Elite Lifestyle Magazine : Issue 69

E L ITE 時 尚 精 英

節日特輯 傳統工藝 人物專訪 身心保健

Finer Than Gold: The Exquisite Craft of Kesi Weaving 編織時間的藝術——緙絲

Gift Ideas for Supple Skin 節日好禮 維繫柔嫩肌 2025 WINTER EDITION

The Letter That Saved Santa’s Magic 重溫經典：一封信的聖誕奇蹟

TITANIUM REVERIE

ISSUE 69

Jewelry Artist Aka Chen’s Meditation on Beauty 鈦金藝術家陳智權的美學修練路

五千文明再現

——展現神采飛揚的舞姿，帶您 展開一段跨越五千年中華燦爛文 明的非凡旅程。

服飾，以及獨家專利的動態天幕，栩栩如生地 展現在舞台上。每一幕皆如一幅鮮活的畫卷， 色彩瑰麗，清晰動人，情感澎湃。

當帷幕拉開，您將步入一個充滿天上奇觀的 境界。

讓我們一同重溫那個文人墨客追求天道合一的 時代，重現神祇下世啟迪人心的境界。

來自天界的絕美風華、歷代傳承的深邃智慧、 亙古流傳的傳奇故事與民族風情，透過古典 舞、東西方合璧的現場交響樂、華美絢麗的

邀您共度一場充滿美麗、智慧、勇氣與希望的 夜晚。在舞台上見證天國的壯麗，親身感受神 韻的奇妙。

1/7-18 華盛頓特區

3/25-4/12 紐約

4/10-12 波士頓

4/15-19 費城

Kennedy Center

Lincoln Center

Boch Center Wang Theatre

Miller Theater

「五星好評！一個飽含希望與精神力量的故事！ 這是一場全世界都該觀賞的演出。」 —Rita Cosby，艾美獎得獎記者

「我一生從未見過如此美妙的編舞。 我給神韻打 10 分滿分，毫無疑問！」

「 神韻演出中具有包容世界的巨大力量，帶給 人們無限的希望。真的是天堂在人間的顯現。 」

—Shirley Ballas，英國知名舞蹈節目評審

—Danlel Herman，前捷克文化部長

「唯美優雅！ 富含生命動力與高超的舞藝。」

「 演出令人着迷！我鼓勵每個人來看， 我們都能從中學習。」

—John McColgan， 《大河之舞》製作人及導演

—Danna Karan，DKNY 品牌創始人

4/18-19 巴爾的摩

4/29-5/3 新澤西

Hippodrome Theater

NJPAC

上官網 查詢更多 演出城市

立即訂票，親身體驗

訂票官方網站 ShenYun.com

Milena’s friends

by Clodoaldo Martins Humanity & Culture Award NTD International Figure Painting Competition 2019

Original artworks, canvas wraps and prints of Award-winning oil paintings now available at I n spiredO r iginal.Org/Store

THE ORIGINAL

PUBLISHER Ellen Wang

EDITORIAL EDITOR IN CHIEF

Astrid Wang

ARTS & CULTURE EDITOR

Belinda Lin

LIFESTYLE EDITOR

Jennifer Tseng

PEOPLE EDITOR

Cora Wang

BEAUTY EDITOR

Pia Norris

HOME EDITOR

Sunny Lo

CONTRIBUTORS

Ann Lin

CRAB SHANTY 小島原味蟹坊 隱於繁囂的小島風情 承載傳統的海鮮味道

Gigi Tseng Michelle Plastrik Makai Allbert Andria Pressel Jenny Zeng COPY EDITORS

Louise Rothman Huixuan Yang

CREATIVE LEAD DESIGNER

Karen Tang

DESIGNERS

Hsinyu Lo Ziyao Wu

SALES SALES DIRECTOR

Jo Yang

ADDRESS 129 W. 29th St., 10th floor, New York, NY 10001 PHONE 646-862-9930 EMAIL editor@elite-magazine.com advertising@elite-magazine.com subscription@elite-magazine.com www.elite-magazine.com

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

718-885-1810

361 City Island Ave Bronx, NY 10464 www.originalcrabshanty.com

目錄 CONTENTS 5

序

6

Editor’s pick: Wrapped in Joy

8

Tender Care for Your Hands and Neck

12

24

Editor’s Note

16

編輯精選：喜相隨

呵護柔嫩肌——手頸護膚

Holiday Picks: A Touch of Festive Elegance

節日優雅獻禮

An Inch of Kesi, an Inch of Gold: The Meticulous Art of Chinese Tapestry Weaving 聚焦中國傳統工藝：一寸緙絲一寸金

24

Forging a Path to Transcendence Titanium Jewelry Master on the Harmony of Art and Faith

追尋當下的極致——珠寶藝術家陳智權的試「鈦」之路

35

The Return of Traditional Homes Curtis & Windham Architects' Quest to Make America Beautiful

古典建築設計師再興傳統之美

42

44

16 On the Cover 《夜之花語》 Nocturnal Bloom, sculpted from 99.9 percent titanium with diamonds.

Picture courtesy of Aka Chen

4│

48

54

Home Picks: Cozy Winter Finds

精選家飾：替冬日增添暖意

The Child’s Letter That Rekindled the Christmas Spirit

「真的有聖誕老人嗎？」——重溫節日經典

How Handwriting Powers Up the Brain

認識手寫力！探究腦學習與動筆的關係

Expert Tips for Sleeping Like a Champion

超實用睡眠手冊——成功人士御用醫師不藏私分享

序 EDITOR’S NOTE 時間精品 在事事講究快速高效的時代，產能多寡幾乎讓人錯以為是成功的指標。然 而，不論今昔，前人或現代人的一天都只有24小時，這是亙古未變的事 實。科技的進展，伴隨近年人工智慧的發展快速推進，更讓我們相信這些 便捷的工具，都是為了讓我們在如此有限的時間內，做得更多、更快。但 不妨停下腳步，思考那些傳世之作，為何備受稱頌？ 經典之作歷久不衰的價值，往往與其創作精神緊密相關。儘管身處快捷的 時代，當我們聽到一件作品需費時一年，甚至數十年時，無不對此心生敬 意，但我們投以尊敬的心情，並非只因耗時長短，而是在那年復一年之 中，本著初心，恪守到底的精神。 本次封面故事採訪鈦金屬珠寶大師陳智權，他在前陣子出版的作品集中寫 道自己是「30年磨一劍 」。從1989年創業之今，走過35個年頭。在鈦金屬 工藝上的鑽研，讓其作品走上國際舞臺，並在知名的歐美博物館內展出。 然而，鈦金屬終將只是媒介，數十年來，他從未停止創新，無論是經營管 理，或設計創作。儘管對於創新的堅持，並未有立竿見影的成果，但卻能 在數十年後大放異彩。 我們都知道從0到1是最難的，本期文化專題介紹緙絲工藝，這種織品是從 無到有的見證。其製作過程漫長，過去得花上3至5年才能完成一件。工匠 們需極其專注，一旦出錯便前功盡棄，得拆線從出錯處再重新來過。過去 這是敬獻給皇家貴族的頂級禮品與收藏，那麼放諸當代，緙絲的存在意義 為何？此外，這一期家居欄目中介紹德州建築事務所Curtis & Windham 的作品。他們不盲從於現代主義，轉身投入研讀史料、理解脈絡，讓我們 一窺古典建築師對於細節的推敲與講究。其作品既有現代人喜愛的簡約大 氣，同時又保留了時代的文化底蘊。 這一件件看似違抗潮流而產出的作品，有著日以繼夜的堅持，義無反顧的 守候，只為了成就那些無法以三言兩語定義的成功，並且創造出有深度、 有故事，以時間為名的精品。

EDITOR IN CHIEF

│5

TIFFANY & CO., JEAN SCHLUMBERGER

BY TIFFANY, BIRD ON A ROCK PENDANT IN YELLOW GOLD AND PLATINUM, $135,000, TIFFANY.COM

EDITOR'S PICK

VAN CLEEF & ARPELS, ROSE DE NOËL EARRINGS IN 18K ROSE GOLD, SMALL MODEL, CARNELIAN, DIAMOND, $29,500, VANCLEEFARPELS.COM

TURNBULL & ASSER, BROWN AND WHITE DIAMOND SILK BOW TIE, $245, TURNBULLANDASSER.COM

TURNBULL & ASSER, BROWN PUPPYTOOTH STRIPE SILK BOW TIE, $345, TURNBULLANDASSER.COM

Wrapped in Joy

ROLEX, GMT-MASTER II, OYSTER, 40 MM IN 18K WHITE GOLD WITH A GREEN CERAMIC DIAL, $48,050, ROLEX.COM

CHOPARD, HAPPY SPORT 30 MM, AUTOMATIC, IN ETHICAL ROSE GOLD AND LUCENT STEEL, DIAMONDS AND RUBIES, $9,120, CHOPARD.COM

Have yourself a merry little Christmas! The season’s classic red and green are said to symbolize Jesus’s gift of salvation and the evergreen tree’s promise of eternal life. They evoke the joy and beauty that endure even in the depths of winter.

After all, where there is life, there is hope. 經典的紅與綠不僅是節日的象徵，更蘊含深意—— 紅色代表耶穌賜予的救贖之恩，綠色則寓意長青樹

ROGER VIVIER, EFFLORESCENCE SATIN CLUTCH, $1,845, MYTHERESA.COM

所象徵的永恆生命。這兩抹色彩在深冬裡，喚起美 好與喜悅，提醒著我們：只要生命延續，希望便永不 凋零。

GIANVITO ROSSI, AMELIA 15 LEATHER BALLET FLATS, $ 795, MYTHERESA.COM

6│

TIFFANY & CO., BIRD ON A ROCK BY TIFFANY, LOVEBIRDS RING IN PLATINUM AND GOLD WITH DIAMONDS, $35,000, TIFFANY.COM

PHOTOS BY ROLEX, TIFFANY & CO., VAN CLEEF & ARPELS, CHOPARD, TURNBULL & ASSER AND MYTHERESA.COM.

喜相隨

Bridging

East &West

兼容東西 發現美好

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

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

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ELITE BEAUTY

Stop the Telltale Signs of Aging Why Your Hands and Neck Deserve Extra Care 杜絕年齡告密者！

By Pia Norris

O

ur faces often steal the spotlight in skin care, but few people realize the neck and hands deserve equal, if not greater, attention. Constantly exposed, these areas tend to reveal a person’s age more than any other part of the body.

While many diligently lather serums, creams, and sunscreens on their faces, the hands and neck are often left to quietly accumulate signs of aging until they are difficult to reverse.

臉部往往 為護 膚的焦 點，但許多人都未意 識到頸部 與 雙 手應得到相同關 注。這兩個部位都 時 常暴露 在 外， 比身 體 的其他部分更容易洩露 年齡。人們常在臉上 勤 加保養：塗抹精華液、乳霜與防曬，但忽略了雙手與頸 部，任其累積老化痕跡，直到難以逆轉。 老化原因 頸部與雙手之所以成為年齡的「 告密者」，有多方面原 因：這些部位的肌膚較薄，油脂腺較少，皮下脂肪也更 少，因此更難維持水分與豐盈肌膚。這兩處肌膚原先就

THE ANATOMY OF AGING SKIN There are several reasons why the neck and hands are the telltales that betray our age. The skin in these areas is thinner, has fewer oil glands, and contains less subcutaneous fat, making it harder to retain moisture and volume. These areas also naturally have lower levels of collagen and elastin (the proteins responsible for skin firmness and elasticity), which makes them more prone to sagging, fine lines, and wrinkles.

Adding fuel to fire, your neck and hands are exposed daily to UV rays, water, and environmental pollutants that accelerate skin cell breakdown. The harsh soaps and alcohol-based sanitizers we use to keep germs at bay can further strip the hands of their natural barrier. As for the neck, everything from poor posture to stress can take its toll—long before wrinkles appear.

含有較少的膠原蛋白與彈力蛋白（ 維繫肌膚緊緻與彈性 的關鍵蛋白質），因此更容易出現鬆弛、細紋與皺紋。 除此之外，手與脖子每天都暴露在紫外線、水分與 環境汙染中，加速細胞衰退。不僅如此，我們為了抗菌， 頻繁使用的強效肥皂與含酒精洗手液，更進一步破壞雙 手的天然屏障。至於頸部，遠在皺紋出現之前，從不良 姿勢到壓力，都會提早留下痕跡。 手頸保養的前世與今生 在忙碌的現代生活中，頸部與手部護理經常不被重視。 不過，過去的美容專家與時尚名人，並未忽略這些維繫 青春的祕訣。 韓國文化強調以米水、山茶花油與草藥修護胸頸肌 膚；歐洲傳統則偏好用絲巾、手套，並講究端莊的儀態， 既保護肌膚又維持禮儀。尤其在十九世紀的維多利亞時 期更為顯著——柔嫩而白皙的雙手，象徵高貴的女性氣 質與社會地位。 對於古埃及與古希臘的美人而言，她們以油脂、蜂 蜜與蜂蠟作為護手霜——也是其護膚必備品。而芬芳的

TRADITIONS OF HAND AND NECK CARE While our busy generation often treats neck and hand care as an afterthought, estheticians and beauty icons of bygone eras mastered the art of preserving their youthful appearance down to a T. 8│

乳香與沒藥，則是保持頸部柔美的首選良方。 在日本文化中，女性頸後（ 稱為うなじ，unaji）長 久以來被視為極致優雅的象徵。傳統和服並未包覆頸 部，因此女人格外重視此處保養。米糠油因其美白與柔 膚功效，被用作頸部保養配方，並且傳承世世代代。

IMAGES BY DAVID ESPEJO/GETTYIMAGES, SHUTTERSTOCK.

The Koreans emphasized décolletage care with rice water, camellia oil, and healing herbs, while European traditions favored scarves, gloves, and refined posture to protect the skin and uphold proper social etiquette. This was especially the case in 19th century Victorian England, where soft, pale hands were the ultimate symbol of femininity and social class.

For beauties of ancient Egypt and Greece, oils, honey, and beeswax—early versions of today’s hand creams—were staples used to soften and protect the skin. To enhance supple, shapely necks, aromatic oils such as frankincense and myrrh were their go-to remedies.

In Japanese culture, the nape of a woman’s neck (unaji) was long-regarded as the most elegant expression of femininity. Left exposed by the traditional kimono, this area was likely cared for with rice bran oil. │9

Revered for its brightening and softening properties, this hydrating essence has been a staple in Japanese beauty rituals for centuries.

Fast forward to today’s world, our approach to neck and hand care is a blend of time-honored wisdom and cutting-edge science. The skin care industry now offers high-performance neck serums, restorative hand masks, and even in-office treatments like microneedling and laser therapy specifically designed to target these often-neglected areas. Current beauty trends dictate that your skin care should extend from hairline to bustline, and all the way down to the fingertips.

· Skipping SPF: UV exposure is the number one cause of premature aging. Protection from overexposure to sunlight, especially at peak times of the day, is essential for healthy skin. 時至今日，頸部與手部護理的方式，結合了傳統智慧 與先進科技。美妝界推出高效的頸部精華、修護型手膜， 甚至如微針與雷射的診所療程，專門針對這些長期被忽 略的部位。當前的美容趨勢認為，護膚應從髮際線一路延 伸到胸口，直至指尖。 打造「 無齡肌 」 頸部與雙手的保養無須繁複流程，但需持之以恆並選擇 正確的產品。以下是一套簡單有效的日常護理：

DAILY ROUTINE FOR YOUTHFUL SKIN Taking good care of your neck and hands does not require a complicated regimen, but it does require consistency and the right products. Here is a simple, effective routine to get you started: · Cleanse gently: Use sulfate-free cleansers to preserve natural oils, which are especially important for the delicate neck area. · Exfoliate weekly: Apply mild acids (for example, lactic acid) on the neck, and use gentle scrubs or enzyme-based exfoliants on the hands to smooth skin without irritation. · Moisturize deeply: Choose rich hand creams and neck serums with ceramides, peptides, and hyaluronic acid to support skin elasticity and hydration. · Protect with SPF: Apply broad-spectrum SPF 30 or higher daily to both the neck and the backs of the hands. · Use targeted treatments: Incorporate retinol or bakuchiol for collagen support, plus antioxidants like vitamin C to brighten and protect against environmental stress. · Mind your posture: Maintain a tall, relaxed neck position and avoid looking down for extended periods to help prevent creasing and wrinkles. This also allows for good circulation and lymphatic flow.

WHAT TO AVOID · Fragranced soaps and alcohol-based sanitizers: These can strip moisture, weaken the skin barrier, and accelerate thinning. · Overexfoliating: Harsh scrubs can cause micro-tears and inflammation, especially on the neck and backs of hands.

