conversations to engage one another and create an almost chemical reaction from which they all benefit.”

She achieves this balance by starting with one multicolored “hero” fabric—often a f loral—which serves as the focal point. From there, she layers geometric elements, such as a stripe or check, and something more organic, like a hand-blocked batik on a coarse- weave linen.

“Don’t trust what you see online; it’s vital to order samples that you can hold in your hands,” she advises. In her studio, Bromley arranges the samples on a f lat board to level the playing field and make comparison easier. When selecting a pattern, she recommends finding photos of the fabric on actual furniture to better gauge how the motif would look on a larger scale.

As a designer, Bromley never worries about a space feeling overwhelmed because harmony is intuitive for her. What’s trickier, is drawing out the unique characteristics and personality of each home.

To achieve a sense of warmth and authenticity, Bromley often incorporates antiques and materials that develop a natural patina over time—pieces that will age gracefully alongside the people who live in the home.

It’s no surprise that her advice to anyone starting their design journey is to let go of rigid rules and focus on bringing in pieces that are closest to the heart.

32│

為美觀之餘，設計也應該近人情，並且確保物品經得起 歲月考驗。而帶有歲月痕跡的家具與物件，在她眼中看 來更加迷人。 布列塔妮在自家的餐廳設計，完美驗證了她的設 計哲學。這是許多人對其室內設計的記憶點，也是她新 書封面的特寫空間。餐廳內牆上漫出了「 藤葉 」，由上 至下，不規則的環繞四周，有著自然界的獷美，但搭配 石灰岩的色調，卻有種古希臘建築般的優雅。這是她向 友人設計工作坊 Casa Gusto 訂製的手工紙雕，想在這 個空間種一棵長生樹，漫開的枝枒浪漫、雅緻，但這並 非珍貴的建材，當家人與孩子在這空間內自由穿梭玩耍 時，也無需擔心撞壞的後果而提心吊膽。 「 所謂『 從容優雅 』的概念，就是你能盡情享受空 間中的一切，而無須擔心每一樣物品的嬌貴。」她在簽 書會上談到，「『 從容、優雅 』兩者絕不是矛盾詞，你完 全可以做出既精緻又有品味的空間，讓人感到獨特、用 心，但同時不讓人感到無法自在使用，彷彿一旦使用就 會破壞了那份特別感。」這項原則貫穿在其設計之中， 空間無論再美，如果居住者不能因此感到放鬆，那便有 些本末倒置了。 打造人生舞臺 對一名室內設計師來說，房屋內部的所有空間，無論大 或小，就像是他們的畫布。然而，他們的創作媒介畢竟 不是一張純白的畫布，並且存在諸多限制，來自於老屋 本身的格局與架構更為繁雜，還有源自客戶的原則與請 求。所以在保有自身的設計風格之餘，又要能協調其他 所有不可變動的元素。 在付出所有努力後，換取最佳成果，布列塔妮從事 室內設計工作十餘年來，她擁抱所有的甘與苦，因為她 認為，室內設計對於人們的生活極其重要——「 環境造 就體驗 」。她說，「 人生有百分之六十的時間是在自家 度過⋯⋯（ 室內設計）是在替你的人生打造舞臺。」她 相信，人們一旦感受過美好的室內環境後，就不願再將 就，這與多麼奢豪的設計無關，而是人們學會打造專屬 於家的感覺，一個能讓自己感到開心、放鬆的空間。 布列塔妮對於設計充滿創意，但對於生活、工作的 大小事務，卻能安排得井然有序。身為一名具有多重角 色的現代職業女性，她也談起充滿敬佩的對象，那人就 是她的母親。「 我母親是女超人，⋯⋯當年她是所屬律 師事務所的第一位女律師，並在晚間上課進修，至今仍 從事法律工作。」當時儘管工作忙碌不已，她也會熬夜 替孩子們縫製衣裳，甚至感歎表示： 「 如果我有一半如 我母親那般對待我的女孩們，那她們就太幸運了！」 布列塔妮以母 親 為 榜樣，如今她 的成就，也說明 了承襲自母親的那份認真與敬業。她認為，在室內設計 這 項 工作中，最有成就 感 的其中一 件事，便是能 理 解 各種 設 計 的參 考來源，並 且具備辨識它們 的 能力。為

“Truthfully, the value of something is determined by the person that owns it. Unless you're looking to sell it, you're the one that decides what's special and what's not special,” she said. “So, maybe it has a resale value, but that resale value doesn't match the fact that, to you, it's irreplaceable.”

A SEASONED PERSPECTIVE Since founding her eponymous company in 2012, the world—and the ever-evolving design industry—has changed in countless ways. Yet through all the shifts and challenges, Bromley continues to face each one with the same steady, can-do spirit.

“I always say to my team: ‘I want us to make new and different mistakes. I don’t want us to make the same mistake ever again,’” she said. When faced with an unexpected setback, “the mindset is always, ‘How do we get it done?’”

One moment that exemplified this resilience came during an installation in St. Louis, when an ice storm hit. Bromley’s team was ready to stage, but the steep, icy driveway made it impossible for the truck to get up. With furnishings arriving from all over the coun-

try, delaying wasn’t an option.

So, they improvised: Weaving through the client’s landscaping, they constructed a temporary walkway up the hill and layered blankets to create traction, even removing the front door from its hinges to get everything inside. It wasn’t easy, but the team got it done.

With years of experience behind her, Bromley has gathered a wealth of hard-earned wisdom and valuable life lessons.

Her final piece of advice? Never stop learning.

“I don't mean necessarily taking a course in school.

I mean going places, traveling, going to museums.

If those things aren’t feasible financially, read every book you can get your hands on. Our libraries are full of them. It’s a wonderful thing to understand what came before because it allows you to better decide what comes next.” 了磨練這項技能，別無他法，就是「 不要停止學習」。 她說： 「 去各個地方，旅行，去博物館。如果在經濟上有 限制，那就閱讀所有你能取得的書籍，我們的圖書館全 都有。」她用旅行與閱讀滋養創意，並在未來某一天， 將那美好的見聞化作大膽而有趣的設計。

As a mother of two, Bromley makes sure her daughters’ personalities shine through in their rooms. For her youngest, she chose saffron yellow and grounded the sweet, sunny tone with darker furniture for added depth.

│33

ELITE PEOPLE

FORGED IN FIRE America’s Female Coppersmith Breathes New Life Into Old-World Cookware 鍛造歷史之美 ——美國女銅匠復甦古老炊具

By Ryan Cashman | Chinese translated by Joel Chang

34│

W

isconsin native Sara Dahmen blissfully recalls childhood excursions to attend Rendezvous. The annual historical reenactments brought the state’s Fur Trade era back to life, with 18th- and 19th-century settlers, traders, and Native Americans gathering to exchange furs and goods.

“I remember seeing these girls and boys, a little bit older than me, in full pioneer Laura Ingalls Wilder clothes,” she said. “They’d be washing their hair in the river, and I was like, ‘This is where I live! Why can’t I go back in history and live in this time?’”

In her own way, she’s achieved that longing for time travel.

Today, Dahmen is the only known female coppersmith building copper cookware in the United States, bringing back a nearly lost American tradition. From her home in rural Wisconsin, she handcrafts tin-lined copper cookware inspired by pioneer-era designs, using all American-sourced materials. History serves as her inspiration and is etched into each piece of metal she works.

出身威斯康辛州的莎拉 · 達曼（Sara Dahmen）回憶童 年時，參加「Rendezvous」（ 歷史重現聚會）的往事。 這項一年一度的重演歷史活動，重現該州的毛皮貿易時 代場景——18 至 19 世紀的拓荒者、商人與原住民齊聚 一堂，交換毛皮與貨品。 「 我記得，看到那些年紀比我稍大的男孩、女孩， 穿著像蘿拉 · 英格斯 · 懷德時代的拓荒者服裝，」她說。 「 他們會在河裡洗頭，我心想： 『 這就是我住的地方！為 什麼我不能回到那個時代生活？』」 在某種程度上，她實現了自己對時空旅行的渴望。 如今，達曼是美國唯一為人所知的女性銅鍋銅匠，復興 了一項幾近消亡的美國傳統。她在威斯康辛州鄉村的家 中，手工製作內襯錫的銅鍋，靈感來自拓荒時期的設計， 並全數採用美國本土材料。歷史是她的靈感來源，也刻 印在她的每一件作品中。 回望過去 在成為銅匠之前，達曼是一名小說家。她從小夢想成為 考古學家，而後雖然成為出色的婚禮策劃師，但對美國 中西部文化的迷戀，使她投身寫作。 她曾出版系列小說——《Flats Junction》，故事 背景設於 19 世紀的達科他州，並以女性視角出發。為

THIS ARTICLE ORIGINALLY APPEARED IN AMERICAN ESSENCE MAGAZINE.

了深入研究當代拓荒女性的生活。熱愛烹飪的達曼，對

LOOKING TO THE PAST Before Dahmen became a coppersmith, she was a novelist. A childhood dream of becoming an archaeologist gave way to a successful career as a wedding planner, but her deep fascination with Midwest Americana led her to writing.

Dahmen’s Flats Junction series of novels is set in the Dakotas of the 1800s and told primarily from a female perspective. In her extensive research of 19th-century pioneer womanhood, Dahmen, an enthusiastic home cook, was instantly drawn to the historical cookware her characters would be using.

其筆下角色所使用的歷史炊具，產生濃厚的興趣，她想 著： 「 美國拓荒者在路途中帶的是什麼炊具？他們橫跨 國土後，在家裡用的是什麼？」她思索： 「 因為那是很特 別的歷史：最早的殖民者一併帶來我們的炊具，但隨著 拓荒者獨有的遷徙史，它演變得和歐洲完全不同。」 研 究 越 深， 她 的 疑 問 也 越 多。雖然美國擁 有豐富的 天 然 銅 礦， 但 炊 具 是 怎麼製作的？是誰 做的？鍋子壞了 怎 麼 修？或 許 是內心的「 小 小 考古學 家 」

Left page: Sara Dahmen holds a stack of restored vintage copper cookware and new pieces built for her own American-made line. _Christian Watson Right: Dahmen’s 5-quart copper bowl features a single handle for easy storage and transport. Inspired by the conical cookware of the late 1700s fur-trade era, the Copper Quart Pots are available in 3- and 2-quart sizes. _Courtesy of Sara Dahmen

熱情驅使，達曼展 開了一段 轉化 式的 旅程：她拜師學藝， 跟隨距她家僅 15 分 鐘車程的錫匠大師 鮑伯 · 巴特爾姆（Bob Bartelme）學習。 │35

Dahmen sands, grinds, drills, rivets, hand-tins, buffs, and hand-polishes each piece at her home workshop in Wisconsin.

“What did American pioneers have on wagon trails? What did they have in their homes after traveling across the country?” She wondered “because it was very specific to us: Our cookware had come over with the first colonists, but then it evolved very differently because we were traveling in a way that people from Europe were not.”

The deeper Dahmen delved, the more questions arose. The natural ores to produce copper were in abundance, but how was the cookware made? Who made it? How would a pan be fixed?

