羅芙奧季刊第26期 Ravenel Quarterly No. 26

精采時刻 雋永人生

塗鴉夢幻 GRAFFITI FANTASY

No. 26 Autumn 2018

趙無極 ZAO Wou-ki《5.11.62》1962 油彩 畫布 Oil on canvas 80.5 x 116 cm Ravenel Spring Auction 2018, sold for US$ 5,152,815

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CONTENTS No.26 ｜ Autumn 2018 ｜ https://ravenel.com/

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ISSUE

羅芙奧2018春季拍賣會 圓滿收槌 精彩回顧

Ravenel Spring Auctions 2018 A wonderful note ended,throwing back to highlight

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ART & INVESTMENT

六角彩子：手繪的夢想世界

Ayako Rokkaku: A Hand-painted World of Dreams

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THE ARTIST

萊蘭夫婦 生活藝術的自然

François-Xavier & Claude Lalanne The Nature in the Art of Living

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ANTIQUE

江兆申

CHIANG Chao-Shen

34

ANTIQUE

香韻繚繞 沉香美學與收藏 Agarwood

12 2

精采時刻 雋永人生

六角彩子 《紅洋裝女孩》2009 壓克力 畫布，162x130.5cm 羅芙奧台北2018秋拍「亞洲現代與當代藝術」

塗鴉夢幻 GRAFFITI FANTASY

No. 26 Autumn 2018

36

Ayako Rokkaku "Girl Wearing Red Dress", 2009 Acrylic on canvas, 162x130.5cm Ravenel Autumn Auction 2018 Modern and Contemporary Asian Art

WINE

發行人 Publisher╱王鎮華 Arthur Wang 監製 Managing Director╱李雅欣 Wendy Lee 總編輯 Editor-in-Chief╱陳惠黛 Odile Chen 主編 Managing Editor╱葉子微 Gina Yeh 編輯 Editor ╱陳昱良 Iris Chen

小農盛世後 香檳的下一個篇章 The Next Chapter of Grower Champagne 40

LUXURY

古董珠寶 凝鍊風華

Antique Brand Jewelry, the Finesse Distilled inTime

42

CUISINE

ＮＯＭＡ美味回歸

發行所 Published ╱羅芙奧股份有限公司 Ravenel Ltd. 地址 Address ╱10683 台北市敦化南路二段 76 號 15 樓之 2 15F-2., No. 76, Sec. 2, Dunua S. Rd., Taipei 10683. Taiwan 電話 Tel ╱ +886 2 2708 9868 傳真 Fax ╱ +886 2 2701 3306 電子信箱 email ╱info@ravenel.com

全球排名第一餐廳 46

羅芙奧藝術集團台北辦公室 台北市敦化南路二段 76 號 15 樓之 2 電話 Tel ╱ +886 2 2708 9868 傳真 Fax ╱ +886 2 2701 3306

FASHION

動物情牽珠寶魂

Nature Inspired Jewelry

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羅芙奧藝術集團香港辦公室 香港中環皇后大道中 30 號娛樂行 31 樓 3101 室 電話 Tel ╱ +852 2889 0859 傳真 Fax ╱ +852 2889 0850

FASHION

移動的藝術品 Haute Couture 62

羅芙奧藝術集團北京辦公室 100022 中國北京市朝陽區建國路 118 號 招商局大廈 7 層 730 室 電話 Tel ╱ +86 10 8587 8099 傳真 Fax ╱ +86 10 8587 8199

SPECIAL REPORT

斯堪地那維亞的月光 Georg Jensen 編號1041

64

WHEN ARCHITECTURE MEETS ART

當建築遇上藝術 奧拉佛 艾里亞森vs丹麥

Acclaimed Artist Olafur Eliasson's First Building Opens in Denmark

羅芙奧藝術集團上海辦公室 200050 中國上海市長寧區鎮寧路 465 弄 181 號 1 幢 2 樓 2E 電話 Tel ╱ +86 21 2411 9575 傳真 Fax ╱ +86 21 2411 9570

創刊 2012 年 5 月 First issue May, 2012 季刊 Quarterly 登記證 中華郵政臺北雜字第 1883 號執照登記為雜誌交寄 © 版權所有 翻印必究。本刊圖文非經同意，不得轉載或公開播送。 All rights reserved. Use of editorial content without permission is strictly prohibited.

46 3

[ CHIEF EDITOR'S NOTE ]

藝術的無所不在。 「建築是可居住的雕塑」 「高級訂製服是移動的藝術品」！ 藝術，不再狹隘地只是博物館內的陳列品，牆上的裝飾物。食衣 住行育樂，樣樣可以很藝術。富有美學質感的現代生活，應是不少人 樂於追求的目標。 第26期Ravenel季刊的內容豐富繽紛，每個單元無不奪人眼球，讀

來津津有味。從「藝術與投資專欄」介紹日本素人畫家Ayako Rokkaku 六角彩子揚名歐洲，現場表演徒手彩繪的可愛圖像，到「西洋藝術 家」法國Lalanne萊蘭夫婦自然精緻的裝飾藝術。「專題故事」談Haute

Couture高級訂製服的創意，丹麥藝術家Olafur Eliasson艾里亞森的跨界

合作建築，凝聚時代風華的古董珠寶專文，到回歸美味、療癒的北歐 美食藝術巡禮，幾篇圖文之後，我們已快速瀏覽西方精緻生活與現代 藝術的梗概。 素人塗鴉、美術經典、建築雕塑、自然環保、華服珠寶、極簡日 常，當今日世人處於極端的天氣與詭譎多變的政局中，因為能同時擁 抱自然與藝術，獲得心靈的慰藉與情緒轉移，來回於已知與未知的探 索，世界依然充滿想像與趣味無窮。

總編輯

草間彌生《富士山》1982，壓克力 畫布 ，15x22 cm 羅芙奧2018秋拍 「薈萃：國際現代與當代藝術」 Yayoi KUSAMA "Mt.Fuji" 1982, Acrylic on canvas , 15x22cm Ravenel Autumn Auction 2018 Select: Modern & Contemporary Art

4

義大利文藝復興時期的大師達文西畫作《救世主》 2017 紐約的拍賣會上，以超過 4.5 億美金 近 136 億新台幣的天價賣出， 寫下藝術史上最高拍賣價格紀錄。

百年 乍現，珍稀 無價。 品味超然 眼界非凡 心靈巨富

新竹市東門街 100 號 03-523-7899 ‧ 新竹百年榮華的起點 ‧ 東門圓環超能量薈萃 ‧ 挑高九米恢宏迎賓廳 ‧28 層凌空巨擘星光館 ‧40~60 坪 超越夢想 恭迎尊駕 親臨鑑賞

聽從我、日日在我門口仰望、在我門框旁邊等候的，那人便為有福。

(聖經

箴言8章34節)

[ ISSUE ]

RAVENEL SPRING AUCTIONS 2018 A wonderful note ended,throwing back to highlight

羅芙奧 2018 春季拍賣會 圓滿收槌 精彩回顧 Text、Photo／Ravenel International Art Group

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薈萃：國際現代與當代藝術 羅芙奧台北 2018 春季拍賣會《薈萃：國際現代與當代

藝術》圓滿落槌，是次拍賣總件數成交率達 71.43％，金額成 交率達 93.41 ％，在整場座無虛席的熱鬧氣氛下敲出漂亮佳 績。 開場以美國普普、街頭藝術 KAWS 帶動全場。班克斯 《擲花者》首次登場便以超出預估價兩倍落槌。 熱烈氣氛 下，備受矚目的日本當代藝術家：六角彩子， 表現更是亮眼 奪目驚豔全場 。現場買家、電話競標互不相讓，六件作品皆 以超過預估價 2-3 倍的價格入袋新藏家。尤以《小紅洋裝 》 經歷十九口、《花園女孩》經過二十口激烈競價，最後兩者 皆以高預估兩倍價格台幣 144 萬元成交﹝以下金額均含買方 服務費﹞。

「亞洲現代與當代藝術」預展現場 Highlight of Preview "Modern and Contemporary Asian Art"

高價拍品，英國當代雕塑大師：東尼•克雷格〈 Tony

亞洲現代與當代藝術

Cragg 〉首次現身亞洲拍場，前衛大器雕塑《麥可馬克》精彩鉅作，現場與

在滿場座無虛席以及熱烈人潮競投下和接續的高價作品成交之中收槌。近

像─芮妮 》，延續國際市場熱潮，現場、電話競標多方拉鋸高潮迭起，以超

150 件精品佳作拍出台幣 4.47 億元佳績，金額成交率達 128.69 ％，成績斐

出高預估的台幣 2,580 萬元成為春拍亮點。詢問度最高巴黎畫派奇斯林《三

羅芙奧 2018 年春季拍賣壓軸鉅獻，「亞洲現代與當代藝術 」拍賣會，

然。（以下皆為台幣） 甫開拍日本當代藝術帶動整場競標氣氛；奈良美智，Lot 127《OTO》

55 萬元起拍後 216 萬元售出，後續作品接連拍出佳績；Lot 131 草間彌生銅

書面競投相互較勁，最終以台幣 1,320 萬元完美成交。莫迪里亞尼《女人頭

朵罌粟花》，在拍賣官書面與電話買家相互對價下， 以漂亮成績 336 萬元成 交。經典大師魅力不減，再度證明各界藏家國際化的精準眼光。 專題推薦法國天才藝術家：畢費〈 Bernard Buffet 〉經典人物系列《鬥

南瓜以近三倍預估價288萬元售出；Lot 136 五件一組南瓜喊價至 13 口，起拍

牛士》深受藏家青睞，兩方買家爭相競價， 全場屏息對峙， 最終以接近台

六倍價格 180 萬元售出；六角彩子《黃洋裝女孩 》同樣六倍起拍價格 180 萬

幣 900 萬元精彩成交；其 1958 年早期油畫《瓶花》也以 264 萬元喜獲新主。

元成交，競爭熱烈。

戰後抽象專題：來自匈牙利的維多．瓦薩雷利《跳動的旋律》摩登精緻畫作

華人現代藝術指標，常玉《陶潛詩集》再次引發熱潮，22 萬元起拍後

以 120 萬元成交。具體派擲瓶藝術大師嶋本昭三《起重表現：拿波里 F》以

逸品分別入袋收藏。華人藝術板塊領銜拍品，趙無極磅礡之作《5.11.62》，

以 247 萬元成交。而法國抒情抽象大師：喬治．馬修《婚約 ─勃艮第公爵與

出現激烈叫價熱潮，以預估價 10 倍價格 240 萬元拍出，接續的速寫、水彩

8,800 萬元起拍，電話競標台上多位委託依序出價，經過七次出價爬升至 1 億 3,000 萬，最後在全場屏氣凝神之際以 1 億 3,500 萬圓滿收槌，在掌聲之中以

1.5376 億站上億元拍品之列，敲響今年春拍耀眼碩果。趙無極《09.07.73》 5,856 萬元覓得藏家，朱德群《春天的香氛》3,600 萬元站上十大拍品之列，

劉國松作品表現不俗，《綿綿無盡峰連白 》1,080 萬元、《太空系列-紅日升

240 萬元穩健納為買家新藏。荷蘭眼鏡蛇畫派創始成員卡．阿貝爾《無題》 盧森堡女公爵》典雅之作也以超出高預估台幣 660 萬元成交。

以描繪仕女優雅姿態聞名，法國貝爾納．夏洛瓦備受矚目，四件拍品 皆順利覓得新主。同期的米歇爾．昂利《水晶瓶花束》現場買氣熱絡。豐富 多樣的當代藝術：伍龍威 《約翰．藍儂》郵票媒材

自五花海》432 萬成交，顯示此次春拍，買家對於估價平實的精彩拍品抱持

創作、強納森•保羅《棒

十足的投標信心。

棒糖系列》雕塑、市霸奇

日本當代藝術巨擘草間彌生兩件《南瓜》油畫分別以 1,560 萬元、1,080

萬元成功覓得買家，奈良美智《小猴仔加油》 550 萬起拍後多口出價，以

1,320 萬站上十大亮眼佳績，足見羅芙奧在日本當代藝術選件的精準眼光以及

敏銳的估價策略；中國當代藝術周春芽油畫創作，《花神》840 萬元成交， 《太湖石》1,100 萬，分別為書面委託購藏。今場兩件席德進拍品再度引發席

德進收藏熱潮，《瑞濱海岸》110 萬元起拍至 288 萬元成交、《水田》50 萬 元起拍後以 300 萬亮麗成交。

奇《水果冰棒，舔我》、 娜溫•參森《別為小事傷 心》、羅密歐•布里托 《我愛這片土地》都是首 度在台灣拍賣市場締造成 交紀錄。 羅芙奧國際藝術部總

會後羅芙奧藝術集團董事長王鎮華先生表示，對於此次春拍成績抱予肯

經理陳惠黛表示：「薈萃

定，希冀在今年秋拍更能乘勝追擊以迎接明年羅芙奧廿十週年；總經理傅斐

國際專場拍品越加多元，

郡女士亦表示愈來愈多的精選小品受到各階層的買家青睞，收藏標的改變已

且增加當代藝術比重，獲

成風尚，但不可忽視的是經典名家的作品，在合理的估價範圍內，也同樣是

得各界藏家的認同與支

收藏或是投資市場的常勝軍。

持，尤其在亞洲市場西洋 藝術的收藏族群越來越多，競拍踴躍，我們對此次拍賣的結果感到滿意。國

阿美迪奧．莫迪里亞尼 《 女人畫像－芮妮 》 1916-1917 年 水粉 綜合媒材 綠色繪紙板 Amedeo MODIGLIANI " Portrait d'une Dame ( Renée ) " 1916-1917 Gouache, mixed media on the green drawing cardboard 51 x 30 cm

際藝術市場規模築底完成，未來專場將會提供買家更多國際名家的稀有珍藏 選擇。」 7

[ ISSUE ] 清賞—古今人文藝術專場 「清賞—古今人文藝術專場 」本次特別徵集到來自台灣重要藏家收藏的 十多件藏品，多件有出版和展覽紀錄。其中以一件 清 酸枝嵌百寶博古圖黑漆 描金山水八聯屏 最為奪目，屏風八扇四對成堂，雕工複雜精細，被現場多位 藏家競相出價，外加電話台也頻頻加價，最後集中在現場與電話委託的兩位 客人，以 108 萬元高價成交。本季新增品鼻煙壺、宣德爐、掐絲琺瑯品項和 多件木雕文房用品均是取得了優異的成績，為一空間之中融合，體現文人生 活的風雅之趣。 延續近年市場對田黃的追捧，羅芙奧本季一組《民國田黃薄意古獸鰲龍 章三方》頗為難得，以 43 萬元成交。玉器《18 世紀 白玉阿彌陀佛》和《清

翡翠「喜上眉梢」蓋瓶》分別以 168 萬元和 102 萬元被藏家收藏。唐宋風韻

本季喻仲林持續上一拍的熱度，《草莓雛雞》、《白荷》在預展時就被 多方詢問，作品分別以 48 萬元和 33 萬元和被藏家收藏，其中《草莓雛雞》 締造藝術家作品中最小尺幅最高金額的記錄。《竹鶴圖》更是不負眾望以高 出預估價近 4 倍的 90 萬元價格成績。書畫專場中另一個重點拍品為林則徐 《行書錄明人詩四屏》其書法剛柔相濟，秀雅勁健兼具，如此佳作最終以

114 萬元台幣成交。 羅芙奧希望可以通過本季兩場「清賞—古今人文藝術專場」和「翰墨丹 青—中國書畫專場」的拍品希望予人一種生活感和親切感，因而也吸引了眾 多不同領域的新老藏家參與其中，也樂在其中。

尊釀雲集

古今情懷，在當下正值高古瓷收藏之時，人文專場集結宋元時期，南北兩地

羅芙奧藝術集團於 6 月 1 日呈獻的「2018年春季藏酒拍賣—尊釀雲集

各大名窯瓷器佳品。一件《宋 吉州窯剪紙貼花茶盞》在拍前雖然沒有被過多

」已於周五晚間七時完滿收槌。本次拍賣會假萬豪酒店舉行，是次徵集的

詢問，但現場拍賣中被多方叫價，最終鎖定在電話委託的兩位客人，來往多 個回合成為拍品現場的一匹黑馬，在長時間的拉鋸戰之後以 180 萬元成交， 高出預估價 6 倍。

此外配合具有當代文人氣息的當代水墨，如彭薇和泰祥洲的作品分別以

14 萬元 和 96 萬元 成交。在本場中多件銅鎏金造像鎏金亮麗，其做工精細成

606 個品項為藏家精選來自新舊世界的好年份佳釀與豐富的日本及蘇格蘭威 士忌，締造了近八千五百萬的成交額，件數成交率近八成五，法國勃根地紅 白酒的熱潮與日本威士忌的再掀狂潮，推使金額成交率超越 120%，穩坐台 灣藏酒拍賣的龍頭地位，感謝各界藏家的支持與對羅芙奧專業的肯定。 首先呈現的波爾多窖藏，總數 96 件，其中 Château Latour 1961 、

