moutai magazine issue2

HKD 50 | RMB 40 | USD 7

The King’s Mulberry Sauce 一個王的微醺舊夢

Johnson Chang: He Who Lives Contemporary Chinese Art張頌仁：活在當代

Moutai in a Cocktail Glass 雞尾酒杯裏的茅台

The World’s Finest Wines and Liquors in Hong Kong品酒盛會在香港

IMMorTALISed SpIrIT凝固的瞬間

MOUTAI I S S U E

wIntER 2013

貴州茅台國際雜誌Moutai Magazine – International edition

世界之醉•Magazine

晚來天欲雪，能飲壹杯無。

起於秦漢，熟於唐宋，精於明清，尊於當代。公元前135年，漢武帝，“枸醬”美酒，“甘美之”1915年，巴拿馬金獎。1949年，開國宴酒。1954年，日內瓦會議，卓別林。1961年，松崎君代，總理贈茅台。1971年，基辛格訪華。1972年，尼克松訪華。1984年，聯合公報簽訂，撒切爾夫人。1997年，香港回歸。1999年，澳門回歸。1999年，霍克開戒。2001年，中國入世。2002年申奧成功。2008年，“神舟”飛天。2013年，安納伯格莊園，奧巴馬。



瞬間即永恆在那些激盪的偉大時刻需要一種氣質與之呼應

茅台，時間的贈予流淌在歷史的血液裡

Matching the remarkable historic moments

is something with a phenomenal flair.

As time passes by, it leaves behind the enduring

spirit of the Moutai liquor.

To eternalise ephemeral glory

www.moutaichina.com貴州茅台世界三大（蒸餾）名酒

貴州茅台酒（飛天)

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moutai_P2_AD_131202.pdf 1 6/12/13 6:42 PM

A Dialogue of Time and History時間與歷史的對話

Just as celebrated writer Milan Kundera has famously said: “Human time does not turn in a circle; it runs ahead in a straight line.”, Confucius was also quoted in The Analects to have said, from above a river, that the past is like the water

of the river: once it’s gone, it’s gone. In their own languages, the great visionaries both lamented the nature of time: once

it’s gone, it’s gone forever. With the passage of time we experience the coming and going of people and things. We wish

time could stand still but there is nothing we can do to stop it from passing. What we need to understand is that time is not

an ever-extending platform, but an entity that creates life, a benchmark that aids the understanding of history. It’s time that

enables the depth of life and profundity of history.

It takes one minute to recite a great Tang poetry; it takes one hour to steam-cook a pot of millet rice; it takes a century to

fully experience a life of ups and downs; and it takes one thousand years to dialogue the essence of Chinese philosophies.

The comprehension of time is the focus of this issue of Moutai Magazine. From the immortalisation of a courageous steed on

a battlefield, to a captivating scent born 2,000 years ago, and ‘the most luxurious building from the Suez Canal to the Bering

Strait’ that continues to evoke a time, back in history, of glory. The past was once the present, and thanks to the people who

lived in the moment and created history, the modern-day world can be inspired by the classic, beautiful things and stories.

Through liquor-making, we perpetuate the momentary; with utmost dedication and patience, we transform a blueprint

into splendour. The layer of grey on the wall of the cellar is not dust – it is evidence of a dialogue of time and history.

“人類之時間不是循環轉動的，而是直線前進。”這是米蘭．昆德拉的名句，正如中國儒家經典《論語》的一段著名記載：“子在川

上曰，逝者如斯夫！”二者皆在感嘆時間一維性的不可逆轉。我們在時間中生老病死，相聚與別離，我們不捨於時間的流走，但又無

法停止它。然而，時間並不是一個無盡延展的單薄平面，它是組成生命的材料，是解讀歷史的標尺，是它成就了生命的深度，積澱了

歷史的厚度。

朗誦一首動聽的中國唐詩需要一分鐘，蒸熟一鍋香氣撲鼻的米飯需要一小時，經歷一次悲喜交集的人生需要一個世紀，對話一種

中國哲學精神需要一個千年。對時間的解讀是本期的重點之一。古戰場上飛馳的駿馬被雕琢成石像化為永恆的思考；兩千年前的讚嘆

牽引著世人的鼻息；一個世紀前“從蘇伊士運河到遠東白令海峽最講究的建築”將榮光隱入了牆體，留下無盡的啟示。然而，歷史也

曾經是“當下”，活在當下的人們，從歷史中獲取資源創造當代的歷史，用創意與歡樂將經典點化為激動人心的美麗物事。

我們藉釀造之術，留住這世間的剎那和永恆。我們也在用專心與耐心，將藍圖釀就為輝煌。酒窖的白牆早已變灰，那不是塵埃，

是時間與歷史的對話。

chairman message 刊首語Winter Issue 2013 二零一三年冬季刊

Yuan Ren-guo 袁仁國

Chairman of CHINA KWEICHOW MOUTAI DISTILLERY (GROUP) CO., LTD.

and KWEICHOW MOUTAI CO., LTD.

中國貴州茅台酒廠（集團）有限責任公司

貴州茅台酒股份有限公司董事長

MOUTAI Magazine 3

CHINA KWEICHOW MOUTAI DISTILLERY (GROUP) CO., LTD. Maotai, Renhuai City, Guizhou Province, China 564501

KWEICHOW MOUTAI CO., LTD. Maotai, Renhuai City, Guizhou Province, China 564501

Production & Advertising Sales Agent:ER HONG KONG HOLDING LIMITED

Room 2103, 21/F, Sino Plaza, No. 255-257 Gloucester Road, Causeway Bay, Hong KongTel: (852) 3580 2598Fax: (852) 3580 2588

Consultants: Yuan Ren-guo, Chen Min, Liu Zi-li, Zhao Shu-yue, Fang Guo-xing

Publisher: Francis WangChief Executive Officer: Christine Yin

Creative Director: Dora LuManaging Editor: TC Li Chinese Editor: Ale TangArt Director: Chloe Yip

Graphic Designers: Wingo Law, Issac ChanSenior Project Editor: Konzen HouAssistant Project Editor: Nikita Wan

Senior Account Manager: Wami ChengMarketing Executive: Denise ChanPhotographers: Bluer, Zhang Rui

Senior Executive – Business Development: Lillian LeungRegional Director: Samson Tong

Advertising Enquires:Tel: (852) 3580 2598

Email: [email protected]

Printer: Infinity Printing Co., Ltd.

Craig Au-yeungA cross-media artist who loves life, food and

travel. Craig has been on a dedicated research on

contemporary home living and architectural design,

from which he writes articles that are featured in

magazines in China, Hong Kong and Taiwan.

Dong Tie-zhuDong Tie-zhu is a holder of Ph.D in Chinese culture

at the University of California, Berkeley. Familiar with

both Chinese and Western culture, Dong has been

teaching Chinese culture at Wofford College (USA)

and United International College (Zhuhai).

Andrew DembinaAndrew Dembina, a print and radio journalist, has

contributed to lifestyle and business pages of Hong

Kong, regional and international publications and

websites for two decades. He is now food and wine

editor at Baccarat magazine, and a weekly contributor

to RTHK Radio 3.

TC LiA master’s degree-holder in international journalism

at Cardiff University, TC Li has contributed to

international and Hong Kong’s local publications

spanning across different genres from inflight to

lifestyle magazines.

contributors

RightsMoutai Magazine (international edition) is published quarterly

by ER HONGKONG HOLDING LIMITED under a license by

KWEICHOW MOUTAI CO., LTD.

Reprints, copy or use of any content in this magazine whether

in whole or in part, shall only be allowed with the express written

permission of KWEICHOW MOUTAI CO., LTD.

No responsibility can be taken for unsolicited texts and photographs.

The views and opinions expressed or implied in the articles do not

necessarily reflect the opinions of the publisher, editors or the licence

holder. All content in this magazine have been complied to the best

of our knowledge, but no warranty or representation is given as to its

accuracy, completeness, relevance, timeliness or otherwise.

Moutai Magazine (international edition) appears quarterly with

editions published under cooperation or licence in two languages.

Sponsor: Top Gainer Industrial Limited

Special Thanks: Hanart TZ Gallery; ; ; ;

Secret Retreats;

4 MOUTAI Magazine

3 / Chairman Message

刊首語

nature 天6 / Immortalised Spirit

凝固的瞬間Six courageous steeds immortalised on stone to perpetuate people’s memories of them.飛馳的駿馬被雕琢成石像化為永恆的思考

12 / The King’s Mulberry Sauce

一個王的微醺舊夢A mulberry sauce that enthralled a kingdom in the ancient Orient.古老的東方枸醬讓一個王朝魂牽夢繞

people 人16 / Interview with Influential Chinese Figures

– Johnson Chang, He Who Lives Contemporary

Chinese Art

專訪中國名人─活在當代．張頌仁From the time of counter-cultural movement to his effort in resurrecting Confucian rites, founder of Hanart TZ Gallery Johnson Chang chronicles his life devoted to contemporary Chinese art.漢雅軒創辦人張頌仁遊走中西之間的藝術人生

22 / Interview with Influential Western Figures

– Jeremy Stockman, Life is Too Short to Drink

Bad Wine

專訪西方名人─人生苦短，勿喝劣酒．謝學文Trading Director of Watson’s Wine, Jeremy Stockman speaks about wine cultures and his life growing up with wine.屈臣氏酒窖貿易總監謝學文細談喝酒、品酒、買酒

26 / Red and Black 紅與黑Hong Kong artist Ng Chung, between sobriety and tipsiness. 藝術家吳松的醒與醉

etiquette 禮28 / Perfectly Complementary

耳目一新的創意酒肴The national liquor of China and a complementary seasonal feast.美食美酒的季節味道

34 / The Historical Witness

百年視覺憑證The old Shanghai branch of The Hongkong and Shanghai Banking Corporation witnessed the historical transformation of the city from The Bund.原上海滙豐銀行大樓見證時代的發展與變遷

40 / Drinking Culture in a Glass

淺酌細品．杯中文化A glimpse of the world’s drinking glasses.探究酒杯的藝術

muse 樂44 / Moutai in a Cocktail Glass

雞尾酒杯裏的茅台Award-winning mixologist Antonio Lai creates three molecular cocktails with the Moutai liquor.國際知名調酒大師Antonio Lai的分子茅台雞尾酒

50 / A Sojourn to the Spice Islands

邂逅香料島 Silolona Sojourns brings travellers back in time to relive the spice trade travel in an exquisite tropical hardwood vessel.木船上神遊香料國度──峇厘Silolona Sojourns度假村

56 / The World’s Finest Wines and Liquors in

Hong Kong

品酒盛會在香港Moutai liquor exhibits its prowess at the Hong Kong International Wine & Spirits Fair 2013.國酒茅台亮相香港國際美酒展2013

harmony 和58 / The People’s Scholar

史景遷為人民服務Jonathan D. Spence, the American China studies specialist of the time. 最時尚的美國漢學家

62 / Life is a Dream

故事裏的人生A dream, a life, a thought-provoking philosophy in a theatrical play.一場夢一齣戲一段人生一道哲思

68 / Premium Gourmet for Premium Liquor

五星饗宴．五星佳釀Having renovated as a modern-looking restaurant, Michelin-starred Yan Toh Heen introduces a new wine cellar showcasing vintage western wines and the Moutai liquor, as well as a new menu.欣圖軒　與美酒分不開的米芝蓮星級粵菜

74 / Craig Au-yeung Column – LOHAS Living

in a Garden

歐陽應霄專欄 ─ 樂活園圃Cross-media artist and columnist Craig Au-yeung on his thought-provoking culinary experience at Petersham Nurseries.跨媒體專欄作家歐陽應霽　返璞歸真的味蕾之旅

76 / Moutai on the World Map

茅台在全球

80 / Kweichow Moutai Overseas Agency

Network – Your Liquor Appreciation Journey

Begins Here

開啟你的品鑑之旅

貴州茅台海外經銷商網點

content

P12 P62

MOUTAI Magazine 5

IMMORTALISED SPIRIT

All lives on earth follow a course.For the humankind, a year consists of a cycle of spring, summer, autumn and winter. When the same cycle repeated itself for countless times in history, it created an era. Arriving soon is the year 2014, the Year of the Horse in Chinese culture. Inevitably mentioned in any literature on Chinese art are six steeds, whose courageous battle thousands of years ago was sculpted by the most distinguished sculptor on a stone wall. The steeds were immortalised, artistically, to continue to revive people’s memories of them.

萬物更迭有它自己的次序。

人們把春夏秋冬的一個輪迴，視作一年；

同樣的過程，發生於歷史，被稱為一個時代。

即將到來的2014年，是中國人的馬年。有六匹駿馬，任何一本關於中國藝術的通史都不能不提起，

牠們在千年前戰場上搏殺的瞬間，被最優秀的藝術家雕刻在石壁上，化為不朽，

讓人們對牠的牽掛永不停歇。

TEXT/文: Dora Lu, Konzen Hou imagE/圖: imagineChina 東方iC TransLaTion/譯: TC Li

凝固的瞬間

6 MOUTAI Magazine

Nature 天

The Six Steeds of Zhao Mausoleum – Saluzi昭陵六駿之颯露紫 Boasting a body of violet hair, Saluzi raced away. During Emperor Taizong of Tang’s conquer

of the Eastern Turkic Khaganate, it was shot in the chest by an arrow. Head lowered and vision

regressed, Saluzi began shivering. The general then lowered his body, leant towards Saluzi and

pulled out the arrow. The explicit display of tender emotions between man and horse, in the

face of life-threatening danger, was a sentimental sight.

颯露紫毛色紫紅，奔馳如風。在唐太宗東征的戰場上，牠前胸中一箭。這一瞬間，牠垂首

偎人，眼神低沈，全身顫慄。大將軍丘行恭俯身貼近馬首為牠撥箭，臨危之際，人與馬的

深摯情感，令人動容。

The bas-relief of saluzi is currently displayed at the University of Pennsylvania museum of archaeology & anthropology.

颯露紫石刻現藏於美國賓夕法尼亞大學博物館

MOUTAI Magazine 7

The Six Steeds of Zhao Mausoleum – Baitiwu 昭陵六駿之白蹄烏With a body of hair dark as night and hooves white as

snow, Baitiwu lifted its head and stared with wrath,

as it charged forward as if flying in the air, its hair

tamed by the wind. Vividly captured on the bas-relief

is the steed racing along the Loess Plateau, carrying the

Emperor on its back. Baitiwu suffered no arrow injury;

it probably passed because of fatigue. This is a steed

Emperor Taizong of Tang called the ‘wind-chasing

charger’.

牠毛髮漆黑如夜，四蹄卻俱白如雪。牠昂首怒目，四

蹄騰空，鬃毛迎風，這疾速奔馳的瞬間，凝固於精美

的石刻裏，足以還原牠載著君王在黃土高原上急馳追

擊的情景。白蹄烏身上並沒有箭傷，或許是因為長途

疾馳力竭而終，唐太宗讚其為“追風駿足”。

As a symbol of speed, the steed, once depicted through a bas-relief, has enabled the creation of an enthralling piece of art. So used to racing against time, we can perhaps better see the form of time if we would only pause the pace we are going.

駿馬，從來是速度的象徵，

而凝固成石刻，

卻成就了驚世的藝術。

習慣了與無形的分秒追逐，

或許停下腳步，

我們能看見時間的姿態。

8 MOUTAI Magazine

Nature 天

The bas-relief of Baitiwu is currently displayed at the Xi’an Beilin museum.

白蹄烏石刻現藏於中國西安碑林博物館

MOUTAI Magazine 9

The bas-relief of Quanmaogua is currently displayed at the University of Pennsylvania museum of archaeology & anthropology.

拳毛騧石刻現藏於美國費城賓夕法尼亞大學博物館

10 MOUTAI Magazine

Nature 天

The Six Steeds of Zhao Mausoleum – Quanmaogua昭陵六駿之拳毛騧The six arrow injuries on the body of this steed with curly hair are telltale signs

of the fierceness of this battle in 622 C.E. With the battle won, the Tang Dynasty

was born, and the soul of this audacious steed was eternised on a slab of blue

stone. Thousands of years later today, the warm light of the museum transforms

its pain into thoughts destined for an eternity.

這匹周身旋毛捲曲的戰馬，身中九箭。可以想見，公元622年的這場戰役是如

何的激烈。戰役結束後，一個空前的唐王朝從此誕生，牠卻將一縷魂魄遁入青

石。千年後的博物館裏，溫柔的燈光將牠的痛苦化為對永恆的思考。

To quote Chinese philosopher Zhuangzi, life on earth is, like a white steed crossing a rift, a matter of an instance. Once we have grasped the meaning of time, we can perhaps better live in the moment.

莊子云：

人生天地之間，

如白駒過隙，忽然而已。

當我們理解了時間的意義，

或許能更從容地品味當下的生活。

MOUTAI Magazine 11

12 MOUTAI Magazine

Nature 天

The King’s

The fading memories in history Settle in the fine liquor Hover above the mountain topsAnd captivate the noses and breaths Of those who live in this day and age.

逝去的歷史，

沈澱在美酒中，

縈繞在山崗上，

牽引著世人的鼻息。TEXT/文: Chasel Wang imagE/圖: Vassil TranslaTion/譯: TC li

一個王的微醺舊夢

W ith a fleeting existence of merely 300 years, the ancient

Kingdom of Yelang remains to today an intriguing part of the

Records of the Grand Historian. Try as hard as one may to

fathom the history of this kingdom, he is destined to be rendered clueless.

Leaning on the side of a big mountain and surrounded by a river, the kingdom

would have been a picturesque place, but so would it have been isolated, where

visitors from outside left as soon as they came. Living a solitary life in the woods,

2,000 years ago in history tucked away in the mountain range of southwest

China, was a lady who washed clothes by the river. A look at her and one would

be compelled to learn more about her; once one has learnt about her, one would

never forget her.

Two thousand years ago in the Han Dynasty, she was a love at first sight.

It was a time of turbulence, when the Nanyue Kingdom in the Pearl River

MulberrySauce

MOUTAI Magazine 13

Historian, whose writing commenced in this

period in history, had recorded this particular

historical event where Emperor Wu of Han,

after a sip of the mulberry sauce liquor,

complimented on its unparalleled, refreshing

sweetness. And that was from an Emperor

who had had all the fine food and liquor the

world had to offer.

But that was not the end of the story.

Having learnt at the banquet that the

mulberry sauce was traded along the river

from Yelang to Nanyue, General Tang Meng

contemplated about a new shortcut that

connected the Kingdom of Shu and Nanyue.

Soon after, Emperor Wu of Han assigned

General Tang Meng with the construction of

the ‘Yelang Trail’ (also called ‘Nanyi Trail’).

Construction of a colossal scale spanning

over two decades, all because of a glass of

fine liquor.

And then one day in 130B.C., General

Tang Meng took off from Chang’an, trekked

thousands of miles, along the Chishui River,

all the way to Xibu. A fish by the name of ‘xi’

was native to this area, it was believed.

The water of the Chishui River was

exceptionally clear and sweet; surrounded

by mountain ranges, the river valley was

warm in winter, hot in summer, with little

rain or wind, as if it was destined by nature

to be a wine cellar. The Pu people in the

village would pick fruits came the Double

Ninth Festival every year, and make liquor

with the water from the river. They never

called themselves liquor-makers; they called

themselves the labourers who collected

fruits and turned them into a sauce.

And that was how Han unveiled life at

Yelang and had a taste of the unmistakable

aroma. From that came the Chinese saying

that went: “What is that mulberry sauce of

Han’s? That mulberry sauce was what lured

General Tang Meng all the way to Xibu.”

Estuary was in a perpetual feud with the

Minyue Kingdom in the Wuyi Mountains.

When the new Nanyue King was throned,

Minyue took advantage of the turmoil and

staged war. Nanyue was forced to seek

assistance from Han, and the Han Emperor

sent General Tang Meng to help. The result

was a victorious Nanyue and an army that

defected from Minyue. Having secured

his territory, the King of Nanyue held a

sumptuous banquet as a gesture of gratitude

for the Han army.

Out of the great array of gourmet

delights especially prepared by the King

of Nanyue, General Tang Meng had his

undivided attention on a special liquor that

had a clear colour and thick body, a liquor

that was fragrant and pure. Lavish with his

compliment for, and consumption of this

liquor, the General decided to enquire the

King of Nanyue about the liquor.

He soon learnt that the liquor was

produced in a place called Xibu in the

Yelang Kingdom, a kingdom in southwest

China that comprised numerous tribal

kingdoms. The tribal chiefs, with a love for

alcohol, would order their subordinates to

make liquor with the wild paper mulberry,

a liquor that was called ‘mulberry sauce’

liquor. The art of making the liquor was

mastered by only a handful and passed on

to few, hence the small scale of production.

Yet since Nanyue and Yelang were

connected by trade, the precious liquor

was eventually exported to Nanyue.

As General Tang Meng downed glass

after glass, no less spellbound by the

liquor’s uniqueness, it occurred to him how

inappropriate it would be for him to not

let the Emperor of Han have a taste of it as

well. And so on his way back to the capital,

he brought a bottle of the liquor along.

It is believed that in Records of the Grand

General Tang Meng didn’t travel to Xibu

alone. His beloved concubine Gou Zhen-

ying came along initially to take care of her

husband, yet she succumbed to fatigue and

illness that in the end, General Tang Meng

buried her at a mountain ridge to the east of

Xibu, overlooking Chang’an, thousands of

miles away.

The locals later named this mountain

ridge ‘Han Po Ling’, literally the ‘cold woman

ridge’, as Gou was born in the cold north of

China. A great number of mulberry trees

began to grow on the ridge, which would

bear sweet and plump fruits in autumn to be

made into magnificent liquor, with the Han

soul still lingering within.

The Xibu area of Yelang Kingdom is

really Renhuai City in Guizhou Province

today. Thousands of years of liquor-

making tradition has filled the air in the

river valley with microorganisms, lending

a hand to the locals’ manufacturing of

liquor. Such is why the Moutai Town in

this province is endearingly known as

‘China’s First Liquor Town’.

The art of making the mulberry sauce

liquor may have been lost together with

the mysterious disappearance of the Yelang

Kingdom, but the mountain and the river

remain. With their respect for natural

resources and seasonal changes, the people

of Moutai Town have managed to perfect

the art of liquor-making. As the river that

has given birth to an incalculable number of

fine wines and liquors, the Chishui River is

naturally crowned the ‘River of Fine Liquor’.

