這個法國人在香港會展中心布置了一間“老錢風”中國客廳

羅漢堂，2023，典亞藝博B9

闊別三年，亞洲頂尖的藝術博覽會——香港典亞藝博，于今秋盛大回歸香港會議展覽中心。展覽于2023年10月5至8日開放。

作為中國人的老朋友，亦是中國傳統文化的資深狂熱愛好者，法國人羅漢今次于典亞藝博呈現了一間中西混搭的“老錢風”優雅中國客廳，成為展會的一大亮點，吸引過往無數觀眾流連駐足。

家具藏家、《明式櫸木家具》周峻巍先生在觀展后表示感動：“羅漢先生一如既往地用他的方式創造了一種場景，很純粹、很舒適、很松弛、很唯美、很干凈。雖然只有30平方的客廳，但并不局促，更不堆砌，每件家具都被羅漢用最好的方式得到了呈現，每一個走進展廳的觀眾都不由自主地感到愉悅。”

| 羅漢向每一位走進展廳的觀眾講述他對中國大漆家具的解讀

如周峻巍所言，羅漢始終用一種法國人的優雅和視角，用寥寥幾筆的家具筆觸，在人潮洶涌的會展中心為觀眾勾勒出了一幅中國大漆家具風貌畫卷，用一種“很羅漢”的方式，極其立體地呈現了從明代到清代時期的大漆家具之美，并試圖以寥寥數筆向觀眾傳遞出更多的中國文化之美。

這，真的很“羅漢”！

羅漢堂

地點：香港會議展覽中心典亞藝博-B9

時間：2023年10月5日-8日，展出中

羅漢的話/

羅漢（Laurent Colson）

法國藏家、羅漢堂主人

多年來，我們致力于將中國文化從藝術史這一深邃的黑暗洞穴中引領而出，樹立成碑。瓷器、絲綢和茶，并肩攜手，共同描繪了中國的偉大圖景，以及其與世界的聯系。而中國的大漆家具，在幾個世紀以來，對于西方來說，其材料本身就是機密，同時他還有著很高超的工藝技法，并且他凝結了中國的精神。

For many years now, we dedicated our efforts to bringing out of the dark caves of art history a landmark of Chinese culture that is Chinese lacquer furniture. Side by side with porcelain, silk and tea, lacquer has painted the great picture of China, the world over. Keeping the secret of its natural origin and its high level of technicity, it was a mysterious material to the West for centuries.

一件清代初期的柜櫥，本應屬于一位高級軍事將領，其一扇門搬上呈現了一支行軍的隊伍，而另一扇門板上則呈現了一位尊貴的將軍，其技法采用了最精細的戧金工藝(即刻劃與描金相結合)和多色漆，背景則采用了填漆工藝。一張清代黑漆嵌螺鈿榻，其上所嵌大理石板上的石紋，如夢似幻，其形狀像一只精力充沛的獅子在游戲一只繡球，仿佛一位藝術家在大理石板上用筆墨與石紋相呼應，形成了獨特的效果。這張床曾經屬于一位在二戰期間曾經飽受爭議的法國著名作家。

羅漢堂，2023，典亞藝博B9

一張明代萬歷時期黑漆方桌，鮮花自四足懸攀而上，在桌面的花園中盛放，形成巖間牡丹的美景，一對鳳凰在 期間游戲躲藏。1930年，這件作品曾著錄于北京著名古董商霍明志的圖錄中。

一件明代早期朱漆供桌，比例寬穩凝重，曾經擺放有一件沉重的香爐。一個精致的清初朱漆炕柜，上面雕刻著仕女游園的優雅場面，非常適合擺放在閨房門后隱蔽的位置，而這里也正是這些閨秀們日間休憩時所需要的氛圍。

An early Qing cabinet that was probably owned by a high military official displays a marching army on one door and an honored general on the other, with the most refined technique of Qiangjin (gilded incised lines) and polychrome lacquer, on a background of Tianqi technique (infilled lacquer).

A Qing black lacquer bed inlaid with mother of pearl taking the shapes of energetic lions playing with silk balls shows dreamy landscapes painted with Chinese ink on marble slabs by an artist answering to the solicitation of the stone veins. The bed used to belong to a famous French writer who has been quite controversial during the Second World War.