為藏家追逐的極佳作品。一尊《15 世紀 西藏銅鎏金無量壽佛佛像面容生動》

Château Haut-Brion 1989 等對波爾多地區來說具有重要歷史意義的傳奇年份

價格收藏。另一尊《明 銅鎏金金剛手立像》 形態威嚴，工藝考究成交價 204

高預估的 46 萬收槌，右岸 Pétrus 各年份作品在這一季的拍賣中也都敲出高

，工藝細緻圓潤，為乾隆時期最具代表性的造像，最終被藏家以 108 萬元的

酒款都有著相當亮眼的表現，Château Mouton 1945 更在六口的競價下以超越

萬元被藏家競得。

預估以上的好成績；而素來受到藏家喜愛且具有收藏價值的原裝木箱品項如

翰墨丹青—中國書畫專場

有著穩定的表現，波爾多經典珍釀專區金額成交率近 100%，顯示著波爾多

宜古宜今本場涵蓋多個不同品項的跨界藝術拍賣會，為廣大藏家呈現 「書畫專場」和「古今人文藝術專場」。兩場均取得優異成績，本季首次獨 立推出「翰墨丹青—中國書畫專場」，封面拍品徐悲鴻《古柏老叟》不負眾 望，作品以強調素描寫生，看盡人世滄之魄力深得藏家喜歡，最終以 432 萬 元成交。另一幅黃君璧《溪山夕照》出版來源清晰，是文人臥遊山水之心境 作品，拍前便備受藏家關注，現場買家更是連連加價最終以高出預估價 3 倍 之多的價格成交，交出 216 萬元的傲人成績。

Château Lafite 1996、Château Mouton 2000、Château Haut-Brion 2003 等也都 市場的穩定復甦。 絕代風華勃根地專區則接續以高達 120% 的金額成交率驚豔四座，其

中大瓶裝勃根地紅酒更受到藏家的喜愛，敲出近 150% 金額成交率的亮眼 成績。一開場的 Domaine Dujac Clos De la Roche、Clos St. Denis、與 Bonnes

Mares 等特級園作品，在踴躍的書面和現場競價中 36 個品項全數敲出，

且成交價格皆超越高預估，為勃根地專區掀起第一波熱潮； Domaine de la

Romanée-Conti 則接續掀起第二波高潮，無論是備受關注的Romanée-Conti 2009 magnum ( 兩個標準瓶裝 ) 、經歷十次激烈競價方得落槌的 La Tâche

1976、或 Richebourg 1976，許多品項都在現場藏家此起彼落的競投中，以超 出高預估的好成績落槌，DRC 2002 Assortment 更敲出 160 萬的亮眼表現。 勃根地之神 Henri Jayer 也不遑多讓，12 個品項締造了百分之百的成交率，

其最傳奇的 Richebourg 1978 與 1985 分別以 42 萬與 40 萬落槌，其餘品項也 皆以高預估或以上的價格敲出。近年來受到市場關注的名莊特級園作品如

Domaine Prieuré Roch、Domaine Comte Georges de Vogüé 、Domaine Jacques-

Frederic Mugnier、Domaine d'Auvenay 等，也皆受到藏家的高度肯定，其中 Domaine Georges Roumier Musigny 1999 更在電話、現場、與書面的多方競爭 中，歷經十三口的競價，最終以 24 萬收槌。

勃根地白酒亮點繁多，其中 Coche-Dury 1991 至 1996 的 Corton-

Charlemagne，書面投標業已激烈非常，現場更不斷殺出強勁對手；有著勃根 地白酒第一名莊美譽的 Domaine Leflaive，其 Montrachet 1993 以 17 萬落槌，

Bienvenues-Bâtard-Montrachet 2000 與 2001 也以超越高預估的好成績落槌。 Domaine de la Romanée-Conti Montrachet 更是本季白酒不容錯過的亮點，因誘 人的估價受到藏家追捧，在此起彼落的競價中七個品項全數以高預估或以上 古今人文專場預展現場，徐悲鴻 《 古柏老叟 》 設色 紙本 鏡框 73.6 x 61 cm XU Beihong " Old Man under Cypress Trees " 1944 Ink and colour on paper, framed 73.6 x 61 cm

8

「薈萃：國際現代與當代藝術」預展現場 Highlight of Preview "Select: Modern and Contemporary Art"

的價格落槌。共 233 件的勃根地品項逾八成的件數成交率和超過 115% 的金 額成交率，近三小時的拍賣場面熱烈滾滾，高潮不斷，絕無冷場。 過去十二拍以來，羅芙奧尊釀雲集與台灣藏家們一同見證著威士忌市場 的風起雲湧，從 2014 年威士忌拍賣的市場初探、 2015 年的蓬勃崛起、2016

年的市場盤整、到 2017 年蘇格蘭威士忌的復興，2018 年春季拍賣締造了逾

MODERN AND CONTEMPORARY ASIAN ART

Ravenel's final auction sale in the spring of 2018, “Modern and Contemporary

Asian Art” auction was a huge success. Nearly 150 exquisite masterpieces produced a record of NT$ 447 million, and the transaction rate reached 128.69%.

The contemporary Japanese artist Yoshitomo Nara‘s works sparked a heat

九成的件數成交率與 144% 的金額成交率，成績不容小覷的同時，也再一次

wave of bids. They were all sold at very high prices. Lot 127 "OTO” was especially

見證了日本威士忌的雄起。

popular among many in room as well as on-site and telephone buyers. "OTO" had

本季重頭戲之一為各酒廠嘔心瀝血的高年份作品，限量 83 瓶且為百富

酒廠首度發表的全程雪莉桶陳年作品 The Balvenie 1952 50 Years Old Cask 191 以110 萬落槌；全球限量 100 瓶的格蘭利威首席釀酒師極選系列 The Glenlivet

1966 50 Years Old The Winchester Collection 則以 90 萬落槌；而每一拍均敲出

好成績的麥卡倫 Fine and Rare 珍稀系列則再次因其稀有的數量與珍貴的品質 創下佳績，其中 1938 與 1953 分別以 120 萬與 110 萬收槌。近年來受到市場 矚目的 Bowmore 酒廠三部曲中的金波摩 Gold Bowmore 1964 44 Years Old 與

黑波摩第二版 Black Bowmore 1964 30 Year Old 2nd Edition 則分別以 40 萬與

50 萬落槌，而本次徵集的一套共 43 瓶狀態極佳的格蘭花格家族桶 Glenfarclas

the initial minimum bid of NT$ 550,000, and was eventually sold at NT$ 2.16 million, which was triple the estimated price. Yayoi Kusama’s “Pumpkin” Lot 131 was also for nearly three times the estimated price at the prices of 2.88 million.

Another set of five pumpkin sculptures “Pumpkins Serie 4” by Yayoi Kusama was also in high demand. It wasn’t until the 13th bid that got sold for 1.8 million, which was six times the estimated price. Ayako Rokkaku’s “Girl Wearing Yellow Dress” took a bid from 300,000 to 28 bids, and finally sold it at a six-fold price of 1.8 million, which was six times the initial price.

One of the most talented modern Chinese artists San Yu’s collection figure

Family Casks 1952-1994 松木盒版，則以 220 萬的落槌價成為是次拍賣成交金

sketches and watercolor pieces, were all sold to a variety of collectors. Particularly

額最高的品項。

the print book ”Les Poemes de T’ao Tsien”, which started off with the initial bid of

而停滯盤整多時的日本威士忌市場，在本季挾雷霆之勢捲土而來，白州

Hakushu 25 年和山崎 Yamazaki 25 年分別在十九口和十四次的激烈競價下以

12 萬與 17 萬收槌；輕井澤 1981 黑浪紅浪、金藝妓、1984 地圖標、1977 藝

妓標等也都敲出高預估以上的亮眼成績。然本季中的黑馬非「響 Hibiki 」莫 屬，響21 年九谷燒與響 21 年有田燒分別敲出 5.5 萬與 6.5 萬的好成績，響 30

年有田燒更自 6 萬起拍後，歷經如火如荼的二十口競價，最終攀升至 24 萬

方得落槌於現場買家。而本季拍賣的壓軸品項--獲得 Serge 高分評價的輕井澤

1965 波本與雪莉組，以 100 萬起拍，歷經八口的競爭後以 180 萬收槌，熱絡 的氣氛為 2018 年春季尊釀雲集畫下完美的句點。

羅芙奧藏酒部再一次誠摯地感謝各界藏家的支持與肯定，期許能繼續以 業內最低服務費，為品味不凡的您帶來最豐富的藏酒選擇與最專業的服務。

of 220,000 was eventually sold for 2.4 million, which was more than ten times of the initial bid price. One of the most highly appreciated Chinese artists, Zao WouKi’s masterpiece《5.11.62 》started off with the minimum bid of NT$ 88 million.

Multiple buyers in the room, online, and over the phone were competing for this piece. Eventually, after seven bids, the piece was sold for NT$ 135 million, with the final price of NT$ 1.5376 million.《5.11.62 》was the fourth most expensive oil painting by Zao Wou-Ki sold in the history of Taiwan. Another piece by Zao WouKi《09.07.73 》was sold for 5.865 million. Other pieces by various artists were sold out as well. Chu Teh-chun’s “Effluves de Printemps” was 6 million, and Liu Kuo-sung’s “Mountain Ranges” and :Outer Space Series- Sun Arising from Five Flower Pond” were each sold for 10.8 million and 4.32 million.

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[ ISSUE ] Japanese modern artist Yayoi Kusama’s two oil paintings of the pumpkin were each sold for 1.56 million and 1.08 million. Another piece by Yoshitomo Nara “Monkey Baby Go-Go” had the initial price of 5.5 million, and was eventually sold at NT$ 13.2 million. Zhou Chunya’s two earliest oil paintings “Flora” and “Taihu Stone” were each sold for 8.4 million and 11 million. Shiy De-jinn’s “Ruei Bin Seashore” started off as 1.1 million and was sold at 2.88 million. Another piece “Farmland” started off as 500,000 , and was continued with 23 bids. Eventually it was sold for NT$ 3 million.

Chairman Arthur Wang indicated that the Spring auction was a huge success, and expecting the next auction in Autumn to be even better. The President of Art Department, Flora Fu also emphasized the significance of the classic masterpieces done by several talented artists. They are all good for investing within a reasonable price range.

French artist Bernard Charoy is famous for sketching the elegant postures of beautiful ladies. In this season he earned much attention while four of his works successfully found their new owners. Michel Henry from the corresponding period heated the room with his work “Bouquet in Crystal Vase”. The other diverse contemporary pieces including “John Lennon”, a work created with stamps by NG Lung Wai, “Lemon Mid Size Meltdown” sculpture by Jonathan Paul from his lollipop collection, “Tutti Frutti Flavor, Suck Me” by SupaKitch, “Don’t Let Little Things Break Your Heart” by Nolwenn Samon, and “I Love This Land” by Romero Britto are all brand new records that are set in Taiwanese market.

The head of International Art Department Odile Chen said “We’ve been increasing the variety of lots in Select：Modern & Contemporary Art. Contemporary pieces take most part of the auction and received support from our

SELECT: MODERN & CONTEMPORARY ART

collectors, especially when the collectors of western art in Asian market increase.

was a success. The lot transaction rate of this auction is 71.43% while the money

We successfully complete building the base of international art market, and will

Ravenel Taipei Spring Auction 2018 (Select：Modern & Contemporary Art)

transaction rate is 93.41%, bringing us an impressive result after an auction filled with enthusiasm.

We excited the crowd with KAWS as the first work of American pop art and street art. “Flower Bomber” by Banksy was sold at a price two times higher than estimated when it made its debut. Under the dynamic atmosphere, Ayako Rokkaku, a highly interested Japanese artist, had an amazing performance, making the buyers in the room and on telephones very competitive. All six of Rokkaku’s works were

We are very satisfied with our Spring auction as the bidding was very dynamic. continue to provide more rare pieces from international sources.“

CONNOISSEURSHIP: THE LITERATI SALE

The Connoisseurship : The Literati Sale had included more than a dozen

collections from a collection of significant collectors in Taiwan, many of which have records of publication and exhibition. Among the collections, "An Embellished

sold to collectors at price two to three times higher than estimated. The “Little Red

Rosewood Eight-Panel Floor Screen" was one of the most eye-catching works. The

Dress”went through nineteen bids and “Little Girl in the Garden”through twenty.

intricate carvings attracted multiple collectors, and was eventually sold for NT$

Eventually both were sold at NT$ 1,440,000 (including seller’s commission fee).

A Highly priced lot, “McCormack” appeared in Asian market the very first time. It is a work from Tony Cragg, a British contemporary sculptor. The avantgarde and outstanding sculpture brought up an intense competition between bidders in the room and on telephone, and was eventually sold for NT$ 13,200,000. “Portrait d’une Dame (Renee)” by Amedeo Modigliani stayed popular in international

1,080,000. The new products in this auction such as snuff bottles, furnaces, silk reel items, and multi-carving wood carving products all had outstanding results in this season.

Tian Huang’s work has become more and more popular recently. Ravenel's piece “A set of three tianhuang seals” was sold for NT$ 432,000. The jade pieces

market. There were bidders coming from the room and telephone, which brought the auction to climax after climax. Finally it was sold at NT$ 25,800,000 and became one of the shining stars at our Spring sale. In addition, the most frequently inquired “Les trois pavots” by Moise Kisling was sold at a beautiful NT$ 3,360,000.

The classic masterpieces remain fascinating, proving the great taste of the various collectors.

“La Corrida-Tête de Toreto” by the genius French artist Bernard Buffet was widely appreciated by collectors. Two bidders were in an intense competition while the rest of the crowd were holding their breath. In the end the piece was sold at close to NT$ 9,000,000. The “Vase de Fleurs” by Buffet was brought home for NT$ 2,640,000 as well. “Korkep”, a work under the theme of abstract postwar

by Victor Vasarely, was sold at NT$ 1,200,000 for its modern and delicate touch.

“Crane Performance Napoli F” by concretist master Shozo Shimamoto was sold at NT$ 2,400,000, while "Untitled" by Karel Appel, one of the dutch starters of CoBrA, was sold at NT$ 2,470,000. Furthermore, the French abstract artist Georges Mathieu achieved a price at NT$ 6,600,000 with his elegant work “Traite du Duc de Bourgogne et de la Duchesse de Luxembourg”.

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清 《 酸枝嵌百寶博古圖黑漆描金山水八聯屏 》 "An Embellished Rosewood Eight-Panel Floor Screen" Qing Dynasty ( 1644-1911 ) W: 304 cm H : 192 cm

Glenfarclas Family Casks 1952-1994 松木盒版

"A White Jade Figure of Buddha" and "A Jadeite Magpie on Plum Tree Vase and

Yu Chung-Lin remained equivalent reception since last auction. “Chicks and

Cover" were each sold at 1,680,000 and 1,20,000. Another piece of “A Cizhou

Strawberries", "White Lotus", and were inquired multiple times during presale

Black- Glazed Bowl” was eventually sold at 1.8 million, which was six times the

exhibition and were sold to collectors at the price of NT$ 480,000 and NT$

estimated price.

336,000. “Chicks and Strawberries" set the record of the smallest size in the highest

In addition, contemporary ink paintings done by artists such as Peng Wei and

price among all Yu’s work. Moreover, living up to expectation, "Red-crowned

Tai Hsiang Chau were sold for 144,000 and 960,000. Many pieces of copper and

Cranes beside Bamboo Forest" was sold at NT$ 900,000, almost four times higher

gold were widely popular among the buyers in the room. Pieces such as “ A Tibetan

than the estimated price. Another key lot in Fine Chinese Paintings is "Calligraphy

Gilt-Bronze Figure of Amitayus” and “A Gilt-Bronze Standing Figure of Vajrapani”

in Running Script" by Lin Zexu. Lin’s calligraphy is strong yet delicate, and is sold

were each sold for NT$ 1,080,000 and NT$ 2,040,000.

for NT$ 1,140,000.

REFINED BRUSHWORK: FINE CHINESE PAINTINGS

This season we included a variety of categories during the art auction.

We presented the “Fine Chinese Paintings” and “The Literati Sale”, which both received impressive results, for our numerous collectors. We introduced the brand new “Refined Brushwork : Fine Chinese Paintings” in this season. The cover lot "Old Man under Cypress Trees" by Xu Beihong emphasizes sketching from life. Its

Ravenel hopes to bring people a state of lifestyle and amicabillity through “Connoisseurship : The Literati Sale” and “Refined Brushwork : Fine Chinese Paintings”. Due to this we attracted a variety of collectors to participate as well as enjoy our events.

FINEST AND RAREST WINES

Finest and Rarest Wines auctions unveiled Ravenel's Spring Auctions with

expression of deep reflect of life fascinated our collectors, and is eventually sold for

a total sale over 85 million on June 1st. 606 Lots that gathered precious wine and

NT$ 4,320,000. Another work, “Mountain and River at Sunset” by Huang Chun-Pi,

whisky collections all over the world had created a turnover rate over 85% and

is from a transparent source. It is an expression of the mind state of a literati, who

transaction turnover over 120%. Notable highlights include Burgundy wine such as

was inspired by the beautiful landscape during a trip. This work had been receiving

DRC, Leroy, and Georges Roumier; as well as Japnese whisky such as Yamazaki

much attention before the auction, and the bid was raised quickly during the sale.

and Hibiki. We sincerely appreciate the trust and support from our collectors. It is

Finally it was proudly sold at a price three times higher than the estimated, NT$

because of you, we have been able to demonstrated our market leadership with the

2,160,000.

impressive sale.

喝

酒

不

開

車

安

全

有

保

障

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[ ART & INVESTMENT ]

AYAKO ROKKAKU: A HAND-PAINTED WORLD OF DREAMS 六角彩子 手繪的夢想世界 Text / 陳惠黛Odile Chen Photo／Ravenel International Art Group、Gallery Delaive 六角彩子作畫現場，照片由德萊夫畫廊提供 Ayako Rokkaku painting in situ, photo courtesy of Gallery Delaive.

