讓文物歸國 讓文化回家

程瀟瀟 應(yīng)忠彭

自歲月深處走出的石佛像、由珍稀木材雕刻的大型根雕、古代宮廷御制的陶器和玉器，以及充滿異域風(fēng)格的牙雕、銀器……時(shí)隔近五年，溫籍收藏家黃加珍的仙莊文化藝術(shù)館遷址溫州經(jīng)濟(jì)技術(shù)開發(fā)區(qū)濱海園區(qū)，增地?cái)U(kuò)容，展出他收藏的2.3萬余件文物及工藝美術(shù)品。

2016年，黃加珍在溫州市甌海區(qū)創(chuàng)辦仙莊文化藝術(shù)館，面積600平方米，如今，新展館擴(kuò)大至6000多平方米。“讓中國厚重的傳統(tǒng)文化藝術(shù)展現(xiàn)在大家眼前，希望通過展示促進(jìn)人們對古文化的認(rèn)識，達(dá)到溝通、交流和共享的目的?！倍嗄昵?，黃加珍立志“盡可能多地讓中國古文化器物回家”，從而走遍荷蘭、比利時(shí)、法國、德國、意大利等歐洲國家大小城市的收藏圈及拍賣行，為家鄉(xiāng)文化建設(shè)獻(xiàn)上了一份厚禮。

創(chuàng)業(yè)維艱? ? 收藏隨緣

從事收藏，需要有相當(dāng)?shù)慕?jīng)濟(jì)實(shí)力。黃加珍出生在溫州甌海郭溪的一個(gè)農(nóng)民家庭，并不算富裕的家中，還有五個(gè)哥哥、一個(gè)姐姐和一個(gè)妹妹?！拔业哪赣H是位偉大的母親，她堅(jiān)持供我們一大幫孩子上學(xué)直到高中畢業(yè)，大哥還考上了大學(xué)。”現(xiàn)已是花甲之年的黃加珍，憶述往事時(shí)臉上掛著樂呵呵的神情，配上一對極大的耳垂，與彌勒佛有幾分神似，令人頗感親切。上世紀(jì)八十年代末，當(dāng)人們用“萬元戶”來形容家財(cái)萬貫時(shí)，有著聰慧頭腦的黃加珍已通過創(chuàng)辦標(biāo)準(zhǔn)緊固件工廠，賺得百萬身家。

在那個(gè)年代，做生意不易，樹大招風(fēng)，后來他因所謂的“投機(jī)倒把”，被罰沒了名下企業(yè)戶頭上的兩萬元錢。時(shí)值“出國潮”在溫州興起，這件事讓他下定決心于1991年告別家鄉(xiāng)，去了阿根廷首都布宜諾斯艾利斯闖蕩。在阿根廷，黃加珍從端盤子做起，逐漸適應(yīng)當(dāng)?shù)厣睿芸炝⒎€(wěn)腳跟。一次機(jī)緣巧合中，他成為當(dāng)?shù)氐氖澜?00強(qiáng)企業(yè)阿根廷尤尼特集團(tuán)“堅(jiān)木單寧”（一種皮革制品鞣劑）的中國總代理商，創(chuàng)辦浙江尤尼特商務(wù)有限公司。

1995年，黃加珍因事務(wù)回國，閑暇時(shí)陪同一位從事收藏的朋友前往福建看木雕。在朋友熟門熟路的帶領(lǐng)下，他來到一位木雕商販家中，見一件紅豆杉根雕十分合眼緣，想著“擺在家中，聞聞木香，有益健康”，便經(jīng)一番討價(jià)還價(jià)，以5萬元價(jià)格入手了連同這件紅豆杉根雕在內(nèi)的五六件木雕作品。那幾件木雕都是珍稀木材，有紅豆杉、黃花梨木等。按照行規(guī)，有人講價(jià)時(shí)競爭者不能出聲?！爱?dāng)時(shí)我那位朋友也很想買，但他讓我先講價(jià)。我沒什么經(jīng)驗(yàn)，只憑喜歡也看不出好壞，講定價(jià)格后也不知道是買賺了還是買虧了，直到走出那個(gè)門，朋友沖我點(diǎn)頭示意‘東西好得很’。”