In the tranquility of the wine cellar, the

mouths of ceramic liquor bottles are sealed

with white paper made with mulberry tree

bark. For days and nights, year after year,

the liquor will continue to invite fragrance

from faraway, with the magical power

bequeathed by the nature.

14 MOUTAI Magazine

Nature 天

古夜郎國是中國歷史記憶中的一

口深井，在世間停留了300年便

神秘消失，如果現在有人用傳

說或史實輪番撥開霧霾，恐怕也只得井口

一瞥。

兩千多年前，她僻處大山，依傍緩

河，一定山清水秀，但又一定山隔水阻。

山外來客來了又匆匆別離。她是中國西南

群山中隱於林間的浣紗女，你望向她，就

不由自主想了解她。你了解了她，就一定

不會忘了她。

兩千多年前的漢，便如此一眼深情。

那時，身處珠江流域的南越國與緊

依武夷山的閩越國鄰里不和，是個多事之

秋。南越新王繼位，內外混沌，閩越便乘

機發動戰爭。南越不得已向漢求援，漢主

欣然派唐蒙前往。

南越得到大漢鼎力相助，閩越只好倒

戈。於是，保住了領地的南越王擺上宴席

向漢軍致謝。

南越王精心準備了滿桌的珍饈美食，

大將唐蒙卻唯獨被一種特別的酒所吸引，

它色鮮濃稠，甘香純真，沁人心脾。他品

了又品，讚不絕口，便向南越王詢問起

來。

原來此酒產自夜郎國的鰼部。夜郎

國是中國西南地區一個由許多部落組成的

部落酋長國。他們的部落王族好酒，便使

人取山野間的枸樹果實—聚花果，釀造

成酒，稱為“枸醬”。這種釀造工藝只由

鰼部的少數人掌握，產量極少，不輕易外

傳。但南越與夜郎有通商之誼，這稀世珍

酒還是順流而下，來到南越。

唐蒙一杯一杯地喝，直感是人間美

味。但想到如果一人獨飲，不獻給大漢天

子，絕對是僭越之極。於是他便在上路回

都的時候，帶上了一罎。

據說，成書於此時的《史記》記載

了這段歷史：漢武帝端起酒樽，輕飲一杯

枸醬酒後，便情不自禁嘆上了一句“甘美

之”。這樣的美酒，就算在嘗盡世間美味的

皇帝眼裏，也是酒中上品。

這個故事並沒有結束。

在南越王的宴席上，因為得知枸醬是

通過水路從夜郎販運到南越，唐蒙獲知了

一條從蜀地通往南越的新近道。不久受漢

武帝之命，奔赴夜郎修建“夜郎道”（又稱

南夷道）。因為一杯美酒，漢王朝展開了歷

時二十多年的開拓新領地的宏大工程。

這大概是公元前130年的一天，唐蒙從

遙遠的長安城再度出發，繞嶺千里，沿赤

水河而上奔鰼地而來。據說，這裏生長一

種叫“鰼”的魚。

流經此地的赤水河，格外清透甘甜。

河谷被群山環抱，冬暖夏熱，少雨少風，

簡直是造物主創造的天然酒窖。村中濮

人，每年重陽採摘果實，掬取河水，他們

從不自詡釀酒師，他們只說自己是採集玉

液瓊漿的使者。

就這樣，漢揭開了夜郎的面紗，索了

一啖醇厚幽香。中國民間便有名句傳世，

“漢家枸醬為何物？賺得唐蒙鰼部來”。

唐蒙此行，帶來了愛妾茍貞英。而茍

貞英，永遠地留在了鰼地。原本她隨軍來

到這裏，只求在軍中噓寒問暖照應丈夫，

但因積勞成疾，一病不起。唐蒙把愛妾安

葬在鰼地東邊的山嶺上，那裏居高望遠，

放眼去，遙遙千里便是長安。這座山嶺，

當地人稱為“寒婆嶺”，只因茍貞英是來自

遙遙寒冷之地的北方。從此，寒婆嶺就開

始長出許多枸樹，每年的秋天，結滿甜美

的果實，釀造出的美酒，讓漢魂牽夢縈。

我們把目光轉移到此時的東方，妖嬈

夜郎國深處的村落鰼部，便是今天中國貴

州省仁懷一帶。數千年來的釀造傳統，讓

這裏的空氣充滿了靈動的微生物群落，瀰

漫在山谷之間，使美酒的釀造有如神助。

因此，這裏的茅台鎮被稱為“中國第一酒

鎮”。

如今，枸醬酒的釀造古法隨著夜郎

國的神秘消失已難以復原，但山還是那座

山，水還是那條水。茅台古鎮的人們，千

百年來尊重自然的恩賜，順應季節的更

替，讓源遠流長的釀造工藝至臻完善。這

條清澈的赤水河，也因為孕育了太多的名

酒，被世人譽為“美酒河”。

酒窖裏，枸樹皮製成的白紙包裹著

陶瓷酒罎的封口，在漫漫的日與夜裏，

靜靜用自然生成的魔力，去收獲更遼遠的

芳香。

MOUTAI Magazine 15

16 MOUTAI Magazine

people 人

活在當代

Rarely do you see someone clad in traditional Chinese clothes in Central, the happening commercial hub of Hong Kong. But if you do come across that someone, chances are that he could be

Johnson Chang Tsong-zung, curator and dealer of contemporary Chinese art, and founder of Hanart TZ Gallery.

走在商廈林立的時髦中環區，見到有人穿傳統中式唐裝的機會可謂

微乎其微，但若真見着了那仙風道骨的身影，那人極有可能就是

著名藝評人、策展人兼當代中國藝術策展發源地“漢雅軒”

創辦人張頌仁。也許，有些人就是天生注定與眾不同。

TEXT/文: TC Li PhoTograPhy/攝: Bluer arT DirECTion/美指: Chloe yip TransLaTion/譯: 鄧美茵

sPECiaL Thanks/特別鳴謝: hanart TZ gallery

He Who Lives Contemporary Chinese Art

Interview with Johnson Chang 專訪張頌仁

MOUTAI Magazine 17

plunging towards.”

Citing the big-frame computer, part of the

drive for the democratisation of information,

as one of the symbols of the counter-cultural

movement, Chang couldn’t help but lament:

“Ironically, the call for individualisation of

information, archiving and the workspace is

now a reality, except that instead of working

eight hours, we now work 24 hours.”

Yet despite the outcry against the Vietnam

War, Chang admitted that he had a slightly

different take on the whole situation – he didn’t

feel the same urgency as his college peers did. “I

didn’t really feel the impact of the Vietnam War,

not as much as the Americans who were drafted

and sent to the frontline did. Rather, I was more

obsessed with cultural China. The most important

thing about the movements in 1960s and 1970s

America is the awakening and empowerment of

youth. It is interesting for me, because while the

sense of empowerment of the individual in the

United States back then has certainly rubbed off

on me, people from my generation – people who

came of age in the 1960s and 1970s in China –

had perhaps an even more powerful sense of

individual empowerment, because they really had

a hand in attacking institutions in a much more

radical way than their counterparts in America.

“E ven as a teenager I felt awkward

to not wear Chinese clothes but

to dress up like a westerner. The

only ‘legitimate’ time to wear Chinese clothes in

a year was the Chinese New Year, and I always

did. I had my long gown made when I was 16.

After I got married in the 1990s, I decided that

I was old enough to do whatever I like – I was

42,” said Chang. “Traditional Chinese clothes are

the most comfortable clothes you can imagine.

It’s like walking around in pyjamas. That said,

though, I normally only wear the short ones

as it’d be awkward to be getting on and off

public transport and climbing stairs in the long

gown.” He also brings a Pentel pocket brush pen

that delivers strokes not unlike the traditional

Chinese brush, and not without a reason: “I can

write Chinese words better with it. This pen is

the greatest Japanese invention since the rice

cooker. While you don’t necessarily need to write

Chinese characters with the Chinese brush, the

practice of writing with this writing tool is itself

an education for children on aesthetics – where

and how to put the strokes in the box in the

copybook is the foundation of art education for

the people.”

In Flower Power AmericaYet this man, respected for his palpable

contribution to the introduction of contemporary

Chinese art to international exhibitions in the

1990s, came a long way to be the person he is

today. Out of fear for the Cultural Revolution,

Chang was sent off to study in the United States,

where he received a ‘rounded education in

humanities with a touch of science’ at Williams

College.

“It was a time when there was a huge protest

against the Vietnam War, and also an awakening

of conscience for America. It was certainly a

very different angle of cultural experience. The

counter-cultural movement in the 1960s and

1970s was directed at, while being a critique of

the rise of a human-scale of corporate control. It

was a conscious rise against the already fading

philosophy of Fordism. One of the things the

counter-cultural movement in the United States

tried to achieve during the 1960s and 1970s was

the limits of the human beings on earth, starting

from seeing the view of the earth from outside

the planet. The whole American Dream of going

to the west and opening frontiers has reached

the Pacific, and that was the end of the journey.

In terms of humanity, seeing mankind from outer

space was also an experience of coming face to

face with the finitude of humanity.”

Among the anchoring points of the counter-

cultural movement were the call for a more

human-scale existence, and the call for a global

village, seeing the world as a composition

of interdependent entities. It was also a time

immediately following a ground-breaking

exhibition in Berlin, with its significance being

its reference to The Whole Earth catalogue made in

1968 by Stewart Brand. “Everybody had a copy

of this catalogue, I did too. The catalogue was a

manual of things that you need intellectually and

practically to survive the world which was to come

with this new awareness. It was the forerunner of

the Google search engine. The whole idea was

about providing information on things that were

not the mainstream, and alternative channels of

living. The exhibition called for a more personal

engagement with work, versus the Fordist idea

of assembly line and the individual as a cog in

the wheel. The exhibition advocated for work

to be more satisfying, more directly engaged,

counter-alienation – in short, a liberation from

the machinery of a production that the world was

Johnson Chang with Michael sullivan (right) at ‘The stars: 10 years’ in 1989.

張頌仁與蘇立文（右）攝於1989年“星星十年”畫展

18 MOUTAI Magazine

people 人

As contemporary Chinese artists’

springboard to a wider audience, Hanart TZ

Gallery was founded when Chang realised that

there was no place to show art in Hong Kong.

Yet to quote Chang, for an art gallery to work as

an art institution, it takes much more than trading

commodities. “Hanart Square is hosting a non-sell

exhibition, a project I worked on for two and a

half years, which involves the exchange between

Chinese artists and Indian artists. I’ve sent some

Indian artists to Shanghai, and some Chinese

artists and a Taiwanese curator to India in the last

two years and they came up with this exhibition.

I call the project ‘West Heavens’, ‘heavens’ in

plural because I’m against monotheism. Chinese

and Indian artists have only met each other on

the western platforms in the past 10 to 20 years,

so this is really a project that brings the Chinese

culture closer to its neighbours’ cultures. This

project is something new, and for me it’s exciting.”

But with Chang being his busy self, ‘Western

Heavens’ isn’t the only thing that is taking

up his time, but the promotion and revival of

Confucianism as well. To Chang, contemporary

art is currently in vogue, something in its prime

time, and the most suitable cultural expression of

the generation, while Confucianism has been a

popular ideology for 2,000 years, except that it has

been sidelined for the past 100 years. Hence his

founding of Jia Li Tang to rekindle and restructure

the system of etiquette, such as the restoration of a

whole ancient village with traditional construction

techniques in Jin Ze, Shanghai. “I just started this

project on film-remaking, which is a historical

reconstruction of the Confucian ‘rites’, and I see

the possibilities of doing different art and cultural

projects around it. Jia Li Tang – Remaking Confucian

Rites is about Chinese etiquette. It’s something

nobody has done, something really cool to do, so

this is my latest point of excitement.”

In the eyes of this man, who endeavoured to

introduce the international world to contemporary

Chinese art, Moutai, the national liquor of China,

has also taken off from its motherland to the

international limelight. “The Moutai liquor

has been the liquor of choice at banquets for

international dignitaries, and so in many ways

it already has secured a steady footing in the

international world. And its international status

is explained by its paramount quality – despite

its high alcohol content, it doesn’t give you a

headache but sheer enjoyment.”

Though now I come to think of that, perhaps

the Cultural Revolution in China was also based

on another of these eutopic ideas of liberation

– it was also a youth movement, but of course

with very different results, and of very different

technocractic implications.”

‘The Satellite Looking at the Earth’“I think the American experience is very important

for me because a lot of my method of thinking

is derived from a comparative cultural viewpoint,

which provides me with a perspective and

awareness, like the satellite looking at the earth.”

And so three years of college education later,

under the realisation that he needed to catch up

with his Chinese education, Chang took a year

off to read Chinese classics at the University of

Hong Kong. But he was disappointed. “I realised

that they were teaching Chinese classics and

Chinese history as they would teach non-Chinese

– we were asked to study bibliography and the

philosophy of history, rather than reading actual

texts. But I was fortunate to sense the problem,

because there were still traditional-style Chinese

classics masters in Hong Kong in the 1970s, who

came from China after 1949 or even earlier in the

1920s – people who were already unhappy with

the first revolution, let alone the second. At least I

caught a glimpse of that generation of scholars and

what Chinese scholarship could have been like.”

And it was a Chinese scholarship that only

‘could have been’, because in the eyes of Chang,

China is completely westernised in all aspects

of its culture, starting from its political system

to the way it structures education and learning.

“That created a big problem for China in the

1920s – where do you put the classics, the core

of learning? Chinese classics is not just literature

and history, because otherwise where does

Confucianism fit in? Apparently Confucianism

is categorised as philosophy but it’s more than

history, and people try to make him a religious

head but Confucianism is not a religion. And

then there’s the case of Chinese literature, which

is more than just literature – Chinese literature,

Chinese classics and Chinese history are all

welded together. In the end, these precious parts

of historical legacy were cut down in size and the

things that did not fit into the western system

were thrown away, which is ridiculous.”

“The same thing happened to Europe as

well, except that it happened earlier and the way

learning was structured suited within the western

civilisation, so in a way it was more ‘reasonable’.

But still, there were still a lot of things that

couldn’t be brought forward and had to be

thrown somewhere, and the art world became

where they landed. The art platform is a very

convenient platform to explore things that are of

cultural interests, things that are not confined by

strict disciplinary parameters. It is a great zone for

things that the framework of modern intellectual

disciplines cannot encompass, meaning things

born from traditional knowledge and from

sides of heritage where they cannot fit in. The

art platform is therefore a garbage pail for these

things discarded by the Cultural Revolution and

western civilisation.”

Yet with time, Chang thinks the art platform

can be used to resolve Chinese cultural problems.

“The fact that we embraced the western system

means that we had to throw away a significant

amount of things that are important to the Chinese

culture, and some of the things were suppressed

because they were deemed ‘terrible’. But perhaps

they were only deemed ‘terrible’ because they

were powerful? So now I’m trying to release these

once-abandoned things on the art platform.”

Artistic PreoccupationsWith ‘international’ being an abstract concept,

Chang believes that every artist worth his salt has

his feet on the ground, because only with his feet

on the ground can he have something to say that

is international or universal. And he speaks as he

finds, as the middleman between contemporary

Chinese art and the international audience, a

role that is not without its challenges. “I need

to constantly find something interesting to say,

not just to the international audience but also be

the first person who has something interesting

to say to the local audience. It’s like the tourism

bureau trying to find out what tourists like to

see – tourists like to see what the locals want to

see, not places specially made for tourists.” So

instead of just selling art pieces for artists, Chang

works with artists on their projects and likewise,

the artists partake in his projects, because “Every

honest effort in creating something authentic,

which involves people coming together with

their own ideas and talents, is the recipe for the

birth of new ideas.”

MOUTAI Magazine 19

“自小我就覺得中國人穿洋服很彆

扭。還記得小時候每年只有農

曆新年‘獲准’穿唐裝，所以

過節時一定見到我穿唐裝。16歲，我造了

自己的第一套長衫。直到42歲結婚那年，

我覺得自己夠‘成熟’了，可以揀喜歡的穿

了，就一直穿唐裝穿到現在。”張笑道：

“唐裝的舒適，是你意想不到的。那感覺簡

直就像穿上睡衣一樣舒坦自在。話雖如此，

畢竟穿長衫乘公車、爬樓梯不大方便，所

以我大多只穿短打。”與眾不同的不止這

一樣，張頌仁的口袋裏還常備一支Pentel科

學毛筆：“用（科學）毛筆，寫中文會流暢

一點。這實在是日本繼電飯煲後最偉大的發

明。寫中文字當然不一定要用毛筆，但毛筆

字有一個特殊的好處─一個小孩要學習在

一個方塊裏面，把橫豎撇勾點都放得對、放

得好看，這種’好看’的審美考慮，其實就

是最基礎的全民藝術教育。”

權力歸花兒1990年代，張頌仁被公認為將當代中國藝

術呈上國際舞台的“第一人”，但這條漫長

的路，走來不易。因着文化大革命，家人將

張頌仁送到美國麻省威廉姆斯大學留學，接

受他口中“人文與科學兼備的全人教育”。

“那時候正值反越戰情緒最高漲的時

期，我趕上了一個講良知、講反省、講絕對

開放的年代，毫無疑問，年少的我被這異國

文化深深地震撼、衝擊着。”張回想道：

“當時，美國人大力反對主張機械化、自

動化和標準化生產的福特主義，由此引爆

了1960至1970年代的反文化運動；運動中

的太空競賽，更為人們掙脫‘地平線’的桎

梏，開拓全新的思維與視野。‘美國夢’生

起，帶領着冒險家和拓荒者西行遠至太平

Johnson Chang with ho hing-kay (centre), and Li Xian-ting (right) at ‘China’s new art, Post-89’ in 1993.

張頌仁、何慶基（中）及栗憲庭（右）攝於1993年的“後八九中國新藝術”展

Johnson Chang at China Club, 2010.

張頌仁攝於中國會（2010年）

20 MOUTAI Magazine

people 人

望。“他們是用教外國人的方法去教中國文

學和中國歷史，”他解釋道：“我們讀的不

是真的典籍，而是一些文獻和歷史理論。

幸好1970年代的香港有不少1920至1949年

以後、因着兩次革命從中國內地移居香港的

‘傳統’學者，我有幸藉此猜想到真正的中

國學者和中國學術研究是怎樣的，也因此能

夠識辨課程的好壞。”

說是“猜想”，全因在張頌仁眼中，當年

的中國由政治系統到教育制度和學習模式都

已被全盤西化。“那是1920年代中國最大的

難題：我們應如何為經典學說定位？是教學

的中心嗎？但中國的經典學說並不等於文學

和歷史，否則儒家學說又該如何歸類？人人

都將儒學視為哲學的一種、又封孔子為宗教

人物，但儒學從來不是一個宗教。若說中

國文學，儒學又比文學多一點─中國的文

學、經典學說和歷史是三位一體的；無奈到

了最後，這些經典被逐漸淘汰，但凡不符合

西方系統的就被刪走，多麼可惜又可笑！”

“同樣的問題也出現在歐洲，只差在歐

洲更早被西化，令西化看似更‘合理’；但

同樣的，是無數歐洲文化元素亦被西化大潮

沖走。”張頌仁說：“幸好，不符合‘普遍

意識’的文化元素本就是藝術創作的靈感

泉源，於是這些被淘汰的文化元素，通統落

在‘藝術’這個避風塘之內。在藝術的國度

裏，所有不被納入現代知識範疇、源自傳統

但未能成為傳統的東西，都能發芽、綻放、

結果。是以，所有被文革和西化過程遺棄的

東西，都能在藝術這個‘垃圾桶’找到自己

的位置。”

張頌仁深信，隨着時間過去，藝術平台

將成為解決中國文化問題的方案。“走向國

際化，意味着中國要摒棄大量自家文化的

要素，以及打壓一些西方視為‘駭人’的

文化。但大家有否想過，這些中國文化是

因為‘強’所以才駭人？我的使命，就是在

藝術平台上釋放這些被束之高閣的中國文

化。”

藝如人生樂無窮“國際化”這詞彙雖然抽象，但張頌仁相

信，每一位有才華的藝家都應了解自己，

這樣才能創作出舉世理解的東西。作為當代

中國藝術與國際觀眾之間的橋樑，他直言

這個中間人不易為。“我不但要為國際觀眾

尋找有趣的東西，更要以第一身的角色為本

地觀眾群發掘有趣的東西；情況就像一個旅

遊局要為遊客推介觀光點一樣，遊客愛去的

是本地人也喜歡的地方，不是特意為遊客而

設的商業化景點。”因此他不單會為藝術家

推銷作品，更會與藝術家攜手創作不同的項

目，藝術家們也會參與他的項目。“帶着不

同意念和才華的人走在一起，熱切地由零開

始進行創作，自然會生出不少新思維、新概

念。”

1970年代，張頌仁有鑑香港藝術空間

不足，於是創辦了藝廊“漢雅軒”。時至今

天，漢雅軒已成為當代中國藝術家的曝光

跳板，更肩負藝術教育的重任；張頌仁的

工作，亦不再是光買賣藝術品。“我在葵興

開設了一個叫‘Hanart Square’的藝術空

間，現在那裏正舉行一個純觀賞、不買賣的

展覽，展出多位中國和印度藝術家的作品。

為準備這次展覽，兩年半前我把數位印度

藝術家送到上海，又把數位中國藝術家及一

位台灣策展人送到印度，大家在異國文化裏

創作，促成了今次這個跨國界、跨文化的展

覽。展覽的名字叫‘西天中土’，因為過去

十多廿年來中、印藝術家只在西方平台交匯

過，我特意用了‘西天’這個古代對印度的

稱謂，象徵中國文化與鄰近國家文化的交

融。這個交流計劃暨展覽對我來說是一個新

嘗試，叫我非常雀躍。”

“國際化”的藝術之外，張頌仁還與我

們談到了“國際化”的中國酒。頻於出入世

界藝術交流活動的他瞭解，“中國人宴請國

際賓客一直首選茅台，某種意義上茅台已

經是一種國際的酒。這可能源自它最原始的

氣質─酒的氣質孰優孰劣，就是看喝醉了

會怎麼樣。誰都知道茅台喝後第二天不會頭

痛，可見其品質、氣質是最高的。”