日本當代藝術家奈良美智（ Yoshitomo Nara ）的作品，近年

村上隆加持的藝術家

的拍賣行情屢創高峰， 2015 年秋一幅油畫在紐約拍出 341.3 萬

六角彩子，1982年1月24日出生於日本千葉縣。千葉縣鄰近東京，首都

美元（約一億台幣）的天價，立體雕塑高達上百萬美元，療癒

的成田機場，以及孩子們的天堂迪士尼樂園都在這裡。六角彩子的成長背

無比的紙上作品、限量版畫，在收藏家的競爭下也拍出千萬台

景，距離外面的世界不遠，似乎預視著她未來將翱翔天際，往來於世界都

幣的高價，就連聯名皮箱或收音機、海報、展覽週邊商品無不

市，還有她擅長畫出的女孩們的夢幻國度。

造成搶購潮，橫掃全球拍賣市場。因此，亞洲的藝術市場裡盛 傳著，誰會是下一個奈良美智？傳言有人開出各式名單，日本 當代藝術家六角彩子（ Ayako Rokkaku ）即是被多次點名的一 位。

高中畢業後，六角彩子進入職業學校插畫系學習，至二十歲畢業。離 開校園後，找不到合適的工作，她報名藝術設計節活動，參加現場作畫。從

2001年起近二十歲的六角彩子，開始會在家中創作，或者到公園街頭畫畫。 她樂於在公園內就近觀察自然草木、感受搖曳的陽光和風。她與公園裡圍觀 的群眾互動，有時他們會買下一兩幅畫作，他們不見得是真正的藝術收藏 者，只是單純的喜歡，還有人請她為自己的寵物狗肖像，不諳拒絕他人，也

2018 年市場盛傳「六角彩子是下一個奈良美智」的消息，造 成她的作品被瘋狂搶標，拍賣場上無論是紙上作品或油畫， 每一幅作品都以高於預估價數倍成交。其實，她的行情也曾 在 2009 年有過一波高峰，拍賣會上第一次出現六角彩子的拍 品，已可回溯到 2007 年東京的拍賣市場，並非市場的絕對新 人。 12

自嘲不擅畫肖像的六角彩子，還是勉力畫出可愛的狗兒圖案。

2003年六角彩子參加第日本東京第四屆的「GEISAI藝祭」，在廢棄的 瓦楞紙上作畫，一張張有著大眼大頭的女孩畫像獲得評審的關注，取得「童 子軍評審團獎」（ Scout Prize ）。 2006 年她又參加第九屆 GEISAI 藝術節， 更細膩富有色感的女孩像，又獲頒極具聲望的「後藤明男賞」（ Goto Akio

Prize），不久後在第十屆GEISAI參展上獲得「智慧賞」（Smart Prize），受 到國際主流藝廊的關注。

《女孩與紫色圓圈圈》2013，壓克力 畫布，60.5x60.5cm，羅芙奧台北2018秋拍「薈萃：國際現代與當代藝術」 "A Little Girl in a Purple Circle,", 2013, Acrylic on canvas, 60.5x60.5cm, Ravenel Autumn Auction 2018 Select: Modern & Contemporary Art

GEISAI意為「藝術節」，日語發音為「藝祭」（「藝術祭」簡稱），

嚴格地說，六角彩子並非美術學院出身，但具有塗鴉創意的天賦，得以

命名靈感來自「美術大學學園祭」，由具有生意頭腦的日本當代藝術家村

在眾多參賽畫家中脫穎而出，她想出可不用繪筆而直接以手作畫的技巧，即

上隆所領導的 Kaikai Kiki 公司所主辦。其前身是 2001 年的「藝術道場大獎

興表演的行為，令人們想起日本具體派前輩們的特色。她的繪畫屢獲入選，

賽」，其目的在於發掘藝術家新秀，建立能自由交易的市場，找來知名人士

絕非偶然，若無強烈個人風格，怎能吸引專業評審的關注。第九屆的評審有

組成評審陣容，吸引兩百多位藝術家報名參加，盛況驚人。2002年，活動正

包括知名收藏家、也是國際拍賣行佳士得老闆皮諾（François Pinault），建築

有專業口碑與認證的競賽活動，年輕藝術家可以藉參加GEISAI得到舉辦個人

級的專業人士。而在此之前，奈良美智也曾擔任GEISAI創會的前幾屆評委。

式起名為GEISAI，規模越來越大，參賽者將GEISAI視為一舉成名的舞台，具

師安藤忠雄（Tadao Ando）、畫家會田誠（Makoto Aida），都是藝術界重量

畫展的機會。 13

[ ART & INVESTMENT ]

六角彩子作畫現場，照片由德萊夫畫廊提供 Ayako Rokkaku painting in situ, photo courtesy of Gallery Delaive.

飛翔於日本、阿姆斯特丹、柏林之間的女孩 因為在 GEISAI 藝祭美展上屢次獲獎，同年 2006 年即為六角彩子贏得

萊夫畫廊出版的《色彩在我手中》（Colours in My Hands）畫冊裡，有一段 文字，道出六角彩子對此的心境轉折。

瑞士、法國與美國等國際參展機會，以及荷蘭畫商尼可•德萊夫（ Nico

Delaive）爭取全球經紀代理權。德萊夫畫廊（Gallery Delaive），創立於1970 年代後期。從1980年代開始，該畫廊過去積極推介眼鏡蛇畫派藝術家阿貝爾 （Karel Appel）和丁雄泉（Walasse Ting），以及法國女性藝術家妮基•德• 聖法爾（Niki de Saint Phalle），頗富口碑。而且也是美國抽象畫家山姆•法

蘭西斯基金會（Sam Francis Foundation）的歐洲唯一代理畫廊。尼可•德萊

有的人發現我的作品裡有些微變化，但對我來 說，開始在畫布上畫畫，逐一展示這些作品， 這是很大的轉變。

夫看出芳齡24歲的六角彩子的潛質，隔年2007年開始展出她的作品，合作至 今仍然持續之中。

2001 年六角開始想走創作的路， 2002 年投入報名藝術節展覽，一直

在日常生活裡，瓦楞紙是一種隨處可得的素材，材質輕且挺，容易靠 立，加上以手蘸滿壓克力顏料，觸摸時的溫暖手感，亦或是撕開紙板的斷

到 2006 年間，不是在素描簿上塗鴉，就是以瓦楞紙板作畫。畫畫讓她開

面，上色時的感覺，都是畫家非常喜愛的方式，偶而她還是喜歡這樣的作畫

心，最愛的美食是巧克力薄餅，平時喜歡作白日夢，六角就像一般單純的

方式。

日本女孩。成為專業畫家之後，她在距離東京都電車一小時遠的茅崎市

在德萊夫畫廊的安排下，六角彩子開始在世界各大藝術博覽會上公開表

（Chigasaki）有一個畫室。那段時光是愉悅的，她會到家庭菜園散步，或沿

演畫畫，包括巴塞爾Art Basel、邁阿密Art Basel Miami、台北藝博Art Taipei

著海岸開車兜風。晴天時，有時赤腳在花園裡畫畫，螞蟻和壁虎也來了。屋

等等, 如同「行為藝術者」一般，徒手赤腳，用最原本的本能來創作。她這樣

內很快的被壓克力顏料、畫布、瓦楞紙板和好多蠢蠢的小玩具塞滿，然後發

形容公開現場作畫的感覺:「在比你身體還大的東西上作畫，真是一種奇妙的

現自己僅能窩在一個小小的角落空間畫畫，樂此不疲。

感覺；來回於巨幅畫布的邊際之間，大量的油彩彷彿開始流進我的身體，我

「手帶領著指頭的方向，其力度勝於文字。」她是素人畫家，沒有傳 統的史觀，或是偉大的美學理論基礎，成長中浸淫在日本當代動漫文化的影 響，加上與生俱來的靈敏觀察力及細膩的情感，她只是一個喜歡塗鴉的人。 在廢棄的瓦楞紙上作畫，即興、街頭、又有貧窮藝術特色，然而隨性 的創作卻不太符合藝術市場的期待，畢竟多數收藏家會偏愛畫在油畫布上的 作品。然而就藝術表現及原創性，瓦楞紙作品有六角彩子天馬行空的塗鴉精 神，價值不容忽視。她在GEISAI三次參展的作品，都是繪在瓦楞紙上。在德 14

用手去聚集油彩，讓它們自由轉圈圈。」 她的豐沛創造力得以到國際畫廊的展出，曾經舉辦個展的有法國巴黎的

Galerie AAA（2006）, 荷蘭阿姆斯特丹的德萊夫畫廊（2007、2008、2009、

2010 、 2015 、 2016 、 2018 ）、丹麥錫爾克堡的現代畫廊 Galerie Moderne

（2007）、德國法蘭克福Galerie Wild（2007）、比利時克諾克．海斯特的皮 耶特畫廊Guy Pieters Gallery（2009）、東京的Galerie Teo（2007）、Gallery

Target（2014、2017）與山梨縣的Gallery Trax（2015）舉辦個展等。

還有博物館與雙年展的邀約展出，包括有荷蘭鹿特丹當代美術館

女孩與兒童是貫穿她創作的主要母題，採取特寫形式的佈局。畫裡的人

Kunsthal個展（2011）、斯洛伐克的布拉提斯拉瓦Danubiana Meulensteen Art

物往往不見笑容，或睜大雙眼，扁著嘴，表現出憤怒的樣貌。她說自己的人

Museum個展（2012）、義大利威尼斯雙年展斯沃琪藝術館Swatch Art Pavilion

聯展（2015）、荷蘭鹿特丹當代美術館Kunsthal聯展（2017）、萊頓的民俗 博物館Volkenkunde Museum Leiden（2017）聯展等。

由於代理畫廊位於阿姆斯特丹，為了利於創作與展覽，畫廊老闆為六角

物畫有兩個極端：「逃離與追尋」，「遠目與凝視」。主角多數有行走的姿 態，大步邁開向前。重覆性的隨機塗鴉圖案、動物，也經常是畫裡的元素。 無論是拉長的手臂或是過大的眼睛，鮮艷的色彩或是簡化的細節，這些皆是 日本卡通文化所帶來的影響。

彩子在阿姆斯特丹尋找了一間畫室。畫室位於市中心，原是倉庫改裝。霧面

有時，在她的畫面裡也有暗黑與不安的提示。兔子的鬼魂或是骷顱頭，

玻璃的天光，白天畫室非常明亮，鬱金香之都的生活步調與陽光，跟著她的

這些她記憶裡的孤寂感或死亡意識，隱藏在色彩斑斕的圖畫裡，儘管暗黑然

調色盤上的顏色也變亮了。

而它們無害，還是有可愛的感覺，即使是瞪大眼睛、或睥睨、或斜目、或使

2010年至2011年期間，她把畫室搬到德國柏林去了，沒有特別的理由 就去做了。畫室不大，她壓抑住自己的慾望，把速度放慢，多留些時間給自

壞抽煙，也是帶著療癒的模樣，溫柔地藏在其中，不讓人有視覺的衝擊與焦 慮感。

己。除了擁有一間畫室之外，在走路十分鐘之遙，她另有一個私密的起居空

過去以紙板作畫，她習慣擺在地上塗鴉，後來改成畫布時，當她面對著

間。在新舊建築並陳的柏林，文化衝擊為她的創作帶來巨大改變，使創作的

畫布，初次見到顏料滴流下來，內心欣喜無比。顏料順著地心引力，她要抓

慾望益加的強大。

住作品裡的流動感。不只是徒手，沒有畫筆，不打草稿，她也常光著腳丫面

自成一格的繪畫特色與風格表現 六角彩子自己分析她畫畫的三個風格特點：「單純的塗鴉」、「發掘自

對著她的畫布，用手、身體一起參與創作。

2010年六角彩子參與第一部動畫影片《關於我們》（About Us）發行

了。影片根據川口賢太郎 （Kentaro Kawaguchi）的原作劇本，由Michinori

我的行為」、「小孩的圖畫」。像孩子一樣的圖畫，原本是用以練習線條，

Saigo 監督執導，故事描寫聯結著過去與未來世界的女孩，這是一部等著你

而塗鴉讓她覺得充滿樂趣。一開始她看到甚麼就會畫甚麼，然後反覆在素描

我共同完成的故事。為了參與這部影片，六角彩子一口氣畫了兩百多張圖，

簿上畫著。在開始畫畫時，幾乎不研究習作，就憑直覺隨意的畫著。

雖然後來有些圖片未被選用，但她認真投入的個性可見一斑。動畫的手稿圖 畫，和她過去的創作方式完全相反，這次她必須整合故事腳本、背景、音樂

《無題》2006，綜合媒材，62x93cm，羅芙奧台北2008秋拍 "Untitled", 2006, Mixed Media, 62x93cm, Ravenel Autumn Auction 2008

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[ ART & INVESTMENT ]

《紅洋裝女孩》2009，壓克力 畫布，162x130.5cm，羅芙奧台北2018秋拍「亞洲現代與當代藝術」 "Girl Wearing Red Dress", 2009, Acrylic on canvas, 162x130.5cm, Ravenel Autumn Auction 2018 Modern and Contemporary Asian Art

和圖像的設定，發揮自己過去無法理解的潛能。因為畫家獨特充滿表現性的 色彩，使得影片故事顯得優雅且溫柔。 配合動畫影片的發表，後來她在東京和阿姆斯特丹都舉辦「關於我們」 為名的展覽，並現場創作，在兩地的展覽會場畫出一間瓦楞紙板築成的立體 房屋。動畫、行為表演、立體創作，預告著她將嘗試多元媒材的創作。於是

2011年她的創作擴及至雕塑，巨大的女孩像與動物們從畫布走出來。除了具 有夢幻特質的未來世界，她也嘗試抽象繪畫。抽象化的圖案其實在她的人物 畫背景中已經出現過，她用即興式的塗鴉，將色彩與形式作了有趣的試驗。

藝術市場詢問度持續攀高 2018年春，六角彩子成為亞洲市場詢問度極高的藝術家，無論東京、 香港或台北的拍賣場，都引來熱烈的搶標。日本的藝術市場相對保守，收藏 家過去對於年輕藝術家的興趣不高。然而目前為止最高價的三幅六角彩子作

目前，六角彩子的作品由荷蘭德萊夫畫廊獨家代理。即使是來自日本 的畫家，想第一手買到作品得飛去歐洲去買。 2017 年六角在東京的 Gallery

Target畫廊授權展出時，開幕日新作展品已悉數售出。收藏家想要購買特寫 式的大頭女孩畫像，除了畫廊的庫存割愛，只能往拍賣場尋寶。

2017年秋拍以前，她的 50號壓克力油畫在拍場的交易價大約在兩萬美

元（約60萬台幣）左右，2018年春拍之後，同尺寸的畫作至少需要5萬至7萬 美元（約150萬至210萬台幣）。瓦楞紙板的紙上作品，原本只要4000至6000

美元（約12萬至18萬台幣），後來平均都1萬至1萬5000美元（30萬至45萬台 幣）以上。 根據Artprice的統計數字，2017年度六角彩子的拍賣市場成交筆數有19

件，交易額約為US$242,273（不含買方服務費）（約727萬台幣），2018年

度至8月為止，成交筆數27件，交易額已有US$738,986（不含買方服務費） （約2217萬台幣）。光是半年度的交易情況已超越前一年度總額許多。

品，都出現在2018年四月或七月東京的拍賣會上。而且在香港或台北的拍場

2018年36歲的六角彩子，芳華正盛，創作力十足。她目前輪流生活和創

也都有日本收藏家跨海競標。顯見，日本收藏家也要興致勃勃想買回她的畫

作於柏林、葡萄牙波多、阿姆斯特丹、東京等地，展覽不斷，持續有新作發

作。

表。從2001年已累積相當多的作品。這顆明日之星已經在國際間發光發亮， 未來她仍有機會繼續創作，行情仍持續攀升，且讓我們拭目以待。

16

Ayako Rokkaku: A Hand-painted World of Dreams In recent years, works by the Japanese contemporary artist Yoshitomo Nara have been attracting increasingly higher bids. In Autumn 2015, one of her oil paintings was sold for US$3.413 million in New York (approximately NT$100 million).

Her 3D sculptures were sold for over US$1 million. And, under fierce competition among collectors, her incomparably therapeutic works on paper and limited prints were also sold for over NT$10 million. Similarly, products ornamented with her artwork such as suitcases, radios, and posters, and peripheral products at her exhibitions have all sold in great demand on auction markets around the world. As a result, the art market in Asia has been speculating on who will be the next Nara. Among the various possibilities, the most popular guess is the Japanese contemporary artist Ayako Rokkaku.

In 2018, the popular rumor on the market was that “Ayako Rokkaku is the next Yoshitomo Nara,＂ leading to heated bidding on Rokkaku´s works. Be they works on paper or oil paintings, all of her works at auctions attracted bids several times higher than the expected price. In fact, the market value of her works peaked once in 2009, and the first time her works appeared at auction can be traced back to 2007 in Tokyo, showing that Rokkaku is by no means a newcomer to the market.

AN ARTIST APPECIATED BY TAKASHI MURAKAMI

Ayako Rokkaku was born in January 24, 1982, in Chiba Prefecture, Japan.

Chiba Prefecture, which is close to Tokyo, is the home of the airport of the capital of Japan, Narita International Airport, and the children’s paradise, Disneyland.

Rokkaku’s background is similar to that of the prefecture in that this world seems to have foretold her future of soaring through the skies and traveling among the cities of the world and a dreamland for girls she is an expert at portraying.

After graduating from high school, Rokkaku studied in the department of illustration at a vocational school, graduating at the age of 20. After graduating, she could not find a job that suited her. She participated in art design events and started on-site live creation. In 2001, when she was nearly 20, Rokkaku started creating at home, in the park, or on the street. She enjoyed observing nature, feeling the trees and grass waving in the breeze under the sun. She chatted with the crowds gathered around her when she painted in the park, and sometimes they purchased her works.

Those buyers were not authentic art collectors; they made purchases out of sheer appreciation. Some people asked her to paint portraits of their pet dogs. Rokkaku was not good at refusing others, so even though she humbly mocked herself for not being good at painting portraits, she still tried hard to produce cute dog portraits.

