CONTENTS
No.51 ｜ Summer 2025 ｜ https://ravenel.com
6 ISSUE
正逢其時：現代與當代藝術專場精選
Just in Time: Highlights from Modern & Contemporary Art
12 ART & INVESTMENT
再看莫依斯．奇斯林的風格軌跡與市場身影
Revisiting Moïse Kisling's Stylistic Trajectory and Market Presence with Optimism
28 WINE
泡沫將至，還是理性回歸？ 威士忌市場的十年繁華與轉折 Boom, Correction, or Rebirth? Rethinking the Whisky Market After a Decade of Ascent
36 LUXURY
淬鍊價值 百達翡麗的傳承藝術 A Legacy of Timeless Excellence
REFLECTIONS
ON VALUE
IN TIMES OF UPHEAVAL
在變局中凝視價值
全球正面對新一輪的時代變局——關稅戰、匯率劇烈波動、股市泡 沫疑雲、美債危機，以及地緣政治對立加劇等問題接連浮現， 2025 年 上半年對許多人來說是艱辛的一段日子。或許正因如此，台灣的媽祖進 香活動吸引了空前人潮，新舊教宗的新聞也牽動著數億人的情緒。動盪 之中，我們更加感受到宗教帶來的慰藉——至少，在混亂之外，仍有信 仰與心靈的依靠。
當市場瀰漫著不確定性，我們開始更加渴望那些長期、穩定、具有 情感連結的價值所在。藝術、精品、藏酒——這些兼具審美與情感的領 域，逐漸成為資產配置與理性投資的新場域。
在第 51 期《 Ravenel 》季刊中，聚焦於「經典」、「復古」、「價值」、 「慢奢」等主題。於「藝術投資」專欄中，帶您認識波裔法籍藝術家莫 依斯．奇斯林（ Moïse Kisling ）的波希米亞精神與其作品在當代市場中 所展現的文化回歸現象。同時，羅芙奧 2025 年春拍「現代與當代藝術」 專場中，嚴選作品也呈現出投資價值的浮現。
總編輯
黃榮禧 《南柯一夢》 1998 年 油彩 畫布 125 x 99 cm
羅芙奧台北 2025 春拍 預估價 24 萬至 36 萬台幣 Tony Wong, Reindeer's Dream, 1998, oil on canvas, 125 x 99 cm Ravenel Spring Auction 2025 Taipei Est. USD 7,300-10,900
此外，本期亦深入探討威士忌國際市場歷經十年的榮景後，是否將 面臨泡沫破裂，抑或邁向理性修正？藏酒專家將帶來專業解析。在精品 與風格生活部分，您將看到百達翡麗的收藏藝術、 Phoebe Philo 女士時 裝極簡設計中的叛逆風格、法國巴黎 La Fantaisie 精品旅館濃厚女性特 質的奢華風貌，以及金門高粱如何以年輕化策略拓展品飲文化。
期盼這一期季刊的文圖，在動盪的年代裡，為您提供一份市場觀察 的冷靜視角，同時也是對藝術本質的一份溫柔凝視。
Sprng Auction:
JUST IN TIME: HIGHLIGHTS FROM MODERN & CONTEMPORARY ART
正逢其時：現代與當代藝術專場精選
羅芙奧 2025 春季拍賣會「現代與當代藝術專場」將於 6 月 1 日台 北大直萬豪酒店博覽聽舉槌。精選 120 件藝術拍品，呈獻海外華人大 師、西洋戰後藝術、日本當代與台灣新生代重點藝術家作品，率先亮相 於台中（ 5/17-18 ）、台北（ 5/30-31 ）拍賣預展。
本次最高價拍品－趙無極《 1.6.65 》為藝術家經典 1965 年「狂草 時期」畫作，以中型尺幅之標誌型橫向結構，磅礡氣勢，構圖緊湊而力
量賁張。畫面以淡赭色打底，沈穩褐色主導，襯以細筆層疊，精心佈局 的光影明暗，譜出視感浩然廣闊、稠迭連綿之深度空間。根據藝術家親 筆題識於畫背的文字，得悉此作原為法國重要藝術史學家：寶拉 - 瑪莉． 夏斯特與安德烈．夏斯特（ Paule-Marie et André Chastel ）夫婦舊藏。 夏斯特為索邦大學教授，奠定法國現代藝術史研究基礎與文化政策。拍 品《 1.6.65 》更象徵夏斯特夫婦與趙無極深厚的友誼和珍貴的歷史資訊。
Text / 陳昱良 Iris Chen
Photo / Ravenel Art Group
現代與當代藝術 專場
全球流行之潮流藝術－艾德加．普連斯（ Edgar Plans ）《我是蝙蝠俠嗎？》小英雄系列俏皮畫作；
亞歷克斯．費斯（ Alex Face ）《園丁（軍綠色）》 一米五大件雕塑。黃宇興《風景》彩色山水畫作； 華人藝術家闕君樂《面對面》畫作以虛擬角色譬喻 內心世界的隱喻、日本 NKSIN 《 1930 》與印尼的羅 比．安托諾（ Roby Dwi Antono ）《如米》單色系 潮藝術畫作。日本療癒系作品，則由女性藝術家主 導－六角彩子《無題》油畫與《婚禮之日》壓克力 手繪作品；小松美羽《麒麟》以鮮豔繽紛的筆觸描 繪出守護獸溫暖能量；長井朋子《沉思》、《植物 假期》、《璀璨之地》女孩系溫柔色調展現童話故 事風格；甫於台北舉行個展的山本麻友香《小青蘋 果白狐狸》、《小熊男孩（黃色）》大眼睛動物男 孩系列關注熱潮持續升溫。
2025 年 6 月 1 日 （日）下午 2:00
台北萬豪酒店（博覽廳） 拍賣日期 / 地點
3. 朱沅芷《葡萄酒莊園》約 1927-1930 年 油彩 畫布 木板 61 x 76 cm
Yun Gee, The Wine House, c. 1927-1930, oil on canvas, 61 x 76 cm
4. 林壽宇《繪畫浮雕 1965 年 9 月 13 日》 1965 年 油彩 有機玻璃 鋁條 畫布 127 x 152.5 cm
Richard Lin, PaintingRelief13September1965, 1965, oil, aluminium and perspex on canvas, 127 x 152.5 cm
5. 趙無極《 1.6.65 》 1965 油彩 畫布 73 x 91 cm Zao Wou-Ki, 1.6.65, 1965, oil on canvas, 73 x 91 cm
6. 貝爾納．畢費《紅龍蝦》 1979 年 油彩 畫布 27 x 35 cm
Bernard Buffet, Nature morte au Homard, 1979, oil on canvas, 27 x 35 cm
7. 喬治．馬修《隱士》 1979 年 油彩 畫布 60 x 73 cm
Georges Mathieu, Troglodit, 1979, oil on canvas, 60 x 73 cm
Among the important lots of Western modern art, Jeune fille assise by Moïse Kisling hailed as the "King of Montparnasse" and a key figure of the École de Paris stands out as a portrait rich with Oriental charm. Completed in 1949, the work features exquisite details, blending the spirit of the Renaissance with a masterful balance of light and shadow. It represents the artist's mature style at its finest, a true masterpiece of consummate beauty.
The cover lot, Rouen. Bateaux de commerce et péniches by Bernard Buffet, is a 1972 landscape painting from his celebrated "Ships Series." It vividly captures the flourishing scene of France's industrial growth and maritime trade during the 1970s, with a majestic and grand visual impact, marking a renewal of contemporary artistic expression. Another piece by Buffet, Nature morte au Homard (Still Life with Lobster), is a smallerscale still life that demonstrates his meticulous technique and precise emotional control through rigorous and refined brushwork.
In the realm of post-war Art Informel, Troglodit (1979) by Georges Mathieu a leading figure of French Lyrical Abstraction showcases his iconic red and black abstract lines. Through intuitive and primal gestures, Mathieu championed the idea of freeing abstract art from rigid geometric constraints. His canvas, brimming with passion and musicality, invites viewers to instinctively follow and recreate the dynamic movements of the artist's brush.
Representing Japan's postwar Gutai movement, second-generation member Takesada Matsutani's Untitled is a two-meter-tall vertical work that breaks the boundaries of traditional two-dimensional painting. Blending painting and sculpture, the piece embodies avant-garde artistic concepts and a profound dialogue between Eastern and Western cultures. Meguru Yamaguchi's Revisualize No.22 showcases his signature explosive sculptural brushstrokes. The dynamic splashes not only reflect the aesthetic elegance of Japanese calligraphy but also capture the bold, contemporary energy of street and pop art.
In State of Being (Geometric Black Form), Chiharu Shiota a highly respected artist both academically and in the art market creates a sculptural installation composed of intricate threadwork. Through these woven strands, she expresses emotions, memory, and human connection. The black lines, intersecting like a night sky, form an infinite space that reflects the artist's personal meditation on life and death, shaped by her repeated brushes with mortality.
8. 小松美羽《麒麟》 2018 年 壓克力 畫布 120 x 162 cm
Miwa Komatsu, Kirin, 2018, acrylic on canvas, 120 x 162 cm
9. 草間彌生《南瓜》 1982 年 版畫 版次 60/70 ( 圖 ) 52.2 x 45.7 cm ； ( 紙 ) 64 x 54.5 cm
Yayoi Kusama, Pumpkin, 1982, screenprint, ed. 60/70, (Image) 52.2 x 45.7 cm ; (Paper) 64 x 54.5 cm
Richard Lin, hailed as the "Nobleman of Eastern Culture," is represented by Painting Relief 13 September 1965, a quintessential work from his iconic "White Series" of the 1960s. Rooted in minimalist principles yet retaining the warmth of traditional literati thought, this piece exemplifies the artist's refined aesthetic. Among overseas Chinese pioneers, Yun Gee's The Wine House was part of a private San Francisco collection from the late 1970s to early 1980s. The current owner acquired it through an estate auction in San Francisco. The painting features a characteristic horizontal S-shaped composition, portraying a utopian scene imbued with European charm.