創意澎湃的人，又怎會只有一個念頭？

張頌仁近年來致力於儒家禮學的推廣和復

興。用他的話說，當代藝術是現在最時髦、

最生猛、最適合這個時代的文化表現。而

儒家禮學它已經生猛了兩千年，也生效了兩

千年，只是在最近一百年人們把它放在了一

邊。他創辦嘉禮堂，還原、梳理傳統禮制：

在上海郊外的金澤運用傳統的建造工藝，復

原起一整座傳統的村落。最近更嘗試了拍

片：“最近嘉禮堂利用新媒體數字技術，對

記錄中國禮儀、禮制最詳盡、儒家十三經

之一的《儀禮》進行復原嘗試，已完成《士

冠禮》3D錄像的拍攝。這嘗試絕對是史無

前例又有意思，叫我廢寢忘餐、樂而忘憂

呢！”

洋。從人文角度來看，由‘全球’和‘外太

空’的角度觀探渺小人類的所作所為，令人

頓悟天地無垠、人文有限。”

反文化運動鼓吹人本主義，人們視“世

界”為一條地球村，“村民”是互相依賴的個

體。而運動的催化劑之一，是史超活布蘭德

於1968年出版的反文化運動“聖經”《全球

目錄》及其破天荒的柏林展覽。“當年每一

個人都有一本《全球目錄》，我當然也不例

外。這目錄可以說是一本生存手冊，內裏詳

述新思維時代下，人們應如何精明而實際

地‘活着’。它的概念是提供一些非主流的

資訊，以及另類的生活模式。”張繼續道：

“而展覽的一大主張，是抗衡福特主義中貶

低‘人類’重要性的理念和令員工疏離的機

械化生產模式。布蘭德認為工作應該更人性

化、更有滿足感，人類應直接地參與其中，

以免世界繼續走向全機械化生產的歧路。”

但時代巨輪前進的方向，豈是人力所

能操控？張頌仁以電腦的發明為例：“電腦

推動了‘信息民主’，也是反文化運動的象

徵。透過電腦，我們今天終於實現了信息、

存檔和工作間的個人化。”他慨嘆：“諷刺

的是，我們也因此而變成每天工作24小時而

非8小時。”

雖然反越戰乃時勢所趨，但張頌仁坦

言，他的反戰情緒並不如身旁的同學那樣高

昂。“當年的美國大學生一畢業便須服役，

沒參戰的我無法感同身受。我反而比較留

心六、七十年代美國青少年的文化與權利覺

醒。”他指出：“青少年權利覺醒之所以深

深影響到我，可能是因為我們這一群在那年

代剛屆成年的中國人，早就很注重個人的

權利─這一點從當年襲擊不同機構時中國

人比美國人行為更激烈，可見一斑。現在回

想，中國的文革可能也是基於一種跟美國反

文化運動非常相似的、尋求徹底解放的虛想

─文革也是一場青少年的革命，雖然中美

兩場革命的結果迥異，它們對技術專家治國

學的意義亦大大不同。”

臨空觀己身“留美的體驗影響了我的一生。現在我無論

想什麼，都會自然地比較中西文化的觀點，

從中生出一個角度、一些感悟，有點像一顆

衛星從高空鳥瞰地球一樣。”

三年美國大學教育後，張頌仁意識到自

己大概要“惡補”中文，於是休學一年到香

港大學修讀中國經典學說，結果，卻令他失

MOUTAI Magazine 21

It wasn’t all that long ago that Watson’s Wine opened its first store in Central, Hong Kong. In a matter of just 15 years, the company has become the largest specialist wine retailer in the region with 26 stores, offering an extensive selection of fine wines, with vintages sourced directly from over 20 countries. Jeremy Stockman, Trading Director of Watson’s Wine, spoke to us about his life growing up with fine wine and Watson’s Wine’s keys to success.

人生苦短，勿喝劣酒首店登陸香港中環不過15年光景，在這說長不長的一段

時間內，屈臣氏酒窖迅速冒

起為全港最大的精品美酒品

牌，26家分店遍布各區，為愛酒人士帶來林林總總頂級

佳釀和挑選自超過20個國家的陳酒。屈臣氏酒窖的靈魂

人物─貿易總監謝學文娓娓

道來他與葡萄酒之緣起，以

及品牌的成功竅門。

TEXT/文: TC Li PhoTograPhy/攝: Bluer

TransLaTion/譯: 鄧美茵

sPECiaL Thanks/特別鳴謝: Watson’s Wine

22 MOUTAI Magazine

people 人

As Trading Director of Watson’s

Wine, Jeremy Stockman has an

exceptional palate that enables

him to source the best wines from all over

the world. And like many a fine things

in the world, his distinctive palate was a

rather long time in the making. “I grew up

in a French restaurant in London, of which

my father was the chef and owner. So from

a very early age we’ve always had wine on

the table, tasting it and appreciating it – we

had the culture of well-cooked food and

great wines to go with it. By the time I was

a teenager, I was cooking in the kitchen and

serving in the restaurant while tasting and

understanding wine. Later when I went to

university I worked at a wine shop, and

by then I already had the rudimentary

knowledge of wine – I could explain what

is a Bordeaux, what is a Shiraz. My father,

with a job that involved the palate, taught

the understanding of flavours in us. Once I

finished my degree, I went back to work at

the wine shop and I never left.”

From One Wine Culture to AnotherWith his love of wine, Stockman would

probably have known that his career

would be taking him all around the world.

And it did. “I went to Australia for holiday

in 1991, fell in love with the country

and met my wife. We then came back to

London for three years. When my wife

became pregnant we decided Australia

was a better place to bring up a child, so it

was a natural time for me to come back to

Australia and embrace its wine industry.”

After 16 years in Sydney and Melbourne,

working at Coles Group, majorly Vintage

Cellars with a similar mode of operation to

Watson’s Wine, Stockman came to Hong

Kong in 2010 to continue his career in the

wine industry.

Having moved from Europe to the

Asia-Pacific region, Stockman has been

perceptive about the different wine cultures

in these three places. “People in England

are quite conservative in that they normally

opt for the top-end, premium wines. But

because, like Hong Kong, it is not a wine

producer per se, England embraces great

wines from everywhere, and it doesn’t

MOUTAI Magazine 23

have a loyalty to wines from a particular

country. Australia, on the other hand, is a

wine producer. It’s quite parochial – most

Australians will tell you the greatest wine

is from Australia! And when it looks at

European wines it tends not to look at

Bordeaux, but wines from other places

such as Burgundy, Rhône and Spain, and

I think it’s because these styles of wine are

closer to the Australian style – lots of fruits

and flavours. In Hong Kong, people really

appreciate the greatest here, whether in

wine or other products. They appreciate

luxury. And with the duty free, they can

afford it. What amazes me most – and I

like the most about – here is that people

have the greatest wines, and they open

them and drink them as well. Which is

different to England, which has many of

the world’s greatest wines but the wines

are sitting in cellars rather than being

drunk. Last week I was at a dinner where

people brought along some of the greatest

wines ever made, very old wines, and they

opened the wines and shared them with

friends. The interesting thing is, people in

Hong Kong generally don’t drink a lot of

wine – people in Australia drink a lot more

– but they drink the best.”

What Stockman has also noticed about

the changing wine consumption pattern in

Hong Kong is that people are increasingly

pairing western wines with Chinese

cuisine. “Watson’s Wine has done 200

events this year of different formats, among

them are close to 100 dinners, and we tried

to do most of them with Asian cuisines,

because the wine producers want to see

their wines being drunk with local cuisines.

Traditionally, western wines were paired

with western meals, but more and more

we’re seeing people drinking western wine

at Cantonese or Asian restaurants. I was at

a Chinese restaurant last night and the man

sitting next to me had a bottle of Latour.

Five years ago, that would have been a

rarity, whereas today, I just thought, ‘That

was nice!’”

Travelling Around the World in the Name of WineAs the man who is responsible for ensuring

the company has the right stock, Stockman

is always seeking out the finest wines in

the world for the company’s temperature-

controlled warehouses in France and

Hong Kong, and selling them out. “You

can’t be a good buyer if you don’t sell,”

said Stockman. “We split our business

between fine wines and agency brands.

The Bordeaux system is one where you

can’t buy directly from the chateaux but

only through a négociant, so it’s all about

our relationships, and understanding

which wines we want to stock. The

wines we buy in advance before they

are released, we will store them in our

temperature-controlled warehouses once

they are released. We also import some

exclusive brands, such as Jeffrey Grosset’s

wines from Australia. To bring in these

exclusive brands we need to travel around

the world, visit these people and explain

why they should be with Watson’s.

Normally, the buyer has all the power and

he tells the producer what he wants, but in

wine, because it’s a finite, fine product, we

as the buyer need to persuade them that

Watson’s is the right partner for them.”

Which explains why, in this year

alone, Stockman has been to France for

five times, twice to Australia and New

Zealand, and once to Spain; and next year

he will be going to Chile, Argentina, the

United States, Germany, and Italy with

his team. “From the producers’ point of

view, the first thing is trust. These wines

are their babies, they are something

very precious to them. And so to the

producers, it’s more about whether we’re

taking care of their products properly than

how much we’re selling their wines for.

Quite often, the producers would come

and visit Watson’s Wine’s stores. While

the premium look and feel of the stores

is important, the producers would also

look at who else is represented by us –

if they see we’re the agent for premium

products, they would know that we’re the

right partner for them.” And the quality of

staff matters too, naturally. All members

of staff at Watson’s Wine are passionate

wine enthusiasts trained at the Wine &

Spirit Education Trust, which means they

are equipped with the knowledge to offer

the right recommendation for customers.

And not only that, staff members are taken

along to wine trips to explore the places

and understand about the wines made

there. Little wonder then that Watson’s

Wine has not only won the trust of the

producers, but also the loyalty of its

customers too – with a large group of

loyal members in its Wine Club regularly

buying wines from the company’s stores.

And through its huge database of

customer profiles, Watson’s Wine

has been able to discern the changes

in the wine consumption landscape.

“The biggest change among local

Hong Kongers came when the wine

duty was removed in 2008, although

a significant rise in consumption and

purchase really came in late 2009,

and then it continued to rise. Hong

Kong is considered among the wine

world to be one of the greatest wine

centres in the world, which means

more merchants from all over the

world – the United Kingdom, France,

the United States, Italy and many

more – are setting up offices in Hong

Kong to do business. Compared to

three years ago, we’re seeing more

mainland Chinese consumers today,

a sign that the sophistication of wine

consumption in China is catching up

quickly. The mainland Chinese we

mainly see at Watson’s live in Hong

Kong, and they would buy wines and

keep them at our cellars. They also tend

to chase bigger brands a bit more.”

Greatest Job in the WorldDespite his packed work schedule, Stockman

exudes a sense of liveliness characteristic of

a person who truly loves his life. And that’s

because he does. “I’m told that I’ve got the

greatest job in the world. In a way it is true

because I indulge in my passion every day.”

And his life motto? “To paraphrase the great

Len Evans, one of the wine authorities in

Australia, ‘Life is too short to drink bad

wine.’ And that’s absolutely right, because

if you are going to drink one bottle of wine

every day, for the rest of your life, every

bottle of bad wine you drink is a great

bottle of wine you’re not drinking.”

24 MOUTAI Magazine

people 人

世上每一種出類拔萃的美酒，都

必須經歷漫長的醞釀過程，屈

臣氏酒窖貿易總監謝學文今天

練就對葡萄酒非凡的鑑賞能力，也全靠自小

的栽培與琢磨。“我出生於一個飲食世家，

父親在倫敦開設一家法國餐廳並擔任主廚，

所以自有記憶開始，我家的餐桌上就有葡

萄酒了，我也從小學著去喝酒和品酒─我

家的文化，是‘食必有酒’，而且兩樣都要

‘好’。”謝學文回想道：“十多歲我已在

餐廳幫忙做

菜和款客，

同時也品

嘗了無數的

酒，慢慢地

累積了豐富

的酒知識。

讀大學時，

我到一家酒

窖打短工，

憑著父親傳

授的東西，

那時我已能

詳細地解釋

什麼是波爾

多，什麼是

西拉。一畢

業我就返回

那家酒窖工

作，做到離

開倫敦為

止。”

漫遊於酒文化之間每一個國家都有她的標誌美酒，貪杯之人，

天生注定會周遊列國。謝學文當然也不例

外。“1991年我到澳洲旅行，便立即愛上這

個國家─還有一位女生。”女生後來成了

謝太太，二人回倫敦住了三年。“內子懷孕

時我們決定搬回澳洲，讓孩子在更好的環境

中長大。一切是那麼自然而然，彷彿澳洲和

她著名的釀酒業早就展開雙手，等待我投進

她懷抱裏。”於悉尼及墨爾本替著名的科爾

斯集團（音譯，一家與屈臣氏酒窖營運性質

非常相似的陳酒酒窖）工作了16年後，謝學

文於2010年因著工作關係，搬到了一個與

老家甚有淵源的小城市：香港。

從歐洲來到亞太區，謝學文留意到三

個地域各有不同的酒文化。“英國人十分保

守，他們大多點選最高檔的酒。但跟香港

一樣，英國本身並無產酒，英國人常接觸

到世界各地的入口酒，也就較少偏愛特定國

家的酒。反之，澳洲是著名的產酒國，當地

人的口味不問而知非常偏頗─多數澳洲人

都會告訴你，最好的酒來自澳洲！即使要喝

歐洲酒，澳洲人都會棄波爾多而選勃艮地、

羅納河谷或西班牙，主因我想是後三者果香

宜人、層次豐富，跟澳洲酒非常相似。”謝

學文指出：“在香港，無論是酒還是其他產

品，香港人最喜歡，也因為零酒稅而負擔得

起，各種名牌頂級佳釀。我最欣賞的是，香

港人不光買，他們還真會把酒喝掉。這一

點跟英國人截然不同，英國人也買，但買了

就放在酒窖，捨不得喝掉。上星期的一場晚

宴，出席者帶了好些年份很老很老、史上數

一數二的珍罕陳釀來吃飯，也是大大方方的

開了瓶跟朋友分享。還有一點十分有趣，跟

豪飲的澳洲人不同，香港人喝得較少，但要

喝就喝‘最好的’。”

謝學文還留意到，潮流瞬息萬變的

香港，近年愈來愈多人愛上以西方葡萄

酒配搭中國菜。“今年屈臣氏酒窖舉辦了

200場不同形式的大小活動，其中約100

場美酒晚宴我們都選了亞洲菜，因為釀酒

商想看看他們的酒能如何與本地菜式擦出

火花。傳統上，洋酒當配西菜，但今天

在粵菜或亞洲菜食府喝紅白酒可謂平常不

過。”他繼道：“就像昨晚我到一家中菜

廳吃飯，鄰桌的男士點了一瓶Latour（法

國拉圖酒莊紅酒），這酒五年前還被視為

珍罕級的，但如今大家都不再為它大驚小

怪，我也只是暗忖了一句‘不錯！’”

以酒之名行於地作為決定一個品牌的庫存種類的靈魂人物，

謝學文總是停不下搜索的目光與步伐，務

求為屈臣氏酒窖位於法國及香港的恆溫倉

庫嚴選世上最優質、而且“賣得出去”的

酒品。“賣得出去，才叫好買手，”他闡釋

說：“我們的業務分精品酒及代理品牌兩

種。依照規定，要買波爾多酒，你不能直接

從酒莊購買，只能透過批發商去買。換言

之，你不但要清楚了解自己想買什麼，更

得跟這些批發商建立良好的關係。若買了未

公開發售的酒，我們會將之妥善存放於恆溫

倉庫內，直至它面世為止。我們也進口一

些獨家品牌，如澳洲的傑夫里．格羅塞特。

有趣的是，大部分貨品的買手都是主導買賣

的一方，可以直接告訴生產商自己要什麼，

但酒業的情況則完全相反！為了發掘這些獨

家品牌，我走遍世界各地，與莊主面對面傾

談─獨家品牌的葡萄酒都是限量的心血結

晶，作為買手，我必須扭盡六壬說服莊主，

屈臣氏酒窖正是他們最佳的經銷夥伴。”

正因如此，謝學文單在今年已飛往法

國5次、澳紐2次、西班牙1次；下一年的行

程亦早已編得密密麻麻，智利、阿根廷、

美國、德國和意大利正等待著他和他的團

隊。“對釀酒商而言，信任就是一切。每一

瓶酒都是他們的孩子，其價值不可言喻；他

們關心的不是那瓶酒賣多少錢，而是我們會

如何悉心又正確地照顧他們的出品。所以，

其實不少釀酒商都會親臨我們的分店，看看

屈臣氏酒窖是如何看待他們的寶貝。”謝學

文莞爾：“除了店舖的外觀和氛圍必須高端

雅致，釀酒商還很在乎店內貨品的檔次─

看到我們也代理其他優質精品酒，他們便

明白屈臣氏酒窖是代理的不二之選。”不消

說，店員的質素亦非常關鍵。所有屈臣氏

酒窖的店員都對葡萄酒充滿熱誠，並全部受

訓於英國烈酒教育信託基金會（WSET）課

程，具備豐富的品酒知識，能為顧客提供恰

切的選酒建議。公司更定期為店員舉辦品酒

團，讓他們親身踏足產酒地，了解自己銷售

的酒的整個生產過程。難怪屈臣氏酒窖不但

贏得釀酒商的信任，更備受消費者信賴與愛

戴─品牌成立的“屈臣氏醇酒匯”會員者

眾，不乏定期選購佳釀的忠實粉絲。

從客戶的口味趨向，屈臣氏酒窖見證

了香港酒業的變遷。“最大的改變，當數

2008年香港政府實施零酒稅的政策。雖然

要待2009年年末，購買和飲用葡萄酒的人

數才開始大幅攀升，但自此品酒活動蔚然

成風。對業界來說，香港毫無疑問是全球

最大的美酒中心之一，因此英、法、美、意

及其他國家的酒商紛紛來到這裏開辦生意。

對比三年前，現時中國顧客的數目也在不

斷增加，顯示內地的品酒文化正在健康地

醞釀、成長。這群顧客大多是居港的內地

人，喜歡名聲較響的牌子，而且不但會買

酒來喝，還會把酒存放在我們的酒窖內。”

天下第一好工雖然公務繁忙，但謝學文熱愛現時的生活

模式。“有人說過我擁有世上最好的一份工

作，這一點我絕無異議，因為能每天以興趣

為工作，實在是天大的福氣。”他又不忘分

享自己的座右銘：“借用澳洲葡萄酒業權威

倫．伊文斯的一句至理名言：‘人生苦短，

勿喝劣酒’。如果每天只能喝一瓶酒，那麼

每多喝一瓶劣酒，你就少喝了一瓶好酒─

多麼不值！”

MOUTAI Magazine 25

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MOUTAI Magazine 27

“These are not real liquor bottles, but a visual image as a result of alcoholic influence. In my creative process free of literal influence, I picked my favourite bottle to express my spiritual pursuit. In the simple repetitive process I embraced the nuances of all the experiences. It’s like the journey of life – it’s not the destination but the process that counts, as everything that happens during the process would always leave traces in our lives and reveal today in history.”

– Hong Kong artist Ng Chung

“它們已不是現實中的酒瓶子，而是酒精作用

下產生出來的視覺圖像。在棄文學性干擾的創

作過程中，借用我鍾愛的瓶子，表達自己的精

神追求。並在簡單的重複中，體驗每一次過程

中的微妙感受。如同人生旅行，重要的不是計

劃中的終點，而是在路上的過程，它們總會在

生命中留下痕跡，揭示曾經的存在。”

—香港藝術家吳松

紅與黑

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耳目一新的創意酒饌

ComplementaryWith its high alcohol content and long-lasting, prominent flavour,

the Moutai liquor has often been the holy grail for those who attempt at a food menu that complements world-renowned liquors.

So little is written about the taste and texture of the national liquor of China that the pursuit of the perfectly complementary food pairing menu is a much-welcome challenge that rests entirely in the hands of the chef.

With over five decades of culinary experience combined, Ngai Hong-kin, Chef de Cuisine at Sha Tin 18, and Kelvin Lai, Pastry Chef

at Hyatt Regency Hong Kong, Sha Tin, have designed a four-course menu that complements the Moutai liquor.

茅台酒精濃度高、入口強烈帶勁、餘韻悠長，其別具一格的風味，愛酒人士

固然趨之若鶩，以此尊貴國酒入饌亦成為專業廚師最欣然接受的挑戰。

擁有超過50年經驗的凱悅酒店沙田18餐廳主廚倪康健，就聯同了酒店的餅

房主廚賴耀輝，以豐富的資歷和創意合作炮製了四道茅台中菜和西式甜品，

讓大家一睹這款揚威海外的中國白酒如何與中西美食配搭無瑕。TEXT/文: TC Li PhoTograPhy/攝: Bluer arT DirECTion/美指: Chloe yip SPECiaL ThankS/特別鳴謝: hyatt regency hong kong, Sha Tin

MOUTAI Magazine 29

The strong-flavour approach was also

adopted for the Wok-fried King Prawn,

Garlic, Preserved Black Bean, except that

this seafood dish was spiced up with

chilli slices. “Seafood and Moutai go well

together as the liquor brings out the natural

sweetness of fresh seafood. But the taste of

the dish must not be too bland or else it will

be overwhelmed by the powerful flavour

and texture of the liquor, hence the chilli in

the prawn and ginger and dark soy sauce in

the hairy crab to put the two seafood dishes

on level ground with the liquor.”

