讓徐渭不再漂泊流浪

趙暢

每次見項志峰，只要說及明清書畫收藏，他總是興趣盎然?？捎钟姓l知，他曾經(jīng)是一位企業(yè)家。

在企業(yè)界，項志峰干得風生水起、有口皆碑?！翱蔀槭裁春髞砭瓦B老總都不干了？”我覺得奇怪。“魚與熊掌不可兼得”，他笑呵呵地回答。2016年，當收藏達到一定規(guī)模時，項志峰辭去了企業(yè)高管職務，全身心投入明清書畫收藏。

“您為何把收藏定位在明清書畫上了呢？”我問他。項志峰告訴我，這也是圈內(nèi)人士的建議，因為自己覺得有道理，所以也就有了這樣的收藏目標。這一定位，項志峰是基于這樣的考量：一者，古代書畫是古代藝術(shù)的瑰寶，書畫歷來都排在收藏的首位;二者，“紙千年帛八百”，物以稀為貴，限于古代收藏的條件，古代書畫能夠流傳至今，實屬難得;三者，而今要收藏到宋代及以前的書畫已幾無可能，但收藏明清書畫還是有選擇可能的;四者，作為紹興的藏家，理應多收藏些與紹興有關的藏品，更何況紹興作為文化古城，不僅出過好多書畫名家，留存的書畫在如今的拍賣場上也多有出現(xiàn)。按著這般的目標思路，項志峰開始了他的明清書畫收藏之旅。

項志峰玩收藏，有實力也有魄力，而隨著眼力看漲，他對明清書畫的收藏也開始漸入佳境。項志峰講過一個參加北京瀚海拍賣會、收藏一本徐渭書法冊頁的故事：他剛看到這本冊頁時，發(fā)現(xiàn)其中既有徐渭典型的狂草，也有其他的字體，但沒有落款。也有人看了以后覺得難以確定真?zhèn)?。但項志峰憑著自己對徐渭作品有過的深入研究，心里很快就有了自己的答案?！爱斘业难劬εc其對視時，我大腦中儲存的知識分明告訴我，這就是徐渭的作品。趕緊下手吧！”本來1萬元的底價，沒想到一下就拍到了300多萬元。最后，項志峰以462萬元的價格將它拍了下來。

以項志峰當時的心理價位來說，價格確實是高了一點。但有這么多藏家參與競拍，至少說明大家的眼光還是比較一致的。況且，徐渭作為明代紹興籍的大書畫家，他多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，是中國“潑墨大寫意畫派”創(chuàng)始人、“青藤畫派”之鼻祖?！罢f實話，讓徐渭不再“漂泊流浪”，抓緊請他‘回家，是紹興藏家應有的責任和義務?！苯鼛啄陙?，他還陸續(xù)收藏了徐渭的《草書李白詩》《多體草書王維詩卷》《桐蔭茗詩圖》等書畫作品。

除了徐渭，項志峰還先后花巨資收藏了諸多紹興書畫名家的作品，其中就有明代陳洪綬的《痛飲讀騷圖》、倪元璐的《行書詩》、劉宗周的《行書李白詩》、清代趙之謙的《荷花圖》《九桃圖》等，當然還有浙江其他地區(qū)的名家作品，如任伯年的《芭蕉奇禽圖》、任熊的《人物故事圖》、毛萬齡的《看竹圖卷》等。

正是因為當時項志峰勃發(fā)了收藏紹興名人名家書畫的想法，才為后來在博物館中開設展示紹興籍名人名家作品的展館“鐘靈越秀”，提供了必不可少的基礎條件。“要在紹興有立足之地，沒有一定的紹興籍書畫名家的作品，說不過去，也不好向紹興的父老鄉(xiāng)親交代呀?！彼f。

多年的參拍經(jīng)歷，讓項志峰進一步明白了這樣一個道理：要拍回真品、精品，除了自己要成為行家里手，更需要有專家、行家的支撐。為此，他建立了一支緊密型和松散型相結(jié)合的專家、行家隊伍。在他眼里，專家是大學里、博物館里的那些有著豐富的理論素養(yǎng)的學院派老師，行家則是那些經(jīng)常做書畫生意，對書畫鑒別有精準、獨到眼力的資深中間人。只有讓理論知識與實戰(zhàn)能力結(jié)合在一起，為決策提供務實的信息選項，自己才能在波詭云譎的拍場上有更大的勝算。