Outstanding works from the peak creative periods of other overseas Chinese artists such as Walasse Ting, Chuang Che, Liu Kuo-sung, Tony Wong, and Yang Chihung will also be presented. Across generations in Taiwan's art scene, the mid-career artists focus on themes of land, emotion, and social reflection. Wu Tien-chang's Song of the Indigenous People (1990) and Chen Lai-hsing's 520 Peasant Movement both document and interpret the evolution of Taiwan's social movements. Leading the new generation is Fan Yang Tsung, making his auction debut with Swimming Pool Series – Breathing. Also featured are Huang ChiaNing's Cauliflower and Lo Chan Peng's The Migraine, two outstanding works that showcase exceptional realism and superb painting technique.
Global contemporary trends in popular art are also strongly represented. Edgar Plans' Am I Batman?, from his charming "Little Heroes" series, delivers a playful take on superhero imagery, while Alex Face's Gardener (in Army Green), a large 1.5-meter-tall sculpture, brings his signature character to life in a bold, monumental form. Huang YuXing's Landscape presents a vivid, colorful interpretation of traditional mountainscape painting. Meanwhile, Chinese artist Luke Chueh's Face to Face uses virtual characters as metaphors for inner psychological landscapes. Monochromatic trend art works are also featured, including 1930 by Japanese artist NKSIN and Rumi by Indonesian artist Roby Dwi Antono.
In the realm of Japanese healing-style art, female artists take center stage. Ayako Rokkaku presents both an Untitled oil painting and Wedding Day, a hand-painted acrylic work, bursting with her signature childlike vibrancy. Miwa Komatsu's Kirin vividly depicts the warm energy of mythical guardian beasts through her brilliant, colorful brushstrokes. Tomoko Nagai enchants with Lost in Thought, Botanical Holiday, and Glittering Land, works that blend soft, feminine tones with the magic of fairy tales. Fresh from her solo exhibition in Taipei, Mayuka Yamamoto continues to attract wide attention with her "animal boys" series, featuring large-eyed characters in Little Green Apple White Fox and Little Bear Boy (Yellow)
MOÏSE KISLING
再看莫依斯．奇斯林的風格軌跡與市場身影
REVISITING MOÏSE KISLING'S STYLISTIC TRAJECTORY AND MARKET PRESENCE WITH OPTIMISM
Text / 陳惠黛 Odile Chen
Photo / Ravenel International Art Group
最近，藝術市場洋溢著復古風潮，經典 現代藝術和古代大師（ Old Master ）重新引起 國際藏家的高度關注。波蘭裔裝飾藝術家塔 瑪拉．德．藍碧嘉（ Tamara Lempicka, 18981980 ）以其宛如光潔雕像般的肖像畫而聞名， 她曾短暫停留在法國，後來因長期往美國發 展而受到好萊塢名流的熱烈歡迎。與她同為 波蘭同胞的藝術家莫依斯．奇斯林（ Moïse Kisling ），年長七歲。奇斯林自波蘭前往法國， 長期浸淫於巴黎畫派的圈子，意氣風發，成為 被譽為「蒙巴納斯之王」。這兩位藝術家也成 為波蘭現代美術家代表人物。
二十世紀上半葉的現代美術，如「巴黎畫派」（ Ecole de Paris ），近期在藝術 市場中備受矚目。奇斯林的作品在他故鄉波蘭的拍賣行中屢創拍賣紀錄。他的兩件 最高價拍品分別是 1932 年油畫《英格麗》（ Ingrid ），以 97.4 萬美元成交，以及 1925 年的《躺臥裸女像》（ Nu allongé ），成交價為 69.1 萬美元，它們分別都在過 去幾年於波蘭華沙的市場上創下新高。
◀ 莫依斯．奇斯林 約 1916 年攝於巴黎 Moïse Kisling, Paris, c. 1916
▶ 莫依斯．奇斯林《坐姿少女》 1949 年 油彩 畫布 73 x 54 cm
羅芙奧台北 2025 春拍 預估價 400 萬至 600 萬台幣 Moïse Kisling, Jeune fille assie, 1949, oil on canvas, 73 x 54 cm
Ravenel Spring Auction 2025 Taipei Est. USD 121,500-182,200
儘管奇斯林在世時創作量相當豐沛，但由於長年居住在海外，波蘭的博物館中 僅收藏了他的四件作品。這一情況與塔瑪拉．德．藍碧嘉的情況類似。因此，波蘭 的藏家們急於將他們的國寶納入囊中。羅芙奧先前拍賣過三件奇斯林的畫作，並吸 引了來自波蘭或歐洲的藏家積極競標，甚至將這些作品帶回波蘭。
莫依斯．奇斯林的作品被世界各地多所知名博物館收藏，包括哈佛藝術博物館、 大英博物館、大都會藝術博物館、東京富士美術館、以色列博物館、池田 20 世紀美 術館等。位於瑞士日內瓦的小皇宮美術館更是擁有大量奇斯林的作品，展示了他在 國際藝術界的重要地位。
◀ 莫依斯．奇斯林《阿蕾蒂裸體像》 1933 年 油彩 畫布 98 x 195 cm 日內瓦小皇宮美術館典藏
Moïse Kisling, Nud'Arletty, 1933, oil on canvas, 98 x 195 cm, collection of Musée du Petit Palais, Geneva ▶ 上圖：左起馬努埃爾．奧爾蒂斯．德．薩拉特、奇斯林、馬克斯．雅各布、 畢卡索與帕克蕾特，由尚．柯克多於 1916 年在巴黎蒙巴納斯拍攝
Manuel Ortiz de Zárate, Moïse Kisling, Max Jacob, Pablo Picasso and Paquerette, portrayed by Jean Cocteau in 1916, in Montparnasse (Paris) 下圖：左起奇斯林、時尚模特兒帕克蕾特與畢卡索於 1916 年拍攝於蒙巴納斯大道 105 號
的圓頂咖啡館
From left to right: Moïse Kisling, fashion model Paquerette, and Pablo Picasso, photographed at Café de la Rotonde, 105 Boulevard du Montparnasse, in 1916.
否影響了他的創作？事實上並沒有。對於創作與生活，奇斯林始終嚴 肅以對，且創作量極為豐富。他經常穿著連身工作服作畫，配上如聖 女貞德般的齊劉海，這副模樣讓他獲得了「愛斯基摩機械師」的綽號。
抵達巴黎後，即經常參加秋季沙龍與獨立沙龍展覽，持續發表創作。
1916 年，他的幸運之神降臨。因戰爭受傷，經過住院療養歸來後， 奇斯林驚訝地發現自己竟然成為一筆遺產的繼承人－這筆 25,000 法郎， 來自於一戰中陣亡的美國雕塑家查普曼（ Victor Chapman ），兩人是在 戰前於蒙巴納斯結識的好友。查普曼在參軍前立下遺囑，將部分遺產 留給奇斯林。收到遺產後，奇斯林前往西班牙短期旅行。
同一年他結識共和軍將軍之女芮妮．葛羅（ Renée Gros ），她也是 藝術學院學生。他們於 1917 年 8 月 12 日舉行婚禮，成為蒙巴納斯的 盛事。歌舞昇華，眾人狂歡慶祝三天三夜。連斯文的詩人馬克斯．雅 各布模仿歌廳歌手演唱，莫迪里亞尼則將新娘嫁妝中的床單披在身上， 扮演《馬克白》中的幽靈，結果被趕了出去。藝術家說大家都不記得 發生甚麼，奇斯林只隱約記得一張張模糊的面容。雅克布戰後至 1930 年代，蒙巴納斯的化妝舞會或沙龍少不了奇斯林的身影。 奇異的融合：風格交錯中的自我探索
儘管交遊廣闊、社交生活豐富，莫依斯．奇斯林在藝術創作上卻 極為自律。他對共用畫室的友人莫迪里亞尼不吝批評，曾直言：「一 個月有 200 法郎生活費，卻把 190 法郎花在酒和毒品上，自然會陷入 貧困。」然而，即使語帶責備，奇斯林仍是莫迪里亞尼在巴黎最親密 的朋友。他陪伴對方走完人生最後的時光，並在其過世後親手為他製 作石膏死亡面具，後來翻鑄成銅像，被多家美術館典藏。據文獻記載， 莫迪里亞尼也曾為奇斯林畫過肖像，畫中展現了兩人深厚友情與彼此 觀察力的呈現。
▲ 莫依斯．奇斯林 1942 年攝於紐約
Moïse Kisling, New York City, in 1942
▶ 莫依斯．奇斯林《塔斯醫生的小孩，路易和柔卡》
1930 年 油彩 畫布 100 x 73 cm
羅芙奧香港 2015 春拍 成交價 HKD 1,680,000
Moïse Kisling, Zoucha et Louis Tas, 1930, oil on canvas, 100 x 73 cm
Ravenel Autumn Auction 2015 Hong Kong, sold at USD 216,774
MOÏSE KISLING
除了莫迪里亞尼，奇斯林與來自保加利亞的帕斯金亦情誼深厚。他們同享「蒙 巴納斯王子」美名，是二十世紀初巴黎藝術圈難得的真摯兄弟情誼。奇斯林與他們一 同歷經創作的熱情、生活的貧困與理想的追尋，也見證了他們最後短短的藝術人生。
1919 年 11 月，奇斯林在巴黎「德魯耶畫廊」（ Galerie Druet ）舉辦首次個展， 展出受塞尚與立體主義影響的早期作品。雖風格尚未定型，卻已可見他往後幾十年 作品中反覆出現的三大主題：靜物（多以花卉為主）、風景與肖像。
觀察奇斯林的創作，可見其吸收多位大師影響，但其風格獨樹一幟，難以與他 人混淆。他早期風景畫略帶立體主義筆觸，可見喬治．布拉克（ Georges Braque ）的 影子。隨著生活逐漸穩定，定居南法，他的風景畫逐漸轉為明亮抒情，常描繪港灣、 船隻與濱海城鎮。描寫馬賽港的畫中陽光普照的氛圍，帶有印象派特質，也讓人聯 想到野獸派如拉烏爾．杜菲（ Raoul Dufy ）的輕快色調；同時畫面中也隱約帶有如德． 基里科（ Giorgio de Chirico ）般的憂鬱調性，呈現一種奇異的融合。
他的靜物畫則展現極高技巧，色彩運用與構圖精準，光影對比強烈，造型簡潔， 明顯受到他深受敬仰的塞尚（ Paul Cézanne ）啟發。除了形式的美感，奇斯林也常賦 予靜物象徵意義，以花卉、器皿構築時間流逝、生命無常等深層主題。他尤其喜愛 合歡花，並以此為題曾創作過多幅作品。
儘管風景與靜物畫精彩，奇斯林最廣為人知的仍是肖像畫。他 自 1920 年代起成為炙手可熱的肖像畫家，詩人尚．考克多（ Jean Cocteau ）、藝術家瑪麗．羅蘭珊（ Marie Laurencin ）、模特兒姬姬（ Kiki de Montparnasse ），乃至可可．香奈兒（ Coco Chanel ）皆曾為他入畫。 他筆下人物多帶有內省的神態，眼神迷濛夢幻。他的裸女畫體態圓潤， 造型具雕塑感，符合那些年代的審美特色。線條柔和，色彩對比鮮明， 構圖簡潔而富張力，呈現出既典雅又艷麗的畫面氛圍。