With a long-arm ladle of boiling hot oil

in his right hand, Chef Ngai deftly poured

the oil onto a whole chicken to lock the

moisture inside, before browning the skin

of the chicken with dark soy sauce. “As the

Chef ngai hong-kin, Chef de Cuisine at Sha Tin 18

The Culinary Art of Complementing Moutai Liquor At a quick tap on the gas lever, Chef Ngai

Hong-kin, Chef de Cuisine at Sha Tin 18, a

restaurant specialised in Cantonese cuisine

at Hyatt Regency Hong Kong, Sha Tin, sent

the stove roaring away. Along the side of the

wok and in to the sizzling oil he gently slid

the seasonal hairy crabs, halved and slightly

coated in corn flour to keep the delicious roe

intact. Once the hairy crabs were cooked

and set aside, Chef Ngai, after a string of

seamless movements that saw him draining

the oil, washing the wok with water before

pouring in another ladle of oil, began to

cook slices of glutinous rice cake, with a

generous drizzle of oyster sauce. “I prefer

the Korean glutinous rice cake because of

its tenderer texture, which makes thorough

cooking easier,” said Chef Ngai. “Culinary

is an art that evolves with time. Now

that we have access to a greater variety of

food ingredients from different countries,

we can afford to improve our dishes with

better ingredients – each ingredient plays

an important role in the holistic impression

of a dish.” Which is why Chef Ngai only

sourced the best hairy crabs for this dish,

because ‘origins matter’. For the Wok-fried

Hairy Crab with Glutinous Rice Cake, the

hairy crabs are seasoned with dark soy sauce

and sautéed with ginger and spring onion,

resulting in a dish that has a pronounced

aroma and flavour, but one that doesn’t

overpower the sweetness of the hairy crabs.

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Pastry Chef kelvin Lai

chicken is braised with pineapple slices, the

dark soy sauce will mellow the sweetness

and sourness of the pineapple, and what

you get is a savoury dish with a hint of

umami, the pineapple slices completely

soaking up the essence of the chicken.

The soy sauce-infused sauce of the Braised

Chicken with Pineapple, while being similar

to the soy sauce-fragrance of the Moutai

liquor, is much thinned down throughout

the cooking process that it complements but

not override the liquor.”

But savoury dishes aren’t the only

gastronomic match for the Moutai liquor –

as Pastry Chef Kelvin Lai discovered with his

Caramelised Apricot Chocolate Cake, so are

desserts. The apricots are soaked in Moutai

liquor to balance out the bitterness of the

72% cocoa dark chocolate used for the cake,

creating a dessert that is rich in texture while

tantalising the palate with its myriad flavours.

Wine and Dine CultureThroughout their decades of culinary careers,

both Chef Ngai and Chef Kelvin have

experimented and cooked with different

types of wines and liquors. And the reason

is simple: food and wine have long been

inextricably tied. “Wine and liquors enhance

the ambience and lift the mood, which is

why every item on the menu at Sha Tin 18

is paired with Chinese or western wines.

The Moutai liquor is one that complements

the food, for instance, whether for big or

small gatherings, and it surely does lighten

the mood at the dining table in the Chinese

culture. The great things about the Moutai

liquor – as well as many other Chinese

baijiu (distilled liquor) – are that it is fragrant

with a long-lasting aftertaste, and it doesn’t

give you headache however much you have

had to drink. The art of food/wine pairing

has been celebrated for thousands of years;

the only difference is that nowadays we

have a greater variety of wines and liquors

available,” said Chef Ngai.

Success in the KitchenSo much has changed during Chef Ngai’s

three decades in the kitchen. “When I

became a kitchen assistant at the age of

12, it was a time when job opportunities

were few and they were mostly obtained

through personal network. Cooking for

me was a practical skill – at least I was able

to feed myself, which was very important

in the late 1970s, still a few years before

Hong Kong’s economy would take off for

the better. As kitchen assistants we worked

very hard – 15 hours a day, all year round,

except 1 September and the four Chinese

New Year holidays. We were always the

first to come in to the kitchen to do all

the preparation work before the chefs

came in, and the last to leave to clean up

the place after the chefs had left. We had

no employment benefits whatsoever, but

we showed the chefs our determination,

hoping that one day we would be allowed

near the wok station and actually started

cooking.”

A little over a decade later, in 1990,

Chef Kelvin entered the pastry industry as a

pastry apprentice preparing simple pastries

and cakes for in-flight meals. But it wasn’t

long before he could actualise his potential

as a pastry chef at some of the city’s top-

notch hotels. “The first pastry I can call my

own is the birthday cake I made for Prince

Charles when he visited Hong Kong. That

was quite something, now I come to think

of that,” recalled Chef Kelvin.

Yet despite their slightly different

career paths, both chefs are in the same

mind in terms of the keys to success as a

chef. “Happy customers are the motivation

for success, and I’m sure Chef Kelvin

would agree with me,” said Chef Ngai,

who considers himself a successful chef as

his job enables him to feed and support his

family. “To achieve customer satisfaction,

we have to learn from experiences and

improve our culinary skills with time to

accommodate diners’ various tastes and

needs. It’s important for a chef to stay open-

minded to innovative ideas to constantly

reignite that passion.” And just as crucial

is teamwork, according to Chef Kelvin. “I

was fortunate to have received excellent

mentoring from my mentors, but without

the dedicated teamwork I wouldn’t have

achieved what I have done today.”

The four-course complementary menu

for the Moutai liquor was the end product

of years of trials and errors, and hours of

actual cooking time. But as is self-evident

in the Moutai liquor, aged at least for four

years each, the greatest things of life come

with patience, perseverance, and time.

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Among the modern skyscrapers lining the waterfront of Huangpu, Shanghai, acquiring an unassuming and immovable presence is the building that was once the headquarters of the Shanghai branch of The Hongkong and Shanghai Banking Corporation (HSBC). Despite the passage of time, where historical glory found sanctuary in the grey robust outer walls, this building remains widely acclaimed to be one of the most spectacular structures ever built.

TEXT/文: Konzen Hou imagE/圖: imagineChina 東方iC caltlier001 TranslaTion/譯: TC li

在現代摩天大樓高聳入雲的上海黃埔江畔，原滙豐

銀行大樓顯得低調而沉穩。歷史的榮光隱入灰色、莊

重的牆體，歷經風雨變遷，它依然被公認為最漂亮的

建築之一。

MOUTAI Magazine 35

12 on The BundStanding at 12 East-1 Zhongshan Road, home to an exotic

building cluster, is the building that was once the headquarters

of the Shanghai branch of HSBC. In all its formidable form and

unique flair, the building is lauded as the greatest masterpiece in

contemporary China’s classical architectures. Called ‘the most

luxurious building from the Suez Canal to the Bering Strait’, the

previous HSBC headquarters was constructed between 5 May

1921 and 23 June 1923 – a construction project that spanned

25 months, 17 acres, with a gross floor area of 23,415 square-

metres. It was inarguably the biggest bank structure in the Far

East back in those days, and in fact, only the Bank of Scotland in

Edinburgh was any match.

Few can epitomise the prowess of the HSBC in that bygone

era better than this building. The main structure is five storeys,

the central section seven storeys, with one-and-a-half storey in

the basement. Among the 28 13-metre Italian natural marble

pillars in the main trading hall, four were hewn from whole

blocks of marble (there are only six cylindrical pillars of this type

in the world, and the other two are at the Louvre Museum in

Paris). With a steel lattice with brick filling and a granite exterior,

the main structure is like an imperishable castle that exudes a

sense of security – precisely what a bank structure desires.

Over the years the old HSBC headquarters has witnessed the

city’s development and transformation. When HSBC pulled out its

Shanghai operation in 1955, the Shanghai Municipal Government

made the building its office building and renamed it ‘The People’s

Government of the Municipality of Shanghai Building’, with

the subsidiary building used to house the Municipal Archives

from 1956 onwards. While HSBC expressed intention of buying

back the building in the 1990s, cost issue meant the purchase

never happened. Through an auction, the Shanghai Pudong

Development Bank obtained the right to use the building and has

been using it as its headquarters since. Traces of HistoryOut of feng shui concern, two bronze lions were commissioned

from the United Kingdom at the time of construction, to be placed

outside the front doors as guardian spirit. Weighing 2,250 pounds

each, the two lions – one with its mouth open and the other

closed – symbolised the bank’s lending and borrowing of capital.

As the bank’s first pair of lions, these two are out of production

as the bronze casts were destroyed after the lions were made. In

1935, the second pair of lions were cast according to the first pair,

and were placed at the bank’s Hong Kong headquarters on Des

Voeux Road Central in 1935, hence the lions on the Hong Kong

banknotes issued by HSBC.

Not surprisingly, the bronze lions were regularly mentioned in

memoirs of The Bund, and HSBC’s Shanghai branch has long been

endearingly called the ‘Lion Bank’, with passers-by’s touching of the

lions soon becoming a tradition. For years, the shiny bronze claws of

the lions tell a story with captivating twists and turns.

In 1941 the Japanese Occupation of Shanghai (Shanghai

International Settlement) and Hong Kong began. In a time of austerity,

Japan attempted to transport the two pairs of lions back to the country

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to be melted for the valuable bronze. Meanwhile, the pair of lions at

HSBC’s Hong Kong headquarters, as well as the statues of Queen

Victoria and Sir Thomas Jackson, the third Chief Manager of HSBC,

were transported from Hong Kong to be stored at a warehouse in

Yokohama, Japan. Fortunately, however, the statues were discovered

by the US military in 1945 and ordered to be sent back to Hong Kong.

While they were only sawed off and not removed by the

Japanese army during wartime, the pair of lions at HSBC’s Shanghai

headquarters were removed by the Shanghai Artefact Administration

Board and stored in Shanghai Farce Troupe’s warehouse during the

Cultural Revolution. It wasn’t until 1980 when the lions were put in

the safe hands of the Shanghai Museum. When the Shanghai Pudong

Development Bank obtained the right to use the former HSBC

headquarters in 1997, its initial plan was for the lions to be returned to

the front doors, but what happened rounds of deliberation later was

for two new bronze lions to be made, according to the original lions,

funded by the Shanghai Pudong Development Bank. If you happen

to pass by this pair of replicas, you would notice that they are the

exact duplicates of the original lions, including the traces of damage

by the Japanese army.

A Secret Waiting to be Unveiled for Half a CenturyNear the ceiling of the octagonal entrance hall of the former

Shanghai HSBC headquarters were originally eight mosaic

murals by Italian craftsmen. Yet ‘alterations’ were made when

the entrance hall was used to receive the Soviet navy fleet as

it visited Shanghai in 1956. Suggestions were made to chip

away the mosaics’ tiles because the murals were overly

commercialised considering the social situation then, but Chen

Zhi, then-Director of Shanghai Institute of Architectural Design

& Research, suggested it would take less work to cover the

murals up, knowing that would preserve the artwork. With

the approval from the municipal government, the murals were

covered up and have disappeared since. As if a blessing in

disguise, the cover-up has saved the murals from irrevocable

damage during the Cultural Revolution.

But that was not the end of the story. When the Shanghai

Pudong Development Bank began its renovation in November

1997, something suggested there was more underneath the

cream paint on the ceiling of the octagonal hall. And so a secret

that had been sleeping for half a century was awaken. With

the Shanghai Pudong Development Bank’s half-year funded

restoration effort, the murals, which had been kept in the dark

for four decades, re-emerged with a new breath of life, garnering

undivided attention for its exquisiteness and sheer scale, over 20

metres high up in the air.

Spanning approximately 200 square-metres, comprising

hundreds of thousands of colourful mosaic tiles, the murals

vividly depict mythical gods and creatures in delicate colours

and rich layers.

Painted in azure blue, the dome depicts a myth with Apollo,

Selene and Demeter; the second layer depicts the 12 zodiac signs

in a style that reminds the viewer of the greatness of the universe.

At the core of the murals are the background information and

appearance of HSBC’s eight branches in Shanghai, Hong Kong,

London, Paris, New York, Tokyo, Bangkok, and Kolkata back

then. What intrigued the writer were the English words written

between every two cities, in an order that reads: ‘ALL’, ‘MEN’,

‘ARE’, ‘BROTHERS’, ‘WITHIN’, ‘THE’, ‘FOUR’, ‘SEA’, obviously

derived from the Chinese proverb with the same meaning. Such is

a line that came rather ironic back in a time when foreign countries

were scrambling for a piece of China. Yet fast forward to today,

when globalisation prevails, Shanghai, now a metropolitan, is

the best proof of this English translation of the Chinese proverb,

because it epitomises the virtues of open-mindedness and

accommodation.

MOUTAI Magazine 37

外灘12號在被譽為萬國建築博覽群的外灘，中山東一路12號，原上海

滙豐銀行大樓就坐落於此。它以非凡的氣勢、獨特的風姿被認

為是中國近代西方古典主義建築的最高傑作。

這座“從蘇伊士運河到遠東白令海峽最講究的建築”，從

1921年5月5日正式開工，到1923年6月23日封頂竣工，歷時

25個月，佔地17畝，建築面積23,415平方米。在建成的相當

長一段時間裏，它無可爭議地作為遠東最大的銀行建築而存

在。事實上，在當時世界範圍，也只有愛丁堡的蘇格蘭銀行大

樓可與之媲美。

沒有什麼能比這樣一座龐然大物，更能象徵那個時代滙豐

銀行的雄厚實力。大樓主體高五層，中央部分高七層，另有地

下室一層半。大堂內28根高13米的意大利天然大理石柱中，

有4根是用整塊大理石雕琢而成。這樣的圓柱全世界也只有6

根，另外2根在法國巴黎的羅浮宮。鋼框架結構，磚塊填充的

主體，外貼花崗岩石材，就像一座堅不可摧的城堡，使儲戶產

生安全和放心感。對於銀行建築最期望的效果，顯然，它全部

滿足了。

在漫長的歲月裏，滙豐銀行大樓伴隨著時代變遷，見證了

這座城市的發展與變化。1955年，滙豐銀行撤出上海，上海

38 MOUTAI Magazine

etiquette 禮

市政府決定將該大樓用作市府辦公大樓，進駐後將其改名“上

海市人民政府大樓”，副樓則在1956年改為上海市檔案館。上

世紀90年代，滙豐銀行曾有意回購這座見證自身榮耀的建築，

但最終因為價錢原因而告失敗。之後，上海浦東發展銀行於

1996年通過競拍，獲得了大樓入住權，並將其作為總部駐地沿

用至今。

命運的鋸痕這座大樓興建時，出於風水考慮，向英國訂購了兩尊青銅獅，

安放於大樓正門前，作為鎮獸。

兩尊銅獅每隻重2,250磅，一隻張嘴一隻閉口，寓意銀行

吐、納資金，獅子鑄成後，銅模就被銷毀，所以，第一對銅獅

就成了絕版珍品。1935年滙豐仿照這兩尊銅獅又鑄造了兩尊

獅子，安放於香港德輔道中（Des Voeux Road Central）香港

滙豐總行大廈前。時至今日，在滙豐銀行印發的港幣中，你會

發現它們的身影，而它們的原形正是來源於此。

滙豐銀行時代的青銅獅子被許多關於外灘的回憶錄所提

及，上海滙豐銀行也因其銅獅子形象深入民心而又被稱為“獅

子銀行”。路過的人都會不自禁地去摸獅爪，這個外灘傳統一

直延續至今，獅爪上閃耀的金黃銅色，彷彿述說著它曲折生動

的傳奇故事。

1941年日本佔領上海（公共租界）和香港，在1943年

物資緊張時，曾試圖將兩地的銅獅運至日本回爐取銅。滙豐

在香港的兩尊銅獅連同維多利亞女王和滙豐銀行大班昃臣

（Sir Thomas Jackson）的銅像被運至橫濱，存放於碼頭倉

庫。幸運的是，1945年被美軍發現，在麥克阿瑟的命令下得

以運回香港。

滙豐在上海的兩尊銅獅遭日軍鋸割，但沒有被拆

走。1966年文化大革命爆發後，這兩尊銅獅被上海市文管會

移至上海滑稽劇團倉庫，1980年代轉交上海博物館。1997年

浦東發展銀行獲得滙豐銀行大樓的使用權後，曾希望將原獅移

回銀行大門前，後經協商，由浦東發展銀行出資仿照原樣鑄造

了兩尊新銅獅。鑄造過程中，出於對歷史的尊敬，原日軍破壞

的鋸痕也一併保留呈現，如果你經過這對銅獅，便能看見這段

歷史。

半個世紀的秘密在滙豐銀行大樓八角形門廳上方，原有八幅由意大利工匠用馬

賽克鑲嵌製作完成的大型壁畫。

1956年蘇聯艦隊造訪上海，為了借用大廳接見外賓，要

對原有的裝飾物做適當改造。基於當時的背景因素，有人認

為，這一大塊壁畫太商業化，太西方化，建議敲掉。上海民用

建築設計院的陳植院長知道馬賽克是經過特殊處理不會腐蝕，

因此主張以刷上塗料代替敲掉。隨後經市政府批准，壁畫遂遭

塗料覆蓋，從此銷聲匿跡。命運似乎開了一個玩笑，因禍得福

的是讓它從此躲過了日後文革的浩劫，避免了滅頂之災。

1997年11月，浦發銀行在對大樓進行裝修時，隱約發現

八角廳中奶油色的塗層下面似乎還隱藏著什麼，由此，揭開了

這個沉睡了半個世紀的秘密。浦東發展銀行出資對其進行精

心的整理與修復，半年之後，當這組湮沒40年之久的壁畫以

全貌如神話般重現在世人面前，全社會的目光與熱情被點燃，

“世紀壁畫”的精美及規模令人震撼，在20多米高的穹頂，

光彩奪目。

這組鑲嵌畫總面積約200平方米，由幾十萬塊彩色馬賽克

鑲拼而成，無論是神話人物形象，還是動物形態都栩栩如生，

色彩細膩柔和、富有層次。

頂部以純淨的天藍鋪底，描繪了由太陽神、月神和豐收

女神構成的神話故事；第二層鑲嵌著遙遠天空中的黃道十二

星座，所呈現的幽遠之感，讓人不禁聯想起銀河的浩瀚與深

邃；接下來是整個鑲嵌畫的核心，面畫分別是當時滙豐銀行

在上海、香港、倫敦、巴黎、紐約、東京、曼谷、加爾各答

8個城市分行的建築風貌與背景。讓我感興趣的是寫在每兩個

城市之間的英文單詞，循序依次是：“ALL”、“MEN”、“ARE”、

“BROTHERS”、“WITHIN”、“THE”、“FOUR”、“SEA”，顯然，

此句的含義取自中國古訓“四海之內，皆兄弟也”。在那樣一

個時代，一個外資機構把這樣的期望鐫於牆壁，多少顯得有些諷

刺。然而在全球一體化的今天，在國際都市上海，城市的發展卻

為這句中國古訓做出了最好的註解，開放與包容是它新的時代特

徵。

MOUTAI Magazine 39

40 MOUTAI Magazine

etiquette 禮

It is hard to know as a consumer whether the many new shapes of glasses that appear regularly for different types of alcoholic beverage are really necessary, or sales-driven. Certainly, the most prominent of all drinks to

devise special shapes is western-style wine. If you attend a formal dinner anywhere in the world, the grander it is, the more glassware. Far from it being a case of a slightly larger glass for red, as I remember it in my

childhood in upscale restaurants (and even then, decent establishments often used the same for any wine), today’s top-end restaurants and bars

distinguish wine type within white, rosé and red.

如果不是專業人士，有時真的很難得知市面上五花八門的各式酒杯到底是為

了提升品酒體驗，還是純屬商業推廣。無可否認，現時大部分酒杯都是為西

方酒而設。無論身處何方，愈正式、隆重的晚宴，所用的酒杯種類便愈多。

跟我的童年回憶

（無論餐廳多有名，喝的是哪種酒，都只是用一隻比水杯大一點的杯）截然

不同的是，今時今日的高檔食府及酒吧，必定

區分白酒、玫瑰酒及紅酒所用的酒杯。

TEXT/文: Andrew Dembina imAgE/圖: Jorge Royan Atoma

Drinking Culture

淺酌細品杯中文化

in a Glass

MOUTAI Magazine 41

42 MOUTAI Magazine

etiquette 禮

Specially Designed for AppreciationChampagne glasses used to be very wide

until the end of the 1970s when it was

deemed that the flute-shaped glasses seen

today best preserve and show off the streams

of bubbles and adequately allow the aroma

to travel to the nose of the drinker, while

sipping.

Why then, are many spirits glasses

straight, rather than round and bulbous,

which is believed to accentuate the bouquet

or the ‘nose’ as it is called of a drink? And do

shot glasses miss the opportunity to deliver

more of an intense nose to the drinker?

Generally speaking, the argument for

glass shape differences is that alcoholic

drinks can vary in their appreciation. A wine

glass opening should allow the drinker’s nose

to fit into it, as the aromatic quality of wine is

considered essential to the experience. Less

so for stronger spirits, where aroma contains

concentrated alcohol fumes.

Nicolas Deneux, hotel sommelier and

Assistant Food and Beverage Director at

Grand Hyatt Hong Kong, had this to say

on the shape of glassware: “Glass shape

is crucial in wine or beverage tasting.

Depending on the alcohol strength, fruit

component and structure, different shapes

are appropriate. For instance, for a pinot noir

wine – which is very fruity, a large glass will

enhance the fruit and volume of the wine.

In order to realise the difference between

different glasses, I suggest tasting the same

wine in two or three different glasses to see

how different the wine becomes.”

On the subject of spirits, Deneux said,

“Spirits such as Cognac or Armagnac –

mostly aged in barrels – need bigger glasses

or a wine glass so the oak aromas can express

themselves. Gin, vodka, non-oaked grappas

and others can be served in smaller glasses.

“Moutai does not need a big glass. The

main point is the strength of the product,

which can be expressed in a small glass.”

Increasingly, small production beer –

often called micro-brew or craft beer – is

being served in bulbous glasses, as Belgian

high-alcohol ones have been for some time.

To learn more, I spoke to Toby Cooper,

Publican of The Globe pub in Hong Kong,

which carries many of these types. “Beer is

exactly the same principle as wine, a larger

wine style glass lets you see the clarity

and colour better, lets the beer breathe and

therefore releases more aroma,” he said.

“That’s also why beer should be drunk from

glasses, never out of bottles.”

Some alcohol is enjoyed from metal

or ceramic cups – the latter is very much a

part of Japanese sake culture; and Germany

sometimes uses ceramic tankards – mug-

shaped vessels – for lager beer, as France

does for apple cider.

Asked about any effect from these

materials, Deneux said, “Ceramic does not

give any particular taste. However, metal

can give a very acidic taste to wines and to

a few spirits.” Cooper added that he doesn’t

appreciate the taste of beer from metal

tankards. “There is a taste like metal polish to

me – though maybe it’s just my imagination.”

There are reasons why certain glasses

or cups, made with different materials in

different shapes, are used to serve certain

alcoholic beverages. Appreciate the wisdom

next time you have your Belgian beer in

bulbous glass, French apple cider in a mug,

or Moutai liquor in a small glass.