每一幅拍得的書畫藏品，項志峰都是珍惜至極、愛憐有加。每一次懷抱明清書畫回家，除了好好安頓它們，項志峰總是要從年代氣息、時代特征、個人風格，甚至每個題跋、筆觸、印色等都細細地“拆”個遍，一部分一部分地加以考證和研究，再一個個地給它們分別佩戴“身份證”。“也正是這樣一個個接近、一次次走進這些明清書畫，我才恍然大悟：每幅藏品的背后都有它的故事。我甚至覺得，這一個個中國書畫史上熠熠生輝的名字連同他們的作品，就如同懸掛在時間長廊上的盞盞明燈，為我們勾勒出了中國古代書畫史的基本輪廓?！庇谑牵粋€念想在他心頭油然而生：既然這一幅幅作品，就是書畫家和一代一代藏家風雨接力后留給我們的生動故事，就是古代書畫藝術(shù)博大精深的重要信物，是經(jīng)歷了千百年淘洗至今依然活著的直觀象征，“由此看來，我這一生就是為明清書畫而生的，我也終將與這些書畫廝守一輩子?！表椫痉逶谂c家人商量后作出了鄭重決定：所有拍賣來的明清書畫，只買進而決不賣出，自己必須做一個虔誠而執(zhí)著的文化“守護人”，這是自己作為一個藏家應有的擔當、情懷和境界。

隨著拍賣回來的明清書畫越來越多，在紹興辦一家私人博物館的想法也在他心中滋生。一俟想法成熟，他便向有關部門提交了申請報告。

從全國范圍看，這些年來，私人博物館恰似雨后春筍。當然其中被詬病的也有不少。為什么？一個主要的原因就是藏品的真?zhèn)螁栴}。你想，如果藏品多為贗品，頗有“穿越”之嫌，顛覆了人們的常識，建立這樣的博物館除了浪費公共資源，更會誤導公眾。紹興市有關部門為慎重起見，邀請了省里的6位書畫專家，對項志峰的藏品進行鑒定。在會議室，34幅明清書畫被凝神屏氣的6位專家端詳許久?！昂脴O了，不簡單！”當6位專家打破寧靜說出這句話，一直提心吊膽的項志峰這才得以回過神、緩過氣來。事后，有位專家告訴他：原本以為民間收藏尤其是明清書畫收藏不會有多少真品和珍品，可想不到項志峰收藏的這些名家書畫竟沒有什么爭議。項志峰愜意地笑了——為自己的堅定追求和堅持付出。

一旦自己心里有了底，項志峰便開始延伸影響力的觸角。他別開生面地舉辦了一場由20幅明清書畫組成的小型藏品展，特地邀請了市里有關人士前去參觀。作為主講人，項志峰對每一幅作品的介紹極富專業(yè)水平與感性魅力。

2016年5月21日6215平方米面積的“紹興市華脈書畫博物館”建成開館。從申請到規(guī)劃、建設、驗收、策展，項志峰親力親為?！袄凼抢?，但能為這些寶貝量身打造一個安全、快樂的窩，我很高興?！睘槭裁磳⒉┪镳^取名“華脈”？項志峰說，“華”指中華，“脈”是脈絡，是想說明自己的書畫收藏與中華文化同根同源、一脈相承。

2020年初夏的一天，我應邀到訪位于紹興市區(qū)越西路上的“紹興華脈書畫博物館”。博物館的設計體現(xiàn)了江南的園林特色，有小橋流水、白墻青石板。“源遠流長”廳展出的是宋元明清名家作品，“居高聲遠”廳展出的是清朝歷代帝王書畫作品，“鐘靈毓秀”廳展出的是紹興籍書畫家作品，讓我一路欣賞一路贊嘆。

在參觀中，項志峰反復強調(diào)：“藏品對收藏家來說，只是過眼煙云，誰也帶不走。作為一種文化遺產(chǎn)，這也決定了藏品的社會屬性，換言之，它們就是社會的一部分。既然如此，我們就不應讓藏品‘養(yǎng)在深閨人未識，而應讓其‘飛入尋常百姓家，最大限度地激活其內(nèi)在的生命力，真正發(fā)揮藏品的文化價值和社會價值?！?/p>