10│

．溫和清潔：使用無硫酸鹽潔膚品，保留天然油脂，特別 適合頸部脆弱肌膚。 ．每週去角質：在頸部使用溫和果酸（ 如乳酸），雙手則 以細緻磨砂或酵素去角質，避免刺激。 ．深度保溼：選擇富含神經醯胺、胜肽與玻尿酸的手霜與 頸部精華，維持彈性與水潤。 ．每日防曬： 在頸部與手背塗抹 SPF 30（ 含）以上的雙 效防曬霜（ 同時能防護 UVA 和 UVB 兩種長波與短波 的紫外線）。 ．針對性修護： 加入視黃醇或植物性替代成分補骨脂酚 （Bakuchiol），促 進 膠原蛋白生成；同時補充維生素 C 抗氧化，提亮膚色並抵禦環境壓力。 ．注意姿勢： 維持頸部舒展放鬆，避免長時間低頭，能減 少頸紋，並促進血液與淋巴循環。 應避免的習慣 ．含香料肥皂與酒精洗手液：會剝奪水分、削弱肌膚屏障， 加速變薄。 ．過度去角質：粗糙磨砂顆粒會造成肌膚微撕裂與發炎， 特別傷害頸部與手背。 ．忽略防曬： 紫外線是導致早衰的首要元凶。避免陽光過 度曝曬，尤其在高峰時段，對維持健康肌膚至關重要。

Editor’s Pick 編輯精選

Tree Hut: Serum-Infused Hand Wash A serum-like hand wash that hydrates, softens, and strengthens with hyaluronic acid, ceramides, and gentle plant-based cleansers, leaving skin clean, soft, and lightly scented. ($6.99, amazon.com)

Orveda: Youth Glove Protocol Hand Care Trio A two-step hand treatment protocol that pairs a serum mask and filler cream to smooth, plump, and restore—sealed in with silicone gloves to intensify results. ($210, us.orveda.com)

Philosophy: in Good Hands A fast-absorbing, nongreasy hand cream that smooths crepey skin, fades dark spots, and strengthens the moisture barrier even after washing. Available in Fragrance-Free or Fresh Cream. ($16, philosophy.com)

Kat Burki: Form Control Neck Contour & Exfoliating Pen A targeted exfoliator for the neck and décolletage, featuring a unique pen delivery system with a silicon exfoliator. Glycolic acid and fruit enzymes smooth texture, refine tone, and reduce the appearance of fine lines. ($150, katburki.com)

Kati Burki: Form Control Neck Lift A high-performance neck treatment that firms, lifts, and smooths the look of sagging skin and fine lines with collagen-supporting actives and botanical bioferments—visibly redefining the jawline and neck contour. ($190, katburki.com) │11

ELITE BEAUTY

TLC FOR

THE HOLIDAYS 無微不至 呵護好禮

By Pia Norris

La Prairie: Pure Gold Revitalizing Essence

Augustinus Bader: The Retinol Serum

La Prairie’s new essence makes an elegant, luxurious gift for skin in need of some extra care. Designed for both day and night use and infused with La Prairie’s proprietary Advanced Pure Gold Diffusion System, it helps boost collagen, strengthen the skin’s barrier, calm sensitivity, and restore a luminous glow—especially for those experiencing hormonal changes.

This high-performance serum combines pure retinol with Augustinus Bader’s TFC8 technology to visibly reduce deep lines and wrinkles, fade dark spots, and improve skin texture and clarity. Hydrating yet gentle, it supports skin renewal without redness or irritation. ($200–$575, augustinusbader.com)

($530 for 130 mL, laprairie.com)

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ELITE CULTURE

緙絲的時間對話

THREADS OF GOLD China’s Ancient Art of Kesi Weaving

By Ann Lin | Translated by Gigi Tseng Pictures courtesy of Taiwan National Palace Museum

D

raped carefully behind the protective glass shelves of the museum, long scrolls of peonies bloom in eternal splendor alongside sweeping landscapes of mountains stretching into the horizon in rich, shifting gradients. To the untrained eye, they may seem like ordinary paintings.

Yet these delicate masterpieces are not paintings at all, but tapestries, painstakingly woven from countless silk threads with meticulous precision.

Kesi, or engraved silk, is an ancient technique of Chinese tapestry weaving passed down through thousands of years from master to apprentice. This highly

一幅幅長軸，靜靜懸掛於博物館展櫃中，或牡丹盛放，

清 緙絲 村農韶慶圖 軸

然不同。刺繡是在布料上，以針線勾描圖案，再一針一

A kesi replica of Spring-Pounding Rice in Preparation for the Spring Celebration, from scene 18 of Pictures of Tilling and Weaving. This 46-part series was beloved by Qing Emperor Kangxi and went on to inspire many later works celebrating village life.

線將花紋繡出；而緙絲是一門真正「 無中生有」的工藝。

或山水蒼茫，色彩如墨暈層染，乍看之下，彷彿丹青妙筆 所繪。細看後發現，這些圖像並非出自筆墨，而是數十種 彩絲，在一挑一梭之間，從無到有交織而成的布面畫。 這便是緙絲 ─ ─ 一門傳承千年的中國絲織工藝。 其製作極為繁複精細，每寸交織的絲線，皆凝聚著匠人 的歲月與極致的工藝技術。古人用「 一寸緙絲一寸金 」 來形容它的珍貴，因為即便是短短一寸，也可能需要數 百次、上千次的換梭與穿引，所耗費的人力與時間，幾 可與黃金等價。而「 織中之聖 」的美譽，不只在製作工序 的繁複，更因其以絲線重現書畫的韻味——無論是山水 的深遠，還是人物花鳥之神態與靈動，都能被細膩捕捉。 許多人習慣將緙絲與刺繡並論，但兩者在本質上截

其織法被稱為「 通經斷緯 」：經線固定不動，緯線根據圖 案需求，分別裝入小梭中，來回穿梭在經線之間。色塊 與色塊的邊界，會留下細緻的鋸齒狀空隙，如刀刻般分 │17

intricate craft is so demanding that even a single inch of tapestry requires hundreds, if not thousands, of thread passes. The effort and time invested were so immense that kesi is considered as precious as gold, hence the saying: “an inch of kesi, an inch of gold.”

Revered as the crème de la crème of tapestry weaving, kesi is beloved for its seamless color transitions.

The lines are so fluid and the rainbow of hues so delicately blended across the loom, they mimic the flow and taper of a painter’s brushstrokes. Following each twist and turn of the threads, the deep, undulating blues of water, rolling hills, and the lively movements of people and birds come to life in vivid clarity.

Though many people liken tapestry weaving to embroidery, the two couldn’t be more different.

Embroidery uses colored threads to stitch images onto an existing fabric, whereas kesi is created all at once from nothing to everything, the art and canvas melded inseparably as one. Using painting mediums as a metaphor, embroidery is likened to oil painting, every inch of the canvas covered in richly layered colors. Kesi, by contrast, is reminiscent of watercolor, its hues delicately translucent and smooth, giving off a sense of gentle elegance and restraint.

To begin weaving, the artisan first creates a grid of silk threads on the loom to serve as the warp— the foundation that remains steady and unmoving.

Twists of colorful silk are then wound onto small shuttles to form the weft, which is passed carefully back and forth between the warp to create a pattern.

At each color changing point, the weft threads are cut, leaving a clearly defined, serrated edge. This is why kesi is also known as “cut silk.” Since the design is woven directly into the fabric, both the front and back of the tapestry are equally beautiful.

明，因此緙絲又被稱為「 刻絲 」。這種織法會將圖案直 接織進布面，因此沒有底布與花紋的分界，布與圖案渾 然一體，正反兩面皆可成畫。 如果用繪 畫 來 比喻，刺 繡 就像油 畫，色 彩厚重飽 滿、層層堆疊，色彩鮮明而立體；緙絲則像水彩，色層 透明細膩、暈色柔潤，在線與色的交融中，呈現出獨有 的內斂與雅致。 流光歲月 從西域到宮廷 作為中國文化中最古老的絲織工藝之一，緙絲可追溯至 中亞的「 緙毛 」技術。早期工法隨著絲綢之路，由西域傳 入中原，最初以毛線為緯，質地粗實，色彩有限。到了唐 代，人們開始以蠶絲取代毛線，絲質更為細膩柔韌，色 彩也更為豐富，為日後的藝術化奠定了基礎。 宋代之後，緙絲技藝已臻成熟，不再只是日用品， 而是成為宮廷與士大夫階層欣賞與收藏的藝術品。當時 人們熱衷於以緙絲摹織名家書畫：山水、人物、花鳥、 佛像，甚至書法詩文的筆墨韻味，都能以絲線精準重現。 由於製作成本極高，緙絲幾乎專供皇家御用，常用以製 作成各類宮廷藝術品，成為權力與審美的象徵。 其中，現藏於臺灣國立故宮博物院的國寶 〈緙絲富 貴長春〉，便是宋代緙絲的巔峰代表作之一。其以藍色 絲線為底，圖案以牡丹為主體，月季（ 長春花）、菊花、 芙蓉相互錯落，寓意「 富貴長春」。花蕊繁複細密，枝 葉交錯有致，色彩鮮麗明亮，緙工精密純熟，完整地展 現了宋代緙絲的工藝高度。進入明朝，蘇州成為重要的 緙絲織造中心。此時緙絲的用途更加多元，不僅用於書 畫摹本，也被製作成龍袍、朝服等御用品，象徵著權力 與身分的尊貴。 清代則將緙絲的色彩表現力推向頂峰，彩色緯絲的 種類多達六千餘種，使得作品在色彩層次上比以往更加 細膩。從詩文書畫、梵經佛像，到袍褂、室內鋪陳用品， 緙絲的應用無所不包。這一時期還出現了結合緙絲、刺 繡與彩繪的「 緙繡混色法 」，令作品在光影與細節上， 更具立體感與層次感。清代的緙絲題材不僅有吉祥寓意 的花鳥、山水、人物，還包含歷史故事與佛道宗教場景。

INTO THE EAST As one of China’s oldest intangible cultural heritages, kesi can trace its origins to the wool tapestries of Turkestan, brought into China’s central plains along the Silk Road. These early works, woven with wool, were coarse and limited in color. In the Tang Dynasty, artisans began replacing wool wefts with delicate silk threads dyed into a kaleidoscope of colors. The result was a much finer, softer fabric that laid the foundation for future innovations.

By the Song Dynasty, kesi technique had reached the pinnacle of sophistication. Too precious for 18│

在宮廷，緙絲更承載著祝頌與紀念意義，大臣們會以御 筆書畫與御製詩文為底本，精織 成緙絲 織品進 獻 於宮 中，作為對皇室的敬獻與祝頌。 慢工出細活的極致 在古代，一件緙絲的誕生，往往製作時程動輒三、五年。 當匠人著手一幅作品時，首先會將原畫「 騰稿 」，將細節 轉描至底稿之上，再依構圖需要，精心挑選絲線顏色， 為之配色。為了獲得最純正的色澤，絲線需先經烹煮去 膠，再以天然染料反覆染色，層層浸透後小心風乾，方 能 呈現 柔潤 而穩定的色彩。接著，絲 線 被 細 緻地 紡成 緯線，與整經工序相互配合，經線一根根安裝到織機之

清 御製 贊緙絲釋迦牟尼佛 軸 Qing Dynasty kesi tapestry commissioned by the imperial court to honor Buddha Shakyamuni.

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everyday use, it became a coveted collectible among the rich and famous. The most prized silk pieces were those that faithfully replicated renowned Chinese paintings of landscapes, figures, birds and flowers, Buddhas, and even calligraphy. Due to the exorbitant cost of production, these works were reserved almost exclusively for the imperial court and nobility.

Owning one in the family is both a show of economic status as well as one’s unimpeachable taste.

One such tapestry is now on display in Taiwan’s National Palace Museum. Set against a dark blue background, the piece is adorned with a profusion of peony, periwinkle, chrysanthemum, and hibiscus— a heartfelt wish for prosperity and everlasting youth.

Every detail, from the intertwining leaves down to each pistil of the flowers, were rendered with absolute precision.

In the Ming Dynasty, Suzhou became a major hub for kesi production, and the art was put back into practical use for making the emperor’s imperial dragon robes and the officials’ court attire. By the Qing Dynasty, kesi artisans expanded their palette to over 6,000 weft colors and began experimenting with combining kesi, embroidery, and hand-painted details. This gave the resulting cloth greater spatial depth and smoother color gradients.

Soon, kesi was used for a wide variety of decorative applications—religious text, formal wear, interior décor, and the like. In the imperial court, it was used to preserve important documents and celebratory decrees. As a show of respect, officials often commissioned to have the emperor’s paintings, calligraphy, or poems woven into textiles, which they then gifted back to the emperor to honor his dedication and achievements.

宋 緙絲荷花 軸 Lotus Blossoms, an anonymous kesi tapestry woven in the Song Dynasty.

上，穿過綜框並引入扣環，織機此刻才算真正備妥。織造 前，匠人會先做「 試色 」，確保色階過渡與原畫一致；待 一切準備就緒，正式的織造才開始。而每一次梭子的穿 引，都不只是將色線依圖案填滿般單純，而是像畫家一 樣，需深思每道線的走向與每層色的暈染。

THREAD BY THREAD In ancient China, the creation of a new piece of kesi could take three to five years. Each project began with the craftsman sketching a detailed draft of the design and determining the colors to be used. To ensure the threads achieved their most vibrant hues, white silk skeins were first boiled to remove their gummy outer layer, then repeatedly dyed with natural pigments. Only when the silk was fully saturated and air-dried would it reveal a rich, even tone worthy of the work ahead.

After the silk skeins are spun into thread, artisans 20│

最常見的「 平緙」是緙絲之基礎，用於鋪陳大面積 色塊，使色面均勻飽滿；若要勾勒花瓣輪廓或石頭的外 形，則用「 勾緙」將邊線清晰地織出。當需要呈現漸變 層次時，便採用「 摜緙」層層疊加不同顏色，讓花瓣的深 紅逐漸轉為粉白； 「 鳳尾戧 」與「 木梳戧 」則能讓色線在 弧形或規整的交錯中，營造柔和或分明的過渡效果。 處理相鄰而不相連的色塊時，還需要用到「 搭梭 」 的方式，將緯線巧妙地搭接，使整幅作品既牢固又不失 細膩。這些技法的運用並非單獨存在，而是根據畫稿需 求靈活組合，既講求形體的精確，又追求神態的韻致。 以一朵盛放的牡丹為例，可能就需要二十種不同深 淺的紅色絲線織成，每種顏色都需單獨處理、精準銜接。

conduct a color test to ensure each hue aligns perfectly with the prepared draft. Then, the arduous journey of weaving begins. With every pass of the shuttle across the loom, the artist is keenly aware of each thread’s path and how its color will layer and blend.

The most basic and widely used technique in kesi is called “ping ke,” or “flat weave,” which is employed to fill large areas with color. For details such as outlining a f lower petal or rock, the “hook” technique is used to create sharp, defined edges. To achieve a gradual transition from one color to another, the artisan will apply the “whipped” technique, layering different shades so that the petal can fade seamlessly from deep red to pale pink. More complex techniques such as the “feng wei qiang” (phoenix tail closure), and “mu shu qiang,” (wooden brush closure,) allows the colored weft to overlap, producing a soft blending and blurring effect.

For two adjacent but non-overlapping color sections, the preferred technique is “da suo” or “connecting the shuttles,” which keeps the transition edges crisp and securely bound. Kesi techniques, numerous as they are, are never used in isolation; they can all be f lexibly combined according to the needs of the design and artist.

To create a single peony, an artist may use up to twenty different shades of red. Because kesi demands such precision, even veteran craftsmen can complete only a small section each day. Yet, it is precisely this slow, deliberate pace that allows the tapestry to attain exceptional beauty and quality.

lifestyle and to build “a living museum.” Rather than creating luxurious collectibles, she reimagined the art into everyday objects—coasters, coin pouches, handbags, and more. Huang believes that no matter how beautiful a piece may be, if it can only be kept behind glass and admired from a distance, it loses its vitality.

The art of kesi is a masterpiece shaped and honed by time. Its continued presence shows that even amid the clamor of digital life, people are still more than willing to pause for something beautiful. Inch by inch, artists like Huang are carrying this ancient elegance into a new era as an art meant not only to be admired, but to be felt and experienced.

正因為緙絲對線條、色彩和工藝的要求如此嚴苛， 即使是最熟練的工匠，一天也只能完成極小的面積。這 種「 慢工 」造就了緙絲獨一無二的質感——不論是牡丹 的豐潤、山水的深遠，還是佛像的莊嚴，都能在絲線的 交織間，被細緻地呈現出來。 時間淬鍊之精品 在現今快節奏的社會中，緙絲所代表的沉靜與專注，反 而成了人們心靈渴望的奢華。被譽為「 人間國寶」的黃蘭 葉老師，接受本刊採訪時分享：做緙絲很療癒，生活再 忙，只要坐上機臺，心就會靜下來。身為臺灣國家級無 形文化資產─ ─傳統緙絲工藝的保存者，其所率領的團 隊雖然僅有12個人，卻肩負著延續這門千年技藝的重責， 是臺灣唯一仍持續營運的緙絲團隊。 然而，令人驚喜的是，這項慢工細活的技藝，並未 因艱難而被時代拋下，反而吸引越來越多人慕名前來學

A LUXURY CALLED TIME In today’s society, the slow and steady rhythm of kesi seems at odds with the world’s growing appetite for instant gratification. Yet in recent years, interest in this ancient craft surged, as its meditative focus rekindled people’s innate longing for a more grounded, mindful way of living.

Lan-ye Huang, an acclaimed Taiwanese kesi artist, shared in an interview with Elite: “Creating kesi is very healing [for the mind and soul.] No matter how busy my life becomes, the moment I sit down at the loom, my heart finds calm.” Though her team of just 12 is small, as the only operating kesi studio in Taiwan, they bear great responsibility in preserving and passing down this cultural heritage.

It is Huang’s dream to make kesi a part of modern

習。最小的學員年僅四歲，也有人遠從紐約負笈，只為 親手體驗這門工藝。當人們一坐上織機，隨著梭子一梭 一線的穿引，彷彿整個世界都慢了下來，對許多人來說， 這不只是一種從未體驗過的專注，更是一種近乎奢侈的 療癒。 在古代，緙絲被視為宮廷珍品，如今在黃蘭葉老師 的推動下，它不只是一件收藏於展櫃的藝術品，而是走 進生活的精品。從杯墊、零錢包到手提袋，她致力於打 造「 活的博物館 」，相信再美、再華麗的作品，若只被供 奉，便少了生命力；唯有真正被使用、被欣賞，這門古老 的工藝才能延續不息。 從「 一寸緙絲一寸金 」的珍稀，到成為能療癒人心的 生活藝術，緙絲不僅是一件工藝，更是一種時間的精品。 它象徵著我們仍願意為美停下腳步、用心守護細節，在 喧囂之中，靜默的將這個千年的技藝，織出屬於這個時 代的優雅與餘韻。 │21

Q&A

緙絲工藝家黃蘭葉採訪摘錄 With over 40 years of mastery in kesi tapestry, Lan-ye Huang is officially recognized by Taiwan’s Ministry of Culture as the foremost guardian of this art. At her Huang Lan-ye Kesi Art Studio in the National Center for Traditional Arts, she leads a team dedicated to preserving and innovating techniques to carry this heritage forward. 擁有四十逾年緙絲製作經驗，2020年她獲臺灣文化部認定為國家級重要傳統工藝「 緙絲 」技藝保存者，於臺 灣國立傳統藝術中心內開設「 黃蘭葉緙絲工藝館 」，帶領團隊持續在緙絲工藝領域深耕與創新，將此珍貴手工 藝文化傳承下去。

Kesi requires slow, dedicated work over long periods of time. What do you think is the significance of this craft in the modern world?