MOUTAI Magazine 43

Moutai in a Cocktail Glass

Be it before, during or after a meal, alcoholic beverages of various kinds are enjoyed by wine and liquor enthusiasts for their favourite poison’s alluring taste and texture, at myriad occasions worldwide. Alongside the bartenders who shake and mix your pick-me-ups such as Cosmopolitan and Kamikaze, there are also those called molecular mixologists, who seek to investigate and utilise the physical and chemical transformations of food and alcohol ingredients with techniques using foams, liquid nitrogen, and solidifying liquids, to enrich the drinker’s experience through the delivery of new flavours and textures, as well as visual effects. With dried chrysanthemum tea buds, slow-cooked ‘tea cordial’, and his house-made ‘Earl Grey Caviar’, Antonio Lai, award-winning mixologist and author, whipped up three Moutai-infused cocktails with unique characters, exuding an Oriental flair in western cocktail glasses.

雞尾酒杯裏的茅台

44 MOUTAI Magazine

muse 樂

由餐前、用膳期間到飯後，無論置身哪一國度，只要把酒，就能談心。坐在專業調酒師跟前

的酒吧枱，牽引人心的不單是那儼如藝術演出般的動作，和那幾乎有治癒力、冰塊敲在金屬

調酒器壁的清脆聲響，雞尾酒的材料，往往更令酒客萬分期待。分子調酒學正正由此誕生，

一群勇於創新的調酒師經過悉心鑽研，利用泡沫、液化氮和液體固化的技術，解拆和重組美

酒與食材的物理形態和化學結構，製成各種疑幻似真、味道叫人始料未及又外觀精緻的分子

雞尾酒。本文專訪了國際得獎無數、廣獲傳媒追訪的“香港分子調酒之父”Antonio Lai，讓

大家一覷他如何完美融合茅台與其獨創的“慢煮菊露”及招牌“格雷伯爵茶魚子醬”，創出

三款別開生面的雞尾酒，讓悠香綿長的東方風情縈繞在曼妙的酒杯裏。 TEXT/文: TC Li PhoTograPhy/攝: Bluer arT DirECTion/美指: Chloe yip TransLaTion/譯: 鄧美茵 sPECiaL Thanks/特別鳴謝: antonio Lai at Quinary

MOUTAI Magazine 45

“It all started from my discovery of a book

called Barchef & Molecular Mixologist by

Dario Comini when I was in Italy five years

ago,” said award-winning mixologist and founder

of Hong Kong cocktail bar Quinary, Antonio Lai,

as he recalled the moment he became intrigued

by molecular mixology, the cocktail version of

molecular gastronomy. “The book was in Italian but

I was totally mesmerised by the visuals. Through

online research, self study and experimentation,

I managed to master the basics and continued to

explore this fascinating aspect of mixology.”

Molecular Science’s Interpretation of Moutai To this man who embraces mixology because it

is a playground for unlimited creativity, creating

the three Moutai-infused cocktails was, like many

other of his creations, ‘fun and exciting’. And fun it

is, when the rich and flavoursome Moutai liquor is

brought into a world of molecular experimentation.

“Moutai is an iconic liquor that is parallel to

esteemed social status in mainland China. It is

widely known for its soy sauce-like aroma, which,

in my opinion, goes well with local Chinese

ingredients such as wolfberry and ginger, whose

respective slight sourness and spiciness perfectly

balance the strong and voluminous flavour of the

liquor to create delicious cocktails.”

Understanding that the Moutai liquor is the result

of a craftsmanship that has undergone thousands of

years of evolution, Antonio decided the only cocktail

that can match the liquor would be something that

requires a similar amount of labour and technique,

like a molecular cocktail. And the mixologist

admitted the creation of the Moutai-infused cocktails

was not without its challenges. “With respect to this

quintessentially Chinese liquor, I decided on mixing

it with the Chinese tea. I experimented with different

types of Chinese tea, from Tie Guan Yin to Pu’er, but

their flavours are too strong and colours too dark. I

also sourced quite a few kinds of chrysanthemum,

both fresh and dried, and finally decided on the

dried chrysanthemum buds which have a more

concentrated flavour.”

And with that, Antonio created three light,

refreshing and balanced cocktails with Asian

influences – chrysanthemum and tea. For lighter

drinkers Antonio recommends ‘Saucy Lemon’, a

drink with a distinctive sweet, soy sauce fragrance

from the Moutai liquor (43% alcohol content), and

a refreshing taste, thanks to the tea cordial. To make

the tea cordial, Antonio has especially slow-cooked

oolong and water at 62oC for two hours, and the

result was a tea-flavoured liquid that is slightly

syrupy in texture and taste.

The two hours-plus of effort was well worth it

as it was also used to add breadth to ‘Walking on

Petals’. The tea cordial was fast-infused in a siphon

with dried chrysanthemum buds and Moutai

liquor (53% alcohol content). Once the foamy

liquid was poured into the glass, Antonio mixed

it with soda water and a little more tea cordial.

“This cocktail is fairly easy on the palate while

retaining that inimitable aroma of the Moutai liquor,

complemented by the tea cordial. To produce a

more ‘masculine’ version of this cocktail, I simply

need to take out the soda water from the recipe and

create the cocktail with carbonation, resulting in a

46 MOUTAI Magazine

muse 樂

cocktail that is more pronounced in the texture and

taste of the Moutai liquor.”

Then, into a round, wide-brimmed cocktail

glass, Antonio spooned the house-made Earl Grey

Caviar – little spheres of Earl Grey jelly made by a

molecular technique called ‘spherification’. “This one

is called ‘Elderflower Allure’,” said the mixologist as

the fragrance of the Moutai liquor became airborne

while he poured jigger after jigger of ingredients

into the shaker – lemon juice, elderflower cordial,

apple juice, and Moutai liquor (43% alcohol

content). “While the apple juice lightens up the

texture and taste of the Moutai liquor, the lemon

juice helps preserve and retain the tartness of the

elderflower cordial so that it can freshen up the

cocktail while instilling some floral fragrance.”

“Like Brothers and Sisters”As a mixologist whose career and continuous pursuit

of knowledge on mixology have taken him all

around the world, Antonio likened the relationship

of food and wine to ‘brothers and sisters’. “Every

culture in the world has a romantic relationship with

wines and liquors, it’s just a matter of whether the

wine and liquor is consumed before, during of after

the meal. In Italy, for instance, there are the aperitivo

before the meal to whet the appetite and wines

consumed during the meal; in Australia, it’s almost

common sense to have wines to complement the

meal; in Mexico, people simply love their cocktails.

And then there are the countries who have their

national wines or liquors: Russian vodka, Japanese

sake, and Chinese baijiu, in particular the Moutai

liquor. Wines and liquors, in a nutshell, are what

complete a dining experience.”

As modern-day people’s lifestyles evolve also

born is the increasing need for innovative ways to

appreciate good-old traditions. As Antonio would

admit, the biggest challenge for creating the Moutai-

infused cocktails would be changing the drinking

habit or behaviour from serving straight-up to

cocktails. “Introducing a new drinking ritual, which

has rooted for so many years in the minds and hearts

of consumers, will not be happening overnight. Yet

it is always a good idea to offer varieties and add a

twist to the classic liquor.”

MOUTAI Magazine 47

“一切從我五年前發現了一本書開

始。”在國際賽屢獲殊榮、創辦

香港首間分子雞尾酒吧Quinary的

Antonio，娓娓道出與分子調酒學如何結緣。他講的

是意大利調酒大師達廖．科米尼的著作《Barchef

& Molecular Mixologist》（直譯“酒廚與分子調酒

師”），書中闡釋了如何將分子料理技巧，巧妙地運

用到調酒之上。“雖然這本書以意大利文撰寫，我卻

為之深深傾倒，還把所有圖片牢牢記住。經過一番網

上搜尋、自學和實驗，我終於掌握了基本技巧，並以

此為基礎，繼續勇闖分子調酒學的世界，創製多款開

拓酒客視野的酒品。”

分子雞尾酒的跨界對Antonio而言，調酒學是一個了無邊際的遊樂場。

一如其他由他一手打造的創意雞尾酒，今次把醇厚

甘冽的茅台嫁接到調酒遊戲的世界裏，是一種令人

興奮的跨界，正中他下懷。“貴為‘國酒’，茅台在

中國是一種地位超然的佳釀，以其只此一家的‘醬

香’馳名。我認為醬香與多種中國食材十分對味，

例如枸杞和薑的酸辛，恰恰能平衡這種強烈馥郁的

酒香，變出味覺平衡、層次豐富又令人印象深刻的

雞尾酒。”

中國的釀酒歷史很悠久，茅台酒的釀造工藝歷經

了上千年的演變，如此蘊藏了無數釀酒師心血、經

過歲月千錘百煉的美酒，Antonio認為，只有準繩度

和藝術性同樣追求完美的分子雞尾酒，才堪匹配。

他又分享了創作茅台雞尾酒的過程：“茅台是中國最

具標誌性的烈酒，所以我決定用中國茶來做酒基。

不過試驗了鐵觀音、普洱等的多種中國茶後，我發

現要不茶味太濃，要不茶色太深。我也買了數種菊

花，新鮮的、乾的也有，最後我選用了蜜味濃郁的

胎菊（花蕾未全開時摘下的頂級杭白菊）。”

一酒、一茶，Antonio由此創作了三款別具東方

風味的分子雞尾酒。第一款是淺酌尤佳的“柔醬蜜

意”，起用酒精濃度43%的茅台與Antonio以烏龍茶

於攝氏62度慢煮兩小時而成的茶露，交融成醬香茶

香互相輝映的清新飲料，不但茶香懾人，更添上一

絲糖漿般的淡甜與濃稠，蕩人心腸。

第二款為“花間漫步”，同樣採用茶露，不過今

次是將胎菊及酒精濃度53%的茅台一同放入虹吸管

急速浸泡，製成泡沫豐富的菊露，和以梳打水及額

外的一點菊露。“這款雞尾酒幽香宜人，散發淡淡茅

台醬味，並以菊露錦上添花，特別容易獵取女性酒

客的芳心。若想‘男人味’重一點，只須剔走梳打

水並改用碳化法來製作菊露泡沫，即可嘗出更鮮明

的茅台個性。”

第三款是“茅香接骨木”，特色是改用寛圓的雞

尾酒杯和Antonio獨家製作的格雷伯爵茶魚子醬（以

球化技術製成的茶味啫喱顆粒）。在裊裊茅台香升

48 MOUTAI Magazine

muse 樂

起之際，Antonio一邊搖着調酒器一邊講解道：“這

款酒用了檸檬汁、接骨木花露、蘋果汁及酒精濃度

43%的茅台。蘋果汁能平衡茅台的濃烈，而檸檬汁

則能凸顯接骨木花露的酸度，同時令整杯酒添上清

香芬芳的氣息。”

“相親相愛”的美酒佳肴“求變”是每一位成功調酒師的特質，因此Antonio經

常周遊列國，體驗不同國家的飲食文化。走遍世界的

他認為，食物與酒的關係就像“手足”一樣─密不

可分。“世上每一種文化，都跟美酒有着一段浪漫親

密的關係，最大的差別不過是到底在餐前、餐間還是

餐後喝酒罷了。譬如說，意大利人會在餐前飲用開胃

酒、進餐時再喝葡萄酒；澳洲人喜歡以酒伴餐，程度

幾達沒有酒的一頓不能算是圓滿；墨西哥人則無雞尾

酒不歡。還有各款能代表國家的酒：俄羅斯伏特加、

日本清酒，還有中國白酒之王茅台。換言之，每一場

盛宴體驗，都必須有佳釀的扶持，方算十全十美。”

隨着時代的進步，現代人的生活模式不斷進化，

在追先求新之際，不少人亦學習重新欣賞古老傳

統。Antonio認為，創作茅台雞尾酒的關鍵在於要改

變大眾的喝酒習慣，以及酒吧只供應普通雞尾酒的

慣例。“消費者根深蒂固的習慣，不會一下子突然改

變。將經典烈酒加以創新、改造和變化，不失為建立

一種嶄新喝酒模式的好辦法。”

saucy Lemon

柔醬蜜意

Walking on Petals

花間漫步Walking on Petals

花間漫步

Elderflower allure

茅香接骨木

MOUTAI Magazine 49

50 MOUTAI Magazine

muse 樂

ASojourn “…and suddenly a puff of wind, faint, tepid and laden with strange odours

of blossoms comes out of the still night – the first sigh of the East on my face.” – Youth, from Tales of Land and Sea by Joseph Conrad

“……突如其來的風，在靜夜裏捲來一陣隱約但又無處不在的香氣─

這是第一次，東方的歎息呵到了我臉上。” ─「年輕」，

約瑟康拉德《陸海傳奇》TEXT/文: TC Li SpECiaL ThankS/特別鳴謝: Secret Retreats

邂逅香料島

Spice Islandsto the

MOUTAI Magazine 51

The Legend of Silolona Back in history there was a time when the golden age of maritime

exploration conjured the romantic visions of majestic sailing

ships, exotic sultans, and enigmatic jungle tribes. For centuries

the fabled spice trade was done via land routes through Asia

and the Middle East, until the mysterious ‘Spice Islands’ (later

known as the East Indies, referring to what is now known as the

Indian subcontinent, Southeast Asia and the islands of Oceania

and Maritime Southeast Asia) intrigued explorers and navigators

the likes of Columbus, Magellan and Francis Drake, to such an

extent that they sailed in search of the lands of spices. Vibrant

trade continued between the Spice Islands and most of the

known world for centuries, as the much-sought-after spices were

transported along a well-developed network of sea routes, from

Africa, India to China, on magnificent, hand-built sailing vessels

that are ancestors to the modern Phinisi (a traditional Indonesian

two-masted sailing ship), laden with delicately scented cargos.

One type of these vessels, which carried with them chronicles

of important milestones in the history of humankind, is the

Silolona, a ship with a long tradition deeply rooted in history,

a living spirit from the golden age of sail. Built by hand in the

traditional manner by the Konjo people of Sulawesi, employing

exotic tropical hard woods, these majestic sailing ships have been

sailed by the Bugis people for centuries.

Such a time in history is still so fondly remembered that

Secret Retreats, devoted to providing experiential experiences

for the discerning travellers, has decided to relive the spice trade

travel for modern-day travellers looking for unique experiences.

Silolona Sojourns is a travel experience inspired by a love story

that took place long ago in history, when the earth was still young.

It was a story of romance unlike any other, where the gallant and

fearless Atuf fell in love with Silolona, the most beautiful woman

in all Tanimbar Islands known also for her inner strength and skill

in weaving and basketry. Yet the romance also coincided with

a time when the sun was too close to the earth, and life was so

harsh that Silolona died in her youth. As he mourned the death of

the woman he loved, Atuf vowed to make the world a safer place

for all his people by building a boat capable of sailing towards the

sun. He named the boat ‘Silolona’. With the blessing of the spirit

of Silolona, Atuf hurled his magical spear, shattering the sun and

creating all the stars and constellations.

Revisiting the Ancient Spice Trade Routes with Modern Comfort Fast forward to today, the Silolona Sojourns is a journey across

the ancient spice trade routes in Southeast Asia on a vessel, in

strict harmony with the monsoon weather patterns like its

spice-laden ancestors had done, while taking into account the

52 MOUTAI Magazine

muse 樂

a magnificent, hand-made vessel that combines tradition and modern comfort.

MOUTAI Magazine 53

The Silolona sailing past the komodo island.

54 MOUTAI Magazine

muse 樂

importance of offering modern-day comfort, service

and degree of traditional integration at the same time.

And all that is done with Silolona’s handpicked crew

and tightly knit team of shore-based support staff, as

well as Patti Seery.

At the heart of the Silolona Sojourns is Patti Seery,

owner of the 164-foot, five-cabin, high-powered and

gaff-rigged Silolona, built with tropical hardwood

by Sulawesi boat builders, motorised and up to

Germanischer Lloyd’s safety specifications. Thanks

to her three decades in Indonesia, Seery, an American

expat, has developed a vast network of enduring

relationships throughout the various cultural, social

and creative strata of Southeast Asia and the world.

And it is through these long-standing relationships

that the average visitor can enter the magical worlds,

ranging from a stay at Stone Age huts to dinners

with kings.

The sojourns of Silolona are designed to be

private travel experiences according to your personal

wishes and requirements, such as your own schedule,

destination, places to visit, and where to stop along the

way. If you wish, you may even privatise Silolona for

charter cruise (three or five cabins), or make a request

for the companionship of writers, naturalists, artists,

textile experts, photographers, or leading marine

scientists to share their knowledge and skills with

you. Should you wish to have your personal massage

therapist on call, a yoga master, or a chartered plane or

helicopter transfer arranged, Silolona has its ways to

make it happen for you too.

Featuring a décor of authentic colours, textures

and styles derived from the cultures they embody,

the three suites on Silolona are all en-suite, fully air-

conditioned, and can accommodate up to six guests.

While on-board, be surprised by an extensive list of

spontaneous events and activities, depending on

the special locations or magical moments during the

sojourn. From beach parties, picnics on the walls

of an ancient ruin, guided dives in Raja Ampat and

Komodo, to massage and body therapies (such as the

Hot Stone, Deep Tissue and Shambhala Massage),

as well as a great array of water sports, time spent

on Silolona is a combination of adrenaline-fuelled

activities, wildlife discovery and holistic wellbeing.

To ensure your utmost comfort, Silolona goes to great

lengths to incorporate your wishes and requests in

the sojourns, including your culinary needs – whether

you prefer your comfort food or regional Southeast

Asian specialities, meals on Silolona are events to be

savoured with satisfaction, where each dish is a work

of visually enticing culinary art, presented in an al

fresco dining setting.

True to its emphasis on truly experiential

experiences, Silolona also offers a portfolio of

meticulously selected private villas and boutique

hotels for the days before or after your sojourn –

think a villa overlooking Bali, the ocean

views of Langkawi, Phuket opulence or other

spellbinding accommodation experiences along

those lines.

Incarnations of the glorious traditional Indonesian

sailing ships originally designed for trade along the

historic spice trade routes, Silolona ingeniously and

luxuriously melds the safety and amenities of the

21st century, with a style and grace that harks back

to an integral part of the history of humankind, for

the adventurous travellers forever in a pursuit of

enthralling travel experiences.

About Secret Retreats Secret Retreats is a collection of some of the

finest boutique residences, hotels and boats

throughout Asia and a brand that provides

experiential experiences for the discerning

traveller. Representing a collective of cultured

individuals whose taste, sense of refinement,

simplicity and hospitality is reflected in the

unique properties that they created, Secret

Retreats is solely devoted to promoting

properties within Asia. Conscious of the

uniformity of luxury hotel chains around the

world that has deprived today’s travellers of

authenticity and individuality, Secret Retreats

sets a new reference point in the hospitality

industry through advocating exclusive

boutique hideaways and promoting bespoke

travel experiences.

MOUTAI Magazine 55

56 MOUTAI Magazine

muse 樂

Since its government’s abolishment

of wine duties in 2008, Hong

Kong has fast emerged as a global

hub of wine consumption, and therefore

trading and distribution. And it was also in

the same year that the Hong Kong Trade

Development Council debuted the Hong

Kong International Wine & Spirits Fair at

Hong Kong Convention and Exhibition

Centre, to provide a marketing platform

for the establishment of the wine and

spirits business in the region. With Hong

Kong now having overtaken New York

and London to become the largest wine

auction market in the world, the sixth

Hong Kong International Wine & Spirits

Fair hosts over 1,000 exhibitors from close

to 40 countries and regions worldwide.

Partner Country of the fair this year

is Spain, whose Spanish Pavilion features

over 90 exhibitors and various activities

to promote the country’s culture and

wine-making. Alongside other major

wine-producing countries such as France,

Argentina, Germany, South Africa, Portugal,

Italy, and Chile, also exhibiting their

country’s best wines and liquors are first-

timers the likes of Jordan, Turkey, Lithuania,

Montenegro and Morocco. Noteworthy

is the greater participation from the Asia

region, which saw a considerable number of

booths occupied by the Japanese sake, wines

produced by China’s Penglai Vine and Wine

Bureau, and the Kweichow Moutai liquor –

the national liquor of China.

As an event designed to cater to the

various needs of wine and spirit lovers and

enthusiasts, the Hong Kong International

Wine & Spirits Fair 2013 has especially

arranged for a master class on pairing Chinese

sauces with wine on the Public Day, an Ice

Bar for cocktail demonstrations, an art space

where books of the world’s wine cultures and

paintings by Chinese contemporary artist Yin

Jun are displayed, a Sake Cups and Glasses

exhibition, a Buyers Forum that brought

together industry players from China and

Southeast Asia to share their views on market

developments, and it has also brought back

the fine wine tasting sessions to offer visitors

and buyers the chance to try some of the

world’s most sought-after wines including

top German Riesling wines, premium Port

wines, and finest wines from Spain.

Widely acclaimed as China’s top-

notch baijiu, the Kweichow Moutai has

exhibited its precious gift pack edition, a

small batch that was meticulously blended

by the CHINA KWEICHOW MOUTAI

DISTILLERY (GROUP) CO. LTD. for the

overseas markets. On top of information

on the art of liquor-making, also available

at the Kweichow Moutai booth was the

tasting opportunity of the Moutai liquor,

which attracted a considerable number

of buyers and liquor enthusiasts. Among

the world’s finest wines and liquors, the

Moutai liquor from the Orient stood out

from the crowd. In its appearance at this

international stage, the Moutai liquor has

once again shown the world its confidence

and capability to become among the

world’s greatest liquors.