這樣的表現力部分來自他與莫迪里亞尼共處時的影響：他同樣採 用誇張比例、拉長線條與簡化背景，卻在情感上更貼近自然主義，神 情抒情卻不失寫實，散發濃厚的人文氣質。在他的繪畫中也可見到他 向文藝復興古典的致敬之意。
1922 年，他與妻子芮妮育有兩子：居伊（ Guy ）和尚（ Jean ）。 自 1920 年代起，一家人定居南法濱海小鎮薩納里（ Sanary-sur-Mer ）。
1932 年，他們買下一棟名為「 La Baie 」（意為「海灣」）的房子， 附設畫室，可遠眺班多灣。二戰期間，身為猶太裔的奇斯林為避納粹 迫害，即使年近五十，仍自願參戰。法國向德國投降後，他們輾轉逃 往西班牙、葡萄牙，最後輾轉移居美國紐約，再遷往加州。
在美國期間，他在紐約與華盛頓舉辦展覽，畫肖像維生，頗受好 評。晚期作品風格更趨寫實，卻保有他筆下一貫的夢幻氣質與內斂情 感。創作重心亦轉向花卉與靜物，色彩明亮卻不浮誇，蘊含寧靜之美。
1946 年，奇斯林結束流亡生活，返回濱海薩納里的住所，並於 1953 年 4 月 29 日病逝，享年 62 歲。
▲ 莫依斯．奇斯林《瑪德蓮．索洛涅畫像》 1936 年 油彩 畫布 73 x 54 cm
羅芙奧台北 2024 秋拍 成交價 TWD 10,320,000
Moïse Kisling, PortraitdeMadeleineSologne, 1936, oil on canvas, 73 x 54 cm
Ravenel Autumn Auction 2024 Taipei, sold at USD 317,832
奇斯林行情背後的全球推手
直到今日，莫依斯．奇斯林的作品仍備受全球藏家的青睞， 經常現身於國際拍賣場與重要展覽。根據統計，市場成交量最高 的國家依序為法國、美國與英國。儘管過去二十年間市場經歷多 次波動，奇斯林的作品價格仍呈現緩步成長的趨勢。
其價格的幾個高峰期，包括 1990 年代初期、 2007 年、 2012 年與 2022 年，明顯受到全球經濟與藝術市場動態影響。這些年份 分別對應到日本泡沫經濟破裂、2007 年次貸危機前夕的市場狂熱、 金融海嘯後的市場修復，以及新冠疫情後的資產回流與投資需求 高漲。
2000 年代起，藝術市場開始重新關注被忽視的「巴黎畫派」 藝術家，奇斯林與蘇丁、帕斯金、尤特里羅，甚至更新一代如布 拉吉利等人，逐漸受到市場與策展界的青睞。這波經典現代主義 的重新評價，促使相關作品價格持續攀升。
同時，東歐與波蘭本地藏家的崛起也是一大推力。自 2004 年 波蘭加入歐盟以來，經濟穩定成長，富裕階層開始進軍國際藝術市 場，對擁有文化血緣連結的藝術家（如奇斯林與藍碧嘉）特別青 睞。國內更出現「文化回收」風潮，藉由拍賣將重要作品回流波蘭。
2010 年代後，亞洲市場快速開展，尤其是香港、台灣與日 本的拍賣活動興盛，使歐洲近現代藝術家獲得更高能見度與資金 流動。 1990 年代前後，日本和台灣收藏家對於奇斯林的作品並 不陌生，有些畫廊從法國引進其作品。而多年前羅芙奧曾大力推 出的國際西洋藝術專場，便成功推介奇斯林的作品，逐漸擴展至 其他的亞洲藏家圈。
此外，數位資料庫與藝術價格指數（如 Artprice 、 Artnet ） 普及，使得新一代藏家能更便捷地掌握藝術家的市場動態與長期 價格走勢。價格資訊的透明化，有助於藏家建立信心，也吸引了 以回報率為導向的藝術投資者。
最後，疫情後的通膨與經濟不確定性，讓藝術品再次被視 為「硬資產」。奇斯林作品具備美術館級認可、完整流通記錄， 價格也尚未完全的天價化，恰好滿足當代市場對價值與文化意義 的雙重訴求。以其融合多元風格、色彩感知敏銳且情感濃烈的創 作，莫依斯．奇斯林不僅是 20 世紀巴黎藝術界的重要人物，更 在現代藝術市場中穩穩占據一席之地。
◀ 莫依斯．奇斯林《馬賽港》 1933 年 油彩 畫布 73 x 54 cm
巴黎市立現代美術館美術館典藏
Moïse Kisling, Port de Marseille, 1933, oil on canvas, 73 x 54 cm, collection of Musée d'Art Moderne de la Ville de Paris
▶ 莫依斯．奇斯林 《三朵罌粟花》 1952 年 油彩 畫布 41 x 33 cm
羅芙奧 2018 春拍 成交價 TWD 3,360,000 Moïse Kisling, Les trois pavots, 1952, oil on canvas, 41 x 33 cm Ravenel Spring Auction 2018 Taipei, sold at USD 112,601
Recently, the art market has been inundated with a vintage trend, as classic modern art and Old Masters receive increasing attention from international collectors. Tamara de Lempicka (1898-1980), a Polishborn Art Deco artist, is famous for her portrait paintings that resemble polished sculptures. Though she briefly lived in France, it was in the United States where she earned widespread acclaim from Hollywood celebrities. Moïse Kisling, also of Polish descent, was seven years her senior. He relocated from Poland to France, where he immersed himself in the Paris School circle, ultimately becoming an influential figure, often hailed as the "King of Montparnasse." Both Lempicka and Kisling are regarded as representative figures of Polish modern art.
Modern art from the first half of the 20th century, such as the "Paris School" (Ecole de Paris), has recently garnered much attention in the art market. Kisling's works have frequently set auction records at auction houses in his homeland of Poland. His two highest-priced works are the 1932 oil painting Ingrid, which sold for US$974,000, and the
1925 Nu allongé (Reclining Nude), which sold for US$691,000. These two works have set new highs at the Warsaw art market in recent years.
Though Kisling produced a significant volume of works throughout his life, only four of his pieces are housed in Polish museums, largely due to his long years spent abroad much like his contemporary, Lempicka. Consequently, Polish collectors are eager to acquire works by this national treasure. The auction house Ravenel has sold three of Kisling's paintings, which were actively bid on by collectors from Poland and Europe, with some works even returning to Poland.
Kisling's art is collected by numerous prestigious museums worldwide, including the Harvard Art Museum, the British Museum, the Metropolitan Museum of Art, the Fuji Art Museum in Tokyo, the Israel Museum, and the Ikeda Museum of 20th Century Art. The Petit Palais Museum in Geneva is home to a large collection of Kisling's works, underscoring his esteemed position in the global art world.
From Kraków to Paris: Kisling's Jewish Family Background and Artistic Enlightenment
Moïse Kisling was born in 1891 in Kraków, the second-largest city in Poland, which was then part of the Austro-Hungarian Empire. He hailed from a Jewish middle-class family, with his father, a skilled artisan, providing a modest, yet comfortable life. Kisling's father's expertise in craftsmanship subtly shaped his son's later attention to detail and structural sensitivity in his paintings.
In the 1890s, Kraków's cultural scene was thriving, serving as a hub for young Polish artists, poets, and intellectuals. The Jewish community played a pivotal role in the city's cultural, commercial, and intellectual life, profoundly influencing later Jewish artists, including Kisling.
Kisling's father originally envisioned him as an engineer, but Moïse's passion for art was evident early on. He enrolled at the School of Fine Arts in Kraków, studying under the Impressionist painter Jozef Pankiewicz (1866-1940), whose influence was significant on Kisling's artistic development. Encouraged by Pankiewicz, Kisling moved to Paris in 1910, at age 19, to further his studies and pursue a career in art, ultimately becoming a key figure in the Paris School.
In Paris, Kisling encountered a global network of young artists, including Pablo Picasso (1881-1973), Georges Braque (1882-1963), Juan Gris (1887-1927), and André Derain (1880-1954). In 1911, he traveled with Picasso and Max Jacob (1876-1944) to Céret, where they spent a year, marking an important chapter in the Fauvist movement. By 1913, Kisling moved to Montmartre and then to the Montparnasse district, frequenting art colonies such as La Ruche and cafés like La Rotonde.