I think it’s really a personal preference. Some people enjoy it because it helps them feel calm, or maybe it’s just a fun, creative outlet. The meaning is different for everyone. …This is a craft with a lot of depth, and it’s not easy! If you can see the final product in just two or three days, that’s because I’ve simplified it to quickly capture your interest, so you’ll want to come back for more. 緙絲這種慢工細活，在現代有什麼樣的存在意義？

loom. Don’t get impatient and wander off every half hour or an hour. If you keep interrupting your concentration, you can’t produce good work. That’s not efficient. Sometimes, when we’re really in the flow of weaving, two or three hours can pass before we get up for a drink of water or use the restroom.

Every industry has its challenges, and with kesi, even if you’re completely focused, it’s still hard to make your input equal your output. Some people are quick and clever, with good reflexes, and it comes a little easier to them. This work isn’t brainless or mechanical, you need your hands, your feet, and your mind working together. It’s not easy.

我覺得是因為個人的關係，可能會喜歡，或是因為可以 靜下來，或是找到一個可以玩的地方。它在（ 不同）人

您投入緙絲的時間和成果是否成比例？

的身上，它的意義就存在那裡。⋯⋯我覺得這是很深的一

不成比例，所以才很難生存。可是做久了，當一個老師就

門工藝，沒有那麼簡單！你說兩、三天也會看出成果，是

會引導這這些新生說，怎麼進入會比較快一點，因為市場

因為我把它簡化了，引起他們的（ 民眾）興趣再回流。

都是講求效率。要講效率的話，我要怎麼引這些初學者、 進入產業的人說，效率是怎麼來的，我就一直教他一些竅

Would you say the time you devote to creating kesi is proportional to the amount of work you’re able to produce?

No, that’s why it’s so hard to make a living with this craft. But once you gain more experience, the teacher will start sharing little tips and tricks to speed up the process because at the end of the day, the market values efficiency. Handicrafts are hard to explain in words, so to make things clear, I usually teach my beginners by example and demonstration.

In this industry, whenever our artisans feel pressured to rush, I’ll tell them, “Don’t rush, it’s not urgent.” It’s a matter of being efficient. I want your full, undivided focus during the seven hours you’re at the 22│

門。工藝的東西很難用語言來詮釋，可能就是要手把手 的這樣教，才有可能講得很清楚，對方也比較清楚。 在我的產業裡面，師傅在趕，我都會說不要趕，不 急。我要的是一個效率的問題，你就集中：來上班七個 小時，就責無旁貸的專注在這七小時，這樣就有效率了。 不要坐不住，半小時、一小時一直跑起來，是沒辦法做 到好的東西，也沒有效率，因為連貫性不會好。有時候 我們一 做下去就是兩、三個小時才會起 來，才喝水、上 廁所，（ 然後）快點弄一弄、手擦一擦就直接再做下去。 每個行業都有辛苦之處，只是緙絲這個行業，就算 專注力成正比也沒辦法（ 與成果相稱）。有些人就是反應 力比較好，腦袋比較靈活，因為我們不是那麼呆呆的、機 械式的，你要用手、腳，還有腦袋，你的腦袋要一起走， 所以沒有那麼容易的事情。

In kesi weaving, delicate silk threads wound onto small shuttles are passed through the warp hundreds of times to produce a single inch of fabric. _Ji Chunpeng/ Alamy

Do you consider kesi to be luxury items? And what are your hopes for the future of this craft?

It really depends on your product-positioning and target audience. From there, you can create many different kinds of items. The pieces I sell to Japan are usually very product-oriented, but if clients commission art pieces, of course I’ll do those as well.

The pricing, naturally, is very different. I’ve never stopped taking orders from Japan, because that’s what supports the salaries of my 12 team members.

We can only keep going when our pieces sell. It’s just not possible to focus only on creating artworks; we simply don’t have the funds for that.

Embroidery and kesi are very different. With embroidery, as long as you have fabric, you can get started. But with kesi, you’re building the piece entirely from nothing. When we put a lot of detail into our work, it truly reflects the old saying “an inch of kesi is an inch of gold.” It’s incredibly precious. That said, if it’s just a layperson coming in for the experience, they don’t have the time for me to go into all the details. So, I’ll first meet their expectations, let them bring home a finished piece, and hopefully inspire them to keep learning later on. We’ve had students from all over the world—New York, Hong Kong, and more.

As long as we can keep persisting in our craft, I think our work is of value. However, this has to be a shared effort. It’s not about me being great on my own; everyone has to come together. That’s the

key. People often tell me, “Teacher, keep up the good work!” but I always say, “We all have to keep it up.”

I can’t carry this responsibility alone.

With other crafts, like bamboo or bulrush weaving, they just need three blades of grass to demonstrate their work. For me, it’s different—the loom takes up so much space. That makes it hard for organizations to invite me to promotional events. So, I’ve always said I need a museum of my own. 您認為緙絲是一種精品嗎？對這門工藝的願景為何？ 看你的定位是怎樣，詮釋出來的東西就不一樣。我的作 品，像日本的話（ 賣到日本）就是商品，假如有人要客 製，當然有做一些藝術品，價位就差很多。我一直都在做 （ 日本的訂單），不然怎麼會養12個人？有去（ 賣出）才 有辦法生存，哪有那麼多錢一直在做藝術品，買家在哪 裡？⋯⋯刺繡和緙絲差很多，刺繡只要有布就有辦法， 緙絲是從沒有變成一塊布。我們做到細緻的話，就是一 寸緙絲一寸金，就是珍貴在那裡。民眾玩的話，不可能 投資那麼多時間，我就用簡單滿足消費者心理的願景， 讓他拿回家，希望他們下一步再深入的學習，你看我們 的學生有很多是從國外慕名而來，紐約、香港的也有過 來學。 你要延續下去、要有價值。就像我說的要有來有去、 要共襄盛舉，不是我一個人厲害，是大家要一起來，這 個是重點。很多人都說老師你要加油，我都說大家要一 起加油，不是只有我一個人加油，我一個人拖不動這一 塊。你看人家竹編、藺草的，三根草就可以做一個推廣 了，我占的空間要多大，不一樣，我（ 要的）格局太大了。 有一些部門真的是請不起，因為空間要占著，所以很難推 （ 動），所以我才說要一個自己的博物館。 │23

ELITE PEOPLE

FORGING LIVING SPIRIT IN TITANIUM Inside the Mind of Jewelry Artist Aka Chen 循心成道 鍛鈦為魂 ——珠寶藝術家陳智權的創作之旅

By Astrid Wang | English translated by Gigi Tseng Pictures courtesy of Aka Chen

“H

ave you ever heard of the Akashic records?”

Ziquan, or “Aka,” Chen asked during his interview with Elite. “It’s said to be a compendium of universal events, from the human world to the spiritual realm.”

Aka means “red” in Japanese, but it also bears a phonetic resemblance to Akashic. Chen chose this name for himself when he founded his jewelry company in 1989. At first, it was simply because he loved the color red, so everyone called him Aka. Looking back on his journey though, he is convinced that the name was destined to be his.

「 你聽過阿卡西嗎 ?」他問，便接著解釋： 「 阿卡西就是一個人 間的紀錄、靈體的紀錄，梵文（Akashic）。」梵文阿卡西一 詞發音近似念快的「Aka Chen」，而 Aka（あか，日文紅色之 意 ）直譯為亞卡，是珠寶設計師陳智權於 1989 年成立公司 的名稱，沿用至今。最初是因為自己從小就喜歡紅色，周遭的 人都叫他 Aka，如今他回想這名稱，感到這巧合甚是神奇。

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四元素系列： 《地》 Earth, from the Four Elements series.

Ancient philosophers believed that all matter in the world is composed of four fundamental elements: earth, water, fire, and air.

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Wings of Serenity, crafted with pure titanium and diamonds. After years of trial and error, Chen became one of the world’s first jewelry designers to patent titanium-forging techniques.

Since then, Chen has taken titanium art to new heights of expression and beauty, and his jewelry is exhibited in prestigious museums around the world.

In 2020, his sculpture series Zen was welcomed into the permanent collection of the Victoria and Albert Museum (V&A) in the U.K.—the world's largest museum of decorative arts and design.

His magnolia-inspired jewelry set features a floral brooch and a pair of earrings that can be mounted on a titanium branch to form a sculptural artwork.

According to the V&A’s official website, Chen “combines sculpture, installation and jewellery, redefining jewellery design for the 21st century.”

三十多年後，亞卡製作的鈦金屬珠寶在西方頂尖的 博物館中，向觀眾訴說著它的故事，成為當代文明值得 被紀錄的一部分——就像其中一件在 2017 年完成的作 品《禪》，以木蘭花為形體創作的珠寶——在 2020 年 被英國 Victoria and Albert 博物館（ 簡稱 V&A 博物 館）正式納入永久館藏。該博物館被譽為全球最大工藝 博物館，館方網站上的藏品介紹中寫到： 「 藝術家結合 雕塑、裝置以及珠寶，重新定義 21 世紀的珠寶設計。」 回歸本心 從商人到藝術家 陳智權為臺灣的珠寶藝術家，也是亞卡珠寶工坊的創辦 人。已過耳順之年的他，回想三十多年前的種種恍如昨 日。他說自己的思想跳躍，從小就是如此。他充滿想像 力，不喜歡做常規內的事，但對於美學相關的事物始終

BACK TO THE BEGINNING Now in his 60s, Chen can still recall events from over 30 years ago as vividly as if they happened yesterday.

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有所熱忱。在企管系碩士畢業後選擇創業，因友人家族 從事珠寶業遂而接觸這項產業。 早年作為珠寶商，他曾深入戰亂頻 繁的礦區採買

Aka Chen views jewelry design as a way to express the essence of life. Each piece of artwork reflects the serene elegance of Zen.

He was a creative and unconventional Taiwanese boy with a deep passion for beauty. After earning his master’s degree in business administration, it was only natural that he would set off to pursue his entrepreneurial dream in the jewelry industry.

In those early days as a jeweler, Chen traveled extensively to mines in war-torn regions to source raw gemstones. Though he was constantly surrounded by tanks and troops and far from home, he never felt fear. The experience invigorated him. “I loved the mining areas,” he said. “Saying I was there to buy gemstones was really just an excuse. I loved chatting with [the local] people—they were so pure in their simplicity.”

Transactions with the miners were built solely on trust. Likewise with the local jewelry dealer: After a few minutes of conversation and a simple handshake

珠寶原石，就算身處戰車、軍隊環繞的偏遠地區，他並 不感到害怕，相反地，他特別喜歡那段經歷，「 我喜歡 礦區，講採購原物料是一個藉口，我喜歡去礦區的那些 人。我喜歡看那些人，因為他們很 純樸。」他也想起當 年在礦區與頂尖賣家的互動，建立在單純的信任之上， 兩分鐘的交談與握手後，就能把價值高達十萬美金的珠 寶帶回臺灣。 創 業 初 期，他曾 經營百貨公司連 鎖 珠寶品牌，但 卻因倒 債而造 成資金 週 轉危機，那之後 他收 掉了多間 店鋪，轉而帶領亞卡參加世界各地的珠寶貿易展，將作 品行銷國際。此後十餘年間，亞卡曾經手來自政商名流 與世界知名品牌的訂單與委託。然而，在展場經營多年 的人脈與名聲後，他再次帶領公司轉型，決定不再出展 或替別的廠家做代工，他說那是他給自己訂的「 練功時 間 」，繼續接單賺取豐碩的利潤並非其心之所向。 他說古典珠寶設計雖美，卻無法打動他，他不想做 那樣的珠寶，想要追尋更為本質、純粹的設計。於是在 │27

四元素系列： 《火》 Fire, part of the Four Elements series, is crafted from titanium with diamond and sapphire accents. The piece measures 60.6 inches in diameter.

to seal the deal, Chen could bring gemstones of immense value back to Taiwan.

For years, Chen ran a chain jewelry brand in department stores until a debt crisis forced him to close several locations. This forced him to shift focus and begin participating in international trade shows.

"I’ve always believed that danger and opportunity are two sides of the same coin. Every crisis is a chance to turn things around," he said. "If you don’t seize that moment and create your next opportunity, what are you waiting for?"

Over the following decade, Chen fulfilled numerous commissions from politicians, high society, and world-renowned brands.

Just when everyone thought Chen had achieved great success, the daring man made another bold and pivotal decision. Simply fulfilling orders and 28│

接下來的十年間，他帶領團隊專心製作亞卡品牌專屬的 珠寶。 時間快 轉至 2020 年，那件被英國博物館收藏的 「 木蘭花 」系列珠寶，鎔鑄當代鈦金屬工藝以及創新的 雕塑手法，這或許是陳智權當年果斷轉型，對亞卡設計 與其美學追求的最佳解答。亞卡不再只是貿易展上有實 力的知名品牌，轉而成為國際著名的鈦金屬珠寶藝術品 牌。但這並非一戰成名，而是十多年來的堅持創新，一 步一腳印的成果。 義無反顧的鈦金屬之旅 正因為陳智權對美學有所堅持，他親自投入設計，不停 地在思考什麼樣的珠寶最適合人佩 戴？他說： 「 珠寶設 計，它不只是表面在光鮮亮麗之下，就像現在服裝設計 也完全都改變，第一個要舒服，第二個是不能隨便 」， 「 這是很『 生命的』，完全是在照顧你的生活。」為了做出 能貼合「 生命」的珠寶，他看見了鈦金屬的獨特潛力。

earning a profit was never his ultimate goal. Classic jewelry designs were undeniably beautiful, but they didn’t resonate with him. After wrapping up his previous commitments, Chen devoted himself to spiritual discipline, or self-cultivation, and to exploring design in its purest, most basic form.

Today, Akachen Jewellery is no longer just a respected name on the trade show circuit; it has become an internationally recognized leader in titanium art. More than proving the wisdom of his once-daunting choice, the company's success is a testament to over a decade of innovation and commitment.

BLAZING THE PATH FORWARD “What kind of jewelry is most suitable for wear?” is a question Chen has continuously pondered. “Jewelry shouldn’t just be beautiful. Like clothing, it must be comfortable, and it shouldn’t feel careless,” he said.

Fashion is alive—it should be an intimate part of your lifestyle.

It was during his search for that elusive answer when Chen discovered titanium’s unique potential.

While strolling through a Hong Kong trade show in late 1990s, he was stopped in his tracks by the iridescent colors of a 25-cm titanium piece. Eager to learn how the metal achieved such vibrant hues, he asked the woman in charge. She offered only a vague explanation: When titanium is placed in water, it produces this natural glow.

Titanium is an abundant natural resource commonly used in spacecraft construction and medical equipment. With a melting point of 3,034 degrees F and exceptional hardness, it is extremely difficult to cut, carve, or bend. Traditional goldsmithing tools are useless against it. Nonetheless, its light weight and strength offers far greater possibilities for color and luster than platinum or gold. It’s the perfect medium to express the sense of “life” that Chen has been seeking.

Returning to Taiwan inspired, he scoured international journals and research papers for clues on how to work with titanium. That’s when he hit a snag.

Twenty-five years ago, titanium was rarely used in jewelry making, and resources on the subject were scarce.

“After studying in depth, it dawned on me. I needed specialized equipment,” Chen said.

在九零年代 末 期，他曾 在香 港 珠寶展 上，被一 件 25 公分長的鈦金屬珠寶深深吸引。他向展位負責女士 詢問這金屬上的色澤何來？女士說只需放到水裡，就會 產生這種自然的金屬色彩。對方輕描淡寫，未再透露其 他細節。 鈦金屬雖非位列貴金屬，也是地球豐富的天然資 源，多用於 航 太 或 精密 的醫 療 器材之 上。然 其高熔 點 （ 在攝氏 1,668 度 ）與高硬度的特性，使其不易切割、 雕刻、彎 折，無 法以傳 統 金工 工具 鍛 打或 焊 接，稍 有 差池便付之一炬。在提煉與加工技術上極具挑戰。

《永恆花園》局部 From The Eternal Garden exhibit: Butterfly, crafted from 99.9 percent titanium with moonstone, yellow sapphire, and diamond details; and Rose, featuring pure titanium set with diamonds and sapphires.

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“All the raw materials had to be imported, and many of the tools I had to make myself.” It was a happy day when Chen learned that the medical field had already developed a systematic way to process titanium. “Those tools really inspired me to innovate,” he said.

Even so, the journey was fraught with setbacks. In his eagerness to experiment, Chen once accidentally electrocuted himself, temporarily paralyzing half of his body. Concerned that no one would be around to help if another accident occurred, the building’s security guard even forbade him from entering the workshop on weekends.

After seven years of trial and error, Chen finally saw light at the end of the tunnel. His brand unveiled its first collection of titanium jewelry in 2007. That same year, Chen became one of the first three jewelry designers in the world to patent titanium-forging techniques.

輕巧而堅硬的鈦金屬與白金或 K 金相比，能帶來更 多色澤與光澤變化的可能，更能夠表現他所追求的「 生 命」特性。但在 25 年前，鈦金屬在珠寶界金工應用尚未 普遍，也沒有任何珠寶設計相關的教科書。 陳智權回臺後積極鑽研鈦金屬工藝，他翻遍國際論 文、期刊與文獻搜集相關資料。他回憶： 「 深入研究後， 我發現鈦必須要使用特殊機器，進行精密鑄造才能加工 完成，使用的原料也都必須從國外進口，甚至連工具都 要自己做。」後來他甚至開始研究醫療器械，並發現醫 療領域早就發展出一套極為精密的鈦加工技術，「 那些 工具反而成為我創作的關鍵啟發。」他說。 這幾句話的背後是年復一年的試錯與積累。他親自 投入實驗，曾遭觸電而半身麻痺，嚇得大樓管理員禁止 他週末前來，就怕無人看顧下又發生意外。起初他至少 花了 7 年時間才摸通門道，然後又持續鑽研近 10 年， 終於在其工作坊內推出純鈦珠寶作品，亞卡在 2007 年 成為全球前三個正式取得純鈦珠寶專利技術的品牌。 詮釋生命的珠寶 「 珠寶這個東西，跟人的生命是一樣的，你沒有光都看

THE LIFE WITHIN “Jewelry is like life—without light, it’s not visible. If it doesn’t reflect light, then no matter how precious or luxurious the piece is, it loses its meaning,” Chen said.