Perhaps it was the zeal of Dahmen’s inner young archaeologist that guided her to what would be a transformational experience: an apprenticeship with master tinsmith Bob Bartelme—who lived just 15 minutes away.

THE MASTER AND THE APPRENTICE “It was an accident,” Dahmen said with a chuckle. “I didn’t walk into Bob’s shop and go, ‘I can’t wait to be your apprentice.’ I was there as a one-off. And then he said, ‘Well, you should come back and make a Revolutionary War cup.’ So I did. And then he said, ‘Why don’t you come back and make something out of copper, since that’s what you want to learn?’” So, she did. And she kept coming back.

Two to three times a week, often with her children in tow, Dahmen would be in Bartelme’s shop, learning the ins and outs of traditional copper cookware.

The master and apprentice relationship eventually blossomed into a friendship. Dahmen laughed, recalling that during Rendezvous events they attended together, Bartelme was often mistaken for her father. He never bothered to correct the mistake.

“It really, truly was the modern version of Johnny Tremain’s apprenticeship,” Dahmen said. “And it was truly the only way [I] could learn this skill. There are old books out there on how to become a sheet metal worker, but unless you’re already a sheet metal worker by trade, those books are Greek. They make no sense. It took me four years of working with Bob for those books to make sense.”

36│

師徒之路 達曼笑說作為一名「 錫匠學徒 」純屬意外，她回憶表示 最初並非抱著當學徒的心態來的，「 那天我本來只是體 驗一下，他 就說，『 妳應該再來做個獨立戰爭時代的杯 子。』所以我來了。他又說： 『 既然妳想學習，何不動手 做一個銅製的東西？』」於是她又來了，並且一來再來。 每 週兩到三次，達曼經常帶 著孩子一起 到巴特 爾姆的 工作室，學習傳統銅鍋的製作技藝。 他們從師徒關係進階成為朋友。達曼笑著回憶，在 他們一同參加的「 歷史重現聚會」活動中，巴特爾姆常 被誤認為她的父親，而他也無意澄清。「 這真的就像是 現代版的《強尼 · 特雷蒙》（ 譯注：一部美國獨立戰爭時 的銀匠學徒歷史小說 ）學徒故事，」她說。「 這也是我 唯一能學到這門手藝的方式。市面上雖有一些教你成為 鈑金工的古書，但如果你不是這行出身，那些書根本就 是毫無意義的亂碼。我跟著鮑伯學習了 4 年，才終於看 得懂它們。」

During those long hours of learning, Dahmen’s love for her newfound trade blossomed. An ambitious idea began to take shape in her mind. She and Bartelme were making cookware in the same style as the characters in her novels, primarily for historical reenactors. But Dahmen wanted to go further: an all-American cookware line for modern home cooks.

在漫長的學習中，達曼對這項手藝培養出深厚情感。 一個宏大的構想也在她心中萌芽：她與巴特爾姆的鍋具 風格及其小說，大多是為歷史重演者製作，但她想做得更 多——打造一個屬於現代家庭的純美國製銅鍋品牌。 拼湊全貌 這個構想看似簡單，自己製作炊具，並從美國各地供應商

PICTURES COURTESY OF SARA DAHMEN.

取得原料，但付諸實踐的過程充滿挑戰。

PUTTING THE PIECES TOGETHER On the surface, the idea was simple. She would manufacture her own pieces, sourcing all the materials from American fabricators. That was easier said than done.

After the Revolutionary War, domestic cookware manufacturing boomed. American inventions revolutionized the industry, making iron and copper cookware more affordable and therefore more abundant. Such was the norm until the 20th century.

Then, after World War II, modern American kitchens were f looded with cheaper stainless steel, aluminum, and nonstick-sprayed options. Now, any copper in the American kitchen is likely either imported from Europe or a family heirloom. The old trade had all but vanished.

“There were a lot of ‘no’s’ and ‘we can’t help you’s,’” Dahmen said of her myriad calls to metal manufacturers around the country. It was up to Dahmen to gather all of the pieces and put them together herself.

With persistence, she eventually found what she needed. A family foundry in Lodi, California, would make her ductile iron handles. Another foundry in Houston, Texas, would smelt and sheet her copper.

A company in Ames, Iowa, would provide the tin. A small business in Dayton, Ohio, would spin the metal. A mom-and-pop operation in Markesan, Wisconsin, would make the rivets. In 2015, House Copper was born.

Despite the extra difficulty, keeping all of the manufacturing in America was of the highest importance to Dahmen.

“I can take a drive or a short flight to have lunch or shake hands with my fabricators. It’s like a small manufacturing family,” she said. She can trust that she’s getting the quality of material required to make her cookware built to last, and pass that along to her customers.

獨立戰爭後，美國國內的炊具製造業蓬勃發展。美 國的創新發明，推動了產業革新，讓鐵鍋與銅鍋價格更 親民，也更普及，如此持續到 20 世紀。但二戰後，美國 現代廚房被更便宜的不鏽鋼、鋁製與塗層鍋具取代。如 今，美國廚房裡的銅鍋若不是歐洲進口，就是祖傳古董。 這門古老技藝幾近消失。達曼打了無數通電話給全國各 地的金屬製造商，得到的都是『 不行』或『 幫不了你 』的 回覆。她只能靠自己東拼西湊。

Custom-made soufflé pots.

Even with working alongside tinsmith Bob Bartelme, it took Dahmen four years to understand the craftsmanship and many more years to improve her skill.

│37

Using a combination of old and modern equipment, Dahmen smooths, sands, and drills the ductile iron handles, then rivets them onto the blank body. She moves the pot over a fire, melts down some tin directly inside, and uses a piece of insulation to wipe on the new tin lining. The finished pot is then washed, buffed, and polished.

“You’re getting something truly handmade—it’s a transparent product,” Dahmen said.

Copper is highly conductive and responsive to heat—even more so than cast iron—meaning her copper cookware “heats fast and cooks fast, and all on a lower temperature, too,” Dahmen said. The tin bonds molecularly to the copper, creating a naturally nonstick lining that carries heat just as quickly. In terms of conductivity, she noted, “tin-lined copper is 25 times more efficient than stainless steel pots.”

Dahmen also takes custom requests, and she specializes in the restoration and retinning of historic pieces. Recent projects include an 1800s drinking horn, a massive 1700s copper pot, and a (formerly) battered old saucepan. 在她堅持不懈下，終於找齊了所需夥伴：加州洛迪 的家族鑄造廠，為她製作延展鐵把手；德州休士頓的鑄 造廠，熔煉並壓延銅片；愛荷華州艾姆斯市一間公司， 提供錫；俄亥俄州戴頓市的小型企業，負責旋壓金屬； Dahmen with some of her own American-made copper cookware and vintage pieces from around the world in the process of restoration. _Christian Watson

威斯康辛州馬克桑市的家庭作坊，製造鉚釘。她於 2015 年創立了「House Copper」。 儘管把所有生產製程留在美國，增加了許多難度， 但這對達曼來說至關重要。「 我可以開車或搭短程飛機 和供應商吃午餐、握手，就像一個小型製造家庭。」她

BUILT TO LAST Dahmen’s designs for her cookware take direct cues from the past. “I don’t make anything that I didn’t see in a historic archive,” she said. Her cookware tends to follow the taller and wider shapes of pieces from the pioneer days—kettles and pots were made this way so they could be stacked for easier transport.

Once she’s settled on a design, the process of fabrication and assembly can take upwards of several months. For a copper pot, for instance, her fabricators build out the match plates for the body and handles, pour the iron, smelt the copper, roll the sheets, and spin the metal. Blank bodies arrive at Dahmen’s workshop for final assembly and tinning.

38│

說，這讓她能信賴材料品質，並將這份安心傳遞給顧客。 為時代而造 達曼的設計完全取材自歷史。她說： 「 我不會製作任何我 沒在歷史檔案中見過的東西。」她的鍋具形狀，大多參 照拓荒時代的款式——高而寬，便於堆疊與攜帶。 一旦 設 計確定，整 體 製作需 花 費 數 月。以 銅 鍋 為 例，製造商會製作鍋身與把手的對模，澆鑄鐵件、熔煉 銅料、將銅料軋成薄片，並進行金屬旋壓成型。未加工 的鍋身會被 送到達曼的工作室，進行最後的組裝與鍍 錫。她使用傳統與現代設備的組合，將延展性 鐵 把手 進行打磨與鑽孔，然後鉚接到未加工的鍋身上。她將鍋 具放在火源 上 加 熱，在 鍋內直接 熔 化 錫，並用一塊 絕 緣材料將 新的錫層塗抹上去。完成的鍋具接著會被清 洗、拋光與擦亮。

This aspect of her business speaks to the durability of copper products. Dahmen says her cookware will stand up to anything from a campfire to her children’s demands for mac and cheese—and, with proper care, to the test of time.

There’s an element of old-fashioned sustainability at play here, too. While the coating of a nonstick pan will eventually wear out and kill the pan, tin-lined copper cookware can be relined and used indefinitely.

“There will be people 10,000 years from now who will find one of my copper pots and have a King Tut moment,” Dahmen said with a laugh.

「 這是真正的手工製品——你能一眼看出來，」達 曼說。銅的導熱性極佳，甚至勝過鑄鐵，「 加熱快、烹飪 快，而且溫度不需太高，」她解釋。錫會與銅分子結合， 形成天然不沾鍋面，同樣 迅 速傳導熱能。她指出： 「錫 襯銅鍋的導熱效率是普通不鏽鋼鍋的 25 倍。」 她也接受訂製，並專精於修復與重鍍歷史器皿。近 期修復項目包括：19 世紀的角杯、18 世紀的巨型銅鍋，以 及一只破舊的老平底鍋，這一切證明了銅製品的耐用性。 達曼說，她的鍋具不但能承受營火高溫，也耐得住 孩子們天天煮通心粉起司的折騰——只要保養得當，經 得起時間考驗。此外，她的產品還具備老派的永續性。 不像不沾鍋塗層會耗損報廢，錫襯銅鍋可以重鍍，永續 使用。「 一萬年後的人們，」達曼笑說，「 可能會發現我

This article was edited for brevity and clarity.

做的銅鍋，像是發現圖坦卡門寶藏一樣。」

Cooking 烹飪 “Always use wood or silicone utensils when cooking. Have food or liquid in the cookware before turning on the heat. Don’t broil (unless it’s full of food!).” 「烹飪時，請務必使用木製或矽膠器具。 在開火前，鍋具內要先放入食物或液 體。請勿使用高溫烘烤（除非鍋內裝滿食 物！）」

COPPER COOKWARE CARE 銅鍋保養小技巧 Caring for tin-lined copper cookware is “not too precious,” Sara Dahmen says. The guidelines are similar to those for cast iron cookware: “The one difference is you don’t have to season it!” Here, she shares her tips for keeping your pieces in top shape. 莎拉‧達曼說，錫襯銅鍋的保養「其實 沒那麼嬌貴」，大致與鑄鐵鍋類似—— 「唯一的不同是無需養鍋！」她提供以 下保養建議：

Cleaning 清潔 “Never put copper cookware—no matter the lining—in the dishwasher.

