羅芙奧季刊第52期 RAVENEL QUARTERLY NO. 52

精采時刻 雋永人生

鄉愁詩篇 ODE TO NOSTALGIA

No. 52 Winter 2025

CONTENTS

No.52 ｜ Winter 2025 ｜ https://ravenel.com

6 ISSUE

羅芙奧 2025年「現代與當代藝術」秋季拍賣會

Ravenel 2025 Spring Auction Modern and Contemporary Art

12 ART & INVESTMENT

重重疊疊：烏戈．羅迪諾納的彩虹史詩

The Poetics of Stacking: Ugo Rondinone's Rainbow in Stone

30 THE ARTIST

鑄形成思：台灣現代雕塑的半世紀取樣

Forging Form and Thought: A Half-Century of Modern Taiwanese Sculpture

36 WINE

年份不止於數字，偉大亦不源於完美

A Vintage Is More Than a Number, and Greatness Is Not the Work of Perfection

伴隨愛馬仕的極致工藝，走入閃耀瑰麗的傳奇世界

The Ultimate Craftsmanship by Hermès, the Legendary World of Sparkles

48 ADVERTISE

關於「美好生活」的定義 YMS by onefifteen 逐漸打開五感的美學聚落

50 TRAVEL

重返鐵道「皇家蘇格蘭人號」火車 穿越高地的極致奢華之旅

Royal Scotsman: An Unforgettable Highland Journey in Luxury

58 TRAVEL

冰島「玻璃屋」

床上的北極光，一場極地浪漫邂逅

發行人 Publisher / 王鎮華 Arthur Wang

監製 Managing Director / 李雅欣 Wendy Lee

總編輯 Editor-in-Chief / 陳惠黛 Odile Chen

主編 Managing Editor / 葉子微 Gina Yeh

編輯 Editor / 陳昱良 Iris Chen 唐維怡 Eva Tang

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馬克．夏卡爾《鄉村景色》 1982 卵彩 纖維板 40 x 30.3 cm

羅芙奧台北 2025 秋季拍賣會 Marc Chagall, Scènedevillage, 1982, tempera on board, 40 x 30.3 cm

Ravenel Autumn Auction 2025

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.

時光淬煉的鄉愁詩篇 NOSTALGIA, FORGED IN TIME

鄉愁是歲月窖藏的美酒，於記憶深處緩慢發酵，終成靈魂中不 散的芬芳。凝視烏戈．羅迪諾納（ Ugo Rondinone ）對千年石城馬泰 拉的執著，我們明白：鄉愁並非對逝去的哀悼，而是時間在生命中 凝結的永恆。

本期以「時光淬煉的鄉愁詩篇」展開對話。羅芙奧 2025 秋拍中， 古典與當代相互凝望－歷經時代的傑作，或新穎的創意，皆承載文 化密碼，於時間長廊中積澱精神的重量。

台灣現代雕塑以堅毅線條刻畫島嶼記憶；愛馬仕工藝在皮革紋 理間織就匠心密語；而葡萄酒的「年份」，是天地人共譜的琥珀詩篇－ 每滴瓊漿封存著時光風土，在歲月魔法中化為味覺的交響。

想像搭乘「皇家蘇格蘭人號」穿越歷史薄霧，或置身冰島玻璃 屋於極光下尋找精神原鄉，每一段旅程皆是時間與記憶的儀式，一 場感官與靈魂的朝聖。

第五十二期的《 Ravenel 》，如藝術家對完美的執著、釀酒師對 風土的虔誠。我們願與讀者同行，於時光星河中拾撿淬煉的記憶， 在創造與回憶之間，探尋永恆的價值與感動。

總編輯

烏戈．羅迪諾納的創作，是此主題的深刻詮釋。石匠父親鑿擊 岩層的節奏、阿爾卑斯童年的雪影，於時光熔爐中淬煉為原始而精 緻的層疊語彙。這不僅是個人記憶的溯源，更是文明在時間長河中 遷徙、沉積與重生的隱喻。

陳庭詩《瞬息之流光（四聯幅）》 1971 木刻版畫 紙本 8/18 （據藝術家手札記錄，實際僅印製 14 件） 124 x 243.2 cm 羅芙奧 2025 秋拍，預估價 NT$ 1,300,000 - 2,000,000 Chen Ting-Shih, InstantaneousTime(Quadriptych), 1971, woodblock print on paper, ed. 8/18 (only 14 impressions printed, according to the artist's records), 124 x 243.2 cm

Ravenel Autumn Auction 2025 Taipei Est. US$ 42,900 - 66,000

、 Photo / Ravenel Art Group

RAVENEL 2025 AUTUMN AUCTION MODERN AND CONTEMPORARY ART

羅芙奧 2025 年「現代與當代藝術」秋季拍賣會

NOVEMBER

30

現代與當代藝術 專場

2025 年 11 月 30 日 （日）下午 2:00 台北萬豪酒店（博覽廳）

SUNDAY, NOVEMBER 30, 2025, 2:00PM

MARRIOTT TAIPEI (GRAND SPACE)

羅芙奧 2025 秋季拍賣會「現代與當代藝術專場」 將於 11 月 30 日台北萬豪酒店三樓博覽廳舉行。本場拍 賣精選戰後抽象藝術大師、巴黎畫派代表、西洋當代雕 塑及亞洲新生代藝術家之作，共計 129 件精采拍品，呈 獻二十世紀至當代藝術的多元風貌。拍賣預展將於 11 月 15 至 16 日於台中、 11 月 28 至 30 日於台北展出，誠 摯邀請藏家與藝術愛好者親臨鑑賞。

二十世紀最浪漫的藝術大師：馬克．夏卡爾（ Marc Chagall ），全球排名前二十，今年拍賣戰果報捷，羅芙 奧拍賣同樣為各界藏家覓得收藏良機，敬獻夏卡爾 1982 年《鄉村景色》精彩之作。此作標誌藝術家獨特的抒情 幻想風格，汲取立體派構圖與野獸派色彩能量，以象徵 性花束、戀人與超現實風景，交融夢境、記憶與幻想， 詮釋夏卡爾最真摯的藝術語言。

趙無極創作於 1994 年的油畫《 12.10.1994 》，展現 1990 年代畫家創作臻於化境，隨人生經歷的沉澱，畫風 益顯開闊從容的揮灑自如。畫面中央一道沉鬱的墨色為 軸，如脊樑穩固畫面，在兩側抽象筆觸的輕柔色彩交織 中，光影流轉之間映現宇宙的律動。趙無極此時的創作， 達至「無我」之境，在東方詩性與西方抽象形式之間取 得完美平衡，凝煉出深邃而自由的氣度。

Text

朱德群《結構 207 號》─為藝術家 1965 年「凝彩 時期」重要代表作。此作原為法國知名詩人暨藝術評論 家余伯．阮（ Hubert Juin, 1926-1987 ）私人珍藏，畫背 有朱德群親筆題獻，象徵兩人跨文化的深厚情誼。作品 《結構 207 號》色彩深沉而富於變化，以大面積低調色 彩營造出東方山水般的靜謐氛圍，幽微色彩與光芒緩緩 穿透濃厚雲層，展現藝術家以堅實筆鋒和自然律動，對 陰陽調和、動靜之間的深刻體悟。

戰後存在主義風格藝術大師：貝爾納．畢費 （ Bernard Buffet ） 1964 年創作《藍飛燕》花卉靜物， 象徵藝術家定居南法，恬靜豐饒之心境。畢費以其一貫 的黑色墨線勾勒枝葉輪廓，筆觸精確而節奏明快，在理 性中流露感性，散發明亮愉悅的氣息，正是藝術家走向 成熟巔峰的寫照。

法國戰後藝術巨擘「抒情抽象之父」：喬治．馬修 （ Georges Mathieu ） 1960 年代創作生涯之黃金時期， 不僅確立其戰後歐洲前衛藝術的代表地位，也奠定了法 國不定形藝術的精神象徵。1965 年完成之《雷神索爾》 抽象畫作，呼應北歐神話主題，喚起力量的象徵意涵， 更體現馬修藝術語境中如雷霆的巨大能量與瞬間爆發的 超速美感。

1. 趙無極《 12.10.94 》 1994 油彩 畫布 100 x 81 cm

Zao Wou-Ki, 12.10.94, 1994, Oil on canvas, 100 x 81 cm

2. 馬克．夏卡爾《鄉村景色》 1982 卵彩 纖維板 40 x 30.3 cm

Marc Chagall, Scènedevillage, 1982, tempera on board, 40 x 30.3 cm

西洋當代雕塑則聚焦威尼斯雙年展參展藝術家：烏戈．羅迪諾納 （ Ugo Rondinone ）與威利．維傑納（ Willy Verginer ）。烏戈．羅迪諾 納為義裔瑞士當代藝術家，以詩意及二元論藝術風格，融匯多種表達形 式，探討人類與自然關係同時共生和對立的深刻省思。拍賣推薦其著名 的「山脈系列」雕塑，重構觀者對自然與人工的感知邊界，包含一米六 《銀藍山》 與人等高之作和《小白銀綠之山》立體雕塑。義大利當代 雕塑家：威利．維傑納則以木雕為創作核心，其《粉紅熊》雕塑在細膩 的雕鑿與精準的構圖中，塑造出兼具浪漫與批判性的當代寓言。

台灣戰後藝術發展，樹立華人現代藝術發展里程碑，影響力遍及全 世界。陳庭詩 1971 年參展巴西聖保羅雙年展的《瞬息之流光》四聯幅 大型木刻版畫，大器簡約之氣質深入人心。蕭勤「永恆的花園」系列應

證藝術家 90 年代飽含生命能量與感性體悟之昇華。

王攀元《四行倉庫》、《故鄉的雪》思鄉寄情之作，龎均《粉色的 浪漫》、《台南風景－孔廟》、《平溪之家》描繪台灣早年社會風貌。 邱亞才《福相》人物肖像、葉子奇《年初九．瑞穗 II 》 細膩寫實之風 景畫作、韓湘寧《西百老匯王子街附近》藝術家照相寫實風格代表作， 原為美國印地安納波利斯美術館舊藏、楊識宏《堅毅》、《茂盛》氣 勢磅礡抽象畫作、立體雕塑則串聯台灣現代雕塑發展脈絡，始於楊英風 1990 年代《飛龍在天》、《玄通太虛》不鏽鋼雕塑，後起朱銘《人間 系列－游泳》、林良材《天行健》銅雕、徐永旭《 2024-15 》高溫陶塑、 李真《補天》。

備受亞洲藝術市場藏家喜愛的日本當代藝術—草間彌生 （ Yayoi Kusama ）與巴黎鑄幣廠（ La Monnaie de Paris ）合 作鑄造的知名《南瓜》銅雕。 2008 年奈良美智（ Yoshitomo Nara ）展覽於奧地利個展的小女孩主題《無題》紙本原作。加 藤泉（ Izumi Kato ）《無題》小精靈木雕、山口歷（ Yamaguchi Meguru ）雕塑繪畫、平子雄一（ Yuichi Hirako ）樹人主題畫作、 山本麻友香《紅熊男孩》代表性動物男孩系列畫作、長井朋子 （ Tomoko Nagai ）、飯田桐子（ Kiriko Iida ）、吳亞沙（ Asa Go ）、小泉悟（ Satoru Koizumi ）療癒系風格畫作，等多位藝 術家共同形塑當代藝術多元風景。

The Modern and Contemporary Art sale of Ravenel's 2025 Autumn Auction will take place on November 30 at the Grand Ballroom, 3rd Floor, Taipei Marriott Hotel. Presenting a curated selection of 129 exceptional works, the sale brings together postwar abstract masters, leading figures of the School of Paris, Western contemporary sculptors, and emerging Asian artists offering a panoramic view of artistic innovation from the twentieth century to the present. The preview will be held in Taichung (November 15–16) and Taipei (November 28–30), welcoming collectors and art enthusiasts to experience these remarkable works in person.

Among the highlights, Marc Chagall (1887–1985) hailed as one of the most romantic masters of the twentieth century and ranked among the world's top twenty artists will grace the sale with his 1982 masterpiece Scène de village (Village Scene). This poetic composition epitomizes Chagall's lyrical and dreamlike style, blending the structural sensibility of Cubism with the vivid energy of Fauvist color. Through symbolic motifs of bouquets, lovers, and surreal landscapes, Chagall intertwines dream, memory, and imagination, revealing the artist's most heartfelt visual language a timeless ode to love, faith, and life.

Created in 1994, 12.10.1994 epitomizes Zao Wou-Ki's artistic maturity during the 1990s, a period when his creative language reached a state of effortless mastery. Through the passage of time and the artist's profound introspection, his compositions grew increasingly expansive and fluid, marked by a serene confidence in his brushwork. Anchoring the canvas, a deep, somber axis of ink-like black serves as a visual spine, stabilizing the composition amid the luminous interplay of color and gesture on both sides. Within this rhythmic exchange of light and shadow emerges a cosmic pulse a meditation on movement, time, and the universe itself. At this stage of his career, Zao had transcended the boundaries of self, achieving a realm of "no-self", where the poetic spirit of the East and the formal abstraction of the West converge in perfect harmony, distilling a profound and liberated sensibility.

No. 207 stands as a significant work from Chu Teh-Chun's celebrated "Period of Crystallization," created in 1965. Once part of the private collection of the distinguished French poet and art critic Hubert Juin (1926–1987) to whom the artist personally inscribed a dedication on the reverse the painting bears witness to a deep crosscultural friendship grounded in mutual artistic admiration. In this work, Chu employs a restrained palette of deep, modulated tones to evoke the meditative atmosphere of an Eastern landscape. Subtle light permeates through dense layers of color like sunlight breaking through mist, revealing the artist's masterful balance of structure and spontaneity. The work embodies Chu's philosophical contemplation on the harmony of yin and yang, movement and stillness an eloquent testament to his synthesis of Chinese aesthetics and Western abstraction.

A leading figure of postwar Existentialist art, Bernard Buffet (1928–1999) created Delphiniums bleus in 1964, a floral still life that reflects the artist's tranquil and abundant state of mind following his relocation to the South of France. True to his signature style, Buffet delineates the contours of stems and petals with firm black lines precise, rhythmic, and charged with vitality. Within this disciplined linear structure, emotion quietly surfaces, and the composition radiates a luminous serenity. The work embodies Buffet's transition toward artistic maturity, capturing both his intellectual rigor and his renewed sense of joy in painting.

3. 朱德群《結構 207 號》 1965 油彩 畫布 54 x 81 cm

Chu Teh-Chun, No. 207, 1965, Oil on canvas, 54 x 81 cm

4. 貝爾納．畢費《藍飛燕》 1964 油彩 畫布 81 x 54 cm

Bernard Buffet, Delphiniumsbleus, 1964, oil on canvas, 81 x 54 cm

5. 奈良美智《無題》 2008 綜合媒材 紙本 ( 信封） 22.5 x 16 cm

Yoshitomo Nara, Untitled, 2008, mixed media on paper (envelope), 22.5 x 16 cm

6. 山本麻友香《紅熊男孩》 2021 油彩 畫布 145.5 x 97 cm

Mayuka Yamamoto, RedBearBoy, 2021, Ooil on canvas, 145.5 x 97 cm

6

The section of Western contemporary sculpture highlights two celebrated Venice Biennale artists Ugo Rondinone and Willy Verginer.