In 2003, Rokkaku participated in the fourth GEISAI art festival. Her paintings of girls with huge heads and large eyes on abandoned cardboard caught the judges’ attentions and won her the Scout Prize. In 2006, she participated in the ninth GEISAI. Her more intricate and colorful portraits of girls won her the Goto Akio Prize. Soon, in the tenth GEISAI, she snatched the Smart Prize and attracted attention from international mainstream galleries.

The Japanese word GEISAI means art festival; it is the abbreviation of “geijutsusai,” meaning “arts festival.” The inspiration of this event originated from the school festivals of arts schools. The Japanese contemporary artist Takashi Murakami has the mentality of a businessman. His company “Kaikai KiKi” hosted the GEISAI. GEISAI was previously the Geijitsu doujou GP, whose purposes were to discover emerging artists and establish a free trade market. Murakami gathered famous people for the panel of judges and attracted over 200 artists to sign up for the fair, causing a sensation. In 2002, the fair was officially named “GEISAI,” and the scope expanded each year. Participants consider GEISAI a stage where they can win instant fame. In this competition, which provides professional word-of-mouth and affirmation, young artists can get the chance to host solo exhibitions.

六角彩子作畫現場，照片由德萊夫畫廊提供 Ayako Rokkaku painting in situ, photo courtesy of Gallery Delaive.

17

[ ART & INVESTMENT ] Strictly speaking, Rokkaku was not trained in academia. However, she is gifted in sketching and in her creativity, which enabled her to stand out among numerous participants. She developed a skill to paint not with brushes but directly with her hands. This improvisational behavior calls to mind the Japanese Gutai masters. Her paintings constantly being nominated for awards is not a coincidence.

If she did not demonstrate a strong personal style, she would not have been able to attract the professional judges’ attention. The judges of the ninth GEISAI included

“The hand directs where the fingers point.

They are more powerful than words.”

heavyweight professionals on the art scene, notably François Pinault, the famous collector and owner of the international auction house Christie’s; Tadao Ando, an architect; and painter Makoto Aida.

《花花世界》2008 壓克力 畫布，190.5x110cm 成交價1,121,000台幣 羅芙奧台北2009春拍 "Girl in Flower Garden", 2008 Acrylic on canvas, 190.5x110cm Sold for US$34,281 Ravenel Spring Auction 2009

18

《紅洋裝女孩》2008，壓克力 紙板，73x81cm，成交價480,000台幣，羅芙奧台北2018春拍「薈萃：國際現代與當代藝術」 "Girl Wearing Red Dress", 2008, Acrylic on cardboard, 73x81cm, sold for US$16,086, Ravenel Spring Auction 2018 Select: Modern & Contemporary Art

THE GIRL HOVERING AMONG JAPAN, AMSTERDAM, AND BERLIN

food is chocolate crepes. She also likes to daydream. In short, Rokkaku is just like

Since Rokkaku repeatedly won awards at GEISAI, in 2006, she was presented

established a studio in Chigasaki, a city one hour from Tokyo by train. She had a

with the opportunity to participate in exhibitions in Switzerland, France, and the

pleasant time there. She took walks in the vegetable garden at her home or went for

United States. Moreover, the Dutch art dealer Nico Delaive offered to be her global

drives along the coast. When the sun was out, she sometimes painted in the garden

representation. Gallery Delaive was founded in late 1970s. Since the 1980s, it has

barefoot, with the company of ants and geckoes. Soon her studio was filled with

established its reputation through promoting Karel Appel, one of the CoBrA Group

acrylic pigments, canvases, cardboard, and many silly little toys, and she found

artists; Walasse Ting; and the French female artist Niki de Saint Phalle. It is also

herself having to squeeze herself into a tiny corner to create, and happily so.

an ordinary, innocent Japanese girl. After she became a professional painter, she

the only gallery in Europe that serves as the agent of the American abstractionist

“The hand directs where the fingers point. They are more powerful than

painter Sam Francis of the Sam Francis Foundation. Delaive spotted the potential in

words.” She is a self-taught painter, without conventional views or grand theories

the then 24-year-old Rokkaku and began exhibiting her works the following year,

on aestheticism as the foundation of her creations. Instead, she grew up under the

in 2007. Their cooperation is still ongoing.

influence of Japanese contemporary comics and animation. That, together with her

In 2001, Rokkaku started thinking about taking the path of creation. In 2002, she signed up for the GEISAI. From then until 2006, she either sketched in

acute observation and intricate feelings that she was born with, makes her a person who simply enjoys sketching.

sketchbooks or painted on cardboard. Painting makes her happy, and her favorite 19

[ ART & INVESTMENT ]

《碎花小洋裝》2008 壓克力 紙板，93x70cm 羅芙奧台北2018秋拍 「薈萃：國際現代與當代藝術」 "Flora Mini Dress", 2008 Acrylic on cardboard, 93x70cm Ravenel Autumn Auction 2018 Select: Modern & Contemporary Art

20

《藍圍巾女孩》2008，壓克力 紙板，47x82cm，羅芙奧台北2018秋拍「薈萃：國際現代與當代藝術」 "Little Girl with Blue Scarf", 2008, Acrylic on cardboard, 47x82cm, Ravenel Autumn Auction 2018 Select: Modern & Contemporary Art

She paints on abandoned cardboard. However, her improvisational, street-artlike, and arte povera characteristics do not seem to meet the expectations of the art market. After all, most collectors prefer paintings on canvas. Nevertheless, when it comes to her artistic expression and originality, the cardboard reflects Rokkaku’s free sketching spirit, which has a value that cannot be overlooked. The works she exhibited in the three GEISAIs were all painted on cardboard. The book Colours in My Hands, published by Galerie Delaive, contained the following passage that reflected Rokkaku’s change of mind about this:

“Some people find little change in my works from the early stage for this stage, but it was a big transformation to me to start painting on canvas and exhibit the works in order one by one.”

In daily life, cardboard is a ubiquitous material. It is light and can stand up straight by itself. When dabbing it with hands filled with acrylic pigments, she can feel the warm sense of touch. Or, the rents torn in the cardboard and the feeling of coloring are both what the painter is fond of. Occasionally, she still paints this way.

Under arrangement by the Gallery Delaive, Rokkaku started conducting live painting performances at major art exhibitions around the world, including Art Basel, Art Basel Miami, and Art Taipei. Like a performance artist, she was barehanded and bare-footed, using her primal instinct to create. She thus described her feelings of live painting: “It’s amazing to paint on something for [sic] bigger than your body. As I go back and forth between the edges of the huge canvas, the big bunch of colours start[s] to flow into my body. I try to gather them in my hand and let them spin.”

Her ample creativity won her the opportunity to be exhibited in international galleries. She has held solo exhibitions at the Galerie AAA in Paris (2006), at the Gallery Delaive in Amsterdam, Netherlands, (2007, 2008, 2009, 2010, 2015, 2016, 2018), at the Galerie Moderne in Silkeborg, Denmark (2007), at the Galerie Wild in Frankfurt, Germany (2007), at Guy Pieters Gallery in Knokke-Heist, Belgium (2009), at the Galerie Teo in Tokyo (2007), the Gallery Target in Tokyo (2014, 2017), and at Gallery Trax (2015) in Yamanashi Prefecture.

She has also been invited by museums and biennales to exhibit, including her solo exhibition at Kunsthal, a contemporary art museum in Rotterdam, Netherlands (2011), a solo exhibition at Danubiana Meulensteen Art Museum in Slovakia (2012), a joint exhibition in Swatch Art Pavilion, Swatch Biennale Arte 2015, a joint exhibition at Kunsthal (2017), and a joint exhibition at Volkenkunde Museum Leiden (2017).

21

[ ART & INVESTMENT ] Because Rokkaku’s agent gallery is in Amsterdam, the gallery owner found

Sometime between 2010 and 2011, she moved her studio to Berlin, Germany,

her a studio in Amsterdam to facilitate her creations and exhibitions. The studio

for no specific reason. Her studio in Berlin was small. She suppressed her desires,

was in a converted warehouse in the city center. During the day, daylight shone

slowed down her pace, and left more time for herself. She also owned a private

through the frosted glass, making the studio very bright. The pace of life and the

living space a 10-minute walk from the studio. In Berlin, a city where old and new

sunshine in the City of Tulips also brightened up the colors on her palette.

buildings coexist, culture shock substantially influenced her creation, and her desire to create was intensified.

UNIQUE PAINTING CHARACTERISTICS AND STYLE

From self-analysis, Rokkaku listed three characteristics of her paintings:

“plain scribbling,” “the act of getting out something inside me,” and “kid’s drawing.” The kid-like drawing was to practice lines, but she found scribbling to be fun. At first, she painted whatever she saw and then repeatedly practiced painting the subjects in her sketchbook. When she paints, she almost never studies but paints with intuition.

The major themes throughout her painting history are girls and children, and she often portrays them in close-ups. The figures in her painting are often unsmiling. Their eyes may be opened wide and their lips pressed together, or they may look angry. She said her figures went from two sets of extremes: “escaping and chasing” or “looking away and staring.” Most of the main figures in her paintings are walking in large strides. Other common elements in her paintings are repetitive random sketches and animals. Having elongated arms or overly large eyes, bright colors or simplified details, they are all influenced by Japanese animation culture.

Sometimes, the pictures she portrays indicate darkness and insecurity.

The feelings of loneliness or consciousness of death in her memories hide in her color paintings in the forms of ghosts of rabbits or skulls. Although dark, they are harmless, and even kind of cute. Even when they stare with wide eyes, sneer, give sidelong looks, or are naughty and smoke, they still appear to be therapeutic and gentle, not giving the viewer any visual impact or anxiety.

When she painted on cardboard in the past, she was used to placing the paper flat on the floor. Later, when she first turned to canvas and saw pigments flowing down from the erected canvas, she felt delighted. She saw the pigments obeying the law of gravity and wanted to capture that sense of fluidity in her work. She not only painted with her bare hands, without brushes and without drafting; she also often faced her canvas barefoot, letting her hands and body participate in the creation.

In 2010, the first animation Rokkaku was part of, About Us, was released.

The film, based on a script by Kentaro Kawaguchi, was supervised and directed

by Michinori Saigo. The story describes a girl connecting past and future worlds, a story awaiting everyone to complete it together. For this film, Rokkaku painted over 200 paintings. Although some of the paintings were not selected, the sheer volume of work reflected her diligence and dedication. The drafts of the paintings of the animation were created with a method completely different from her past creation methods. This time, she had to integrate the setting of the plot, background, music, and image settings and exert a potential she had never been able to comprehend.

Because of Rokkaku’s unique color presentation, this film seemed elegant and gentle.

In connection with the release of the animation, Rokkaku held exhibitions titled “About Us” in both Tokyo and Amsterdam, and at both sites, she gave live 《粉紅洋裝與圓珠項鍊》2008，壓克力 紙板，91.5x36.5cm 羅芙奧台北2018秋拍「薈萃：國際現代與當代藝術」 "Girl Wearing Pink Dress and Necklace", 2008, Acrylic on cardboard, 91.5x36.5cm Ravenel Autumn Auction 2018 Select: Modern & Contemporary Art

22

performances, painting a three-dimensional house built with cardboard. Animation, behavioral performances, and 3D creations all foretold that she would attempt to create with diverse materials. In 2011, the scope of her creations expanded to

《花園女孩》2009，壓克力 畫布，100x100cm 成交價1,440,000台幣 羅芙奧台北2018春拍「薈萃：國際現代與當代藝術」 "Little Girl in the Garden", 2009 Acrylic on canvas, 100x100cm, sold for US$48,257 Ravenel Spring Auction 2018 Select: Modern & Contemporary Art

sculpture, as if the girl portraits and animals on a gigantic scale were walking out of

Before the autumn auction of 2017, her #50 acrylic oil paintings at auctions

the canvas. In addition to a futuristic world with dream-like qualities, she attempted

typically sold for US$20,000 (approximately NT$0.6 million). After the spring

abstract painting. In fact, abstract patterns had appeared in the backgrounds of her

auction of 2018, paintings of the same size sold for at least US$50,000 to 70,000

portraits. She used improvised sketching and conducted interesting experiments

(approximately NT$1.5–2.1 million). In the past, her works on cardboard cost

with colors and forms.

around US$4–6 thousand (approximately NT$120,000–180,000), and they have

INQUIRIES ON THE ART MARKET CONTINUE TO INCREASE

In Spring 2018, Rokkaku became an artist with an extremely high rate of

inquiries on Asian markets. Her works at auctions in Tokyo, Hong Kong, and Taipei all attracted fierce bidding. The art market in Japan is relatively conservative; the collectors tend to be lukewarm about works by young artists. However, to date, the three Rokkaku works sold at the highest prices all appeared in auctions in Tokyo in April and July of 2018. Auctions in Hong Kong and Taipei also had collectors bidding from Japan. Obviously, Japanese collectors are eager to obtain works by Rokkaku.

Currently, Rokkaku’s works are exclusively represented by Gallery Delaive in the Netherlands. Even if Japanese painters want to obtain her work first-hand, they must fly to Europe for it. In 2017, when Rokkaku’s works were licensed to be exhibited at Gallery Target in Tokyo, her new works all sold out on the opening day. If collectors want to purchase close-up, big-headed girl portraits when galleries

increased in value to an average of US$10,000–15,000 (NT$0.3–0.45 million) or higher.

According to statistics from Artprice, in 2017, the number of transactions for Rokkaku’s works at auctions was 19, with a transaction amount of approximately US$242,273 (excluding the buyer’s service fee) (approximately NT$7.27 million).

In 2018, as of August, the number was 27, with a transaction amount reaching US$738,986 (excluding the buyer’s service fee) (approximately NT$22.17 million).

The transactions in the first half of the calendar year alone have far exceeded the total amount of the previous calendar year.

In 2018, Rokkaku is 36 years old, still in her prime and full of creative energy. She now rotates among living and creating in Berlin, Amsterdam, Tokyo, and Porto, Portugal. Furthermore, she consistently hosts exhibitions and publishes new works. Since 2001, she has created a large body of work. This rising star has been shining on the international art scene. In the future, she will continue to create, and the prices of her works will continue to rise. Let us wait in anticipation.

are not selling their stocks, they can only hope to get lucky at auctions.

23

[ ART & INVESTMENT ]

六角彩子 二十大作品拍賣成交排行

24

1

2

3

4

5

Untitled 無題 2009 Acrylic on canvas 130 x 90 cm

Untitled 無題

Untitled 無題

Girl Wearing Yellow Dress 黃洋裝女孩

Untitled 無題

2007 Acrylic on canvas 91 x 72 cm

2008 Acrylic on canvas 100 x 100 cm

2008 Acrylic on canvas 116.5 x 90.5 cm

2006 Acrylic on canvas 91 x 91 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

JPY 3,000,000 - 5,000,000

JPY 2,000,000 - 3,000,000

JPY 2,000,000 - 3,000,000

TWD 320,000 - 420,000

JPY 2,000,000 - 3,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 94,898 JPY 10,695,000

USD 78,071 JPY 8,395,000

USD 71,654 JPY 7,705,000

USD 60,322 TWD 1,800,000

USD 59,705 JPY 6,555,000

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

東京 SBI拍賣 SBI Art Auction, Tokyo July 14, 2018

東京 SBI拍賣 SBI Art Auction, Tokyo April 21, 2018

東京 SBI拍賣 SBI Art Auction, Tokyo April 21, 2018

台北 羅芙奧 Ravenel, Taipei June 3, 2018

東京 SBI拍賣 SBI Art Auction, Tokyo January 27, 2018

6

7

8

9

10

Untitled 無題

Work 作品

The Cocktail 雞尾酒

Untitled 無題

Little Girl in the Garden 花園女孩

2007 Acrylic on canvas 53 x 65.2 cm

Oil on canvas 130 x 130 cm

2007 Acrylic on Louis Vuitton monogram leather 72.8 x 91.5 cm

2007 Acrylic on canvas 70 x 50 cm

2009 Acrylic on canvas 100 x 100 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

JPY 2,000,000 - 3,000,000

JPY 2,000,000 - 3,000,000

JPY 1,500,000 - 2,000,000

JPY 1,200,000 - 2,200,000

TWD 380,000 - 600,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 56,122 JPY 6,325,000

USD 50,958 JPY 5,712,800

USD 50,017 JPY 3,950,800

USD 49,196 JPY 5,290,000

USD 48,257 TWD 1,440,000

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

東京 SBI拍賣 SBI Art Auction, Tokyo July 14, 2018

東京 SHINWA拍賣 Shinwa Auction, Tokyo September 23, 2017

東京 Mallet拍賣 Mallet Auction, Tokyo June 8, 2012

東京 SBI拍賣 SBI Art Auction, Tokyo April 21, 2018

台北 羅芙奧 Ravenel, Taipei June 2, 2018

TOP 20 MOST EXPENSIVE WORKS OF AYAKO ROKKAKU EVER SOLD AT AUCTION

TOP

20

製表／ Tiffany Wong（Update: 2018.8.8 Source: SBI Auction, Shinwa, Est-Ouest, Mallet, JSL, Artprice.com）

11

12

13

14

15

Little Red Dress 小紅洋裝

Untitled 無題

Untitled 無題

Girl in Flower Garden 花花世界

Work 作品

2009 Acrylic on canvas 100 x 100 cm

2007 Acrylic on canvas 140 x 258.5 cm

2007 Acrylic on canvas 140 x 451 cm

2008 Acrylic on canvas 190.5 x 110 cm

2016 Acrylic on canvas 65 x 50.5 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

TWD 380,000 - 600,000

JPY 1,000,000 - 1,500,000

HKD 220,000 - 320,000

TWD 600,000 - 950,000

JPY 1,000,000 - 2,000,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 48,257 TWD 1,440,000