Clean with warm water, nonabrasive dish soap, and a soft cloth after cooking. If food is sticking, add water and a drop of dish soap and heat to simmer, and the food should begin to lift out. Dry with a soft cloth.” 「無論是哪種內襯，銅鍋都絕對不可放入 洗碗機清洗。烹飪後，請使用溫水、不具 磨蝕性的洗碗精和柔軟的布進行清洗。如 果有食物沾黏，加入水和一滴洗碗精，加 熱至微滾，食物就會開始鬆脫。之後用柔 軟布料擦乾。」

Polishing 拋光 “For a quick shine-up, use ketchup!

Pour a generous amount on the pot and rub it all over the copper. Leave on so the oxalic acid in the ketchup (from the tomatoes) eats at the oxidation of the copper. Then wash off with warm soapy water. This works if the oxidation—the ’tarnished' look—isn’t too dark. For truly dark, near-black copper, mechanical means, such as a buffing wheel, are needed.

“To keep copper shiny, do regular cleaning after use. Polishing once a week would be sufficient if you use the copper daily.” 「想快速讓鍋具恢復光澤，可以使用番茄 醬！在鍋面倒上大量番茄醬，塗抹在整個 銅面上。靜置一段時間，讓番茄中的草酸 分解銅表面的氧化層，再用溫肥皂水清洗 乾淨。這個方法適用於氧化還不算太深的 情況——也就是還沒變成深色或近乎黑色 的銅面。若銅已經非常暗沉，則需要用像 是拋光輪這類的機械方式處理。 為了保持銅器的光澤，請在每次使用後定 期清潔。如果每天使用，建議每週拋光一 次就足夠了。」

│39

地毯選色技巧

華麗家飾中心 打造理想家居 在室內設 計規 劃 時，許多人 並未真正了解 地毯帶 給 空 間好處，有些人認為地毯容易生蟲、難打理且有味道， 但 這是因為沒有善加養護 的結果。有地毯 的房間，不 僅美 觀，還有節省 電費 的附 加 效 果，又能 起 到很 好的 隔音作用。 華 麗 地 板 地 毯 窗 簾 牆 紙 中 心（Queens Carpet One Floor & Home，下文簡稱「 華麗 」）成立於 1988 年，至今已近 40 載，專為民宅、商業店面和大樓室內 提供設計、供貨、安裝的一條龍服務。 Carpet One Floor & Home 是北美擁有超過千 間連鎖商鋪的家飾公司，華麗是旗下唯一華人加盟店。 家有地毯，讓人感覺更溫馨。華麗合夥人 Adeline 女士有多年的經驗，她介紹： 「 只要是華麗的客戶，我 們都提供全方位的免費售後服務，沒有時間限制。」面 對琳琅滿目的地毯風格，消費者容易不知所措，華麗的 專家為您提供指導，幫您選出最適合您家園的款式。本 文根 據 Adeline 女士的介紹，分享幾 點關於地毯的選 色技巧。 協調現有裝潢風格 考量生活方式與實用性

地毯應與房間內的牆面、家具、窗簾等裝潢元素相互協

首先 應考慮 家庭 成員的生活習慣。例如家中有小 孩 或

調，風格統一。例如在現代簡約風格的房間內，可選擇

寵 物，建 議 選 擇 耐 汙 性 強、易於 清 潔 的 地 毯 顏色，如

純色或圖案簡約的地毯，如灰色、白色等；若在傳統或

深灰、深藍或具有多色斑點的圖案地毯，這些顏色易於

鄉村風格的空間，則適合選擇具有花卉或幾何圖案的地

隱藏汙漬和毛髮，減少清潔壓力。若家庭成員較少，且

毯，替空間創造層次、也增添溫馨感。

生活較為安靜，則可考慮淺色調的地毯，如米白、淺灰 等，營造明亮、寬敞的空間感。

地毯材質與顏色搭配 不同材質的地毯，對顏色的呈現效果也有所不同。例如，

空間特性與光線影響

羊毛地毯色彩飽和度高，質感柔和，適合用於客廳或臥

房間的大小和光線條件，對地毯顏色的選擇也有重要影

室；尼龍地毯耐磨性強，適合高流量區域，如走廊或玄

響。在自然光充足的空間中，可以大膽選擇深色或鮮豔

關處。

的地毯，如深紅、寶藍等，增添空間的層次感。而在光線 較弱或空間較小的房間，建議選擇淺色地毯，如米色、淺

流行趨勢與個人品味

灰等，以提升空間亮度，營造開闊感。

近年來，地毯的顏色趨勢呈現多樣化發展。除了經典的中 性色調，如灰色、米色外，鮮豔的色彩如芥末黃、孔雀藍 等也受到消費者青睞。此外，圖案地毯也成為流行趨勢 之一，能為空間增添視覺焦點。 實地測試與樣品比較 在購買地毯前，建議先取得樣品，放置於預定位置，觀察 進行搭配，確保整體風格的協調性。 華麗提供「 房間視 化模擬器 」 （Room Visualizer），讓您看到各色地毯在 您居家空間的呈現效果。

40│

ADVERTORIAL

不同光線下的顏色變化。此外，可將樣品與家具、牆面等

華麗地毯 地板窗簾牆紙中心 近 40 老店最寶貴的不僅是技術安裝 更是您留在地毯上的溫暖記憶

北美超過千間的家裝連鎖公司

Carpet One Floor & Home 旗下的唯一華人加盟店 為住家、商業店面、大樓提供設計、供貨、安裝一條龍服務 近 40 年高品質服務 安裝幾乎零返工 電話：718-460-1161

電郵：qcarpetone@gmail.com

地址：18-13 128th Street, College Point, NY 11356 www.queenscarpetonecollegepoint.com

ELITE ARTS

The Unshakable Devotion Artist Yiming Fan Captures the Strength of Faith on Canvas 刻畫信仰之美 創作永恆語言 ——寫實油畫家范一鳴的藝術修煉路 English by Gigi Tseng | Chinese by Ann Lin Pictures courtesy of Yiming Fan 42│

H

ave you ever looked up at a portrait and found yourself caught in the subjects’ gaze?

They seem so alive that you long to jump into the painting to speak with them, learn their story, and see the world through their eyes. That’s the kind of magic found in the works of Sweden-based artist Yiming Fan. In his painting Udumbara Flower Blooms, the viewer’s attention is immediately drawn to an elderly Tibetan monk standing solemn and serene, holding a prayer wheel in one hand and a string of japamala beads in the other. Behind him stretches the vast sky.

From a distance, a bird, seemingly carved from stone, flies toward him, carrying a withered bodhi leaf in its beak. At the tip of the leaf blooms a single udumbara.

一幅兩米多高的人物油畫中，一名藏族老僧手持轉經輪 與佛珠，神情莊嚴而寧靜。天空深沉，一隻由石頭幻化 而成的鳥兒 正朝 著老僧飛 來，鳥 喙銜著 一片枯黃的菩 提葉，定睛一看，那葉尖綻放著優曇婆羅花，是傳說中 三千年才會盛開一次的祥瑞奇花。 畫面中，老人與迎面而來的鳥兒對視；枯葉與新生 的花兒；石頭化作飛鳥等各項元素，從構圖到繪畫主體 的寓意與安排，無不充滿了對比性。畫家對細節的刻畫 入微，彷彿能看見了那原本內心平靜、日復一日誦經的 老人，在望見鳥兒的那一瞬間的驚喜，喜仍未形於色的 微妙瞬間，展現出對信仰的堅定與捎來希望的光明。 這一幅名為《婆羅花開》的油畫作品，成畫於 2012 年。畫家范一鳴創作此畫時，是他從北京勞教所被釋放 之後，他因個人信仰而遭到非法關押。在歷經兩年的精 神禁錮與肉體壓迫後，他的筆下不見苦難與憤懣，反而 傳遞出一種堅定、純淨的力量。畫如其人，《婆羅花開》 是他歷經幽暗後，仍選擇以平和與善來凝視世界的最佳 寫照。 無所求的藏人精神 1967年生於福建的范一鳴，是當代少數長年專注於藏族 人物寫實油畫的華人藝術家。接受本刊專訪時，他笑稱 自己口拙、反應慢，然而，他的畫筆卻極其敏 銳，細膩 的筆觸、內斂的色彩與反覆推敲的構圖，就像將他未說 出口的字句，一筆一畫，靜靜地訴說於其畫布之上。 自 1999 年他首次踏上西藏後，在這片雪域高原的 光影與靜默中，帶給他一種難以言喻的心靈震撼。此後 多年，他持續深入藏區，將其對藏族人民虔誠信仰的敬 意，融入畫筆之中。他不畫景、不畫寺廟，不以觀光視 角描繪西藏，而是將筆觸對準人物與信仰之間的精神關 係。他不追求外顯的色彩華麗，而選擇以低飽和度的色 彩與石質肌理的筆觸，試圖呈現一種更接近「 永恆 」的 視覺語言。 2000 年 初 期，他曾多次獲 邀 於英 國舉 辦 畫 展； 2008 年，他憑藉作品《藏族男孩》，榮獲了由新唐人 電 視台 舉 辦 的全世界人物 寫實 油 畫 大 賽（ 後文 簡 稱： 新唐人油畫大賽）銀獎；其藝術歷程，被旅匈牙利作家 余澤民寫成傳記《一鳴西藏：油畫家范一鳴的藝術與生

《婆羅花開》 Udumbara Flower Blooms, 3.7 by 4.3 feet, 2012.

Left page: Award-winning artist Yiming Fan made countless trips to Tibet to capture the people’s pure and unwavering faith in the divine.

活》，於 2016 年出版；2018 年移居瑞典後，他仍持續 不斷地創作，2022 年《才讓吉》榮獲西班牙現代肖像大 賽 ModPortrait 的 Artelibre 特別獎，同幅作品以及另 一幅《藏族少年》入選 2023 年新唐人油畫大賽，並榮 獲傑出技法獎，數度獲得國際肯定。 │43

Legend has it that this rare blossom foretells good fortune and appears only once every 3,000 years.

Perhaps that is why a sudden joy and surprise brightens the monk’s meditative expression as his eyes meet the bird’s. His gentle gaze speaks volumes of enduring faith and hope. This oil-on-canvas piece, about 2.5 feet tall, was completed in 2012, shortly after the artist was released from an unjust sentence in a communist Chinese labor camp.

Fan is a practitioner of Falun Dafa, also known as Falun Gong, an ancient meditation discipline rooted in Buddhist traditions. Its gentle exercises and focus on improving one’s moral character through the principles of truthfulness, compassion, and forbearance, have brought significant mental and physical health benefits to practitioners around the world.

However, under China’s authoritarian regime, adherents of this peaceful practice are brutally persecuted. Since 1999, millions have been arrested, sent to labor camps, and even tortured to death.

A person’s deepest thoughts and emotions are often laid bare in their art. Though Fan endured years of torment, his work shows no trace of anger or pain.