Swiss-Italian artist Ugo Rondinone is renowned for his poetic, dualistic artistic language that spans multiple media, reflecting on the coexistence and tension between humanity and nature. His acclaimed Mountain Series redefines the boundary between the natural and the artificial, evoking both monumentality and serenity. Among the highlights are Mountain of Silver and Blue a 1.6-meter-high sculpture of striking chromatic balance and Small Mountain of White, Silver and Green, both of which manifest the artist's meditative yet powerful sculptural sensibility.

Italian contemporary sculptor Willy Verginer, by contrast, channels his craftsmanship through masterful wood carvings. His work Pink Bear reveals a delicate equilibrium between romantic lyricism and subtle social critique, transforming figurative sculpture into a contemporary fable of human emotion and reflection.

The sale also pays tribute to the milestones of Taiwanese postwar art, whose evolution helped shape the trajectory of modern Chinese art on a global scale. Chen Ting-shih's monumental woodcut Instantaneous Time (Quadriptych) (1971), exhibited at the São Paulo Biennale, resonates with a quiet grandeur and minimalist power. Hsiao Chin's Eternal Garden series embodies the artist's spiritual enlightenment and vitality during the 1990s, while Pang Jiun's Romantic Pink, Tainan Scenery-Confucius Temple, and Houses in Pingxi depict the tender poetry of Taiwan's early social landscapes.

Renowned as the "Father of Lyrical Abstraction," Georges Mathieu (1921–2012) emerged in the 1960s as a towering figure in postwar European avantgarde art, solidifying his influence as a founding force of Art Informel in France. Created in 1965, Thor stands as a compelling testament to this golden decade of creativity. Inspired by Norse mythology, the work invokes the symbolic force of the thunder god, channeling raw energy through Mathieu's signature calligraphic brushstrokes. With electrifying spontaneity and explosive velocity, Thor encapsulates the artist's pursuit of transcendence through the act of painting a dazzling fusion of gesture, emotion, and cosmic power.

Western Contemporary Sculpture and Taiwanese Postwar Art: Dialogues Across Time and Culture

7. 喬治．馬修《雷神索爾》 1965 油彩 畫布 97 x 162 cm

Georges Mathieu, Thor, 1965, oil on canvas, 97 x 162 cm

8. 范揚宗《泳池系列－緩緩滑落的水珠》 2020 壓克力 畫布 90 x 80 cm

Fan Yang Tsung, SwimmingPoolSeries:TheDrippingDroplets, 2020, Acrylic on canvas, 90 x 80 cm

Wang Pan-youn's evocative works Sihang Warehouse (Shanghai) and Snow of My Hometown convey nostalgia and solitude with profound emotional depth. Chiu Ya-tsai's portrait Chuffy with Luck and Yeh Tzu-chi's serene landscape The Ninth Day of the Lunar New Year, Ruisui II continue the lineage of refined realism. Hsiang-ning Han's West Broadway at Prince Street formerly in the collection of the Indianapolis Museum of Art stands as a quintessential example of his urban photorealist style.

The spirit of modern sculpture in Taiwan is represented through an intergenerational dialogue: beginning with Yang Ying-feng's stainlesssteel sculptures Flying Dragon in the Sky and Union with the Universe from the 1990s, followed by Ju Ming's iconic Living World Series: Swimming, Lin Liang-tsai's The Way of Heaven in bronze, Hsu Yunghsu's 2024-15 in high-fired ceramic, and Li Chen's Patching the Sky, each tracing the evolving language of form and spirituality in Taiwan's sculptural modernity.

Contemporary Japanese Art: Icons and Emerging Voices

Celebrated among Asian collectors, Yayoi Kusama is represented by her iconic Pumpkin bronze sculpture, produced in collaboration with La Monnaie de Paris. The work exemplifies Kusama's signature fusion of playful motif and immersive conceptual depth, continuing to captivate audiences worldwide.

From the turn of the century, Yoshitomo Nara's 2008 Austrian solo exhibition featured the intimate, enigmatic paper work Untitled, part of his enduring "little girl" series, which captures both innocence and subtle rebellion. Izumi Kato's Untitled wood sculpture, Meguru Yamaguchi's hybrid sculptural paintings, and Yuichi Hirako's anthropomorphic "Green Master" series, explore the intersection of narrative and form in contemporary Japanese sculpture and painting.

Meanwhile, Mayuka Yamamoto's Red Bear Boy, emblematic of her "Animal Boy" series, alongside the calming, therapeutic works of Tomoko Nagai, Kiriko Iida, Asa Go, and Satoru Koizumi, together illustrate the rich diversity of contemporary Japanese art, ranging from playful fantasy to introspective, healing aesthetics. Collectively, these artists shape a dynamic landscape that reflects both the innovation and emotional resonance of Japan's current art scene.

9. 草間彌生《南瓜》 1998 年構思， 2012 年翻鑄 銅雕 版次 99/100 27( 長 ) x 27( 寬 ) x 28( 高 ) cm

Yayoi Kusama, Pumpkin, conceived in 1998; cast in 2012, Bronze, ed. 99/100 27(L) x 27(W) x 28(H) cm

10. 韓湘寧《西百老匯王子街附近》 1974 壓克力 畫布 173 x 122 cm

Hsiang-Ning Han, WestBroadwayatPrinceStreet, 1974, acrylic on canvas, 173 x 122 cm

Text / 陳惠黛 Odile Chen

Photo / Ravenel

◀ 藝術家於 2014 年墨西哥科約阿坎阿納瓦卡利博物館參展作品前留影

The artist photographed in front of his work at the Museo Anahuacalli in Coyoacán, Mexico, 2014 ▲ 義大利馬泰拉 Matera, Italy ▼ 《七魔山》內華達沙漠 Seven Magic Mountains, Nevada Desert

BTS 隊長的羅迪諾納追尋 韓國偶像團體 BTS 隊長 RM （金南俊），不僅是音樂家，更是一 位充滿熱情的藝術收藏家。他應邀於 2026 年擔任舊金山現代藝術博物 館（ SFMOMA ）的特邀策展人，策劃「 RM x SFMOMA 」展覽，展現 他作為 K-Pop 代表人物對西方當代藝術的敏銳眼光與獨到品味。 RM 曾 回憶， 2022 年他首次參觀瑞士巴塞爾藝術展時，特意尋訪瑞士藝術家 烏戈．羅迪諾納（ Ugo Rondinone ）的作品；此前更特意親赴內華達沙 漠，一睹藝術家的大型地景裝置《七魔山》的奇景，並收藏他的彩色石 雕作品。屆時觀眾有機會一睹他的博物館級私人珍藏。

而 2025 年 10 月，巴塞爾藝術展巴黎展會期間，一件高達四米的羅 迪諾納巨型石雕作品，矗立於法蘭西學院前廣場，成為巴黎藝術周期間 的焦點之一。烏戈．羅迪諾納，是一位極具影響力的當代藝術家，以其 跨媒介的創作、如夢似幻的美學，以及對自然、時間與人類情感狀態的 深刻探索而聞名。對台灣的藝術愛好者而言，羅迪諾納或許仍較陌生， 且讓我帶大家認識這位作品極具感染力與穿透力的當代藝術大師。

石之傳承－千年馬泰拉

烏戈．羅迪諾納的藝術，根植於一場橫跨阿爾卑斯山與地中海的文 化遷徙，融匯了歐洲壯麗的自然與人文風景。 1964 年 11 月 30 日，他 出生於瑞士的度假小鎮布倫嫩（ Brunnen ），布倫嫩坐落在阿爾卑斯山 區和琉森湖之間，藍天碧水、雪山環繞，景致令人屏息。從他歷年的創 作中，我們常可見到清澈的藍色天空、銀白的山石意象，以及季節流轉 的靜謐美感。然而，真正塑造他藝術靈魂的故土，卻遠在南方－那是他 父母的家鄉，位於義大利巴西利卡塔大區（ Basilicata ）的「石城」馬 泰拉（ Matera ）。

馬泰拉是一座自石灰岩懸崖中開鑿出來的千年古城，歷史可 追溯至舊石器時代，以「石屋群」建築聞名於世，也是聯合國認 定的世界文化遺產。它不僅是 2021 年丹尼爾．克雷格（ Daniel Craig ）主演的《 007 ：生死交戰》片頭中令人驚嘆的巍峨山景， 更是羅迪諾納家族血脈中永恆的故鄉記憶。烏戈的父親貝尼托 （ Benito Rondinone ），正是這片質樸景觀中成長起來的辛勤石匠。

這層身分，不單是一份職業，更是能真實與自然直接對話的生命 體驗。

因為深植於血脈的「石之傳承」，為烏戈．羅迪諾納的藝術歷程賦予 了最初的靈感藍圖。雖然家族後來移民瑞士，然而他從未忘本，不斷在創 作中回溯，由石器時代洞穴、巨石堆砌，與古老地中海文明構成的世界。 經常懷想父親敲打石頭的熟練技藝與情境，轉化為對原始素材的深深迷戀； 還有義大利南方故鄉的風土，尤其是那些在陽光下閃耀的橄欖樹，也成為 日後反覆召喚著他的鄉愁。

羅迪諾納家族的移民身份在當時的時代氛圍可能是受挫的。二次大戰 後，數十萬貧窮的義大利人北遷至瑞士擔任客工。戰後的瑞士也需要人力 發展經濟。1959 年烏戈的父親貝尼托先抵達瑞士，母親尤菲米婭（ Eufemia ） 是一名女裁縫，於 1963 年夫妻終於團聚，隔年生下長子烏戈。他們家族的 移民是時代洪流的一部份縮影，烏戈自幼即能流利說著德語、法語和義大 利語，在多元文化背景中成長，對文字、詩詞和繪畫亦十分敏感。

烏戈．羅迪諾納自述，他的童年在兩種自然景觀中度過：一種是水與 雪，另一種是泥土與寂靜。七歲以前，跟著父母經常往來於毫無色彩的石 頭城馬泰拉和童話般的布倫嫩之間，兩種極大的反差造就了烏戈．羅迪諾 納的價值觀和圖像體系。

藝術養成－從維也納到紐約的導師與伴侶

十九歲左右，羅迪諾納離開家鄉布倫嫩，前往商業與文化中心蘇黎世， 踏入藝術圈，並準備報考藝術學院。

1985 年前後，時年二十一歲的他，曾 擔任奧地利藝術家赫爾曼．尼奇（ Hermann Nitsch, 1938–2022 ）的助手為 期半年，深受那挑戰感官極限與行為藝術的儀式感所啟蒙。儘管尼奇對人 類原始情感的探索或許影響了羅迪諾納，但他並未追隨其暴力、外顯而激 烈的行動風格，反而轉向一種靜觀、內省且寧靜的儀式表達。

1986 年至 1990 年間，羅迪諾納就讀於維也納應用美術高等學院 （ Hochschule für Angewandte Kunst ，即今維也納應用藝術大學），期間 師從兩位奧地利知名藝術家：布魯諾．吉隆科利（ Bruno Gironcoli, 1936–2010 ）學習雕塑，以及恩斯特．卡拉梅勒（ Ernst Caramelle, 1952– ）研習 視覺藝術。

恩斯特．卡拉梅勒時任維也納應用藝術大學教授，以觀念藝術與光 學繪畫聞名。他主張藝術是一種「心智結構」，而非單純的物質創造，並 強調幾個重點：概念與形式的平衡－形式僅是思想的延伸；空間與感知的 實驗－例如透過牆面繪畫與鏡面裝置，挑戰觀者對現實的感知；以及幽默 與模糊性－藝術不必提供答案，而是開啟想像的入口。羅迪諾納從卡拉梅 勒身上汲取了觀念與感知並重的藝術語言；其後創作的彩虹霓虹文字（如 "Hell, Yes!" 、 "Cry Me a River" ），以及光與色彩的動態表現，顯然延續了 卡拉梅勒對感知的實驗精神與語言詩學。

而布魯諾．吉隆科利時任維也納美術學院雕塑系主任。他鼓勵學生超 越具象創作，將雕塑視為「情緒與觀念的載體」，而不僅是「形體的再現」。

羅迪諾納在此學習到形式與情感之間的張力，並學會建構個人的宇宙觀， 這些觀點深刻影響了他後來的石塔系列作品。他曾如此形容吉隆科利的指 導：「他讓我理解到，雕塑不必模仿現實，而是能夠構築出一種心理空間。」

▲ 烏戈．羅迪諾納《銀藍山》 2015 石雕上色 不鏽鋼 台座（單一件）

70( 長 ) x 42( 寬 ) x 160.5( 高 ) cm （含台座）

羅芙奧 2025 秋拍 預估價 650 萬至 850 萬台幣

Ugo Rondinone, Silver Blue Mountain, 2015, painted stone, stainless steel, artist's pedestal, (unique piece), 70 (L) x 42 (W) x160.5 (H) cm (including pedestal)

Ravenel Autumn Auction 2025, Est. USD 214,500-280,400

▶ 『 為我淚流成河」展覽 , 琉森藝術博物館（瑞士琉森）

Cry Me a River, Kunstmuseum Luzern (Lucerne)

吉隆科利也讚譽羅迪諾納為「極少數能將情緒轉化為形式語言的學 生之一」。在歐洲藝術教育中，跨校選課或轉學相當常見，學生未 必僅隸屬單一院校；羅迪諾納也因此得以在藝術天地中悠然自得。

在維也納應用藝術大學求學期間，羅迪諾納結識了同學伊娃． 普雷森胡貝爾（ Eva Presenhuber ）。普雷森胡貝爾後來成為他在蘇 黎世的藝術經紀人，並與他結為名義上的夫妻。羅迪諾納其實是同 性戀者，兩人於 2012 年結束婚姻關係後，普雷森胡貝爾仍持續經營 自己的畫廊，至今與羅迪諾納仍保持合作關係。

1997 年，三十三歲的羅迪諾納入選 MoMA PS1 的「國際藝術家 工作室計畫」，自此移居紐約市。不久，他結識美國詩人藝術家約翰． 喬諾（ John Giorno, 1936-2019 ）。喬諾是 1960 年代美國地下文學運 動的關鍵人物，曾是大藝術家安迪．沃荷的情人和繆斯，才華洋溢。

羅迪諾納偶然間聽見喬諾的詩歌朗誦表演，大感傾心，邀請他也參 與自己當年的展覽。在合作過程中，逐漸發展成為戀人關係，且形 影不離，相伴二十多年，直至 2017 年結婚，兩年後喬諾因心臟病逝 世。

夜與日－創作中的二元宇宙

烏戈．羅迪諾納的藝術生涯至今三十餘年，他的創作涵蓋雕塑、 繪畫、錄像、裝置，地景，詩性建構的空間體驗，以反覆的象徵性 母題（如時間、自然、孤獨、存在、循環）而聞名。他的創作並非 線性發展，而是多條線索並行、相互交織，共同構建了一個探討對

立與詩意的獨特宇宙。如果要理解此龐大而宏觀的創作體系，最關 鍵的線索可以從藝術家的官方網站，本人對其作品的分類：所有作 品被清晰地歸納於兩大範疇之下－「夜」（ Night ） 與 「日」（ Day ）。

簡單而強大的二元分類，遠不止是視覺風格的區隔，它深刻地根 源於羅迪諾納的生命經驗與地理歸屬，令人直接聯想起他的兩個「故 鄉」：「夜」的維度：對應了他血緣上的故鄉－馬泰拉。一個以古 老的洞穴住宅和蒼茫石灰岩地貌聞名的地方，其色調是毫無顏色的 泥土黃、岩石灰，氛圍充滿了寂靜、原始與亙古不變的憂鬱。這正 是他作品中「石塔」的沉重、「小丑」的內省、「藍色日月」的靜 謐之所本。