In conversation, the artist exudes a sense of calm and transcendence. He believes that jewelry design is just one of the many ways life expresses itself, and his job is to bring out its spiritual depth.

《永恆花園》局部 Bennu, a part of The Eternal Garden exhibit, depicts twin birds in pure titanium set with diamonds, sapphires, and spinel.

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不到，那個亮跟它折光，或者是它的貴，它的奢華，根 本一點都沒有意義。」陳智權語中帶有一種出世的灑脫。 他認為從事 珠寶設計，只是 生命中眾多設計的一種 媒 介，更重要的是傳遞精神價值。 這與陳智權從小就篤信佛教有所關聯，他四歲學會 靜坐後，養成了與內在對話的習慣。這種修行幫助他釐 清前行的方向，就如 30 多年前在種種未知與挑戰中， 他毅然投入鈦金屬珠寶設計，「 內心的聲音常告訴我：

spirit of Zen: In every moment, approach your work with a minimalist mindset. Simplicity means creating something pure and essential with the least amount of time and effort.

“Some Asians tell me our pieces look very Western, while audiences in the West say they have a distinctly Eastern feel,” Chen said. His hope is that when people see his work, they’ll have a fresh take on traditional jewelry and enjoy art free from the constraints of gender, age, or social divides.

Most of Chen’s pieces are one of a kind, requiring an exceptional amount of time and effort to create.

“People used to look at my work and ask, ‘If you keep creating pieces of this caliber, how do you even make a profit and live?’” he said, laughing. “Well, at least we’re still living. … Our goal has always been simple: to be a small company that operates at the highest level.”

Looking toward the future, Chen muses, “I often wonder, What kind of jewelry will people wear in the year 3025?” The thought, he says, makes him both nervous and excited, eager to explore what is yet to come.

Titanium jewelry artist Aka Chen seeks to create beauty that emulates nature and speaks to the human soul.

『 這條路是必須走過的。』我逐漸認為，人一定要去走沒 走過的路，即使是不喜歡、甚至討厭的，也要把它當成 一種體驗與修練。」如今他能自信地說，亞卡珠寶能傳 遞來自東方的禪宗精神——「 當下就是用極簡的態度去 做，極簡就是用最少的時間，做到最乾淨、最重要的部

Chen practices Buddhism, and after learning to meditate at the age of 4, he developed a lifelong habit of introspection. This constant pursuit of growth and self-cultivation guided him through many uncertain times.

His unwavering faith gave him the courage to face the unknown and to resolutely set aside immediate success to study titanium jewelry design. “A voice inside kept telling me, ‘This is something you have to do,’” he said. “I believe we all need to explore paths we’ve never walked before. Even if the journey is difficult, we should see it as a challenge and an opportunity for self-improvement.”

Chen’s beloved solo exhibitions—Secret Garden and The Eternal Garden—have been showcased in cities along the East and West coasts of the United States.

If he were to describe Akachen Jewellery in a single sentence, Chen would say it embodies the Asian

分。」 亞卡從創立至今，已走過 35 年的歲月，陳智權帶 領團隊實踐創新，讓鈦金屬以超乎想像的姿態，走進人 們的視野。從 2023 年起至今年底，共有兩場不同主題 的特展（《祕密花園》與《永恆花園》）在美國東、西岸不 同城市展出。作品能在充滿創新精神的美國展出，對亞 卡而言是一項重要的里程碑。 「 亞洲人常說我們的作品看起來很『 西方』，而西方 人卻會說我們的作品帶著『 東方』的味道。」陳列於博物 館內的作品，讓大家看到有別傳統珠寶的新風貌，且無 分性別、年齡與階層，都能感受其中的意趣。 回想當初，他說： 「 人家看到我們的珠寶說，哎呀！ 你做成這個樣子能不能活？」但他笑著說，我們至少還活 著。「 我們的堅持就是，一個世界頂尖的小公司。」沒有 做大的野心，卻有做到最好的決心。雖然他以鈦金屬珠 寶工藝榮獲世界肯定，但卻未止步於此，「 我常在想西元 3025 是戴什麼珠寶？」他說，一想到這就感到既緊張又 有趣，迫不急待地想探索那還未到來的時代。 │31

A Masterclass Like No Other Shen Yun’s Trade Secrets to Unlocking a More Artistic You

明星講堂 解密神技 ——神韻作品訂閱專享大師班系列 Pictures courtesy of Shen Yun Performing Arts

32│

影音平臺「 神韻作品 」，不僅有美國神韻藝術團的精采 節目和幕後花絮，還能聆聽神韻明星的專業講座，這是 神韻明星難得在世界舞臺以外亮相，帶領觀眾一同學習 神韻藝術團從未公開的訓練祕笈，探索傳統藝術中久已 絕跡的最高境界。 神韻藝術團擁有三大最知名的頂級藝術：正 統的 中國古典舞、中西合璧的交響樂、美聲唱法的中文歌曲。 其中還展現了兩大失傳絕技：舞蹈身法的最高境界「 身 帶手、胯帶腿 」，意大利傳統歌劇的美聲技藝。 神 韻 藝 術 團 的 重要成 員王 琛、陳 纓、天 麗，分別 是舞蹈、交響樂、聲樂領域的資深藝術家，廣受來自世 界各地的粉絲喜愛，並在其專業領域備受尊敬。在神韻 藝術總監的授權之下，她們三人在「 神韻作品 」開設系 列講座，介紹神韻 藝 術的奧祕 與精 粹，並為 觀 眾提 供 切實、有效的人生建議。 此 外，該 影 音平 臺 上 還 設 置 多 個 特 色 頻 道： 「演 員專訪 」分享神韻藝術家的人生經歷； 「 神韻新聞 」報 導神韻演出的最新消息及觀眾反饋； 「 舞蹈三劍客」展 現舞蹈演員生活中的各種面貌； 「 飛天大學學生娛樂作 品 」則匯集學生製作的各類文藝作品。節目形式豐富多 樣，帶給觀眾既有深度又有廣度的內容。 中國古典舞的「 門道 」： 《王琛說舞蹈》 中國古典舞與芭 蕾舞有什麼區別？她 為何如此 觸 動人 心？《王琛說舞蹈》中，神韻舞蹈明星王琛將自己多年的 學舞心得娓娓 道來。王琛是神韻藝術團的主要領舞演 員、飛天大學的碩士研究生。她自2007年起參加 神韻 藝術團的年度全球巡迴演出，多次摘取新唐人「 全世界 中國古典舞大賽」的金獎。 衷愛舞蹈 的王琛，熱情 地向觀 眾分享中國古典舞 的內涵，她表示： 「『 神韻作品 』是 一 個非常棒 的新平

ADVERTORIAL

S

hen Yun Creations is an on-demand video platform showcasing spectacular performances and behind-the-scenes stories from the world-acclaimed Shen Yun Performing Arts. Based in New York, these artists are on a mission to revive China’s 5,000 years of divinely inspired culture through the beauty of dance and music.

Since its founding in 2006, the company has captured the world’s attention with its three unparalleled artistic achievements: classical Chinese dance in its most authentic form, passed down through the dynasties; a groundbreaking live orchestra that blends ancient Chinese instruments with the grandeur of Western orchestration; and the revival of the long-lost bel canto technique for original Chinese songs.

Now, for the first time, fans are invited to go beyond the stage for exclusive masterclasses with Shen Yun’s stars.

Principal dancer Angelia Wang, singer Tian Li, and conductor Ying Chen are hosting a special lecture series that offers intimate glimpses into their artistic journeys. Through fascinating, bite-sized episodes, they share untold stories, personal insights, and closely guarded training secrets. There will also be practical tips to help you cultivate greater artistic sensitivity in your own life.

Explore Shen Yun Creations’ extensive video library for more fascinating interviews with performers, lighthearted vlogs from the dancers known as the Three Musketeers, and original performances brought to life

by Shen Yun’s rising stars.

臺。我希望 藉由這個平 臺，用舞蹈 的 語 彙 講述真正的 傳統文化。同時，我也想從舞蹈演員的角度，分享一些 對 藝 術的獨 特見 解。」王琛首先闡述中國古典舞的主 要內容，比如身韻、身法、技術技巧三大部分，身法的 最高境界「 身帶手、胯帶腿 」，舞姿要領「 擰、傾、圓、 曲 」等。她強調，中國古典舞非常注重內在韻味，具有 餘韻無窮的意境。 另外還有日常生活都受用的專業分享，例如舞蹈演 員們的儀態出眾，是因日積月累的形體訓練的成果。王 琛表示，一般人通過站、坐、拉筋等簡單的訓練動作， 便可以改善體態、提升氣質。 美聲並不遙遠： 《找回傳統的美聲唱法》 神 韻 歌 唱家的歌 喉，令 觀 眾驚 歎。他們如何在沒有麥 克風的情況下，發出直達最後一排觀眾、貫通全場的聲 Angelia Wang, the host of Angelia on Dance, performs on the Shen Yun stage during the tour season.

音？又如何具有震撼人心的力量？神韻歌唱家天麗，在 獲得藝術總監同意後，首度與世界分享神韻歌唱家們掌 握的失傳數百年之美聲唱法。 天麗 是神韻 藝 術團的女高音歌 唱家，也是新唐人 「 全世界華人美聲唱法聲樂大賽 」的評委。「 你只要能說 話，那麼你就能唱歌。」她在影片中告訴觀眾，不用撐 口腔，不用發聲練習，用自然的說話方式就能練習傳統 美聲。 她逐步解析神韻歌唱家的訓練祕訣：吐白字、尋找 最佳的發聲位置、怎樣唱高音、如何正確運用意念和氣 息等⋯⋯許多歌唱家孜孜以求、終其一生都未能研究透 澈的問題，天麗三言兩語就解說得清晰明瞭。這是在意 大利或者世界任何地方都學不到的「 大師班 」。 有志於聲樂藝術的朋友，您一定不能錯過天麗的講 座。她會告訴您真正的美聲唱法之學習祕訣，幫助您的 歌聲達到自然流暢、動聽的天籟效果。 人人都能聽懂交響樂： 《傳統文化與音樂》

Tian Li, who hosts Traditional Bel Canto, performs with Shen Yun during the tour season.

神韻的交響樂是如何做出中西合璧的音樂？為何這些作 品如此美妙、撼動人心？作為普通觀眾，我們應怎樣理 解、品味神韻音樂作品？神韻指揮家陳纓開設的《傳統 文化與音樂》講座，為我們一一解惑。

Angelia on Dance So, what sets classical Chinese dance apart from ballet? And why does this ancient art form move audiences to tears?

A three-time gold award winner in New Tang Dynasty Television’s International Classical Chinese Dance Competition, principal dancer Angelia Wang shares her insight in the lecture series Angelia on Dance. She holds a Master’s degree from Fei Tian College and has been touring globally with Shen Yun since 2007.

首先，陳纓在影片中闡釋中西合璧的特點與挑戰。 中國傳 統 樂器和 西方交響 樂 的樂器 組合，一 個以「 線 狀 」曲調為主，一個擅長表現立體音響。兩者若能天衣 無縫地配合，不僅可以突顯中華文化的韻味，而且能夠 營造豐滿渾厚的藝 術效 果，展現 輝煌的中華五千年歷 史。迄今為止，只有神韻藝術團真正做到了這一點。 接下來，陳 纓深入分析神韻 音樂蘊 藏 的精神和內 涵。她從觀眾角度出發，分享為何神韻音樂能夠感動和 鼓舞人心。她還透露神韻交響樂團如何配器、如何編制 等專業問題，帶領大家詳細解讀《苗族舞曲》、《中原漢 麗》、《唐陣》、《情繫道緣》等神韻音樂作品。 │33

“Shen Yun Creations is a wonderful platform,” she said. “Through these videos, I hope to share the beauty of traditional Chinese culture through dance—and from my own perspective, offer some personal reflections on the art.”

Wang explains that classical Chinese dance training is built on three key components: technical skill, form, and bearing. She also states the fundamental cultural difference between ballet and classical Chinese dance.

In Western culture, art emphasizes lines, angles, perspective, and color, whereas traditional Chinese art is more about expressing one’s inner thoughts and meaning. Chinese paintings are often created freehand with a lot of negative space for the viewer to fill in with their imagination. This mindset extends to dance: Ballet has strict standards for straight, defined lines and precise angles, while classical Chinese dance focuses on creating round, flowing, and continuous movements.

In addition, for those hoping to learn from the dancers’ graceful postures, Wang shares exercises you can do at home. According to her, even simple practices—like maintaining proper standing and sitting positions or doing basic stretches—can enhance your overall presence and poise.

Traditional Bel Canto The skill of Shen Yun’s singers is admired wherever they perform. Even without microphones, their voices project with remarkable clarity and strength, carrying every word to the last row of the theater. But how do they achieve this? Is this something you can learn?

With the approval of Shen Yun’s artistic director, D.F., soprano Tian Li breaks down Shen Yun singers’ training step by step: mastering diction and text delivery, finding the ideal vocal placement, hitting high notes, and using intention and breath properly.

Tian Li, who also serves on the judging panel of New Tang Dynasty Television’s International Chinese Vocal Competition, believes that “if you can speak, you can sing.” In her lectures, she explains that the secret of traditional bel canto—a singing style whose true method had been lost for centuries—lies in singing in the most natural and comfortable way you speak.

Questions that countless singers around the world have spent their careers trying to answer are distilled by Tian Li into just a few episodes. This rare masterclass is 34│

Music & Traditional Culture _Courtesy of Shen Yun Creation

unlike any you’ll find elsewhere. It’s perfect for all who aspire to sing, professionals and hobbyists alike.

Music & Traditional Culture Why do audiences feel moved, inspired, and even physically rejuvenated after listening to Shen Yun music? How do you make sure you’re understanding and interpreting instrumental music correctly? Conductor Ying Chen answers these and other common questions from audience members in her Culture and Music series.

With easy-to-understand examples, Chen discusses the unique characteristics and challenges of blending Eastern and Western musical traditions. Shen Yun’s original compositions serve not only as the perfect accompaniment for dance, but are also powerful stand-alone pieces in their own right.

Traditional Chinese music focuses on crafting beautiful melodic lines, while the classical Western orchestra excels at producing richly layered acoustic sounds. When these two elements are blended just so, they bring out the depth and richness of Chinese culture while opening the way to a new level of artistic brilliance. To this day, Shen Yun remains the only company to have successfully achieved this fusion.

In subsequent episodes, Chen dives into the story, cultural roots, and spirit behind Shen Yun’s music. She shares professional insights into the orchestra’s instrumentation and arrangements, taking viewers on a musical journey through fan favorites like Dance of Hmong, Elegance in the Middle Kingdom, Tang Dynasty Training Ground, and The Ties of Affection.

ELITE HOME

Reawakening the Soul of

A MERICA HOMES 擁抱古典 鎔鑄美國精神的傳統建築之美

By Jennifer Tseng Chinese translated by Tzuyi Lin

I

f houses could speak, chances are your morning jog through the neighborhood would be bombarded with chatter—sometimes joyous, sometimes in jest, but always in a medley of languages. As the world’s greatest melting pot, America’s architecture reflects the diverse paths of its people. From the perfectly symmetrical windows of the colonial houses to the graceful wings of the French Provincial homes, each building has a tale to tell.

As an adult, one of the most imminent questions we face is: “Where shall I live?” Home is where the heart rests, and on average, Americans devote 30 percent of their income each year to housing. It’s only natural that our houses, and the ways we adorn them, reflect who we are.

如果房子能說話，當清晨慢跑穿越街區時，大概會被此 起彼落的閒談包圍——有的充滿歡愉，有的正經端莊， 充滿各種不同的風格對話。作為這個世界上最大的文化 熔爐，美國的建築語彙正是其多元民族歷程的縮影：從 殖民時期的對稱窗型到法式莊園的優雅側廳，每一棟房 子都有一段自己的故事。 「 我該住在哪裡？」是每個人都需面對的人生課題。 家，是心安之所，而對多數美國人而言，每年約有三成 的收入花在住宅之上。想當然爾，我們如何裝飾它，也 就成了自我風格的外在展現。 建築背後的文化與歲月 談及現代美式住宅的根源，就得追溯至美國獨立戰爭前 的年代。彼時的英國移民橫渡大西洋，把其家鄉的建築 風格照搬而來，將鄉愁化作對新生活的希望。他們偏好 對稱之美，在新英格蘭地區，殖民式住宅最具代表性特

THE STORIES THEY TELL To uncover the roots of modern American homes, we must backtrack to the pre-Revolutionary era.

Brick by brick, British settlers brought their building

色包含：矩形結構、平衡布局與正中央的小門設計，門的 兩側總是對稱分布著窗戶。為了抵禦嚴冬，屋頂採用傾斜 度高的木瓦設計，以利積雪滑落；煙囪則置於屋中，以確 保每個房間都能有保暖效果。 │35

styles across the Atlantic and turned their nostalgia into hopes for a better future.

They had a fondness for symmetry. In New England, Colonial-styled houses are defined by their rectangular form, balanced layout, and a small central doorway framed by evenly spaced windows. To withstand the brutal winters, settlers built steep, wood-shingled roofs to shed heavy snow. Chimneys were often placed at the center of the home to keep every room equally warm through the night.

Down south, the grand antebellum homes that dotted the rolling hills epitomized opulence and grandeur. These stately residences, popular before the Civil War, were a blend of Georgian, neo classical, and Greek Revival designs.

Set upon expansive landholdings, Southern estates were typically more ornate than their Northern counterparts, boasting wide porches supported by Ionic or Corinthian columns, gabled roofs, sweeping verandas, and grand entrances. Operable shutters and wide roof overhangs were also a must to combat the region’s sweltering summer heat.

