羅芙奧季刊第41期 RAVENEL QUARTERLY NO. 41

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No. 41 Winter 2022 超現實宇宙 SURREALIST
精采時刻 雋永人生
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14 8 8 THE ARTIST 童心未泯 橫掃國際的藝術家-奈良美智 The Child-Like Era That Took The World By Storm: The Art of Yoshitomo Nara 14 ART & INVESTMENT 拉法.馬卡龍的魔幻小宇宙 Rafa Macarrón's Magical Universe 26 THE ARTIST 優雅豐盈.法蘭西 Elegance And Exuberance of French Art 30 CHINESE PAINTINGS 融古開今-現代花鳥名家喻仲林 Evolution from Classics: Modern Flower and Bird Paintings of Yu Chung-lin 36 WINE 用日本人的手,打造世界級日本威士忌 -走過一個世紀的山崎蒸餾所 The Yamazaki Distillery with a 100-year History No.41 | Winter 2022 | https://ravenel.com CONTENTS

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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. 44 LUXURY 走入歐陸王室的世界, 藉寶石傳承親情與歷史的光輝 Into the World of European Royal Families, as the Gemstones Carry the Light of History and Love through Generations 48 ART 海洋塑料是垃圾 ? 還是藝術 ? 52 FASHION Baguette 貝貴提包 54 TRAVEL 顛倒世界Alpin Panorama Hotel Hubertus 60 SPORTS 法網,大滿貫;運動,大風行 66 FASHION ARTYCAPUCINES 第四章 奈良美智《咖啡杯孩子們 ( 單一件 ) 》 1995 壓克力 漆 玻璃纖維 95( 長 ) x 95( 寬 ) x 110( 高 )cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 238 Yoshitomo Nara, CupKids(unique), 1995, acrylic, lacquer and cotton on FRP, 95(L) x 95(W) x 110(H)cm, Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 238

上升的西班牙當代藝術家新星。 關懷環境,家具時尚尋求可持續性,澳洲設計師布羅迪.尼 爾布羅迪 Brodie Neill 的作品,既是家具亦是藝術品。從英國王室 的珠寶收藏與傳承制度,談彩鑽的貴族傳世象徵。 Alpin Panorama Hotel Hubertus 高檔酒店,網球 23 座大滿貫女單冠軍小威廉絲、鱷 魚先生結合時尚與運動的故事,以及知名影集帶動取名自法國長棍 麵包 Baguette 的貝貴提包風潮,都是本期雜誌所欲分享的精彩篇章。

[ CHIEF EDITOR'S NOTE ] 洪易《福虎》 2010 年 鋼板烤漆 版次 EA 150 (長) x 102 (寬) x 125 (高) cm 羅芙奧 2022 秋拍「薈萃國際:現代與當代藝術」編號 024 預估價格 台幣 110 萬至 190 萬 HUNG Yi, Lucky Tiger (Middle), 2010, baked enamel on steel plate, ed. EA, 150 (L) x 102 (W) x 125 (H) cm Ravenel Autumn Auction 20222 – SELECT: Modern & Contemporary Art, Lot 024, Est. USD 34,800-60,100 總編輯 2022 壬寅虎年國際世界局勢凶險,疫情、戰爭、地緣政治、通 膨、股災、能源和氣候等議題紛紛擾擾,成為全人類一起承擔的共 業。一年到了尾聲,感念你我突破重重難關,又是神采奕奕。為自 己加油,送舊迎新,等待新契機到來。 日本幣值連連貶破歷史新低,不過日本藝術家奈良美智以及日 本威士忌,過去幾年成為全球成為最熱門的話題之二,行情稱霸全 球藝術與烈酒市場。本期季刊有奈良美智的拍品介紹,以及專家探 討日本威士忌的起源與發展。 設色明麗、繁而能簡的工筆花鳥大師喻仲林,留給世人秀麗清 豔的圖畫瑰寶;二十世紀法蘭西藝術的優雅,經得起時代的審美追 求成為經典;職業自行車手華麗轉身,回歸四歲的塗鴉初心,拉法. 馬卡龍
Ravenel 》自 2012 年發行創刊號,已走過 十個年頭,分享無數新潮與經典並重的藝術、藏酒、珠寶、時尚、 旅遊、酒店等高端生活品味,感謝讀者的反饋,給予羅芙奧團隊與 編輯群莫大支持與鼓勵,不忘創刊宗旨:精彩時刻,雋永人生! 回顧時刻精采 6
Rafa Macarrón 用彩色指尖,擘劃夢想的小宇宙,他是冉冉
羅芙奧企業新季刊《
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The Child-Like Era That Took The World By Storm: The Art of Yoshitomo Nara

Text / 李維屏 Apolline Li Photo / Ravenel International Art Group

童心未泯 橫掃國際的藝術家
奈良美智
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All of my works are reflections of myself. They are conversations with myself. —

智。對於他而言藝術啟蒙於音樂,但旅行可說是告別一段生命里程的重 要儀式;旅行也讓奈良美智找到和世界溝通的途徑,驅動他去探索人生 的未知。遊走於學院知性研究與旅行的感性啟發,求學期間,兩度到歐 洲旅行。而第二次的旅行參觀完 1987 年卡塞爾文件大展之後,心中有 了決定,結束七年名古屋的學習,隔年前往德國留學。 盡顯精髓的象徵性年份 獨樹一格的大頭娃娃

在異鄉期間也經常一個人面對創作時的孤立狀態,此件標誌性大型 創作《咖啡杯孩子們》創作於 1995 年,不僅是一件盡顯精髓的代表性

走入大眾的重要里程碑 「現在的畫不只單方面投射出情感,也希望看的人能夠感受到」 奈良美智 孤獨,是奈良美智作品裡的人物的共同點,成長於寒冷的青森縣弘 前市,如他所言「我非常的孤單,周遭只有蘋果樹⋯,我能說話的對象 只有大自然,所以我會對樹、對狗、對豬⋯,所以我對大自然有種特殊 的情感,幾年之後,我發現這其實不是件壞事。」旅居德國期間前後長 達了 12 年,離鄉背井的奈良美智與故鄉間的距離有著好幾萬公里之遙, 在語言全然不通的情況下,猶如一場長年自我放逐的創作之旅。奈良曾 說過「杜塞爾多夫的冷與暗很像在青森縣成長的那段時光,與日本疏 離,這讓我想起我是誰,也幫助我重新發現自己。」 2002 年 9 月底,奈良美智與知名攝影工作者川內倫子,一同踏上 前往阿富汗的旅途,反思人性,關懷社會。出生於 1952 年的奈良美智 是這麼形容自己出生與成長的年代:「那是一個每戶人家都有戰死親人 的時代。」而於 2002 年前往戰爭中的阿富汗旅行後更清楚向觀者遞出 他「反對戰爭」的想法。《距離戰爭 2000 光年》試圖喚起在全球政治 下,人們直面「反戰」的責任。 2001 年,村上隆曾公開評論,奈良所

[ THE ARTIST ] 奈良美智,無疑是近年藝術市場最炙手可熱的日本藝術家名字之 一,他的作品孤獨卻溫暖、簡單卻觸動人心,以童趣卻叛逆的形象令人 著迷,深受收藏家追捧。自詡為吟遊詩人,有著搖滾叛逆卻充滿人道的 溫暖心懷, 喜歡一邊旅行一邊創作,在回憶童年時代的創作中,描繪 出動人的生命經歷。 「我的全部作品其實是我內心的自畫像,是和自己的對話。」
-奈良美智 偏好獨自創作,跨界廣受流行時尚、文學與大眾文化喜愛的奈良美
畫廊在美國加 州舉行個展,種種變化與契 機將他推向國際舞台。 《咖啡杯孩子們》為七 件一組作品中的其中一 件,有著大耳朵的 孩童單獨置身於咖 啡杯中,無論他們 正閉著或瞪著眼, 展現了奈良美智對潛 意識超現實深度的 研究,藝術家真 實面對自身的情 感,如夢遊般拒絕
◀ 奈良美智《咖啡杯孩子們 ( 單一件 ) 》 1995 壓克力 漆 玻璃纖維 95( 長 ) x 95( 寬 ) x 110( 高 )cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 238 Yoshitomo Nara, CupKids(unique),
and cotton on FRP, 95(L) x 95(W)
與外界交往的表現。讓觀者於夢與醒之間感到孤獨與寧靜,彷彿被安排 進入奈良美智夢中的場景,歡樂卻靜止畫面中讓人沉澱心靈。奈良美智 的娃娃們一向反映出藝術家心境與生命歷程,雙眼緊閉,沉吟忖度,帶 給觀者極大的想像空間。 2000 年規劃聖塔莫尼卡美術館展覽時,也想 以「咖啡杯孩子們」為主題來創作,足見他對「咖啡杯孩子們」在藝術 家創作生涯深具象徵意義。
能力」,而奈良美智也從一路從孤獨,私密創作與自我對話的路途中, 逐漸創作出帶給人們希望的作品。 2006 年以故鄉青森縣弘前市的老舊紅磚倉庫作為發表的舞台,將 奈良美智從過去 90 年代曾經在各國展示會上登場的作品一併納入,將 工作室帶到展場,從創作走到生活,總數 44 間的小屋結集出獨特的街 道聚落,募集了超過一萬三千名義工與創作團隊 graf 所合作完成的展覽 會「 A to Z 」,製作規模與人數前所未聞之多,連藝術家都直言此生應 該是只此展覽一次。《告訴我為什麼 (A to Z) 》即興塗鴉於居酒屋的廁 所門上,正值於 2006 年,那時的奈良美智彷彿回到了兒時的小鎮生活。 也因為「 A to Z 」開啟了與大眾的連結,他的創作有著矛盾的混合體, 擁有反叛性格的天真外表小女孩,不可妥協卻又堅強抵禦外在世界,這 種童真的叛逆感成型於這個時期,鑄就了後來大家所熟知的奈良特質。 9
作品,更創作於奈良美智生涯中極為重要的象徵性年份,也是藝術家的 創作突破的轉捩點。這年春天他將自己的作品從德國帶回東京著名的澡 堂畫廊( SCAI The Bathhouse )舉辦第一次個展《很深很深的水坑》同 時他首次展覽發表第一件大型小狗雕塑,成功獲得迴響。隨後逐漸創作 玻璃纖維為媒材,將畫裡的小孩與動物 換成雕塑作品;同年海外亦並首次
1995, acrylic, lacquer
x 110(H)cm, Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 238
擁有的是超越藝術,召喚民眾聚集起來的吸引力—「一股不流血革命的

NO ONE TRULY UNDERSTANDS LIFE, ONE HAS TO FEEL IT YOSHITOMO NARA

174.5( 長 ) x 60.5( 寬 ) x 4.7( 厚 ) cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 239

Yoshitomo NARA, TellMeWhy(AtoZ), 2006, marker pen, oil, wallpaper on door, 174.5(L) x 60.5(W) x 4.7(D) cm, Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 239

回思雕塑— 311 後的低潮與希望 「沒有人能真正參透生命的意義,我們要做的只是感受。」-奈良美智 2011 年 3 月 11 日,東日本大地震震擊了日本,也撼動了全世界。當時的奈良美 智對於來自日本地震災區的所產生虛無感與創傷也如海嘯般來襲,即便親身前往災區 賑災,在那之後半年依舊無法動筆畫畫。他跟隨了攝影大師荒木經惟摸索攝影,也慢 慢從像是有著土地的溫暖般的泥塑找回創作溫度。有別於 1990 年代所使用玻璃纖維 所製作光滑夢幻的大型雕塑創作, 2011 年開始奈良美智回歸手感的陶土雕塑,黏土 為沒有矯飾的天然材質,更使得他於泥塑過程找回與自己的對話。《雕塑的習作》為 原 13 件一組素描作品中的一件,有些繪於泥塑完成前,有些繪於泥塑製作完成之後, 為泥塑雕塑的草稿或素描,紀錄了當時奈良美智對於雕塑媒材的無限可能性。奈良嘗 試將畫作中表現的複雜情感、激發更深層的內在世界,轉移到更具體的媒材,後期的 立體雕塑有著他對於生命深刻的無常體悟。

在他的藝術創作裡,不論媒材,繪畫與雕塑互有特色、互相影響,持續精進。其 畫作《背後藏刀》於 2019 年以逾 7 億 7 千萬台幣打破了個人拍賣紀錄( 1.95 億港幣 成交),而大型房屋裝置《柏林巴克, 1 號室》於 2021 年拍出逾 4 億 7 千萬台幣的 高價( 1.2 億港幣成交),顯示奈良美智奠定的人氣經年不墜,他強勢的影響力跨越 國界,除了身受藏家喜愛,無數年輕藝術家亦受其風格影響。他不被框限的才情,這 位不願長大的藝術家,奈良美智正在持續記錄他精彩動人的生命經歷。

Yoshitomo Nara is considered as one of the most sought-after artists of the contemporary art market. His works bring about the feeling of loneliness and warmth in their simplistic compositions. The juxtaposition of child-like form and rebelliousness is intriguing in his works. With a poetic, rebellious and gentle personality, Nara loves creating his artwork whilst traveling when his memories of childhood were vivid, thereby incorporating his experience in his works.

"All of my works are reflections of myself. They are conversations with myself", Yoshitomo Nara.

As a lone artist, Yoshitomo Nara is well-acclaimed among the fashion, literary and pop culture scenes. He believes art is inspired by music while traveling constitutes a means to an end in a stage of life. Travel is a bridge of communication between the artist and the world. It leads him to explore unknowns in life. After two travels in Europe, the second time being a visit to documenta 8 in Kassel in 1987, Nara was faced with the empirical theories at school and the romantic discoveries in travels. Since then, he was determined to end his seven years of education in Nagoya and opted for German education.

Symbolistic Depiction: Children with Huge Heads

Loneliness is prevalent among travelers away from home. This large-scale representative work, Cup Kids, was completed in 1995, a significant year of Nara's career. That year was the turning point of his artistic career as his works were brought from Germany to SCAI The Bathhouse Gallery in Tokyo for his first solo exhibition "In the Deepest Puddle". It was also the time when his first gigantic dog sculpture received positive feedback from the art scene. Since then, similar subjects of glass fiber were

▶ 奈良美智《告訴我為什麼 (A to Z) 》
2006 奇異筆 油彩 壁紙 門片
10
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YOSHITOMO NARA TELL ME WHY

made and subjects on canvas were transformed into sculptures. In that same year, solo exhibitions at Blum & Poe Gallery in California, USA were held, bringing Nara closer to the international art platform.

Cup Kids is one of the seven components of the work. Children with big years were composed in a big coffee cup. Some with eyes closed and some opened. This shows the artist's awareness of subconsciousness which is the way the artist used in his journey of self-exploration. To a certain extent, this is equivalent to sleepwalk, as one shut itself from temptations. As the viewer experiences the solitude and tranquilness brought by the message of sleep and being awake, one travels into the dream of Nara, from a clamorous stage into a world of meditation. Children of Nara are reflections of the artist's emotional state and life experiences. They open the door towards self-meditation in tranquility. In 2000, Cup Kids was once considered as an exhibition highlight in an exhibition held at the Santa Monica Museum of Art. This highlights the significance of the work to the artist.

Milestone of the Public World

"My current works serve not only a tool of expression, but a bridge of emotion associated to the viewers", Yoshitomo Nara

Loneliness is the crux of figures featured in Nara's works. Having grown up in the cold Hirosaki, Aomori, Nara once said, "I was very lonely with only apple trees around me Nature is my own companion, so I will spend time with trees, dogs, pigs ⋯ Hence, I have developed a

special bond with Nature. A few years later, I realized that this is not a bad thing after all". With 12 years in Germany away from home, Nara experienced years of self-exile under a language barrier. He would compare the cold and dark Dusseldorf with Aomori. He claims that the years away from Japan encouraged his journey to self-exploration and rediscovery.

In September of 2002, Yoshitomo Nara went to Afghanistan with photographer Rinko Kawauchi to contribute to society while exploring the issue of human nature. He said, "This is the time when every family has a loved one sacrificed in a war". Since then, his works deliver a strong anti-war message. 2000 light years from the war brings the world's attention towards our responsibility to establish peace. In 2001, Takashi Murakami publicly commented Nara's art is influential with the ability to deliver messages outside the aesthetic quality of his art. Nara staged his works from loneliness towards hope in the form of internal revelation in both the making and the viewing of the works.

Autumn Auction 2022 Modern & Contemporary Art, lot 302

RIGHT: Yoshitomo Nara, For Kuro, 1992, acrylic and collage on paper, 56 x 41.7 cm, Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 301

▲ 左:奈良美智《雕塑習作》 2011 - 2012 鉛筆 紙本 52 x 35.5 cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 302 LEFT:
右:奈良美智《獻給小黑》 1992 壓克力 拼貼 紙本 56 x 41.7 cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 301
Yoshitomo Nara, SketchesfortheSculpture, 2011 – 2012, pencil on paper, 52 x 35.5 cm, Ravenel
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In an exhibition named "A to Z" at a former warehouse in Aomori in 2006, Nara chose works from the 1990s that are previously exhibited on international platforms, direct from studio to the exhibition ground of 44 buildings. A total of 13,000 volunteers and the graf team were involved in putting up this exhibition. Such grand production scale was phenomenal as it was considered as a once in a lifetime experience by the artist. Tell Me Why (A to Z) was a spontaneous graffiti at the door of a washroom in a local bar. It was created in 2006, the occasion where Nara revisited his childhood town. As "A to Z" reconnects with the public, the juxtaposition of child-like and rebellious girl associates with a fight against negativity of the world, hence this constitutes to the form of art in his later stage of the career.

Art of Ponder: Despair and Hope of Post-311

"No one truly understands life, one has to feel it", Yoshitomo Nara

On 11th March 2011, Japan was hit severely by an earthquake. The severity shook the world. In the aftermath of this hazard, Nara helped with the settlement, yet the shock was so immense that he couldn't produce any works for half a year. Along with Nobuyoshi Araki, he explored photography and slowly recovered through the touch of clay. In contrast with the smooth sculptures made with glass fiber, the clay that Nara used since 2011 is austere and rough in texture. Such austere nature engages a private conversation with himself. Sketches for the Sculpture is formed by a lot of thirteen sketches, some of them were

done in various times at the production of a clay work. They capture the myriad possibilities of Nara's sculptures as he tried to consolidate complex feelings through his internal struggles into a sculptural form. By his later artistic career, Nara's sculptures carry a strong message from his reflection towards life.

Regardless of the media, Nara's works are unique in their own way and become more refined towards his mature stage. Knife Behind Back fetched NT$770 million (HK$195 million) in 2019, breaking the artist's record at auction. Berlin Barack, Room 1 sold for NT$470 million (HK$120 million) in 2021, showing the long-lasting fame of the artist around the globe. Being well-loved by collectors, Nara's works also influence the style of the younger generation of artists. As a rebellious artist towards boundaries of life, Yoshitomo Nara is a child-like artist who lives to document his life experiences into intriguing works of art.