「日」的維度：對應了他成長的故鄉－瑞士山區的布倫嫩。這 裡被群山湖泊環繞，宛如童話般的自然景致，以及湖水和雪山所映 照的純淨與明亮。這片土地賦予了他對色彩與光的敏感，直接啟發 了那些色彩繽紛的「彩虹霓虹文字」、「靶心畫」中迷幻的同心圓， 以及《七魔山》等「石塔山脈」的史詩性延伸。螢光粉紅粉黃粉綠 色石塔，以一種超現實充滿活力的色彩。傾向於外放、輕盈與歡愉。

然而，羅迪諾納的偉大之處在於，並非簡單地採用兩極對立， 而是讓它們在並置中產生對話與張力。在這個「日與夜」的框架裡， 完美地概括了他從兩位維也納美術導師那裡學到的精髓：從吉隆科 利學到的「形體的重量」（夜），與從卡拉梅勒學到的「光的重量」 （日），共同鑄造了他完整的藝術靈魂。

系列作品選介－從原始符號到當代儀式

自 1990 年代起，烏戈．羅迪諾納發展出多組相互呼應的創作系列，呈現其思想脈絡的連貫與美學視野的統一。

儘管各系列名稱各異，我們可將其歸納為四大主題脈絡：宇宙循環、語言與光、面具與表演者、自然與紀念性。

▲ 《 1999 年 7 月 18 日》 1999 壓克力 噴漆畫布 絲網印刷於壓克力玻璃牌 直徑 220.3cm Achtzehnterjulineunzehnhundertneunundneunzig, 1999 acrylic airbrush on canvas, silkscreen on plexiglass plaque ø 220.3cm

▶ 《為我淚流成河》 1997 霓虹燈 有機玻璃 半透明薄膜 鋁 750 x 350 x 10 cm

Cry Me a River, 1997, Neon, perspex, translucent film, aluminum 750 x 350 x 10 cm

宇宙循環－窗、日與月

窗畫與神諭時鐘

（ Window Paintings & Clockwork for Oracles ， 1990 年代早期至今 / 2004 年至今）

「窗畫」是羅迪諾納最早期且持久的系列之一，後來演變為 「神諭時鐘」系列（ 2004 年開始）。他以哥德式窗形為畫布，描 繪日出或日落時的夢幻天空。簡化的窗框結構組織幾何構圖，通 常呈現單色或漸層色調。這些作品探索現實與幻象、自然與建築、 內在自我與外在世界之間的界限。神諭時鐘進一步拓展為裝置、 影像與表演作品，透過冥想式的循環呈現時間的重複與靜止。

太陽畫 / 靶心畫

（ Sun Paintings / Target Paintings ， 1992 年至今）

日畫 / 目標畫

（ Sun Paintings / Target Paintings ， 1992– 至今）

這些同心圓作品，也被稱為「曼陀羅」，結合極簡主義與歐 普藝術（ Op Art ）。表面似向外輻射，卻引導觀者的目光向內沉 思，呈現冥想與沉思的效果。這些形式跨文化地象徵著宇宙循環， 將羅迪諾納早期的繪畫探索與對於時間和感知的思考相連。

藍色日與月雕塑 （ Blue Sun and Moon Sculptures ，2010 年代早期至今）

進入 2010 年代，羅迪諾納開始以單一藍色創作日與月的雕 塑，將天體簡化為純粹的色彩與幾何形態。這些作品象徵寂靜、 冥想與永恆，將他對宇宙循環的探索延伸至三維空間。單一藍色 呈現日與夜之間的過渡地帶，呼應其哲學與詩意思考。

語言與光－彩虹霓虹文字

彩虹霓虹文字（ Rainbow Neon Texts ， 1997 年至今）

這個系列使羅迪諾納廣為人知，始於 1997 年的《 Cry Me a River 》（為我淚流成 河）作品，是他對愛滋病危機的深情回應。 作品將語言、光與文化符號結合，呈現充 滿情感張力的短語，如 Hell, Yes! 、 Life Time 和 Our Magic Hour ，將樂觀與存在主 義的孤寂並置。彩虹元素象徵酷兒驕傲與 LGBTQ+ 支持，並將公共空間轉化為情感 共鳴的場域。這些作品經常出現在博物館 立面或城市大型公共空間，展示羅迪諾納 對光、語言與社會敘事的持續探求。

面具與表演者－

月升、日升丑角與孤寂

月升與面具（ Moonrise and Masks ， 1996 年至今）

1996 年起他將「面具」作為核心主題，起初為平面牆面作品， 後演變為青銅與鋁製雕塑，以月份命名。作品靈感來源於部落藝 術與現代抽象，象徵人類孤寂與內在衝突，探索外在面具與內在 真實之間的張力。月亮的循環亦象徵時間與情感的節奏。

日升與丑角頭（ Sunrise and Clown Heads ， 2002 年至今）

這些沉思的鋁製雕塑描繪閉眼的丑角，明亮而略帶哀愁的色

彩呈現喜劇與憂鬱的對比。丑角象徵社會面具的內向轉化，延續 羅迪諾納長期關注的主題：日與夜、公開與私密、笑聲與悲傷。

受導師吉隆科利的影響，這些作品將情感轉化為形式語言，呈現 詩意心理對話。

孤寂詞彙（ Vocabulary of Solitude ， 2016 年）

這件裝置包含 45 個丑角雕塑，每件以日常行為命名，如起床、 坐下、行走或淋浴。藝術家放大並孤立日常動作，賦予其詩意想 像。丑角既是中心，也是空無的化身，呈現沉思與冥想的情緒。

自然與紀念性－石、樹與精神原型

▲ 《起床吧，女孩，太陽正在統治世界（和你的費雪一起）》 威尼斯 2007 瑞士館雙年展 Getupgirlasunisrunningtheworld(withursfischer) Church San Stae, Swiss Pavillion, 52nd Venice Biennale Venice 2007 ▼ 《白莖修女》 2020 彩繪青銅

White blue Nun, 2020, painted bronze, 157 x 294 x 100 cm

橄欖樹（ Olive Trees ， 2000 年代中期至今）

藝術家自義大利南部取得千年橄欖樹，翻鑄為白 色鋁雕塑，如幽靈般伸展的枝幹，凝結時間的流逝與 生命的永恆。

羅迪諾納曾言：「對於一棵擁有兩千年樹齡的 橄欖樹進行鑄型，是為了凝聚的時間立起的紀念碑。

透過鑄造橄欖樹，得以深刻感知流逝的時間－被凍結 在稍縱即逝的狀態之中。時間成為一種鮮活的抽象， 展現出古橄欖樹的形態，是如何由時間的累積，以及 氣、水、風、火的力量，共同塑造而成。」

修女與僧侶（ Nuns and Monks ，2019 年至今） 這些稍微抽象化的宗教人物，探索靈性與孤獨。

飽滿的色彩與常現於公共空間的巨型尺度，將傳統原 型轉化為沉浸式冥想體驗，帶給觀者既平靜又視覺上 引人注目的感受。

石塔與七魔山

（ Stone Stacks & Seven Magic Mountains ， 2000 年代早期至今）

羅迪諾納自 2007 年起創作「石塔」

或稱「山脈」系列，使用原石堆疊以呈現 自然冥想。自 2013 年起，他將石頭塗上

螢光色，結合地景藝術與波普藝術概念。

《七魔山》是其代表性作品：高達三十英 尺的螢光石堆矗立在沙漠中，形成現代與 遠古、極簡與民俗之間的壯麗對話。

市場與機構認可－從學術到收藏的全球網絡

自 1990 年代以來，烏戈．羅迪諾納在全球舉辦多場具代表性 的個展與聯展，橫跨歐美與亞洲的重要藝術機構，呈現其對自然、 時間與人類存在的詩意探尋。例如第戎的 Le Consortium（ 1997 ）、 斯圖加特的 Kunstverein（ 2002 ），以及巴黎的龐畢度中心（ 2003 ）； 他於 2007 年代表瑞士參加第 52 屆威尼斯雙年展，並於同年在巴 黎東京宮策劃展覽 「第三意識」（ The Third Mind ），紐約洛克 斐勒廣場（ 2013 ）；「我愛約翰．喬諾」， 巴黎東京宮（ 2015 ）、 邁阿密巴斯藝術博物館（ The Bass Museum of Art, Miami ） （ 2017 ）；維也納貝爾維第 21 館（ Belvedere 21, Vienna ）回顧展 （ 2022 ）等；施泰德美術館（ Städel Museum ）（ 2023 ）、荷蘭國 家博物館（ Rijksmuseum Amsterdam ）（ 2023 ）；琉森藝術博物館 （ Kunstmuseum Luzern ）（ 2024 ）等。

羅迪諾納的作品為世界多間重要美術館與公共機構收藏，包 括紐約現代藝術博物館（ Museum of Modern Art, MoMA, New York ）、舊金山現代藝術博物館（ San Francisco Museum of Modern Art, SFMOMA ）、明尼阿波利斯沃克藝術中心（ Walker Art Center, Minneapolis ）、達拉斯藝術博物館（ Dallas Museum of Art, Dallas ）、波士頓當代藝術學院（ Institute of Contemporary Art, Boston ）、維也納貝爾維第 21 館（ Belvedere 21, Vienna ）、 邁阿密巴斯藝術博物館（ The Bass Museum of Art, Miami ）、尼 姆卡雷當代藝術館（ Carré d ’ Art, Nîmes ）、鹿特丹博伊曼斯．范 伯寧恩美術館（ Museum Boijmans Van Beuningen, Rotterdam ）、 法蘭克福希恩當代藝術館（ Schirn Kunsthalle Frankfurt, Frankfurt ）、上海復星藝術中心（ Fosun Foundation, Shanghai ） 以及原州山美術館（ Museum SAN, Wonju ）。

羅迪諾納的全球藝術網路由多家國際頂尖畫廊共同構築。 其核心合作夥伴包括格萊斯頓畫廊（ Gladstone Gallery ）、賽迪 HQ 畫廊（ Sadie Coles HQ ），以及埃斯特．希珀畫廊（ Esther Schipper ）。這些畫廊通過系統性的展覽策劃和市場推廣，在紐 約、倫敦、柏林等藝術重鎮持續展現藝術家的創作面貌。這一網 路還延伸至蘇黎世與維也納的伊娃．普雷斯胡貝爾畫廊（ Galerie Eva Presenhuber ）、巴黎的卡梅爾．門努爾畫廊（ Galerie Kamel Mennour ），以及首爾的國際畫廊（ Kukje Gallery ）。通過這張覆 蓋歐、美、亞三大洲的專業網路，羅迪諾納的作品得以被全球重 要美術館與收藏機構廣泛收藏，確立了其持久的國際影響力。

烏戈 · 羅迪諾納《小白銀綠之山》 2019 石雕上色 不鏽鋼 12.5( 長 ) x 10( 寬 ) x 33( 高 ) cm ( 雕塑 ) 羅芙奧 2025 秋拍 預估價 190 萬至 260 萬台幣 Ugo Rondinone, Small White Silver Green Mountain, 2019, painted stone, stainless steel, artist's pedestal, 12.5 (L) x 10 (W) x 33 (H) cm (sculpture) 18 (L) x 18 (W) x 12 (H) cm (pedestal), (UR 371) Ravenel Autumn Auction 2025, Est. USD 62,700-85,800

從學術聲望與機構展覽聞名的藝術家，烏戈．羅 迪諾納成功躋身拍賣市場，主要的國際藝術博覽會都有 可見到他的作品，例如 2025 年 10 月展出的 Art Basel Paris 、 Art Jakarta ，可見他的作品益發受到全球藏家的 喜愛。從近期的拍賣市場可見，羅迪諾納的市場地位已 形穩固， 2025 年 10 月底以前，他的年度拍賣成交量已 大幅超越過去任一年度，累計金額達到 3,476,839 美元， 晉升至國際一線當代藝術家之列，其中關鍵的市場指標 「評級演變（ Evolution of Rating ）」在 2025 年飆升了 +86.5% 。這種接近翻倍的成長，不僅反映收藏需求的急 速上升，也顯示他的可收藏潛力正在被重新定義。

分析 Artprice.com 統計從 2000 年至 2025 之間的拍 賣數據資料，美國是羅迪諾納最大的市場，其次是英國， 第三是南韓，然後是香港。亞洲市場是近幾年隨著博物 館展覽、藝術經銷商藝博會推廣，以及名人效應帶動， 讓亞洲收藏家得以逐漸認識這位極具魅力的藝術家。

目前他的拍賣最高紀錄是 2018 年紐約蘇富比以 US$1,131,000 拍出《這樣的一天，由虛無構成，僅此 而已》（ A Day Like This. Made of Nothing and Nothing Else ），高達六米的鋁製琺瑯上色的橄欖樹雕塑作品。 這件作品既宏偉且詩意，召喚逝去的田園時光，引人無 數的懷想與反思。

羅迪諾納的藝術，將異鄉人的心境感受，轉化為創 作中的普世精神與深層凝視。藉由持續的生命追尋，從 馬泰拉的石器時代洞穴，到藝術博物館的白色立方體空 間、牆樓、廣場，他搭建起一座橋樑，讓我們在當代藝 術的語境中，依然能感受到那份源自遠古的、石頭與土 地的能量與詩意。羅芙奧 2025 秋拍，很榮幸能徵集兩 件他最受歡迎的「山脈」系列作品，期待能激盪出更多 的共鳴。

◀ 雕塑《純真者》 2025 年巴黎法蘭西學院前廣場

The Innocent, 2025 displayed at Parvis de l'Institut de France

▲ 《接下來我們該怎麼辦？》聖保羅 1996 年雙年展

Wheredowegofromhere? Biennale Sao Paulo 1996

RM's Fascination with Ugo Rondinone

BTS leader RM (Kim Nam-joon) is not only a musician but also a passionate art collector. Invited to serve as a guest curator at the San Francisco Museum of Modern Art (SFMOMA) in 2026, he will present "RM x SFMOMA," an exhibition showcasing his discerning eye and distinctive taste in Western contemporary art, reflecting his global influence as a leading figure in K-pop.

RM recalled that during his first visit to Art Basel in Switzerland in 2022, he deliberately sought works by Swiss artist Ugo Rondinone. Prior to that, he had traveled to the Nevada desert to experience Rondinone's monumental land installation Seven Magic Mountains in person, later acquiring one of the artist's colorful stone sculptures. This upcoming exhibition offers the public a rare glimpse into RM's museum-quality private collection.

In October 2025, during Art Basel Paris, a four-meter-tall stone sculpture by Rondinone stood on the Parvis de l'Institut de France,

emerging as a highlight of Paris Art Week. Though his name may still be relatively unfamiliar to many art enthusiasts in Taiwan, Rondinone's emotionally resonant and visually arresting works affirm his status as a contemporary master worthy of discovery.

The Legacy of Stone The Millennial City of Matera

Ugo Rondinone's art is rooted in a cultural migration spanning the Alps and the Mediterranean, uniting the grandeur of Europe's natural and human landscapes. Born on November 30, 1964, in Brunnen, Switzerland nestled between the Alps and Lake Lucerne he grew up surrounded by striking vistas of blue skies, clear waters, and snow-capped peaks. Across his work, one often encounters the serene hues of open skies, the silvery presence of stone, and the quiet rhythm of the seasons. Yet the place that truly shaped his artistic soul lies far to the south: Matera, the "City of Stone" in Italy's Basilicata region, the homeland of his parents.