Instead, it shines with the strength of one who chooses to face the world with kindness and peace after emerging from darkness.

THE STEADFAST SPIRIT Ever since his first visit to Tibet in 1999, Fan has been deeply moved by its serene, snowcapped mountains. Over the years, he has traveled deep into the region, channeling his love for Tibet and the devout faith of its people into his art.

What captured Fan’s fascination and respect is not the kind of “devotion” often seen today— prayers made in hopes of receiving blessings or material gain—but a pure, selfless reverence for the divine.

He once met an elderly Tibetan man who had twice made the pilgrimage from Gannan to Lhasa, performing full-body prostrations along the approximately 960-mile journey. Enduring harsh conditions, it took him eight months to complete the pilgrimage.

The man’s perseverance left a lasting impression on Fan. “That is how humans should be,” he said.

Thus, rather than painting typical Tibetan landscapes or temples, Fan chooses to focus on capturing the people’s spiritual strength. In his paintings,

44│

范一鳴畫筆下的藏人不卑不亢，眼神寧靜而堅定， 彷彿與天地無聲 對話。他說： 「 他們最能打動我的，就 是他們對信仰的虔誠。我想把我感受到的這一刻，把它 變成化石，變成永恆。」 藏族人的信仰與精神氣質，讓范一鳴深受觸動—— 因為那不是城市中以祈福、求財為目的的世俗信仰。他 曾在甘南遇見的一位藏族老人，他兩度從甘南一路磕長 頭至拉薩，全程約 1,550 公里。歷時八個月，風餐露宿， 以身體丈量千里路。「 他們真的是全身心的信仰，他們 沒有求什麼。」這一切觸動他內心深處，因為這與其自 身的信仰歷程緊密相扣。 改變一生的信仰 范一鳴並非一開始就 是 信仰者，早 年他自認為無神 論 者，不信氣功、不信神佛。 1997年，他發現自己心臟問 題越發嚴重，上下樓都得分好幾段才能走完。九零年代 在中國的氣功熱潮，他對氣功雖不陌生，但也未想多做 接觸，不過卻讓他想起當初有位朋友送給他《轉法輪》

《朝聖路》 Pilgrimage Road, 8.5 by 4.8 feet, 2023.

一書。《轉法輪》是法輪功的主要書籍，以 「 真、善、忍 」 三字為最高原則，是一部佛家上乘的修煉大法。雖然最 初是為了改善身體問題而接觸法輪功，但在靜心閱讀大 法書籍之後，他明白這是一部教人如何修心、返本歸真 的寶書。 他還記得最初閱讀之際，內心充滿疑問，甚至提筆 寫下了二、三十個問題，打算向友人請教，但隨著不間 斷的閱讀，他的疑問也煙消雲散： 「 好像那些問題，根 本都不是問題，書裡都寫得很清楚，只是當時我沒看明 白。」無求而自得，隨著心境的轉變，身體也發生改變， 「 什麼時候好的，我也不知道，」他笑著說，「 我都忘了 我有早搏（ 心臟 過早搏動），很快 就沒事了。」自那年 起，對大法的信仰，便成了他生命的一部分。 開始修煉以後，他的藝術創作也有巨大的改變。他 說修煉以後對美的理解不同，帶他重新認識美。過去他 的創作，充斥著各種追逐當代潮流以及花俏的手法，但 這些與藝術的本質相距甚遠。自此，他不再追尋現代風 格與獵奇的創作，轉身投注在傳統寫實油畫領域。他只 專注在那些能打動他的題材之上，正因心有此願，他看 見了藏族人的質樸與對信仰的真誠，「 那才是真正人的 狀態 」，他說。西藏裡的許多元素，讓他找到了屬於自 己的繪畫語言。

the subjects carry themselves with dignity, their gaze calm and resolute, as if in conversation with the heavens. Eschewing vibrant colors, Fan favors muted tones and brushstrokes that mimic the texture of stone.

“What moves me most is their unwavering faith,” he told Elite. “I want to capture that feeling and turn it into a fossil—something eternal.”

Today, Fan is one of the few artists dedicated to portraying Tibetan life through realist oil painting.

Though he jokes that he's slow to respond and not much of a talker, he is remarkably perceptive with a brush in hand. Through his thoughtful use of colors and composition, the emotions and ideas he struggles to put into words come to life on the canvas.

In early 2000, Fan was invited several times to host exhibitions in London. His painting Tibetan Boy won the Silver Award at the 2008 New Tang

重返自由的心願 2008年，正值北京奧運，中國進入「 維穩 」的高壓狀 態。范一鳴因修 煉法輪 大 法遭無 預 警拘捕，被關進北 京團河勞教所兩年。然而，他自認自己算是「 運氣好」， 當時正逢國際關注敏感時期，勞教所暫時收斂酷刑手 段，「 正好我剛剛被抓進去的那段時間，有一個大法弟 子被 電 死了，用電 棒 給 電 死了。正 因 為 那 段 奧 運 會期 間，他們就不能夠隨意使用電棒，我那時進去才沒有捱 電棒電。」 儘管如此，精神上的壓迫仍無孔不入。他回憶： 「走 路的時候，你得貼著身子走，手臂不能擺，無形中，就 像是自己給自己一個繩子箍著，走路得貼著牆角走直角 ⋯⋯進門出門必須喊報告，平時不允許說話，把人變得 像一部機器一樣。」即使回到家中，重返日常生活，那 種壓迫仍如影隨形。「 我當時回來已經一、兩個星期了， 我去 銀 行，剛 跨進 銀 行 大 門，我 就 又 退回來，然 後 想 著： 『 我沒有喊報告』不能進門。」因為「 沒喊報告會捱 打」，這份身體的反射記憶，頓時令他無所適從。

│45

Dynasty’s International Figure Painting Competition. His artistic journey was later documented

by Hungarian-based writer Zemin Yu in the 2016 biography Yiming’s Tibet: The Art and Life of Oil Painter Fan Yiming.

After relocating to Sweden in 2018, Fan continued to paint. His work Tse Ring Kyi, the Tibetan Girl won the Artelibre Award in Spain’s 2022 ModPortrait competition. In 2023, he again gained international recognition at NTD’s figure-painting competition, receiving the Outstanding Technique Award for Tse Ring Kyi as well as Tibetan Youth.

A SPIRITUAL AWAKENING Fan wasn’t always spiritual. Raised in communist China, he was a staunch atheist who scoffed at religious beliefs. But in 1997, his health took a downturn; even climbing up a flight of stairs became difficult. That’s when he remembered a friend had once mentioned the health benefits of Falun Dafa and introduced him to Zhuan Falun, the main text of the practice.

Though initially skeptical, Fan quieted his mind and began to read. Over time, he came to appreciate the spiritual depth of Falun Dafa’s principles. By following its teachings, which urge one to focus on self-improvement rather than chasing results, he found that personal growth came naturally, as did healing. “I even forgot I had arrhythmia,” he said.

“The symptoms disappeared quickly.”

Since embarking on this spiritual journey, Fan’s artwork underwent a complete transformation. “After I began cultivating myself, my sense of beauty and aesthetics changed,” he said. Where he once chased modern trends and sensational themes, he now dedicates himself to perfecting traditional realism.

DARKEST BEFORE DAWN In 2008, during the Beijing Olympics, Fan was unlawfully arrested and sentenced to two years in a Beijing forced labor camp. Despite the harsh reality, he still considered himself “lucky.” At that time, China was under international scrutiny and eager to project a peaceful image. With the world watching, authorities were pressured to temporarily ease off on physical torture.

“Around the time I was arrested, a fellow practitioner died from being beaten and shocked with 46│

《遠雷》 Remote Thunder, 4.3 by 3.7 feet, 2024.

《才讓吉》 Tse Ring Kyi, the Tibetan Girl, 3.7 by 4.3 feet, 2022.

electric batons,” he said. “Once the Olympics began, the guards weren’t allowed to use batons as freely.

That’s why I didn’t receive the same treatment.”

Though physical abuse eased, the psychological torment was constant. “When we walked, we had to keep our arms tightly pressed to our sides. It was as if we were bound by invisible ropes,” Fan recalled. “We were forced to walk only along the edges of the walls and pivot corners at precisely 90-degree angles. …

Every time we entered a room, we had to announce ourselves. We weren’t allowed to speak freely. We were turned into machines.”

Even after returning home, the trauma stayed with him. “A week or two after my release, I went to the bank,” Fan said. “The moment I stepped through the door, I instinctively pulled my foot back—I hadn't announced myself.” This behavior, ingrained through repeated beatings, had become muscle memory.

To Fan’s dismay, he also lost the ability to perceive colors normally. “My sense of aesthetics became distorted. I was suddenly drawn to bright, garish colors because everything inside [the camp] had been so dull and gray. Colors that once felt tacky now seemed appealing,” he said. Worse still, he could no longer paint. No matter what he put on the canvas, something always felt off. With each failed attempt, his frustration deepened.

Thankfully, this problem was resolved with Fan’s return to Tibet. For over 20 days, he immersed himself in its remote, uninhabited regions. There, amongst the vast plateaus and endless blue skies, his body and spirit began to heal, and gradually, the natural rhythm of his brush returned.

While in the labor camp, Fan witnessed the quiet resilience of Falun Gong practitioners. Despite enduring unimaginable pain, their faith never wavered.

He saw strength in their compassion, and those moments are etched in his memory.

After moving to Sweden, Fan happily embraced his newfound artistic freedom, and with it, a new theme he’s eager to explore. He’s set to participate once again in NTD’s 2025 Figure Painting Competition, but this time, he will create works that center around the stories of Falun Gong practitioners and their peaceful resistance.