Nara, Autograph, 1999, marker pen on paper, 18 x 14 cm Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 297

[ THE ARTIST ]
▲ 左:奈良美智《距離戰爭 2000 光年》彩色鉛筆 紙本 30.5 x 22.7 cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 304 Yoshitomo Nara, 2000LightYearsfromtheWar,
coloured pencil on paper, 30.5
22.7 cm, Ravenel
Auction 2022 Modern
Contemporary
304 右:奈良美智《簽名塗鴉》 1999 馬克筆 紙本 18 x 14 cm 羅芙奧台北 2022 秋拍「現代與當代藝術」編號 297 Yoshitomo
13
2002,
x
Autumn
&
Art, lot
Text / 陳惠黛 Odile
/
拉法.馬卡龍的魔幻小宇宙 版權提供 courtesy of Ting Ting Art Space. 14
Chen Photo
Ravenel International Art Group
[ ART & INVESTMENT ] 拉法.馬卡龍( Rafa Macarrón ),是繼哈維爾.卡勒加( Javier Calleja )、艾德加.普連斯( Edgar Plans )又一位蜚聲國際的西班牙 藝術新星。他是自學成才的藝術家,喜於描繪超現實夢境空間裡的人與 物,造型抽象化、趣味化,人物有著大腦袋,搭配細長的手足四肢,大 手的指頭上塗著鮮豔蔻丹指甲油的男男女女,模樣格外奇特。作品的構 圖布局、機械、空間的配置,讓人過目不忘,帶有一種悽楚浪漫、復古 又科學的情懷。 40 歲那年首次美術機構回顧展 儘管未受正規的學院派訓練,馬卡龍的藝術滋養來自西班牙優良的 美術文化傳承、歐洲現代主義的薰陶,以及出身自藝術鑑賞世家,於成 長歷程裡的點滴累積。拉法.馬卡龍曾經於 2010 年近 30 歲時獲得西 班牙 BMW 寶馬繪畫獎( BMW Painting Award ), 2021 年 3 月 40 歲 時在馬拉加當代藝術中心( Malga )舉辦了他的首次博物館機構的展覽 「十五」( Quince )。繪畫大半生, 40 歲前後機運大開,人生走向另 一個巔峰;2021 年 4 月緊接著在中國北京新成立的 CVG 基金會舉辦「白 日夢」( Afternoon Delight ),此展也是馬卡龍在亞洲美術機構的首次 發表。 接著 2021 年 7 月,馬卡龍受邀在知名收藏家里奧.馬爾卡( Lio Malca )創辦的「薩利納斯鹽倉基金會」( Fundación La Nave Salinas ) 舉辦了個展。該基金會位於西班牙伊比薩島( Ibiza ),自 2015 年成立 以來,曾舉辦過美國重磅級街頭藝術家— KAWS 、奇斯.哈林( Keith Haring )、肯尼.沙夫( Kenny Scharf )等個展 ,以及影像大師比爾. 維奧拉( Bill Viola )、馬可.布蘭比拉( Marco Brambilla )的裝置與 展演之後,拉法.馬卡龍成為該基金會第一位舉辦個展的西班牙藝術 家。展覽名稱為「沐浴者」( El Bañista ),與夏天、海洋符合伊比薩 地理人文的主題,共展出 15 件繪畫與雕塑新作。因為舊建築物本身具 有一種如教堂般的神聖氛圍,質樸的空間在他色彩繽紛的畫作裡,襯托 出華麗的節慶感。 ▶ 拉法.馬卡龍《異世界》 2019 年 壓克力 綜合媒材 畫布 183 x 183 cm 羅芙奧 2022 秋拍「薈萃國際:現代與當代藝術」編號 069 預估價 TWD
Rafa
cm
15
3,600,000-5,500,000
Macarrón, Diferente mundo, 2019, acrylic and mixed media on canvas, 183 x 183
Ravenel Autumn Auction 2022 Select: Modern & Contemporary Art, lot 069, Est. USD 113,900-173,900

利藝術空間,創辦人鍾情於直覺的審美,他持續擴展其收藏,並慷慨地

與群眾分享他的成果,贏得稱許。薩利納斯鹽倉基金會的策展人阿爾貝

多.奇訶巴爾( Alberto Chehebar ),同時也是一位傑出的當代藝術收

藏者,他一直希望為他們的機構尋找一位西班牙畫家。拉法.馬卡龍, 一位熱情而有才華的藝術家,成為他們的首選。

基金會創辦人里奧.馬爾卡( Lio Malca )也說明他的觀點:「一 開始我對於拉法的作品就感到無比興奮。在我看來,他的形象是從胡 安.米羅( Joan Miró )的星座宇宙,和曼努埃爾.H .蒙波( Manuel H. Mompó )的美好風景中誕生的。我知道拉法是西班牙繪畫重要傳統的 繼承者,個人深感敬佩,直覺相信他會為其藝術承繼賦予正義。很快能 想像拉法在薩利納斯鹽倉的周圍創作,松樹、地中海濱間的拉法作品, 融入伊比薩島的景觀,成為不可分割的一部分。日出、海灘與人群生活, 而夏天我們在圍繞建築物旁的自然公園裡,擁抱溫暖日落,一同禮讚他 的畫作與他的到來。我相信拉法和薩利納斯鹽倉能相得益彰。」

幾世代的藝術基因 造就他的天賦異稟

拉法.馬卡龍( Rafa Macarrón ),本名拉斐爾.馬卡龍.賈奎蒂

( Rafael Macarrón Jaqueti )。 1981 年出生於西班牙馬德里。他的血液 裡藏有幾個世代的藝術基因:父母親都是建築師,也是藝術的收藏家,

從小培養拉法欣賞美的事物,以批判的眼光面對作品;叔公里卡多.馬

卡龍( Ricardo Macarrón, 1926-2004 )曾是國王的御用畫師,為歐洲宮 廷和皇室繪畫肖像;而回溯到更久遠時期,拉法的曾祖父是藝廊老闆,

擁有一間修復師和雕刻家的工作坊。拉法自幼顯露出藝術的天分,成長 過程中經常跟隨父母參觀博物館及博覽會。他記得四歲時跟家人到巴黎 旅行,發現了巴布羅.畢卡索( Pablo Picasso )的作品,開啟人生不一 樣的風景。

1985 年,四歲時正值巴黎畢卡索美術館啟用元年,小小年紀的他 拿著筆記本和彩色筆,在展廳間或坐或躺一整個上午,與大師展開心靈 的交流。此後,拉法總是拿著一支鉛筆畫畫,作品從 A4 大小或四開的 紙張開始。對於畢卡索藝術的著迷,一直藏在他的內心深處,彷彿融入 血液一般。七歲時,他曾經畫過充滿色彩的圖畫,動物或從某個未知世 界走出的人物。

即將上大學時,前輩畫家胡安.巴喬拉( Juan Barjola, 19192004 )鼓勵拉法不要申請美術學院,因為潛力在自己的身上,要靠自己 發掘。於是學生時期馬卡龍先往別的領域發展,但是從未放棄過繪畫。 而高中畢業後,拉法.馬卡龍開始成為一名職業自行車手。身為運動選 手,必須保持紀律與耐力,忍受孤獨及體能磨耗的極度痛苦,他曾經獨 自騎上庇里牛斯山的圖馬列( Tourmalet )頂峰,挑戰身體的極限。馬 卡龍回憶著:騎在自行車上,與進入繪畫狀態的情境類似,他曾有八到 十個小時沒有停歇,但絲毫沒有察覺時間的流逝,因為一直處於專注的 流動狀態。而有紀律的鍛鍊即使當面對兩三米或四米的大畫布時,也無 所畏懼。 2006 年,馬卡龍年 25 歲,決定開始專心走向藝術家之路。成為職 業藝術家,不同於過去偶而地畫畫,他沒有回頭路只能拼命向前。此時 他的風格轉趨成熟。他可說是一位孜孜不倦、作畫速度很快的藝術家, 即使媒材繁多,但是完成一幅畫的時間不會超過一週,創作必須是自發 性的,像騎自行車的紀律,表現在作品之中。騎自行車時每天可騎上兩 百公里,身體的訓練能幫助他思考。他將運動的熱情轉移到繪畫上,完 美地融合一起。紀律讓他幾乎像僧侶一般,早上六點起床,前往馬德里 的拉斯羅薩斯( Las Rozas )小鎮的工作室,工作前先閱讀,然後畫畫。 他喜歡在早上光線好的時候開始畫,他坦言無法等到下午才做,每件創 作都是全心全力完成,真誠感動人心。

薩利納斯鹽倉基金會的所在地,為海邊一間舊鹽倉庫改造的非營
▶ 拉法.馬卡龍《寵物》 2018 年 綜合媒材 畫布 183 x 226 cm 羅芙奧 2022 秋拍「現代與當代藝術」編號 243 預估價 TWD 3,200,000-5,000,000 Rafa Macarrón, Pets, 2018, mixed media on canvas, 183 x 226 cm Ravenel Autumn Auction 2022 Modern & Contemporary Art, lot 243, Est. USD 101,200-158,100 16

這些人物是誰呢?馬卡龍在畫自己生活中的訊息。在意志力的堅 持下,他的繪畫如同書寫著一本自傳,捕捉人間的種種情境。有些是自 身的寫照,童年的回憶,有些則取材生活周遭來往人物的縮影。他的

馬卡龍式的宇宙—小小世界( munditos )裡的人物 馬卡龍曾擔任過復健師,學習解剖學,而人體構造與運動相關的知
識,對於日後在人物表現產生意想不到的幫助。由於父母與手足的建築 師職業,潛移默化中他頗為重視畫面的結構。他用變形的方式進行人物 的測試,源自於表現主義的,彷彿創建自己的角色,每個角色都有各自 的靈魂。而這種帶有孤獨色彩的人物,處在角色自我的宇宙裡,帶有魔 幻超現實的味道,正是馬卡龍式的小宇宙。
群像創作,令人聯想起古典大師波希( Jheronimus Bosch )與布勒哲爾 ( Pieter Bruegel ),宛如造型奇特、氣勢宏偉場景的當代版本。 馬卡龍的繪畫融合了歐洲具象繪畫的悠久傳統、畢卡索、達利、米 羅與馬塔( Matta )的超現實、杜布菲( Dubuffet )的原生藝術,以及 1950-60 年代西班牙漫畫與藝術的影響。 在一次採訪中被問及繪畫起源,馬卡龍回答道:「我與西班牙繪畫 有非常直接的關係,我簡直是看普拉多美術館的藝術品長大的,那是世 上最好的美術館。我對於身為西班牙繪畫傳統的一分子感到非常自豪。 哥雅是世界上最好的畫家,他的暗黑繪畫一直觸動我的心靈,當然還有 維拉斯蓋茲的《宮女》,我覺得那是最優秀的作品。但這一切都始於畢 卡索。我愛上了他在巴黎的作品,在他的博物館裡。我四歲時,從那一 刻起,我就沒有停止繪畫。」 儘管他是 1980 年後出生的 Y 世代人類,漫畫或普普藝術對於此世 代的人直接的影響,然而馬卡龍耽溺於於歷史悠久的西洋美術傳統,以 及超現實主義夢境的天馬行空,率性瀟灑的表現風格。馬卡羅說道:「我 筆下的人物不會走向漫畫風格,我避開所有卡通化的裝飾,他們是源自 於幻想的、超現實的與表現主義的造型。我認為他們與我所仰慕的杜布 菲、博尼法西奧和阿方索.弗萊勒等人息息相關,屬於混合型人物。我 的人物存活於超脫的時光、晴朗的日子、日落時分、清新的空氣中。」 二維與三維空間之間巧妙遊走 藝術家筆下的混和型人物,多年來在不斷地創造中,逐漸地塑造了 自我的風格。他們不斷地重生,訴說著新生命的希望。拉長的或過大比 例的頭部,細細的手足四肢,特別是馬卡羅的人物無論性別都塗著鮮豔 的蔻丹。奇特的姿態,讓人著迷。他回憶此靈感是來自五歲時在巴黎蒙 巴納斯區看見的法國女人,強烈的印象一直烙印在腦海之中,從此之後 他為所有的人物塗上色彩繽紛的指甲油。指甲油—蔻丹,在人類的歷史 已有數千年的歷史。在古代埃及是上流社會的象徵;巴比倫人勇士塗上 黑色指甲油;中國有皇族貴冑也會塗上蔻丹;而今日更普世的經驗是女 人或男人愛美、彰顯自我個性與魅力的表徵。 手部的表現,確實是馬卡龍的畫面中最突出的元素。他認為人類 最多表情的部位在於眼和手。當他用表現性技法描繪手部時,手就產 生無比的誘惑力。在繪畫界有種說法,所謂「畫人難畫手,畫獸難畫 狗」,尋常之物易畫難工,得其精神更難。而運動員出身的馬卡龍, 勇於挑戰自我,不僅彰顯人物的手部表情與姿態,同時也喜愛創作動物 的主題,也曾製作狗的立體雕塑。例如在鹽倉基金會的戶外銅雕、或是 2022 年與荷蘭分享平台 Avant Arte 發行兩款限量各 30 件的銅雕 Fabula 與 Indi ,即以狗的造型雕塑。而近期在布魯塞爾的 Nino Mier 畫廊個展 則有瘦高的馬造型銅雕發表。 馬卡龍在二維繪畫裡構築三維的空間,甚至是夢想的空間。他的 興趣是研究畫面的結構,因為父母手足皆從事建築師職業的長年薰陶影 響。繪畫中的二維與三維空間形成的張力,細長的人物彷彿從畫面中凸 顯出來,減少觀賞者與畫中的夢幻奇特空間形成的距離。 ▲ 拉法.馬卡龍《狗Ⅰ》 2021 年 銅雕 高 280 cm 薩利納斯鹽倉基金會展覽 Rafa Macarrón, Perro Ⅰ, 2021, bronze, H 280 cm @ Fundación La Nave Salinas ▼ 拉法.馬卡龍《蚊子三劍客》綜合媒材 畫布 約 195 x 195 cm ( 2010 寶馬繪畫獎得獎作品) Rafa Macarrón, Los tres mosquiteros, mixed media on canvas, approx. 195 x 195 cm (Premio BMW de Pintura 2010) [ ART & INVESTMENT ] 17

層紋理、人物群像形成深邃的奇幻宇宙。其間空間的構造、幻覺的實驗,

都有藝術家如遊戲一般地淋漓暢快的揮灑。他建構的多重空間裡,有的 如虛構的室內,有的如在泳池、沙灘邊,或是某個不知名的高峰、星球

之上,雲朵、雨水、高塔、長梯、飛行器⋯等等夢幻的元素。人物、動 物都有獨特個性,彼此間的互動、手勢的傳達、突出眼球的四處張望狀

他曾經獲得多個獎項: 2009 年,獲得皇家高級酒店國際繪畫競賽一等 獎( Certamen Internacional de Pintura Royal Premier Hoteles, First Place Award ); 2010 年以作品《尋求沉默,你會發現》( Busca Silencio y You Will Find )報名,一舉在第十五屆公報基金會青年繪畫大賽( Certamen de Pintura Jóvenes pintutores Fundación Gaceta )中,獲得第一名的成績( First Place Award );以及 2010 年第 25 屆知名的 BMW 寶馬繪畫大賽,以作品《蚊 子三劍客》( Los tres mosquiteros )從七百位參賽者中脫穎而出,評審團 讚譽此為一幅形式主義、抒情和諷刺的畫作,獲頒首獎的榮譽; 2013 年時 參加拱之大展博覽會,榮選為最優秀藝術家獎( ARCO Best Artist )。 他的努力拚搏終於獲得肯定,在歐洲、美洲與亞洲都有畫廊與之合

Context Art Miami 藝術博覽會、邁阿密藝術博覽會 Art Miami 、莫斯科藝術博覽會 Art Moscow 、台北藝術博覽會 Art Taipei 、深圳藝術博覽會 Art Shenzhen 和上 海西岸藝術博覽會 West Bund Art 等等,因此收藏家分布各地。 目前他的作品公共收藏,包括西班牙的瑪麗亞.克里斯蒂娜.馬 薩維.彼得森基金會( Fundación María Cristina Masaveu Peterson , 簡稱 FMCMP )、寶馬基金會( Fundación BMW )、利奧哈的比凡科 基金會( Fundación Vivanco, LA Rioja )、華拉杜列的 Caja Campo, Valladolid 、托梅略索的聖女酒莊與油坊( Virgen de las Viñas Cooperative, Tomelloso )、 Colección 皮拉爾.西托勒收藏( Colección Pilar Citoler )、 梅爾卡多納收藏( Colección Mercadona )以及美國的哈德遜河谷當代藝術 中心( Hudson Valley Center for Contemporary Art, Peekskill )。其中不少 收藏機構是西班牙知名私人美術館、企業與酒莊公司所有。

以拉法.馬卡龍創作於
2019 年精彩大尺幅油畫《異世界》 ( Diferente Mundo )為例,運用紙張拼貼、壓克力彩與各種材料組合 的方形新綠空間。背景色彩層次豐富、薄塗敷彩象徵著大氣的空靈,表
美術機構認可與國際市場知名度 從 4 歲開始拿筆畫畫,到 25 歲決定以藝術家為職業,並在當年 2006 年舉辦個生平首次個展。十多年來,有紀律地創作不斷,如同曾 經是一名職業自行車選手,此後他不停地在西班牙或世界各地參加繪畫 競賽與展覽。他認為參加競賽會產生動力,況且評審都是美術界專業與 評論家,成功不是偶然,唯有如此能被人看見,得以出人頭地。在新興
作。包括西班牙馬德里的拱之大展 ARCO 、墨西哥 Zona Maco 國際當代藝 術博覽會、哥倫比亞波哥大藝術博覽會 ArtBo 、美國邁阿密的
▶ 拉法.馬卡龍《氟日常(雙聯作)》 2019 年 綜合媒材 畫布 226.2 x 294 cm 香港蘇富比 2021 年 10 月 9 日 成交價 HK$ 4,284,000 Rafa Macarrón, RutinaFluor(diptych), 2019, mixed media on canvas, 226.2 x 294 cm Sotheby's, Hong Kong, October 9, 2021, sold for USD 550,352 18
似迷惘,顯露著溫柔、天真與企求,馬卡龍以個人的經驗,描繪出流暢、 魔幻且有深度的繪畫空間,不是存在主義者的荒蕪、悲觀,更多反思、 自我檢討式當代性的寓言圖畫,在我們這個時代中彌足珍貴且難得。
藝術家之中,他不同於其他年輕世代藝術家,尋求在社群媒體尋求關 注,他在社群中反而相對低調,他以更傳統務實的方式緩步前進,獲得 策展人、評論家與畫廊的關注,得以參加更多的機構或空間的展覽。

1,560,000 Rafa Macarrón, Caos, 2020, mixed media on canvas, 188 x 143 cm Ravenel Spring Auction 2020 - Select: Modern & Contemporary Art, sold for USD 52,774

Alongside Javier Calleja and Edgar Plans, Rafa Macarrón is another world-renowned rising artist from Spain. As a self-taught artist, Macarrón likes to express surrealistic and dreamscape images through uniquely abstract and comical figures characterized by big heads, slim limbs, and brightly painted fingernails. The visually impactful composition, mechanics, and spatial arrangement in Macarrón's works are vividly impressive while conveying a sadly romantic and retro scientific sentiment.

First Retrospective Art Exhibition at Age 40

Despite a lack of formal training, Macarrón grew up in a family of art connoisseurs that cultivated him with the legacy of Spanish art culture and European modernism. At age almost 30, Macarrón won the 2010 BMW Painting Award in Spain. At age 40, Macarrón held his first museum exhibition titled Quince at the Contemporary Art Center of Malga in March 2021. Having been in the art industry for most of his life, Macarrón has finally set off on a successful art career around age 40. In April 2021, he launched Afternoon Delight at the newly established CVG Foundation in Beijing, China. That was the first time Macarrón debuted his exhibition at an art institution in Asia.

In July 2021, Macarrón was invited to host a solo exhibition at

the renowned art collector Lio Malca's Fundación La Nave Salinas in Ibiza, Spain. Founded in 2015, Fundación La Nave Salinas has not only hosted solo exhibitions for famous US street artists such as KAWS, Keith Haring, and Kenny Scharf, but it has also featured installations and performances for video artists Bill Viola and Marco Brambilla. Macarrón was the first Spanish artist to put on a solo exhibition at Fundación La Nave Salinas. Titled El Bañista, the exhibition showcased 15 paintings and sculptures about Ibiza's signature summer and ocean landscapes. Located in an old-fashioned building, the foundation displays a chapellike divinity that highlights the contrast between the simple space and Macarrón's colorful paintings in creating a festive atmosphere of splendor.