USD 38,067 JPY 4,067,000

USD 36,533 HK$ 283,200

USD 34,281 TWD 1,121,000

USD 32,947 JPY 3,453,600

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

台北 羅芙奧 Ravenel, Taipei June 2, 2018

東京 伊斯特 Est-Ouest Auctions, Tokyo July 12, 2008

香港 伊斯特 Est-Ouest Auctions, Hong Kong November 25, 2008

台北 羅芙奧 Ravenel, Taipei June 7, 2009

東京 SHINWA拍賣 Shinwa Auction, Tokyo March 24, 2018

16

17

18

19

20

A Girl 女孩

Dream World 夢世界

Little Girl with Animals 女孩與小動物

Little Girl Walking 女孩漫步

Untitled 無題

2008 Acrylic on Louis Vuitton monogram leather 215 x 271.5 cm

2008 Acrylic on canvas 162 x 130.5 cm

2009 Acrylic on canvas 100 x 150 cm

2008 Acrylic on canvas 200 x 220 cm

2007 Acrylic on canvas 199 x 248 cm

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

預估價 Estimate

JPY 2,000,000 - 3,000,000

TWD 500,000 - 700,000

TWD 380,000 - 600,000

TWD 800,000 - 1,000,000

HKD 250,000 - 350,000

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

成交價 Sold at

USD 31,750 JPY 3,137,400

USD29,299 TWD 840,000

USD 27,907 TWD 840,000

USD 25,890 TWD 840,000

USD 25,390 HKD 196,927

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

拍賣日期 Auction Date

東京 Mallet拍賣 Mallet Auction, Tokyo September 20, 2013

台北 羅芙奧 Ravenel, Taipei June 5, 2011

台北 羅芙奧 Ravenel, Taipei June 3, 2017

台北 景薰樓 JSL, Taipei December 13, 2015

澳門 SHINWA拍賣 Shinwa Auction, Macau November 28, 2008

25

[ THE ARTIST ]

FRANÇOIS-XAVIER & CLAUDE LALANNE The Nature in the Art of Living

萊蘭夫婦 生活藝術的自然

Text／陳昱良 Iris Chen Photo／Ravenel International Art Group、Paul Kasmin Gallery、 The Hakone Open-Air Museum

「他們並非傢俱或雕塑，稱為「萊蘭」吧！ 」 ―克洛德‧萊蘭

使用自然元素，形塑出清晰獨特的風格，賦予作品優美與詼諧， 當「生活的藝術」被創作者視為最高，一系列留下的美好作品，即是精緻而 貼近日常的「萊蘭」精神。 始於 1952 年的邂逅，來自法國的萊蘭夫婦 (François-Xavier & Claude

Lalanne)，擁有一致理念，發展不同風格，也能完成共同項目。佛朗索瓦-查

威爾•萊蘭 (François-Xavier Lalanne, 1927-2008) 擅長將動物造型，巧妙暗藏 機關，來自森林草原、湖畔的動物，看似雕塑，也是具有實用功能的傢俱。 其妻子克洛德•萊蘭 (Claude Lalanne, b. 1924) 多運用植物原型，蔓生柔軟的 線條，結合人體結構，兼具獨創又結合「新藝術」(Art Nouveau) 概念的鮮明 特質。 巴黎蒙帕那斯的羅桑小巷 (Impasse Ronsin) 是故事的原點。由雕塑大

師布朗庫西 (Constantin Brâncu ş i) 開始，吸引萊蘭夫婦、妮基•德•聖法 爾 (Niki de Saint Phalle)、馬克思•恩斯特 (Max Earst)、尚•丁格利 (Jean

Tinguley) 等藝術家，在這個秘密聚落，孕育無窮藝術。當年物質生活貧乏，

靈感卻源源激盪。普普藝術的蓬勃時期，二十多歲的萊蘭夫婦，選擇回歸內 佛朗索瓦-查威爾‧萊蘭《雄鹿》1996年，銅雕。 François-Xavier Lalanne, "Wapiti", 1996, Bronze © SACK, Seoul / ADAGP, Paris, France, 2018. Photo courtesy of Paul Kasmin Gallery by Mark

26

省，自我詢問藝術在人類生命扮演何種角色。

佛朗索瓦-查威爾‧萊蘭《游牧羊》1988年 &《牡羊》1994年，樹脂、銅雕；克洛德‧萊蘭《紐約蘋果》2007年，銅雕。 François-Xavier Lalanne, "Mouton Transhumant", 1988 & Beliers, 1994, Epoxy stone and bronze ; Claude Lalanne, Pomme de New York, 2007, Bronze © SACK, Seoul / ADAGP, Paris, France, 2018. Photo courtesy of Paul Kasmin Gallery by Mark Markin.

27

[ THE ARTIST ]

萊蘭的「真實」，來自再現動植物與人體外觀的肌理；而「超現實」，

雕刻藝術易於呼應環境的展示特性，更讓萊蘭的藝術擴及公共空間與大

則是移植這些元素，重新安置於現代人生活。古典文學的靈感，充滿寓意美

眾交流。日本箱根─雕刻之森美術館，露天展示噴泉《嘆息的天使》，攀滿

感。介乎藝術與設計的界線，創造豐富又充滿當代語彙的使用經驗。跨越兩

青翠綠葉的大型白石頭像，完美結合周遭樹影，汩汩清水，順著眼角流出，

個世紀，認同「萊蘭」的人越來越多，超脫族群和文化，延續至新一代藏

倒影前方的水塘。作品帶有詩意，更賦予人類情感的想像力。喜愛兩人的私

家。設計師伊夫•聖羅蘭 (Yves Saint-Laurent) 是兩人早年的好友與知音，請

人收藏家遍佈全球，作品更為龐畢度藝術中心、尼斯現當代藝術博物館、紐

他們獨家設計傢俱，更邀請克洛德參加1969年秋冬高級訂製系列，合作模特 兒大膽前衛的金屬配件。 思索現代人身穿羊毛衣，卻罕見羊群出現在客廳，甚至是城市街頭。佛 朗索瓦-查威爾著名「羊群系列」，作為1965年青年藝術沙龍的參展作品首次

約休伊特設計博物館等國際級美術館典藏。

2010年巴黎裝飾藝術博物館，萊蘭夫婦規模最大，作品最齊全的回顧

展。現場佈置超脫華麗，彷彿置身異域夢境。佛朗索瓦-查威爾的河馬、白鷺 造型傢俱展出，透露其早年在羅浮宮醉心埃及藝術的軌跡。而克洛德無處不

亮相。二十四隻蓬鬆毛茸的銅質綿羊椅子，標題《荷馬的羊》來自荷馬史詩

在的金色枝枒，延伸整個室內空間，銅質合金的唇型蘋果、鱷魚皮矮桌、銀

奧德賽的故事，其幽默之舉驚豔四座並引人會心一笑。從此，時裝大師到好

杏葉椅，運用翻模與電鍍技術，細膩的葉片花瓣栩栩如生，吟詠田園詩歌的

萊塢明星，趨之若鶩訂製萊蘭的綿羊椅凳。2013年，更結合紐約曼哈頓的藝

意象。

術計畫《蓋堤加油站》，水泥叢林的加油站出現綠草皮和白羊群，衝突可愛 的畫面，行人駐足且合影留念。

劃時代的萊蘭夫婦，細微如飾品，大至公共環境，兩人不變的精神， 是藝術需與實質空間感染互動。無論取材，抑是概念，皆從「自然」二字探 索。相對傳統藝術品，限於觀看而神聖不可觸碰。習以為常的慣性，不經意 吸引目光，伸手觸摸感受，毫不造作的融合，才是他們深切思考並實踐生活 的藝術。

萊蘭夫婦《蓋堤加油站》2013年，紐約。 François-Xavier & Claude Lalanne, "Getty Station", 2013, New York © (2018) SACK, Seoul / ADAGP, Paris, France. Photo courtesy of Paul Kasmin Gallery by Joshua Kogan.

28

萊蘭夫婦《蓋堤加油站》2013年，紐約。 François-Xavier & Claude Lalanne, "Getty Station", 2013, New York © (2018) SACK, Seoul / ADAGP, Paris, France. Photo courtesy of Paul Kasmin Gallery by Joshua Kogan.

“They are Not Furniture, They are Not Sculpture — Call Them ‘Lalannes.”' - Claude LALANNE The use of natural elements to shape out a distinct and unique style introduces

Les Lalanne's "reality" comes from the reproduction of the texture of plants

beauty and whimsy to the creation. When the "art of living" is regarded by artists

and animals and the appearance of the human body; the "sur-reality" is to transplant

as the utmost standard, they leave behind a series of magnificent works that are

these elements and relocate them to modern life. The inspiration of classical

refined and close to everyday life. Such is the embodiment of the "Lalanne" spirit.

literature is full of meaning and beauty. The boundaries between art and design

Hailing from France, Les Lalanne are an artist duo comprising married

create a rich and sophisticated knowledge of contemporary vocabulary. Over the

couple François-Xavier and Claude Lalanne. The two of them met in 1952, and

past two centuries, more and more people have recognized works the "Lalanne",

shared a consistent philosophy that allows them to complete joint projects while

transcending ethnic groups and culture, and passed along to a new generation of

developing different styles. François-Xavier Lalanne (1927-2008) is skilled at

collectors. The designer Yves Saint-Laurent is an early friend of the couple. He

sculpting animals themes with cleverly hidden mechanism. Sculptures of animals

invited them to design exclusive furniture, and also invited Claude Lalanne to

from the forest, grassland and lakeside are also functional furnitures. His wife,

participate in the 1969 autumn and winter haute couture collection, collaborating

Claude Lalanne (b. 1924), preferred vegetation. Using soft lines and anatomical

on the bold and avant-garde metal fittings for models.

structures of plant prototypes, she combines originality with the distinctive character of the Art Nouveau concept.

As a contemplation on the woolen clothes worn by modern people and the absence of sheep in the living room or even on the streets of the city, François-

The story's origin takes place in Impasse Ronsin. It is where sculpture master

Xavier Lalanne's famous "Sheep Series" was unveiled at the 1965 Youth Art Salon.

Constantin Brâncuşi turned a nondescript alleyway in Montparnasse, Paris into

Twenty-four fluffy copper sheep chairs are titled Pour Polytheme, which comes

an artistic haven, attracting artists such as Les Lalanne, Niki de Saint Phalle, Max

from the story of Homer's epic Odyssey. The humorous display was a stunning act

Earst, and Jean Tinguley. Endless art were bred in this hidden artistic community.

that drew smiles from the viewers. Since then, fashion masters and Hollywood stars

Despite a lack of material well-being, there was no shortage of inspiration.

were eager to order the sheep stool of Lalanne. In 2013, New York's Manhattan

During the booming period of Pop Art, Les Lalanne dedicated their twenties to an

art project Getty Station added grass turf and a flock of sheep to the cement jungle

introspective inquiry about the role of art in human life.

gas station. The conflicting and cute image attracted pedestrians to stop and take photos.

29

[ THE ARTIST ]

萊蘭夫婦《蓋堤加油站》2013年，紐約。 François-Xavier & Claude Lalanne, "Getty Station", 2013, New York © (2018) SACK, Seoul / ADAGP, Paris, France. Photo courtesy of Paul Kasmin Gallery by Joshua Kogan.

Sculptural art echoes the characteristics of the environment, and it enables the

the pond at the front. The work is poetic and gives the imagination of human

art of Les Lalanne to expand into public space and communicate with the public.

emotions. The private collectors who love both artists are spread all over the world,

At Japan's Hakone-Sculpture Mori Art Museum The open-air display fountain La

and the works are also exhibited in international art galleries such as the Pompidou

Pleureuse, a large white stone statue with green leaves, is perfectly combined with

Art Center, the Museum of Modern and Contemporary Art in Nice, and the Hewitt

the surrounding trees. Running water flows out of the corner of the eye, reflecting

Design Museum in New York.

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Les Lalanne's largest and most complete retrospective exhibition was held at the Paris Museum of Decorative Arts in 2010. The layout was beyond gorgeous, as if one was in an exotic dream. François-Xavier Lalanne's hippo and egret-shaped furnitures were exhibited. In his early years, he was fascinated by the trajectory of Egyptian art in the Louvre. Claude Lalanne's ubiquitous golden branches extend the entire interior space, featuring copper lip-shaped apples, crocodile skin tables and ginkgo leaf chairs.

Using molding and plating technology, delicate leaf petals are vivid images of the pastoral poetry.

The epoch-making Les Lalanne couple pays the same attention to subtle jewelry decorations as they do to public installations. The unchanging spirit of the two is that art needs to interact with the physical space. Whether material or conceptual, the creation is explored from the word "natural". As opposed to traditional art, which is often limited to viewing and prohibited to be touched, there is a casualness that inadvertently attracts one to reach out and feel the unconventional work. The unpretentious fusion in their creation is the art of the deep thinking and way of life.

萊蘭夫婦《嘆息的天使》1986年，大理石，日本雕刻之森美術館。 François-Xavier & Claude Lalanne, "La Pleureuse", 1986, Trani Stone © (2018) SACK, Seoul / ADAGP, Paris, France, 2018. Courtesy of Hakone Open-Air Museum.

克洛德‧萊蘭《勝利之兔》2007年，銅雕。 Claude Lalanne, "Nouveau Lapin de Victoire", 2007, Bronze © SACK, Seoul / ADAGP, Paris, France, 2018. Photo courtesy of Paul Kasmin Gallery by Mark Markin.

31

[ ANTIQUE ]

江兆申

CHIANG Chao-Shen

詩畫本一律 天工與清新

Text／張禮豪 Chang Li-Hao Photo／Ravenel International Art Group、遼寧省博物館

1925 - 1996 江兆申一生的創作，基本上依循著悠久的文人畫 傳統而來，在詩、書、畫、印多重藝術的統合外，更強 調個人性情的展現。而在歷代文人當中，尤其蘇軾超越 才性的生命情懷、詩文成就乃至於「詩畫本一律，天工 與清新」的美學觀點等，無論於書於畫，都在有形無形 中對江兆申產生重大影響。 從早年師事「渡海三家」之一的舊王孫溥心畬開 始，江兆申致力於北宋山水大家及南宋院體，1965年入 台北故宮任職，得以遍覽歷代名家，畫風開始融入明代 吳門山水之致；但要到1970年代以後遊覽各地山水，將 諸多傳統技法融合並加以創新，才逐漸建構出個人的藝 術風貌，既有對於自然造化的觀照，也體現了他畢生追 求的文人風骨與性情，最終盡得蕭條淡泊之箇中三昧， 而為後人譽為「中國文人畫之最後一筆」。

江兆申《深山對話》1984年，水墨 設色 紙本 63 x 99 cm，羅芙奧台北2018秋季拍賣會「翰墨丹青—中國書畫專場」

江兆申《小橋通幽》1986年，水墨 設色 紙本 33 x 99 cm，羅芙奧台北2018秋季拍賣會「翰墨丹青—中國書畫專場」

32

江兆申《林隙棹舟》1983年，水墨 設色 紙本 62 x 99 cm，羅芙奧台北2018秋季拍賣會「翰墨丹青—中國書畫專場」

寫景造境，返璞歸真

隔年所作《深山對話》描繪夾於陡立雙峰間，群樹圍繞中有一水閣，

此次所見《深山對話》、《林隙棹舟》與《小橋通幽》三件作品，均 係江兆申1980年代畫風已臻至成熟境地之作，無論寫景造境、虛實鉤搭，俱 極盡淡雅閑散之能事，但彼此間仍能看出他在臨摹內化歷代名家的深厚基礎 上，如何透過充滿變化與層次的筆墨點染，在汲取古代名家涵養與形塑自身 面貌之間掌握與拿捏地恰如其份。 其中，《林隙棹舟》繪於1983年，構圖或脫胎自李成《茂林遠岫圖》， 但改橫為直，僅取局部入畫，寫一座皚白雪山矗立於青綠密林之後，其間細 水穿流，一介文人正獨享棹舟悠遊之趣。遠山刻意減低色度，彷如積雪終年 不化，更添幾分范寬《雪景寒林圖軸》清簡寂寥之況味。畫面上方的白山強 烈對比下方濃密的樹林與水潤的雲霧，結構墨彩經過細膩的計劃與運用。國 立台灣大學藝術史研究所教授陳葆真評價這幅畫：「畫家大量使用水分和墨

可賞頭上流瀑如絹；裏頭兩人對坐契闊談讌。全作山勢走向近直遠橫，深具 變化，又多以赭紅淡染，當已接近黃昏時分，以證畫中人物渾忘時間之流 逝，與石濤筆下山水或可相互印證，亦是謝靈運「日落山照曜，慮澹物自 輕。」筆下文人徜徉於隱逸逍遙之清談的最佳寫照。另件《小橋通幽》完成 於1986年，雖是橫幅構圖，但意念無疑更接近手卷，竟由一座小橋開展，恍 若曲徑般通往離塵幽境。畫面中渺無一人，只重壑層疊，安靜地等待有心人 來訪。雖說畫家或無名山向道之心，此作卻具體傳達了歷來文人臥遊山水之 樂，想來也是日後江兆申幽居山林的先聲。 1 錄自《中國巨匠美術週刊》，錦繡出版事業股份有限公司，台北，1996年2月出版，總號178 期，中國系列078期，頁17 2 營邱是五代宋初山水畫家李成（公元919~967年），字咸熙，唐宗室，又稱「李營邱」。