自政府於2008年實施葡萄酒零關稅的

政策，香港遂進身為全球矚目的美

酒之都，成為國際釀酒商與品牌貿

易商的兵家必爭之地。同年香港貿易發展局

創辦香港國際美酒展（“美酒展”），將位於

灣仔的香港會議展覽中心化身為葡萄酒及烈

酒的業務推廣平台。至今香港已超越紐約及

倫敦，成為全球最大的葡萄酒拍賣市場，剛

過去的第六屆美酒展亦吸引了逾千個來自40

個國家及地區的參展商，盛況空前。

2013年11月舉行的此屆美酒展邀得西班

牙出任“夥伴國家”，因此會場內設有大型

的西班牙特色展館，呈獻超過90個參展商及

多個主題活動，讓更多人領略到西班牙的文

化及釀酒技術。此外，會場內當然少不了其

他主要釀酒國如法國、阿根廷、南非、葡萄

牙、意大利及智利的展區，還有首度參展的

約旦、土耳其、立陶宛、蒙特內哥羅及摩洛

哥。值得一提的是，今年亞洲參展商更加踴

躍，參觀的買家及大眾不難發現，展區內處

處可見日本清酒及中國葡萄酒等亞洲酒品。

作為一個迎合各界愛酒人士口味的

盛會，2013年美酒展於公眾開放日特設

“品酒大師課程”，由著名品酒師教授中

國醬油配搭美酒的技巧。同場更有於Ice

Bar舉行的多場雞尾酒調酒示範、日本清

酒杯展覽、供中國及東南亞買家分享市場

走勢的論壇。與此同時，展會還設置了

藝術空間，向來賓展示世界各地美酒文化

的書籍和中國當代藝術家尹俊的畫作。

大會更再度舉辦頂級佳釀試酒會，讓買家及

公眾人士一嚐全球趨之若鶩的高級美酒，包

括殿堂級德國雷司令、珍稀優質砵酒及頂級

西班牙佳釀。

作為中國頂級白酒的貴州茅台，在現場

首次展示了珍品禮盒裝茅台酒，此酒為貴州

茅台酒廠小批量精心勾調的佳釀，專供海外

市場。在茅台酒展區內，不僅展示了中國釀

酒藝術，更呈現了中國白酒文化的特色，同

時還提供了茅台酒試品，吸引了眾多買家和

愛酒人士。在眾多的全球佳釀中，茅台作為

東方烈酒可謂是一枝獨秀。此次參展是茅台

酒登上國際舞台的又一次精彩亮相，彰顯了

貴州茅台躋身世界名酒的信心和動力。

TEXT/文: TC Li PhoTograPhy/攝: Bluer

品酒盛會在香港

MOUTAI Magazine 57

That the 77-year-old Yale University professor

Jonathan D. Spence was featured in the

Chinese edition of Esquire recently came as

little surprise for those in the academic circle, where

Spence has always been considered an unconventional

rarity – just when other specialists in Chinese culture

and history study elaborate with oft-convoluted

theories, Spence favours the chronicle of the country’s

history in a style not unlike a captivating novel with

distinguished twists and turns, whether it be his Return

to Dragon Mountain: Memories of a Late Ming Man, or The

Chan’s Great Continent: China in Western Minds. Opening

the window for the English-speaking western world to

the history of China, Spence’s works are always among

the bestsellers.

China studies in the United States took the shape

of a mainstream academic field following the end of

the Second World War, and the purpose of China

studies back then was very clear: to devise ways

to disrupt the country’s communist government.

Naturally enough, American specialists in China

studies in the 1950s were, by and large, focused on

investigating the historical causes of the weaknesses

of contemporary China, and dialogues were only held

among the academic specialists. With the American

public’s scanty knowledge of China, and the China

studies experts’ reluctance to elaborate on the nuts

and bolts of China to who they perceived as laymen,

the US government’s vilification of China was a rather

easy success. For a long time China studies in the

United States remained an academic field exclusive to

those in ivory towers – until Spence, that is.

Idolised by many a Yale students was Spence,

and for many years on end. An undergraduate at

Yale University in 1994, Susan Jakes, later a Ph.D.

in Chinese history, still remembers the sheer sight of

Spence’s lecture she attended in sophomore year –

the lecture hall was fully packed with hundreds of

eager students, and all of Spence’s books were sold

out by the time she and her roommate reached the

史景遷為人民服務

曾在伯克利執教多年，現執教於悉尼大學的著名漢學家王安國

（J.Riegel）算是史景遷在學術圈內的粉絲。有一次我去拜訪他，他正在看史景遷的一本新書，並且向我推薦說：“閑暇時翻翻，換個角度看看學術

也不錯”。對於熱衷於在Discovery頻道向美國觀眾介紹秦始皇和中國上古文化的王安國來說，史景遷也許是一個難得的同道中人。TEXT/文: Dong Tie-zhu imagE/圖: imagineChina 東方iC TranslaTion/譯: TC li

Previously a professor at University of California, Berkeley and currently the University of Sydney, renowned specialist in Chinese intellectual history, Professor Jeffrey Riegel is a great fan of Jonathan D. Spence. On a recent visit, Riegel recommended a new book by Spence to me because of its different take on academics. In the eyes of Riegel, an enthusiast of Discovery Channel’s shows on Chinese history and ancient Chinese culture, Spence is perhaps a kindred spirit that rarely comes by.

The People’s Scholar

58 MOUTAI Magazine

Harmony 和

university’s bookshop after the lecture. It was Spence

that Jakes decided to major in Chinese history despite

her lack of knowledge in this field of study, because,

to quote Jakes, Spence taught what she and her

fellow students wanted to know.

This remark of Jakes’ speaks volume about Spence

as a professor, as while China studies specialists

are almost indisputably eminent scholars on their

own, not everyone is a teacher who can deliver an

entertaining lecture – many simply can’t teach, while

some can’t even be bothered. The truth is, teaching

only comes second to publishing research findings

for many distinguished professors in universities

across the United States, because the latter is what

really escalates them further up the academic ladder.

Not very often does one see an esteemed professor

like Spence, who would willingly spend time on

piquing undergraduates’ interest in Chinese history.

He has not just popularised the mainstream, but has

also compelled other China studies specialists to

contemplate the all-important question: What really

are China studies about?

Born in England in the 1930s and made his name in

the United States, Spence thought the meaning behind

China studies shouldn’t have rested at the development

of psychic weapons during the Cold War, but it

should be about aiding westerners’ understanding of

China. In Heritage of China: Contemporary Perspectives on

Chinese Civilization, he wrote, over two decades ago,

“Westerners have been unclear about China since they

first began to live there in any numbers and to write

about the country at length.” Interpreted in Chinese,

Spence’s historical research is a ‘service for the people’.

The socialist approach Spence opted for is similar

to the folk literature adopted by Chinese artists the

likes of Zhao Shu-li, who launched the Shanyaodan

(potato) literary movement – an approach that leaves

behind global influence. The other China studies

specialists, meanwhile, gladly stayed and researched

within their own cliques.

MOUTAI Magazine 59

77歲的美國耶魯大學教授史景遷（Jonathan

D. Spence）最近登上中國大陸版的《時尚先

生》，這一消息對於圈內人來說，一點兒都不

意外。這個圈，當然是學術圈。在學術圈內，史景遷

多少算個另類，因為他走的是通俗路線。當其他的漢

學家以嚴謹的理論來剖析中國歷史時，史景遷卻總是

以近乎小說的筆法講述中國，無論是《前朝夢憶》還

是《大汗之國》，他的文字讀來宛如一部部情節曲折

而見地深刻的故事，和讓人生畏的學術著作全然不

同。也因此他的著作總是成為大眾關注的暢銷書，甚

至引起了西方英語世界對中國歷史的濃厚興趣。

美國的漢學研究盛於二戰之後，當時漢學研究的

目標很明確，就是要通過研究中國找出對付紅色中國

的辦法。因此上個世紀50年代以來的美國漢學家研究

中國歷史，或多或少是為了從中國歷史之中找到現在

中國的癥結所在；他們之間的對話，無疑是在專家層

面的。美國的民眾自然對中國一無所知，因為美國政

府認為保持民眾的無知才可以順利地妖魔化中國，而

In God’s Chinese Son: The Taiping Heavenly Kingdom

of Hong Xiuquan, Spence consciously drew a line

between himself and the rest of the China studies

specialists, by declaring that the purpose of the book

was not to provide a detailed chronicle of the Taiping

Rebellion from start to finish and its impact on China,

because work of this nature has already been done by

many exceptional scholars. His purpose, said Spence,

was to understand the mind of Hong Xiu-quan as best

he can and to comprehend how this man had ‘such an

astonishing impact on his country for so many years’.

Understanding the impossibility for westerns – who

had little knowledge even of the Qing Dynasty – to

grasp the historical meaning of the Taiping Rebellion,

Spence aroused western readers’ interest with a

focus on Christianity. Spence made readers realise

how Christianity has found its root that early back

in China’s history, and how it has influenced the

Chinese, like it had done the western worlds too.

With Spence’s masterful account of Chinese history in

his unique style, academic research was transformed

into astounding literal feasts for the ordinary readers.

Since 1974, Spence has written 14 books on

Chinese history. To Esquire’s acknowledgement of

Spence as a peerless professor in the entire western

world in terms of his plentiful books on Chinese

history, many scholars may express doubt – since when

is ‘plentiful’ the benchmark for academic research, they

might argue. Yet the acknowledgement, despite coming

from a non-academic publication, remains a gesture of

recognition of Spence’s status – Spence is inarguably

the most influential contemporary China studies

specialist outside the ivory tower, and this is precisely

the academic life Spence has been in pursuit of.

China studies specialists who would popularise

academics like Spence himself are still a rarity today,

and Spence’s historical chronicles of China have been,

and still are, held in high regard. The reason is simple:

a China studies specialist who works for the people

will forever be remembered by the people.

60 MOUTAI Magazine

Harmony 和

旨的，走的是群眾路線，和中國的人民藝術家趙樹理

們的“山藥蛋”文學走的是同一個方向，對這個世界

產生的影響也就自然巨大，而其他的漢學家們，則多

少有一點孤芳自賞的情調，所做的學問也就停留在了

所謂的圈子以內。

在《上帝的中國兒子：洪秀全的太平天國》中，

史景遷自覺地和其他的漢學家劃清了界線：“這本書

並不想對太平天國運動做一個全面的描述─從發

生、發展、高潮、失敗以及它對中國的影響。許多優

秀的學者已經做了這些工作……我所關注的，只是洪

秀全的心理……想搞清楚基督教為何讓他做出了這樣

轟轟烈烈之舉。”對很多連清朝都不知道的西方人來

說，太平天國的歷史意義無疑過於抽象；從基督教這

樣一個西方人耳熟能詳的角度入手，卻能輕而易舉地

勾起讀者的興趣：原來中國這麽早就有了基督教，原

來基督教居然能讓中國人瘋狂啊！學術研究就這樣在

史景遷的筆下變成了普通讀者的閱讀大餐。

自1974年以來，史景遷完成了14部有關中國的

歷史著作。當《時尚先生》評述說“在整個西方世

界，幾乎沒人比這位耶魯大學教授出版過更為豐富的

中國研究作品”時，圈內人也許會反駁說研究作品豈

能以“豐富”的數量為標準？但是這句外行而充滿了

溢美情緒的評價，卻為史景遷準確地定了位：在象牙

塔外，史景遷的影響在當代漢學家中也許的確是最大

的，而這正是史景遷追求的學術境界。

畢竟，今天真正願意將學術通俗化的漢學家還是

寥寥無幾，這也許就是史景遷筆下的中國形象獨特而

寶貴的原因。一個為人民服務的漢學家，讀者們自然

記得他。

漢學家們又懶得紆尊降貴、浪費自己的時間去向民眾

介紹中國歷史的ABC。所以美國的中國歷史研究，有

一段很長的時間純屬象牙塔裏的清談。史景遷所衝破

的，就是這一堵厚厚的圍牆。

在耶魯大學，史景遷多年來都是學生們的偶像。

蘇珊．傑克斯是耶魯大學94級的本科生，到現在她都

還記得大二時去聽史景遷講座的場面：幾百人的禮堂

在開講前早已座無虛席，而聽完後她和室友趕緊跑到

學校書店，發現書店裏史景遷的書立馬就售罄了。正

是在史景遷魅力的感召之下，對中國一無所知的蘇珊

選擇了中國歷史作為專業。用她的話說，史景遷所講

的，正是學生希望聽的。

蘇珊的話毫無疑問是對史景遷最高的讚揚。每

個漢學大師都是第一流的學者，但是一流學者不一定

是講課有趣的老師─很多人不會教，有的人甚至不

屑教。對美國大學裏已成名的教授而言，教書只是副

業，科研著作才是揚名立萬的根本；像史景遷這樣成

名已久的教授，還願意花精力在本科生的教育上，吸

引本科生對中國歷史產生興趣，這不僅是他將通俗路

線貫徹到底的體現，也讓每一個漢學家都不得不思考

一個問題：中國研究究竟是為了什麽？

上個世紀30年代出生於英國的史景遷雖然在美

國成名，但對他來說，中國歷史研究的意義並不在

於為現實的冷戰研製出精神武器，而是為了讓更多的

西方普羅大眾了解中國。在二十多年前，他曾經寫

道：“自從西方人踏入中國這塊土地的那一天起，不

管他們有多少人，也不管他們曾經寫下了多少有關中

國的文字，西方人還是一直搞不懂中國。”用中國的

老話，史景遷的歷史研究，是以“為人民服務”為宗

MOUTAI Magazine 61

LifeIt takes one minute to recite a great Tang poetry;

It takes one hour to steam-cook a pot of millet rice; It takes a century to fully experience a life of ups and downs;

And it takes one thousand years to dialogue the essence of Chinese philosophies.

朗誦一首動聽的中國唐詩需要一分鐘

蒸熟一鍋香氣撲鼻的黃粱米飯需要一小時

經歷一次悲喜交集的人生需要一個世紀

對話一種中國哲學精神需要一個千年TEXT/文: Konzen Hou IMAGE/圖片提供: Huang Ying Work 黃盈工作室 PHOTOGRAPHY/攝: Zhang Rui張睿 TRAnslATIOn/譯: TC li

Dreamis a故事裏的人生

62 MOUTAI Magazine

Harmony 和

MOUTAI Magazine 63

64 MOUTAI Magazine

Harmony 和

O ne thousand and two hundred years

ago in history, an ordinary folklore,

having successfully transcended the

barriers of time and language, was shown

at Festival d’Avignon for 24 consecutive

times. It was widely acclaimed as the

‘most quintessentially Chinese drama’ by

the European audience. It was a drama that

could be comprehended without the aid of

subtitles.

Such is LifeOf the more popularly read stories in China

among Tang Dynasty Tales, a collection of

short stories written in classical Chinese text,

is Record within a Pillow.

The story depicted a young man Lu’s

encounter with an old man by the same

surname at a tavern he stayed during his

journey, and how he bemoaned his poverty-

stricken state. The old man then took out

a pillow and said, “Sleep on this pillow

and you will be blessed with wealth and

luxury.” As the tavern master was cooking

a pot of millet rice, the young man slept

on the pillow and began to dream. In the

dream, he married an elegant and beautiful

woman and lived a life of extravagance.

Came the next year, he received the ‘jinshi-

degree’ (presented scholar) at the imperial

examination, which saw him becoming the

prime minister and later an imperial court-

accredited literati in the Tang Dynasty. All

five sons of his married someone from

rich, reputable families, landed a career as

officials of the imperial court, and made him

the grandfather of dozens of grandchildren

altogether. In bliss and contentedness, Lu

lived till his eighties. And soon he woke. The

millet rice was still cooking, and it dawned

on the young Lu that all these decades of

opulence turned out to be nothing but

a beautiful dream. “Isn’t this what life is

meant to be?” said the wise old man with

a chuckle. And such is the story of A Golden

Millet Dream.

The Rendezvous with AvignonFast forward to 2011. Invited by Festival

d’Avignon, young drama playwright and

director Huang Ying picked the story plot

of A Golden Millet Dream for adaptation,

and turned it into a drama he called Cooking

a Dream. He has decided to reinterpret the

1,200-year-old story with “the simplest

plot, in the most direct way, with the most

Oriental way of thinking, and the most

Chinese interpretation”. The small French

city of Avignon to him was a place to test the

waters – he wanted to gauge the audience’s

response to his contemporary Chinese

drama.

For his Cooking a Dream, Huang has

especially brought some millet to France,

to be rinsed and cooked at the actual

performance. With the grasp of millet in his

hand, Huang attempted to figure out the

duration of the ‘dream’ and the performance.

The entire theatre was filled with the

MOUTAI Magazine 65

66 MOUTAI Magazine

Harmony 和

national drama, Huang distinguishes his

work from ‘national drama’, a category of

drama created by intellectuals who returned

from the United States in 1926, armed with

an understanding of western opera and the

desire to create something similar for China.

In the eyes of Huang, Chinese drama can

only be as what 20th century playwright and

Chinese drama educationist Yu Shang-yuan

said to be: “A Chinese theatrical performance

produced with Chinese materials, by the

Chinese for the Chinese.”

Huang is bold and industrious with his

revolutionisation of the traditional Chinese

drama. Like Shakespeare’s Macbeth he

plunged forward with audacity. By taking

the next theatrical work as an evolution

of the last, Huang explores the infinite

possibilities of the world of drama, and has

successfully created theatrical works with

his signature charm by breathing new blood

into traditional drama plots.

A Different Interpretation at Zhengyici Peking Opera Theatre Having been shown in the quaint city of

Avignon, and later the National Centre for

the Performing Arts, the new national drama

Cooking a Dream presented itself in quite

a different fashion to the audience at the

Zhengyici Peking Opera Theatre.

Initially constructed as a temple in

the Ming Dynasty, the Zhengyici Peking

Opera Theatre was transformed into a

residence for the silver practitioner society

in the sixth year of Kangxi’s reign in the

Qing Dynasty while being a temple for

the Zhengyi Xuantan Laozu, a guardian of

Taoism. By the 51st year of Kangxi’s reign,

a building for stage drama was added, and

the building, constructed three centuries

ago, is the first of its kind whose indoor

theatre was built entirely out of wood. The

fact that it is still standing has therefore

won the drama house the name the ‘live

fossil of a Chinese drama house’. The floral

pathway with contemporary colours that

extends all the way from the front of the

stage further dramaticises the traditional

drama stage.

aroma of the cooking rice. Forty-five minutes

into the drama, the rice was almost cooked,

and the dream was about to end. In the

end, Huang served each of the viewers a

portion of the rice, as if a gesture to remind

the audience that the drama was about to

conclude.

But the curtains were only really drawn

when the audience has finished the rice. In

just a matter of an hour, Huang has delivered

into the hands and minds of the viewers the

aroma of the rice and philosophies from the

Orient. Perhaps as a way to express gratitude,

the European viewers not only finished each

and every grain of rice, but they also bought

the Chinese calligraphy paper, written by the

actors with the Chinese brush, as a souvenir

to take home with.

Exploring the Frontiers of Chinese Drama As an adventurous young playwright and

director in China’s drama industry, Huang

is renowned for his expansive international

vision and robust foundation built on

traditional Chinese art.

Cooking a Dream, in essence, is a

quintessentially Chinese and contemporary

work of art where the actors’ singing style

combines Peking Opera, Yue Opera, Kunqu

Opera and colloquial Mandarin. Well-versed

in his control of the ambience, Huang

brought the audience back in time as easily

as he pulled the audience back to reality.

Among Huang’s original touches were the

iPad-holding modern-day character; the

pouring of stones and fish into a gigantic

fish bowl – an act that was not unlike

performance art; and the four actors, donned

in white, who rinsed and steam-cooked the

rice as a monophonic tune was played on a

Chinese Sanxian lute. The performance was

a juxtaposition of the dream and reality, the

traditional and modern worlds, and the part

of the play that was read aloud and the part

that was acted. By alternating between the

two discrete spaces, Huang enunciated his

dialogue with life: life is like a play, and a

play is like life. A message that rings true for

everyone, then and now.

By defining Cooking a Dream as a new

In daytime the Zhengyici Peking Opera

Theatre exudes a sense of tranquility

reminiscent of the old Beijing, characterised

by the small courtyard, fish pond and the

odd bamboo pieces. Come the afternoon,

the place is set abuzz by actors practising

water sleeve dance and singing that spans

multiple octaves. When the light is lit at

sundown, the show begins. And naturally,

everyone becomes immersed in this place,

tucked away in the crumbling alley, where

time has stood still.

Such is an experience the gifted Huang

would agree: “the Zhengyici Peking Opera

Theatre is a classic structure to start with. Like

how the old city wall of Avignon gave Cooking

a Dream that magical touch, this 300-year-old

drama house, too, has bestowed the drama

with a flair that is unique of its own.”

Making Peace with Our Old Selves There is reason Huang decided to reconstruct

this ancient story: the timeless moral of it.

“Cooking a Dream is a story about the

literate people’s pursuit of dreams, and this

is still something faced by us modern-day

people. Adversities in life will not fade with

time, and such wisdom is a precious asset

our ancestors have left us.” To Huang, the

ancient Chinese wisdom has never for once

blunted with the passage of time but rather,

it has continued to guide us to the road of

self-reflection, to get back to basics and

retrieve the inner calm that is increasingly

lost in the modern world.

To the student’s exclamation, after

waking from the dream in the story, the Taoist

priest replied: “Isn’t this what life is meant to

be?” Sometimes a great fortune may not be as

gratifying as a quiet life working on the field

and a bowl of millet rice afterwards. And

so when he woke, Lu satisfied his stomach

with a generous portion of millet rice. One

thousand and two hundred years may have

passed, and so had the storyteller. But the

dream remains the same dream despite its

reincarnation, and each listener of the story

is in fact the protagonist of the story. It is little

wonder then, that Huang said it is about time

we make peace with our old selves.

MOUTAI Magazine 67

Premium Gourmet

五星饗宴．五星佳釀Premium Liquorfor

68 MOUTAI Magazine

Harmony 和

Hong Kong has no shortage of very fine Cantonese restaurants. One of the established stand-outs is Yan Toh Heen at the InterContinental Hong Kong – recipient of a current Michelin star. Tucked away in the hotel’s lower level, with wrap-around windows that look out directly onto Victoria Harbour it has always been highly rated for cuisine and held an air of discreet luxurious dining. Recently, the interior was completely renovated, and it returned as a modern-looking restaurant – very warm and tactile. Its wine cellar area, immediately to the right of its entrance, showcases both a number of vintage western wines, as well as a handful of Chinese liquors on a special wall display. One of those is the Moutai liquor.