Fundación La Nave Salinas is a non-profit art space refurbished from an old salt warehouse by the sea. While the founder continues to expand the collection based on his intuitive aesthetics, he is also commended for generously sharing the art collection with the general public. Meanwhile, Fundación La Nave Salinas's exhibition planner Alberto Chehebar is also an outstanding contemporary art collector who has always wanted to find a Spanish artist for their foundation. Macarrón is undoubtedly their top pick for a passionate and talented artist.

拉法.馬卡龍在西班牙、美國、比利時、台灣、中國等地 有畫廊或機構的合作。出現在二手市場的時間不長, 2017 年 10 月首次有 10 號左右小油畫在馬德里的佳士得上拍,成交金額 僅兩千多歐元;接著 2020 年春拍在台北羅芙奧出現一幅比 120 號略大的白色油畫,以兩倍多於低預估價落槌,成交金額台幣 156 萬元( US$52,774 ),成為當日矚目的重點拍品之一。此時, 正值西班牙當代藝術新星風潮崛起,帶動整體買氣。 2021 年 10 月一幅《氟日常》( Rutina Fluor )雙聯幅大作在香港蘇富比以 428 萬 4000 港元( US$550,352 )成交,一舉將個人行情往上拉 升至新的境界,目前此畫暫居藝術家全球拍賣最高紀錄。有趣 的是,本文附錄的前二十大拍賣成交紀錄者,除了《氟日常》 之外,其他 19 幅作品全都是在 2022 年所締造的紀錄。 如今是一位擁有四個孩子的父親,拉法.馬卡龍不會重複 自己,他認為危機是藝術創作進化中所必有,每位藝術家都需 要時時思考和更新。面對外部的文化和社會環境,例如戰爭時 讓偉大的藝術家創造出不平凡的作品。而藝術家面對當代的世 界局勢,西班牙也正在進行一場藝術革命,要無所畏懼不斷向 前。這位有天賦又嚴守紀錄,如僧侶般勤苦的創作,相信他會 帶給我們更多繽紛而充滿奇幻夢想的馬卡龍小宇宙。
▶ 拉法.馬卡龍《新世界》 2020 年 綜合媒材 畫布
羅芙奧 2020 年春拍「薈萃國際:現代與當代藝術」成交價
[ ART & INVESTMENT ] 19
188 x 143 cm
TWD

Lio Malca, the founder of Fundación La Nave Salinas explained his views on Macarrón's works, "I was excited about Rafa's work from the beginning. His images seemed to me to be born from the universe of constellations of Joan Miró and the optimistic landscapes of Manuel H. Mompó. I knew that Rafa was heir to an important tradition of Spanish painting that I personally admire, and I have the firm intuition that he will do a lot of justice to his artistic relay. I imagined very quickly the work of Rafa among the pine trees and the Mediterranean Sea that surround La Nave Salinas, being an organic and integral part of the landscape of Ibiza, celebrating the paintings also with his presence, the sunrise, the life of its beaches and people and, the warm sunsets that we have in summer in the natural park that surrounds the space. I am convinced that Rafa and La Nave Salinas de Ibiza are going to get along really well."

Innate Talents from Generations of Art DNA

Rafa Macarrón was born with the birth name Rafael Macarrón Jaqueti. Born in Madrid in 1981, Macarrón comes from a family of many generations of artists. Both of his parents were architects and art collectors who have taught Macarrón to appreciate art and look at artworks with a critical eye. His great-uncle Ricardo Macarrón (1926-2004) was a court painter for the King, drawing

portraits for European royalty. Dating back even further, Macarrón's great grandfather was an art gallery owner to a conservator and sculptor workshop. Macarrón demonstrated art talents at a young age when he visited museums and exhibitions with his parents. He recalls a family trip to Paris at age 4, where he became exposed to Pablo Picasso's works and has since embarked on a whole new journey.

The 4-year-old Macarrón visited the Picasso Museum in 1985, the year of its inauguration. The young Macarrón could sit or lay down in the exhibition room for the entire morning, connecting with the art master with sketchbooks and crayons in his hands. Since then, Macarrón has started sketching with a pencil on A4 or quarto size papers. The fascination by Picasso's art has planted a seed deep inside his heart. By age 7, Macarrón had drawn colorful sketches of animals or characters from imaginary worlds.

Before going to college, senior artist Juan Barjola (1919-2004) encouraged Macarrón not to apply for art school because his potential can be uncovered from within. Hence Macarrón went after other pursuits first but never did he give up on painting. Upon high school graduation, he became a professional cyclist who must be disciplined and enduring amid loneliness and the agony of physical consumption. Once he had cycled up the peak of Col du Tourmalet in the Pyrenees alone in challenging his physical limit. During this process, Macarrón found bike riding and painting to share a lot in common, as he worked non-stop for 8 to 10 hours in a highly focused state without feeling the lapse of time. Such disciplined training has enabled him to be fearless even in the face of 2-4 meter large canvases.

In 2006, the 25-year-old Macarrón decided to become a fulltime artist. Unlike painting as a hobby, there is no turning back on the path of a professional artist. By this time, Macarrón had gradually developed a more sophisticated art style. His diligence and painting speed enabled him to complete a single painting within one week despite using a complex mix of media. Creation is a voluntary process whereby discipline can be reflected in the artworks as it does in bike-riding. Macarrón used to ride 200km on a bike every day because physical exercise can help him think. He has applied this passion to painting and perfectly blended them together. Like a monk, he is disciplined to get up at 6am every morning and travel to his studio in Las Rozas, Madrid where he would do some reading before painting. He likes to paint under morning sunshine because he cannot wait until the afternoon. Every piece of work is created wholeheartedly, genuinely, and affectionately.

20

Macarrón's Universe Munditos Characters

In terms of character expression, Macarrón has greatly benefited from his experience as a physiotherapist and knowledge about anatomy, human physiology and sports. His parents and siblings' profession as architects has led him to pay attention to image structure. He tests out characters through deformation, creating characters with different souls in an expressionist way. Looking magical and surreal in their own worlds, these lonely characters are exactly what make up Macarrón's Universe.

What are these characters? Macarrón extracts information from everyday life and puts them into his paintings. Under his willpower, the paintings are a compilation of his autobiography that captures all aspects of life–including self experiences, childhood memories, and daily observations. With unique character styles and an impressive atmosphere, Macarrón's contemporary group portraits are reminiscent of the works by classic art masters Jheronimus Bosch and Pieter Bruegel.

By integrating the historical traditions of European figurative art, Macarrón's paintings reflect a mix of influences such as Surrealism from Picasso, Salvador Dalí, Joan Miró and Matta, art brut from Dubuffet, as well as Spanish comics and art of the 50s and 60s.

In response to an interview question about his art inspirations, Macarrón answered, "I have had a very direct relationship with the Spanish painting, I have practically grown up in the Prado Museum,

the best art gallery in the world. I am very proud to be part of Spanish painting tradition. Goya's black paintings have always moved me. Goya is the best painter in the world; and of course Las Meninas by Velázquez, which I consider the best work. But it all started with Picasso. I fell in love with his work in Paris, in his museum. I was four years old and, from that precise moment, I haven't stopped drawing."

Born after the 1980s, Macarrón has not been directly influenced by comics and pop art like other members of Generation Y. Instead, he indulges in the historical traditions of Western art as well as surrealistic imaginations and straightforward expression styles. According to Macarrón, "My characters don't go towards the caricature. I flee away from all kinds of cartoonish ornamentation. They are born from a fantastic, surreal, and expressionist figuration. I consider them hybrid characters that are closely related to my admiration for Dubuffet, Bonifacio, and Alfonso Fraile. My characters live in a transcended daily life, clean days, sunsets, and fresh air." ◀ 迪亞哥.維拉斯蓋茲《宮女》 1656 年 油彩 畫布 318 x 276 cm Diego Velázquez, Las Meninas, 1656, oil on canvas, 318 x 276 cm ▼ 拉法.馬卡龍《狗 IV 》 2021 年 銅雕 68 x 367 x 96 cm 馬拉加當代藝術中心

Rafa Macarrón, Perro IV, 2021, bronze, 68 x 367 x 96 cm @CAC Malaga

[ ART & INVESTMENT ] 21

Ingenuine Transitions between 2D and 3D Spaces

The artist created a variety of characters that constantly evolved over the years, finally reaching their unique styles today. Their regeneration demonstrates the hope for new life through elongated or enlarged heads and slim limbs. In particular, Macarrón's characters wear brightly colored nail polish regardless of their genders. The strange postures are truly fascinating. The artist recalls being inspired by a French woman he saw in Montparnasse Paris when he was five years old. The vivid impression has led him to paint all characters with vibrantly colored nail polish. Nail polish has been around in human history for thousands of years. It symbolized the upper class in ancient Egypt; it is known that Babylonian warriors wore black nail polish while some Chinese royalties also painted their nails. Today, it is a symbol for the universal value for men and women to look pretty and charismatic in their own personal ways.

The depiction of hands is undoubtedly the most eye-catching element in Macarrón's paintings. The artist believes that humans express emotions through their eyes and hands. Hence the hands can be expressively drawn to attract viewers' attention. There is a saying in the art community that hands and dogs are the most difficult to draw because their spirits cannot be easily captured. Previously an athlete, Macarrón likes to challenge himself. Not only does he like to focus on characters' hands and postures, but he also enjoys working on animal themes and making dog sculptures. Some examples of dog sculptures include the bronze sculpture outside Fundación La Nave Salinas and the 2022 limited 30-piece edition copper

carvings of Fabiola and Indi in collaboration with the Dutch platform Avant Arte. More recently, Macarrón has debuted his horse -shaped copper carving at the Nino Mier gallery in Brussels.

Macarrón constructs 3D spaces or even dreamscapes in 2D paintings. He likes to experiment with image structures due to long years of influences from his parents and siblings in the architect profession. The 2D and 3D spaces construct a tension in the paintings that accentuates the slim characters from the images. This draws viewers closer to the magical spaces in the paintings.

Looking at Macarrón's 2019 large oil painting Diferente Mundo as an example, the artist used paper collage, acrylic paint, and other materials to create a square-shaped green space. The richly layered background colors and lightly coated paints symbolized an ethereal atmosphere that combined with well-textured group portraits to form a profoundly magical universe. The artist playfully experimented with the spatial structure and illusion. Some of the artist's multidimensional spaces resembled fictional rooms, while others look like swimming pools, beaches, unknown mountains, and planets with fantastical elements such as clouds, rainwater, towers, long stairs, and aircrafts. The interactions and gestures between unique characters and animals, and their puzzling eyes expressing tenderness, naivety, and desires are examples of Macarrón's depiction of smooth, magical, yet in-depth paintings from his personal experiences. As opposed to the barren pessimism of existentialism, these thought-provoking and self-reflective contemporary fable paintings are truly precious in our era.

22

Rafa Macarrón, Cambiando el universo universal, 2015, mixed media on aluminum, 146 x 280 cm Collection of Fundación María Cristina Masaveu Peterson

Recognition by Art Organizations and International Markets

From sketching at age 4 to becoming a professional artist and holding the first solo exhibition at age 25, for over a decade Macarrón has applied the same amount of discipline to art as he did to professional cycling. He has continued attending art competitions and exhibitions in Spain and all over the world because he believes competitions can create momentum and bring useful advice from professional artists and art critics in the industry. Success is not a random process because it can only be achieved by being visible to other people. Unlike other Generation Y artists, Macarrón does does not strive for social media attention. He keeps a relatively low profile on social media, hoping to make gradual progress through the traditional and practical approach of attracting curators, critics, and galleries' attention for potential exhibition opportunities.

Macarrón has won many awards including the First Place Award at the 2009 Certamen Internacional de Pintura Royal Premier Hoteles. His 2010 artwork Busca Silencioy You Will Find received the First Place Award at the 15th Certamen de Pintura Jóvenes pintutores Fundación Gaceta, and Los tres Mosquiteros outcompeted 700 contestants at the 25th BMW Painting Award in 2010. The jury gave the painting First Place for combining Formalism with lyricism and satire. Macarrón was also named as ARCO's Best Artist in 2013.

All of Macarrón's dedication and efforts have finally paid off. Now he is collaborating with galleries across Europe, Americas, and Asia including ARCO in Madrid Spain, Zona Maco Contemporary Art Fair in Mexico, ArtBo in Bogota, Colombia, Context Art Miami and Art Miami in the US, Art Moscow, Art Taipei, Art Shenzhen, and West Bund Art in Shanghai. As a result, his artworks have been collected all over the world.

Currently, Macarrón's works are in the public collection of Spain's Fundación María Cristina Masaveu Peterson (FMCMP), Fundación BMW, Fundación Vivanco, LA Rioja, Caja Campo, Valladolid, Virgen de las Viñas Cooperative, Tomelloso, Colección Pilar Citoler, Colección Mercadona, and Hudson Valley Center for Contemporary Art, Peekskill. Many of these collections are owned by famous Spanish private museums, enterprises, and wineries.

In collaboration with art galleries or organizations in Spain, US, Belgium, Taiwan, and China, Macarrón's have also briefly appeared in the second-hand market. In October 2017, a small size 10 oil painting was up for auction at Christie's Madrid and sold for only over two-thousand Euros. In the 2020 spring auction, a white oil painting slightly larger than size 120 was sold for NTD $1.56 million (USD $52,774), more than twice over the lower estimate. The rise of contemporary Spanish artists at that time had stimulated general buying. In October 2021, the diptych titled Rutina Fluor was sold at Sotheby's Hong Kong for HKD $4.284 million (USD $550,352), bringing Macarrón's personal record to a whole new level. This painting currently sets the highest auction record for the artist. Other than Rutina Fluor, the other 19 paintings in the artist's top 20 auction records in the appendix of this article were all sold in 2022.

Now a father of four, Macarrón will continue to challenge himself. He perceives crisis as an essential part of art evolution because every artist needs to keep on reflecting and updating themselves. The confrontation against external cultures and social environments such as wars often lead great artists to create extraordinary works. Under current global issues and the art revolution in Spain, artists must keep going fearlessly. We look forward to seeing more colorful and fantastical artworks from Macarrón's universe as the talented and disciplined artist continues to work tirelessly on his journey of creation.

◀ 拉法.馬卡龍《改變宇宙》 2015 年 綜合媒材 鋁 146 x 280 cm 瑪麗亞.克里斯蒂娜.馬薩維.彼得森基金會收藏
[ ART & INVESTMENT ] 23

預估價 Estimate HK$500,000~700,000

成交價 Sold at US$550,352 HK$4,284,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong October 9, 2021

預估價 Estimate HK$1,500,000~ 2,500,000

成交價 Sold at US$513,890 HK$4,032,000

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong April 27, 2022

預估價 Estimate GBP 100,000~150,000

成交價 Sold at US$398,929 GBP 327,600

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London June 30, 2022

預估價 Estimate US$80,000~120,000

成交價 Sold at US$378,000 拍賣日期 Auction Date 紐約富藝斯 Phillips, New York May 18, 2022

預估價 Estimate HK$500,000~800,000

成交價 Sold at US$321,025 HK$2,520,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 26, 2022

預估價 Estimate

GBP 100,000~150,000

成交價 Sold at US$298,318 GBP 239,400

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London April 28, 2022

預估價 Estimate HK$200,000~400,000

成交價 Sold at US$272,895 HK$2,142,000

拍賣日期 Auction Date 香港佳士得 Christie’s, Hong Kong May 27, 2022

預估價 Estimate

GBP 100,000~150,000

成交價 Sold at US$242,923 GBP 201,600

拍賣日期 Auction Date 倫敦佳士得 Christie’s, London July 1, 2022

預估價 Estimate US$70,000~100,000

成交價 Sold at US$226,800 拍賣日期 Auction Date 紐約富藝斯 Phillips, New York May 19, 2022

預估價 Estimate US$60,000~80,000

成交價 Sold at US$189,000

拍賣日期 Auction Date

紐約富藝斯 Phillips, New York March 9, 2022

拉法.馬卡龍作品二十大拍賣成交排行 5 10 2 7 1 6
瑪蒂爾達 Matilda
Mixed
狗屋 Perrera (Dog
Mixed
Los
無題 Untitled
Oil,
3 8 4 9
氟日常(雙聯作) Rutina Fluor (diptych) 2019 Mixed media on canvas 226.2 x 294 cm 太空漫遊 Viaje al Espacio 2020 mixed media and paper collage on canvas 183 x 260 cm
2018
media on canvas 226 x 184 cm
House) 2014-2015
media on canvas 182 x 182 cm 狗窩 La Perrera 2018 Mixed media on canvas 226.1 x 140.3 cm 導師
mentores 2013 Mixed media on canvas 194.9 x 130.2 cm 寶貴的一天 Precioso Dia (Precious Day) 2014 Mixed media on canvas 146 x 280.3 cm 靜物1 Naturaleza Muerta 1 2017 Mixed media on canvas 113 x 113 cm 壓碎 Machaquito 2011 Mixed media on canvas 196.5 x 295.5 cm
2020
spraypaint, wax crayon, marker, tape, metal pins, painted wood and found plastic on canvas 180 x 180 cm
24

製表 / 謝依廷 Tina Hsieh (Update 2022.10.17; Source: Artprice.com, Sotheby's, Christie's, Phillips, Poly)

成交價 Sold at US$176,560 HK$1,386,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong June 22, 2022

預估價 Estimate GBP 30,000~50,000

成交價 Sold at US$168,012 GBP 126,000

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London March 3, 2022

預估價 Estimate GBP 60,000~80,000

成交價 Sold at US$154,670 GBP 138,600

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London October 14, 2022

預估價 Estimate SGD180,000~280,000

成交價 Sold at US$144,627 SGD 201,600

拍賣日期 Auction Date 新加坡蘇富比 Sotheby's, Singapore August 28, 2022

預估價 Estimate GBP 70,000~100,000

成交價 Sold at US$134,409 GBP 100,800

拍賣日期 Auction Date 倫敦蘇富比 Sotheby's, London March 3, 2022

預估價 Estimate

HK$800,000~1,600,000

成交價 Sold at US$129,958 HK$1,020,000

拍賣日期 Auction Date 香港保利 Poly, Hong Kong March 31, 2019

預估價 Estimate HK$200,000~400,000

成交價 Sold at US$128,447 HK$1,008,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong (Online) June 28-July 7, 2022

預估價 Estimate

GBP 70,000~100,000

成交價 Sold at US$122,220 GBP 100,800

拍賣日期 Auction Date 倫敦富藝斯 Phillips, London June 29, 2022

預估價 Estimate GBP 50,000~70,000

成交價 Sold at US$109,371 GBP 81,900 拍賣日期 Auction Date 倫敦佳士得 Christie's, London March 2, 2022

預估價 Estimate HK$200,000~300,000

成交價 Sold at US$96,306 HK$756,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong June 21, 2022