Initially, Kisling painted in the studio once occupied by the Fauvist painter Kees van Dongen (1877-1968), and later set up his own space. He became close friends with artists like Marc Chagall (1887-1985) and Chaim Soutine (1893-1943), regularly hosting gatherings in his studio that attracted other prominent figures, including Amedeo Modigliani (1884-1920), Soutine, Derain, Gris, and Jules Paskin (1885-1930).
◀ 阿美迪奧．莫迪里亞尼《莫依斯．奇斯林畫像》 1915 年 油彩 畫布 37 x 29 cm
米蘭布雷拉美術館收藏
Amedeo Modigliani, PortraitdeMoïseKisling, 1915, oil on canvas, 37 x 29 cm, collection of Pinacoteca di Brera, Milan
▶ 莫依斯．奇斯林《藍瓶靜物》 1914 年 油彩 畫布 73 x 92 cm
日內瓦小皇宮美術館典藏
Moïse Kisling, Nature morte au vase bleu, 1914, oil on canvas, 73 x 92 cm, collection of Musée du Petit Palais, Geneva
PORTRAIT DE MOÏSE KISLING
In 1916, fortune smiled upon him. After recovering from his war wounds, Kisling was shocked to discover that he had inherited a fortune 25,000 francs from his late friend, American sculptor Victor Chapman, who had died in the war. Kisling and Chapman had been friends before the war, meeting in Montparnasse. Chapman had made a will before enlisting, leaving part of his inheritance to Kisling. After receiving the inheritance, Kisling traveled briefly to Spain.
In the same year, he met Renée Gros, the daughter of a Republican general, who was also an art student. They married on August 12, 1917, in a grand event in Montparnasse. The celebrations lasted three days and nights, full of revelry. The poet Max Jacob even imitated a nightclub singer, and Modigliani draped a sheet from the bride's dowry over his body, playing the ghost from Macbeth before being thrown out. As artists recall, no one really remembered what happened, but Kisling vaguely recalled faces in the crowd. During the 1930s, Kisling remained a prominent figure in the masquerade balls and salons of Montparnasse.
An Exquisite Fusion: Self-Exploration Through Crossed Styles
Despite his extensive social circle and rich social life, Moïse Kisling was highly disciplined in his artistic practice. He did not hesitate to
criticize his friend Modigliani, telling him, "With a monthly allowance of 200 francs, but spending 190 francs on alcohol and drugs, it's no surprise you end up in poverty." Even with such criticism, Kisling remained Modigliani's closest friend. He stayed with him until the end of his life and made a plaster death mask for him after his death, which was later cast in bronze and is now held by several museums. According to records, Modigliani also painted Kisling's portrait, which reflected their deep friendship and their mutual attentiveness to each other.
Besides Modigliani, Kisling was also very close to Paskin, a Bulgarian-born artist. They shared the title of the "Princes of Montparnasse" and had a rare and sincere brotherly friendship within the early 20th-century Paris art scene. Kisling shared their passion for creation, struggles with poverty, and pursuit of ideals, witnessing the short artistic lives they all led.
In November 1919, Kisling held his first solo exhibition at the Galerie Druet in Paris, showcasing early works influenced by Cézanne and Cubism. Although his style had not yet fully developed, three key themes were already apparent in his future works: still lifes (mostly of flowers), landscapes, and portraits.
Observing Kisling's works, it is clear that he absorbed influences from several masters, yet his style is distinct and easily recognizable. His early landscapes carried slight touches of Cubism, with hints of Georges Braque's influence. As his life stabilized in the South of France, his landscapes grew brighter and more lyrical, often depicting harbors, ships, and coastal towns. His paintings of the Marseille harbor, bathed in sunlight, carry an Impressionistic quality and evoke the vibrant tones of Fauvism, like those of Raoul Dufy. At the same time, his works often carry a melancholic tone reminiscent of Giorgio de Chirico's, presenting a strange fusion of styles.
His still life paintings showcase remarkable technical skill, with precise use of color and composition, strong contrasts of light and shadow, and simple yet effective forms. Clearly inspired by his deep admiration for Paul Cézanne, his works are both aesthetically pleasing and full of symbolism. Through flowers and vessels, he explores themes of the passage of time and the impermanence of life. He had a particular fondness for the mimosa flower, and created several works centered around it.
Although his landscapes and still life paintings were exceptional, Kisling is best known for his portraiture. Starting in the 1920s, he became a sought-after portrait artist, with subjects including poet Jean Cocteau, artist Marie Laurencin, model Kiki de Montparnasse, and even Coco Chanel. His portraits often feature introspective expressions, with dreamy and somewhat distant gazes. His nudes are characterized by rounded forms and sculptural qualities, in line with the aesthetic trends of his time. The lines are soft, the color contrasts are vivid, and the compositions are simple yet full of tension, presenting an atmosphere that is both elegant and alluring.
This expressive quality is partly influenced by his time spent with Modigliani, as he too employed exaggerated proportions, elongated lines, and simplified backgrounds, but his emotional tone is closer to naturalism. His figures are lyrical yet realistic, radiating a profound humanistic spirit. His works also pay homage to the classical Renaissance tradition.
Since the 2000s, the art market has begun to pay renewed attention to the "School of Paris" artists, with Kisling, along with Soutine, Pascin, Utrillo, and newer generations such as Braque and others, gradually gaining favor in the market and curatorial circles. This reassessment of classic modernism has caused the prices of related works to continue rising.
The rise of Eastern European and Polish collectors has also been a significant driving force. Since Poland joined the European Union in 2004, its economy has grown steadily, and the wealthy class has begun to enter the international art market, showing particular interest in artists with cultural connections, such as Kisling and Lempicka. In Poland, there has even been a "cultural reclamation" trend, where important works are returned to Poland through auctions.
After the 2010s, the Asian market grew rapidly, particularly through auction activities in Hong Kong, Taiwan, and Japan, increasing the visibility and financial circulation of European modernist artists. Prior to the 1990s, Japanese and Taiwanese collectors were already familiar with Kisling's works, with some
galleries importing his pieces from France. Auctions like those once heavily promoted by Ravenel successfully introduced Kisling's works and expanded their reach within Asian collector circles.
Additionally, the popularization of digital databases and art price indices (such as Artprice and Artnet) has allowed a new generation of collectors to more easily track the market trends and long-term price movements of artists. The transparency of price information has helped build collector confidence and attracted art investors seeking returns.
Finally, the post-pandemic inflation and economic uncertainty have led to art being viewed once again as a "hard asset." Kisling's works, with their museum-level recognition, well-documented provenance, and prices that have yet to reach astronomical heights, meet the market's dual demand for both value and cultural significance. With his blend of diverse styles, sharp color sensibility, and intense emotional expression, Moïse Kisling not only remains a key figure in 20th-century Parisian art, but also holds a stable place in the contemporary art market.