“This is a part of my own experience, but it’s not just my story,” he said. Fan believes platforms such as the NTD competitions are incredibly meaningful because

they allow artists to tell stories long-silenced in China and give voice to a spiritual belief that transformed not only his life, but the lives of millions. And for him, that is what matters most. 離 開勞教 所之後，他發現自己失 去了對色 彩 的判 斷。「 審美出現問題，因為忽然間會喜歡那種很鮮豔的 顏色，因為在裡面都是灰暗的。」他一度不知如何下筆， 怎麼畫都覺得不對勁，內心充滿挫敗。直到他再次回到 西藏，他深入藏北無人區生活二十多天，那片久違的高 原、深邃的藍天，讓身心再次浸潤於這片天地之間，慢 慢地找回了筆下的節奏與視覺的純淨。 在離開中國前，范一鳴幾乎年年造訪西藏，深入當 地取材。「 他們的服飾、生活習慣，千百年來，幾乎沒有 什麼變化，但是最近幾年變化太大，就這十年⋯⋯」他 不由得感慨當今的變化。因中國當局在當地進行的觀光 發展與其他有意消滅藏族文化的政策等，如今的藏地已 不可同日而語。范一鳴這幾年的創作，多是仰仗當年感 受與記錄的一切，有朝一日，他還是希望能有機會再踏 上那片土地。 有幸的是，2018 年定居瑞典之後，他終於擁有了真 正的創作自由。除了持續專注在藏人的油畫作品外，他 還有另一項創作的心願─ ─因為離開了中國，他終於能 以法輪功學員反迫害為主題進行繪畫，並且打算以此再 次參加 2025 年的新唐人油畫大賽。 法輪功自 1999 年遭受中共當局打壓至今，已有 26 年，迫害仍未停止。然而，二十多年來，法輪功學員以和 平請願的方式，向世界講述他們的信仰與故事。范一鳴 除了自身遭受迫害的經歷，更在獄中親眼見證這一群修 煉者在遭受各種不公待遇後，仍不改心志的表現，他看 見這份善的力量，並將這些情景深深地烙在他的心中。 他說，「 它跟我的經歷是聯繫在一起的。」然而，這並非 屬於他個人的故事，他認為，新唐人提供這樣的平臺尤 其珍貴，讓創作者得以將那些在中國被噤聲的故事，透 過筆畫訴說於世，進而認識那個改變了他一生，以至數 億中國人的信仰──這是最重要的事。

Note: The Finalist Exhibition of the 2025 NTD International Figure Painting Competition will be held in January 2026 in New York City. To attend or learn more about the competition, please visit oilpainting.ntdtv.com 第七屆新唐人全世界人物寫實油畫大賽最終展覽將於

2026年一月於美國紐約舉行，如欲了解更多大賽相關 資訊，請至 oilpainting.ntdtv.com

│47

ELITE ARTS

Ode to Autumn America Through the Brush of Jasper Francis Cropsey 秋光無限好 ——哈德遜河派筆下的美式風光

By Michelle Plastrik | Chinese translated by Joel Chang 48│

Cropsey’s Starrucca Viaduct, Pennsylvania, 1865, celebrates the fiery autumn landscapes of the American Northeast. The train and trestle blend easily into the scene, reflecting a harmonious relationship between man and nature.

T

he most American of seasons is autumn. The country is famous, particularly in the Northeast, for its spectacular foliage. Leaves turn hues worthy of an artist’s paintbox: bronze, crimson, golden, purplish, russet, tan, and scarlet. Because it was natural, fall was a favorite subject of the Hudson River School, a 19th-century American art movement that specialized in landscapes.

Jasper Francis Cropsey (1823–1900) is known as “America’s painter of autumn.” Although not as wellknown as his colleagues Thomas Cole and Frederic Edwin Church, his majestic landscapes were popular for much of his lifetime in the United States and England. Cropsey’s most ambitious painting is the poetic Autumn – On the Hudson River, now part of the National Gallery of Art’s collection.

秋 天 是 最美 國 的 季 節。這個 國家，尤 其是 東 北部，以 壯麗的秋葉聞名。葉片轉為藝術家調色盤中才有的色 調：古銅、深紅、金黃、紫紅、赤褐、褐色與猩紅。因此， 秋 天 成 為 19 世 紀美國風 景畫 運 動 —— 哈德 遜河畫派 的最愛題材，可說是順理成章。 賈 斯 柏 · 法 蘭 西 斯 · 克 羅 普 西（Jasper Francis Cropsey，1823~1900）被譽為「 美國的秋景畫家 」。 雖 然他 的 知 名度 不如 湯 瑪 斯 · 柯 爾（Thomas Cole） 與 弗 雷 德 里 克 · 埃 德 溫 · 丘 奇（Frederic Edwin Church）這些同僚，但他 雄偉的風景畫，在當時的美 國與英國都頗受歡迎。克羅普西最具野心的畫作，是詩 意盎然的《秋天——哈德遜河景》（Autumn – On the Hudson River），現藏於美國國家藝廊。 看見美國之美 克羅普西出生於紐約市史泰登島一座一百英畝的農場，

THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES. ALL IMAGES ARE PD-US.

為荷蘭與法國胡格諾教派家族的後代。他在孩提時期

AN AMERICAN EYE Cropsey was born into a Dutch and French Huguenot family on a 100-acre farm on Staten Island, New York. During a series of childhood illnesses, he taught himself drawing and showed promising talent. He was apprenticed at the age 14 to an architect. Soon, he was responsible for almost all the business’s finalized renderings. Encouraged by his employer, Cropsey was supplied with art materials and the time to further his abilities.

The young Cropsey left his job in 1842 and exhibited a highly praised landscape at the National Academy of Design the following year. He took freelance architectural design work to support himself while making sketching trips to study nature for oil paintings. On one such trip to New Jersey’s Greenwood Lake, he met the woman he would later marry.

因病而自學繪畫，展現引人注目的天賦。 14歲時，他被 安排到建築事務所當學徒，不久後便開始負責幾乎所有 的成品繪圖。他的雇主主動提供畫材，並給予其進修時 間，好讓他進一步提升技藝。 1842 年，年輕的克羅普西離職，翌年在國家設計 學院展出一幅 備受好評的風景畫。他靠接建 築設計案 維生，同時進行戶外寫生，以自然為師，醞釀他的油畫 畫作。在一次前往新澤西州格林伍德湖的寫生旅行中， 他遇見了後來的妻子。 1847 年 5 月，他們結婚後一同前往歐洲，並旅居 羅馬一年，與各地來的外國藝術家共同生活與創作。在 羅馬，他的工作室曾是湯瑪斯 · 柯爾的舊址，而柯爾的 作品深刻影響著克羅普西的早期創作。 1849 年，克羅 普西夫妻返回美國，並長住了數年，山水的美景成為他 靈感的泉源。他對自然有著深刻的感受，色彩鮮明的作 品反映出自然對人類心靈的震撼，這正是哈德遜河畫派 的重要理念。 │49

After their marriage in May 1847, the young couple traveled to Europe for a lengthy sojourn and spent a year among other expat artists in Rome.

There, Cropsey worked in a studio that had once been occupied by Thomas Cole, whose work was a great influence on Cropsey in his early career.

The Cropseys returned to the United States in 1849 and remained there for several years. The beauty of the land and water was a ripe source of inspiration for Cropsey. Nature deeply affected him, and his boldly colored works reflect the power of

50│

迷人之秋 1860年，克羅普西創作了他生涯中公認的代表作——巨 幅畫作《秋天——哈德遜河景》。他在倫敦的畫室中，僅 憑記憶繪製此幅全景畫作。這幅畫的宏偉規模，可能受 到幾年前在倫敦展出、引起極大轟動的丘奇作品《尼亞 加拉大瀑布》 （Niagara）之啟發。 畫中的時間大約是十月某日下午三點，天氣溫暖而 金黃。畫面呈現自哈德遜河西岸向東南方望去的景觀， 畫中也 描 繪了風 景畫 家們常 描 繪 的風 暴王山（Storm King Mountain）。 此 山 原 名 奶 油 山（Butter Hill）， 1820 年因詩人納撒尼爾 · 帕克 · 威利斯一首詩而改名。

Autumn – On the Hudson River by Jasper Francis Cropsey, 1860. Oil on canvas, 59 3/4 inches by 108 1/4 inches. National Gallery of Art, Washington.

nature on mankind’s soul, a key concept for the Hudson River School.

他寫道： 「 當白雲在早晨垂鬚於胸前⋯⋯天黑前必有雷 雨⋯⋯風暴王豈非他的真名？」 秋天主題的畫作，常象徵著一年的終結或人生的

AUTUMN’S ALLURE In 1860, Cropsey painted what is arguably the masterpiece of his career, the monumental Autumn – On the Hudson River. He created the panoramic picture in his London studio, painting it from memory. Its grand scale may have been inspired by Frederic Edwin Church’s Niagara, which had been exhibited in London to great fanfare a few years earlier.

衰 敗，然而 克 羅普西有 著 不同的 詮 釋。他 呈現出人與 自然間 的和 諧關係。一 位當時的 評論 家寫道，這 幅 畫 呈現的「 不是一年的莊嚴凋零，而是一場歡樂的收穫盛 典 」。畫作 充滿靈性，讚 頌 著美國引以 為豪 的豐沛自 然資源。 觀賞這一巨幅畫作，其氣勢磅礴、令人目不暇給， 細看則可發現許多日常生活細節，使觀者倍感親切，這 正是克 羅普西的特 殊 才 能。畫中前景的 樹 木，細 緻 描

│51

The time of Cropsey’s landscape is at about 3 p.m. on a warm, golden October day. It shows a southeast view from the west bank of the Hudson River and the flank of Storm King Mountain, which was a popular muse for members of the Hudson River School.

Once called Butter Hill, the mountain was renamed Storm King in 1820 after a poem by Nathaniel Parker Willis, who wrote: “When the white cloud-beard descends upon his breast in the morning … there is sure to be a rain-storm before night. … Should not STORM-KING, then, be his proper title?”

Autumnal paintings were often symbolic of the decline, decay, and death of a year or a human life. However, Cropsey’s artwork took a different

繪至可辨別品種——樺木、栗木、鐵杉、楓樹、橡樹與 松樹，葉間甚至可見鳥兒微小的身影。 畫面 兩側 的森林，圍住中央的草 地。左側一 條小 溪，將人們的視線引至三位野餐的獵人與他們的獵犬。 溪水 蜿 蜒 流 過 整 個畫面，跟著溪 流可見吃草的綿 羊、 在橋上嬉戲的孩童、涉水的乳牛與一間小木屋，河岸邊 隱身於樹葉間的村莊屋頂。遠景中，雲霧與風暴王山若 隱若現，中間的哈德遜河上則行駛著帆船與汽船。 《秋天——哈德遜河景》在英國展出時引起熱烈反 響，甚至促成克羅普西晉見維多利亞女王。美國國家藝 廊指出： 「 由於英國的秋季色彩通常不如美國鮮明，藝 術家特地在畫作旁展示了一些北美樹葉標本，以說服懷 疑的觀眾，他畫中的色彩確在植物學中有其依據。」 英國的秋色多為綠褐色調，因此克 羅普西筆 下如 交響樂 般 的燦 爛 秋景，對 當地觀 畫者來說，有如異國 奇觀。這 幅 畫 在 英國私 人收 藏 家手中流轉近百年，包 括阿倫伯爵，最終於 1963 年 10 月 15 日由美國國家藝

Jasper Francis Cropsey’s Greenwood Lake, 1869, captures the scenic beauty of the seven-mile lake that straddles the New York–New Jersey border.

52│

廊購得。 1863 年，克羅普西返回紐約，並在國內度過餘生。 1866 年，他再次以《秋天——哈德遜河景》中的地點為

viewpoint. He depicted a harmonious balance between people and the natural world. A contemporaneous critic wrote that it shows “not the solemn wasting away of the year, but its joyful crowning festival.” The landscape is endowed with a spiritual quality that celebrates national pride in its abundant resources.

At first glance, one can feel overwhelmed by the vast view, but closer inspection reveals details of everyday life that make the scene accessible, a particular talent of Cropsey. The trees in the foreground are so specifically rendered that their species can be identified. Cropsey painted birch, chestnut, hemlock, maple, oak, and pine trees. Birds are barely visible in the leaves.

The forest on either side of the canvas frames the grassy central meadow. At left, a stream leads the eye to three picnicking hunters and their dogs.