彩的結果，使畫面在視覺上產生了極巧妙的效果：讓人覺得那一片山嵐水氣 與樹林，正在吐故納新，而那新鮮的氣息正靜靜地在空中擴散開去。」

1

2

《林隙棹舟》畫面上方款識云：「縹緲營邱 水墨仙，浮空出沒有無間。 爾來一變風流盡，誰見將軍著色山。此東坡題晉卿畫句。北宋以水墨為向， 惟晉卿寫青綠效李雲麾，蓋大青大綠難於雅馴也。用其詩而反其意。雲麾固 不易為，營邱又何可得至。」除了點出山水畫科從青綠過渡到水墨為尚的流 變，也積極展現了他挑戰古人不到處的強烈企圖。

李成《茂林遠岫圖》，水墨 絹本 軸 45.4 x 141.8 cm，現藏於遼寧省博物館

33

[ ANTIQUE ]

香韻 繚繞 AGARWOOD 沉香美學與收藏 自古以來沉香木即為香的代表，主要產區為東南亞地區， 影響遠及古埃及文明、伊斯蘭文化及歐洲文明。 其中，影響最為深遠地區非中國莫屬， 發展至今不論社會階層，香道已經成為華人重要的文化。 Text／臧育嫻 Angela Chang Photo／Ravenel International Art Group

羅芙奧2017秋季拍賣 「河山」沉香奇楠木 成交價7,200,000 NTD L: 22.5 cm Weight: 136g

34

沉香是諸多香材的其中之一，在中國用香歷史上座擁眾香之王之地 位。其中又以越南奇楠最為頂級。現今緊湊的生活步調，人們開始追求雅 緻的生活、注重心靈素質，品香逐漸蔚為風潮，成為提升身心靈境界的首 選。與一般沉香只有單一味道變化不同，奇楠的香氣具有多層次且豐富的 變化，其香味如此出眾，主要成因為奇楠香特有的油脂分子，而此分子只 出現在特定樹種，因此更顯珍貴。

羅芙奧2018春季拍賣 17/18世紀 沉香木菊石紋筆筒

沉香滲入中國文明並發展出獨一無二的香道文化已有兩千年之久。

H: 10 cm

根據史料記載，沉香最早於西漢初期透過商業交流而進入中國，自此便受

成交價780,000 NTD

到各民族、皇朝及各派別宗教的寵愛並廣泛使用，用途遍及醫療、事務、 祭祀、禮儀以及日常生活中。 過去由於朝代的更迭促進了多種族之文化的融合、豐富了用香方 式，而用香工具也隨之演變，香爐、香盒、香瓶、香几為常見的用香器 具。其中，沉香、焚香用的香爐可謂樣式最為多變、用途最為多種的器物 之一。古人認為當裊裊香煙從香爐中飄出時得以通天地鬼神；用工藝精美 的香爐將特殊的香氣薰染於身也能彰顯高雅華貴之地位，因此用香器具的 應用美學，從古至今，都展現了中國文化對於精緻生活的追求。

羅芙奧2018春季拍賣 清 沉香荷葉形水洗 L: 9 cm 成交價264,000 NTD

品香藝術，除了利用香具薰燃沉香，收藏沉香雕刻更是嗅覺與視覺 的雙重追求，豐富了香藝的內涵以及生活雅趣。一塊沉香形成必經過數 十年至千年的結香過程，沉香雕刻便是在如此珍稀的材料上展現工匠的 非凡技藝，除了嫻熟精準的雕工，不讓沉香浪費一絲一毫；更需有因材 制宜的眼光，才得以呈現自然與人工美結合的力量。沉香木經過精湛雕 羅芙奧2013秋季拍賣 清 沈香香葉梅藤小碟 成交價600,000 NTD

工後可做為藝術品以裝飾空間、 又或者被賦予日常生活用途，凡舉沉香 筆筒、水洗、擺件等，皆是古代文人雅士的文房佳器。 沉香來之不易，自古被世界各地皇室貴族眼中的為珍寶，品香成為 身分階級的象徵，在中華文化中發展出獨特的品香之道。至今，玩香、 品香道具以及沉香藝術品， 除了是藏家鑑賞的工藝精品，更能探尋沉香 如天地之合的靈氣。

羅芙奧2017春季拍賣 南宋 龍泉窯青釉鬲式爐 D: 15.6 cm 成交價2,880,000 NTD

35

[ WINE ]

The Next Chapter of

GROWER CHAMPAGNE 小農盛世後

香檳的下一個篇章 Text／唐維怡 Eva Tang Photo／Ravenel International Art Group

1980年代，小農香檳因著「釀出一瓶好葡萄酒」的信念

而崛起，在先驅Anselme Selosse的領軍下，他們的蓬勃發展向 世界證明了香檳可以和勃根地一樣釀出表現風土特色的單一地 塊作品，而這些作品更開始大舉出現在全世界的高級餐廳酒單 當中，他們對於各種餐點的搭配性，受到侍酒師的熱愛，許多 小農香檳甚至開始擁有了與大品牌不相上下的高貴價格。香檳 的市場正經歷一場劇烈的變動，我們是否可以就此斷言未來將 是小農香檳的天下?

香檳王Dom Pérignon與美國當代藝術家Jeff Koons合作推出珍藏 版香檳，為2003年年份粉紅香檳打造專屬於它的Balloon Venus 雕塑台座，全球限量650瓶，是藝術與美酒的跨界演繹。

36

喝

酒

不

開

車

根據香檳協會的統計，香檳區共有15,800位葡萄酒農，其中4,278位擁有

自有品牌，但單單2017年，便有87位葡萄酒農放棄自有品牌香檳的生產；而

2008年葡萄酒農自釀的酒款共銷售了7,850萬瓶，2017年總銷售卻掉到了5,740

萬瓶，在市場普遍認為小農香檳蓬勃發展的過去十年，總產量實際下滑了近 兩成，銷售金額加總也是負成長。主要原因分析有二：首先，無論是土地面 積或設備，小農們普遍沒有條件大量生產，儘可能的能往單一地塊或單一品 種的努力，也是面對葡萄園面積限制的一種變通，但全球超過70%的香檳銷 售量幾乎為大廠所壟斷， 80% 的消費更為普飲的無年份 NV 酒款，對於葡萄

酒農們來說，傾盡全力生產的特色品項難以打入市場；另一個更現實的原因 是，目前香檳區的葡萄果實銷售價格達每公斤6.2歐元，不僅是全球最高的， 且這個收購價格還持續因香檳外銷的大幅度成長，被壟斷了這個市場的五家 大廠不斷提高，越來越多葡萄酒農因而選擇了放棄生產。 沒有太多行銷資源的小農香檳過去極其依賴內需市場，即便在法國香 檳內需從十五年前的七成掉到五成以下的現在，仍有87%的小農香檳是在法 國國內被消費的。但根據市場觀察，只有能夠順利出口，同時能在海外以高 價格出售的小農香檳才有機會真正生存下來，因為在海外的競爭相對較少， 各地代理商在推廣上通常也比較積極。但即便順利出口，擴增產量並增加產 品線仍為增加收入的不二門路，對於所擁有的葡萄園面積就那麼小的小農而 言，要擴增產量只有收購葡萄和購買葡萄園、要增加產品線就需要與其他葡 萄果農交換葡萄，然而要能合法的收購、購買、和交換，他們的身分就被 迫從RM (Récoltant Manipulant) 轉變成為了NM (Négociant Manipulant)，De

Sousa等過去我們所熟悉的RM皆是如此，也正因如此，在談到小農時我們已 漸漸捨棄RM，而改用Grower Champagne來稱呼。

被公認為小農香檳之王的Jacques Selosse，掌門人Anselme Selosse是香檳區的革命先驅，早 在1974年接手之際，便將勃根地葡萄酒的風土概念與釀酒理念帶入香檳的釀製，強調讓每一款 香檳最大程度地展現自然的地塊特色，不僅大幅地減低產量，更向Leflaive、Coche-Dury等勃 根地白酒名廠收購橡木桶，依地塊特色進行不等程度的陳年。正如同一瓶優秀的勃根地白葡萄 酒，包含無年份作品在內，Selosse全系列的香檳皆有著鮮明的個性，隨著開瓶時間而不斷地變 化著，適合細細品嘗。

不過，小農香檳因應地塊限制而生的單一風土概念，再加上沒有大廠品 牌包袱下的大膽突破，為香檳帶來了前所未有的可能。Ullysse Collin的Olivier

Collin專注在單一葡萄園的香檳釀製；Egly-Ouriet的Francis Egly將Pinot Noir玩 到極致，認為完美的葡萄酒來自於完熟的葡萄果實，因此一向是香檳區最晚 採收的酒莊；Jacques Selosse的Anselme Selosse則採用純天然的野生酵母、向

Leflaive、Coche-Dury等勃根地白酒名廠收購橡木桶進行陳年，更使用Solera

系統陳釀基酒……種種實驗性的釀造手法為香檳帶來了更多可能性的同時， 也刺激著握有資源的大廠做出更多突破性以及個性分明的小批次作品，例如

Dom Pérignon推出強調更長時間泡渣的P3系列、Bruno Paillard自80年代開始 便在NV香檳上標明除渣時間、Krug也自2011年開始在背標寫出每瓶香檳的 來歷與資訊，Louis Roederer於2009年推出單一葡萄園且零添糖的Brut Nature

Philippe Starck Label等等。 Champagne Doyard 創立於1677年，酒莊的釀造哲學是「盡可能地不加干預，靜靜地守護，因 為我們不可能創造出大自然沒有賜與我們的東西」。每年近70%的產量都提供給香檳大廠作為 基酒。受限於設備與各大廠對Doyard的高度依賴，酒莊頂級酒款的年產量僅1,000瓶左右，是 白丘代表性的小農香檳之一。(照片由鈞太酒藏提供)

安

全

有

如今正好走到了小農香檳的分岔點，我們將會看到更多小農間的合作， 而更小型的葡萄酒農則會逐漸放棄生產，回歸賣葡萄果實給大廠的老路。但 無論如何，小農香檳已在過去三四十年為香檳區翻開了一個新的篇章，未來 會如何發展，且讓我們拭目以待。

保

障

37

[ WINE ]

During the 1980s, grower champagnes rose in response to the call of quality wine. Under the lead of Anselme Selosse, their quick development shown the world that it is possible for Champagne to develop single-vineyard products like Burgundy, and these products began to make their appearance in menus of highend restaurants around the world. Grower champagne’s quality of being able to go with a wide variety of courses made them favorable to sommeliers. Moreover, many grower champagnes became even more expensive than bigger brands. The champagne market is experiencing a dramatic change nowaday, however, can we conclude that grower champagne are the future of Champagne?

According to Comité Interprofessionnel du vin de Champagne, there are 15,800 wine growers in the region of Champagne. 4,278 of them produce

風格細緻飽滿的Bollinger創立於 1829年，一直是英國皇室的御用 香檳。Bollinger堅信長時間的窖 藏能帶出高品質的香檳，賦予香 檳更強烈的特質與深層的風味， 故所有無年份的香檳最少也會 經過三年以上的窖藏。Bollinger Grande Année 1990 濃郁強勁， 細緻卻又充滿生命力的氣泡豐沛 綿長，烤吐司與香草奶油的氣息 飽滿紮實，餘韻悠長，屢次獲得 酒評家的高分讚譽，是經典好年 份的代表作之一。

champagne of their own brands. However, in 2017 alone, 87 of those 4,278 growers have given up their own brands. In 2008, the total amount of grower champagne sold was 78.5 million bottles, while in 2017, the number reduced to 57.4 million.

In other words, while we celebrate the success and vibrant growth of grower champagne in the last decade, their production actually dropped for nearly 20%, and the sales were also declining. Two possible factors might have resulted in the shrinking. First of all, small growers are generally unable to do mass production.

Although working their way to single vineyard or single grape variety were the way out facing the limitation of having not enough vineyards. However, as 70% of the world’s champagne are sold by large firms, and 80% of champagne consumption are dominated by non-vintage products, it is more than difficult for the market to accept their unique and high quality product even they have spent so much efforts

38

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酒

on. An even realistic problem lies in the continuously rising grape price. Currently, grapes in Champagne region are sold at 6.2 Euros per kilogram. Aside from being the highest price around the world, the five largest firms monopolizing the champagne market is continuously raising the buying price as champagne exports demand keep growing. In order to maintain their own living, more and more wine growers have chosen to give up making their own wines.

With limited marketing resources, grower champagne were mostly reliant on domestic market. Despite the fact that French domestic champagne consumption has dropped from 70% of total production to less than 50% in the past 15 years,

不

開

車

That being said, grower champagnes developed the single vineyard concepts 尚不計算人力與繁複的工序，單單等待除渣就需要一定的儲存空間與時間，對於小香檳酒廠來 說是非常吃力的，因此大集團開始在香檳區出現，它們向香檳區裡的葡萄農收購葡萄果實或半 成品的葡萄酒，然後經過集團內部釀酒師的調配，打造出符合品牌形象的酒款，經典的品牌包 含香檳王Dom Perignon、Veue Cliquot、Bollinger、Salon、Moët & Chandon、Krug、Cristal 等等，透過大集團的操作與行銷包裝，香檳不僅是全世界慶祝場合裡畫龍點睛的存在，更與時 尚和尊榮感畫上等號。

from their restrictions, and they are able to make boldly experiment without the burden of larger firms. For example, Olivier Collin of Ulysse Collin focuses on champagne making from single vineyard; Francis Egly of Egly-Ouriet is pushing Pinot Noir to the extreme, stating that perfect wine comes from perfectly ripen grapes, and has always been the last vineyard in Champagne region to harvest; Anselme Selosse from Jacques Selosse is using pure natural wild yeast, buying

87% of grower champagne are still consumed domestically. However, according to our observation, only grower champagne that were able to export and sold at high price abroad can really survive as an independent brand. The reason lies in the fact that there are relatively few competitors abroad, and that the retailers are usually more active in marketing. Still, even successfully exported, increasing production and widening product range are still the inevitable steps to take before a higher income is made possible. For small growers whose vineyard cannot be expanded, the only way to increase production is to buy grapes and vineyards, and the only way to widen their range of products would be to exchange grapes with other growers. However, in order to buy grapes, vineyards and exchange different varieties of grapes, they would need to change their roles from RM (Récoltant Manipulant) into NM (Négociant Manipulant). This happened for many wellknown RMs like De Sousa.

安

oak barrels from famous Burgundy firms like Leflaive and Coche-Dury, while employing the Solera system to make their wine. While these innovations brought more possibility to champagne, they also pushed large firms with more resources to make breakthroughs and featured products in smaller batches. Examples include the Dom Pérignon P3 which emphasizes an even longer sur lie period, Louis Roederer Brut Nature Philippe Starck Label 2009 which came from single vineyard with zero dosage, as well as Paillard and Krug started to spelt out the history of the bottle including its disgorgement date on the back of their products.

We are now looking at a turning point of grower champagnes. We should see more collaborations between different growers, and even smaller growers will gradually give up on making their own products, resorting to their old ways of selling grapes to larger wineries. Either way, grower champagne has taken Champagne into a whole new level. What will the future of Champagne region be?

Let us open a bottle of Champagne and see!

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有

保

障

39

[ LUXURY ]

Antique Brand Jewelry,

FINESSE DISTILLED inTIME

the

古董珠寶 凝鍊風華 Text／劉允華 Photo／Ravenel International Art Group

從歐洲的王公貴族到美國的富商巨賈，只要在家族中流傳的珍寶， 特別是在餽贈或獻禮時，總會聘請匠師來拆分重組。例如著名的「攝政 王」鑽石，便曾鑲上路易十五的王冠、瑪麗．安東妮王后的帽飾、拿破 紅寶石與鑽石胸針/髮飾，奧地利弗德里克大公家族贈禮， 估價20-30萬美元。©Sotheby's

崙的佩劍、拿破崙三世之后的冠冕等等。 這類在上層社會流轉的珠寶，多出自於著名匠師之手，由其創立的 許多品牌至今仍在。如以奢華眼光著稱的瑪麗．安東妮王后，其御用珠

古董珠寶的價值，在於工藝美學與貴重素材的傳世淬煉，後世的珠

寶匠便創辦了著名的Chaumet品牌；而她與後世王族在凡爾賽地區時常

寶則較以名師匠心為重。例如在19、20世紀創立的諸多品牌：寶格麗、

造訪的Mellerio dits Meller工坊，歷史甚至可以上溯至梅第西皇后在1613

卡地亞、梵克雅寶等，儘管也依循傳統服務各國王室名流，但也加入了

年專為品牌頒布的特許令。然而當時的名匠為貴族所役，作品的拆分依

20 世紀初的裝飾藝術風潮，以及戰後時期直到八零年代的各種美學風

循社交常規，手藝難以流傳。由於各種機緣而得以流傳至今的古董品牌

格。珠寶逐漸以藝術作品的身份重獲注目。而由設計名師製作，重現當

珠寶，因而更顯珍貴。

代風華的許多作品，與傳統王室珠寶一樣，都可以在當代的收藏展與拍 賣會上見到它們的身影。 根據藝術市場調查，無論是古典珠寶、裝飾藝術珠寶與戰後設計 珠寶等物件，都具有相當的增值潛力。這些項目在十年價格線上的漲幅 達到63%、93%與73%，增值率名列中上，與名車、名錶、葡萄酒與郵 幣等項目各擅勝場。風潮所及，各拍賣場更為此組織許多相關專題的拍 賣。證諸實際數字，古董珠寶更具備連拍賣場也想像不到的增值潛力：

2015年，一副由可可．香奈兒設計的項鍊在Bonhams的專業估價約5500-

8200美元，最後售出價則是9.4萬美元；Sotheby's於2016在香港年售出的

寶格麗簽名首飾組，更以約三倍的估價成交；2018年Doyle在紐約以各

時代珠寶為主的拍賣會，則總計售出約616萬美金，遠遠超過估價結果 的327-491萬美金。

近年來，這股風潮也已經延燒至亞洲。根據一份 2014-15 年的報

告，中國富豪對珠寶玉石的投資比例已達45%。其中的古董品牌珠寶， 由於數量稀少，又已經過貴族或名匠之手，在寶石品項與美學價值上， 金質項鍊，設計師Gabrielle "Coco" Chanel， 估價約5500-8200美元，最後售出價9.4萬美元。Bonhams網站。

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都具備超越時代的收藏與升值潛力。

《蜻蜓》胸針，設計師René Lalique。本作品曾在1900年巴黎世界博覽會上大放異彩，奠定了 Lalique作為裝飾藝術時代珠寶設計大師的地位。Flickr使用者sprklg拍攝，依據CC創用2.0授權。

From European aristocrats to wealthy families in America, the precious stones are in the habit of being disassembled and rebuilt by artisans, especially in the occasions of gift or tribute. The renowned «Regent Diamond», for example, was embedded on the crown of Louis XV, the hat of Marie Antoinette, the coronation sword of Napoléon I, and then the crown of the queen of Napoléon III. The artisans commissioned to rebuild these jewelries were, indeed, famous creators. Some of the distinguished establishments were created by them, and continue to shine until this day. Such as the royal jeweler of Marie Antoinette,

天然珍珠與鑽石項鍊，估價20-30萬美元。 ©Sotheby's

Marie-Étienne Nitot, who would establish the house of Chaumet. The atelier of Mellerio dits Meller, frequented by generations of French royal families in Versailles, can even trace its root up to a permission of trade published exclusively for the brand in 1613 by Queen Marie de Medicis. However, artisans at the time were contracted by the nobles to disassemble and rebuild, in order to conform their specific social needs, and as the result, the craft itself was not to last. The antique jewelries which remain to our days, consequently, are even more valuable then it would seem.