A Ming Wanli black lacquer square table, flowers growing on its legs, lets the top opening on a garden of rock and peonies where a couple of phoenixes plays at hide and seek. In 1930 the piece was in the catalogue of a Beijing dealer, Paul Houo Ming Tse.

An early Ming red lacquer altar table of squat proportions was all designed to support a heavy bronze incense burner.

A delicate early Qing red lacquer kang cabinet carved with scenes of elegant ladies in the garden of a palace was perfect to store all what those beauties seem to have needed during their days of leisure.

如今，這些作品講述了許多關于中國人生活的故事，并以一種快樂而優雅的方式表達了人們的信仰。當下，我們也很自然地將他們與當代藝術一起陳放在一個現代的環境之中。最終，這可能有助于我們加深對這兩種藝術的看法和理解。

The black lacquer of two major pieces and the ink used on the railings of the bed compelled us to go black. We are pleased to introduce two very different Chinese artists in this respect.

床欄桿上的黑漆和筆墨似乎也把我們往更多墨色的方向指引。在此，我們也很高興的向大家介紹幾位獨特的中國藝術家。

The black lacquer of two major pieces and the ink used on the railings of the bed compelled us to go black. We are pleased to introduce two very different Chinese artists in this respect.

第一位，潘小榮(1985年生)，丁乙(1962年生)的學生。以最常見的卡紙為畫布，小榮不斷地重復著耗時的筆法。在他的筆下，中國水墨的筆觸和刀刃上的劃痕一起，構建了一個由看似混亂、如污漬般的細節所搭建的虛無、 而又秩序混亂的網狀結構。這種嚴肅、沉思的情緒將觀 眾帶入了一個表面上穩定的世界，在這個世 界上，不確定性和毀滅性都是危險的。他繪畫方法的靈活性和技法 的激進性為小榮的作品注入了強烈的沉思力量。

The first one is Pan Xiaorong (born in 1985), a student of Ding Yi (born in 1962). On the most vernacular support that is the cardboard, Pan repeats time-consuming gestures. Chinese black ink strokes and blade scratches are building an architecture of falsely regular, hypnotic webs disturbed by a background field of uncertain stains. The austere, meditative mood leads the viewer in a world where the apparent stability reveals uncertainty and is menacing ruin. The economy of means and the radicality of the technique infuse Pan’s work with a strong power for inducing contemplation.

潘小榮 作品

與更文人氣一些的潘小榮相比，瞿倩梅(1956年出生) 的作品則呈現了更多的巴洛克般的面貌。她很感性。她因繪畫而愉悅。黑色如同液體般流淌，表面布滿皺紋、剝落、干燥如大地般，又粘稠如油脂，令人有抗拒之感。她在這些元素中找到了避難所，像一個古老的巫師 一樣控制著它們。風吹動的風景、雨水雕刻的山脈、光線反射的湖泊、被地震破碎的溪流和河流都源自她的筆下。她的能量在運動和行動中。她鼓動著你走出去、去行動。

瞿倩梅 作品（局部）

我們真的希望今年的展覽能為您打開一扇大門，我們等著歡迎您光臨我們的展位。我們將很高興分享我們重返香港市場的喜悅。

In comparison to the intellectual Pan, Qu Qianmei’s work (born in 1956) seems baroque. She is sensual. She takes pleasure with the matter. The blacks are liquid, covered with wrinkles, peeling, dry like earth, thick like fat oil almost repulsive. She finds refuge among the elements, control them like a sorcerer of old. Landscapes shaken by the wind, mountains carved by the rain, lakes mirroring the light, streams and rivers fleeing rocks broken by some quakes come out of her hands. Her power is movement and action. It pushes you to go out and do.

We do hope that this year exhibition will open some doors for you and we are waiting to welcome you on our booth. We will be happy to share our joy to be back on the market in Hong Kong.

Luohan, September 2023.

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展覽信息

展覽地點

香港會議展覽中心典亞藝博-B9

展覽時間

2023年10月5-8日