博物館的大門設計得很有創(chuàng)意，圓形，黑色，中間推門的把手，做成了一個類似于印章的陽文篆體“書”字，其涵義顯而易見。

就要離開博物館了，回眸之時，我發(fā)現(xiàn)初夏的陽光射在博物館的大門上，而此時此刻站在門口送我們的項志峰，竟與博物館大門疊合在了一起。我突然想到：項志峰作為“紹興華脈書畫博物館”的“掌門人”，本身不也是一本藝術(shù)之書、一扇文化之門嗎？跟隨他，我們就能品賞一段漸行漸遠而又觸手可及的歷史。

Xu Wei Comes Home： Xiang Zhifengs Ming and Qing Collections

By Zhao Chang

Known in the cultural circles of Shaoxing as a collector， Xiang Zhifeng was a successful businessman in his earlier years. “You cannot have your cake and eat it，” the collector explained， with a big smile on his face. Xiang officially backed off from his senior manager position in the entrepreneurial world in 2016， in order to focus on his duties as a collector of calligraphy and paintings of the Ming （368-1644） and the Qing （1644-1911） dynasties.

The decision of focusing on the Ming and Qing times is also the result of taking advices from insiders. Collectors of calligraphic work and ancient paintings have to live with the fact that chances of finding such works are getting smaller and smaller nowadays and that the chance of ownership of anything that was made around and before the Song （960-1279） times of China is bordering zero.

The decision was also based on Xiangs Shaoxing identity. The Shaoxing native feels proud to contribute his share to the conservation of the immense cultural riches of his hometown， considered one of the most culturally distinct cities in China.

Xiang Zhifeng has what it takes to be a collector， not only financially. He has the gut， and more importantly， the eye for real values. When he was in Beijing for an auction hosted by Hanhai Auction House， he came to the conclusion about a calligraphy album of Xu Wei （1521-1593） when many other bidders were too skeptical to upraise their bid cards.

“It was gut feeling. The moment I saw it I knew it was Xu Wei. The price I offered was way higher than I expected， but I knew what I was doing.”

The bidding started from 10，000 yuan， and soared to more than three million yuan. Xiang Zhifeng offered 4.62 million yuan， and took the album home.

Born in Shaoxing， Xu Wei is recognized as one of the top three most gifted men of the Ming Dynasty， and is indisputably the quintessential misunderstood genius and an all-rounder born from madness and creativity. The Shaoxing native also authored four plays， and was a poet of considerable note.

“I feel responsible as a Shaoxing native for bringing Xu Wei home. I will not hesitate to try my best.”

In addition to Xu Wei collection， Xiang has some masterpieces by other artists of the Ming and the Qing dynasties. “Shaoxing” is naturally a key word in Xiangs collections that include works by a host of Shaoxing-born cultural notables such as Chen Hongshou， Ni Yuanlu， Liu Zongzhou and Zhao Zhiqian， artists of national renown.

Xiangs progress in his “Shaoxing” collection paved the way for a special “Shaoxing” section of his private museum launched in 2016. “My life is here， and it takes something from my Shaoxing roots to build my foothold here.”

Xiang knows his own limits. To bring more cultural treasures home and minimize risks， he works closely with a group of seasoned middlemen and experts， many of which are friends in the academic circles he has made over the years.

“Taking care of the treasures is no easy task，” said Xiang. The documentation alone takes a lot of time and energy.

“As I spend more and more time on the works， more stories about them unfold， making me more convinced about what I want to do， that is， to try what I can to protect them. The consensus that not a single piece will be sold again has been reached by my family.”

As his collection grew， his thoughts about building a private museum became a real plan. The application work was done， and 34 Ming and Qing calligraphic works and paintings were spread out in the meeting room， ready for evaluation by an evaluation panel of six experts. All the pieces turned out to be authentic， much to the surprise of the panel. “It is a rare case，” one of the experts commented.

The preparation work of the museum took five years. Located on Yuexi Road in Shaoxing， the 6，215-square-meter space named “Huamai” opened door on May 21， 2016.

“I dont own the exhibits here. They dont belong to anyone. In fact， ownership makes little sense. Culture is essentially social. Everything here is part of social assets. The most important thing is to keep them alive and show their value to as many people as possible.”