[ ART & INVESTMENT ] TOP 20 MOST EXPENSIVE ARTWORKS OF RAFA MACARRÓN EVER SOLD AT AUCTION TOP 20 15 20 12 17 11 16 無題(宇宙) Sin título (Cosmos) 2015 Mixed media on aluminium and PVC 183 x 296 cm 無題 Untitled 2016 mixed media and collage on aluminium mounted on board 183 x 183 cm 陽台 Balcones 2018 Mixed media on PVC 113 x 113 cm 初次約會 Primera cita (First Date) 2012 Oil, sand, pipe cleaners and mixed media on canvas 195 x 195 cm 另一個月亮 The Other Moon 2019 Acrylic, mixed media on canvas 183 x 143 cm 如果它到達這裡 Aqui si llega 2012 Mixed media on canvas 146 x 114 cm ST 2015 Mixed media on aluminium mounted on board 140 x 140 cm 宇宙 Cosmos 2017 Mixed media on iron 53.6 x 53.6 cm 海灘的一天 Un Día en la Playa 2013 Acrylic, ink, crayon and paper collage on canvas 135.5 x 259 cm 尼娜 Niña 2018 Mixed media on canvas 227.5 x 144.6 cm 13 18 14 19
Estimate
預估價
HK$700,000~1,000,000
25
Text / 陳昱良 Iris Chen Photo /
Art
[ THE ARTIST ] 「精緻藝術 Fine-arts 」作為歐洲貴族精神的載體,二十世紀漸由布 爾喬亞 Bourgeoisie 菁英階級承接。雖然在二次大戰後被抽象藝術重新 洗牌,卻仍有一群出生於「戰間期」並且由「法國美術學院」( École des Beaux-Arts )培育的藝術家,堅守並昇華了「具象美學傳統」,以 自我風格再轉換,延續這種世代積累的創作精神。而「優雅」一詞放在 數位當道的社會,概念略微模糊,卻能輕易透過這群藝術家的作品,彰 顯其意義與價值被新世代所理解。 這群來自法國美術學院的藝術家如:安德烈.布拉吉利 André Brasilier ( 1929 - );保羅.賈曼 Paul Guiramand ( 1926 - 2007 ); 賀內.吉尼斯 René Genis ( 1922 - 2004 );居.巴赫東 Guy Bardone ( 1927 - 2015 );強.詹森 Jean Jansem ( 1920 - 2013 );貝爾納.卡 多蘭 Bernard Cathelin ( 1919 - 2004 )等人,他們都師承莫里斯.布里 昂松( Maurice Brianchon )。後者深受後印象與納比畫派影響,出色地 傳承法國傳統,忠於追求生活和諧,並注重將自我的「情感記憶」注入 畫面之中。相同的創作概念,直接傳給了門下學子,因此這些學院的菁 英藝術家早期都擁有極其相似的創作風格。他們維持油彩畫布媒材,題 材多為風景靜物畫,溫和、抒情,並且充滿人文逸趣的感性氛圍。相對 當時蔚為風潮的抽象表現,他們除了實踐理性思考,也維持對傳統尊敬 的態度,在創新激進的改革中取得平衡。 這些藝術家來自法國各地,甚至是成長於海外殖民地,作品中保有 法式優雅的基調,也因不同個性環境,成就不同的畫風。例如布拉吉利 擁有森林裡的莊園馬廄,林間輕騎主題就成為專屬特色;而吉尼斯小時 候成長於越南,因此對樹林、靜物光影立體的細膩筆觸,拔尖於其他同 窗;巴赫東樂於遊歷四方,常以繪畫記錄自然風景,其溫暖性格使筆下 風景,總是透著明亮陽光;賈曼則是喜愛古典音樂,常將樂器、樂譜等 元素融入其中;卡多蘭結合了東方美學的思考,運用留白與簡約造型昇 華傳統具象的概念。 隨著一九六零年代全球戰後經濟和通訊科技崛起,畫廊經營模式 更加開放與商業化,他們代表著歐洲精緻文化,輸出至經濟快速發展的 新興社會,於海外市場取得巨大的成功,尤其受到美國和日本的熱烈歡 迎。藝術家廣受邀請到各地展覽,龐大的國際市場也延伸出,版畫、雕 塑、陶瓷等不同媒材的作品。除了商業畫廊,美術館更是張開手臂歡迎。 布拉吉利 2005 年受館長米凱.皮歐洛斯基( Mikhaïl Piotrovski )邀請, 於俄羅斯冬宮隱士廬博物館舉行大型個人回顧展覽。巴赫東則是在擁有 貴婦城堡美譽的法國雪儂梭( Château de Chenonceau )分別於 1985 與 2005 年舉辦回顧展覽。時至今日,藝術欣賞的價值不斷演變。這群受 布爾喬亞文化教育而成的作品,蘊含高雅含蓄的氣質,或許能為強調閃 曝、衝擊與大量複製的當代藝術收藏,提供不同的觀點與想像。 ELEGANCE AND EXUBERANCE OF FRENCH ART 優雅豐盈·法蘭西 ◀ lot 034 安德烈.布拉吉利《榭爾河畔輕騎》 André Brasilier "Cavalcade au bord du Cher" c.1980 oil on canvas 80 x 65 cm 26
Ravenel International
Group
27
1 2 4 3 28

Once an embodiment of the aristocratic spirit of Europe, "fine arts" were gradually taken on by the Bourgeoisie in the twentieth century. Although the art community underwent a reshuffling due to abstract art after World War II, a group of Interwar period-born artists from École des Beaux-Arts persisted in and enhanced "figurative art traditions'' by transforming their styles and passing on the legacy of their creative spirit to future generations. The concept of "elegance" may be vaguelydefined in the modern digital age, yet its significance and values are straightforwardly conveyed to young generations through these artists' works.

This group of artists from École des Beaux-Arts includes: André Brasilier (1929-); Paul Guiramand (1926-2007), René Genis (19222004), Guy Bardone (1927-2015), Jean Jansem (1920-2013), and Bernard Cathelin (1919-2004), all of whom had been taught by Maurice Brianchon. Influenced by Impressionism and Les Nabis, Brianchon remarkably interpreted French traditions by faithfully pursuing a life balance and incorporating "emotional memories'' into his paintings. Having directly passed on this creative philosophy to his students, this school of elite artists are characterized by similar creative styles in the early phases of their careers. By using traditional oil canvas as a medium, the artists mostly painted landscape stills in gentle, lyrical ways full of delightful cultural sentiments. In contrast to the popular abstract expressionism at the time, these artists integrated practical reasoning with traditional values to find a balance in the era of an innovative and far-reaching revolution.

These artists not only came from different parts of France, but some even grew up in overseas colonies. Hence the artists' varying personalities and environments led them to portray French elegance in distinctively unique styles. For example, Brasilier often featured light cavalry in his works because he owned forest manors and stables. Having grown up in Vietnam, Genis portrayed light-shadow variations of forests and stills in more three-dimensional, delicate ways. Bardone liked to

and paint natural landscapes during his trips, his warm personality instilled a ray of sunshine into his landscape paintings. Guiramand often presented musical elements such as instruments and music scores in his works to express his passion for classical music. Cathelin applied the concept of oriental aesthetics by enhancing traditional figures through empty spaces and simple styles. In the 1960s, the rise of post-war economy and communication technologies around the world had led art galleries to operate more openly and commercially. The export of Europe's fine culture to the rapidly developing economy and new society achieved enormous success in overseas markets, especially in the US and Japan. The artists were invited to display their works in the vast international market, expanding art media to prints, sculptures, ceramics, etc. In addition to commercial art galleries, the artists were also welcomed by art museums. In 2005, Brasilier was invited by Mikhaïl Piotrovski, the director of Russia's Hermitage Museum, to hold a large solo retrospective exhibition at the museum's Winter Palace. Bardone held retrospective exhibitions at Château de Chenonceau, nicknamed the Ladies' Chateau, in 1985 and 2005 respectively. As the values of art appreciation continue evolving to this modern day, these bourgeoisie artworks contain elegant, implicit temperaments that may provide different perspectives and imaginations for the modern pop-up, impactful, and mass-produced contemporary art collections.

羅芙奧 2022 秋季拍賣會 「薈萃國際:現代 & 當代藝術」專場 12/3 (六)下午 4 點 1. Lot 033 安德烈.布拉吉利《秋谷裡的馬群》 André Brasilier "Chevaux dans la Vallée en automne" 2. Lot 041 賀內.吉尼斯《李子與白色花瓶上的傘形花》 René Genis "Prunes et ombelles au pot blanc" 3. Lot 039 安德烈.科達沃茲《海灘盛宴》 André Cottavoz "Chez Nounou" 4. Lot 040 居.巴赫東《瑞士瓦萊的小木屋》 Guy Bardone "Chalet Valaisan - Suisse"
專場詳細資訊 29
travel

Following the migration of the Republican government in 1949, the art scene of Taiwan was drastically transformed. A renowned collector

Evolution from Classics: Modern Flower and Bird Paintings of Yu Chung-lin

Huang Tian-cai once mentioned that year marks not only the political transformation, but that of Chinese ink paintings. The ink artists who relocated to Taiwan became the pillars of the contemporary Taiwanese ink art scene and a divergence from traditional ink paintings. As the three masters built the ink art scene, influences from Fifth Moon Group and Ton Fan Group contributed to the development. In terms of the traditional flower and bird genre, Yu Chung-lin (1925-1985) created his unique path in the art scene with relevance to the traditional elegance in his own unique style. His styles could be traced back to the Jing school, the Song school and scholarly styles of Ming and Qing. There are hints of Lingnan school, Japanese glue-pigment application and personal skills and a blend of traditional and western skills carefully incorporated. Hence, his works were deemed as unique in the modern ink art scene.

臺灣藝壇的轉變可由 1949 年國民政府撤遷來臺作為一個分水嶺, 知名收藏家黃天才先生曾分析 1949 年不僅是臺灣政治局勢的大移轉, 也是中國水墨畫的大變遷,渡海來臺的這一批書畫家,不只是今日臺灣 水墨畫壇的老前輩,也是延續中華傳統水墨最大的分支。渡海三家的開 枝散葉,五月、東方畫會的成立都是臺灣藝術蓬勃發展的象徵;反觀中 國傳統工筆花鳥的領域,惟喻仲林( 1925-1985 )獨闢蹊徑、自成一格, 成為既能詮釋傳統花鳥畫美感、又能深具個人藝術風格的第一人。喻仲 林得益自京派的傳承,追溯宋代院體筆法,揉明清文人畫寫意,加之其 後天的努力學習,汲取嶺南派、日本膠彩工筆畫的精華,將傳統工筆技 法與西方繪畫媒材巧妙地運用,喻氏一脈的花鳥畫成為近現代中國水墨 藝術不可忽視的一環。
融古開今 現代花鳥名家喻仲林 Text 、 Photo / Ravenel International Art Group 30

「觀其設色明麗,風致天然,繁而能簡,艷而能清,曲盡化工之妙若非天資高, 體物深,安足以至此。」— 臺靜農 喻仲林出生於山東冠縣,幼年時期便喜愛畫畫、展現出藝術天賦,喻母更是位刺 繡高手,能不作底稿刺繡,喻氏常隨母親左右、為其鉤描刺繡與剪紙的花樣。 1934 年喻母仙逝,喻仲林便往山東堂邑依附舅舅許以浩、許宗海,許家為山東世家望族, 也是著名的書香門第,所藏書畫名蹟頗豐,十舅許宗海在當時更是位富有盛名的寫意 花鳥畫家。喻仲林雖無正式拜師學畫,但於家學薰陶及十舅的影響下開始接觸、臨摹 惲壽平、任伯年的花鳥繪畫,日後習藝大成的喻氏,其所做的花鳥作品多題款南田詩 句,可見其幼年蒙受陶冶的痕跡。 1949 年,隨國民政府渡海來臺的喻仲林時任軍職,公暇之餘由藝術系學生張弘

家習畫、並拿出珍藏的古畫讓其臨摹;金勤伯的花鳥畫承自清六家工筆帶寫意的技 法,並得其叔金城授以《百鳥圖譜》,故其畫鳥獨出一格,喻仲林盡得金氏一脈真傳, 花鳥畫骨韻兼備,又因他重寫生,這也讓臺灣工筆花鳥畫有別於中國畫壇如于非闇等 人的風格。喻氏二十七歲正式踏入水墨藝壇,經三年勤勉不懈的努力自成一家格局, 能人所不能,日日勤勉地過著點染揮毫的日子,時人更驚嘆其筆力造境青出於藍、不 遜於勤伯師筆意。喻仲林曾和其學生張克齊說:「專精一藝,才能出人頭地。」喻氏 捨山水人物、專攻花鳥的主因也在於他想證明宋人花鳥是否仍可追及並有所超越,並 以「人棄我取,為工筆保留一脈」為己任。隨著喻仲林畫名漸起,他與當時臺灣水墨 畫壇的名人如張大千、黃君璧與臺靜農等人展開了密切的往來交流,除親臨畫展給予 支持與肯定外,對於這位能承繼中國院體花鳥畫傳統的後輩又是金勤伯的高徒,張、 金二老惜才如金,不吝給予喻氏繪畫上的建議並拿出珍藏的書畫名蹟予以臨摹增益; 臺靜農更是時常出入其畫室,觀看喻仲林揮毫作畫,並為之篆印作序,愛才之心不言 而喻。 1958 年喻仲林由軍職退役、決心致力於畫業,初期為了家庭生存活計,接了許

Chung-lin, Peacocks on Crape Myrtle, 1978, Ink and colour on gold-coated paper, framed, 94.5 x 174 cm Ravenel 2022 Autumn Auction, US$ 23,700 - 38,000

x 67.5 cm

220,000 - 360,000 YU Chung-lin, Eagle Surveying the Terrain, 1966, Ink and colour on paper, framed, 136 x 67.5 cm Ravenel 2022 Autumn Auction, US$ 7,000 - 11,400

2022 秋拍

YU Chung-lin, Macaw on a Green Vine, 1978, Ink and colour on paper, framed, 92 x 61 cm

Ravenel 2022 Autumn Auction, US$ 6,000 - 9,500

書香門第,勤勉於藝
多地毯、火柴盒等繪製委託,畫藝漸漸博得口碑,上門求畫學畫的人日益增加,喻
1959 年於台北市中山堂所舉辦的第一次「麗水精舍」聯展,從 此喻仲林作為專職水墨藝術家的生涯就此展開,隨後畫名遠播、國內展覽無數,如: 臺灣省立博物館(現為臺灣博物館)、歷史博物館、海天畫廊、臨雲畫廊等;海外 邀展講學更不計其數: 1967 年美國加州與胡念祖的三次聯展; 1975 年遠赴美國夏威 夷大學藝術系教授水墨畫、並於當地威洛亞中心舉辦個展; 1977 年應邀至日本主持 現代中國畫巨匠展等。喻仲林畫名鵲起,臺靜農讚揚其花鳥畫能「曲盡化工之妙」, 儼然成為一代工筆花鳥大師,更對臺灣工筆花鳥畫壇的發展與傳承起了正面的作用。 [ CHINESE PAINTINGS ] ◀ 喻仲林《紫薇孔雀》 1978 水墨 設色 金箋紙 鏡框 94.5 x 174 cm 羅芙奧
秋拍 台幣
YU
▲ 喻仲林《雄視八荒》 1966 水墨 設色 紙本 鏡框
設色 紙本 鏡框
的介紹至師範大學藝術系旁聽,開始接觸西方繪畫如水彩顏料、粉彩紙等媒材,因其 絕佳的天份,深受工筆花鳥大師金勤伯的賞識旋即拜師學藝,勤伯師常讓喻仲林到自
氏即開始鬻畫課徒。
2022
750,000 - 1,200,000
136
羅芙奧
台幣
喻仲林《翠藤紅羽》 1978 水墨
92 x 61 cm 羅芙奧 2022 秋拍 台幣 190,000 - 300,000
31

麗水精舍,經典傳承

「他『觀物精微、體物有情、移情入物』,創作出的『有情花鳥』, 也實在超過古人。」— 劉墉

喻仲林、孫家勤與胡念祖同在師大學習水墨國畫,喻氏專攻花鳥、 孫君則著力人物、胡氏以山水見長, 1956 年於麗水街賃屋權為畫室, 臺靜農見他們因書畫相識而能結為忘年之交,便將此畫室命為「麗水精 舍」,勉其三人能於清靜雅潔的居所精勤畫藝。隨後麗水精舍聲名大振, 拜師學藝者甚多,遂成為課徒講學的藝塾,據麗水門人回憶,三人的學 生常常一起上課擠得水泄不通,屋內三位大師各據一桌、各自示範課稿 演示,這樣特殊的上課方式,習花鳥者也能聽到山水、人物的筆法精髓; 也因為三人常常互相觀摩彼此的畫作,見彼此增益而有了不肯落後對方 的拼勁,因而麗水精舍儼然成為當時臺灣最早也最有名的水墨沙龍且門 人無數,如:知名水墨藝術家劉墉、張克齊、知名作家瓊瑤夫婦等均出 於麗水精舍。隨後孫家勤拜大風堂門下前往巴西、胡念祖飛抵美國授課 講學,麗水精舍在台灣雖只剩喻仲林一人獨撐大局,但因其講學幽默風 趣、追隨日漸眾多,小小的畫室從早到晚人潮不斷,無論政府要員、藏 家藝友、影視名導明星等,都想親炙這位花鳥國畫大師的風采;此外喻 仲林隨著時代如何遷移都依舊在畫作上落款、用印「麗水精舍」,展現

是要表達自己, 不管別人如何。 」— 喻仲林 喻仲林作畫多用古法兼以寫生鉤勒及沒骨二法,而喻氏馳名藝壇 最為人樂道之處為「左手畫畫、右手寫字」,其勤苦練字是受臺靜農的 點撥,要他多臨被譽為明朝第一的文徵明小楷字,工麗的花鳥畫作輔以 精到細膩的小字更顯風格獨具。花鳥畫之由來是作為應物象形、性靈陶 冶的一種「無用之用」,古人云:「胸中元自有丘壑。」講究「行萬里 路,讀萬卷書」的寫生踏查,喻仲林對於寫生下過一番苦工,要先行格 物對畫畫的素材深入了解,久之便能得之於心、應之於手,喻仲林的女 兒回憶起父親到哪裡都可以寫生,最喜歡到南海路的植物園、指南宮或 是陽明山寫生,連到美國旅遊看到了老鷹標本也立刻拿出紙筆開始揣摩 素描;喻仲林一生畫遍八百多種花卉,更是養花蒔草的高手,曾在永和 家中的小院子搭花架種植紫薇、薔薇,繡球、山茶等花卉,是鄰里間著 名的「綠手指」,不僅作為寫生觀察之用,更對花鳥知識用功甚深。 喻仲林曾說:「工筆花鳥畫是個人的興趣。畫只看好壞,沒有題材、 形式的差別,沒有新舊。畫畫的前提是『為己』,不是『為人』。」正 因有此胸懷氣度,才能師古而非泥古不化,能格物師心,而無拘謹和自

出喻仲林在當時臺灣藝壇對於國畫花鳥畫的發展及精神上承先啟後的傳 承,直至病逝前都堅持著麗水一脈的精神。 綜觀喻仲林一生的藝術思緒與繪畫特色可分為:精研宋畫、注重 寫生與汲古出新。他的花卉翎毛創作無人能出其右,以工筆為形、寫意 為骨,甚至可視為現代臺灣花鳥畫第一人,據其家屬後人回憶喻氏最鍾 情於惲壽平、任伯年的花鳥創作,正式拜師習畫後發覺自身尚有不足之 處,隨即開始遍臨古畫,尤其對宋人院畫宣和體與黃荃、徐熙等鑽研最 深,以重寫生的體悟參透宋人筆意,時常到故宮博物院參觀宋畫;畫意 直追明代文人畫如青藤白陽、八大;寫生用筆堪比清代宮廷畫家郎世寧 如《畫孔雀開屏》,乃至近代溥心畬、齊白石等名家,喻仲林隨著年紀 的增長反而越畫越細,火氣既少又能趨近宋畫的意境,因而被公認為變 通傳統院體花鳥畫,且能成就個人風格者的第一人。 一花一鳥一世界 「我對花和鳥有著偏愛,我對這些東西有真摰的情感。一個畫家便
我陶醉,對綺麗的自然界細思默揣、加以取捨剪裁;喻氏將後天的勤勉 苦學而來的多元技法如雙鉤白描、金碧青綠,京、滬、嶺南各家技法融 會貫通而自出機杼,能在畫面中表現出「用中」、「均平」的美感,而 為後人贊其「不古不今,自出新意。」此次專場蒙得喻仲林家屬慨允徵 集,作品年代橫跨 1958 至 1982 年,全為喻氏難得可貴的花鳥畫、扇面、 課稿及重要閒章。重點拍品有:珍稀罕見的大作金碧雙鉤工筆《紫薇孔 雀》(拍品編號 619 );以剛勁健筆大寫意畫鷹的《雄視八荒》(拍品 編號 620 );簡筆清逸的《雙雞圖》(拍品編號 621 );擬元人趙孟頫 《臨黃荃蓮塘圖》粉本的《殘荷》(拍品編號
32
613 );以宋畫為本的《紫 藤雙鴿》(拍品編號 618 )、《秋柳鸜鴿》(拍品編號 622 );工緻明 麗的經典樣式《翠藤紅羽》(拍品編號 617 );或有以明人徐渭、瀟灑 寫意墨荷風格的《荷塘情趣》(拍品編號 615 )。喻仲林常用重要閒章 如:臺靜農篆印《志潔物芳》(拍品編號 627 ),以太史公論屈子語取

66.5 x 128 cm 羅芙奧 2022 秋拍 台幣 200,000 - 340,000 YU Chung-lin, Rooster and Hen, 1981, Ink and colour on paper, framed, 66.5 x 128 cm Ravenel 2022 Autumn Auction, US$ 6,300 - 10,800

- 200,000

YU Chung-lin, Kingfisher Finds Interest in a Lotus Pond, 1978, Ink and colour on paper, framed, 92 x 61 cm

Ravenel 2022 Autumn Auction, US$ 4,100 - 6,300

THE BACKGROUND OF THE ARTIST

Tai Jing-nong once wrote, "The colours (of the works) are delightful and realistic. The work is intricately depicted in a simplistic composition. The astounding skills are the results of a highly talented artist with keen observation."