TOP 20 MOST EXPENSIVE ARTWORKS OF MOÏSE KISLING EVER SOLD AT AUCTION
TOP 20
製表 ／ 陳惠黛 Odile Chen（Update 2025.05.02; Source: Artprice.com, Polswiss Art, Christie's, Sotheby's, Desa Unicum, Matsart & Millon, Drouot）
瑪德蓮‧索洛涅畫像 Portrait de Madeleine Sologne
1936 Oil on canvas 73 x 54 cm
躺在藍色沙發上的裸女 Nu allongé sur un canapé bleu
1928 Oil on canvas
x 129.3 cm
合歡花大花束 Grand bouquet de mimosas
預估價 Estimate FRF 1,000,0001,500,000
成交價 Sold at USD 538,780 FRF 3,410,000
拍賣日期 Auction Date
巴黎阿德-皮卡爾-塔杭 Ader-Picard-Tajan (Drouot) Paris Nov. 18, 1989
預估價 Estimate
USD 200,000 - 300,000
成交價 Sold at
USD 510,500
拍賣日期 Auction Date
紐約佳士得 Christie's New York Nov. 14, 2017
預估價 Estimate
USD 250,000 - 350,000
成交價 Sold at USD 483,500
拍賣日期 Auction Date
紐約佳士得 Christie's New York May 8, 2003
合歡花束 Bouquet de mimosas
c.1930
x 53.6 cm 13 18 14 19
金髮裸女 Femme nue aux cheveux blonds
x 54 cm
15 20 12 17 11 16
裸女 Naga
1920 Oil on canvas 73 x 54 cm
克拉：蒙馬特的姬姬 KheraKiki de Montmartre
x 61 cm
預估價 Estimate
USD 180,000 - 250,000
成交價 Sold at
USD 446,500
拍賣日期 Auction Date
紐約佳士得 Christie's New York Nov. 4, 2010
預估價 Estimate PLZ 1,200,0001,500,000
成交價 Sold at USD 435,979 PLZ 1,220,000
拍賣日期 Auction Date
華沙波瑞藝術 Polswiss Art Warsaw Dec. 16, 2014
預估價 Estimate
PLZ 800,000 - 1,200,000
成交價 Sold at
USD 430,164
PLZ 1,652,000
拍賣日期 Auction Date
華沙德薩．尤尼康
Desa Unicum Warsaw May 14, 2019
預估價 Estimate
GBP 80,000 - 100,000
成交價 Sold at USD 464,695
GBP 275,000
拍賣日期 Auction Date
倫敦蘇富比 Sotheby's London April 4, 1990
斜倚裸女-蒙巴納斯姬姬 Reclining nude, Kiki de Montparnasse
預估價 Estimate PLZ 2,000,0003,000,000
成交價 Sold at USD 456,683
PLZ 1,920,000
拍賣日期 Auction Date
華沙德薩．尤尼康
Desa Unicum Warsaw Oct. 19, 2023
花束 Bouquet de fleurs 1931
on
112.8 x 88 cm
瑪德蓮．索洛涅 Madeleine Sologne 1949
on canvas 116 x 89 cm
預估價 Estimate
USD 350,000 - 450,000
成交價 Sold at USD 430,000
拍賣日期 Auction Date
紐約蘇富比 Sotheby's New York Nov. 6, 2015
預估價 Estimate
成交價 Sold at
USD 428,205
Hammer price:
USD 389,277
拍賣日期 Auction Date
倫敦佳士得 Christie's London Nov. 28, 1989
泡沫將至，還是理性回歸？
威士忌市場的十年繁華與轉折 BOOM, CORRECTION, OR REBIRTH? RETHINKING THE WHISKY MARKET AFTER A DECADE OF ASCENT
Text / 唐維怡 Eva Tang
Photo / Ravenel Finest and Rarest Wines
過去十年間，即便對威士忌沒有特別關注也一定耳聞過威士忌價格 屢創新高的消息。對於十多年前就在酒桌上行走江湖的威士忌愛好者而 言，這波劇烈的市場變動感受應該更為深刻。
回望十多年前，山崎 18 年售價才三千元上下、余市 20 年約四千元、 麥卡倫 30 年亦不過八千有餘，皆為當時餐桌上體面的宴客餐搭選擇。 然而，隨著威士忌收藏熱潮的蔓延，全球市場不斷升溫，山崎 18 年在 市場高點時飆升至近五萬元，余市 20 年一度衝突破七萬，麥卡倫 30 年 藍色木盒更曾攀至令人咋舌的三十萬元關卡，昔日的餐酒成為了如今拍 賣場上的熱門標的。
普飲酒款尚且如此，稀有與高年份威士忌更是屢屢創下天價。最 具代表性的莫過於 1926 年蒸餾、於桶號 263 號雪莉橡木桶中熟成的麥 卡倫 60 年。這個橡木桶一共裝出 40 瓶，其中 12 瓶的酒標由普普藝術 大師 Valerio Adami 操刀設計， 2023 年 11 月，這 12 瓶中的其中一瓶以 220 萬英鎊的天價 ( 約合新台幣 8600 萬元 ) 在蘇富比拍場落槌，刷新了 全球單瓶威士忌的紀錄，震撼收藏界。
價格的急遽攀升，反映出全球市場對威士忌需求的劇烈擴張，也象 徵著威士忌已從單純的飲品蛻變而出，正式邁入收藏品等級。對一些高 資產淨值人士而言，威士忌甚至可以是承載著文化價值且具有稀缺性的 實體資產，成為另類投資標的與資產配置的一環，改寫了我們對威士忌 價格與價值的認知。
根據國際不動產顧問機構 Knight Frank 針對全球高淨值人士 (HNWIs) 消費與投資行為所發布之年度《 The Wealth Report 財富報告》 顯示，早在數年前，如藝術品、經典汽車、珠寶與高端腕錶等奢侈品類 資產，已逐步從單純的生活象徵，轉化為資產配置中的非傳統投資選 項，並逐漸被納入多元化的投資組合當中。
此份報告於 2019 年首度將威士忌納入調查項目，就以回溯十年 高達 564% 的潛在投資報酬率登上排行第一，即便歷經近年整體經濟 與市場的波動， 2025 年度報告中威士忌投資的十年報酬率依然達到 191.7% ，穩居所有奢侈品資產類別之首，反映出其長期韌性。
十年繁華後的轉折
然而，進入後疫情時代以來，全球宏觀經濟環境持續波動，實體 消費與資產市場皆出現結構性修正，威士忌市場亦未能置身事外。根 據蘇格蘭威士忌協會 (Scotch Whisky Association, SWA) 近期公布之 2024 年度貿易統計數據，蘇格蘭威士忌出口總額較前一年下滑 3.7% ； 其中，台灣市場受衝擊尤為顯著，進口總值年減 12.5% ，進口總量亦下 挫 17% ，呈現明顯的衰退趨勢。於此同時，在以拍賣作為代表的二級 市場中，過去十年間被視為指標性品牌的麥卡倫 (The Macallan) 、山崎 (Yamazaki) 與輕井澤 (Karuizawa) ，自 2022 年至 2025 年的現下，拍場 價格普遍出現三至五成不等的修正，市場熱度明顯降溫。作為高端威士 忌市場價值體現的關鍵指標，如此大幅度的下修引發市場對威士忌價格 泡沫化的憂慮。
更有意思的是，若將 2024 年的蘇格蘭威士忌出口數據與疫情前的 2019 年進行比較，會發現無論就出口總量或總值而言，蘇格蘭威士忌 皆呈現實質增長。以台灣市場為例，進口總額由 2019 年的 2.05 億英鎊 提升至 2023 年的 2.98 億英鎊，顯示在一級市場方面即便面對短期波動， 整體趨勢並未出現市場預期中的劇烈衰退，反而維持正向發展。
值得探究的是，在體量極為龐大的中國市場明顯萎縮的同時，蘇格 蘭威士忌整體出口量卻不減反增，那是因為印度與巴西市場都有了雙位 數的成長，有效抵銷部分主要市場的萎縮，亦代表全球需求版圖正在發 生地緣轉移。其中，以印度市場最具關鍵指標意義。印度與中國同樣擁 有人口規模與潛在消費力的優勢，然而即便其進口蘇格蘭威士忌的數量 已躍升至全球第一，該進口量實際上僅佔印度國內威士忌消費總量不到 2% 。當地消費市場仍高度依賴國產烈酒，進口酒類主要集中於價格具 競爭力之調和威士忌，這代表著未來只要有極小比例的印度消費者開始 轉向進口產品、或提升其消費層級並改變品飲習慣，對全球威士忌市場 而言，將構成極具規模的需求量。
綜合觀察可發現，這一波威士忌市場的疲軟，主要集中於以拍賣市 場為核心代表的二級市場。根據英國獨立顧問公司 Noble & Co. 所發布 之最新統計數據， 2024 年度全球威士忌拍賣市場總成交金額年減幅達 16% ，其中作為拍場中最具代表性的標的品牌—麥卡倫 (The Macallan) 拍賣成交總值更出現高達 41% 的顯著下滑，反映出高端藏家與投資型 買家之交易意願普遍趨於保守。此一情勢導致市場結構轉為典型的買方 市場：一方面，潛在買家態度轉趨審慎，多觀望少出手；另一方面，持 有者中部分因面臨流動性壓力而釋出藏品，進一步壓抑價格表現。
儘管如此，不能忘記威士忌作為收藏品的二級交易市場仍屬新興 類型，第一次出現有規模的實體威士忌拍賣大概是在 2009 年左右，相 較於已有逾兩百年歷史的葡萄酒拍賣市場，威士忌進入二級市場的歷史 尚不足二十年，屬於尚在成長階段的新興市場。由於基期較低且市場結 構尚未成熟，其價格波動自然較為劇烈。當前所見的價格修正與成交量 縮，從長期資本市場的視角來看，更可被視為初期發展的週期性波動， 而非結構性崩盤的前兆。
威士忌市場的下一步：從熱潮到長期穩健
整體而言，當前威士忌市場的疲弱並非崩盤跡象，而是對過去十年 資本與情緒過熱的理性修正。儘管拍賣市場面臨幅度較大的價值重估與 交易萎縮，然一級市場的需求與產能卻仍持續擴張，新興市場的消費潛 力亦逐漸釋放，成為下一個十年的關鍵動力來源。
威士忌作為一項兼具飲用、收藏與投資三重價值的品項，只要仍 有人持續在品飲、持續珍視他的風味與歷史，他的價值基礎便不會被動 搖。事實上，這場修正正逐步為市場重塑結構與秩序，替未來鋪設更穩 固的軌道。在全球資金流緊縮、消費行為轉型的背景下，威士忌市場正 從過去一波波熱錢堆疊的炒作浪潮中抽身，進入成熟、穩健且可持續長 期發展的下一階段。未來的市場，將不再是熱錢炒作的遊樂場，而是屬 於真正懂得欣賞與珍惜威士忌美好的人們。
Of particular note, Knight Frank included whisky for the first time in its 2019 investment index. The results were staggering: a 10-year return of 564%, placing whisky at the top of the luxury investment category. Even after several years of economic volatility, the 2025 edition of the report still cites a 10-year return of 191.7% for whisky, outperforming all other collectible asset classes and underscoring its long-term resilience.
A Decade of Prosperity, Now Under Pressure
As the global economy transitions into the post-pandemic era, continued macroeconomic volatility and structural realignments in both consumer behavior and asset markets have triggered a broader correction one from which the whisky market is not exempt. According to the Scotch Whisky Association's (SWA) 2024 trade statistics, total Scotch whisky export value declined by 3.7% year-on-year. The Taiwan market experienced a sharper contraction, with import value down 12.5% and volume down 17%, reflecting a clear downward trend. Meanwhile, the secondary market, particularly auctions, has seen notable repricing. Flagship brands that once dominated the high-end segment
The Macallan, Yamazaki, and Karuizawa have seen realized auction prices decline by 30% to 50% between 2022 and 2025. Given the role of auctions as a key indicator of perceived market value, these adjustments have fueled broader concerns regarding a potential valuation bubble.
A key driver behind this market deceleration is the sharp decline in demand from mainland China. SWA data shows that in 2024, China's total import volume of Scotch whisky declined by 2%, while the total
import value dropped a dramatic 32%, pushing China down to tenth place in global market rankings its lowest position in recent years.
Since 2000, China had been a dominant force in the global collectibles market, including fine whisky, buoyed by rapid economic expansion and a growing affluent middle class. However, the onset of COVID-19, compounded by a property sector crisis and weak consumer sentiment, has triggered a contraction in discretionary spending and placed the broader collectibles market under considerable pressure. According to the 2024 Contemporary Art Market Report published by Art Price, China's contemporary art sales fell by 63% year-onyear, significantly outpacing the global decline of 33.5%. As whisky is increasingly viewed as part of the luxury collectible asset class, it too has been impacted by the same systemic correction affecting both pricing and trading activity worldwide.