當(dāng)初5萬元購入的第一批木雕收藏，此后幾年里水漲船高，這次經(jīng)歷也讓黃加珍發(fā)覺收藏一道實(shí)在“水深”。此后，以珍稀原料為基礎(chǔ)的現(xiàn)代雕刻藝術(shù)品成為黃加珍主攻的收藏類別之一。如今其藝術(shù)館內(nèi)，陳列有高公博、田健橋、田健寶、潘成松、孫顯秋等百余位工美大師的木雕、玉雕、石雕等作品。

堅(jiān)守信念? ? 文物“回家”

人生處處有際遇，收藏莫不如是。2000年，黃加珍通過技術(shù)移民，舉家遷至荷蘭定居。2005年4月，黃加珍從一位荷蘭老翁口中得知，對方家中藏有一尊其父輩40年前在中國廣西桂林購入的孔夫子像。黃加珍隨老翁到他家中一看，笑了：“這哪里是孔子，分明是劉伯溫啊！”那座銅像的官服官帽為明代制式，品相完好，黃加珍見到后當(dāng)即動(dòng)了收藏的念頭，“劉基是溫州文成人，被我碰到就是緣分，我得把他請回去”。于是，他每隔幾天就敲響老翁家門，整整磨了3個(gè)月，恰巧老翁的夫人嫌棄銅像占用空間且十分礙事，老翁最終無奈忍痛割愛。黃加珍笑著告訴記者，這座以900歐元價(jià)格成交的銅像，后來還被好幾個(gè)朋友“惦記”上了，其中一位姓劉的朋友是劉基后裔，曾表示愿意出價(jià)百萬收購，可他拒絕了。“我做收藏一般都只收，不賣?！秉S加珍把這當(dāng)作對文物的一種敬意。

黃加珍的收藏中，以佛像最多?！懊髑鍟r(shí)期，我國受荷蘭海盜擄掠，大量文物流失海外。而荷蘭約有百分之十五的家庭信奉佛教，家中常供奉有佛像?！比缃裣汕f文化藝術(shù)館內(nèi)，收藏有各類佛像，達(dá)一萬余件，均是中國流失海外的珍貴文物。

一尊高1.2米，重量卻僅有22公斤的泥胎夾纻佛像，是藝術(shù)館的鎮(zhèn)館之寶。黃加珍最初在拍賣行見到這尊佛像時(shí)，還以為是玻璃鋼材質(zhì)，后來才得知，泥胎夾纻，是古老的中國傳統(tǒng)手工技藝。泥胎夾纻佛像，是在泥塑成胎后用漆把麻布貼在泥胎外層，待漆干后把泥胎取空，塑像質(zhì)地輕盈且柔和逼真。由于制作工藝復(fù)雜，所耗材料昂貴且成功率低，所以歷史上沒有大型的夾纻干漆造像，大多夾纻佛像都流往國外，而今美國大都會博物館和西雅圖博物館都藏有唐代夾纻干漆佛像。從此，黃加珍嘗到了撿“漏”滋味，開始把大把時(shí)間花在拍賣網(wǎng)上。

隨著在荷蘭收藏圈中的名氣越來越大，黃加珍能接觸到各類流失海外“國寶”的機(jī)會也越來越多。每當(dāng)遇到有價(jià)值的中國文物，他總是盡力將其納入收藏，希望有一天能夠讓文物“回家”。

傳統(tǒng)文化? ? 傳承共享

黃加珍的收藏中，有從中國流出去的各朝代佛像和古代青銅器、紫砂、陶瓷和文房等，包括張之洞硯臺、吳之潘等大師的竹雕藏品、清涼寺鑲金汝窯渣斗和易定款梅瓶以及真子飛霜青銅鏡等高級藏品，也有19世紀(jì)中國和歐洲象牙雕刻等。

