这个法国人在香港会展中心布置了一间“老钱风”中国客厅

罗汉堂，2023，典亚艺博B9

阔别三年，亚洲顶尖的艺术博览会——香港典亚艺博，于今秋盛大回归香港会议展览中心。展览于2023年10月5至8日开放。

作为中国人的老朋友，亦是中国传统文化的资深狂热爱好者，法国人罗汉今次于典亚艺博呈现了一间中西混搭的“老钱风”优雅中国客厅，成为展会的一大亮点，吸引过往无数观众流连驻足。

家具藏家、《明式榉木家具》周峻巍先生在观展后表示感动：“罗汉先生一如既往地用他的方式创造了一种场景，很纯粹、很舒适、很松弛、很唯美、很干净。虽然只有30平方的客厅，但并不局促，更不堆砌，每件家具都被罗汉用最好的方式得到了呈现，每一个走进展厅的观众都不由自主地感到愉悦。”

| 罗汉向每一位走进展厅的观众讲述他对中国大漆家具的解读

如周峻巍所言，罗汉始终用一种法国人的优雅和视角，用寥寥几笔的家具笔触，在人潮汹涌的会展中心为观众勾勒出了一幅中国大漆家具风貌画卷，用一种“很罗汉”的方式，极其立体地呈现了从明代到清代时期的大漆家具之美，并试图以寥寥数笔向观众传递出更多的中国文化之美。

这，真的很“罗汉”！

罗汉堂

地点：香港会议展览中心典亚艺博-B9

时间：2023年10月5日-8日，展出中

罗汉的话/

罗汉（Laurent Colson）

法国藏家、罗汉堂主人

多年来，我们致力于将中国文化从艺术史这一深邃的黑暗洞穴中引领而出，树立成碑。瓷器、丝绸和茶，并肩携手，共同描绘了中国的伟大图景，以及其与世界的联系。而中国的大漆家具，在几个世纪以来，对于西方来说，其材料本身就是机密，同时他还有着很高超的工艺技法，并且他凝结了中国的精神。

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.

一件清代初期的柜橱，本应属于一位高级军事将领，其一扇门搬上呈现了一支行军的队伍，而另一扇门板上则呈现了一位尊贵的将军，其技法采用了最精细的戗金工艺(即刻划与描金相结合)和多色漆，背景则采用了填漆工艺。一张清代黑漆嵌螺钿榻，其上所嵌大理石板上的石纹，如梦似幻，其形状像一只精力充沛的狮子在游戏一只绣球，仿佛一位艺术家在大理石板上用笔墨与石纹相呼应，形成了独特的效果。这张床曾经属于一位在二战期间曾经饱受争议的法国著名作家。

罗汉堂，2023，典亚艺博B9

一张明代万历时期黑漆方桌，鲜花自四足悬攀而上，在桌面的花园中盛放，形成岩间牡丹的美景，一对凤凰在 期间游戏躲藏。1930年，这件作品曾著录于北京著名古董商霍明志的图录中。

一件明代早期朱漆供桌，比例宽稳凝重，曾经摆放有一件沉重的香炉。一个精致的清初朱漆炕柜，上面雕刻着仕女游园的优雅场面，非常适合摆放在闺房门后隐蔽的位置，而这里也正是这些闺秀们日间休憩时所需要的氛围。

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，这些作品讲述了许多关于中国人生活的故事，并以一种快乐而优雅的方式表达了人们的信仰。当下，我们也很自然地将他们与当代艺术一起陈放在一个现代的环境之中。最终，这可能有助于我们加深对这两种艺术的看法和理解。

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.

床栏杆上的黑漆和笔墨似乎也把我们往更多墨色的方向指引。在此，我们也很高兴的向大家介绍几位独特的中国艺术家。

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，潘小荣(1985年生)，丁乙(1962年生)的学生。以最常见的卡纸为画布，小荣不断地重复着耗时的笔法。在他的笔下，中国水墨的笔触和刀刃上的划痕一起，构建了一个由看似混乱、如污渍般的细节所搭建的虚无、 而又秩序混乱的网状结构。这种严肃、沉思的情绪将观 众带入了一个表面上稳定的世界，在这个世 界上，不确定性和毁灭性都是危险的。他绘画方法的灵活性和技法 的激进性为小荣的作品注入了强烈的沉思力量。

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.

潘小荣 作品

与更文人气一些的潘小荣相比，瞿倩梅(1956年出生) 的作品则呈现了更多的巴洛克般的面貌。她很感性。她因绘画而愉悦。黑色如同液体般流淌，表面布满皱纹、剥落、干燥如大地般，又粘稠如油脂，令人有抗拒之感。她在这些元素中找到了避难所，像一个古老的巫师 一样控制着它们。风吹动的风景、雨水雕刻的山脉、光线反射的湖泊、被地震破碎的溪流和河流都源自她的笔下。她的能量在运动和行动中。她鼓动着你走出去、去行动。

瞿倩梅 作品（局部）

我们真的希望今年的展览能为您打开一扇大门，我们等着欢迎您光临我们的展位。我们将很高兴分享我们重返香港市场的喜悦。

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.

点击下方链接，了解更多罗汉的故事：

展览信息

展览地点

香港会议展览中心典亚艺博-B9

展览时间

2023年10月5-8日