As America grew in wealth and territory, waves of immigrants brought with them a rich exchange of cultural inf luences. New architectural styles—Italianate, Mediterranean, Victorian, Gothic Revival, and more—soon appeared.

往 美 國 南 方 前 去， 連 綿 丘 陵 間 的 戰 前 時 期 （Antebellum）豪宅展現了另一種極致奢華。這些在南 北戰爭前流行的宅邸融合了喬治亞、古典復興與希臘復 興風格。 南方莊園占地遼闊，裝飾也比北方更繁複——偏好 奢華感的住戶尤其喜歡寬闊的迴廊、愛奧尼亞或科林斯 柱支撐的門廊、雙坡屋頂與大氣的門庭。而活動式百葉 窗與寬檐屋頂，則是抵禦酷暑的必備設計。 隨著美國版圖與財富的擴張，一批又一批的移民促 進文化交流。意大利風、地中海風、維多利亞風、哥德復 興風……層出不窮的新建築語彙，使美國住宅風貌更為繽 紛多彩。 大蕭條與第二次世界大戰幾乎讓美國的建築發展 停擺。根據歷史地標保護委員會的資料，新屋開工數暴 跌九成以上——1920 年代後期每年百萬戶的新屋，到 了 1933 年僅剩 8.4 萬戶。資源緊縮與現實壓力使人們 開始擁抱「 少即是多」的價值。 現代主義思潮進一步推動了這股簡約風。建築師捨 棄繁飾，追求俐落、純粹的線條。市場上亦傾向採用更省 成本、更高效率的建造方式。接下來的一代，大興以功能 為導向的建築風格——卻也失去了舊時代那份靈魂與溫 度。漸漸地，人們也習慣了現代生活的速度與便利。那些 充滿工藝與故事的傳統宅邸，隨時間淡出人們的視野。 現代主義後 回歸傳統之美 然而，一個新世代正以堅定之姿讓建築重拾靈魂。這股 復興之風，在德州休士頓的河橡社區（River Oaks ）尤 為亮眼。

CHANGING TIMES The Great Depression and World War II brought American architectural development to a near halt.

According to the Historic Landmark Commission, housing starts went down more than 90 percent.

America went from building 1 million new homes each year in the late 1920s to just 84,000 in 1933.

Forced to adapt to the challenges of the time and to limited resources, people began embracing the principle that “less is more.”

The rise of modernist trends further accelerated this shift, with architects cutting back on decorations in favor of clean, minimal lines. The market, too, favored cheaper, more efficient construction

領 航者正是建 築師比爾．柯提斯（Bill Curtis）與 羅素．溫德姆（Russell Windham）——兩位德州本地 人、Curtis & Windham 建築事務所的創辦人。他們對 歷史的熱愛與對傳統設計的敬意，走出了自己的路。不 拘泥於風格，也不盲從於現代主義，而是致力於讓古典 精神在當代重生。 柯提斯建築師在接受本刊專訪時表示： 「 從第一代 建築至今，最大的改變在於人們的生活方式。以百年前 的風格來打造當代作品，必須保持誠實與自律。掌握歷 史的知識與視覺記憶，才能在不脫離脈絡下，找到新的 解答。」 事務所自 1992 年創立以來，柯提斯與溫德姆已多 次榮獲古典建築領域中最具聲望的獎項，包含由美國古 典建築與藝術學會（ICAA）頒予 John Staub Award 及 Arthur Ross Award。今年九月出版的新書《Building on Tradition》集結其代表之作，展現設計理念。 書中回顧，早在 1920 年代，休士頓知名商人兼慈

Meadow Lake House, designed in the American Federal style, features a symmetrical, classically rendered façade that fits beautifully with its modern surroundings. _Chris Luker

善家威爾與麥克．霍格兄弟（Will and Mike Hogg）購 得 1,100 英畝土地，開發為如今的河橡社區。他們邀請 建築師打造風格各異的宅邸，以吸引潛在買家。兄弟倆 │37

methods. This ushered in decades of utilitarian buildings stripped of the warmth and character that defined earlier designs.

Little by little, Americans grew used to the speed and convenience of modern life. The ornate, traditional homes, along with their craftsmanship and history, faded into the background.

A BEAUTIFUL COMEBACK Undaunted, a new generation is bringing back buildings filled with heart and soul. Nowhere is this more evident than in Houston’s River Oaks neighborhood, where residential homes are emerging more beautiful than ever.

At the forefront of this movement are Bill Curtis and Russell Windham, co-principals of Curtis & Windham Architects. United by their Texas roots and a love for history and traditional design, the two friends forged a path distinct from their peers. Instead of following rigid stylistic molds or modernist doctrines, they dedicated their work to honoring tradition and reimagining it for modern life.

“What has changed from first generation work to today is how people lived. Maintaining integrity with new work using styles of perhaps a century ago requires some diligence,” Curtis said in an interview with Elite. “With a knowledge and visual memory of history, we can focus on how to move to a new solution without abandoning context and precedent.”

Since founding their firm in 1992, Curtis and Windham have earned multiple John Staub and Palladio Awards, as well as the prestigious Arthur Ross Award for classical architecture. Most recently, they published Building on Tradition, a compilation of their notable works.

As they recount in their book, in the 1920s, prominent Houston businessmen Will and Mike Hogg, purchased the 1,100 acres that would become River Oaks. The Hogg brothers developed an eclectic mix of homes in a variety of striking architectural styles to attract potential homeowners. They believed these bold designs would give each house personality while setting a fresh tone for the community.

True to their vision, River Oaks f lourished into Houston’s most aff luent neighborhood, and its unique characteristics made it the perfect canvas for Curtis & Windham.

38│

The architecture of Meadow Lake House was designed expressly to highlight the client’s collection of American Regency furniture. _Chris Luker

In the dining room, Ionic columns and the perfectly square floor plan form a natural geometric complement to the circular antique table at its center. _Chris Luker

MEADOW LAKE HOUSE Featured as the cover image of Building on Tradition, this stunning house is a prime example of the architects’ work. The residence was born from a daughter’s desire to create a home that harmonized with her mother’s treasured American Regency furniture collection.

For Curtis & Windham, the challenge of this project was to find the right balance between the formal vibe of the dark, intricately carved furniture while keeping

深信，大膽的設計能賦予每棟房子鮮明的個性，為社區 定下新基調。 他們的遠見成就了休士頓最富盛名的住宅區，也讓 這片土地成為 Curtis & Windham 理想的設計舞臺。 建築師的設計舞臺 綠茵湖畔宅（Meadow Lake House）被選作新書封面， 完美體現兩位建築師的風格。此建案源自一位女兒的心 願，她的母親留下一整套美國攝政時期的風格家具，因 │39

the house feeling warm and friendly, never so stiff that it would feel unwelcoming to those living in it.

To achieve this, they incorporated large, lavishly curtained windows to flood the home with natural light and drew inspiration from the American Federal period. This style is celebrated for its clean, geometric lines, Doric columns, restrained décor, and carefully proportioned details.

“We made the interior rooms appropriately robust architecturally and based them in rigorous geometry, utilizing the square, double square, and 40│

此她希望能打造一棟能與母親珍藏完美 契合的居所。 Curtis & Windham 面臨的挑戰在 於，要在莊重的深色調古董家具與溫馨 的居家感間取得平衡，讓空間既不失典 雅，又令人感到自在。 為此，他們引入 大面窗戶與華麗窗 飾，讓 空間發揮最大的 採光 效 果，並取 Building on Tradition: The Work of Curtis & Windham Architects

法美國聯邦風格——該風格以清晰幾何

Publication: Rizzoli

雙正方形與黃金比例為基礎，讓 空間替

Publication Date:

家具創造自然情 境，就如同它們最初被

September 9, 2025

線條、多立克柱 式、收 斂 的裝 飾與嚴 謹 比例而聞名。柯提斯對此解釋： 「 我們讓 室內結 構在 幾何上更 嚴 密，以 正方形、

收藏時那般的存在。」

The architects removed two-thirds of the building’s massing and, in its place, created a mahogany-paneled, Edwardianinspired library. _Trevor Tondro

“ Throughout this project’s development, we worked with the house—not against it—consciously reassembling the core with its memory still intact,” the architects wrote in the new book. “In doing so, we were able to retain the essence of the original construction, while carefully nudging it into a new era of existence.”

Not every project is about bold, dramatic architectural statements. Oftentimes, it’s about listening closely to the client’s vision and enhancing what’s already there. For Curtis, the most meaningful work comes from being thoughtful and crafting buildings that honor their settings.

“It is so easy to see what was intended if you look and respect history,” he said. “It’s easy to work through a thoughtful process to achieve work that will contribute to the neighborhood fabric for future generations.”

Consummate masters of their craft, Curtis and Windham are eager to share this wisdom and carry the legacy forward. By inspiring and guiding young architects to design contemporary buildings rooted in culture and tradition, they hope to keep the heart of American architecture beating strong for centuries to come. 另一棟名為英伍德宅（Inwood House）的設計案， 為都鐸風格住宅，建於 20 世紀初。 隨著時代變遷，第 一任屋主在主體兩側增建了側廳，但這些改造破壞了原

golden section,” Curtis said. “These ideas provide a setting for the furniture to exist as it would have when it was originally collected.”

有的協調感。 由 於 業 主 願 意 接 受 大 刀 闊 斧 的 重 建，Curtis & Windham 大膽移除了原屋約三分之二的結構，改以兩 翼垂直連接主體，重新整合建築量體與動線。

INWOOD HOUSE A Tudor-style home, the Inwood residence was originally built in the early 20th century. As the world modernized, the first owner added wings to the sides of the main structure—alterations that, unfortunately, did not complement the home’s original design.

Since the client was open to bold changes, Curtis & Windham chose to remove two-thirds of the house’s massing. In its place, they added two perpendicular structures to the main core. This smoothed out the exterior landscaping and improved the overall flow of the building.

書中寫道： 「 在設計過程中，我們始終與這棟房子 對話，而非與之對抗。透過重新組構核心，同時保留原 屋的記憶，讓它在新時代中延續生命。」 並非每個項目都需要戲劇性的突破；更多時候，是 傾聽業主的願景，關注細節，提升既有空間質感。對柯 提斯而言，最有意義的作品，是那些經過深思熟慮、能 與環境產生共鳴的建築。他說： 「 只要尊重歷史，就能 看見一切本有的模樣。」身為當代古典建築的大師，他 與溫德姆二人攜手，積極傳承這份智慧，並期望透過培 養年輕一代，讓他們的設計在傳統文化的根基上茁壯， 讓美國古典建築之魂生生不息。 │41

EDITOR’S PICK

1

2

3 4

Christmas tree decorated with lights by Rudolf Bernhard Willmann (German, 1868–1919). _PD-US

Home Sweet Home 溫馨一隅

5

There’s no place like home. On cold, snowy days, nothing beats curling up with a good book and a steaming cup of tea. Whether you’re surrounded by the chatter of family or savoring some precious quiet time, our lovingly curated selection of lighting, holiday décor, and cozy seating will add an extra touch of warmth and comfort to your winter season. 深冬之中，最讓人期待的一件事，或 許就 是窩 在 家中某個 舒服 的角落。看 看書、和 家人談天、喝著熱茶，配個糕點，也可以什 麼都不做，享受安靜片刻。窗外或許大雪紛 飛，寒風冷冽，但這個角落彷彿能抵禦一切， 讓人感到安心、放鬆，映照著家中獨有的溫暖。 精選燈具、節日飾品以及舒適座椅，替冬日生活再 添暖意。

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PHOTOS BY BACCARAT, KNOLL, WHITEHOUSEHISTORY.ORG, LENOX, ADDISON ROSS, 1STDIBS AND ARTEMEST.

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ELITE CULTURE

‘YES, VIRGINIA, THERE IS A SANTA CLAUS’ A Little Girl’s Letter Sparked a Beloved Christmas Tradition 重溫聖誕經典之作 ——始於一封信的聖誕奇蹟

By Michelle Plastrik | Chinese translated by Joel Chang

O

ne of the most beloved Christmas stories traces its origins to a picturesque street on Manhattan’s Upper West Side neighborhood.

The brownstone and brick rowhouse at 115 W. 95th St. was the childhood home of Virginia O’Hanlon, the eponymous girl in “Yes, Virginia, There Is a Santa Claus,” the 1897 editorial published by The Sun. This editorial has become legendary; it’s the most republished editorial in American journalism. The text has entered the Christmas canon with families and communities rereading it as part of their annual celebratory tradition.

一則最受喜愛的聖誕故事之一，源於曼哈頓上西區一條 美麗的街道。位於西95街115號的聯排褐石建築，是維 吉尼亞 · 歐漢龍（Virginia O’Hanlon）的童年住所，她 就是1897年《太陽報》發表〈是的，維吉尼亞，聖誕老人 是真有其人〉社論中的那個女孩。 這篇社論已成為傳奇；它是美國新聞界最常被轉載 的社論。它是聖誕節的經典，重溫此文是許多家庭和社 區的年度節慶傳統之一。 一封詢問信 如今足具標誌性的聖誕老人形象，是在這篇著名社論發 表前僅35年才誕生的，由一名被稱為「 美國漫畫之父 」 的德裔美國藝術家托馬斯 · 納斯特（Thomas Nast）在

SANTA AND THE SUN The now-iconic image of Santa Claus was fashioned only three and a half decades before the famous editorial. It was created by German-born American artist Thomas Nast, called the Father of the American Cartoon, during the Civil War. Nast’s vision showed Santa Claus as a rotund, jolly gift-giver. His first depiction was published as the cover image of Harper’s Weekly 44│

南北戰爭期間所創作。在納斯特眼中，聖誕老人是一個 圓圓胖胖、快樂的送禮者。他的第一幅描繪，於1863年 作為《哈潑週刊》的封面問世。納斯特的聖誕老人源自歐 洲版本的聖尼古拉（Saint Nicholas），並融合了德國民 間的精靈形象。納斯特後來的彩色描繪，展示了白鬍子 的紅衣聖誕老人。 當時《太陽報》刊登的社論是為了回應 8 歲的維吉 尼亞 · 歐漢龍之詢問。由於受到一些朋友的影響，她開

Merry Old Santa Claus for Harper's Weekly, December 1881, by Thomas Nast and featured in Thomas Nast's Christmas Drawings for the Human Race, 1890.

THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.

_PD-US

in 1863. Nast’s Santa Claus derived from European versions of Saint Nicholas merged with German elvish folk images. Subsequent color portrayals by Nast showed a Santa with a white beard and a red suit.

The editorial printed by The Sun was prompted by the query of 8-year-old Virginia O‘Hanlon (1889–1971).

Due to the influence of some friends, she’d begun to doubt the existence of Santa Claus. Her father, a prominent physician, advised her to write to the local newspaper, The Sun, and pose the question to the editor.

He assured her that the company was a trustworthy source and would be able to answer her question.

In her endearing, youthful scrawl, she submitted a four-sentence letter to the paper’s editor in July 1897:

始懷疑聖誕老人的存在。她的父親是一位知名醫生，建 議她寫信給當地的《太陽報》，向他們提出這個問題。父 親向她保證，他們是值得信賴的消息來源，且有能力回 答這個問題。 1897 年 7 月，她用可愛的童稚筆跡向報紙 編輯提交了一封四句話的信： 親愛的編輯， 我現在八歲。我的一些朋友說沒有聖誕老人。 爸爸說『 如果你在太陽報上看到，那就是真的。』 請告訴我實話，有聖誕老人嗎？ 維吉尼亞 · 歐漢龍

│45

Dear Editor, I am eight years old. Some of my little friends say there is no Santa Claus. Papa says “if you see it in the Sun, it’s so.” Please tell me the truth, is there a Santa Claus?

Virginia O’Hanlon It appears that the newspaper initially misplaced Virginia’s letter. Eventually, it found its way to the editorial-page editor, who handed it to his lead editorial writer, Francis Pharcellus Church, for reply. Church (1839–1906) composed an affirmative response of under 500 words. It was printed anonymously on Sept.

21, 1897, without any special presentation, and it met with little fanfare. Virginia, who had been on the lookout for months, was delighted to have proof of Santa’s existence at last.

‘YES, VIRGINIA, THERE IS A SANTA CLAUS’ The reply caught the attention of a few readers, and several asked the paper to reprint it, an unusual request. It took five years for The Sun to do so, and the paper did not make it an annual custom until the 1920s. Since then, the editorial’s popularity has soared.

“Yes, Virginia, There Is a Santa Claus” has been printed in newspapers throughout the nation, translated into more than 20 languages, set to music, and even adapted for film and television. Its enduring message has resonated due to the brilliance of Church’s language, style, and tone. Some liken the text to a free verse poem.

Church answered Virginia’s question without a hint of condescension. He imparted a philosophical approach to life: Yes, Virginia, there is a Santa Claus. He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to our life its highest beauty and joy. Alas! How dreary would be the world if there were no Santa Claus! It would be as dreary as if there were no Virginias. There would be no childlike faith then, no poetry, no romance to make tolerable this existence. We should have no enjoyment, except in sense and sight. The eternal light with which childhood fills the world would be extinguished. ...

There is a veil covering the unseen world which not the strongest man, or even the united strength of all the strongest men that ever lived, could tear 46│

Virginia O'Hanlon (circa 1895) and her handwritten letter "Is There a Santa Claus?," 1897. _PD-US

報社 最初 似乎弄 丟了維 吉尼 亞 的 信。最 終，信件 抵達了社論版編輯手中，並將其交由首席社論作家法蘭 西 斯 · 法 塞 勒 斯 · 丘 奇（Francis Pharcellus Church, 1839~1906） 回覆。丘奇撰寫了不到 500 字的肯定答覆。 這篇回覆於 1897 年 9 月 21 日匿名刊載，版面平實，並 沒有引起特別的關注。已經等了幾個月的維吉尼亞，很 高興終於有了聖誕老人存在的證據。 歷久不衰的回信 這篇回覆引起了一些眼尖讀者的注意，有幾位讀者提出 希望報紙重印此文，而如此要求十分不尋常。《太陽報》 花了五年時間才決定從善如流；直到1920年代，報紙才 將其作為年度慣例。此後，該社論廣受歡 迎。〈是的， 維吉尼亞，聖誕老人是真有其人〉在全美各地的報紙上刊 登，被翻譯成超過20種語言，也被譜成音樂，甚至改編 登上大小銀幕。它之所以歷久不衰，正因丘奇在文辭、

apart. Only faith, fancy, poetry, love, romance, can push aside that curtain and view and picture the supernatural beauty and glory beyond.