Across both primary and secondary channels, whisky prices have entered a correction phase. On the supply side, some structural challenges are also beginning to surface. In response to inflation and rising input costs including raw materials, logistics, and labor major spirits producers began implementing broad-based pricing strategies from 2022 onward. Diageo, the world's largest spirits conglomerate by market share, increased prices across its portfolio by 5% to 15%, while Japan's Suntory significantly raised the suggested retail price of its flagship blended whisky, Hibiki 30 Years Old, from JPY 160,000 to JPY 360,000 an aggressive hike that placed clear pressure on end consumers.
Given this short time horizon and its relatively immature market structure, heightened volatility is to be expected. From a long-term capital markets perspective, what we are observing today should be interpreted less as a sign of structural collapse and more as a cyclical recalibration typical of early-stage markets undergoing price discovery and expansion.
A Shift Toward Stability: Redefining Whisky's Future
In summary, the current weakness in the whisky market should not be misinterpreted as a collapse, but rather viewed as a rational correction following a decade of capital excess and speculative sentiment. While the secondary market is undergoing a significant repricing and contraction in transaction volume, the primary market continues to show signs of expansion both in production capacity and consumer demand. Meanwhile, the untapped potential of emerging markets is steadily unfolding and may prove to be a key engine of growth in the decade ahead.
Whisky's enduring value lies in its unique convergence of utility, collectibility, and investability. As long as there are individuals who appreciate its flavor, heritage, and craftsmanship, its core value proposition remains intact. In fact, this period of recalibration may well serve to restructure and stabilize the market, laying the groundwork for a more sustainable and orderly future. Against a backdrop of tightening global liquidity and evolving consumption behavior, the whisky sector is now moving away from a cycle defined by speculative capital and into one characterized by maturity, resilience, and long-term viability.
The next era of whisky will not belong to those chasing shortterm profit, but to those who truly understand, value, and respect what whisky represents.
從 1930 年代開始，百達翡麗就與擅長開發世界時區功能的製錶師
Louis Cottier 合作，以 Louis Cottier 所設計的世界時區腕錶機制製作 Heure Universelle 錶款，讓中央指針能夠連動調整世界時區的城市環，使世界時區 功能變得操作簡單又方便。之後百達翡麗更不斷調整，大幅改善其功能，並在 1959 年取得專利。這時候的百達翡麗不僅製錶技術精良，更擁有位於日內瓦的 面盤廠，因此許多當時出廠的世界時區錶款都搭配特別製作的掐絲琺瑯面盤。
掐絲琺瑯必須先以鑷子將細小的細銅絲彎曲成設定好的圖案輪廓並安置在 面盤上，接著在各個銅絲框格中填上不同顏色的釉料，每一種釉料填入後都要 先加熱定色，如此反覆燒製再仔細經過打磨才會形成最後精細又美觀的面盤。
由於過程十分費工夫，掐絲琺瑯面盤產量一直不高，加上後來又遇到重創瑞士 製錶產業的「石英危機」，百達翡麗在市場需求量大減的情況下停止了所有掐 絲琺瑯的產線。
這一停就是三四十年，直到 2008 年錶展，百達翡麗才終於重新推出配有掐 絲琺瑯面盤的 Ref. 5131 世界時區腕錶。以品牌歷史的角度來看， Ref. 5131 堪 稱扮演承先啟後的角色，因此在收藏家心中占有難以取代的重要意義。即便產 量不高， Ref. 5131 當年的定價卻相對合理，約在新台幣 200 萬左右，無疑頗具 投資價值，也就不難想像為什麼宣布停產時會有那麼多人爭相詢問。停產後的 Ref. 5131 行情如意料持續上揚，估價甚至曾經超過定價兩倍。其中白金款 Ref. 5131G 產量比黃金款及玫瑰金款少，行情更能穩定維持，即使在前兩年奢侈品 價格慘跌時也沒有劇烈波動，可見其投資穩定性相當值得信賴。
70 年代到 80 年代石英危機之後，人們對鐘錶的看法有了巨大轉變，不再需 要過多華麗裝飾，而是以實用、耐用為主要考量，因此如皇家橡樹及 Nautilus 等運動型錶款逐漸成為市場新寵。有鑑於此，百達翡麗以原有的 Nautilus 為設 計藍本，在 1997 年發表更入門更基礎的全新運動錶系列 Aquanaut 。而 2007 年 為了紀念 Aquanaut 十周年，品牌又再推出 Ref. 5167 等款式，取代 Aquanaut 的 舊有型號。
記得某一年因為媒體工作的機會去錶展參 觀百達翡麗新品時，剛好被排在經銷商與百達 翡麗台灣代理商的會議時間之後。只聽到會議 結束時，好幾個人紛紛詢問代理商：「還有沒 有 5131 ？」。當時還是個錶展菜鳥的我不太懂 他們在講什麼，後來回國才知道原來百達翡麗在 那一年停產了黃金款 Ref. 5131J 和白金款 Ref. 5131G 。有在玩鐘錶收藏的同好都知道，並不是 每一款錶停產都會成為話題，而 Ref. 5131 卻能 引起藏家和經銷商如此關注，讓我忍不住將它的 前世今生好好研究一番。
▲
掐絲琺瑯必須先將細銅絲彎曲成設定好的圖案輪廓，接著在各個 銅絲框格中填上不同顏色的釉料
Cloisonné enamel requires fine copper wires to be carefully bent into predetermined patterns, forming compartments that are then filled with enamel of various colors.
◀ 18K 白金鑲長形切割鑽石自動上弦腕錶， 41 毫米，配中心秒針及 日曆顯示
Patek Philippe | Aquanaut 5167/300G-010 18k White Gold Diamonds
無論從錶款本身的美感還是稀有性來看， Ref. 5167/300G-010 都是百達翡麗收藏中必不可少的經典傑作。
I could still remember that year when I visited the Patek Philippe booth at Baselworld as a journalist. I was scheduled behind a meeting between dealers and Patek Philippe agent in Taiwan. After the meeting, I noticed that numerous dealers kept asking one question - "Do you still have Ref. 5131?". I was a newbie to the watch fair and I had no idea what they were talking about. Only when I came back to Taiwan, I learnt that Patek Philippe had discontinued both yellow gold and white gold versions of Ref. 5131. If you are a watch aficionado, you should know that not every model becomes desired after its discontinuation. I couldn't help looking into the Ref. 5131 to see why all the collectors and dealers suddenly showed such interests over it.
In the 1930s, Patek Philippe began working with Louis Cottier, a watchmaker who was known for worldtimer modules. Based on the mechanism Louis Cottier designed, Patek Philippe introduced the "Heure Universelle". Its hour hand simultaneously coordinated the 24-hour ring, so the time zone switch became much easier and more convenient. Since then, Patek Philippe continually refined the mechanism and obtained a patent in 1959. In those years, not only did the maison perform the best techniques, but also owns a dial manufacture in Geneva. Therefore, several worldtime watches produced during the period came with cloisonné enamel dials.
◀ 左： 18K 金世界時間自動上弦腕錶， 39.5 毫米，掐絲琺琅錶盤描繪美洲、 歐洲及非洲 右： 18K 白金世界時間自動上弦腕錶， 39.5 毫米，掐絲琺瑯刻畫歐洲、 非洲、亞洲及大洋洲
Left: Patek Philippe | World Time 5131J-001
Right: Patek Philippe | World Time 5131G-010 隨著市場審美觀改變， Ref. 5167 尺寸比前作更大， 40.8 毫米的身形充分彰顯運動錶該有的豪邁，卻又能讓百達翡麗細 膩之處展露無遺。在 Ref. 5167 這個型號的眾多款式中，又以 鑲嵌長形切割鑽石的 Ref. 5167/300G-010 最為少見。共 6.32 克拉的 101 枚鑽石佈滿錶圈及錶耳，據估計此型號百達翡麗大 概只生產了 10 只，而目前更是只有兩只曾經在市場上出現過。
PATEK PHILIPPE
▶ 1939 年問世的 96 HU 是百達翡麗早期的世界時區腕錶
The 96 HU, introduced in 1939, was one of Patek Philippe's earliest world time wristwatches.
Cloisonné enamel requires the craftsmen to bent tiny copper wires in certain outline and glue them to the dial. Then enamel powders in various colours would be filled in the shape consisted by copper wires, each colour has to be fired after the filling in order to secure its hue. Multiple times of firing and polishing are required before the dial finally turns into a delicate and artistic work of art. Since the process is extremely complicated, the production of cloisonné enamel dial was always low. With quartz crisis that caused a significant decline of Swiss watchmaking industry, Patek Philippe stopped its production of cloisonné enamel dial as the market demand dropped.
The discontinuation of cloisonné enamel dial lasted for almost four decades. Not until Baselworld 2008 did Patek Philippe launched the Ref. 5131 worldtimer with the new cloisonné enamel dial. In the brand history, the Ref. 5131 played a crucial role to pass on the legacy. Thus, it has established a significance that cannot be replaced to collectors. Although its production still remained low, the retail price of Ref. 5131 was relatively reasonable at around NTD2,000,000. Its value is without doubt a potential investment. As a result, it was not difficult to explain why it generated such concerns after its discontinuation. Market price of Ref. 5131 kept rising as expected, it even went over twice as much as the retail price. Ref. 5131G, the white gold version is much rarer than yellow gold and pink gold, so its price stays more stable than its sibling. Even
during the dramatic drop of luxury goods two years ago, the price of Ref. 5131G still survived with no obvious change, it is clear that its potential is highly reliable.