Yu Chung-lin was born in Shandong with a talent and interest in drawings early in his childhood. His mother was excellent in free-hand stitches. Yu followed his mom and sketched drawings for stitches. In 1934, following the passing of his mother, Yu lived with his uncles Hsu Yi-hao and Hsu Zong-hai in Shantongtang. The family was scholarly with a rich collection of paintings. His uncle Hsu Zong-hai was a renowned free-hand flower and bird painter. Even though Yu did not follow a tutor officially, under the influence of his uncle, he imitated the flower and bird paintings of Yun Shou-ping and Ren Bo-nian. This was also reflected by inscriptions of Nantian poems in his paintings.

In 1949, he followed the Republican government and relocated to Taiwan while serving in the army. With the suggestion of Chang Hong, Yu sat in the art classes at the National Taiwan Normal University and started practising with different media. His talent was recognized by Jin

清文人寫意筆墨的意蘊於其中,藉由寫生格物將兩者融為一體,喻 仲林由寫意入工筆、再由寫意出,兼工帶寫的筆墨精妙無雙,是現 代中國花鳥畫的第一人,無人能出其右。藝術收藏市場上,喻仲林 工筆花鳥畫的製程困難複雜,藏家多數珍而重之,稀品罕見更少出 現於拍賣市場,因而價格後勢看漲: 2014 年香港蘇富比秋季拍賣, 喻仲林《蒼松藍雀》成交價港幣 43 萬 7 千 5 百元、《水草聚禽》成 交價港幣 60 萬元;以珍稀的孔雀畫題為例, 2019 年羅芙奧秋季拍 賣絹本設色《孔雀》一作成交價新台幣 168 萬元、 2021 年羅芙奧春 季拍賣紙本設色《山茶雉雞》成交價新台幣 120 萬元,由此可知喻 仲林高質量的作品更能反映在收藏市場上的價格,此回拍品皆來自 喻氏家族舊藏,有難得一見的粗筆寫意畫雄鷹、製程困難精細的金 箋紫薇孔雀大作、仿宋院畫體工筆兼以明清文人寫意的的花卉翎毛 與各式名人閒章等作品,既能完整及全面性地了解到喻仲林與臺灣 現代水墨藝術發展的歷程,又可定位其在中國現代水墨工筆花鳥畫 中不可抹滅的重要性,此次專拍能夠重現世人眼前其歷史價值不言 而喻,更是對於資深、新進水墨的藏家不容錯過的稀世珍寶。
為喻氏製此印,評其畫用色艷而不俗、志潔故其稱物芳;《麗水精舍》 (拍品編號 625 )一印則見證了當時臺北水墨文人雅集的璀璨時光; 近代著名金石篆印與書法家王壯為製《愚齋》(拍品編號 629 )、 《清泉郡》(拍品編號 628 )、曾紹杰《花好月圓人壽》(拍品編 號 623 )等名家鐫印。呂壽琨曾評喻仲林「能一變院體而成個人風 格者,可稱為中國院體化派花鳥第一人」,喻氏勇於創新、追求改 變,將歷代工筆寫意花鳥融為一體,並將原屬於皇室、文人的審美 情趣向大眾的揭露演示,藉此能了解喻仲林藝術創作的全面性與美 術史定位。 喻氏花鳥,盛世流傳 工筆花鳥畫之所以珍貴且能在藝術市場屢創佳績,是在於其創 作時間、材料與技法等要求極為嚴格,為達精妙細緻的效果更需要 過人的體力支持作畫,喻仲林二十七歲才正式拜師學藝,短短三年 時間便追及勤伯師畫意,若非天份使然又豈能達成?喻氏花卉翎毛 由南田寫意入,後習京派各家、急起苦學宋院體畫鉤勒,又能容明
[ CHINESE PAINTINGS ]
設色
◀ 喻仲林《雙雞圖》 1981 水墨
紙本 鏡框
▶ 喻仲林《荷塘情趣》 1978 水墨 設色 紙本 鏡框 92 x 61 cm 羅芙奧 2022 秋拍 台幣 130,000
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Qin-bo, a gongbi flower and bird master. Hence, Yu started to follow Jin in practice at Jin's home. There he appreciated and imitated classical scrolls. Jin Qin-bo's techniques were derived from Qing gongbi schools and learnt the drawing of birds directly from his uncle Jin Cheng's scripts. Yu captured the skills of Jin and started creating his own style of gongbi and elegance. His keen observation allowed a great differentiation from those of comparable artists such as Yu Fei-an. Yu entered the ink art scene at the age of 27 with a unique and sophisticated style, after 3 years of intensive practice. His exceptional skills and unique styles astound contemporaries of the time. Yu mentioned to his student Chang Ke-qi that one has to specialise to excel in an area. Yu specialised in the flower and bird genre in Song style while giving up other genres such as landscapes and figure paintings. Hence he inherited the gongbi skills as his principal goal. With the rise of Yu's art, he became close to contemporary masters such as Zhang Da-qian, Huang Chun-pi and Tai Jing-nong, who gave him support in his art exhibitions. Zhang and Jin treasured Yu as a talent who passed on the tradition of flower and bird painting, so they willingly shared classical scrolls with Yu. Tai Jing-nong often visited Yu's studio and carved seals to Yu as an appreciation of his talents.

In 1958, Yu left the army and devoted his time to painting. In his early days, he designed carpets and matchboxes for commissioned works. As his paintings gained their fame, students started pouring into his studio and Yu taught in classes for a living. In 1958, he launched his first exhibition with Lishui Jingshe at Zhongshan Hall of Taipei. This marked the debut of Yu's career. His works were sought-after since then, with local exhibition invitations from institutions such as the Taiwan Museum, the Museum of History of Taiwan, Taitian gallery and Linyun gallery. He started exhibiting overseas with Hu Nianzu thrice in 1967, once at the Wailoa Center of the University of Hawaii in 1975 and in Japan in 1977. Yu Chung-lin gained his fame through his talents, as Tai Jing-nong mentioned, and became a prominent figure in gongbi flower and bird paintings in the Taiwanese art scene.

LISHUI JINGSHE AND THE TRADITIONS

"He observed his subjects closely with individual thoughts and granted emotions into the subjects, thereby creating interesting artworks that surpasses classical masters." -Liu Yong

Yu Chung-lin, Sun Jia-qin and Hu Nian-zu met at the university with Yu specialising in flower and birds, Sun in figure paintings, while Hu in landscapes. A studio was rented in Lishui street in 1956, and was named by Tai Jing-nong as Lishui Jingshe. The name was to be a reminder of hardwork and dedication in art. Since then, their fame grew and their studio was flooded with students. According to the students, the room was packed with three teachers each occupying a desk to demonstrate skills. This way, an exchange of skills in landscape, figure and flower and bird was encouraged. Students of this studio include Liu Yong, Chang

▲ 喻仲林《玉簪花及雪中鴛侶(兩件一組)》 水墨 設色 絹本 鏡框 直徑: 33 cm ; 35 cm 羅芙奧 2022 秋拍 台幣 50,000 - 100,000 YU Chung-lin, Tube Roses and Butterfly and Mandarin Ducks on Wintry Tree (A Set of Two), Ink and colour on silk, framed, D: 33 cm; 35 cm Ravenel 2022 Autumn Auction, US$ 1,600 - 3,200 34

Ke-qi and author Chiung Yao and her husband. Following the departure of Sun Jia-qin to Brasil, and Hu Nian-zu to the US, Yu hosted the classes alone. Due to Yu's humorous character and talent, his students, from all walks of life, grew in numbers and the studio was packed day and night. Yu's paintings in all periods bear the seal of Lishui Jingshe, showing his commitment towards teaching and the importance of passing on traditional techniques.

Yu Chung-lin's ideology and styles could be summarized into the dedication towards the Song school, life observation and transformation from traditional skills. His flower and bird paintings are unique of the genre with a combination of gongbi and free-hand strokes. According to his family, Yu loved Yun Shou-ping and Run Bo-nian. After following masters, he further refined his skills by imitating classical works with special attention to the Song school and masters such as Huang Quan and Hsu Hsi. He followed the path of Song masters to paint through observation. He was a frequent visitor of the National Palace Museum to observe Song paintings. In terms of the content, Yu followed Qingteng Baiyang and Bada. In terms of life observation, Yu's techniques are refined as those of Giuseppe Castiglione (compare Peacock of the artist), Pu Hsin-yu and Qi Bai-shi. Such techniques were more refined with a more elegant composition later in his career. Hence he was regarded as one of the best representatives of flower and bird paintings unique from classical genres.

FLORA AND FAUNA OF YU CHUNG-LIN

"I have a distinctive appreciation towards flowers and birds. I am emotionally attached to them. As an artist, I express my emotions uniquely to myself."-Yu Chung-lin

Yu Chung-lin paints with classical technique with outline and boneless techniques. He was renowned for his practice of drawing with his left hand and writing with his right hand. His calligraphy was refined by Tai Jing-nong to follow the style of Wen Zheng-ming of the Ming dynasty. His calligraphy provided a perfect complement to his refined flower and bird paintings. Flower and bird paintings originated to resemble nature as a source of comfort to viewers. To achieve a realistic painting, Yu dedicated to painting through observation. He believed that it is only through such practice can the works reflect both the heart and the mind. Yu's daughters recall that his father carried a notebook for sketches wherever he went. His favourite places were the botanical park in Nanhai Road, Zhinan Temple and Yangmingshan. He once sketched hastily from an eagle specimen during a trip to the US. Throughout his lifetime, Yu must have drawn more than 800 species of flowers. He kept potted plants of wisteria, roses, hydrangeas and camellias with his "green fingers", as joked by his neighbours. His extensive knowledge of flora and fauna was crucial to his paintings.

Yu Chung-lin once said, "gongbi flower and bird paintings were his personal interest. Art would only be judged by techniques, forms and composition regardless of the time of production. Painting should be a pleasure of the artist and not conforming to others' judgment." This shows the artist's attitude towards referencing the classical paintings, and that art should be an enjoyment of the artist and his interpretations of nature. Through his dedication to advance his techniques, he could produce works that incorporate masters of Jing, Hu and Lingnan. His works were so elegant and refined that they were praised as a new branch of style in the genre. In this sale, Ravenel proudly presents a dedicated section of works from the artist's family, including highlight paintings Peacocks on Crape Myrtle (Lot 619), Eagle Surveying the Terrain (Lot 620), Rooster and Hen (Lot 621), Withering Lotus (Lot 613), Wisteria and Doves (Lot 618), Mynahs on Autumn Willow (Lot 622), Macaw on a Green Vine (Lot 617) and Kingfisher Finds Interest in a Lotus Pond (Lot 615). The sale includes a section of seals used by the artist, including one carved by Tai Jing-nong (Lot 627), commenting the works as elegant and noble. Also offered are seals of the studio Lishui Jingshe (Lot 625), seals by Wang Zhuang-wei (Lot 629 and Lot 628) and Tseng Shao-chieh (Lot 623). As Lu Shou-kun publicly mentioned, Yu adopted the Song school to his personal style, allowing him to be one of the greatest artists in the genre. With a strong conviction to refine and transform classical styles, Yu created his unique styles from imperial and scholarly paintings, thereby shaping the development of the genre in history.

FLOWER AND BIRD PAINTINGS OF YU CHUNG-LIN AND BEYOND

Gongbi flower and bird paintings are highly sought after in the art market. Due to the complexity of production in terms of time, material and skills, the artist dedicated huge strength in his paintings. At the age of 27, Yu followed his teacher Jin Qin-bo and mastered the skills with exceptional talent. Nantian style was adopted along with the Jing school, Song school and the scholarly styles of Ming and Qing. Yu Chung-lin refined both free-hand and gongbi strokes and produced a combination that is intricate and complex. His works are collected by dedicated collectors and are rare in the market. After his works were offered by Sotheby's Hong Kong for HK$ 437,000 and HK$600,000, Peacocks was offered in Ravenel Taiwan and fetched an astonishing NT$1,680,000 in 2019, followed by Pheasants and Camellias at NT$1,200,000. This shows the exceptional quality of Yu's paintings and the promising results from the collectors' market. The distinguished collection from the artist's family offered in this sale provides an extremely rare occasion for collectors to see works of multifarious genres including eagle, peacock, flower and bird paintings and precious seals carved by renowned artists. Through this collection, one can appreciate the contribution of Yu Chung-lin towards the development of modern ink art in Taiwan, making him a crucial member of art history.

[ CHINESE PAINTINGS ] 35

為調和,意外對橡木桶陳放多年後風味上的轉變大感驚喜,1919 年壽屋推出酒精濃度 37% 的 Torys ( トリス ) 威士忌,儘管以果 實酒為基礎的 Torys 就如今的規範來說無法被視為威士忌,不過 輕柔甜美的口感一上市即獲得市場好評。

儘管其後推出的瓶裝威士忌加蘇打水 Whistan 並未如預期 地受到歡迎,對市場脈動敏銳的鳥井信治郎從消費者對 Torys 和 Whistan 的反差反應,看到了「真正的威士忌」市場的存在可能。 然而,要生產真正的威士忌,除了需要各種蒸餾製酒設備,也需