The value of antique jewelries lies in the time-proofed aesthetics and precious materials, yet in the case of later creations, it was centered more acutely of the design quality. As we can see in the brands established in the 19th and 20th centuries: Bulgari, Cartier, Van cleef & Arpels, etc., albeit their services rendered as tradition for the nobles of the world, yet they participated, on the other hand, the Art Deco trend in the beginning of 20th century, as well as the artistic styles

after the Great War up until the 80’. The art of jewelry started being seen as it is, an art. Those many creations made by master designers and represent the spirit *à l’époque*, are claiming their place alongside traditional royal jewellery within the contemporary collections and auctions.

According to a report by Art Market Research, whether it’s antique, Art Deco or post-war design, jewelry has a healthy potential of increasing the value. The ten-year increase of each categories are 63%, 93% and 73%, which is competitive to other categories like cars, watches, wines, stamps and coins. With this trend, many auction houses would organize many occasions dedicated to the jewelries.

Seen by the actual numbers, the antique jewelries could represent a potential that exceeds the expectation of the auction houses: in 2015, Bonhams estimated the price of one gold twist necklace designed by Gabrielle «Coco» Chanel as from US$ 5,500 to US$ 8,200 dollars, with the final price of an astounding US$ 94,000; Sotheby’s Hong Kong sold a set of signed design jewelry by Bulgari three times of the estimated price; an auction held by Doyle’s in New York with creations across generations sold a total sum of 6.16 million dollars, far beyond the estimated US$ 3.27 - US$ 4.91 million.

In recent years, this trend has well influenced the Asian market. According to a report of 2014-15, the proportion of investment in jewelries and precious stones

by Chinese wealthy buyers have reached 45%. Among which, due to the rarity and the aesthetic value added by the renowned masters, the antique brand jewelries are well regarded as possessing the collection value as well as the investment value beyond time. 巴伐利亞王冠。設計師Marie-Étienne Nitot，金工Jean-Baptiste Leblond與 Martin-Guillaume Biennais。維基百科公共領域圖片。

41

[ CUISINE ]

CU

全球排名第一餐廳

ＮＯＭＡ美味回歸 餐飲革命為例行的廚房注入創意；充滿挑戰的未知不只是味覺， 而是一連串莫名興奮的連鎖反應，從生態保育到味蕾刺激，」 一趟北歐旅行，對身為座上客的我來說，簡直是一場藝術巡禮。 Text／Eddie Yuan Photo／ courtesy of Noma and Ditte Isager

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全球五十大餐廳冠軍

UISINE 美味卻清爽且無負擔的飲食一向都是Noma的優先考量；夏季，

Redzepi帶領大家一同探索植物王國為主的素材。土裡、陸上，海裡以

及樹上的原料，只要你想得到，通通有可能出現在菜單上。 Noma 除

了從大自然中精選各式適合在炎夏品嘗的食材，例如 : 金盞花佐香濃 蛋黃醬汁、玫瑰南瓜子豆腐；更結合當地小農每日提供的作物，以創 新卻力保食物原貌的手法呈現。煙燻鵪鶉蛋疊「素」香腸、草笠竹舞 茸湯、蜂蠟清湯及口感清爽的黃瓜包心捲等，擺盤也不作做的季節美 食，力求無負擔。儘管沒有大魚大肉，但精選的蔬菜及自家溫室所產 的穀物，一直都是Noma備受禮讚的特色之一，夏季以蔬食為基底的菜單在源 源不絕的創意打造下，每上一道都有專人解說，饕客一面品嘗，一面忍不住 拍照在個人社群網路上推波，分享或炫耀著挑剔味蕾下，Noma如此美妙的體

Noma飲食生態革命

驗！

位於北歐丹麥曾四度被評選為「全球最佳餐廳」，也獲頒米其林二星的 知名餐廳 Noma將此概念昇華至更高的境界。且看如何從飲食之旅中探索味 覺革命，進而獲得兼具生態和心靈的平衡。 沉寂了一陣子，漸漸有點兒被淡忘的Noma餐廳卻在哥本哈根離原址僅 一哩處，捲土重來。任誰都沒想到

歇業到回歸的這條路，花了那麼久的時

間。Noma行政主廚René Redzepi說：「是時候改變了。不只是餐廳地點，更 重要的是，我們正在往新的方向—打造一個城市農園前進。」 全新的Noma 2.0，由七個玻璃嵌板相連的建築和房間所組成，設法引進 北丹麥珍貴的陽光，在明亮又充滿生機的室內用餐，一眼望去的河堤和幽雅 自在的植裁，令人彷如在花房裡用餐。事實上，Noma 2.0餐廳特別設置了三 個溫室培養自產作物，期望這些以天然、有機方式種植，降低農藥對環境傷 害的食材，提供令顧客安心的飲食。同樣維持斯堪地那維亞一貫特色風格的 用餐空間：樸實而簡約。走自然路線的內裝：運用大量木材呈現自然溫馨氛 圍，其中最受矚目的一環當然就是為饕客們所準備的料理。Noma將一年分為 三個季節，菜單根據當下盛產且最符合時節的新鮮食材調配而成。

43

[ CUISINE ]

Gro Spiseri 屋頂上的餐廳 一間建造在哥本哈根 Østerbro 區，再普通不過的建築物屋頂上竟然藏 了一座迷你農場：當初一手建立這座秘密花園的 Livia 和 Kristian 更將他們 對環境和美味的夢想一點一滴寄托和在此延續，抱持著續發展及對食物品質 追求的理想讓 Gro Spiseri 屋餐廳在北歐幾乎和 NOMA 齊名。

44

全球五十大餐廳冠軍

先是搭上一個彷彿年久失修，近乎荒廢的巨大貨梯緩緩上了已打烊的 建築物樓頂入眼前的是一處空蕩的屋頂，你立刻會發現八個種著有機蔬果的 農圃所圍繞的一個玻璃溫室，走進去一排再簡單不過，甚至沒有漂亮桌巾和 擺盤的木桌，搭配長板凳，是的，這就是Gro Spiseri餐館的核心。Gro Spiseri 是丹麥第一間建立在屋頂農園式餐廳，目標是希望打造遠離城市喧鬧的小餐 館，意在提供可以放鬆、愜意享用健康飲食的用餐地點。

Gro Spiseri的菜單是根據不同的時節變化，靈感皆來自於斯堪地那維亞 地區的特色料理並以“家庭式”的風格呈現。餐廳使用的食材皆是由這片 小小自家屋頂上的農園生產的有機作物及動物。沒錯！這裡也設了間簡單 的雞舍，飼養著雞和兔子等動物。部分菜碼也是和當地農民所提供的季節性 食材。也就是說，在Gro Spiseri，顧客能吃到未經加工食材本身最原始的滋 味。 廚房也在屋頂上，開動之前，偶爾可以窺見在菜圃和雞舍之間忙進忙 出的廚師和助手為客人備菜。菜色鋪盤和刀具擺設也很樸拙，力求簡單，美 味。餐廳也為饕客精選根據食材、季節所準備的紅酒、啤酒及各式無酒精飲 品。飽餐之餘，我很享受悄悄暫時離開餐桌的熱切，一個人，拿著一杯紅酒 走出玻璃花房，再度來到夜幕低垂的屋頂，一陣炊煙，一點兒星光，伴著思 緒，把自己丟給片刻平靜，擁抱一個難忘的美味記憶。值得一提的是，Gro

休閒養生

Päntsdrunk 最近北歐興起了一個很特別的字眼―― Kalsarikänni ，又

Spiseri 對食物的用心，使每位顧客都能感受到最樸實卻不簡單的料理家精

稱 Päntsdrunk 。意指：一個人在家，穿著輕鬆，啤酒在

神，也提供料理課程以及販售自家農產品。

握，閒閒享受獨處的個人時光，甚至被定義為「芬蘭式」

若不爬上屋頂，你永遠不會發現丹麥的星空如此澄澈，只有口裡餘韻的

的療癒。

美味讓我回過神來，久久不能自己。 根據芬蘭作家 Miska Rantanen 最近發表的新書中，將 Päntsdrunk （沒錯，就是褲子與酒醉的結合），視為自我賦權的一種方式，鼓勵徹 底放鬆，以期好好面對未來挑戰。 地處溫帶的芬蘭一年有超過六個月的冬天，在又冷又長的寒冬 裡，人們實在不願意在伸手不見五指、冷冽強風吹襲的夜晚踏出家門和 朋友們到酒吧釋放一整天的壓力，因此有了Päntsdrunk這個概念。將工 作放一邊、什麼也不想地窩在舒適沙發上，觸手可及的啤酒、洋芋片， 以及電視遙控器，度過悠閒的漫漫長夜。也許就是這種懂得給予自己修 復能量的私人時光，難怪芬蘭會被列為2018全球最快樂的國家！

Päntsdrunk這股潮流很快的散布到世界各地，與來自丹麥的Hygge

和瑞典的Lagom一同被視為斯堪地那維亞生活風格的圭臬。這簡單、快 速、經濟又民主的「休閒娛樂」不只深受歐洲國家歡迎，在美國地區更

是引起巨大的共鳴。看來這股從「Netflix and chill」昇華到「Netflix and

kalsarikannit」風潮還會持續發燒、席捲全球！

45

[ FASHION ]

NATURE INSPIRED JEWELRY 動物情牽珠寶魂 各具神態的動物，靈動的特質與神采， 一一對號入座成了珠寶品牌的經典印記，

CARTIER 美洲豹和 CHANEL 的獅形， 彷彿風格獨具的雙生王者，賦予無盡靈感泉源。 Text、Photo／Ethan

46

首部曲 C A RT I E R 美 洲 豹 獨立捷敏的美洲豹恰如卡地亞希望賦予現代女性的另類思考， 靈敏而機動，美麗不一定非得柔弱纖細，女人不再是騷首弄姿 的花瓶；性感也不該只是一灘死水，鼓勵女性何不主動出擊， 享受狩獵的快感。

貓科動物，輪廓分明的表情、無懈可擊的線條，特立獨行的身形既 代表了藝術風采的品味，也象徵了典型法式品牌標記，真實與想像的極致 表現，非Cartier卡地亞的「美洲豹」莫屬。

貞．杜桑（Jeanne Toussaint）自1933年被任命為卡地亞高級珠寶總

1918 年，三十來歲作為巴黎上流名嬡的貞 • 杜桑結識了路易 • 卡地亞

（Louis Cartier）。杜桑的個人魅力來自藝文人士和古董商，術家的感性和 收藏家的熱情融合下，也培養了她對於有關裝飾藝術的豐富知識，大膽而 脫俗，因而獲得路易•卡地亞賞識並委以品牌配件部門的重任。

監，成為珠寶業王國主宰。自由不羈和天馬行空的創意之下，選中力與美

喜歡穿梭各種風格，在當年一片古典主義彌漫的杜桑，浮現獨樹ㄧ

的代表「美洲豹」，靈動的塑型和流暢延伸的姿態，彷如卡地亞的獨白，

幟的品味。她致力使卡地亞的創意融入朝氣勃勃而清新的設計。簡約的形

成就不朽傳奇。卡地亞登峰造極的美洲豹系列，不但為杜桑贏得「美洲

狀、豐富的色彩、創新的佩戴方式之外，她發明了把珠寶當作別針首飾，

豹」美譽，從此樹立專屬卡地亞的風華，至今無人能出其右。

引進黃金材質，以及將連成一串的珍珠、寶石或黃金融入鍊墜、胸針或戒 指的設計中，並不時配以斯里蘭卡（Ceylan）淺紅寶石。杜桑以超現實的 手法將印度藝術融入西方文化，備受肯定。 奇特的戒台，並置的寶石，不同風格的融合，還有精細的鑲嵌技 術……杜桑的風格對卡地亞設計領域影響深遠，其代表作美洲豹，更奠定 了卡地亞傳奇般的指摽性標誌。 卡地亞位於巴黎和平大街二樓擁有專屬的私人沙龍，獨立的空間為 名流雅士提供咨詢指導，其中包括溫莎公爵夫人。杜桑後來將此幸運符 珠寶的創作託付給卡地亞鑲嵌師完美詮釋立體塑性及豐富動物肌肉紋理線 條，強而有力的美洲豹，大膽性感的姿態和神情深深吸引了溫莎公爵夫 人，她於1948年購買一枚盤據在凸圓形祖母綠寶石（重90克拉）上的黑色 琺瑯黃金美洲豹別針，成為美洲豹珠寶的首位顧客。這款卡地亞美洲豹珠 寶，引發一干子皇室和名媛爭相追捧。50年代，杜桑重新演繹以奇美拉神

獸（chimère）為主題的創作，以柔和的手法處理這一古希臘神話中的恐怖 怪獸形象，從此傾倒於動物魅力的顧客，終讓卡地亞經典幾乎和美洲豹畫 上等號。 鑲嵌鑽石之美洲豹手環，神態優美。

Isabelle Rey創作的美洲豹水彩畫設計圖。

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溫莎公爵夫人配戴她的美洲豹胸針於腰間。

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溫莎公爵夫人護身符 隨著時間流逝，與時併進的卡地亞引領珠寶業走向更現代感，而從 單純商業性走向品牌風格。這段佳話不能不提行家中的佼佼者溫莎公爵夫 人對美洲豹造型珠寶的青睞和結緣。在擁有一枚美洲豹之後，夫人又購進 一隻鉑金打造的美洲豹橫臥在一顆重達152.35克拉的凸圓形藍寶石旁的胸 針。後來，醉心於動物主題系列的她又要求卡地亞打造了一枚裝飾琺瑯和 黃水晶的金質巴哥犬頭胸針，作為她與公爵的動物護身符。 溫莎公爵夫人不斷豐富的動物主題藏品，包括貓科動物的胸針、手 鏈、項鏈、長柄眼鏡和珠寶；1956年，公爵夫人再度向卡地亞下訂一枚鉸 鏈式老虎造型胸針，黃金鑲座鋪鑲淡黃色鑽石和縞瑪瑙。當時她曾說： 「這是我最後一次任性，不過愛德華非常高興送給我。」 卡地亞動物珍品出類拔萃，同時見證了卡地亞與上流社會的淵源， 溫莎公爵伉儷, 溫莎公爵夫人佩戴著名的美洲豹胸針。

彼此邂逅而激發無限靈感，創作出多樣的美洲豹珠寶作品。活力、動感、 優美圓潤的輪廓，無與倫比的美洲豹無不體現出卡地亞以完美詮釋，體現 著一種風格、一個時代以及珠寶工藝大膽創意的精妙之處。

「髮絲」鑲嵌(Fur setting)工藝 奔跑、怒吼、躍起、佇立……卡地亞捕捉美洲豹所有姿態：此外， 美洲豹最炫耀的是一襲引以為傲的斑紋皮毛。卡地亞握有「髮絲」鑲嵌

(Fur setting) 秘笈，將美洲豹斑點演繹得無比精妙。這種鑲嵌工藝尤為適 合豹紋主題，壓平在寶石上的細小金線將寶石緊緊環抱，生動再現動物 皮毛。獨樹一幟的技法結合蜂窩狀開放式鑲嵌法、雕塑鋪鑲寶石裝飾， 旨在保持完整連續，烘托動物栩栩如生。 打造一頭美洲豹三D立體視覺效果，早已超越觀賞價值。 徹底解析雕塑與解剖學手法造就生動體態：雙眼的比例和位置決定 美洲豹的性格。豹鼻與眼睛之間，臉頰呈弧面，但不能太誇張，以免殃 及眼睛輪廓；耳朵不能過於直立，也不能太低垂。耳部外層採用鋪鑲， 內層拋光。四爪從每根指頭的細節開始，或包裹細紋，或呈一條雕刻 線，或採用鋪鑲，皆是精工細作。 美洲豹斑點讓身形更顯立體，有時加以烘托，有時又要縮小。身體 隆起部分的斑點較大，如背部，而身體兩側的斑點較小，直至腹部完全 消失。斑點排布看上去很隨意，實際上卻遵循特定順序，尤其要考慮彼 此間距，以及間隔斑點所使用的鑽石數目，牽一髮動全身。斑點呈多邊 形、三角形或菱形，貼合美洲豹的肌肉組織。同時，時而在前，時而延 伸至背，營造透視和流動效果務求和諧韻律，展現豹的生動姿態。 演繹美洲豹動物靈敏而有力的動態，鑲嵌技巧在於，要帶出身形又 不失俐落，恰到好處。每顆鑽石皆依照大小，鑲嵌在適當的位置，準確 地從技術和美學角度把握動感。寶石大師僅憑靈巧雙手，逐一切割構成 豹紋斑點的寶石鑲嵌，並塑造動物的肌肉、四爪和光芒四射的頭部。珠 寶工匠搭配顏色，擺放的角度等，才能表現斑點形態各異的靈動。通常 藍寶石、鑽石和縞瑪瑙是勾畫斑紋，最後用祖母綠或石榴石點綴豹眼， 令美洲豹更加靈活生猛。

