我們在這頭，近乎窺探地欣賞那金黃色的背影曲線。浴女坐在中式桌几上，腿部曲線及桌腳皆展現著東方的柔美，遊子飄蕩一生也無法忘卻。相較於「瓶梅」的梅與瓶傲然置中向上；「浴女」倚靠於左側，idodan logo對應那柔美的腰際曲線，延伸至三點方向。金黃色指針，靜繞著我們的行進，左右平衡融洽。裱面打凸，立體了浴女的婀娜線條發亮的胴體，似香妃出浴，身上還閃著水光流瀉；背後的脊椎線條，豐腴中透著骨感；細節在小小的裱面，1多點 idodan更要精緻呈現。木錶框選擇「檜木」，那濃郁的香，如裸女出浴身上未散的溫暖清香。

“He showed me his paintings and explained that his art was a perpetual quest for the perfect line, never artificial, moving and sinuous lines which seem to breathe and move with a life of their own.” -- Serge TcherepninThe #bather sits gracefully on the Asian bench with her curvy back facing at the viewers, featuring a skin glows like gold. Bather leans on the left side of the dial while idodan’s logo is on the right as an index, giving a harmony and balance. The golden hands echo bather’s shiny skin. To highlight the curvy and creamy figure, bather was embossed on the dial, with a glimmered body shining like shimmering water left on her soft skin after a bath. idodan is the advocate of “the devil is in the details”. Hinoki is chosen as the case for its deeply fragrant scent smells as fresh and pleasant as the bather herself.

【取貨方式】
(A)來店取貨
(B)宅配
※臺灣國內(免運)
※如需寄送海外，以國際運費為準

典藏資料:

國立歷史博物館藏《浴女》（館藏編號26910）為常玉（1901-1966）作品之一；裸女是作者擅長且經常創作的主題，畫面中以金黃色呈現的女體，坐在中式的桌几上，雙手置於髮梢梳理著秀髮，姿態柔美動人，黑色的輪廓線自然流暢，表現出溫柔婉約的形象。畫面右邊的門帘表現出內外空間，裸女的姿態與整體空間的搭配顯得調和。

常玉出生於中國四川順慶(1935年改名南充)，自幼在故鄉隨父親習畫，之後向書法家趙熙(1867-1948)習字，1921年因「勤工儉學」計畫前往巴黎，是早期留法學習藝術創作的中國畫家之一。他的作品融合了中國與西方藝術特色，經常利用簡潔有力的線條、造形與輪廓呈現獨特的個人風格，繪畫造形簡練、色彩單純，裸女、植物花卉、有動物的風景為其三大創作主題。

SANYU was one of the earliest Chinese artists to study in Paris. His works combine Chinese and Western art features, often using simple and powerful lines, shapes and contours to present a unique personal style. The paintings are simple and simple in color, and the nude girls, plants and flowers, and animal scenery are the three major themes.