香港的頂尖粵菜食府從來不缺，當

中包括米芝蓮一星的香港洲際酒店

欣圖軒。從餐廳不但可眺望維港景

致，更能體驗高端美食。最近餐廳

翻新了室內裝潢，更添親切。位於

入口處右方的酒窖，備有世界各地

的陳年葡萄酒，還有包括茅台在內

的中式烈酒。

TEXT/文: Andrew Dembina PhoTogrAPhy/攝: Bluer

SPEciAl ThAnkS/特別鳴謝: intercontinental hong kong

MOUTAI Magazine 69

A Wine Cellar of the World’s Premium Wines and Liquors“Most guests have noticed the new wine cellar

display as they enter the restaurant, and see the jade

table that houses selected collectable wines that are

vertically displayed under glass. The table resembles

a jade box with a crystal treasure showcased beneath

the glass,” said Henry Wong, the restaurant manager.

“They are surprised when the mirrored cabinet

switches to transparent glass when they approach

[thanks to a ceiling censor] to reveal a showcase

display of exclusive wines.

“My colleagues like to welcome guests to this

area and to introduce the wines collection in

the cellar. Guests also definitely find the display

of Chinese wines and liquor interesting and

like the convenience of selecting the liquor from

the display.”

The walk-in cellar is just one very new element

at Yan Toh Heen. An eye-catching panel outside the

entrance is made from a patchwork of its signature

hand-carved real jade place settings. Private rooms

are cosy, and like the divided main dining room

they have the look of a sophisticated contemporary

Chinese residence – it is all the impressive work of

top locally based interior design firm CSL (Chhada

Siembieda Leung, Ltd). Arguably the most eye-

catching interior partition is the one made of semi-

translucent pale green onyx, in form inspired by

Chinese birdcages. The largest private room has its

own spacious reception lounge area.

“The restaurant’s new modern design is meant

to still evoke an emotional link with the past,”

summed up Wong.

70 MOUTAI Magazine

Harmony 和

yan Toh heen

location: Lower level, InterContinental Hong Kong,

18 Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong

opening hours: noon to 2:30pm, 6pm to 11pm

Monday to Saturday, 11:30 to 3pm, 6pm to 11pm

Sunday and public holidays

reservation: +852 2313 2323

www.hongkong-ic.intercontinental.com

MOUTAI Magazine 71

Culinary Experience Juxtaposes Tradition and InnovationYan Toh Heen’s Executive Chef, Lau Yiu-fai

estimated he had renewed about half the menu.

“The other half showcases signature dishes and

classic Cantonese dishes for which our restaurant

has been known over the past 29-plus years,” he

explained.

“Our new menu builds on the restaurant’s heritage

and our team’s solid culinary experience and dedication

to offering truly creative, top-quality Cantonese cuisine.

The menu presents the finest Cantonese cuisine using

traditional cooking methods to prepare Yan Toh Heen’s

signature dishes, all-time favourites, as well as new

creations. Our dishes now look more contemporary

in style, but as always, they are made with the finest

ingredients and top quality seasonal products – sourced

locally and from around the world.”

Examples of the expanse of best widely sourced

ingredients for Cantonese dishes include: Crispy

French Quail with Spicy Salt and Herbs; US Pork

Belly; Double-boiled Fish Maw from Pakistan; and

Steamed Chilean Cod with Garlic, Preserved Olive

and Herbs.

The last dish mentioned is one of Lau’s favourites

from the new signature listings, he revealed, along

with Wok-fried Lobster with Black Garlic and Herbs

in Cognac; and Wok-fried Beef Shoulder Chops with

Fresh Fig Sauce.

The Beef with Figs had an elegant, bold, sweet

take on what the average diner would expect from

stir-fried beef. Crispy Pork Fillet with Mandarin Zest

also played with sweet and savoury tones. New

dim sum items include the beautifully presented

‘superior’ dumplings, a serving of three: Steamed

Garoupa with Shrimp Roe, wrapped delicately in

slivers of cucumber; Steamed Scallop Dumpling with

Gold Leaf and Bird’s Nest; and a Steamed King Crab

Leg Dumpling with Green Vegetables.

Popular signatures kept from the old menu

include Deep-fried Pear with Scallop; and Stuffed

Crab Shell with Crabmeat.

Like other purveyors of fine Cantonese – some

regional Chinese fare is also in the repertoire.

72 MOUTAI Magazine

Harmony 和

Peking Duck, previously highly rated here, now

has a number of additional zesty and fruity new

accompaniments to consider wrapping into the

pancakes – such as slivers of pineapple and Chinese

pear, while sauces now additionally include seafood,

osmanthus plum and black garlic chilli. Some of the

surprising new combinations work excellently with

the tender duck meat or crispy skin that is all carved

tableside.

So which dishes work best with Moutai liquor?

“Because the flavour of Moutai is quite strong, I

suggest dishes with strong flavours,” answered Chef

Lau. “Our King Prawns with XO Chilli Sauce; and

Wok-fried Wagyu Beef and Duck Liver with Spicy

Sauce served in a hot iron casserole would pair

nicely with Moutai. Our new cod fish dish with the

preserved olives is also a good match.

“We had a Moutai promotion at Yan Toh Heen a

couple of years ago. For that, Moutai was added ‘a la

minute’ to a diced Wagyu beef dish, prepared in a hot

stone casserole.”

A ‘very elegant Chinese wine’ is what Manager

Wong said of the Moutai liquor. “Even though the

nose and the aromas are very concentrated, guests do

drink it with food.”

Kenny Ho, junior sommelier at Yan Toh Heen,

commented that the ratio of non-alcohol drinkers

to those who imbibe is higher, at around 60%. Of

course, more orders come at dinner time, when

Chinese liquor gets more requests than rice wine.

But western wine is most popular. “Most guests who

order Moutai already know it and do so for a formal

business or celebratory meal,” he said. “Needless to

say, Moutai is one of the top Chinese liquors.”

Ho also recommended diners try the cod and

olive dish with Moutai – or spicy dishes.

As a sommelier, his take on Moutai is: “The nose

is very elegant and complicated. Also the aroma and

taste are reminiscent of soy sauce, pear, walnut and

almonds.”

Drawing on its three decades of culinary experience,

the team at Yan Toh Heen has successfully brought

in new elements, such as the new wine cellar and

innovative ways of cooking, to ensure diners a

pleasant gastronomic experience where the best wines

and liquors from China and the western worlds are

available for ultimate food pairing pleasure.

MOUTAI Magazine 73

團團轉這裏那裏繞了一圈，回程時取道倫敦，在機

場還得滯留大半天。人山人海鬧哄哄實在坐立不

安，心思思想跟“新歡”再度小聚─忘不了兩個

星期前邂逅，細雨裏花樹下溫室中，那鮮嫩甜美的煎帶子配

Agretti菜芯番茄茸和烤麵包碎，那原條Dover Sole烤好配慢煮

茴香莖和Oregano香草牛油，一路暢飲的是法國Bergerac地

區的Monbazillac甜白酒。還有甜品時間貪心共享的鮮芒果手

工雪糕和黑巧克力蛋糕。再來一杯紅寶石顏色乾櫻桃馥郁香

氣的意大利Puglia地區的Elba Aleatico Passito甜紅酒……完全

戲劇性的偶遇可以如此刻骨銘心，其實那只是長途旅程的第

二天，已經好像心滿意足可以回家休息。

A trip to here and there on the globe later, I embarked on my journey

home and spent half a day of transit at the airport in London. In

the midst of the bustle I was on tenterhooks, entertaining the

idea of ‘meeting up’ with this new love I’ve just met two weeks ago. In

the greenhouse under the trees in the drizzly weather, was my encounter

with the sweet and succulent pan-fried scallop with agretti, tomato purée

and croutons, whole-baked dover sole with slow-cooked fennel bulb and

oregano butter, paired with the Monbazillac sweet white wine produced

in Bergerac, France. And then there were the handmade fresh mango ice

cream and dark chocolate cake, and the Elba Aleatico Passito sweet red wine

made in Puglia, Italy. That magical encounter happened on the second day

of the trip, and with that alone, I was content enough to call it a finale.

A Year in My Kitchen

Petersham Nurseries was the photo shoot location of Burberry’s

2009 spring advertising campaign.

Burberry 2009年春夏廣告大片正是在Petersham Nurseries拍攝的

Natural flavours brought out by the virtues of the slow food

movement and organic cooking.

慢食主義，有機烹飪，帶出食物本味

樂活園圃TEXT/文: Craig Au-yeung 歐陽應霽 TrANslATioN/譯: TC li

LOHAS Living in aGarden

歐陽應霽專欄CrAiG Au-yeunG COLumn

74 MOUTAI Magazine

Harmony 和

The Unfussy ChefIt all began at the bookstore I passed by

while in search of a bite, on my first day in

London. Screaming for attention from the

recipe book section was this award-winning

one called A Year in My Kitchen by Skye

Gyngell, an Australian chef currently based

in London. From my years of experience

sourcing and collecting recipe books, my

gut feeling told me that this book is right

up my alley. Unable to resist the temptation

the book’s beautiful photography has done

to my senses, I bought it without second

thought, and began reading it on the Tube.

With extensive culinary experience up

her sleeve, Gyngell was invited to London

five years ago to helm the teahouse and

lunch-only café at the garden of Petersham

Nurseries, in the picturesque Richmond

outskirts. Unlike innovative Australian cuisine,

which has been criticised for its lacking in

substance underneath the pretty façade,

Gyngell is more action than talk, and is

able to create her own unfussy culinary

style that conquers with intense colours

and flavours, not least by sourcing a great

amount of edible vegetables and herbs

from the garden, and food ingredients from

Britain and Europe. But that’s only what the

book said. Forever a curious soul, I decided

to go to sleep and prepare for a trip to this

aromatic heaven in a garden the next day.

Sustainability in a GardenThe all-embracing lifestyle concept of

‘total living’ means that everything from

architecture to visual art, literature, movie,

music, dance, design to wine and dine, and

horticulture is equally important in life. And

the Petersham Nurseries is an exemplary case

– with a teahouse and café built inside the

greenhouse of a garden, the mud replacing

man-made floor, chairs and tables collected

from nearby farms, rustic tableware and

bathroom accessories sourced from all over

the world consigned for sale on the other

side of the dining proper, plus a spacious area

selling gardening tools and seeds. Outside,

in the open-air garden area, there’s not a

dearth of flourishing potted herbs, flowers

and edible plants in the ground, promising

to meet the needs and be part of your new

dream lifestyle.

Petersham Nurseries is not a newcomer

to the LOHAS (Lifestyles of Health and

Sustainability) bandwagon, however.

Owners Gael and Francesco Boglione have

been living here for close to a decade, and

decided five years ago to transform the two

greenhouses into a teahouse and a café,

helmed by celebrated female chef Skye

Gyngell. By actualising the ideal way of

living and mode of work, refining all the

minute details before successfully sharing

the joy and harvest with friends and family

and later the bigger community, the owners

have been able to derive the greatest sense

of satisfaction and achievement from their

work.

The afternoon was soon whiled away

from all the eating, drinking and walking

around in the garden. Such effortless

happiness with so much happening.

Despite the bustling business the waiting

staff maintained its five-star service, and

seated at every table were diners with a jolly

look of satisfaction, on a typical English

spring day when the fickle weather meant

unpredictable temperature changes. Not far

away, Chef Gyngell walked towards my

direction, tray in hand. It’s as if I was part of

the community, really getting to know the

fun of running a business that, while being

natural, is also one of high maintenance.

Nothing compares to blending your lifestyle

into your work. Perhaps this is precisely

what sustainable development is about.

一切源自剛到倫敦那天覓食途中路過小書

店，食譜書叢中一眼看中一本喚作《A Year

in My Kitchen》的得獎好書，作者是旅居倫

敦的澳洲女廚師Skye Gyngell。根據多年搜

羅收藏廣覓食譜的經驗，直覺這正是我的那

杯茶那道菜那塊餅。一張又一張能夠達意傳

情的照片在這裏發揮了撩動色香味感官的厲

害作用，毫不猶豫的買來抱在懷裏，在地鐵

的搖晃中迫不及待的細看─入廚專業經驗

豐富的Skye五年前被邀來倫敦，在風景優

美的Richmond郊野的Petersham社區內的

一個喚作Petersham Nurseries的花圃中，

主理一家茶室和只供午餐的餐廳。有別一般

對澳洲新派菜徒具形式的批評，Skye用上

來自園中的大量食用蔬果和香草，加上英國

和歐洲各地的食材和調料，自成一種率直狂

放隨意的烹調風格，絕不纖弱清淡，倒是以

色彩味道濃烈鮮明取勝─這都是書中自說

自話的，好奇如我又怎能不馬上作好決定，

睡個好覺準備好最佳心情狀態去一訪這個園

圃中的色感、香氛、味覺天堂。

從來認定生活是個融合互動的整體，也

就是一個total living的概念。由此建築，視

覺藝術，文學，電影，音樂，舞蹈，設計，

飲食，園藝方方面面缺一不可。所以一家開

設在倫敦近郊園圃溫室裏的茶室和餐廳，地

下就直接是泥土，桌椅都是從鄰近農莊收集

過來的舊物，用餐區的另一端擺放寄賣的都

是從各地搜集回來的有鄉土田園風味的餐具

家居衛浴用品，也有很大一個範圍售賣的是

園藝的工具以及種子。當然走出溫室到露天

園圃，活生生的已成盆栽的香草、花卉和食

用植物，以至茁壯茂盛的長在地裏的，都可

以滿足並融進你的理想新生活。

這明顯也並不是衝著目前流行的Lohas

生活而來的，因為園圃主人Gael and Fran-

cesco Boglione夫婦搬到這裏已經近十年光

景，而五年前再開始把兩個溫室分別改裝設

置成對外開放的茶室和餐廳，更請來在餐飲

業界已經享有盛名的女廚師Skye Gyngell來

主理，就更是一種把理想生活和工作具體化

的實踐，把種種微妙細節沉澱、提煉和昇

華，而能夠成功的從與身邊親密友人開始，

以至進一步與社會公眾分享，也該就是經營

者從中獲得的最大的滿足和成就感。

坐在這個園圃裏，吃喝遊逛一轉眼就是

一整個下午，快樂得如此簡單也如此複雜。

仔細觀察每一個忙碌中的服務水準超好的

男女侍應，留意每一枱人客的喜悅表情與心

情，感受忽陰忽晴的典型英國春天天氣的變

化造成的光影幻轉和溫差，還竟然讓我看到

主廚Skye在不遠處捧著一個盤子走過─我

好像不知不覺的成為了這裏的一分子，得悉

和分享到這自然自在又必須努力維持經營的

艱苦樂趣。這種生活與工作渾然一體的感覺

是最最美好的，所謂可持續發展大抵也就這

樣的一種狀態和願景。

Handwritten menu.

手寫菜單，寧靜致遠

MOUTAI Magazine 75

Diamond Hong Inc. Sealed Deal with the National Liquor of China At the ‘3rd China-Guizhou International Alcoholic

Beverages Expo’ on 8 September, KWEICHOW

MOUTAI CO., LTD. signed a EUR80 million-plus

export order with Diamond Hong Inc. of the United

States.

Since 1995, Diamond Hong Inc. has been a

licensed importer and wholesaler of the Moutai

liquor, from the initial few hundred cases to the

current tens of thousands of cases, all the while

increasing the Moutai liquor’s market share, fame

and reputation in overseas markets.

Approximately 239 deals were closed at the Expo,

美國大文行公司“牽手”中國國酒9月8日，在第三屆中國（貴州）國際酒類博覽會項目

集中簽約活動中，貴州茅台酒股份有限公司與美國大

文行酒業有限公司簽訂經銷合同，金額達八千多萬歐

元。

美國大文行酒業有限公司於1995年開始經銷貴州

茅台酒，從最初的幾百箱擴展到如今的幾萬箱，使茅

台酒在海外市場的佔有率、知名度、美譽度在不斷提

升。

據悉，此次博覽會現場簽約239個項目，總金額達

1,791.6億元人民幣。

Wang Yang, Vice Premier

of the People’s Republic of

China and member of the

Central Politburo Standing

Committee of the Communist

Party of China (first from

left on the front), visited the

Moutai liquor booth at the 3rd

China-Guizhou International

Alcoholic Beverages Expo,

accompanied by dignitaries

such as Zhao Ke-zhi, Governor

of Guizhou province.

第三屆中國國際酒類博覽會期間，中共中央政治局委員、國務院副總理汪洋（前左一）在貴州省委書記趙克志等領導的陪同下視察茅台酒展廳。

with a total contract value reaching RMB179.16

billion.

76 MOUTAI Magazine

Harmony 和

The Release of ‘The Asia’s 500 Most Influential Brands 2013’ - Moutai Ranks First in Food Industry‘The Asia’s 500 Most Influential Brands

2013’ by World Brand Lab and World

Executive Group was released in Hong

Kong on 28 September. Listed in the

World Brand Lab’s eighth evaluation of

the influence of Asian brands are 500

brands from 19 countries and regions,

with Korea’s Samsung, China’s Industrial

and Commercial Bank of China, and

Japan’s Toyota ranked as the top three;

meanwhile, China’s Kweichow Moutai

ranked 72 in the overall ranking and first in

the food industry.

The Asia’s 500 Most Influential Brands

2013’s criteria for evaluation is the brands’

influence in Asia, with ‘brand influence’

being the brands’ performance in market

exploration, market share and revenue.

The benchmark for evaluation includes the

brands’ market share, brand loyalty and

Asian leadership.

Hong Kong Moutai Club Limited Established Youth CommitteeHaving endeavoured for years to spread the culture of Moutai liquor to Hong

Kong and overseas, the Hong Kong Moutai Club Limited has established the

Youth Committee recently, and held an inauguration ceremony at the Hong

Kong Convention and Exhibition Centre on 21 October. Chuang’s Group’s Mr.

Albert Chuang Ka-pun, the Youth Commitee’s first manager, has expressed in

his speech that the Youth Committee aims at reinforcing Hong Kong’s new

generation’s understanding of Chinese culture and wine culture, as well as

raising young people’s awareness of, and encouraging their participation in and

responsibility for social affairs.

Established in 2001, the Hong Kong Moutai Club Limited has long been

celebrating the appreciation of the national liquor, cultural heritage, propagation

of national spirit in order to help China grow. As a permanent fixture in the

landscape of Hong Kong’s upper class society, the Hong Kong Moutai Club

Limited has contributed greatly to the economic and social development in

Hong Kong and Guizhou. The establishment of Youth Commitee is believed

to help penetrate Hong Kong Moutai Club Limited’s effort to the younger

population of Hong Kong.

2013年亞洲品牌500強排行榜揭曉茅台居食品行業第一由世界品牌實驗室(World Brand Lab)和世界

經理人集團共同編製發布的2013年《亞洲品

牌500強》排行榜於9月28日在香港揭曉，

這是世界品牌實驗室第八次對亞洲品牌的影

響力進行測評。共有19個國家和地區的500

個品牌入選，韓國三星、中國工商銀行和日

本豐田名列前三，貴州茅台位列排行榜第72

名、食品行業第1名。

《亞洲品牌500強》(The Asia ’s 500

Most Inf luent ia l Brands) 的評判標準

是品牌的亞洲影響力，品牌影響力(Brand

Influence)是指品牌開拓市場、佔領市場、並

獲得利潤的能力。世界品牌實驗室評價品牌

影響力的基本指標包括市場佔有率(Share of

Market)、品牌忠誠度(Brand Loyalty)和亞洲

領導力(Asian Leadership) 。

香港國酒茅台之友協會青年委員會成立香港茅台之友協會引領茅台酒飄香至香江及海外多年，近日又成立了青年委員會，

於10月21日在香港會展中心舉行了成立典禮。莊士集團莊家彬先生擔任首屆青年

委員會主任，他在致辭中強調，青委會旨在加強香港新一代對中國文化的認識，對

酒文化的了解，並提高青年人關心和參與社會事務的興趣和責任。

香港國酒茅台之友協會成立於2001年，始終堅持“品研國酒、傳承文化、弘揚

國粹、振興中華”的宗旨，成為香港上層社會生活中一道靚麗的風景線，也為香港

和貴州兩地的經濟社會發展作出了積極的貢獻。青年委員會的成立，也必將推動香

港茅台之友協會的工作在廣大香港青年中深入、傳承和弘揚。

MOUTAI Magazine 77

Château Loudenne SAS Celebrated First Harvest Season After AcquisitionChâteau Loudenne SAS, CHINA KWEICHOW

MOUTAI DISTILLERY (GROUP) CO., LTD.’s

buyout in Médoc, Bordeaux in 2013, has recently

celebrated its first harvest season since the

acquisition.

According to report by the Château, the general

white wine grapes quality is excellent this year, with

a rich fruity aroma and the fruits ripe. Meanwhile,

the harvest of red wine grapes such as merlot

and cabernet sauvignon has also completed on

16 October. The Château has especially replaced

mechanical harvesting with hand-picking for the

season just past to ensure the quality of the wine

grapes.

海馬酒莊完成收購以來首個採摘季位於世界著名的波爾多左岸葡萄酒產區梅多克的海馬

酒莊，是茅台集團2013年在法國全資收購的中級酒

莊。日前，酒莊已完成了自收購以來的首個採摘季。

據相關負責人介紹，今年總體的乾白葡萄質量優

異，果香濃郁，果實成熟乾淨。此外，乾紅葡萄梅洛

和赤霞珠的採摘也分別於10月10日和16日圓滿結束。

在此次採摘季中，酒莊首次將原有機械採摘工藝提升

為純手工採摘，確保了釀酒葡萄的整體質量水平。

78 MOUTAI Magazine

Harmony 和

Kweichow Moutai Won ‘Global Performance Excellence Award 2013’At the 19th ‘Global Performance Excellence Award’ by the Asia Pacific Quality

Organisation in Bali, Indonesia, earlier, Kweichow Moutai garnered the Best in Class

Award for Large Manufacturing Organization.

Adopting the standards of the Malcolm Baldrige National Quality Award,

the Global Performance Excellence Award is Asia Pacific Quality Organisation’s

international management award, the only internationally accredited performance

excellence award with evaluation by judges of the Malcolm Baldrige National Quality

Award. The awards are categorised into the six categories of Large Manufacturing

Organization, Large Service Organization, Small Service Organization, Educational

Organization, Health Care Organization, and Not for Profit Organization.