卡地亞獨特的毛皮鑲嵌 （fur setting）技術，重現動物皮毛栩栩如生的效果。

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1

CHANEL 獅子座女王稱霸 2

出生於8月19日，獅子座的香奈兒女士，一生活出真我，亦如萬 獸之王，氣勢萬千。「我誕生在獅子座，我和獅子一樣，運用爪子保 護自己免於受到傷害」。以雄獅為象徵的威尼斯，不但激發香奈兒女 士無數創意靈感之地，也理當成為女她的心靈依歸。 香奈兒女士認為她在威尼斯與獅子的首次邂逅絕非巧合，而是 命運主宰，這座東西文化交會之城，造就了許多作家與藝術家聚集， 引領著墨客騷人各式各樣豐富的交流，成為創作主題。香奈兒女士位 於康朋街31號的寓所收藏各式獅子珍藏品，在她的設計中，獅形化作

套裝鈕扣，或手袋扣環，儼然成為CHANEL極為經典的個人化表徵。

2012年，令人驚艷的獅形首次在香奈兒頂級珠寶亮相。2013年

CHANEL推出的「Sous le Signe du Lion」（Under the Sign of Leo）

頂級珠寶系列以正面像、徽章、雕刻、側面像等4種形式，共58件作 品，11個系列的各式造型演繹出香奈兒女士的招牌動物，獅子。

2018年，「L'esprit du Lion」靈感即來自香奈兒女士位於康朋街

寓所內的獅子陳設，以53款獅子為主題的頂級珠寶作品，以黃金或白 金，鑲嵌鑽石、藍寶石、綠柱石及帝王拓帕石，璀璨奪目，再度以雄 獅氣勢征服珠寶界。

1. Lion Solaire黃水晶與拓帕石18K白金鑽石胸針。 2. Lion San Marco 青金石18K黃金鑽石戒指。 3. 靈感來自香奈兒女士康朋街寓所內陳設，圖多53款 系列之一，璀璨奪目，征服珠寶界 3

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香奈兒女士康朋街的寓所中收藏了各式各樣的獅子擺飾。

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HAUTE COUTURE 移動的藝術品 從學派的觀點，高級訂製服等同於一種前衛的表達形式： 在追求新意以及運用時下觀點價值看待傳統，將世俗規矩重新轉化。 但是，亂世需要療癒，時尚是編織夢境和創造幻想的出口。 愈是人人自紅的網路世代，多少打動人心的，其實存乎於是否承載著夢想。 碩果僅存的 Haute Couture 令人驚豔的風格，紀錄了人類美好工藝得以長存的祕密。 Text／伊森 Photo／DIOR、CHANEL、FENDI、Valentino、Givenchy

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「奇妙的是，欲望與主觀是失序固有的本質， 進而衍生成為理解高級訂製服是天馬行空般馳乘的創意。 」 DIOR 創意總監 Maria Grazia Chiuri 提倡訂製服是前 衛，是想像後蛻變而成的藝術型式，在圭臬下反省而生的無 畏叛逆精神，而且勇於挑戰固有藩籬。 高級訂製服工坊是思想與創意的殿堂及守護者，也是 打造時尚的核心 -- 概念、形態，色彩、氛圍...最重要的特質 是當代概念性的認知，如同一件完整的藝術品。 高級訂製服有時邀請面料擔任要角，這些由古老織布 廠製造，產量稀少，每次只能織出幾米長，但蘊含與眾不同 的元素或新的工藝技術，又可以演變出意想不到的嶄新效果 的布料延伸出時尚的當代性。 有時，最初的概念源自於一種渴求，在不同年代及場 合重新定義穿衣之道。 高級訂製服是獨一無二的完美工藝，依照個人的特質 而演化。DIOR返還初衷，套裝款式取材自經典 Bar外套， 衍生出蝙蝠袖，體現傳統演發出新意的代表。調色盤上的粉 色系如磚紅、粉綠、粉紅、粉橙儼然成為基調，搭配裸色， 時而瞥見首飾、面紗及帽子等配件，成全系列的完整性。 晚宴禮服是化不開的璀璨，褶襟、層疊手法與緊身胸 衣間的強烈對比，流露衝突的美感；其中如雕塑般層裏分明 的紅色絲綢禮服由單幅布料裁剪而成，含蓄間透著爆發力，

DIOR霓裳流轉，展現了訂製服大器與個人風韻的風格。

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巴黎是高級訂製服世界的首都，現在該是香奈兒工坊中被賦予生命的高 級訂製服登場的時候了。 深受巴黎城市風情啟發，仿佛坐在塞納河畔遠眺天際下方法蘭西學會

(Institut de France)那座歷史悠久的建築重現巴黎大皇宮內巴黎塞納河兩岸隨 處可見的綠棚架書報攤，模特兒們融入街景一隅，悠然漫步於長凳涼椅與聳 立街燈錯落人行道上的伸展台。這就是高級訂製，沒有什麼不可能？

FENDI 2018-2019 秋冬高訂系列在崇高傳統與嶄新現實之間漫舞。 高級訂製雲裳以無比奢華布料和創意照亮了奧費主義對「純繪畫」大受 新古典主義的影響，令人捉摸不定。精緻的面料模糊了記憶，磨損的烏干紗 和流蘇雪紡紗在表面上創造出幻覺效果，加上 sintesi馬賽克或 gheronato 人字 紋工藝，在有著穗飾的喀什米爾羊絨、刮毛貂毛及和羊毛皮的外衣。 融入了玫瑰花環、蕾絲和手繪刺繡，衣擺則是飾有貂毛或鑲嵌亮片的 芭蕾舞伶般禮服和歌劇大衣。FENDI不忘大秀拼貼工藝，蒙古羔羊毛和鸛毛 在薄紗上，一絲不苟的拼湊出瀑布般的層疊震撼之美，創造極 致的輕若鴻 毛。

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裝飾羅緞辮飾的拉鍊將裙子和外套的輪廓與窄袖分開，裙子側邊的拉鍊 露出內層迷你裙，標誌性的經典套裝因為拉鍊結構上的設計更突顯腰身，手 臂前端拉鍊開岔可見優雅露指長手套。錯視效果洋裝搭配長外套交替出現。 彩繪透明烏干紗加上刺繡鋁片，或彩色手繪的人造皮草，刺繡亮片、珠飾、 水晶或異材質塑料，高級訂製服怎少得了華麗的巧奪天工。 最後壓軸。香奈兒新娘身穿淺綠色直筒高衩長禮服和開襟斜紋軟呢 外套，點綴著如同法蘭西學會中最悠久知名的法蘭西學術院 (The French

Academy)制服上的金色葉片刺繡。演繹工坊工藝極致發揮的高級訂製服。

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碩果僅存的Haute Couture高級訂製的另外兩位嬌

客 Givenchy 和 Valentino 也各自表述對奢華的姿態。藝術總監

Clare Waight Keller 表主導 2018 年 Givenchy 高級訂製服系列

時裝，且刻意命名為「 Caraman 」，向品牌創辦人 Hubert de

Givenchy 致敬，頌揚其與生俱來的優雅氣質和過人雋永創意的意 義深遠。

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Caraman 公爵於十九世紀在 3, Avenue George V 的府邸為設計

靈感，並於 1959 年把自己的工作室在設在這座顯赫高雅的建築內。 大宅內宏偉的樓梯、精緻的鐵藝欄杆及瑰麗大廳，時至今天依然保

存完好，也是 1959 年首間 Givenchy 專門店的所在地。也成為舉辦時 裝展及宴客的理想地點。

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至於Valentino高級訂製服則洋溢著古希臘阿波羅精神的 隨意與率性。幻彩斑斕的色彩演活了神話故事，拼花和編織 圖案印記著種種情意，捕捉瑰麗的相遇，成就融匯女性個性 及神髓的美麗於一瞬。 時間承載着無窮想像力及永不言倦的創作精神。打破 時空的框架，此時，此地「高級訂製」已走出侷限，我們需 要透過不同的情感來活現回憶與現實的追逐交疊。如果回憶 和觸感是美好印記，隨時會改變，但存乎當下片刻。可不是 嗎？Haute Couture高級訂製服，每一刻盡是驚喜。

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GEORG JENSEN

編號 1041

斯 堪 地 那 維 亞 的月 光 Text／方紅 Photo／喬治傑生

三百年來最偉大的銀雕大師——喬治傑生的靈感來源是想像中的自然。 他選擇了銀作為詮釋自然的曲折，豐滿但又流動。 一如北海的浪花拍打著丹麥的海岸，銀會閃光，很會反射，銀也會變色和扭曲； 銀反映著生命的突變，而通過雕塑，最有力也最美麗的藝術呈現， 不但成就了斯堪地維亞文化特質的真情和樸實，而且冷靜， 微妙而含蓄地傳承著一種「珍貴的東西是必須維護的美德」。 超過半世紀後，雕塑家邦漢寧．古柏（ Henning Koppel ）原創於喬治傑生銀雕編號 1041 銀雕， 重新面世，也再一次喚醒了那道溫柔的月光。

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[ SPECIAL REPORT] 1954 年，舉足輕重的丹麥現代主義大師漢寧．古柏為百年丹麥皇室

精品喬治傑生GEORG JENSEN設計了編號1041作品。

古柏毫不掩飾，運用波浪起伏的 3D ，渾然天成的弧線設計，賦予當

代雕塑新的方向。從珠寶、腕錶，到生活精品與銀雕器皿，古柏的創作風 格多元。他一再挑戰銀雕工藝的極限，而編號1041作品是他最敢於嘗試的 原創設計之一。

1954年，喬治傑生50週年紀念展覽，編號1041首次曝光。然而由於古 柏在其前衛創意及對銀質的要求下，但又不願在形狀或比例上妥協，而毅 然將原作摧毀。但這個設計一直珍藏在喬治傑生的資料庫中。

今天，適逢古柏百年誕辰， 喬治傑生選擇重生大師最經典編號 1041 以茲慶祝， 非常具有收藏價值。

喬治傑生團隊展開了所謂的「鑑識設計 (Forensic Design)」過程，藉

現代3D模型工具，再交由一位喬治傑生銀匠手工製造專家，以手工敲錘12 公斤重的足銀片開始，打磨出代表性絲綢霧面質感。最終使用足銀（純度 高達 99.9%），打造出總重 7.7 公斤， 74 公分（長）x 45公分（寬）x 24公

分（高）兼具複雜曲線和厚度的編號1041。每件令人屏息的編號1041雕塑

都有專屬序號與印記，並印上漢寧．古柏的簽名與GEORG JENSEN標誌。 漢寧．古柏的編號1041銀雕，美麗，無畏，感性和隨性，令人體現北歐獨 具的永恆。

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When

Architecture Meets Art 當建築 遇上藝術 奧拉佛 艾里亞森 vs 丹麥 Text and translation／Jason Chung, Tang Yen Photo／Anders Sune Berg

Olafur Eliasson and Studio Olafur Eliasson Fjordenhus, 2009-2018 Vejle, Denmark Client: Kirk Kapital Photo: Anders Sune Berg, 2018 © 2018 Olafur Eliasson

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「建築是可以居住的雕塑。 」 抽象雕塑之父康斯坦丁．布朗庫西（Constantin

Brâncuși）曾說過：「建築是可以居住的雕塑。」而這句名言 對搶手的當代丹麥大師奧拉佛．艾里亞森（Olafur Eliasson） 今年六月落成的跨界創作是最貼切不過的形容了。 此次的建案是由丹麥的瓦埃勒金融投資公司（ KIRK

KAPITAL）所委託藝術家特別設計建造，名稱為Fjordenhus作 為他們公司的總部。在這棟藝術建築物內，艾里亞森也特別與 其工作室的專業建築團隊設計了室內裝潢細節、傢俱與燈飾， 整體而言是大型藝術創作，個體各自也都是藝術品。不禁令人 想到美國建築巨腕法蘭克．洛伊．萊特（Frank Lloyd Wright） 曾說過的一句話：「室內空間本身即是建築物的現實。」 簡潔有力的幾何建築線條、猶如太空行星軌道運行的腳 蹤，在Fjordenhus處處可以見到艾里亞森的招牌風格。透過光 學、幾何結構，他的創作時常探討人與大自然之間的關係， 也在動態中表現不同的可能性。Fjordenhus裡裡外外的種種細 節，都是藝術家透過這樣的創作來使環境與人以及自然做出對 話的手法。

出生於1969年，任職於藝術家工作室首席設計師並與艾里亞

森長期合作的德國建築師貝曼先生（Sebastian Behmann）表示： 「我們對於空間虛實之間的編排與順序花費了細膩的心思，使用 節制的聲學設計與採光平衡…」確實，走進這座建築，所有的線 條與空間感，都散發出和諧與內斂的北歐設計美感。 當代建築加上艾里亞森招牌具有代表性的裝置雕塑作品，相 信喜愛藝術的朋友們都不陌生，尤其是在台灣也有他的私人收藏 作品於公共空間中展示予大眾。此次計畫為藝術與建築的完美結 合，不但更加鞏固艾里亞森於全球市場的定位，也證明他市場寵 兒的實力。藝術家工作室表示，這是艾里亞森團隊與藝術家所創 立的Studio Other Spaces新的藝術與建築結合的專案辦公室，丹麥 的Fjordenhus即是未來建築與藝術結合的序曲。

講到艾里亞森，他近年來於國際展覽曝光率極高，背後的慈 善計畫更是使人感到溫馨。他的小太陽（Little Sun）計劃，使用

低科技LED燈泡與簡易太陽能板的設計，點亮了世界上沒有電力 的村落漆黑的夜晚，並幫助孩童在日落後依舊仍然可以學習，對 教育也付出貢獻。

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When Architecture Meets Art Acclaimed Artist Olafur Eliasson’s First Building Opens in Denmark

The father of abstract sculpture Constantin Brâncuși once said: “Architecture is inhabited sculpture.” This quote cannot describe Olafur Eliasson’s cross disciplinary creation that was unveiled this year in June more closely.

KIRK KAPITAL commissioned the artist to design this special building project, named Fjordenhus, it will be the new headquarter of the company. In this artistic structure, Eliasson has specially worked with his professional architectural team in designing the detailed interiors, furniture and lighting, which works collectively as a work of art as well as individually. One can relate closely to the American architectural master Frank Lloyd Wright’s saying that: “The interior space itself is the reality of the building.”

Succinct geometric outlines, like orbits in space, at the Fjordenhus, Eliasson’s signature style can be found constantly throughout. Via optical aesthetics and geometric structures, his art often incites relations between mankind and nature while adding motion as one of the different possibilities. The minutiae embedded within the Fjordenhus invites a discussion among the urban environment, people, and nature.

German architect Sebastian Behmann, who’s been the artist’s long term collaborator said: “Throughout the process, we were very attentive to the choreography and sequencing of spaces, using modulation of light and acoustics…” Indeed, upon entering the building, all the lines and sense of space emanate a harmonious and subtle Northern European design aesthetics.

Contemporary architecture combined with Eliasson’s highly recognizable installation and sculptural works are no strangers to art lovers, especially with works in private collections in Taiwan on display to the public. This project serves as a perfect marriage between art and architecture, which not only consolidated Eliasson’s status in the global market, it also serves as an index to his solid popularity. The artist’s studio stated that Eliasson’s team with Studio Other Spaces, also founded by the artist, marks the beginning of the merge of art and architecture’s office with Denmark’s Fjordenhus as the overture of this melody.

Architecture is not Eliasson’s sole cross-over, so is philanthropy.

With a tremendous effort in promoting education, his Little Sun project employed low tech LED lights with compact solar panels has lighted up the dark villages in the corners of the world, helping children to be able to continue learning after sundown.

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2019 新 巔 峰 即 將 到 來 羅芙奧 20 週年 邀請您共襄盛舉 回顧歷年佳績，場場精彩，高潮不斷

2004

2006

2010

2011

朱德群《雪景（寒）》

廖繼春《運河》

朱銘《單鞭下勢》

常玉《五裸女》

創下朱德群全球拍賣新高 台幣 1,645 萬元成交

刷新廖繼春全球成交紀錄 台幣 8,085 萬元成交

創下藝術家個人拍賣最高紀錄 台幣 8,224 萬元成交

打破當時華人油畫最高拍賣紀錄 開啟華人油畫人民幣億元時代 台幣 4 億 7525 萬成交

2013

2014

2015

2017

席德進《自畫像》

趙無極《爭榮競秀》

丁雄泉《世界小姐》

常玉《紅底白菊》

打破席德進世界拍賣紀錄 台幣 2280 萬元成交

創下台灣拍賣史上最高價油畫紀錄 台幣 2 億 4,336 萬元成交

以台幣 5,632 萬元成交 作品尺幅創下二十年來 國、內外拍場紀錄 並刷新藝術家個人世界紀錄

以 2.8256 億元台幣站上常玉前十大紀錄 締造台灣拍賣史上最高油畫成交記錄

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