Matera, carved into limestone cliffs with a history stretching back to the Paleolithic era, is renowned for its Sassi district a labyrinth of stone dwellings and a UNESCO World Heritage Site. It served as the backdrop for the opening sequence of the 2021 James Bond film No Time to Die and stands as a living symbol of ancestral memory within the Rondinone family. Ugo's father, Benito Rondinone, was a stonemason who grew up amid this austere landscape, treating stone not merely as material but as a medium of existence a direct, unmediated dialogue with nature.

This deep legacy of stone became the foundation for Rondinone's artistic journey. Although his family later immigrated to Switzerland, he never lost his connection to his southern roots. His works continually return to the primordial: prehistoric caves, stacked megaliths, and mythic civilizations of the ancient Mediterranean. The rhythmic echo of his father's hammer became a metaphor for creation itself, fostering a lifelong fascination with elemental materials. The sunlit landscapes of southern Italy olive groves, stone terraces, and timeless stillness remain enduring sources of nostalgia and inspiration.

The Rondinone family's immigrant experience mirrors a broader postwar reality. After World War II, hundreds of thousands of Italians migrated north to Switzerland as guest workers, contributing to the country's reconstruction. Benito arrived in 1959, followed by his wife

Eufemia in 1963, and Ugo was born the following year. Growing up amid multilingual and multicultural surroundings fluent in German, French, and Italian he developed a refined sensitivity to words, poetry, and visual form, qualities that later infused his art with lyrical depth.

Rondinone often recalls that his childhood unfolded between two natural worlds: one of water and snow, the other of earth and silence. Until age seven, he traveled frequently with his parents between the monochrome stone city of Matera and the luminous serenity of Brunnen. This profound contrast shaped his worldview and artistic sensibility a tension between austerity and wonder, weight and light that continues to define the visual and emotional landscape of his art.

Artistic Formation Mentors and Companions, from Vienna to New York

At nineteen, Rondinone left Brunnen for Zurich, a commercial and cultural hub, preparing for art school and entering the local art scene. In 1985, at twenty-one, he spent six months as an assistant to Austrian artist Hermann Nitsch (1938–2022). Immersed in Nitsch's ritualistic performances, which pushed the boundaries of sensory and emotional experience, Rondinone found profound inspiration. Yet, diverging from Nitsch's confrontational style, he embraced a ritual expression that was contemplative, introspective, and serene.

◀ 《 彩虹玻璃路 》， 2024 年義大利維洛納

(Rainbow Brick Road) at Verona 2024 ▶ 《 愛創造了我們，窗上半透明薄膜 》 ( 尺寸可變 )

Love Invents Us, 1999

Translucent film on window (dimensions variable)

From 1986 to 1990, Rondinone studied at the University of Applied Arts Vienna (Hochschule für Angewandte Kunst), under sculptor Bruno Gironcoli (1936–2010) and visual artist Ernst Caramelle (b. 1952).

Caramelle, known for conceptual art and optical paintings, emphasized art as a "mental construction" rather than mere material endeavor, highlighting: balance between concept and form; experimentation with space and perception; and the use of humor and ambiguity to open possibilities. Rondinone absorbed an artistic language integrating concept and perception a foundation evident in his neon text works (Hell, Yes! and Cry Me a River) and in his dynamic use of light and color.

Gironcoli, head of sculpture, encouraged students to see sculpture as a "vessel for emotion and ideas" rather than a mere representation. Rondinone learned to harness the tension between form and feeling, constructing a personal cosmology that profoundly shaped his later stone stacks. Reflecting on Gironcoli, Rondinone noted, "He made me understand that sculpture doesn't have to imitate reality, but can construct a psychological space." Gironcoli praised him as "one of the rare students capable of translating emotion into formal language."

During his Vienna years, Rondinone met Eva Presenhuber, who

would later become his Zurich gallerist and enter a nominal marriage with him. Though divorced in 2012, their professional collaboration endures.

In 1997, Rondinone joined MoMA PS1's International Studio Program in New York. There, he met poet and artist John Giorno (1936–2019), a key figure of the 1960s underground literary scene and former lover of Andy Warhol. Rondinone invited Giorno to collaborate in an exhibition that year, forming a romantic bond that lasted over two decades, culminating in marriage in 2017, two years before Giorno's death.

Night and Day A Binary Cosmos in Art

Over a career spanning more than three decades, Ugo Rondinone has worked across sculpture, painting, video, installation, and land art, creating spatially poetic experiences renowned for their recurring symbolic motifs time, nature, solitude, existence, and recurring cycles. His artistic development is not linear but unfolds through multiple, interwoven strands that together construct a unique universe exploring duality and poetry. To grasp the breadth of this macroscopic creative system, one may turn to a key organizational principle found on the artist's own website: all of his works are clearly divided into two overarching categories Night and Day

▲ 《 燃燒成光芒 》， 2024 年上海復星藝術中心 Burn to Shine, Fosun foundation, Shanghai, 2024

▶ 《 孤寂詞彙》， 2016 年鹿特丹博伊斯曼斯．范伯寧恩美術館 VocabularyofSolitude, Museum Boijmans Van Beuningen, Rotter dam, 2016

This elegantly simple yet powerful binary framework extends far beyond a mere visual distinction. It is deeply rooted in Rondinone's lived experience and sense of place, evoking his two "homelands." The dimension of Night corresponds to his ancestral home Matera. Known for its ancient cave dwellings and vast limestone terrain, its palette is one of earthy yellows and rock grays a world imbued with silence, a primordial quality, and an abiding melancholy. It is from this source that the weight of his stone stacks, the introspection of his clown heads, and the stillness of his blue moon works emerge.

The dimension of Day, meanwhile, connects to the landscape of his upbringing Brunnen, nestled in the Swiss mountains. Encircled by lakes and peaks, this fairy-tale setting of pristine water and snow-capped reflections shaped his early visual sensibility. It endowed him with a heightened sensitivity to color and light. It directly inspired the vibrant hues of his rainbow neon text works, the hypnotic concentric circles of his target paintings, and the epic extension of his stone stacks seen in works like Seven Magic Mountains where fluorescent pink, yellow, and green stones radiate a surreal, exuberant vitality, embodying an aesthetic that is outward, luminous, and joyful.

Yet Rondinone's greatness lies not in reinforcing a simple opposition, but in placing these polarities in dialogue, allowing tension and resonance to arise through their juxtaposition. Within this day-and-night framework lies the essence of what he learned from his two formative mentors in Vienna: from Gironcoli, he grasped the "weight of form" (Night), and from Caramelle, the "weight of light" (Day). Together, these forces forged his complete artistic soul.

Selected Series: From Primordial Symbols to Contemporary Rituals

Since the 1990s, Ugo Rondinone has developed a series of interrelated works that reveal the continuity of his thought and a coherent aesthetic vision. While the individual series bear distinct titles, they can be understood as part of four overarching thematic clusters: Cosmic Cycles, Language and Light, Masks and Performers, and Nature and Monumentality.

Cosmic Cycles — Windows, Sun, and Moon

Window Paintings and Clockwork for Oracles (Early 1990s–Present / 2004–Present)

One of Rondinone's earliest and most enduring series, the Window Paintings later evolved into Clockwork for Oracles (2004). Using Gothic window shapes as his canvas, he depicts dreamlike skies at sunrise or sunset. Simplified window-frame structures organize these geometric compositions, often rendered in monochromatic or gradient tones. The works explore the boundaries between reality and illusion, nature and architecture, and inner self and outer world. Clockwork for Oracles expands into installations, video, and performance, investigating the repetition and suspension of time through meditative loops.

Sun Paintings / Target Paintings (1992–Present)

These concentric circle works, also called "mandalas," combine Minimalism and Op Art. Appearing to radiate outward, they draw the gaze inward, inviting contemplation and meditation. Across cultures, these forms resonate as symbolic representations of universal cycles, linking Rondinone's early painterly explorations to his ongoing inquiry into perception and temporal rhythm.

Blue Sun and Moon Sculptures (Early 2010s–Present)

Entering the 2010s, Rondinone began creating celestial sculptures in a singular blue hue, reducing sun and moon forms to pure color and abstract geometry. These works signify silence, meditation, and timelessness, extending his investigation of cosmic cycles into three-dimensional space. The monochromatic blue evokes a liminal zone, "the space between day and night," reflecting his philosophical and poetic approach to time.

Language and Light —

Rainbow Neon Texts

Rainbow Neon Texts (1997–Present)

Rondinone's neon text installations brought him wide recognition, beginning with Cry Me a River (1997), a public response to the AIDS crisis. Colorful phrases like Hell, Yes!, Life Time, and Our Magic Hour merge language, light, and cultural symbolism, blending optimism with existential melancholy. Rainbow motifs serve as emblems of queer pride and LGBTQ+ advocacy, transforming public spaces into sites of emotional resonance. These works often appear on museum facades and in large-scale urban contexts, exemplifying Rondinone's engagement with light, language, and social narrative.

03

Masks and Performers — Moonrise, Sunrise, Clowns, and Solitude

Moonrise and Masks (1996–Present)

Rondinone adopted the "mask" as a central motif in 1996, initially as flat wall works, later evolving into bronze and aluminum sculptures named after the months of the calendar. Drawing inspiration from tribal art and modern abstraction, these masks symbolize human solitude and inner conflict, exploring the tension between external persona and internal truth. The lunar cycle serves as a metaphor for the rhythms of time and emotion.

Sunrise and Clown Heads (2002–Present)

These contemplative aluminum sculptures depict clowns with closed eyes, juxtaposing comic performance with introspective melancholy. The clown represents social masks turned inward, exploring themes of day and night, public and private, laughter and sorrow. Informed by Gironcoli's teaching, these works translate emotion into formal language, continuing Rondinone's poetic dialogue with human psychology.

Vocabulary of Solitude (2016)

This installation of 45 clown sculptures, each named for an everyday action, isolates and magnifies mundane gestures to imbue them with poetic imagination. The clowns embody melancholy, existing as avatars of reflection and meditation.

04

Nature and Monumentality — Stone, Trees, and Spiritual Archetypes

Stone Stacks and Seven Magic Mountains (Early 2000s–Present)

Rondinone's "stone stack" (mountains) series, initiated around 2007, uses raw stacked stones to evoke natural meditation. From 2013, he painted stones in fluorescent colors, merging Land Art and Pop Art. Seven Magic Mountains (2016), a monumental desert installation, exemplifies this synthesis: thirty-foot-high stacks of vividly painted boulders create a dialogue between ancient megalithic forms and contemporary aesthetic exuberance.

Olive Trees (Mid-2000s–Present)

Life-sized white aluminum olive trees evoke the passage of time and eternal cycles of life. Casting trees from southern Italy, Rondinone transforms ephemeral natural forms into enduring abstractions, inviting contemplation of temporality and natural forces.

Nuns and Monks (2019–Present)

These slightly abstracted religious figures explore spirituality, solitude, and human presence. Vivid colors and large-scale presentation in public spaces transform traditional archetypes into immersive, contemplative experiences, connecting viewers to both serenity and reflection.

▲ 《雙重日與消遣》， 2000 年拿坡里

ADoubledayandaPastim, Galleria Raucci/Santamaria, Naples, 2000

◀ 《日和月》， 2023 年美國紐溫莎 史東金藝術中心

The Sun and the Moon, Storm King, New Windsor 2023

Market and Institutional Recognition From Academic Prestige to Global Collecting Networks

Since the 1990s, Rondinone has exhibited widely across Europe, the Americas, and Asia, including Le Consortium, Dijon (1997); Kunstverein Stuttgart (2002); Centre Pompidou, Paris (2003); Venice Biennale (2007); Palais de Tokyo, Paris (2007, 2015); Rockefeller Center, New York (2013); The Bass Museum, Miami (2017); Belvedere 21, Vienna (2022); Städel Museum, Frankfurt (2023); Rijksmuseum Amsterdam (2023); and Kunstmuseum Luzern (2024).

His works are held in major international collections, including MoMA, New York; SFMOMA; Walker Art Center, Minneapolis; Dallas Museum of Art; Institute of Contemporary Art, Boston; Belvedere 21, Vienna; The Bass Museum, Miami; Carré d'Art, Nîmes; Museum Boijmans Van Beuningen, Rotterdam; Schirn Kunsthalle Frankfurt; Fosun Foundation, Shanghai; and Museum SAN, Wonju.

Core gallery partners include Gladstone Gallery, Sadie Coles HQ, and Esther Schipper, with an extended network encompassing Galerie Eva Presenhuber (Zurich, Vienna), Galerie Kamel Mennour (Paris), and Kukje Gallery (Seoul). This network has ensured global acquisition of his works and cemented his enduring influence.

Rondinone has also established a strong auction presence. By October 2025, his total annual auction sales reached $3,476,839, surpassing any prior year. His Evolution of Rating surged 86.5%, reflecting growing collector demand and renewed collectible potential. Artprice.com data (2000–2025) shows the U.S. as his largest market, followed by the U.K., South Korea, and Hong Kong. The Asian market has grown recently, aided by exhibitions, fairs, and celebrity influence.

His auction record, set in 2018 at Sotheby's New York, was A Day Like This. Made of Nothing and Nothing Else, a six-meter-tall enamel-painted aluminum olive tree sculpture, sold for $1,131,000. Monumental yet poetic, it evokes lost pastoral moments and invites reflection.

Through his work, Rondinone transforms the sensibility of an outsider into universal spirit, bridging Stone Age caves of Matera with white-cube contemporary spaces. For Ravenel Autumn 2025, we proudly present two highly sought-after Stacks/Mountains series works, anticipating the resonance they will inspire.

烏戈．羅迪諾納作品二十大拍賣成交排行

這樣的一天，由虛無構成， 僅此而已。

A Day Like This. Made of Nothing and Nothing Else

2009

Aluminium, white enamel

Ed. AP / 3

509.9 x 600.1 x 500.1 cm

預估價 Estimate

USD 800,000 - 1,200,000

成交價 Sold at

USD 1,131,000

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Nov. 15 2018

起來吧，女孩， 世界正隨太陽轉動。 Get Up Girl A Sun Is Running the World

2006

Aluminium, white enamel Ed. 3

457 x 396 x 396 cm

預估價 Estimate

GBP 200,000 - 300,000

成交價 Sold at

USD 864,052

GBP 541,250

拍賣日期 Auction Date

倫敦富藝斯 Phillips de Pury & Company

London June 27, 2011

起來吧，女孩， 世界正隨太陽轉動 Get Up Girl a Sun Is Running the World

2006

Cast aluminum and white enamel

Ed. AP / 3 + 1 AP

455 x 367 x 300 cm

預估價 Estimate

USD 500,000 - 700,000

成交價 Sold at USD 567,000

拍賣日期 Auction Date

紐約佳士得

Christie's New York May 14, 2025

若有一處不是荒原。星期四 If There Were Anywhere But Desert. Thursday

2000

Fiberglass, paint, clothes, glitter and blankets

41.9 x 63.5 x 188 cm

預估價 Estimate

GBP 250,000 - 350,000

成交價 Sold at USD 797,183

GBP£ 505,250

拍賣日期 Auction Date

倫敦佳士得 Christie's London Oct. 15, 2011

空氣滲入萬物，甚至虛無 Air Gets Into Everything Even Nothing 2006

Cast aluminium, white enamel

381 x 381 x 335 cm

預估價 Estimate

GBP 200,000 - 300,000

成交價 Sold at

USD 544,548

GBP 361,250

拍賣日期 Auction Date

倫敦富藝斯 Phillips de Pury & Company

London Jun. 29, 2010

所為何來？為了宇宙與星辰嗎？ For What? for Space and Stars?