The stream continues to meander throughout the scene, highlighting grazing sheep, children playing on a bridge, cows wading in water, and a log cabin.

The riverbank’s edge shows the rooftops of a village tucked between more foliage. Clouds and Storm King Mountain are depicted hazily in the distant background as sailboats and steamboats traverse the Hudson River.

The exhibition of Autumn – On the Hudson River caused a stir in England. Cropsey was even presented to Queen Victoria. The National Gallery of Art (NGA) explains: “Because the autumn in Britain customarily is far less colorful than in the United States, the artist decided to display specimens of North American leaves alongside his painting to persuade skeptical visitors that his rendition was botanically accurate.”

English autumns tend to have a green-brown palette, so Cropsey’s audience considered the blazing symphony of American foliage exotic. This painting was in British hands, including the Earl of Arran, for almost a century before the NGA purchased it on Oct. 15, 1963.

Cropsey returned to New York in 1863 and spent the remainder of his life in the state. The artist painted another composition with the same setting as Autumn – On the Hudson River in 1866. Now part of the Detroit Institute of Arts, the work is titled Indian Summer. It is his only painting that approaches the scale of the earlier masterpiece.

Albumen silver print of Hudson River painter Jasper Francis Cropsey by Napoleon Sarony, circa 1870. National Portrait Gallery, Washington.

Since his death, Cropsey’s star has risen. His work is appreciated by the public and scholars alike. His paintings of quintessential American settings can be found in prominent museums, such as in the nation’s capital, on both coasts of the country (The Metropolitan Museum of Art and the Los Angeles County Museum of Art), and even in Madrid (Thyssen-Bornemisza National Museum). Autumn – On the Hudson River is a remarkable achievement that melds realism with poetry in praise of the unique American landscape.

This article was edited for brevity and clarity. 背景，創作了一幅作品，現藏於底特律藝術博物館，題 為《小 陽 春》（Indian Summer）。這是 他唯一 一 幅與 前作規模相近的畫作。 克羅普西逝世後，他的聲望日漸上升，作品受到公 眾與學術界的喜愛。他描繪美國風光的畫作，如今收藏 於全國各地的重要博物館，包括首都、東西海岸（ 大都 會藝術博物館與洛杉磯郡藝術博物館），甚至在西班牙 馬德里的提森 - 博內米薩國立博物館。 《秋天—— 哈德遜河景》是一項非凡的成就，將寫 實與詩意融合，頌揚美國獨特的自然風貌。 │53

THE REVIVAL OF A LONG-FORGOTTEN ART Shen Yun Creations Unveils the Magic of the Human Voice 絕技的復活 通神的聲樂 ——品賞正統美聲作品 Picture courtesy of Shen Yun Performing Arts

L

ooking for pure, heavenly vocals and masterful singing techniques? Shen Yun Performing Arts has it all. Even in the off-season, Shen Yun Creations invites you to explore a wide array of performances. With a rich digital library of original compositions, operas, and exclusive content, it is your on-demand, backstage pass to world-class artistry.

聲振林木，響遏行雲，這種感天動地的唱功應當如何掌 握？餘音繞梁，三日不絕，這種餘韻無窮的歌聲要從哪 裡 追尋？神韻藝術團的演出，帶給觀眾答案。「 神韻作 品 」網站，不僅收錄神韻藝術團早期的原創聲樂節目， 還推出原創歌劇，以及神韻歌唱家天麗的《找回傳統的 美聲唱法》系列講座。 用中文唱美聲 聲樂藝術之巔

54│

成立於2006年的神韻藝術團，其演出是傳統藝術的復 興，她帶來的中國古典舞、現場交響樂等，代表了傳統 藝術的最高成就。而與之搭配的高科技天幕、演出服飾 以及其他舞臺藝術，同樣以傳統的審美和價值 觀 為基 礎。其中的聲樂節目，都是歌唱家以中文演繹的美聲歌 曲，這是神韻演出的一大特色，這套失傳技藝的展現也 締造了奇跡。 根據神韻藝術團官網介紹，東西方傳統的戲劇、歌 劇，都使用美聲唱法，這種唱法失傳已久。「 神韻歌唱家 表演的是這種失傳已久的美聲唱法。」古時候的歌唱演 出，多在室內環境或露天劇場，歌唱家僅僅依靠自身， 就能將歌聲傳播很遠，這就是傳統美聲的力量。 Right page: Award-winning soprano Tianli performing on Shen Yun’s world tour.

ADVERTORIAL

THE LOST ART OF BEL CANTO A seamless blend of classical Chinese dance, live music, exquisite costumes, and animated 3-D backdrops, Shen Yun is reawakening the beauty of traditional art and values. Established in New York in 2006, the company’s artists have made it their mission to bring the glory of China before communism to the world’s stage.

One element most beloved by Shen Yun audiences worldwide is the company’s singers, each expertly trained in classical bel canto—a style renowned for producing tones of exceptional beauty and purity.

Through original compositions and spiritually inspired lyrics, the artists invite listeners to explore life’s deeper meanings.

According to the company’s website, both traditional Chinese and Western opera once used this technique, but over time, its true form was largely lost. Shen Yun has successfully revived the rare art.

Performances in the olden days were often held in open-air amphitheaters or impromptu outdoor stages, with no microphones or acoustic support. Yet singers were able to project their voices with such clarity and strength that even those seated in the very last row could hear each note and word distinctly.

In an interview, Shen Yun singer Rachael Bastick shared insights into the vocal placement used in traditional bel canto: “To ensure clear diction, our vocal placement is directed outward and forward in the oral cavity. The more you can bring it to the forefront, the better your resonance.” By refining their technique and securing optimal placement, singers are able to project their voices with power and clarity, “bringing the human voice to its fullest potential.”

However, this classical Italian opera technique adds an extra layer of difficulty when performing in Chinese. “Some Chinese words simply have no equivalent sounds in the Western vocal system,” Bastick explained. As a result, Shen Yun artists must meet not only the rigorous demands of bel canto, but also maintain precise Chinese pronunciation. Their ability to execute this is unparalleled.

神韻歌唱家宇鳴曾透露傳統美聲的發聲位置： 「我 們 這個 唱法 是 比 較 靠『 外』，也 就 是常 說 的 吐字比 較 『 白』。」「 你吐字越靠前，越在那個最佳位置上。」通 過尋找最佳共鳴位置，聲音就能擴大到外面的空間， 「把 人體聲音發揮到極致 」。因而神韻歌唱家復原了古人唱 歌的奇跡。 由於神韻歌唱家採用傳統意大利歌劇的唱法和古 典的訓練方式，這大幅增加了用中文演唱美聲作品的難 度。宇鳴說： 「 因為有些字，在西方語言裡邊沒有發音方 式，所以要把中文吐『 白』的話也是很難的。」這要求神 韻歌唱家，既要運用高超的美聲演唱技巧，還要使用正 確的漢語吐字發音。 神韻演出中，歌唱家們用純淨、優美的歌聲一次次 感動各界觀眾，引領他們感受歌曲背後的豐富內涵。 歌詞通神 傳遞真理 我是誰？我從哪裡來？將往何處去？忙碌的生活中，我 們 時 常會停 下腳 步，捫 心自問，思索生命 的 意義 與 歸 宿。這些人生問題，我們都能在神韻歌曲中找到答案。 無論巡迴演出的原創歌曲，還是獨家製作的歌劇， 都使 用中文歌 唱。特別是 原創 歌曲，歌 詞由神 韻 總 監 D.F. 先生創作，言淺意深，如詩歌的朗朗上口，如聖者 的諄諄教誨。 歌詞中常常出現創世主、天堂、神佛等詞語，提醒 人們不要忘記 對神的崇敬和信仰；歌 詞也常常告誡 無 神論、進化論的危害，回歸傳統、喚醒善念，才是生命 得救的關鍵。神韻歌曲雖然由中文表現，卻具有普世價 值，並在背景天幕上提供英文翻譯，因而對全世界觀眾

The Meaning of Life Who are we, and from whence did we come? This question has been asked by civilizations across cultures and explored in literature since antiquity. Amid life’s daily grind, it’s a question we all find ourselves pondering.

Shen Yun’s original songs, written by the company’s artistic director, D.F., offer a refreshing and spiritual perspective, blending heartfelt wisdom with catchy melodies. For those who don’t speak Chinese—no worries. English translations are available on the digital backdrop, so everyone can follow along.

The lyrics frequently speak of the Creator—the maker of the universe—as well as moral values

56│

都有啟迪意義。 真誠祝願： 《不要失敗》 神 韻 歌 詞富 有人 生哲理和 深刻意義，被 觀 眾稱作「 聖 詩」。一曲《不要失敗》同樣得到了人們的讚賞。 世界不同的民族、不同的信仰都流傳 著這樣的預 言：最後的末世神將歸來，接他的人回歸天國。那麼， 人真的是從天國來的嗎？這首歌的歌詞給出了明確而肯 定的答案： 「 人多是神下世帶著天國的信賴 」。 「 我傳真相是創世主的指派 」，藉由這首歌，神叮 嚀告訴人們如何重返天國：在這末世劫難中，在無神論、 進化論的洗腦中，面對現代行為觀念的汙染，守住善良、 回歸傳統。這是你天國眾生等待得救的期盼，一定不要 失敗！

rooted in ancient Buddhist and Daoist beliefs. At the heart of these songs is a call to return to tradition and reconnect with the divine.

‘Fail Ye Not’ Acclaimed tenor Gu Yun delivers a powerful and deeply moving performance, opening with the line, “Over our lifetimes we awaited the day.”

Rich with layers of meaning, this song transcends the boundaries of nation, race, and culture, and has been appreciated the world over. Audience members have remarked that Shen Yun’s vocal pieces are reminiscent of sacred music.

The lyrics echo ancient prophecies that speak of divine beings descending to earth in times of trouble to aid those who uphold traditional values and treat others with compassion. In the end, it is these righteous and kind souls who will be guided back to heaven— their true, original home.

In 2017, Shen Yun singers, accompanied by a majestic symphony orchestra, brought it back to the world stage. The song’s poignant lyrics recounts the history of the Republic of China and its journey to Taiwan, where its rich heritage has taken root and continues to thrive.

The plum blossom, together with pine and bamboo, are known as the Three Friends of Winter, representing resilience, sincerity, and humility. It also stands for hope and renewal—for when the plum blossoms bloom, it signals that spring is just around the corner. 首部歷史歌劇： 《王允施計除董卓》 「 神韻作品 」推出的歌劇，結合跌宕起伏的情節、自然嫻 熟的演技，以及悠久深厚的歷史底蘊，帶給觀眾更豐富 的觀賞體驗。 這 部 四 幕 歌 劇， 由 神 韻 藝 術 總 監 D.F. 先 生 帶 領 神韻 藝 術家們傾力打造。講述從東漢至三國的歷史傳 奇——王允、貂蟬用連環計除國賊董卓的故事。

The Stratagem Set in the waning days of the Han Dynasty, Shen Yun’s first-ever historical opera brings to life an epic tale from traditional Chinese culture.