Church was an unlikely candidate to answer a little girl’s query about Santa Claus. The son of a notable clergyman, he was a Civil War correspondent before becoming a seasoned editorialist at The Sun. Described as “energetic and a brilliant conversationalist,” he was also called “sardonic and cold-blooded.”

Intriguingly, his authorship of “Yes, Virginia, There Is a Santa Claus” wasn’t revealed to the public until after his death, one of only two disclosures of specific editorial writers in the history of The Sun.

風格與語氣上的高妙處理。有人甚至將此文比擬為自由 詩（free verse poem）。 丘奇在回覆中毫無居高臨下的口吻，而是以饒富哲 理的方式回應： 是的，維吉尼亞，聖誕老人是真有其人。他就 像愛、慷慨與奉獻一樣真實，你知道這些美德的存 在，並且讓生活充滿最高尚的美與喜悅。唉！如果 沒有聖誕老人，世界將多麼淒涼！就像沒有維吉尼 亞一樣。那將沒有孩童的信念，沒有詩意，沒有浪 漫，使得生活變得枯燥無味。我們將只剩感官與眼 見之事能帶來快樂。童年給予世界的永恆光芒將被 熄滅。…… 有一層面紗覆蓋著看不見的世界，即使是最強

ILLUSTRATIONS BY FREEPIK.

壯的人，或甚至所有曾經活過的、最強壯的人聯合

KEEPING THE TRADITION OF KINDNESS Virginia’s life was greatly impacted by her association with the editorial. She received a master’s degree and later a doctorate in education. She married and had a daughter, whom she raised as a single mother after being deserted by her husband before their child was born. Her career was spent as a teacher and principal, and she became an avid supporter of children’s rights.

Movingly, a Christmas Eve interview she did in 1963 with Canadian Broadcasting Company Radio revealed that Virginia had grown from a precocious girl into a woman of profound insight. She shared that she felt a responsibility to live up the editorial’s ideals. In more recent years, her family revealed that she'd received a blizzard of cards and letters each Christmas and was highly conscientious in replying to every one, wanting to continue the tradition of kindness set forth by Church in his response to her.

At some point, The Sun returned Virginia’s original letter, and it still belongs to her descendants. In 1998, the popular television show Antiques Roadshow valued the letter at $20,000–$30,000. Ten years later, the show adjusted this estimate to $50,000. Whatever its value today, it remains a priceless heirloom for Virginia’s family and is not for sale.

Virginia’s childhood home at 115 W. 95th St. now houses a private school. On its façade is a plaque that commemorates her Christmas connection. The text ends with a quote from her in adulthood. It conveys a continuing belief in Santa Claus and the enduring meaning of the holiday, which she summarized as “love and sharing, the joy of giving and the extension of it to all people”—worthy sentiments to live by this season and beyond.

起來的力量，都無法撕開。唯有信念、幻想、詩歌、 愛與浪漫，才能揭開那層幔帳，窺見其中超越自然 的美麗與榮光。 丘 奇 是 回 答 小女孩 關 於 聖 誕 老 人 詢 問 的 意 外人 選。作為知名牧師之子，他在成為《太陽報》資深社 論 作家之前，是美國南北戰爭時的戰地記者。他被描述為 「 精力充沛且健談 」，但也被形容為「 諷刺和冷血 」。 有趣的是，他撰寫 〈是的，維吉尼亞，聖誕老人是真有其 人〉的身分直到他去世後才向公眾披露，這是《太陽報》 史上僅有的兩次揭開特定社論作家身分之一。 傳承善意 維吉尼亞的生活也因為這篇社論，受到巨大的影響。後 來她獲得了教育學碩士，之後成為教育學博士。她結婚 後育有一女，在孩子出生前被丈夫拋棄，於是獨力撫養 女兒。她一生作為教師與校長，並且積極支持兒童權利。 令人感動的是，她在 1963 年聖誕夜接受加拿大廣 播公司電臺採訪時，體現了一名早熟的女孩成為一位具 有真知灼見之女性的過程。她感到自己有責任實踐那篇 社論的理想。近年來，據其家人透露，她每年聖誕節都 會收到大量的卡片和信件，而她總是非常認真地回覆每 個人，盼能延續丘奇當年樹立的良善傳統。 《太陽報》後來歸還了維吉尼亞的原信，如今仍由 她的子孫珍藏。1998 年，熱門電視節目《古董巡迴秀 》 將這封信估值為 2 萬至 3 萬美元；10 年後，該節目將估 值上修為 5 萬美元。無論今日這封信的價值如何，它仍 是維吉尼亞一家人無法以價值衡量的傳家寶，並且無意 出售。 維吉尼亞童年的家位於西 95 街 115 號，如今是一 所私立學校。建築外牆上掛著一塊銘牌，紀念她與聖誕 節的淵源。銘牌最後引用了她成年後說過的一句話，展 現她對聖誕老人的堅信與節日的真正意義——她說： 「愛 與分享、施予的喜悅，並將這份精神傳遞給所有人。」這 的確是值得在聖誕節，以及日常生活中奉行的信念。 │47

ELITE WELLNESS

THE POWER OF

HANDWRITING How Putting Pen to Paper Lights Up Your Brain

手寫，永不過時！ 了解親筆書寫對大腦的真實影響

By Makai Allbert

P

icture two brains: one buzzing with activity, connections firing across regions in a synchronized neural ballet, and one showing only scattered f lickers of engagement, isolated islands of electrical activation.

Both belong to university students sitting in the same lecture while trying to capture the same ideas.

The difference between them isn’t intelligence, attention span, or interest in the subject. Rather, it is the tools in their hands.

One holds a trusty pen poised over lined paper, while the other’s fingers hover over a laptop keyboard.

This neural contrast, shown in a study in Frontiers in Psychology, is just one piece of mounting evidence suggesting that our rush toward digital convenience may be coupled with significant cognitive costs. From neuroscience labs to classrooms, research comparing traditional and digital learning tools finds that pens are not old-school quite yet.

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想像兩個大腦：一個活躍運作，神經區域間協同發射， 像是一場同步的神經芭蕾舞；另一個則只有零星的訊號 閃現，如孤島般的電子活動。這兩個大腦的主人，是正 在上同一堂大學課的學生，試圖吸收相同的知識。 差異不在於智力、注意力或對主題的興趣，而在於 他們手中的工具——一位拿著筆，在有條紋的紙上準備 書寫；另一位的手則懸在筆記型電腦鍵盤上方。 這 種 神 經 差 異， 來自一篇 發 表 於《心 理 學 前 沿》 （Frontiers in Psychology）的研究，它只是眾多研究 中的一部分，揭示我們對數位便利性的追求，可能也伴 隨著顯著的認知代價。從神經科學實驗室到教室內，比 較傳統與數位學習工具研究發現：筆，尚未被時代淘汰。 慢慢來，比較快 早在 1979 年，研究就已明確指出，手寫筆記對學習與 記憶，遠 比被 動聆聽 更有效——手寫筆記確實威力無 窮。但在今天這個數位工具琳瑯滿目的時代，筆還能有 如此效力嗎？ 在 2014 年 的 經 典 研 究 論 文 〈筆 勝 鍵 盤〉（The

IMAGE BY IMAGE SOURCE/GETTYIMAGES. THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.

SLOW WINS THE RACE As early as 1979, studies affirmatively concluded that note-taking was significantly more effective in learning and remembering than simply listening passively—the pen was no doubt mighty. Yet with a plethora of convenient digital tools at our disposal, does the pen still hold such might?

In a seminal 2014 study, The Pen Is Mightier Than the Keyboard, researchers Pam Mueller and Daniel Oppenheimer conducted three experiments to examine handwritten notes versus typed notes.

In the first experiment, Princeton University undergraduates watched TED Talks while taking notes either by hand or on laptops.

When tested afterward, students who took handwritten notes scored 12 percent to 20 percent higher on conceptual understanding—although both groups performed similarly on factual recall.

The researchers discovered that because of the ease of typing, laptop users tended to transcribe words from lectures verbatim—that is, word for word—while handwriters had to process and summarize the information.

“Word-for-word transcription doesn’t require deep thinking,” Oppenheimer told The Epoch Times.

With pen and paper, what seems like a disadvantage—slower writing speed—actually becomes an advantage, requiring true conceptual understanding before spilling ink.

In the second experiment, laptop users were explicitly instructed not to take verbatim notes. Despite the instructions, laptop users still transcribed more content word for word, leading to inferior performance once more.

In the third experiment, both student groups were given time to review their notes before testing to see if reviewing could compensate for the disadvantages seen in laptop note-taking. However, even when given time to review, pen note-takers consistently outperformed laptop users.

“There is definitely no one-size-fits-all solution to note-taking,” Oppenheimer said.

He acknowledged that in certain situations, rapid note-takinge might be beneficial, while in others— particularly with abstract concepts, graphics, or equations—typing away may be less effective.

Pen Is Mightier Than the Keyboard） 中， 研 究 員 潘 · 穆勒（Pam Mueller）與丹尼爾 · 奧本海默（Daniel Oppenheimer）進行了三項實驗，檢驗手寫與打字做筆 記的差異。 第一項實驗中，普林斯頓大學的學生觀看 TED 演 講，並以手寫或使用筆電做筆記。隨後測驗發現，手寫 者在「 概念理解」的題目上，表現高出 12~20%；而在事 實記憶題上，兩組表現則相近。 研究人員發現，由於打字較為輕鬆，使用筆電的學 生傾向逐字記錄講課內容；而手寫者則需整理、概括資 訊。「 逐字記錄不需要深度思考。」奧本海默在接受英文 《大紀元時報》（ 下文簡稱《大紀元》）採訪中說。而手寫 所需的慢速，反而迫使學生在落筆前先理解內容，成為 學習助力。 第二項實驗中，即便筆電組被明確要求「 不得逐字 抄寫 」，結果仍是：他們打下來的內容比手寫組更接近 逐字，測驗成績再次落後。第三個實驗則加入了複習時 間，看是否能彌補筆電筆記的劣勢。結果顯示：即使給 予複習時間，手寫筆記者的表現，依然優於打字者。 「 筆記方式沒有萬靈丹。」奧本海默說。他也承認， 在某些情況下，快速記錄內容可能是有益的；但在理解 抽象概念、圖表或公式時，打字就不太管用了。 大腦中的變化 奧本海默的研究在 2014 年發表後，引起來自挪威的神 經科學家奧黛莉 · 范德梅爾（Audrey van der Meer） 與其丈夫弗雷德里庫斯 · 范德維爾（Frederikus Ruud van der Weel）的注意。作為神經科學家，他們自然對 大腦內部機制產生了好奇。「 當人們手寫和打字時，大 腦裡發生了什麼變化？」范德梅爾問。 這個 問題，驅 使他們 開展了一項實驗，並於 2017 年發表在《心理學前沿》。 「 最初我們並未料想會看到差異。」她告訴《大 紀 元》。而這種懷疑其實也具有合理性——可能手寫的好 處，並非源於神經活動，而是因為筆電用戶容易分心。 確實有研究顯示，大學生在使用筆電上課時，大約 有一半到 2/3 時間是在處 理與課堂無關的事務，導致 表現下滑。而且，這種技術上的分心不僅限於個人，它 還具傳染性。一項發表於《電腦與教育》的研究指出，若 你坐在一位筆電分心多工者後方，測驗成績將比坐在沒 有使用筆電的同學後面低 17%。 為了確認手寫是否真有神經學上的優勢，范德梅爾 使用一種配備 256 個電極的高密度腦電圖（EEG）「 沐 浴帽 」來測量大腦活動。EEG 可測量神經元間訊號，觀 察大腦在不同任務下的區域活化與協同程度。 實驗中，向學生展示一張圖像（ 如雨傘），並交替 │49

WHAT GOES ON IN THE BRAIN When Oppenheimer’s paper was published in 2014, it caught the attention of Norwegian researchers Audrey van der Meer and her husband, Frederikus Ruud van der Weel. As neuroscientists, they were naturally curious about the underlying mechanisms.

“What is going on inside the brain when people write by hand as opposed to typing on a keyboard?”

Van der Meer said.

This question led them to conduct experiments, first published in 2017 in Frontiers in Psychology.

“Initially, we didn’t expect to see any differences,” Van der Meer told The Epoch Times.

The skepticism was reasonable and offered a potential counterpoint to Oppenheimer’s findings: What if the benefits of handwriting weren’t neurological at all, but simply circumstantial?

After all, compared with longhand note-takers, laptop users are much more likely to be distracted.

Studies show that undergraduates spend about half to two-thirds of class time off-task when using laptops, resulting in poorer performance.

Moreover, this tech distraction is not just personal—it’s inadvertently contagious. Research published in Computers & Education found that students who simply sat behind peers who were multitasking on laptops scored 17 percent lower on tests compared with those sitting behind peers without devices.

To determine whether handwriting actually provided a neurological advantage, Van der Meer used a high-density electroencephalogram (EEG) “bathing cap” equipped with 256 electrodes, to measure brain activity. EEG recordings gauge electrical signals produced when brain cells communicate, allowing researchers to observe which neural networks activate during different tasks and how these regions coordinate their activity.

In the experiment, students were shown an image, such as an umbrella icon, and then told to alternate between writing the Norwegian word “paraply” (“umbrella” in English) by hand and typing it on a keyboard.

“To cut a long story short, we found that the brain works completely [differently] when you are using your hand to draw or write, as opposed to using the keyboard,” Van der Meer said.

Handwriting stimulated widespread, synchronized brain activity across regions linked to memory 50│

以手寫與鍵 盤輸入挪威語「paraply」（ 即 umbrella） 這個詞。「 簡而言之，我們發現，用手書寫或繪圖時，大 腦的運作方式與打字時完全不同。」她說。 手寫會觸發與記憶和學習相關的大腦區域，產生廣 泛 且同步的活化 模 式，而打字則 顯 著較 弱。更具體地 說，手寫會促使大 腦出現 θ（theta）波與 α（alpha） 波之間的低頻同步活動，而這種模式在打字時幾乎看不 到。這兩種低頻波與認知有關：θ 波有助於處理新資訊 與工作記憶，α 波則促進長期記憶。 范德梅爾解釋，手寫所需的精細動作協調，會啟動 更複雜、多感官的神經通路，建立更牢固的記憶痕跡。 相比之下，打字、滑動或點擊的動作過於簡單，無法調 動這些神經網絡，導致記憶薄弱。「 打字的時候，我們 往往只是耳朵聽進來，手指打出去，資訊根本沒有經過 大腦處理。」她說。 手寫創造了獨一無二的認知痕跡。「 你如果翹課、 借來同學的筆記，常常讀不太懂，因為那是對方的個人 化學習記錄。」她說。考量到手寫對年輕人腦部活化的

Measuring Brain Activity in Typing Versus Handwriting

Image

Writing

Experimental Conditions

Typing Paraply Paraply Paraply

EEG scan

Experimental design. _Illustration by The Epoch Times, Shutterstock, Courtesy of Norwegian University of Science and Technology

and learning, while typing produced substantially weaker patterns of neural engagement.

More specif ically, students w riting by hand showed interconnected low-frequency theta and alpha oscillations across the brain—connections that were notably absent during typing. These low frequencies have characteristic cognitive functions: Theta waves help process new information and support working memory, while alpha waves aid in long-term memory formation.

Van der Meer explained that the precise fine motor coordination required for handwriting activates more complex, multisensory neural pathways, creating stronger memory imprints. By contrast, the simple motor actions of typing, scrolling, or tapping fail to engage these neural networks, resulting in weaker retention.

“It’s tempting to type down everything a lecturer is saying, but you are literally typing in the blind,” she said. “The information is coming in through the ears and going out through your fingertips—you don’t process the incoming information.”

Handwriting creates a unique cognitive fingerprint.

“If you miss class and borrow a classmate’s notes, they don’t make much sense because it’s personalized to the individual,” Van der Meer said.

Given her findings on handwriting’s powerful brain stimulation effects in younger adults, Van der Meer believes that these benefits may extend to older populations. She is currently investigating whether keeping a handwritten diary might help protect against cognitive decline in older adults.

She believes that since handwriting benefits cognitive function, neglecting these neural pathways could have the opposite effect, potentially accelerating cognitive decline.

“The brain uses the principle: Use it or lose it,” Van der Meer said. ”I fear that in the long run, our brains might actually shrink if we don’t use them properly.”

Her advice? “Take up a pen as often as you can during the day” and “have pencils, crayons, pens, and paper lying around for kids.” She emphasized that handwriting is especially crucial for children as they develop their neurological infrastructure.