THE YAMAZAKI DISTILLERY WITH A 100-YEAR HISTORY 用日本人的手,打造世界級日本威士忌 走過一個世紀的山崎蒸餾所 Text / 唐維怡 Eva Tang Photo / Finest and Rarest Wines of Ravenel.Suntory Website 日本國產威士忌的起點-山崎蒸餾所的誕生 日本國產威士忌的歷史,與山崎蒸餾所緊緊相連,而要探究 山崎蒸餾所,就必定要提到出生於 1876 年的鳥井信治郎。 在明治維新的推動下,十九世紀末的日本洋溢著繁榮的氣
治郎接觸到了葡萄酒、威士忌等各類洋酒,也培養了對市場變動 的敏銳度,很快地,鳥井信治郎在 1899 年自立門戶,創立了「鳥 井商店」,隨後更名為「壽屋」,成為如今龐大的三得利集團的 前身。 有著多年洋酒販售經驗的鳥井信治郎很快發現儘管市場充 斥著洋酒,但酸澀的葡萄酒與有著強烈酒精感的西方烈酒並未真 正獲得日本人的喜愛,實際銷量並不好,因此在經過一連串的研 究與嘗試後,在 1907 年推出了符合日本人喜愛甘甜味蕾的甜味 果實酒「赤玉スイートワイン」,更在民風保守的當時大膽地請 到女演員松島 栄 美子拍攝裸體海報作為宣傳,這款波特紅酒的推 出果然受到各個年齡層消費者的喜愛,一舉搶佔日本葡萄酒超過 60% 的市場份額。 赤玉的成功絕非偶然,鳥井信治郎從這時就已意識到純粹引 進或是教育消費者並非市場上上策,創造出屬於日本本土喜愛的 風味才是自己要做的,更重要的是,他從二十多歲的這時就展現 出現代企業家的視野,認知到行銷的至關重要。 赤玉的成功,讓鳥井信治郎充滿信心地開始了烈酒領域的嘗 試,一開始以食用酒精加入色素和香料調製而成的仿製酒銷量不 差,但鳥井信治郎並不滿足,他開始嘗試將酒精放入葡萄酒桶做
息,年僅 13 歲的鳥井信治郎來到日本第一批販售進口洋酒的藥 店 小西儀助商店打工,在這間頗為時髦前衛的店裡,鳥井信
要掌握製酒技術的專家,而此時,被譽為日本威士忌之父的竹鶴 政孝恰巧於 1920 年 11 月回到日本。 原先受到攝津酒造社長賞識的竹鶴政孝,於 1918 年前往蘇 格蘭取經, 1919 年至 Longmorn 酒廠擔任學徒,正當學成歸國 要大展拳腳之際,卻遭逢日本經濟蕭條,攝津酒造的國產威士忌 計劃被迫終止。有志難伸的竹鶴政孝與積極在日本發展真正威士 忌的鳥井信治郎一拍即合,兩人於 1923 年 6 月簽下 10 年之約, 並迅速於同年 10 月 1 日買下位於京都與大阪交界處的土地。在 投入一年多的時間與兩百萬日圓的鉅資後,山崎蒸餾所正式於 1924 年 11 月 11 日上午 11 點 11 分啟動,從按照竹鶴筆記在日 本製造的罐式蒸餾器中,日本國產麥芽威士忌於焉誕生。 喝酒不開車 36
[ WINE ] 佐治敬三 (Keizo Saji) 更承襲了父親的信念和企業經營手法,認為 壽屋賣的不僅僅只是產品,更是「產品當代的生活型態」,在兼顧生產 品質的同時,運用行銷的力量讓品牌深植人心,壽屋於 1950 年代中期 在日本各地開設了 35,000 間品牌酒吧,致力推廣 Torys 與 Suntory ,於 1956 年推出 < 洋酒天國 > 雜誌作為宣傳, 1961 年更推出「喝 Torys 遊夏威夷」的夢想活動廣告宣傳,一下子抓住了所有消費者內心對美 好生活的嚮往。 佐治敬三更進一步與公司初代首席調酒師佐藤乾一同針對日本人 的味蕾結構進行詳細的研究,鳥井信治郎則根據這份報告的調查結果, 於 1960 年 5 月推出了「サントリーローヤル (Suntory Royal) 」。命名 Royal 是因為鳥井信治郎相信這正是他所追求的極致完美,擁抱了日本 人對美味的理解和一切期待,代表壽屋正式做出與進口威士忌不相上 下的國產威士忌。終於實現夢想的鳥井信治郎於是在 1961 年正式將壽 屋經營權交棒給兒子佐治敬三。壽屋也於 1967 年正式更名為三得利株 式會社 ( サントリー ) 。 1971 年 6 月,日本政府宣佈全面採用外部經濟措施,預期國產威 士忌若不能在品質上有所突破,競爭優勢將不再。因此三得利集團於 1972 年興建了白州蒸餾廠,以提供集團調和酒更豐富的元素。 單一麥芽威士忌的誕生 時序很快地來到關鍵的 1984 年,儘管遭逢自由貿易下進口關稅大 幅降低的洋酒打壓、以及八零年代歐美白色烈酒革命引發的燒酎熱潮 擠壓市場,於這一年歡慶山崎蒸餾廠建廠六十週年的三得利仍決定推 出成本和單價都更高的單一麥芽威士忌,在與首席調解師佐藤乾花了 超過兩年時間研發,信心滿滿的佐治敬三將此純麥威士忌以蒸餾廠同 名「山崎」作為命名, 1984 年 3 月推出時酒標上並未標示酒齡,到了 1986 年才正式改為「山崎 12 年」。單一麥芽威士忌的誕生,昭示著 日本國產威士忌的重大突破。然而,現在看來不得了的突破,靠的卻 僅是酒廠對理想的堅持,一部分因為日本政府對威士忌不友善的課稅 制度導致威士忌內需市場不斷萎縮,整體國產威士忌的消費量在 2001 年已下滑到 1983 年的三分之一;另一方面,此時的日本市場實際上還 未做好接受單一麥芽威士忌的準備,相較於充滿個性、口感飽滿的單 一麥芽威士忌,市場偏好的仍然是輕柔順口的低價位威士忌。然而, 儘管單一麥芽威士忌占整體銷售量極低,三得利仍然秉持著鳥井信治 郎「用日本人的手,打造世界級日本威士忌」的信念,持續在單一麥 芽威士忌的道路上匍匐前進,除了山崎 12 年外,又陸續於 1992 年至 1998 年推出「山崎 18 年」、「山崎 10 年」與「山崎 25 年」。 然而,兩人眼中「真正的威士忌」的打造並不順遂, 1925 年產季 結束之際,鳥井信治郎再次將竹鶴政孝送回蘇格蘭 Hazelburn 酒廠進行 進修,做為企業經營者的鳥井信治郎只能在這段時間內開發咖哩粉、潔 牙粉、醬油、胡椒、茶葉等各式各樣的產品,以支撐酒廠龐大的支出。
青睞,嚴重的滯銷讓鳥井信治郎判定當時的日本市場尚無法接受道地的 蘇格蘭風味,因此修正了目標,開始致力於發展更符合東方人口感、擁 有日本在地風情的威士忌。而這恰恰與忠於蘇格蘭風味的竹鶴在理念上 背道而馳,於是在合約屆滿十年之期的 1934 年,竹鶴揮別壽屋,在北 海道建立了余市蒸餾所,同年七月成立「大日本果汁株式會社」。鳥井 信治郎與竹鶴政孝的分道揚鑣,造就了今日雄踞日本威士忌半壁江山 的兩大巨頭—三得利株式會社 (Suntory) 與日果威士忌株式會社 (Nikka Whisky) ,也讓日本威士忌在兩種截然不同角度的詮釋下,迸發出今日 多元又獨特的樣貌。 1937 年,佔據日本國產威士忌歷史重要地位的「角瓶」面市,十 多年的橡木桶陳年為酒液帶來濃郁深邃的氣息與優雅纖細的口感,在東 京約有 1300 家酒吧的當時,角瓶的推出獲得空前的成功。然而,對「真 正的威士忌」的執著讓鳥井信治郎並未止步於此,戰爭與二戰後期的市 場亂象也未能讓他放棄創造能媲美蘇格蘭威士忌、擁抱在地風情的日本 國產威士忌。 ◀ 對細節從不馬虎的山崎酒廠深信橡木桶是孕育高品質威士忌的關鍵,多年前便打造了 屬於自己的木桶工廠,並不斷地實驗各種可能,第一任的首席調酒師鳴海欽一在位期 間,便已開始進行水楢桶的嘗試;第三任首席調酒師 富孝一任職期間,負責桶材研究 的松山隆一特別針對水楢桶進行了一系列的觀察與研究,山崎酒廠這才開始對水楢酒桶 的運用更加得心應手。 安全有保障 37
1929 年 4 月,山崎蒸餾所的第一款威士忌「サントリー (Suntory) 白札」 問世,然而,白札強烈的泥煤煙燻風味並未如兩人想像中地得到市場的
國際市場的認可 幸運的是,余市 10 年與響 21 年在 2001 年英國威士忌雜誌 Whisky Magazine 首次舉辦的「 Best of the Best 」盲品競賽中,被評選為綜合 組第一與第二:隔年的 2003 年,山崎 12 年獲得 International Spirits Challenge ( 國際烈酒挑戰賽 ) 金獎; 2005 年,山崎 18 年獲得 San Francisco World Spirits Competition ( 舊金山國際烈酒競賽 ) 雙金牌; 2006 年山崎 18 年再度榮獲 International Wine & Spirit Competition ( 國 際葡萄酒暨烈酒競賽 ) 首獎 (Trophy) ⋯⋯,連年的國際獎項讓日本國產 威士忌引起全世界威士忌迷的關注,且不僅僅是調和威士忌,日本的單 一麥芽威士忌也一舉登上世界舞台,鳥井信治郎「用日本人的手,打造 世界級日本威士忌」的信念終於在多年後的二十一世紀初成功實現,收 穫來自全世界的掌聲肯定。 除了鳥井信治郎堅定的信念,日本國產威士忌的卓越和三得利的成 功絕非偶然、也絕非僅僅是幸運,背後是日本人追求極致的職人文化和 不斷精進的技術。 和魂洋才—獨樹一格的日本特色 日本國產威士忌的技術基本上承襲自蘇格蘭,然而,日本的風土卻 讓日本威士忌有著迥異於蘇格蘭威士忌的風情。 最純淨的水質-全国名水百選「離宮の水」 1923 年,當鳥井信治郎與竹鶴政孝決定攜手創建全日本第一座威 士忌蒸餾所,首要關鍵便是選址,鳥井信治郎著重的有兩點,首先,他 希望蒸餾廠不要離公司總部的市區太遠以便就近管理;其二,鳥井信治 郎深信水質對於威士忌品質的重要性。因此,當他找到了如今山崎蒸餾 所座落的區域,並發現此處的水源正是日本茶道鼻祖千利休建立妙喜庵 (Miyoikan) 茶庵之地,也是日後被日本環境廳評為全國名水百選之一的 「離宮之水」後,又特別找來蘇格蘭釀酒權威博士 Dr.Moore 針對水質 進行調查, Dr.Moore 的正面反饋讓鳥井信治郎信心大增。 對於良好水質的自信,讓山崎蒸餾廠的產品純粹卻又帶有複雜氣 息、含蓄雅緻而不喧嘩。 因地制宜-一廠抵百廠 除了風土的不同,相較於蘇格蘭酒廠與酒廠間能彼此換酒以增加調 和威士忌口感的層次感,山崎很早就認知到,由於日本早期的蒸餾廠少 之又少,彼此之間更是缺乏相互流通的管道,因此,每間酒廠必須自行 生產出各式各樣的原酒,以便創造出基酒的豐富度。要達到這個目標, 參訪過山崎蒸餾所的威士忌愛好者就知道,山崎蒸餾廠最出名的莫過於 其八對大小形狀全都不一樣的蒸餾器。 |發酵| 「發酵」這個步驟在山崎蒸餾廠特別被重視,歷屆首席調酒師都相 信發酵步驟所產生出的酯類分子對於威士忌的最終風味有著決定性的影 響,單單在酵母的選擇與應用上,三得利集團就特別成立酵母研究室, 研發出 3000 多種不同的酵母菌;在發酵槽的材質上,山崎蒸餾所的 十七座發酵槽中,有八個發酵槽以花旗松木製成,儘管較其餘九個不鏽 鋼槽來得難以控制溫度與溼度,卻更能讓乳酸菌更充分地發揮,成就更 複雜的香氣分子。 |蒸餾| 緊接著在對風味同樣至關重要的「蒸餾」環節,山崎蒸餾所一共有 十六座蒸餾器,其中八座酒汁蒸餾器全數使用瓦斯直火加熱,八座烈酒 蒸餾器使用蒸氣線圈或水蒸氣罐間接加熱,每一座蒸餾器的林恩臂長度 與角度皆不同,其中兩座更採用蘇格蘭酒廠所剩無幾的傳統蟲桶冷凝。 十六座蒸餾器的管線都可以自由配對,以不同的組合方式,生產出各式 各樣不同個性的原酒。 |橡木桶| 始終懷抱著「用日本人的手,打造世界級日本威士忌」信念的鳥井 信治郎,相信「橡木桶陳年」對威士忌的風味佔有超過 50% 的關鍵地 位,並希望有朝一日日本能不受制於海外橡木桶的供給,因此於 1934 年聘任了立山源丞成為集團第一任桶匠,立山源丞也不負鳥井信治郎的 信任,自行研發了一套製桶技術,並傳承予兒孫,目前擔任三得利集團 第三任桶匠的即為其孫子立山隆一。 ▲ 大膽以女演員松島 栄 美子拍攝裸體海報作為宣傳的甜味果實酒「赤玉スイートワイン」 The sweet and fruity "Akadama Sweet Wine" was advertised by a nude poster featuring actress Matsushima Emiko. 喝酒不開車 38

The Origin of Japanese Domestic Whisky The Birth of the Yamazaki Distillery

The history of Japanese whisky is closely linked to the Yamazaki Distillery. To explore the Yamazaki distillery, it is necessary to mention Shinjiro Torii, who was born in 1876.

At the end of the 19th century, Japan was full of prosperity, fueled by the Meiji Restoration. At the age of 13, Shinjiro Torii came to work at Konishi Gisuke Shop, one of the first drugstores in Japan to sell imported liquor. In this rather fashionable and avant-garde shop, Shinjiro Torii was introduced to wine, whisky and other foreign liquors and developed a sensitivity to market changes. In 1899, Shinjiro Torii established his own business, the Torii Store, which was later renamed the Torii Shoten Store and became the predecessor of today's huge and valuable Suntory Group.

With many years of experience in selling liquor, Shinjiro Torii soon realized that although the market was flooded with foreign liquor, the drying sensation of wines and strong alcoholic of spirits were not really appreciated by Japanese nor actually selling well. Therefore, after a series of studies and trials, in 1907, the sweet and fruity "Akadama Sweet Wine" was launched to meet the sweet taste buds of the Japanese. Meanwhile, Shinjiro Torii also took a bold move in promoting and marketing, asking actress Matsushima Emiko to be photographed nude

三得利集團一共有五種主要的橡木桶,分別是 180 公升的美國 波本桶 (Barrel) 、拆解波本桶而來的 230 公升豬頭桶 (Hogshead) 、 將美國購買的美洲白橡木風乾至少三年製成的 480 公升邦穹桶 (Puncheon) 、由西班牙 Jerez 區購入的 480 公升雪莉桶 (Sherry Butt) 、 以及三得利的獨門絕活—水楢桶 (Mizunara) 。 其中,雪莉桶是三得利威士忌最早啟用的橡木桶,三得利深信木 材的種類與品質是橡木桶熟成風味的關鍵,因此團隊每年都會到西班 牙北部拜訪雪莉酒莊和製桶廠,親自挑選樹木,並確認砍伐下來的木 頭經過三年的自然風乾和三年以上的雪莉酒桶陳。 而水楢桶的開發與使用,實為三得利因地制宜、絕地逢生的創意。 1941 年二戰的爆發使得橡木桶的進口變得困難,除了開發北美橡木與 波本桶的使用外,日本酒廠開始積極尋覓本土木材的使用可能,當時 主要用來製作高級家具、來自北海道的水楢木 (Mizunara Oak) 雀屏中 選,儘管水楢木生長緩慢,一年僅能做出不到 200 個桶子;同時,他 的硬度和偏大的毛細孔增加了橡木桶製作的困難度,再者,不管是在 1960 年代還是 1970 年代,山崎蒸餾廠歷屆首席調酒師都對水楢桶過 於強烈的香氣感到擔憂。然而,勇敢的碰撞終於在 1980 年代結出燦 爛的果實,過去不受歡迎的濃烈氣息在時間的醞釀下被沉澱,幻化出 日本神社的線香風情與圓潤細緻的酒體,是西方世界難以想像亦無法 模仿的東方風格。 |首席調酒師| 由於不似蘇格蘭的蒸餾廠有著各自基本的核心風味設定,製程上 從發酵、蒸餾、到入桶的各個環節基本上固定,蘇格蘭大部分酒廠首 席調酒師的主要工作是在堆積如山的庫存當中,決定哪些要作為酒廠 核心產品的調和、哪些適合陳年。撇除「山崎」單一麥芽威士忌有著 一定的風格和堅持,需要為集團調和威士忌製作基酒的山崎蒸餾所在 製程上的各種排列組合,都是由首席調酒師來做出決策,因此首席調 酒師的觀點和理想亦對集團所有產品的風格都有著至關重要的影響。 「我們擅長精準,注重細節」,從發酵到蒸餾,三得利始終相信 唯有每一個細節的完美才能造就最高品質的威士忌。然而,精準如實 驗室的山崎蒸餾廠,背後卻有著一顆尊重本質的職人信念。山崎蒸餾 所的歷屆首席調酒師都表示過,儘管蒸餾流程可以被控制,但放到橡 木桶中等待風味逐步成形的這段過程,是神秘而不可測的,有時會在 期待之中,有更多時候卻會出人意表,因此他們敬畏傳統、尊重過程, 身為職人的他們不需要舞台與目光,最驕傲地便是用無盡耐心打磨出 的產品散發出屬於自己耀眼奪目的光芒。於是,在無數職人的匍匐前 進中,山崎創造了歷史。 第四代首席調酒師福與伸二曾說,在紐約你會吃義大利人做的義 大利菜,在日本你會吃日本人做的義大利菜,這就是我們文化上的不 同,我們希望把東西變成我們自己的,這是最美妙的。這個解釋完美 呼應了鳥井信治郎「用日本人的手,打造世界級日本威士忌」的信念。 融合了日本人追求極致的職人文化與強大的行銷策略,山崎蒸餾所 用一個世紀的時間開鑿出屬於自己的一條路,創造了西方世界難以想像 亦無法複製的日本風格,也讓日本精神隨著威士忌,行銷全世界。
▲ 雪莉桶是三得利威士忌最早啟用的橡木桶,團隊每年都會到西班牙北部拜訪雪莉酒莊和 製桶廠,親自挑選樹木,並確認砍伐下來的木頭經過三年的自然風乾和三年以上的雪莉 酒桶陳。年份雪莉桶首次於 1997 年面市,連續發售四個年份至 2000 年推出 1985 雪莉桶 後中斷,又一直要到 2009 年才又再次推出。 [ WINE ] 安全有保障 39

in the advertisement. The launch of this port wine was a huge hit with consumers of all ages, soon captured over 60% of the Japanese wine market.

The success of Akadama Sweet Wine was no accident. It was then that Shinjiro Torii realized that simply introducing or educating consumers to get used to foreign liquor was not the best strategy in the market, and that creating something what Japanese consumer would desire for was what he wanted to do. More importantly, from his early twenties, he showed the vision of a modern entrepreneur and recognized the importance of marketing.

With the success of Akadama Sweet Wine, Shinjiro Torii confidently embarked on a venture into the realm of spirits. At first, the imitation spirits, made from edible alcohol with colors and spices, sold pretty well. Nevertheless, Shinjiro Torii was not satisfied; he began the experiment of adding alcohol to wine barrels and was surprised by the change of the flavor after years of aging in barrels. In 1919, Torii Shoten Store launched Torys, a 37% alcohol whisky. Although the fruit-based Torys cannot be considered a whisky by today's standards, its light sweet taste was highly received by the market.

Although the subsequent launch of Whistan, a soda-added whisky, was not as popular as expected, Shinjiro Torii, who was keenly aware of the trend of the market, saw the possibility of a market for "real whisky". However, the production of "real whisky" required not only distillation equipment but also experts in whisky making. It was at this time, Masataka Taketsuru, known as the father of Japanese whisky, returned to Japan in November of 1920.

Originally appreciated by the president of Settsu Shuzo, Masataka Taketsuru was sent to Scotland in 1918 to learn the skill of making whisky. In 1919, he served as an apprentice at Longmorn Distillery. However, just as he was about to return to Japan, Japan was unfortunately in the state of economic depression that has put Settsu Shuzo's whisky making plan into an end. Masataka Taketsuru, who had a strong ambition, and Shinjiro Torii, who was actively developing real whisky in Japan, hit off immediately. The two signed a 10-year contract in June 1923 and promptly bought the land at the border of Kyoto and Osaka on October 1st the same year. After investing around two million yen over one year, the distiller of Yamazaki Distillery officially started to work at 11:11 a.m. on November 11, 1924. The Japanese malt whisky was produced for the first time in a pot made in Japan, completely according to the handdrawn notes of Taketsuru.

However, the creation of the "real whisky" did not go smoothly. At the end of the production season in 1925, Shinjiro Torii sent Masataka Taketsuru back to Hazelburn Distillery in Scotland for further training. On the other side, as a business owner, Shinjiro Torii had to develop various products such as curry powder, tooth cleaning powder, soy sauce, pepper and tea leaves to support the huge expenses of the distillery during this period. In April 1929, notwithstanding, Yamazaki Distillery's first whisky "Suntory Whisky White" was launched. However, the strong smoky peated flavor did not arouse attention of the market as they had expected. The performance of sales was so poor that Shinjiro Torii was convinced that Japanese market was not yet ready to accept the authentic Scottish flavor they tried to mimic and create; thus, he has made up his mind to develop a whisky that suits Japanese. This ran counter to the philosophy of Taketsuru, which was loyal to Scottish flavors. In 1934, at the end of the ten-year contract, Taketsuru left Torii Shoten Store and established Yoichi Distillery in Hokkaido. In July of the same year, Dai Nippon Kaju Co., Ltd. was established. The separation of Shinjiro Torii and Masataka Taketsuru created the two giants that each dominate half of Japanese whisky today - Suntory and Nikka Whisky. It was also this split and the different interpretations and perspectives that make Japanese whisky today diverse and unique.

▲ 白札的失敗不僅導致竹鶴政孝與鳥井信治郎的分道揚鑣,更讓壽屋瀕臨破產,幸而在 「名古屋電燈」前執行董事佐治儀助太太的資助下,壽屋得以挺過難關,繼續在國產威 士忌這條道路上前進。為感謝其雪中送炭,鳥井信治郎將當時年僅十歲的次子敬三送至 膝下無子的佐治家作為養子,佐治敬三於 1961 年正式接棒,成為壽屋的第二代掌門人。 喝酒不開車 40

In 1937, "Kakubin," which occupies an important position in the history of Japanese whisky, was launched. More than ten years of aging in oak barrels have brought the spirit a rich deep aroma and an elegant taste. At that time, there were around 1,300 bars in Tokyo. The launch of "Kakubin"received an unprecedented success. However, Shinjiro Torii's search of the "real whisky" did not stop there. Neither did World War II and the post-war chaos of the market stop him from keep creating the Japanese whisky that would embrace the local flavor and rival the Scotch whisky.

Keizo Saji also inherited his father's beliefs and business management practices, believing that the Torii Shoten Store sold not only products but also the "contemporary lifestyle of the product." While taking care of the quality of the products, the power of marketing was used to make the brand deeply rooted in the hearts of the people. In mid-1950s, the Torii Shoten Store opened more than 35,000 branded bars throughout Japan to promote Torys and Suntory. In 1956, the magazine Yoshu Tengoku (The Heaven of Foreign Wine) was launched as propaganda. In 1961, the "Drink Torys, Travel to Hawaii" advertising campaign was launched, which precisely captured the desire of everyone's pursuing for a better life deep down in the heart.

Furthermore, Keizo Saji teamed up with studied the structure of the Japanese taste buds together with the company's first chief winemaker, Inui Sato. Based on the findings of this report, Shinjiro Torii launched the "Suntory Royal" in May 1960. Royal was named because Shinjiro Torii believed that it was the ultimate perfection he sought, embracing the Japanese understanding of deliciousness and all expectations, reflecting the Torii Shoten Store officially made domestic whisky that is on par with imported whisky. Finally realizing his dream, Shinjiro Torii handed over the management of the Torii Shoten Store to his son Keizo Saji in 1961. In 1967, the Torii Shoten Store was officially renamed Suntory Holdings Limited.

