廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

山先生的書房不在山里，而有山林之氣。

城市山林，不必或大或小的園子，而丘壑自在室內。不必云煙，而能以煙云供養歲月。

Mr. Shan’s study is not located inmountains but with a breath of mountains and forests.

Gardens of various sizes are not necessaryin cities or mountains as long as the landscape is created indoors. Clouds andmists are not indispensable as long as the passing of time is nourished withthem.

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

其中有畫，畫中有丘壑，有煙云，有文人舊夢，夢在山水林園之間，一片水墨世界。有新青年的幻想，缤紛形象層出不盡，真個自由天地。有字，則見字如晤，而詩文托體于書法，則相互輝映煥發。有陶，有茶，有金屬，有木器，有如山如河如云朵的石頭，有似真似幻巧奪天工的草木。

The study has paintings of landscapes,clouds, mists and intellectuals’ old dreams wandering in mountains, rivers,forests and gardens. What a world of ink and wash! The study has imaginations belongingto the new youth with various images emerging endlessly. What a free place! Thestudy has characters. Seeing the manuscripts of friends is like meeting themwhile poetic prose is well expressed by calligraphy, adding radiance and beautyto each other. The study has potteries, tea, metal, woodwares, rocks with theirshapes like mountains, rivers and clouds, and artificial plants of wonderfulworkmanship that people can’t tell them real or not.

“廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

山先生的書房，可遊，可望，可居。

可遊，是文人書房成爲流動空間。可望，是空間布置的錯落有致與藏品的引人入勝。可居，是使人從外界回歸虛室，身心安頓，而依舊溪山清遠。

Mr. Shan’s study serves for touring,viewing and settling in.

The chief use for touring, is in makingthe intellectual’s study the flowing space; for viewing, is in the well decorationand attractive collections; and for settling in, is in people returning fromthe outside settling down physically and mentally, still with the impression ofthe picturesque scenery.

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

野逸在江湖，顯貴莫如廳堂，而風雅最是書房。山先生的書房亦古亦今，亦中亦西，此中無非設計，無非布置，無非知物，無非品鑒。

書房亦是物之雅集，而物之好，物之美，乃是人的知性與心意。山先生對器物的敬重，如古人，如扶桑人。藝術品鑒，如其人，而人如其書房，如其作品，山先生的書房即是他的作品，擇物陳設，選畫布置，情景營造，亦皆曆曆可見其交遊及品位。

Wildness and leisure are found in riversand lakes; fame and wealth, in halls; elegance, in studies. Mr. Shan’s study isancient and modern, having features of the East and the West, and it is wellexpressed by the design, the decoration, the understanding about objects, the tasteand appreciation.

Study is a place for collecting elegantobjects. The fine quality and the beauty of objects give a full expression ofpeople’s education and affection. Mr. Shan respects objects as an ancientperson and Japanese people. Taste and appreciation for art speak for a personand the person can be understood from the study and the work. Mr. Shan’s studyis his work. The choice of objects and paintings, the furnishings, thedecoration and the creation of the atmosphere tell his association and tastefrom every aspect.

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

吾人生于今世，當無古今之隔閡，無中外之芥蒂。山先生亦以此爲然，山先生的書房作爲空間，既古雅又現代，既平和又刺激，可入禅，如幽邃之境，亦能嶄新，可以放下新時代的奇異思想，中外設計師的匠心。案頭，架上，裝置，新藝術，無問東西，無有不可。

We, born in today’s world, should not haveany boundaries between the ancient and the modern as well as between China andthe outside world, and this is true for Mr. Shan. As a space, his study isancient and modern, peaceful and stimulating. It is so quiet and elegant thatpeople can sit in mediation; it is so new and inclusive that creative ideas,unusual thoughts, inventive minds of Chinese and foreign designers can findtheir places. Decorations and new art can be seen on the desk and shelves,without any limitations on the East or the West and full of possibilities.

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

山先生的書房可以移動，在城市間隨遇而安，布局不斷變化，和古今中外不隔，和陌生來者不隔。來者爲陶而來，爲水墨而來，爲木器而來，爲心之所寄而來，爲歲月的質地而來，而山先生書房的遠致，寄之于來者的心與物會，意因畫應，人與境遇。

Mr. Shan’s study can be moved, adapting tocircumstances in cities with the changeable layout and without boundariesbetween the ancient and the modern, between China and the outside world andbetween itself and stranger others. Visitors come for potteries, for ink andwash, for woodwares, for a place to keep their souls and for the quality of thetimes while the peace and the steadiness of Mr. Shan’s study meet the demandsof the visitors, harmonizing the minds and the objects, the moods and thepaintings as well as the people and the surroundings.

文 / 韦羲

Write by Wei Xi

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

廣東美術館“筆墨紙硯格式與想象——山先生書房”展覽現場

當我們把“物“作書讀時，

當“書房“的”物“足以可作書讀時，

書房是可以沒書的，

“山先生書房”正是這樣壹間無書的書房。

這樣的書房，挺好！

When we read “things” as if they are books,

When the “things” at a study can be read as books,

A study without books will do,

The “Study of Scholar Shan” happens to be such a bookless study.

It’s nice to have such a study!

文 / 北京大学考古文博学院教授 、著名考古学家

—— 徐天進

Peking University Archaeology and Museology College、Archeologist

Write by Xu Tianjing

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“山先生”拍品展示：

▲ 拍品 249 丨凱一 複古相機包 17x14.5x14 cm 皮具 2018年

▲ 拍品252丨可可 犀牛 40x26x25 cm 陶 2017年

▲ 拍品 253丨高振宇 無題 50x58 cm 陶 2017年

▲拍品 256 丨許靜 入雲 97.5x150 cm 紙本酒書 2018年

▲ 拍品 258丨 沈勤 山 20180803-1 35x178 cm 紙本設色 2018年

▲ 拍品 259丨 陳輝 盲龜遇 52.5x233 cm 紙本水墨 2018年

▲ 拍品 266 丨沈克龍 葵形盤 直徑：24cm 木胎髹漆 2018年

▲ 拍品 267丨 沈克龍 立件花器 布胎髹漆 高：49 cm 2018年

▲ 拍品 280 丨程起 亹者七十二峰之十八 靈璧石 57x33x33 cm 2018年

▲ 拍品 281丨 潘惊石 變色樹蜥 五彩瑪瑙 42x17x19cm 2015年

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圖片提供：山外攝影

“读物游心” 上海当代书房高端论坛

2018年9月20日 下午 4:30 - 5:30

佳士得上海艺术空间

中国上海圆明园路97号安培洋行二楼

请点击“阅读原文”参阅佳士得网站获取有关拍卖及预展详情

来源： 伍拾伍號院子藝術空間