Evidence supporting her advice appears in studies across age groups. One study with preschoolers aged

顯著作用，范德梅爾相信，這些益處也可能延伸至年長 者。她認為，既然手寫能強化認知功能，若長期忽視這 些神經通路，可能反而加速退化。她目前正在研究，手 寫日記是否能延緩老年認知衰退。 「 大腦遵循一個原則：用進廢退，」她說， 「 我擔心， 長期來看，如果我們不善用大腦，它真的可能萎縮。」 她的建議是： 「 每天盡量多用筆寫字，」並且「 讓家中常 備鉛筆、蠟筆、筆與紙，讓孩子能夠接觸書寫。」她強 調，對於正在發展神經基礎的兒童來說，手寫尤為重要。 這些建議也得到了跨年齡層研究的支持。一項針對 5 到 6 歲學 齡前兒童的研究，讓 孩子學習 8 個德文字 母，分別以手寫與鍵盤打字進行。結果在拼讀、書寫與 辨識等測驗中，手寫組全面勝出，得分高出數個百分點。 這些好處也延伸至成人識字能力。在 2021 年發表 於《心理科學》的研究中，學習阿拉伯語的成人若以手寫 練習，不僅記單字更快，甚至在閱讀與拼字能力上，也 優於打字練習者，儘管後者從未特別訓練這兩項能力。 優秀學生的習慣 穆勒與奧本海默的研究發表後，後續研究結果並不完全 一 致。 2021 年 的一項 研 究〈別急 著丟掉筆電〉（Don't Ditch the Laptop Just Yet）甚至對其結論提出質疑。 該研究指出： 「 整體而言，沒有證據支持，手寫筆記能透 過更好地編碼資訊，來提高即時學習表現。」 然而，2024 年由亞伯拉罕 · 弗蘭尼根（Abraham Flanigan）與同僚進行的一項綜合分析，回顧了 24 篇 研 究、涵 蓋 逾 3,000 名學生，結果顯示：在高等教育 中，手寫筆記的優勢明顯。「 不論學習內容為何，手寫依 然是冠軍。」弗蘭尼根告訴《大紀元》。 這項分析顯示：將近 40% 的手寫學生拿到 A 或 B 的好成績，而使用筆電者只有 30%。為說明其實際影 響，弗蘭尼根分享了一位大學生的故事。這位學生特別 有動力，總是提前到課、坐前排、準時交作業。他注意 到她總是使用筆電打筆記。 「 她打字之快，大概可以去當法庭 速記員了。」他 說。然而，她某天在辦公時間來找他說，自己有個無法 解決的問題：課程內容無法留下印象。弗蘭尼根說： 「即 使她上課非常專注，課程結束後，仍覺得資訊像是從一 隻耳朵進去、另一隻出來，儘管她筆記寫了一大堆。」 他建議她做個簡單改變：改用手寫。「 我想你也知 道故事接下來怎麼發展了。」他說。這位學生開始能夠 更加專注，更有意識地處理課堂上獲得的各項資訊，並 且對內容理解與記憶更深。 回歸傳統學習 古希臘哲學家亞里斯多德曾說： 「 教育的根是苦的，但 果實是甜的。」這句話的核心意涵是： 「 無痛無得，無失 無得。」 │51

5 to 6 had children learn eight German letters either by writing them or by typing them on a keyboard. In subsequent tests of word reading, writing, and letter recognition, the handwriting group consistently outperformed the typing group across all measures, scoring several percentage points higher.

These benefits extend to adult literacy. In a 2021 study in Psychological Science, adults learning Arabic who practiced by hand not only mastered words faster, but remarkably also had better reading and spelling abilities—despite not having specifically practiced these skills.

THE HABIT OF TOP STUDENTS After Mueller and Oppenheimer released their study, subsequent research produced mixed results.

A 2021 study titled Don’t Ditch the Laptop Just Yet even challenged the conclusions. “Overall, results do not support the idea that longhand note-taking improves immediate learning via better encoding of information,” the 2021 study reads.

However, a recent 2024 meta-analysis by Abraham Flanigan and colleagues examined 24 studies with more than 3,000 participants and found that handwritten notes were clearly superior in higher education. The study concluded that regardless of the learning material, “handwriting [is] still the champion,” Flanigan told The Epoch Times.

The analysis showed a substantial advantage for handwritten note-taking: Nearly 40 percent of students who handwrote their notes achieved A or B grades, compared with only 30 percent of students who typed their notes.

To illustrate the real-world impact, Flanigan shared a story about a standout university student.

She was exceptionally motivated—arriving early, sitting up front, and submitting assignments on time.

Flanigan noticed that she always typed her notes during class.

“She typed so quickly that she probably could have had a career as a courtroom transcriptionist,” he said. Yet she eventually approached him during office hours with a problem she couldn’t solve: The lectures weren’t sticking for her.

According to Flanigan, “No matter how attentive she was, once a lesson finished it felt like the information had gone in one ear and out the other although she 52│

had recorded copious amounts of notes on her laptop.”

He suggested a simple change: Switch to handwriting.

“I think you know how the story ends,” he said.

After the switch, the student found herself paying closer attention, processing information more deliberately, and leaving each lecture with better recollection and understanding of the material.

THE BITTERSWEET PRICE OF LEARNING The ancient Greek philosopher Aristotle said, “The roots of education are bitter, but the fruit is sweet.”

More generalized, this adage reflects the principle of “no pain, no gain; no loss, no gain.”

Although new shiny tools—from note-taking devices to artificial intelligence—may appear to expedite or boost productivity, “convenience does not often enhance learning,” Flanigan said.

According to Oppenheimer, “handwriting supports the sort of deep thinking that helps learning,” but it certainly isn’t the only way.

He suggests that people seek “desirable difficulties” in learning that compel individuals to engage earnestly with the material, such as reframing information in their own words or discussing what they have learned with others.

“Most people don’t naturally engage in these strategies because they are harder, and we tend to prefer ease to difficulty,“ he said. ”But thinking harder is usually good for learning.”

Interestingly, even the type of writing matters. A study in the Journal of Alzheimer’s Disease found that older adults with mild cognitive impairment who practiced Chinese calligraphy writing—formal, rehearsed, and disciplined writing—for eight weeks experienced improvements in working memory and attentional control.

Participants who practiced calligraphy showed improvement of more than 30 percent in working memory tasks compared with only 11.8 percent of participants who used iPads and did not engage in calligraphy. The benefits of calligraphy were present six months after the training ended, suggesting long-lasting cognitive improvements.

Similar to ty ping, digital mediums—such as e-books—seem convenient but also carry an inexorable price tag. Comprehension is consistently lower

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when people read on digital devices rather than good old paper.

Therefore, more is not always better, according to Natalia Kucirkova, professor of reading and early childhood development at The Open University. Kucirkova told The Epoch Times that although digital mediums have their respective advantages, striving for more content, accessibility, or interaction often leads to an inevitable loss in learning outcomes.

Thus, even as technology propels us forward, these seemingly archaic tools—pen and paper—fundamentally shape how children and adults learn to read, write, and think. Van der Meer lamented that teachers now meet first graders who barely know how to hold a pencil.

“It’s such a shame,” she said.

Van der Meer said she hopes that future generations rediscover the value of handwriting—through poems, love letters, or even simple grocery lists.

She noted that traditionally, handwriting has been imbued with personality and individual identity.

“It’s not just a skill,” she said. “Handwriting is a part of our cultural heritage—it’s part of being human.” 從筆記 工具到人工智慧，新技術似乎可以提升效率、節省時 間，但「 便利性並不等於更好的學習。」弗蘭尼根說。奧本海默也 指出： 「 手寫能支持深度思考，有助於學習。」但也不是唯一方法。 他建議人們尋找一些「 有益的困難 」來迫使自己更用心學習，例如 用自己的話重新表達所學，或與他人討論內容。「 大多數人不會主 動做這些事，因為它們比較難，而我們總傾向於選擇簡單路徑，」 他說，「 但更費腦的思考，通常對學習更有幫助。」

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國空中大學的閱讀與幼兒發展教授娜塔莉亞 · 庫奇可娃（Natalia Kucirkova）表示，雖然數位工具各有優勢，但為了更多內容、更 高互動性或增進可及性，往往會犧牲學習成效。 因 此， 即 使 科 技日新月異， 那 些 看 似 過 時 的 工具 —— 紙 與 筆——仍深刻塑造著孩子與成人的閱讀、寫作與思考方式。范德梅

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爾也感嘆，現在有些小學一年級老師，遇到的學生甚至連如何握 筆都不知道。「 真的太可惜了。」她說。 她希望未來的孩子能重新認識手寫的價值——無論是詩句、 情書，還是簡單的購物清單。她指出，一直以來手寫蘊含著個性與 獨特身分，「 它不僅是一種技能，手寫是我們文化遺產的一部分， 是人類存在的象徵。」

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ELITE WELLNESS

The Sleep Doctor Dr. Cheri Mah’s Guide to the Perfect Bedtime Routine 一夜好眠之必需 睡眠權威專家傾囊相授

By Andria Pressel Chinese translated by Tzuyi Lin

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“S

leep is not the end of today; it is the beginning of tomorrow,” according to Dr. Cheri D. Mah. “How you invest in your sleep tonight will impact how you feel and perform tomorrow.”

Dr. Mah, a specialist in sleep optimization for elite athletes and sports organizations, has spent more than 15 years teaching this “small but powerful shift in mindset” to her high-performing clients, including Olympic gold medalists, the Super Bowl-winning Philadelphia Eagles, executives, and the military.

A physician and adjunct lecturer at the Stanford Health Care Sleep Medicine Center, Dr. Mah got her start studying under Dr. William C. Dement, known as the father of sleep medicine.

She knows well the power of a good night’s rest.

Take the success story of one of her clients, former NBA star Andre Iguodala. Recognizing that his career was coming to an end, 28-year-old Iguodala worked with Dr. Mah for several months to improve his unhealthy sleep habits. The next season, his 3-point percentage more than doubled, his free throw percentage increased by almost 9 percent, and his fouls and turnovers decreased by 45 and 37 percent.

He was named the NBA Finals MVP, and went on to win four NBA championships with the Golden State Warriors and play for nearly 10 more years.

The rest of us can also reap the benefits of better sleep, including improved alertness, decision-making, and physical performance and recovery, Dr. Mah said. She shared her own bedtime best practices.

「 睡眠不是今日的結束，而是明日的開始。」謝麗 · D · 馬 醫師說到，「 你如何投資今晚的睡眠，將影響你明日的 感受與表現。」 馬醫師是一名專為頂尖運動選手以及體育組織優 化睡眠品質的專家，她投入超 過 15 年的時間，倡導轉 變這項看似小而強大的觀念。而她的客戶群包括許多奧 林匹克的金牌選手、超級盃得獎隊伍、執行階層，以及 軍隊等各界頂尖人士。身為史丹佛醫療中心睡眠醫學中 心的醫師與兼任講師，馬醫師最初師從美國睡眠研究學 者威廉 · C · 迪蒙特博士，被譽為睡眠醫學之父。 她深知一夜好眠 的力量。以她其中一 位客戶的成 功故事為例——前 NBA 球星安德烈 · 伊古達拉。在他 了解到自己的職涯將走至終點的 28 歲時，伊古達和馬 醫師合作數月，來改善其不健康的睡眠習慣。在下一季 的賽事中，他的三分球命中率翻倍，罰球命中率則增加 了將近九個百分點，而犯規及失誤率也分別顯著下降了 45% 以及 37%。後來他當選為 NBA 總決賽 MVP（ 最 有價值球員），並且持續在金州勇士隊上贏得四次 NBA 總冠軍賽，並且接續上場近十年。 我們也都能受益於良好的睡眠，馬醫師表示，這包 含了讓神智更加清醒、更具決斷能力，以及更好的體能 與復原能力。她分享自身最好的睡前實踐。 導致睡眠品質遭到破壞，最常見的錯誤是？ 馬醫師：缺少一個固定的結束程序。建議優先安排出讓 頭腦以及身體準備休眠的放鬆時間。利用5~10分鐘左 右的時間，來進行放鬆活動，像是：閱讀、吐納運動或 是靜坐冥想。如果在床上時，腦中未能靜下來，那就在 你開始進行放鬆活動前，另外花5至10分鐘寫日記或寫 下待辦事項。

IMAGE BY FRESHSPLASH/GETTYIMAGES. THIS ARTICLE ORIGINALLY APPEARED IN AMERICAN ESSENCE MAGAZINE.

．不規律的睡眠時間：因為我們的身體喜歡規律。

What are the most common mistakes that undermine our sleep quality?

Dr. Cheri Mah: Lack of a regular wind-down routine: Prioritizing time to relax can help your brain and body prepare to sleep. Take 5 to 10 minutes for a relaxing activity such as reading, breathing exercises, or meditation. If you have a racing mind in bed, take an additional 5 to 10 minutes outside of bed, before your relaxing activity, to journal or write a to-do list. · An inconsistent sleep schedule: Our bodies like regularity. · Spending too much time in bed not sleeping: If you’re doing work, using devices, or doing other stimulating activities while in bed, these associations can negatively impact sleep at night.

．在床上花太長時間進行睡眠以外的活動： 如果你在床 上工作，滑平板、手機或從事其他刺激性的活動，這 些都會對睡眠產生負面影響。 ．與生理時鐘不符的睡眠時間： 你若不是夜貓子，早睡 早起才是最佳策略。 ．未被診斷的睡眠障礙： 阻塞性睡眠呼吸中止症尤其常 見，在 30~70 歲 人群之中，有約 26% 患有此症，就 跟失眠症同樣普遍。如果你有相關疑慮，主動聯繫睡 眠專科醫師。 您的睡前放鬆例行程序為何？ 馬醫師：我會在睡前一個半小時前沖熱水澡，這個時間 點洗熱水澡已被證實，有助加快入睡且增加深沉睡眠時 間，我們的核心體溫有足夠的時間來降溫——這種降溫 在睡眠期間會自然發生。所以你不會想在睡前最後一刻 讓體溫升高。 │55

Sleep physician Dr. Cheri Mah has over 15 years of experience helping elite athletes and high performers optimize their sleep for peak performance. _Courtesy of Dr. Cheri Mah

· A sleep schedule that is not synchronized with your chronotype: It’s best for a lark to sleep earlier and wake earlier, rather than try to operate on an owl sleep schedule. · Undiagnosed sleep disorders: Obstructive sleep apnea is incredibly common—about 26 percent of 30- to 70-year-olds have it—as is insomnia. If you have concerns, reach out to a sleep physician.

What does your own wind-down routine look like?

Dr. Mah: I start by taking a hot shower 90 minutes before bedtime. This timing has been shown to help you fall asleep faster and increase deep sleep, as it allows sufficient time for your core body temperature to decrease, which naturally occurs when you fall asleep. You don’t want to increase your core body temperature right before sleeping.

I have a daily alarm on my phone that reminds me to wrap up my day in the next 30 minutes, so I can stay on track to hit my targeted bedtime. I use dim lights in my living spaces and bedroom to signal that it’s time to prepare to sleep. I often write a to-do list to process my thoughts for the day and prepare for tomorrow. I then do breathing exercises, reading, or light stretching before turning out the lights. 我手機設有一個鬧鐘，提醒我是時候用這 30 分鐘

How about your morning routine?

Dr. Mah: I aim to wake up at 7:15 a.m. every day.

I try to get morning sunlight soon after waking up, starting with breakfast by the windows or going outside to increase alertness and lock in my body clock.

I drink water to rehydrate and enjoy a coffee to start my day.

I’m at my best when I get eight to nine hours of sleep. When I’m not able to, I often take a 20- to 30-minute afternoon power nap to boost alertness, and try to extend my sleep during subsequent nights to pay back accumulated sleep debt.

Sleep quality starts with choices you make during the day. I exercise regularly; finish meals at least two to three hours before sleeping; and take a 30-minute walk with my family after dinner every day.

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來整理結束我的一天，我可以掌握時間讓自己能準時上 床。我在起居室、臥室設置亮度低的光線，提醒我們是 時候該睡覺了。然後我會在關燈前開始進行呼吸吐納運 動、閱讀，或一些舒緩的伸展操。 您的晨間例行公事為何？ 馬醫師：我每天目標7:15分起床，在晨起時立刻接觸日 光，在窗旁享用早餐或到戶外，這是為了強化我的生理 時鐘。我會喝水補充水分，然後喝咖啡來展開我的一天。 在獲得 8~9 小時的 睡眠 時，我的狀 態最好。當無 法睡足時，我通常會在下午進行 20~30 分鐘的午休， 讓自己更加清醒，並且在接下來幾日的夜晚延長睡眠時 間，來補足前幾日匱乏的睡眠。 睡眠品質取決於你在一天當中做出的決定。我規律 運動，不在睡前的兩到三小時內進食，還會在每天晚餐 後和家人一起散步 30 分鐘。

If you’re struggling to fall asleep or go back to sleep, what are your go-to strategies to help?

Dr. Mah: Try a sleep reset: Get out of bed, go to another room, and do a relaxing activity for 20 minutes in dim light. Avoid devices. Then try to go back to sleep. Don’t lie awake in bed for hours.

If you could tell someone to do just one thing to improve their sleep quality, what would it be?

Dr. Mah: Start with one to two changes tonight.

Small, gradual adjustments are best.

Make your bedroom like a cave—dark, quiet, cool (60 to 67 degrees F), comfortable, and consistent.

Aim for at least seven hours of sleep each night.

There is individual variation, so you may need eight to nine-plus hours to feel refreshed and alert. If you’re not there yet, the good news is that even 15 more minutes of sleep each night makes a difference.

What are your essential sleep tools?

Dr. Mah: Blackout curtains or an adjustable eye mask to eliminate light from any sleep environment.

Eight Sleep, a temperature-controlled mattress cover that provides 55- to 110-degree-F temperature control.

An adjustable pillow, such as the Eden pillow from Coop Sleep Goods.

A white noise machine to mask external noises. I bring a travel-size white noise machine on the road and use a smart white noise machine by Adaptive Sound Technologies at home. 您不可或缺的睡眠小幫手？ 馬醫師：遮光窗簾以及可調節的眼罩，消除睡眠環 境內所有的光源。 Eight Sleep 品牌推出可以調節床墊溫度的床 罩，提供溫度調控在華氏 55~110 度之間。

What recent advancements in sleep science are you most excited about?

Dr. Mah: The brain’s glymphatic system was a fascinating discovery. Waste and byproducts are eliminated during sleep, including byproducts implicated in neurodegenerative diseases. These studies suggest how critical a role sleep has every day.