This four-act production follows High Minister Wang Yun and his adopted daughter Diao Chan, one of China’s Four Great Beauties, as they devise a clever ruse to overthrow the tyrannical general Dong Zhuo, who has seized control of the imperial court.

A celebration of the Chinese language, every line of the opera’s dialogue is carefully crafted to reflect each character’s personality, blending the poetic elegance of classical Chinese with the clarity of everyday speech.

她 體 現了神 韻 晚會的頂 級水 準，傳統美 聲、原創 交響樂、中國古典舞、傳統的服飾與天幕背景在這裡相 遇、交融。伴隨著時而婉轉、時而激烈的交響樂，一個 個歷史人物從文字中復活，化作舞臺上的鮮 活 飽滿的 藝術形象。 劇中人由神韻歌唱家領銜主演，用傳統美聲演唱中 文歌詞。人物臺詞古典優美，既有古文的韻味，又有口 語的簡練，並且貼合每個人物的性格特點。觀眾觀劇賞 樂，亦能體驗中華傳統語言的藝術之美。 堅忍向上： 《梅花》 通俗歌曲《梅花》，在臺灣廣泛傳唱，卻被中共政權列為 禁歌。 2017年，神韻歌唱家在交響樂團恢宏的伴奏下， 以堅強有力的美聲唱法，在國際舞臺上再度唱出「 梅花

‘Plum Blossom’ Plum blossom, plum blossom, you cover the earth.

You bloom all the better with winter’s chill. You persevere, as we do, symbolizing the majestic spirit of China.

梅花滿天下，愈冷它愈開花；梅花堅忍象徵我們，巍巍 的大中華⋯⋯」 這首歌旋律優美，歌詞激勵人心，讓人想起中華民 國的歷史。梅花精神，如同巍巍大中華，如同隨著長江、 黃河之水而流淌的中華文明，雖然最後播遷來臺，卻延 綿不絕、發揚光大。梅花與松、竹並稱「 歲寒三友 」，體

This beloved folk song, banned in mainland China by the communist regime, is widely embraced in Taiwan.

現了堅忍、真誠和謙虛的價值。梅花還象徵著希望和承 諾，因為梅花開放，春天便指日可待。

│57

ELITE WELLNESS

THE COURAGE WITHIN

How small, intentional acts of bravery transform your life 認識勇氣 發掘與生俱來的超能力

By Makai Allbert Chinese translated by Shengtao Liu

A

n 8-year-old boy sat quietly next to his 6-year-old sister as she lay in a hospital room. She was dying of leukemia. Her only chance of survival was a blood transfusion. When doctors confirmed that the brother’s blood was a perfect match, they asked if he would donate a pint to save her life. After a night of thought, he agreed.

The next day, the siblings were connected to IVs, and the boy’s blood was transfused into the sister’s sickly body. Then, in the quiet that followed, the boy turned to the doctor and asked, “How soon until I start to die?”

This moment, recounted by American writer Anne Lamott in her book Bird by Bird, is drawn from a true story told by Jack Kornfield of the Spirit Rock Meditation Center in Woodacre, California.

The story depicts a child’s incredible courage and innocence in thinking that saving his sister would cost him everything.

58│

一名八歲男孩靜靜地坐在醫院病房裡，陪著他 六歲的 妹妹，她正因白血病而垂危，唯一的生存希望是接受輸 血。當醫生確認男孩的血型完全匹配後，他們詢問男孩 是否願意捐獻一品脫血液來拯救妹妹的生命。經過一夜 的思考，男孩答應了。 第二天，兄妹倆被連接上靜脈輸液，男孩的血液緩 緩輸入妹妹虛弱的身體。隨後，在房間的寂靜中，男孩 轉向醫生，小聲問道： 「 我還要多久才會開始死去？」 這個感人的瞬間，由美國作家安 ．拉莫特（Anne Lamott） 在 其 著 作《一 隻 鳥 接 著 一 隻 鳥》（Bird

by Bird） 中 講 述， 源 自 加 利 福 尼 亞「Spirit Rock Meditation Center」 禪 修 中 心 的 傑 克 ． 科 恩 菲 爾 德 （Jack Kornfield）所分享的真實故事。故事展現一名孩 子無私的勇氣與純真的善良——他以為拯救妹妹意味著 犧牲自己的生命。 雖然大多數人一生中可能不會面臨如此重大的抉 擇，但勇氣的本質依然與我們日常面 對 的 挑戰 息息相 關。勇氣體現在我們敢於走出舒適圈，堅守原則，或踏 上通往提升自我的新道路。

Dr. Ari Levine

THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES. PHOTO BY ASCENT XMEDIA/GETTY IMAGES.

While few of us may confront such significant decisions, the essence of courage remains relevant to our everyday struggles. Courage shows when we challenge ourselves to move beyond comfort, stand by our principles, or embark on new paths toward self-improvement.

WHAT IS COURAGE? The common understanding of courage is that it’s acting in the face of fear. According to Cynthia Pury, psychologist and courage researcher, three elements shape courageous acts: intention, a noble or meaningful goal, and some measure of risk.

Courage must be intentional; it cannot be accidental. It has to be a person’s choice, not something that just happens. The voluntary act must also serve a meaningful purpose. Running into a burning building to save a child—most would call that courageous.

Charging into the same f lames to record a TikTok video? Not so much.

植牙頂尖專家

• 全美排名前5%的頂尖植牙專家 • 師從世界頂級口腔外科醫師

• 美國植牙學會(AAID)傑出會員

• 每年完成數千例成功植牙手術

服務項目

當日植牙、單顆或全口植牙 牙科急診、牙橋、牙冠、美白

1565 Palisade Ave., Fort Lee, NJ

99 New Bridge Rd., Bergenfield, NJ 免費諮詢 201-461-0003

universaldentalcenter.com

As Pury told The Epoch Times, “There are some actions that are universally seen as good or worthwhile.”

However, she also emphasizes that courage has an inherently subjective nature. What one person perceives as a terrifying leap of faith, another might consider a calculated step forward. This leads to a distinction between “general” and “personal” courage.

何為勇氣？ 人們對勇氣的普遍理解是：在恐懼面前依然採取行動。 心理學 家兼勇氣領 域研 究學者辛西婭．普里（Cynthia Pury）提到，勇敢行為由三個要素構成：意圖、高尚或 有意義的目標，以及一定程度的風險。 勇氣必須是有意的，而非偶然發生的；它必須是源 自個人的選擇，而非被動經歷。此外，該自願行為是為 了實現一個有意義的目標。比如，衝進燃燒的建築內去 救一個孩子，大多數人都會認為這是勇敢的行為。但假

INVISIBLE RISKS General courage often involves socially or culturally affirmed purpose and risks, like acts of heroism in a battle that are marked by statues and medals and broadly celebrated.

However, personal courage is more intimate. For a public speaker, addressing a crowd is routine and devoid of risk. However, for a shy individual, stepping on a stage can feel like putting one’s life on the line.

A letter published in The Sun Magazine shared

by Pury in her work illustrates personal courage:

如是衝進火場拍攝一段 TikTok 短影音？恐怕很難將其 稱之為勇氣。 普里在接受《大紀元時報》採訪時說： 「 有些行為在 人們眼中，普遍被認為是善良或值得的。」然而，她也強 調，勇氣本質上具有主觀性。一個人眼中的大膽躍進， 可能是另一人邁出審慎思慮後的一步。該區別衍生出了 「 普遍勇氣 」與「 個人勇氣 」的概念。 隱形風險 普遍勇氣通常涉及社會以及文化認同的目標和風險，例 如戰爭中的英勇行為。這些行為往往會以雕像和勳章的 形式銘記，並廣受讚譽。

My 9-year-old had cried her heart out, saying over and over that she didn’t want to go to school because they were being given a big Social Studies test that day. She was afraid her learning disabilities would get in the way, and she wouldn’t even be able to read the questions, much less know the answers.

Her fears grew and grew until they made her physically ill. It took me more than an hour to convince her to get dressed. ... When we arrived at school, she begged me not to make her go inside: “I just can’t do it, Momma. I can’t take that test.” I was afraid I was going to have to physically drag her from the car when suddenly she wiped her tears, got out, and walked with me to the door. I marveled at her bravery. ... Will anyone ever understand how much courage it takes for my little girl to face a simple test?

THE COURAGE GAP Our brains are hardwired for self-preservation and often default to the familiar, the predictable, and the safe, said Margie Warrell, a leadership expert with a doctorate in human development, in an interview with The Epoch Times. But real growth and true transformation blossom in discomfort, in going beyond our 60│

然而，個人勇氣則更為私密。對於一位經驗豐富的 演講者來說，在公眾面前發言是再平常不過的事，幾乎 沒有任何風險。但對於一個害羞的人而言，走上舞臺或 許會感覺像是冒著生命危險。 普里於她的研究中分享了一封刊登在《太陽雜誌》 （The Sun Magazine）的信件，生動展現了個人勇氣： 「 我的 9 歲女兒哭得肝腸寸斷，一遍又一遍地說她不想 去上學，因為那天他們 要進行一場重要的 社會研 究 測 驗。她害怕自己的學習障礙會成為阻礙，甚至連題目都 看不懂，更別提知道答案了。」 「 她的恐懼愈發強烈，最終使她感到身體不適。我 花了一個多小時才說服她穿好衣服⋯⋯當我們到達學校 時，她懇求我不要讓她進去： 『 媽媽，我真的做不到。我 不能參加那個測驗。』我害怕自己會不得不強行把她從 車裡拉出來，但就在這時，她突然擦去眼淚，下了車，和 我一起走向學校的大門。我驚歎於她的勇敢⋯⋯會有人 真正理解，我的小女孩需要多大的勇氣才能面對這樣一 場簡單的測驗嗎？」 勇氣溝壑 領導力專家、擁有人類發展學博士學位的瑪吉 ．沃雷爾 （Margie Warrell）向《大 紀元時 報》表示，我們 的大 腦 天 生傾向於自我保 護，因此 通 常會依 賴 於 熟 悉、可 預測並且安全的事物。但她指出，真正的成長與轉變， 誕 生 於不適 的環 境 之下，是發 生 於 超 越 我們自身的感 知局限。

PHOTO BY PAUL BIRIS/GETTY IMAGES.

perceived limitations, she suggests.

Warrell frames the challenge of acting in the presence of fear as a “courage gap.”

In her book The Courage Gap: 5 Steps to Braver Action, Warrell recounted lessons from her childhood. Growing up on a dairy farm, she longed to ride a pony, but her dream was met with fear when her parents gave her Roby, an old and imposing horse.

Each day, she returned to Roby, facing her trepidation and the fear of failure. The process wasn’t glamorous—just repeated attempts, frustration, and small victories. Eventually, the fear that once overwhelmed her began to loosen its grip, replaced by confidence and freedom.

“Growth and comfort can’t ride the same horse,” she wrote.

Pury’s previous research reinforces that when people act courageously, fear lessens, and confidence increases.