如何讓流失國外的文物回家？黃加珍多次乘坐國際航班往返，成為荷蘭皇家航空公司VIP客戶。憑借VIP身份，他把文物裝在每次飛行僅能隨身攜帶的兩只行李箱中運(yùn)回，許多大件行李不能攜帶，則采用航空托運(yùn)的方式。多年間，他采取“螞蟻搬家”的方式，讓兩萬余件流失海外的文物和藝術(shù)品順利歸國。

“運(yùn)回國的寶物，就再也出不了國了?！秉S加珍說，“這些文物和藝術(shù)品都是無價(jià)的，回來了便不會再流出國”。2017年1月，黃加珍騰出600平方米位于甌海的廠房，創(chuàng)辦了溫州市仙莊文化藝術(shù)館，成為“溫州市僑務(wù)文化基地”，首次展出了60余件中國古佛像和680余件中國不同朝代器物。而今，遷入新址的文化藝術(shù)館面積擴(kuò)大了10倍，藏品豐富不輸一些公有收藏機(jī)構(gòu)，是浙江罕見的民辦中國古文化器物專題藝術(shù)館，并面向社會免費(fèi)接受團(tuán)隊(duì)預(yù)約參觀。黃加珍說，若有機(jī)會還想創(chuàng)辦一家真正的博物館，讓文物“活”起來，讓更多人透過這些歸國文物共享中國傳統(tǒng)文化。

Ancient stone Buddha sculptures， rare root sculptures， imperial potteries and jade wares， exotic ivory carvings and silver wares， all could be found in Xianzhuang Culture and Art Gallery owned by Huang Jiazhen， a Wenzhounese collector. After a five-year expansion， the gallery is now relocated at Binhai Park in Wenzhou Economic and Technological Development Zone， displaying more than 23，000 cultural relics， arts and crafts.

In 2016， Huang Jiazhen opened his gallery in Ouhai district， Wenzhou city with an area of only 600 square meters; today， the new gallery occupies over 6，000 square meters. He hopes that his collection could broaden people’s knowledge of ancient Chinese culture through better communication and sharing.

More than 20 years ago， Huang was so determined to retrieve Chinese cultural relics overseas that he went to all kinds of auctions in Europe. He set foot on many countries including the Netherlands， Belgium， France， Germany and Italy. His endeavors have proved to be a great contribution to cultural development in China.

Huang was born into an ordinary peasant family in Wenzhou， Zhejiang， with five brothers and two sisters. “My mother was a great mom， doing all she could to support our education all the way to high school and my big brother was even a college student，” Huang smiled when all the memories flashed back. Aged in his sixties with his big round earlobes， Huang looked quite like the Laughing Buddha， cordial and comfortable. In the late 1980s， when wealthy families were called “ten-thousand-yuan households”， Huang had already become a millionaire， managing a standard factory of fasteners.

It was not easy to do business in that era， large enterprises in particular. After he was fined 20，000 yuan due to “speculation and profiteering”， Huang decided to say goodbye to his hometown in 1991. He went to Buenos Aires， and started from scratch as a waiter. Later， an opportunity made him the exclusive distributor in China of Unitan Group， a Global 500 company in Argentina. Huang then established Zhejiang Unitan Business Co.， Ltd. in China.

In 1995， on his business trip to China， his collector friend took him to a wood carving trader’s home in Fujian province. Huang took a fancy of a taxus chinensis root sculpture. Thinking that wood smell did good to one’s health， Huang bargained and purchased it together with other wood carving items for 50，000 yuan. All those items were made of rare wood like taxus chinensis and Chinese rosewood. According to the trading practice， potential buyers should keep silent when other buyers were bargaining. “My friend also liked the taxus chinensis sculpture， but he let me propose the price first. I didn’t have any experience and was so not confident of the price. Luckily， my friend nodded to me when we left there， meaning those crafts were of high quality and value，” Huang explained.

A few years later， the price of Huang’s first collection skyrocketed and this successful experience triggered Huang’s interest in collecting. Modern carving artifacts of rare materials became one of Huang’s main collection types. Today， a great number of wood sculptures， jade sculptures and stone sculptures are exhibited in his gallery. They are created by hundreds of well-known artists such as Gao Gongbo， Tian Jianqiao， Tian Jianbao， Pan Chengsong and Sun Xianqiu.

