让徐渭不再漂泊流浪

赵畅

每次见项志峰，只要说及明清书画收藏，他总是兴趣盎然。可又有谁知，他曾经是一位企业家。

在企业界，项志峰干得风生水起、有口皆碑。“可为什么后来就连老总都不干了？”我觉得奇怪。“鱼与熊掌不可兼得”，他笑呵呵地回答。2016年，当收藏达到一定规模时，项志峰辞去了企业高管职务，全身心投入明清书画收藏。

“您为何把收藏定位在明清书画上了呢？”我问他。项志峰告诉我，这也是圈内人士的建议，因为自己觉得有道理，所以也就有了这样的收藏目标。这一定位，项志峰是基于这样的考量：一者，古代书画是古代艺术的瑰宝，书画历来都排在收藏的首位;二者，“纸千年帛八百”，物以稀为贵，限于古代收藏的条件，古代书画能够流传至今，实属难得;三者，而今要收藏到宋代及以前的书画已几无可能，但收藏明清书画还是有选择可能的;四者，作为绍兴的藏家，理应多收藏些与绍兴有关的藏品，更何况绍兴作为文化古城，不仅出过好多书画名家，留存的书画在如今的拍卖场上也多有出现。按着这般的目标思路，项志峰开始了他的明清书画收藏之旅。

项志峰玩收藏，有实力也有魄力，而随着眼力看涨，他对明清书画的收藏也开始渐入佳境。项志峰讲过一个参加北京瀚海拍卖会、收藏一本徐渭书法册页的故事：他刚看到这本册页时，发现其中既有徐渭典型的狂草，也有其他的字体，但没有落款。也有人看了以后觉得难以确定真伪。但项志峰凭着自己对徐渭作品有过的深入研究，心里很快就有了自己的答案。“当我的眼睛与其对视时，我大脑中储存的知识分明告诉我，这就是徐渭的作品。赶紧下手吧！”本来1万元的底价，没想到一下就拍到了300多万元。最后，项志峰以462万元的价格将它拍了下来。

以项志峰当时的心理价位来说，价格确实是高了一点。但有这么多藏家参与竞拍，至少说明大家的眼光还是比较一致的。况且，徐渭作为明代绍兴籍的大书画家，他多才多艺，在诗文、戏剧、书画等各方面都独树一帜，是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖。“说实话，让徐渭不再“漂泊流浪”，抓紧请他‘回家，是绍兴藏家应有的责任和义务。”近几年来，他还陆续收藏了徐渭的《草书李白诗》《多体草书王维诗卷》《桐荫茗诗图》等书画作品。

除了徐渭，项志峰还先后花巨资收藏了诸多绍兴书画名家的作品，其中就有明代陈洪绶的《痛饮读骚图》、倪元璐的《行书诗》、刘宗周的《行书李白诗》、清代赵之谦的《荷花图》《九桃图》等，当然还有浙江其他地区的名家作品，如任伯年的《芭蕉奇禽图》、任熊的《人物故事图》、毛万龄的《看竹图卷》等。

正是因为当时项志峰勃发了收藏绍兴名人名家书画的想法，才为后来在博物馆中开设展示绍兴籍名人名家作品的展馆“钟灵越秀”，提供了必不可少的基础条件。“要在绍兴有立足之地，没有一定的绍兴籍书画名家的作品，说不过去，也不好向绍兴的父老乡亲交代呀。”他说。

多年的参拍经历，让项志峰进一步明白了这样一個道理：要拍回真品、精品，除了自己要成为行家里手，更需要有专家、行家的支撑。为此，他建立了一支紧密型和松散型相结合的专家、行家队伍。在他眼里，专家是大学里、博物馆里的那些有着丰富的理论素养的学院派老师，行家则是那些经常做书画生意，对书画鉴别有精准、独到眼力的资深中间人。只有让理论知识与实战能力结合在一起，为决策提供务实的信息选项，自己才能在波诡云谲的拍场上有更大的胜算。