2009 White enamel on cast aluminium Ed. 3 / 3+1AP 520 x 510 x 480 cm 3 8 4 9

若有一處不是荒原。星期五 If There Were Anywhere But Desert. Friday

2002

Fiberglass, paint, clothing, glitter. Unique work 40 x 170 x 45 cm

預估價 Estimate

GBP 350,000 - 500,000

成交價 Sold at

USD 631,390

GBP 410,500

拍賣日期 Auction Date

倫敦富藝斯 Phillips London Jun. 27, 2013

1999年7月18日 Achtzehnter juli neunzehnhundertneunundneunzig

1999

Acrylic airbrush on canvas, silkscreen on plexiglass plaque Ø 220.3 cm

預估價 Estimate

GBP 40,000 - 60,000

成交價 Sold at

USD 589,641

GBP 300,500

拍賣日期 Auction Date

倫敦佳士得 Christie's London Feb. 7, 2008

編號 299 No. 299

2003

Acrylic on canvas Ø 222.7 cm

當然好啊！ Hell, Yes!

2001

Neon, Perspex, translucent film and aluminum Ed. 1 / 2+1AP

292.1 x 736.6 x 15 cm

預估價 Estimate

GBP 400,000 - 600,000

成交價 Sold at USD 511,539

GBP 400,050

拍賣日期 Auction Date

倫敦富藝斯 Phillips London Mar. 7, 2024

預估價 Estimate

GBP 70,000 - 90,000

成交價 Sold at USD 504,981

GBP 253,250

拍賣日期 Auction Date

倫敦蘇富比 Sotheby's London Jul. 2, 2008

預估價 Estimate

USD 300,000 - 500,000

成交價 Sold at

USD 504,000

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Nov. 16, 2022

TOP 20 MOST EXPENSIVE ARTWORKS OF UGO RONDINONE EVER SOLD AT AUCTION

製表 ／ 陳惠黛 Odile Chen（Update 2025.10.09; Source: Artprice.com, Christie's, Sotheby's, Philips）

2007年4月3日 Dritter April

Zweitausendundsieben

2007

Acrylic on linen (diptych) Ø 220 cm

若有一處不是荒原。星期六 If There Were Anywhere But Desert, Saturday

2002

Painted fiberglass with wig, clothing and glitterr 94 x 157.5 x 117 cm

預估價 Estimate

GBP 250,000 - 350,000

成交價 Sold at USD 463, 407

GBP 289,250

拍賣日期 Auction Date

倫敦富藝斯 Phillips de Pury & Company London Oct. 10, 2012

預估價 Estimate

USD 120,000 - 180,000

成交價 Sold at USD 441,000

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Nov. 19, 2021

TOP 20

2007年4月3日 Dritter April Zweitausendundsieben

2007

Acrylic on linen (diptych) Ø 220 cm

預估價 Estimate

GBP 150,000 - 200,000

成交價 Sold at

USD 433,342

GBP 277,250

拍賣日期 Auction Date

倫敦富藝斯 Phillips de Pury & Company London Feb. 12, 2010

月升西方，一月至十二月 Moorise, West January to December

2004

Installation (20 cast black polyurethane mask)

第89號 No. 89

1997

Acrylic on canvas Ø 219.7 cm

Smallest: 96 x 67 x 30 cm largest: 118 x 65 x 30 cm 13

預估價 Estimate

GBP 200,000 - 300,000

成交價 Sold at

USD 396,992

GBP 229,250

拍賣日期 Auction Date

倫敦富藝斯 Phillips de Pury & Company

London Oct. 18, 2008

愉悅者+覺察者 The Pleasant + the Aware

2019

Bluestone on concrete pedestal

172.7 x 99 x 72.4 cm

預估價 Estimate USD 80,000 - 120,000

成交價 Sold at USD 390,000

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Sep. 30, 2022

18 14 19

預估價 Estimate

GBP 80,000 - 250,000

成交價 Sold at USD 415,800

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Nov. 19, 2021

15 20 12 17 11 16

2006年5月11日 Elfter Mai

ZweitausendundSechs

2006

Acrylic on canvas Ø 219.7 cm

預估價 Estimate

USD 200,000 - 300,000

成交價 Sold at

USD 386,500

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York Nov. 12, 2009

2002年5月17日 Siebzehnter Mai Zweitausendundzwei

2002

Acrylic, airbrush/canvas, with Plexiglas plaque Ø 219 cm

預估價 Estimate

USD 100,000 - 150,000

成交價 Sold at

USD 406,400

拍賣日期 Auction Date

紐約蘇富比 Sotheby's New York May 19, 2023

滿足與欣喜 The Pleased and the Delighted

2013

Bluestone, granite, steel 165.2 x 76 x 45 cm

預估價 Estimate

GBP 100,000 - 150,000

成交價 Sold at USD 385,026

GBP 281,000

拍賣日期 Auction Date

倫敦富藝斯 Phillips London Jun. 27, 2016

第69號，1995年11月24日 No.69 Vierundzwanzigster November Neunzehnhundertfünfundneunzig

1995

India ink on paper, mounted to canvas, silkscreen on Plexiglas plaque 274 x 500.1 cm

預估價 Estimate

USD 300,000 - 400,000

成交價 Sold at

USD 385,000

拍賣日期 Auction Date

紐約富藝斯 Phillips de Pury & Company New York Nov. 15, 2007

台灣現代雕塑的半世紀取樣

鑄 形 成思

FORGING FORM AND THOUGHT: A Half-Century of Modern Taiwanese Sculpture

Text / 陳昱良 Iris Chen

Photo / Ravenel International Art Group

▲ Lot 119 徐永旭《 2024-15 》 2024 瓷土 單一件

35( 長 ) x 29( 寬 ) x 43( 高 ) cm Hsu Yunghs, 2024-15, 2024, Porcelain, unique, 35(L) x 29 W) x 43(H) cm

收藏雕塑的樂趣，除了欣賞形體之美，更在於它讓人親手觸摸， 品味時間與思想的重量。當觀者繞行於作品四周，從肌理、材質到空 間張力，視覺和感官的層次逐步展開，彷彿與作品共同呼吸，共同生 長。雕塑不僅是「物」的客體，更鑄就了人與世界的共生關係；探索 孰輕孰重的過程，在收藏者的視域中，它是一種精神對話、與現實共 構的藝術行為。

1960 年代起，西方現代主義思潮陸續傳入台灣，推動藝文界的革 新，而雕塑領域伴隨文化政策與藝術教育的推進，以楊英風為首，開 創出兼容東方哲思與現代形式的獨特風格。全球化交流的藝術界，台 灣以其深厚的精神內涵與文化視角，穩步奠定地位，深受學界與收藏 者推崇。羅芙奧 2025 秋季拍賣會精選多位台灣代表性雕塑家作品， 展現半世紀以來的藝術風貌與思想傳承。

台灣現代雕塑發展先驅－楊英風（ 1926-1997 ）教授，其藝術理 念透過教育與公共事務參與，樹立承先啟後的典範。 1990 年代創作之 《飛龍在天》和《玄通太虛》鏡面不鏽鋼作品，詮釋他以簡馭繁，融 會東西方藝術精髓的時代精神。他曾言：「英文 Landscape 只限於一 部份可見的風景或外觀，我用的『景觀』卻意味著廣義的環境，即人 類生活的空間，包括感官與思想可及的空間。」楊英風落實將雕塑與 建築、環境結合，視雕塑為景觀的觀念，深刻地啟發後輩藝術家，如： 朱銘、黎志文、張子隆等人。

1968-1976 年期間朱銘師從楊英風學習現代雕塑，兩人亦師亦友 的好關係，傳為藝壇佳話，更具文化傳承的重要意義。朱銘（ 19382023 ）以「太極系列」蜚聲國際，成為二十世紀最受歡迎的華人雕塑 家。若說楊英風為台灣雕塑奠定空間的基礎，那麼朱銘就是將人文精 神注入於雕塑的形體之中。 1999 年朱銘美術館成立，它是臺灣第一座 以雕塑為主題的大型美術館。作品《人間系列－游泳》以不鏽鋼反光 特性，展現人體肌肉線條的柔韌姿態。該系列於 2009 年由朱銘美術 館和台北市政府合作，於信義計劃區戶外展演一個月，讓雕塑藝術走 入城市日常，也傳遞藝術家將焦點回望社會的人性思維。

當楊英風譜寫空間詩學，朱銘以寫實形塑人間溫暖。林良材（ 1947 年生）則為台灣雕塑導入「負空間」美學觀點，思辨具形與抽象的依 存關係。林良材早年受教於前輩畫家楊三郎、廖繼春、李梅樹等人， 以油畫創作為主，榮獲比利時皇家專業畫家獎。 1984 年赴歐陸深造當 代藝術之後，林良材開始以錘代筆，探究立體藝術的多維表現。他以 千錘百鍊的手法，馴服銅鐵成為人體的動態美姿。作品《天行健》象 徵人類自強不息的堅毅意志， 經過特殊處理的銅材質表面，蘊含古拙 雄渾的氣韻，凝塑出林良材獨有的雕塑美學。

而轉移傳統雕塑對「造型」的追求，徐永旭（ 1955 年生）在雕塑 界顯得獨樹一幟，他以貼近土地的「陶作」為路徑，專注於精神極限的 突破。他特別重視過程，強調身體為主，陶土是載具。透過不斷重複且 單一的勞作，張弛力量與精神之間的流動，將雕塑提升至觀念與行為藝 術的層次，也滿足自我修行的內在意義。作品《 2024-15 》保留高溫陶 材質的純色與質樸紋理，有機造型的表面孔洞使光線得以滲透、投影， 構成「形」與「意」相生相息的自然節奏。

李真（ 1963 年生）則是專注於「形而上」的思考，他將銅雕材質 的物理重量昇華為精神的輕盈。以老莊與佛道哲思為創作核心，其作品 兼具東方性靈與現代表現的形式。回溯李真早期的創作軌跡， 1999 年 「虛空中的能量」系列奠定風格基礎。銅雕《補天》正是此時期誕生的 作品，作品以大掌托雲的姿態，契合中國神話意象，象徵「既重且輕」 的和諧理想。墨黑色的金屬表面蘊含內斂光澤，形體渾圓如玉，展現一 種超越物質的精神寧靜。

台灣現代雕塑的發展，從楊英風、朱銘奠定形式與精神的雙重基 礎，再到林良材、徐永旭、李真分別以金屬、陶土與銅鐵探索當代語境 的多樣表現，雕塑除了形貌，更是一場持續演進的創作意識。它記錄著 這片土地的思想軌跡，也映照創作者在時代流動中，追尋形與心的共 鳴。同樣地，他們邀請收藏者以收藏行動加入這場盛宴，成為精神的共 作者。當擁有與分享同時獲得實踐，藝術的價值也得以延續成更寬廣的 生命經驗。讓雕塑不止於形，而成為精神的鏡像，靈魂的座標。

The pleasure of collecting sculpture lies not only in appreciating the beauty of form, but also in the tactile encounter that bridges imagination and reality. To circle around a work to trace its textures, materials, and spatial rhythm is to unfold a layered sensory experience, as if breathing and growing alongside the sculpture itself. More than an object of observation, sculpture becomes a vessel of coexistence between humanity and the world. In the collector's gaze, this dialogue between weight and lightness, matter and spirit, transforms into an act of contemplation an artistic engagement with reality.

Since the 1960s, waves of Western modernist thought reached Taiwan, catalyzing a new era in art and culture. With the support of cultural policy and art education, sculptors led by Yang YingFeng pioneered a unique aesthetic that fused Eastern philosophy with modern form. Within the global art landscape, Taiwanese sculpture has established a distinctive presence, admired for its depth of spirit and cultural vision. Ravenel's 2025 Autumn Auction brings together works by representative Taiwanese sculptors, presenting a half-century of artistic evolution and the enduring lineage of ideas that continue to shape the language of modern sculpture.

Professor Yang Ying-Feng (1926–1997), a pioneering figure in modern Taiwanese sculpture, established a lasting model that bridged generations through his artistic vision, teaching, and public engagement. His mirrorpolished stainless-steel works Flying Dragon in the Sky and Union with the Uni, created in the 1990s, embody his pursuit of simplicity and his synthesis of Eastern philosophy with Western modernist form a true spirit of his time.

Yang once remarked, "The English word landscape refers only to a portion of the visible scenery, while the 'jingguan' I use implies a broader environment one that encompasses human living space, including the realms of perception and thought." His concept of sculpture as an integral part of architecture and the environment profoundly influenced later generations of artists such as Ju Ming, Lai Chi Man, and Chang Tzu-Lung.

From 1968 to 1976, Ju Ming (1938–2023) studied modern sculpture under Yang Ying-Feng. Their mentor–disciple relationship, later evolving into a lifelong friendship, has become a celebrated story in Taiwan's art history, symbolizing the continuity of sculptural tradition. Ju Ming rose to international prominence with his renowned Taichi Series, earning recognition as one of the most celebrated Chinese sculptors of the twentieth century.

◀ Lot 122 楊英風《飛龍在天》 1990 不鏽鋼 版次 13/20

45( 長 ) x 50( 寬 ) x 62.5( 高 ) cm

Yuyu Yang (Yang Ying-Feng), FlyingDragonintheSky, 1990, Stainless steel, ed. 13/20, 45(L) x 50(W) x 62.5(H) cm

▲ Lot 121 楊英風《玄通太虛》 1993 不鏽鋼 版次 8/9

37( 長 ) x 37( 寬 ) x 103.5( 高 ) cm

Yuyu Yang (Yang Ying-Feng), Union with the Univers, 1993, Stainless steel, ed. 8/9, 37(L) x 37(W) x 103.5(H) cm

▼ Lot 054 朱銘《人間系列－游泳》 2008 不鏽鋼 版次 2/8

97.4( 長 ) x 49.2( 寬 ) x 84.2( 高 ) cm

Ju Ming, LivingWorldSeries:Swimming, 2008, Stainless steel, ed. 2/8, 97.4(L) x 49.2(W) x 84.2(H) cm

FORGING FORM

If Yang Ying-Feng laid the spatial foundation of modern Taiwanese sculpture, Ju Ming infused it with a profound human spirit. The establishment of the Ju Ming Museum in 1999 Taiwan's first large-scale museum dedicated to sculpture marked a milestone in the island's cultural landscape. His work The Living World Series – Swimming captures the tensile grace of the human body through the reflective qualities of stainless steel. In 2009, the museum collaborated with the Taipei City Government to present this series as an outdoor exhibition in Taipei's Xinyi District, bringing sculpture into the rhythms of urban life and reaffirming the artist's deep engagement with humanity.

While Yang Ying-Feng composed a poetics of space and Ju Ming infused form with human warmth, Lin Liang-Tsai (b. 1947) introduced the aesthetic notion of negative space into Taiwanese sculpture, exploring the interdependence of form and abstraction. Trained under prominent painters Yang San-Lang, Liao Chi-Chun, and Li Mei-Shu, Lin began his career as a painter and received the Royal Academy of Fine Arts Prize in Belgium. After further studies in contemporary art in Europe in 1984, he turned from brush to hammer, investigating the multidimensional possibilities of sculptural expression.