Life is full of opportunities and collecting is no different. Huang Jiazhen and his family immigrated to the Netherlands in 2000. In April 2005， an old Dutchman told Huang that he had a statue of Confucius which was purchased by his father 40 years ago from Guilin city in Guangxi Zhuang autonomous region. Huang went over to his home and laughed when he saw the statue， “This is not Confucius. This is obviously Liu Bowen！” With the hat and uniform of the copper statue， it was clearly a Ming dynasty （1368-1644） product in a very good condition. Huang made up his mind to collect it right after he saw it. He said， “Liu Bowen was a renowned prime minister in the Ming dynasty and he was a Wenzhounese too. It is such an amazing opportunity that I encountered the statue here. I have to bring it back.” He then kept going to the Dutchman’s house every few days， trying to persuade him. Three months later， the old man finally gave up and sold it for 900 euros. Huang smiled and said that many of his friends wanted to buy the statue later on， one of them being a descendant of Liu himself. “He would like to have it for a million， but I rejected. My collection is basically not for sale.” Huang considers this as a way of showing respect to cultural relics.

Huang’s collections are mostly Buddha statues. He says， “In the Ming and Qing dynasties， a large number of Chinese cultural relics were robbed by Dutch pirates. About 15 percent of Netherlanders believe in Buddhism and they often have Buddha statues in their home.” In Huang’s gallery， there are currently more than 10，000 Buddha statues， all of which retrieved from overseas.

A 1.2-meter high ramee-lacquer statue only 22 kg in weight is the most treasured piece in Huang’s gallery. When he first saw this statue in an auction， he thought it was mere fiberglass. But he got to know later that it was made with an ancient Chinese hand-made technique called “ramee lacquer”. The shape of the statue was originally formed using simple clay， and then it was covered with a thin layer of ramee stripes and firmed up with paint. After the paint dried out， the inner clay was hand removed cautiously until it was completely hollow inside. This unique technique made the statue not only light but also extremely lifelike. Due to complicated techniques， expensive materials and low success rate， large ramee lacquer statues are seldom seen now and most of them are not in China. There are several Tang ramee lacquer Buddha statues in Metropolitan Museum of Art and Seattle Art Museum in the US.

As his reputation rose in the Dutch collection circles， Huang had more chance to find “national treasures” lost abroad. Every time he encountered valuable pieces， he would try his best to purchase them， hoping that some day those treasures could go back home.

It is no exaggeration to say that Huang’s collection includes almost everything. There are Buddha statues of different dynasties， ancient bronze wares， boccaro， potteries and the Four Treasures of Study （brush， ink， inkstone and paper）. Zhang Zhidong’s inkstone， Wu Zhipan’s bamboo sculptures， gold inlaid Ru Kiln buckets from the Qingliang Temple， plum vases marked with the title “Yingding”， bronze mirrors engraved with the titles “Zhenzi” and “Feishuang”， as well as other Chinese and European ivory carvings of the 19th century.

How did he bring back lost historical relics overseas？ As a VIP member of the KLM Royal Dutch Airlines， Huang managed to bring them back by carry-on luggage. In this way， he has shipped back more than 20，000 pieces of relics and artifacts over the years.

“These returned relics are priceless and they should not be taken abroad again，” Huang said. In January 2017， Huang established Xianzhuang Culture and Art Gallery in his 600-square-meter factory in Ouhai. There were 60-odd ancient Buddha statues and 680 artifacts from different dynasties in its first exhibition. The gallery then became the cultural base for overseas Chinese affairs in Wenzhou. Now， the relocated gallery is ten times bigger and the collection itself is so diverse that it can rival those in public institutions. It is a rare private antique art gallery in Zhejiang， open to public group tours for free. Huang hoped that he would like to build a real museum， if possible， in the future to make his collection come into “l(fā)ife” and to attract more people to get to know and understand traditional Chinese culture.