In June 1971, the Japanese government announced the adoption of external economic measures, and it was expected that if the domestic whisky could not make a breakthrough in quality, it would no longer have a competitive advantage. Therefore, Suntory built Hakushu Distillery in 1972 to provide the group with more elements for blended whisky.

The Birth of Single Malt Whisky

The year 1984 was crucial for Yamazaki Distillery. In spite of the suppression of foreign spirits under free trade which resulted in a significant reduction in import tariffs, and the white spirit boom in Europe and the U.S. that suddenly makes shochu so popular. Suntory,

celebrating the 60th anniversary of Yamazaki Distillery in that year, still decided to launch a single malt whisky. After spending more than two years in research and development with chief blender Inui Sato, the confident Keizo Saji named this single malt whisky after the distillery's name, "Yamazaki." When it was launched in March 1984, the age of the whisky was not indicated on the label. It was not until 1986 that it was officially changed to "Suntory Single Malt Whisky Yamazaki 12 Years Old." The birth of single malt whisky marked a major breakthrough in Japanese domestic whisky. The breakthrough, which now seems remarkable, was based only on the distillery's insistence on its ideals. On one hand, due to the shrinking domestic market for whisky as a result of the Japanese government's unfriendly taxation system for whisky, the overall consumption of domestic whisky had fallen to one-third of its 1983 level in 2001. On the other hand, Japanese consumers still preferred the soft and smooth low-priced whisky to the more full-bodied single malt whisky that are richer and stronger at that time. However, despite the fact that single malt whisky accounted only for a very small percentage of overall sales, Suntory continued to creep forward on the path of single malt whisky, in line with Shinjiro Torii's belief of "making world-class Japanese whisky with Japanese hands." In addition to "Suntory Single Malt Whisky Yamazaki 12 Years Old," "Yamazaki 18 Years Old," "Yamazaki 10 Years Old," and "Yamazaki 25 Years Old," were successively launched from 1992 to 1998.

International Recognition

Fortunately, "Yoichi 10 Years Old" and "Hibiki 21 Years Old" were voted first and second in the overall category in the "Best of the Best" blind tasting competition held for the first time by Whisky Magazine in 2001. The following year, in 2003, "Yamazaki 12 Years Old" won the Gold Medal at the International Spirits Challenge (ISC).

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In 2005, "Yamazaki 18 Years Old" won the double gold medal in the San Francisco World Spirits Competition. In 2006, "Yamazaki 18 Years Old" won the Trophy (first prize) at the International Wine & Spirit Competition. The international awards have brought Japanese whisky to the attention of whisky lovers around the world. Not only blended whisky but also Japanese single malt whisky became recognized and praised by the whole world. Shinjiro Torii's belief of "making world-class Japanese whisky with Japanese hands" finally realized, receiving applause from all over the world.

Under the firm belief of Shinjiro Torii, the excellence of Japanese domestic whisky and the success of Suntory are no accident and no mere luck, but the Japanese people's pursuit of the ultimate workforce culture and continuous improvement of technology.

Wakon Y ō sai Unique Japanese Characteristics

The technology of Japanese whisky was basically inherited from Scotland. However, different terroir gives Japanese whisky a very different flavor from that of Scotch whisky.

The purest water - "Riky ū Spring," one of the 100 most famous waters in Japan

In 1923, when Shinjiro Torii and Masataka Taketori decided to join forces to build the first whisky distillery in Japan, the first key was to choose the location. There were two important points for Shinjiro Torii. Firstly, he wanted the distillery to be located not too far from the company's headquarters in the city so that it could be managed nearby; secondly, he believed that the quality of water is the most important thing that relates to the quality of whisky. He discovered that the water source of the area where Yamazaki Distillery is located today was the same place where the founder of Japanese Tea ceremony, Sen no Rikyu, had established the Miyoikan tea house. The water here was also the"Riky Spring" later ranked by the Ministry of the Environment as one of the 100 most famous waters in Japan. Afterwards, Dr. Moore, Scotland's leading winemaking authority, had been specially commissioned to investigate water quality. Dr. Moore's positive feedback gave Shinjiro Torii a boost of confidence.

Confidence in the quality of the water gives Yamazaki Distillery's products a pure yet sophisticated, subtle, elegant and unobtrusive character.

Local Adaptation One Distillery Worth a Hundred

In addition to the differences in terroir, compared with the Scotch distillery, which can swap between distilleries in Scotland to add layers

to the blended whisky, Yamazaki realized early that there were only a few distilleries and neither do they have much communications, each distillery had to produce its own variety of new make spirits in order to create its own richness of base spirit. To achieve this goal, whisky lovers who have visited Yamazaki Distillery know that Yamazaki is most famous for its eight pairs of distillers, all of which are different in size and shape.

| Fermentation |

The step of "fermentation" is particularly valued at the Yamazaki Distillery. Former chief blenders believe that the ester molecules produced by the fermentation step have a decisive impact on the final flavor of the whisky. In the selection and application of yeast alone, the Suntory Group has set up a yeast research laboratory to develop more than 3,000 different types of yeast. Regarding the material of the fermentation tanks, eight of the seventeen fermentation tanks of the Yamazaki Distillery are made of Douglas fir wood. Although it is more difficult to control the temperature and humidity than the other nine stainless steel tanks, they allow the lactic acid bacteria to develop more fully, resulting in more complex aromatic molecules.

▲ 山崎蒸餾所的第一款單一麥芽威士忌於 1984 年首度面市,一開始並沒有標示酒齡,直到 1986 年才將酒標上的名稱改為「山崎 12 年」,單一麥芽威士忌的誕生,昭示著日本國 產威士忌的重大突破。初期三代的山崎 12 年,除第一代酒標為白底,因應當時 43 度以上 的日本酒法規規定,酒標上均印有「ウイスキー特級」的字樣,瓶身標籤為雙獅標。第 四代開始黃色酒標邊緣出現金框, 1993 年後三得利集團旗下的瓶身標籤均改雙獅為金花, 並從第五代開始,為符合蘇格蘭威士忌標準,改 Pure Malt 為 Single Malt 。發行至今已超 過三十個年頭的山崎 12 年,用其酒標和瓶身的不斷改版見證著日本國產威士忌的更迭與 變化。 喝酒不開車 42

| Distillation |

Next, in the "distillation" step, which is equally important for flavor, the Yamazaki Distillery has a total of 16 stills, in which eight liquor stills are heated by direct gas fire, and other eight spirits stills are heated indirectly using steam coils or steam tanks. Each still has a different length and angle of the Lynn arm. Two of the stills are condensed in the traditional worm tubs that is mostly replaced even in Scotland. The pipelines of the sixteen stills can be mixed and matched to produce a variety of new make with different personalities in different combinations. |

Oak Barrels |

Shinjiro Torii believed oak aging is the one key that brings the flavor to a whisky. He hoped that one day Japan would not have to be limited by oak barrels sourcing from oversea. Therefore, in 1934, Genj Tateyama was hired as the Suntory's first barrel maker. He lived up to Shinjiro Torii's trust by developing his own barrel-making techniques, passed on to his children and grandchildren. His grandson, Ryuichi Tateyama, is currently the third-generation barrel maker of the Suntory Group.

Suntory has five main types of oak barrels: 180-liter American Barrel, 230-liter Hogshead barrels made of dismantled American Bourbon Barrel, 480-liter Puncheon barrels made of American white oak purchased in the United States being air-dried for at least three years, 480-liter Sherry Butt barrels purchased from the Jerez region of Spain, and Suntory's unique Mizunara barrels.

The Sherry Butt was the first oak barrel to be used for Suntory whisky. Suntory believes that the type and quality of the wood is the key to the flavor of the oak barrel maturation. Therefore, the team visits the sherry winery in Jerez and the woods where the plants came from in northern Spain every year. The team personally selects the trees and confirms that the felled wood has undergone three years of natural drying and over three years of sherry wine aging.

The development and use of Mizunara was the result of Suntory's creativity to adapt to local conditions. The outbreak of World War II in 1941 has made import of oak barrels difficult. In addition to developing the use of North American oak and American Barrel, Japanese distilleries began to actively seeking for indigenous woods for use. Mizunara Oak from Hokkaido that mainly used for high quality furniture, was then selected. Mizunara Oak grows slowly, less than 200 barrels could be made per year. At the same time, its hardness and large capillaries make barrel making more difficult. Moreover, in both the 1960s and 1970s,

Yamazaki Distillery's successive chief blenders were concerned about the overpowering aroma of Mizunara. However, the brave collision finally bore fruit in the 1980s. The unpopular strong aromas have been settled over time, resulting in the linear aroma of a Japanese shrine and a round and delicate body that is unimaginable and inimitable in the Western world.

| Chief Blender |

The distilleries in Scotland have their own basic core flavor profiles, and the process is essentially fixed from fermentation, distillation, to barreling. What most scottish chief blenders or the master blenders have to do is to decide which barrels of whisky should be blended into which core products and which should be aged longer in the warehouse. However, to the chief blender of Yamazaki, his job is not only in the blending but also the process of making the spirits such as which fermentation yeast and which combinations of distillation. Chief blender's decision influence the style and characteristics of the whole distillery.

From fermentation to distillation, Suntory believes that only the perfection of every detail can produce whisky with the highest quality. However, behind the laboratory-like precision of Yamazaki Distillery lies the belief of the craftsmanship that respects the essence. Yamazaki Distillery's successive chief blenders have said that although the distillation process can be carefully controlled, the long period of time after the new make spirit being put into oak barrel is up until today mysterious and unpredictable. Sometimes it is as expected, more often than not, it is unexpected. Therefore, they respect every detail, every process, and every tradition. To them, the biggest joy came from the shining final products that took them years of patience to polished and created.

Shinji Fukuyo, the fourth generation chief blender, once said, "In New York, you eat Italian food made by Italians,. In Japan, you eat Italian food made by Japanese. That's the difference of our culture. We want to make things our own, which is the most wonderful thing." It perfectly reflects Shinjiro Torii's belief of "making world-class Japanese whisky with Japanese hands."

Combining the Japanese craftsmanship of pursuing excellence and strong marketing strategies, Yamazaki Distillery has spent a century forging a path of its own, creating a Japanese style that is unimaginable and impossibly replicated in the Western world; meanwhile, the Japanese spirit, along with the whisky, has been marketed all over the world.

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走入歐陸王室的世界, 藉寶石傳承親情與歷史的光輝 INTO THE WORLD OF EUROPEAN ROYAL FAMILIES, AS THE GEMSTONES CARRY THE LIGHT OF HISTORY AND LOVE THROUGH GENERATIONS Text / 劉允華
/ Ravenel International Art Group 44
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在英國,備極哀榮的儀式持續了數日,引導這個世界向廣受愛戴 的伊麗莎白二世女王道別。即時轉播的鏡頭前,各國政要與名人齊聚一 堂,而與女王最親的王室家族自然也全員出席。一如既往,王室成員們 配戴的珠寶成為媒體追逐的焦點;但在這一天,鏡頭下的各種雅緻裝扮, 並非為了滿足獵奇的眼光,而是展現對家人的尊崇與獻禮:珍珠配飾是 悼念貴族的標記;薊花胸針是女王最愛居地蘇格蘭的國花;公主們配戴 著女王贈送或她自身時常配戴的高貴飾品;路易斯.溫莎女士的銀馬項 鍊象徵著她與女王同享對馬的熱愛。 多數王室重要成員配戴的珠寶,都屬於伊麗莎白二世的個人收藏。 與歐洲各貴族家室比較,英國王室的珠寶收藏與傳承制度相當完整。不 少著名的王家飾品都跨越了許多世代,較為人所知的,像是瑪麗皇后的 戀人結寶冠、維多利亞女王的藍寶石胸針、黛安娜王妃的藍寶石訂婚 戒、溫莎公爵夫人的祖母綠婚戒等等。 寶石對歐洲皇室的意義,並不只是可供炫耀的財富。自貿易通路初 開,印度來的鑽石,以及南美來的祖母綠,便豐富了中世紀王室家族對 珠寶的收藏,也在世代傳承之間,為每一件精心打造的飾品賦予了不同 的意義。俄國凱薩琳大帝以珠寶展現國力的執著,為她帶來歐陸王室之 間數一數二的巨量收藏;英國瑪麗皇后對珠寶收藏與傳承的熱愛,也成 就了許多象徵著王室家族感情,舉世聞名的珠寶飾品;法國王家收藏中 最為知名的希望藍鑽上,刻寫著當年寶石如何從產地流轉至歐洲的典型 旅程。 除了專屬於家人的私密收藏外,歐陸各地逐漸形成的國家力量, 與由各大東印度公司為首的政府投資,同樣將寶石視為重要的國際貿易 商品。 1530 年法蘭西斯一世要求將國有珠寶分開列冊編目之後,寶石 古時不為大眾親見的王室珠寶,如今在各種場合的媒體宣播下, 逐漸揭開每件飾品上閃耀的深刻意涵。數百年來,歐陸王室自始即以祖 母綠與鑽石為主要收藏與傳承的品項,而對彩鑽的珍視,更是遠遠早於 大眾珠寶交易市場的興趣。羅芙奧精品部表示,收藏無數寶物的歐陸王 室,對彩鑽的欣賞引領了全世界的潮流,而彩鑽的市場表現,更標誌著 此時是最好的投資時機。透過賞玩此類寶石,人們同樣也能走入貴族的 世界,掌握興家傳世的華麗象徵。 ◀ 左: 0.86 克拉水滴形艷彩粉紅色鑽石配粉紅色鑽石戒指,附 LEFT : A 0.86 CARAT PEAR-SHAPED FANCY VIVID PINK DIAMOND AND PINK DIAMOND RING 右: 0.86 克拉水滴形艷彩粉紅色鑽石配粉紅色鑽石戒指,附 RIGHT : A 0.86 CARAT PEAR-SHAPED FANCY VIVID PINK DIAMOND AND PINK DIAMOND RING ▶ 4.46 克拉梨形哥倫比亞祖母綠配鑽石戒指 MUZO 礦區,無浸油,附 MUZO 、 SSEF 及 GIA A 4.46 CARAT PEAR-SHAPED COLOMBIAN EMERALD AND DIAMOND RING, from Muzo mine, no indications of clarity modification. 45

In the United Kingdom, the ceremonies continued through days with mourning, yet not without glorious memories, for Queen Elizabeth II fared well to this world, and left with her gracious shadows. In the worldwide live broadcast, politicians and dignities from all over the world came together. Among them, surely, stood her majesty's whole beloved family. As always, the jewelry worn by members of the royal family became the focus of the media. But at this day, all the accessorized details are not for the prying eyes, but to reveal the familial emotions and respect for the late matriarch: pearls are signs of mourning for the aristocrats; thistle would be the flower of Scotland where the Queen feels most at home; princesses wore elegant trinkets gifted by the Queen or loved and wore by herself; and there's Lady Louise Windsor, wearing a necklace of a silver horse, representing her shared love of the horse with the silver lady.

Most of the jewelry on the royal family members belong to the personal collection of Elizabeth II. Among the royal families in Europe, the one ruling England has the most complete collecting and inheriting system. Many famous items are kept in the family throughout generations, like the Lover's Knot tiara of Queen Mary, Sapphire Brooch of Queen Elizabeth, Sapphire engagement ring of Princess Diana, and the Emerald wedding ring of the spouse of Duke Windsor, etc.

For European Royal families, gemstones are not just riches to show. As global trade routes were carved out, diamonds from India and Emeralds from South America began to congregate rapidly in their collections. And by inheriting, every generation bestows upon the precious items a new meaning. Katherine the Great of Russia insisted to showcase the nation's power by jewelries, which made her giant collection on the top list in Europe; the love of the Queen Mary of England to collect and pass on her jewelries resulted in many world-famous items symbolizing love among her families; as for the Hope diamond in the collection of French royal family, it conveys an extraordinary journey from its producer in India all the way to Europe.

▲ 4.38 克拉緬甸天然紅寶石配鑽石戒指,未經加熱,附 GRS 證書 A 4.38 CARAT BURMESE RUBY AND DIAMOND RING, no indications of heating ▶ 左: 0.79 克拉馬眼形正彩橘粉紅色鑽石配粉紅色鑽石戒指,附 GIA 證書 LEFT : A 0.79 CARAT MARQUISE-SHAPED FANCY ORANGY PINK DIAMOND AND PINK DIAMOND RING 右: 0.50 克拉雷迪恩明亮形正彩紫粉紅色鑽石配粉紅色鑽石戒指,附 GIA 證書 RIGHT : A 0.50 CARAT RADIANT-SHAPED FANCY PURPLISH PINK DIAMOND AND PINK DIAMOND RING 46

Apart from the private collections belonging to the families, the national power emerging all over Europe, as well as the state investment into many forms of Eastern India Company, regard the gemstones as crucial merchandise in international trade. And from 1530, after François I required a list built and followed for the national jewelries, the precious items became more than royal collection and started to represent sovereignty. Apart from trading were the gifting and releasing, all contributed to filling up the European royal coffers. We can make out some examples like the Cambridge emerald accessory given by India for Queen Mary for the crowning of Georges V; many among the royal families received crowns made from rubies by Myanmar; or the Steward Diamond, released and regained between the families in England and Holland, and finally embedded in a crown of the latter.

We should note that, the appreciation of aristocrats and rich merchants is not limited to the white diamonds, but also toward the colored ones. One of the biggest known pink diamonds "Williamson Pink Diamond'' would be among the wedding presents for Elizabeth II by Canadian scholar Williamson. Inherited by its name, the second biggest internally flawless vivid color pink diamond "Williamson Pink Star '' was sold recently at an auction of 57 million dollars. The luxury department

of Ravenel International Art Group points out that, according to reports by institutes like FCRF, the colored diamonds show their prominence in the auctions. The colored diamond index is ahead of many others in 2022, by climbing 0.8%, far better than Dow Jones at -11.3%; gold at -6.7%, and white diamond at -4.0%. Among their peers, categories like vivid intense diamonds 1 Karat (5.2%) and fancy cut 5 carats (6.3%) are the most brilliant of them all.

The royal jewelries, isolated from the general public in the old days, are gradually revealing their deep meanings shining through the lens of every media on every occasion. As hundreds of years pass by, the royal families in Europe never turn their grateful eyes away from the emeralds and diamonds, grooming them to be the principal elements of their collection and inheritance, while their appreciation of colored diamonds is far earlier than the interests of popular trade. The luxury department of Ravenel International Art Group suggests that it's the European royal houses of enormous treasure collections who led the world to appreciate the colored diamonds which hold themselves true in the market. By the appropriation and appreciation of these precious stones, people can also enter freely into the aristocratic world, and get hold of the most brilliant symbol of prosperity and heritage in one's own house.