▲ Lot 116 林良材《天行健》 2003 銅雕 58( 長 ) x 48( 寬 ) x 160.5 ( 高 ) cm ( 不含木座 ) Lin Liang-Tsai, TheWayofHeaven, 2003, Bronze, 58(L) x 48(W) x 160.5(H) cm (without wooden base)

▶ ▲ 陳庭詩（ 1913-2002 ）從標誌性木刻蔗版版畫， 轉以廢棄鐵零件為材，創作複合式鐵雕，曾代表台灣參加 「二十世紀金屬雕塑大展」（ 1998-1999 國際鐵雕展）， 應邀與畢卡索、卡爾達、塞薩等國際大師的作品並提展覽 Chen Ting-shih (1913–2002), who gained recognition for his iconic sugarcane woodcut prints, later turned to discarded iron parts as his creative medium, developing a distinctive style of composite iron sculpture. He represented Taiwan at the Art of the 20th Century: International Iron Sculpture Exhibition (1998–1999), where he was invited to exhibit alongside renowned masters such as Pablo Picasso, Alexander Calder, and César Baldaccini.

▶ ▼ Lot 055 李真《補天》 1999 銅雕 大理石 版次 1/8 25( 長 ) x 25( 寬 ) x 73.5( 高 ) cm ( 含台座 ) Li Chen, PatchingtheSky, 1999, Bronze and marble, ed. 1/8, 25(L) x 25(W) x 73.5(H) cm (including base)

Through countless strikes of the mallet, Lin transforms copper and iron into dynamic human forms. His work The Way of Heaven (Tian Xing Jian) symbolizes the unyielding resilience of humankind. The bronze surface, treated to evoke an ancient, primal strength, encapsulates Lin's distinctive sculptural language balancing vigor and grace, structure and spirit.

Departing from sculpture's traditional focus on form, Hsu Yung-Hsu (b. 1955) stands apart in Taiwan's sculptural field. Working primarily with clay, he grounds his practice in the tactile reality of the earth while pursuing the transcendence of the spirit. For Hsu, creation is a form of spiritual cultivation the body as instrument, clay as vessel. Through repetitive, meditative labor, he channels the flow between physical force and inner energy, elevating sculpture into the realms of conceptual and performative art.

His work 2024-15 retains the pure hue and raw texture of high-fired clay. Its porous organic surface allows light to filter through and cast subtle shadows, generating a rhythmic interplay between form and meaning, material presence and spiritual resonance.

FORM AND THOUGHT

Li Chen (b. 1963) directs his practice toward metaphysical inquiry, transforming the physical weight of bronze into spiritual lightness. Rooted in the philosophies of Laozi, Zhuangzi, and Buddhist thought, his works fuse Eastern spiritual sensibilities with contemporary formal expression.

Tracing Li's early trajectory, the 1999 series Energy in the Void established the foundation of his signature style. Among these works, the bronze sculpture Patching the Sky (Bu Tian) features a monumental hand lifting clouds, referencing ancient Chinese mythology while symbolizing the harmony of "weight and lightness." Its dark, polished bronze surface radiates a subdued inner sheen, and the rounded, jade-like form conveys a transcendent serenity beyond materiality.

The Continuum of Modern Taiwanese Sculpture

The evolution of modern Taiwanese sculpture Feng and Ju Ming, who laid the formal and spiritual groundwork, to Lin Liang-Tsai, Hsu Yung-Hsu, and Li Chen, who explore diverse expressions in metal, clay, and bronze demonstrates that sculpture is not merely about form, but a continually evolving consciousness of creation. It records the intellectual trajectory of the island and reflects the artists' pursuit of harmony between form and spirit amidst the flow of time.

In this ongoing dialogue, collectors are invited to participate not merely as observers but as co-creators. Through acts of acquisition and sharing, art extends into broader realms of life, allowing sculpture to transcend its physicality and become a mirror of the spirit of the soul.

A VINTAGE IS MORE THAN A NUMBER, AND GREATNESS IS NOT THE WORK OF PERFECTION

年份不止於數字， 偉大亦不源於完美

Text / 唐維怡 Eva Tang

Photo / Ravenel Finest and Rarest Wines

在葡萄酒的世界裡，「 Vintage ( 年份 ) 」不只 是酒標上的一個數字，也不只代表酒齡，它是 大自然與時間共同譜寫的篇章，記錄著葡萄從 萌芽至採收的每一場雨、每一縷風、每一道陽 光，承載著風土的呼吸。

儘管總與浪漫相連，葡萄酒終究是「靠天吃飯」 的農產加工產業，大自然的溫柔或峻厲決定了 當年度的收成，釀酒師必須學會與天地共舞。

「年份」的重要性，正源自這種無法複製、亦 無法全憑努力扭轉的一期一會。

「好年份」是天．地．人的合奏

所有熱愛葡萄酒的人都知道，「天．地．人」三要素共 同構築了一瓶葡萄酒的特性。其中，「天」代表了當年度當 地的氣候條件與天候狀況。當釀酒師以「好年份」來讚譽當 年度時，他們所談論的絕非僅是好喝，而是在整個葡萄藤的 生長週期中，氣候條件達到近乎完美的狀態。

春季是葡萄藤甦醒的序章，從發芽、開花至坐果，此時 最需要穩定的氣溫和乾燥的天氣，方能讓新生的果串順利凝 成。在葡萄果實成長的夏季，充足的日照是糖分累積的關鍵， 但過多的陽光可能灼傷嬌嫩的果皮，因而，有著充沛且穩定 的陽光、溫暖卻不過熱的夏季是好年份的基礎。夏末的轉色 期 (Vérason) 是葡萄樹生命週期的轉折點，他們開始將儲存 的能量轉移至果實中製造糖分；此時涼爽的夜晚尤為關鍵， 它放緩酸度的流失，使葡萄果實當中的天然酸度與糖分達到 絕佳平衡，為日後的酒液建構出清新勻稱的架構。最後的採 收期是壓軸關鍵，乾燥少雨能避免黴菌的肆虐與果實腐爛的 危機，讓葡萄果實能在最健康的狀態下被採摘進入釀造。

在陽光充足、雨量適中的好年份，葡萄便能不受過度壓 力所擾，以從容的步伐走向成熟，葡萄皮、葡萄梗、果肉以 及葡萄籽在緩慢熟成中穩步累積豐富的酚類物質，成為葡萄 酒風味與架構的基石。一旦達到所謂的「 Phenolic Ripeness ( 酚類物質成熟 ) 」甜蜜點，所釀製出的酒往往能擁有綿密細 緻的單寧、平衡宜人的酸度，更具備長期陳年的底氣與潛力。

對熱愛葡萄酒的我們而言，「好年份」承載著穩定品 質的承諾與卓越的陳年價值。 1982 年的波爾多便是絕佳的 例子，那一年理想的天候條件孕育出結構臻於完美的葡萄果 實，波爾多五大酒莊之一的 Château Lafite ，其 1982 年份的 酒款更被譽為「世紀之酒」，獲得酒評家 Robert Parker 98 分的高分讚譽，在二級市場上的價格更是同酒莊其他年份的 三倍以上。對於收藏家而言，這些傳奇世紀年份不僅僅是大 自然的恩惠，更是時間與歷史的見證，它的價值隨著歲月的 流轉亦發珍貴。

然而，完美年份可遇不可求

事實上，過去二、三十年間，全球暖化正悄然改寫氣候 規律，昔日四季分明的節奏逐漸失序。春日愈發短暫、秋季 似乎正在退場；盛夏驟降冰雹、初冬意外回暖的景象已非奇 聞。曾經被視為百年一遇的極端天氣，如今頻率升高、反覆 發生，成為全球共同面臨的新常態。

葡萄酒作為農業的一環自然首當其衝。 2014 年 6 月份， 勃根地金丘 (Côte d'Or) 遭猛烈冰雹襲擊，短短幾分鐘便摧毀 Pommard 產區超過四成新生的葡萄串； 2018 年 6 至 7 月份， 波爾多在連續不斷地暴雨後爆發大規模黴菌感染，產量銳減； 2021 年，嚴重的春霜凍傷了勃根地三分之一以上的新芽，緊

接而來的降雨和冰雹又造成黴菌蔓延；而 2024 年則是自 2008 年來法國最 潮濕多雨的一年，這一年的香檳區受低溫與霜霉病重創，超過半數的葡萄 受損。對依賴自然節律的釀酒人而言，這些無疑都是近乎毀滅性的打擊。

然而，災難不僅止於產量。氣候升溫也正在重塑葡萄酒的風味輪廓： 葡萄提早成熟、酸度流失迅速、糖分累積過快導致酒精度攀升，使平衡優 雅變得困難。面對大自然的失衡，釀酒成為一場與變動氣候博弈的修行。

壞年份或許奪走了豐收的機會，卻絕不是終結

2013

年的波爾多遭遇了所有釀酒師的惡夢，寒冷的春季大幅延遲了 開花時間，鄰近採收時節接連不斷的暴雨襲擊使得黴菌開始蔓延，許多酒 莊被迫提前採收，更多甚至直接放棄生產。儘管被視為災難年份， 2013 年卻讓 Margaux 地區意外重拾了昔日的優雅與細膩，少數採行生物動力 法的酒莊，更在困境中釀出酒體輕盈卻充滿生命力的佳釀，讓人們開始重 新思考力量之外的「平衡」。

2003

年的波爾多亦是一個充滿挑戰的極端年份，這一年的葡 萄歷經了生長期連續超過五十餘天的高溫炙烤與六七月份的冰雹 侵襲；然而，也正是這一年，幾間波爾多酒莊逆襲了極端天候帶 來的嚴苛考驗，完美展現了葡萄藤的韌性與列級酒莊非凡的釀酒 工藝實力。其中， Lafite 和 Latour 雙雙獲得了 Robert Parker 與 Wine Advocate 100 分的滿分讚譽，前者肥美豐腴、有著驚人的魅 惑力和複雜性；後者則厚實飽滿、天鵝絨般細膩的質地帶來震撼 人心的品飲體驗。

當天候失序，風土與人重新上場

更重要的是，艱困的天候狀況從來不是命運的盡頭，而是釀 酒師與土地共同面對試煉的時刻。當氣候變遷愈發劇烈，春霜、 暴雨、酷熱與冰雹成為無法迴避的敵人，唯有真正理解風土的人， 才能在失衡的自然中找回新的秩序。

在勃根地這片以「風土」為信仰的土地上，他們深信每一款 偉大的葡萄酒皆來自獨一無二的土地。因此，過去半個世紀中， 許多酒莊選擇生物動力農法降低人為干擾，讓所孕育出的葡萄展 現出「地塊」最純粹的樣貌。在極端氣候成為新日常的今日，這 項原被視為「回歸自然」的理念，意外成為應對挑戰的另一種策 略。減少化學藥劑、避免預防性的人為介入，讓土壤學會以最原 始的方式修復自癒。健康的土地更能蓄水抗旱，多樣化的生態系 統形成一道天然防線，使葡萄藤在霜害、乾旱、病蟲害等各種自 然災害的侵襲下依然挺立。這種自我循環的生態力量，使得葡萄 園得以在惡劣的天氣中維持穩定，也讓「壞年份」成為土地重新 展現生命力的舞台。當葡萄在逆境中仍能結出健康的果實，風土 的韌性便化為一種詩意的回應。

而在波爾多，面對自然無常的哲學則截然不同。自古以來， 波爾多的農民便明白：要在不穩定不可測的環境中生存，就必 須讓葡萄園擁有「多樣性」。以波爾多三大紅葡萄品種之一的 Merlot 為例，在氣候狀態不佳的年份，它因熟成期短，仍能把握 有限的時間達到成熟；然而其果實顆粒偏大且果皮薄的特性，也 較其他品種更容易受到霜害與病蟲害的侵襲，無法被果農們全心 倚賴，因此酒莊選擇種下不同品種的葡萄。

此外，各產區不同的土壤組成、再加上每年氣候狀況的不同， 使得每一個年份對於波爾多地區的酒農來說都是一場全新的挑 戰，為了維持每一年的水準與品質，他們發展出獨樹一格的混釀 技法，依照當年度個品種葡萄果實的熟成狀況，以不同比例來調 配，盡力降低惡劣氣候帶來的負面影響，讓每一個葡萄品種的優 點得以在其他品種的襯托下加乘放大，彼此平衡、相互成全，在 香氣與口感上創造出完美的平衡。

正因如此，波爾多名莊的偉大從來不僅在於風土中的「天」 與「地」，更在於「人」。是人的經驗與智慧使他們能在艱難年 份中仍釀出令人動容的酒款。混釀工藝的靈活，不僅維繫了波爾 多品質的穩定，更在極端氣候已成常態的今日，成為波爾多將不 完美化為經典的關鍵。

失序的天候不是失敗的符號，而是人與自然共舞的試煉，是 在不可控的變局中依然專注選擇信念的勇氣。真正的偉大，不在 於避開風雨，而在於於風雨之中仍不放棄釀造，釀出對自然的謙 卑與堅持。

A Vintage Is Never Just a Number

In the world of wine, a vintage is far more than a figure printed on a label or a mere indication of age. It is a chapter co-written by nature and time an archive of every rainfall, every breath of wind, and every shard of sunlight that brushed the vines from budbreak to harvest. Within it lies the pulse of the land, quietly captured and sealed in glass.

Though often draped in romance, wine remains an agricultural craft that live at the mercy of the elements. Nature's tenderness or its severity, determines the fate of each year's harvest, and winemakers must learn to move in step with the elements. The significance of a vintage stems precisely from this irreplicable, unrepeatable truth: no amount of human mastery can fully rewrite what nature has decreed. Each vintage is a once-in-a-lifetime encounter, shaped as much by circumstance as by intention.

A "Great Vintage" Is the Harmony of Terroir

Every true wine lover understands that the essence of a wine is shaped by a trinity of terroir: climate, soil, and winemaker. When a winemaker praises a year as a "great vintage," they speak not merely of taste, but of a season in which nature offered near-perfect conditions from budbreak to harvest.

Spring is the prologue to the vine's awakening. From budburst to flowering and fruit set, it is a chapter that demands steady warmth and dry, gentle weather, allowing tender clusters to take shape without disturbance. Summer then guides the fruit toward maturity. Sunlight is essential for sugar accumulation, yet its blessing must be measured too fierce a glare can scorch the delicate skins. Thus, a truly great vintage begins with a summer that is sun-lit yet tempered, warm yet never oppressive. Late summer brings véraison, the turning point of the vine's life cycle. The plant redirects its stored energy into the berries, sweetness rises, and acidity softly recedes. Here, cool nights play a vital role: they slow down the loss of acidity, preserving a poised balance between sugar and freshness an equilibrium that later forms the wine's graceful structure. Harvest is the final movement of this symphony. Dry, rain-sparing days safeguard the fruit from rot and fungal threats at the most critical hour, ensuring grapes reach the cellar in optimal health.

In such benevolent years when sunlight is generous and rainfall judicious the vine ripens without strain. Skins, stems, pulp, and seeds accumulate phenolic compounds with unhurried precision, laying the groundwork for a wine's character and structure. Once the fruit reaches that elusive moment of phenolic ripeness, the resulting wine reveals finely woven tannins, harmonious acidity, and the inherent stamina to evolve with poise and beauty over time.

For those of us who revere fine wine, a "great vintage" carries both a promise of consistent quality and the gift of long-term aging potential. Bordeaux in 1982 stands as a defining example. Blessed with exceptionally favorable weather, the vines yielded fruit of remarkable balance and depth. Château Lafite Rothschild's 1982, in particular, has long been hailed as a "wine of the century," earning 98 points from Robert Parker and commanding secondary-market prices more than triple those of its other vintages.