可調式枕 頭，Coop Sleep Goods 品牌推出 的「Eden pillow」。 白噪音機，用以覆蓋其他環境噪音。我旅行時 會帶著攜帶型的白噪音機，家中則是使用 Adaptive Sound Technologies 一家推出的智慧型白噪音。

如果有入睡或再次入睡的困難，您最直接的建議是？ 馬醫師：試試重置睡眠步驟，先離開床去另一個房間， 在較昏暗的光源下，做一件能放鬆的事約20分鐘。避免 使用任何電子產品，然後再回到床上。不要只是醒著躺 在床上好幾個小時！ 如果要只做一件事來提升睡眠品質，那會是什麼？ 馬醫師：今晚從一到兩個改變開始，小而漸進式的調整 是最好的。將房間打造成「 洞穴 」那般，昏暗、安靜、涼

Coop Sleep Goods Eden Adjustable Pillow. _Amazon.com

爽（ 約華氏60~67度之間）、舒適並且保持一致。 試著每天睡足 7 小時。由於個別差異，你或許需要

Sound+Sleep SE Special Edition High Fidelity Sleep Sound Machine. _Amazon.com

8~9 小時以上的睡眠，才能在睡醒時感到神清氣爽。如 果你還遠不及此列，好消息是每天睡眠多上 15 分鐘，就 能帶來改變。 近期的睡眠科學領域，最讓您感到振奮的進展是？ 馬醫師：大腦的淋巴系統是一項極有趣的發現。睡眠期 間能夠清除體內廢物，並且代謝副產物，包括代謝神經

Dr. Cheri Mah coaches NBA stars and high performers,

退化性疾病相關的副產物。研究顯示，睡眠在日常生活

her smart tips and indispensable routines. To learn more,

中至關重要。

please visit drcherimah.com

but anyone can learn to sleep like a champion. She shares

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MIGHTY GINSENG The Healing Wisdom of the East 傳統養生智慧之瑰寶——人蔘

S

ince the dawn of civilization, people have sought ways to heal the body and preserve vitality. Among the many remedies touted through the ages, ginseng has always held a special place of honor.

In The Divine Farmer's Materia Medica, China’s earliest medical dictionary, the ginseng root is revered as the King of Herbs: “It supplements the five viscera, calms the mind, settles the soul, eases panic and heart palpitations, eliminates evil energies, brightens the eyes, opens the heart, and sharpens the wit.”

Ancient Chinese physicians believed that regular, longterm intake of ginseng could strengthen your body’s vital energy and boost the immune system. It is especially beneficial for those experiencing weakness, fatigue, or insomnia.

在人類數千年的養生歷史 中，人蔘始終被視為珍貴的 滋補佳品，被尊為「 百草之 王 」。早在東漢《神農本草 經》中，人蔘即被列為「 上 品 」，記載其久服輕身，延 年益壽， 「 主補五臟，安精神， 定魂魄，止驚悸，除邪氣，明目， 開心益智」。 明代李時珍在《本草綱目》中更進一 步指出，人蔘味甘微苦，性平無毒，大補元氣，復脈固脫， 養脾益肺，生津止渴，安神益智。由此可見，人蔘自古即為固 本培元、調養精神的重要藥材。古人深信，長期服用人蔘能 強化正氣，抵禦外邪，對氣虛體弱、精神不振、失眠多夢尤 為有效。在東方文化中，人蔘更象徵著尊貴與長壽。

THE WONDER ROOT Panax ginseng, also known as Korean ginseng, grows on the Korean Peninsula. Thanks to favorable geographic conditions, its ginsenosides—famed for their anti-aging and anti-inflammatory properties—are exceptionally potent.

Regularly consuming panax ginseng may help combat chronic fatigue, regulate blood pressure, and support long-term cardiovascular and respiratory health—an ideal choice for middle-aged and older adults.

Made from Korean ginseng, processed black ginseng is considered the finest and most easily

高麗蔘與黑蔘 高麗蔘產自朝鮮半島，憑藉優越的地理條件與嚴謹的栽培工

藝，其有效成分——尤其是人蔘皂苷（Ginsenosides）含量 格外豐富。現代研究證實，高麗蔘具有補氣提神、抗疲勞、增 強免疫力等功效，長期服用有助改善慢性疲勞、調節血壓、 強健心肺功能。對中老年人而言，高麗蔘是維持活力、調養 陰陽的理想選擇。 在眾多人蔘加工品中，黑蔘可謂極品。它以新鮮高麗蔘 為原料，經「 九蒸九曬 」的古法炮製而成。此繁複工藝不僅去 除了人蔘的寒性與刺激性，更大幅提升了藥效與吸收率。科

學研究顯示，黑蔘中皂苷 種類與含量，均高於紅蔘與普通高 麗蔘，並富含稀有人蔘皂苷 Rh2、Rg3 等，具備顯著的抗

氧化、抗癌、抗疲勞與提升免疫力的功效。黑蔘性質溫 和，補而不燥，尤適合長期調養。 如何挑選優質人蔘

選蔘有道，需注重細節： ．六年根最佳：此階段營養最飽滿，藥效最盛。

absorbed. It undergoes nine iterations of steaming and drying. Studies show that black ginseng contains an even higher concentration of ginsenosides than red or regular Korean ginseng. It is also rich in rare compounds such as Rg3 and Rh2, which provide powerful antioxidants, anti-cancer, anti-fatigue, and immune-boosting benefits.

．人形蔘：主根粗壯、分枝清晰，被視為「 補五臟之形神 對應 」。

．蔘頭宜去：其味雜且皂苷含量低，去除後口感更佳。

．蔘皮與蔘鬚保留：蔘皮皂苷含量高、具抗氧化力；蔘鬚皂苷 種類多、吸收更快。

．切面觀察：斷面呈放射狀菊花紋理、緊實無空洞者為上品。 ．不同人蔘的功效選擇：

HOW TO SELECT GINSENG · Six-year-old roots are ideal. At this age, ginseng’s nutrients are at their peak and most potent. · Select human-shaped ginseng with a thick main root and well-defined lateral roots. Its shape is believed to correspond to the body’s five vital organs. · Skip the ginseng heads. Opt for roots with the head removed, as this part has an undesirable taste and low ginsenoside content. · Keep the skin and fine roots intact. These parts are rich in ginsenosides and antioxidants. · Slice your ginseng crosswise to examine its texture.

A top-quality root will display a chrysanthemum-like pattern at the center of the main root with no hollow spaces. · Different types of ginseng serve different purposes: American ginseng primarily helps dispel excess heat from the body.

Korean red ginseng quickly boosts energy but may cause overheating.

Black ginseng is the most balanced and powerful of all.

It boosts energy, stabilizes blood sugar, and supports long-term vitality—gentle enough for daily use and perfect for all seasons.

【涼補】：西洋蔘，清火養陰。 【急補】：紅蔘，迅速補氣。 【溫和長效補】：黑蔘，補氣養神，延年益壽，適合四季與長 期調養。相較於紅蔘與西洋蔘的粉末或切片，黑蔘溫和不 燥，更易吸收，是追求全面調養的上選。 人蔘作為東方養生文化的結晶，承載著古人對生命與健康的深 刻理解。選擇一款合適的人蔘產品，不僅是對健康的投資，更 是與千年養生智慧的一次對話。 特別推薦：普瑞堂玄寶黑蔘原蔘 玄寶黑蔘的創始人全順姬女士，曾因子宮肌瘤手術後體弱不 支，在服用自己手工炮製的黑蔘後，逐步恢復健康，因而立志 將這份珍貴的養生智慧分享給全世界。 普瑞堂玄寶黑蔘嚴選六年根高麗蔘，傳承韓國古代醫學 寶典《東醫寶鑑》之「 九蒸九曬 」古法，去除燥火之性，富含多 種珍貴人蔘皂苷 與活性成分，效果顯著。目前已暢銷全球超 過 40 個國家，深受顧客一致好評。

WHAT CUSTOMERS ARE SAYING 來自客戶的真實回饋

ADVERTORIAL

「我今年 60 多歲，長期受高血壓與糖尿病困擾。服用黑

SPECIAL RECOMMENDATION: PURITANG BLACK GINSENG ROOTS Shunji Quan, the founder of Puritang Black Ginseng, suffered from prolonged weakness following her uterine fibroids surgery. After taking black ginseng, Quan regained her strength and is now dedicated to sharing this ancient wisdom with everyone.

Today, Puritang meticulously selects 6-year-old Korean ginseng roots to ensure optimal efficacy. Using the traditional “nine steaming, nine drying” method described in the classic Korean medical text Principles and Practice of Eastern Medicine, this process removes the ginseng’s harsh, overheating properties—often associated with symptoms such as canker sores and nosebleeds— while preserving its rich ginsenosides and other active compounds.

蔘後，睡眠品質大幅改善，精力和體力也顯著提升。血 糖從 7點多降至 6點多（mmol/L）。當我感到疲憊時會吃 一 整 條 ， 而 精 力 較好時則減少用量。效果非常明顯， 我還買來送給同樣患有糖尿病 的朋友，他吃後也深受感動。」 ——Joseph，來自美國

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2260 Days in the making Never feel exhausted again 100% Korean Ginseng, Aged 6 Years Made in Korea | Handmade Traditionally | Steamed and Dried 9 Times

Black Ginseng Extract

Black Ginseng Roots

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Sharon Valenti and her daughter Michelle proudly continue the family legacy of sharing the authentic crab-shack experience with every guest.

Savoring City Island The Delicious Legacy of the Original Crab Shanty 飄香半世紀 共譜小島人情之美 ——紐約城市島原味蟹坊

By Jenny Zeng | English translated by Gigi Tseng Photography by Hong-da

C

ity Island, tucked away at the western end of Long Island Sound, is a hidden gem often overlooked amid the hustle and bustle of New York City. Just a mile and a half long and connected to the mainland by a single bridge, the island is renowned for its excellent seafood and charming fishing-village vibe.

It’s here, in this quaint Bronx neighborhood, that the wildly popular Original Crab Shanty found its home. Established in 1977, the restaurant made its name on fresh seafood, hefty portions, and affordable prices. Today, it’s ranked as a top destination for both locals and travelers alike. Though its founder, Joe Valenti, passed away a few years ago, his wife Sharon and daughter Michelle are dedicated to continuing his dream: bringing the good old fashioned crab-shack experience to every guest.

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隸屬於紐約市內的布朗克斯城市島（City Island），或 許是許多人漏掉的寶藏景點，小島僅長一英里多，透過 大橋與大陸相連，以高品質的海鮮餐廳、遊艇俱樂部與 新英格蘭漁村般的氛圍而聞名，是遠離城市喧囂的絕佳 去處。 在這片小島的主幹道中央，一間創立於 1977 年的 Original Crab Shanty（ 小島原味蟹坊）座落於此。雖 未緊鄰海岸，卻憑藉著新鮮直送的海味、大分量與親民 價格，屹立近半個世紀，成為當地人與遊客心目中的「 必 訪之地 」。雖然創辦人 Joe Valenti 近年離世，但他的 太 太 Sharon 和女兒 Michelle 依然堅守 傳 統，將老店 延續，把家的味道帶給每一位來訪的食客。 餐桌上不變的堅持 小島原味蟹坊自創立以來，始終堅持「 分量足、價格親 民、食材新鮮」的理念。前菜蒜香包口味香濃，招牌菜 式Joe V’ s Deep Divers Feast，裡面有大蝦、龍蝦尾、

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A TASTE OF THE SEA After receiving a warm welcome at the door and settling into a cozy booth, every meal at the Original Crab Shanty begins with a fresh, golden loaf of garlic bread, a signature appetizer so famous that many have traveled from afar just for a taste of it.

Moving into the galore main courses, Joe V’s Deep Diver’s Feast stands out as a must-try fan favorite.

The hearty platter is filled to the brim with jumbo shrimp scampi, lobster tail pieces, clams, sea scallops, snow crab legs, and even a whole lobster, all served atop yellow rice with corn on the cob. It pairs perfectly with the house piña colada—a refreshing blend of rum, coconut milk, and pineapple juice.

For Chef Alexandra, preserving the restaurant’s original recipes is a top priority. Classics like Feast for Two, with heaping seafood served alongside spaghetti and sauce, are the heart and soul of the establishment and have kept diners coming back since 1977.

Still, he and Michelle have kept a close eye on evolving tastes and occasionally add new dishes, such as the BBQ Feast—a spread of lobster, baby back ribs, barbecue chicken, jumbo fried shrimp, snow crab legs, fries, and onion rings—to keep things exciting.

He believes the restaurant’s pride has never been in having the fanciest décor, but in offering the freshest ingredients. “You go to another restaurant and everything is so expensive. It's ridiculous. You pay for one fish, $200, $250. You don't pay that much here.

You pay less because it's family,” Chef Alexandra said resolutely. “[We get] deliveries like five times a week.

I love that because everything is fresh.”

Michelle added that thanks to the restaurant’s strong business, there’s rarely any leftover inventory. “We have a fresh seafood supplier that supplies us with all of our fresh fish and then [another] that supplies us with our crab legs. Nothing really sits around. Everything is constantly moving.”

When the delectable meal is all tucked in and you’re ready to leave, don’t forget to grab a free apple from the barrel on your way out. The sweet, tangy snack helps cleanse the palette and fight off food coma. This thoughtful little tradition has been around since the Original Crab Shanty first opened its doors.

蟹鉗、扇貝、雪蟹腳，再加上一整隻烤龍蝦，鋪在金黃 米飯 上，配 上 玉米棒，搭 配 雞尾酒PinaColada，澎 湃 又滿足。 愛蟹人士則不能錯過 A Banquet for Crab Lovers， 自家製馬里蘭蟹餅、蒜香硬殼蟹、釀珍寶蟹、軟殼蟹與 雪蟹腳齊聚一桌。菜單偶爾會增加一些新菜色，但小島 原味蟹坊的靈魂，仍然是那些從 1977 年就存在的經典 菜品。餐館 首創 的菜式——雙人海鮮 盛宴（Feast for Two）延續至今，堆疊成山的鮮美海味，搭配意大利麵 與靈魂醬汁，雖說是兩人餐，實際上四個人也吃不完。 主廚 Alexandra 表示，堅 持傳統 配方至關重要， 並與 Michelle 一起將經典與創新結合。如客人想要多 一點肉香，可以選擇「BBQ Feast」，整隻龍蝦配上小 排骨、烤雞、大蝦與雪蟹腳，還有洋蔥圈與薯條，一次 滿足海陸雙重享受。 在主廚看來，餐館最驕傲的資產不是高級裝潢，而 是新鮮食材。「 有些地方一條魚高達兩百美金，但我們不 會那樣。我們的價錢合理，因為我們把顧客當家人。」 他語氣堅定，「 我們每週都有五次送貨，一切都是最新 鮮的。這就是我愛這裡的原因。」 Michelle 補充： 「 因為餐館生意一直很好，食材幾 乎不會囤貨。我們和不同供應商合作，每天都有新鮮的 螃蟹腿、龍蝦和各種海鮮送進來。這也是為什麼客人一 吃就知道不一樣。」

Chef Alexandra has been with the Original Crab Shanty since 1981. │63

MEMORIES BRIDGING GENERATIONS What many don’t know is that the restaurant building holds almost as much history as its platters hold seafood. In the early 1900s, it was a silent movie theater before the federal government converted it into the City Island Post Office. “I used to bring my mail here,” Sharon recalled. There was even a road called Crab Lane that ran through what is now the restaurant’s parking lot.

The Valentis have worked together in the restaurant since day one, and Sharon still looks back on those early ups and downs with fondness. Though her late husband Joe spent most of his time in the kitchen, he loved chatting with customers and treated each one like a friend.

Nearly 50 years later, his daughter Michelle, who began helping in the restaurant at just 12, is carrying on the tradition. Today, the Original Crab Shanty stands as one of City Island’s oldest family-run establishments.

Chef Alexandra, too, remembers his first day and the lessons Valenti taught him as if it were just yesterday. “I came March 26, 1981, love this place,” he said with a laugh. In the beginning “I never opened clams, oysters, lobsters. I just said, ‘Okay, you show me.’ Look at me now, more than 40 years. It's a family, and I’m so happy here.”

Children who once frolicked here have since grown up to start families of their own, and this beloved shanty has stood faithfully through the years, witnessing every milestone: first dates, engagements, weddings, and countless anniversaries. Most recently, a couple who once shared their first date here returned to celebrate their 50th anniversary.

Open year-round except for Thanksgiving, the Original Crab Shanty is a proud Valenti family legacy, a longtime neighbor to the community, and a place of warm hospitality for travelers—a home away from home. 飽餐一頓後，走到餐廳出口處，會發現一大桶鮮紅 的蘋果，供客人免費取用。這是延續開店至今的小小傳

仍完整保存；這裡後來改建成城市島的郵局，承載了當 地居民的收寄信的種種回憶。「 我小時候還在這裡寄過 信！」老闆娘Sharon 如是說。她還記得，如今停車場的 前身是一條名為「Crab Lane」 （ 蟹巷）的小路，冥冥之 中與今日的「 蟹坊」呼應。 創 辦人 夫 婦 從 餐 館 開 業 第 一 天 起 便 親 力 親 為， Sharon 回憶當年的艱辛，眼神裡帶著柔情。當年，Joe 不僅在廚房忙碌，還總愛與每一位客人聊天打招呼，讓 顧客備感親切。 可惜 Joe 在幾年前離世，但 這「 家的味道 」仍由 女兒 Michelle 傳承下來。她自 12 歲起便在餐館幫忙， 至今管 理餐廳已經 超 過 20 年。Michelle 說： 「 我們是 City Island 上最久的家族餐館之一，餐館對我們來說不 只是生意，而是延續父親精神的地方。」餐館幾乎全年 無休，一年中僅有感恩節是一家人團聚休息的日子。 主廚 Alexandra 在此工作逾 40 載，「 我仍記得我 在 1981 年 3 月 26 日踏入這家餐廳！當我第一次步入這 裡，我就愛上了這裡，那時候我還不會開扇貝、龍蝦和 螃蟹，你看，現在一晃眼就 40 年過去了。」從學徒到大 廚，他與 Valenti 一家並肩進退，「 這裡像我的家，我不 願離開。」他笑著說。 Michelle 分享： 「 我們有的客人，從第一次約會來 這裡，後來在這裡訂婚、結婚紀念，甚至最近剛在這裡 慶祝五十週年結婚紀念日。」這些跨越世代的情感連結， 正是餐館最珍貴的資產。

Tucked in the heart of City Island, the Original Crab Shanty building once served as a silent movie theater. _Jenny Zeng

統，為了讓食客在享用完滿桌海鮮後，能以一口清甜的 蘋果消解油膩與蒜香。多年來，這一份貼心更成了餐館 的溫暖標記。 百年老屋連結世代情感

Original Crab Shanty 小島原味蟹坊 361 City Island Ave, Bronx, NY 10464

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