After the quartz crisis in the 70s and 80s, how people see watches changed significantly. Stunning decorations were no longer valued, instead, people were looking for watches with more practical and durable designs. Therefore, high-end sport watches like the Royal Oak and Nautilus had become the new trend. Given that, Patek Philippe introduced a new entry-level collection with more basic designs based on Nautilus – the Aquanaut. In 2007, to commemorate the 10th anniversary of Aquanaut, Patek Philippe launched the Ref. 5167 and other new models to replace the old references.
With new tastes in the market, the Ref. 5167 is larger than its predecessor. The 40.8mm case perfectly matches what a sport watch should look like, it also fully displays the exquisite details of Patek Philippe. Amongst all references of Ref. 5167, the Ref. 5167/300G-010 that features 101 baguette cut diamonds for a total of 6.32 carat is the rarest model. Reportedly, only approximately 10 pieces of this dazzling variation have ever been produced, and only been seen twice at auctions. From both the aesthetic and rarity point of view, the Ref. 5167/300G-010 is indispensable to any collection of Patek Philippe timepieces.
御上天母
—自然與生活的詩意交響
Text / 黃品嘉
專訪建築大師李天鐸與 墨工空間設計總經理楊雪琪 在台北天母的綠蔭懷抱中，一座名為「御上天母」 的微森林鋼骨建築靜靜佇立，宛如陽明山腳下的 一首自然詩篇。歷經近 12 年的精工鍛造，這座 由建築大師李天鐸與其夫人－墨工空間設計總經 理楊雪琪聯手打造的豪邸，以對自然、生活的深 刻洞察，重新定義了都會居所的奢華與雅致。在 這場專訪中，兩人娓娓道來他們如何將自然的靈 魂融入設計，創造出一座「森林之家」，讓每一 位住戶都能感受到悠然與自由的生命節奏。
自然與心靈的歸屬
「御上天母」的設計歷經 COVID-19 疫情的特殊時期，這段時光賦予項目更深層的 意義。「疫情讓我們重新思考居住的意義。」李天鐸建築師回憶，「我們希望創造一個 讓人隱身於自然、釋放焦慮的空間。」這段隔離歲月讓團隊得以專注於細節，跳脫傳統 設計框架，打造出一座真正屬於未來的居所。
為了讓自然主導空間，團隊甚至縮減了建築規模，他們特別降低圍牆高度，讓周邊 景觀的綠意融入基地。李天鐸建築師表示，這一調整讓近 700 坪的基地在視覺上無限延 伸，與鄰近的公園及日僑學校的林蔭綠帶連成一體，創造出「自然放大、建築隱退」的 詩意景致。
戶外景觀設計則帶來季節性的視覺與嗅覺體驗，從春天的花香到秋天的色彩，每一 刻都充滿驚喜。超過 100 種植物被精心挑選，模擬森林、山谷等的豐富生態。「我們創 造了多重感官體驗。」楊雪琪總經理分享：「西北角的層次花園、前方的季節山谷、燒 烤區的果樹與香草，每一處都是如畫風景。」這些植物不僅美化空間，更吸引了鳥類、 青蛙與松鼠，讓「御上天母」成為都市中的生態綠洲。經過約一年試驗， 88% 至 98% 的 植物已穩定生根，展現出自然與建築的和諧共生。透過季節更迭、綠意延伸與香氣動線， 打造一個「有感」的生活環境。
流動的空間美學
「御上天母」最引人入勝的設計之一，在於其對空間界限的突破。室內的「去家具化」 策略，賦予空間無限的流動感。「我們希望模糊室內與室外的邊界。」楊雪琪總經理解釋： 「透過減少家具並引入自然元素，大廳置入一座漂浮的花園，讓人一踏入便感到身心解 放。」這片空間如溫室般高敞通透，邀請居民在自然中漫遊，享受無拘無束的悠閒。
自由開放的慢活
走在天母街頭，人們生活步調悠閒緩慢，不管是推著嬰兒車去公 園，抑或抬頭看星星，談及天母生活的精髓，李天鐸建築師與楊雪琪總 經理不約而同地提出了三個關鍵詞：悠閒、自在、自然。「天母讓人感 到放鬆。」李天鐸建築師說：「這裡的生活與自然緊密相連，從陽明山 的綠意到溪流與公園，無處不見自然的痕跡。」楊雪琪總經理補充：「天 母有濃厚的居家感，家庭氛圍溫暖，同時又具備國際化的開放與質感。」
「御上天母」不僅是一座建築，更是對天母生活方式的致敬。「我 們希望住戶在這裡如遊牧般漫遊自在。」李天鐸建築師提及：「從大廳 到泳池，從燒烤區到屋頂花園，每個角落都是一個故事的起點，讓生活 充滿無限可能。」
未來永續的趨勢
不只如此，「御上天母」更呼應了當代設計的全球趨勢－與自然共 生、簡化生活、擁抱永續。屋頂的太陽能板、多樣化的植物生態，以及 與社區綠地的連結等，無不體現對環境的承諾。「我們希望這座建築為 整個社區注入更多綠意。」李天鐸建築師說。他們希望透過分享的赤誠 心意，讓整個街區也能同時共好與豐盛。
「御上天母」是一場關於家、自然與生活的詩意實驗。每一片綠葉、 每一件家具、每一處轉角，皆細語著專屬的故事與情感。正如設計的初 心，它不僅是一座職人精工的奢華御邸，更是一段悠然、自由、與自然 共生的慢活旅程，靜靜等待每位居者親身體驗、細細品味。
此次李天鐸建築師與楊雪琪總經理的合作，是一場理性與感性的對 話，透過不同專業視角，激盪出不拘一格的精彩火花。「李建築師關注 建築的宏觀結構，我則專注於三公尺以下、與人互動的細膩觸感。」楊 雪琪總經理笑說。
她的服裝設計思維為空間增添了層次趣味，尤其對「觸感、細節、 人體尺度」特別敏銳，因此強調將感官經驗：香氣、光線、視覺穿透感 等人性化的設計觀導入空間與景觀。例如可旋轉如陀螺的椅子與形似綿 羊的凳子，讓大廳充滿童趣與溫暖 ; 低矮造型的家具也解放了視覺上的 壓迫，創造出慵懶心安的氛圍。「把整個空間想成是座植物遊樂園。看 那些動物剪影－鳥、羊、鹿，它們不只是裝飾，而是故事的延伸。像旋 轉木馬般，讓人覺得這裡真的有生命。」她說。
李天鐸建築師則更聚焦於軟化建築的堅硬固化本質。「身為建築 師總是習慣用理性、直線條來構築思考。但這次我們要做的是『去建築 化』，讓它像一棵大樹，有孔洞、有縫隙，可以讓生命住進來。」他 說。因此，團隊透過木質格柵模擬樹木生長的形態，並在建築的孔洞中 融入植物，讓建築構成充滿生命力，並採用黑色和木色等天然色調，讓 建築彷彿隱身於陽明山的綠意之中。「從遠處看，這棟建築幾乎消融於 自然。」他微笑著說：「我們把原本大量體的建築，透過碎化、矮化、 鬆化後，再把周圍的公園、日僑學校校園的大樹通通納進來。」
｜衣 Q 學｜
PHOEBE PHILO
凝視時代美學 「極簡」不再冷漠 時尚獨角獸菲比．菲羅－沈默的力量
Text / 袁青
/ 取自網路
Photo
靜謐叛逆的回歸取代優雅
延續一貫極簡語言，但加上更工業感、個性張力； Phoebe Philo 個人品牌代表一種靜謐叛逆的回歸，她善用皮革、重手工 縫線，融合「建築」般雕塑輪廓的風格，表達不跟隨時尚週節 奏－拒絕喧囂，回歸純粹創作自由：在風格之外，提出一種新時 代對市場集團化資本的抗衡，更是女性身分的再定義取代過去的 優雅。
這種超能力，有時也會成為詛咒。評論家和 Fashion people 普遍感到滿意復出的 Céline 。幾個小時內幾乎全部銷售一空，但 「太貴了」抱怨就開始了。平均價格約為 5,000 美元包款，最高 甚至要價 25,000 美元的外套。而且幾乎不能試穿，也不能退貨。 「我不覺得需要講太多的故事，」 50 歲的菲比坦率地說，她並 不想為價格解釋。
「我從來不知道會發生什麼，」菲比談到人們對她的作品的 反應時說道。「我了解內在自我和敏感度等之間，保持一點空間 是個好主意。」尤其在當今世界，也許這是必需的。