For collectors, such legendary years are far more than strokes of climatic fortune they are chapters of history sealed in glass. With each passing year, their value does not merely appreciate; it deepens, enriched by the layers of time, memory, and meaning that only great vintages can hold.

However, A Perfect Vintage Is a Gift, Not a Guarantee

Over the past two to three decades, global warming has been quietly rewriting the laws of the seasons. The once-familiar rhythm of four distinct chapters is slipping out of tune: springs are shortening, autumn seems to be retreating, summer hailstorms strike without warning, and warmth returns unexpectedly in early winter... Weather events once deemed "once in a century" now recur with unsettling frequency, becoming the new reality shared across the whole world.

Wine, being an agricultural craft at its core, bears the brunt of this disruption. In June 2014, a violent hailstorm swept across Burgundy's Côte d'Or, ravaging over 40% of Pommard's young grape clusters in a matter of minutes. In 2018, unrelenting rainfall in Bordeaux triggered a severe outbreak of mildew in June to July, sharply reducing yields. In 2021, a devastating spring frost scorched more than a third of Burgundy's tender buds, followed by rain and hail that further accelerated disease spread. Then came 2024 the wettest year in France since 2008 when Champagne was battered by frozen temperatures and downy mildew, leaving more than half its fruit compromised. For vignerons and winemakers whose craft depends on nature's cadence, such blows are nothing short of heartbreaking.

Yet the impact extends far beyond harvest volume. Rising temperatures are also reshaping the very identity of wine: grapes ripen too quickly, acidity dissipates at pace, and surging sugar levels drive alcohol level higher, making balance and finesse increasingly elusive. In an age where nature's harmony falters, winemaking has become an ongoing negotiation with a climate in flux.

A Difficult Vintage May Steal Abundance, but It Never Ends the Story

In 2013, Bordeaux faced what many winemakers would call a nightmare vintage. A cold spring delayed flowering significantly, and as harvest approached, relentless rainfall fueled the spread of mildew. Numerous châteaux were forced to pick early, while many others abandoned production altogether. Yet, against expectation, 2013 became a year of quiet revelation. In Margaux, elegance and finesse resurfaced with surprising clarity, and a handful of biodynamic estates crafted wines that though lighter in body were vibrant, graceful, and full of life. It was a year that challenged the notion that power alone defines greatness, inviting the trade to rediscover the beauty of balance.

The 2003 Bordeaux vintage was another trial by nature an extreme year marked by more than fifty days of scorching heat, followed by hailstorms in June and July. And yet, in the face of adversity, some of Bordeaux's greatest estates delivered wines of astonishing triumph, revealing both the resilience of the vine and the mastery of the region's finest winemakers. Château Lafite Rothschild and Château Latour both earned 100-point from Robert Parker and The Wine Advocate: the former opulent, seductive, and layered with beguiling complexity; the latter rich, powerful, and texturally velvety, offering a tasting experience nothing short of profound.

These vintages remind us that hardship does not preclude greatness sometimes, it is precisely what gives it shape.

When the Weather Falls Out of Rhythm, Terroir and Human Hands Return to Center Stage

More importantly, challenging weather has never marked the end of a vintage it is the moment when winemakers and the land are called to face the trial together. As climate change intensifies, spring frosts, violent storms, scorching heat, and hail have become unavoidable adversaries. Only those who truly understand their terroir can restore a sense of order amid nature's imbalances.

In Burgundy, where terroir is not merely a concept but a faith, they believe that every great wine is the voice of a land found nowhere else. It is this conviction that has led many wineries, over the past half-century, to embrace biodynamic viticulture an approach that softens human hand so the earth may speak more

clearly through the fruit it bears. What was once regarded simply as a "return to nature" has, in today's age of climatic extremes, emerged almost as a quiet form of resilience.

By limiting chemicals and resisting preventive intervention, winemakers allow the soil to relearn self-healing. A living, healthy soil holds water more wisely, endures drought with greater strength, and diverse ecosystems that form a natural defense, enabling vines to endure frost, drought, and disease. This self-sustaining vitality enables vineyards to maintain balance even in hostile years, turning the so-called "bad vintages" into stages upon which the land may reveal its courage anew. When grapes manage to ripen with grace despite adversity, it is the terroir's resilience answering back quietly, yet poetically.

Bordeaux, however, approaches nature's unpredictability from a different philosophical vantage. For centuries, growers here have recognized that in order to thrive in an unstable environment, a vineyard must embrace diversity. Take Merlot one of Bordeaux's three major red varieties as an example. In challenging years, its shorter ripening cycle allows it to reach maturity despite limited time, yet its thin skins and larger berries make it more vulnerable to frost and disease. It can never be relied upon alone; thus, most of the wine estates cultivate multiple grape varieties. Combined with varied

soil compositions across appellations and shifting weather each year, every vintage demands a fresh response. To maintain quality and consistency, Bordeaux developed its signature art of blending. They adjust proportions based on each variety's maturity and character that year. It is a philosophy of complement rather than dominance: one variety's virtues amplifying another's, shortcomings softened through harmony, creating wines whose balance is as intentional as it is expressive.

For this reason, the greatness of Bordeaux has never belonged solely to "Climate" or "Soil," but profoundly to Winemaker insight. It is the experience, judgement, and sensibility of its winemakers that allow beauty to emerge even from difficult years. Blending, with its inherent flexibility, not only preserves Bordeaux's stylistic integrity but has become the key to transforming imperfection into greatness in an age where extreme weather is no longer an exception, but a norm.

Disrupted weather is not a symbol of failure, but a test of the partnership between humans and nature a call to remain focused and faithful even when the world becomes unpredictable. True greatness is not found in waiting for fair weather, but in continuing to craft with humility and conviction within it turning uncertainty into expression, and honoring nature not by controlling it, but by listening, adapting, and persevering alongside it.

THE ULTIMATE CRAFTSMANSHIP BY HERMÈS, THE LEGENDARY WORLD OF SPARKLES

Photo / 羅芙奧藝術集團 Ravenel International Art Group 伴隨愛馬仕的極致工藝，走入閃耀瑰麗的傳奇世界

Text / 劉允華 Wally Y.H. LIU

An exceptional, matte vert d'eau porosus crocodile diamond retourné kelly 25 with 18k white gold & diamond hardware (Features 298 diamonds totaling a carat weight of 3.47 carats set in 92.45 g of 18K white gold hardware.)"

當愛馬仕執著百年的獨有匠心工藝，與千年來受收藏 家青睞始終不墜的永恆鑽石相遇之時，彼此輝映出的璀璨 光采，形成本世紀精品市場最難以忽視的一股力量。其中 愛馬仕在國際拍場屢屢掀起驚艷風潮，早已成為藏家心中 不朽的夢幻符號；某些限量設計的款式，更在世界各地成 為收藏家與名流巨賈競相追逐的珍稀藏品。扎根於傳統的 巧思湧流不斷，正是愛馬仕作為全球精品界共通語言的核 心精萃所在。

When Hermès' centuries-old craftsmanship meets gemstones and precious metals, that have been preciously coveted for millennia, they reflect their brilliance within each other in a way that is one of the most formidable forces in the luxury market of this century. It is not uncommon for a piece to change hands for several times the price of a new one, and certain limitededition designs have become highly sought after by collectors and celebrities around the world. The constant flow of ideas rooted in the tradition is at the heart of Hermès bring the common language in the global luxury world.

卓越系列

夏日林間的光影輝映．閃耀瑰寶的夢幻珍藏

「 Hermès Exceptional Collection 卓越系列」並不是愛馬仕每年固定推 出的「量產系列」，而是針對 頂級稀有材質、特別訂製 (Special Order) 、鑲 鑽珠寶款所組成的「超限量作品」。此系列早已超越日常用途，成為「可攜 帶的藝術品」，並在國際拍場上屢屢創下天價紀錄，吸引全球藏家爭相追逐。

本季特藏霧面薄荷綠色 POROSUS 灣鱷皮 25 公分內縫鑽石凱莉包附 18K 白金及鑽石配件，選用頂級灣鱷皮（ Porosus Crocodile ），皮質細膩、 鱗片勻稱，被譽為鱷魚皮革中的王者。搭配 18K 白金與鑲嵌 298 顆總重 3.47 克拉的白鑽配件，散發濃厚的珠寶氣息，華麗耀眼，充分展現奢華與稀有 性的結合。其中高超的染製技術獨特的霧面薄荷綠色，散發一抹專屬夏日 的清涼。除此之外，由於品牌希望透過純粹線條凸顯經典造型之美，並避免 因揹帶摩擦造成稀世皮革或鑲嵌寶石受損，基於其定位與工藝考量，鑲鑽 Exceptional Collection 卓越系列無附揹帶。尤其鑲鑽款式，只因其本質更接 近珠寶藝術品，而非單純的時尚配件。

2022 年，最知名的鑲鑽喜馬拉雅 30 公分柏金包 (BIRKIN) ，以超過 45 萬美金的拍賣價格，獨力為高級包款的收藏價格，訂下難以企及的超高標準。

Reflections among snow-white peaks and summer forests

The Himalayan Birkin is based on one of the most recognizable handbags of all time, combining traditional craftsmanship, rare materials, and extreme ingenuity, to bring one of Hermès' most iconic collector's items to life. The rare Nile crocodile is used to create a backdrop of frozen plain ranging from pale brown to snow-white, while this most distinguished item features an 18-carat white g old clasp set with over 200 diamonds totalling more than 8 carats, re-creating the cold and glittering beauty of the snowy mountains in the Polar Regions. There's more. The 25 Kelly bag from the Special Collection, made from the finest gulf crocodile dyed in mint green, and set with 298 fine diamonds totaling 3.47 carats, with an 18 carat white gold and fine diamonds, exuding a touch of unique freshness of s ummer.

These bags have become instant classics, and continue to make themselves known at auctions, as they are the ultimate luxury ite ms and are unquestionably adored by all. A Himalayan 30 Birkin was sold for HK$3 million, doubling the opening price, while a Himalayan 25 Kelly broke the record at HK$3.4 million. In 2022, the most prestigious diamond-studded Himalayan 30 Birkin sold for over US$45 0,000, setting an unrivalled standard for the luxury bag collectors of the world.

A Fairytale in Fine Leather

限量系列

以工藝寫就品牌童話

同樣依據 Birkin 包的傳奇而生，愛馬仕又以 Faubourg Birkin 這個款式另闢一條經典大道。本系 列取名源自愛馬仕位於巴黎市中心 Faubourg SaintHonoré 24 號的總店，設計師大膽取用已成經典的 旗艦店門面實景，透過專有的細緻工藝，以不同的 皮質精心協作展現各種設計元素，在挺拔的外縫 (SELLIER) 包框架構上，刻畫出童話般的感受，令 人會心。這一系列的限量精品，初始以白天 (DAY) 與夜晚 (NIGHT) 兩款現身時，隨即引起全球收藏家 的注目。而後愛馬仕更發行了初雪 (SNOW) 與深夜 (MIDNIGHT) 款式，甚至衍生項目如雨天版 (RAINY DAYS) 和晚霞 (SUNSET GLOW) 版等，多端的變化 與恆久的設計工藝，讓本系列至此卓然獨立、自成 一家。

在拍賣場上， 2022 年初雪版成交逾四十萬美元 之譜。還曾掀起將全景色收於一手的風潮。於愛馬 仕的百年品牌旗下，再創一則兼具話題性與保值度 的傳奇系列。

◀ A rare, matte gris ciment alligator, gris misty & craie epsom leather, orange h & black swift leather rainy days faubourg sellier birkin 20 with permabrass hardware 罕見霧面水晶灰色短吻鱷皮，霧霾灰色及奶昔白色 EPSOM ， 橙色及黑色 SWIFT 牛皮 20 公分外縫煙雨 FAUBOURG 外縫柏金 包附淡金色金屬配件

Equally based on the legend of the Birkin bag, Hermès has created another classic with the Faubourg Birkin. Taking its name from Hermès' main store at 24 Faubourg Saint-Honoré in the heart of Paris, the designer has boldly retrieved the iconic flagship store's facade and, through exquisite craftsmanship, has created a fairytale atmosphere on the square Sellier structur e, by meticulously crafting various architectural elements with a variety of leather textures, all for the viewer's delight. The limited edition of this series, initially presented in day and night colors, immediately attracted the attention of collectors around t he world. Later on, Hermès released the Snow and Night versions, even the Rain and Disco special versions. The versatility and timelessness of the design have made this collection stand out and be established by its own merit.

At auctions, the collection can fetch between one and two million HKD by the basic model alone, with private sales of up to 400,000 dollars for the First Snow edition. At the lowest point of the market correction period, the price generally still remained above US$200,000 per model, and there was even an ongoing trend of collecting all four colors as a set. Hermès has thus created another legendary collection under its centuries-old name, one that is both topical and invaluable.

LIMITED EDITION

市場帶動行情的頂級藏品

無論以藏家或投資者的眼光來看，愛馬仕的高級經典包款都是不可多 得的珍寶。近年在買家口耳間津津樂道的 Jane Birkin 原型包成交故事，乃 是經過長達 10 分鐘的激烈競價，九位收藏家透過電話、網路和現場競價， 最終以驚人的 1,010 萬美元成交，這則傳奇只是整體趨勢中的一環。愛馬 仕手袋在全球拍賣場上屢創高價，也僅是供人一窺這股席捲世界風潮的切 面。整體而言，品牌自身近年對新品價格的調升，已然為轉手市場價提供 了堅實的基礎；近十年來，拍賣市場品項、尺寸多元，全新品的成交率有 目共睹，然而藏家著眼的目標，自然還是以限量款式與熱門尺寸為主。愛 馬仕精品包在收藏和保值方面，許多一線精品品牌都難以望其項背。

憑藉著累積百年的工藝實力，以及永不枯竭的設計巧思，愛馬仕在扎 實恆久的皮件上，為全世界的藏家獻出無與倫比的景緻。從冰川雪峰的瑰 麗天地，到匯集巴黎精品時尚於一身的品牌形象，無一不在匠師手中以令 人驚嘆的方式使人盡覽無遺。羅芙奧精品部帶領您一起踏入這片天地，為 您呈獻多種綴滿傳奇與想像的精品，讓您也能輕鬆收藏曾令無數愛好者目 眩神迷的一方風采。

Top Collections Driven by the Market

For collectors and investors alike, Hermès's luxury classics are rare treasures. The Jane Birkin prototype, which has been the talk of the town in recent years and auctioned with an astronomical amount, is just one aspect of the overall trend. The diamond-studded Himalayan bag, which has fetched record prices after record prices at auctions around the world, is also just a glimpse of a trend that is sweeping the globe. Overall, the brand's own price increases for new arrivals in recent years have provided a solid basis for resale market prices; the average rate of return has been around 6-7% per year for the last ten years, with many models doubling in price within five to ten years. Collectors would focus on limited editions and popular sizes. In general, however, the premium on any Hermès resale item can easily reach two to three times the retail price. In terms of collectability and value retention, Hermès sets a goal that is difficult to catch up.

By its centuries-old craftsmanship and forever-renewed design ingenuity, Hermès offers collectors around the world an unparalleled range of solid, timeless leather creations. From the splendor of glacial peaks and snowy mountains, to the image of the brand as a collection of Parisian chic, the artisans have been creating one breathtakingly beautiful display after another. The luxury department of Ravenel will guide you on a journey into this world, presenting a wide range of legendary and imaginative pieces, making it easy for you to collect a glimpse of this world that has captivated countless enthusiasts' loving gaze.