每一幅拍得的书画藏品，项志峰都是珍惜至极、爱怜有加。每一次怀抱明清书画回家，除了好好安顿它们，项志峰总是要从年代气息、时代特征、个人风格，甚至每个题跋、笔触、印色等都细细地“拆”个遍，一部分一部分地加以考证和研究，再一个个地给它们分别佩戴“身份证”。“也正是这样一个个接近、一次次走进这些明清书画，我才恍然大悟：每幅藏品的背后都有它的故事。我甚至觉得，这一个个中国书画史上熠熠生辉的名字连同他们的作品，就如同悬挂在时间长廊上的盏盏明灯，为我们勾勒出了中国古代书画史的基本轮廓。”于是，一个念想在他心头油然而生：既然这一幅幅作品，就是书画家和一代一代藏家风雨接力后留给我们的生动故事，就是古代书画艺术博大精深的重要信物，是经历了千百年淘洗至今依然活着的直观象征，“由此看来，我这一生就是为明清书画而生的，我也终将与这些书画厮守一辈子。”项志峰在与家人商量后作出了郑重决定：所有拍卖来的明清书画，只买进而决不卖出，自己必须做一个虔诚而执着的文化“守护人”，这是自己作为一个藏家应有的担当、情怀和境界。

随着拍卖回来的明清书画越来越多，在绍兴办一家私人博物馆的想法也在他心中滋生。一俟想法成熟，他便向有关部门提交了申请报告。

从全国范围看，这些年来，私人博物馆恰似雨后春笋。当然其中被诟病的也有不少。为什么？一个主要的原因就是藏品的真伪问题。你想，如果藏品多为赝品，颇有“穿越”之嫌，颠覆了人们的常识，建立这样的博物馆除了浪费公共资源，更会误导公众。绍兴市有关部门为慎重起见，邀请了省里的6位书画专家，对项志峰的藏品进行鉴定。在会议室，34幅明清书画被凝神屏气的6位专家端详许久。“好极了，不简单！”当6位专家打破宁静说出这句话，一直提心吊胆的项志峰这才得以回过神、缓过气来。事后，有位专家告诉他：原本以为民间收藏尤其是明清书画收藏不会有多少真品和珍品，可想不到项志峰收藏的这些名家书画竟没有什么争议。项志峰惬意地笑了——为自己的坚定追求和坚持付出。

一旦自己心里有了底，项志峰便开始延伸影响力的触角。他别开生面地举办了一场由20幅明清书画组成的小型藏品展，特地邀请了市里有关人士前去参观。作为主讲人，项志峰对每一幅作品的介绍极富专业水平与感性魅力。

2016年5月21日6215平方米面积的“绍兴市华脉书画博物馆”建成开馆。从申请到规划、建设、验收、策展，项志峰亲力亲为。“累是累，但能为这些宝贝量身打造一个安全、快乐的窝，我很高兴。”为什么将博物馆取名“华脉”？项志峰说，“华”指中华，“脉”是脉络，是想说明自己的书画收藏与中华文化同根同源、一脉相承。

2020年初夏的一天，我應邀到访位于绍兴市区越西路上的“绍兴华脉书画博物馆”。博物馆的设计体现了江南的园林特色，有小桥流水、白墙青石板。“源远流长”厅展出的是宋元明清名家作品，“居高声远”厅展出的是清朝历代帝王书画作品，“钟灵毓秀”厅展出的是绍兴籍书画家作品，让我一路欣赏一路赞叹。

在参观中，项志峰反复强调：“藏品对收藏家来说，只是过眼烟云，谁也带不走。作为一种文化遗产，这也决定了藏品的社会属性，换言之，它们就是社会的一部分。既然如此，我们就不应让藏品‘养在深闺人未识，而应让其‘飞入寻常百姓家，最大限度地激活其内在的生命力，真正发挥藏品的文化价值和社会价值。”

博物馆的大门设计得很有创意，圆形，黑色，中间推门的把手，做成了一个类似于印章的阳文篆体“书”字，其涵义显而易见。

就要离开博物馆了，回眸之时，我发现初夏的阳光射在博物馆的大门上，而此时此刻站在门口送我们的项志峰，竟与博物馆大门叠合在了一起。我突然想到：项志峰作为“绍兴华脉书画博物馆”的“掌门人”，本身不也是一本艺术之书、一扇文化之门吗？跟随他，我们就能品赏一段渐行渐远而又触手可及的历史。

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.”