菲比描述自己的服裝，其中包括拉鍊可拉開的寬鬆牛仔 褲、穴居人長褲和佈滿蓬鬆刺繡的外套、高領的軍用風衣， 以及看起來像加墊甜甜圈般有著頸托的造型混合體。「這很 直觀，」她說。「如何看待女性穿著，就是我的感受以及我 與衣服關係的回應。」菲比，將時裝視為一個連續的集合， 不受季節之分的限制。同時鼓勵顧客隨著時間推移慢慢建 立一個連貫的衣櫃。無須盲目消費，當然也不致於庫存。
什麼是「菲比式」美學 ? 不取悅、甚至不必性感，依然可以擁有自我 存在的女性價值。
「今天仍然穿著 20 年來的衣服。包括最喜歡的一條自 己做的 Chloé 長褲。」話雖然如此。但菲比並不天真，知道 銷售業績的重要，畢竟她是奢侈品集團 LVMH 持有其少數 股權的設計師。
這麼多品牌，要試著被人記住；菲比說：「大多數都 是因為從一個知道自己想做什麼的設計師，是很重要的開 始的。」
回顧 Chloé 時期（ 2001–2006 ）：菲比延續浪漫基調， 但更強調都市女性的自在與自信。運用蕾絲、荷葉邊、絲 質連身裙等「柔美」帶有不造作叛逆元素，喚起青春女性 自主。重新定義 21 世紀初「不為他人裝扮」；從甜美走向 酷感知性的 Chloé 。
而為 Céline 創造了最具代表性時期的菲比，大膽以丟 掉高跟鞋與性感曲線，為職場女性打造；「極簡中的沉著」 的質感，成就女性形象的尊嚴感。
Chloé Céline
沉默從來不是退場，反而是一種選擇。當時尚總以網路傳播速 度、網紅的社交話題進行推波，菲比卻以「缺席」作為回擊。她不 出現在社交媒體、不解釋、不急著重返舞台，卻始終被記得。
關於自主、節制與細節的時裝語言，從 Céline 到 Phoebe Philo Studio ；從 2010 年代的 Céline ，指引無數女性在風格與身份間找到 平衡的菲比，更像這場凝視的代表人物。
Phoebe Philo 用另一種極簡與沈著，在 21 世紀打破桎梏。像在 職場奔波的母親，那些習慣在沉默中奉獻的女性，那些不為他人目 光存在的靈魂；菲比並不追求「女性主義」的口號，而是回到生活： 那些終於有一種風格可以穿上身，說出自己。如果香奈兒打破禁忌， 是一場革命； Philo 對自我感知的回應－不再取悅、不再標榜、不再 急著被定義，更像是女性的內省，兩者同樣為女性創造了時代風格。
當理解：「風格」可以是一種「自我凝視後的選擇」。 Phoebe Philo 的設計，是一種精神上的「自我極簡」。不過度強調性別、不 受限年齡、不跟潮流趨勢，而是尋找「這就是我」的安靜與自信。
為誰穿衣？「不再是希望被看見，而是永遠被記得的樣子。」 因為，不必模仿誰，只是對自己的凝視。
邀你走「靜」巴黎
「親密感」－私密奢華的未來式
美得令人心碎的巴黎，從不只是浪漫的代名詞。
不來自浮華，而藏在咖啡館、古董鋪和三步五時的花店及舊書攤的閒情，正是閱讀和感受這個城市魅力的節奏。
遠離觀光熱點香榭麗舍大道或瑪海區，走在毗鄰劇院和音樂廳最富文人氣息的的「第九區」， 若有幸邂逅如其名的精品飯店 La Fantaisie ，你就更能體會巴黎千變萬化卻始終教人著迷的原因了。
每間客房布置不走高調炫耀，從窗簾摺皺、古董壁燈、 手工寢具、自選香氛、悉心植栽，還有光影與氣味，奢華不 再只是水晶吊燈、金屬與大理石建材，而是感官之外，有一 份細緻的藝術敏感－在光影中，走廊盡頭的花鳥壁紙和畫， 甚至窗外日光和屋頂線條的視角，都是感受美學的總和。 低語的「慢奢」哲學
La Fantaisie 的極致詮釋：不大張旗鼓地高倡永續，卻 在每個細節默默實踐：以一種靜謐、溫柔和親密從女性視角 出發的設計－色彩、材質、植物、光線、聲音與氣味，觸動 五感的探索，這裡也是一座鬧中取靜的秘密花園，靜靜地表 達著對自然的尊重。
相對更是對財團化豪華酒店設計語彙的反思：不再競相 追逐高樓地標、浮誇建築或以歷史名人、名流影星打卡為賣 點，轉而回歸在地生活，強調人文藝術、飲食與整合全方位 身心「療癒」的多元化深度體會。
La Fantaisie 精品飯店低語著「慢奢」的法式美學。像 一封寫給旅人的情書， 總在沉靜的角落，勾動最親密地奢 侈；呼吸和回憶著巴黎。
GOLDEN POPPY 餐廳
屋頂上的花園盛宴
設席樓頂的 Golden Poppy 餐廳，維持 La Fantaisie 精品飯店一逕的女性特質，也是一座詩意的「食的花園」。
由米其林三星女主廚 Dominique Crenn 主理的頂樓餐 廳，浪漫全在菜單上；將加州自由與亞洲料理細膩味覺延 伸－植物性為主的料理哲學，草本、溫和、綠意盎然的菜 色，詩情畫意的展開一場舌尖上的城市幻想。
點一杯獨具飯店自然主義的特調「草本系」雞尾酒， 映照著巴黎落日，別辜負了對靈魂自由的最好致意！
｜首釀大麯酒｜
｜經典金門高粱酒 - 戰酒黑金龍｜
｜匠心紀念酒 -2023 金門迎城隍紀念酒｜
若說島嶼的靈魂藏在氣味裡，那麼，走一趟金門，走進一段熟成歷史的酒 窖。不只是戰地硝煙，還有酒甕裡沈沈發酵的高粱清香。
金門酒廠的誕生，是一段時代氛圍的延續。 1952 年，為了解決軍民所需、 穩定物資供應，在政府主導下設廠釀酒。起初是戰備物資，卻意外釀出一段文 化風味。如今，「金門」等同「高粱」，幾乎成了品牌記憶。
金門高粱的香，含蓄的辛香與穀物氣，帶著濃烈島風與煙塵記憶。近年來， 金門酒廠也在尋求突破與轉型。從推出年輕化副品牌、設計聯名包裝，到開放 酒廠觀光與文化展覽，試圖讓高粱酒說一段關於戰地島嶼的故事。
高粱酒之所以成為濃烈純粹的金門風味象徵，在於這座島日照長、晝夜溫 差大、地底花崗岩層水質甘醇，為高粱種植與釀造提供了天然條件。金門使用 在地紅高粱、以及古法小麥麴釀造，從發酵到熟成，對「原味」與「本質」的 堅持從未妥協 。
島嶼釀魂「不宿醉」
「醇梁固態」這四字－凝縮了金門高粱與六大蒸餾酒區別的核心精神：不 同於液態發酵，金門以固態小麥麴為媒，在厚實的發酵池中靜藏的多元微生物 菌絲與高粱對話、提煉出層次豐富、口感深沉的酒魂。
每一滴高粱，都有骨有魂。而金門高粱真正能成為經典，除了「固態」的 深層發酵，值得一提的是，也因以傳統雙輪蒸餾法與經驗，嚴格控制並平衡揮 發性有機「高級醇」的含量比例，使得酒體純淨、雜質低，正是許多老饕公認； 烈中帶柔、餘韻分明的金門高粱「不易宿醉」的原因就在於此。
而為了跟上烈酒時代更迭的趨勢，金門酒廠悄悄展開一場關於在清雅乾淨 與濃郁醇厚之間，重新定義「白酒」的年輕化味覺革命。在 58 度經典款之外， 金門高粱推出更清新、更具親和力的「 46 度」高粱，輕盈而不失骨幹，讓白乾 不再只受限老派，而成為年輕世代的調酒新歡。同時，也為老饕打造「 49.9 度 特窖黑金龍」系列，以其濃郁醇厚、回甘有勁的風味，被譽為高粱中的精品之作。
｜陳香窖藏酒 -12 年｜
｜瓏時金門高粱酒 ( 磚紅厝 ) ｜
設計與記憶：從包裝走進金門風景
金門高粱學會說故事。不只是酒體風味變奏，設計包裝， 更是一種語言。將高粱酒和在地旅遊經驗共構記憶的巧妙連結 下，推出象徵島嶼性格－既戰備又詩意的金門「地景提案」的 包裝；以呼應戰地軍事通訊印記的「金門」字型結構的電話亭， 和對應金門濃霧和夜色星空下金門大橋拱等，年輕旅人打卡景 點為巧思，讓釀的是島嶼記憶的金門高粱，成功翻新年輕化。
而從 58 度經典高粱口味的冰淇淋創意組合，到紀念「金門 大橋通車」的彩繪酒瓶； 22 年陳年窖藏的玻璃瓶身到藍白色調 的概念包裝，金門高粱逐步脫胎為代表戰地風情的文化標本。 釀的是文化，也是未來
金門酒廠從一瓶「烈酒」，走到今天能對話歷史與未來的 「文化載體」，靠的是時間、風土、一代師傅對「醇梁固態」 的執著；在清雅與醇厚之間，在霧色與酒香之間，金門高粱不 再只是酒精度的口感遊戲，而是以特有島嶼風味的轉譯，一口 乾了烈酒流動的時代餘韻。
從戰地到酒鄉、從坑道到酒窖；我在金門島，聽見了風、 嗅到老酒甕的風味，也走進了一趟探索酒魂的時空旅程。金門 對我來說，不只是一座戰堡壘、一間酒廠、一甕白酒，而是在 時間與工藝的氣味裡，找尋更深的連結：且舉杯和歷史乾杯？ 或許，答案就在那片靜靜發酵的寂靜裡。
︽紅磚︾未老，
時間還在。
金門的牆，不只是牆。
這些被風吹了半世紀，邊角磨損如老兵皺紋的 瓦；或閃著彃痕創傷記憶的磚，都是時間與戰地交接 的證明。
看著曾為軍事工禦建築， 時間低迴著多少家族 的榮光與衰敗落，像旁觀者發現金門村落宅院不只裝 飾得華麗，還藏著滿滿象徵與隱喻；一磚一飾，處處 皆有意。
馬背牆上貼著鳳穿牡丹，燕尾兩端捲著龍魚交 纏－這些來自戲曲、傳說、古籍的元素，自有典故。 牡丹富貴，年年有魚餘，獅面守宅平安，戲曲文物講 的是忠孝節義，如今也是對後代的寄望與提醒。
在這裡。金門的一磚一瓦，是歷史與地理的錯位； ⋯⋯不急著解釋，卻沈默的守護。靜靜矗立的古厝也 許已成為民宿；坑道也可能改作釀酒窖場，空氣裡高 粱 釀的甜氣，彷彿慢慢醒酒的歷史記憶。
但見歷史傷痕，寫著金門未完的篇章 如果需要見證。而我，正是那剛好經過過的人。
居住在形色溫潤的絕美藝品中 回歸最內斂靜謐的閒適生活裡