貴州茅台榮獲“2013年度全球卓越績效獎”第19屆亞太國際質量大會日前在印尼峇厘島召開，

貴州茅台榮獲本屆大型製造業類最佳獎——“2013

年度全球卓越績效獎”。

“全球卓越績效獎”是亞太質量組織採用美國

波多里奇卓越績效標準設立的世界級管理類大獎，

由經驗豐富的波獎評審師實施資料評審的唯一全球

認可的卓越績效獎項。按照大型製造業類、大型服

務業類、小型服務業類、教育類、保健類和非營利

類6大類進行評選和頒獎。

Sales Network of Kweichow Moutai in International Market According to statistical figures, the current

number of Kweichow Moutai’s overseas

agencies has reached 75, with a network

covering Asia, Europe, the Americas,

Oceania, Africa, and duty-free markets in the

major ports in China – a sign of the gradual

completion of the Moutai liquor’s global

sales network. Recently, representatives of

Kweichow Moutai’s overseas agencies in

the United States, the United Kingdom,

France, Germany and many others gathered

in Guangzhou, China, to discuss the future

overseas market development.

Regarding the trend and international

market situation for China’s baijiu industry

in 2013, Chairman of CHINA KWEICHOW

MOUTAI DISTILLERY (GROUP) CO.,

LTD. and KWEICHOW MOUTAI CO.,

LTD., Yuan Ren-guo has carried out a

comprehensive analysis and is confident

about the future development of the brand.

“As a Chinese brand that is rich in cultural

value, Moutai will be open-minded and

accommodating and equip itself with a

world vision to evolve with the world. It is

our hope that 2014 will be a new beginning

for Moutai’s exploration of the global

market.”

Liu Zi-li, General Manager of CHINA

KWEICHOW MOUTAI DISTILLERY

貴州茅台國際市場營銷網絡形成據相關統計數據顯示，截止目前，貴州茅

台酒境外代理商已增加到75家，市場網

絡覆蓋了亞洲、歐洲、美洲、大洋洲、非

洲及中國重要口岸的免稅市場。茅台酒覆

蓋全球的國際市場營銷網絡逐步形成。近

日，來自美國、英國、法國、德國等多個

國家和地區的貴州茅台海外經銷商代表在

中國廣州匯聚一堂，共同探討海外市場的

發展。

對於2013年中國白酒行業的形勢及國

際市場情況，茅台集團公司及貴州茅台酒

股份有限公司董事長袁仁國做了全面的分

析，對未來充滿信心，他說，“作為一個

有文化底蘊的中國民族品牌，茅台將以開

放的姿態，包容的心態，世界的眼光和全

球的高度，與世界同行，希望2014年成為

茅台開拓國際市場征程的新起點。”

茅台集團公司總經理劉自力對如何做

好未來貴州茅台酒及系列酒國際市場營銷

工作，提出了具體的要求。他指出，茅台

酒國際市場的成長道路上必定充滿了艱

辛，希望海外經銷商們進一步加強與茅台

集團的合作，同舟共濟，共同成長。

(GROUP) CO., LTD., has pointed out

that while Moutai’s road to the global

market will not be smooth sailing, with

the close cooperation with overseas

agencies, the Group hopes to grow and

conquer challenges together.

MOUTAI Magazine 79

Cns Enterprise Inc.美國四季煙酒公司

Jim S.Chen 陳基勝

TEL：001-626-5799017 / 001-626-5799018 FAX：001-626-5794335Website：www.cnsenterprises.net E-mail：[email protected]

7709 Industry Avenue, Pico Rivera, CA 90660, United States

Diamond Hong Inc.美國大文行有限公司

William S.Cheung張瑞群

TEL：001-718-7880222 FAX：001-718-7681118 211-239, 41st Street Brooklyn, New York 11232, United States

Kenway International Trading Ltd.京匯國際貿易有限公司

Darren Lee TEL：001-604-782-1925 FAX：0755-25419568-108 215-8877 Odlin Crescent, Richmond, BC, Canada V6X 3Z7

Sinocan Supply Inc. 加拿大漢嘉酒業有限公司

Lin Ma TEL：1-780-6959734 FAX：1-780-9887833Website：www.sinocansupply.com E-mail：[email protected]

P.O Box 1822 Stn Main, Edmonton, Alberta, Canada, T5J 2P2

Sol Agricola Ltda巴西綠色陽光有限公司

Yue Qun 岳坤

TEL：00-55-51-85105005 Av. Borges De Medeiros, 2105 Conj110290, 110-150 Praia de Belas, Porta Alegre, Rs Ativa, Brazil

Take Roll Company Ltd S.A., Panama巴拿馬德倫有限公司

Liang Jin-hong 梁錦鴻

TEL：(507) 447 2543/ 00852-25456800 FAX：(507) 447 2442/ 00852-25458008

Edificio Cofrisa C-9, Manzana No. 2-B, Local 7A, Colón, Panama

Tiburon Azul Import Export Limitada智利南鯊魚公司

Chen Zhi-gong 陳志恭

TEL：0056-08-5099213/ 00852-23943239 FAX：0056-02-3937180/ 00852-27893615

Padre Miguel de Olivares 1405#609 Santiago, Chile

Importadora Exportadora y Commercializadora Lan Global Limitada香港裕和集團

Ma Zong 馬總

TEL：0056-22211667/ 00852-23943239 FAX：0056-22839736/ 00852-27893615

Rodulfo Philippi #61, Santiago Centro, Santiago, Chile

KK Food Trading Co., Ltd.德國KK食品公司

Arne Frese TEL：+49 4207 604183/ 00852-25110600 FAX：+49 4207 604-29-183/ 00852-28272031Website：www.kkfoodhk.com

Industriestrasse 40-427, 28876 Oyten, Germany

Jazz Trading Company (UK) Ltd.英國爵士公司

Lin Guang 林光

TEL：+44-2088557700 FAX：+44-2082271479/2088557720 Unit 8, Commonwealth Building, Woolwich, Church Street, London, SE18 SNS, United Kingdom

Seewoo Foods Limited英國泗和行公司

Stanley Tse TEL：+44 (0) 8450768888/00852-69597131 FAX：+44 (0) 8450768890/020-89773531Website：www.seewoo.com E-mail：[email protected]

SeeWoo House, 14 Waxlow Road, Park Royal, London, NW1D 7NU, United Kingdom

Asia Express Food荷蘭亞洲食品公司

Jan Brouwer TEL：+31 (0) 38 3329082 FAX：+31 (0) 38 3329045 Kilbystraat 1, 8263 CJ Kampen, The Netherlands

Cammy France Development Ltd.法國Cammy公司

Herve Tan TEL：+33 (0) 952657050/0033(0) 606888388 FAX：+33 (0) 153792756/0755-82497306

164, Boulevard Masséna 75013 Paris, France

Aporol Buba比利時阿波羅公司

Jasmine TEL：+32-488475576 FAX：+32-3-2264482 Antwerpse Steenwerg 146 2620, Hemiksem, Belgium

Sina-Agro Co.,Ltd.俄羅斯西納公司

Li chong-guo李崇國

TEL：+8-495-9269883/00852-28518211 FAX：+8-495-9269883/00852-28518263

Office 503, Yaroslavskaya Street, 8/6, Moscow 129164, Russia

Russia Metal Co.,Ltd.俄羅斯金屬有限公司

Yu Jing-feng TEL：+7(4234)33-92-11/33-92-14/00852-62760544 FAX：+7(4234)33-92-09/00852-23319882

16 Mikhaylovka Road, Ussuriysk City, Coastal Region, Russia

Two Eights Italia S.r.l.義大利88公司

Gianluca Scalfi TEL：+39 0039 030 FAX：+39 030 5533179Mobile：+39 (0) 3351279066 E-mail：[email protected]

Via Europa, 2, 25050 Provaglio D’iseo (BS), Italy

Jv-Comercio De Vino Sl葡萄酒貿易公司

Vanda Fonseca TEL：+351 218403745 FAX：+351 218471296 Calle de Juan Bravo, 3-A/28006 Madrid, Spain

Jv - Comércio De Vinhos, Lda杜什維紐什合資貿易公司

Maria Ye TEL：+351 218403745 FAX：+351 218471296 Rua Viana da Mota, No.26 Alvalade 1700-367 Lisboa, Portugal

The Changs Export & Import Co., Ltd.張家進出口有限公司

Cynthia Cheung 張皚琳

TEL：0030(210)7758450/00852-60281999 FAX：0030(210)7794068/00852-21101905Website：www.hciec.com

1st Floor, No.38, 28th October Street, Ano Ilisia, 15772, Athens, Greece

Evershine Australia Trading Pty. Ltd.澳大利亞明耀貿易公司

William Dong TEL：0061(02)94757888 FAX：0061(02) 92645555Website：www.evershine.com.au E-mail：[email protected]

Suite 18 D, Level 18, 2 Park Street, Sydney, NSW 2000, Australia

Evershine New Zealand Limited新西蘭明耀貿易公司

Sandy Lai TEL：+64 22 1593456 E-mail：[email protected]

Unit 4, 8 Laidlaw Way, East Tamaki, Manukau, Auckland 0752, New Zealand

Moutai Korea Ltd.韓國茅台公司

Kyung Jin Tao金道暻

TEL：+82-319576611 FAX：+82-319497300Website：www.moutaikorea.com E-mail：[email protected]

#378-10, Yeondasanri, Paju-si, Gyeonggi-do, Korea

Nichiwa Shoji Co., Ltd.日本日和商社

Huang Yao-dong黃耀東

TEL：0081-3-5778 4321 FAX：0081-3-5778 9889Website：www.nichi-wa.co.jp E-mail：[email protected]

1F, 3-1-15 Shibuya, Shibuya-ku, Tokyo # 150-0002, Japan

Vietnam Xingda Trade Co., Ltd.越南興達公司

Zi Lai Cheng TEL：0084-203502126 FAX ：0084-435683715 16A Hoa An, Coc Leu Ward, Lao Cai City, Lao Cai Province, Vietnam

Prosimex Import Export Production And Trading Jsc越南商業部進出口公司

Chen Guo-fang 陳國芳

TEL：0084-4-38583672/38584087 FAX：0084-4-38585009Website：http://prosimex.com.vn E-mail：[email protected]

No.45, Land 35, Khuong Ha Street, Thanh Xuân Xuan District, Hanoi, Vietnam

Norkis Trading Co., Inc.菲律賓華惠國際有限公司

Mai Jian-xiong 麥健雄

TEL：0063-32346-5639/0063-32346-1411 FAX：0063-32346-0926/0756-3233000

A.S. Fortuna Street, Mandaue City, 6014 Cebu, Philippines

Victory Ease Investments Ltd.菲律賓凱誼投資有限公司

Wu Wen-dian 吳文典

TEL：0063-27377882/00852-29550155 FAX：0063-27377882/00852-29550255

G41, Good Earth Plaza, Rizal Avenue, Manila, Philippines

Company Name 公司名稱

Contact Point連絡人

Contacts 聯繫方式

Address 地址

The

Am

eric

as 美洲

Euro

pe 歐洲

Asi

a 亞洲

Oce

ania

大洋洲

USA 美國

Canada 加拿大

Chile智利

UK英國

Japan日本

New Zealand新西蘭

France法國

Philippines菲律賓

Russia俄羅斯

Spain西班牙

Germany德國

Korea韓國

Australia澳大利亞

Belgium比利時

Italy義大利

Portugal葡萄牙

Greece希臘

The Netherlands荷蘭

Vietnam越南

Brazil 巴西

Panama 巴拿馬

Kweichow Moutai Overseas Agency Network –

貴州茅台海外經銷商Your Liquor Appreciation 開啟你的品鑑之旅

80 MOUTAI Magazine

Harmony 和

Note: The list was last updated in February 2013. Please contact us if you have any queries. 注：本名錄最後更新日期為2013年2月，如有疑問請聯繫我們，謝謝！

Al Haitham International Trading L.L.C.阿聯華國際貿易有限公司

Zong Lei 宗磊

TEL：00971-4-2737261 FAX：00971-4-2721109/00852-23683812

P.O.Box 49654, Dubai, U.AA.E

Fortune Middle East Trading Fze迪拜富勝貿易有限公司

Li Yu-gang 李育剛

TEL：00971-4-8873288/010-84638012 FAX：00971-4-8873466/010-84638256

Lob07-G17, Jebel Ali Free Zone, P,O.Box 18516, Dubai, U.A.E

Hi-Gloss Products International Pvt. Ltd.Hi-Gloss產品國際私人有限公司

Lnayat Khan TEL：0091-22-65157237/00852-25241339 FAX：0091-22-67421893 67421893/028-87573032

Flat No.7, Pushpa Vvarka Cchs, 97 SV Rrd, Khar (w), Mumbai 400 050, India

Aspri Spirits Pvt. Ltd.印度神達有限公司

Yan Xiao-bing 晏曉兵

TEL：42505100 FAX：42505101/010-88232677Website：aspri.org E-mail：[email protected]

301, Lavlesh Court, Pandit Varde Road, Bandra West, Mumbai 400 050, India

Indonesia Yali Fortune Ltd.印尼雅利財富有限公司

Li Hong-bin 李紅斌

TEL：0062-21 521 3401 FAX：0062-21 521 3401 Suite 06-01 JI. H.R. Rasunma Said Kav. C-6, Jakarta, Indonesia

Dong Meng Trading Sdn Bhd馬來西亞東盟貿易有限公司

Hong Qi-feng 洪其豐

TEL：006-03-33433139/0755-83289843 FAX：006-03-33413841/0755-83287229

Suite #19-03, Level 19, centro, 8 Jalan Batu Tiga Lama 41300 Klang, Selangor Darul Ehsan, Malaysia

New Market Marketing Sdn Bhd新市場發展有限公司

Nikki Li TEL：603-33434545/00852-91281943 FAX：603-33434542/00852-28775108

C/O-Shipco Transport Sdn Bhd, Port Kelang, No.2-3,Jalan Tiara 2A, Bandar Baru Klang, 41150, Klang, Selangor Darul Ehsan, Port Kelang, Malaysia

Myanmar Donn Donn Mann Company緬甸敦敦國際貿易有限公司

Hu Zu-guo 胡祖國

TEL：00951-227780 FAX：00951-222132 771, Kwong Tung Main Street, Yangon, Myanmar

Myanmar Tunfat International Co., Ltd.緬甸敦發國際有限公司

Zeng Guo-qing TEL：00959-2001386 FAX：00952-5153587/06924121889 H(248), Bet:50th - 51st Street, KaNaungMin TharGyiSt, Industial Zone(2), Mandalay, Myanmar

Hua Sern Trading Co., Ltd.泰國华晟貿易有限公司

Lin Shao-wei 林少偉

TEL：13925-225000/ 0066-29325866FAX：0066-29325968/ 0755-82158225

No.108 Sangkhom Songkrol Road, Ladphrao, Bangkok 10230, Thailand

Siam Dragon (Asia-Pacific) Co., Ltd.泰國暹龍有限公司

Rocky Lau TEL：+66(0)2682 5981-4 FAX：+66(0)26828522 896/11 8th floor, SV city Tower 1, Rama 3 Road, Bang ping pang, Yannawa, Bangkok 10120, Thailand.

Yongxing Intertrade Co., Ltd.泰國永鑫國際貿易有限公司

Wang Jing-hui 王京會

TEL：0066-26925158 FAX：00662-6925159Website：www.suramoutai.com E-mail：[email protected]

169/85 Ratchadaphisek Road, Dindeng, Bangkok, Thailand 10400

Kim Sing Co. Pte Ltd.金星有限公司

Qiu Shun-li 邱順立

TEL：0065-68422212 FAX ：0065-68422215Website：www.kimsing.sg E-mail：[email protected]

54 Genting Lane #01-01 Ruby Land Complex, Singapore 349562

Wint Thai Trading Pte Ltd.金益龍有限公司

Zheng Wen-yuan鄭文遠

TEL：00603-62992860 FAX：00603-62992879/00852-26360815 100 Jalan Sultan #08-14 Sultan Plaza, Singapore 19900

Singapore Moutai Baijiu Pte Ltd.新加坡茅台白酒有限公司

Yun Wei-long 雲偉龍

TEL：0065-68442756 FAX：0065-68441561Website：www.singaporemoutai.com E-mail：[email protected]

560, Sims Avenus, Singapore 387594

Lao Sts Import & Export Sole Co., Ltd.老撾Sts進出口貿易有限公司

Chen Yu-sheng 陳育生

FAX：0871-7018488E-mail：[email protected]

Nahair Village, Sikhotttabong District, Vientaine Capital City, Lao P.D.R

Hai Luen Trading Co. (HK) Ltd.海聯供應有限公司

Zhang Ning 張寧

TEL：00852-2545 1135 FAX：00852-2815 0594 17/F, King Kong Commercial Centre, 9 Des Voeux Road West, Western District, Hong Kong

China Moutai Professional Store (HK) Ltd.國酒茅台專賣店（香港）有限公司

Lin Yong-hui 林永惠

TEL：00852-2512 8311 FAX：00852-2512 8021 Shop B, G/F, Kingsfield Mansion, 457-459 King’s Road, North Point, Hong Kong

Top Gainer Industrial Limited利佳實業有限公司

Liu Wei 劉偉

TEL：00852-6856 5506 FAX：00852-2411 5688 Room 302B, TCL Tower, 8 Tai Chung Road, Tsuen Wan, Hong Kong

Shum Yip Li Jun Co., Ltd.深業麗晶有限公司

Huang Bao-mei 黃寶妹

TEL：00852-2721 6373 FAX：00852-2311 8367 Room 2006, 2/F, Lippo Centre, Admiralty, Hong Kong

Glory Regent Industries Ltd.高正實業有限公司

Guo Zhen-ming 郭鎮銘

TEL：00852-2377 9822 FAX：00852-2377 2421 Room 1110-1111, 11/F, The Metropolis Tower, 10 Metropolis Drive, Hung Hom, Hong Kong

China Foods (Hong Kong) Limited中國食品（香港）有限公司

Ms. Lei 雷小姐

TEL：00852-2512 1030 FAX：00852-2512 8021 Top Floor, Kingsfield Mansion, 457-459 King’s Road, North Point, Hong Kong

Camus La Grande Marque法國卡慕公司

Fanny Chou TEL：00852-2831 1500 FAX：00852-2833 6498 Room 1701-03, 17/F, Two Chinachem Exchange Square, 338 King’s Road, North Point, Hong Kong

Win Dragon Enterprise International Ltd.香港騰龍企業國際有限公司

Mao Ying-zhuang 毛應壯

TEL：00852-2770 5199 FAX：00852-2770 9855 Room 1004, 10/F, Omega Plaza, 32-34A Dundas Street, Mongkok, Hong Kong

John Daniel Holdings Limited香港聚德行有限公司

Ms. Bao 包小姐

TEL：00852-2529 1880 FAX：00852-2527 0099/00852-9050 7004 Room 1204-07, 12/F, Shui On Centre, 6-8 Harbour Road, Wanchai, Hong Kong

Hong Kong China National Duty Free Merchandise Co., Ltd.香港中國免稅品有限公司

Ke Hai-biao 柯海彪

TEL：00852-2721 6131 FAX：00852-2721 0823 Room 702B-C, 7/F, East Ocean Centre, 98 Granville Road, Tsim Sha Tsui, Hong Kong

Hong Kong Moutai Club Limited香港國酒茅台之友協會

Li Xue-yan 李雪燕

TEL：00852-2357 4688 FAX：00852-3102 2054 Room 3A, 1/F, Wah Shing Centre, 11 Shing Yip Street, Kwun Tong, Hong Kong

Tin Wai (Fine Wines)International Trading天偉（酒業）國際貿易公司

Chen Ji-yu 陳基鈺

TEL：00852-2377 9943 FAX：00852-3188 0979 Room 1304, 13/F, Hang Bong Commercial Building, 28 Shanghai Street, Jordan, Hong Kong

Hong Kong Ying Li Coffee Wine Limited香港英利咖啡酒有限公司

Ji Yan-li 計豔莉

TEL：00852- 2111 0799 FAX：00852-3102 2054 Room 3A-3C, 1/F, Wah Shing Centre, 11 Shing Yip Street, Kwun Tong, Hong Kong

Swh Import & Export Company Limited澳門新偉浩進出口貿易有限公司

Ou Bo-lai 區柏來

TEL：00853-2822 1155 FAX：00853-2885 5981 Shop J, G/F, Treasure Garden, Avenida Dr. Sun Yat Sen, Taipa, Macau

Nam Kwong Commercial Co., Ltd.南光貿易有限公司

Zheng Guan-min 鄭觀民

TEL：00853-8391 1408 FAX：00853-2833 0854 14/F, Nam Kwong Building, 223-225 Avenida do Dr. Rodrigo Rodrigues, Macau

Resources United資源聯合

Liang Hong-xiang 梁鴻翔

Mobile：13901146970 FAX：010-67092960 11 Rosenheim Robinson Street, Durbanville 7550, South Africa

Quickstep Development Cc.南非極速

Ms. Li 李小姐

TEL：0027-849-297888/00852-81418122 FAX：0027-11-6169728/00852-81676715

Unit 26 Bedford Place,19 Sovereign Street, Bedford View 2007, Johannesburg, R. South Africa

Namibia Oriental Tobacoo Cc.納米比亞東方煙草

Lin Jin-dan 林金淡

TEL：00264-81222888 00264-61-223108 FAX：00264-61-265232/0871-5710068

Ugab Building, 12th Street, Industrial Area, Erf 3742 Walvis Bay, Namibia, South Africa

Address地址：9/F, No. 2 Yanwu Street, Yunyan District, Guiyang City, Guizhou Province, 550004 China貴州省貴陽市雲岩區鹽務街2號9層，550004Tel電話：+86 851 6776033 Fax傳真：+86 851 6820698 E-mail電郵：[email protected] http://www.moutaichina.com http://www.china-moutai.com

Company Name 公司名稱

Contact Point連絡人

Contacts 聯繫方式

Address 地址

Asi

a 亞洲

Hon

g K

ong

Mac

au 香港澳門

Afr

ica 非洲

Laos老撾

Macau澳門

South Africa南非

Namibia納米比亞

India印度

U.A.E阿聯酋

Malaysia馬來西亞

Indonesia印尼

Hong Kong香港

Thailand泰國

Myanmar緬甸

Singapore新加坡

MOUTAI Magazine 81

A brilliance that transcends the boundaries of time differences. A toast to China. A toast to the world.

9pm Hong Kong Time Victoria Harbour

moutai magazine issue2

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