▼ A matte himalaya niloticus crocodile birkin 30 with palladium hardware

霧面喜馬拉雅 NILO 鱷魚皮 30 公分柏金包 附銀色金屬配件

BIRKIN

YMS by onefifteen

逐漸打開五感的美學聚落 關於「美好生活」的定義

試營運營業時間： 周三-周日 地址： 台灣台北市士林區建業路10號 Gallery 4: 10:00-18:00 Lab 10: 12:00 - 17:00 Restaurant 12: 17:30 - 22:00

建築與設計： MCM 東西對話的現代詩 YMS by onefifteen 的前身為 1950–60 年代的美軍宿舍群 H-2 區。 當時，中世紀現代主義（ Mid-Century Modern, MCM ）風格盛行，強調 簡潔、功能性與內外通透，並深刻影響了台灣建築語境。

在 YMS ，這些建築被重新喚醒：平頂結構、大面積落地窗、通透格 局依舊保留，卻注入當代選品、藝術與品牌合作。五棟建築以「單一家 屋」為隱喻，錯落於山林花園中，化作五種生活感官的載體。這裡不僅 延續 MCM 的核心精神，更成為一種當代表達－關於「理想生活藍圖」 的提案。

空間設計融合經典線條與當代細節：標誌性的家具設計、光影與材 質的細膩語彙、藝術作品的點綴，共同營造懷舊卻前衛的氛圍。從家具、 器物到制服，每一件選品不只是物件，而是一場美學生活的延伸，讓日 常與藝術相互交融。

【遊牧的形象】 Gallery 4 首展登場

陽明山被譽為台北的後花園，既是城市人的小逃離，過去的美軍宿 舍，本身有著特殊的歷史性，如今轉化為文化場域，讓策展人 François Ho 即以《遊牧的形象》為題作為首次展覽：他認為這個場域自身就是「遊 牧」概念的縮影：一個見證不同時代政治與文化交錯的場景，以「遊牧 的形象」為題，是空間與主題的互相呼應，聚焦於 1960 年代東西方文 化交流的黃金時期。

展覽中的作品既有東方藝術家對西方形式的回應，也有西方藝術家 受東方思想啟發而轉化的實例。可以具體見到的實例有很多，基本每一 件作品都緊扣主題，例如對置而放的 Walasse Ting （丁雄泉）和 Vivian Springford 的兩件作品，丁雄泉的繪畫吸收了西方的表現主義與普普藝 術的明快色彩，同時保有東方書法與水墨的線條感。他的作品是一種文 化碰撞後的狂放詩意，並將東方的感性帶入西方的當代語境。 與之對望 的 Vivian Springford ，她則深受東方美學與哲學啟發，她的抽象繪畫裡 可見中國書法筆觸的韻律與「氣」的流動。她透過顏料的暈染來追求一 種內在的精神性， Vivian Springford 的 "one-shot painting" 方法，其實 是她承襲並轉化東方美學的一個很具體實例。她深受中國書法與道家思 想影響，常說要在畫布上「一次完成」筆觸，而不是不斷覆蓋或修飾。 這種「 one-shot 」的方式強調即興性與當下性：顏料與水在畫布上的自然 流動，像是水墨中的「暈染」，帶有氣韻生動的意味。她希望顏色與線 條能保持原始的生命力，就像書法家揮毫時一氣呵成的筆勢。展覽希望 觀眾能看到這種跨文化對話如何具體塑造了 1960 年代之後的藝術風景。

坐落於陽明山林間，YMS by onefifteen 承載著歷史與自然， 揉合飲食、藝術、建築、設計、住宿與健康，構築出一座探索生 活美學的聚落。這裡既遠離城市喧囂，又保有文化脈絡的厚度， 讓人能在此展開一段身心靈的沉浸旅程。

園區內五棟建築－ Restaurant 12 、 Lab 10 、 Spa 6 、 Gallery 4 與 Dwell 8 －分別象徵味蕾、創新、療癒、藝術與棲居，串聯 成一場以五感為軸心的探索。率先開幕的 Lab 10 與 Restaurant 12 ，為訪客揭開故事的序章；而展覽空間 Gallery 4 ，則以藝術 對話承載 YMS 的靈魂，開啟跨越時代與文化的交流。

策展人 François Ho 更強調，「遊牧」不是地理上的遷徙，而是藝 術在文化之間的流動，也是概念與視覺的流動。它像是一種去地域化 的方式，提醒我們：藝術史從來不是線性的，而是一個多重交織的網絡。

「遊牧的形象」試圖描繪文化、藝術、圖像如何在不斷的往返與翻譯 中被形塑，聚焦於 1960 年代至今東西方藝術互動的片段，將作品放在 跨文化的路徑上來觀看。

展覽邀請觀眾進入藝術的遊牧之旅：在跨越時空的思想自由中， 感受東西方互動的複雜與動態。希望觀眾能在這裡意識到：藝術並非 孤立的作品，而是嵌入在歷史、地緣與文化互動中的一部分。

近期展覽：打開 YMS 的時空膠囊

延續 MCM 建築精神，年底即將推出的《 YMS 的時空膠囊｜ MCM 當代家具的生活風景》以家具為媒介，將建築、記憶與設計串聯。

展覽以「時空膠囊」為概念，封存並重啟 1950–60 年代的美學精 神。觀眾將透過歷史影音、 MCM 古件與新家具作品與互動體驗，親手 「打開」這枚膠囊，回望美軍駐台時期的生活風景，同時重新思考當代 「現代生活」的想像。這不僅是一段回顧，更是一場跨越時代的再創造。 理想生活的藍圖 美好生活的落實

從餐飲饗宴 Lab 10 、 Restaurant 12 ，到藝術策展 Gallery 4 ；從身 心療癒 Spa 6 ，到居住空間 Dwell 8 ， YMS by onefifteen 以「吃、喝、 玩、樂、住」為主題，重構一個兼具文化厚度與生活溫度的聚落。

在這裡，建築、文化、土地與自然交融，化為一場當代生活的深 呼吸。 YMS by onefifteen ，不僅是空間，更是一種生活理念的實踐— 邀請每一位來訪者，以自己的步伐展開屬於「美好生活」的篇章。

Royal Scotsman :

An Unforgettable Highland Journey in Luxury 重返鐵道「皇家蘇格蘭人號」火車

穿越高地的極致奢華之旅

搭火車，正在成為新世代奢華旅行的代名詞。 近年，全球高端旅遊趨勢悄然轉向「慢奢華」：

相較於飛機的速成與郵輪的規模， 火車旅程的節奏與私密，它不再只是交通方式， 而是一種令人難忘的奢華體驗。

Text / Janet Lee

Photo / La Fantaisie 提供

Royal Scotsman

若要體驗歐陸最具代表性的鐵道奢華，便不能 錯過自 1985 年啟程的 Royal Scotsman 「皇家蘇格 蘭人號」，以一種無與倫比的體驗，帶領旅客穿越 雄偉高地，徜徉在幽深峽谷、鏡面湖泊與巍峨古堡 間，如同展開一幅行進中的史詩畫卷，沈浸一場流 動的夢境中，難以忘懷。

流動的別墅

最初由臥鋪與三節餐車組成，但其漆面拋光 木質面板和溫暖色調的織物軟裝，完美復刻獨具 特色的「愛德華時代」英式古典豪華的車廂，被 譽為「流動的別墅」。在車廂間穿行，宛如置身 私人莊園。如今，依舊以舒適的套房、典雅豪奢 內裝車體，精緻美豐美盛宴，和無微不至的私人 服務，維繫著皇室般的氛圍。每晚都備著現場音 樂與傳統舞會（ ceilidh ），威士忌舉杯時光，為 旅程添上細膩而難忘的片段。

安穩、舒適；不急不徐的鐵道之旅；最迷人的， 莫過於在車行間，一面舉杯威士忌，一面悠閒地 欣賞窗外，感受渾然天成的荒原和高地原始的魅 力，何等愜意。甚至可以來到設有露天平台的觀 景車廂 Observation Car ，依偎在舒適的沙發或扶 手椅上，隨列車蜿蜒而行，靜靜地綴著酒，從最 佳視角，飽覽列車駛過鄉間、連綿山谷、湖泊與 古堡等野性風景。」沉浸於蘇格蘭史詩般原始野 性與優雅靜謐並存的壯麗與傳奇。

Dior Spa

Dior Spa 專屬水療車廂

搭乘列車，喝著小酒，欣賞蜿蜒穿越原始自然風光，固然逍遙難得； 但這趟火車之旅的奢華亮點，可能更讓人難忘； 2025 年，皇家蘇格蘭 人號再創紀錄—成為全球第一列設有專屬 Dior Spa 車廂的豪華列車。

兩間水療車廂，以 Dior 經典 Toile de Jouy 勃根地紅印花圖騰裝 飾，打造靜謐卻奢華的療癒氛圍。旅客可以在白日進行高地健行、溪 谷溯遊、或峽谷漫步或拜訪蘇格蘭高地蒸餾酒廠巡禮後，回到列車上 接受皇家綠乳香精油按摩，或針對旅途疲憊的修復療程。

很難想像在皇家蘇格蘭火車兩間寧靜的專屬車廂空間，一面感受 列車蜿蜒穿越蘇格蘭令人嘆為觀止的山峰和險峻的山谷之間行進，一 面由專人在火車上替客人進行意想不到的水療 SPA 體驗。這彷彿將巴 黎高訂的美容護理，移植到穿越荒野的英倫鐵道之上，徹底放鬆與感 受如此極致的美容護理舒緩療程。奢華，因此重新被定義。

美食盛宴風味記憶

豪華列車，美食當然是重頭戲。 Royal Scotsman 兩節 以傳統紅木鑲板工藝裝飾，低調卻雍容的餐車「 Raven 」與 「 Swift 」，隨時備有種類繁多的熱飲、精選葡萄酒、利口酒 以及超過 50 種麥芽威士忌，全天提供。

行政主廚 Mark Tamburini 強調：「在火車上烹飪是一種 享受—我們的廚房不是與自然隔絕，而是與窗外的高地美景 共生。」菜單以蘇格蘭風味為基礎，從早餐到晚餐，皆選用 新鮮在地食材，尤其是馳名的海鮮料理。搭配 50 多種麥芽 威士忌與精選葡萄酒，為列車之旅增添更完整的風味記憶。

而火車上每一晚的晚宴，宛如縮小版的高地慶典—華麗 的餐車、傳統音樂與格蘭薊花的點綴，都讓這段旅程充滿典 禮感。

豪華尊榮套房體驗

皇家蘇格蘭人號不僅是一段旅行，更是一場與歷史、自 然與奢華交織的非凡體驗。 Royal Scotsman 這塊招牌在歐洲 鐵路旅遊擁有悠久歷史和奢華傳統；首次啟程至今，也經歷 過不少時代考驗； 2018 年 LVMH 收購後，皇家蘇格蘭人號 迎來新一波升級。新增的 Grand Suite 豪華套房，由在地創 意團隊設計，空間寬敞，備有私人管家服務，並提供私人用 餐、個性化迷你吧與一次免費 Dior 水療護理。

除了 Grand Suite ，每人 10,300 英鎊起，列車還有雙人 套房（ 5,800 英鎊起 / 人）、雙人艙（ 4,800 英鎊起 / 人）等 多樣選擇。無論哪種房型，清晨，躺在床上，不用下車，就 能獨攬蘇格蘭高地壯麗的景色，盡情享受放鬆。舒適的私人 時光。

收藏級的人生體驗

在追求速度與效率的時代，皇家蘇格蘭人 號以「慢」為奢華，讓旅人不急不徐地與風景 相遇。它是一座行動中的高級俱樂部：將住宿、 餐飲、娛樂與文化濃縮於一列火車之中。

自 1985 年首航以來，它既承載歷史的 厚度，也隨時代創新而再生。如今的 Royal Scotsman ，不僅是一趟旅行，更是一場可列入 收藏的人生體驗：自然、文化與奢華交織，讓 旅人從踏上列車的那一刻起，便走進一段值得 永久珍藏的旅程記憶中。

PANORAMA GLASS LODGE

床上的北極光，一場極地浪漫邂逅

在冰島南部小鎮「海拉」的僻靜角落， 隱身著四座被譽為全球最受追捧的全景玻璃屋。

每一棟皆配有私人熱水浴缸與一張特大床，讓旅人能夠在床上與北極光「纏眠」， 於天地之間展開一場浪漫而難忘的極地之旅。

Text / Janet Lee

Photo / Panorama Glass Lodge 提供

星空夢幻小屋

這四座小屋— Freya 、 Alva 、 Odin 和 Thor —每間 約 237 平方英尺，設有獨立浴室與戶外熱水浴缸。自 九月至翌年三月的旺季，四面環繞與天花板皆由透明 玻璃構成，從任何角度都能凝望赫克拉火山的壯麗全 貌。當夜幕低垂，極光劃破天空，您可以躺在溫暖的 床上靜靜仰望，或在蒸騰的熱水浴缸中，與極光對話。

2017 年，一對夫妻創建了第一座玻璃小屋，定位 為「終極浪漫之選」。如今，隨著旅客對「沉浸於極 地自然」的嚮往愈加強烈，入住需求早已供不應求， 房價自 499 歐元起，預約更是常年爆滿。

北國極夜

私密體驗

「小屋的存在，是為了讓人逃離現實，」主人如此強調。地處偏遠、毫無光污 染的環境，使這裡成為觀星、欣賞午夜太陽與追尋北極光的絕佳地點。無論是夜空 中變幻莫測的極光，還是黎明初升的曙光，每一刻都宛如一幅活生生的自然巨作。

小屋並非五星飯店，卻能帶來超越星級的體驗—如同回到「維京時代」，與自 然原始力量共鳴。這裡的每一個夜晚都可能成為一段終生難忘的記憶。

WHERE THE SKY IS.

荒野中的奢華

Panorama Glass Lodges® 不僅榮獲《國家地理》讀者獎，更 在超過 180 種出版物中被評選為全球最獨特的住宿體驗之一。它 重新定義了「荒野奢華」：採用斯堪地那維亞風格設計，以木材、 玻璃與鋼材建構，室內裝潢全數客製化，既尊重大自然，也維持 永續發展。熱水浴缸與泳池皆以可再生能源加熱，水源則取自鄰 近的天然泉水，清澈純淨。

起初，小屋專為蜜月與浪漫度假而設計，但當「觀景床」 上的極光照片廣為流傳後，它逐漸成為無數旅人夢想中的打卡聖 地。這裡既是愛侶的浪漫居所，也是一份擁抱歷史與自然的邀請。

自然奢華旅程

如今， Panorama Glass Lodges® 已拓展至班克斯

森林，並提供完整旅遊套裝行程。旅客可搭乘吉普車遊 覽黃金圈—造訪辛格韋德利國家公園、蓋歇爾地熱區與

黃金瀑布，最後抵達玻璃小屋；隔日更可探訪冰洞，或 參加冰川雪地摩托車之旅。行程最後一晚，則安排入住

雷克雅未克，並前往藍湖，完整體驗冰島的極致之美。

套餐價格自每人 3,199 英鎊（約 4,199 美元）起。

在這片北國荒原中，玻璃小屋將私密、自然與奢華 融為一體。它不是單純的住宿，而是一段能與宇宙對話 的旅程：在床上迎接北極光，在星空下入眠，於日出時 甦醒—這樣的體驗，足以成為生命中珍貴的荒野奇遇。