沃雷爾將面 對恐 懼 時 採 取行動的 挑戰，稱為「 勇 氣溝壑 」。在她的著作《勇氣溝壑：邁向更勇敢行動的 五 個 步 驟》（The Courage Gap: 5 Steps to Braver Action）中，沃雷爾回顧了自己童年的教訓。她在一個 奶牛牧場長大，當時渴望能夠騎一匹小馬，但當父母給 了她一匹老而威武的馬匹時，面對其夢想，她卻心生了 恐懼。 這隻老馬名為 Roby，每天她都來到 Roby 身邊， 內 心 感 到 恐 懼 以 及 面 對 失 敗 的 憂 慮。 這 過 程 並不 浪 漫——伴隨一次又一次的嘗試、沮喪，還有小小的勝利。 最終，她不再受那份恐懼所控制，取而代之的是信心與 自由感。她寫道： 「 成長與舒適無法同乘一匹馬。」 普里早前的研究也指出，當人們勇敢行動時，恐懼 便會減輕，而信心則會增加。沃雷爾認為，儘管存在不 確定性，但願意面對風險的態度，可以塑造我們的人生 軌跡，因為成功與我們願意跨出舒適圈的程度成正比。 她說： 「（ 勇氣 ）溝壑是指，此刻的自己與『 如果貫徹實 踐勇氣所能成為的自己 』之間的距離。」 從 短 期來看，避免 風 險似乎很安 全，但從 長 遠 來 看，它會束縛我們，限制我們的潛力和自由。 │61

Warrell reasons that the willingness to face risk despite uncertainty can shape our entire trajectory, as success in life is proportional to the willingness to be uncomfortable.

“The [courage] gap is the distance between who we are and who we could be if we consistently practice courage,” she said.

In the short term, avoiding risk feels safe. In the long run, it confines us, limiting our potential and freedom.

勇氣的回報 勇氣帶來的回報可以量化。針對企業家群體的研究發現，勇 氣有助於提高心理資本（PsyCap）——它是自信、希望、 樂觀和韌性的結合體。 研究人員發現，展現勇氣，並因此擁有更高心理資本 的企業家，在創業過程中，即便面臨內在的不確定性，也能 感受到更大的成就感。此外，其壓力和焦慮值也低於普通 人群。這種益處不僅僅限於企業創始人。 2022 年的一項研 究發現，勇氣對工作表現的影響，近乎四分之一。 根 據 發 表 於《歐 洲 健 康、 心 理 學 與 教 育 調 查 雜 誌》 （European Journal of Investigation in H ealth ,

COURAGE PAYS OFF Courage brings measurable dividends. Studies of entrepreneurs find that courage contributes to higher levels of psychological capital (PsyCap)—a blend of confidence, hope, optimism, and resilience.

Researchers have documented that entrepreneurs who demonstrate courage and, as a result, have higher PsyCap, report significantly greater fulfillment, even amid the inherent uncertainties of entrepreneurship. Furthermore, these entrepreneurs experience lower, rather than higher, levels of stress and anxiety than the general population.

This benefit is not limited to business founders. A 2022 study found that courage accounts for nearly a quarter of the differences in job performance.

According to the study, published in the European Journal of Investigation in Health, Psychology and Education, courage helps employees tackle challenges, take initiative, and make bold decisions. It also has advantages in social situations, such as giving honest feedback or addressing conf licts, which boosts teamwork and productivity.

Courage yields benefits in academic settings as well. In a large study of more than 7,600 high school students, courageous behavior correlated with better academic performance and greater persistence in the face of difficulty.

Psychology and Education）上 的研 究，勇氣能幫助員 工應對挑戰、主動採取行動，並做出大膽決策。勇氣也讓人 們在社交場合中擁有優勢，例如給予誠實的反饋或解決衝 突，這有助於提高團隊合作和工作效率。而在學術環境中也 能夠帶來好處。在一項對超過 7,600 名高中生的大型研究 中，勇敢的行為與更好的學業表現，以及擁有更多的毅力來 面對困難也有所相關。 智慧與勇氣 普里將勇氣定義為「 採取有價值的風險 」。她分享了一個故 事，講述一個家庭行經西海岸高速公路時，孩子的泰迪熊 從車窗飛了出去，他們決定停下車，爬下懸崖，取回孩子丟 失的布偶。最初看似可控的風險很快升級，導致父母兩人雙 雙被困在懸崖邊緣，最終不得不呼叫直升機救援。 目標的感知價值（ 取回泰迪熊）可能不足以證明實際 所冒之風險是值得的。這反映了勇氣的另一面：目標和風險 應被仔細且不斷地重新評估。 亞里斯多德將勇氣描述為「 懦弱 」與「 魯莽」之間的「 黃 金中庸」。根據亞里士多德的說法，勇敢的人不僅能正確 地感知恐懼，而且也能以正確的方式、在正確的時機，對正 確的事情，充滿信心。 「 因此，勇氣和智慧應該是最好的朋友。」普里說。 「 勇氣就像學做舒芙蕾或彈鋼琴。」沃雷爾說。 它是一項可以透過練習，進而提升的技能。不過，最 初的努力可能會顯得有些勉強。例如，如果你的目標是減 肥，上健身房或許會帶來被評判或感到尷尬的恐懼，因重 新安排生活方式來養成健身習慣，可能會涉及社交和財務 上的風險。

THE CLOSE COMPANION OF COURAGE Pury defines courage as “taking a worthwhile risk.”

She shared a story about a family that stopped their car along a West Coast highway, scaling a cliff to retrieve their child’s lost teddy bear that flew out the window.

What began as a seemingly manageable risk soon escalated, leaving both parents stranded on the edge of the cliff—ultimately calling for a helicopter rescue.

62│

但當你突破這些不適時，會發現堅持不懈帶來的進步。 從小處開始，接受可管理的風險。像是嘗試新食譜、開啟一 次艱難的對話、在會議中發聲，或是申請夢想中的工作。 普里鼓勵人們問自己： 「 我為什麼想要這個？假如我冒 這個風險，會發生什麼事？如果我回頭看看自己做 過的事 情，會為此感到驕傲嗎？」隨著時間的推移，這些行動會幫 助建立信心和清晰感，降低焦慮，使我們區分什麼是真正有 意義的，什麼僅僅是看似誘人的。漸漸地，勇氣將變得更加 自然。

The perceived value of the goal (retrieving the teddy bear) may not have justified the actual risks taken. This reflects another aspect of courage: Goals and risks should be carefully—and constantly— reassessed.

Aristotle described courage as the “golden mean” between cowardice and recklessness. The courageous person not only fears rightly, but is also confident about the right things, in the right way, and at the right time, according to Aristotle. “[Thus,] courage and wisdom should be best friends,” Pury said. “[Courage] is like learning to bake a soufflé or play piano,” Warrell said. It’s a learnable skill that can be improved through practice, yet early efforts may feel contrived.

For example, if your goal is to lose weight, stepping into a gym might bring fear of judgment or embarrassment, and rearranging your lifestyle to support healthier habits may involve a social or financial downside. But as you push beyond those discomforts, you learn that persistence makes way for progress. Start small. Embrace manageable risks. Try that new recipe, initiate that difficult conversation, speak up in that meeting, and apply for that dream job.

Pury encourages asking yourself: “Why do I want this? What will happen if I take this risk? If I look back at what I’ve done, will I be proud of it?”

Over time, these actions build confidence and clarity, lowering anxiety and helping us distinguish between what is truly meaningful and merely appealing. With time, courage will simply flow.

Warrell suggests cultivating a supportive community around you—people who champion your growth and celebrate your courage. Recording your courageous acts in a journal can serve as evidence of your progress and develop a courageous identity within you. When you see yourself as courageous, you will become more so in the process.

Whether it’s the hesitant child facing a test, the entrepreneur forging new paths, or the person at the gym stretching beyond comfort, each courageous step bridges the gap between aspiration and actuality.

“The quality of your life will increase in proportion to the courage you bring to every decision,” Warrell wrote.

酸橙牙科

李方勳 院長

Banghun Lee DDS

20多年經驗

Aspen牙科常務臨床總監 紐約大學牙醫博士 隱適美牙齒矯正

院長親自提供 一站式服務

（從檢查、洗牙、拔牙、植牙⋯⋯）

沃雷爾建議，在身邊培養一個能夠支持你的社群，那些支持你成 長、激勵你勇氣的人。將自己勇敢的行為記錄在日記中，也可作為你進 步的證據，並能在內心強化這項特質。當你認為自己是一個勇敢的人 時，也會更容易實踐這些行為。 從面對考試躊躇的孩子，到開闢新賽道的企業家，再到在健身房挑 戰跨出舒適區的人，每一步勇敢的行動，都在搭建渴望與現實之間的橋 梁。正如沃雷爾在其書中寫道： 「 你的生活品質，將隨著你在每個決策中 展現出的勇氣而增加 」。 本文為「 美德醫學」系列專題文章之一，全系列連載文章刊登於中、英文 《大紀元》網站。

2025年特價

植牙：$1300 顆（包牙冠） *限法拉盛診所，特價至8/31/2025為止

隱形矯正 $4000

法拉盛：347-732-9203（中文） 347-732-9204 （中文） 新澤西：201-944-0550

脊椎神經痛癥 治療中心 BAE CHIROPRACTIC

專治

椎間突出、坐骨神經痛、退行性椎間盤、

纖 維 環 撕 裂、慢 性 腰 痛、手 術 後 疼 痛、 頸椎病及其它相關病癥

裵鶴樹 Dr.Hak Soo Bae

脊骨神經科醫生

採用先進儀器進行脊椎減壓等非手術治療法

• 獨家引進 Accu-SPINA® 脊椎、頸椎減壓治療儀 • DRX9000 脊椎減壓治療儀

免費 諮詢

718-939-3457（中文） 718-445-6477（英、韓文）

地址：14204 Bayside Ave., Suite 8L, Flushing, NY 11354 網址：unionrehab.com queensdisccenter.com

超過30年幫助近五萬人裝配助聽器 專 精 聽 力檢 查助患者享受聆聽 快 樂

驗耳師、聽力檢查專家

曾文瑛博士

驗耳師、聽力檢查專家

Lambert Lee博士

紐約助聽器專家

李孔耀先生

提供瑞士峰力（Phonak）、 丹麥奥迪康（Oticon）、 丹麥瑞聲達（Resound）、 美國斯達克（Starkey）、 德國西嘉（Signia）等世界知名品牌助聽器配戴服務。

中國城： 金輪大廈803室

139 Centre St., Rm803, New York, NY 10013 電話：212-406-1968

法拉盛： 飛越皇后大廈7樓 7H

136-20 38th Ave., Suite 7H, Flushing, NY 11354 7電話：18-353-5626

ZHEN SHAN REN SHOULDER BAG

ZHEN

Truthfulness

S HA N

REN

Compassion Forbearance

Carry the remarkable values—真 (Zhēn) Truthfulness, 善 (Shàn) Compassion, and 忍 (Rĕn) Forbearance—wherever you go with Shen Yun Collections’ exquisite Italian-made leather bags.

ShenYunCollections.com