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海洋塑料是垃圾? 還是藝術? 澳大利亞設計師 Brodie Neill 布羅迪 · 尼爾布羅迪,九件 " 可持續家 具 " 被倫敦蘇富比選為銷售展覽物件。這也是將海洋塑料垃圾提升為 一種藝術形式;甚至是可被收藏藝術品,作為環保永續的一大突圍。 Text / EDDIE
THE DESIGN 100 48
Photo / Angela Moore
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「材料意識」代表對材料循環性和廢物重新定義的創新和融合。 透過 ww.sothebys.com 在線展售澳大利亞設計師 Brodie Neill 可持續的家具, 不僅是美學價值,而且是因為它解決了環境問題。 作為拍賣會新拍品; Neill 的「可持續家具」運用了 " 嚴謹和解決廢物及世界 有限資源的問題 " 標誌性的設計理念。透過技術和創造性的創新,展現對循環 " 海 洋塑料、再生木材和再生金屬 "3 個特定領域的深刻理解及運用。 令人著迷的是,透過創新工藝,創造了精美的設計。從回收、改造和提升廢棄 材料到塑料廢物、可回收金屬和再生木材。對形式、材料和工藝。可持續家具,「從 不妥協於功能性」。 Neill 說:「塑料是一種經久耐用的材料,但在一次使用後會被丟棄。我的目 標是重新捕捉每一塊微塑料再利用的潛力,讓每個彩色碎片形成更大一個像素的畫 面,通往美好未來的基石」。 "可持續家具" Material Consciousness 材料意識 Brodie Neill 50
一種新材料:海洋水磨石 海洋水磨石代替了傳統的大理石、木材和象牙。對 19 世紀桌面的 現代演繹,運用創建過程中留下的數千個微塑料碎片的臨時廢物製成。 重新想像的木材 為了應對森林砍伐的破壞影響和對氣候變化的災難後果, Neill 實 踐利用再生木材,重複使用已在流通的木材。透過從拆遷中採購回收 材料,桃花心木和 Panga Panga 等異國情調的硬木經過精心翻新,成為 Neill 最新木材創作的基石。 無限材料 作為流通中最可無限回收的兩種金屬「不銹鋼和青銅」融合為獨特 雕塑形式。巧妙塑造成環狀和空隙的辦公桌,探索可持續材料的多功能 性和精確品質。 倡議環保概念的家具設計先鋒 設計師布羅迪.尼爾 (Brodie Neill) 於 2013 年創立了 Made in Ratio ,一個自主設計和自主生產的家具品牌;希望通過將手工工藝與 先進的技術結合,創造一種新的家具設計語言。其作品 @Chair (2008) 被時代雜誌選為 "The Design 100" 。 其他著名設計包括施華洛世奇的 Jet 桌子、 Riva1920 的曲線長凳和 限量版 Remix 長凳。他也曾與包括微軟 (Microsoft) 、賓士( MercedesBenz )和亞歷山大.麥昆( Alexander McQueen) 和施華洛世奇等眾多 國際品牌合作,限量版作品更為世界各地博物館、畫廊和私人收藏。 出生於澳大利亞塔斯馬尼亞,先在澳大利亞的哈欽斯學院和塔斯馬 尼亞大學學習( 2002 年),之後於美國羅德島設計學院獲得家具設計 碩士學位的 Neill 2016 年,代表澳大利亞參加首屆倫敦設計雙年展,展 出由超過 50 萬塊海洋塑料碎片製成的 Gyro 桌子。 作為再利用海洋塑料廢物創造新材料的擁護者, Neill 的系列設計 作品,將海洋塑料垃圾提升為一種藝術形式。廣受好評的 " 塑料效果 " 裝置己成為設計師的標誌性代表。 尼爾透過利用海洋塑料垃圾的思維和設計,作品現已成為維多利亞 國家美術館和塔斯馬尼亞大學的永久收藏品。 Made in Ratio The Design 100 @Chair 2008 [ ART ] 51
從手拿,夾在腋下到肩背; 女人時尚進化論 Text / 袁青 Photo / FENDI 《慾望城市》系列續集《 And Just Like That 》,別來無恙的慾女們 又來攪和,掀起一波 Baguette 「貝貴提包」風潮。 飾演凱莉 Carrie 的女星莎拉潔西卡 Sarah Jessica Parker 在《欲望 都市》中拿著飾滿漸層色亮片的包款入鏡,她說:「這不是一款包,它 是 Baguette 。」自此便在流行時尚文化中奠定了它的神級地位。 抓在手上或夾在腋下,形狀扁平 Baguette 包,顧名思義,靈感是 源自法國國民長棍麵包而得名。集結「上城與下城、奢華與實用、粗
Baguette 包款拱為時尚經典 中的代表。 為慶祝 Baguette 提包款誕生 25 周年, FENDI 選在時尚之都紐約作 秀,無疑也是向流行文化歷史上奠定地位的 Baguette 提包致敬和造勢 的機會。於是, Baguette 提包變成一個「迷你版」的多口袋,無處不在, 貫穿全場。出現在貂皮或亮面皮革派克大衣和絲緞長筒靴上;而暖手套、 毛線帽、裙子、毛衣和後背包上的 Baguette 包分身;充滿裝飾藝術的 魅力。 更不用說 Baguette 也促成「 Fendi at Tiffany's 」兩大品牌的聯名合 作。在紐約立業的傳奇著名珠寶 Tiffany & Co. ,以純銀、琺瑯、鱷魚皮、 白 K 金和鑽石和經典 Tiffany Blue 「知更鳥藍色」的亮面鱷魚皮,將 Baguette 包推上重奢華的極致。最令人驚豔的是一款全由紋理純銀材質 製成的 Baguette 包款。上面刻有分別代表義大利與紐約州的百合花和 玫瑰花。這也是 FENDI 「 Hand in Hand 」手工製包企畫案中首件來自 義大利以外的卓越工藝。 此外, Baguette 提包同時也出現搭配同色皮革肩帶,一改過去手 拿,肘夾的使用方式;某種程度,你也可以說, FENDI 與時並進,讓 現代女性適時騰出兩隻手來,充分掌握自由自在「做自己」的時尚進化。 經典工藝 BAGUETTE 貝貴提包 52
獷與浪漫、過度與現實」之間微妙衝突的時尚指標的 Baguette 提包是 FENDI 的招牌,搭配四個可隨心情調整更換的 FF 包扣,和幾乎成為「工 藝之最」的各種拼接材質的包身,一舉將

HAND IN HAND

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一塊擱淺在地球和天空之間的岩石, 在神來之筆下,成為懸垂於山谷中, 享有顛倒視野的極限酒店 Text / 伊森 Photo / Alpin Panorama Hotel Hubertus ALPIN PANORAMA HOTEL HUBERTUS 顛倒世界 浮遊天地 Furkelstraße, 5, 39030 Geiselsberg, Autonome Provinz Bozen - Südtirol, italy 54
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受到 Val pusteria/Pustertal 青翠山谷獨特景致啟發,座落於義大利多洛米蒂 (Dolomites) 山脈 岩層上的一間旅館被改造成懸垂天地間的驚人之人作

Alpin Panorama Hotel Hubertus 高檔酒店。 這都要歸功於 Gasse 家族熱愛生活並且對建築及自然相互作用著迷的兒子 Christian ,於 2016 年聘請建築事務所 noa* ( network of 在 architecture )操刀,以高於地面約 12 公尺,長達 25 公尺 漂浮於空中的「 Sky Poor 」懸臂式天際泳池,讓這裡成了享譽國際的標地之一。

Alpin Panorama Hotel Hubertus 酒店多年來一直在突破界限—無論是服務還是在建築上。 Hotel 進入新視野,閃耀著超越極限的建築傑作,就像它壯觀的天空泳池,漂浮在天地之間:呈現 上下顛倒和山形屋並置的「 Heaven & Hell 」水療中心「天堂與地獄」,一個顛覆健康概念的平台。

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當建築事務所 noa* 考驗著設計團隊想像力,及工程技術 極限的總合下,在 2016 年為 Hubertus 酒店完成了懸臂式游泳 池「 Sky Poor 」的挑戰,想像把一塊擱淺在地球和天空之間的 岩石改造成酒店的新指標;接著新挑戰是, noa* 團隊從觀察 泳池倒映的景觀找到下一個靈感,一個與地平線、顛倒感知相 結合的概念,再度挑戰重力定律的一個懸浮平台。建築師也是 noa* 創始人 Lukas 解釋說:「這個項目的本質是翻轉視野」。 在與空中泳池「 Sky Poor 」媲美的另一個象徵性建築是, 打造一座懸停在地面上方 15 米處,由兩根用落葉松原木包裹 的柱子支撐的人字山形屋,一個超越重力及再次超越自然法則 的水療中心「 Heaven & Hell 」,漂浮在深藍色的天空和田園 詩般的山谷間空地上;上下顛倒的「垂直對應」再次令人絕倒。 [ TRAVEL ] 57
優雅的小屋分散在令人印象深刻的鋼結構頂部, 倒置在較低的樓層,讓人想起原始的高山小屋, 這些小屋在這片獨特的土地上為高山草甸增色不少。 精緻的人行天橋從酒店的休閒室直接通往天際, 上下山屋的特點不同,上層擁有兩座恆溫游泳池、 兩個全景淋浴間和一間更衣室,提供舒適的水療體驗,下層則有蒸氣室、 冰霧淋浴和室外游泳池,極端冷熱的共存體驗,宛如天堂與地獄。 58
坐落在美麗的大自然中,除了兩個獨具而引人注目的健康 平台 Heaven & Hell 和壯觀的 Sky Pool 。佔地 7,000 平方米的 Alpenreych 公園裡還為客人備好七種不同的蒸氣浴室、六個 溫水游泳池、數間休閒室以及自然的美容護理。 國際化的廚房也沒等閒對待,提供南蒂羅爾傳統的樸實與 地中海美食的清淡相結合的獨特烹飪創意。一年中任何時候, 多樣化的活動將客人帶入原始動人的大自然中,以壯麗山脈為 伴景色,每天召喚旅客進行新的冒險;包括遠足、登山、騎自 行車、森林沐浴、瑜伽、健身訓練和系列齊備的各種雪地遊樂, 比如,平底雪橇遊覽、滑雪之旅、雪鞋行走、雪地摩托車等等。 想像一下,還有什麼比在這間離天堂如此接近的 Alpin Panorama Hotel Hubertus 酒店裡,再任性不過地顛倒視野, 翻轉世界? [ TRAVEL ] 59
比起溫布敦網球公開賽,四項年度大滿貫網球 錦標賽中,「法國網球」和時尚最有深遠淵源。 巴黎的中央球場 Court Philippe Chatrier , 除了具指標性的球賽舞台之外,也一直是時尚演 變和新趨勢興起的觀察站。 不過,這一切要從今年紅土球場上,掛冠求去的 23 座大滿貫女單冠軍,美國網球名將塞雷娜. (Serena Williams) 的運動人生說起。 Text / ETHAN Photo /Dimitrios Kambouris/Getty Images for The
時尚「運動」 法網,大滿貫 運動,大風行 FRENCH OPEN #SerenaWilliams Les internationaux de France de Roland-Garros Miu Miu 2022 秋季系列時裝秀開場,超短馬球衫和 從低腰百褶裙或迷你裙中露出的內搭,不由得令想起球 場上強烈引發的血脈衝撞動感,正中新世代的時尚嗅覺。 他們要的是,速度和互動的遊戲感。 時間要追溯到 1891 年,網球賽事見證了體育傳奇紀 錄,和不可一世的明星人物。球場上風起雲湧的賽事變 化,塑造著了一舉一動坐擁廣大擁護者的明星球員獨特形 象,成為重要商業贊助財源的關鍵,時尚當然不會缺席。 60
Met Museum/Vogue
我的網球人生就是時尚 21 世紀開啟了維納斯( Venus )和塞雷娜威廉斯( Serena Williams )姐妹倆傑出的運動時代,也是汗淋漓的運動和時 尚劃上等號的時刻。因為就像她們的比賽成績一樣,大膽 出色的造型,一再證明著勇於冒險,甚至突破網球界限的 個人風格,代表一種新世代的時尚品種。 2010 年,姐姐維 納斯(大威廉絲)穿著以為 19 世紀「康康舞」的紅色滾邊 黑色蕾絲連衣裙上場打球的造型,到妹妹(小威廉斯)塞 雷娜 2018 年引起轟動的緊身連衣褲;隨之, 2019 年,以一 件由 Virgil Abloh ( Off-White 創始人兼路易威登男裝藝術 總監)和 Nike 設計,上面用法文寫著 " 母親、冠軍、女王、 女神 " 的黑白條紋套裝出現在球場上的小威廉絲,更勝老 姐,引發網球界一片嘩然;甚至驚動法國網球聯合會發出 " 不合宜 " 的聲明公告。 小威廉斯的時尚影響力不僅持續而且多年來不斷在球 場外發光發熱。曾在勞德代爾堡藝術學院就讀多年時裝學 校並與 HSN 和 Nike 合作服裝系列後,小威廉斯於 2018 年 推出了她的第一條系列 "S by Serena" ,隨後於 2019 年推出 同名珠寶品牌。 [ SPORTS ] 61

28 億元以上,創下所 有女運動員總收入之最;而三歲拿球拍,早在不到兩歲,還待在嬰 兒車內就被姊姊大威廉絲推到球場上的小威廉絲,以整個人生都花 在網球場上,經歷剖腹、肺栓塞後,直接打大滿貫賽,也曾經在哺 乳期間,甚至產後憂鬱症時也從未間斷繼續上場所掙來的「品牌價 值」,相信會繼續在網球場外,保持最狂「吸金」的紀錄。

職業網壇生涯最終拿下 23 座大滿貫女單冠軍的美國網球名將 小威廉絲於 2002 年法國網球公開賽至 2003 年澳大利亞網球公開 賽,連續四屆女單賽事奪冠,成就史稱「 Serena 塞雷娜大滿貫」; 生涯坐擁 23 次大滿貫冠軍,贏得 4 枚奧運金牌,曾高居世界排名 第一長達 319 週,戰績滿滿的她幾乎網球生涯都是和老姐對幹。 2017 年澳網,威廉絲姊妹進行大滿貫決賽對決,最終由小威奪冠, 超越葛拉芙成為公開賽時代最多大滿貫單打冠軍的女選手。但,卻 宣佈要退休啦。 41 歲的小威廉絲在時尚雜誌( Vogue )撰文預告退休決定時, 寫道:「如果不曾處在大威的陰影下,我永遠不會成為我自己。當 別人說我就是那個小妹時,激起了我的鬥志。」 但她也說,「我不喜歡退休這個詞,也許更恰當的說法是進 化,我正從網球轉向其他對我來說很重要的事。」退休後的「小 威」,這位球場內外都「吸睛」的運動員。根據資料顯示,贏得超 過 9450
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萬美元的職業比賽獎金,約合台幣
火槍手 VS 鱷魚先生 同場加映 除了著名的贊助商之外,網球歷史上不乏時尚偶像和影響力十 足的球員,他們甚至推出了同名品牌。在法國,被暱稱為「鱷魚」 的勒內.拉科斯特( René Lacoste )先生, 1920 年代三度贏得巴黎 冠軍,甚至,順勢推出了同名品牌的網球 Polo 衫。 在之前,男士網球服裝主要是長袖襯衫、百褶褲和束腰,但縮 短袖子以提高舒適度,並以球場上「緊咬不放」的拚鬥精神而被封 為「鱷魚」先生作為標誌性 LOGO ,推出自己的運動品牌 Lacoste 。 由於身為網球明星球員,因此非常要求追求功性能的開發:以 手術膠帶覆蓋球拍手柄,獲得更好的抓地力,改用金屬球拍代替木 製球拍增加重量,並發明了一種可以自動發球的網球機器,有助網 球員自己練習,這些針對網球開發的「專利」多達 30 多項,很快建 立起運動品牌的知名度。 Lacoste 是 1920 和 1930 年代網球運動的 " 火槍手 " 明星之一, 並在美國本土贏得了 1927. 戴維斯盃;今天,頒給男子單打冠軍的
法國網球公開賽 法語: Les internationaux de France de Roland-Garros 5 到 6 月初在法國巴黎舉行的 French Open 網球大 滿貫賽事,固定在著名的 Stade Roland Garros (羅蘭. 加洛斯球場)舉行。相較於其他大滿貫賽,法網的最大 特色在於紅土球場的慢速性質,利於底線對抗,超過 3 、 4 個小時的比賽用時相當常見,故被認為是最需要體力 以及過人毅力的網球賽事。馳被視為網球「紅土」賽事 最高榮譽。 名詞解釋 #Les internationaux de France de Roland-Garros [ SPORTS ] 63
獎杯被稱為 "Coupe des Mousquetaires" 即為「火槍手盃」作為紀念。
格調雋永但保有多樣化的 Ralph Lauren 再度拿下 2022 年溫布頓網 球錦標賽制服欽定設計的榮耀。為見證溫布頓致力實踐 2030 年引領環 境正面發展的承諾,因此 Polo Ralph Lauren 以搭配回收再生面料作永續 時尚的回應;包括主裁判、線審和男女球僮等所有場內執勤人員的服飾。 今年適逢中央球場屹立溫布頓 Church Road 現址一百週年, Polo Ralph Lauren 也是全英草地網球俱樂部第 17 度欽點的美國設計師精品。 裁判獵裝外套背面採用腰帶設計,並以 Ralph Lauren 打造的溫布頓 紀念印花為襯裡,同時所縫製而成。男女球僮的經典 Ralph Lauren Polo 衫,以海軍藍襯白色條紋,富有絕佳彈性,同時兼具吸濕排汗及抵禦紫 外線等功能的面料 ,滿足運動所需。海軍藍開襟針織衣,袖口以白色襯 上溫布頓綠色條紋點綴,再生 COOLMAX® 纖維,為線審制服換上耳目 一新的適意。 欽定永續環保 溫布頓網球 64
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由不同藝術家領銜演出的 Artycapucines 系列,是路易威登限量版 Capucines 手袋的第四個篇章;邀請全球六位 Daniel Buren 、 Kennedy Yanko 、 Park SeoBeo 、 Amelie Bertrand 、 Peter Marino 及 Ugo Rondinone 藝術家,運用獨特眼光激 發跳躍式創意,在空白的包身上完成特殊紀念意義之作,也是絕無僅有的當代藝 術。創意」 @Daniel Buren 以代表性的黑白兩色條紋製作雙面錯視設計,首次推出四款顏 色。 @Kennedy Yanko 結合 3D 列印和義大利手工上色的金屬光澤,重現 Park SeoBo 其中一幅經典 Écritures 畫作的包身,令人驚艷。 @Amelie Bertrand 以創新的手工噴灑,在包身上呈現不斷變幻的色彩和磷光。 @Peter Marino 的全黑鉚釘包身,搭配獨一無二包扣,極具視覺衝擊。 @Ugo Rondinone 製作出飾有超過 14,000 個手工縫製珠子的包身,賞心悅目、 色彩繽紛。 每一只體現路易威登對創新技藝與當代藝術承諾的 Artycapucines 手袋均限量 供應 200 只,裝在特別設計的收納盒中,完美體現。 Text / EDDIE Photo / Louis Vuitton 第 四 章 如同 6 件「當代藝術」,時尚因為藝術而雋永。 ARTYCAPUCINE S 66
Paul Smith 品牌指標性的經典是 ? 「彩色 條紋」。但是,你知道,品牌招牌有多少條色 彩呢 ? 答案是 40 種色條。為傳遞經典彩條所 象徵的工藝美學,Paul Smith 聯合陸地和空戰, 讓人不得不 對超過半世紀的「條紋」,投以 注目禮。先是一只騰空而升的巨大彩色條紋熱 氣球,此外,選在洛杉磯梅爾羅斯大道, Paul Smith 旗艦店的粉紅牆,以藝術「敲開」時尚 的新視野。 邀請當地畫家在早已成為城市標誌景點之 一的 Paul Smith 旗艦店「粉紅牆」揮毫,利 用維妙維肖的「錯視效果」繪製彷彿牆被剝開 露出「內部」繽紛鮮明彩色條紋的壁畫,一整 面 22 英尺的牆上,品牌經典彩條的 40 種顏 色完全一一呈現,果然作足了宣傳效果,先是 #MelrosePink 成為社群媒體關注景點,跟著引 發全球彩條迷們前來朝聖,瘋狂打卡拍照。 總共花費了 15 加侖的油漆和整整 6 天時 間;由三位畫家以最傳統油漆進行徒手繪製 Paul Smith 彩條裝置藝術壁畫,每一道代表品 牌生命的條紋,帶來強大的公共視覺震撼,更 為洛杉磯戶外,注入藝術氛圍。 這幅裝置藝術壁畫為 Paul Smith 一系列 「彩條文化」暖身的限定展示。 40 不惑 Paul Smith 「錯視」彩條藝術 [ FASHION ] 67
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